Poetic Speech Research Articles

Серия «Библиотека Михаила Яснова»: поэт как организатор книжного пространства

One of the features of the modern literary process that should be considered today is the active involvement of authors themselves in the publishing process. This includes every step of publication of their creative works in both commercial publishing houses and through the “Ridero” platform. M.D. Yasnov, poet and translator, implemented several such projects, including the book series “Mikhail Yasnov’s Library” at the “Clever” publishing house. The collection “One Evening in the Morning”, compiled by Mikhail Yasnov, is viewed in the article as an attempt to create an anthology based on “the author’s personal taste.” It includes selected works of modern humor literature for children. The goal of this book as well as the entire series “Mikhail Yasnov’s Library” is to collect and preserve the best that exists in children’s literature today. The article analyzes composition of the book and it identifies the foremost techniques of the language game: polysemy, antonymy, oxymoron, literalization of metaphor, plot twists and turns. Special comments are made on the peculiarities of the subject organization of the text. Yasnov’s own poems are published in the book along with the creative works of other authors who are close to him in their creative approach. In addition, the works, collected in this single volume, introduce children to some “secrets” of poetic speech, above all, to the function of rhyme. Developing sensitivity to language, the book fulfills both child-rearing and educational tasks, but it does this with humor, cheer, with breaking stereotypes, and reviving worn-out speech patterns.

Inversion as a stylistic instrument in poetic speech

In the methodological study of word order, it is important to look at it as a means of spiritual expression. The usual mode of expression is that it does not have the same sensitivity, but also provides a greater function of language communication. Inversion is characterized by stylistic dyes in the language of poetic works. The main purpose of the inversion is to ensure that the author's methodical purpose in literary texts, especially in the language of poetic works, helps the reader to quickly and easily understand the main point by highlighting and highlighting a part of the sentence.

Chiasm in stylism of scientific and media

The article presents a study of the stylistic figure of chiasm in media and scientific speech. The generalized views of researchers on this element of style, mainly poetic speech. An understanding of chiasm is formulated, which emphasizes the need to take into account the identity of the lexical composition of the parts of the chiastic construction, which significantly narrows the range of facts related to chiasm, and the main semantic effect of this figure is the mirroriness of the connected parts. Cases of using chiastic constructions in the heading position (VIRTUAL REALITY AND REAL VIRTUALITY) and in the media text (Yevgeny Yevtushenko was the most Russian poet from Westerners and the most western of Russian poets) are considered. It is shown that the stylistic effect in the first case is intriguing, in the second - an expressive assessment. Cases of using chiasm in the media text are analyzed from the standpoint of semantic syntax; it has been revealed that elements of propositions — actants, predicates, and the position as a whole — are involved in chiasm. Attention is drawn to the fact that chiastic constructions, formally representing a complex sentence, are not polypositive structures, because in them one proposition is fixed in two reflections (We need to kill free time, or it will kill us). The importance of describing chiasm among the expressive means of media stylistics and the style of scientific speech is emphasized.

Label functions in communicative portrait policy (based on modern print media)

The article presents a study of the stylistic figure of chiasm in media and scientific speech. The generalized views of researchers on this element of style, mainly poetic speech. An understanding of chiasm is formulated, which emphasizes the need to take into account the identity of the lexical composition of the parts of the chiastic construction, which significantly narrows the range of facts related to chiasm, and the main semantic effect of this figure is the mirroriness of the connected parts. Cases of using chiastic constructions in the heading position (VIRTUAL REALITY AND REAL VIRTUALITY) and in the media text (Yevgeny Yevtushenko was the most Russian poet from Westerners and the most western of Russian poets) are considered. It is shown that the stylistic effect in the first case is intriguing, in the second-an expressive assessment. Cases of using chiasm in the media text are analyzed from the standpoint of semantic syntax; it has been revealed that elements of propositions — actants, predicates, and the position as a whole — are involved in chiasm. Attention is drawn to the fact that chiastic constructions, formally representing a complex sentence, are not polypositive structures, because in them one proposition is fixed in two reflections (We need to kill free time, or it will kill us). The importance of describing chiasm among the expressive means of media stylistics and the style of scientific speech is emphasized.

