Poetic Language Research Articles

TUKANG RABAB DAN KABA RABAB PASISIA DALAM ACARA BARALEK DI NAGARI TALAO

The study "Tukang Rabab dan Kaba Rabab Pasisia dalam Acara Baralek di Nagari Talao, Sumatra Barat" explores the competencies and presentation of kaba rabab pasisia in baralek events. This performance reveals the richness of Minangkabau culture, from a warm opening to a meaningful core story. Through poetic lyrics and captivating music, Kaba enriches understanding of Minangkabau cultural values. Tukang Rabab, as cultural guardians, adeptly perform rabab pasisia and master Minangkabau language and literature. Social interaction is key to their competence, living within the community of rabab pasisia artists and exchanging knowledge and skills. Despite facing modernization challenges, the art of rabab pasisia remains relevant and valuable. The participation of tukang rabab in cultural events, art training, and preservation projects strengthens Minangkabau identity and cultural heritage. This performance fosters community solidarity and serves as a platform for learning life values, enriching and preserving Minangkabau cultural identity, and encouraging the younger generation to uphold ancestral traditions

The Phenomenon Écriture Féminine and the Structuring of Poetic Language in the Poetry of Western Armenian Women Authors

There has been a great interest in the issue of women’s writing since the 1960s. The aim of the study is to examine the characteristics of the phenomenon of women's writing on the example of the features of the poetics of Western Armenian women authors’ works and to reevaluate not only the interactions and attitudes of Western Armenian women authors of the second half of the 19th century regarding the issue of women's emancipation, but also the idea of écriture féminine proposed by the French philosopher Hélène Cixous. The aim of the study is to examine not only the four-level semantic and ideological concepts of woman–subject and presence–state of mind– mood–language, but also the domains of the analysis of the eventfulness of the poem. The actuality of the study is conditioned by the interdisciplinary nature of the studied material, according to which it was analyzed in the context of mutual connections and relationships between literary studies, linguistics, and philosophy, using literary, linguistic, historical-comparative and phenomenological methods. This multiaspect approach to the study of the problem under investigation is justified by the effectiveness of its interdisciplinary examination. 1960-ական թվականներից մեծ է հետաքրքրությունը կնոջական գրականություն ֆենոմենի նկատմամբ: Ուսումնասիրության նպատակն է՝ արևմտահայ կին հեղինակների երկերի պոետիկայի առանձնահատկությունների օրինակով ուսումնասիրել կնոջական գրականություն ֆենոմենի առանձնահատկությունները, վերարժևորել ոչ միայն 19-րդ դարի երկրորդ կեսի արևմտահայ կին հեղինակների՝ կանանց ազատագրության հիմնախնդիրի շուրջ ունեցած փոխառնչություններն ու վերաբերմունքը, այլև ֆրանսիացի փիլիսոփա Հելեն Սիքսուի առաջադրած écriture féminine գաղափարը: Ուսումնասիրության խնդիրն է՝ արևմտահայ կին հեղինակների քերթվածները քննել ոչ միայն կին-սուբյեկտ և ներկայություն հոգեվիճակ-տրամադրություն-լեզու քառաստիճան իմաստաբանական և գաղափարաբովանդակային հայեցակարգերը, այլև բանաստեղծության իրադարձականության վերլուծության տիրույթները։ Ուսումնասիրության արդիականությունը պայմանավորված է ուսումնասիրվող նյութի միջգիտակարգայնությամբ, ըստ որի՝ այն վերլուծվել է գրականագիտության, լեզվաբանության և փիլիսոփայության միջև փոխադարձ կապերի և առնչությունների համատեքստում՝ գրականագիտական, լեզվաբանական, պատմահամեմատական համադրական և ֆենոմենոլոգիական մեթոդների կիրառմամբ: Այսօրինակ վերլուծություն կատարվում է առաջին անգամ: Այն կարևոր է և արդիական ոչ միայն միջգիտակարգայնության, այլև հայագիտության մեջ կանանց հիմնախնդրի վերլուծության տեսանկյունից։ С 1960-х годов наблюдается большой интерес к проблеме женского литературного творчества. Целью исследования является изучение феномена женского творчества на примере поэтических особенностей произведений западноармянских писательниц, а также отношения западноармян-ских писательниц второй половины XIX века к проблеме женской эмансипации и к écriture féminine, предложенной Элен Сиксу. Задачей исследования является рассмотрение не только четырехуров-невых семантико-мировоззренческих концептов женщина-субъект и присутствие-состояние души-настроение-язык, но и анализ событий-ности стихотворения. Актуальность исследования обусловлена меж-дисциплинарным характером изучаемого материала, проанализированного в контексте взаимосвязей литературоведения, языкознания и философии, с использованием литературоведческих, лингвистических, а также историко-сопоставительного и феноменологического методов. Следует отметить, что анализ проводится впервые. Он важен и актуа-лен не только с позиции междисциплинарности, но и с точки зрения анализа «женского вопроса» в арменоведении.

