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Journal articles on the topic 'Artistic work and poetic style'
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1
Sipkina, N. Ya. "WAR BALLADS GENRE IN THE POETRY OF R. ROZHDESTVENSKY AND V. VISOTSKY (comparative poetics of the poets’ styles) IN THE CONTEXT OF THE LITERARY PROCESS OF 1970S: BASIC TRENDS OF DEVELOPMENT." Bulletin of Kemerovo State University, no. 2 (July 8, 2016): 210–15. http://dx.doi.org/10.21603/2078-8975-2016-2-210-215.
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The paper considers the poetics of the artistic styles of romantic poets R. Rozhdestvensky and Vladimir Vysotsky in the context of poetic-style trends of the second half of the 20th century, with the example of their ballad works. This aspect of the research is topical in the modern literary criticism. The author concludes that the unity of the poetic trends and feeding their traditions have helped artists to reveal their talents more brightly and make a new word in the evolution of the style of the Russian verse.
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Sultangalyeva, Zh. "MODERN KAZAKH POETRY AND LYRICS F.UNGARSYNOVA." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 330–35. http://dx.doi.org/10.51889/2020-4.1728-7804.67.
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The article presents a detailed analysis of the multifaceted poetic work of the famous poetess F. Ungarsynova. This is the indissoluble unity of the lyrical hero and author, and the poet's finest poetic speech, and the variety of the genre of her works, and the complex world of the image of the lyrical hero. The article attempts to describe the aesthetic worldview and work of F. Ungarsynova in a comparative manner. Particular attention is paid to the artistic world and the linguistic means of F. Ungarsynova, who have her own poetic style. Also considered is the enormous influence of the poet's work on modern Kazakh poetry. The article draws attention to the fact that the poetess managed to combine such principles as open citizenship and piercing lyricism, purity and nobility of human relations and the tragedy of unrequited love, lines about sacred friendship and wise thoughts about the poet’s craft. Her poems are an impressive picture of modern reality.
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Tieliezhkina, Olesia. "Means of expression of Ukrainian baroque poetry: linguistic style view." Ukrainian Linguistics, no. 51 (2021): 95–106. http://dx.doi.org/10.17721/um/51(2021).95-106.
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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.
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Novozhilova, Elena V. "Individualization in poetic book review." Neophilology, no. 19 (2019): 357–63. http://dx.doi.org/10.20310/2587-6953-2019-5-19-357-363.
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We present the individual results of a qualitative, comprehensive reviews analysis of collections of poems published in Russian literary periodicals of recent years. We formulate the goal of the reviewer – to attract the reader to his text and through it to the poetic work; the task of the reviewer is to detect and convey to the reader such signs of the author’s style and poetic work (book) as the essence of this style, which make it possible to speak of the author and book as unique, different from all others (“Pushkin is Pushkin”). We emphasize that a literary critic works primarily on the individualization of an artistic work. In this regard, we unfold the analogy of the work of the critic with the work of the forensics analyst on the identification of an unknown ob-ject: as such object (identifiable) serves not yet written content of the review, as an object for comparison (identifying) serves the poetic text. We list the features that are being compared, we indicate that these features are not accidental, but are strictly due to the task of individualization. We sum up that the poems review is not a simple reflection of the poems peculiarities, plus the critic’s subjective attitude towards them; for a deeper understanding of how a literary-critical work is created, it is necessary to borrow a number of concepts from another field of knowledge – the forensic identification theory.
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Potashova, K. A. "Poetic Formula “I see” in K. N. Batyushkov’s Work: Creative Assimila-tion of the Derzhavin Tradition." Nauchnyi dialog 1, no. 8 (August 31, 2020): 258–71. http://dx.doi.org/10.24224/2227-1295-2020-8-258-271.
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The author analyses the visual metaphors of K. N. Batyushkov’s poetry, in which he acts as the creative heir to the artistic style of G. R. Derzhavin. The urgency of the problem is connected with the need to clarify the features of the creative method of K. N. Batyushkov in the aspect of his assimilation of the Derzhavin tradition. The novelty of the research is connected with the expansion of ideas about the poetics of the visual in Russian poetry of the early 19th century, in particular, in the work of K. N. Batyushkov. It is proved that K. N. Batyushkov represents vision as a process of cognition of the world. The mechanisms of K. N. Batyushkov’s transformation of visually perceived world in an artistic image are considered, the artistic thinking of the poet is reconstructed. It is revealed that the model of creating a visual verbal image in K. N. Batyushkov’s work is based on the poetic formula “I see.” It is shown that K. N. Batyushkov emphasizes the position of the observer, reflecting at the same time on the diversity and greatness of God’s world, on the cause-and-effect relationship of reality phenomena. It is established that a special place is given to the representation of historical events in the work of the poet: through the poetic formula “I see” K. N. Batyushkov places himself inside the picture, which corresponds to the emerging aesthetics of romanticism with its cult of personal perception of reality.
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Khodjakulov, Sirojiddin. "THE GRADUAL DEVELOPMENT OF THE GENRE OF TARKIBBAND (POETIC FORM WI TIC FORM WITH REPEA TH REPEATED REFRAIN) IN J TED REFRAIN) IN JADID LI ADID LITERATURE." Scientific Reports of Bukhara State University 4, no. 6 (December 29, 2020): 167–75. http://dx.doi.org/10.52297/2181-1466/2020/4/6/10.
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Background. This article describes the evolution of the genre of tarkibband (poetic form with repeated refrain) in the system of lyrical genres in the national enlightenment and jadid literature, the principles of evolution of this genre, its place in the general literary process, new principles, updating the theme and ideological content, examples in the works of jadid and enlightened poets, like Abdurauf Fitrat and Saidakhmad Siddiki Ajzi, the gradual development of the content of the genre tarkibband and the traditional and innovative features of this genre are studied in a monograph in comparative typological, analytical-comparative, descriptive and critical aspects. Methods. We have seen such a situation in the works of poets of the first half of the twentieth century, mainly in the example of Ajzi's poetry. Although the language, narrative style, style and style of the poem are traditional, apparently none of the poetic images, means of artistic expression and high-meaning expressions in both verses of this tarkibband deviate from the normative requirements of classical poetics.
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Frențiu, Rodica, and Florina Ilis. "‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy." Eikon / Imago 10 (February 8, 2021): 311–22. http://dx.doi.org/10.5209/eiko.74154.
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The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a representative and an expressive art – with the practice of calligraphic art, the present endeavour aims to identify the factual and artistic poetics of this visual (pictorial) and verbal art. As such, our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object (through its linguistic scriptural contents). In our analysis, the Japanese calligraphic art becomes the object of a reading that exploits the Western and Eastern aesthetic poetic theories, in an attempt to explore this art’s means of existence, functioning, and reception, by revealing its calligraphicity, or its artistic-aesthetic quality. As a reflection on the relation between the image and the word, and on the coherence of the vision triggered by it, based on the characteristics of the visible, our study is an original approach that analyses and interprets the vocabulary and the formal style of a unique artistic field that begins with a linguistic expression, as a means of representation, and culminates with an abstract form of expression, as a means of presentation.
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PALASH, Alyona. "INTERTEXTUALITY IN THE POETIC LANGUAGE OF MAXYM RYLSKYI." Culture of the Word, no. 92 (2020): 114–22. http://dx.doi.org/10.37919/0201-419x-2020.92.9.
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Problem’s setting. The problem of interpretation and research of the term “intertextuality” today is a topical issue of philosophy, literary criticism, linguistics, modern Ukrainian linguistic poetics, and stylistics of the text. That is, no text can be created in an empty space, it must have an intertextual relationship with other works or texts. Analysis of recent studies. The theoretical basis for the study formed works in the field of modern linguistics, in particular, Robert de Bogrand, Alexander Veselovsky, Olga Vorobyova, Wolfgang Dressler, Alexander Potebnya considered “intertextuality” as a textual category; Yuri Lotman, Vladimir Lukin – as a prerequisite for textuality; Lyudmyla Babenko, Suren Zolyan, Larysa Omelchenko, Natalia Fateeva – as means of its implementation in specific texts. Objective of the research. The purpose of the work is to analyze the external and internal connections of the literary text of Maksym Rylsky and the means of their realization in the explicitly intertextual process of the text’s existence. The main part. The article studies the peculiarities of the artistic embodiment of intertextuality in the poems of Maxim Rylsky; the definition of intertext in a broad and narrow sense is traced; the classification of the intertextuality of Jennet is singled out. The focus is on the separation of language units, intertextual components in the language of Maxim Rylsky; examples and quotations, allusions, titles, epigraphs, hints, genre connection of texts, references to the pretext in the artist’s creative work are given and analyzed. Conclusions. Research and analysis of the intertextuality of the artist’s poetics show that in a new way the comprehension and depiction of quotations, allusions, epigraphs, titles, hints, paraphrases become differential features of the individual author’s style.
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Airapetova, Svetlana G. "Variable methods of complex text analysis in Russian language lessons." Psychological-Pedagogical Journal GAUDEAMUS, no. 3 (2020): 44–49. http://dx.doi.org/10.20310/1810-231x-2020-19-3(45)-44-49.
