Linguistic Poetics Research Articles

Traditional and innovative in the poetics of I. S. Nikitin (to the 200th anniversary of the birth)

The article examines I. S. Nikitin’s poetics from the point of view of its continuity in relation to the achievements of his predecessors, lyric poets, and those original features the poet himself developed. The main method is an end-to-end textual analysis of I. S. Nikitin’s poetry collection in the unity of content and form. Additionally, the study used the research methods of linguistic stylistics, linguistic poetics, semasiology, and structural-semantic syntax. The metrical features of poetic texts are given in the interpretations of M. L. Gasparov’s school. Though I. S. Nikitin considered A. V. Koltsov his immediate teacher, his poems contain noticeable images, motifs, and linguistic reminiscences referring to other poets’ creative work, especially A. S. Pushkin’s. I. S. Nikitin creatively interpreted certain Pushkinian linguo-poetic techniques (the antithesis of vice–virtue in the reflection on the role of the poet and poetry, the illustrative comprehension of canonical Christian texts, the realistic use of the ballad and idyll genres, the patriotic pathos of civic poems, the use of classical metrical schemes, and others). I. S. Nikitin made a significant contribution to improving the artistic language of Russian realist poetry. He developed the song genre in literature, introduced a variety of dramaturgical principles into lyric poetry, and proposed original compositional schemes for philosophical, social, and landscape poems. In his writings, I. S. Nikitin refined the poetic syntax of homogeneous constructions. Moreover, he extended the motivic boundaries of Russian lyric poetry through elaboration and precise observations, as well as enriched the linguo-stylistic repertoire of its vocabulary. I. S. Nikitin’s work is organically, closely, and versatilely connected with the content and language development of Russian poetry in the second half of the 19th century.

Intersection of the lexical-semantic fields “Mentality” and “Physiology” in the poetic language of Igor-Severyanin

The intersection of two lexical-semantic fields “mentality” and “physiology” in the poetic texts of Igor-Severyanin is studied. The relevance of the research is determined by the fact that within the framework of modern anthropocentric approach and increased attention to the mental sphere lexical semantics is investigated, lexical-semantic fields, their intersections, semantic shifts are considered, actual problems of linguistic poetics are touched upon. The aim of the work is to explore the intersection of lexical-semantic fields “mentality” and “physiology” in the language of Severyanin's poems. The material includes lexemes of the mental sphere from Igor-Severyanin's poetic texts. While determining the usual meaning of these lexemes, the authors used the materials of “Explanatory Dictionary of the Russian Language” by S.I. Ozhegov. The methods of description, comparison, contrast, lexical-semantic and contextual analysis, and continuous sampling were applied; the lexical-semantic field - a generally accepted form of representing lexical units by their meaning - was used to structure the vocabulary. The intersections of the lexical-semantic fields “mentality” and “physiology” in Igor-Severyanin's texts, revealed in the research, are primarily due to the inseparable connection between the inner world of man and his bodily organs of sense. The language fixes stable expressions indicating the possibility of comprehending the human consciousness through analyzing the signals of his body. Words used to denote phenomena and processes related to the body, health, gestures, etc., are reinterpreted in poetic language and receive new semantics, which allows to refer these new lexical-semantic units to the lexical-semantic field of mentality. In Igor-Severyanin's poems the inner world of the lyrical subject dominates, which is reflected in the author's word usage. Even words and expressions with the semantics of physiology shift in their meanings, acquiring the semantics of mentality, at the same time thoughts and feelings are endowed with the author's positive evaluation. The prospects of the research are connected primarily with further study of the mental sphere in the Russian linguistic lexical-semantic system, its dynamics, as well as with the analysis of semantic shifts in the poetic language vocabulary.

