Poetic Discourse Research Articles

ТИПОЛОГІЯ ТА ЕСТЕТИЧНІ НАВАНТАЖЕННЯ ОДНОСКЛАДНИХ РЕЧЕНЬ У ПОЕТИЧНОМУ ДИСКУРСІ МАРІЇ МАТІОС

The article is devoted to the analysis of the structural-semantic organization and functioning of one-syllable sentences in the modern Ukrainian language. The material for the study was the poetry of the famous Ukrainian writer Maria Matios. In modern linguistics, the problem of studying simple sentences has been relevant for a long time. The classification of these syntactic constructions, the status of their main member, etc. are still debatable. The article describes the main types of one-member sentences, considers their semantics, describes the grammatical nature of the main member of each variety, clarifies the stylistic loads of one-member constructions in the poetic discourse of Maria Mathios. As a result of research in the poetry of Maria Mathios, a numerous corpus of one-member sentences was singled out, their structural-semantic analysis was carried out, and their functioning was described. Applying the modern classification of one-member sentences, we found that among all types (verb and noun) the most common are groups of definite-personal, impersonal and nominative sentences. It is proved that the writer rarely introduces indefinite-personal sentences into her poetic work, she does not use generalized-personal ones at all. The semantics and aesthetic sense of one-member sentences in the poetry of Maria Mathios are analized in the article, their various functions are revealed, especially the main one among them – evaluative and emotionally-expressive role. With the help of simple constructions, the writer describes the psychological state of her heroine, evaluates the portrayed things. The analysis traced the powerful expression and dynamics of the images which are created by these sentences. With the help of one-member constructions Maria Matios enriches the body of pictorial and expressive means of poetic language, inspires her story with emotionality and psychologicality. One-member sentences are an important emotional and expressive component of the poetic discourse of Maria Mathios, their use demonstrates the skill and uniqueness of the author’s idiosyncrasy.

The Influence of the National-Cultural Image of the World on the Construction of Metaphors in the Poetic Discourse

Abstract The poetic language of Federico García Lorca amazes the reader’s imagination with the richness of images with the outward simplicity and clarity of style. Lorca’s poems simultaneously reveal to us both the national and cultural specifics of the Spanish linguistic picture of the world, and the ways of cognition and reflection of reality by the author, his assessment of the phenomena of this reality from the standpoint of the aesthetic ideal. One of the ‘keys’ of the secret of the phenomenal success of Lorca’s poetry is its metaphor city, the semantic aesthetics of which is revealed only in the context of not only the poems themselves, but also in the context of Spanish culture as a whole. The metaphor, we emphasize once again, is one of the most mysterious phenomena of language, the intuitive comprehension of which is inherent only in true poets. In a metaphor, reality escapes, as if hiding from thought, and then a deep and urgent question begins to arise before the researcher about the role of metaphor in cognition. In the work of Federico Garcia Lorca, the ability of metaphor to clearly reveal the features of national culture characterizes the Spanish linguistic consciousness and the Spanish linguistic personality. The humanities are armed with modern scientific research tools at the present stage of development and lay the foundation for studying the role of metaphor in understanding the essence of Federico Garcia Lorca's work, as well as its relationship and interaction with reality, thinking and consciousness.

The The Associative Influence of Phonetic Nonce Words (Occasionalisms) in Modern Ukrainian Poetical Discourse

The article presents the results of three linguistic associative experiments. The purpose of this research is to determine the influence of specific linguistic units – phonetic nonce words (occasionalisms) – on the perception of modern Ukrainian poetical discourse by addressees (readers). As stimuli for linguistic analysis of phonetic occasional units in modern Ukrainian poetical discourse used the most frequent phonetic nonce words in their graphic actualization (total 16 different stimuli). The three experimentally groups of respondents include 105 students of three Poltava high schools. A result of these experiments are 1684 reactions, among which 1146 (68%) – positive, 300 (18%) – negative, 238 (14%) – neutral. The lowest per cent of neutral reactions is motivated because phonetic nonce words are power intensifiers for the expressiveness of sound background in poetical discourse. The phonetic nonce words positively influence the perception of modern verbal discourse by addressees. The special role in decoding of sound information belongs to acoustic-articulator characteristics of vowels and consonants.

