Lyric Genre Research Articles

Meta-genre formations in the poetry of Valery Bryusov

The subject of the article is the peculiarities in the formation of genre trends in the work of Valery Bryusov. Author pays attention to Bryusov's appeal to supercycles-catalogs, which occur when the evolution or transformation of the genre is carried out in several collections. Among such genre supercycles-catalogs, the genre of the poem-"monument", or historical and mythological medallion, stands out. This genre can take different forms from Bryusov (lyrical ecphrasis, the poem -"glory", which combined various types of genres). In this context is also considered the issue of continuity and transformation of the lyrical genres of World and Russian literature in the Bryusov's work. In the proposed article, the author aims to identify the features and nature of the interaction of traditional and non-traditional genre formations in Bryusov's poetry. The author uses systematic-typological and structural-semiotic, as well as comparative-historical and cultural-historical methods and focuses on the works of M. L. Gasparov and L. G. Kikhney as a methodological base. The novelty of the research lies in the study of the genre in Bryusov's lyrics as a changeable category that undergoes changes and transformations in the poet's work. The article draws following conclusions: 1) the formation of sections of Bryusov's lyrics was carried out not only on the content side, but also on genre affiliation; 2) large-volume supercycles-catalogs created by Bryusov was almost a new phenomenon for the Russian literary tradition; 3) the poem-"monument" as a genre of the supercycle -catalog often takes different forms in Bryusov's work; 4) mythological and historical portraits reflected in the poems-"monuments" originate in sculptural images of great people; 5) poems-"glory", in turn, includes various genre types (for example, requiem and testament).

Lyrical And Musical Genres in Goran's Poems

This research is entitled: (Lyric and melody, Genres in Goran's Poems) which is a new look at two aspects, namely (genre, external and internal music of Goran's poems). It attempts to present the genre in all its details and characteristics, on the other hand, to determine it according to the characteristics of the lyrical genres of Goran's poems. Because lyrical genres are related to many aspects such as hymns, songs, poems, etc. Therefore, an attempt has been made to explain the aspects that are directly related to lyricism and create mutual influences and reactions. Therefore, "Outer and Inner Music in Goran's Poems" will be part of this research. The research was conducted according to the method (descriptive_analytical), which explains the lyricism of Goran in terms of genres and at the same time interprets the outer and inner melody of the poet's poems. This paper consists of an introduction, two parts, conclusions and a list of sources.

Lyrical prose in Kazakh literature

The article highlights the experiments of theoretical study of lyrical prose. Scientific views on lyrical prose in the theory of world and national literature are systematised. The searches of lyrical prose in Kazakh literature are comprehensively differentiated. The correlation of epic and lyric genres in prose, the relationship between lyricism and psychology, the relationship between the worldview of the author and the hero are analysed. The world outlook bases of modern Kazakh writers and the place of lyrical tendencies in the system of artistic thinking are defined. The methods of using lyrical prose in the poetic system are specified. Scientific conclusions about the correlation of lyricism and realism, romanticism are made. The role of internal logicand landscape in the works written in the style of lyrical prose is shown. Their ideological and aesthetic characteristics, typological aspects are revealed.

Insect or affect? John Ashbery's ‘Daffy Duck in Hollywood’, the dramatic monologue, and lyric theory

ABSTRACT This article reads John Ashbery’s poem ‘Daffy Duck in Hollywood’ in relation to theories of the dramatic monologue and the lyric genre. I argue that the poem is meant to make the New Critical model of lyric reading, in which all lyric poems are read as dramatic monologues, self-destruct. I then use the poem to reconsider recent attempts, prominently that of Jonathan Culler, to define lyric poetry in opposition to narrative and the dramatic monologue.

RELATED TO THE MARRIAGE WEDDING CEREMONY IS THE STUDY OF LYRICAL GENRES

The article discusses the lyrical genres, which are considered the verbal component of the marriage wedding ceremony, their study on the scale of World folklorism, Genesis, poetic progress; the importance of ethnofolchloristic aspects in the creation and exploration of lyrical genres.