Epithetization of love in M. Tsvetaeva’s texts

INTRODUCTION. The study relevance is due to the need for a cognitive-semantic analysis of the mechanism of epithetization in M. Tsvetaeva’s texts. This is due to the central position of the characteristic vocabulary and the category of epithet in the poet’s individual style. The aim is connected to the study of the individual style specificity of the attribute verbalization of the concept “love” in M. Tsvetaeva’s texts, in the course of which the role of epithetization in the individual style system of the poet under study is revealed, the semantic content of this concept in M. Tsvetaeva’s texts, as well as the types of epithet words that verbalize this meaning.MATERIALS AND METHODS. Based on cognitive-semantic, component, lexicographic and lexicalsemantic, as well as statistical methods of analysis, the attribute verbalization of the concept “love” in M. Tsvetaeva’s texts is analyzed. The analysis of the characteristic nomination is carried out on the basis of the “Epithets of the Russian Literary Language Dictionary”. While studying the patterns of attribute verbalization of love in the poet’s texts, the main types of qualitative meanings actualized by the poet are identified.RESULTS AND DISCUSSION. The main trend within the framework of figurative understanding of the properties of this abstract concept was the anthropomorphization of “love”, personification, and the frequent use of metaphorical and metonymic epithet words with the defined concept “love”. Occasional features are expressed both by adjectival epithets and by lexemes atypical for epithet words, the most frequent of which is the substantive. The epithet paradigm, which verbalizes the characteristics of the concept under consideration, is represented by simple as well as compound epithet complexes in various positional variations.CONCLUSION. The research is addressed to specialists in the field of studying artistic speech, stylistics, linguistic poetics, cognitive linguistics, and linguistic color studies. The conclusion is postulated that M. Tsvetaeva’s creative style is distinguished by reflection on characteristic words, hints on the interpretation of their semantics or direct commentary. Various ways of verbalizing the characteristic component of the concept “love” emphasize the significance of this concept for the poet’s work. The study results can be used in further developments on the problem of epithetization in the Russian language and linguistic studies of M. Tsvetaeva’s creation.

The Notion of “Fascination” and “Fascinativity” in Linguistic Poetics Discourse

The study of phenomena that have the potential for verbal persuasive influence on the recipient as well as the identification and development of ways to counteract this influence are the challenges of modern linguistics. Poetry is considered to be one of the most ancient forms of verbal communication. The analysis of the nature of poetic text units provides the key not only to a deeper interpretation of the idea of a particular work but also to the explanation of general linguistic phenomena. The poetic discourse as a linguistic and creative environment regularly activates expressive and figurative potential of language units at different levels. Describing the processes of the grammatical level of poetic language, the terms “fascination” and “fascinativity” are often used. In this paper, the authors refer to the theoretical contributions of representatives of the Kharkiv School of Philology and scholars of other linguistic branches whose works are related to the issues of perception and apperception, and fascinativity of texts. Fascination is considered as an aspect of social communication complementary to information, and fascinativity as an ontological feature of a poetic text that is closely connected with the realisation of the author's supertask. Fascinativity is a basic notion, considered as a specific quality of the text – the ability to “enchant” the reader. Fascinativity is created by the author with the help of linguistic and discursive (in this case, poetic) means and affects the perception of poetry by the recipient. The research findings emphasise that the degree of fascinativity is strongly affected by all the immanent elements of a particular poetic text, the existing discursive practice, and tradition. The study of fascinativity features in a poetic text and fascination as an important aspect of social communication becomes convincing when scholars draw on recent research findings of modern linguists in the field of linguistic poetics. Combination of the communicative and linguistic poetics approaches allows to explain how the mechanism of fascination works in terms of communication and how the fascinativity of a poetic text and discourse is formed.

BIBLICAL IMAGES-SYMBOLS IN FRANK PERETTI’S MYSTICAL THRILLERS: LINGUAL REPRESENTATION AND PRAGMATIC VALUE

The paper aims to clarify the biblical image-symbols in Frank Peretti’s mystical thrillers. The problem of the detailed analysis of the lingual representation of the biblical image-symbols and their pragmatic value is solved in the article by applying a complex of methods of linguistic poetics, cognitive linguistics, stylistics and methodological tools of discourse analysis. The paper considers the biblical images-symbols, used in American mystical thrillers written by the protestant author Frank Peretti, as biblical intertexts depicting not only biblical knowledge but also author’s intentions and beliefs in conveying the most profound ideas and principles of the literary texts. Executed in the written works by lexical means, biblical image-symbols become the heart of biblically-marked contexts, which are differentiated according to their addressee orientation into author`s and character`s biblically-marked contexts and their scope – into propositional, composite, and complex biblically-marked contexts. The lingual representation of the biblical image-symbols is differentiated according to their structure into one-component (anthroponyms, toponyms, artifact, animalistic, anthropomorphic) and multicomponent, (two-component, three-component and four-component). The type of semantic transposition in the meaning of the lingual representation and pragmatic value of the biblical image-symbols determined the distinguishing of metaphoric and metonymic linguistic classification of the biblical image-symbols. Metaphoric are classified according to their structure (onecomponent and multi-component), their stylistic characteristics (language and speech metaphoric linguistic representants of the biblical image-symbols), and their denotative meaning (anthropomorphic, naturalmorphic, zoomorphic, and phytomorphic). Metonymic are differentiated according to the kinds of the metonymic transference of meaning into four groups: metonymy of belonging, metonymy of place, metonymy of signs, and metonymy of phenomenon.