Intermediality of the Serbian novel of the end of the XX ‒ early XXI century

The relevance of the analysis is due to the fact that the poetics of literary trends, trends and styles of the late XX – early XXI century characterized by a variety of implementation methods. Intermediate is considered one of its modes. The modern history of the art of words in Serbia separately demonstrates a convincing statement of “new genre meanings of an expressed combined character.” Analytical coverage of the experience of the intermediate format of literary actualization of the poetics of fine art is the purpose of this article. The novelty of the presented material lies in the precedent systematization of individual manifestations of intermediality in the discourse of the Serbian novel. The study is
 based on the productivity of the method of structural analysis in combination with the culture-semiotic approach. In the novels by D. Kish “Klepsidra”, S. Basara “Fama about cyclists”, M. Pavich “Khazar Dictionary”, “Second Body” there is a separate form of intermediality, which is associated with formal-visual inclusion of graphic fragments in the space of prose text. Reproductions, integrated by the artists into their works, testify to the precedents of form and sense actualization according to the principle of psychologization of the visual image, which allows making a more detailed, virtuosic depiction of emotional movements of iconic characters, their spiritual evolution. In conclusion, it should be admitted that in images that are tangent to the intermedia field or appear in it are brought to the constructive level of worldview concepts established in postmodern philosophy. Thus, in the novels of well-known Serbian writers there is a separate precedent of formal and semantic activation of the expressive means of fine arts, in particular the genre of reproduction in the format of an intermedia canon. And its originality and meaning-creating inspiration in outlining the humanistic perspective testifies to the essential enrichment of the poetic discourse of the contemporary Serbian novel.

METAPHYSICAL FOUNDATIONS IN THE POLEMICAL VERSE COMPLEX OF THE 1580—90S

The aim of the paper is to justify the correlation between polemical motifs in verses and the metaphysical principle of causation. It is possible due to revealing that the mainstay of polemical discourse lies in the images by which God, as the Cause of all things, manifests His presence in the world, according to the teachings of medieval metaphysics. This gives grounds for interpreting the emotional tension of polemical discourse and its inherent figures of reduction or simplification not as an alternative to the inner metaphysical sense but only as a kind of decentralizing and translating it into the language of other circumstances or the language of personal spiritual experience. The metaphysical dimension of polemical poems correlates with the prospect of restoring their broader literary context and broader reception.
 The paper is to investigate the extent to which the structure as a choice, focused on the publication and perception of texts in certain historical circumstances, makes it possible to manifest certain metaphysical factors by causing a special nonlinear nature of interrelationship, the reverberation of individual motifs and voices between the texts, which are quite different from each other. This historical-literary and hermeneutic approaches let us observe the manifestation forms of metaphysical sense not only in relation to the literary subtext but also in terms of the development and functioning of sovereign metaphysical motifs. Interpretation of the praxis of religious life and the nature of church confrontations and heresies discloses the ‘inner’ image of the individual in the light of Christology and the Christian concept of the Word. The study of the metaphysical foundation of polemical verse complex determines general tendencies in Ukrainian poetry and their transformation in certain milieus. At the same time, it testifies to the changes and development of poetic discourse, the awareness of God’s Word, and human responsibility for the said and written.