Ideological-Aesthetic Significance of Stropha in the Poetry of the Independence Period

This study delves into the exploration of ideological-aesthetic and artistic poignancy within independence-era poetry through an analysis of strophic structures. Employing psychological, structural-poetic, and descriptive techniques, the research examines both the internal and external compositional properties of strophes. By focusing on the poetry of notable figures such as Sirozhiddin Sayyid, Fakhriyor, Abdulla Qutbiddin, Abdullah Sher, and Ulugbek Hamdam, various strophic structures are identified and analyzed. The conclusions drawn from this scientific inquiry serve as the foundation for advancing the scientific-theoretical understanding of lyrical genres in poetry, contributing valuable insights to the broader scholarly discourse.
 Highlights:
 
 The study investigates the intricate strophic structures of independence-era poetry, shedding light on their ideological-aesthetic significance.
 Psychological, structural-poetic, and descriptive techniques are utilized to dissect both internal and external compositional properties of strophes.
 By analyzing works of prominent poets like Sirozhiddin Sayyid and Abdullah Sher, the research contributes to a deeper understanding of lyrical genres and their artistic implications in poetry.
 
 Keywords: Strofa, Ideological-Aesthetic Property, Rhythm, Poetic Thought, Artistic Detail.

고전소설에 나타난 삽입시 양상 연구

The purpose of this paper is to discuss the aspects of <Hasaenggiujeon> included in Shin Gwanghan's Gijaegii. As a research method, in order to examine the aspects of poetry inserted in classical novels, the author was considered and the genre recognition was considered in the literary style at the time, and six works inserted in <Hasaengkiwoojeon> were analyzed. The history of literature has developed from the lyrical genre to a major. Poetry inserted into classical novels shows the development of the narrative genre in an era where the lyric genre is active. Shin Gwang-han lived in the early Joseon Dynasty. At this time, it was an era centered on the lyric genre. <Hasaengkiwoojeon> belongs to a love story with a biographical character. In the story of a man and a woman meeting each other and overcoming obstacles and achieving love, the psychological description of the characters is very important. In the early Joseon Dynasty, narrative techniques representing the psychology of characters did not develop, and the role was replaced by inserted poems. It contributed to the completeness of the narrative by revealing the psychology of the character by taking advantage of the characteristics of the poem revealing the emotion.

ОБРЕТЕНИЕ СОБЫТИЙНОСТИ В РУССКОЙ НЕКАНОНИЧЕСКОЙ ИДИЛЛИИ

The article offers a solution to the problem of eventfulness, characteristic for the poetic idyll in Russian poetry of the XIX–XXI centuries. Due to a shift in emphasis in the perception of idyllic heritage, а number of scholars define this genre as “eventless”. In particular, it is the idyll in the non-canonical era that is used by a number of poets as a sign of a “consummate word”, which is usually disintegrated in genre struggle for the right to complete a lyrical whole. In this case poems, using idyllic topoi, as a rule, are completed according to the models of other lyrical genres, such as elegies, epistles, ballads. However, there is a creative strategy for employing idyll, in which the eventfulness characteristic of the genre turns out to be found as a result of genre struggle. In this case, an idyllic event of value fusion, the coincidence of poetic consciousness with the world, passing through the test of the plot of other lyrical genres, is found in the event of a lyrical utterance. The elimination of the boundary between the inner and outer worlds (which is predestined in the canonical idyll and found in the non- canonical one) can be considered as the stem of the genre that survived the canon, unlike other genre conventions that turned out to be optional. At the same time, the non-canonical version of the implementation of the idyllic perspective of the worldview is a short moment of peace, won from the non-idyllic world, which one wants to repeat. Reflection performs a destructive function in a collision with a predetermined “ready-made word” of the genre, but it turns out to be able to pronounce it anew as a proper word, exposing its eventfulness. It is the nakedness of the specific eventfulness of the idyll that becomes a distinctive feature of the genre in the non-canonical era.

