Syntactic Parallelism Research Articles

Текстообразующая функция авторской модаль­ности в поэзии Иосифа Бродского (на примере стихотворения «Я всегда твердил, что судьба — игра…»)

The article has conducted a comprehensive analysis of Joseph Brodsky’s poem “I always kept saying that the fate is a game...” based on functional-semantic and communicative-pragmatic approaches. In the process of analysis, the main emphasis is placed on the author’s modality as a means of transmitting his individual worldview. The author’s modality is con­sidered as a text-forming semantic category, explicit at various textual levels: lexical, syntac­tic, phonetic, and compositional. The role of the following language resources in structuring the authorial modality of the analyzed text has been identified: syntactic parallelism, poetic meter and rhythm, tropes of various structures, stylistic diversity of vocabulary, phonetic instrumentation, and compositional organization of speech. It is established that the combina­tion of means expressing the author’s modality in the poem is a way of representing signifi­cant philosophical categories for the poet, such as time, space, loneliness, and fate.

ЛІНГВОПРАГМАТИЧНІ АСПЕКТИ МАНІПУЛЯТИВНИХ СТРАТЕГІЙ У МОВЛЕННІ ПЕРСОНАЖІІВ А.МАНДЗОНІ «ЗАРУЧЕНІ»

In the modern world, manipulation is a completely universal phenomenon. It can be found in all socially significant spheres of human activity. When studying manipulative strategies, it is impossible not to pay attention to the variety of their types and the goals through which manipulators resort to these actions. A set of manipulative techniques organized in a certain way, used for the purpose of exerting hidden influence, aimed at achieving a desired effect or preventing an undesirable result, is presented on examples taken from the historical novel by A. Manzoni "The Betrothed", in particular on the examples of the characters Gertrude, Don Abbondio, Lucia and Renzo. Manipulative strategies are widely used at the level of interpersonal communication. The variety of interpersonal manipulations is analyzed. Regularities between manipulative strategy and stylistic features have been established. In particular, to express the strategy of gaslighting, which is based on contradiction, the author uses affective words, asyndeton, tactics of exaggeration, repetition, and the imperative; to express projection, which consists in transferring one's responsibility to another person – metaphorical comparisons, antitheses; for the strategy of meaningless conversations, based on monologues that lead to confusion – incomplete sentences, repetitions, asyndeton; for generalization and denigration characterized by vague and abstract statements – incomplete sentences and affective words; to express the strategy of constant disappointment, which is based on the constant disappointment of the manipulator with his victim – asyndeton, exclamations, syntactic parallelism and repetitions. The perlocutionary effect, which is similar in each strategy, was studied. With his non-verbal behavior, the victim tries to convey discomfort and fear: trembling, lowered gaze, and therefore fear to look his manipulator in the eyes, silent submission. At the verbal level, this is manifested by repetitions, incomplete sentences, exclamations, exaggerations and affective words.

MEANS OF GENERATING A LANGUAGE GAME IN THE FRENCH ADVERTISING DISCOURSE

Problem statement. The study of the means of creating a language game in a certain discourse, which gives expressiveness and pragmatic potential to speech, is very relevant for the development of language theory. The study of linguistic means, the use of which is effective for generating a language game in advertising discourse, in particular French, is of particular importance, because knowledge of such means and the ability to apply them in advertising texts is very important not only for the development of language theory, but also for the development of marketing, trade and many other spheres of social life. The importance of the place of advertising in various areas of social life, as well as the interdisciplinary status of the language game implemented in the advertising discourse, determine the high degree of relevance of this article. The results of the study. In the course of research within the framework of the French advertising discourse of numerous texts, the object of which is a certain product (product, service, etc.), the language levels at which the language game is implemented, as well as linguistic means through the use of which the language game is generated, are revealed. It is established that it is implemented at all language levels – phonetic, lexical, grammatical. The paradigm of linguistic means is defined, the use of which allows the author of the advertising text to actualize the language game at each level of the language. It is revealed that in one advertising text it is possible to use both one path or one figure, and several different paths or figures. Moreover, the implementation of only one path or one figure in the advertising text is much more frequent. Conclusion. The results of the study allow us to conclude that the language game is a very productive phenomenon in the French advertising discourse. At the phonetic level, it is generated through the use of puns, associative consonances; at the lexical level – through metaphor, metonymy, hyperbole, antithesis; at the grammatical level – with the help of adjectives in the degree of comparison, repetitive lexical units, constructions with syntactic parallelism. The language game allows you to use the advertising text not only to inform the recipient, but also to convince and encourage him to purchase the advertised product.