Scaling Imagination: The Language Machine and Poetry

The article focuses on the specificity and functions of metaphors in the poetry of Radosław Jurczak, and more broadly in the work of the youngest poets, for whom life in the world of digital media and the prospect of the development of artificial intelligence is an important part of their formative experience. The paper uses the terms introduced by Mark Fisher for this purpose: the weird and the eerie. The analysis compares poetic devices in Jurczak’s poems with the concept of poetic language of the first avant-garde, pointing out the changes occurring in the poetics and aesthetics of the works, also focusing on figures relating to the technological sphere of modernity. The paper polemizes with the view expressed by Jerzy Jarzębski, who considers the phrase “artificial intelligence” to be a fashionable and harmful oxymoron that defines the pragmatic, reductionist worldview of its users. The article argues that the incorporation of terms that have the status of catachreses and over-lexicalized metaphors in everyday language into the language of poetry allows their creative potential and ambiguity to be recovered. Finally, the paper considers scaling as a characteristic feature of the new poetic imagination, which also requires readers to take a new approach to the language of the new poetry.

IL CORPO VIVO DELLA LINGUA: ALCUNE CONSIDERAZIONI PRATICO-TEORICHE SULLE LINGUE «SPARGĂ» E «LEOPARDĂ» DI NINA CASSIAN E VIRGIL TEODORESCU

This contribution, starting from the studies of Giorgio Agamben, aims to highlight the peculiarity of two poetic languages invented by Nina Cassian and Virgil Teodorescu: the “spargă” language and the “leopardă” languages. The “spargă” and “leopardă” languages, developed during the surrealist period in Bucharest, embody the intrinsic dynamism of language. On the one hand, they reflect the multiplicity and original complexity of poetic language, where meanings are manifold and semantic closure is not definitive. On the other hand, these two fantastic languages highlight the pulsional heterogeneity underlying culture itself, suggesting that the truth of things does not directly coincide with what is explicitly said, but rather requires an act of translation and interpretation by the subject. Moreover, these two experimental idiolects can also be interpreted as poetic explorations that challenge the normative structures of the symbolic order, introducing elements of the semiotic that materially express the unconscious in art. The connection with Lacan’s “lalangue” is evident in their common focus on the pre-linguistic and affective dimensions of language, which transcend the limitations of ordinary communication.

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.

The Poetic Image and its Role in the Visitor/Poet Shawqī’s Interaction with the Historical Monuments: An Analysis Study

The relationship between archaeology and language is one of the main subjects of both fields since most remains are related to humans and society. Linguists examine aspects and types of human language, such as the poetic language used in the context of recovering the past, its memories, and the referential meaning of its places. Based on the interrelation between Archaeological anthropology, language, and poetry, this study analyzes the neo-classical poet Aḥmad Shawqī's (1932) Sīnīya "Journey to Andalusia" in the light of the works of the linguist and anthropologist Arnold Van Gennep's (1957) "rites of passage" and the religious language scholar Theodore Gaster's (1992) "seasonal pattern," as employed by the critic Suzanne Stetkevych in reading the rituals of the journey in classic poetry. The study uses the descriptive method to uncover the poet's interactions with Islamic antiquities during his travels to Spain. It also shows the poet's movement, through his poetic language and images, from nostalgia to evocating the lost past Islamic remains, ending with blame to strengthening his Egyptian community's present and enlightening their future.

Una Trieste per due: Saba attraverso gli occhi di Covacich

This paper draws inspiration by the monologue Saba, produced by Teatro Stabile del Friuli Venezia Giulia and premiered in 2023, on the 140th anniversary of the poet’s birth. The performance serves as the final act of a trilogy dedicated to major figures of twentieth-century literature from Trieste, written and performed by Mauro Covacich. Covacich’s choice of performative medium aims to break down barriers and engage in a more direct, authentic, almost physical communication with his third numen, following Svevo and Joyce. In a vivid portrayal, Covacich emphasizes not only the power of Saba’s poetic language but also his human dimension. The backdrop is Trieste itself, a city intrinsically linked to both Covacich and Saba by an intense yet controversial relationship, though each in a different way. Covacich captures this emotional duality by referencing Saba’s most renowned works, as well as private letters and biographical anecdotes, and intertwining the poet’s personal experience with his own, thus turning the entire monologue into a shared journey.

