scholarly journals The Semantic Complex of Dominant Units in Emily Dickinson’s Parting in the Light of the Theory of Intertextuality

2020 ◽  
pp. 104-130
Author(s):  
Ilya Sergodeev ◽  
◽  
Natalya Olizko ◽  
◽  
Keyword(s):  
Emily Dickinson ◽  
Lexical Item ◽  
Contextual Analysis ◽  
American Poet ◽  
Analysis And Synthesis ◽  
Poetic Text ◽  
Lexical Items ◽  
Poetic Texts

The article studies the dynamics of the semantic complex of poetic texts’ dominant units. A dominant unit is a lexical item or a group of lexical items, which have dictionary and non-dictionary meanings in a given context due to their intertextual links to units of texts referred or alluded to by the poet (address texts). Since a dominant unit is an intertextual unit, the article provides a typology of intertextual relations which includes types of autho- (self-quotations, self-allusions), in- (quotations, allusions), para- (structural and compositional units of a text such as a title, an epigraph, etc.) and arch-textual relations (imitation of genre; referring to well-known word pictures or cultural phenomena). The author goes on to define intercontextuality as a concept functionally opposite to the intertextual type of textual relations, and proposes a model for analysis and synthesis of contextual meanings of poetic texts’ dominant units. The process consists of five basic steps: splitting a given poetic text into fragments; conducting contextual analysis of each lexical item in the specified fragment; looking for and defining intertextual relations between the dominant unit under analysis and units of address texts; conducting contextual analysis of address texts; and, finally, synthesizing, bringing together all obtained contextual meanings. The practical part of the research includes analyzing the poem Parting by an American poet Emily Dickinson with the focus on the poetical image life closed twice before its close and nouns Immortality, Heaven, and Hell. Intertextual relations of Parting link it with other poems by E. Dickinson as well as texts of letters written by the poet.

scholarly journals Biblical Lexical Items vs Biblical Phraseological Units: Specifying the Notions (Based on English and German Texts)

2021 ◽  
pp. 35-43
Author(s):  
Anna D. Bakina ◽  
Keyword(s):  
Research Area ◽  
Lexical Item ◽  
Progressive Development ◽  
The Bible ◽  
Separate Branch ◽  
Linguistic Unit ◽  
Analysis And Synthesis ◽  
The Status ◽  
Lexical Items ◽  
Linguistic Units

This article discusses the problem of delimiting the notions of biblical lexical item and biblical phraseological unit within the framework of studying the formation and development of biblical phraseology as a separate branch of general phraseology. The author believes that biblical phraseology should to be considered as an independent research area due to the progressive development of the study of phraseology in general, as well as the growing interest among scholars in phraseology of biblical origin and pertinent research materials that have accumulated over the past two decades. To begin with, the paper specifies the status of the biblical phraseological unit as a phraseological unit. Further, the definitions of the above-mentioned notions are analysed and a typology of biblical lexical items and phraseological units of biblical origin is developed based on a review of scholarly works dealing with various aspects of biblical lexical items and biblical phraseological units. Examples of the use of biblical lexical items and biblical phraseological units in English and German texts are provided as illustrations. The research methods applied here include analysis and synthesis, generalization and hypotheticoinductive method; comparative, contextual, and classification methods, as well as analysis of definitions, phraseological identification, and phraseological analysis. The author concludes that biblical lexical item is a broader notion, which includes biblical phraseological units. Biblical lexical items are numerous and diverse in terms of composition and can be presented in the form of multi-level linguistic units (from a word to a sentence), while biblical phraseological units are structured as fixed expressions, from a phrase to a sentence. Thus, a biblical phraseological unit is defined as a fixed reproducible linguistic unit in the form of a phrase or a sentence, having integrity of nomination and integrity of meaning that is etymologically related to the Bible. It is emphasized that the specificity of phraseological units of biblical origin is manifested at the formal, content and functional levels.

