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Designed to deceive some readers, such as the censor, while inviting others to read “between the lines,” Aesopian texts task their translator with added interpretive complexity. Does a given translation reflect both text and subtext, target audience and hurdle audience? Is the target audience of the translated text even mappable onto an original text’s schema of hurdle and target audiences? The writings of Varlam Shalamov further complicate the translation of Aesopian texts. Whereas Leona Toker and others identify Aesopian moments in Shalamov’s prose, Svetlana Boym argues that in his writings the deceptive device of mimicry resists totalitarianism precisely when it goes beyond any Aesopian or other useful purpose. Shalamov’s 1963 essay “The National Borders of Poetry and Free Verse” (“Natsial’nye granitsy poezii i svobodnyi stikh”) invites engagement as an exemplary Aesopian text—one whose “deceptive means,” however, call for a more capacious understanding of Aesopian language. Nineteenth-century satirist Mikhail Saltykov-Shchedrin first used the term “Aesopian” to indicate the “trembling” littérateur’s unique style of writing, whose “deceptive means” showed “a remarkable resourcefulness in their invention.” The Aesopian mimicry of Shalamov’s essay on free verse exceeds both predator’s and trembling prey’s powers of appreciation, calling for equally artful mimicry on the part of the translator.

Qiang Jin Jiu, a classical poem created by one of the best ancient Chinese poets Li Bai, has more than one English version. Whether it is translated into a metrical verse or a free verse in English, the culture-loaded words in the poem have always been a major problem. For this reason, this study selects four English translations of metrical and freestyles respectively and sorts out the culture-loaded words that are easily misunderstood, aiming to find out the differences between the metrical and free verse translations through case studies to promote the out-going of Tang poetry.

The article analyzes the intertextual connections of the pretext and parody on the material of D. Samoilov's poem “Free verse” and A. Ivanov’s parody “Professor, poet and Anna”. The purpose of the analysis is to identify the transformation mechanism of the paradigmatic structure of the text vocabulary in parody by comparing the lexical paradigms that function in each text, and identify differences in their composition and functions. The composition of paradigms, the nature of their formation, configuration are analyzed. A comparison is made of paradigmatic schemes in both texts, on the basis of which conclusions are drawn about the differences in the composition and functions of paradigms in the pretext and parody, as well as on the nature of the transformations that undergo parademics in the pretext in parody. The article establishes the nature of the intertextual connection between the parody and the pretext, as well as the identification of the text transformation schemes during the creation of the parody. An analysis of the links between the precedent text and the parody reveals the mechanisms by which the text is transformed at the paradigmatic level. As a result of the analysis, a simplification of the paradigm configuration in the parody was discovered, thereby reducing the text depth. The following conclusions were made: in paradia, the paradigm formation scheme is simplified; decreases the number of levels of paradigm hierarchy; the role of intertextual links in the understanding of the text is reduced; in parodies, in addition to in-text, intertextual paradigms are also formed, linking parody with pretext and generating additional meanings. The author puts forward the hypothesis according to which the specificity of the intertextual connection between parody and pretext described in the article is characteristic in general of the genre of parody. Keywords: pretext, parody, paradigm, paradigmatic analysis, intertextuality.

This article studies the elements of Dada aesthetic that shape the free verse in the poem “Chinfonía burguesa” from the theoretical approach of modern versology. It is propounded as a hypothesis that the discursive strategies of Dada imprint, such as the semantic use of space, rhymes, and parallelisms, are updated in the free verse of the authors to propose a critique of bourgeois conceptions from the framework of irrationality. By doing so, the paper explores the scope of Dada aesthetic, its relation with the free verse in Hispanic America and its application within the poem all through a formal and interpretative analysis., Este artículo estudia los elementos de la estética dadaísta que configuran el verso libre en el poema “Chinfonía burguesa” desde el enfoque teórico de la versología moderna. Se plantea como hipótesis que en el verso libre de los autores se actualizan estrategias discursivas de impronta dadaísta como el uso semántico del espacio, rimas y los paralelismos para plantear una crítica a las concepciones burguesas desde el marco de la irracionalidad. Así, el trabajo explora los alcances de la estética dadaísta, su relación con el verso libre en Hispanoamérica y su aplicación en el poema a través de un análisis formal e interpretativo.

