Search Results (19)

This study explores the Qurʾānic portrayal of ḥūr al-ʿīn in relation to pre-Islamic poetic traditions, with a particular focus on Imruʾ al-Qays’s Muʿallaqa—a foundational text in Arabic love poetry. It aims to examine how the Qurʾān reconfigures familiar expressions of female beauty—such as luʾluʾ al-maknūn, qāṣirātu al-ṭarf, kawāʿib atrāban, ʿuruban, and abkāran—within a spiritual and eschatological framework. The research problem centers on understanding the rhetorical and semantic shift from the sensual, body-centered depictions of women found in Imruʾ al-Qays’s couplet to the morally elevated and symbolically charged representations presented in the Qurʾān. Using a comparative textual analysis method, the study draws on classical tafsīr literature and selected passages from Muʿallaqa to trace the semantic transformation of key terms and metaphors. The findings demonstrate that while the Qurʾān retains the linguistic forms and imagery familiar to its audience—including poetic conventions of beauty from Imruʾ al-Qays—it redirects them toward a higher moral and theological purpose. Female beauty becomes not a site of fleeting desire, but a symbol of divine reward, integrating physical perfection with spiritual purity. Ultimately, the research argues that the Qurʾān does not reject the aesthetic legacy of pre-Islamic poetry, but absorbs and elevates it, establishing a new rhetorical paradigm grounded in revelation and ethical transcendence. This study encourages further comparative research between Qurʾānic discourse and early Arabic poetry to illuminate the cultural and expressive transformations shaped by Islam. Full article

The primary goal of my paper is to elaborate a methodology for literary interpretation that points out how a literary narrative prose text interprets its own characters, plots, and existential problems. In this context, one of the main premises of my remarks is that interpretation, is not the privilege of the act of reading. Misreading, or the “sins” of ideological interpretation can only be avoided if it is recognized that reading and interpretation are problems of the text itself. Beyond the formalist, structuralist, and poststructuralist methodologies of literary analysis, I found in Paul Ricœur’s Biblical hermeneutics the interpretive process and conceptual system that are able to reveal the self-interpretive functions of literary narrative works. According to him, there is a special type of text: the interpretive narrative. The interpretive narrative as a special genre designation refers to the Gospels’ narrative presentation of the passion. In a nutshell: the essence of interpretive narrative is that there is a text interpreting process, which is achieved by the narrative discourse itself (“before” any act of reading). In accordance with the results of Biblical hermeneutics but focusing on literary interpretation, I would like to elaborate on the notion of narrative parallelism in order to reveal those poetic conditions of literary narrative by which misreading or the “sins” of ideological reading can be eliminated. Narrative parallelism is a special type of metaphorical process in which a personal story is interpreted by the story of an object. Literary narrative prose has a specific and unique “virtue” compared to other literary genres or non-literary narratives: using descriptive discourse prose language recognizes, reveals, and narrativizes the significance of details. The second premise of my remarks is that the seemingly secondary narrativized details, or the seemingly insignificant stories of the objects, serve as the interpretation of the literary narrative’s central aspects, namely characters, plots, and existential problems. The interpretation of the presentation of the main character’s story is prefigured in a semantic way by the text itself. I would like to explore the main processes of narrative parallelism as an interpretive narrative by the explanation of a short story’s (A. Moravia: Friendship) twofold emplotment. Full article

This study examines the deconstruction of the Targum to Song of Songs, focusing on how binary oppositions and traditional interpretive frameworks are both challenged and reconfigured. While the targumists aim to prevent a potentially ‘sinful reading’ of the text, their interventions paradoxically recreate the possibility of a reading that could be considered ‘sinful’. They break down the boundaries between the spiritual and the physical, and question the identity, number, and gender of the participants in the love relationship. In the Targum, the classical narrative structure is also deconstructed. Chronology and causality yield to traditional memory and consciousness, producing a repetitive, fragmented, mosaic-like pattern unlike conventional narratives. Moreover, a semantic layer already shaped by context and in dialogue with the meaning of the textual antecedent enters the interpretive horizon of tradition, reinforcing the prominence of ambiguity—similarly to the base poetic text. The targumic deconstruction illuminates the relativity of concepts and meanings and highlights the flexible interpretive possibilities inherent in tradition. It not only liberates the conceptions within the text but also frees the reader from constraints imposed by binary hierarchies of value. The conceptual liberation leads to the realization that God and the relationship with God cannot be approached or described in earthly terms. Full article