Creative use of language in a literary text (an analysis of Urszula Kozioł’s poem Jest mi miałko… (I’m feeling bland...) based on assumptions of linguistic poetics)

This paper presents the assumptions of linguistic poetics, a direction that combines – in a curricular manner – the research on poetry and interpretation of poetic works with an analysis of language uses in a statement. It presents the role played by M.R. Mayenowa in shaping this stream in the Polish literary studies seeking support in linguistics and enumerates the most significant curricular studies and linguitic concepts employed in analyses of the represented world of poetry as “the world behind words”. The enclosed analysis of the lyric by Urszula Kozioł Jest mi miałko… (I’m feeling bland...) is an illustration of the methodology presented here. It shows the sense-creative capabilities of language activated in a description of an unusual state of the lyrical I of the poem–confession, who is experiencing elusive feelings that are hard to express. The whole complex organisation of the poetic statement serves the purpose of outlining these unique experiences and the evoked senses can be reached only through an in-depth analysis of the language uses in the text. Keywords: creative use of language – poetry – linguistic poetics – Urszula Kozioł – description – confession

POETIC DISCOURSE IN A TIME OF CRISIS: THE CONCEPT OF LYRICISM

The study of poetic discourse received great impetus from the beginning of the twentieth century onward with the rise of general linguistics (Linguistic Poetics), and sociology (Sociological Poetics). As for Linguistic Poetics, presented in the framework of Roman Jakobson, it had exhausted its potential for theoretical inquiry. Sociological Poetics, on the contrary, has not yet received the attention it deserves. This paper provides a brief account of two projects of Sociological Poetics devised by Voloshinov/Bakhtin, and T. Adorno. It offers schematic conceptualization of the notion of lyricism; contains some observations on the aesthetic evaluation of the realization of the concept lyricism through the prism of rhetorical sublime.

ПОЭТИЧЕСКАЯ ТЕОРИЯ СВЯЗИ ЕЛИЗАВЕТЫ МНАЦАКАНОВОЙ

This article is devoted to the study of communication strategies in the poetry of Elizaveta Mnatsakanova, one of the main Russian-speaking poets of the second half of the 20th century. Using the principles of working with sound and experimental musical composition, the author creates a very special poetic language that is typologically close to the so-called spectromorphology, an approach developed by the composer Denis Smalley in the 1980s. The author of this concept made a great contribution to the development of the theory of sound art, as he proposed a kind of grammar for electro-acoustic music. Elizaveta Mnatsakanova also creates a kind of spectromorphological worlds on the territory of poetry, organizing a series of words, decomposing words into separate elements and thus setting complex sequences of semantic metamorphoses. This poetic technique, outwardly resembling the practices of the avant-garde, differs radically from them, and this difference lies in the communication strategy used by Mnatsakanova. The fact is that it creates a special double addressing: poetic texts are simultaneously addressed to both the subject and nature itself. Thus, this poetry itself becomes a dynamic boundary between, in the words of Walter Benjamin, “the language of men” and “the language of things”. Through the practice of complex translation, the poet offers her own theory of communication, linguistically rethinking not only the relationship between the subject and the environment, but also the relationship between the interlocutors, even if they are separated in space and time. The material of this article was not only the poetry of Elizaveta Mnatsakanova, but also her essays on theoretical issues and practices of other authors. Poetic texts are considered in the article in the light of linguistic poetics, sound theory, translation theory and discourse analysis.