Intentionality of Poetic Discourse

This paper provides a new conception of analysing poetic text in terms of speech act theory proceeding from Searle’s concept of intentionality, from Dijk’s view on literary speech act based on the intention of the author and from Merilai’s understanding of pragmapoetics. We argue that the author’s intention in the poetic discourse comes in two varieties: the referential and the aesthetic ones. The referential intention is the author’s attitude towards the text content. The aesthetic intention is the author’s attitude towards the language form, through which the content is expressed. Thus, two kinds of speech acts are performed simultaneously: 1) referential, based on the referential intention, involving an illocution and being fictional, as the sincerity rule is violated; 2) aesthetic, based on the aesthetic intention. The latter is a specific subtype of expressive illocution as the author's illocutionary goal is to express a positive emotional-evaluative attitude solely toward the language form, while the perlocutionary goal is to influence the reader's aesthetic feelings regarding this form. These kinds of intention are reflected at both the level of the utterance and the whole text. Thus two communication levels are taken into consideration: the vertical and horizontal ones. The poetic texts of “New objectivity”, a literary movement in German Weimar Republic in 1918–1933 have been used to observe these regularities.

„Należy od nowa przywitać się ze śmiercią”. Baka Eugeniusza Tkaczyszyna‑ Dyckiego

This article focuses mainly on three texts by the polish poetry Eugeniusz Tkaczyszyn‑Dycki that refer to baroque poet Józef Baka: Baka uwodzi Stefanię Dycką (Baka Seduces Stefania Dycka) Baka winny istnieniu Stefanii Dyckiej (Baka Guilty of Stefania Dycka’s Existence) Stefania Dycka poruszona widokiem Baki (Stefania Dycka Moved by Seeing Baka). We should remember that Dycki’s speech is centered around loss, so it is an attempt to invent a language that could bear the heterogeneity of death. To avoid slipping into silence, the author updates the old Polish tradition of funeral poetry, particularly the “black carnival” of late‑Baroque writer Józef Baka, which provides a specific ma‑ trix of meaning, of the way to communicate with oneself and with the reader. The subject of the analysis are therefore references to the threads of Baka’s poetry, which have been transformed in Dycki’s poetic discourse.

Un fantasma republicano: Poesía y exilio de Antonio Machado a Tomás Segovia

This essay is a critical review of Daniel Aguirre Oteiza’s monographic study This Ghostly Poetry: History and Memory of Exiled Spanish Republican Poets (Toronto UP, 2020). Special attention is paid to the self-conscious resistance of poetic discourse to its assimilation by any historiographical narration of national character.

Translation Pragmatics of Phonic Expressive Means in English Poetic Texts

Phono-stylistics is a promising research area. Expressive power of a text depends on its phonetic imagery. The research objective was to identify the pragmatic features of phonic expressive means in translations of contemporary English poetry. The methods included a comparative analysis, phono-semantic and phono-stylistic interpretation of the original poems and their translations, and O. N. Tynyanov's law of versification. The method of sound counting developed by E. V. Elkina and L. S. Yudina was used to calculate the frequency of sounds in the context of phono-semantic analysis in the Russian translations. The method of sound counting designed by Tsoi Vi Chuen Thomas was used to calculate the frequency of sounds in the original English texts. The theoretical foundation of the research was formed by the works by M. A. Balash, G. V. Vekshin, Z. S. Dotmurzieva, V. N. Elkina, A. P. Zhuravlev, L. V. Laenko, F. Miko, L. P. Prokofyeva, E. A. Titov, etc. The study featured the phonics and pragmatics of S. Dugdale’s poem Zaitz and its three translations made by E. Tretyakova, A. Shchetinina, and M. Vinogradova, and C. E. Duffy’s Anne Hathaway translated by Yu. Fokina. The author compared the pragmatics of sound imagery in the English originals and their Russian translations. The research made it possible to define the role of sound imagery in the poetic discourse, as well as the relationship between the sound organization of poetic speech and the pragmatic value at the phonographic level. The results can be used in courses of translation, stylistics, and phonetics.