“Tarje’bandi Xomisa” – Alisher Navoiyga izdoshlik mahsuli

Following the creative heritage of Alisher Navai is one of the traditions that was widely extended in later periods of Uzbek literature.In particular, the literary environment in Khorezm is influenced by all the poet’s poems in lyrical genres. The role of this region is also important in the creative processing and promotion of the epic “Khamsa”. The poets of Khorezm wrote ghazels under the influence of Alisher Navai, and because of the literary influence they went along the path of Tatabbu', Tahmis and Tazmin.The work of the talented poet Awaz Otar “Tarjebandi Khomisa” was written under the influence of the epic of Alisher Navai’s “Khamsa”. Although in this work the author relied on the content of the epic “Khamsa”, the idea and formal aspects of the novel correspond to the novel by Alisher Navai. Therefore, in this article “Tarjebandi khomisa” compared with the epics and Tarjebandi of Alisher Navai “Khamsa”.

Lyric Machines: Insects in Seventeenth-Century Poetry

Abstract This essay addresses the intriguing frequency of insect lyrics in seventeenth-century English poetry. While dramatic developments in the scientific and artistic regimes, including the invention of the microscope and the rise of still-life painting, undoubtedly played a role in this proliferation of entomological texts, this essay suggests that the figure of the insect was also deployed by early modern poets to probe the formal and imaginative potentialities of lyric, a genre that assumed a prominence over the course of the seventeenth century. The diminutive size, brief lifespan, and intricate anatomy of insects resonate with the formal qualities of lyric as short, compressed, and technically demanding objects of poetic matter, and the ambivalent attitudes to insects embody the contradictions surrounding the early modern idea of lyric. By using the life of fleas, glowworms, flies, bees, and grasshoppers to think through questions of lyric ontology, early modern poets from Donne to Killigrew redraw the familiar contours of the lyric genre as a contested territory of fascination and disgust with insect poiesis caught between human and animal, nature and machine, and life and death.

Experience of teaching ghazal genre in schools of Uzbekistan

The literature curriculum includes samples of lyrical works of various genres, and among them, especially the classical lyric genre –ghazals, requires a special approach. In the learning process, traditional methods of interpretation and are widely used in the analysis of the text of ghazals. But today there is a growing need for new approaches and the use of modern methods and technologies in the interpretation of gazelles. This article describes the description and essence of the new methodology “System Analysis” in teaching the ghazal genre in secondary schools. It explores interactive methods that serve to reveal the content of gazelles, the possibilities of digital technologies to increase student interest in classes, the impact of such activities on the level of acquisition of relevant skills by students. The content of the experimental work carried out in various regions of Uzbekistan is explained, and the results are calculated using mathematical and statistical methods. Apart from all the oft-sited, the current state of teaching ghazal genre samples in secondary schools was studied and practical recommendations were given for its improvement.

ЖАНРОВА СИСТЕМА ІНДОНЕЗІЙСЬКОЇ ПОЕЗІЇ В ПЕРІОД БАЛАІ ПУСТАКА (1920–1933)

The research is aimed at analyzing the genre system of Indonesian poetry during the Balai Pustaka period in order to reveal the importance of this stage for the development of Indonesian literature and the nation's self-identification. The relevance lies in establishing the contribution of the lyrical genres of this period to the formation of Indonesian literary and cultural identity. The main questions of the study include the analysis of forms and genres of Indonesian poetry of the Balai Pustaka period, the study of the role of the "Balai Pustaka" publishing house in the formation of this poetry, identifying common and unique features of this period in literature, and revealing the influence of historical events on the genre system of poetry. The research is based on the analysis of texts by Indonesian poets Mohammad Yamin, Sanusi Pane, and Rustam Effendi. As a result of the research, it was found that this period was transitional in the history of Indonesian poetry, combining traditional genres with new forms, and the role of the "Balai Pustaka" publishing house in this process was emphasized. The period of 1920–1933 was critical in forming the Indonesian poetic tradition and defined key aspects of literary identity. This era was marked by the flowering of lyricism, as well as the appearance of new genres such as sonnets. Poets of that time expressed their feelings and thoughts in verse for the first time, contributing to the formation of a national cultural image.

