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Journal articles on the topic 'Expressive Prose'
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1
Nikolina, N. A. "Expressive Derivational Means in I.S. Turgenev’s Prose." Russian language at school 79, no. 9 (November 15, 2018): 32–36. http://dx.doi.org/10.30515/0131-6141-2018-79-9-32-36.
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Despite lots of works on I.S. Turgenev’s style the language of his prose is not enough studied. The article deals with used in his works expressive derivational means. This article purpose is to define types and functions of derivational units in the prose by I.S. Turgenev. It is defined authorial innovations, analyzed their derivational structure and the link with the narration structure. The main attention is paid to compound adjectives and adverbs that function as epithets. These words generally name colours and characterize the exterior and inner world of characters. The morphemic repeat (root and affixal) is considered as expressive derivational means peculiar to Turgenev’s individual style. It is defined its functions and the connection with the set of images of the text. It’s marked that the repeat of words with the component polu- is used very often. The author concludes that the expressive derivational means can be considered as one of the specification of Turgenev’s individual style.
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Nikolina, N. A. "Expressive Derivational Means in Ivan Bunin’s Prose (To the 150th Anniversary of the Birth)." Russian language at school 81, no. 6 (November 19, 2020): 57–62. http://dx.doi.org/10.30515/0131-6141-2020-81-6-57-62.
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The author introduces the expressive potential of derivational means in Ivan Bunin’s prose. It is noted that the writer consistently avoided occasional word formation. Innovations in his works are potential in nature and few in number. The study is aimed at identifying expressive derivational means and determining their functions in the prose of Bunin. The resources were analysed with descriptive and structural-semantic methods. The author distinguishes the groups of derivational means significant for Bunin’s idiostyle: complex adjectives and adverbs with a trope component in their composition, folk etymological formations and expressive derivational dialectisms. Morphemic repetition is considered as essential for Bunin’s prose. It performs the intensifying-distinguishing and text-forming functions and serves to deploy a certain motif and theme as well as to create a word picture. Actualisation of derivational relations in Bunin’s prose reveals the implied sense of the text.
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Brayko, Oleksandr. "Coloristic Expressive Tools in Prose by Volodymyr Drozd." Слово і Час, no. 8 (August 11, 2019): 78–97. http://dx.doi.org/10.33608/0236-1477.2019.08.78-97.
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The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art.
Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination.
The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art.
The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers.
The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.
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Zholdasova, Ulzhan. "Lyrism In Kazakh Prose." SCIENTIFIC WORK 61, no. 12 (December 25, 2020): 68–73. http://dx.doi.org/10.36719/2663-4619/61/68-73.
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The article tells about the work of Zh. Aimautov, who is considered the pinnacle of Kazakh prose. In each of his works it is clear that the prose of Zh. Aimautov, apart from the usual prose, has a strong poetic power. The writer presented melodic, melodic works that give the reader a deep emotional, expressive effect. Through the works of Zh. Aimautov, a new form of lyricism was introduced into Kazakh prose. The works that are central to the article are aimed at explaining the lyricism in prose. Key words: Kazakh prose, lyricism in prose, artistic metaphor, artistic image, psychology of character
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Paroviak, Ivan. "METASIMIVOLIZATION AND THE FUNCTIONAL ASPECT OF SYNTHACTIC-STYLISTIC MEANS OF THE GERMAN POSTMODERN TEXT." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 10(78) (February 27, 2020): 164–66. http://dx.doi.org/10.25264/2519-2558-2020-10(78)-164-166.
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The article reviews the scientific literature and traces the main trends in the development of postmodern text and the development of expressive syntax as a stylistic construction during the XX – XXI centuries. Particular attention is paid to the work of domestic and foreign linguists. The main focus is on the study of metasymbolization of metaphorization and metonymization processes with their basic techniques and means that create the emotionally expressive background of prose text. The basic and auxiliary functions of syntactic-stylistic markers in the novels of German postmodernists are examined in details. The syntax of the German language written postmodern prose text is expressive of the processes of metaphorization and metonymization, implicit means known as the “metasymbolization” of syntactic and stylistic units. The process of metaphorization of expressive means of German language postmodern prose is due to allegory, symbolism, and synesthesia. The most typical type of metaphorization was personification. Metonymization in the texture of writing prose text is considered based on spatial and temporal, material and causal, associative and logical and quantitative relationships. Metonymy is syntactic in nature, compared to the semantic nature of metaphor. Functional approach to the study of syntactic-stylistic markers of German expressive syntax in postmodern texts is based on functionalism as a methodology and guided by its basic research principles, since it is in the functions of the syntactic-stylistic markers that the true intentions and reinforce of the postmodern author are strengthened. We see the perspective of our research in a comprehensive comparison of the German-speaking postmodern text of German, Austrian and Swiss postmodernists.
