The Artistic Expression Facilities in the Poem ‘Kitab Al-Asma’ by M.‑A. Chuquri (original) (raw)
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MUHAMMASES AND THEIR METRIC FEATURES IN UZBEK POETRY IN THESECOND HALF OF THE TWENTIETH CENTURY.
MUHAMMASES AND THEIR METRIC FEATURES IN UZBEK POETRY IN THESECOND HALF OF THE TWENTIETH CENTURY. ХХ АСР ИККИНЧИ ЯРМИ ЎЗБЕК ШЕЪРИЯТИДА МУХАММАСЛАР ВА УЛАРНИНГ ВАЗН ХУСУСИЯТЛАРИ, 2019
In this article the mukhammas (five verses stanza) in Uzbek literature created in the second half of the twentieth century are analyzed. The metric genre and thematic volume of independent five-lined stanzas and takhmis (a poem where first stanza is taken as a model and added next 3 lines keeping the model of the original lines) of poets of this era like Khabibi, Sabir Abdullah and Chusti are investigated. Takhmis poems of the creation of Lutfi, Navai, Fuzuli and Nodira also have been explored. There are 111 mukhammas from the work of Khabibi, 91 from Sobir Abdulla and 107 from Chusti' have been specified by the author. It is reported that in the work of poets of the second half of the twentieth century, the Ramal meter was considered very commonly used. The creation of mukhammas mainly appeared in the sub-meter of ramali musammani makhzuf (maksur) (– ∪ – –/– ∪ – –/– ∪ – –/– ∪ – (~)) of Ramal meter. For instance, the author points out 44 mukhammas from the works of Khabibi, 34 from Sabir Abdullah and 52 from Chusti. According to tradition, when a gazelle is converted into a takhmis, the number of stanzas of a gazelle is usually kept unchanged. Nevertheless, sometimes, poet may not favour the structure and takhmises are not created for some bytes of the gazelle. It is this case that occurs in the takhmis of Uzbek literature in the second half of the twentieth century.
Испољавање суфизма у модерној арапској књижевности
Књижевна историја, 2021
Модерна арапска књижевност најчешће се дели на три главна периода-неокласицизам (1834-1914), који се подудара с периодом арапског препорода, ар. al-nahḍa; романтизам (1914-1945); период реализма, модернизма и постмодернизма (од Другог светског рата до данас), који обухвата бројне и разнородне школе и правце. У овом раду анализира се на који се начин суфизам, једно од најплоднијих духовних и естетских искустава, одражава у поетској и прозној арапској баштини. Кључне речи: суфизам, поезија, проза, модерна арапска књижевност 1 Модерна арапска књижевност најчешће се дели на три главна периода-неокласицизам (1834-1914), који се подудара с периодом арапског препорода, ар. al-nahḍa; романтизам (1914-1945); период реализма, модернизма и постмодернизма (од Другог светског рата до данас), који заправо обухвата бројне и разнородне школе и правце.
Muslim perceptions on Arabic calligraphy can be reconstructed on the basis of an extreme multitude of sources. History of Arabic penmanship has been marked by milestone works such as the ones ascribed to Ibn Qutayba (d. 885), Abu Bakr Muhammad al-Suli (d. 946), Ibn Nadim (d. 998), Abu Hayyan al-Tawhidi (d. 1023), al-Muizz Ibn Badis (d. 1062), Shams al-Din al-Ziftawi (d. circa 1403), Zayn al-Din al-Athari (d. 1425), Ibn al-Sa’igh (d. 1441) and Muhammad al-Tibi (16th century). Yet what clearly emerges as a challenge in this scholarly field is that translations of original sources from Arabic are anything but sufficient. This is equally valid for the Subh al-A‘sha of Ahmad al-Qalqashandi (d. 1418). Although al-Qalqashandi’s text is probably the most voluminous text composed on Arabic calligraphy ever, this Egyptian author has remained outside the scope of translators’ attention. The gap is at least partially mitigated by the present translation of an excerpt of al-Qalqashandi’s work into Bulgarian, which covers significant aspects of calligraphy theory and practice, such as “virtues of calligraphy”, its “essence”, the origin of writing, inevitably related to accounts of creation and origin of man, parallels between written and spoken word, the origin of the Arabic alphabet, its order and genealogy of calligraphic authority until the time of the author; and finally, the detailed characteristics of the Arabic letters, their distinct shapes and essential graphic components. The translation is based on the Cairo edition of al-Qalqashandi’s text published in 1914–1922. It is introduced through an opening chapter by the translator which positions Subh al-A‘sha within a larger historical and conceptual framework.
