Poetic Syntax Research Articles

Bataille and Wittgenstein: on mysticism, silence, and inner experience

ABSTRACT Despite differences, Georges Bataille, theorist of non-knowledge and atheology, and Ludwig Wittgenstein, the Austrian logician, share specific parallels regarding their understandings of language and mystical experience. For both, mystical experience pushes beyond conventional discourse. Using analogous elements of critical and mystical discourse, each express rather antiphilosophical, spiritual visions. Still, Wittgenstein’s deeply private and agnostic Christianity sharply contrasts Bataille’s own atheological experience of the death of God. Where Bataille’s mysticism challenges rationality, Wittgenstein’s instead expresses the numinous world as such, shedding light on the dark night of Bataille and the specific character of ‘inner experience’. Where Wittgenstein advocates either clarity of expression or silence, however, the transgressive and poetic syntax of Bataille, alongside his evocative and erotic usage of imagery and metaphor, instead presses precisely against the impossibility for words that Wittgenstein’s thinking forecloses. Silence, like evil and poetry for Bataille, is active and imperative to communication, opening itself against the closure of reason. Relative to Wittgenstein and Christianity’s ascent to knowledge and awareness then, Bataille instead dives down deep into the body and night of nonknowledge. In this way, paradoxically, Bataille’s atheological writings approach a new summit of communication only attainable in the absence of God.

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.

Syntactic Combinations in Frederik Rreshpe’s Poetry

This article will explore the poetical style of Frederik Rreshpja, with specific attention to the syntactic aspect of his poetry. Through the implementation of a poetical structure analysis guided by the concept of prevalence in the text, this research aims to determine the distinguishing features of the creative individuality of the poet and outline his main trends. In our view, the method of text structuring, the selection of constructions, and their distribution in sustaining units are fundamental components for identifying the original spirit and investigating the creative individuality of Rreshpja’s poetry. By analyzing a selection of Rreshpja’s main poems, we will outline the key features that mark the poetic syntax of this poet.
 
 Received: 2 October 2023 / Accepted: 10 November 2023 / Published: 23 November 2023

Literary reception of the poetics of S. Vorobkevych's poetic works through the prism of Osip Makovey's research

Literary reception of the poetics of S. Vorobkevych's poetic works through the prism of Osip Makovey's research. Goal. In the segment of the study of the literary reception of the poetics of S. Vorobkevich's poetic works, analyze the literary and critical materials of O. Makovey (“Literary heritage according to Izidor Vorobkevich”, “Izidor Vorobkevich”, “General notes on the poetry of Izidor Vorobkevich”), published in the first few decades after the writer's death. Research methods are predetermined by the purpose and tasks of the work, the object of research and are complex. The hermeneutic method and the method of slow reading (the method of receptive poetics) were practiced, aimed to reveal S. Vorobkevych artistic means, interpret his works. Comparative and comparative historical methods are used to reveal the influence of other authors on the poetics of Bukovynian writer. Biographical method makes it possible to find out the dependence of S. Vorobkevych’s views on poetics on the life basis. Scientific novelty. The peculiarities of the development of poetics of poetry of S. Vorobkevych on the basis of certain its elements (generic, metaology, poetic syntax, phonics, versification) in the diachronic aspect were determined for the first time in Ukrainian literary studies in the given thesis. For this purpose, the scientific literature related to the study of elements of poetics of poetry works by S. Vorobkevych has been analyzed. The author’s approach on the form of poetic text is studied. The role of extraneous influences on poetry of S. Vorobkevych in the aspect of poetics is determined. Conclusions. The study of publications related to the topic of the study showed that the most valuable of them are the materials of O. Makovey, V. Lesyn and O. Romanets, P. Nykonenko, M. Bondar, P. Nykonenko. The results obtained are an important material for expressing our knowledge of the poetics of S. Vorobkevych's poetic works; they are the material for comparison with the similar material on the artistic nature of Y. Fedkovych’s poetic works. On the basis of revealing common features, taking into account the data of other Ukrainian poets of the region of this period it becomes possible to get a general picture of the poetics of domestic poetry works in Bukovyna in the second half of the nineteenth century.

