Language Work Research Articles

Gil de Biedma, Vallejo y Quevedo. Las influencias poéticas de Joaquín Sabina

Este artículo pretende analizar la dimensión poética de las letras de las canciones de Joaquín Sabina y abordar su estudio desde una perspectiva estrictamente literaria. Por las características de su obra, Sabina ha sido considerado por varias voces autorizadas un poeta y un cantante al mismo tiempo. Y es que, entre otros motivos, es un gran lector y amante de la poesía. Tal es así que puede rastrearse en su obra lírica ─la cantada y la estrictamente poética─ la influencia de grandes nombres de la poesía hispánica. Destacan las reverberaciones de Jaime Gil de Biedma, Francisco de Quevedo y César Vallejo, entre una larga lista.

Suburban Identity in the Poetry of John Updike

Abstract This paper provides a close reading of a representative selection of suburban poems by the American writer John Updike (1932–2009). It also draws upon the existing scholarship by suburban studies historians (including Kenneth Jackson, Dolores Hayden, John Archer, and James Howard Kunstler), who have argued for the cultural importance of American suburbia in fostering identity, and develops the argument by literary critics including Jo Gill, Peter Monacell, and Robert von Hallberg, who have championed the existence of a viable suburban tradition in postwar American poetry. By scrutinizing poems from Updike’s early poetry, represented by “Shillington”, up to his closing lyric opus, “Endpoint”, the paper argues that Updike’s unrecognized importance is that of a major postwar poet whose lyric work chronicles, in memorable, diverse, and important ways, the construction of individual identity within suburbia, in a dominant setting for most Americans from the 1950s up to the present.

Некласичні форми у поезії Джеордже Баковія: гомоморфні структури

The article deals with the works of non-classical forms of Romanian poet George Bacovia. Having made his début as a poet-symbolist, he sets up as the author of new poetic forms in the Romanian literature at the turn of the 20th century, discovering artistic means of modernism. Versification analysis of lyrical works of G. Bacovia showed that his non-classical poems are built on the basis of homomorphism and heteromophism. G. Bacovia used five homomorphic forms among which are: three-stress dolnik (Dk3), four-stress dolnik (Dk4), five-stress dolnik (Dk5), three-stress taktovik (Tk3) and four-stress taktovik (Tk4). Dominating become dolnik constructions and both in pure form and in combination with other kinds of tonics. The most often used forms become three-stress dolniks, which, for the most part, become a systematized or “normalized” forms. The poet builds up such forms on the basis of trisyllable classical meters. Dolnik form proper with dynamic and flexible rhythm, in which inner lines modulations inter-ictus intervals are available, can be observed in four-stress dolniks. To the regularity of Dk4 testify almost constant one-syllable anacrusis, predominance of female clauses and availability of rhyming and strophic organization of the poetic work. Five-stress forms of dolnik appear sporadically only in combination with other meters, mostly with Dk4 and only in not fully stressed form. Taktovik is a less used meter. It is mostly part of polymorphic structure at the level of micropolymetria or is directed to the pure tonic. Taktovik is built on the basis of shattered disyllabic meters.

¿Una rima perdida de Gustavo Adolfo Bécquer?

El artículo da cuenta del hallazgo de un poema atribuido a Gustavo Adolfo Bécquer, publicado en el número 5 del periódico soriano Juventud, con fecha de 10 de enero de 1910. Para justificar esta atribución, se estudian primero las circunstancias que enmarcan la publicación, coincidente con la estancia allí de Antonio Machado, quien dejó testimonio de algún autógrafo becqueriano hasta hoy perdido, como lo haría posteriormente Gerardo Diego. En segundo término, se estudia el texto en busca de coincidencias que lo liguen al conjunto de la obra lírica de Bécquer.

