جستجوی مقالات مرتبط با کلیدواژه "audience" در نشریات گروه "ادبیات و زبان ها"

The novel “Cold Coffee of Mr. Writer”, authored by Roozbeh Moein (first edition: 2017), reached the eighty-fourth print within three years, according to the book’s colophon. According to some news reports[1], purchasers of this novel lined up on the first day of publication and bought all the copies of it. Of course, the impact of social media should be taken seriously in this regard, as the author published purely romantic excerpts of the book online before publication. The purpose of this study is to explain the method of characterization and storytelling of this novel in order to determine its strengths and weaknesses. One of the strengths of this novel is the use of the “transposition” in characterization. This novel is written using the “transposition” style and this style has given a new face to the repetitive concepts of the novel. Here, transposition means that the main character is a core actor. He is multiplied into shadows. Each shadow, in the underlying layer, appears as an actor and, in the outer layer, appears as an independent character but reappears in its original form in one or several actions through one or several similarities. In this review, the analytical method has been utilized. That is, the “transposition” of the characters, which is the focal point of the novel, has been considered, and the degree of distance and proximity and harmony and disharmony of the elements with it have been measured to obtain signs of the aesthetic and cultural tastes of the enthusiasts. The result of the review shows that the elements of the novel are in the service of the “transposition” style. The important characters of the novel are the shadows of the main character and the multiple romantic episodes are the repetition of the main theme of the novel. Additionally, the descriptive aspect of the language, predominating over its behavioral aspect, has significantly highlighted the romantic aspect of the novel. Thus, love and separation and the illusion of loneliness have been repeated many times with various expressions and this can attract specific groups. 1. www.ibna.ir/news

There are many studies on reader-response criticism; studies that require extraordinary precision in reading text. Especially if the text is narration. If the author is present in the narrative text, the work becomes harder for the researcher. Also, when he is beyond the text or there is a collection of narrators in the narrative. The research requires the study of literary systems, types of reader such as true reader and implied reader and its kinds, in order to disclose the interpretations that the text contains. Among the Arab novelists who have widely paid attention to the writing of unfamiliar texts is the Iraqi writer 'Alaa Shakir, especially in his fantasy surrealistic novel of "The Tomb of England" in which the events, characters, plot, and narrators are intertwined. In addition, there is a dead narrator who tells the process of his death, and another narrator who ends the novel in the form of a meta-narrative, so that the novel provides great spaces for the reader's interpretation. The research seeks the intrinsic point of view, the audience of the narrative, phenomenology, the implied reader and the horizon of expectations, the reader's experience, and the literary and psychological ability of the reader. According to the researchers' survey, ideal and comprehensive reader types were found in the novel. This research has a descriptive-analytical approach, and refers to the opinions of expert thinkers in the field of reader's reading. The most important finding of this research is that the reader in this novel is active, not passive. In addition, its text is not a closed text, but rather open to multiple readings. As Shakir has given the reader sufficient freedom to move through the scope of the text. His focus is on the pivotal role of the reader in creating the text. Actually, Shaker makes the reader participate in the creative process which leads to a strong interaction between the reader and the text

Rumi's Masnavi is one of the valuable classical texts of the Persian language. The concepts of this multidimensional work can be researched from different angles. Rumi communicates with his audience in the best way by using literary techniques and paves the way for his goal of education.

The present study investigates the innovative uses of expression in attracting the audience of Masnavi Manavi in the six books of this system with a descriptive-analytical method.

Those arts of expression and originality that help the general audience to understand the didactic subjects of Masnavi are more impressive and tangible.

In the science of expression, simile is more common than metaphor, and in metaphor, the type of metaphor seems to be more widely used. Also, "repetition" and adaptation types are more used in creative word industries. In the original spiritual arts, the poet has used more types of propriety and parables in his poems to attract and educate the audience, and these arts help the poet in attracting the attention of the audience and educating them.