Фигура умолчания в русской и башкирской поэзии ХХ века (на примере лирической поэзии С. Есенина и Р. Гарипова)

The aim of the study is to determine the nature of the use of aposiopesis in Russian and Bashkir poetry using the material of S. Yesenin’s and R. Garipov’s works and focusing on the typological similarity due to the poets’ belonging to the melodic tradition and the differences associated with the national characteristics of the Russian and Bashkir poets. The scientific novelty of the study lies in an attempt to identify and substantiate the similarity and specific features of the functioning of aposiopesis in the lyric poems by S. Yesenin and R. Garipov. As a result of the study, the functions of aposiopesis in the poetry of S. Yesenin and R. Garipov have been determined: they are associated with the representation of the versatility of the persona’s inner world, with the implementation of the space-time paradigm and in some cases, with the conveyance of nuances of feelings and experiences in an impressionistic way. In addition, the place of aposiopesis in the system of poetic syntax has been specified, as well as its close connection with the persona’s worldview, with the folklore-song structure of S. Yesenin’s verse and R. Garipov’s creative work continuing the Russian poet’s tradition. The paper also proposes a functional classification of the use of aposiopesis in the system of poetic language of representatives of different literatures.

The film script as oral narrative of personal experience in Aleksandr Rzheshevskii’s oeuvre

ABSTRACT This article is devoted to the study of the film scripts by Aleksandr G. Rzheshevskii (1903–1967). In contrast to the concept of the ‘emotional scenario’, which emphasises the textual structure, this article suggests a reading of his scripts in connection with the problems of an oral narrative of personal experience. Such an approach allows us to consider important creative principles for Rzheshevskii’s work, in particular the link between the film script with biographical experience and orality, both at the level of composition and in the course of the presentation of the text. As compositional markers of oral speech, the article analyses elements of poetic syntax, indefinite pronouns, onomatopoeias, blasphemy and abusive terms, which are the result of storytelling about the events of the Civil War and its consequences.

The Edinburgh Companion to the Prose Poem. Edited by Mary Ann Caws and Michel Delville

In the Introduction to this sparkling volume, framed with reference to remarkable books by Suzanne Bernard, Barbara Johnson, and Jonathan Monroe, the editors provide a clear map of the unmappable: the history and shape of the prose poem and its practice. Their map also sets out the Franco-American axis of the book, reaching out to Arabic, Chinese, and Japanese literatures. Having alluded to current anglophone practitioners such as Anne Carson and Rod Mengham, the editors show how the drift in poetry from verse to prose emerges in Baudelaire before it then darts into Mallarmé and Rimbaud. Prose poetry opposes the tyrannies of verse, metre, and rhythm, but verse and prose together also create opportunities to rethink poetry and its relation to the world. Like the flâneur emblematizing the elusiveness of prose poetry, this review offers a subjective sketch of the range of themes running through this clearly organized, highly informative, and still kaleidoscopic volume. One is the suggestion that prose poetry is an act of translation, presenting Baudelaire’s translation of Thomas de Quincey as prose poetry in action. Le Livre de jade (1867) is revealed as another catalyst in this verse–prose trans-formation: Judith Gautier’s collection of seventy-one poems ‘translated’ from their Chinese originals (there is repeated use of ‘selon’), which anchor poetry resolutely in everyday sensations and objects. An inverse journey is charted in relation to European prose poems rewritten and thus engendering new forms in Japanese. The experience itself of translating prose poetry is described in Piotr Gwiazda’s wide-ranging account of his 2013 English translation of Grzegorz Wróblewski’s Kopenhaga. Intermedial and well as inter-linguistic translation is an integral element in the work of this Companion, showing the prose poem and painting in continuous interaction, with the syntax of prose rather than the metre of verse providing an essential stimulus. The interaction of visual art and poetic syntax — rather than poetic form — revitalizes not only form itself but the materiality of language, including the use of the page. For Jean-Marie Gleize the page lights a fire under the pursuit of expressiveness and for Anne Portugal it opens poetry out to the flexibility arising from the simultaneity of different discourses. A series of texts by the L=A=N=G=U=A=G=E group of American poets, active in the late 1960s and 1970s, is explored for its use of columns, giving voice to asylum seekers’ pleas alongside professional accounts of medical imaging of the uterus. The productivity of intermedial border-crossing between prose poetry and film is also examined, in relation to Jérôme Game among others. Ultimately the work of the prose poem emerges as a series of challenges to the ways poetry and its readership are recognized, categorized, refashioned, and marshalled. The volume is plural in both content and tone, ranging from the philosophical to the cultural and historical, addressing issues of gender and the environment, and embracing the memoir as well as writing approaching the lyrical essay, itself identified as one of the threads in the development of prose poetry. This enthralling volume speaks in many engaging ways to students and scholars alike, and to anyone interested in the way aesthetics interacts with the fabric of life.

