scholarly journals The Ambivalence in the Metaphor Life is Wine from the song “No I in Threesome” by Interpol

2020 ◽  
pp. 149-162
Author(s):  
David Boza Méndez
Keyword(s):  
Literary Text ◽  
Significant Other ◽  
Poetic Language ◽  
Figures Of Speech ◽  
Poetic Text ◽  
Poetic Value

The song with lyrics can be seen as a poetic text due to the evidence of figures of speech, images, and symbolism, as well as, phonetic resources that reflect the musicality of poetic language. In this sense, the post-punk revival band Interpol wrote No I in Threesome, the account of a persona trying to convince his significant other to have a threesome. This song includes the metaphor life is wine, which makes explicit the poetic value of the song. But not only that, the metaphor also shows how a statement, in this case a statement part of a literary text, can have different meanings.

Per una semiotica della rima

2019 ◽  
Vol 70 (1) ◽  
pp. 158-185
Author(s):  
Federico Di Santo
Keyword(s):  
General Theory ◽  
Freedom Of Expression ◽  
Literary Text ◽  
Current View ◽  
Semantic Interference ◽  
Semiotic Approach ◽  
Poetic Text ◽  
Semiotic Perspective ◽  
Poetic Value

Abstract The article, following a suggestion of Barthes, attempts to outline a semiotics of the technique of rhyming considered as a sub-code of poetic language, in order to better understand the important contribution provided by rhyme, on many levels, to the strategies of signification of the literary text. This semiotic approach is inscribed in a general theory of rhyme under development by the author, which aims at explaining the raison d’être and fortune of this poetic device in relation to its decisive contribution to the rhetorical and figurative elaboration of the poetic text. In a semiotic perspective, three fundamental levels of structuring rhyme as a sign can be distinguished: its signifier (the partial phonic identity which, in the current view, is considered to be rhyme’s exhaustive definition), its meaning (the semantic interference between rhyming words only) and its sense (the relation between rhyme’s meaning and context). A short reference is also made to further aspects of the the sub-code of rhyme, such as its syntax (strophic patterns) and the role of pools of rhymes. This leads to a reappraisal of some significant questions raised by the technique of rhyme, e. g. whether or not it always makes a semantic contribution, or what the interplay between its limitations to freedom of expression and its contribution to the expressiveness and poetic value of the text is. The theoretical tools are finally put to the test in a short analysis of the rhyme-words in the form of the sestine.

Lexical Structure of the Poetic Text as a Key to the Comprehension of Its Inherent Values

2019 ◽  
Vol 80 (1) ◽  
pp. 20-25
Author(s):  
Nina S. Bolotnova
Keyword(s):  
Conceptual Analysis ◽  
Sequential Analysis ◽  
Literary Text ◽  
Russian Language ◽  
Lexical Structure ◽  
Poetic Text ◽  
Approach To Teaching ◽  
Poetic Texts ◽  
The Russian Language

This article is aimed at presenting a methodology for the conceptual analysis of poetic texts based on their lexical structure using the theory of communicative stylistics. The lexical structure of the literary text is considered to be a means of aсquainting the reader with the values manifested therein. The study of values intertwined within written works is particularly significant for the development of an axiological approach to teaching the Russian language. This article proposes a method for a sequential analysis of the lexical structure of a poetic text, which can be used at Russian language lessons.

APPOSITION AS A MEANS OF EXPRESSING THE LANGUAGE PERSONALITY OF THE AUTHOR OF THE LITERARY TEXT

2020 ◽  
Author(s):  
Галина Петровна Бурова ◽  
Елена Николаевна Бельдиева ◽  
Елена Валерьевна Тупович
Keyword(s):  
Literary Text ◽  
Russian Language ◽  
Poetic Text ◽  
8Th Grade ◽  
The Russian Language

В статье рассматриваются особенности употребления приложения как синтаксического средства выражения авторских индивидуально-личностных интенций при обозначении фрагментов картины мира в поэтическом тексте Б.Л. Пастернака. Уделяется внимание вопросу о лингводидактическом потенциале приложения при обучении синтаксису русского языка в VIII классе школы. The article examines the features of using the application as a syntactic means of expressing the author's individual and personal intentions in connection with designating fragments of the worldview in the poetic text of B.L. Pasternak. Attention is paid to the question of the linguistic didactic potential of the application when teaching the syntax of the Russian language in the 8th grade of the school.