Iqbal Lahori, a Muslim thinker, believed that poets, like prophets, are leaders and guides of human beings. Poetry, in his belief, is the means of expressing the truth and inviting people to fight for the truth. Iqbal has paid attention to the instructive and persuasive aspect of speech, as well as the eloquence and rhetoric of words and meanings of poetry. Imperative sentences show the most important aspect of the conative function of language. For these reasons, the function of secondary senses of imperative sentences in Iqbal poetry was studied and analyzed in this study. The research method was based on the identification and classification of secondary senses of imperative sentences in Iqbal's poetry besides analyzing the evidence based on the two-way relationship between the speaker and the audience. This was an important research because it could explain the function of language and message transmission methods according to the interaction between the poet and his audience. The results of this study showed that in Iqbal's poems, 770 sentences had been used with secondary meanings, while the imperative sentences had the meaning of guidance in 50% of them and he was thus in a superior position to the audience in terms of knowledge and awareness. In 35% of the evidence, he spoke to the audience with an equal verbal communication so as to persuade them. He showed a lower position in front of the audience only when he spoke to God and absent or imaginary audience.

Since a long time, one of the basic pillars of the narrative literature of Persian verse has been its didactic and moral pillar. So that most of the narrative texts of our poems have a didactic tone. When we talk about didactic literature in verse, it means that one "I" conveys an idea to another in the form of a narrative text, and in the narrative literature of verse, it is the "story" that is the container of this container. This introduction shows a general structure of narrative literature, which is drawn based on the general mission and moral message hidden in these works, but the deep structure of these narratives, which includes the discourse that governs them and has multiple narrative aspects, is due to the existence of a methodical process. It informs in a context-oriented, artistic and creative manner. The texts of Persian narrative-didactic poems play an important role in our lives with the help of stories.On the surface, it may seem that there is no difference in the narrative structure of Persian narrative texts that have an educational motive, and the claim of the creators of these works was to create a narrative text with the intention of conveying a moral message to the audience. These works show that the process of producing meaning in each of these works is based on discourse patterns and unique structural systems; So that each text has a distinct discourse system. Also, the function of the story as a container in these works has many aspects, which can only be achieved by studying the deep structure of the discourse. Accordingly, in the present research, we intend to explain the structural system of several of these works by going through the structure of poetic narratives, so that at the end of the research, we will witness the drawing of the discourse system in each of these works. The results of the current research, which have been provided in a descriptive-analytical way, show that four types of discourse systems: "a system of stepwise development of a message with a high frequency emphasis on a theme", "narrative Chinese introduction and distributive expression of a message", "message development with a tone" There is an address to the motive of persuading the audience" and "Ethical Discourse System of Davarani - Parateti" in Persian didactic texts.

The artistic interpretation or " fantastic etiology " in "child poetry" has a special and distinct function in adult poetry. The purpose of this research is to explore and distinguish between the patterns that ten poets of the child's style have used self-consciously and unconsciously in benefiting from good judgment. In this research, the position of good explanation in the content and structure and its role in the meaning, the imagination and aesthetic of the poetry of these ten poets have been explained and a kind of model classification for their artistic deductions has been presented this classification is based on several general patterns, such as "pattern", "emotional pattern", "linguistic pattern", "allegoric-metaphorical pattern" and "fantasy pattern", based on which criteria these children's poets In the cause of creation; there is a certain distinction and prominence, including the imaginary, emotional, intellectual, and linguistic prominence that is contained in the justifications. In the discussion of each type of explanation, the style and nature of causation and the quality of the impact of good judgment on the audiences of the child, as well as the function of that particular type of good explanation, description and analysis.

Anwari’s divan is of prime importance and worthy of consideration from different perspectives especially from the linguistic one. He wrote poetry in five different forms: qasideh, qit’ah (fragment), ghazal (lyric), maṯnawi, and ruba’i (quatrain). However, what attracts one’s attention to his poetry is the versatile language and mode of expression he employs in different literary genres and forms. Consequently, although there are apparent similarities as to the thought and language of his composition, the stylistic characteristics of his poetry should be separately analyzed with regard to every given form. Employing an archival descriptive-analytical method, this article deals with the stylistic and linguistic peculiarities of his poetry regarding the forms, themes and audience appropriation in selected poems from his poetry collection. Results obtained from the analysis of Anwari’s poetry suggest that the poet employs different modes and techniques of expression appropriate to the subject matter, form, object of praise (mamdouh), and audience. In general, Anwari’s poetry can be studied in four types of language registers: 1) language appropriate to court and praise poetry; 2) language appropriate for advice; 3) language of the common people and in some cases the language of the lower class of the society: 4) lyrical and romantic language. With a fair and careful evaluation of Anwari's poems, it is proved that he can well handle the variety of forms and themes and the variety of language and expression in proportion to them, merge the word and the meaning in proportion to each other and make the most of language to express conceptual delicacies. Using various contemporary sciences such as medicine, astronomy, logic, etc., and at the same time approaching the language of the common people, Anwari created a modernity in the language of poetry. His poetry collection includes exemplary praise and court poems, poems palatable to common people’s taste and fascinating portrayal love poems.

