Poetic Communication Research Articles

河西 金麟厚와 鼓巖 梁子徵의 시적 소통과 그 의의

This study aimed to investigate the poetic communication between Kim In-Hoo and his student Yang Ja-Jing and the meaning. They wrote two poems of <Jeomam Yeonkoo> together. Kim In-Hoo wrote <Jambujaga> and Yang Ja-Jing borrowed it to write <Jambujaga- gyongchahaseosunsengun>. Then Kim In-Hoo borrowed Yang’s poem again to write three poems of <Chajeungyangsengjungmyongun>. Therefore, as it was suggested that Kim In-Hoo and Yang Ja-jing communicated each other through writing poems, this study specifically investigated their communication in each aspect. The two poems of <Jeomamyeonkoo> were the 3rd and the 4th of the eight poems of <Eoamjapyoung> recorded in vol. 7 of 『Haseo Collection』 . Kim In-Hoo sincerely modified the poems written by Yang Ja-Jing. He wrote <Jambujaga> with an ash tree stump he gained one day as a material for poetry and Yang Ja-Jing borrowed the rhyme of <Jambujaga> to write <Jambujagagyongchahaseosunsengun> and then Kim In-Hoo borrowed Kim’s rhyme to write three poems of <Chajeungyangsengjungmyongun>. <Jambujaga>, <Jambujagagyongchahaseosunsengun>, and <Chajeungyang- sengjungmyongun> were made of 26 verses, which have distinctive contents each other. Kim In-Hoo considered the ash tree stump which can be said to be an insignificant thing as very valuable in <Jambujaga> and he seemed to take much consolation from it. He was also identified with it himself. Yang Ja Jing gave a focus on the history of the stump by introducing the history of the Qin Dynasty in <Jambujagagyongchahaseosunsengun> unlike his teacher. Kim In-Hoo mentioned the importance of reading along with the mind of desire for prosperity of Confucianism in <Chajeungyang- sengjungmyongun>. Finally, this study defined the nature of the poetry as follows: the two poems of <Jeomam Yeonkoo> were training poetry and the three poems of <Jambujaga> by Kim In-Hoo, <Jambujagagyongchahaseosunsengun> by Yang Ja-Jing and <Chajeungyangsengjungmyongun> by Kim In-Hoo were odes on objects, historical poetry and Confucian poetry through borrowing rhymes.

The Authorial Subject as a Metapoetic Figure in Ode I 9, Vides ut alta, and Ode II 19, Bacchum in remotis

This paper analyses the relation between the authorial and textual subject of Ode I 9, Vides ut alta, and Ode II 19, Bacchum in remotis, as a means of transition from a figurative represented world to an author’s experience of the creative process, understood as Horace’s attempt to capture the creator’s natural need to transform this key experience into an act of poetic communication. As a starting point for analysis, the construction of the subject-bard (vates) and the topics of poetic frenzy (ingenium, insania, mania) shaping the poet’s image as a medium between the divine sphere of inspiration and the poetic communication turned towards the sender were adopted.