Табунова Н.А. Основные черты выразительности искусства Нового времени // Художественная культура. 2022. No 1. С. 80–107.
In the present article, the author raises the question of social incentives of the Modern Era that encouraged artists to search for new ways of expression and initiated transformations of artistic methods. The subject of research is the artistic expressiveness of the visual arts and philosophical concepts of the Modern Era. In the culture of the Modern Era, the medieval sacred predetermination that regulated human existence is replaced by anew self-consciousness of a person as a subject of history. Being susceptible to changes in consciousness, art reflects this process, which is emphasized in this study. The relevance of this research is due to the possibility of considering the correlation between the changes in art and a person’s view of life. The author formulates representation and illusory criteria for the expressive methods of the visual arts of the Modern Era and investigates the search for new expressive means by painters, sculptors, and architects. The driving force behind the search for new means of displaying both conscious and unconscious changes in mentality is identified through the analysis of the major changes in the European socio-cultural consciousness in the Modern Era. The question of dialectics of the visual and the expressive is studied in order to consider their impact on the self-movement of art. The author focuses on classical and Baroque trends in art. In studying the expressive techniques of art and the philosophical trends of the Modern Era, the application of the interdisciplinary approach is advisable. / Автор ставит вопрос о социальных стимулах Нового времени, инициировавших поиски художниками новых способов выразительности и преобразование методов искусства. Предметом исследования являются художественная выразительность искусства и философские концепции Нового времени. В культуре Нового времени средневековую сакральную предрешенность, регулировавшую человеческое бытие, сменяет новое самосознание человека как субъекта истории. Искусство, восприимчивое к изменениям в сознании, отражает этот процесс, акцентируемый в настоящем исследовании. Актуальность работы обусловлена возможностью рассмотрения соотнесенности изменений в искусстве и мироощущении личности. В статье формулируются критерии репрезентативности и иллюзорности выразительных методов искусства Нового времени. Исследуется вопрос поиска новых выразительных средств живописцами, скульпторами и архитекторами, а также причины, побуждающие к этому поиску. Движущие стимулы искусства исканий новых средств отображения осознаваемых и неосознаваемых изменений в ментальности определяются через рассмотрение переломных моментов в европейском социокультурном сознании в Новое время. Изучается вопрос диалектики изобразительного и выразительного с целью выявления их воздействия на самодвижение искусства. Автор фокусируется на рассмотрении классицистических и барочных тенденций в искусстве. Применение междисциплинарного подхода целесообразно в исследовании выразительных приемов искусства и философских тенденций Нового времени.
The study is devoted to the Algerian free verse – a literary phenomenon, which became widespread in the second half of the 20th century. The new poetical form is another stage on the way of evolution of the Arabic-language Algerian poetry, which enables the authors to free from the canons of the traditional qasida. Artistic and poetical specifics of the Algerian free verse are the issue of this research. On the basis of literary analysis of the authentic texts in author’s translation the metaphors, imagery system and common lexis reviewed. Finally, the article studies the evolution of free verse in its dynamics – from the moment of its appearance till the beginning of the 21st century. Keywords: Arabic-language poetry of Algeria, free verse, literature of Maghreb, lyrical hero, qasida.
Narrative technique in the novels Flea Palace and Forty Rules of Love by Elif Shafak
2015
Elif Shafak, one of the distinguished representatives of Turkish Postmodernism, uses different narrative techniques to critically provoke traditional forms and values still present in Turkish literature. The paper deals with the narrative techniques used by Elif Shafak in her novels Flea Palace and Forty Rules of Love. By developing a unique narrative method based on the concept of circle, and also based on experimenting with different narrators and multiple points of view, Elif Shafak creates novels which have distinctive place in Turkish literature, as could be noticed from the fact that she is a very popular writer in Turkey as well as abroad.
Linguo-Stylistic Devices of Creating Images and Atmosphere in S. King’s Works
Philology. Issues of Theory and Practice, 2019
The article considers linguo-stylistic devices in S. King’s works. The purpose of the paper is to study the linguo-stylistic devices that contribute to the creation of images and atmosphere in the writer’s works, as well as to determine their specific stylistic role. The novelty of the work is explained by the fact that the authors consider the frequency of stylistic devices use by the material of several works of the same genre and writer for the first time. The results show the frequency of using the identified stylistic devices, as well as their stylistic function.