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Vardanyan, Siranush. "Emphatic Constructions in English Scientific Prose." Armenian Folia Anglistika 3, no. 1 (3) (April 16, 2007): 68–72. http://dx.doi.org/10.46991/afa/2007.3.1.068.
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The article examines the use of syntactic stylistic devices in scientific prose. Sentences with emphatic do have been singled out among the great number of syntactic stylistic devices. The numerous examples with the emphatic do in English scientific prose confirm the hypotheses put forward by R. Budagov, S.S. Gusev, N.M. Razinkina, S.K. Gasparyan that a great number of stylistic devices are used in the language of science. The emphatic do in English scientific prose is not confined to the emphatic function only. The individuality of the author can often be easily traced in these examples. Through the use of the constructions with the emphatic do, the author expresses his opinion towards the idea stated. These structures often turn into an integral part of the language of science. Combined with other stylistic devices and expressive means they help the author to exert certain influence on the reader.
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Kabysh, M. Yu. "THE STYLISTIC FUNCTIONS OF EXPRESSIVE SOUND REPETITION OF OLEKSANDR DOVZHENKO’S PROSE WORKS." Тrаnscarpathian Philological Studies 1, no. 13 (2020): 53–56. http://dx.doi.org/10.32782/tps2663-4880/2020.13-1.10.
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Semenova, N. A. "Phraseology in M. A. Sholokhov’s Fiction Prose." Russian language at school 81, no. 5 (September 15, 2020): 43–48. http://dx.doi.org/10.30515/0131-6141-2020-81-5-43-48.
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The article discusses the functioning of phraseological units in the language of M. A. Sholokhov’s prose and their role in creating a linguistic picture of the world. The research objectives were to describe various types of phraseological units, to show the methods of introducing them into the literary text and to identify approaches used by the writer to create new phraseological units. To this end, the methods of structural-semantic, component and comparative analysis were used, along with statistical description and contextual analysis. It is concluded that phraseological units, being figuratively emotionally expressive signs of the language, reveal the figurative and artistic world of the writer. The idiostyle of M. A. Sholokhov is largely determined by the widespread use of dialect phraseology and the creation of phraseologisms – structural and semantic modifications of linguistic units and the writer’s idioms.
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Ozerova, Elena, and Oleg Fedoszov. "Cognitive linguopoetics of lyric prose texts." SHS Web of Conferences 88 (2020): 01015. http://dx.doi.org/10.1051/shsconf/20208801015.
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The article examines the cognitive specificity of lyric prose texts as a product of discursive activity. The semantic space of lyric prose texts decodes images of cultural memory as an interpretive category of cognitive linguopoetics. The meaning-generating mechanisms of lyric prose texts are focused on reflecting the ego-perception of reality, which explicates the cultural and value attitudes of the author. In cognitive linguopoetics, architectonics represents the semantic essence and integrity of the lyric prose text, since it is a discursive and pragmatic manifestation of its semantic continuum. Through the prism of the architectonics of the text, the associative-figurative tonality of the semantic content of the artistic text is decoded. That is why the concept of architectonics integrates two principles: a) the creative-discursive potential of text generation and b) a multi-vector palette of discursive consciousness, which is motivated by the experience of lyrical speech thinking. The essence of lyric prose texts is determined by the lyrical architectonics of sensory-emotional and aesthetic integrity, which is motivated by poetic reflexems, representing a discursively conditioned scan of reality, passed through the prism of expressive-figurative perception of the egotope.
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Ufot, Bassey, and Idara E. Thomas. "The English Language and Afro Saxons: A Systemic Study of the Communicative Qualities of a Selection of African Prose Passages." Theory and Practice in Language Studies 6, no. 3 (March 21, 2016): 463. http://dx.doi.org/10.17507/tpls.0603.03.