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We considered methods of teaching Russian language and literature. To satisfy the student's desire for creativity we used various forms of work on editing, correcting texts on each lesson. We paid much attention to the study of vocabulary and stylistics. Practical stylistics considers ways to best use of speech tools. We gave the concept of “school” stylistics. We gave examples that give a rich material for stylistic analysis. We placed the emphasis on the fact that the artistic style differs from other styles of the Russian language primarily by a special aesthetic function. If spoken speech performs a communicative function – the function of direct communication, scientific and official business – an informative function – the function of communication (scientific or business), then the artistic style performs an aesthetic function, the function of an emotional-like influence on the reader or listener. Esthetic function defines fiction language, focuses attention on how ordinary words, used in everyday life, having been included in the poem, the story or the novel, get a special poetic charm, charm, depth for some reason.
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Yunusova, Gunel Xanlar. "Functioning of Proper Names in the English Literary Text." Path of Science 7, no. 5 (May 31, 2021): 3006–11. http://dx.doi.org/10.22178/pos.70-3.
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This article discusses the functioning of proper names in a literary text. The primary attention is paid to the study of the essential functions of anthroponyms. This work will focus on studying the origin of anthroponyms and their use in a poetic text. The features of each functional style have long made it possible to contrast the literary and artistic style with everyone else in the presence of exceptional semantic complexity in the literary texts, a multi-tiered composition, and the aesthetic function of the word that organises the entire context of the work. Onomastic units are integral components of the space of a literary text; they are a connecting, constructive element of the meaningful and semantic space and structure of the text. Proper names participate in the creation of semantic multidimensionality of the text, are a means of translating the author's intention and the artistic idea of the work. The article uses descriptive and comparative linguistic methods. It is noted here that the creation of proper names is a practical process and is directly related to the mental-national thinking of the people. The scientific and methodological study of names is theoretical. The proper name in a work of art performs some artistic functions. They include identification, ensuring unity of perception, characterising a character, shaping his image and plot of work, forming subject-object relationships, spatio-temporal and compositional organisation of work, and implementing intertextual connections.
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Koshkareva, N. V. ""EPIGRAPH BY COUNT TOLSTOY TO HIS NOVEL "ANNA KARENINA" BY R. SHCHEDRIN: PARADIGM OF POLYPHONIC THINKING." Arts education and science 1, no. 2 (2021): 61–67. http://dx.doi.org/10.36871/hon.202102008.
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Rodion Shchedrin's choral work represents the most interesting area of modern musical culture. The object of the analysis is the composition "Epigraph by Count Tolstoy to His Novel "Anna Karenina" for mixed choir a cappella as a demonstration of the key feature of Rodion Shchedrin's compositional style — polyphonic thinking. This aspect becomes an argument for the relevance of the topic. Through the synthesis of research methods, the parameters of musical composition are studied: literary source, musical form, texture, and melody. In addition, the author reveals the "Russian theme" in the choral work of R. Shchedrin, identifies the specifics of the composer's individual choral style, and defines the aspects of polyphonization of the means of musical language. The "Epigraph" explains the main idea of L. Tolstoy's novel and concentrates on the most important contextual continuum development of all the events that take place. A wide semantic field of textual basis becomes an impulse for polyphonization of all musical expressive means. Polyphony as an idiom of R. Shchedrin's composer's handwriting is born, among other things, in the fusion of artistic trends and styles. In conclusion, it is emphasized that the literary basis of the "Epigraph", woven from historical, theological, philosophical, artistic and poetic layers, required a synthesis of traditional and innovative musical expressive means — "a new polyphonic word" in the author's expression of the main paradigms of the Russian theme by R. Shchedrin.
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Sidorova, T. A. "The Features of B. Shergin’s Cognitive Style (On the Example of the Conceptualization of the Image of the Sea)." Russian language at school 81, no. 1 (January 22, 2020): 73–81. http://dx.doi.org/10.30515/0131-6141-2020-81-1-73-81.
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The main aim of this research was to identify the features of B. V. Shergin’s cognitive style through comprehension of the artistic image of the sea in the works of this writer. An analysis of this image was conducted from the standpoint of cognitive poetic. Cognitive poetic is considered as the main method of linguopoetic interpretation of a literary text, whose basic principles include analysis of conceptual structures reflected in the text. In the process of research, the concept of “cognitive style” in correlation with the literary text was clarified, The components of cognitive style, objectified by the image of the sea were specified. Since the literary text was interpreted from the position of cognitive poetics, the main attention was paid not only to linguistic, but also to mental structures. Furthermore, the article explores the wellknown structures of knowledge: presuppositions, concepts, motives, ideas, etc., along with semantic dominants and semantic constructs as strong meaning formations, which are determined by the author’s needs, values, world view and world perception. Therefore, the process of text interpretation takes into account the specificity of linguistic and artistic consciousness of the author, including features of the socio-cultural consciousness of Pomors (members of a subculture). The study showed that each component of B. V. Shergin’s cognitive style has its specific characteristics. The manner of presenting information in the text is characterized by a special emotional tension: understandable and close to the people daily life gets an ontological understanding. Among the cognitive mechanisms, the secondary conceptualization of the concepts of Russian Northern culture plays a special role: many of them acquire a sign of spirituality. It is shown that the specifics of the author’s cognitive style is determined by the features of his consciousness; therefore, the knowledge as sententias, semantic dominants, semantic constructs, stereotypes, values and oppositions holds the central position.
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Gafurova, Khakima Sh. "Songwriting and functional load in the “Diary of Ephemeral Life”." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (December 15, 2020): 511–20. http://dx.doi.org/10.22363/2312-9220-2020-25-3-511-520.
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In the history of Japan, the Heian era is considered the golden age, the heyday of aristocratic literature. It was then that the aristocracy became the creator of literary works, which to this day are the masterpieces of world literature. One of the unique phenomena of Japanese classical literature is recognized diary, including female diary literature of the Heian era (IX-XII centuries). Diary literature differs from other genres in terms of presentation style, artistic language, plot and composition, figurative system, presentation methods. Mitsitsuno no haha (935-996), who enriched the Japanese medieval art tradition with an original literary style, a new theme, a new poetic vision, new sensuality, is recognized as the most striking representative of womens diary literature in Japan. In the Diary of Ephemeral Life, by Mitsitsu no haha the tradition of poetic inserts is widely embodied, a special layer of poetic material (three-part, five-part) is highlighted. They serve as a necessary attribute for conveying an emotional mood, creating an image, enhancing important moments of importance. Considering the artistic features of the diary, the author of the article makes an attempt to suggest that poems are additional material in the transfer of various emotional states of the heroine. Poetic insertions enhance one or another mood, establish an emotional connection between the external and internal world of the author. Analysis of poetic inserts makes it possible to determine their functional load.
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Siuta, Halyna М., Iryna M. Ivanenko, Zoriana R. Dubravska, Liudmyla M. Mialkovska, and Olha R. Senkovych. "Dynamics of stylistic norms in the artistic discourse of the xx century." LAPLAGE EM REVISTA 7, Extra-A (April 22, 2021): 26–37. http://dx.doi.org/10.24115/s2446-622020217extra-a773p.26-37.
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Ukrainian literary language is a complex communicative system, synchronous-diachronic section of which is informative regarding the state of development of national consciousness, intellectual level of society, and in a broader sense – concerning inscribing of the language in the history of national and world culture. This article is devoted to tracing the temporal and conceptual dynamics of the stylistic norm in the work of Ukrainian writers of the 20th century. The methodological basis for the study was made by such methods as comparison and analysis of literary works of Ukrainian writers of the XX century. As a result of the study, the authors concluded that the linguistic norm is a cognitive reference point for the scientific parameterization of the style norm of artistic discourse. The authors also emphasize that the dynamism of the stylistic artistic norm lies in the ability of the poetic language to respond to the development of artistic and linguistic consciousness, thinking of both the author and the reader in various manifestations.
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Sultanova, B. "RELATIONSHIP BETWEEN THE WORLD OF THE HERO AND THE REALITY OF THE READER." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 300–305. http://dx.doi.org/10.51889/2020-3.1728-7804.46.
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This article is dedicated to the work of Magzum Tiesov, the stories “Moldanyn sirkaty”, “Kari agynnyn zhas shagy”. The article discusses the ideological and artistic features of the work. A significant place is occupied by the problem-thematic analysis of the work, determining the characteristics of the language and style of the writer. It is emphasized that the stories of Magzum Tiesov “Moldanyn sirkaty”, “Kari agynnyn zhas shagy” are an interesting, informative, artistically rich example of verbal art. It is indicated that the author when creating the composition, choosing the appropriate ideas and themes for the work, characters, description of the conflict, use of language Means demonstrates his style, poetic talent. When analyzing the stories, the structural-semantic and comparative analysis methods were used. Using these methods, the genre features of the stories were revealed, the main character and idea were determined.
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Burievna, Kadirova Marguba. "Linguopoetic Features Of The Category Of Respect In English And Uzbek." American Journal of Social Science and Education Innovations 03, no. 03 (March 27, 2021): 250–54. http://dx.doi.org/10.37547/tajssei/volume03issue03-36.
