scholarly journals Konceptualizacja wrażeń słuchowych w języku polskim

2017 ◽  
Vol 36 ◽  
pp. 111-133
Author(s):  
Przemysław Staniewski
Keyword(s):  
Organic Component ◽  
Poetic Language ◽  
Informative Signal ◽  
Detailed Review ◽  
Poetic Texts ◽  
Philosophical Origin ◽  
Poetic Work

Precedent phenomena in the poetic language world byYuri Andrukhovych: functional and typological peculiaritiesThe article deals with a detailed review and analysis of the peculiarities of precedent phenomena in the poetic work of Yuri Andrukhovych.The author concludes that in his poetry Yuri Andrukhovych has actively used precedent phe­nomena with different typological characteristics: on the precedentity level there are represented socio-precedent units, nationally precedent and universally precedent ones; on the verbalization form there are shown names anthroponyms, goronyms, oikonyms, urbanonyms, hydronyms, oro­nyms, theonyms, geortonyms, ekklesionyms, cosmonyms, statements, a text, and a situation; units of literary, biblical, mythological, folklore, historical and philosophical origin; on the basis of trans­formality there are found some examples which have not been modified while introduced into the poetry text, as well as those that function as modified variants obtained by structural and semantic truncation, addition, structural and graphic, and actually semantic modification; on the basis of attribution / non-tribution there are found units with attribution and without it, which constitute the majority of the analyzed examples. The mentioned precedent phenomena in the poetic texts by Yuri Andrukhovych perform the following functions: informative-signal, nominative, organizational and compositional, ludic, forecasting, characterizing and metaphoricizing ones. The foregoing gives grounds to assert that the analyzed precedent phenomena presented in the poetic works are their organic component, and represented as an active text-forming and stylistic unit.

scholarly journals “Čut’ živye, v noč’ osennjuju / My s ochoty vozv­ra­ščaemsja…” Secondary predicate in Nekrasov’s poetic texts

2021 ◽  
Vol 12 (3) ◽  
pp. 84-108
Author(s):  
Larissa È. Naiditch ◽  
Anna V. Pavlova
Keyword(s):  
Condensed Form ◽  
Roman Jakobson ◽  
Poetic Texts ◽  
Adverbial Modifiers ◽  
Poetic Work

The main aim of the article is to examine the grammatical and stylistic functions of the predicative attribute in the poetic work of Nekrasov. The study contributes to the general ‘grammar of poetry’, which has been proposed and developed by Roman Jakobson. The study shows that Nekrasov often used the predicative attribute and it constitutes one of the specific features of his style. Grammatically extended adjectival, participial and adverbial phrases, frequent in Nekrasov’s poetry, cause additional predication, which makes it possible to expand the narrative. The predicative attribute often combines the functions of an attribute with those of the adverbial modifiers of cause and consequence, which gives additional impetus to the narrative plot development. The analysis shows that Nekrasov’s style is characterized by nu­merous long repetitions of functionally similar grammatical elements, taking several lines. These repetitions often set the rhythm and determine the folklore character of his poems. Аttributive chains, paired formulas, synonymization of lexemes in chains, repetitions, in­strumental case in the meaning of comparison and metamorphosis can be found in classical pre-Nakrasov poetry as well. In Nekrasov’s poems these features appear in a concentrated, condensed form; they can be considered only against the background of his work as a whole.

‘Gifts of the Wild’: Dwelling, Temporality and Landscape in Kathleen Jamie’s Writing

2019 ◽  
pp. 91-121
Author(s):  
Monika Szuba
Keyword(s):  
Connective Tissue ◽  
Lived Experience ◽  
External Factors ◽  
Poetic Language ◽  
Poetic Form ◽  
The World ◽  
Phenomenological Perspective ◽  
Poetic Work

