Poetic Language Research Articles

Субъектная структура поэзии молодых южноуральских авторов

This article examines the features of subject organization in the poetry of young South Ural authors (R. Agliullina, E. Kolyachenko, A. Manichenko, R. Yapishina). This generation of poets entered literature during a period of active development of new information and communication technologies. The digital turn has led to a rapid increase in texts published on the Internet, as well as to the ability of young authors to rely on a wider range of literary texts than previous generations, which manifested itself in the polystylistic and polyparadigmatic nature of poetic language. The category of subjectivity in the poetry of young authors manifests itself variably. This can be desubjectivization, that is, various forms of indirect utterance, masking and polyphony of the lyrical “I”. Often the subject in the poetry of young authors is transgressive, a translator of the painful experience of interacting with the world, the experience of overcoming trauma. Important for understanding the subjective structure of the work of young poets is the term “transsubjectivity”, associated with the phenomenon of the “new epic” in modern Russian literature. For young South Ural authors, it becomes important to broadcast stories of “other” voices, stories not about themselves, but about other people, reflection of other people’s feelings, other people’s experience. Transsubjectivity is often a way of self-identification in modern poetry, an attempt to consider individual experience through the prism of someone else, a look at oneself from the outside.

О НЕКОТОРЫХ ОСОБЕННОСТЯХ ПОЭТИЧЕСКОГО ЯЗЫКА ЕЛЕНЫ ШВАРЦ

The article analyses some features of the way Elena Sсhwarz, a representative of Leningrad uncensored poetry, used the means of poetic language. In her texts, most often written in compliance with all the norms of traditional syllabic tonics, she actively practiced form and word – creation, invented new words and sentences without a semantic layer, introduced foreign borrowings, ready-made quotes from other literary works and abusive language. In some cases, she could also conduct experiments with non-standard graphic presentation of text, trying to achieve ideal symmetry. Studying the uniqueness of the poetic idiolect (language means regularly repeated in texts, new verbal constructions, whole words or forms of words, syntactic constructions) of one of the “uncensored” Leningrad authors helps the reader to better understand how her artistic world was created.

Stylo-linguistic analysis of structure in Niyi Osundare's poem “The Rainsong”

This study conducts a stylo-linguistic analysis of Niyi Osundare's poem "The Rainsong," examining the language, form, and structure used to convey meaning and impact. Through a detailed analysis of graphological, phonological, syntactic, and lexico-semantic features, the study reveals the poet's deliberate choices in crafting a powerful and impactful work of poetry. It highlights the use of repetition, personification, imagery, and defamiliarization to create a sense of urgency, hope, and optimism, demonstrating how the poet's use of language and form shapes our understanding of the world. Employing Halliday's Systemic Functional Language as its theoretical underpinning and adopting the methodology of close reading and text analysis, this study contributes to the field of literary analysis. It demonstrates the value of stylo- linguistic analysis in uncovering the intricacies of poetic language and informing teaching and learning practices to better appreciate the complexities of poetry.

Новые технологии и прагматические техники в современной поэзии

The paper examines the linguistic and communication changes taking place in poetic dis­course under the influence of new media. The digital interface (blogs, social networks, applica­tions) affects the transformation of all the parameters of communication, due to the dominance of information channels and codes. The interaction of poetic language with colloquial speech and the influence of digital technologies lead to the creation of new strategies of subjectivation and addressing in contemporary poetry, as well as to an increase in the role of poetic pragmat­ics. In addition, the process of meaning formation in contemporary poetry involves the mech­anism of transcoding, i. e. the transfer of a message from one format to another, which can take place during the conversion from a paper (or analogue) format to a digital one. Transcoding involves a change in the form and content of the message, as well as other communication parameters. The paper classifies and explores in detail the pragmatic parameters that undergo transcoding under the influence of digital technologies, acting as new pragmatic techniques of poetic utterance.