Literary reception of poetics of Sydir Vorobkevych’s poetic works in О. Makovei's literary and critical works

This study is aimed to consider and systematize the literary and critical works of O. Makovei, to analyze the scientist’s thoughts about the poetics of S. Vorobkevych’s poetic works in terms of generics, metalogy, poetic syntax, phonics, versification, to outline the significance, value and objectivity of O. Makovei’s research. Research methods: analysis, synthesis, comparative and historical, comparative, descriptive, method of receptive poetics, biographical. Scientific novelty of the research. For the first time in Ukrainian literary criticism, the poetics of S. Vorobkevych's poetic works was studied through the prism of O. Makovei's vision; materials are analyzed in terms of generics, metalogy, poetic syntax, phonics, versification. Summary. Literary critic O. Makovei largely contributed to the study of the life and career of S. Vorobkevych primarily as a compiler of a three-volume edition of works by S. Vorobkevych. Studies related to the biography of the Bukovynian artist are also very interesting. Considerations about the periodization of S. Vorobkevych's poetic work are correct. O. Makovei is the author of the foreword “General Notes on the Poetry of Izydor Vorobkevych”. The researcher made a review in the newspaper “Bukovyna” about the published Vorobkevych collection “Over the Prut”. The review identifies three main theses related to the topic of this study: 1) while analyzing the poem of the author of the collection “Over Prut”, it is necessary to take into account the unity of verbal and musical rhythms; 2) most of the poems in the collection are written “in the style of folk songs”; 3) in the poems of S. Vorobkevych the influence of T. Shevchenko and P. Kulish is noticeable. The main provisions and conclusions of O. Makovei express the idea of the peculiarities of the poetics of the poetic works of S. Vorobkevych and might be a good basis for further research in this perspective.

Literary reception of Vasyl Pachovsky’s poetry

The purpose of the article is to analyze of critic and science works, devoted to the poetry of Vasyl Pachovsky. Research methods: methods of systematization, classification, biographical, historical, formal methods. The scientific novelty of the article is that it was the first review of scientific works on the poetry of Vasyl Pachovsky. Existing works were classified into two groups, in which considered reviews of poetic collections of scientists and studies of poetry by V. Pachovsky in general. A significant number of critical works were devoted to the work of the Young Muse and consideration of the poetic heritage of Vasyl Pachovsky was carried out on occasion. Conclusions. V. Pachovsky's poetic work still needs detailed study, as a significant part of his poetic work was considered in the context of studying the creative heritage of the Young Muse. There are still no scientific works in which a detailed analysis of his poetics, namely a systematic study based on statistical analysis in terms of vocabulary, poetic syntax, phonics, versification

Poetic Syntax as a Means of Writer’s Idiostyle (by the example of S.S. Vasilyev-Borogonsky works)

The article is devoted to the study of writer’s individual style. It is carried out using linguostylistic analysis of the linguistic as well as stylistic and textual features typical for his works. In total, over 200 poems by Sergei Vasilyev-Borogonsky were analyzed, including verses and poems. Linguistic and stylistic as well as textual facts are based on 500 lines of poetry. As a result of the study, it was revealed that the idiostyle of the writer is mainly manifested at the syntactic level. At this level, the syntactic and semantic-syntactic means are distinguished, represented by stylistic figures and syntactic constructions. The most common syntactic means are the types of repetitions that create the rhythmic organization of the poetic text (anaphora, epiphora) and some syntactic constructions that testify to folklorism and high pathos of the stylistics of works (syntactic parallelism, rhetorical questions, addresses and exclamations). Both semantic and syntactic means are found in the continuous connection of repetitions structure with their semantics (antitheses, gradations and refrains). By means of poetic syntax, S.S. Vasilyev-Borogonsky creates artistic images, reveals the themes and ideological intentions of his works, and creates author’s lyrical digressions. They also serve as a means of creating the composition and rhythm of a poetic text. The novelty of this study results from the fact that the language and style of the Yakut poet and publicist, Sergei Vasilyev-Borogonsky, has not yet become an object of special study.

Erk poetics in rauf parfi uzturk lyrics

This article is aimed at discovering new aspects of the Rauf Parfi Ozturk phenomenon, which has made a unique contribution to the development of our national thinking, synthesized East and West literature in its works, and turned modern literature into new ones. Also, theoretical issues such as originality in the poet's poetry, image poetics, art, metaphors, poetic syntax are studied in comparison with world literature, based on the creative philosophical concept.