Semiotic Essence of Linguistic Ambiguity in the German Poetic Discourse of the XXI Century

2021 ◽  
pp. 27-32
Author(s):  
D. Dacko
Keyword(s):  
Intercultural Competence ◽  
Lexical Ambiguity ◽  
Language Game ◽  
Syntactic Ambiguity ◽  
Poetic Discourse ◽  
Poetic Text ◽  
Sociocultural Characteristics ◽  
Lexical Items ◽  
Poetic Texts

The article deals with the problem of the phenomenon of linguistic ambiguity and methods of its resolution in the context of modern German poetic texts, as well as possible communication failures associated with differences in the sociocultural characteristics of the author and recipient. In particular, there are illustrations of ambiguity of the entire poem, when the analyzed concept has a dualistic origin and certain linguo-stylistic means; lexical ambiguity, which main mechanisms are a language game, polysemantic words, chains of key lexical items, allusions; syntactic ambiguity, that is realized through special punctuation and two-way communication, that allowed two different interpretations of the sentence. In addition, the German poetic text is characterized by temporary and permanent types of ambiguity. As part of the study, it was found that the phenomenon of ambiguity can be resolved due to contextual peculiarities, and situations of communicative failure can be avoided by an increase of the level of linguistic and intercultural competence.

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.

scholarly journals Inclusion, Contrast and Polysemy in Dictionaries: The Relationship between Theory, Language Use and Lexicographic Practice

2014 ◽  
Vol 12 (4) ◽  
pp. 319-340
Author(s):  
Anu Koskela
Keyword(s):  
Language Use ◽  
Lexical Item ◽  
British National Corpus ◽  
Lexical Items ◽  
The Relationship ◽  
National Corpus

This paper explores the lexicographic representation of a type of polysemy that arises when the meaning of one lexical item can either include or contrast with the meaning of another, as in the case of dog/bitch, shoe/boot, finger/thumb and animal/bird. A survey of how such pairs are represented in monolingual English dictionaries showed that dictionaries mostly represent as explicitly polysemous those lexical items whose broader and narrower readings are more distinctive and clearly separable in definitional terms. They commonly only represented the broader readings for terms that are in fact frequently used in the narrower reading, as shown by data from the British National Corpus.  

scholarly journals DYNAMICS OF THE SEMANTIC COMPLEX OF DOMINANT UNITS IN POETIC TEXT: INTERTEXTUAL ASPECT (a Case Study of L. Cohen’s Poem ‘Elegy’)

2020 ◽  
Vol 12 (4) ◽  
pp. 33-43
Author(s):  
Ilya V. Sergodeev ◽  
Keyword(s):  
Contextual Analysis ◽  
Personal Pronoun ◽  
Greek Mythology ◽  
Unit Of Analysis ◽  
Christian Culture ◽  
Poetic Text ◽  
Artistic Images ◽  
The Given

The article deals with the dynamics of the semantic complex of dominant units in poetic text. Units of poetic text are divided into constant and dominant ones. Constant units realize the function of the context formation. They have one clear meaning. Dominant units realize the function of semantization. They are poly-interpretative. The methodology of the work is based on the theory of intertextuality which is viewed from the position of structural, interpretative and lingua-cultural approaches. The brief typology and characteristics of intertextual relations are given: auto- (self-quotations, self-allusions), in- (quotations, allusions), para- (structural and compositional units of a text such as a title, an epigraph, etc.) and arch-textuality (genre imitation; referring to well-known artistic images or cultural phenomena). The paper presents the model of analysis of dominant units in poetic text. The analysis is carried out in five steps: fragmentation, contextual analysis, search and determination of intertextual relations between the analyzed unit and units of address texts, contextual analysis of address texts, synthesis of the obtained contextual meanings. The practical material under study is the poem Elegy by the Canadian poet L. Cohen. The unit of analysis is the personal pronoun he in the given poetic text. The paper establishes intertextual relations between Elegy and texts from Greek mythology, the Holy Bible, Christian culture, and other works by L. Cohen. The conducted analysis shows that intertextual relations between the studied units initiate exchange and superimposition of their context meanings. As a result, the studied unit can have several meanings (some of which are not present in dictionaries but unique for the given author) within the same context. In this way, the dynamics of the semantic complex of the studied units and poetic text is realized.