Gender and Voice in Medieval French Literature and Song ed. by Rachel May Golden and Katerine Kong

Reviewed by: Gender and Voice in Medieval French Literature and Song ed. by Rachel May Golden and Katerine Kong Juliana Starr Golden, Rachel May, and Katerine Kong, eds. Gender and Voice in Medieval French Literature and Song. UP of Florida, 2021. ISBN 978-0-8130-6903-6. Pp. 310. This collection, comprised of an introduction by the editors and ten essays, traces the gendered manifestations and meanings of voice in France and Occitania, from the twelfth century until the early sixteenth century. The volume views medieval France as a locus of new trends in travel, trade, and cross-cultural encounters and as a hotspot of artistic ingenuity, including experimentation with French and Occitan (newly valued vernaculars), the productions of learned, Latinate scholars and scribes, the blossoming of troubadour and trouvère lyric, liturgical innovations that responded to changing needs, and the formation of the polyphonic song. Through such utterances—in song, liturgy, romances, letters, treatises, and sermons—medieval people cultivated their performative and political selves, shaping contemporaneous belief systems about gender. Most chapters engage in the important work of recuperating female-voiced genres, restoring female voice and subjectivity to their rightful place in medieval French literature and lyric. In chapter 1, however, Katherine Kong examines the exercise of Lancelot’s masculine voice in Chrétien de Troyes’s Le chevalier de la charrette, not as constitutive of a universal gendered subjectivity but rather to consider how its privileged status overrides abject, liminal, and subjugated performances of voice. In chapter 2, Tamara Bentley Caudill examines how gendered voices operate within conventions of particular troubadour lyric genres like the tenso and canso, while reinforcing and challenging gendered expectations. In chapter 3, Anne Adele Levitsky explores how the troubadour Aimeric de Peguilhan challenges gender binaries in his classification of song genres, by distinguishing grammatical gender from socially constructed notions of song types. In chapter 4, Meghan Quinlan examines two linked trouvère songs and traces their poetic-musical interrelationships. Chapter 5, by Rachel May Golden, focuses on two anonymous trouvère lament songs that develop the voice’s capacity to engage with and reinterpret losses stemming from crusading contexts. In chapter 6, Lydia M. Walker examines how bishop Jacques de Vitry (d. 1240) strategically constructs a preaching voice, developing vivid imagery and vocabulary to persuasively perform sermons in support of the Fifth Crusade. In chapter 7, Lisa Colton demonstrates the distinctive polyphonic construction of the motet as a community of voices in dialogue, one that allowed composers to interact with and comment upon past conventions, create multiple registers of gendered expressivity, and newly negotiate the vocalization of striking and highly personal emotions against ecclesiastic regulations for controlling such utterances. Anna Kathryn Grau, in chapter 8, employs close musico-poetic readings of female voices within motets to uncover nuanced gendered readings. Emily J. Hutchinson, in chapter 9, locates in the textual voice [End Page 195] of Christine de Pizan acts of gendered and political resistance. Finally, chapter 10, by Daisy Delogu, examines the early sixteenth-century court of Queen Claude of France where Anne de Graville, in an act of “voiceover,” boldly adapts the work of Boccaccio, appropriating a male-authored Italian text into her own romance intended for a female patron and public. This expertly researched and crafted collection is highly recommended to all interested in the complex relationships between gender and voice in medieval French culture. [End Page 196] Juliana Starr University of New Orleans (LA) Copyright © 2022 American Association of Teachers of French

Continental England: Form, Translation, and Chaucer in the Hundred Year's War by Elizaveta Strakhov