Despite the significance and spread of innuendo as an indirect expression especially in literary works, the preceding and recent rhetoric have sufficed to short definitions and a few instances about it.  Beside the critique and analysis of those definitions and references to some of their deficits, this study is to suggest a more comprehensive definition beyond the insufficiency of the previous ones. We would also talk about the two features of "time and place circumstances "and" structure and nature" of innuendo sentences. In so doing, for the former one, the condition and mood of the speaker and the audience are discussed. Then, the second feature addresses the deep connection of innuendo and semantics. Ultimately, it is to be clarified that innuendo holds different rhetoric and artistic usages and significances in construction of various composition and statements, such that the level of implicit implication, audience's perception of innuendo, ease of denial, etc. is not the same in different sentences, and speakers consciously would employ suitable sentences regarding time and place circumstances.

In a word, the audience must be connected to the story to be with it. A sense of participation in the story should be created in him. It is as if this story is its own story.But what should the author do to reach this point?To answer this question, we go a few steps back and say: If my pencil, my pen, my car, my friend, my relative, or my vase are damaged, I will be more upset, or if the pencil and vase of someone on the other side of the planet?The closer we are to something or a person and the more we feel a sense of belonging to it, the more intense our feelings will be about it.

Roman Yakubsen, one of the most prominent theorists of Russian formalism in his theory of verbal communication model, stated that any verbal communication between the narrator and the narrator is based on six factors: sender, receiver, communication channel, contact, code and subject. One of the communication patterns in the recent model is the "persuasive role". The orientation of the message is in the role of persuasion towards the audience and the speaker tries to communicate with the audience by using the sentences of command, prohibition and supplication. , "Theme" and "audience" are seen in such a way that beyond each of the mentioned axes, the poet uses language tools to persuade a message in the audience. The present article descriptively-analytically and using library resources examines the methods of persuasive ethics and its axes in Attar's lyric poems based on Roman Yakubsen's theory of verbal communication. The results of the present study show that persuasion has a special place in Attar's lyric poems. More persuasive role in three axes; Religious and legal, social and cultural, and behind these roles, the poet encourages issues such as: leaving the world, avoiding hypocrisy and happiness, and so on. In addition to the observance of theological points and arrays that have created a lot of literary value for this work, the appropriate and frequent use of persuasion as an educational method has added to the educational richness of his sonnets.

Since the beginning of the 21st century and with the arrival of "Web2" in Iran, technological changes and the development of cyberspace have brought about tangible changes in various areas of social and cultural life, including literature and especially poetry. After the spread of blogging in Iran, the production of content in Persian in blogs clearly increased so that Persian became one of the ten languages in which most blogs in the world were written in those languages (Razi, 2018). Many literary blogs were created, and literary blogging became popular during the first decade of the 21st century. At the end of the first decade and the beginning of the second decade of the 21st century and with the development of social networks and media, the activity of poets in this field continued. Personal or group webpages and channels with the theme of poetry and literature have been created on various social media platforms. the study aimed to know how cyberspace has affected poetry, and how poets evaluate this impact as beneficial or detrimental to poetry.

A qualitative research method was applied based on the lived experience of poets. In other words, a phenomenological approach was used to gain new data. The phenomenological approach is based on the assumption that the lifeworld around us is the combination of me and the others. So the world is something common. In the phenomenological approach we are talking about a world that humans have experienced, not an abstract world that is far from real life. One problem in interdisciplinary research of literature and communication is the lack of local theories. Phenomenology gives us a wise and broad possibility to reach a theory and can fill this gap. Cyberspace and new media and communication technologies have emerged in the real world. Poets have used this capacity since the era of blogging and have had experiences of the good and bad of blogs and social networks and social media. To understand these years of experience and its results, the poets themselves are the best reference for retelling experiences and expressing their perceptions of this influence. Researchers must use these experiences from living in cyberspace to reach a theory, based on facts. Using the same approach, it was also tried to reach a conceptual model that would compensate for the lack of local theory in this area.

