Sight and Sound in the Poetic World of Ernest Dowson

2006 ◽  
Vol 60 (4) ◽  
pp. 481-509
Author(s):  
STEPHANIE KUDUK WEINER
Keyword(s):  
Literary Language ◽  
The World ◽  
Communicative Discourse

This essay argues that Ernest Dowson's poems are organized according to patterns of color, in which bright hues fade to gray, and of sound, in which superfluous, even erroneous,punctuation marks generate syntactic strain and precisely modulate the pauses between words and lines. These patterns are central to Dowson's effort to estrange his literary language from everyday, communicative discourse and its reference to the meanings of the world, to make poetry a "pure" medium of art rather than a representation of life. As such, Dowson's poetry differs from the impressionist and naturalist art of the fin de sicle, with which his work is often incorrectly conflated, and it marks a cleavage between empiricist and anti-empiricist approaches to representation,especially in relation to matters of observation, objectivity, and particularity. Dowson's aestheticism represents an extreme limit of anti-empiricist literary formalism, whose legacy for modernism consists not principally in its successes but in its failures.

Towards a new convergence between Anglo-American and Russian literary linguistics: “mind style” and “kartina mira”

2010 ◽  
Vol 39 (2) ◽  
Author(s):  
Ben W. Dhooge
Keyword(s):  
Mutual Influence ◽  
Stylistic Analysis ◽  
Literary Language ◽  
Practical Applications ◽  
The World ◽  
Russian Literary ◽  
Anglo American ◽  
1960S And 1970S ◽  
The 1960S ◽  
Mutually Independent

AbstractAnglo-American and Russian stylistics influenced each other substantially in the 1960s and 1970s. From the 1980s on, however, this fruitful mutual influence came to an end. The two schools started to grow apart, but despite that, they would develop almost parallel to each other, displaying many theoretical and methodological similarities. The present paper illustrates this by highlighting one such specificity – the idea of the possible reflection of one's conceptualization of the world in the use of literary language, and the possibility of reconstructing that conceptualization by means of a stylistic analysis (‘mind style’–‘kartina mira’). By comparing the Anglo-American and Russian theories on the topic, it is shown that the separately evolved conceptions are similar and even complement each other: the differences between them clarify and help solve possible theoretical and methodological gaps. Moreover, the juxtaposition of both conceptions allows us to perfect the notion of ‘mind style’ and its practical applications. A similar approach to other conceptions and tendencies in current seemingly mutually independent Anglo-American and Russian stylistics have the same potential, and may lead to a new convergence between the two schools.

scholarly journals The reflection of Ivan Kotlarevsky’s stylistics in Language of Artistic prose of Pavlo Zagrebelny

2019 ◽  
pp. 66-76
Author(s):  
Natalia Holikova
Keyword(s):  
Semantic Similarity ◽  
Language Game ◽  
Literary Language ◽  
Literary Traditions ◽  
Rhetorical Figures ◽  
Creative Personality ◽  
The World ◽  
The Creation ◽  
The Individual

The article explores the intertextual interaction of stylists, who in the works of I. Kotlyarevsky and P. Zahrebelny represent the concept of «laugh culture». The linguistic and aesthetic signs in the epic burlesque-travesty poem «Aeneid» by I. Kotlyarevsky, which served as a model for the creation of expressive and pictorial means – carriers of humorous axiology in the language of a number of P. Zahrebelny's novels, are revealed. Attention is drawn to the fact that the foundations for the formation of a ridiculous culture as a genre segment of Ukrainian literature are laid in the poem «Aeneid» by I. Kotlyarevsky, which is written in a syllabic-tonic verse (iamb) – the size most appropriate for the Ukrainian language. The linguistic and literary traditions of ridicule are at the heart of the humorously narrative tonality of P. Zahrebelny's two novels – «The Lion's Heart» and «Exile from Paradise», which form the thematic-storyline. It is emphasized that the figure of I. Kotlyarevsky is a significant creative personality for P. Zagrebelny, who often appeals to the creator of the creator of Ukrainian literary language in his prose. The novelist dialogues with the artistic texts of the laughingstock, introducing meaningfully expressive fragments of them into the intersemiotic field of prose works. The intertextual interplay of linguistic components of the individual-linguistic paintings of the world of two writers can be traced in the functional and structural-semantic similarity of a number of style word, which are often the result of stylistic reception of the language game: intertext (linguocultural and ethno-language characters), literary and artistic anthroponyms, as well as words-symbols, which are functionally significant components of the peripheral-evaluative sphere. The individual and authorial rhetorical figures of P. Zahrebelny are comprehensively analyzed within the limits of linguistics, ethno-linguistics, theory of intertextuality, literary onomastics. It has been concluded that the linguistic creation of the prose contains an important humorous-axiological segment of artistic narrative, which is organically incorporated into the context of Ukrainian laugh culture.