This study examines al-Mufaḍḍaliyyāt anthology as a foundational corpus wherein pre-Islamic and early Islamic Arabic poetry emerged not only as a cultural artifact but as a generative locus for theological reflection. Through a close reading of selected poems and nuanced engagement with the figurative language specifically metaphor, personification, and symbolic narrative, the research situates poetry as a mode of epistemic inquiry that articulates religious meaning alongside Qurʾānic revelation. Drawing on ʿAbd al-Qāhir al-Jurjānī’s theory of semantic structure and metaphor, in dialogue with Paul Ricoeur’s conception of metaphor as imaginative cognition, the study proposes that poetic discourse operates as a site of “imaginative theology”, i.e., a space wherein the abstract is rendered sensorially legible and metaphysical concepts are dramatized in affective and embodied terms. The analysis reveals how key Qurʾānic themes including divine will, mortality, ethical restraint are anticipated, echoed, and reconfigured through poetic imagery. Thus, al-Mufaḍḍaliyyāt is not merely a literary corpus vis-à-vis Islamic scripture but also functions as an active interlocutor in the formation of early Islamic moral and theological imagination. This interdisciplinary inquiry contributes to broader discussions on the interpenetration of poetics and theology as well as on the cognitive capacities of literature to shape religious consciousness. Full article

This entry presents a comprehensive overview of the computational study of Old English that surveys the evolution from early digital corpora to recent artificial intelligence applications. Six interconnected domains are examined: textual resources (including the Helsinki Corpus, the Dictionary of Old English Corpus, and the York-Toronto-Helsinki Parsed Corpus), lexicographical resources (analysing approaches from Bosworth–Toller to the Dictionary of Old English), corpus lemmatisation (covering both prose and poetic texts), treebanks (particularly Universal Dependencies frameworks), and artificial intelligence applications. The paper shows that computational methodologies have transformed Old English studies because they facilitate large-scale analyses of morphology, syntax, and semantics previously impossible through traditional philological methods. Recent innovations are highlighted, including the development of lexical databases like Nerthusv5, dependency parsing methods, and the application of transformer models and NLP libraries to historical language processing. In spite of these remarkable advances, problems persist, including limited corpus size, orthographic inconsistency, and methodological difficulties in applying modern computational techniques to historical languages. The conclusion is reached that the future of computational Old English studies lies in the integration of AI capabilities with traditional philological expertise, an approach that enhances traditional scholarship and opens new avenues for understanding Anglo-Saxon language and culture. Full article

This article identifies different forms of poetic transport—understood in the sense of metaphor, transition, transfer, crossing and translation—in Hölderlin’s poem “Patmos”. There are several motifs scattered throughout the poem that semantically express a transition using highly metaphorical language: motifs reflecting on the mediation between the divine and the human, signalling the hybridization of Greek and Christian religion, and indicating transfer from ancient to modern thought. Initially, this article examines the metaphorical quality of language in contrast to its analytical capacity and proposes that the former—by seeking forms of transitions—enables mediation between the associative-affective reading of the text and the critical-analytic method of the scientific view. Hölderlin reflects on this fundamental issue as a result of his spatial transition to Regensburg. The article will further show that various forms of transfer sustain the entire poem: motifs ranging from an epochal transfer to the transition from a topographical space into the text, the superimposition of different figures and the transformation of the biblical narrative, as well as the crossing between the different layers of the draft and the poet’s task of a creative translation of various forms of encountering the world, all describe issues central to Patmos. Full article