In this research, a purposeful sampling was used. Using a biographical study method, we identified poets who have relative acceptance and fame among the audience and are also active in cyberspace and have many followers on social networks and their poems are shared on social media. We then sent questionnaires to the poets and asked them about the impact of cyberspace in various areas such as text, audience, poets' interaction with the audience and themselves, poetry publishing media, and poetry effects and feedback. Eighty three poets answered the questionnaires. Then, using a systematic approach in grounded theory method, after extracting raw data and categorization, we reached the axial coding of data. To formulate the conceptual model, we named the central category "technological anxiety of poets" and based on it, other categories and subcategories were extracted from the answers and a model was presented.

The aim of this study was to investigate the effect of cyberspace on poetry. Based on this, it was found that poets believe that cyberspace has provided a space for the presentation of worthless poems and plagiarism, rather than the publication of valuable poems. Cyberspace has contributed to the reputation of poets on the one hand, and on the other hand, it has removed the monopoly of producing and delivering poetry from intellectuals and elites. Poets acknowledged that the circle of poetry audiences has expanded due to the expansion of cyberspace, but many of these audiences read poetry only as a hobby. Most poets still consider the book as the reference for elites and main medium of poetry, but at the same time believe that cyberspace has reduced the possibility of the influence of the publishing and media mafia and censorship in the process of literary creation. Acknowledging the new possibilities that poetry has acquired through cyberspace, poets are interested in the previously established and accustomed situation (production monopoly, professional stratification, rhetoric and non-interactive media). We defined the poets' prediction of the continuation of this trend in three approaches: 1. The integration approach, according to which the weak poems that have many fans in cyberspace these days, will form the main and dominant current of Iranian poetry; 2. The continuation approach. The Persian poetry is considered too powerful to be defeated by cyberspace; 3. The combination approach, which believes that the poets should have the opportunity to provide the poetry and the readers should be given the chance to select and cyberspace is the key. It is also important that the poets make efforts to improve the reader's literary and media literacy of their audience’s knowledge there.

The conclusion is that poets have not been able to use the possibility of dialogue, interaction, and decentralization of cyberspace. They have become accustomed to centrist and non-interactive media, they have been unable to create a public literary sphere. For this reason, it is suggested that poets in cyberspace not only advertise and share their poetry, but also try to acquaint the audience with the criteria of good and quality poetry by creating channels, pages, and groups of poetry. It is also suggested that poets engage in dialogue and interaction with their audiences and recognize different tastes to have representatives outside the predetermined and established sphere of literary production. The audience are recommended to use this opportunity to improve their literary knowledge. Both sides of this communication must enter into a real dialogue based on mutual recognition. Instead of hiding or eliminating the other side, they should help to understand each other and promote the literary literacy of the society.

Literature as a powerful communication medium is able to affect the audience from different angles. By studying the views of theorists, it can be found out that in different periods of the history of literature, “the Author” has used the influencing techniques to achieve goals such as persuasion, teaching, getting active, and making literary pleasure. The instrumental use of the “influence” has faded in the postmodern era, and then the influence itself, has become a priority in the process of literary creation. Iranian postmodern poets believe that the techniques of influencing the audience in traditional rhetoric are repetitive and accordingly ineffective now. They declare that today's poets must encounter the audience from new and various angles, especially those derived from today's life.

Through the centuries, literature has been considered as an effective medium to persuade the audience to an exact thought or ideology. From this perspective, the audience is a passive and impressionable element. After the invention of the printing industry, the perception of the passivity of audience was shifted to activity. Since then influencing the readers was important because it could encourage them to act independently. From the eighteenth century, “making literary pleasure” was added to other goals. This purpose was followed, especially in formalist literary and critical works. Postmodernism is a broad movement that developed in the mid- to late 20th century all over the world. The concept of “influence” in postmodern superficial philosophy, is totally self-referential. The postmodern author makes his/her work appear quite astonishing and mesmerizing at first glance. Through this technique he/she takes away any opportunity of thinking and reflecting from audience; accordingly attract them unconsciously.