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This paper studies the discourse strategies and communicative potential of the English language in a selection of Afro Saxon prose passages. The term ‘Afro Saxons’ was first coined by Kenyan scholar, Ali Mazrui, in 1975, by analogy with ‘Anglo Saxons’, to refer to the linguistic phenomenon in which the English language is increasingly becoming the ‘first language’ functionally of a great many black and African people. This study, therefore, enlarges upon this concept and undertakes to elaborate on the ways in which the communicative and expressive possibilities of English are exemplified in a selection of some of the most lyrical and dramatic prose extracts by some African writers. Mounted upon the theoretical platforms of Mazrui, and Halliday’s systemic functional grammar (SFG) with its contextual parameters of the ideational (field), interpersonal (tenor) and textual (mode) metafunctions, the research appraises the attitudes to the increasing global status of English. Then employing two Anglo Saxon prose passages as the control, it investigates in some detail the organic configurations of discourse such as transitivity, mood, thematic structure, cohesion and coherence in passages from Armah, Achebe and Soyinka, and concludes that, based on the effective use of the figurative and expressive metafunctions of the language, these authors may indeed be referred to as Afro Saxons.
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Kienzle, Ulrike, and Ralf Yusuf Gawlick. "The Banished God: Concerning Faith and Doubt in Lohengrin." Religion and the Arts 17, no. 3 (2013): 222–45. http://dx.doi.org/10.1163/15685292-12341271.
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Abstract In his Lohengrin, Wagner contrasts the medieval piety of Wolfram’s Parzival with the tragedy of doubt, which ends without reconciliation. The conflict between faith and doubt essentially forms the spiritual substance of Wagner’s Lohengrin, from the first conception to the completed score, although in the earliest prose draft—the Prosaentwurf (Prose-sketch) of 1845—a variety of political and historical motives unfold around the main idea. These, however, become increasingly relegated to the background in successive compositional stages of the work. The final score, completed in 1847, accentuates the psychological aspect of the drama through the expressive power of the music.
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Серафимова, В., and V. Serafimova. "“Moscow Fairy Tales” of A.A. Kabakov in the Context of his Prose. Poetics. Concept of Person." Scientific Research and Development. Modern Communication Studies 6, no. 4 (September 6, 2017): 74–78. http://dx.doi.org/10.12737/article_5976f843642321.36848626.
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The article considers the transformation of folk stories in cycle “Moscow fairy tales” of A. Kabakov. The existential questions of human existence — life, death, love, children, relationships between the characters, are revealed with a detailed analysis of the poetics of works, analysis of the language, expressive means, metaphors, folklore motifs of fear, road, choice. Metaphors “not a polluted life”, “elusive existence”, “vanishing time” will be decisive in revealing the basic thoughts of the writer’s prose. The concept of man in the prose of the writer is defined. Man, according to Kabakov, “is not an object, but the subject of one’s destiny.” “Religion does not make a difference.”
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Brayko, Oleksandr. "Coloring in Short Prose by Yevhen Hutsalo." Академічний журнал "Слово і Час", no. 2 (February 25, 2019): 41–56. http://dx.doi.org/10.33608/0236-1477.2019.02.41-56.
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The paper considers the means of representing space in Yevhen Hutsalo’s prose which are suitable for comparison with the painting technique. Coloring is one of determining graphic resources of a picture. The artistic effect of the figures and spatial compositions fixed on canvas is to a great extent predefined by the color solution of the subjects and air environment depicted. In order to make the world of imagination more representational the literature used to involve visual imagery in a verbal design, in which color and light markers not only specify a representation of fictitious or real situation but also give some lyrical, epical or dramatic coloring to the narration, increasing the expressivity of a picture. In the descriptions of landscapes in the short stories by Yevhen Hutsalo one may find the verbal analogues of such painting tools as color dominant, color harmony, lighted up and shaded areas. The dynamics of color solution in a verbal picture, the introduction of new hues and their combinations, and the constructing of light environments help to strengthen the emotional effect of the narration and make some special mood accents. The change of chromatic range and interpretation of painting components of the verbal image liken the narration to the melodious and sound transitions in music and editing tools in filmmaking. The color effects contribute to plasticity of the represented objects or, on the contrary, make their representation less material, give some decorative or symbolic sense to the nature. The story “On the Shining Horizon” may be compared to the cycle of paintings by Oscar-Claude Monet “Rouen Cathedral”. The unsteady landscape of Y. Hutsalo is marked by interpretative activity of the narrator. The landscape descriptions with a less vivid and not too rich, i. e. comparatively weak in terms of stimulating emotions, color range are also endowed with a noticeable expressive potential. In accordance with the requirements of expression in painting the verbal chiaroscuro also may give dynamics to relatively static environment. The paper offers a comparative analysis of the verbal ‘pictures’ and their corresponding paintings-predecessors.