Following Kathleen Jamie’s words that ‘poetry is a sort of connective tissue where myself meets the world, and it rises out of that, that liminal place’, the chapter discusses Jamie’s poetic work from a phenomenological perspective. An important aspect of Jamie’s writing, connectivity highlights interrelations between the world and poetic form and as such is examined in a theoretically-informed analysis. The chapter argues that in a place where the poet meets the world, poetic language negotiates external factors that have an impact upon it, and in doing so, the poet can begin to illuminate lived experience. In the process of writing a temporary self that evokes the experience of the world through embodied participation, temporality plays an important role. As Jamie demonstrates in her writing, the perception of the land — and our coexistence with it — is affected by the awareness of the passage of time. The discussion focuses on the poems recording the experience of landscape represented in past, present and future considerations of change, and examines how in Jamie’s writing a sense of permanence is intermingled with a pervasive sense of transience. It centres around Jamie’s emphasis on transitoriness, which foregrounds the temporality of our dwelling.

scholarly journals Literature and the Remains of the Death Penalty

2018 ◽  
Author(s):  
Peggy Kamuf
Keyword(s):  
United States ◽  
Death Penalty ◽  
Capital Punishment ◽  
The United States ◽  
Main Question ◽  
Poetic Language ◽  
Modern History ◽  
Literary Works ◽  
History Of ◽  
Poetic Work

This book pursues Derrida’s assertion, in The Death Penalty, Volume I, that “the modern history of the institution named literature in Europe over the last three or four centuries is contemporary with and indissociable from a contestation of the death penalty.” The main question this book poses is: How does literature contest the death penalty today, particularly in the United States where it remains the last of its kind, a Christian-inspired death penalty in what professes to be a democracy? What resources do fiction, narrative, and poetic language supply in the age of the remains of the death penalty? These are among the questions that guide the analyses of four literary works, each a depiction or an account of an execution, in the search for deconstructive leverage on the concepts that prop up capital punishment. Different pertinent features are isolated in these texts: the “mysteries” of literary or poetic witness; the publicness of punishment in an era of secrecy around the death penalty; the undecidable difference between death by capital punishment and by suicide—a difference that Kant enforces and that Derrida contests; and even the collapse of the distinction between the sovereign powers to put to death and to pardon, a possibility that is shown up by a poetic work when, performatively, it “plays the law.” In relation to the death penalties they represent, these literary survivals may be seen as the ashes or remains of the phantasm that the death penalty has always been, the phantasm of calculating and thus ending finitude.

scholarly journals Means of expression of Ukrainian baroque poetry: linguistic style view

2021 ◽  
pp. 95-106
Author(s):  
Olesia Tieliezhkina
Keyword(s):  
Artistic Expression ◽  
Poetic Language ◽  
Scientific Interest ◽  
Linguistic Style ◽  
Long Time ◽  
Baroque Era ◽  
The Creation ◽  
Baroque Poetry ◽  
Poetic Work ◽  
Metaphor And Metonymy

The mysterious world of Baroque poetry has scientific interest among both literary critics and linguists for a long time. However, despite some elaboration of the problem, there are some gaps that need linguistic and stylistic coverage. It determines the relevance of the consideration of expressive and pictorial means of different linguistic nature, manifested in the poetic works of the Baroque era. The purpose of the research is to identify and characterize the means of linguistic and artistic expression of the language of the Ukrainian Baroque poetic. Fundamental in the formation of a system of artistic means, realized in Baroque poetry at all levels of language, is a combination of rational and irrational principles. In the poetry of that time, the “atmosphere of the literary game” was consistently created, which was embodied with the help of certain linguistic and expressive units. The author concludes that Ukrainian Baroque poetry is characterized by the use of various tropes and stylistic figures, including assonance and alliteration, equiphony and metaphony, paronymic attraction and phonetic epanalepsis, sound imitation and capitalisation, metaphor and metonymy, comparison and epithets, personification and periphysis, hyperbole and meiosis, parallelism and gradation, antithesis and oxymoron, polyptoton and annomination, doubling and anadiplosis, anaphora and epiphora, homeothelium and chiasm, amplification and polysyndeton. Among them, the artists mostly used figures based on exaggeration, opposition, repetition, and metaphor. The masterful combination of different stylistic means ensured the creation of an expressive, unique and perfect linguistic and artistic picture of that time. The logical continuation of the started research is to find out the influence of the Baroque tradition of decorating the fabric of a poetic work on the further formation of the Ukrainian poetic language.

scholarly journals ARTISTIC EXPRESSION OF PHILOLOGICAL THINKING IN POETIC TEXTS

2021 ◽  
pp. 62-69
Author(s):  
Елена Юрьевна Муратова
Keyword(s):  
Artistic Expression ◽  
Modern Poetry ◽  
Poetic Language ◽  
Linguistic Terms ◽  
Parts Of Speech ◽  
Notable Feature ◽  
The World ◽  
Human Emotions ◽  
Poetic Texts