Reviewed by: Continental England: Form, Translation, and Chaucer in the Hundred Year's War by Elizaveta Strakhov Jeffery Moser Elizaveta Strakhov. Continental England: Form, Translation, and Chaucer in the Hundred Year's War. Ohio State UP, 2022. 268 p. Poetic form as a cultural road map is the basis for Elizaveta Strakhov's extensive research that bridges debates about the socio-political fallout and cultural impact from England's armed conflicts with France in the late Middle Ages. In Continental England: Form, Translation, and Chaucer in the Hundred [End Page 348] Year's War, scholars discover how the author applies the often neglected and discounted observation that good things can come from bad—the silver lining from events and conditions that alter an old world may, and indeed often do, forge new political and cultural connections in a new world. This is the heart of the "reparative translation" model that identifies how literary translation helped rebuild community and restore unity for the European Continent and England during the early fourteenth century and into the fifteenth. Medievalist historians and literary studies scholars will welcome Strakhov's attendance to the late medieval lyric genre known as formes fixes, which covers a variety of emerging poetic forms in pre-Chaucerian times (1300-1400), including two eventually popularized lyric forms of the lament—particularly the complainte--and the ballade, along with other poetic forms. However, these same scholars may take some mild academic umbrage as to whether, theoretically, any firm sense of what counts as "English Literature" existed then, due to a lack of two things: a stable language and continuous works that could be described as "literary" and that were passed down to and replicated or executed through multiple generations. Fortunately, Strakhov anticipated this potential criticism. She identifies specific lyric types in works by ascribed authors, which were readily recognizable to medieval readers according to prosodic features of stanzaic number, stanzaic length, and rhyme scheme. In fact, this is how many manuscripts from the period that have survived to this day came into existence, by medieval narrators and copyists who meticulously translated English, French, and Latin and transcribed verse structure and forms onto the "page." In this way, Continental England examines the phenomenon that poets and scribes "unexpectedly and highly self-consciously" made ties, affinities, and connections through poetry that bind Francophone Europe together (5). The text proves that medieval European historians and scholars of medieval language and literature would do well to look closely at medieval translation and those translators and scribes who engaged with form and interlingual translation work. For Strakhov, "form blows open the stakes and reach of translational literary endeavors" (5). The advantages of attending to form gave her license to consider major authors and texts in entirely new combinations by defining form as "reproducible units of meaning" (15). This, in turn, allowed the [End Page 349] author to methodically approach and dissemble Anglo-French literary relations to parallel, if not counter, the dirth of existing scholarship that abounds and claims that the Hundred Years' War (c. 1137-1453) left England and France more isolated from one another and more bitter and acrimonious. Instead, Strakhov cites English poet Geoffrey Chaucer (1340-1400) as the most evidential and leading practitioner of formes fixes. Chaucer was a prolific translator of verse structure and verse form that contributed to a sense of renewal, less anxiety, and more calm between France and England. Chaucer must not be seen only as a great English poet and author, but also as an avid and astute translator. His works of versification and meter accommodated and helped to civilize communities upon the Continent and in England that were disenfranchised and fragmented from the disputes and armed clashes between the English royal House of Plantagenet and the French royal House of Valois. Of course, not lost upon any literary student, is that Chaucer, himself, was a trusted and worthy civil servant. He was able to pursue and sustain his literary and scientific interests while pursuing a career as a diplomat, courtier, and member of parliament. Too, the relationship and correspondence between the French poet and composer Phillipe de Vitry and the Italian sonneteer Petrarch, along with their literary...

The Poetics of Folk Love Songs of the Crimean Tatars

The author of the article investigates the poetics, genre, and style structure of the folk love songs of the Crimean Tatars. Based on the works by such folklorists as Oleksiy Olesnytsky, Asan Refatov, Yahya Sherfedinov, Fevzi Aliyev, Ilyas Bakhshysh and others, but primarily on authentic texts, she allocates two main genres of folk lyrics of the Crimean Tatars, in which love motifs dominate. The most ancient is maqam. Characteristic of these lyrical compositions, a deep dramatic quality dictates a special emotional expressiveness. It is clearly shown with the help of exquisite figuration, such as wide chants in singing. Philosophical meditation is also a typical feature of these folk works. The other lyric genre, tiurkiu, is very widespread in the folk songs of Crimean Tatars, especially from the 19th century to our time. It covers laconic songs, which have easy lively rhythms. In the love tiurkiu, apart from the most widespread songs about unhappy love, it is also possible to distinguish two more genres: songs about overcoming alarms and troubles and songs about happy love. The perceptive description of the sadness and happiness of love, expresses a wide range of feelings, delicate shades of mood, an abundance of outstanding intonation, picturesque metaphors and symbolic concentration of the laconic imagery, the dynamic development of the lyrical plot, where the shapes of the narrative plot can often be guessed, the coherence and liveliness of the composition (line, retrospective, mosaic), the system of expressive repetitions, which reinforces the ornamental quality and, simultaneously, the clear coherence of the narration, the sophisticated sound and rhythmic organization: these are the main peculiarities of the poetic world of the Crimean Tatar folk love song.