This paper, through a descriptive-analytical perspective, first focuses on the reasons of postmodernism’s emphasis on the concept of “influence” and reveals the quality of influence which is intended by postmodernism. Then, categorizes and studies the most effective techniques which are used in Iranian postmodern poems to have a highest impact on audience. Each of these techniques is referred to one or more dimensions of postmodern philosophy, as well as from living in the cybernetic/cyberpunk (human-technology) world.

Iranian Postmodern poets use various techniques to influence the audience. The first and most effective technique is “eliminating distinctions” between poet and audience, elite audience and public audience, formal language and informal language, the shiny world of poetry and usual world of the daily life. The second technique, is “Being surprising” which causes excitement and quick impact on the audience. The postmodern poets often achieve this goal through two main methods De-harmonization (musical, linguistic, moral), and irregular collage of poetic elements. The third technique, is applying the method that is used by transactional technologies to have effective communication today: “visual attractions”. For achieving this goal, poets exert the visual and optical elements in the form and content of their poems.

To have a strong, immediate, and superficial effect on the audience, postmodern poets try to employ the unprecedented and eclectic techniques. They have realized that in order to achieve the maximum impact, the literary work must be familiar, fascinating and surprising. To be familiar, poets use the ordinary spaces and details of everyday life, informal language, and personal life events in their poems. To be fascinating and surprising, they apply De-harmonization and visual techniques in both form and content. The quality of application of these techniques is different from previous methods in Persian literature. It seems that they are derived from the techniques used by technological media, especially interactive media, to attract more audience.

The purpose of the present paper is to study the classification of audience in the context of time in Iranian contemporary art. One of the challenges that are evident in the art of today's Iranian society is the shaky position of the audience. A position that should be decisive, but other factors that are out of the realm of art and the artist such as the view of politics and power and economics to this category are more influential. It seems that knowledge of the audience depended on the view of the elites of society to different types of audiences, but to what extent this classification of the audience, which ultimately led to the absence of the audience, was based on the correct knowledge of the top people in society or based on the top attitude to the elites of society. It can be said that various factors are influential in classifying the audience of art. According to the present study, it can be said that the audience of art in the context of time have been different based on social, economic, political and ... factors. Also, in order to divide the audience, effective and key factors must be considered at any time.

Every literary work comes from people and society in its period. Therefore, in literary works, the observation and reception of events, events, and social demands can be observed more or less during the production period. Comic effects, from which criticism is usually based, reflects more and better on the disadvantages and problems of their societies, and they are important in sociological studies. After the Islamic Revolution, written humor grew. Of course, during the years of this period, they were driven by factors and components, and sometimes they came close to parody or falsification. These factors can be divided into internal (external) and external (social and audience) groups that determine the type, theme, format and manner of presentation of humorous effects. This research tries to explore the influence of internal and external factors on the humor of this period with a sociological perspective in a descriptive and inferential way.

In the past one hundred years, as textual criticism has become more common in Iran, we have witnessed an increase in the number of textual criticisms of classical works. These editions, except in some cases, are generally a kind of imitation and methodological duplication of the work done by renowned scholars in the field, and do not move beyond the virtual structure of the text in question. One of the main challenges of textual criticism in contemporary Iran is the disregard for the theoretical fundamentals of this field. Underdeveloped theoretical foundations, in most cases, have reduced the edition of Persian texts to a simple and mechanical countermeasure. Considering the necessity of theoretical discourse in the field of textual criticism, this paper tries to explore, explain and critique the teleology of textual criticism in various traditional, modern and postmodern views. Moreover, the relationship between reader comprehension and textual criticism has been criticized as one of the forgotten principles in the theoretical areas of correction.   

Textual criticism has been defined variedly in different eras and civilizations. The kinds of texts, ideologies, worldviews, social structures and scientific movements in different periods of human civilization have resulted in the development of different methods of textual criticism. These methods have been based on users’ understanding, which has been in turn affected by the goals pursued in textual criticism. At least three kinds of teleological viewpoints, developed in classical, modern and postmodern eras, can be traced in textual criticism. In the classical era, the text is considered to be sacred, while in the modern era it is desecrated and examined within the framework of a scientific process. By going beyond textuality, postmodernism seeks to identify factors contributing to the production of the text, no longer finding it to be exclusively formed by the author.