The linguopoetics of D. V. Grigorovich’s short novel "The Peasant" in the context of the linguistic tradition of the 19th–20th century Russian literature (to the 200th anniversary of the birth)

This linguopoetic study of D. V. Grigorovich’s short novel "The Peasant" aims to identify features specific to the author’s creative writing style and trace the connections between the text and the linguistic and stylistic traditions of Russian literature in different epochs. The research subject is all constituents of the linguopoetic fabric of the work of art under consideration. These are linguistic units, compositional elements, stylistic devices, plot-building ideas, images, and motifs. The methods include observation, cross sampling, generalisation, linguistic material classification, and establishing the content, structural, stylistic identity of different texts. These methods helped to identify and describe the techniques of creating the lyrical context in the short novel, the place of precedent images in it, the role of syntactical parallelisms and comparisons, the functions of low colloquial and dialectal inclusions, the origins and significance of the stylistic register dynamism. The approaches of modern linguistic poetics combined with certain methods of cultural linguistics (linguoculturology), psycholinguistics, and linguistic folkloristics (linguofolkloristics) enabled the author to analyse the specific features of objectifying the Russian peasantry’s customs, superstitious, and popular beliefs in the text of the short novel. Additionally, the research paper presents some psychological phenomena, the sensory field, and the recreation of the Russian people’s cultural and linguistic picture of the world. In the course of the study, the influence of Grigorovich’s artistic heritage on the literary and stylistic context of the subsequent time (i. e. the writers creating on the cusp of the 19th and 20th centuries, the writers of the Silver Age of Russian literature as well as the "Village" Prose writers of the Soviet period) was determined.

ПОЕТИЧНА ІНТЕРПРЕТАЦІЯ ПОНЯТТЯ ДУШІ В НІМЕЦЬКОМОВНІЙ ПОВОЄННІЙ ЛІРИЦІ ХХ СТОЛІТТЯ

Terminological uncertainty of the concept of the soul in psychology necessitates further comprehensive analysis of its verbalization using the latest methods aimed at penetrating the mechanisms of national language creativity. The relevance of the study is determined by the general focus of modern linguistic poetics on the semantics of the literary text in the plane of mental processes, which allows to clarify the nature of the interaction between language and thinking, between language and emotional personality. The purpose of summarized scientific research is to clarify the semantic content of the concept of the soul in the German-language postwar lyrics of the twentieth century. The article reveals the concept of Seele “soul”, outlines its synonyms, reflects the lexical means of realization in the text fabric, traces and correlates geography, gender and logical-semantic approaches to interpreting the nature of the soul, identifies and analyzes semantic subgroups that denote the phenomenon. Quantitative indicators establish a “typical”, “transitional” and “atypical” poetic interpretation. “Typical” poetic interpretation is based on the index “3” and above, “transitional” has the index “2”, “atypical” — the index “1”. Typical approaches are philosophical, psychological, cultural and integrated (combined), transitional are cosmogonic, religious, biological and scientific, atypical are the sacred approach. The ethnic, cultural and gender differences in the interpretation of the soul, as well as the encyclopedic views of poets of Germany, the selectivity Nosenko of poets of the GDR, Austria, Switzerland, outlying (neglect) of poetsof Luxembourg are proved. The obtained conclusions are essential for clarifying the specifics of the national conceptosphere of a certain culture and the types of variant language equivalents in the course of reproduction of the common ethnocultural content.

Regarding the issue of specificity of A. Vvedensky's language

The object of analysis in the provided article is the language-game as a method of representing the author’s vision. The content behind term “language-game” is revealed by an art space of A.I. Vvedensky, Russian poet of avant-gardism and philosopher. It is analyzed a distinction between children’s and adult’s works. The main content of the current study is an analysis of the most effective methods of language-game presentation in artistic communication of the poet, such as free verse, contamination of phraseological units, comparison, semantic indifference of lexemes, transformation of grammar categories, phrase deformation, etc. Based on the conducted research, a conclusion about specifics of the poet’s individual writing style can be made. In Vvedensky’s linguistic poetics, language-game manifests itself at different levels of text function as an important factor to text formation. It is important to note that language-game techniques found in his children’s works are aimed at building a positive dialog and are seen as a positive phenomenon, while his more mature works feature an abstract artistic world with abstract artistic meaning.