The purpose of this study is to discuss the concept of “verse” and “poetic rhythm”. With this investigation, we try to understand the idea of “free verse”, one of the main characteristics of the XIX’s production of Portuguese poetic work. For this, we introduce considerations about the first two concepts, specially about these etymological origins, with the purpose to figure how “free verse” deals with the traditional idea of rhythm in poetry, which is no longer submitted to the versification’s theories. Apresentamos, neste artigo, um estudo sobre os conceitos de “verso” e de “ritmo poético” a fim de compreender a ideia de “verso livre”, recurso este, presente em parte expressiva das produções poéticas produzidas em língua portuguesa a partir do século XIX. Para tanto, introduzimos considerações sobre os dois primeiros conceitos, especialmente acerca de suas origens etimológicas, com o objetivo de entender como o “verso livre” lida com a tradicional ideia de ritmo em poesia, esta não mais submetida, necessariamente, às considerações presentes em teorias e tratados de versificação

The starting point of the paper is the Greek understanding of poetry, which became the norm in antiquity and has maintained such a status well into post-antiquity. According to this understanding, poetizing is a measuring or a putting of words into a measure (Gr. metron), while poetry is an art of metrical speech binding and thus of versification. The rhythm in Greco-Roman poetry seems to have been captured in a measure that was a quantitative measure, the duration of syllables. But already in ancient metrics rhythm began to separate from meter, although it remained subordinate to it as a systemic structure. When in late antiquity the distinction between long and short syllables, on which the quantitative system of versification was based, became inaudible, the liberation from the meter began under the sign of rhythm. “Rhythm” in Middle Ages described the structure of poems in the vulgar languages of post-antique Europe and established itself in the Renaissance as the primary term for the syllable versification system. However, the imitation of the meter continued in European poetry, with demetrification and remetrification alternating. Therefore, modern versiology illustrates the development of European versification with the movement of sea waves, which is not equable as in nature: the meter is in decline, while the rhythm is steadily increasing. In the picture it paints, the final liberation of rhythm from the meter is represented by the free verse. Nonetheless, at the end the paper returns to the beginning with the warning that rhythmos originally did not refer to something audible, but to the mostly visible momentary form of something unstable. On this basis it finally tries to define what a poetic rhythm is.

International audience; What if our approach to Apollinaire’s free verse turned away from the prose découpage of “La Maison des morts” in favor of rereading the oldest free-verse poem in Alcools: “La Synagogue”? That is, a poem in which the irruption of the new rhythm coincides with the insults of German Jews, and which ends with a line phonetically transcribing a verse from Hebrew. This would be an opportunity to define a multicultural use of free verse informed by Apollinaire’s multiple identity.; Et si l’approche du vers libre chez Apollinaire délaissait le découpage de prose de « La Maison des morts », pour relire le poème en vers libres le plus ancien d’Alcools : « La Synagogue » ? Soit un poème où l’irruption de la mesure nouvelle coïncide avec les injures de Juifs-Allemands, et qui se termine par un vers transcrivant phonétiquement un verset en hébreux. Ce serait l’occasion de définir un usage multiculturel du vers libre, qui répondrait à l’identité multiple d’Apollinaire.

Whereas A Prosody of Free Verse broke new ground in understanding the rhythmic patterning in free verse, Polyrhythmicity explores how multiple rhythms work in poetry. Most conventionally, a poet will take a formal verse form with a regular metrical pattern, and both conform to the pattern as well as breaking the pattern to create variation or to highlight sense. But much poetry operates between the polyrhythmic nature of the spoken voice (see Chap. 5), formal metres, syllabic patterns and free verse. It always embodies rhythm to a certain degree and takes its cue from musical patterning and specifically from song (see Chaps. 4 and 5). This chapter will explore how multiple rhythms work in American, Scottish, Chinese and other Asian poetry and how these different rhythms reflect the relationship between feeling and sense; between the written word and the spoken word; and between the ethereal and the physical. Consideration is given to polyrhythmicity in the lyric mode and the work of Ezra Pound and Don Paterson on the theory and practice of rhythm in poetry.

