scholarly journals SYNTACTIC TIME AND POETIC TEXT

2021 ◽  
pp. 118-121
Author(s):  
М.С. Милованова
Keyword(s):  
Syntactic Category ◽  
Temporal Uncertainty ◽  
Relative Time ◽  
Problem Of Time ◽  
Temporal Semantics ◽  
Poetic Text

Монография Т.Е. Шаповаловой посвящена осмыслению категории синтаксическое время. Время как синтаксическая категория и обязательный компонент предикативности исследуется на материале поэтического текста, в котором все грамматические элементы преображаются. В частности, синтаксемы и субстантивные обороты – носители временнóй семантики получают дополнительные субъективно-модальные оттенки, событийные коннотации, сопутствующие созначения (пространственные, условные и др.). Рассматриваются также такие принципиальные для понимания синтаксической проблемы времени теоретические вопросы, как абсолютное и относительное время, временнáя определенность и временнáя неопределенность, предикативные свойства синтаксемы, субстантивного оборота и др. Monograph by prof. T.E. Shapovalova is devoted to understanding of the category of syntactic time. Time as a syntactic category and an obligatory component of predicativity is considered on the material of a poetic text, in which all grammatical elements are transformed - in particular syntaxemes as the carriers of temporal semantics receive additional subjective-modal shades, event connotations, and accompanying connotations (spatial, conditional, etc.). We also considered such fundamental for understanding of the syntactic problem of time as absolute and relative time, temporal definiteness and temporal uncertainty, predicative properties of substantive turnover, etc.

More's usage of Latin verbal predicates: the particular case of fio

Moreana ◽  
2019 ◽  
Vol 56 (Number 211) (1) ◽  
pp. 97-120
Author(s):  
Concepción Cabrillana
Keyword(s):  
General Framework ◽  
Medieval Latin ◽  
Lexical Semantic ◽  
Syntactic Features ◽  
Comparative Review ◽  
Poetic Text

This article addresses Thomas More's use of an especially complex Latin predicate, fio, as a means of examining the degree of classicism in this aspect of his writing. To this end, the main lexical-semantic and syntactic features of the verb in Classical Latin are presented, and a comparative review is made of More's use of the predicate—and also its use in texts contemporaneous to More, as well as in Late and Medieval Latin—in both prose and poetry. The analysis shows that he works within a general framework of classicism, although he introduces some of his own idiosyncrasies, these essentially relating to the meaning of the verb that he employs in a preferential way and to the variety of verbal forms that occur in his poetic text.

“Stay with me. Talk to me”: reader interaction strategies in modern poetry

2020 ◽  
Vol 7 (2) ◽  
pp. 419-436
Author(s):  
Olga Igorevna Severskaya
Keyword(s):  
Discourse Analysis ◽  
High Impact ◽  
Modern Poetry ◽  
Self Presentation ◽  
Communication Plan ◽  
Communicative Strategies ◽  
The World ◽  
Poetic Text ◽  
Communicative Context

The article is devoted to the consideration of a poetic text as a communicative phenomenon with a high impact potential. The author defines the features of poetic communication, which is both mass and interpersonal, and its main goal, which is the poet’s desire to communicate author’s vision of the world and thereby change the picture of the reader’s world, achieving empathy from it. Based on the understanding of the speech strategy as a cognitive communication plan, a program for generating and perceiving speech, the author talks about the fundamental reversibility of text-generating and interpretative strategies and offers own classification of strategies and tactics that are most often used in modern poetry. In this classification, the main communicative strategies of self-presentation and rapprochement with the reader are associated with auxiliary discursive strategies of actualizing, dramatizing and dialogizing the text and programming interpretations by tactics for highlighting objects and situations using sound “gestures”, pointing to the referent, framing, directly introducing the reader into the communicative context, attracting the recipient’s attention through appeals and pragmatic instructions, interrogation, and some others. Particular attention is paid to the multimodality of interactions and its specific manifestations in poetic discourse. The study is based on the material of Russian poetry of the 1980- 2000s using the methods of intent and discourse analysis.