Time and Lyric Poetry (Collections): A ‘Narrative-Diachronic’ Approach

Abstract The essay addresses the problem of time in lyric poetry and proposes a narrative understanding of the lyric genre. I argue that temporality belongs to the lyric discourse as part of its transtextual structure as a result of the lyric’s organization in the book form. This transtextual structure gives lyric poetry a narrative framework and a specific type of temporality, the diachronic time, which contrasts with the temporality of the single poem, the synchronic time. By focusing on the relationships between opener and closure poems, I propose a narrative-diachronic model in order to reposition the temporality of lyric poetry in the book form. By dealing with Paul Celan’s second book of poems, Von Schwelle zu Schwelle (1955), the analysis will finally show how diachronic time corresponds to the narrative structure of the collection, and how time and the narrative are deeply linked in lyric poetry by means of the book form.

Literary Reflections on the Dithyrambic Genre

This article addresses the question of how the dithyramb was classified in antiquity, examining in detail two fragmentary papyri (P.Graec.Vindob. 19996a–b; P.Berol. 9671 verso) alongside other testimonia which comment on the nature and development of the dithyrambic genre. While the majority of these testimonia expect the dithyramb to be associated with Dionysus, some show that this Dionysiac link was not exclusively followed as the defining criterion for the poems' classification, even after the Alexandrian taxonomy of lyric genres had been established. This article demonstrates that throughout antiquity generic identification of dithyrambs was a process that was always in the making.

Middle English Lyrics: New Readings of Short Poems ed. by Julia Boffey and Christiana Whitehead, and: Lyric Tactics: Poetry, Genre, and Practice in Later Medieval England by Ingrid Nelson

Reviewed by: Middle English Lyrics: New Readings of Short Poems ed. by Julia Boffey and Christiana Whitehead, and: Lyric Tactics: Poetry, Genre, and Practice in Later Medieval England by Ingrid Nelson Roderick J. Lyall Boffey, Julia, and Christiana Whitehead, eds, Middle English Lyrics: New Readings of Short Poems, Cambridge, D. S. Brewer, 2018; hardcover; pp. xvii, 310; 8 b/w illustrations; R.R.P. £60.00; ISBN 9781843844976. Nelson, Ingrid, Lyric Tactics: Poetry, Genre, and Practice in Later Medieval England (The Middle Ages Series), Philadelphia, University of Pennsylvania Press, 2017; cloth; pp. 214; 2 b/w illustrations; R.R.P. US$65.00; ISBN 9780812248791. That medieval lyric, especially the great body of anonymous lyric, has been accorded less critical attention than it deserves is almost an axiom of literary studies. Despite the existence of outstanding collections by Carleton Brown, Rossell Hope Robbins, and others, and the invaluable resource of the Index of Middle English Verse, the sheer volume and variety of shorter verse forms in medieval English, along with the canonical primacy of big names—or indeed, any name at all—have long contributed to the critical neglect of all but a very few of the shorter poems that survive in manuscript miscellanies, commonplace books, and often in contexts that are otherwise anything but literary. These two volumes therefore come as welcome additions to the critical corpus. Although there is a certain degree of overlap, to the extent that both deal with the fourteenth-century Franciscan William Herebert and with ‘Antigone’s song’ from Chaucer’s Troilus and Criseyde (of which more in a moment), the two books could scarcely be more different in approach. Boffey and Whitehead provide nineteen essays, all but two of which focus tightly upon specific texts, grouped under the themes of Affect, Visuality, Mouvance, and Transformation, and Words, Music, and Speech. The reader is greatly helped by the practice of citing at the outset the poem to be discussed, and by notes cross-referencing other essays in the volume that touch on related questions. The earliest poems discussed date from the thirteenth century; the latest is Sir Thomas Wyatt’s ‘In eternum’. Ingrid Nelson, by contrast, approaches her texts from a very specific theoretical perspective, stating that her study (in an echo of the New Historicist Louis Montrose) ‘defines the medieval lyric genre as much by what it does (its cultural work) as by what it is (its formal features)’ (p. 6). She, too, begins in the early Middle English period and ends with Wyatt; her book had, in fact, appeared in time for Boffey and Whitehead to engage with it briefly in their introduction. Two broad questions are posed by both approaches. One is the perennially thorny issue of generic definition: ‘lyric’, with its associations with music and with the evocation of deeply experienced emotion, fits well with many shorter [End Page 224] poems written in the Middle Ages, but not so well with others that are essentially didactic, political, or comic. While opting, faut de mieux, to employ the term, both Boffey and Whitehead on the one hand and Nelson on the other acknowledge the problem: for Nelson, indeed, it is the focus upon cultural practice that may offer a way out of the difficulty, although for this reader at least it would take a much more wide-ranging body of material to establish the case. The other important dimension, clearly represented in both volumes but inviting much more exploration, arises from what has been called the ‘codicological turn’ in scholarship, a greater awareness both of the importance of manuscript context in understanding how texts were read (or used) and of the significance of scribal intervention in shaping and reshaping the texts themselves. The theme is firmly established in Tom Duncan’s opening chapter of the collaborative volume, his meticulous analysis of the minutiae of textual transmission raising crucial questions for any potential editor, but hinting too at interpretative issues that recur in many of the subsequent readings, such as that by A. S. Lazikant of a poem in Trinity College, Cambridge, MS B.14.39, or Michael P. Kuczynski’s study of one in Eton College MS 36, or Natalie Jones...