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In this article, linguopoetic features of the category of respect in English and Uzbek languages have been considered theoretically. In particular, it examines the category of respect in a specific place of poetry, and its linguistic and poetic significance in the poetry of English And Uzbek. Based on the examples, the author analyzes the services of syntactic repetition in the field of linguopoetics, artistic and stylistic possibilities, syntactic function, the contribution of the work to the content of expression, and its role in ensuring the individual style of the writer.
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KOTS, Tetiana. "SACREDNESS IN SPEECH-MAKING OF MAKSYM RYLSKYI." Culture of the Word, no. 92 (2020): 76–86. http://dx.doi.org/10.37919/0201-419x-2020.92.6.
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The article is devoted to the analysis of linguistic means of sacrality as a style category, covering the solemnly elevated, traditionally established register of expressive linguistic means that hold the dominant values of the figurative book syntagms of religious style. Particular attention is paid to the unveiling of the stylistic potential of biblical words and expressions in the early speech-making of Maksym Rylskyi. The linguistic mechanisms of sacrality as a means of creating linguistic color, solemn, sublime, aesthetic perfection, positively-valued sounding of a poetic word are revealed. Performing stylistic, compositional, pragmatic functions in the artistic text, the sacral units are expressions of the individual-authorial reception of the values. Traditional artistic means of expressing sacrality in Maksym Rylskyi’s language are biblical words and phraseologisms, which are included in the registers not only of dictionaries of biblical words and expressions, but also of common phraseological and interpretative dictionaries dominant in the figurative book syntagms of the religious style and at the same time the expression of the gravity of the spiritual memory of the nation. In poetic contexts biblical words and expressions often acquire a metaphorical, lyrical sound, attesting to the sacral desemantization of lexemes, but instead actualizing implicit linguistic semantics.
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Vekshin, Georgy Viktorovich, and Marina Mikhaylovna Lemesheva. "Poet as a Role: on the Semantics and Pragmatics of Russian Poeticism." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 4 (December 15, 2019): 1067–87. http://dx.doi.org/10.22363/2313-2299-2019-10-4-1067-1087.
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The article is devoted to the semantics and pragmatics of Russian poetry as deictic pointers to the poetic sphere and one of the six universal socio-cultural roles - the role of the poet-writer. The communicative role is interpreted as an element of speech behavior, determined by the basic communication settings: to be and to seem . It is shown that the stylistic coloring of poetry is formed only due to its stable correlation with the typical context and role; poeticisms by themselves do not create poetry and cannot even be considered as its obligatory feature, so they are primarily the subject of literary language theory and reflects the general cultural consciousness of speakers. In connection with the requirement to distinguish between the stylistics of language and speech, we review the difference between the poetic style of the language, which is a repository of poeticisms, from the poetic language as a style of speech (an operational system of techniques and tactics that ensure the performance of an artistic task); a detailed definition of poetic language is given. There is also a short observation of poeticisms at different levels of the linguistic system. The article proposes the description of the semantic structure of Russian poeticisms. It is emphasized that poeticisms can be used according to their artistic perspective (as a narrative tool, role-playing tool, to eliminate any speech image, in an ironic manner, etc.), however, their condensation in the text discloses the priority of an extra-aesthetic strategy of self-presentation in the role of a poet and, as a result, can be an indicator of “bad poetry”. This idea is shown on the example of a typical text of mass poetry saturated with poeticisms. The experience of compiling the poetic corpus of “Russian Live Stylistic Dictionary” discovers the possibility to identify the stylistic semantics of the word and to predict the artistic quality of the text.
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Bezrukov, Andrey Nikolaevich. "Metacriticism of an artistic writing style: Venedikt Yerofeyev on Vladimir Mayakovsky." Филология: научные исследования, no. 10 (October 2020): 65–74. http://dx.doi.org/10.7256/2454-0749.2020.10.32003.
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Venedikt Yerofeyev is a remarkable and complex figure in Russian literature of the second half of the XX century. He is one of the first to expresses a different perspective on the realities of life and propose a new type of assessment of being. The object of this research is the introductory composition of Venedikt Yerofeyev written in 1961, at the time of joining Vladimir State Pedagogical Institute. The main subject of the analysis is the objectification of V. Yerofeyev’s metacritical assessment of “All Right!” Research methodology is at the edge of conceptual evaluation of the text, hermeneutical interpretation of the composition, structural and comparative approaches. The basis of receptive criticism, which in the author’s opinion was taken by Venedikt Yerofeyev as the principle of interpretation of Mayakovsky’s poetic construct, unites the outlines circle of methods. The novelty and relevance of this work consists in the fact that Yerofeyev’s introductory composition has not been previously examined and commented upon in of a number of scientific sources. Yerofeyev’s writing has a clearly humanistic and philological connotation. The author creates the text by a unique research pattern: from the emotionally sensible focus of experiences of Vladimir Mayakovsky to verification of the positions of synthesis of personal and social order in the poem “All Right!” Metacricisim of Mayakovsky's style and artistic manner in the composition of Venedikt Yerofeyev is given not only from the perspective of point estimation of text of the futurist poet, but also from the standpoint of intensive reduction of the potentially inherent meaning.
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Khalikova, N. V. "The role of a stylistic device in creating the image of the author." Literature at School, no. 4, 2020 (2020): 81–91. http://dx.doi.org/10.31862/0130-3414-2020-4-81-91.
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The purpose of the article is to compare the definitions of a stylistic device with modern philological ideas about the text and the image of the author as the main subject of cognition of reality in a feature. The methods of structural poetics make it possible to separate the stylistic means and methods as functionally different units of the artistic speech and the language of the writer. There is a steady connection between the worldview of the writer, their “image of the author” and their style. Autological and metalogical stylistic means are equally important for creating both an artistic and a non-artistic image (journalistic, scientific, everyday). Artistic means and techniques perform fundamentally different functions. Artistic means of image expressiveness contribute to the aesthetization of speech. Stylistic techniques organize the processes of meaning generation, preservation and transmission of meanings. The text records and reproduces artistic thinking, typical for this very writer, a set of ideas about a human, landscape, interior, ways of action and other classes of images. The artistic style is the same as the style of thinking, a level speech style of reflecting the perception of reality. The style can be adopted, it can be imitated and, thus, one can understand how the author thinks, what their manner of the aesthetic transformation of reality, forms of perception, is. The stylistic forms of the same author are reproduced from work to work, regardless of the plot and ideological content. To explain how the technique works is to identify the ways of the artistic thinking about the world (images). The stylistic device is closely connected with the intellectual book culture of society.
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KRAVETS, Larysa. "METAPHORS OF NATURE IN THE POETIC TEXTS OF M. RYLSKYI AND L. KOSTENKO." Culture of the Word, no. 92 (2020): 52–62. http://dx.doi.org/10.37919/0201-419x-2020.92.4.
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Metaphors of nature are very important in the works of Ukrainian poets M. Rylskyi and L. Kostenko. Metaphors of nature are a means of expressing key artistic ideas and a marker of individual style, and an indicator of the dynamics of figurative language. For M. Rylskyi and L. Kostenko, nature is a source of inspiration and an object of poetic image. Through the metaphorization of the concepts of nature, the authors realize a wide range of ideas about the eternal problems of mankind. Most often metaphorical expression in the poetic texts of M. Rylskyi and L. Kostenko have traditional for the lyrics images of the seasons (autumn, spring, summer, winter), flora (forest, individual trees (willow, oak), atmospheric phenomena, rain, snow, fog, wind), parts of the day (evening), reservoirs (river). A separate subject of metaphorization is nature, the world as a whole. Most of these metaphors profile the beauty and perfection of nature, but often have the semantics of time, memory, recollection, will, freedom. Metaphors of nature in the poetic texts of M. Rylskyi and L. Kostenko are characterized by a synthesis of intellectualism and emotionality. In the poetic texts of artists, they contribute to the realization of the author’s intentions and at the same time preserve the connection with tradition and show signs of a particular artistic style (romanticism, classicism, realism). Metaphors of nature evolve with the development of language creativity of artists, which is manifested in the associative and semantic-grammatical complication of the structure and expansion of the functions of these metaphors.
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Pinel, Maria Thereza Da Silva. "A desintegração e a metamorfose na estranha poética de Nuno Ramos." Revele: Revista Virtual dos Estudantes de Letras 8 (January 23, 2015): 219. http://dx.doi.org/10.17851/2317-4242.8.0.219-231.