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Shumarina, M. R. "«Whatever a Sound, then a Gift ...»: Metalinguistic Comments in Prose by N.V. Gogol (For the 210th Birth Anniversary)." Russian language at school 80, no. 2 (March 19, 2019): 53–61. http://dx.doi.org/10.30515/0131-6141-2019-80-2-53-61.
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Metalinguistic comments contained in the fictional and fictional-publicistic prose by N.V. Gogol are considered in the article as a form of expression of the author’s worldview and as a descriptive expressive means. The author of the article draws attention to the fact that in works of different periods and different genres, Gogol demonstrates various methods of using judgments about language and speech and introduces them into the text with diverse artistic tasks. At the same time, the article speaks about Gogol’s recurring motifs of the metalinguistic discourse and the presence of permanent metalinguistic techniques in the writer’s idiostyle.
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Ilienko, Olena, and Yevheniia Moshtagh. "INTERROGATIVE AND EXCLAMATIVE SENTENCES AS MEANS OF EXPRESSIVE SYNTAX IN MODERN WOMEN’S TRAVEL PROSE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 5(73) (March 28, 2019): 127–29. http://dx.doi.org/10.25264/2519-2558-2019-5(73)-127-129.
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Zinina, Julia, and Vasily Ivshin. "Synonymous Groups of Expressive Vocabulary in Works by K. Amis." Philology & Human, no. 3 (September 7, 2021): 189–96. http://dx.doi.org/10.14258/filichel(2021)3-16.
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The article presents the results of expressive vocabulary analysis in the novels by a famous British literary critic, poet, prose writer and playwright of the second half of the XXth century, the Booker Prize winner and a university teacher Kingsley Amis. It briefly presents the artistic merits of his works and deals with individual Kingsley Amis’s writing style and the use of lexical ways to express emotions and evaluations when developing the plot of his stunning novels Lucky Jim and Russian Hide-and-Seek. The study shows that the language in the works by Kingsley Amis abounds in assessing words which express positive or negative assessment while featuring characters, their behaviour or different actions, describing the expression of certain emotional states. The analysis reveals, that among the various parts of speech of amplifying words and word combinations used in the novels, verbs and nouns turn out to have the largest number of synonymous groups.
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Tkachenko, Tetyana. "THE PROSE GENRE PALETTE OF IVAN NECHUJ-LEVYCZKYJ." Literary Studies, no. 57 (2019): 173–86. http://dx.doi.org/10.17721/2520-6346.3(57).173-186.
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The article studies the specifics of the small prose of Ivan Nechuj-Levyczkyj (1838–1918). The focus is on the study of the genealogy of writing, including the variety of small epic forms presented by the writer’s legacy. The paper analyses the author’s reception, interpretation and reinterpretation of genres and genre varieties are covered, genre diffusion (travel essay, notes, sketching, anecdote, prose fable, satire, story, humorous, legend, fairy tale, phantasmagoria, tragic comedy, tragedy, fantasy). It explores the issues and topics of proscription (glorifying the beauty of nature of Ukraine, reflecting the whole world, depicting the life, customs and way of life of different ethnic groups that make up the Ukrainian people, external details and mentality, violations of local, state and human issues in a multi-level display – image, motive, plot, onomastics and toponymy), art and expressive means (metaphor, metonymy, numerous epithets, comparisons, concurrency, antithesis, gradation, symbol, humor, irony, satire, rhetorical constructions). The investigation elucidates the variability of the figure of the narrator (alter ego of the author, narrator/narrator, witness/participant of events, publicist, observator, historian, ethnographer). It accentuates the features of idiostyle (realism, elements of symbolism and impressionism; combination of deliberation and fiction, figurative polysemantics, auto-allusions, sensitivity, color symbolism, the reader as interlocutor and co-author on emotions, pictures, personification of being, intertextual inclusions).
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Marchuk, Liudmyla. "Terminological polysemy in the prose of Mariia Matios." Terminological Bulletin, no. 5 (2019): 291–98. http://dx.doi.org/10.37919/2221-8807-2019-5-40.