A Stylo-Linguistic Study of Orality Markers in Selected Novels of Femi Ojo-Ade and Ramonu Sanusi

Orality is a feature of oral literature that has found its way into the written form of literature owing to stylistic effects and the need to foreground certain messages and aspects of texts. Ojo-Ade’s Les paradis terrestres (Paradis) and Les rêves d’une fille (Rêves), as well as Sanusi’s Le bistouri des larmes (Bistouri) and Un nègre a violé une blonde à Dallas (Nègre), have been studied thematically and stylistically by critics over the years, with less attention paid to the oral stylo-linguistic nature texts. Hence, this study investigates orality markers in the selected novels with the adoption of close reading for the collection of data and Arnold’s theory of foregrounding, which specialise in answering questions on literary motifs and how they come to gain prominence in texts as framework. Exclamatory remarks in sentential forms as well as repetitions through reiteration and syntactic parallelism, are identified as orality adding musicality and aesthetics to the texts while foregrounding the novelists’ thematic concerns. The research concludes on the premise that orality markers perform stylistic and aesthetic functions before readers interacting with the texts, making the reception of writers’ messages on socio-linguistic, socio-political, socio-economic, and socio-cultural harsh realities less gruesome. 

EXPRESSIVE SYNTAX IN PRESIDENTIAL DISCOURSE VLADIMIR ZELENSKY

The article is devoted to the analysis of figures of expressive syntax presented in public speeches of the President of Ukraine Volodymyr Zelensky. The texts of presidential rhetoric, which was transformed during the Russian invasion on February 24, 2022, are considered. The peculiarities of presidential speeches, implemented at the syntactic level, are traced. Figures of expressive syntax are analyzed: syntactic repetition, syntactic anaphora, syntactic epiphora, syntactic parallelism, period. The material of the research was the texts of presidential speeches, represented in the daily video addresses of Volodymyr Zelensky to the Ukrainian people. The object of research was the Ukrainian presidential discourse, and the subject - the syntactic features of the political speeches of V. Zelensky. The purpose of the study is to identify and qualify the main means of expressive syntax used in the presidential rhetoric of V. Zelensky, which have influential potential. The material for the analysis was the speeches and addresses of V. Zelensky, presented on the official website of the President of Ukraine, starting from February 24, 2022. Both the texts of daily video appeals to the people of Ukraine and official speeches addressed to foreign leaders and communities are considered. It is proved that during the Russian-Ukrainian war a relatively new speech genre of political discourse, presented in the presidential rhetoric of V. Zelensky, became widespread - video appeals. The dynamic nature of this genre and its interactivity, enhanced by video and audio tools, required the actualization of linguistic means of influencing the addressee, among which the priority is the means of expressive syntax. V. Zelensky’s presidential discourse mostly presents syntactic repetitions (anaphora, epiphora, epanaphora), syntactic parallelism, antithesis, period and rhetorical questions.

The Style of Parallelism in Malay Poetry

This study explores the various patterns and meanings of parallelism in Malay poetry. For this purpose, this study has selected one of the famous poets in Malaysia, A. Latiff Mohidin, who is found to be very consistent in the usage of various patterns of parallelism in his works. He is more well known for his individualism and visualism styles. This study will examine his famous work titled The Mekong River, which was first published in 1974. The patterns of parallelism were analyzed from the grammatical aspects, namely phonological parallelism, morphological parallelism and syntactic parallelism. The results showed that the poet has used a very rigid parallelism technique by regulating sounds, words and sentence structure. The poet has also incorporated the parallelism and repetition aspects in his work. The parallelism element was found in all positions, namely at the beginning, middle and end of lines. In terms of meaning, Latiff is more likely to use antithetic and synthetic parallelism. The results of this study contribute to the style of Latiff Mohidin in particular and the Malay style of poetry in general.