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Pelo viés do estranhamento (ostranenie) de Viktor Chklovski, esse trabalho analisa a poética do artista brasileiro Nuno Ramos, cuja produção artística se dá em diálogo com outras artes, principalmente as artes plásticas. Pretende-se mostrar a originalidade e peculiaridade poética do artista em questão, que intriga a crítica quanto à forma, ao conteúdo e ao estilo de escrita, e que problematiza os limites da matéria, da natureza e do homem. Esses limites podem ser verificados pela recorrência das ideias da metamorfose e da desintegração em suas obras, em especial nos livros Cujo, de 1993, e Junco, de 2011, os quais serão objetos de estudo neste trabalho. No que diz respeito à dificuldade da crítica, é colocada em evidência a atual situação da poesia brasileira, apresentada por Marcos Siscar em 2005, no texto “A cisma da poesia brasileira”, havendo uma conexão entre a crise da poesia e o poeta contemporâneo no Brasil, representado neste contexto por Nuno Ramos. Abstract By means of Viktor Shklovsky´s estrangement (ostranenie), this study examines the poetics of Brazilian artist Nuno Ramos, so that his artistic production in dialogue with other arts, especially the visual arts. In it is intended to show the originality and uniqueness poetic of the artist in question that intrigues the criticism regarding the form, content and writing style of the author, who discusses the limitations of matter, nature and man. These limits can be checked by the recurrence of the ideas of metamorphosis and disintegration in his works, especially in books like Cujo, 1993 and Junco, 2011, which will be the main objects of study in this work. With regard to the difficulty of the critical is discussed the current situation of Brazilian poetry, by Marcos Siscar in 2005, in the text “The schism of Brazilian poetry”, with a connection between the poetry crisis and the contemporary poet in Brazil, represented in this context by Nuno Ramos.
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Yermolenko, Svitlana. "«And fun, and not so boring, at easter as a holiday» (national memory of the word: Kotlyarevsky – Shevchenko – Kulish)." Culture of the Word, no. 91 (2019): 7–17. http://dx.doi.org/10.37919/0201-419x-2019.91.1.
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In the article for the first time in Ukrainian linguistics the juxtaposition of artistic (poetic) and non-fiction works is carried out, in which the words symbols of the Ukrainian national culture – Easter, motley are attested. It is noted that these words-concepts are expressions of national memory, which is etched in texts, dictionaries, in generations of people, in the national-cultural consciousness of the people. The starting point was the position of memory – a psychological category inherent in the artistic text. It is manifested differently in poetic and prose works and reveals specific features of text and meaning in those texts. Because each text is created in a specific style, genre, the forms of expression of meaningful units of memory undergo textual, as well as individual-style transformation. It is not only about the peculiarities of the associative thinking of the subjects who make the text, but also about the typical lexico-grammatical and textual means of explaining the concepts of national culture. Writers I. Kotlyarevsky, T. Shevchenko, and P. Kulish, sensing the symbolism of ethno-cultural tokens, filled them with a concrete and sensual perception of the festive and everyday, as well as socio-cultural content. The national memory of these words is the potential for self-knowledge. Different genre-style texts of the Ukrainian literary language trace the constancy of the antithesis «high and low», «fun and sad», «lyrical and tragic», which are related to the words-symbols Easter, motley. Easter in the assessment of writers is not only an annual Christian holiday, but also an ideal of life for the Ukrainian people. Writers as thinkers always strive for the conclusion of some universal truths. And for their word to reach the reader, it must be an integral part of national memory.
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Rodionova, Oxana P. "Features of Chinese Animalistic Prose on the Example of Gerel-Сhimeg Black Crane’s Novel Black Flame." Vestnik of Saint Petersburg University. Asian and African Studies 13, no. 2 (2021): 137–60. http://dx.doi.org/10.21638/spbu13.2021.202.
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The article examines the themes, images, and artistic features of the animalistic novel Black Flame (2006) by the Chinese writer of Mongolian origin Gerel-Сhimeg Black Сrane’s. The general and comparative analysis of the novel not only reveals the peculiarities of the author’s individual style, but also characterizes the general trends in the development of animalistic prose in China and abroad. Respect for the laws of nature, as well as the theme of love and devotion of an animal to man, run through the entire novel Black Flame as red threads. A characteristic feature of the work is the combination of scientific and artistic styles. Such qualities of the writer as truthfulness and subtle understanding of animal psychology are also remarkable. Among the features of Black Crane’s artistic style, one can note the poetic language enriched with original metaphors and epithets. Instead of the usual narration of the characters’ actions, Gerel-Chimeg focuses on the physical and mental sensations evoked by these actions and transmitted to the readers. The writer does not humanize animals, nevertheless, he manages to penetrate their inner world through the use of a rich arsenal of smells, sounds and even tactile sensations. Today, Gerel-Chimeg is an original and iconic figure among Chinese writers of this genre. The article emphasizes that animalistic literature of such a level plays an important role both in the study of the wild world as well as in the education of humanity in people. The novel Black Flame not only enriches our knowledge of nature and animals of northern and western China, but also evokes a powerful emotional response from the readers.
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AASLID, VILDE. "The Poetic Mingus and the Politics of Genre in String Quartet No. 1." Journal of the Society for American Music 9, no. 1 (February 2015): 1–25. http://dx.doi.org/10.1017/s1752196314000522.
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AbstractIn 1972, the Whitney Museum of American Art commissioned new musical settings of poems by Frank O'Hara for a concert honoring the late poet. Among pieces by Virgil Thomson and Ned Rorem, the program featured a new work by Charles Mingus: his String Quartet No. 1. Mingus's piece was performed only once, at that concert, and was never recorded. It survives only in manuscript form.String Quartet No. 1 thwarts nearly all expectations of a piece by Mingus. Scored for strings and voice, the work's modernist approach to rhythm and pitch is unprecedented for the composer. Mingus chafed at being categorized as a “jazz” composer, and String Quartet No. 1's style is both a bid for and an undermining of the prestige of the high art world. Faced with primitivist discourses that characterized jazz musicians as unschooled and nonverbal, Mingus deployed poetry as a mode of resistance. He worked with poetic texts throughout his life, often writing the poetry himself. Mingus's sensitive setting of O'Hara's text in String Quartet No. 1 points to the centrality of poetry to Mingus's artistic and political project, and suggests that the piece's anomalous style can be partially understood as his response to O'Hara's text.
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Cowan, Robert. "Reich And Wittgenstein: Notes towards a synthesis." Tempo, no. 157 (June 1986): 2–7. http://dx.doi.org/10.1017/s0040298200022270.
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To try to establish a relationship between the terse linguistic philosophy of Ludwig Wittgenstein and the deceptively simple minimalist music of Steve Reich might at first seem a little ambitious, if not downright misguided. Yet a synoptic survey of the two men's work reveals a series of formal and conceptual correlations that is often quite striking. I hasten to add that my comparisons apply mostly to those of Reich's compositions where melodic and harmonic ideas are ‘phased’ and developed over the ground of a constant pulse, rather than to works such as The Desert Music where poetic texts substantially influence the form and design of Reich's music. I tend to draw more on Wittgenstein's later thought – especially the Philosophical Investigations than on his Tractatus Logico-Philosophicus, although Reich himself has quoted from the latter in discussing his own artistic style.
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Nefedova, L. K. "AESTHETICS OF CHILDHOOD IN THE PROJECT OF RUSSIAN EDUCATIONAL THOUGHT." Review of Omsk State Pedagogical University. Humanitarian research, no. 31 (2021): 46–50. http://dx.doi.org/10.36809/2309-9380-2021-31-46-50.
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Russian philosopher A. D. Kantemir is an Enlightener, poet, and translator of Fontenelle, recognized in the history of Russian culture, who laid the foundation for Russian philosophical terminology. His literary work, translation and political activities contributed to the transformation of Russian aesthetic consciousness, since they were a stage in the development of cultural ties with Europe, in the development of Russian philosophical and literary artistic culture, in particular, in the development of the language of Russian literature and philosophy. In the poetic “Satire VII. About upbringing” in the language style of the 18th century, Kantemir presented a number of thoughts about upbringing that are quite modern and give an idea of the aesthetics of childhood in the project of Russian educational thought.
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KROTEVA, Nikolina. "THE TRANSFORMATION OF THE „JAPANESE TRACE“ IN THE WORK OF NIKOLAY STOYKOV." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 86–93. http://dx.doi.org/10.37708/ezs.swu.v18i1.10.
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e contemporary Bulgarian composer Nikolay Stoykov is extremely attached to the image world of the Bulgarian musical folklore. Colorful as an author, he reconsiders and liberates authentic folk material with modern compositional language and thus breaks the traditional boundaries of musical structures. The subject of my monograph1 was the questions related to the artistic imagery in the choir work of Nikolay Stoykov and the original composer techniques usedby the author. While I was researching and writing about the rich heritage of the composer – about 100 opuses, I encountered various unique and turning points of his life. Stoykov was taught composition by the unsurpassed Pancho Vladigerov. I thought this was the most important fact that largely influenced and shaped his compositional style. In one of the chapters of themonographic survey „Vocal Landscapes“ (Кroteva 2017, pp. 20 – 27), I point to a little-known fact – the meeting of Nikolay Stoykov with the Japanese lyrical art. Back in 1966 he wrote four exquisite pieces of „Tanka“ for a male voice and piano on poems by Ishikawa Takuboku. Nikolay Stoykov has various creative appearances. In addition to musical works, he has published three books with haiku poetry and poetic messages in which he has expressed himself „without notation“. The question of the influence of the short Japanese poetic forms on the composer’s creative invention was not in the focus of my work, and remained unexplored in depth. The theme of the International Science Forum „The East – So Far, So Close“ provoked me to trace the creative predisposition of Nikolay Stoykov to the Eastern cultures and to add extra touches to the portrait of this extremely interesting composer.