Phraseologisms in Abdulla Oripov's Poetry

This article explores the use of phraseological units in the poetry of Abdulla Oripov, a renowned people's poet of Uzbekistan. It examines how Oripov skillfully incorporates phraseological expressions into his poems, enhancing their artistic value. The study also delves into synonymous phrases and lexical-phraseological synonyms, providing insight into their role in enriching poetic language. By analyzing the poet's use of these linguistic elements, the article aims to highlight the artistic and expressive potential of phraseological units in poetry. The research contributes to the understanding of phraseology in literary works and offers implications for further studies on the relationship between phraseology and poetic artistry.

Street Scenes: Langston Hughes, Lyric Pop, and Walter Benjamin’s Baudelaire

This article frames Langston Hughes’s 1947 collaboration with composer Kurt Weill on the “Broadway opera” Street Scene as a privileged opportunity to explore modern history’s extraordinary claims on poetic language and the limitations of allegoresis as a critical mode. Foregrounding Hughes’s understudied career as a pop songwriter, the article argues that the fragmented, unruly archive of the poet’s songwriting demands to be read allegorically, after the fashion of Walter Benjamin’s writings on Charles Baudelaire, whose own fusion of lyric and commodity forms anticipates Hughes’s pop lyrics. Ultimately, when we position Hughes as a successor of sorts to Benjamin’s Baudelaire, that “poet in the age of high capitalism,” we are invited at least temporarily to relieve the allegorical gaze of its restless search for hidden springs of critical agency and to relieve it, too, of its quest for the consolations of utopia. Hughes’s collaborative work on Street Scene instead teaches us how to locate and extol in seemingly compromised cultural artifacts an allegorical resourcefulness that precedes reception and is in fact synonymous, in Hughes’s case, with poetic making.

시와 산문의 경계에서 얻은 체득적 깨달음의 실현 - 장영수의 시를 중심으로

The purpose of this paper is to examine the world of poetry by Jang Young-soo, a poet from Wonju who wrote the Chiak Mountain series of poems. There are two main reasons for paying attention to Jang Young-soo. One is that even though he was born in Wonju, he was omitted from the history of Wonju poetry, and the other is that his works were published in only 6 volumes of poetry published by ‘Moonji Publishing’. He is a poet who sang the local sentiments of Wonju in the central literary world while simultaneously writing and researching. The memories of childhood expressed in Jang Young-su's series of poems, “Chiak Mountain,” are filled with dark, gloomy light. At times, the speaker's wishes are revealed through the heard cries of the vulture and the chickadee, and at other times, it appears as a purified space of new birth as he hears the story of meeting his mother who ran away from home only after 30 years. Afterwards, the concrete object called “Chiak Mountain” changed to “hometown” and became an abstract language. Early on, his poetry attracted the attention of the literary world for its significant punctuation marks. Afterwards, he was unable to satisfactorily demonstrate his will and passion for creation and academics. However, he is a poet who tried to feel the tension as much as possible in the relationship between everyday language and poetic language. Therefore, I turn every moment I realize in my daily life into a work of poetry. In particular, the boundary between poetry and prose feels vague in works with a confessional tone, but his creation continues.

Seni Menyampaikan Perasaan Melalui Lagu Berjudul "Sang Bayu" Karya Hariyadi

This study explores the lyrics and creative process behind the song "Sang Bayu" created by Hariyadi . The main focus of the analysis is on the use of language and metaphors in the lyrics that depict the theme of love and romance. The lyrics of this song contain deep expressions of love and use metaphors such as "blowing the wind of love" to express soft and calming feelings. The main theme raised is love and romance, where the lyrics display soft and affectionate feelings. The melody that supports the lyrics also strengthens the romantic and calming atmosphere. This study also includes an interview with Hariyadi, who explains the process of creating this song through musical reflection and experimentation, as well as expressing personal inspiration from the beauty of nature and true love. This study identifies that the combination of poetic language, symbolism, and flowing lyrical structure provides a strong emotional and aesthetic effect.