В статье анализируются стихи в модусе связи лингвистики и поэзии. Современную поэзию отличают не только новые темы и видение мира, но и во многом иной поэтический язык. Анализируются разные взгляды ученых на поэтический язык. Заметной особенностью современных поэтических текстов является употребление лингвистических терминов, названий частей речи, синтаксических конструкций и под. в качестве полноправных художественных элементов стихотворения. На материале стихов М. Цветаевой, А. Вознесенского, Б. Ахмадулиной, Д. Бураго и др. доказывается, что лингвистические термины могут выражать филологическое мышление поэта, становясь живой частью его стихотворений, и способны специфически отражать картину мира, мировоззрение и человеческие эмоции. Приводится подробный филологический анализ стихотворения А. Вознесенского «Плач по двум нерожденным поэмам». The article analyzes poems in the mode of communication between linguistics and poetry. Modern poetry is distinguished not only by new themes and visions of the world, but also by a largely different poetic language. The paper also analyzes different views of scientists on the poetic language. A notable feature of modern poetic texts is the use of linguistic terms, names of parts of speech, syntactic constructions as full artistic elements of the poem. Basing on the material of poems by M. Tsvetaeva, A. Voznesensky, B. Akhmadulina, D. Burago, etc. it is proved that linguistic terms can express the poet’s philological thinking, becoming a living part of his poems, and are able to specifically reflect the picture of the world, worldview and human emotions. Moreover, the article provides a detailed philological analysis of A. Voznesensky’s poem “Lament for Two Unborn Poems”.

It’s got some meaning but I am not sure…

2017 ◽  
Vol 24 (3) ◽  
pp. 474-495
Author(s):  
Sarali Gintsburg
Keyword(s):  
Oral Poetry ◽  
Poetic Language ◽  
Formulaic Language ◽  
Cognitive Poetics ◽  
Poetic Tradition ◽  
Living Tradition ◽  
Poetic Text ◽  
Literacy Level ◽  
Poetic Texts ◽  
First Time

Abstract In this research I aim to contribute to a better understanding of transitionality in poetic language by applying for the first time the hypotheses recently developed by pioneers in the emerging field of cognitive poetics to a living tradition. The benefits of working with a living tradition are tremendous: it is easy to establish the literacy level of the authors and the mode of recording of poetic text is also easy to elicit or, when necessary, to control. I chose a living poetic tradition originating from the Jbala (Morocco). Although it is not epic and local poets create only relatively short poetic texts, memorisation is also used; it has been demonstrated that oral improvisation and the use of memory are not mutually exclusive. This suggests that research on the living Jebli tradition holds promise for our understanding of oral poetry, and for revisiting the intriguing question of formulaic language.

scholarly journals Borrowings as the means of Catullus’ poetic language

2020 ◽  
Vol 13 (22) ◽  
pp. 103-107
Author(s):  
Iryna Borbenchuk ◽  
Keyword(s):  
Creative Work ◽  
Poetic Language ◽  
Greek Language ◽  
Literary Traditions ◽  
Latin Language ◽  
Individual Use ◽  
Poetic Texts ◽  
Comprehensive Classification ◽  
The Individual ◽  
Material Values