Caractérisation structurelle des constructions chiasmatiques des langues russe et française

This article represents the author's experience in the comparative study of one of the figures of expressive syntax - chiasmatic constructions, functioning in fiction texts. The object of study in this study are chiasmas extracted from texts of fiction in Russian and French, the subject – linguopragmatic characteristics of chiasmatic constructions. Chiasmatic construction, or the figure of crossing, is one of the most complex and multifaceted rhetorical figures. Its appearance is the result of the interaction and fusion of several syntactic structures; this includes expressive constructions of syntactic parallelism, repetition, antithesis or contraposition, and inversion. The name itself comes from the peculiarities of the structure of the chiasmus, in which the second part is an inverse repetition of the first, such an intersection of parts generates a figure similar to the letter "x" - hence the ancient Greek name of the structure. Such constructions are individual, occurring mostly in winged sayings, phraseological units, fiction prose and most often in poetry. The conclusions and provisions developed in these studies, due to their theoretical value and significance, allow us to see the specificity of this figure of expressive syntax. At the same time, the analysis of the corresponding literature and the requirements for scientific research put forward by the time itself and the changes taking place in the society, which are naturally reflected in the language and in its functional stratification, testify to the necessity of the research directed to the complex illumination of problems of the syntax of a fiction text in the comparative aspect.

Echoing Retorts in Hárbarðsljóð and Lokasenna

Echoing Retorts in <i>Hárbarðsljóð</i> and <i>Lokasenna</i>

Linguocultural Image of Traditional Kazakh Song Texts

The article deals in detail with the linguocultural image of traditional songs, which are the pearl of the spiritual culture of the Kazakh people. The contents of the texts of traditional songs of Kazakh people reflect the peculiarities of mentality, ethnic, linguocultural perception of music and folded history of the Great Steppe, the variety of everyday life, social consciousness and world picture. Traditional Kazakh folk songs are grouped according to the content-structural system as songs born in connection with ancient beliefs, songs born in connection with economy and occupation, household and ritual songs. Traditional Kazakh songs have a linguistic examination of the lyrics reflecting the brevity of the song. The lexico-semantic specificity in the linguocultural aspect of the texts of traditional songs of the Kazakh people is the richest in philosophical deep meaning and didactic content, various expressions and emotions, parables-sentences and aphorisms, phrases and syntactic parallelisms. In the traditional song texts of the Kazakh people on the basis of specific examples the emotive lexicon and linguocultures, connotations carrying semantic and stylistic meaning are differentiated. The functional activity of such pictorial means as rhythm, noise, rhyme, timbre, intonation, metaphor generating the figurative artistic image, comparison, epithet, parallelism, symbolism, personification that make up the harmony of melody and words in a song text is analyzed.

Linguocultural Image of Traditional Kazakh Song Texts

The article deals in detail with the linguocultural image of traditional songs, which are the pearl of the spiritual culture of the Kazakh people. The contents of the texts of traditional songs of Kazakh people reflect the peculiarities of mentality, ethnic, linguocultural perception of music and folded history of the Great Steppe, the variety of everyday life, social consciousness and world picture. Traditional Kazakh folk songs are grouped according to the content-structural system as songs born in connection with ancient beliefs, songs born in connection with economy and occupation, household and ritual songs. Traditional Kazakh songs have a linguistic examination of the lyrics reflecting the brevity of the song. The lexico-semantic specificity in the linguocultural aspect of the texts of traditional songs of the Kazakh people is the richest in philosophical deep meaning and didactic content, various expressions and emotions, parables-sentences and aphorisms, phrases and syntactic parallelisms. In the traditional song texts of the Kazakh people on the basis of specific examples the emotive lexicon and linguocultures, connotations carrying semantic and stylistic meaning are differentiated. The functional activity of such pictorial means as rhythm, noise, rhyme, timbre, intonation, metaphor generating the figurative artistic image, comparison, epithet, parallelism, symbolism, personification that make up the harmony of melody and words in a song text is analyzed.

Language of Translated Version of ‘Abstract Thought: An Onion'

Translation as writing across languages and cultures is characterized by its own linguistic features. Translation researchers have discerned certain linguistic features of translated texts that render the translated language distinct from non-translated one. In this context, the present paper examines the language of Abstract Thought: An Onion, the English translation of Shankar Lamichhane's Nepali essay 'Yābstyrakṭ Chintan: Pyāj' rendered by Govinda Raj Bhattarai. The data were collected and analyzed through qualitative document analysis and the findings are discussed under three thematic headings like lexical borrowing, lexical explicitation and syntactic parallelism. The findings show obligatory and strategic lexical borrowings, explicitation, and syntactic parallelism as the key linguistic features of this Nepali essay in English translation, signaling the translator's fidelity to the source text and his concern for the intelligibility of the translated text. Finally, the study points out the implication of these findings for translation teaching and training.