Actualization of the Invariant Semantics of the STAR Symbol in Texts of Russian Rock Poetry

The questions of the invariant semantics of the symbol and its actualization in the texts of Russian rock poetry are considered. Attention is paid to the studies of the symbol, concept and image of the star in Russian poetry and rock poetry. The author notes that these studies do not present the correlation of individually authored imaginative worldview with the worldview of the subculture reflected in the text. A review of the work of linguistic poetics and anthropocentric linguistics is performed. The definitions of a symbol within the framework of these paradigms are given. It is concluded that the understanding of a symbol as a carrier of the worldview of culture changes the idea of the connection between the signifier and the signified and the “reference point” of the aesthetic. The author proceeds from the fact that the aesthetic image is built on the basis of the invariant semantics of a symbol in the language of subculture. The results of a comparative analysis of the symbolic semantics of the star nomination in the language of Russian rock poetry and other subsystems of the Russian national language, including aesthetically oriented ones, are presented. It is shown that the invariant semantics of the STAR symbol, relevant for Russian rock poetry, lies at the heart of the star’s images, which are identical, connected and contrasted with the author’s image. It is proved that the actualization of the semantics of the STAR symbol does not depend on the specific author and the text of Russian rock poetry, reproduces general ideas about the world.

POETIC FEATURES OF THE LITERARY TEXT

Currently, due to linguistic personalities associated with culture, language, national existence, especially with literature, various aspects and aspects of linguistics are revealed in the development of literature in linguistics and linguoculturology. From this point of view, linguistics, first of all, reveals the essence of linguistic poetics, determines the degree of its residence in the language, literature, reveals the subject of study, development, teaching, and connections with other branches of science. This article examines the phonetic micropoetics of the language of a work of art, and also analyzes the nature of phonetic phenomena used in a work of art, using specific examples.

«Пушкинский словарь» Г.А. Шенгели: Неизданная статья автора конкорданса к стихам А.С. Пушкина

The publication introduces into scientific circulation an article by G.A. Shengeli (1894 – 1956), dedicated to “Pushkin's Dictionary” prepared by him in the second half of the 1930s, which was conceived as a concordance of the classic’s poetry, but remained unpublished (the manuscript was most likely lost). Dated 1955 by the authors and written by Shengeli to notify writers and scholars about the goals, structure and informational possibilities of the “Pushkin Dictionary”, the article is still relevant, being one of the few concrete testimonies of the scientist’s intention to study Pushkin’s language and linguistic poetics. The text is published according to the typescript with the author’s corrections, preserved in the fund of the journal "Oktiabr’" in the Russian State Archives of Literature and Arts. In Shengeli’s article it is noted that the very idea of compiling a dictionary to the works by Pushkin as the creator of the Russian literary language arose long ago, but the lack of scientifically reliable Pushkin editions hindered the implementation of the plan. The compilers of the Pushkin Dictionary took as a basis the texts of the 1936 six-volume Collected Works, issued by the Goslitizdat, where, according to the scientist, this problem was generally overcome. Highlighting the explanatory dictionary and the concordance dictionary as two main types of works describing the linguistic features of one or another author, Shengeli argues the choice of concordance, presented in the form of a set of dictionaries, united by a common word index, for composing the corpus of Pushkin's poetic language.

Інтертекстуальність у поетичній мовотворчості Максима Рильського

Problem’s setting. The problem of interpretation and research of the term “intertextuality” today is a topical issue of philosophy, literary criticism, linguistics, modern Ukrainian linguistic poetics, and stylistics of the text. That is, no text can be created in an empty space, it must have an intertextual relationship with other works or texts. Analysis of recent studies. The theoretical basis for the study formed works in the field of modern linguistics, in particular, Robert de Bogrand, Alexander Veselovsky, Olga Vorobyova, Wolfgang Dressler, Alexander Potebnya considered “intertextuality” as a textual category; Yuri Lotman, Vladimir Lukin – as a prerequisite for textuality; Lyudmyla Babenko, Suren Zolyan, Larysa Omelchenko, Natalia Fateeva – as means of its implementation in specific texts. Objective of the research. The purpose of the work is to analyze the external and internal connections of the literary text of Maksym Rylsky and the means of their realization in the explicitly intertextual process of the text’s existence. The main part. The article studies the peculiarities of the artistic embodiment of intertextuality in the poems of Maxim Rylsky; the definition of intertext in a broad and narrow sense is traced; the classification of the intertextuality of Jennet is singled out. The focus is on the separation of language units, intertextual components in the language of Maxim Rylsky; examples and quotations, allusions, titles, epigraphs, hints, genre connection of texts, references to the pretext in the artist’s creative work are given and analyzed. Conclusions. Research and analysis of the intertextuality of the artist’s poetics show that in a new way the comprehension and depiction of quotations, allusions, epigraphs, titles, hints, paraphrases become differential features of the individual author’s style.