This paper provides the first integral edition of eleven poems by Filippo Tommaso Marinetti, the founder of Futurism. These eleven poems were all published from march 1898 to january 1900 in a now very rare journal: “Anthologie-Revue de France et d’Italie”. In these pages one can see Marinetti at work, ten years before the foundation of Futurism, both as a french poet and as a fin-de-siecle poet, both as a poet in verse and as a poet in prose. Since “Anthologie-Revue” was printed in Milan by a parisian editor, its redaction group was deeply concerned with franco-italian cultural relations. In this context, along the Milan-Paris axis, we can examine Marinetti’s earliest poetry and its evolution from sonnet to free verse. A decade before launching his avant-garde movement, young Marinetti faces the very last wave of the nineteenth-century Symbolism, showing a general predilection for french poetry. Moreover he had composed french verse since his adolescence. A main editorial principle is at the basis of the present work: the dedication preceding each poem and the place and date following it are always transcripted and possibly commented. New data about european literary contacts are thus documented. New information and details about circumstances of composition are often offered. Texts receiving a new light from either a contemporary historical event or a particular place and landscape.

Et si l’approche du vers libre chez Apollinaire délaissait le découpage de prose de « La Maison des morts », pour relire le poème en vers libres le plus ancien d’Alcools : « La Synagogue » ? Soit un poème où l’irruption de la mesure nouvelle coïncide avec les injures de Juifs-Allemands, et qui se termine par un vers transcrivant phonétiquement un verset en hébreux. Ce serait l’occasion de définir un usage multiculturel du vers libre, qui répondrait à l’identité multiple d’Apollinaire., What if our approach to Apollinaire’s free verse turned away from the prose découpage of “La Maison des morts” in favor of rereading the oldest free-verse poem in Alcools: “La Synagogue”? That is, a poem in which the irruption of the new rhythm coincides with the insults of German Jews, and which ends with a line phonetically transcribing a verse from Hebrew. This would be an opportunity to define a multicultural use of free verse informed by Apollinaire’s multiple identity.

Статья посвящена интерпретации основного смысла в стихотворении американского поэта-битника Аллена Гинзберга “A Supermarket in California”, в котором лирический герой не претендует на знание абсолютной истины, а повествует об окружающем его мире так, как он воспринимается его сознанием. Анализируемое стихотворение представляет собой своего рода «поток сознания», в котором смысл не представлен эксплицитно, что обусловливает возможность различных интерпретаций. Выявление заложенного в тексте смысла осуществляется методом инференции, т.е. выводного знания, полученного в результате «вчитывания» в текст. Актуальность работы связана с интересом ученых к одному из вопросов герменевтики – роли читателя в интерпретации смысла текста. Новизна работы видится в представлении своего «видения» основного смысла анализируемого стихотворения., The article is devoted to the interpretation of the main idea of the poem “A Supermarket in California” by the famous American beat-poet Allen Ginzberg, in which the hero tells us about the surrounding world in a way he sees it, without claiming that he knows the absolute truth. The poem represents a kind of “stream of consciousness” in which the idea is not explicit allowing different interpretations. The method of inference is used to interpret the idea of the poem. The relevance of the research is explained by the interest of scientists in the role of the reader in interpreting literary texts. The novelty is connected with giving our own vision of the idea of the poem., Международный научно-исследовательский журнал, Выпуск 2 (104) 2021, Pages 179-181

Многие поэты обращались к свободным формам стиха, полагая, что только такая форма может адекватно воплотить современную действительность и восприятие этой действительности поэтом. Обращаясь в данной статье к переводам стихотворения «Er starb vor Mohaiszk» («Он пал под Мажайском») Э. М. Ремарка, написанного в свободной форме, верлибром, авторы ставили перед собой задачу проследить, как переводчики, работая с такой формой иноязычной поэзии, воплотили основные особенности оригинала на языке перевода. Проведенный сравнительный анализ оригинала и переводов показывает, что эта форма стиха, балансируя между прозой и традиционным стихосложением, требует от переводчика предельной концентрации на всех уровнях текста: лексическом, синтаксическом и ритмико-интонационном, а отступление от адекватного воссоздания даже одного из этих элементов приводит к искажению всего произведения. Результаты исследования можно использовать в спецкурсах и семинарах по теории художественного перевода, в курсах сопоставительной стилистики русского и немецкого языков, в творческих семинарах переводчиков, а также при критической оценке вновь создаваемых переводов поэтических текстов Э. М. Ремарка., Many poets have turned to free verse, believing that only such a form can adequately embody modern reality and the poet's perception of this reality. By examining the translations of the poem Erich Maria Remarque's "Er starb vor Mohaiszk "("He fell at Mozhaisk"), written in free form, vers libre, the authors of this article attempt to trace how the translators, working with this form of foreign language poetry, incorporated the main features of the original in the language of translation. The comparative analysis of the original and its translations demonstrates that this form of verse, balancing between prose and traditional versification, requires the translator to focus on all levels of text: lexical, syntactic, and rhythmic and intonation-wise, and deviating from an adequate recreation of even one of these elements leads to distortion of the entire work. The results of the research can be used in special courses and seminars on the theory of literary translation, in courses of comparative stylistics of the Russian and German languages, in creative seminars of translators as well as in the critical evaluation of newly created translations of poetic texts by E. M. Remarque., Russian Linguistic Bulletin, Выпуск 1 (25) 2021, Pages 163-168

