Sound and Ritualistic Language in Charles Williams’ War in Heaven

This study uncovers a link between sound patterns and ritualistic language in Charles Williams’ novels through an analysis of the relationship between type of sound and content. The study focuses on War in Heaven with a view to conducting a preliminary exploration into this link, and establishing possibilities for future research. Like Williams’ other novels, War in Heaven is saturated with the symbolism and ritual practices he learned in The Fellowship of the Rosy Cross and, potentially, the Hermetic Order of the Golden Dawn. Williams’ experimentation with sound to convey his experience of ritual is explored through the framework of Roman Jakobson’s “Poetic Function”, to establish how Williams may have intended sound to contribute to the experience of the reader. Using a data driven approach, the study explores how sound patterns work with ritualistic content across War in Heaven, discovering a link between fricative sounds and ritualistic events.

Code Switching Analysis on You-Tube Channel #NebengBoy by Boy William

This study is entitled "Code-Switching Analysis on YouTube Channel "#NebengBoy by Boy William”. The aim of the study is to analyze the type and the function of code-switching on the Boy William YouTube Channel. The data is collected from the YouTube Channel of Boy William which is taken from Maudy Ayunda and Sandra Dewi episodes. The method and technique of collecting data is the documentation method, and the analysis is done by the qualitative method. The theory that is used to analyze the types and functions of code-switching is Apple & Muysken's theory (2015). Three types of code-switching are found namely tag switching, intra-sentential switching, and inter-sentential switching, and their six functions, namely referential function, directive function, expressive function, phatic function, metalinguistic function, and poetic function. Nonetheless, the metalinguistic function is not found in the analyzed data.

„Chleba naszego poprzedniego daj mi…”. Językowy obraz wiary w poezji Wiesławy Kwinto-Koczan

A recurrent theme in Wiesława Kwinto-Koczan’s poetry is faith, whose picture is shaped with the use of various stylistic devices. They have a poetic function; they glorify creation, add picturesqueness to the evoked elements of the natural world, and above all, they illustrate the motif of faith in its various aspects. The composition of the analyzed works that include the motif of faith resembles that of a prayer, which is emphasized by the use of apostrophes to God and Jesus Christ. The relation of man to nature and the Creation to the Creator is shown mainly in poems referring to Franciscan philosophy.

THE IMPORTANCE OF ARTICSIC DETAIL AS A FACTOR OF PROSE POETICALNESS IN THE SGORT STORIES OF THE CONTEMPORARY AMERICAN AND CANADIAN WRITERS

The article considers the role and functions of artistic detail in the contemporary short stories. The investigation involved the flash fiction stories by the American writers written after the year 2020 and several short stories by the outstanding Canadian writer Alice Munro. The aim of the research is determining the major devices of prose poeticalness in these texts and revealing the role of artistic detail in creating poeticalness.Prose poeticalness is defined as such property of a prose text which involves the priority of poetic function and envisages the introduction of poetical features into prose – stylistic convergence, phonetical repetitions, parallelism, rhythm. Stylistic convergence can be considered the most foregrounded device of poeticalness as it involves the accumulation of different stylistic devices which add expressiveness to each other (M.Riffaterre). Our investigation shows that convergences function in strong positions of texts- the initial or final text fragments. Artistic detail is the object or some feature of the object which acquires special importance in the literary text (V.A.Kukharenko). Artistic detail is usually associated with metonymy or synecdoche, but unlike these tropes, it embraces the whole text. In the flash fiction stories and the short stories by A.Munro the major artistic details are objects like a coin (L.Wilson), a brooch (A.Munro), a glove (D.Shea) or a feature of appearance like a bruise (S.Dybek). These details characterize people’s behavior, their dreams and aspirations. Therefore, they symbolize love, friendship, sympathy and give polysemantic character to the narration. Another result of our investigation is determining the metaphoric detail (G.Paley) in the description of the woman, the mother of the defendant. Thus, the emotional effect of the artistic detail is realized in the metaphoric similes comparing the woman to the faded flower. These artistic details in combination with stylistic convergence create the impression of the texts as modern parables. The theoretical novelty of our research lies in the analysis of artistic details from the viewpoint of poeticalnees as well as in revealing the significance of emotional effect for prose poeticalness.The prospects of further research lie in the investigation of poeticalness in other genres of modern prose.

The Poetic Function of Language as a Guarantee Ensuring the Authenticity of Translation

О поэтической функции языка пишут немного и редко. И только недавно С. Т. Золян счел нужным напомнить лингвистической общественности, что в 2021 году исполняется 100 лет идее Р. О. Якобсона о поэтической функции языка и о ее плодотворном влиянии на развитие лингвистической науки. В нашей статье, посвященной приему как одному из компонентов поэтической функции языка, художественный прием рассматривается, с одной стороны, как выразительное средство языка оригинала поэтического текста, а с другой стороны — как способ достижения функциональной эквивалентности поэтического перевода. Материал исследования — стихи великого русского поэта Ф. И. Тютчева — как нельзя лучше соответствует поставленной задаче. Тютчев, поэт и переводчик, понимал роль перевода в реализации поэтической функции языка. Более того, он помнил, что именно поэтическая функция языка объединяет посыл поэта и мастерство переводчика в «формообразующее» целое. Он также помнил, что перевод является способом исследования языка, так как при переводе выбор нужного слова и структуры определяет достоверность использования языка вообще и служит критерием коммуникативной валидности как формы, так и содержания. Поэтому русские поэты, и Тютчев в частности, относятся к переводу как к действенному инструменту совершенствования языка во всех присущих ему функциях. Перевод стихотворений Тютчева на английский язык выполнен автором статьи. The poetic function of language is not receiving due attention in linguistic studies. We have been recently reminded by Professor S. Zolyan that exactly a century ago the concept of the poetic function of language, destined to promote linguistic science, was introduced by Roman Jacobson. Our paper discusses poetic translation focusing on an important component of the poetic function, — that of poetic device. The latter is treated in broader terms than stylistics usually intends. For the author of the paper, a poetic device, whether used by the poet or by the translator, whether a local device or one operating on the textual level, is a functional mechanism (e. g., such as contrast or analogy) rather than a specific trope or figure of speech. If, employed in translation, it performs the same function as in the source language text, the authenticity of translation is guaranteed. For poetic material we turned to F. I. Tiutchev’s lyrics. Being a skillful translator, the great Russian poet was keenly aware of the poetic function of language, which brings the message of the poet and its rendering by a translator into an entity, a unity of form and content, with the poetic function serving as an instrument of perfecting the language in all its other functions. The verses have been translated by the author of the article.