Emily Brontë and German Romanticism: An Analysis of the Imagery of ‘Night’ in Emily Brontë’s and Novalis’s Writings

Since the publication of Wuthering Heights in 1847, critics have long recognized the influence of British writers on Emily Brontë, such as Wordsworth, Byron and Shakespeare. In recent years, the possible influence of German Romanticism has also been noted by critics such as Maggie Allen and Elisha Cohn. The extent to which Emily Brontë was acquainted with German Romanticism still waits to be investigated in more depth and detail. In this article, I seek to examine this issue by introducing German poet and philosopher Novalis’s work Hymns to the Night and the Fragment and making a textual comparison between Novalis’s writings and Emily Brontë’s novel and lyrical work. Through an examination of the imagery of ‘Night’, along with a series of related concepts such as Dream, Vision, Slumber and Death in these two authors’ writings, I explore Emily Brontë’s acquaintance with, and understanding of, German Romantic ideology on a more comprehensive scale than has been done heretofore.

СЕМАНТИКА ПРЕЦЕДЕНТНОГО ИМЕНИ СОБСТВЕННОГО И ЕГО СМЫСЛОВОЕ ВАРЬИРОВАНИЕ

In the article, the semantics of a precedent noun in the Russian-language works by I. A. Brodsky is analysed. The paper presents a comparison of scientists’ points of view on the problem of an onym’s meaning, as well as researchers’ opinions on the semantics of a precedent noun. A new classification of precedent nouns in I. A. Brodsky’s works is given, depending on whether the nouns have changed their meaning or retained it. In the process of classification, for the first time attention is paid to the author’s and a reader’s cultural encyclopaedias. Sense variation of precedent onyms in I. A. Brodsky’s lyric works is identified and substantiated.

Criza Corporalităţii În Poetica Lui Ilarie Voronca

Abstract The aim of this paper is to highlight the vanguardist poetical universe of Ilarie Voronca, focusing on the construction of corporeal representations. The poetics of corporeality is associated with the concept of “crisis”, the latter being reverberated in the vanguard lyrical works as an effect of the historical and social context of the 20th century, which is the First World War. As a result, the consequences of this context bring to the vanguard writers poetical substance, which encapsulates the body and the disease, these two being transposed into several eerie, radical and shocking images in Ilarie Voronca’s poetics. This paper is going to demonstrate the existence of several corporeal representations in Ilarie Voronca’s poems, which are mainly represented by the vulnerable body , viewed as a limit and as the diseased/the suffering , proving that the crisis of corporeality is the effect of the historical conflagration at the beginning of the 20th century.

On Interpretative Theories of Rhythm

The connection between the concepts of “rhythm” and “interpretation” or “meaning” in literary (lyrical) theory can be received as a mere paradox. The concept of rhythm and metre had a very important, functional role in the theories of structuralism and structural semiotics. These paradigms of literary theory provided very precise, sometimes numerically detailed descriptions of metre, or a rhythm of a poem, however without taking into consideration the problem of interpretation. From the other side, hermeneutic approaches sometimes mention the “phenomenon” of rhythm, all the same do not realize text-analysis, so cannot connect the problem of the rhythm of a concrete text with the general questions of text-interpretation. Finally, the deconstructive strategies of text-interpretation and text-analysis rather don’t pay attention on the rhythm of a lyrical work. Nevertheless, there are some xx-th century theories which are based on the creative function of language and the semantic interpretation of rhythm, especially the rhythm in a verse or a poem. The paper examines four semantic theories of rhythm: suggestions of Juri Tinanov, I. A. Richards, Émile Benveniste and Henri Meschonnic.

Review of Kargashin, I. (2017). Russian poetic narrations in the 17th–21st centuries: Genesis. Evolution. Poetics. Moscow: Yazyki slavyanskoy kultury. 336 pages.

The review is concerned with detailed analysis of I. Kargashin’s monograph on Russian poetic narrations in the 17th–21st centuries. Normally applied to the epic genre, the concept of skaz [oral narration, tale] is extrapolated by the scholar to describe lyrical poetry. Hence the broad scope of issues discussed in the book: how accurately can the term be applied to lyrical works, since poetry is anti-narrative in its ‘pure form’? How can one structure the subjective sphere of poems, given that a skaz recreates a consciousness other than that of the author, unlike in lyrical poetry, where the author and the hero are inseparable? Following the questions, the scholar identifies typological characteristics of the examined phenomenon (appropriation of another’s consciousness, realization of this consciousness through a colloquial monologue, and depiction of the subject’s speech in verse), uncovers the reasons for its emergence (including ‘emancipation’ of the hero and transition to the spoken word), and traces its history and development.