MASCULINITY, HEROISM, AND THE EMPIRE: ROBERT BROWNING'S “CLIVE” AND OTHER VICTORIAN RE-CONSTRUCTIONS OF THE STORY OF ROBERT CLIVE

2009 ◽  
Vol 37 (1) ◽  
pp. 141-156 ◽  
Author(s):  
Evgenia Sifaki
Keyword(s):  
Cultural Critique ◽  
Poetic Language ◽  
The Core ◽  
Poetic Text

The core of this paperis a reading of Robert Browning's “Clive” (1880); it attempts to account for the formalist demands of this generically complex and relentlessly ironic poetic text, while at the same time it construes the accomplishment of Browning's poetic language and form as intricate cultural critique. However, in order to better understand Browning's poem an additional discussion of its intertexts is required, the most important being Thomas Babington Macaulay's essay “On Clive” (1840).

On the equivalence of translations of Abai’s poetic text

Neophilology ◽  
2020 ◽  
pp. 85-89
Author(s):  
Klara M. Abisheva ◽  
Ayman B. Nurgazina ◽  
Aigul K. Uisinbayeva
Keyword(s):  
Literary Text ◽  
Source Text ◽  
Translation Analysis ◽  
Poetic Text ◽  
Characteristic Features ◽  
Text Content

We consider the equivalence of source and translation texts. Currently, various ways to achieve the adequacy of texts are being studied, which proves the relevance of this problem. We propose equivalence techniques based on the reproduction of the content side of the text that conveys the author’s meaning. In this case the purpose of the study is to describe the strategies of meaning, the strategies of transformations used by the poet to achieve the adequacy of the source text content. The study applied the methods of comparative and translation analysis. The characteristic features of the translation, the correlation of the concepts “literary text”, “image of the author”, “author’s modality”, “idiostyle of the author” are analyzed in the research. The components of the modeled system and its types are identified and justified. Based on the study, we propose ways to achieve the adequacy of the content side of the text, the equivalence of translations based on the material of Abai’s poetry texts. We substantiate the ways to achieve equivalence of the author’s modality using strategies for transforming formal means of the idiostyle of the source text. We also prove the possibility of using the method of reproducing the source text content through the strategy of meaning and transformation.

THE ROLE OF CONNOTATIVE PROPER NAMES IN THE LITERARY TEXT (BASED ON THE MATERIAL OF S.A. YESENIN’S LYRICS)

2019 ◽  
pp. 164-175
Author(s):  
Yelena Guntareva
Keyword(s):  
Content Analysis ◽  
Text Analysis ◽  
Proper Names ◽  
Literary Text ◽  
Special Significance ◽  
Lexical Meaning ◽  
Poetic Text ◽  
And Linguistics

The article is devoted to the connotative reading of proper names (PN) in a literary text. Undoubtedly, among the issues of poetic onomastics it is one of the most complicated and interesting questions. It should be noted that at the present time onomastics itself appears as a rather new direction of a text analysis,it develops along with stylistics, poetics and linguistics. For the analysis of connotative onyms the article presents quite a full generalization of the following issue: whether proper names have or do not have a lexical meaning. The attention is paid to underlining the volumetric informative field in PN, in the structure of which connotation takes a considerable role. The introduction of a special term «connotonym» is convincingly motivated. The article alazies connotative potential of PN in detail and gives its common characteristics.It is underlined that all sorts of onyms have connotation, though in a literary text anthroponyms have a special significance, so a particular attention in the article is given to the connotative filling of anthroponym meanings. It is noted that proper names are always subjectively coloured, they express author’s attitude. Besides, they appear in the text in different forms, realize author’s ulterior sententiae, and assist in describing main characters and their relationship. Theoretical propositions of the article are illustrated by the example of the PNconnotative content analysis: Shaghanae from S.A. Yesenin’s famous cycle «Persian Motifs» and Tanyusha from his poem «Khorosha byla Tanyusha…». The article shows contextual reading of a connotonym and potentialities of the PN connotative reading in a poetic text.