THE CONCEPTUALITY OF THE TEXT AS A MANIFESTATION OF THE ETHNO-CULTURAL CODE OF THE NATIONAL-AUTHOR PICTURE OF THE WORLD

The purpose of the article is to describe conceptuality as a subcategory of the textual category of informativeness, to focus on the linguistic means of expressing this typological feature of the verbal whole. The outlined goal involves the following tasks: to substantiate the existence of conceptuality as a subcategory of informativeness in the categorical hierarchy of the text; to focus attention on conceptuality in the aspect of revealing ethnocultural codes of national and individual author’s pictures of the world; describe key words, lexical repetitions, author’s aphorisms, as well as dedications, epigraphs, titles as linguistic means of realizing conceptuality. The source base of the research is Ukrainian-language artistic verbal objects, from which the selection of units (metaphors, epithets, periphrasis, oxymorons, etc.) was carried out, which reveal conceptuality as a textual subcategory of informativeness. The focus is on literary texts of both classical Ukrainian literature and modern ones — by Ihor-Bohdan Antonych, Ivan Bagryany, Oksana Zabuzhko, Maria Matios, Natalia Nazar, Roman Skiba, Hryhoriy Skovoroda, Vasyl Stus, Lesya Ukrainka, Hnat Khotkevich, Taras Shevchenko. The object of study is Ukrainian poetic discourse and its components (concepts), and the subject is artistic images of Ukrainian poetry and prose as expressions of conceptuality as a type of textual category of informativeness. The result of the scientific search was the deepening of the idea of hierarchical ordering of text categories and subcategories and the definition of conceptuality as an invariant characteristic of the verbal whole, which reflects a separate aspect of the typological feature of the verbal whole. We study artistic and poetic communication in the aspect of a discursive approach as a process in which the result of verbal interaction between its participants is a manifestation of the specificity of the linguistic and national picture of the world of Ukrainians. The conclusion is that the informativeness category represents the text as a communicative unit. The phenomenon of informativeness is caused by the presence of conceptual information in the artistic text, which is projected into the plane of the author — with the idea of the work, into the plane of the reader — with the process of perceiving the text as assimilation of new information and approaching the author’s idea. Ukrainian-language artistic texts are components of the world picture of the ethnos, they contain collective experience, the genetic and evolutionary basis of which is expressed by the textual subcategory of conceptuality. Conceptuality implements the aesthetic idea of the work, harmonizes the theme and plot, determines the selection of language means, etc. The concept is an axiological prism of worldview. Artistic communication is able to reveal the unique culture of the nation, its traditions, customs, mentality, reproduce people’s lives in national-historical originality, and also represent the worldview of the unique personality of the author-addressee. Linguistic means of implementing conceptuality as a subcategory of the text category of informativeness are keywords, lexical repetitions, author’s aphorisms, as well as dedications, epigraphs, titles.

Communication and Violence in the Poetics of Terayama Shūji: From the Poetic to the Theatric

This article will focus on the theory of poetics Terayama Shūji develops in Postwar Poetry: The Absence of Ulysses (Sengoshi: yurishīzu no fuzai, 1965) and Language as Violence (Bōryoku toshite no gengo, 1970). Postwar Poetry, his first theoretical writings on prose poetry, can be said to be a book about the poetic communication and “discommunication”—a wasei-eigo coinage of Tsurumi Shunsuke’s that Terayama frequently invokes—that occurs in mass communication, stemming from the conflict with print (katsuji). In this book, Terayama develops not autonomous “monologue”, but a theory of the taiwa/dialogue of poetry. However, Language as Violence contains not only the taiwa (dialogue) of his early poetics but the problem of bōryoku (violence) in his later theatrical works and theory of theater, which becomes an important theme in his body of work. Comparing with Georges Sorel’s Réflexions sur la violence that he cited, I would like to examine the description of the book’s titualar violence. As I shed light on Terayama’s poetics and view of language, I will attempt to establish a connection with his plays and theory of theater.

The Pragmatics of Fiction: Literature, Stage and Screen Discourse

The Pragmatics of Fiction: Literature, Stage and Screen Discourse

УТОПИЯ СОВЕРШЕННОГО ЯЗЫКА: ЛИНГВОФИЛОСОФИЯ ХУГО БАЛЛЯ

Philosophical and poetic reflection on the role of language in the era of modernism are characterized by an intense search for a new perfect language. The result of this search is a discussion about the expressive possibilities of poetic language and attempts to create new forms of poetry. The subject of the research is Hugo Ball’s theoretical views on the problem of language. One of the founders of the Dada movement, Ball creates sound poems, which should be analyzed as a reflection of the avant-garde concept of abandoning the outdated rules of ordinary language. They represent an absolute deconstruction of language, but its significance lies in an attempt for an innovative understanding of poetic creativity and its reception, which is in the spirit of the time. Ball’s reflections on poetic language are viewed in the context of the romantic philosophy of language, modern philosophy, and also in the context of philosophical thought of the beginning of the 20th century. At the heart of the radical literary experiments of the Dadaists (as well as those of the Russian and Italian Futurists) is the idea that the existing conventional natural languages are unsuitable for poetry. Hugo Ball rethinks the concept of the language norm and the principles of poetic communication between the creator of a new formation and his listener. Doubt, concerning the success of such communication, leads Ball to comment on his own hermetic texts using conventional language. The article formulates the concept of a perfect language in the understanding of Hugo Ball. The main features of Ball’s new poetic language are irrationality, magical nature and fundamentally different sound. “Poems without words” are proposed to be interpreted as metaphors which point to the idea of a perfect language behind them.