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The article is one of the attempts to analyze the linguistic features of modern Ukrainian female prose. Despite the fact that in recent decades literary scholars have revealed some important features of the works of this genre, the language of feminine prose remains poorly understood. The obtained results supplemented the information about the general patterns of the use of terminological vocabulary in the artistic text. In the article, we distinguish the main ways of using terminology as an artistic means of language of Ukrainian writers. The urgency of the topic of scientific research is determined by the increased attention to the genres of contemporary women’s prose and the creation of a separate term “female prose”. A thorough linguistic study of the language of Ukrainian novels by Mariya Matios will help to understand the influence of science and technology on the fiction language of the 21st century. Creative individual and author’s use of terms by an artist is the reflection of the main characteristic processes not only in the language of fiction, but also in the whole contemporary commonly used language. Scientific and technical terminology is at the present stage the leading place in the enrichment of expressive means of language, therefore, in our work, we highlight some of the most relevant aspects. First of all, from the standpoint of styles interaction the modern Ukrainian language, since terminology is a product of scientific style. The study of the place and functions of terminological vocabulary in the language of Ukrainian prose deserves attention also in terms of stylistics of artistic speech. It is important to establish certain regularities in the gradual development of the terms of modern prose – from their use in the literal sense to full inclusion in the artistic text, use in the form of tropes. The work will contribute to further study of the functional and stylistic features of the terminological vocabulary in prose, to reveal the main characteristic processes not only in the prose text, but also in the modern universal language.
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Vasylieva, Nadiia. "GENDER INTERPRETATION OF NATURAL SCENTS IN FRENCH PROSE." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2019, no. 29 (November 2019): 5–18. http://dx.doi.org/10.24195/2616-5317-2019-29-2.
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The article is dedicated to an actual linguistic problem: peculiarities of gender comparison of the olfactory information interpretation based on the material of French belles-lettres prose of the late XIX – the first half of XX century. The investigation aim is to analyze gender interpretations of scents by male and female authors, depicting nature phenomena, through paysage contexts, found out in French fiction. In order to achieve the aim, a complex of analytical methods has been used: contrastive, contextual, structural, descriptional, lexical, and stylistic as well as quantitative. 27 male and 7 female text fragments have been analyzed, referring to the olfactory information of objects/phenomena of nature. The most widespread methods of scents nomination are immediate description of smell source and application of stylistic devices (epithets, similes, metaphors, synectic metaphors etc.). It has been identified that male olfactory images are more vivid, comparing with female ones. French authoresses almost avoid scents descriptions, naming them accidentally. Therefore, their interpretations are rather sketchy. The research results disprove the accepted stereotypes on social roles of men and women, in which male behavior is associated with reason and rationality, whereas female – with emotionality and certain expressivity in actions and words. The stylistic analysis of the sorted out lexis revealed a completely opposite tendency, where an author is more expressive in scents interpretations. Thus, belles-lettres texts contain valuable empirical material, accumulating peculiarities of writers’ perception processes, nuances of the worldview and gender characteristics of language/speech (similarities and differences) of men and women.
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Derik, Ilona, and Tetyana Druzhyna. "ON STRATEGIES AND TACTICS OF TRANSLATING AMATEUR PROSE." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2019, no. 29 (November 2019): 78–91. http://dx.doi.org/10.24195/2616-5317-2019-29-7.
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The presented article is aimed at elaborating the problem of the peculiarities of translating amateur prose from typologically different languages, in particular from French, German and English into Ukrainian. The corpus of the research was formed on the basis of the amateur prose writings on the official sites in Belgium, Germany, the USA and Ukraine. The main objective of the paper consists in defining the basic strategies and tactics of rendering amateur writings of different genres with the preservation of the both semantic and pragmatic components. The results of the carried-out research have proved that there exist common strategies and tactics, allowing to perform adequate and faithful translation from the typologically different Rhaeto-Romanic (French) and Germanic (English, German) languages into the Slavic ones (Ukrainian). The urgency of the paper arises from the need for efficient strategies and tactics of translating different types of texts in contemporary translation studies. The object of the work is the translation of amateur prose viewed in the aspect of its faithfulness and adequacy. The subject are strategies and tactics of translating amateur prose. The immediate tasks of the article have been predetermined by the above-mentioned objective and include respectively: the disclosure of the specifics of amateur prose; the outline of the typologically common strategies and tactics of translating amateur writings. The methodology of this research involved the inductive, the deductive method and the method of contrastive analysis. In the course of the research it has been concluded and experimentally and statistically proved that there exist common strategies and tactics of translating amateur prose into different languages. It has also been postulated that the pragmatic and the expressive potential of amateur writings is preserved and rendered in translation. The perspective is seen in reviewing this issue in different Rhaeto-Romanic, Germanic and Slavic languages.