ENGLISH VERS LIBRE PROSODY (AUDITORY ANALYSIS RESULTS)

The paper focuses on the vers libre prosody taking into account the auditory aspect of its oral actualisation. The main hypothesis of the study is that vers libre is constituted with a range of definite stable prosodic features that allow referring it to versification and at the same time to something different from a metered text and prose. Stimuli include written and oral presentations of vers libre. Some prosaic extracts have been analysed to compare them with vers libre. In addition, vers libre has been written as a piece of prose (pseudo-prose) and recited orally by native speakers having RP pronunciation. The prose has been written as vers libre, i.e. divided into lines (pseudo-verse), and cited as a verse. It helps identify the role of prosodic features in constituting vers libre specificity. The authors come to the conclusion that vers libre is correlated with a rather comprehensive set of prosodic features that determine its specificity. The quality of the “poetic speech” is formed by all components of its prosodic structure. The most important poetic features of vers libre are presented by its accent system and rhythmical structure. The accentual features include decentralisation of an accent in free verse lines; the rhythmic dominant on the last ictus in the line; an additional emphasis in polysyllabic words. The typical rhythmic structures in the vers libre are monosyllabic 1/1, disyllabic 2/2, 2/1, three-syllabic 3/2, 3/3 and four-syllablic 4/3 ones. The difference between vers libre and prose is demonstrated mainly by temporal and pausal features.

Cтереотипи української етносвідомості у візуальному секторі поетики (на матеріалі текстів балад Тараса Шевченка)

Abstract. In the context of clarifying the patterns of construction and perception of text units of wide application, a comprehensive analysis has been made that provides comprehension of the deepest structures of poetic language. The thesis that « the text does not exist outside of its creation and perception» that « the literary work is realized in the mind, in the perception of the reader», give an understanding of the text structure as a dynamic data, each element of which takes on different sections of social, scientific and cultural development. more or less actualization. Ethnic stereotypes, in particular, perceptual ethnostereotypes, which provide new data on the peculiarities of the world's categorization of the creative person, its outlook, as well as socio-cultural, mental, verbal dominant ethnic groups, to which the word artist belongs, play a role in this process. At the same time, ethnostereotypes are the result of systematization of phenomena in consciousness, and reliable information about them can only be obtained if the study of the extremely complete system of linguistic facts that reflect the peculiarities of the personality worldview, which is possible only if the poetic speech of the classics is studied. Taras Shevchenko, whose individual creative way distinguishes his language among other speakers, reflects the individual worldview through specific linguistic means or original author's use of them, by his unique way of knowing the world. At the time of study of the objectification of the zone of the visual sector, the perception of the contents - the color space of the artist - and their verbalization in the stereotypes of the Ukrainian ethno-consciousness. In linguistics, the lexical-semantic field of sensory perception forms a peculiar subsystem of lexical units that help to reproduce and verbally transfer feelings and feelings from the perceived environment, reality and the world as a whole. However, the sensor is one of the main means of representing the author's linguistic picture of the world. The highest frequency of use of sensorizm is in the structure of poetry, since the beauty of poetry is revealed in a high concentration of sensory images. Due to the versatility of the conceptual sphere of sensory perception, the sensory component in the context of a poem work serves as the semantic denominator to which language pictures of the world can be reduced. The lexico-semantic field of color in the poetry of Taras Shevchenko is limited to the traditional palette of color attributes (the study of the visual sector of the sensory-somatic map of the poetic language of the Shevchenko's ballads makes it possible to distinguish the dominant field of coloring white and black), the choice of which is based on the linguistic and poetic conception of perception of the world by the author and the traditional interpretation. symbols of the corresponding color names represented by the semiospheres of Ukrainian mythology and folklore. Shevchenko appeals to objects that are connected with visual impressions, which are firmly entrenched in these subjects and have acquired a symbolic generalization or figurative meaning on the basis of creating a complex image, based on visual associations. In the poetry of Taras Shevchenko, a number of speech intentions are implemented, among which distinguish cognitive-mental intentions related to the deep-seated structures of consciousness, the mental representation of the world and human intellect, the linguistic personality of the author, and those material manifestations that reflect the individual-author's picture. the world. Thus, the verbalizers of the color names, which function in the texts of Taras Shevchenko's ballad, objectivize the poet's meaningful information for the reader, while producing the perception of the reaction of the poet programmed.

Воссоздание системы образов узбекской поэзии в переводе

The article deals with the poetic system of images in the poetic speech of Uzbek lyrics on the material of the poem «Oshi halol» by the modern popular poet and translator Rustam Musurmon in the original language, as well as translations into English and Russian in a comparative aspect.