Delineation of Love and the Overwhelming Questions of J. Alfred Prufrock in T S Eliot’s Poem “Love Song of J. Alfred Prufrock”

Modern poetry is marked with the spirit of revolt against humanism and romanticism. The note of pessimism is always discernible in modern poetry that expresses a feeling of frustration among the people. T S Eliot is a modern poet not merely because of the novelty of his themes and by awareness of his time but chiefly because of the new method evolved by him for poetic communication. His poem “Love Song of J. Alfred Prufrock” is an excellent example of modern poetry that deals with the complexities and dilemma of modern man. The present paper attempts to deal with the description of love of J Alfred Prufrock and his problems while expressing his feelings to his lady love. The paper tries to make an in-depth study of the situation faced by the protagonist who is in quest of a successful love relationship.

The Poet as a Crusader for Social Justice: Stylistic Implications in Niyi Osundare’s Random Blues

The role of the poet as a crusader for social justice has been well-acknowledged in literary circles and beyond. This stems from the nature of art as a humanistic endeavor genetically imbued with the spirit of standing with humanity and freeing it from the stranglehold of social malfeasance, reprehensible and tendencious inclinations. Poetry is, therefore, a unique artistic expression of solidarity with the people and an aspiration or vision towards a better human experience. Osundare’s social involvement through literary practice has meant the engagement of issues with the intent of exposing the contradictions that impoverish society. The social involvement and foregrounding of the thematic issues has entailed the mobilization of linguistic resources as stylistic strategies for poignancy and effective communication. This paper interrogates the meeting point between Osundare’s social concerns in his Random Blues and the linguistic strategies he employs to the service of poetic communication. To this end, the paper analyses New Historicism which underscores the invocation of socio-political times in the production and interpretation of literature; and insights from Systemic Functional Linguistics that stress the place of function and relevance in determining linguistic choice and meaning. The paper concludes that as a social critic, Osundare has used poetry to spearhead a rude awakening of the oppressed in the society against the contradictions and manipulations by the powerful few, calling the latter to action and championing the cause to bring about social transformation and liberation from the chokehold of tyranny and oppression.

Поэтический текст как способ организации пространства города

Since the sixties of the twentieth century, different algorithms for using poetic texts in the transformation of urban space have emerged. Poetic discourse is being increasingly contextualized in space, whose role in the contemporary cultural system and specific tasks of urbanism has been growing. In the urban context, poetry may acquire different forms — street performances, advertisements, murals and other types of visual poetry. It may turn the city into a venue for a festival of urban poetry. The poetic text interacts with urban objects (monuments, train stations, airports, bus stops, and benches), including QR codes and other technical means. The article explores the process of integrating poetic texts into urban space using the example of the Netherlands, Belgium, Russia, Spain and countries of Latin America. Urban poetry contributes to overcoming the linearity and elitism of the poetic text, shifting the emphasis from verbal to the visual or performative component of the text, and strengthening the function of the addressee. As a result, poetry acquires an applied character. The city becomes an instrument of mediated poetic communication and can be used for the representation of the city.

A Study of a Poetic Communication Aspect of the “Poem Written Along a Rhythming Character(次韻詩)” of Toegye