GRAVITY CAN BE OBSERVED IN THE ABSENCE OF CURVED SPACETIME, THUS CURVED SPACETIME IS NOT RESPONCIBLE FOR GRAVITY

2015 ◽  
Vol 8 (1) ◽  
pp. 1976-1981
Author(s):  
Casey McMahon
Keyword(s):  
General Relativity ◽  
Special Relativity ◽  
Relative Position ◽  
Gravitational Force ◽  
Curved Spacetime ◽  
Relative Time ◽  
Curved Space ◽  
Spacetime Curvature ◽  
Equivalence Model ◽  
The Universe

The principle postulate of general relativity appears to be that curved space or curved spacetime is gravitational, in that mass curves the spacetime around it, and that this curved spacetime acts on mass in a manner we call gravity. Here, I use the theory of special relativity to show that curved spacetime can be non-gravitational, by showing that curve-linear space or curved spacetime can be observed without exerting a gravitational force on mass to induce motion- as well as showing gravity can be observed without spacetime curvature. This is done using the principles of special relativity in accordance with Einstein to satisfy the reader, using a gravitational equivalence model. Curved spacetime may appear to affect the apparent relative position and dimensions of a mass, as well as the relative time experienced by a mass, but it does not exert gravitational force (gravity) on mass. Thus, this paper explains why there appears to be more gravity in the universe than mass to account for it, because gravity is not the resultant of the curvature of spacetime on mass, thus the “dark matter” and “dark energy” we are looking for to explain this excess gravity doesn’t exist.

SERGEY PROKOFIEV’s PETER AND THE WOLF THROUGH AN INTERMEDIAL LENS

Mousaion ◽  
2015 ◽  
Vol 33 (2) ◽  
pp. 140-154
Author(s):  
Elma De Kock
Keyword(s):  
Research Method ◽  
Theoretical Foundation ◽  
Original Music ◽  
Folk Tale ◽  
Sergey Prokofiev ◽  
Poetic Text ◽  
Practice Based Research ◽  
The Media ◽  
Artistic Product

Peter and the wolf is an intermedial work based on a folk tale originally written and composed by the Russian composer Sergey Prokofiev in 1936 (Hanson and Hanson 1964). Since few recent adaptations of the work in Afrikaans exist, a combined intermedial project was undertaken to recreate the work using practice-based research. The stages of this research method have brought forth a poetic text, the realisation of the original music, illustrations, and a voice artist to read the created text. To accomplish the final artistic product, it was important to obtain a theoretical foundation of practice-based research, intermediality, adaptation and the different media involved in the created word. The intermedial effects between the different media in the project provided the results of the study, stemming not only from the readers’ simultaneous experiences of the media as they read or listen to the work but, as it also became clear, from the mutually complementary effects between the different media of which their combination provided a richer final product.

Text Prophetism

2017 ◽  
Vol 7 (1) ◽  
pp. 40
Author(s):  
Elvira Lumi ◽  
Lediona Lumi
Keyword(s):  
Key Words ◽  
Literary Texts ◽  
Modern World ◽  
Greek Mythology ◽  
Divine Inspiration ◽  
Religious Doctrine ◽  
The World ◽  
Poetic Text ◽  
Poetic Diction ◽  
Life On Earth

"Utterance universalism" as a phrase is unclear, but it is enough to include the term "prophetism". As a metaphysical concept, it refers to a text written with inspiration which confirms visions of a "divine inspiration", "poetic" - "legal", that contains trace, revelation or interpretation of the origin of the creation of the world and life on earth but it warns and prospects their future in the form of a projection, literary paradigm, religious doctrine and law. Prophetic texts reformulate "toll-telling" with messages, ideas, which put forth (lat. "Utters Forth" gr. "Forthteller") hidden facts from fiction and imagination. Prometheus, gr. Prometheus (/ prəmiθprə-mee-mo means "forethought") is a Titan in Greek mythology, best known as the deity in Greek mythology who was the creator of humanity and charity of its largest, who stole fire from the mount Olympus and gave it to the mankind. Prophetic texts derive from a range of artifacts and prophetic elements, as the creative magic or the miracle of literary texts, symbolism, musicality, rhythm, images, poetic rhetoric, valence of meaning of the text, code of poetic diction that refers to either a singer in a trance or a person inspired in delirium, who believes he is sent by his God with a message to tell about events and figures that have existed, or the imaginary ancient and modern world. Text Prophetism is a combination of artifacts and platonic idealism. Key words: text Prophetism, holy text, poetic text, law text, vision, image, figure

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.

La lettre et la figure dans Calligrammes de Guillaume Apollinaire

2015 ◽  
pp. 109-118
Author(s):  
Moucherif Abdelhakim
Keyword(s):  
Complementary Relationship ◽  
Guillaume Apollinaire ◽  
Semiotic Systems ◽  
Poetic Text

This article is devoted to Guillaume Apollinaire original poetic experience’s who tried to found a synthetic art combining heterogeneous semiotic systems such as painting and poetry. We propose, then, to study the various complementary relationship, polysemy or counterpoint established between the letters, poetic text and pictorial images.

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