Existing approaches to the automatic annotation of classical Chinese poetry often fail to generate precise source citations and depend heavily on manual segmentation, limiting their scalability and accuracy. To address these shortcomings, we propose a novel paradigm that integrates dictionary retrieval with retrieval-augmented large language model enhancements for automatic poetic annotation. Our method leverages the contextual understanding capabilities of large models to dynamically select appropriate lexical senses and employs an automated segmentation technique to minimize reliance on manual splitting. For poetic segments absent from standard dictionaries, the system retrieves pertinent information from a domain-specific knowledge base and generates definitions grounded in this auxiliary data, thereby substantially improving both annotation accuracy and coverage. The experimental results demonstrate that our approach outperforms general-purpose large language models and pre-trained classical Chinese language models on automatic annotation tasks; notably, it achieves a micro-averaged accuracy of 94.33% on key semantic segments. By delivering more precise and comprehensive annotations, this framework advances the computational analysis of classical Chinese poetry and offers significant potential for intelligent teaching applications and digital humanities research. Full article

In this article, we focus on the association of sound and sense harmony in the collection of sonnets written by Shakespeare in the XVI° beginning of the XVII° century and propose a new four-dimensional representation to visualize them by means of the system called SPARSAR. To compute the degree of harmony and disharmony, we automatically extracted the sound grids of all the sonnets and combined them with the semantics and polarity expressed by their contents. We explain in detail the algorithm and show the representation of the whole collection of 154 sonnets and comment on them extensively. In a second experiment, we use data from the manual annotation of the sonnets for satire detection using the Appraisal Theory Framework, to gauge the system’s accuracy in matching these data with the output of the automatic algorithm for sound–sense harmony. The results obtained with a 94.6% accuracy confirm the obvious fact that the poet has to account for both sound and meaning in the choice of words. Full article

This paper explores a constructionist and corpus-based approach to Old English formulaic language through an analysis of the “maþelode system” of speech introductions. The analysis is performed on a section of the York-Helsinki Parsed Corpus of Old English Poetry, comprising the poems Beowulf, Battle of Brunanburh, and Exodus. The results show that most instances of the maþelode system belong to a well-attested construction continuum, structured by the widespread Old English (and ultimately Germanic) poetic devices of variation and kenning. This continuum ranges from more fixed repetitions that exclusively involve the verb maþelian to more schematic patterns that are also attested by other speech verbs, by verbs of giving, as well as by a number of further verbs of various semantic types. The particularly high frequency of this pattern with speech verbs and verbs of giving matches the prominent role, highlighted by previous studies, of both word-exchange and gift-exchange within Old English heroic ideology, and suggests that these formulaic patterns served the purpose to characterize the protagonists of speech or giving events as heroic and/or lordly figures. Full article

This paper contextualizes Okudzhava’s song “And We to the Doorman” (AWD), initially marginal in the Soviet poetic mainstream. It explores its shifts in tone, irregular rhythms, colloquial language, and semi-criminal undertones. AWD’s structure, with uneven stanzas and no clear refrain, reveals underlying symmetry and recurring themes. The meter is predominantly iambic but varies. Unconventional verse endings and various rhyme schemes, including distant chains, characterize its prosody. The narrative touches on social cohesion and class conflict. The style reflects a challenging attitude toward privilege, employing rhetorical devices and indirect threats. The melody aligns with thematic elements, featuring repetitive patterns and a spoken quality. Semantically, AWD presents an ambiguous message on class struggle and moral issues. In sum, this analysis uncovers Okudzhava’s song’s formal complexities, thematic nuances, and stylistic innovations. Full article

This article discusses Tzvi Avni’s Second Piano Sonata, Epitaph, a sonic commentary on one of the inner tales in Rabbi Nachman’s “The Seven Beggars”. Written between 1974 and 1979, Epitaph not only marks the composer’s act of translation (from words into music and from a textual tale into a wordless and semantically unmarked piano sonata) but also his very turn to ethnographic sources that defied their negative function in a national territorial culture that vilified otherness while separating art from ethnography. Avni’s turn to Rabbi Nachman was part of a bigger shift that saw composers’ dialectical returns to Jewish histories and cultures that were previously repressed from a national culture which dehistoricized the Diaspora to the point of rendering the times and cultures of diasporic Jews a single temporality—ahistorical, contextless, and outside the teleological time of Zionism. With the (re)introduction of diasporic temporalities, non-redemptive poetics became an affordance in the music of Avni or Andre Hajdu (who is also discussed here) while steadily muting the territorial tropes that constituted Hebrew culture. Full article