INVESTIGATION ALLITERATION FROM ABD AL-QAHER JURJANI’S PERSPECTIVE

This acritical studies alliteration in Jurjani’s perspective in order to grasp its significance in all poetic speech and its connection to aesthetics of poetic discourse. We tried, using the analytical method, to make clearer just what role each of words and meanings plays in the beauty of the alliteration and its acceptability. The results showed that in Jurjani’s opinion, the beauty of speech is not summed up in words. Had the beauty of the alliteration merely relied on words, it would have become something undesirable. He believes that what determines goodness or badness of alliteration is its meaning

Poetry Wars: Verse and Politics in the American Revolution and Early Republic

Poetry Wars: Verse and Politics in the American Revolution and Early Republic

«О МУЗЫКЕ, НО НЕ ТОЛЬКО»: МИР МУЗЫКИ И ЕГО ТВОРЧЕСКОЕ ПЕРЕЖИВАНИЕ В ЛИРИКЕ И. Л. СЕЛЬВИНСКОГО

Selvinsky’s poetry is inseparable from the world of music, which creative experience covers both the main events of the poet’s life and the Russian history of the XX century, the fate of all the mankind. Music in Selvinsky’s lyrics is a multifaceted topic, wealth of images, a serious reason for reflection on social, moral-philosophical and cultural-aesthetic themes. His lyrical work abounds not only with musical allusions, comparisons, allegories, genres, forms, terms, but also with artistic techniques that bring poetic speech closer to musical art expression.

Poetry, Media, and the Material Body: Autopoetics in Nineteenth-Century Britain. Ashley Miller. Cambridge: Cambridge University Press, 2018. Pp. v+197.

<i>Poetry, Media, and the Material Body: Autopoetics in Nineteenth-Century Britain</i>. Ashley Miller. Cambridge: Cambridge University Press, 2018. Pp. v+197.

Pragmatic potential of toponyms in poetic discourse of Alexander Irvanets

The most interesting source for the study of onyms pragmatics ispostmodern artistic discourse, which is characterized by special connotations; scientists-onymists have only recently begun to select it as a field for their researches. So the relevance of the proposed study is undeniable. The problems of the onyms pragmatics in Irvanets’s poetic discourse have not yet found proper coverage in the linguistic literature, thus it explains the scientific novelty of our work. Its purpose is an analysis of the implementation of the pragmatic potential of toponyms in the poetry of O. Irvanets from the standpoint of literary onomastics. The object of the study is the toponymous space of his lyrics, and the subject is the means of attracting pragmatic resources of toponyms in the poetic discourse of O. Irvanets. The material for analysis is the poetry of the writer-postmodernist put in the collections «Virshi ostannoho desiatylittia 1991–2000» (2001), «Preambuly y teksty» (2005), «Mii khrest» (2010), «Satyrykon-XXI» (2011), «Sanitarochka Raia» (2015); 142 toponyms (208 usages) have been distinguished by means of the method of full sample.Analyzed poems by O. Irvanets state stratification of toponyms based on the principle of «own – strange», which is not typical for idiostyles of other Ukrainian poets: most of the geographical names used in his texts are originally nominations of objects of non-Ukrainian space. In addition, Oleksandr Irvanets is one of few Ukrainian poets whose poetic speech does not acknowledge any distinct toponym dominants (there are these dominants in some poems), which is fully coincide with the poetics of postmodernism.To achieve a communicative purpose, the writer uses various methods of language game (phonetic, spelling, semantic, word-building, etc.), which often lies in the intertextual plane. By generating new values of proper names, the author extends the semantic-pragmatic parameters of poetry and proves that units of the toponymous space have inexhaustible resources for solving the artistic tasks of postmodernism.

A lecture of The Keeper of Sheep from the “poetic speech” of Being and Time

El § 34 de Ser y tiempo apunta a el “habla poética” como modo explícito de comunicación de las posibilidades existenciarias, manifestando el ser-ahí en su singularidad. El lenguaje, cuyo fundamento es el “habla” (Rede), articula, por tanto, el “encontrarse” (Befindlichkeit) y el “comprender” (Verstehen). Esto que se manifiesta por el lenguaje no es, al principio, concepto -obra de un ejercicio reflexivo-, sino sentido -proveniente de una experiencia fáctica. El “habla poética” caracteriza, así, el modo hermenéutico de articulación y construcción del lenguaje debidamente encontrada. Esto permite leer El guardador de rebaños de Alberto Caeiro, heterónimo de Fernando Pessoa, a partir del “habla poética”, notando que en el poema se articula el encontrarse, el comprender y el habla.