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Nabytovych, Ihor. "BIBLE TOPICS IN THE HISTORICAL PROSE OF UKRAINIAN EMIGRATION." Polish Studies of Kyiv, no. 35 (2019): 231–42. http://dx.doi.org/10.17721/psk.2019.35.231-242.
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In the article there are summarized innovative approaches to artistic mastering of Bible topics in creative work of Ukrainian emigration writers of 1920th – 1970th: Natalena Koroleva, Leonid Mosendz and V. Domontovych (Victor Petrov). Ukrainian tradition of mastering Bible topics was interrupted by Russian occupation; it finds its bright artistic embodiment in artistic historical prose of Ukrainian emigration. This artistic experience enriches Ukrainian writing by mastering of Bible topics and motives via Bible stylizations, renaissance or creation of newly created new genre formations, contaminations of religious and historiosophical problems, searches of new narrative strategies of artistic mastering of the Holy Scripture. The article traces the way biblical stylizations become a style-forming means in the Ukrainian prose of the XX century. Historical novels Quid est Veritas?(What is the Truth?) by Natalena Koroleva and The Last Prophet by Leonid Mosendz are the basic works of fiction wherein they, playing forming roles, become an important element in poetic language and style. The way L. Mosendz uses bible stylizations in his novel The Last Prophet results in a special art amplification. The author conditionally expands his text’s sense by dint of bible stylizations and his allusive returning to the semiotic-semantic significance of the “base-text”. As the latter is the Bible (or, rather, the Old Testament), generating the said allusive amplifications, Mosendz’ novel, thus, sounds in several creative aspects. One of them is “filling up” the gaps in evangelical texts about John the Baptist’s life. Such “fillings up” occur both through the author’s fiction and his artistic reconstruction based on historical sources. The transformed and adsorbed through bible stylizations elements of neoclassicism and neo-romanticism create in the stylistic palette of novel Quid est Veritas? that unique stylistic aura, which represents Natalena Koroleva’s experimentalist attempts both in the genre field (her attempt to create a Ukrainian historical epopee representing the epoch historically very remote from the artist) and in the stylistic domain. One more specific feature of Koroleva’s novel – its epic character – is also created by help of bible stylizations. The allocation of the said stylistic macrostructures enables to present the general exhibitions of each of the author’s basic idiostyle elements.
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Stepanowna Perelomowa, Elena. "Действие принципа нонселекции в языковoй организации постмодерного художественного текста." Humanistyka i Przyrodoznawstwo, no. 18 (September 11, 2018): 260–69. http://dx.doi.org/10.31648/hip.730.
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The article discusses the organization of linguistic postmodern literary text. Analyzes the poetic works of Ukrainian postmodern art discourse for selection by the authors of language means of expression to achieve communicative goals. Word in a work of art does not only nominative function, it is used in a subjectify lingual space and determine speechthinking freedom of speaker. The author draws attention to the fact that the poetic function of language, along with the reference, ambiguity and gives it an opportunity for the ambiguity of the utterance. In connection with this understanding of the meaning of art depends on the different attitudes to the very subject of the statement saying, an the method of reading the text. Related words in the concept of becoming unfit for the image “literal” pattern of life. Therefore, a clear sign of postmodernism become Ukrainian verbal games, heteroglossy languages, discourse, linguistic hybrids, marginal dictionaries. He rejects the discourse of a totalitarian society, the official lexicon of Soviet-style language as inadequate to express the individual senses and feelings, instead of resorting to repetition of words, obscene language, citations, etc. The essence of the product is replaced by rhythmic melodic phrase, a phrase open to freely attach to it any associative chain. In the process of generation of artistic expression is present in the selection principle nonselection linguistic means of expression. The dialogue is born and polylogue game between the text of culture, the reader, the author.
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Ustinovskaya, A. A. "Literary Translation as a Polemic Manifestation of Program Mindsets of Silver Age Trends (translations by V. Bryusov and N. Gumilyov)." Nauchnyi dialog, no. 6 (June 29, 2020): 320–32. http://dx.doi.org/10.24224/2227-1295-2020-6-320-332.
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The question of literary translation of poems that are important in the context of developing a new artistic strategy by the leaders of the poetic movements of the Silver Age is considered. The relevance of the study is due to the fact that the multicultural and multilingual dialogue of translators is analyzed both with the texts of the original and with each other. The results of a comparative analysis of poems by Paul Verlaine “Art Poétique” in the translation of Valery Bryusov and Teofil Gautier “L’Art” in the translation of Nikolai Gumilyov are presented. The author notes that Bryusov saw ideas that resonate with his idea of symbolism as a stylistic phenomenon in Verlaine’s work. Particular attention is paid to the fact that Verlaine is polemicizing with the previous tradition - the poetry of the Parnassians, whose principles were embodied in the work of Gautier. The question is raised that Nikolai Gumilev, translating Gautier, engaged in implicit controversy with both Bryusov and Verlaine. The author dwells on the fact that the background of this polemic is the justification of the “neoparnassian” and “neoclassical” foundations in the style and poetics of acmeism. It is proved that the purpose of this polemic is the manifestation of the program mindsets of symbolism (in Bruce's version) and acmeism (in Gumilev version) based on the authority of Verlaine and Gautier.
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Mechraoui, Sara. "Narrative Control or Aesthetic Ideal: Cognitive Narrative Reading of Milan Kundera’s Life Is Elsewhere." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 17–34. http://dx.doi.org/10.24093/awejtls/vol4no4.2.
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This study, which is inspired by Cognitive Poetics, aims to test the feasibility of its basic methods on the analysis of Milan Kundera’s novel Life Is Elsewhere (1973). Kundera’s style seems at first plain, but greater importance was given to his philosophical and psychological treatment of subjects than the narratological world that he creates. He brilliantly mixes many narrative techniques to expose his existential and aesthetic ideals. The aesthetic value of the novel studied under the cognitive stylistic approach in this study sought answers to the following question. How can Life Is Elsewhere (1973) be read from a cognitive linguistic perspective? The findings confirmed the relevance of the cognitive poetic approach to the narrow reading of Milan Kundera’s works. Life Is Elsewhere (1973) is a merit of narrative control in that the author allows the reader to live the life story of a young poet, to appreciate his ups and downs, at the same time, read his philosophical ideas about life and his artistic control of the novel. Though a cognitively inspired approach might seem odd at the thematic level, for a purely hermeneutic researcher, the level at which both author and reader would exchange meaning from the text is catered for in the rich textual world of the novel. The latter sustains the universality of the works and confirms the suitability of the cognitive poetic framework to any piece of literature.
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Zykova, Elena I. "The Specificity of Functioning of Winged Expressions in the Poetry of Dmitry Bykov." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 3 (December 15, 2020): 463–78. http://dx.doi.org/10.22363/2313-2299-2020-11-3-463-478.
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The article deals with the specific features of the functioning of winged expressions in the poetry of Dmitry Bykov. Analyzing the poetic work of Dmitry Lvovich Bykov, a modern Russian writer, poet, public figure, publicist, it is impossible not to notice that the poet uses a winged language arsenal in all its diversity. These are biblical winged words and quotations ( мафусаилов век, ищите и обрящете, геенна огненная ), quotations from works, Russian and European literature ( Через четыре года здесь будет город-сад! Прощай, свободная стихия! Офелия, О нимфа! Помяни грехи мои в молитвах! ), winged words, dating back to antiquity ( Жребий брошен! белая ворона ), quotes from modern and Soviet songs ( Я люблю тебя жизнь и надеюсь, что это взаимно! ). In addition, the question of the specific stylistic functions of winged expressions, which Dmitry Bykov uses in his poetry, is considered. Among the most significant and most frequent and expressive can be distinguished satirical and compositional functions. In Russia, Dmitry Bykov is known as a writer, a satirist poet, writing mainly on acute political and socially significant topics. Therefore, it is completely understandable why one of the favorite winged words functions that he uses is depathetic. An important artistic language means in D. Bykovs poetic satire is his authors transformations of winged expressions. In the poetry of Dmitry Bykov, you can find the use of almost the whole range of individual-author transformations. Both semantic and structural-semantic. Dmitry Bykov is a master of a deep, complex image. In his poems, he creates complex allegories, his images are metaphorical, full of sarcasm. And in order to reach this depth of the image, the author most often uses not one, but several methods of transforming winged words within one context, which is, in our opinion, another specific feature of the writer's artistic style.
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Taganov, Aleksandr N. "The clinamen principle in the poetics of Alfred Jarry." Vestnik of Kostroma State University 26, no. 4 (January 28, 2021): 167–71. http://dx.doi.org/10.34216/1998-0817-2020-26-4-167-171.