Means of artistic expression in the language of Spanish folklore

The article examines the traditional means of artistic expression in Spanish folklore texts. The subject of the study is hyperbole, antithesis, comparison, constant epithet, which play a special role in the language of Spanish folklore. The distinctive features of the artistic system of folklore are the use of tropes at all levels of narration, the dependence of the stylistic design of the text on genre specifics, the predominance of a special polyexpressive, harmonic style in most folklore works. In addition, each genre of folklore has a functional and emotional characteristic, a special intonation, the creation of which is aimed at using the means of artistic expression. The types of tropes analyzed in the article are traditional and typical of Spanish folklore texts and illustrate the specifics of folklore allegory and artistic expressiveness. The conclusions of the study are based on the analysis of the artistic system and linguistic features of small and large genre forms of Spanish folklore. The minor intonation of a Spanish lullaby (canciones de cuna, moner&amp;#237;as nanas), filled with repetitions, comparisons and personifications, differs from the major character of game and dance-song folklore (juegos, cancioncillas, ruedas, bailes), where the use of dialogical form, shouts and imperative mood, special rhyme and accents. The imagery of Spanish proverbs and sayings (proverbios, refranes) is expressed in the use of various artistic techniques with a general sententious character – metaphors, metonymy and synecdoche, syntactic parallelism, rhyme, alliteration. For Spanish riddles (enigmas, adivinanzas), comparison, metaphor, hyperbole, antithesis, onomatopoeia are common. In counting and drawing lots (comienzos de juego), rhyme and rhythm, the use of interjections and exclamations come to the fore. In larger forms of Spanish folklore, such as a fairy tale, there is a constant epithet, hyperbole, repetition, fairy tripling. Spanish folklore tends to use hyperbole and antithesis as the most frequent stylistic figures, as well as the main plot-forming and compositional techniques.

PROSIMETRICAL COMPOSITIONS IN THE WORKS OF VIKTOR PUL’KIN

The article deals with the problem of prosimetry (prosimetrum) in a work of literary fiction. Viktor Pul’kin’s works in the literary tale genre (narration in the first person, or skaz) from “The Kizhi Stories”, “The Bronze Horseman”, and “The Royal Fingers” literary collections were analyzed. A hypothesis is put forward that Viktor Pul’kin’s works can be classified as prosimetrical compositions. Literary tales (skaz) are proven to be an important material for the study of prosimetry and are of particular interest for verse studies. The author discovers that Viktor Pul’kin relies on the spoken and chanted folk verse traditions. Various genres of Russian (and, in rare cases, Karelian) oral folk art act as sources of poetic elements in Viktor Pul’kin’s prose. These genres include proverbs, sayings, riddles, lyric songs, byline (heroic epics), spiritual verses, incantations, runes of the Kalevala metrics, etc.Prosaic fragments with increased rhythm were also discovered, specifically, these include constructions with syntactic parallelism and most often with grammatical rhyme, which cannot be conclusively qualified as poetic elements. An important aspect of the poetics of Viktor Pul’kin’s skaz is comprised by the experiments with folklore spoken verse, or the so-called rayoshnik. Such texts are numerous, but they almost never reach a significant length. At the same time, the rayoshnik occupies the intermediate place between verse and prose: usually the tales (skaz) written in rayoshnik are, strictly speaking, rhymed prose, rather than verse.This applies both to direct folklore quotations and to folklore and literary experiments. The article attempts to correlate the poetics of Viktor Pul’kin’s works with the poetics of the literary tale (skaz) genre as such. The presence of folklore poetic fragments in a prosaic text seems to be largely predetermined by the poetics of the literary tale (skaz), which is characterized by an orientation towards the “living” word, stereotypes of everyday speech, and the colloquial-speech basis of traditional popular culture.

Классификация параллелизма танских четверостиший, содержащих пять слогов в строке, по направлению

The study aims to develop a classification of syntactic parallelism of Tang quatrains containing five syllables in a line according to the direction of parallel fragments. Syntactic parallelism of such works can be: 1) partially vertical; 2) completely vertical; 3) horizontal; 4) both vertical and horizontal; 5) zero. The study is novel in that it applies an old method (immediate constituents analysis) to new material, i.e. selected Tang quatrains containing five characters in each line. As a result of the study, the researcher is able to classify any Tang poems by the percentage of parallel fragments of the total number of characters in the poem.

