“Crystal clear” or “as clear as mud!”

Verbal imagery in the context of the choral rehearsal is explored in this chapter in order to understand how it is employed and what its effects are. Choral directors employ imagery to communicate to singers how to create and change vocal responses. Imagery is allied to specific features in the music and enables singers to gain conceptual understanding of aspects of the vocal sound. The study is based on research into the contexts and efficacy of verbal imagery in choral rehearsals; vocal responses were examined and imagery’s efficacy in affecting all categories of sound was observed, with examples demonstrating the perceived effects on tonal quality. Implications for directors highlight the efficacy of verbal imagery in assisting directors to achieve their musical and creative goals. Directors are encouraged to be creative in devising and employing imagery during their interactions with singers, enabling singers to create the desired vocal responses.

USING VISUAL ARTS TO ENHANCE ENGLISH POETRY COMPREHENSION FOR ENGLISH LANGUAGE AND LITERATURE STUDENTS

Poetry as a genre of literature is required subject for students of English Language and Literature in Higher Education in general. However, compared to other genres such as drama and prose, poetry is often found as the most challenging subject to teach and to learn. Even though English poetry has been taught in many non-native countries for many years, traditional approach which is textual has dominated the teaching of poetry in classroom. Based on the experience and knowledge, the writers found that the problem of learning English poetry for foreign language students is due to its complex language and infamous interest amongst the students as well as the teachers. Therefore, the teaching of poetry should enliven the learning atmosphere and envision the figure of speech of the poem, which are commonly found to be difficult to be done by the students. According to D.H. Kehl, there is somehow interconnection between poetry and visual arts. Poetry and visual arts have almost the same characteristic in conveying arts. Poetry use verbal imagery while painting use visual imagery. Considering the existing connection of the two aspects, this library research study proposes the use of visual arts in order to enhance students’ comprehension of poetry given in classroom.

Concept «fair» in Ukrainian laughable culture

The article analyzes prose works of the 19th–20th centuries, presenting verbal pictures of the fair environment. The concept of «fairs» is modeled on the material of the language of works of art by G. Kvitka-Osnovianenko, I. Nechui-Levytskii, S. Rudanskii, O. Vishnia.Several subconcepts have been implemented in them: fair as a cluster; fair as a voice; fair as a living element; fair and grassroots literature; fair as entertainment. The objects of analysis were the vocabulary and phraseology of the respective contexts, as well as stylistic techniques for creating a fair humorous color. There are several varieties of folklore texts (or folklore texts) used by writers as a means of stylizing the animal element at fairs in Ukraine, as well as expressing the variety of socio-cultural masks presented to them (salesman, Jew, gypsy, blind musician, petitioner, gambler, etc.). It is emphasized that the concept of «fair» in the relevant narrative texts retains signs of burlesque and enlightenment. Particular attention is paid in the article to the fact that the texts of fair laughter culture are focused on the traditions of the «bottom», which contrast with the traditions of secular literature and culture in general, that is, the traditions of «the top». In analyzing the verbal imagery of the fair in prose works, it is taken into account that the basic techniques of creating a humorous color are the amplification of titles, actions, processes, as well as pun, the contractual blending of high into low, book and spoken, concepts related to the concept. «yourown – someoneelse's».

Ut Pictura Poesis? The Poetics of Verbal Imagery

How can verbal-cued poetry be “visual,” “pictorial,” and “vivid”? This chapter aims at looking behind such notions by isolating the basic semiotic mechanisms of vision, picture-viewing, and mental imagery and provides a descriptive model to investigate (1) the semiotic dimension of verbal imagery with respect to its visual and pictorial character and (2) its relationship to the reader’s experience of mental imagery. Through exemplary analyses of visual poetry, onomatopoeia, figurative language, the historical present, and ekphrastic descriptions, it is shown that the literary core concepts of “visuality,” “pictoriality,” and “vividness” refer to surface phenomena that are not directly linked to the phenomenal experience of visual perception and image likeness. The results are discussed against the background of recent neurocognitive studies, leading to the conclusion that such notions should be given up in favor of a general model of representation in terms of poetic iconicity.

The Relationship of Calligraphy and Painting to Literature

Calligraphy and painting have a long and rich history of association with literary composition, especially poetry. These three “arts of the brush” share not just materials and tools of production but also a critical vocabulary and certain aesthetic ideals. The pronounced attention in the early history of each art to the world of nature as a source of verbal imagery, subject matter, and even graphic design bound these arts together in the formative stage of theoretical writings about each. As the practice of these arts matured in medieval times, it became common for them to appear together in a single, composite work: a painting inscribed with a poem, written as a calligraphic display. This composite form became a hallmark of Chinese visual and literary culture. Thus even when they were used separately, the aesthetic values of the others often remained in the minds of the poet-artist and reader or viewer.