scholarly journals REGULATORY POTENTIAL OF POETIC TEXTS BY O. E. MANDELSTAM OF DIFFERENT YEARS (ACCORDING TO THE EXPERIMENT)

2021 ◽  
pp. 73-79
Author(s):  
Алена Владимировна Шутова
Keyword(s):  
Research Data ◽  
Point Scale ◽  
Maximum Score ◽  
Study Materials ◽  
The World ◽  
Poetic Text ◽  
Regulatory Potential ◽  
Poetic Texts ◽  
Communication Material

Введение. Изучение особенностей восприятия поэтических текстов читателями является одной из актуальных проблем современной стилистики. Теория регулятивности как одно из направлений коммуникативной стилистики текста позволяет выявлять средства и способы воздействия текста на адресата. На основе анализа регулятивных средств и структур разных типов в лирике О. Э. Мандельштама можно исследовать характер возникающих в сознании читателя ярких образов в поэтическом тексте как форме коммуникации. Материал и методы. Гипотеза о том, что об особенностях регулятивных возможностей текста можно судить по реакции информантов, воспринимающих текст и его элементы, проверяется на основе проведенного рецептивного эксперимента, основанного на показаниях языкового сознания участников. Материалом исследования послужили поэтические тексты О. Э. Мандельштама разных лет: «На темном небе, как узор» (1909), «Из омута злого и вязкого» (1910), «Как люб мне натугой живущий...» (1930), «Мы живем, под собою не чуя страны» (1933). Выбор данных поэтических текстов обусловлен их идейной значимостью и временем создания (два первых стихотворения относятся к ранней лирике автора, два других – к позднему творчеству). Перечисленные факторы позволяют проследить характер их восприятия информантами с учетом отражения эволюции поэтической картины мира О. Э. Мандельштама. Результаты и обсуждение. Согласно условно взятой пятибалльной шкале воздействия, максимальным баллом респондентами были оценены стихотворения, относящиеся к гражданской лирике автора. Это связано с тематикой данных поэтических текстов (для большинства информантов она показалась знакомой и злободневной), их идейным своеобразием и большим количеством использованных в текстах регулятивных средств и структур, а также их спецификой (в стихотворении «Мы живем, под собою не чуя страны…» – яркие метафоры и эпитеты; в стихотворении «Как люб мне натугой живущий…» – ряд эпитетов). Заключение. Получены данные о факторах, определяющих регулятивный потенциал текста и характер интерпретационной деятельности адресата. Среди них можно отметить тематическое и идейное своеобразие поэтических текстов О. Э. Мандельштама, количество и разнообразие использованных автором лексических регулятивных средств и структур. Introduction. The studying of the peculiarities of readers’ perception of poetic texts is one of the relevant problems of modern stylistic. The theory of regulativity as one of the text`s stylistic communicative directions, allows identifying of means and methods of text influence on the addressee. Based on analysis of regulatory tools and various types of structures, in O. E. Mandelstam`s lyrics the nature of vivid images that appear in reader`s mind in a poetic text can be explored as a form of communication. Material and methods. The hypothesis that the features of the regulatory capabilities can be judged by the reaction of informants who perceive the text and its parts, is tested on the basis on the receptive experiment based on the indications of the participants’ language consciousness. O. E. Mandelstam’s poetic texts of different years were the study materials: «In the dark sky, like a pattern» (1909); «Up out of an evil clinging pool» (1910); «How do I love the strain of living» (1930); «We are living, but can’t feel the land where we stay» (1933). The choice of these poetic texts is caused by its ideological significance and time of creation (the first and the second poem belongs to author`s early lyrics, the last two – his latest works). All these factors allow us to follow the nature of their perception by informants, taking into account the reflection of the evolution O. E. Mandelstam’s poetic picture of the world. Results and discussion. According to conventional five-point scale of impact, respondents gave the maximum score to poems related to the author’s civil lyrics. It is connected with the theme of these poetic texts (for most informants it seemed urgent and familiar), its ideological originality and its large number of regulatory methods that was used in text, srtuctures and its specific (in the poem «We are living, but can’t feel the land where we stay...» – vivid metaphors and epithets; in the poem «How I love the strain of living...» – a number of epithets). Conclusion. As a result of this research, data about factors that determine regulatory potential of the text and the nature of the interpretative activity of addressee were obtained. Among them, we can note thematic and ideological originality of O. E. Mandelstam`s poetic texts, the number and variety of lexical regulatory tools and structures used by author.