이 글은 퇴계의 본질이 학자였다는 점을 인정하는 전제에서 퇴계의 시가 지니는 특성을 찾아보고자 하는 것으로, 논의의 대상을 퇴계가 당대 우리나라 사람의 시에 쓴 次韻詩 중 원운시가 확인되는 시로 한정한다. 퇴계의 차운시는 창작 동기에 따라 구분된 차운시의 세 유형인 學習과 交遊 그리고 消興의 양상을 모두 보이지만, 내용으로 보아 가장 많은 것이 학습 중 학문의 수련과 교유 중 훈화에 해당하는 것으로, 차운시 대부분이 학문과 수양을 내용상의 공통점으로 한다. 퇴계가 원운시의 작자와 일정한 관계를 형성하고 있을 때 퇴계의 차운시는 원운시의 작자와 소통하는 외적 소통 구조와 함께 자기 스스로와 소통하는 내적 소통 구조를 동시에 보이거나 이 중 하나만 보이기도 하지만, 그가 원운시의 작자와 어떤 관계를 형성하지 않았을 때는 원운시의 운자와 형식, 배경을 차용하여 자기 스스로와 소통하는 내적 소통 구조만 보인다. 또 퇴계의 차운시가 자기 스스로와 소통하는 내적 소통 구조만 형성할 때 소통의 내용은 대부분 학문과 수양의 의지 표출이지만, 원운시의 작자와 소통하는 구조를 형성할 때는 원운시의 내용과 원운시 작자의 학문적 수준에 따라 다른 모습을 보인다. 원운시의 작자가 일정 수준 이상의 학문적 성취를 이루고 시에 그 내용이 담겨 있을 때는 勸戒와 격려의 뜻을 드러내는 단선적 소통 구조를 형성하지만, 그렇지 않았을 때는 중의적 해석이 가능한 이중의 소통 구조를 통해 자신의 뜻을 드러내고 원운시의 작자를 感發한다. 이중의 소통 구조를 지닌 퇴계의 차운시는 중의적 해석이 가능하다. 첫 번째는 원운시에서 독립된 시로 해석되는 경우로, 원운시와의 관계를 고려하지 않고 읽어도 의미의 錯亂이 일어나지 않는다. 이 경우 퇴계의 차운시는 자기 스스로와 소통하는 내적 소통 구조를 보이면서 학문과 수양에 대한 자신의 의지를 표명하는 시가 된다. 두 번째는 원운시와 연계된 시로 해석되는 경우로, 원운시의 작자와 소통하는 소통 구조를 지닌다. 이 경우의 차운시들은 대부분 원운시 작자의 물음에 답하거나 원운시의 작자를 高揚하여 더 높은 경지에 나아갈 수 있도록 유도하며 원운시의 의미를 확장하거나 심화한다. 이런 점들로 볼 때 퇴계를 학자로 간주한다고 하더라도 퇴계의 차운시는 문학적으로 충분한 가치를 지닌 문학성 높은 시라고 할 수 있다. 따라서 퇴계의 문학적 위상을 보다 선명히 하기 위해서는 퇴계의 시문학에 대한 심도 깊은 접근과 해명이 더 많이 이루어져야 할 것이다.

POETIC DISCOURSE AS AN ACT OF COMMUNICATIVE INTERACTIONS BETWEEN ADDRESSER AND ADDRESSEE

The author substantiates the idea of the anthropocentric nature of the poetic text, in which the addresser and the addressee form an interactive communicative chain, and artistic- poetic communication in the aspect of discursive approach is considered as a process in which the subject of verbal interaction between its participants is encoded in poetic form. Poetic verbal goals act as the source for this research, from which a selection of units that manifest the text category «anthropocentrism» is done in a way of accurate and complete inventory. The research method is descriptive. The author considers the poetic text as an intermediate link in the paradigm, which presupposes certain communicative roles of the addresser (author) and the addressee (reader). This triadic structure of speech interaction is caused by the tactical and strategic repertoire of the speaker, their intention, functional parameters of the text and pragmatic effect. The prospect of the research is the description of the text category «anthropocentrism» and its components (addresser / addressee) in semantic, pragmatic, communicative aspects.

Поэтические редупликации Александра Вве­денского

The article is devoted to the study of the poetics of reduplication in Alexander Vveden­sky's fiction texts. The aim of this research is to analyse the functional range of reduplications at different textual levels, from the lexical to the thematic. Reduplication is understood as one of the most important tools of Vvedensky's linguopoetic experiment, aimed at the 'revision' of the ability of language to signify and represent the world and its basic semiotic principles. For Vvedensky, the non-normative punctuation of contact lexical reduplications creates prerequi­sites for perceiving repeated word forms as occasional homonyms, distinguishes the signified behind the signifier, and also problematizes the nature of poetic communication. On the grammatical level, reduplication creates tension between repeated grammar patterns and their lexical realisations, which allows Vvedensky to demonstrate the potential extensibility of syn­tactic models and make grammatical semantics a compensatory mechanism that fills the se­mantic void of the poetic utterance. Vvedensky's thematization of reduplication as the "dou­bling of the world" is a mirror, which deforms and transforms reality. Mirror semiosis illus­tra­tes the loss of iconicity by reduplication and, as a consequence, the impossibility to repre­sent the object by its reflection. The authors conclude that on the level of vocabulary and gram­mar, reduplication creates dynamism in the verbal space of the text, activates its inter­pre­tation and thus creates the situation of gnoseological doubt in the adequacy of language as a means of representing the world. In the thematic field, it deprives the world of its self-iden­tity since objects constantly multiply, lose their distinctiveness or, on the contrary, find mea­ning where it does not exist.