The Evolution of the French Chanson During the Renaissance: From the Parisian Chanson to the Pléiade Chansons, and the Air du Cour

The present article traces the evolution and development of the French chanson, focusing on the Parisian chanson and the changes underwent by the genre under the influence of the group La Pléiade. One of the most important contributions France has made to the music of the Renaissance, the chanson embodies the endeavors that guided French artists of the Renaissance to prove that the French language possessed all the necessary qualities for becoming a poetic language. Relinquishing the sobriety of the Franco-Flemish school, Renaissance composers turned to a simpler, more melodious expression in their works, striving to place the text at the forefront. The 1520’s witnessed the emergence of a new type of chanson, generally known as the Parisian chanson, with its lyrical and narrative versions, exemplified by the works of such composers as Claudin de Sermisy or Clément Janequin. From the complex polyphonic works, composers turned to more transparent textures, characterized by homorhythm and homophony. The chanson was also influenced by the ideals proposed by the Pléiade group, which placed poetry at the forefront, the music following the metric and rhythmic patterns of the declamation – a practice that became known as musique mesurée and was represented by the works of Claude Le Jeune. Finally, the end of the 16th century brought about the gradual replacement of the genre with the air du cour, which would gain popularity in the 17th century. Nonetheless, the particularities of the musique mesurée would have a great influence on declamation and the importance of the accents in song – concepts that lies at the core of French vocal music of the following centuries. The analysis proposed by the authors presents pieces that are representative for the evolution of the genre, striving to reveal the particularities of each period in the development of the chanson. Keywords: chanson, French, Renaissance, La Pléiade, musique mesurée

Translingual crossings: an enactive-performative approach to a pedagogical guide for the teaching of Portuguese as a welcoming language to children

ABSTRACT This article revisits the jongo activity ‘Pisei na Pedra’ (2014) integrated into the Nossa Casinha guide (Martins & Sala, 2022) for teaching Portuguese to migrant children. Jongo is seen as an Afro-Brazilian form of expression, encompassing chants, drumming, collective dance, and spirituality (Rufino, 2014, 2023). The connection between this assembly (Pennycook, 2018) and an enactive-performative pedagogy, uniting biological and aesthetic aspects of poetic languages (Aden & Eschenauer, 2020; Maturana & Varela, 1987; Lecoq, 1997, cited in Aden & Eschenauer, 2020), forms a translingual framework. This allows jongo to be understood as an Afro-diasporic expression in anti-racist education. This perspective also affirms the aesthetic, emergent, experiential, embodied, and transformative nature of jongo as a decolonial practice. By challenging the conservative approach of language activities favoring compartmentalization, assimilation, and monolingualism, the translingual framework promotes transformative education in Portuguese as an additional language. It embraces complexity, relationality, and affectivity as integral to our experiences in linguistic education.

은유와 21세기 영어교육에 있어서의 함의

This study explores conceptual metaphors of Have You Ever Seen a Flower? through the theories of cognitive linguistics such as categorization, image schemata, and prominence, attempting to apply cognitive linguistics to English education in this process. The conception that everyday language and poetic language are fundamentally different, and that literary language is a departure from everyday language use ultimately confine the metaphor within the self-sufficient and closed linguistic system or within the poet's imagination, away from our daily lives. For this reason, the metaphor has been regarded as secondary or non-essential in language learning. Yet from a cognitive linguistic point of view, the metaphor is in an inseparable relationship with thinking and cognition. The status of the metaphor in English education needs to be re-evaluated, and it should not be regarded as a secondary learning subject trapped in the stereotype of figurative expression.

DEVOTIONAL POETRY IN TECHNICAL MANUSCRIPT TERMINOLOGY: AN INTRODUCTION TO THE ROSE GARDEN OF PURITY (GOLZĀR-E ṢAFĀ)

Among the wide variety of Persian manuscript categories, there is a distinctive genre that includes recipes on materials and technics of manuscript production. And within this genre, we come across distinctly interesting works that adopt charming romantic poetry to record subjects that are rather dull, dry, and unattractive to the general audience! One of such historical sources is a sixteenth century manuscript entitled Rose Garden of Purity (Golzār-e Ṣafā) by ʿAlī Ṣayrafī, preserved in Paris Central Library. The subject of this research is the manuscript’s impressive Preface in which the poet expresses his sincere devotion to his Creator, and begs for forgiveness – all in melodious poetic language, using technical manuscript terms, colors and pigments as symbols and metaphors. The essay provides an opening remark entitled ‘Manuscripts on Manuscript Production’ followed by and introduction to the manuscript of ‘Golzār-e Ṣafā (Rose Garden of Purity). The little knowledge extracted about ʿAlī Ṣayrafī from the manuscript is shared under ‘The Author-cum-Poet.’ ‘Preface with 12 Couplets’ is the focal point of the essay; there the 12 couplets (24 hemistiches) are presented in the original language (Farsi/Persian) along with an English translation that is published here for the first time. A detailed analysis of technical terms used in the Preface, and an elaboration of their symbolic significance, is presented under ‘Expression of Devotion in Technical Manuscript Vocabulary.’