Christian theonyms in Taras Shevchenko’s poetic discourse

This study explores the use of the Christian theonym Boh ‘God’ in the poetic discourse of Taras Shevchenko. This lexical unit forms the center of sacredness in Shevchenko’s poetic discourse, with all the other linguistic means of religious mini-texts being directly or indirectly related to it. The careful examination of Shevchenko’s linguistic practice, especially its sacred content, shows that the author was a believer who verbalized knowledge about God from the Holy Scripture in his texts in the form of quotations or plot biblicisms. The research focuses primarily on the typology of the names of different parts of God, e.g., the Divine Trinity, God the Father, and God the Son. To this end, a paradigmatic approach is engaged: the paper compiles the corpus of God’snames, reveals specific features of each actualizing name which performs an important concretizing function from semasiological and stylistic perspective, and determines a set of lexical-semantic representatives of these names. The article establishes syntagmatic and phraseological correlations between the onyms Boh ‘God’ and Hospodʹ ‘Lord’. In his magnum opus Kobzar, Shevchenko uses the lexeme Boh most frequently, and it performs the functions of a subject, object, and addressee demonstrating widesyntagmatic connections and phraseological potential. The paper discusses lexical-semanticcombinability of this lexeme with the attributive modifiers (adjectives, pronoun adjectives) at the level of a word combination and with the semantically multifunctional verbal predicates at the level of a sentence and singles out the semantic types of the phraseological units with the component Boh. The derivatives of the theonym Boh analysed permit inferences about the secondary adjective Božyj ‘God’s’ (from Boh) which functions as a semantic center of both syntactically free phrases and phraseological units represented by the whole range of semantic types. Keywords: Taras Shevchenko’s poetic discourse, theonym Boh, God’s names, secondary adjective Božyj formed from a noun, nominative paradigm

Феномен прецедентности в венке сонетов «Томская Писаница. Кемерово» Энди Крофта

The paper considers the poetic work of the English poet Andy Croft “Tomskaya Pisanitsa Park, Kemerovo” created under the impression of visiting the museum-reserve of the same name. The crown of sonnets written in English in the form of Onegin stanza shows numerous references to national-specific and universal precedent phenomena functioning on formal, content, and language levels of the text. This work is of relevance due to the importance of studying the problem of precedent phenomena functioning in poetic discourse in general and in the poet’s idiostyle in particular. The analysis of the phenomenon of precedence in various aspects is performed by consistently considering the transformation of the solid poetic form of the crown of sonnets as a manifestation of precedence at the architectonics level. The key thesis of the study is that the poet’s orientation towards including the precedent-setting phenomena is based on two main factors: 1) the desire to understand the new cultural environment by comparing its phenomena with the phenomena of his native or world culture; 2) the intention to create a peculiar encyclopedia of human civilization with its cultural and historical layers. The complex analysis of the poem revealed the peculiarities of the realization and functional role of precedent phenomena. This study deals with general problems of text theory and culture studies. However, the perspectives of further analysis of precedent phenomena are to investigate the new spheres of precedent phenomena functioning and cultural memory aspect in poetic discourse.