Kairat Zhumagaliyev – a poet of spiritual values

Kairat Zhumagaliyev is one of the first names that are mentioned among the poets who ascended tothe height of Kazakh lyrics since he has displayed his inner world and his mastery in all kinds and genresof lyric poetry. Most of his creative heritage consists of both poems and ballads and lyrical works. Thematic scope of K. Zhumagaliyev’s poems is various. At the earlies stage of his creative work he was moreinclined to children’s poetry and later he started to develop into a poet having a mature civic position.He intentionally began to choose social and political themes. Having improved his artistic mastery, hegradually proceeded to glorification of national spiritual values of his people. Touching upon a subjectthat is so cherished and near to heart and conscience of the nation, the poet K. Zhumagaliyev naturallyfosters in his readers careful attitude to spiritual values. His poetic creations have an important peculiarity – the poet glorifies national character, national spirit and national identity. The poet recalls withrespect the great warriors-defenders of the steppe whose military work and feats are an inexhaustiblesource of inspiration for future generations. The poet had to work hard in order to impart to future generation in an accessible form and in detail historical events that took place in life of the Kazakh people, themaster of the boundless steppes. The poet wants with all his heart that his independent people alwaysremember the names of those who have left an outstanding mark in the history of the country. Based onnumerous historical facts, Zhumagaliyev describes them from the point of view of the spectator in orderto reconstruct pictures of events and actions performed for the welfare of the nation. The tradition ofthe Kazakh people’s hospitality is one of the basic themes of his poetry. In his poems the poet describestruthfully and without bias modern manifestation of traditions handed down from generation to generation. Such themes as respect for elders, concern for the younger are particularly topical to the works ofthe poet Kairat Zhumagaliev. These virtues are part of and attributes of folk pedagogy, the attitude ofmodern society to old but ever-young values. The article reveals the theme, the ideological goal of thepoet in glorifying spiritual values. Using scientific and literary analysis it forms the rationale for the poet’sability to convey a strong connection between the past and the present of the people, to show events ofthe long-ago through the prism of the worldview of modern man.

Лирические произведения А. С. Пушкина как средство создания образа поэта в беллетризованной биографии И. А. Новикова «Пушкин в изгнании»

Лирические произведения А. С. Пушкина как средство создания образа поэта в беллетризованной биографии И. А. Новикова «Пушкин в изгнании»

Понятие как «мотив» теоретического дискурса

The article considers the possibility to interpret motive and concept as two parallel ways of pre-predicative matter of internal speech incarnation. Lev Vygotsky’s doctrine about thought and word, which arose in the philosophical context of neo-Kantianism and dialectics peculiar to the beginning of the 20th century, creates the possibility of such interpretation. The primacy and substantiality of art’s content before its incarnation was recognized and declared by such thinkers and poets of The Silver Age as Andrey Bely and Boris Pasternak. The word “matter” itself was a working concept in the aesthetic reflections of Pasternak. In his own work, invariant themes were embodied in both narrative and lyrical modality, and in the form of reasoning. Generic boundaries, thus, shown their permeability and, therefore, a conventionality. On the other hand, the adjacent status of artistic and theoretical ways of speech was realized in the search of the formal school of poetics in 1920s. Boris Tomashevsky in his classical textbook of poetics interpreted the “theme” as an atom of “matter”. In the status of thematic units, that is, units of “matter” division, the scientist considered both the plot and the motive. With this, he stated the possibility of two paths to dispose thematic elements: fabulous story based on causal- temporal relationships, and without fable. On the second way, according to Tomashevsky, lyrical works emerge, and it also generates dialectics of theoretical reasoning. This allows to consider theoretical reasoning as a parallel method of organizing thematic material – “matter”. Concepts are joined in the propositions exactly the same as the motives are combined in the plots. Additional similarity of concepts and motives is created by the only systemic way of their existence, established by such researchers as, on the one hand, Lev Vygotsky, on the other, Vladimir Propp. So there is a prospect of parallel systematization of categories: motive, concept, plot, proposition, and others related to them. Reference to the experience of literature shows that the thematic elements of the matter can be embodied both as concepts and as motives even within one work. The example is the “Word of Law and Grace”, in which the themes of Law and Grace, first, are revealed in the conceptual comparison, and secondly, are embodied in the images of Hagar and Sarah from the Old Testament. So clearly appears concurrency of concepts and motives as ways of realization of thematic “matter”.