ТРАДИЦИЯ «ВИЗУАЛИЗАЦИИ» СТИХА ГЕНРИХА САПГИРА В СОВРЕМЕННОМ ЛИТЕРАТУРНОМ ПРОЦЕССЕ

The article is devoted to the examination of Sapgir’s work in the context of the modern poetic process. It deals with the issue of the influence of Sapgir’s poetic quest in the field of graphics and stanza (form) on the creativity of modern authors. During the consideration of the work of D. Vodennikov, N. Iskrenko, D. Sukhovay, A. Alchuk, N. Azarova and M. Stepanova we found various connections of poetic language of the authors such as external similarities, deep bonds and inheritance of traditions.

Письмо Лин Хеджинян. Поэтический язык как язык исследования

The article is devoted to the poetics of contemporary American writer Lyn Hejinian (1941–2024), considered one of the most consistent successors of Gertrude Stein's experimentalism in Anglophone literary writing. The study encompasses all stages of Hejinian’s poetic creativity: from early experiences of “language writing” in the 1960–70s, autobiographical texts and collective works of the 1980–90s, to theoretical and poetic quests in the first decades of the 21st century. The writer's main interest is the persistence and impermanence of memory and the subject, as well as the role of writing in their preservation and transformation. Descriptions of the writing process as a driving force of memory and experience come to the fore here. Syntax acts as the materialization of temporality in writing. Texts in a variety of formats explore natural and cultural worlds brought to life by language. Many of Hejinian's texts, both theoretical and artistic, explore the problem of language as a social space, as a philosophical search and as political pragmatics, as well as the problem of the relationship of time to language and language to time. The book The Language of Inquiry has become a kind of manifesto for poetic language, which is the “language of inquiry.” A special place in the book is occupied by essays about Gertrude Stein, which actualize the writing practices of the great American modernist in the contemporary context of language-oriented poetics. In her work of the recent years, Hejinian increasingly turns to social themes, never ceasing to experiment with the boundaries of the poetic. She puts forward a theory of so-called “allegorical activism,” which is understood as “artistic and political practice in the service of activating creative potential in everyday life.”

ҚАЗАҚ ТІЛІНІҢ ПОЭТИКАЛЫҚ КОРПУСЫ МӘСЕЛЕСІ БОЙЫНША БІРЕР СӨЗ

The article is devoted to the study of the problem of the poetic language of the constituent poetic corpus of the Kazakh language. The poetic features of the variants of the song "Kozy Korpesh – Bayan Sulu", taken as the main version, are analyzed. Examples from the poem "Kyz Zhibek" are partially given. The purpose, main direction and idea of the research is to reveal the poetic value of the variants of the poem "Kozy Korpesh – Bayan Sulu". The article uses methods of selection, systematization, division into lexico-semantic and thematic groups, structural, descriptive, semantic grouping, synchronous analysis, and construction. The article examines from a historical and poetic point of view selected versions of one of the oldest cultural relics of the Kazakh people, "Kozy Korpesh-Bayan Sulu", with a comparison among themselves. It is known that this epic is a common heritage for all Turkic peoples. For example, the Altaians, Bashkirs, and Tatars have preserved several versions of this lyric epic. As for the Kazakh versions of the poem, this poem was first published in the third volume of V.Radlov's work in 1870 "Samples of folk literature of Turkic tribes" and in 1876 by I.Berezin as part of the "Turkish Anthology". Many intellectuals, led by Sh. Ualikhanov, G.N.Potanin participated in publication and research of the epic. The results obtained during the study: 1) comparing the poetic language of the main versions of the epic, we find, as the most basic, ancient and artistic version, the version sung by Zhanak akyn; 2) issues related to the life and fate of the main characters of lyric-epic poems, such as "Kozy Korpesh-Bayan Sulu", "Kyz Zhibek" are identified; 3) it is proved who is actually a positive hero, since in different versions of the epic Sarybai and Karabai are perceived differently as positive and negative characters.