A dense tranquillity, a harsh solitude: the ‘un-natural’ modernism of Miraji

ABSTRACT This paper delineates the socio-historical imagination underpinning the works of Miraji, one of the pioneers of Urdu poetic modernism. It argues that the ‘modernism’ attributed to Miraji’s poetry is best understood as the culmination of, as well as a veritable departure from, a specific diachronic movement internal to the history of modern Urdu literature. Presenting the idea of ‘naturalness’ as one of the principal catalysts of this internal movement, this paper demonstrates how Miraji attempted to reorient the trajectory of modern Urdu poetry by adopting an equivocal poetic language, which challenged the moral, social, and political imports of this politico-aesthetic discourse of ‘naturalness’.

Machine translation of Chinese classical poetry: a comparison among ChatGPT, Google Translate, and DeepL Translator

Recent studies have highlighted ChatGPT’s remarkable capabilities in machine translation. However, little attention has been paid to its application in literary translation, particularly within the realm of Chinese classical poetry. To explore the potential of ChatGPT’s abilities in poetry translation, we conducted a comparative analysis of poetry translation quality, contrasting ChatGPT (with two different prompts) with Google Translate and DeepL Translator regarding fidelity, fluency, language style, and machine translation style. The results revealed that ChatGPT outperformed Google Translate and DeepL Translator in all evaluation criteria, suggesting its exceptional ability in poetry translation. Furthermore, when employing a prompt that instructs ChatGPT to preserve the rhythm and rhyme of poems, ChatGPT demonstrated a remarkable ability to retain the beauty of the original poetic language, setting itself apart from conventional machine translation systems. Our analysis further elucidated ChatGPT’s proficiency in comprehending and translating some common symbols, imagery, and underlined semantic components which contributes to coherent and fluent translations. Our research opens up ChatGPT’s new possibilities in translating ancient literary texts into foreign languages.

Wie situiert sich Theorie?

Abstract The essay outlines modelling theory in terms of an active form of thinking. In contrast to concepts of theory whose validity can be described by a scientific explanatory approach with a systematic character and the claim to universalization regarding a specific field of research, the question here is about varieties of theory building. The focus is on theoretical activity, not on theory as a result. Based on ancient implications of the term θεωρία (theoria), models of a theoretical activity, attitude or stance are brought into focus, whereby ways of distancing are constitutive in each case. What does theorizing mean from the perspective of a spectator and to what extent is purposelessness to be thought of as a critical potential? Does the theoretical performance of thought include a sense of possibility and to what extent is this articulated in the aesthetic forms of language? Do theoretical realizations in the literary medium move on a threshold between historical determinisms and the freedom of a conceivable future? To what extent do theoretical views have a synaesthetic dimension, and can we imagine poetic language as a medium of theoretical reflection? Is the nuanced linguistic nature of theoretical articulation modes the very condition of critical intervention? All these modellings of aesthetic distancing ask about the forms in which theory can be expressed, including ways of writing theoretical activity.

Key Terms and Definitions in Balāǧat

The science of balāǧat, an Eastern classical subject within philology, was fully systematized in the 12th century by Khorezmian scholar Abu Yāqub Yūsuf as-Sakkākī (1160-1229). This article analyzes the content of balāǧat, demonstrating that it is a discipline focused on the rules and methods for expressing meaning through properly structured phonetics, morphology, lexicon, semantics, and syntax, in a manner appropriate to the context. It identifies the core components of the balāǧat system as lafẓ (word), kalām (speech), meaning, phrase, condition (situation), speaker (mutakallim), and addressee (muḫātab). The article explains that the science of ma‘ānī explores how to craft speech (kalām) suitable to the circumstances dictated by the situation; the science of bayān covers methods and principles for elucidating a single meaning through various ways and identifying signs directly related to the meaning; and the section known as badī‘ examines artistic devices, or "literary arts," which are now a focus in literary criticism and the study of poetic language.

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.