“Stay with me. Talk to me”:
 reader interaction strategies in modern
 poetry

The article is devoted to the consideration of a poetic text as a communicative
 phenomenon with a high impact potential. The author defines the features of poetic communication, which is both mass and interpersonal, and its main goal,
 which is the poet’s desire to communicate author’s vision of the world and thereby change the picture of the reader’s world, achieving empathy from it. Based on
 the understanding of the speech strategy as a cognitive communication plan, a
 program for generating and perceiving speech, the author talks about the fundamental reversibility of text-generating and interpretative strategies and offers
 own classification of strategies and tactics that are most often used in modern
 poetry. In this classification, the main communicative strategies of self-presentation and rapprochement with the reader are associated with auxiliary discursive
 strategies of actualizing, dramatizing and dialogizing the text and programming
 interpretations by tactics for highlighting objects and situations using sound
 “gestures”, pointing to the referent, framing, directly introducing the reader into
 the communicative context, attracting the recipient’s attention through appeals
 and pragmatic instructions, interrogation, and some others. Particular attention is
 paid to the multimodality of interactions and its specific manifestations in poetic
 discourse. The study is based on the material of Russian poetry of the 1980-
 2000s using the methods of intent and discourse analysis.

Неконвенциональное функционирование дискурсивных слов как маркеров автореференциальной агрессии в современной поэ­зии

The article examines the specifics of speech aggression in poetic communication. Special attention is paid to the unconventional functioning of discourse markers of aggression. The aim of the study is to analyse aggressive verbal behaviour in poetic communication and iden­tify distinctive characteristics of expressing aggression in everyday discourse. The research methodology includes methods of linguopragmatic, linguopoetic and discourse analyses. The author studies discourse markers of verbal aggression in poetic speech acts, where aggression can be expressed explicitly and implicitly. The study reveals specific strategies of expressing verbal aggression in poetic communication, which can include the self-referential criticism (through verbal aggression directed at the language of the poetic utterance, the actor of utter­ance, the poetic utterance as such and also the perceptual mechanism). The author studies the formation of aggressive message in poetic discourse and its subjectification.

ODBRANA POEZIJE: RUSKI FORMALIZAM I NOVA KRITIKA

The paper aims to present the key concepts that two formalist schools of thought developed in order to defend poetry as a miracle of communication. Russian Formalism takes Shklovsky’s defamiliarization (остранение) as its key concept and the trans-sense language (zaum) of Russian Futurist poets as a basis for analysing what constitutes differentia specifica of poetry. The ideas of the Russian formalist school, through Roman Jakobson, spread first to Eastern Europe, and then to the United States of America, where they influenced a group of critics, who were already inspired by T. S. Eliot’s and I. A. Richards’ ideas on poetic language and communication, to develop a new critical methodology. The name “New Criticism” was supposed to indicate that this school of thought was about different approaches and new tendencies in criticism. As the paper demonstrates, the key representatives of New Criticism are particularly interested in exploring the function of poetry and of criticism as well as the nature of poetic imagination and language. In order to examine what the poem says as a poem, they developed the practice of close reading and focused on metaphor, paradox, and specific method by which a poet transforms his experience into a poem as autonomous features of poetic expression. The special terminology introduced by Russian Formalism and New Criticism, and the complex, ironic and intellectual language they used not only managed to throw light on what specific problems of the science of literature were, but also enabled a defence through poetry – a kind of resuscitation and refinement of non-literary reality.