Нейропоэзия как баттл поэтических языков

The article develops a view of neural networks as a tool for formulating and verifying philological hypotheses related to various aspects of the generation and reception of a literary text. The principles of aesthetic communication are analyzed, in which, thanks to the development of the modern technological environment, an anthropic author, a neural network and a recipient can participate equally. Neuropoetry is interpreted through the metaphor of a “battle of poetic languages” (in accordance with the conventions of the rap battle genre) — as a communicative field in which anthropic and digital authors interact as equal participants in the creative act, jointly forming new prerequisites for the reader’s perception of a literary text. The ‘co-creation’ of anthropic and digital authors is considered in terms of the actor-network theory of Latour. In interactions between a person and a neural network, the latter transcends its purely instrumental function and assumes features of subjectivity. It becomes an equal agent in generating a collective aesthetic statement. Neuropoetry, as a result of co-creation of this kind, is characterized by a double semiotic nature: one part of it is the result of the creation of an anthropic author, while the second demonstrates ‘secondary poetry’, in which the digital author imitates the procedures of natural speech generation. As a result, a new, complicated model of aesthetic communication is formed, complementing the standard positions of the communicative act (author — text — reader) with the level of communicative interaction of anthropic and digital co-authors. The recipient, in the situation of perceiving a text co-written by a person and a neural network, is involved in a complex interpretative game that activates the mechanisms of aesthetic reception, and the act of ‘neuro-creativity’ itself creates new forms of mimesis, which ceases to be ‘imitation of the world’ and becomes ‘imitation of imitation’.

Reshaping Mystical Geometry of ”Vision and Prayer” by Dylan Thomas as Its Possible Re-Interpretation

Although Dylan Thomas and his poem ”Vision and Prayer” (1944) are usually not attributed to a specific kind of visual/concrete or ”shaped poetry,” his highly enigmatic and daring poetical articulation displays some interesting typographical features that can qualify him to be included in the label. It is a unique experiment of a kind mainly because of its two distinct geometric shapes, i.e. diamond and hourglass, within the two equal Parts, with six stanzas in each one of them. These shapes create a kind of “mystical geometry,” since they differ both in their pictorial presentation and the content matter. The paper tried to follow various attempts in English literature that might have served as a source of inspiration for Thomas in the works of George Herbert, Sir Thomas Browne, and W.B. Yeats. It also presents previous critical interpretations that revolved mainly around the themes of birth, death, and re-birth Resurrection of Jesus Christ, since religious imagery and poetic language seem to invite such an approach (Tindall, Burdette, Kidder, Bauer). However, a combination of Derridean deconstruction/restructuring and computer-assisted pictorial manipulation of the text produced yet an interesting experiment in analysis, having brought together all the stanzas into a ‘grand diamond’ shape. The newly reshaped version of the ‘poem’ opened up possibilities for interpretation while pointing out the central geometric shapes that emerged in the process.

The Reversal of Negro’s Stereotype Image in Audre Lorde’s Selected Poems: A Poststructuralist Study

The present study tackles the linguistic creative ability of Audre Lorde’s poetic language to change the concepts and perceptions of Negro image signification. It is a sensitive issue that is affecting the life of African American community, namely the Blacks. The researcher in this study aims for seeking vicissitude and reverse the black image signification to indicate it as a graceful one. Besides, the researcher aims to document the black’s agony out of the dominant conceptions by the harsh white society over them during 1960 and 1970. This is done through selecting poems from Audre Lorde’s ‘’Coal’’ volume as a Data analysis under approaching the poststructuralist Susan K. Langer and her book entitled ‘’ Philosophy in a new key: A Study in the Symbolism of Reason, Rite and Art’’ (1954). Therefore, the paper discusses a rooted and renewed problem, which is judging on skin color. The researcher applies in his investigation a quantitative descriptive methodology that starts with an introduction, literature view, Theoretical background and concepts that are affecting language and black culture in addition to Lorde’s poetic language quality. The study concludes that the signifier is not a must to represent the signified. This is true with Lorde’s call of the black ‘’Coal’, which is a source of fortune and energy, despite being black. Thus, it shows the importance of the self and the black identity.

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.