Лексико-стилістичні особливості поетичної творчості для дітей Олесі Мамчич

The article deals with the consideration of lexical and stylistic features of poems for children of the modern writer O. Mamchych. The study contains a selective analysis of the poetry of the writer, which reveals the peculiarities of modeling the poetry of different genres (in the form of small folklore genres and contemporary lyrics), the use of a mix of traditional and contemporary images, allusions to the works of oral folk art and works of classical literature for children. The article covers the plot, thematic and ideological content of poetry. The author analyzes the peculiarities of the sound organization of poetic speech by O. Mamchych, the linguistic and stylistic instruments of the artist. The writer finds the right rhymes, builds the original soundtrack of the poem using the play of sounds. Most of the writer's works are full of alliteration, sensations, anaphors and epiphora. Such verbal music fascinates the reader. The lexical means of expressing the poetry language of O. Mamchych reflect the moods of the modern world, modern Ukraine and the child of the future. The writer uses colloquial vocabulary, novelties and historicisms in her composition. The poem «Kozak» perfectly illustrates O. Mamchych's ability to use historicism and colloquial vocabulary. The author basing on the traditions and history of the Ukrainian people builds a lively story about a little boy, a Cossack, who fights with foreigners. The linguistic features of the poetry of the writer reveal her artistic skill. Bright epithets, metaphors, comparisons convey all the beauty of the poetic word of Olesya Mamchych to the reader. The artistic word of the writer is to move the reader, to influence on his feelings, to encourage him to be kinder, to study the history and culture of the Ukrainian people, and to keep up with the times. The work of O. Mamchych is constantly in harmony with the past and the present. It relies on traditional artistic images to create new ones. The writer opens familiar images in a new way in many compositions. The master of the poetic word builds an invisible bridge of understanding between the reader and the author by the allusions to the works of oral folk art and works of classical literature for children. The article gives the confirmation that O. Mamchych's poetry is not only aesthetic, but also linguo-didactic, because it contributes to the linguistic formation (lexical, phonetic and grammatical) and speech competences (artistic speech, cognitive speech, emotional) of a child. The research gives an opportunity to understand the model of the O. Mamchych world, to find out the basic mechanisms of the 21st century poetry image formation for preschool children.

ГРА ЗВУКОМ В УКРАЇНСЬКІЙ ПОЕЗІЇ ІІ ПОЛОВИНИ ХХ – ПОЧАТКУ ХХІ СТОЛІТТЯ: лінгвостилістичний вимір

У пропонованій статті автор здійснює спробу схарактеризувати засоби фонічної і фонографічної гри, представленої в сучасній українській поезії й відзначає, що елементами мовної гри, які водночас є засобами створення нових смислів, у творах української поезії ІІ половини ХХ – початку ХХІ століття виступають такі звукові засоби, як еквіфонічні повтори й ліпограма. Українські митці активно поєднують гру звуком із графічною грою, що підтверджують засвідчені зразки реалізації засобів супраграфеміки (зокрема капіталізації). Дослідник доходить висновку, що активне використання фонічних і фонографічних засобів як елементів мовної гри вможливлює пожвавлення віршової оповіді й породження нових смислів. Поширене використання розглянутих інструментів підтверджує потенційно невичерпні можливості поетичної мови

СЕМАНТИКА І ПОЕТИКА СЛОВА-ОБРАЗУ ГЛЕЧИК У ВІРШОВІЙ МОВІ В. ГОЛОБОРОДЬКА

The artistic-pictorial system of V. Holoborodko’s poetic works is based on his own – nationally marked words in every way. Each element of the linguistic-visionary poetic paradigm of the artist is imbued with national colour, national-linguistic art, related to ancient folklore sources. The poetic picture of ethnic existence in the vision of the artist – originally simple and understandable; Its cores are known, known to all realities. Attention is drawn to redefined in the artistic name of the dishes. In V. Holoborodko’s poetic universe the jug appears as an element (component) of the macrocosm. Therefore, the philosophy of the poetic thought of the artist is based on the notion that the designated object – the most ancient and universal in everyday use – contains the world and eternity in itself. The article analyzes the semantics and emotionally expressive colouring of the image word jug in the poetic speech of V. Holoborodko. The substantive significance of the pitcher lexeme in the artist’s poetic usage of the word is substantiated. It has been found that the connotative shades of the considered image word are connected with the traditional culture of everyday life of the Ukrainians. In the poet’s figuratively-associative linguistic map, the jug appears as an attribute of harmony of feelings, coherence, understanding, sympathy, as a symbol of the love of young hearts. The linguistic sign of the jug can be considered a poetic universality of Vasyl Holoborodko. This is the favorite artistic image of the writer. Consequently, the word-image of the jug in the poetic language of the writer is a significant and artistically significant reality. In the mind of the artist, he combines the seven «symbol of national existence», «the attribute of rural life», «the original remarkable decoration of the kitchen utensils of our ancestors», «the contents of the past and future, coming»; «Macrocosm and matter of eternity of ethnic existence». So the jug with milk is a symbol of femininity and motherhood, a jug for two is a «symbol of love». The linguistic and aesthetic poetic sign of the jug is marked by emotions of exaltation, solemnity, majesty. This is a symbol of Ukrainian rural life.