The application of stylistic-syntax figures on poetic text

In this article, one of the central questions of poetic syntax - poetic figures - is studied by dividing into two main types - syntactic (inversion, pause, default, punctuation marks in a poetic text (including rhetorical appeal and rhetorical question), dots, italics, etc.) e.) and stylistic (anacoluf, asindeton, polysindeton, anzhambeman, anaphora, epiphora, refrain, etc.).

THE PAINFUL EXISTENCE IN THE BOLESŁAW LEŚMIAN’S POEM "AT NIGHT"

The paper deals with poetic translation analysis of the poem "At Night"of the Polish poet Bolesław Leśmian. The appearance of Bolesław Leśmian’s poetry in Ukrainian translation (the collections of selected works "Садбожий спалахненець" and "Ангели" translated by M. Kiianovska) has become an important event. The researcher focuses their attention on the contextual, poetic, poetical, artistic and stylistic peculiarities of the poem "At Night", in connection with the philosophic and literary views of the poet. The wide range of scientific works on Bolesław Leśmian’s poetry in Polish literary studies allows us to study different aspects of this poet’s poetics: symbolism, peculiarities of the artistic images creation, the appeal to folk sources, the language of his literary works, the image of God in his poetry, the role of rhythm, immediacy of worldview and creating the world anew in "song without words" etc. The poetics of the poem has been studied, its interpretation is based on the unity of compositional, semantic, figurative elements of the poem.
 The translation analysis, aimed at the study of structural and semantic features of the poem "At Night" in Ukrainian translation, is concentrated on the author’s peculiarities of creating images and their representation by M. Kiianovska in her translation of the poem. The author of the article focuses on the concept of the original and translation, the overall mood of the poem, its content, figurative system, structure, rhythmic organization, the rhyming system of the translation and the original. Special attention is paid to the analysis of the selection of lexical equivalents, the poetic syntax of the poem and other translation techniques on the way to better understanding of the text, the artistic images creation and grammatical and compositional integrity of the translation of the poem.

Vanler daiselis ena /ვანლერ დაისელის პოეზიის ენა [The Language of Vanler Daiseli’s Poetry

The article explores the linguistic features of Vanler Daiseli’s poetry and reveals linguistic specificities to the extent that the language of poetry, in general, differs from the language of other genres of literature, as well as from ordinary spoken language. The poet’s work is unknown to Georgian readers, just as no extensive research has been done on the literary group of the early 20th century called the “Somnambulebi”. The young Vanler Daiseli was one of the members of the group. In the course of the research, the descriptive method and the analysis and comparison method have been applied, and the bibliographical and theoretical examination has been performed. The peculiarities of Vanler Daiseli’s poetic language are formed from several characteristics. The language that is used often rejects traditional syntax, grammar, and punctuation. The peculiarity is manifested mainly in the order of words. The free syntax is used. Poetic language is strongly influenced by spoken language. The construction of images is an important feature of poetry: repetition, parallelism, metaphor, and so on. Rhetoric replaces syntax insofar as it is related to the rearrangement of words. The author uses the “foreground” as an aesthetic phenomenon of expressiveness of the language. Linguistic components are another feature of his poetry. The author tries to “modify grammar”. Grammar rules change in poetic language, and modified linguistic units are employed. The poet applies lexical, grammatical, and semantic deviations.საკვანძო სიტყვები: ქართული პოეზია, პოეტური ენა, პოეტური სინტაქსი, ვანლერ დაისელი.Keywords: Georgian poetry, poetic language, poetic syntax, Vanler Daiseli.

Topical Trends of Modern Linguistics with the Positions of the Systemic Approach. Some Thoughts on the Results of a Scientific Internship at RUDN University “General and Specialized Methodology of Philological Science”, 2019