This article is a condensed summary of the author’s primary research. Using music, prose, and free verse, I seek to highlight the issues that work revealed within jazz and improvised music studies, and studies into vibraphone practice; briefly show the practical-philosophical roots of my methodology in the research; and present the practice-led roots of my current philosophy of the vibraphone.

This article focuses on a little-explored case of modernist collaboration situated at the crossroads between different arts: the performance of Alfred Kreymborg’s play Lima Beans, produced by the Provincetown Players in December 1916, in which poets Mina Loy and William Carlos Williams played the two leading parts, together with poet and artist William Zorach, who also designed the sets. The play’s novel aesthetics breaks with the principles of the realist dramas typical of the time and favored even by more experimental groups like the Provincetown Players. First, the article examines how the play creates a distancing effect towards the deliberately mundane story of a married couple, using incongruous elements like the proto-absurdist nonsense of the dialogues, the abstract, Futurist sets, and the groundbreaking acting techniques inspired by puppet theater. Second, it specifically focuses on the blurring of the boundaries between the different arts—drama, poetry, and dance among others—in this play, whose dialogues were conceived as free verse. Finally, it delves into the intertextual and intermedial dialogues between the play and Loy’s and Williams’s poems published in the little magazine Others, edited by Kreymborg. Cet article se penche sur un cas peu exploré de collaboration moderniste qui se situe au carrefour de plusieurs arts : la pièce Lima Beans, écrite et mise en scène par Alfred Kreymborg et produite par les Provincetown Players en décembre 1916. Dans cette mise en scène, les poètes modernistes Mina Loy et William Carlos Williams jouent les rôles principaux, accompagnés du poète et artiste peintre William Zorach, également responsable des décors. L’esthétique novatrice de cette mise en scène rompt avec les principes du théâtre réaliste typique de l’époque et prôné même par des groupes plus expérimentaux comme les Provincetown Players. Dans un premier temps, cet essai étudie l’effet de distanciation produit par la pièce envers l’histoire délibérément banale du quotidien d’un couple marié, à travers des éléments incongrus comme les dialogues proto-absurdistes, les décors abstraits aux touches futuristes, et les techniques de jeu inspirées du théâtre de marionnettes. Dans un deuxième temps, l’essai revient sur la synthèse entre les différents arts—théâtre, poésie et danse entre autres—qui affleure dans cette pièce, dont les répliques ont été conçues comme des vers libres. Sont étudiés enfin les dialogues intertextuels et intermédiaux entre la pièce et certains des poèmes de Loy et Williams publiés dans la revue Others, dont Kreymborg était le rédacteur en chef.

The poetry of Tang is a kind of classic literature of China and famous historical heritage. Taking the "Harmony-guided Three-Level poetry translation criteria" as the theoretical basis, this paper compares the translations of two translators of different styles in different periods of Li Bai's "Looking at the Mount Sky Gate" from the macro, middle and micro levels. As for the Chinese translator Xu Yuanchong, his version has high formal beauty and musical beauty. Besides the expression of a few images, he also gave a good consideration to "the beauty of numbers". Rewi Alley's translation is a free verse, but he tries to approach the original poem in terms of meaning. By the analysis of the above two versions, the authors endeavor to give their own version according to the "Harmony-guided Three-Level poetry translation criteria". The translation study of "Looking at the Mount Sky Gate" can enrich the theory of "Harmony-guided Three-Level poetry translation criteria" and promote the spread of Chinese literature and culture. Article visualizations

This chapter reviews recent scholarship on the interface between the Qur’an and Arabic Poetry, from pre-Islamic times to the modern period. It shows that Arabic poetry has for long been engaged in an inter-textual dialogue with the Qur’an which has taken numerous forms, subject to changing historical and cultural circumstances. At the core is the dual status of the Arabic language as bearer of a divinely created message and as cherished medium of poetic invention. The chapter shows that the resulting tension between the competing and mutually reinforcing claims of poetry and prophecy can be observed throughout the history of Arabic poetry up to the present day.