scholarly journals METHODS OF ADAPTATION OF SLANG UNITS INTO RUSSIAN IN THE LITERARY TRANSLATION OF M. COLE’ NOVELS

2021 ◽  
pp. 52-61
Author(s):  
Елена Николаевна Мозжегорова ◽  
Елена Николаевна Засецкова
Keyword(s):  
Overwhelming Majority ◽  
Contextual Analysis ◽  
Literary Translation ◽  
Analysis And Synthesis ◽  
Translation Techniques ◽  
Holistic Interpretation ◽  
The Subject

Настоящая статья посвящена исследованию особенностей использования способов адаптации сленговых единиц в художественном переводе на русский язык следующих романов английской писательницы Мартины Коул: «Две женщины», «Леди киллер», «Опасная леди». В общей сложности было проанализировано 115 сленговых единиц из вышеназванных произведений. В работе были рассмотрены примеры перевода сленга и идентифицированы приемы передачи сленговой лексики на русский язык. Предметом настоящего исследования выступает адаптация сленга в художественном переводе на русский язык произведений Мартины Коул. Целью исследования являются изучение особенностей адаптации сленговых единиц при переводе художественной литературы на русский язык на материале произведений вышеуказанного автора. Для достижения поставленной цели исследования авторами были привлечены следующие методы: анализа и синтеза, сопоставительный и описательный, сравнения, метод контекстуального анализа и целостной интерпретации. В результате исследования было установлено, что в подавляющем большинстве случаев сленговые единицы удалось адаптировать к русскому языку. Самыми востребованными переводческими трансформациями для передачи сленговой лексики на русский язык явились подбор функционального аналога (в 50 случаях), дисфемистический перевод (в 34 случаях), эвфемистический перевод (в 21 случае), опущение (в 7 случаях) и прочие приемы перевода (калькирование, транслитерация). This article is devoted to the study of the features of the use of methods of adaptation of slang units into Russian in the literary translation of the novels of the English writer Martina Cole (“Two Women”, “The Ladykiller”, “Dangerous Lady”). The article considers the examples of slang translation and identifies the methods of translation of slang vocabulary into Russian. A total of 115 slang items from the above works were analyzed. The subject of this research is the adaptation of slang in the literary translation of the works of Martina Cole into Russian. The goal of the study is to study the features of adaptation of slang units when translating fiction into Russian based on the works of the above-mentioned author. To achieve the set goal of the study, the authors used the following methods: the method of analysis and synthesis, comparative and descriptive methods, the method of comparison, the method of contextual analysis and holistic interpretation. The study revealed that in the overwhelming majority of the cases considered, the translators managed to adopt the slang units into Russian. The most popular translation transformations for slang vocabulary into Russian are a functional analogue (50 cases), dysphemistic translation (34 cases), euphemistic translation (21 cases), omission (7 cases) and other translation techniques (tracing, transliteration, omission).

scholarly journals سيميائية الخطاب السياسي، الشعر في الحجاز نهاية عهد الدولة العثمانية أنموذجاً / Political discourse semiotics: Hijaz poetry at the end of Othman empire