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Burt, Stephanie. "Why Not More Comics?" Publications of the Modern Language Association of America 134, no. 3 (May 2019): 572–78. http://dx.doi.org/10.1632/pmla.2019.134.3.572.
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Why comics? “All that it is Necessary to say … upon this subject, may be effected by affirming, what few persons will deny, that, of two descriptions, either of passions, manners, or characters, each of them equally well executed, the one in prose and the other in comics, the comics will be read a hundred times where the prose is read once.” That's not exactly what William Wordsworth wrote in his Preface to Lyrical Ballads, of course—he had “verse” where I have “comics” (112). Nor did Wordsworth say that the pleasure of seeing expressive, hand-drawn characters could produce a complex feeling of delight, which is of the most important use in tempering the painful feeling always found intermingled with powerful descriptions of the deeper passions … while, in lighter compositions, the ease and gracefulness with which artists manage their lines are themselves confessedly a principal source of the gratification of the Reader.
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Tkachenko, Tetiana. "Autobiographical narration in short prose by Yevgeniya Bozhyk." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 88–94. http://dx.doi.org/10.28925/2412-2475.2020.15.14.
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The article devotes to the analysis of the autobiographical aspect of narration in short prose by Yevgeniya Bozhyk (1936–2012). It investigates interesting stories, essays, sketches as well as short stories. They are united by a holistic thematic and problematic circle of relevant universal issues that are outside of time and space. The writer reveals the secrets of her creative laboratory, uses various expressive means (metaphor, metonymy, refrain, symbol, rhetorical constructions, ellipse, excursion and anticipation, stream of consciousness, and open finale). She emphasizes such qualities of the creator as the ability to hear and listen, to catch the slightest nuances of mood in the world around her. It is noteworthy that literary texts have components of fiction, journalism in confessional presentation (author, hero and reader). The works have unique textual structure (fragmentation, sensitive dominant, intersemiotic components, primarily musical, aphoristic statements, changes in tempo, and autoallusions). The writer can communicate with people, read thoughts and feelings thanks to fine mental organization, guess unsaid things by female intuition, feel the relationship with the interlocutor at the highest sensory and mental levels. The artist of the word manages to capture the moment when there are changes in nature and man — two components of the universe. Therefore, the reader also becomes an author. He empathizes with the heroes, relates them to himself, learns and ponders what he has read. So, the creator builds conditional and frank conversation with each recipient of her works. Yevgeniya Bozhyk reproduces in literature her rich experience of meeting with different people (prototype characters), sharing her own view of the world with the reader and presents the vision of the Motherland in the bright and exciting kaleidoscope of events, perceptions, reflections. The keynote is the search for Man and Will. Only the brave can get rid of stereotypes and slavery. Indeed, the freedom of the country is unthinkable without the freedom (primarily spiritual) of each of its citizens.
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Holikova, Natalia. "The reflection of Ivan Kotlarevsky’s stylistics in Language of Artistic prose of Pavlo Zagrebelny." Culture of the Word, no. 91 (2019): 66–76. http://dx.doi.org/10.37919/0201-419x-2019.91.6.
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The article explores the intertextual interaction of stylists, who in the works of I. Kotlyarevsky and P. Zahrebelny represent the concept of «laugh culture». The linguistic and aesthetic signs in the epic burlesque-travesty poem «Aeneid» by I. Kotlyarevsky, which served as a model for the creation of expressive and pictorial means – carriers of humorous axiology in the language of a number of P. Zahrebelny's novels, are revealed. Attention is drawn to the fact that the foundations for the formation of a ridiculous culture as a genre segment of Ukrainian literature are laid in the poem «Aeneid» by I. Kotlyarevsky, which is written in a syllabic-tonic verse (iamb) – the size most appropriate for the Ukrainian language. The linguistic and literary traditions of ridicule are at the heart of the humorously narrative tonality of P. Zahrebelny's two novels – «The Lion's Heart» and «Exile from Paradise», which form the thematic-storyline. It is emphasized that the figure of I. Kotlyarevsky is a significant creative personality for P. Zagrebelny, who often appeals to the creator of the creator of Ukrainian literary language in his prose. The novelist dialogues with the artistic texts of the laughingstock, introducing meaningfully expressive fragments of them into the intersemiotic field of prose works. The intertextual interplay of linguistic components of the individual-linguistic paintings of the world of two writers can be traced in the functional and structural-semantic similarity of a number of style word, which are often the result of stylistic reception of the language game: intertext (linguocultural and ethno-language characters), literary and artistic anthroponyms, as well as words-symbols, which are functionally significant components of the peripheral-evaluative sphere. The individual and authorial rhetorical figures of P. Zahrebelny are comprehensively analyzed within the limits of linguistics, ethno-linguistics, theory of intertextuality, literary onomastics. It has been concluded that the linguistic creation of the prose contains an important humorous-axiological segment of artistic narrative, which is organically incorporated into the context of Ukrainian laugh culture.
