THE CURRENT LITERARY PROCESS AND THE PROBLEM OF POETIC STYLE

Reflecting on the current literary process and the problem of poetic style, the author focuses on the work of today’s young and talented poet Khosiyat Rustamova. Her work focuses on the socio-political, spiritual, philosophical, symbolic and lyrical world events. Reflects on the fact that poetry is a divine miracle and the peculiarities of its style and the art of poetry, as well as the peculiarities of the poet’s work. She also discusses the feelings of the Holy Land, which has become a creative tradition, its love, regional and historical development. Indeed, such issues are one of the most pressing and fundamental problems facing the current literary process. Therefore, the approach to the analysis of such topics, the disclosure of its specific cases, is one of the goals of the article.

Music and Literature Synthesis in Paul Dukas's Aesthetics

Рассмотрев и систематизировав представления о синтезе искусства Поля Дюка, автор статьи приходит к выводу об их оригинальности: в постоянном диалоге с вагнеровской идеей совокупного произведения искусств французскому композитору удалось изложить новый подход к интеграции музыки и слова. Обладая изысканным и утонченным литературным стилем, Дюка выражает свои мысли довольно туманно и неопределенно. Чтобы описать взаимодействие различных видов искусства, он использует понятия, относящиеся к концептам идеи («поэтическая идея» и «музыкальная идея») и эмоции («поэтическая эмоция» и «музыкальная эмоция»). Конечным результатом синтеза становится «поэма», в которой музыка и слово комплементарны друг другу и функционируют по единым законам. Having studied and systematized Paul Dukas's concept of synthesis of arts, the author of the article comes to conclusion that it possesses authentic originality: in a constant dialogue with Wagner's idea of Gesamtkunstwerk, the French composer had the capacity of introducing a new approach towards music and literature fusion. Having established a rather sophisticated poetic style, Dukas expresses his thoughts in a vague and ambiguous way. To illustrate the interaction of various art forms, he resorts to using certain definitions that refer to the concepts of idea (“poetic idea” and “musical idea”) and emotion (“poetic emotion” and “musical emotion”). The endpoint of this interaction is poeme, which suggests that both elements are now subjected to universal laws and are complementary.

Glorification of Kamariipa in the Sati Jayamati: An apprisal

Every part of India has its own contributions in the field of Sanskrit study. Assam known as Kamartipa in ancient and medieval period also contributed immensely towards the rich treasure of Sanskrit literature. There are various epigraphical and literary evidences which bear testimony of Assam's contributions towards Sanskrit literature. Sanskrit scholars of Assam exhibited there poetic skill in writing various forms of Kavyas. One of the notable contributions of Assam to Sanskrit literature is Safi Jayamafi of Bhavadev Bhagavati. His Safi Jayamafi is a Sanskrit Khandakavya of one hundred elegant verses. Here the poet depicts the glorious history of Kamartipa through the story of Gadapal).iJayamafi. The poet presents the glorious tradition of Kamartipa in a poetic style. The paper makes an attempt to analyze the glory of the land in the light of the Safi Jayamafi.

Grotesque As Archetype of Poetic State In The Poetry of Frederik Rreshpa

Frederik Rreshpja, a famous Albanian poet, was born in Shkoder in 1940 and died in 2006. His first literary work, the poetry collection, "Albanian Rhapsody" was published in 1967. He was imprisoned and served 17 years in prison during the communist regime.After he was released from prison, lived in Tirana and published the volumes "The time has come to die again" - 1994, "Selected lyrics" - 1996, a collection that was announced the best national book of the year, as well the volume of poetry "In solitude " was to be published in 2004.The focus of the article is on the features of the poetic style specifically on the grotesque as an author’s poetic preference that constitutes a special point of view of the author.The grotesque as an archetype of the poetic state in Rreshpa's poetry is conceived as a way of artistic reflection and as a style of writing. The key function of the metaphor-grotesque is the transfer, within the form of expression, from one context to another context with poetic undertones.Grotesque is a way of expression or way of presentation in which exaggerated sides are put together in powerful and unexpected contrast, or the most mixed, distorted and isolated forms of reality…

A. H. Tammsaare’s Epic Musicality

A. H. Tammsaare was drawn to the musical tonality of prose. Importantly though, he did not wholeheartedly embrace sound patterning as a mode of writing. Rather, he preferred a semantic widening of ordinary language within a comprehensively holistic “spherical music”. In his novels, we can detect a deliberate use of rhythmic motion in sentences. This is evident primarily in the wealth of lexical and syntactic repetitions resulting in a parallelism of patterns. An obvious, although discreet, rhythmic design emerges in the thesisantithesis- synthesis parataxis the core words of which are the adversative and coordinating conjunctions aga (‘but’), and integrative ometi (‘yet’, ‘indeed’). The frequency with which these bound conjunctions occur in Tammsaare’s work surpasses that of ordinary speech by about four times, and it is twice as high as the statistical mean for literary texts. One might call this expressive of an epic but-mantra, a prose-poetic but-meter, or a narrative polysyndeton, and, from a philosophical point of view, a but-dialectic. Whenever a reader fails to appreciate Tammsaare’s underlying tone and does not discern the emotional flow of longing scepticism that issues from his dyadic-triadic chains, this pervasive, yet inconspicuously arguing, textual mode may seem unduly pretentious. Indeed, there is nothing to prevent a prose text from featuring a poetic style that is rooted in a poetry-like, paradigmatic parallelism as the poetic principle of formal and semantic equivalence.