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The article examines the specificity of the aesthetic programme of one of the most extraordinary writers in the turn of the 20th century, in whose creative activity the features of the transition period are concentrated, and the gap with previous traditions is clearly visible. The basics of Alfred Jarry's artistic views are studied. The main attention is paid to the principle of «clinamen», which is the foundation of his artistic system. Taking this into consideration, we analyse such his works as «Les Minutes de Sable mémorial», «Exploits and Opinions of Dr. Faustroll, Pataphysician», «Absolute Love» and the others, in which the features of Alfred Jarry's writing style are reflected most obviously. It is stated that Alfred Jarry's artistic system, based on the «clinamen» principle, approves the power of universal relativism that connects oppositions. The limits of knowledge, the limits of meaning in Alfred Jarry's work are constantly being pushed back – Alfred Jarry's absolute subjectivism is the result of disappointment in metaphysical thinking. In this connection, it is concluded that the strategy of knowledge, determined by such coordinates as truth, God, centre, universal meaning, loses its value. The faceless «clinamen» replaces the God-meaning. Alfred Jarry’s word, which acts on the principle of «clinamen», is the only way to withstand the chaos of existence. Willfully rejecting the original existing order, it creates its own world, which is built on semantic despotism, resulting from the deviation of meaning from the original meaning of the word.
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Barber, Lester E. "Alice Munro: The Stories of Runaway." ELOPE: English Language Overseas Perspectives and Enquiries 3, no. 1-2 (June 20, 2006): 143–56. http://dx.doi.org/10.4312/elope.3.1-2.143-156.
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This essay will analyze and explicate the stories in Munro’s latest collection, Runaway, in order to present the reader with a description of her artistic interests, motifs and techniques in this work. The author finds remarkable similarities among the stories, even as they explore very different female characters and situations. The author notes the delicacy and precision with which Munro tracks the progress of her characters’ thoughts and feelings, often in a kind of interior dialogue with themselves. Love, or its absence, is the usual subject matter in the stories – most often between a woman and a man, but sometimes between parent and child – and the author shows how Munro’s characters deal with the “old confusions or obligations” engendered by this emotion. Finally, the author cites several examples in describing Munro’s style of presenting her characters, one typified by colloquial and self-deprecating dialogue, but punctuated at times by language of great poetic and emotional power.
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Gozdecka, Renata. "Trzy wiersze Jacka Kaczmarskiego inspirowane malarstwem polskim. Z muzyką Zbigniewa Łapińskiego i Przemysława Gintrowskiego." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 1 (December 8, 2017): 121. http://dx.doi.org/10.17951/l.2017.15.1.121.
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<p>Tekst jest opracowaniem interdyscyplinarnym. Traktuje o związkach malarstwa, poezji i muzyki. Trzy obrazy polskich malarzy (Jacek Malczewski, <em style="mso-bidi-font-style: normal;">Wigilia na Syberii</em>, Bronisław Wojciech Linke, <em style="mso-bidi-font-style: normal;">Kanibalizm</em>, Jerzy Krawczyk, <em style="mso-bidi-font-style: normal;">Birkenau</em>) stały się inspiracją dla poezji Jacka Kaczmarskiego, jego zaś wiersze (odpowiednio: <em style="mso-bidi-font-style: normal;">Wigilia na Syberii</em>, <em style="mso-bidi-font-style: normal;">Kanapka z człowiekiem</em>, <em style="mso-bidi-font-style: normal;">Birkenau</em>) zostały umuzycznione przez Zbigniewa Łapińskiego i Przemysława Gintrowskiego. Artykuł – mający charakter analityczny – odsłania drogę przekazu artystycznego od obrazu, poprzez słowo poetyckie, do ujęcia muzycznego.</p><p>SUMMARY</p><p>The article is an interdisciplinary study, which discusses interrelations between painting, poetry and music. Three pictures by Polish painters – <em style="mso-bidi-font-style: normal;">Wigilia na Syberii </em>[Christmas Eve in Siberia] by Jacek Malczewski (1854-1929), <em style="mso-bidi-font-style: normal;">Kanibalizm </em> [Cannibalism] by Bronisław Wojciech Linke (1906-1962), and <em style="mso-bidi-font-style: normal;">Birkenau </em> by Jerzy Krawczyk (1921-1969) – became the inspiration for Jacek Kaczmarski’s (1957-2004) poetry; his poems in turn, as poetic reactions to the foregoing paintings, <em style="mso-bidi-font-style: normal;">Wigilia na Syberii </em>(1980), <em style="mso-bidi-font-style: normal;">Kanapka z człowiekiem </em>[Sandwich with a Man] (1980) and <em style="mso-bidi-font-style: normal;">Birkenau </em>(1981) respectively – were musicalized by Zbigniew Łapiński (b. 1947) and Przemysław Gintrowski (1951-2012), and performed by the trio of Kaczmarski, Łapiński, and Gintrowski (<em style="mso-bidi-font-style: normal;">Wigilia na Syberii </em> in 1981) and by Przemysław Gintrowski alone (<em style="mso-bidi-font-style: normal;">Kanapka z człowiekiem </em> in 2009, <em style="mso-bidi-font-style: normal;">Birkenau </em>in 1991). The three-part, analytical article reveals the process of artistic communication: from a picture, to the poetic word, to a songster’s interpretation.</p><p> </p>
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Aleksandrova, Halyna. "IVAN STESHENKO: ARTISTIC INDIVIDUALITY IN THE FIELD OF ERA." Scientific bulletin of KRHPA, no. 11 (2019): 69–80. http://dx.doi.org/10.37835/2410-2075-2019-11-7.
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The article is devoted to the artistic personality of Ivan Steshenko as an independent creative person of the early twentieth century, in which the poetic world reflected the stylistic and aesthetic contradictions inherent in the transitional era of the nineteenth and twentieth centuries. It was emphas ized that artistic thinking, literary style of the art is twas for me dinan atmosphere of communication and personal relation ships with many contemporary cultural figures: his biography is closely connected with Starytsky, Lesya Ukrainka, O. Konysky and others. Innovative features and conscientiousness of his poetry with works by M. Staritsky, Lesya Ukrainka and others canbetraced. The key images that reflect the complex system of Ivan Steshenko's spiritual life are considered and is a significant element of his artistic world, which combines neoclassical and neo-romantic elements, tangible relapses of positivism. It is proved that with out studying the artistic personality of Ivan Steshenko it is impossible to out line the true spiritual field of Ukrainian literature, toconstruct a complete model of the national literary process. It is noted that Ivan Steshenko's poetry is polyphonic. There is a desire in it to show the world in all its manifestations, to discover both aesthetic and civic stance. In his artistic word the actual and abstract, national and human, philosophical and social problems became firmly joined. In his writings, the poet reveals the tragic existence of man, reflects his temporality, shows the gap between dream and reality, demonstrates fatigue and frustration in search of happiness. In his poetry, the dramatic disharmony of the thinking man with the world of evil and violence is clearly embodied, the position of the rejection of the existing world order is clearly expressed. There is a synthesis of emotional and intellectual.
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Петер, Михай. "Об изменениях в лексике русской лирической поэзии." Studia Slavica Academiae Scientiarum Hungaricae 64, no. 2 (February 6, 2021): 397–407. http://dx.doi.org/10.1556/060.2019.64212.
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The paper intends to present the general tendency of lexical change in Russian lyrical po- etry during the last two hundred years on some arbitrarily selected examples. The odes of Lomonosov were accomplished in the lofty style based on Slavonic, rhetorical, and other “poetical” devices. In Derzhavin’s ode Felica, enthusiastic and ironical elements, pathos and everyday talk are combined. In Zhukovski’s romantic poetry the objective sense of words is overshadowed by their emotive overtones. In avoiding the grandiloquent romantic lexis, Nekrasov describes the hopeless hard life of Russian peasantry with deep sympathy, and reliably reproduces the popular speech. In the cited poem of Akhmatova, the psychic drama of the heroine is expressed by a peculiar connection of words belonging to different stylistic layers. The entirely prosaic lexis and syntax of Blok’s short poem suggests the poet’s feeling about the hopeless immobility of life in a condensed metaphoric shape. Vino- kurov’s poem relates an imagined accidental meeting of former lovers after thirty years of their separating in an entirely colloquial style. Since a poem of genuine aesthetic value appears as a complex artistic work, its components mutually strengthen, supplement, or compensate each other. Thus, the increase of colloquial elements in the poetic vocabulary does not necessarily indicate a process of “depoetization”.
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Стрельникова, Лариса Юрьевна. "SEMANTICS OF ALLUSIONS IN THE NAMES OF RUSSIAN-LANGUAGE WORKS BY V. NABOKOV IN THE CONTEXT OF THE POETICS OF MODERNISM AND POSTMODERNISM." Вестник Тверского государственного университета. Серия: Филология, no. 1(68) (April 9, 2021): 79–89. http://dx.doi.org/10.26456/vtfilol/2021.1.079.
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В статье рассматривается семантика аллюзий в названиях русскоязычных произведений В. Набокова. Следуя принципам неклассической поэтики модернизма и постмодернизма, писатель превращает аллюзию в средство художественной деконструкции текста. Аллюзивные маркеры усложняют семантику названия, придавая произведению дополнительные смыслы и демонстрируя специфику авторского стиля. The article deals with the semantics of allusions in the titles of Russian-language works by V.V. Nabokov. Following the principles of non-classical poetics of modernism and postmodernism, the writer turns allusion into a means of artistic deconstruction of the text. Allusive markers complicate the semantics of the title, giving the work additional meanings and demonstrating the specifics of the author’s style.
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Szwajgier, Krzysztof. "The Poetics of Unism in Music." Musicology Today 12, no. 1 (December 1, 2015): 127–36. http://dx.doi.org/10.1515/muso-2015-0013.