The Languages of Diaspora and Return

2016 ◽  
Vol 1 (2-3) ◽  
pp. 1-119 ◽  
Author(s):  
Bernard Spolsky
Keyword(s):  
Middle Ages ◽  
South Asians ◽  
Overseas Chinese ◽  
Literary Language ◽  
The World ◽  
The Many ◽  
The Middle Ages

Abstract Until quite recently, the term Diaspora (usually with the capital) meant the dispersion of the Jews in many parts of the world. Now, it is recognized that many other groups have built communities distant from their homeland, such as Overseas Chinese, South Asians, Romani, Armenians, Syrian and Palestinian Arabs. To explore the effect of exile on language repertoires, the article traces the sociolinguistic development of the many Jewish Diasporas, starting with the community exiled to Babylon, and following through exiles in Muslim and Christian countries in the Middle Ages and later. It presents the changes that occurred linguistically after Jews were granted full citizenship. It then goes into details about the phenomenon and problem of the Jewish return to the homeland, the revitalization and revernacularization of the Hebrew that had been a sacred and literary language, and the rediasporization that accounts for the cases of maintenance of Diaspora varieties.

scholarly journals DOCUMENT “CHARTER” AS A GENRE OF OFFICIAL STYLE

2021 ◽  
Vol 1 (193) ◽  
pp. 294-299
Author(s):  
Kateryna Nadtochii ◽  
Keyword(s):  
Comparative Analysis ◽  
Everyday Life ◽  
Semantic Features ◽  
Literary Language ◽  
Complex Sentence ◽  
Literal Sense ◽  
The World ◽  
Compound Sentence ◽  
International Document

The study of the styles and genres of the literary language, as well as their features, is an integral part of modern philology. A vast deal of researches is devoted to such styles as literary, scientific and publicistic. The literary style and its genres has particular place in linguistic. However, in connection with the latest events that are taking place in the world, international documents are gaining more and more importance. It is the genres of this style which surround us in everyday life: laws, codes, orders, announcements, manuals and others. Also, all international documents and agreements are written in an official style. These documents are regulator of relations between countries. This article describes the classification of the styles of the literary language and their genres. And also, this article is devoted to the study of one international document, namely the "charter". There are many classifications of styles in the Ukrainian literary language. Each researcher categorizes and names them differently, but still, there are five main functional styles, such as scientific, official, publicistic, informal, literary. Official style is a functional style of literary language. "Charters" are international documents of official style. They have different stylistic, lexical and grammatical characteristics. In "charters " neutral vocabulary is used and words are used in the literal sense. For these documents extended sentence, compound sentence and complex sentence are characterized. A perspective for further research is a comparative analysis of the lexical, grammatical and semantic features of the "charter" in different languages.

scholarly journals Verbal and linguocultural content of a text

2021 ◽  
pp. 18-32
Author(s):  
Myroslava Mamych ◽  
Keyword(s):  
Mass Media ◽  
Structural Level ◽  
Literary Language ◽  
Human Needs ◽  
A Value ◽  
Media Space ◽  
The World ◽  
Verbal Content ◽  
The Media ◽  
The Mass Media

This article gives a detailed account of one of the topical issues of modern integrative linguistic stylistics, i.e., substantiation of the content of the latest concepts that are formed within the interrelated disciplines. Attention is specifically paid to the terms media stylistics, verbal and linguocultural content of the media. The author elaborates on the concept of linguocultural content of the media text interpreting it as linguistic and aesthetic signs of culture, components of linguistic and informational pictures of the world, i.e., a value-content meaning of the mass media which unfolds and concretizes the general and nationally marked concepts, and as a regular manifestation of the language norm. The data of the magazine A Woman shows that the verbal content is a significant, specific segment of the functioning of the modern Ukrainian literary language in the media space. It reflects the universal stratification of the language of national professional, social, every day, and artistic culture, the synergy of its mediatopes and media genres, broadcasts a hierarchy of social (socio-political, gender), psychological and economic stereotypes, and human needs. They are all united by the Ukrainian-centric linguocultural platform which consists of both value-semantic signs of culture and structural-level units of the literary-linguistic continuum. In terms of media stylistics, the language of Ukrainian-language media is analyzed in two complementary perspectives: 1) via metaphorical-associative field structures with specific core nominations; 2) via the principles of realization of the media structural-level norm in the mass media. Keywords: media stylistics, verbal content, linguocultural indicator of value, metaphorical-associative field, language norm, sign of culture.