RECIPIENT FACTOR IN POETIC TRANSLATION DIACHRONY

The paper's aim is to analyze transchronical interlingual and intercultural poetic communication. Special attention is paid to the recipient, his significance in diachronic translation is investigated. Linguistic and cultural aspects of poetic communication are analyzed: realities, historicisms, archaisms, phraseological units, allusions. The recipient factor is actively studied in pragmalinguistics, which finds common ground with translation studies and the theory of intercultural communication. The research is based on the integrative method: descriptive, contextual, comparative and discursive analysis are used. The paper reveals the synergetic nature of the recipient, unique on age, gender, worldview, political and cultural characteristics; cognitive dissonance of the author and the recipient in monolingual and in interlanguage communication are revealed. The actual basis is the novel in verse Pushkin “Eugene Onegin”, written almost 200 years ago and numerous translations made at different times (1840-2008). The studied empirical material leads to the following conclusions. The translation multiplicity in transchronical transfer of cultural heritage to foreign languages is natural and unavoidable. The search for adequate means of intercultural translation of poetry is transcendental in nature. The syncretic nature of the poetic sign in diachrony strengthens the discrepancy between the recipient's and the author's conceptual and thematic knowledge content. This is particularly evident in terms of the transf chronic communication when the author and recipient are separated by a significant time interval. The source language recipients and the target language recipients have objective sociocultural differences which are more evident in transtemporal interlingual communication. The above-mentioned factors interact in the complex synergistic system that is impossible to cognize and to describe in a reductive linguistic theory of translation. On the basis of insufficiency of the reductionism of the linguistic translation, can be expected the transition to the methodology of holism translation. Holism as a methodological principle and philosophy of knowledge has found effective application in the Humanities. Its use in translation in cross-cultural, cross-language and TRANS chronic communication appear to be objectively necessary. The need for pragmatic adaptation and the borders of its approximate values is to be verified in further studies, combining pragmalinguistics, cognitive linguistics, translation studies, functional stylistics, discourse analysis and linguocognitive translation.

VALERY BRUSOV’S COMMUNICATIVE STRATEGIES IN POETOLOGICAL DIALOGUES WITH PENMATES

The article reveals the specifics of poetological dialogue of Valery Brusov with the Symbolist poets. There is a hypothesis that the addressing factor becomes the organizing factor in the artistic mind of the poet in poetic communication. A lyrical dialogue with his contemporaries in the variety of its genre modifications becomes a way of ideological and aesthetic self-determination of V.Brusov.

Thaumastic Acoustics

AbstractThis article considers Pindar’s use of the expression θαῦµα … ἀκοῦσαι, ‘a wonder to hear’, inPythian1 to describe the monster Typhoeus. I argue that the expression needs to be read against Hesiod’s use of a similar locution, θαύµατ’ ἀκοῦσαι, to describe Typhoeus in theTheogony. There, Hesiod adapts the common epic formula θαῦµα ἰδέσθαι, producing a unique phrase to indicate Typhoeus’ chaotic blending of sights and sounds, and at the same time his disruption of the rules of poetic communication. Typhoeus’ disharmonious poetics there stands in contrast to the orderly image of the choral Muses in the proem. I argue in turn that Pindar subtly reworks the Hesiodic formula to reflect Typhoeus’ defeat by Zeus, and thereby subsumes the monster’s ‘acoustics’ within the θαῦµα of the choral performance of the ode itself.

Representações Poéticas da Morte nas Narrativas Midiáticas: Um Conto Chinês

Este artigo é parte de uma pesquisa amparada pela FAPESP, com o tema “Representações Poéticas da Morte nas Narrativas Midiáticas”. Busca-se compreender: as representações da morte em narrativas midiáticas; os conceitos de comunicação e incomunicabilidade, em suas relações com a cultura e a consciência da morte; a possibilidade de uma comunicação poética como forma de representação / construção complexa do fenômeno da morte e, entendendo-se o cinema como mídia, as representações da morte contidas nestas narrativas, a partir de seus aspectos poéticos. Utiliza-se: a pesquisa bibliográfica; a exploratória, para delimitação do corpus; a análise das narrativas selecionadas, no caso deste artigo, do filme argentino Um Conto Chinês (2011, Sebastián Borensztein). Com as análises, são desvelados aspectos poéticos nas representações da morte, que podem apontar para a possibilidade de uma comunicação poética, norteadora de nossa hipótese sobre o poético como forma complexa de representação / construção do fenômeno da morte nas narrativas midiáticas.

Специфіка поетичної комунікації з точки зору лінгвометафорології

Специфіка поетичної комунікації з точки зору лінгвометафорології