“The Staff of Isaiah”: Catacomb Discourse in Arseny Tarkovsky’s Poetry

This article analyses the work of A. Tarkovsky (1907–1989), for whom 1917 became a turning point which subsequently determined his “internal emigration”. The most important creative mission for Tarkovsky was the restoration of the interrupted cultural tradition of Russian modernism. As its representative, Akhmatova is a model of the creative and ethical behaviour of the artist for Tarkovsky. Tarkovsky’s poetry from the 1930s–1960s is considered from the point of view of the catacomb secret discourse (coding, subtext, background). Through images of the desert, sand, heat, and closed eyes, it expresses alienation from new culture and politics, a stoic opposition to oblivion, and desire to preserve cultural memory (Mandelstam, Tsvetaeva) that binds history into a single whole. In the situation of a cultural desert, such values as an individual’s dignity, Christian humility, and life are significant for Tarkovsky. In his model of the poet, Tarkovsky focuses on the biblical and early Christian tradition, in which the poet appears as a prophet, messiah, spiritual leader of the people (Isaiah, John the Baptist, Christ), emphasising not mystical or ritual but social ethics, characteristic of the Russian intelligentsia of the nineteenth century, with its moral uncompromisingness (“straight” ways). An important context for understanding Tarkovsky’s catacomb discourse and his image of the poet is the reflection on the people and the intelligentsia in L. Chukovskaya’s Notes on Anna Akhmatova (1938–1966). Polemising with the Narodism rejection of the intelligentsia in the Soviet period, Akhmatova and Chukovskaya express the key values of the Russian intelligentsia of the nineteenth and early twentieth centuries (personal dignity, freedom, ethical uncompromisingness, criticism of ethical relativism, truth and justice, prophetic ministry, sacrifice, and poverty). Tarkovsky’s poetic discourse and his image of a prophet poet also oppose Narodism simplification expressing the core values of the Russian intelligentsia and preserving the modernist complexity of poetics (openness and involvement in world culture, intertextuality, neomythologism, and associativity).

«Лучшее в поэзии – ложь»: Песнь песней в еврейской философско-теологической мысли Средневековья в свете подхода арабских аристотеликов к поэтике

This article deals with the question of how the Jewish Aristotelians, followers of Maimonides, combined the exclusive status of the Song of Songs with the no­tion of the falsity of poetry. According to Aristotle’s Arabic commentators, poet­ics is part of the logical organon. The poetic syllogisms are based on deliberately false premises and rules of inference, and thus poetic discourse is the lowest in the hierarchy of the logical corpus. At the same time, the following Talmudic maxim is known: “If all Scripture is holy, then the Song of Songs is the Holy of Holies”. Thus, Jewish theologians, having assimilated the Arab Aristotelian approach to poetics, were faced with a difficult task: how to explain the supreme status of the Song of Songs in the biblical canon if this book is written in the lan­guage of lies? In the works of medieval Jewish theologians we do not find a clearly formulated solution to this problem, which may be due to the fact that the Song of Songs was often associated with an undisclosed esoteric theme. This article will describe the range of views of medieval Jewish thinkers on the role of poetic speech in the Song of Songs and provide an overview of researchers’ attempts to formulate a solution to the above problem. An analysis of a number of texts by medieval Jewish commentators will offer a response not found in the research literature to the question of combining the high status of the Song of Songs with the deliberate falsity of poetic discourse. According to our reading of Moshe Ibn-Tibbon’s commentary on the Song of Songs, the false language of poetry helps to avoid the illusion of comprehension where positively formulated knowledge is impossible.

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 Thesis on the Innovation of Ideological and Political Education Discourse of College Students

The discourse of college students’ ideological and political education refers to the use of discourse as a bridge of communication in college ideological and political education. The ideological field that enlightens young college students presents the teaching effect of ideological and political education in colleges and universities. As far as ideological and political education discourse of college students is concerned, it usually has three characteristics of theoretical and practical iatrogenic, muti-level inheritance and development. However, the rapid pace of the Internet era has occupied the expression space of the ideological and political discourse of college students. In addition, the solidifed rational features and one-way trend of the ideological and political education discourse of college students have resuited in the phenomenon of poetic discourse in the ideological and political education discourse of colleges and universities, which fails to play a practical role incorrectly guiding young college students. So in college students' ideological and political education work of the future use of realistic problem set discourse topic guide the university students' ideological and political education to promote life philosophical expression college students in the dominant position of discourse expression optimizing college students' ideological and political education discourse system of young college students' subjectivity in discourse expression to optimize ideological and political education discourse system improve the effect of ideological and political education discourse makes college students' ideological and political education discourse content will be born.