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Abstract Zygmunt Krauze is the founder of a new current in art: unistic (unitary) music. He developed this concept in the first period of his artistic work, inspired by the unistic paintings of Władysław Strzemiński. Traces of this style are also detectable in Krauze’s later post-unistic works. Unistic music is characterised by a paradoxical unity in diversity. Most of the composer’s statements collected in this paper refer to specific features of unism in music. Other, more general comments concern the essence of music, the composer’s personal stance, the creative process, the autonomy of the composer, the audience and the performers, etc. Two longer texts by Zygmunt Krauze have been quoted in full. One can be considered as a unistic manifesto, while the other is a kind of personal credo.
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Białoskórska, Mirosława. "MORZE W MARZENIACH SENNYCH BOHATERA LIRYCZNEGO W WIERSZU LEOPOLDA STAFFA "WYSPA" - ROZWAŻANIA JEZYKOZNAWCY." Slavia Occidentalis, no. 75/1 (December 15, 2019): 7–20. http://dx.doi.org/10.14746/so.2018.75.1.
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The article presents linguistic phenomena from the initial stage of the poet’s work when the modernist writing model prevailed. Leopold Staff wrote a reflexive and descriptive triptych in which, by resorting to a juxtaposition to the Young Poland movement poetry, he created paradise landscapes of a deserted island surrounded by sea water, drowned in light and colour. In order to recreate the protagonist’s dreams he resorted to poetic imagery at various levels of text organization. The linguistic phenomena in the realm of syntactic forms refer to the functions of exclamations, hypotaxis and parataxis, the role of arrangements of conjugation rows, the rhythm of verses combined in a hendecasyllable with ABBA rhymes. The following figures of speech were used: antithesis, rhetoric questions, inversions, apostrophes etc. As for semantic transformations, an important role was played by sensual and mental metaphors, semantic poetism, personification and comparisons. The lexical phenomena were related to applying the style-related function of vocabulary that is chronologically diverse (artistic neologisms, neo-semantisms, old-fashioned words); geographically diverse (dialects) and word-formation diverse (derivatives of adpositional phrases in order to condense the text to hendecasyllable verses).
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Zavelskaya, Darya A. "“RETURN TO PARADISE”IN I.A. KRYLOV'S IDYLL AND ODE:AN ARTISTIC MODEL AND A WORLDVIEW." PHILOLOGICAL STUDIES 18, no. 1 (2020): 156–69. http://dx.doi.org/10.17072/1857-6060-2020-18-1-156-169.
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The article is devoted to the analysis of the philosophical and religious works of I.A. Krylov, in which there is a motive of man's “falling away”from nature as a loss of heavenly bliss. At the early stage of his creative work, the poet was looking for various approaches to reflect this existential problem, embodying his thought in images of nature and civilization. These images bear the imprint of the stylistics of two different genres of Russian classicism:odes (high style) and idyll (middle style). Stylistic and genre analysis makes it possible to reveal Krylov's attitude to the world as a whole and to a person's place in it. Idyllic elements are associated with the notion of primordial innocence. The highstyle of the ode manifests itself in two ways: in threatening prophetic denunciations and solemn praises. The solemn praise of nature is in tune with the chanting of the Creator in the Psalm arrangements–the traditional genre of Russian classicism. Based on these parallels, we can assume the development of the poet's philosophical search from rejection of civilization to the organic reunion of man with being through the creative principle
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Kolesnikova, Svetlana M., and Elena A. Burskaya. "The influence of affixes on the phonosemantic gradable picture of derivative words in V. Mayakovsky's poetic texts." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 81–86. http://dx.doi.org/10.20323/2499-9679-2021-1-24-81-86.
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In a poetic text, derivative words play an important role in solving artistic problems and creating images. The wordformation method is a set of affixes linked by paradigmatic relations that differ in productivity, distribution and additional meanings. V. Mayakovsky's texts are characterised by the productive use of neologisms, which creates their specificity and uniqueness and contributes to the realisation of certain qualitative and characterising meanings. Derivatives and word-formation devices become the means of actualising different gradable meanings: these formations are characterised by the expression of the gradable semantics of derivatives (increase/intensification,, higher/extreme degree of manifestation of a feature, process, phenomenon), contained in the gradoseme (the seme of measure and degree) of the language units under study. Affixal neologisms implement and specify quality attributes of the meanings expressed. The speaker's subjective perception of the real world is conveyed. Mayakovsky's poetic texts give the material to examine the affixal formation of nouns and adjectives in terms of its influence on the richness of speech. The research focuses on the words that allow the narrator to solve artistic and aesthetic problems and to became the basic means of creating the image. The particular expressiveness of these formations is explained by the contrast between the style and the special semantics of gradual prefixes. The objective phonosemantic picture of the words/word pairs in question reflects different relationships between sound and meaning, ranging from complete conformity to contradiction between them. The contradictions between sound and meaning in affixal structures usually lead to ironic use of derived lexemes in context. These structures perform different semantic and contextual functions.
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Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.
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Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned. Namely, it is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition. Objectives. The main objective of the current article is the essential theoretical background specification for the Chinese composers’ piano creations genre peculiarities research; in particular, the polygenicity, the borrowed material usage principle, the composer’s genre stylization method. Methods. The task setting and developing is based upon the functional and morphological approaches to the musical genre comprehension, on the terminological analysis of the musical genres and styles understanding, on the upto-date philological and musicological conceptions of composition poetics, artistic genre and stylization method. Results and discussion. The concept of musical genre is defined as the type of the creation or the musical creative activity. Here the category of genre involves not only the formal but also the substantial musical compositions properties, their typical semantics. The musical genre genesis is specified by three factors: 1) the functional creations similarity, the identity of their assignment; 2) the similarity of the conditions of the composition creating and performing; 3) artistic and contextual affinity. The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style. The composition style properties quite definitely “indicate” some kind of genre “prototype”, and in this sense they are the sign-index of the genre. The typical artisticcontent properties of musical creations and performing are also the index of the genre. These typical properties and designated as genre image (or genre semantics). The genre style and the corresponding images reflect the real type relations of the musical practice phenomena. It enables the composers to use the formal signs of a certain genre as an artistic attribute well recognized by the audience. In the musical genres system, the areas of interactive and independent music are conventionally separated. The first group includes the numerous kinds of every day musical performing, where music interacts with the riot, dance, poetic verbal speech, theatre performance and other types of a person’s artistic activity. Meanwhile, the main and specific function of the independent music is its being the object of artistic perception. The independent music artifacts don’t need any interaction with the expressive means of other arts. The piano music can belong to both spheres. A lot of independent sphere piano music compositions are bear the names of the genres belonging to the folklore, theatre music, church rituals, urban life. We mean such as piano “lullabies”, “ballads”, “minuets”, “waltzes”, “marches”, “arias”, ”love songs” etc. there is still another phenomenon: the piano music pieces, the name of which is not connected with the interactive music genres, are often profoundly connected with them on the levels of the language and artistic text. Quite often, the piano pieces are built on certain composition, borrowed from the sphere of folklore, popular or church music. In all the alike cases we can notice the artistically justified synchronous (non consequent) interaction of several musical genres signs and properties in the form of the definite composition. This phenomenon is characterized as polygenicity. Two main approaches to achieve the polygenre artistic expressive effect are defined: a) the use of the “exterior” (non native, another’s, alien) musical material; b) the genre style characteristic properties reproduction (genre stylization). The given work gives the definitions for the methods of different musical genres properties combination by means of borrowing and of the “exterior” material use in the frames of the original composition: quotations, arrangements, edited versions, fantasies and transcriptions. The genres, originated by these composing methods, are characterized. The essence of the genre stylization method in the Chinese composers’ creations is revealed. It is the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. The wide range of this method implementation is mentioned: from total style imitation to allusion. Conclusions. The existence of the great amount of the piano music compositions in the today’s Chinese musical culture motivates the overall and profound scientific analysis of this phenomenon, in particular, it stimulates the given sphere genre features revelation in both synchronous and diachronic (historic-evolutionary) aspects. The piano music genre sphere researcher needs the clearly formulated, capacious and non-contradictory categories of musical genre, genre style, genre system, genre semantics, as well as of the notions, derivative and connected with them. As it was mentioned by numerous specialists, the Chinese piano music distinctive feature consists in its lasting connection with the national music tradition. The task, set for the musicologists, is to define the nature, the principles, the variants of the interaction between the European piano music genres and styles and the traditional Chinese music genres and styles ( folklore, theatre, popular song). The given article states that the first artistic method, leading to the combination of the European and Chinese traditions in the frames of one composition consists of the composer’s borrowing and using some “alien” material, a fragment of the famous musical creation in his artifact. Thus, using serves as a general notion, embracing a number of certain musical text composing methods, which include quoting, arranging, creating versions, fantasies and transcription. The second artistic approach, leading to European piano music and the Chinese traditional music interaction, consists in the artistic method of stylization. This method implies the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. This method reveals the unlimited possibilities to create the bright vivid effects for genre dialogue, conflicts, interaction, as well as very delicate conceptual modus, allusions, hints, promoting the remarkable enrichment of the compositions genre figurativeness. Basing on the given theoretical background the author is going to analyze the genre-style contents of the seven-volume edition “A century of Piano Solo Works by Chinese Composers”. This content may serve as a working model for the studying of the whole thesaurus of piano music artifacts, created by the Chinese composers.