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Kishchenko, Alla. "STYLISTICALLY MARKED VOCABULARY IN THE MODERN LITERARY TEXT: INTERACTION OF THE CATEGORY OF ADDRESSABILITY AND EXPRESSIVENESS." Odessa National University Herald. Series: Philology 25, no. 2(22) (December 16, 2020): 36–43. http://dx.doi.org/10.18524/2307-8332.2020.2(22).235162.
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The article is devoted to the analysis of lexical means of expression of the category of the addressee in the modern Ukrainian artistic postmodern text. The main groups of stylistically marked and stylistically reduced vocabulary presented in the modern literary text are characterized, in particular barbarisms, exoticisms, vulgarisms and dialectisms: such lexical units that are subject to the author's intention and are able to demonstrate the linguistic personality of the author. The considered language means are characterized as representatives of two categories of the artistic text – addressabilityand expressiveness. The material for the analysis was the prose works of modern Ukrainian writers Yu. Andrukhovych, S. Andrukhovych, O. Zabuzhko, Yu. Izdryk, I. Karpa, A. Lyubka, T. Prokhaska, and others. It is substantiated that stylistically marked vocabulary in a postmodern artistic text performs an expressive function and is an expression of the author's intention – to shock, provoke, intrigue.
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Astashina, Yevgeniya. "To the Issue of Differentiation between Metaphorical and Mental Images Verbalized in Emotive Prose (Based on the Texts of Small Emotive Prose by Ye.I. Zamyatin)." Izvestia of Smolensk State University, no. 2(50) (July 2, 2020): 77–90. http://dx.doi.org/10.35785/2072-9464-2020-50-2-77-90.
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Nowadays achievements in metaphor studying make it possible to state that the nature of metaphor comprises mental and figurative features. Trying to fix the ideal, metaphor like any mental image may be expressed by means of natural language instruments. The mediate demonstration of the ideal nature
makes metaphor verbalization and the one of the mental image nondescript that is aggravated by their core similarity and absence of special figures of mental images expressionand taking into consideration their all principal possibilities
to be verbalized. The author of the article has faced the taxonomic problem of characterization of Ye.I. Zamyatin’scertain emotive prose texts according to the
type of their imagery. The literal material of Zamyatin’semotive prose discourse analyzed in
the article shows practical difficulty of interpreting mental images in accordance with their nature. The study has made a parametric succession of constituents
included in metaphorical and mental images notions due to the methods of contextual analysis of the natural language text, as well as self-observation as an empiric analysis of the language material, and theoretical synthesis of
speech experience with further schematization. The succession is applied to the analysis of Zamyatin’s texts. The research data may be used for the interpretation and analysis of any
emotive prose text since mental images are often intentionally verbalized as an expressive means and metaphorical ones.
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Trowell, Haydn. "The Aesthetics of Linked-Verse Poetry in Yasunari Kawabata’s 'The Lake'." New Voices in Japanese Studies 12 (August 17, 2020): 44–64. http://dx.doi.org/10.21159/nvjs.12.03.
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The distinctive narrative style exhibited in Japanese author Yasunari Kawabata’s literary works has frequently been associated with the traditional Japanese art of linked-verse poetry (renga). However, the precise compositional nature of these similarities has yet to be thoroughly explored. In this article, I examine two fundamental principles of linked-verse poetry, ‘linking’ (tsukeai) and ‘flow’ (yukiyō), and use these as analytical tools to explore the thematic and narrative structure for which Kawabata’s literary technique is renowned. Considering the first chapter of his 1954 novel The Lake (Mizuumi) as a case study, I identify notable correspondences between linked verse and Kawabata’s prose writing in the form of a qualitative mode of progression characterised by a rich use of sensory and emotive association, and a wave-like sense of rhythm between moments of heightened and reduced expressive and affective intensity. This article uses detailed textual analysis to demonstrate a structural basis for comparing Kawabata’s prose with linked verse, which in turn implies that Kawabata’s narrative style is shaped by conscious aesthetic decisions to draw on linked-verse principles.