The Russian Futuristic Experiment: the Language of the Poetic Resistance

2020 ◽  
Vol 29 (2) ◽  
pp. 261-272
Author(s):  
Magdalena Kostova-Panayotova
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Artistic Expression ◽  
Poetic Language ◽  
Creative Mind ◽  
Avant Garde ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
The Mind

The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.

scholarly journals Positional Vision of Poetic Text Structures as a Tool of Interpretation (Based on the Poems of Joseph Brodsky)

2020 ◽  
pp. 32-45
Author(s):  
Roman Valentinovich Zabashta
Keyword(s):  
Literary Text ◽  
Linguistic Knowledge ◽  
Functional Theory ◽  
Conceptual Information ◽  
World Picture ◽  
Joseph Brodsky ◽  
Text Structures ◽  
Poetic Text ◽  
Strong Position ◽  
The Individual

The article is devoted to the application of the positional vision of the structures of a literary text to the categorical apparatus of the functional theory of text. The relevance of the problem under consideration is explained by the need to systematize the methodological concepts of various concepts in modern Russian studies and to develop, on this basis, methodological recommendations that can improve the use of the textocentric approach with focus on school education. The article uses philological methods of modern text theory, in particular, structural theory of text (Yu. M. Lotman), stylistic analysis of a literary text (N. A. Rudiakov), linguistic tool studies (A. N. Rudiakov), methods of highlighting intense positions of text (I. V. Arnold), some ideas of communicative stylistics (N. S. Bolotnova), as well as original author's methods. The study material are presented by poems by Joseph Brodsky: «Vse chuzhdo v dome novomu zhiltcu…» (1962), «V derevne Bog zhivet ne po uglam…» (1964 ) and «Ty ne skazhesh komaru…» (1991), the experience of the interpretation of which made it possible to illustrate the epistemological effectiveness of the positional approach. The results of the research allow us to systematize the ideas about the basic principles of linguistic and hermeneutical description of a literary text. Modeling of the functional relationship between the conceptual information of a poetic text and its significant components, identified when using the concept of "strong position of the text", is possible by applying a General regulatory understanding of language activity, which is based on the approach to language as a tool for speech influence on the individual picture of the recipient's world. The conclusions reached by the author of the article make it possible to clarify the basic concepts of the functional theory of text related to the interpretation of the elements of the individual author's world picture in the literary text and also to offer a methodological basis for applying linguistic knowledge to the issues of text analysis in school practice.

scholarly journals СЛОВО-ОБРАЗ «ПАМЯТЬ» В ЛИРИКЕ М. И. Ц ВЕТАЕВОЙ 1920 ГОДА

2020 ◽  
Author(s):  
Irina Pushkareva ◽  
Anna Lomakova
Keyword(s):  
Syntactic Structure ◽  
Literary Text ◽  
Creative Work ◽  
The Third ◽  
Word Memory ◽  
Lexical Structure ◽  
Poetic Text ◽  
Entire Career ◽  
The One ◽  
Contextual Meaning