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Imangali, O. "POETICS OF SHERKHAN MURTAZA'S STORY "ТАУЕКЕЛ ТОЙ"." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 244–49. http://dx.doi.org/10.51889/2020-4.1728-7804.51.
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One of the talented writers who made an invaluable contribution to the development and development of modern Kazakh fiction is Sherkhan Murtaza. In the literary heritage of the writer, a special place in literature is occupied by stories of small genres, in which he described the tragic fate of the past and present people with his pen. More than a quarter of a century has passed since our country gained independence and received wide recognition. Serving the truth of the life experienced up to this time by the nation in order to turn it into an artistic reality is the main task of the writer. Because the noblest ideal of a writer is the interests of the people [1,14]. With this in mind, Sherkhan Murtaza's stories written after the dawn of independence, problems and disappointments in the life of the Kazakh people, individuality and prerogatives are expressed realistically, with obvious sarcasm, with a mysterious and attractive accent. The article analyzes the writer's story " Тауекел той " based on the theory of literature. Through the analysis of the plot and compositional structure of the narrative, the ideological content of the work is deeply analyzed. Defines the relationship of the author's idea in the work with the reality of life. To determine the concept (worldview) of the writer, embedded in the narrative, a study of the artistic world of the work, the significance of events and imagery, language and style of the work.
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Gudzina, Victoria. "THE FEATURES OF THE IDIOSTYLE OF ZULFIA." Scientific Reports of Bukhara State University 5, no. 2 (May 24, 2021): 143–56. http://dx.doi.org/10.52297/2181-1466/2021/5/2/13.
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Introduction. This article examines the poetic heritage of the outstanding Uzbek poetess Zulfiya, who is the brightest figure in Uzbek poetry. The 30-90s of the XX century, when Zulfiya made her debut and became famous for her poems, was a time of intense search in the artistic life of Uzbekistan. Description of the specifics of the individual style of the Uzbek poetess of the XX century Zulfiya is an urgent task of modern literary criticism. It should also be recognized that Zulfiya's connections with the previous tradition are insufficiently studied in revealing the inner world of the lyric heroine. Research methods. The research methodology is based on an integrated approach that includes various methods: biographical, historical-literary, relative-comparative, structural-semantic. Results and discussions. In the works of the poetess, one can trace an appeal to classical literature.
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Khramushina, O. S. "About phonetic transformations of words in modern Russian poetry." Russian language at school 82, no. 2 (March 19, 2021): 49–56. http://dx.doi.org/10.30515/0131-6141-2021-82-2-49-56.
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This article aims to determine the types and role of phonetic transformations of words as an active tactics applied in modern Russian poetry. This problem has not received sufficient theoretical attention, which is significant for an adequate analysis of artistic speech. The methods of functional and contextual analysis were applied allowing the phenomenon under study to be considered as an element of an integral literary text. As a result, the functions of phonetic transformations of words in poetic speech were revealed, in particular: 1) rhythmic (primary associated with the nature of poetic speech); 2) iconic, including the function of creating sound imagery (contributing to an enhanced expression of the author’s intention and ensuring the participation of phonetic transformations in certain types of stylisation); 3) compressive (reflecting the tendency towards speech economy, focused on spoken speech and incomplete pronunciation style); 4) text-forming (sound transformations as the main expressive means of a text can determine its structure); 5) euphemistic (the transformed version of the word constructs a phonetic allusion to its original version); 6) comic (the original sound can generate new versions including game, ironic and other meanings). It is concluded that there is a tight connection between phonetic experiments and the semantic accents made in poetic texts. The results of the study contribute to the existing scientific literature on phonemic transformations. The results can be applied when conducting a philological analysis of a text and at Russian language and literature lessons.
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Kerimova, Rauzat A. "Poetry of A. Bakkuev: the Evolution of Creative Consciousness." Polylinguality and Transcultural Practices 16, no. 4 (December 15, 2019): 538–48. http://dx.doi.org/10.22363/2618-897x-2019-16-4-538-548.
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This paper first discusses the poetry of Artur Bakkuev. A.I.Bakkuev is one of the modern Balkar writers, whose poetry develops along the lines of the Karachay-Balkarian classical tradition. The genre originality in his literary laboratory is represented by philosophical, religious, civil, landscape, love lyrics. As part of the study, an analysis of his creative path is carried out: from the inception of the activity to the professional “maturity”. The author also examines the problem of the evolution of the writer’s self-consciousness formed in the context of historical and cultural processes at the junction of the XX-XXI centuries. The purpose of this work is to identify the individuality and the definition of poetic and stylistic features that characterize the artist’s originality in contemporary realities. The author reveals the transformation of the genre-style system, as well as the changes that have occurred in the semantics of the poetic text in the context of the evolution of creative consciousness. Comparative, descriptive and textual methods of analysis were used in the work.
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Kuduma, Anda. "Pilsēta Jāņa Hvoinska dzejā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 233–42. http://dx.doi.org/10.37384/aplkp.2021.26-1.233.
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The article is dedicated to the evaluation of creative work by poet and translator Jānis Hvoinskis, and it characterises the content and artistic qualities of Hvoinskis’s poetry process. The main focus is on the representation of the phenomenon of the city as an essential and characteristic poetic chronotope segment in Hvoinskis’s poetry. The study aims to identify and assess the characteristic kinds of city concept formation and their importance in building Hvoinskis’s artistic style. The article highlights and evaluates the techniques for designing the artistic structure of the indivisible chronotope in Hvoinskis’s poetry. This view is based on the fundamental principles of phenomenology, i.e., an individual phenomenon (phainómeno) is crucial in the reflection of consciousness, inner temporality, intentionality, intersubjectivity, and lifeworld. In turn, the highlight of poetry subject’s primary condition and existential motifs is logically linked to the main ideas of existentialism in their attitude towards the reason of an individual’s existence, relationships to life and death, freedom of will and choice, determinism. The study’s theoretical and methodological basis includes the ideas of phenomenology theoreticians (Edmund Husserl, Maurice Merleau-Ponty, and others) and the theories of existentialism philosophers (Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre). Hvoinskis’s poetry allows us to speak about a city as a concept, i.e., as a universal and capacious generalising notion (which includes images, notions, symbols) from which its associative components – poetry themes, motifs, images – derive. Thus, it is possible to speak about the depth dimension of the city phenomenon. The city phenomenon in Hvoinskis’s poetry is the landscape that has been adopted as the centre of the world of the lyric subject in both poetry collections that have come out to date: “Lietus pār kanālu e” (Rain over the Channel e, 2009) and “Mūza no pilsētas N” (Muse from City N, 2019). The depth dimension in Hvoinskis’s poetry appears in the natural synthesis of mythical and real chronotope, associatively impressive and plastic imagery, expressive style kindred to surrealism poetics. The city appears as a modernism project created by the logic of industrialisation, simultaneously revealing a metaphysical dimension where symbolic images as constituents of a myth preserve the memory of wholeness of the world. The emotional atmosphere of Hvoinskis’s poetry is defined by the highly existential atmosphere – despite the harsh indifference created by the city, the sadness of existential loneliness, social distance, and aversion towards life, the poet makes the tragic and ugly strangely appealing without losing the feeling of lightness and hope. The poet’s intense intuition and imagination exhibit the congeniality with the 20th-century French modernists. Hvoinskis’s poetry muse is death, which implies life.
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Semak, O. I. "IHOR KOSTETSKYI AND EUGENE IONESKO: TYPOLOGY OF ARTISTIC THINKING." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 150–56. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-150-156.
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The article deals with the works of such famous playwrights as Ihor Kostetskyi and Eugene Ionesco. The comparison of the work of the Ukrainian playwright with the dramatic works of the world level made it possible to distinguish the laws that show that Ihor Kostetskyi's drama is a multi-faceted and ambiguous phenomenon in the literary process of the second half of the twentieth century. The study of the peculiarities of the literary heritage of I. Kostetskyi involves a profound analysis of the influence of the emigration factor on creative process of the writer. His close interweaving of universal, national, and moral issues was caused by life in emigration and the loss of Ukraine. The combination of Ukrainian mentality with the understanding of the philosophical concepts of the West allowed the playwright-emigrant to consider social and moral problems more panoramic. Using techniques such as phantasmagority of individual scenes, deconstructivistic distrust to language, the destruction of syntactics and paradigmatics and logical structural connections in some places allows us to characterize the poetics of I. Koste-tskyi’s style as an absurdity experiment based on the drama of the Baroque era.In the result of comparison of the heritage of Eugen Ionesco and Ihor Kostetskyi the author found that both dramatists rejected the canons of classical drama with its traditional plot, experimented with the form of works, the language of characters. The artistic material of their dramatic works unfolds through absurd situations that contrast with the world of reality.One of the problems raised by the authors is the problem of human communicability, which leads to leveling of the personality. Their verbal experiments are one of the factors in the creation of new generations of heroes. The dramatists did not abandon one of the main problems of existentialism - time as characteristics of human being.