ПЕДАГОГІЧНИЙ ТОПОС “БУРСИ”: РЕФЛЕКСІЇ ІВАНА ФРАНКА НА ОСВІТЯНСЬКУ ПРОБЛЕМАТИКУ

The article explores the reception of artistic works of Anatol Svydnytskiy and Stepan Rudanskiy with educational issues of Ukrainian criticism in Halychyna, especially I. Franko’s pedagogical reflections, his analysis of the peculiarities of the development or stagnation of the education in two parts of colonized Ukraine. The etymology of the word “bursa”, the acquisition of generalized meaning, and also the topos of “bursa” and its interpretation in the pedagogical context of the 2nd half of the 19th century have been found out, as well the interpretive versions of I. Franko as a literary critic and historian of national pedagogics have been explored. The interpretive styles of the historian of education are analysed and categorized: sociological, realized through the increased attention to social circumstances; elements of the linguistic poetics, which was manifested in the constant attention to the peculiarities of the linguistic style, the lexical, semantic and grammatical possibilities of the language in the application of a particular author; psychoanalytic – as a reflection of the consistent correspondence of the symbolic equivalents of the subconscious in the actions of the heroes of the artistic work; the style “existential situation”, the expression of which is one or another scene or episode of choice that determines the way of human existence in a world which is different from its everyday life. For I. Franko as a positivist, the main characteristic was the desire to describe the factors that determine the life of an individual and society, that is, the traditional homothetic reproduction of existence, but the Franko-scientist, and especially the Franko-artist, evolved towards the end of the 19th century in the direction of a fatalistic and indeterministic perception of existence. The article evidences the evolution of the views of a scientist-teacher from cardinal criticism to a more objective, balanced and constructive analysis of systemic defects and disadvantages of the then pedagogics, generalized the basic assessments of the scholar’s unfavourable conditions for Ukrainian schooling in the colonial conditions, sharp criticism of despotic pedagogics through the prism of artistic texts.

КАТЕГОРИЯ ЛИРИЗМА В ПРОЗЕ И.А. БУНИНА (ЛИНГВОПОЭТИЧЕСКИЙ АСПЕКТ)

The article is based on linguistic poetics and devoted to clarifying category of lyricism which forms style of Ivan Alekseyevich Bunin’s prose. In prose of this author appear many features like instance musicality, poetizing of depicted reality, subjectivity, weaken of the narrative, realized by the means of certain phonetic and lexical methods.

Слово и молчание в художественном мире Г. Айги (Опыт теолингвистического осмысления)

The article proposes an inquiry into the work of Aigi as a religious poet and mystic of the metaphysical mould, manifesting in his poetic experience an attitude of attaining the essence of being. In his works, Aigi advocates for Poetry in its original sense – as a sacrament. He understands the poetic word as the Word the Creator (St. John's Logos), adhering to the logos principle and believing that silence can only be created by the Word.The paper discusses some issues of poetology, semiotics and linguistics, relevant for the interpretation of Aigi's poetry and its place in linguistic poetics and philosophy of creativity.

Transformation of Cultural Concepts Within the Conceptual Sphere of a Literary Text (on the Material of the Short Story by R. Bradbury “the Smiling People”)

The article is written in the line with cognitive poetics, one of the actively developing fields of linguistic poetics. Cognitive poetics regards different stages of functioning of works of art, considered from the point of view of mental categories: the author (the individual conceptual sphere) – the artistic reality (the conceptual structure of a literary text) – the reader (the cognitive mechanisms of perception). The cognitive approach to the analysis of a literary text gives the possibility to describe the individual conceptual sphere of an author, which is understood as the mental base of a writer’s style, and to describe the transformation of the structure of cultural concepts under the influence of an author’s mentality.

Лингвистическая поэтика как методология языкового анализа: рецензия на монографию С.Т. Золяна «Семантика и структура поэтического текста»

Лингвистическая поэтика как методология языкового анализа: рецензия на монографию С.Т. Золяна «Семантика и структура поэтического текста»