Іnnovations in Modern Ukrainian Maritime Terminology

2019 ◽  
pp. 268-273
Author(s):  
Alla Varynska ◽  
Nataliya Kornodudova
Keyword(s):  
Maritime Industry ◽  
Literary Language ◽  
Active Process ◽  
New Concepts ◽  
The World ◽  
Concept Combination ◽  
General Linguistic ◽  
World Maritime

Maritime terminology of the modern Ukrainian literary language nowadays is at the stage of intensive dynamics. This process is caused by development of the world maritime industry. It is accompanied by occurrence of terms – neologisms. This article is of high priority because there is no systemic and well-grounded research of innovations in modern Ukrainian maritime terminology. It is focused on the factors due to which new formations in modern Ukrainian maritime terminology are created; processes of occurrence of innovations at the level of research of general-linguistic and individual author’s neologisms are highlighted. The research describes and considers by examples the innovative processes which cause the occurrence of new abbreviated formations. They help to recreate terminological meaning of complicated maritime names, concepts and expressions to make it clear and precisely. This article also investigates metaphorical innovations which are actively applied in maritime terminology and are the key to understanding of many concepts. Special attention is paid to innovations which have arisen due to borrowings as a consequence of contacts between nations or indirectly through other languages. Active process of innovations is also promoted by the terms – word-combinations which reflect the meaning of new concepts of maritime industry. They are formed as a result of several words reflecting a certain terminological concept combination. Innovations in the modern Ukrainian maritime terminology promote to development of the modern Ukrainian literary language proving its mobility and consistency.

Axiological component of the linguistic worldview (on the material of “Hagiography of Protopope Avvakum”)

Neophilology ◽  
2019 ◽  
pp. 29-34
Author(s):  
Leyla Y. Mirzoeva
Keyword(s):  
17Th Century ◽  
Human Consciousness ◽  
Literary Language ◽  
Life Goal ◽  
The World ◽  
Russian Literary ◽  
Expression Evaluation

We made an attempt of development theoretical propositions “diachrony in synchrony of language”, reflected in the works of N.I. Gainullina. On the text material we consider axiological representation of a linguistic personality with a position diachrony in the synchrony of language; the attention is focused on the fact that axiological representations are the cornerstone on which the linguistic view of the world is formed. It is proved that the universality, anthropocentricity and expressiveness of the linguistic view of the world are based on the foundation of evaluativity. During the study we establish that one of the leading concepts correlated with the reclamation zone of the scale of assessments is the concept of purity, which in the human consciousness of the 17th century meant, of course, not only the purity of thoughts, but also the construction of service to God in the main life goal, which is not typical for the linguistic view of the world of the recipient of the late 20th – early 21th century. Our study reveal that in the “Hagiography of Protopope Avvakum” more than 20 contexts containing means of expression of evaluation. It is proved that the linguistic view of the world, coupled with the Russian literary language of the 19th, 20th and 21th centuries, does not imply such a variety of estimates and the breadth of use of means of expression evaluation in this sphere.

Introduction

2020 ◽  
pp. xx-15
Author(s):  
Galen A. Johnson
Keyword(s):  
Philosophy Of Language ◽  
Sharp Contrast ◽  
Literary Language ◽  
Francis Ponge ◽  
Claude Simon ◽  
Paul Claudel ◽  
Literary Expression ◽  
Collège De France ◽  
The World

Merleau-Ponty’s profound engagement with literary writers is readily apparent: Proust and Valéry, also Stendhal, Paul Claudel, Claude Simon, Baudelaire, Rimbaud, Breton, Balzac, Mallarmé, Francis Ponge, Sartre, and Beauvoir. Merleau-Ponty’s first two 1953 courses at the Collège de France as well as the course of 1953–54 all address questions of expression and literary language: The Sensible World and the World of Expression, Research on the Literary Usage of Language, and The Problem of Speech. Recent transcription and publication of these new resources lend urgency to this project. Our use of the term “poet” includes literary authors in general, be they novelists or “poets” in the narrower sense, and our focus is on the writers of “modernity” or “modernism.” The meaning of a Merleau-Pontyan poetics opens with reflections on philosophy of language in sharp contrast with Sartre’s What is Literature? It studies four paradoxes of literary expression: the paradox of the true and the imaginary, of speech and silence, of the subjective (the most secret) and the objective, and of the relation of the author and the person who lives. These are the “surprises,” the “traps,” that make literature appear as a problem to itself and cause the writer himself or herself to ask: “what is literature?”

Kaleidoscope

English Today ◽  
1990 ◽  
Vol 6 (1) ◽  
pp. 32-34
Keyword(s):  
Free Play ◽  
Literary Language ◽  
Paul Auster ◽  
New Novel ◽  
The World ◽  
Western Metaphysic ◽  
Self And Identity

• Like this year's hemline, we may all simply have to endure ‘postmodernism’ until the next season. So perhaps we should face facts and start taking a few notes, to be casually dropped at our next garden party. Language, they tell us, and particularly literary language, doesn't describe the world, but only the meaningless machinery of language itself. Character and story are cultural restraints to the ‘free play’ of self and identity, and as such should be subverted. Authors shouldn't write novels any more, but rather ‘deconstruct the Western metaphysic’… Like many post-moderns, Paul Auster has a theory about the world, but, unfortunately, nothing to go with it. In his new novel, In the Country of Last Things, the narrator who travels across Auster's fragmented, entropic landscape never discovers her lost brother, but only other lost people, vast quantities of dead and disused objects. It is a world in which language neither works nor matters; it simply lies brokenly about (Scott Bradfield, ‘Thoroughly Postmodern’, The Listener, 28 Jul 88).

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