All of the for-verbs in the Dictionary of Old English can have semantic features of ‘equal or emphatic’, ‘expanded or antonymous’, ‘rare’, ‘only in gloss’ and ‘poetic’, including overlapping types. Most for-verbs have a sense of emphasis in contrast to their non-prefixed counterparts; some mean almost the same as the non-prefixed ones, some seem to be always used with the for-prefix, and some cannot be precisely identified because of their very rare occurrences. In this paper, I classify Old English for-verbs with examples and try to show why they were chosen in contrast to their non-prefixed counterparts. Full article

Poetic devices implicitly work towards inducing the reader to associate intended and expressed meaning to the sounds of the poem. In turn, sounds may be organized a priori into categories and assigned presumed meaning as suggested by traditional literary studies. To compute the degree of harmony and disharmony, I have automatically extracted the sound grids of all the sonnets by William Shakespeare and have combined them with the themes expressed by their contents. In a first experiment, sounds have been associated with lexically and semantically based sentiment analysis, obtaining an 80% of agreement. In a second experiment, sentiment analysis has been substituted by Appraisal Theory, thus obtaining a more fine-grained interpretation that combines dis-harmony with irony. The computation for Francis Webb is based on his most popular 100 poems and combines automatic semantically and lexically based sentiment analysis with sound grids. The results produce visual maps that clearly separate poems into three clusters: negative harmony, positive harmony and disharmony, where the latter instantiates the need by the poet to encompass the opposites in a desperate attempt to reconcile them. Shakespeare and Webb have been chosen to prove the applicability of the method proposed in general contexts of poetry, exhibiting the widest possible gap at all linguistic and poetic levels. Full article

Similar to the Russian historical avant-garde of the 1910s, which predicted the war and the social revolution of 1917, the late avant-garde of the 1920s anticipated the advent of the totalitarian terror and the Stalinist repressions of the 1930s. In figurative painting, this manifested itself in a specific visual “lexicon” and modality (bodily violence and the fragmented body, frustration, motifs of loss, death and general catastrophe), as well as in the expressive style (that inherited but not duplicated the models of European expressionism). In addition to proposing an analytical classification of semantics and poetics of the painting of the 1920s, the present article discusses the issue of the representation of political power in visual art and the presence of archaic roots in the corpus patiens (lat.) motifs. It examines artefacts made by eminent as well as little-known painters of the late avant-garde, including Kazimir Malevich, Alexander Tyshler, Kliment Redko, Georgy Rublev, Aleksandr Drevin, Boris Golopolosov and others. Full article

The paper considers the pragmatic textual level and focuses on peculiarities of reasoning realized in the lyric verses written by the representatives of Russian classic poetry. The investigated material of poetic texts includes the verses written by A.K. Tolstoy, K.K. Sluchevsky, and I.F. Annensky. The purposes of the study involve adapting the rhetorical structure theory (RST) to poetic texts, annotating these texts, searching for regularities of poetic reasoning specific to the considered authors. Applying RST to poetic texts was a novel task; the lack of experience made it necessary to adapt the method, that is, to elaborate the adequate set of rhetorical relations and to specify two sets of criteria: segmenting a text and identifying the relations. The resulting set of relations consists of 34 items. After annotating the texts in terms of the adopted RST, several lines of comparison were the objects of investigation. They include collating the frequency spectrums of relations and the semantical groups of relations for the three authors, as well as comparing two periods of creativity for A.K. Tolstoy and K.K. Sluchevsky. The results of the comparative investigation revealed certain regularities both in the distribution of isolated relations and the distribution of semantically grouped relations. Full article