2018 ◽  
Vol 9 (1) ◽  
pp. 125-142
Author(s):  
Faisal Bin Salih Al Zahrani
Keyword(s):  
Descriptive Analysis ◽  
Arabic Literature ◽  
The Political ◽  
Analysis Method ◽  
Semiotic Analysis ◽  
Poetic Discourse ◽  
Semiotic Approach ◽  
Poetic Text ◽  
Poetic Texts ◽  
Definition Of

ملخص البحث:   يعد الأدب العربي في إقليم الحجاز جزءاً من أدب الأمة العربية الجميل؛ لكن الدراسات الأدبية لا تزال غير كافية على الرغم من بذل بعض الباحثين جهوداً لجمع مادته الأدبية التي لا يزال كثير منها مخطوطاً أو مفقوداً أو مخفياً لأسباب متعددة. يبحث المنهج السيميائي عن المعنى من خلال البحث عن الاختلاف الداخلي للمعاني عبر المنهج السيميائي لتحليل الخطاب الشعري؛ وذلك من منطلق المنهج السيميائي في دراسة النصوص الشعرية والتي تؤكد أنها تتكون من نظام لغوي يعطي مجموعة من المعطيات الخاصة، وهذه الرؤية أسقطها المنهج السيميائي على أغلب النصوص الإبداعية، مع تميز النص الشعري بقدرته على اختزال المعنى، وتسعى هذه الدراسة إلى تتبع الشعر السياسي في الحجاز والوقوف على الدلالات التي يبرزها التحليل السيميائي من خلال المعنى الشعري، وذلك باتباع المنهج الوصفي التحليلي؛ حيث تبدأ بمقدمة تعرف ببعض المصطلحات الهامة مثل: إقليم الحجاز، السيميائية، الشعر السياسي، وستقوم عناصر التحليل لعدة مستوايات: تبدأ الخطاب العام، والمستوى المعجمي، والمستوى التركيبي، ثم المستوى التركيبي. الكلمات المفتاحية: الشعر السياسي - السيميائية - الخطاب العام - المستوى المعجمي- المستوى التركيبي. Abstract Arabic literature in Hijaz area is a part of magnificent Arabic literature. Much of literary works are still missing for many reasons despite the effort of some researchers in collecting and recording them. The semiotic approach looks into meaning by examining its internal differences through semiotic method to analyze poetic discourse. The semiotic approach helps in studying the poetic texts that reveal that it contains a language system that implies certain inputs. This very method helps to reveal such a perception on most of creative texts, with the distinction of the poetic text as having the ability to compress meaning. This paper aims at tracking the political poems in Hijaz and dwell on the meaning revealed by the semiotic analysis through the poetic meaning. The study makes use of the descriptive analysis method. It begins with the definition of some significant terms such as: Hijaz, semiotics, political poems; the analysis is based on certain levels: it begins with the general discourse, lexical and phrasal levels.   Keywords: Political poems, semiotics, general discourse, lexical level, phrasal level.     Abstrak Satera Arab di Hijaz adalah sebahagian daripada kesusasteraan yang gemilang. Namun masih banyak karya-karya yang masih hilang disebabkan banyak faktor walaupun usaha-usaha para pengkaji dalam mengumpul dan merekodkannya. Pendekatan semiotik ini melihat aspek makna dengan melihat perbezaan dalaman melalui metod semiotik untuk menganalisa wacana syair. Pendekatan ini juga menolong menyingkap sistem bahasa tertentu yang menandakan input tertentu. Ia juga menolong menyingkap untuk menyerlahkan persepsi tertentu tentang kebanyakan teks kreatif, terutamanya kelebihan teks puitis untuk memampatkan makna. Kajian ini bertujuan untuk mengesan syair-syair politik di Hijaz dan mengkaji makna yang diserlahkan melalui analisa maksud puitis. Kajian ini menggunakan metod analisa deskriptif. Ia dimulakan dengan definisi beberapa terma penting seperti: Hijaz, semiotic, syair politik; analisa yang dibuat adalah berdasarkan kepada beberapa tahap: ia bermula dengan wacana umum seterusnya tahap-tahap leksikal dan phrasa.    Kata kunci: Syair politik, semiotic, wacana umum, tahap leksikal, tahap frasa

scholarly journals Existential Sentences as a Characteristic Syntactic Feature of I. A. Bunin’s Poetic Texts

