Academic literature on the topic 'Euphony in poetry'

Poetry translation is one of the most difficult tasks in the literary translation. It is an artistic process in which translators create qualitatively novel artistic spaces. As a unique creative endeavor, it is becoming an important research topic in translation studies. A considerable attention of investigators has been focused on the means of preserving in translation poets’ aesthetics, specific features of their linguistic and ethno-cultural character which are jointly the products of particular phonetic, stylistic, lexical and syntactic literary tools used in translation. Therefore, an important part of the current analysis is to determine specific features of the literary translation of poetry on phonetic, morphological, lexical, syntactic, and textual levels. The goal of the current study is to examine distinctive features of the Ukrainian translations of Paul Celan’s work done by S. Zhadan, P. Rukhlo, and M. Fishbein. Namely, the study examines the specific literary tools used by the translators to convey the originals. It also aims at discovering unique stylistic features in the work of the translators. To reach the goal, we determined theoretical and methodological bases of the research domain, analyzed translations on the different linguistic levels, determined specific features of the individual style of the translators by using comparative translation, linguistic and contextual analyses. The study found that (a) the translators actively used transliteration, transcription, and adaptive transcoding; they used assonance and alliteration to preserve the gist and euphony of the original work; (b) there were changes in the grammatical number of nouns and uses of diminutive suffices to accurately transmit the original meanings; (c) lexis without available translation equivalents – the original author’s neologisms were translated using calqueing or the change of the lexical semantics; translators reproduced metaphors most of the time; they frequently used lexico-semantic methods of dispersion, addition, and substitution; constructions uncharacteristic for Ukrainian were adapted avoiding grammatical interference; to preserve melodic structure complex sentences were translated using sentences without conjunctions; (d) translators retained communicative functions present in the original work. There were a number of specific features in different translations known as individual stylistic features of translators: P. Rukhlo uses free (non-literal) translation, frequently utilizing a set of translation tools (addition, emphasizing connotation of depicted images, lexico-semantic switches); S. Zhadan often uses deletion in order not to overload the translated texts, dispersion, preserving the balance between the literal and free translation; M. Fishbein prefers literal translation, creating less euphonic texts, frequently uses calqueing or partial lexico-semantic substitution.

The poetry of Viktar Siamaška brings a strong and radically new contribution to the literary heritage of the Bielavieža group of Belarusian writers in eastern Poland. His mainly short, even minimalist, verses strike fresh and unconventional notes, rich in wordplay, euphony, anaphora and palindromes in all the themes he tackles, such as family, ageing and death, religion (particularly his Catholic faith), urban and rural life, the latter including many fantastic, personified images; his view of the city is dyspeptic from Moscow to Paris with Miensk in the centre. Musician and journalist as well as avant-garde poet, his five books to date (2010–2023) are both challenging and stimulating. Adventurous in form on the page, their lexical range is broad, not least in the use of non-standard, previously taboo words. A whole study could be made of Siamaška’s fantastic imagery and metaphoric structures, but the present study is devoted only to an overall picture of his poetic achievement to date.

The article deals with the types and functions of sound in the lyrical poetry of Rainer Maria Rilke. The features of his poetry, dedication to the art of sounding words are emphasized. It is noted that the types of sound writing and its functions are important for linguistics in Rilke's poetry. The definition of sound writing as a poetic means is given, the difference between the concepts of Lautmalerei and Klangmalerei is clarified. The attention is focused on the fact that Rilke's poetry is characterized by the purity of rhyme, except for unevenly stressed rhymes, which combine a strong ending (with the main emphasis on the last syllable) with a weak one (when the last syllable forms a suffix or another part of the phrase containing only a secondary emphasis). Various criteria by which types of sound writing can be distinguished are outlined. It is noted that according to the criterion of a repeating element in Rilke's poetry, the most important types of sound are presented: assonance, alliteration, internal rhyme and paronomasia. The aesthetic and iconic function of a poetic work is considered. The analysis of the iconic function highlights its three subtypes: suggestive, onomatopoeic and sound semantic. The term "function" is used in the sense of "task". Each of the functions is investigated in the article and illustrated with examples of Rilke's poems. It is found out that the figures of sound in Rilke's poems are characterized by placement in the initial syllable, but can have other positions in the word; vowel length is not taken into account; vowel equivalence is atypical for alliteration; metathesis and uneven consonance are not excluded; both convergence and divergence of phonetic figures occur within the poem, stanza and in the whole text; phonetic figures are tied to syntactic structures. It is emphasized that the creative and effective sound description in the poetry of Rainer Maria Rilke is a significant contribution to the euphony of the text and the expression of its content. As a result, it is proved that Rilke is rightly called the king of sound in poetry

It is marked in the paper that at the beginning of the third millennium, in contrast to the dominant practice of language-centric and text-centric concept, the Concept of foreign education was suggested, methodologically based on acquiring the language through culture and acquiring the culture through the language. It was investigated that an English authentic text provides competence formation in English monologue speech, and also, it is an object of culture and foreign linguistic didactics. It is marked that communicative approach in the foreign language teaching was enriched by competent approach, in which language/linguistic, speech/discourse/text, cognitive, general cultural, socio-cultural and pragmatic parts of communicative competence are considered as its constituent components. It is stressed that “information condensation” and “hyper-semantics”, as well as conceptuality, emotionality, imagery, rhythm, melodiousness and euphony provide inexhaustible esthetic, cognitive, communicative, personal-valuable, mnemonic, educational and teaching possibilities of authentic poetic text. Efficiency of English poetry masterpieces application while forming English monologue speech, based on authentic poetic texts, is proved.