Linguistic creativity of the avant-garde: language functions in literary and advertising discourses

The article departs from two non-referential functions of language — the poetic (expres­sive) and conative (appellative) functions — described by many linguists starting from Ro­man Jakobson and Karl Bühler. Their combined effect is shown using examples of linguistic techniques from the two types of discourse — the Russian literary avant-garde and the avant-garde advertising-propagandа — outreach. A discursive analysis of Russian literary (experi­mental) and advertising (avant-garde) texts is carried out from the standpoint of the theory of linguistic creativity. For each of the working subcorpora (artistic and advertising discourses of the 1910—1930s), the authors distinguish macro-discursive, micro-discursive and inter-discursive parameters that affect linguistic innovations at different levels — from phonologi­cal to pragmatic. It is concluded that the strategy of delayed, de-automated perception is im­plemented in the experimental literary discourse. It is achieved by focusing the message on its own form (the implementation of the poetic function). In the avant-garde advertising, the message should be as clear as possible in its form and should be easily perceived by an ad­dressee (the implementation of the conative function) not to focus attention on the text but rather on the action that the reader is expected to perform on the object of reference.

On the less obvious manifestations of the poetic function: a translator’s view

The paper examines the interaction of the poetic function with the emotive and expressive functions in belles-lettres texts. The authors attempt to prove that the poetic function should not be equated with the aesthetic one. The former overlaps all the above-mentioned func­tions, but alone bears the responsibility for the form-content fusion. The paper focuses on the less evident mechanisms of the poetic function, beyond the obvious effect of tropes and figures of speech. Not unlike meiosis, its allegedly weaker ‘voice’ is capable of producing a much strong­er effect, which can be discerned in rhythm and punctuation, in the absence of rhyme to in­duce an implicit rhymed word, in “elaborately monotonous” language, in textual opposi­tion of synonyms, in expressly neutral and unemotional final phrases to evoke a train of emo­tive or intellectual reactions. The authors also suggest a functional approach to the notion of “poetic device”, which gives the translator more freedom in selecting expressive means with­out dis­torting the conceptual sphere of the original. An inter-semiotic view of literary devices bor­rowed from cinematic art proves the inimitability of the effect of the same device within the total conceptual structure of each text. Some of the propositions suggested are il­lustrated by excerpts of poetic translation done by the authors of the paper.

Creative Digital Writing

Second language writers can adapt their creative skills to acquire and reflect new knowledge with fewer sophisticated words through more contextual and inclusive language. This process is called using the poetic function of language in a second language. One way to achieve teaching the poetic function of language as part of creative writing activities to second language learners is modeling digital writing in creative and innovative forms. This research study contextualizes a digital, innovative, and culturally sensitive language learning model that will enhance digital natives' learning experience through creative digital writing practices.

In search of the text generating structure: Jakobson’s theory of the poetic function of language

The classic work of Roman Jakobson,“The Newest Russian Poetry. Sketch One. Ap­proaches to Khlebnikov”, is invariably referred to in the works on the history of structuralism, formalism and the history of the methodology of humanities. This article aims to address sev­eral questions: what are the epistemological attitudes of Jakobson and how are they imple­mented in his work? Can this 'disorganised' and 'sketchy' text be interpreted in context of the future attitudes of the scholar? The avant-garde literature of the early twentieth century not only created new methods of text generation but also required a new epistemological approach and a change in the recep­tive perspective. Jakobson's work is one of the first experiments in describing a new aesthetic phenomenon. Analysing language through shifts, Jakobson explores it in a structuralist way. In “The Newest Russian Poetry” the scholar summarises the ideas that became fundamental for him in the 1960s-1970s: the ideas of the teleological nature of poetry, a close connection between mental and language structures, and the relevance of the identification of text struc­ture as a relatively stable set of relations for the analysis of sense-making and text generation. Exploring the concept of literariness, Jakobson reveals a system of universal and interlevel methods of generating poetic speech. These observations have not lost their relevance and can be applied to the analysis of both avant-garde and classical texts.

A poetic function in an expanding context: title — monoverse — polytext (on the example of Ivan Zhdanov's poetry)

The article analyses the poetic function as a mechanism for the semantic and composi­tional structuring of the text. The research aims to study repetition and parallelism, expand­ing the context from the heading to the minimal text and the textual unity within a poetic book and forming micro- and metacycles with movable boundaries. The material of the re­search is Ivan Zhdanov's monoverses, which were considered both immanently and as part of the book. The main methods of research are semantic, contextual and distributive analysis. The author concludes that the heading, interpreting the text, sets its reference, and the mono­verse is both a self-sufficient text and an aphoristic expression of many other texts in which the keywords forming it are found. They represent a synthetic proposition corresponding to the set of all poetic statements ‘about the same’. The article also examines referential, semantic and compositional metatropes that combine texts into micro- and metacycles.