2020 ◽  
Vol 22 (4 (202)) ◽  
pp. 256-272
Author(s):  
Olga A. Selemeneva ◽  
Keyword(s):  
Literary Texts ◽  
Psychological States ◽  
Surrounding World ◽  
Traditional Structure ◽  
Lyrical Poetry ◽  
Poetic Text ◽  
Existential Sentences ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Main Components

In this article, existential sentences are examined as a syntactic dominant of I. A. Bunin’s lyrical poetry. The interest in the originality of the syntax of Nobel laureate’s literary texts is due to the lack of research on this issue, linguists’ focus on the aesthetic salience of the vocabulary, its expressive properties and combination potential, as well as stylistic figures and tropes. Meanwhile, it is the writer’s selection of specific syntactic structures for the implementation of the idea, the representation of key ideas and concepts that reflect his personality and the peculiarities of his perception of the surrounding world. The author refers to Bunin’s poems from 1886–1917 and 1918–1953 published in Bunin’s collected works in 9 volumes. In the writer’s poetic oeuvre, existential sentences are regularly used. Despite the traditional structure that underlies them and is represented by three meanings (‘the object of being’, ‘being’, and ‘area of being’), the richness of the lexical content of each of the main components stands out. As a result, existential sentences become a universal form used to represent completely different situations in the author’s individual worldview: the existence of natural objects in space, meteorological phenomena, events, time periods, artifacts, etc.; physical states of the surrounding world; psychological states of the subject. Acting as a semantic core of a poetic text, existential sentences do not have a fixed place in it, and are used as a lyrical beginning, an interposed element, or an ending in its structure. In each position, their use is conceptually significant. It is established that the peculiarity of existential sentences in Bunin’s lyrical poetry is their syntactic unconditionality (attachment to three registers of speech, i.e. reproductive, informative, and generative) and polyfunctionality (performing the pictorial, characterising and concluding, and generalising functions).

The Playful Lexicon in the Romance Languages: Prosodic Templates, Onomatopoeia, Reduplication, Clipping, Blending

2020 ◽  
Author(s):  
David Pharies
Keyword(s):  
Lexical Item ◽  
Repeated Sequences ◽  
The Other ◽  
Romance Languages ◽  
Social Convention ◽  
Separate Category ◽  
Semantic Effect ◽  
Full Form ◽  
Per Se ◽  
Lexical Items

A lexical item is described as “playful” or “ludic” when it shows evidence of manipulation of the relation that inheres between its form (signifier) and its meaning (signified). The playful lexicon of any given language, therefore, is the sum total of its lexical items that show signs of such manipulation. Linguists have long recognized that the only necessary link between a word’s form and its meaning is the arbitrary social convention that binds them. However, nothing prevents speakers from creating additional, unnecessary and therefore essentially “playful” links, associating forms with meanings in a symbolic, hence non-arbitrary way. This semantic effect is most evident in the case of onomatopoeia, through which the phonetic form of words that designate sounds is designed to be conventionally imitative of the sound. A second group of playful words combines repeated sequences of sounds with meanings that are themselves suggestive of repetition or related concepts such as collectivity, continuity, or actions in sequence, as well as repeated, back-and-forth, or uncontrolled movements, or even, more abstractly, intensity and hesitation. The playfulness of truncated forms such as clips and blends is based on a still more abstract connection between forms and meanings. In the case of clipping, the truncation of the full form of a word triggers a corresponding connotative truncation or diminution of the meaning, that is, a suggestion that the referent is small—either endearingly, humorously, or contemptuously so. In blending, truncation is often accompanied by overlapping, which symbolically highlights the interrelatedness or juxtaposition of the constituents’ individual meanings. Prosodic templates do not constitute a separate category per se; instead, they may play a part in the formation or alteration of words in any of the other categories discussed here.

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