In the past two centuries, European scholars have tried to replace traditional methods of textual criticism with modern ones. Textual criticism has a thousand-year-old history in the Islamic civilization. In the contemporary era, although many valuable Islamic works have been textually analyzed and emendated, Muslim scholars have been unwilling to join the theoretical discussions on textual criticism, such as the teleology of such an endeavor. Our understanding of the text and the methods we use to reconstruct old and modern texts are directly influenced by the telos followed in the textual analysis of texts. Teleology is the basis of theories of textual criticism and provides the theoretical framework for textual studies. Thus, engagement in such discussions, which have been predominantly overlooked in Iran, can pave the way for theoretical debates on the nature of textual criticism. 

In the present study, first the traditional perfectionist attitude toward textual criticism, which is based on the Iranian culture in the Islamic era, is examined. Then, the bases of the modern experimental attitude will be discussed, and finally the pluralistic postmodern viewpoint will be studied. Also, the role of the audience in the teleology of the texts will be analyzed. 

Traditional scholars have adopted a perfectionist outlook toward textual criticism as a tool for annotating and ornamenting texts. In the modern outlook, which has been influenced by scientific-experimental movements such as Darwinism, the text is regarded as a kind of evolution and attempt is made to trace the possible changes that the text has probably undergone so that its original form is revived. In the postmodern attitude toward textual criticism, a democratic approach is adopted and the text is considered to be the outcome of the contribution of different factors rather than being exclusively created by the author; thus, the postmodern critic tries to offer different accounts of the changes in the text, rather than reverse these changes. 

Our conception of the text and its reconstruction is rooted in the telos resulting from the outlook taken by researchers and manifested through their taste and concerns. Audiences in different eras determine what objectives different texts and textual studies should pursue. However, not all audiences do exert the same influence; “superior audiences” develop new ends for researchers by attaching more importance to specific types of research. By refining their ideological and scientific beliefs, these audiences provide textual researchers with more reasonable ends.

In rhetorical books, the eloquence is defined as "presenting one sole meaning in several ways by the difference in clarity and secrecy". The choice of these various forms of expression according to the conditions and characteristics of the factors that contribute to the creation of a word is vital for rhetoric. Considering that the speaker, the audience, the situational context and the word are of the factors of creating the verbal communication, the harmony of the features of the word with their status is the condition of the rhetoric of the word.In this study, the role of the requirements of these four factors has been explored in how and why of the various topics of the eloquence, alongside the necessity of considering these requirements, both in the stage of using the rhetorical figures of speech and in the stage of their recognition. The status of these factors in the structure of the various forms of similes, metaphors and their differentiation elements is essential. The creation of the ironies also depends on the situational context. Furthermore, the forming and use of the symbols is also influenced by the conditions of these factors.

The present research is an analysis of the nature of the narrator of Sa'di's Bustan and, of the audience that the narrator expects. The aim is to understand the narrator's style based on the linguistic analysis of his utterances and to ask whether he speaks with a voice of authority or if he stands on an equal position telling of his concerns and his doubts. The analysis of the style of the narrations of Bustan (narrator discourse) is based on Simpson's well-known "modality". The article deals with the linguistic approach to the analysis of the narrator's style and the precision of his sentences, and concludes: the narrator has a positive narrative. He knows exactly what he wants to say and recommends the audience to hear. Using allegory is very effective, and an allegorical teaching narrative aimed at guidance and reform is created. Using a higher position in language makes the audience accept the narrator's commands in order to build an ideal world.

Structuralism is one of the critical and linguistic methods which deal with analyzing literary texts in different levels including phonetics, tone, and semantic aspect of odes and poetic figures to achieve meaning and to seek their structural signs. In fact, structuralism is the poet’s method to build linguistic material. The present study deals with analysis of structural features in the ode “Malhamat Alsomood” in the poem of Samir Al-omri who is a resistance poet of Palestine. The study is firstly conducted through a structuralism method followed by applying an analitico-descriptive method with the aim to capture some samples of structural aspects from the mentioned ode as well as revealing the poet’s aim from their usage. While using these structural aspects, a poet attempts to increase the aesthetic features and effects of his ode  Finally, the paper has reached to the conclusion that the poet has intended to express his suppressed emotions and feelings related to the subject matter of Palestine to picture the subject of Palestine as a general humanistic subject. Among the most important structural manifestations analyzed herein, we can refer to vocal and rhythm levels, combination and semantic levels and poetic forms.