The article describes disputes about current issues of the modern scientific paradigm from the standpoint of systemic linguistics, whose powerful explanatory potential remains beyond the scope of the mass trends of linguistic science, and the formulation of new scientific issues as a result of a fruitful extrapolation of the systemic approach to the fields of philology that are not considered by the founders of systemic linguistics. In the first part of the article we considered differences in understanding the object, subject and method in Russian and foreign cognitive linguistics, leading to the loss of the international nature of linguistics, discussion of extremely painful issues for the Russian cognitive science about the cognitive futility of the term concept and the application of the cognitive approach in the study of discourse and text, violation of the continuity between the highest achievements of Russian and foreign scientific thought and the popular modern areas of linguistic research. Further in the article, the standpoint of a systemic typology is applied to the active processes of modern Russian speech. In the light of the approach taken, the facts that seem disparate from the standpoint of the culture of speech, from the standpoint of the systemic typology of languages, appear interconnected and determined by a general tendency - the deformation of the morphological type of the Russian language in the direction of the destruction of inflectivity. The result of the observed typological changes is the reduction in the possibility transfer highly intellectual meanings. An explanation of the principles of the organization of poetic speech in relation to the systemic typology of languages is an example how successfully S.Yu. Preobrazhensky applied the theory of the founder of modern systemic linguistics in the field which is far from interests of G.P. Melnikov. If the coincidence of the boundaries of the verse with the boundaries of the phrase within the sentence means the prevalence of the natural, that is, characteristic of the type of natural language in which the poem is written, principle of division, then the mismatch of boundaries speaks of a poetic technique that seeks to emphasize that the poetic statement is called upon to perform special communicative tasks leading to reconfiguring poetic syntax to other types of languages. The prospects of updating the systemic approach in modern semantic studies of grammar and vocabulary are discussed in the fourth and final part. The obtained results, which are set out in the article become the evidence base of the high potential for using the achievements of systemic linguistics in modern research practices.

STYLISTIC DEVICES AS BASIC ELEMENTS OF ENRICHING ENGLISH LANGUAGE

The article deals with the study of stylistic techniques and means of expression characteristic of English speech expression, the study of means and methods of communication of independent sentences, as well as phrasal units, ways to combine them into fragments and whole speech texts. The paper identifies and generalizes scientific approaches to the study of stylistic syntax techniques, analyzes syntactic constructions that have expressive potential and pragmatic orientation. It is established that the subject of syntactic stylistics is also the study of the specifics of the functioning of expressive means and techniques in complex linguistic texts. It is found that the stylistic technique is realized, as a rule, in the context of phrasal units, paragraph and whole text, and the interaction of sentence models in these contexts gives emotional and expressive meaning to the segments of speech that they form. Thus, stylistic devices based on formal and semantic interactions of several syntactic constructions or sentences in a particular context, is one of the richest sources of speech expression. These stylistic devices serve as a means of poetic syntax, and are widely used in fiction, journalism and are found in scientific language. Despite the fact that each stylistic device individually contributes to the overall expressiveness of the text, a greater effect is achieved through their interaction, and with the help of these stylistic devices, contact with the addressee is established, the emotional background and emphaticity of the text are enhanced. Therefore, expressive means and stylistic techniques of syntax, which are created both with the use of stylistically marked constructions and without their participation, are one of the richest means of stylistics of the English language. The considered cases of violation of the usual logic of syntactic connection of parts of a complex sentence, semantic differences between their usual and occasional use bring subjective motives into the text and are used with certain stylistic purposes, which due to functioning together have a greater effect.

Особенности функционирования стилистических фигур и синтаксических форм в поэзии Веры Полозковой

The study aims to determine distinctive nature of and features peculiar to syntactic organisation of Vera Polozkova’s poetry. The article attempts to identify predominant syntactic features of the author’s poetry and assess significance of poetic syntax phenomena. The work is novel in that it is the first to make an attempt to give a systematic description of syntactic features of Vera Polozkova’s poetic style, which made it possible to identify certain phenomena that are representative of her poetry such as the highest possible concentration of coordinated structures and syntactic parallelism underlying the composition of entire works. The results of the study convincingly illustrate direct relationship between the considered syntactic phenomena and the author’s individual style.

The Role Of Actual Units Of Division In The Compositional-Syntactic Structure Of Poetic Speech

The article presents theoretical views on the compositional-syntactic structure of poetic speech, which is one of the problematic issues in the field of poetic syntax and the study of its actual division. Within the framework of the Uzbek poetic syntax, the importance of studying the issue of actual division as a separate category in the study of Uzbek poetic speech based on the experience of world linguistics.

Poetic Enjambments as the Phenomenon of the V. A. Sosnora’s Poetic Syntax

Poetic Enjambments as the Phenomenon of the V. A. Sosnora’s Poetic Syntax

SENTENCE AND ITS POETIC SYNTAX IN BAYATIES OF AZERBAIJAN

Bayaties attract attention with their poetic perfection reflecting the subtleties of the national language, the specific features of the phonetic, lexical and grammatical norms of the literary language of Azerbaijan. The purity of the vernacular, the richness of the vocabulary, the fluency of the grammatical structure are also clearly felt in bayaties. As the research work is also called "Sentence and its poetic syntax in bayaties of Azerbaijan", the sentences in the bayaty context will be studied directly from the linguistic poetic point of view.