Введение. Тема памяти относится к ключевым в культуре и рассматривается в истории, социологии, семиотике, филологии и др. областях знания. «Мнемотический код» сохраняет свою значимость на протяжении всего творческого пути М. И. Цветаевой. Цель – с опорой на анализ лексической структуры поэтического текста рассмотреть семантико-стилистические особенности слова-образа «память» в лирике М. Цветаевой 1920-го года. Материал и методы. За основу семантико-стилистического анализа принята концепция художественно-образной речевой конкретизации М. Н. Кожиной и теория текстовых парадигм Н. С. Болотновой. Обращение не только к языковым, но и к текстовым парадигмам связано с текстоцентризмом современной лингвистики, лингвистическим анализом художественного текста. Результаты и обсуждение. Смысловые лексические парадигмы представляют собой входящие в лексическую систему текста ассоциативные пары и фрагменты ассоциативных рядов слов и сверхсловных элементов, как уже существующие в языковом сознании читателя, так и сформированные текстом. В процессе анализа стихотворений М. Цветаевой выявлялись смысловые лексические парадигмы, основанные на семной рекурренции, – изотопические цепочки, актуализированные благодаря такому типу выдвижения, как повтор, и смысловые лексические парадигмы, основанные на семантическом контрасте, на связи-расхождении. В 1920 г. создано четыре стихотворения со словом-образом «память»: «Доброй ночи чужестранцу в новой келье…», «Психея» («Пунш и полночь…»), «Так из дому, гонимая тоской…», «Как пьют глубокими глотками…» (Отрывок). Они написаны на исходе третьего этапа творчества поэта, предваряют новые черты идиостиля. В ассоциативно-вербальной сети стихотворений М. Цветаевой 1920-го года слово «память» сопровождается узуально связанными с ним лексическими репрезентантами «помнить», «позабыть», фразеологизмом «без памяти», реализуется как локатив «в памяти», в разговорной синтаксической структуре «что за память», сопровождается экспрессивно насыщенными в контексте определениями «дурная», «женская», «вся». Заключение. Контекстуальное наполнение слова-образа «память» вырастает на богатой узуальной основе и раскрывается в стихотворениях М. Цветаевой 1920 г. в соотнесении с темами уходящего старого мира, творчества и любви. Это продолжает наметившиеся в более ранних стихотворениях тенденции, но выражены они более ярко, экспрессивно, глубоко.Introduction. The theme of Memory is a key one in culture and thus it is studied in history, sociology, semiotics, philology and other domains. The “Mnemonic Code” retains its significance throughout the entire career of M. I. Tsvetaeva as a poet. Material and methods. The aim of the article is to study semantic and stylistic features of the word-image “Memory” in M. Tsvetaeva’s lyrics of 1920 through the analysis of the lexical structure of the corresponding poetic text. The semantic-stylistic analysis is based on the theories of the imaginative speech substantiation by M. N. Kozhina and of the text paradigms by N. S. Bolotnova. Referring to both linguistic and textual paradigms goes within the textocentric approach in modern linguistics and the linguistic analysis of the literary text itself. Results and discussion. Semantic lexical paradigms present associative pairs and fragments of associative series of words and superword units within the lexical system of the text, already existing in the linguistic consciousness of the reader on the one hand and formed by the text on the other hand. Analysis of M. Tsvetaeva’s poems revealed semantic lexical paradigms based on semic recurrence, isotopic chains actualized due to such type of foregrounding as repetition, and semantic lexical paradigms based on semantic contrast. In 1920 M. Tsvetaeva wrote 4 poems containing the word-image “Memory”: “Good Night to a Stranger in a New Cell...”, “Psyche” (“Punch and Midnight ...”), “Running from Home…”, “How They Drink in Long Drinks... ” (Excerpt). They are written at the end of the third period of the poet’s creative work, they precede the new features of her idiostyle. The word-image “Memory” is associated with the main themes of M. Tsvetaeva’s works – the lost world, creativity, love. In the verbal associative network of M. Tsvetaeva’s poems of 1920, the word “memory” is accompanied by the usual lexical representatives “remember”, “forget”, phraseological unit meaning “without memory”. It actualizes in the locative “in memory”, in the spoken syntactic structure “what a memory” and it is accompanied by the epithets and descriptive adjectives as “bad”, “female”, “all”. Conclusion. The contextual meaning of the word-image “Memory” is based on a rich usual background and is explained in M. Tsvetaeva’s lyrics of 1920 through the themes of the vanishing old world, creativity and love. This further develops the trends outlined in the earlier poems, but they are expressed more clearly, expressively and deeply.

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