While studying the author’s creative work, present-day philological studies take into account a number of linguоcultural and linguocognitive factors that shape the author’s individual style. New perspectives and insights into the research of the creative work of the Roman poet Gaius Valerius Catullus (87–54 BC) prompted the scholars to refocus their attention onto a unique collection of 116 poems, which was rather popular among the ancient Romans. This paper is aimed to analyse one the expressive means typical of Catullus’ poetry, namely the borrowing, which clearly reflects the individual author’s style. It is outlined in the paper that Greek borrowings have been studied by A. Garnyk, O. Malein, and O. Mikina. Some aspects of Greek borrowings functioning in Catullus’ poems are represented in I. Shtal’s and E. Nazhott’s works. Researchers point out that the specificity of Graeco-Latin contacts lies not only in their cultural and religious relations, but also in their every-day life which affected the Latin language and thus was reflected in the Latin vocabulary. Accordingly, the existing literary traditions as well as the author’s own creative discoveries contributed to the fact that Catullus actively used Greek words in his poetry, assimilating them to the morphological system of the Latin language. By way analyzing authentic Catullus’ poems, the present paper substantiates the reasons of this vocabulary actualization in poetic works, offers a comprehensive classification of borrowings according to the criteria of their derivation type and thematic group as well as describes the specificity of their functioning and stylistic value in poetic texts. In particular, the nouns are classified into the following thematic groups: anthroponyms (ethmonyms, theonyms, mythonyms, cosmonyms), chrematonyms (i.e. the lexical units denoting material values and the results of human activities), toponyms (choronyms, hydronyms, oronyms, natural phenomena), phytonyms (the words, designating various plants), zoonyms (the vocabulary denoting animals). We have also singled out qualitative and relative adjectives belonging to the group of Greek borrowings. It was found out that qualitative adjectives are predominantly formed from mythological and geographical names with the help of various word-formative means. Despite the fact that a large number of Graecisms historically became a part of the Latin vocabulary and were used by the Romans rather unconsciously, in the analyzed texts there are cases of specifically individual use of Graecisms by Catullus when the author deliberately ignores the Latin equivalents. The analysis results demonstrate that borrowings play an important role in presenting a comprehensive view on Catullus’ idiostyle. It has been found out that Graecisms should be viewed as one of the characteristic means of Catullus’ poetic language that reflect the author’s desire to create poetry of the elevated style complying at the same time with the requirements of established literary traditions. Borrowing from the Greek language proves to be an active word-formative element of Catullus’ idiostyle, while their frequent use is conditioned by the subject matter of poetic works, their general expressive potential as well as by Catullus’ desire to create vivid poetic images.

scholarly journals THE VEGETABLE WORLD IN OLEKSII DOVHIY’S POETRY

2019 ◽  
pp. 147-157
Author(s):  
Oleksandr Strokal
Keyword(s):  
Special Form ◽  
Apple Tree ◽  
Natural World ◽  
Cultural Tradition ◽  
Poetic Language ◽  
Poetic Text ◽  
Entire Universe ◽  
The Creation ◽  
Poetic Texts

The article deals with the features of verbalization of the plant world in Oleksii Dovhiy’s poetic language. The study found that the natural world for the primitives reflected the entire Universe – its structure, essence, links, which could not be explained or understood by them. That is why all the phenomena and realities of the environment were anthropomorphized. The components of the plant world made up the largest part of conceptual concepts in the worldview of Ukrainians. The language appeared a certain medium for such representations, reflected by the figurative symbolic semantics of the words. Poetry became a special form for representation of these meanings, whereas just in the poetic text the deep symbolism of numerous anthropomorphized images of nature could be shown fully and vividly. In Oleksii Dovhiy’s poetic texts realities of the flora are presented quite clearly and multifaceted because a poet is aware of their important role in the Ukrainian cultural tradition. The largest part of these units are presented by trees and their parts. These are the most commonly used lexemes and their derivatives: birch, beech, elm, willow, cherry, pear, oak, guilder rose, maple, poplar, apple tree, etc. Usage of the lexemes with diminutive semantics allows a poet to convey the inner state of the lyrical hero and establish a deeper connection with the reader. Plant world is involved in the creation of feminine and masculine images in the text and in the process of sacralization of a particular locus.

Nietzsche und die Poesie

2019 ◽  
Vol 48 (1) ◽  
pp. 291-295
Author(s):  
Rüdiger Görner
Keyword(s):  
Lyric Poetry ◽  
Poetic Language ◽  
Philosophical Thought ◽  
Philosophical Writing ◽  
Poetic Practice ◽  
Poetic Texts

Abstract Two new volumes fundamentally revise our understanding of Nietzsche’s poetry in the broader context of his philosophical thought. Marked by a dialogic structure, and with an emphasis on what might be described as a poetics of selfhood, Nietzsche’s poetic texts raise the question what it means to write lyric poetry philosophically. Employing syntactical rules in order to reflect on the philosophical dimension of poetic language, Nietzsche’s poetic practice also informs the practices of his philosophical writing.

Sign in / Sign up

Export Citation Format

Share Document