Nicolás Guillén y la Guerra Civil española

The poetry that emerges from the Spanish Civil War (1936-1939) develops a poetic discourse, to motivate its readers to become active historical agents and witnesses, and to politically support the Republican cause. In España: Poema en cuatro angustias y una esperanza (Spain: Poem in Four Anguishes and One Hope) the Cuban poet Nicolás Guillén (1902-1989) defends a poetics of solidarity with Republican Spain, while also acknowledging the colonial and postcolonial history that problematizes this “transatlantic” aesthetic position. Particularly in the “Angustia primera” and in the last poem “La voz de la esperanza,” Guillén highlights the racial and cultural identity of the speaker to legitimize his solidarity with the Republican cause from the perspective of the Latin American subject, who feels their cultural roots and political convictions connects them to Spain. The four “anguishes” or poems reveal the Latin American alliance with anti-fascist Spain and lament the tragedy of the death of Federico García Lorca, while the last poem defiantly and optimistically underlines the ethical imperative to fight against fascism. In this essay, I analyze España: Poema en cuatro angustias y una esperanza by Guillén within the political, literary, and cultural context, of an avant-garde poetics and as part of his intellectual effort to support with his prose, especially his chronicles, the Republican cause.

The Doll in the Silver Age poetic discourse

The Doll in the Silver Age poetic discourse

The actualization of the frame dolor within the framework of morbial metaphoric model in spanish poetic discourse

The article dwells on the description of conceptual metaphors of PAIN actualized in Spanish poetry. The morbial metaphor is represented in Spanish poetic discourse by different ways, fulfilling the functions of different objects.

ПОЭТИЧЕСКИЙ ДИСКУРС ВСЕВОЛОДА НИКАНОРОВИЧА ИВАНОВА В КОНТЕКСТЕ ИСТОРИОСОФСКИХ ВОЗЗРЕНИЙ ПИСАТЕЛЯ-ЕВРАЗИЙЦА

The article is devoted to the consideration of the genre and thematic features of the poetic discourse of Vsevolod Nikanorovich Ivanov (1888-1971), a representative of the Far Eastern emigration (1920-1940s) in the context of the influence, on the one hand, of the traditions of Russian classical poetry and the philosophical and aesthetic searches of the Silver Age figures, on the other hand, the philosophy and culture of China, the country that received the exiles from Russia. The author of the article, revealing the commitment to the poetic discourse of Vs. N. Ivanov to ancient mythological culture, as one of the fundamental foundations of European culture and Russian classics, complements his characterization by considering the poetic heritage of Vs. N. Ivanov Eurasian in the context of the dialogue between the cultures of the West and the East.

Лингвокультурный концепт РОДИНА сквозь призму восприятия региональной языковой личности: теоретические и прикладные аспекты исследования

Cognitive linguistics is a dynamically developing area of modern linguistics, which focuses on the problems of conceptualization and categorization of the surrounding reality. The linguo-cognitive analysis of the dominant mental units of the inner world of a person makes it possible to reveal the cultural constants and features of the national character reflected in them. Significant for the description of a holistic world model are the basic mentefacts, in which the unity of the conceptual, figurative and value components of the linguistic picture is manifested. One of the key concepts of the worldview of Belarusians is the concept of HOMELAND. The concept of HOMELAND belongs to the category of relational mental units, since the presence of a relation parameter is clearly traced in its structure. The article presents the results of the analysis of the concept HOMELAND, carried out on the material of the regional poetic discourse. 300 poetic texts created in the period from 2000 to 2021 by the poets of the Brest region were selected as linguistic material. The analysis is based on descriptive and linguoculturological research methods. The article deals with the conceptual, axiological and emotional levels of the concept. In the poetic text canvas, the linguocultural concept HOMELAND goes beyond the definition in lexicographic sources and acquires additional semantic characteristics. As a result of the analysis, it is proved that verbal toponymic dominants and linguistic ways of their representation determine the specifics of the manifestation of the concept of HOMELAND in the regional poetic discourse. Toponymic conceptual dominants and language units that verbalize them make it possible to determine the national and cultural specificity of the concept HOMELAND, reflected in the regional poetic space.