Ритмико-синтаксический параллелизм в прозе Т. Е. Сметанина

The research aims to study the particularities of syntactic parallelism in the prose of the Yakut writer and war veteran, poet T. E. Smetanin. The paper identifies structural features, varieties of parallelism found in the author’s prose. Scientific novelty lies in studying the particularities of rhythmic organisation in T. E. Smetanin’s prose. As a result, it has been proved that syntactic parallelism actively used in T. E. Smetanin’s prose gives the narrative a peculiar rhythm. The idea that syntactic parallelism is one of the specific features of Smetanin’s prose is substantiated. Observations show that the predominance of constructions with complete parallelism (82.8%) gives the author’s narrative a special dynamics and rhythm.

Lexical Repetition and Syntactic Parallelism in Selected Political Essays of Niyi Osundare and Ray Ekpu

This paper examines lexical repetition and syntactic parallelism in selected political essays of Niyi Osundare and Ray Ekpu, which have been relatively underexplored, in order to determine how they have been deployed to represent Nigeria’s socio-political concerns as well as the points of convergence and divergence in the use of these devices by both writers. M.A.K Halliday’s Systemic Functional Grammar served as the framework. Eighteen (18) essays were purposively sampled; 9 each from Osundare and Ekpu’s publications in Newswatch where they both published between the Second and Fourth Republics (1979–1999). The study shows that lexical repetitions underscore argument, expand the thematic range and create lexical links between words in the discourses. Syntactic parallelism creates a multidimensional representation of discourse themes such as deprivation, anarchy, civil unrest, moral decline, government’s harsh economic policies and intimidation of the press. These themes are situated within a specific context in order to reinforce their gravity. Osundare’s essays deployed the mhq patterns for effective description and thematic projection. Conversely, Ekpu’s essays use the mhq and hq patterns for effective description and thematic projection. The essays of Osundare employ the SPC1 structure to foreground the blatant disregard for human rights while Ekpu’s employs the SPCA and SPA structures in projecting the breach of the judiciary. These devices contribute to the structure of the selected essays and create room for according emphasis and explicitness to the discourse themes. Osundare and Ekpu draw on lexical repetition and syntactic parallelism to unveil and denounce socio-political ills in the country. They employ these devices to underscore their political stance.

‘A long foot crossing mountains’: Forty-three annotated Pumi riddles

In this paper, we present forty-three interlinearized and annotated Pumi riddles. Riddles are a subgenre of poetry, characterized by their syntactic parallelism and use of metaphor. We look at the structural characteristics of riddles and explore their use of metaphor. Riddles appear in a parallel question-answer pair and may be divided into four different sets based on their structure and content: oppositional riddles, locational riddles, person(ified) riddles and action riddles. Metaphors draw from likeness in shape or movement, and to a minor extent from likeness in colour, texture, sound or function. Riddling is a highly endangered art form and this paper aims to document their beauty for posterity.

A repetição como estratégia retórico-manipulativa no texto de autoajuda

The present work aims to establish the relationship between text, discourse and rhet-oric, identifying and discussing the strategic marks of the use of repetition, in the construction of manipulative meanings in the self-help text, from a sociocognitive-discursive perspective. Thus, we present the resource of repetition, which we associate with the mobilization of pathos in self-help To this end, we theoretically rely on Koch (2004) and Koch and Elias (2016) to address the functions of repetition in the text; Cavalcante et alii (2020) and Amossy (2008) to substantiate the relationship between text and argumentation in discourse; Breton (1999) and Charaudeau (2009; 2010) to ad-dress the manipulation of affects and repetition. Methodologically, this research presents a qualita-tive, descriptive and documentary approach, with an analysis of self-help works. As a result, several paraphrased ideas were found to be combined simultaneously with other repetition strategies in the sequencing of the chapters of the works, such as syntactic parallels and lexical and sound reitera-tions, added to other linguistic-discursive resources which we relate to pathemic meaning effects. and with the possibilities of manipulation of the subject-reader of self-help

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.

Поэт Владимир Илюшенко: стихи и музыка

The article by E. Chigareva is devoted to the musicality of poetry on the example of the work of Vladimir Ilyushenko. Various themes of Vladimir Ilyushenko's poetry are considered through the prism of the music that is present in them by subtext or openly. This is a theme of nature, a dialogue with poets of the past, a gospel theme. The article analyzes mainly the last poems of the poet. The poetic techniques that give the compositions a musical sound (alliteration, assonance, syntactic parallelism, some compositional principles — reprise, rhondda, framing, etc.) are considered. In conclusion, the article raises the question of the «reverse» effect of poems on music (the genre of the author's song in the poet's work). This phenomenon is considered on a concrete example.