А. КОЧЕТКОВ. «БАЛЛАДА О ПРОКУРЕННОМ ВАГОНЕ» (ОПЫТ КОМПОЗИЦИОННО-СЕМАНТИЧЕСКОГО АНАЛИЗА)

The main attention in the article is paid to the interpretation of the semantics of the poetic text, the content of the word as the main constructive element of poetic speech. In terms of semantical and syntactical composition, the poem is divided into three parts. The core of the first (bigger) part is the dramatic dialogue between two lovers. Emotional tension is created by the mysteriousness of the persons conducting the conversation. The semantic composition of the poem is extremely complex. Its semantic layout consists of two speech plans, implicitly developing the dramatic life line of the characters. The dialogue in this poem is a kind of emotional impulse to the narration of the train crash in which one of the characters dies. The second part of the poem is a narrative monologue, which presents the life drama of one of the characters. The story about the catastrophic event is perceived as a realization of the character’s tragic feelings, as a plot development of the motives outlined in his speech. The transition to the 3rd person pushes the picture away, objectifies it, allows you to see it as if from outside. In the final (3rd) part the verbal material is transferred into a different emotional and semantic sphere: the structure of the poem includes imperative forms with modal shades of request, even spell. In the final half-strophe of the poem, a bitter conclusion is made in the name of the lyrical hero to continually take into account the fragility of human existence, its insecurity from blind chance. Key words: semantic composition, dialogue, motive, narrative monologue, metaphorical and metonymic images, imperative mood.

O erotismo como embate: o corpo na (da) poesia feita por mulheres

Este artigo busca discutir poéticas que abordam o corpo e a condição da mulher em Portugal e no Brasil nas décadas de 1970 e 1980, a partir da produção de autoras como Maria Teresa Horta, Clarice Lispector, Ana Cristina Cesar, Luiza Neto Jorge, Adélia Prado e Olga Savary, dentre outras. Num momento de luta contra a repressão estatal e dos aparelhos ideológicos, observa-se a emergência de um discurso (FOUCAULT, 2014) contestatório em que o corpo feminino torna-se sujeito do processo literário, sobretudo, na poesia de cunho erótico. Por meio do comparatismo literário comprometido com o sentido e os efeitos de presença dos textos (GUMBRECHT, 2010), propõe-se uma análise das relações entre essa nova escrita transgressora (FOUCAULT, 1963) e o cânone, à luz do pensamento de Derrida (1986) e em consonância com os discursos feministas. Observa-se que o embate pela liberdade material dos corpos também pode realizar-se no e por meio do próprio discurso, num movimento que persiste na poesia feita por mulheres até hoje.

„A my tam i z powrotem”. Szpital i choroba w poezji Eugeniusza Tkaczyszyna-Dyckiego

In Eugeniusz Tkaczyszyn-Dycki’s poetry the hospital is one of the many places subordinated to a symbolic journey to the end of the night. It is important as long as it directly refers to the autobiographical experience - a mother’s illness and dying. The hospital becomes a place of revealing knowledge about yourself as a subject marked by the monstrosity of life, still looking for salvation in imperfect poetic speech.

КОМПОНЕНТИ МОДЕЛЮВАННЯ «КАРДІОЦЕНТРИК» ЯК ТИПУ «ЕМОТИВНОГО-Я» ІДЕНТИЧНОСТІ АНГЛОМОВНОГО ДИТЯЧОГО ПОЕТА

The article deals with a model of "emotive-I" of the identity of the English-language children's poet, such as Kenn Nesbitt, on the basis of establishing the congruence of cognitive, affective and behavioural components. The proposed scheme covers the following components: visual / audio events, experience, knowledge, aims, motives → emotions, feelings → behavioural reaction (poetic activity) as a response to emotions. Recognition of "cordocentrism" as emotionality, sentimentality, sensitivity, and love provides theмopportunity to diversify "cardiocentric" as a type of "emotive-I" of the identity of the children’s poet, since it is more about the sphere of emotional rather than mental. The domination of emotionality, sensitivity, humour and love highlights "cardiocentric" as a type of "emotive-I" of the identity of the children’s poet. The differentiated type in the poetic speech is represented by the emotionality and expressiveness of the author’s poetry, the verbalization of humour.