Граматичні трансформації у ліриці Дж.Г. Байрона

The article analyzes the advantages and disadvantages of the translation process. Matches between oral and written translation are found. The efficiency of the transformational model of translation at the language levels is considered. The main tendencies of transformation analysis in the translation of two different languages are demonstrated. Focused attention is paid to the concepts of linguistic units, linguistic translation and grammatical structures. The leading types and models of translation are described. The concept of translated literature is highlighted. Examples of grammatical structures of the transformational model of translations of lyrical works are presented. Byron from English into Ukrainian at the syntactic level. It is proved that the transformation model is most used at the syntactic level of the original and translation.

Emotivity as an element of the style category in poetry

Several approaches to the interpretation of emotion in poetic text are considered in the article — linguistic, traditional literary and emotive (from the point of modern interdisciplinary interpretation of the phenomenon of emotionality). The relevance of the study determines the belief that, without taking into account of achievements of linguistic emotion and traditional linguistics, the analysis of the stylistic individuality of the writer will be incomplete. Novelty of the study is the introduction concepts of poetic emotion and emotivity into the conceptual apparatus of the style of the text. The subject of study — the emotivity of a poetic text — is defined as a formal-stylistic index / factor of author’s individuality, expressed through the images of a work. The relation of emotional and rational in methods of author’s self-expression, coordination of pathos and emotions is considered. The methodology of the research is determined by an interdisciplinary approach, it is determined during the analysis that among the linguistic approaches the most effective for literary analysis is the method of in-depth study of the category of emotivity in the text, worked out by O. Filimonova. As a result of research an emotivity of the form and content components are interpreted as the interconnected stylistic means in recognition of the lyrical work. It is proved that the expressiveness and aesthetic origin of poetry as a kind of artistic creation predetermines the emotivity of all its components. The basis of the theory of the emotivity of a poetic work, which incorporates the concepts of traditional poetry and prosody, is the principle of revealing poetic emotion in the text in three planes: content, expression and image. Stylistic differentiation of emotive means is conditioned by the formal expression of them at all levels of language use — phonological, morphological, lexical-semantic, phraseological, syntactic levels of structural models of works. According to the results of studying various aspects of the author’s emotionality in the poetic text, it is planned to develop a literary theory of poetic emotion and its description in the historical perspective.

ДІЄСЛІВНА МОРФОЛОГІЧНА ДОМІНАНТА КАТЕГОРІЇ ЧАСУ ЯК ОСНОВА ТЕМПОРАЛЬНОГО ПЛАНУ Й КОМПОЗИЦІЙНОЇ СТУКТУРИ ЛІРИЧНОГО ТВОРУ

Стаття присвячена дослідженню того, як реалізується експресивний потенціал маркованих та немаркованих членів трьохопозитної системи часу дієслова в поетичному тексті за умов згущення однорідних за певним морфологічним параметром одиниць, що утворюють його домінанту, а також визначенню ролі морфологічної домінанти часу у створенні темпорального фону й у розгортанні композиційної структури ліричного твору. Аналіз особливостей поетичного функціювання дієслівної категорії часу дозволяє виявити деякі загальні закономірності функціювання морфологічних домінант у поетичному тексті та простежити ступінь участі членів трьохопозитної системи часу дієслова у формуванні експресивності цієї морфологічної категорії, що утворює дієслівну домінанту часу ліричного тексту. У статті стверджується, що згущення дієслівних форм одного з трьох часів дієслова призводить до утворення морфологічної домінанти часу, яка є важливою й невід'ємною частиною композиційної структури твору та бере участь у передачі поетичних смислів. Експресивність морфологічної домінанти теперішнього часу як категорії, що є немаркованим членом граматичної опозиції, менш помітна читачеві у порівнянні з дієслівними домінантами форм майбутнього і минулого часу. Однак форми теперішнього часу дієслова мають потужний семантичний потенціал та за умов їхньої актуалізації у поетичному тексті в складі морфологічної домінанти передають широкий спектр значень й смислів. Форми минулого і майбутнього часу, що беруть участь у формуванні морфологічної домінанти, актуалізують один з темпоральних планів оповіді — минулого або майбутнього, а також виступають засобом поетичної виразності та розгортання ліричного сюжету поетичного твору.