The translation of epic blank verse usually takes two forms: formal adherence to syllabic counting as recreation of the pentameter as decasyllables, or semantic fidelity as adaptative transposition in free verse. Both modes cause detriment to the particular effects of the original form by not transposing to the target language the essential qualities of the English blank verse: the steady and constant rhythm and the tension between metric rhythm and the syntactic-semantic rhythm. In our essay we intended to study the qualities and effects that make epic blank verse distinct from other metrical forms, exploring the mechanisms of the iambic pentameter, its limits and mutations within the English tradition, and how this verse operates in unrhymed compositions of narrative and meditative character, in which the differences between prose and poetry becomes more subtle and the metric takes a character at the same time less marked and more fundamental. After this survey we propose a new variation of the blank verse in portuguese, the mixed dodecasyllable, composed of iambic rhythm, formed by the alternation between unstressed and stressed or half-stressed syllables, and headless dodecasyllables when the preceding verse possesses a feminine ending. We illustrate our study of the blank verse with excerpts from The Prelude, by William Wordsworth, and translate passages from the same work according to our metrical measure in order to determine its effectiveness. As a result we perceived that our adapted form appears to be capable of accomodating those qualities considered essential to the blank verse, reformulating in Portuguese poetic effects frequently lost during the process of translating English works, like the regular iambic rhythm and the reading momentuum poured integrally from one verse to the next. We thus concluded that a nontraditional approach toward the metrical potentialities of Portuguese, in dialogue with the forms of English poetry, is capable of opening new perspectives of translation for Portuguese language researchers, and bringing to light qualities of different metrical traditions that can offer new tools to their translators., A tradução do verso branco épico usualmente toma duas formas: fidelidade formal à contagem silábica como recriação do pentâmetro em decassílabos ou fidelidade semântica como transposição adaptativa em versos livres. Ambos os modos causam detrimento aos efeitos particulares da forma original por não transporem à língua de chegada as qualidades essenciais do verso branco inglês: o ritmo cadenciado e constante e a tensão entre o ritmo métrico e o ritmo sintático-semântico. Em nosso artigo, buscamos estudar as qualidades e efeitos que tornam o verso branco épico distinto de outras formas métricas, explorando os mecanismos do pentâmetro iâmbico, seus limites e mutações dentro da tradição inglesa, e como esse verso opera em composições não-rimadas de caráter narrativo e meditativo, nas quais as diferenças entre prosa e poesia tornam-se mais tênues e a métrica toma um caráter ao mesmo tempo menos marcado e mais fundamental. Após esse levantamento, propomos uma nova variação do verso branco em português, o dodecassílabo misto, composto de ritmo iâmbico, formado pela alternância de sílabas átonas e tônicas ou subtônicas, e dodecasílabos acéfalos quando o verso precedente é grave. Ilustramos nosso estudo do verso branco com passagens de The Prelude, de William Wordsworth, e traduzimos trechos da mesma obra segundo nossa medida métrica para determinar sua eficácia. Como resultado, notamos que nossa forma adaptada mostra-se capaz de acomodar aquelas qualidades consideradas essenciais ao verso branco, reformulando, em português, efeitos poéticos frequentemente perdidos no processo de versão de obras inglesas, como o ritmo regular binário e o momento de leitura vertido de um verso a outro de modo integrado. Concluímos, dessa maneira, que uma abordagem não-tradicional das potencialidades métricas da língua portuguesa, em diálogo com os moldes da poesia inglesa, é capaz de abrir novas perspectivas tradutórias para pesquisadores em língua portuguesa e trazer a lume qualidades de tradições métricas distintas que podem oferecer novas ferramentas a seus tradutores.