The Peculiarities of the Poetic Language of Modern German-Speaking Women’s Poetry of the Second Half of the XX - the Beginning of the XXI Century (by the Poetic Texts of Ingeborg Bachmann, Mascha Kaléko, Eva Schtrittmatter)

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.

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ARTISTIC EXPRESSION OF PHILOLOGICAL THINKING IN POETIC TEXTS

Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev ◽

10.37972/chgpu.2021.110.1.008 ◽

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”.

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

Pragmatics & Cognition ◽

10.1075/pc.18017.gin ◽

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.

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“The soul that dreams it shares the power it feels so well”: The Politics of Sympathy in the Abolitionist Verse of Williams and Yearsley

Romanticism on the Net ◽

10.7202/007719ar ◽

2004 ◽

Author(s):

Robert Edward Mitchell

Keyword(s):

Eighteenth Century ◽

Slave Trade ◽

Poetic Language ◽

Women's Poetry ◽

William Cowper ◽

Helen Maria Williams ◽

Late Eighteenth Century ◽

Ann Yearsley ◽

Late Eighteenth ◽

Important Site

Abstract Identifying abolitionist poetry as an important site for investigating rhetorical transformations and innovations in late eighteenth century women’s poetry, this essay shows how poetic language generates sympathy. In reading women’s poetry in general, and abolitionist poetry in particular, we too often presume that they worked under the assumption that all readers would identify directly with representations of suffering. While William Cowper, writing before Helen Maria Williams and Ann Yearsley, opens up the problematic that all forms of sympathy might be mere narcissistic self-indulgence, Yearsley and Williams provide a model for and effectively limit such reflexive sympathy. For them, the process of sympathizing with an Other begins with the act of taking him or her into one’s own imaginative “domos.” But by actively embracing this narcissistic process, Williams and Yearsley are able to regulate such domestications of the slave’s pain. Williams controls whose identities merge, ensuring that the reader identifies with reformer rather than slaver. In contrast, Yearsley encourages wider-ranging imaginative acts of identification – one can identify with the “crafty merchant” of her “Poem on the Inhumanity of the Slave Trade” – but ensures through various poetic devices that such an act will reveal the disjunction between family and capital. By drawing out various theories of the working of sentiment, this essay makes visible sentimental poetry’s theoretical power: slavery poems by Williams and Yearsley operate as sophisticated theories of sympathetic identification.

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Borrowings as the means of Catullus’ poetic language

Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ ◽

10.34079/2226-3055-2020-13-22-103-107 ◽

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.

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THE VEGETABLE WORLD IN OLEKSII DOVHIY’S POETRY

Studia Linguistica ◽

10.17721/studling2019.14.147-157 ◽

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.

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Nietzsche und die Poesie

Nietzsche Studien ◽

10.1515/nietzstu-2019-0016 ◽

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.

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Song Just Beyond the Nation, or Debussy via Verlaine

10.5871/bacad/9780197267196.003.0011 ◽

2021 ◽

pp. 192-208

Author(s):

Helen Abbott

Keyword(s):

Close Reading ◽

Poetic Language ◽

Musical Style ◽

Text Setting ◽

Poetic Texts

Hailed as the epitome of French musical style, Debussy also excelled at ‘creat[ing] works based on vernacular idioms from other cultures’ (Brown 2012: 6). Debussy’s mélodies may be the hallmark of ‘Frenchness’, but they also mediate other cultures through the choice of poetic texts, including subtle interweaving of cultures close to home. This chapter offers a close reading of Debussy’s Trois mélodies (composed 1891, published 1901), settings of three Verlaine poem’s from the Sagesse collection of 1881 which depict Belgian and English landscapes and seascapes. Debussy’s text-setting techniques (prosody and repetition) temper the apparent ‘Frenchness’ of the poetic language, by revealing that inhabiting just one national idiom is fundamentally at odds with the creative act of song-making.

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Air de Cour

Music ◽

10.1093/obo/9780199757824-0192 ◽

2017 ◽

Author(s):

Michael Bane

Keyword(s):

Vocal Music ◽

17Th Century ◽

16Th Century ◽

Poetic Language ◽

Music Publishing ◽

Basso Continuo ◽

French Music ◽

Professional Singers ◽

Text Settings ◽

Poetic Texts

The air de cour (courtly song) is a genre of secular vocal music produced in France during the late 16th and first half of the 17th century. The term first appeared in a collection of twenty-two solo vocal pieces with lute accompaniment published in Paris in 1571 by Adrian Le Roy. Le Roy stated that the origins of the new genre lay in the courtly appropriation of a popular vocal form, the vaudeville, and contrasted its lightness and simplicity with the “arduous” chansons of Orlande de Lassus. These and subsequent airs de cour are marked by brief, usually bipartite forms, limited vocal ranges, homophonic textures, strophic texts, syllabic text settings, and the elevated, serious tone of poetry. Unlike Le Roy’s airs, however, most 16th-century examples are for four or five voices without lute accompaniment. Some also exhibit rhythmic features suggestive of musique mesurée à l’antique. The genre peaked in both production and popularity during the reign of Louis XIII (1610–1643). Many of the era’s preeminent composers contributed to the genre, including Pierre Guédron, Antoine Boësset, and Étienne Moulinié. Airs de cour of the 17th century appeared in three forms, all published by the Ballard firm: four- or five-voice polyphony; arrangements of polyphonic airs de cour for solo voice with lute or guitar accompaniment (the most popular form); and solo voice without accompaniment of any kind. The poetic texts of airs de cour are usually anonymous, and they most often treat themes of love with a limited and precious vocabulary then current among courtly circles. A number of 17th-century editors also produced sacred parodies of popular airs de cour. Amateur musicians were the primary audience of airs de cour, but professional singers performed them as well, often with improvised ornaments and diminutions. Around mid-century the air de cour began to lose ground to new vocal genres in France, in particular the air sérieux, which featured more regular meters and basso continuo accompaniment intended for theorbo or harpsichord. Despite its disappearance from French music publishing, the reserved melodies, conservative harmony, and poetic language forged in the air de cour continued to undergird French vocal music throughout the 17th century and into the 18th. This bibliography limits itself to the air de cour proper, excluding both the air sérieux and the minor vocal genres (such as the chanson à boire, chanson à danser, and récit de ballet) contemporaneous with the air de cour.

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