Contextual Meanings of Similarities in Âşık Veysel’s Poems

Analysis of the signs used in the language of poetry means bringing what the poet wants to say from the deep structure to the surface structure. Poetry is the art of bringing signs together accurately and artistically. What this means is that the desired emotion of the poem is conveyed by bringing the chosen language elements together harmoniously. These language elements which come together form the framework of the poetic language with the semantic bonds they create with each other. The concept of "context" determines how all the words that make up the poem will come together. The language used in poetry is a tool for the poet. While using language as a tool, the poet will want to convey their thoughts and feelings to the reader through context. However, it’s not possible for them to go out of context while doing this. The concept of word, which corresponds to a sign in language, cannot be separated from the context. Words must be in a consecutive order to form a meaningful text sequence because the signs in language are linear. When using language, sounds and words are placed one after the other. When the words connect to each other, a meaningful relationship will arise between them. As a result of this meaningful relationship, contextual meanings emerge. In this study, the contextual meanings of the metaphors identified in Âşık Veysel's poems are explained through tables. Before moving on to the review section, brief information and examples are given about the concepts of sign/referent/context.

Aesthetics of Poetic Language in the Dewan of "Nawhi"

This research, entitled "Aesthetics of Poetic Language in the Dewan of Nawhi", is an attempt to highlight the aesthetics of poetic language in general and the aesthetics of poetic language in particular in the poems of a little-known poet of Kurdish literature It is grammatically defined in the structure of Noah's poetic language, which includes both lexical and syntactic levels. Through examples of his poetic texts, the aesthetic aspects and levels of the poet's poetic language, ability and poetic experience have been identified and presented. To conduct this research, the method (analytical description) has been used to reveal the purpose and content of poetic texts and analyze them grammatically. To achieve the goal, the research is divided into an introduction and two topics, which theoretically discusses the concept and definition of poetic language and in practice covers the structure of Noah's poetic language in terms of grammar. Finally, the results are summarized in several points.

Features of the style and genre: Translated children’s poetry by M. Boroditskaya

The most influential persons in contemporary Russian poetry belong to the elder generation of authors. It is they who now maintain the entire tradition of Russian poetry, which is being consciously or unconsciously abandoned by many representatives of the younger generations, impoverishing their own verse practice. There are few poets today whose importance is recognized not only by their supporters but also by representatives of other aesthetic groups. Among these persons is the poet and translator Marina Yakovlevna Boroditskaya (b. 1954). Despite the aesthetic importance of her work, which has long been recognized by critics, and her wide popularity among the public, philology has so far hardly studied her poems and translations. Boroditskaya’s position in literature is in many ways unique, as she acts both as a lyric poet for adults, as a children’s poet and as a poetic translator, with all three types of her literary activity mutually enriching each other. The article considers Boroditskaya’s translations from children’s English-language poetry of the twentieth century (Dr. Seuss (USA) and Julia Donaldson (Great Britain)) and the influence of Russian poetic classics of the nineteenth and twentieth centuries on the versioning and stylistic features of the translated texts. The article proves that Boroditskaya actually realizes in her translations an implicit cultural synthesis, masterfully combining English and Russian poetic traditions, and overcomes the artificial barrier between poetry oriented towards adult and children’s audiences, respectively.

Сочетаемость слова «будущее» как лингвокогнитивный инструмент изучения образной семантики поэтического концепта

The study aims to present various mechanisms of cognitive modelling as a way to detect integrity and stability in the figurative system of poetic language. The paper considers the semantic representation of one element of the figurative-associative level of the FUTURE concept, i.e., the lexeme будущее (the future) in comparison with the element прошлое (the past) of the same conceptual macro-field “Time”. The scientific novelty lies in identifying the general patterns of figurative conceptualization of a poetic reality fragment, i.e., the Future universal. As a result of the study, it was found that the system of figurative paradigms developed on the basis of cognitive metaphors is characterized by stability and reproducibility, serves to store and transmit methods of poetic thinking in linguistic forms. When examining asymmetry of related literary concepts as independent units of literary discourse, collocability becomes an effective tool for identifying the figurative-associative content of the concept. Predicative and non-predicative phrases perform the task of cognitive modelling in different ways. The semantic compatibility of the lexeme representing the concept is stable in poetic language as a secondary semiotic system.

Performance Autoethnography: EM Not Afraid to Utter Their Emotional Truth

In this performance autoethnography, the author uses the poetic language, rather than silence, to express the emotional truth associated with their lived experience. Exploring the convergence of multiple identities, they use Tweets as prompts to elicit deepest inner experiences, striving to elucidate situated knowledges that emerge from within. This creative-relational-and-performative process of producing an aesthetic text serves as a cathartic outlet, bringing forth the deeply personal, cultural, and political dimensions of being-in-the-world. The methodological consideration accentuates the significance of individual expression and encompasses the truth-seeking and poetical examination of everyday engagement with this (in)visible lifeworld.