ANIMAL IMAGES IN GEORG TRACKL’S POETRY

The article analyzes the images of animals in lyrical works of the famous Austrian expressionist poet Georg Trakl. Animals are the representatives of the biological kingdom of the same name. The images of mammals, as well as the images of insects, birds, and a worm are sequentially considered. There are twelve representatives. The images of animals are analyzed as elements of the artistic world of the works of the poet, which determines the novelty of the conclusions of this article. Each of the animals, according to the hypothesis, has a symbolic meaning, and the meaning is very stable, it moves from one poetic work to another. The symbolic meanings of the images of the animal kingdom in the poems of Georg Trakl are generally consistent with those established in common European culture, as evidenced by reference to the dictionaries of symbols (four authoritative sources are used). The authors reveal the semantic content of the image of each animal in specific texts, and compare it with the interpretation of its symbolic meaning in culture. As a result, conclusions are drawn about the coincidence of the full or partial semantic meaning of images in European culture (literature) and in Trakl's poems.

Hacia un análisis de la obra de Richard Wagner a través de la lingüística computacional

El presente artículo busca explorar la relación entre música y lingüística. Para ello, analiza una parte importante de la obra wagneriana, utilizando algunas herramientas de la lingüística computacional. Para este fin, se ha constituido un corpus de libretos con obras pertenecientes a Richard Wagner y se ha empleado una metodología basada en la lingüística de corpus. Nuestro objetivo es analizar los textos wagnerianos y encontrar la relación entre música y lingüística desde una perspectiva ligada a los Leitmotive del autor alemán, observando, de esta manera, el comportamiento de una obra lírica desde el punto de vista lingüístico.

КАТЕГОРИЗАЦИЯ ПРОСТРАНСТВА В ИНДИВИДУАЛЬНОМ СТИЛЕ РОБЕРТА БРАУНИНГА

The article is devoted to studying the peculiarities of space categorization in Robert Browning’s individual style. The paper focuses on the evolution of this aspect of the poet’s individual style in his lyrical works. The experience of studying poets’ individual styles shows that the ways of the linguistic conceptualization of space in the author’s creative work are the important markers of the evolution of the author’s individual style and its structure. The researcher describes the spatial model in Robert Browning’s linguistic worldview, which can be reconstructed by analysing the vocabulary with the spatial meaning.

Nietzsche als Dichter. Lyrik – Poetologie – Rezeption

Nietzsche als Dichter. Lyrik – Poetologie – Rezeption

Implicaciones psiquiátricas y neurológicas en la literatura shakespeariana. Breve análisis

William Shakespeare (1564-1616) is with no doubt one of the most prolific literary artists of all times; in addition to being an eminent playwright, his works reflect arguments that express medical knowledge, allude to concise descriptions that are relevant to medical practice of that time, and even to current medicine. He wrote between 35 and 38 plays, six lyric works and 154 sonnets (approximately) where finding little more than 700 references to medicine of those days is possible. For this reason, different scholars have analyzed the medical concepts within the Shakespearean literature; some agree that these may be the result of studies of his own, while others suggest that Shakespeare repeated the medical knowledge of some "men of wisdom" of his time. It should be mentioned that the author's contemporary London society lived in an overpopulated, nauseating, sexually promiscuous city that was plagued by pests and waste and continually besieged by epidemics whose treatments many times caused greater evil than benefit (for example, lead-based make-up). Some biographers credit syphilis, alcohol, and depression as the source of Shakespeare's creative production. Despite the myriad of authors who have analyzed the insinuations about medicine in Shakespeare's dramatic accounts, Sigmund Freud (1856-1939) is perhaps the most important; throughout his career he carried out a substantial analysis of the English playwright's works owing to his passion for literature and for this author.