Title as a constructive element in the sonnet text

Background. The title of the literary text arises in front of a researcher in two capacities. First – as one of the elements of metatext level, immediately aimed at the close interrelation with the main text, and second – as a separate text structure with its own grammar and semantic structure. The analysis of the title in the interrelation with the main text, taking into consideration genre specifics of the latest, is of immediate interest. Purpose. The target of this study is to describe the title text in the Ukrainian sonnet poem, in particular in the correlation with the integral text structure, which is caused by the absence of any specific research of this problem.Methods. Research approach of the title text as a separate unit and as a constructive element of the wider text structure relies on the basics of classification description, contextual and hermeneutic analysis in the system of literary text.Results. The title of the sonnet poem, generally not falling out of the paradigm of the paratextual formations, on the functional level is characterized by certain particularities compared to other lyric and epic genres – where it can serve, for instance, as a genre self-name of the poem. On the structure level the sonnet marker can start or finish the composite word, serve as an attribute noun in the attributive word combination, play a role of the key word with the dependent substantive etc. The title (together with subtitle or without it) is able to attribute thematic and semantic lines in the poem, some structure and genre changes.Conclusion. The title of the sonnet text, being a paratext element, accomplishes an important prospect and retrospect function for comprehension of the integral structure of the literary text; can serve as genre self-name of the poem, involving at the same time different thematic layers of narration; can also point at some structure and genre modifications of the classic sonnet, and some shifts to other traditional genres.

Genre-forming function of factic elements of language in Russian and Tatar lyrics

The article identifies linguistic "initial phenomena" of lyrical genres, forming the core of genre identity of the work and having universal character - supernatural and supranational. It has been concluded that the non-literary "other" in relation to which artistic speech, first of all its lyrical subsystem taken in the aspect of its genre structure, is self-determined, is deixis. On the basis of the analysis of the philosophical lyrics of Russian and Tatar poets of the XIX-XX centuries, it has been established that the genre of "definitions" goes back to the deuttic elements of language. In Russian and Tatar literatures it has similar features: the focus on the process of knowledge (dominance of the hermeneutic code), the reflection in the subject architect of the works of the processes of identification and self-identification of the lyrical subject, the use of tropical and mythopoetic figurative "languages." At the same time in Tatar poetry this genre has distinctive features related to the specifics of the manifestation of personal origin in Tatar literature, its characteristic forms of authorship, procedures of meaning inherent in this type of culture.