„Generația războiului” – poezia traumei, trauma poeziei

“The War Generation” – the Poetry of Trauma, the Trauma of Poetry The article discusses the poetry of the Romanian War Generation, proposing to reread the ‘transitive’ poetry of ‘Albatross’ group (Geo Dumitrescu, Dimitrie Stelaru, Ion Caraion et al.), in order to show how this literature develops the traumatic experience of the Second World War. The analysis focuses on the stylistic consequences of thematising the war, given the obvious distortion of poetic language in accordance with the deformed world it tries to codify. Therefore the approach is less interested in the capacity of poetry to represent, on aesthetic criteria, a resistance knot against terror, and more interested in poetry’s capacity of reinventing itself on ethic bases, as an insurgent response to the violence of History.

„Komm auf den Händen zu uns“. Zu einem Kippbild der Begegnung bei Paul Celan

One of the essential images of the lyrics and poetics of Paul Celan is hand walking, an image inspired from the novel Lenz by Georg Büchner. This appears not only in poems such as Stim-men and Es geht, but also in the most important text written by Celan about his poetics, in the discourse Meridian, whose variants reveal the complex semantics of the hand motif in Celan’s thinking. Essential in articulating the truth both in quotidian gestures and in the „mimics” of poetry or poetical reflexion, the hand participates, through hand walking, to the change in per-spective on the world, to the meeting with abyssal depths and the opening of a dialogue with Büchner, Pascal, Nietzsche, Isaak Babel and also with the important themes of the Holocaust and the exile. The present study proposes an investigation on the manner in which hand walking becomes an ambiguous image of the encounter and the dialogue, generating a poetic language in which the chiastic reversals or quasi-absurd linguistic distortions communicate the aim of poetry about which Celan says it does not change the world, but the way of being in the world.

The Romantic Style of P. B. Shelley s Poetry

Shelley s poetry is rich and varied, harmonious in tone, delicate in feeling and expansive in artistic conception, which pushed the British romantic poetry to the peak. Shelley had a very high talent, received a good education since childhood, coupled with diligent thinking, and has twists and turns of life experience, so his works all reflect the pursuit of the truth of the strong philosophical mood. This article mainly focuses on two of Shelley s poems to analyze the romantic style of his poems from the image and theme. Shelley, as a political poet and lyric poet, expressed his poetic aesthetics very clearly. He endowed poets with a lofty mission, believing that they shoulder the dual mission of social revolution and artistic innovation. Of course, Shelley believes that this dual mission is realized in the poet s creative artistic imagination. Therefore, in Shelley s view, the real imaginary expression of poetry should have a spiritual inspiration and aesthetic influence. It can be said that Shelley s poetry aesthetics not only clearly reflects the characteristics of his changing era, but also illustrates his romantic aesthetic stance. Shelley s aesthetic thoughts of poetry are enlightening for people to better appreciate and understand his poems.

Benjamin's Mimetic Re-Turn: Language, Body, Memory

Abstract: Walter Benjamin is a crucial figure in modernist mimesis. He was highly receptive to mimetic influences and at the same time a prolific and sensitive theoretician of those experiences. He moved far beyond the traditional aesthetics of a realistic and representational mimesis and must be located within the post-Nietzschean, modernist 'mimetic turn or re-turn.' Even if occluded by modern rationality, the mimetic faculty still takes effect for Benjamin in 'non-sensuous similarities,' in poetic language, in drifting expression, the unconscious, the body and its memory. To place Benjamin within mimetic modernism I will first adumbrate what I call linguistic magic in the context of modernist literature, ethnological and linguistic theory. Secondly, I will describe the modernist fascination with the body in and through which mimesis takes place. The third and main part centers on Benjamin's theological (and magical) interest in language. It focusses on his own occupation with (linguistic) magic and his conception or 'patho-logy' of mimesis. This he locates in the body, the pre-reflexive and unconscious, in the play of children, in early experience, and memory or mémoire involontaire (Marcel Proust).