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Merilai, Arne. "A. H. Tammsaare’s Epic Musicality." Interlitteraria 26, no. 1 (August 31, 2021): 265–80. http://dx.doi.org/10.12697/il.2021.26.1.18.
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A. H. Tammsaare was drawn to the musical tonality of prose. Importantly though, he did not wholeheartedly embrace sound patterning as a mode of writing. Rather, he preferred a semantic widening of ordinary language within a comprehensively holistic “spherical music”. In his novels, we can detect a deliberate use of rhythmic motion in sentences. This is evident primarily in the wealth of lexical and syntactic repetitions resulting in a parallelism of patterns. An obvious, although discreet, rhythmic design emerges in the thesisantithesis- synthesis parataxis the core words of which are the adversative and coordinating conjunctions aga (‘but’), and integrative ometi (‘yet’, ‘indeed’). The frequency with which these bound conjunctions occur in Tammsaare’s work surpasses that of ordinary speech by about four times, and it is twice as high as the statistical mean for literary texts. One might call this expressive of an epic but-mantra, a prose-poetic but-meter, or a narrative polysyndeton, and, from a philosophical point of view, a but-dialectic. Whenever a reader fails to appreciate Tammsaare’s underlying tone and does not discern the emotional flow of longing scepticism that issues from his dyadic-triadic chains, this pervasive, yet inconspicuously arguing, textual mode may seem unduly pretentious. Indeed, there is nothing to prevent a prose text from featuring a poetic style that is rooted in a poetry-like, paradigmatic parallelism as the poetic principle of formal and semantic equivalence.
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Petrov, A. V. "The Expressive Potential of Dialectisms in the Prose of Fedor Abramov (To the 100th Anniversary of the Birth)." Russian language at school 81, no. 1 (January 22, 2020): 53–60. http://dx.doi.org/10.30515/0131-6141-2020-81-1-53-60.
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The article considers dialectisms as an expressive tool in the prose of F. A. Abramov, a writer who was born and devoted his professional life to Russian North. Dialectisms reflect national cultural archetypes, thus having a significant visual and figurative potential. It is shown that Fedor Abramov, who promoted the freedom of linguistic choice in artistic expressions, actively and skillfully applied the folk language in all its diversity, including all types of dialectisms that perform nominative, characterological and stylistic functions. Ethnographisms are considered as a prominent examples of dialecticisms, whose meanings are fully manifisted in a literary context. The use of northern dialectisms allowed Abramov to emphasize important meanings, give an adequate characterization of characters and form a figurative system of expressions.
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Yamboliev, Irena. "D. H. Lawrence’s Stained Glass." Twentieth-Century Literature 67, no. 1 (March 1, 2021): 1–30. http://dx.doi.org/10.1215/0041462x-8912247.
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This essay reveals the unexpected yet profound ways stained glass contributes to the representational logic of Lawrence’s fiction, especially his early story “A Fragment of Stained Glass” (1908) and The Rainbow (1915). Lawrence develops a prose style that mimics stained glass’s visual aesthetic—its juxtaposition of translucent, glowing color with opaque line that holds and tempers it—and its power to shape psychological interiors by shaping exterior surroundings. Especially in narrating moments when a character struggles to comprehend her relationship to another person or to the external world, Lawrence’s prose converts stained glass’s organizing principles into syntax, foregrounding the contrasts and overlaps between nouns and adjectives, independent and dependent clauses, and words’ multiple repetitions. In doing so, he formalizes a conceptual parallel: the non-verbal medium’s filtering of white light into netted color is repeated when a writer filters the raw materials of sensory perception into hierarchies we think of as central to the novel—character’s primacy over setting, or representation’s primacy over elaboration. In undoing such hierarchies, Lawrence takes to their logical endpoints late nineteenth-century debates about decorative aesthetics, foregrounding the plastic arts’ emphasis on the expressive power of patterning over depiction.
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White, Hayden. "At the Limits of the Concept." Publications of the Modern Language Association of America 131, no. 2 (March 2016): 410–14. http://dx.doi.org/10.1632/pmla.2016.131.2.410.
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It is often forgotten that the humanities—which are made up of history, philosophy, literary studies, philology, rhetoric, art history, musicology, and linguistics—are characterized not so much by their objects of study, which can change over time, as by their focus on reading, the reading of verbal texts, primarily, but also reading in the sense of decoding and recoding images, sounds, and movements. The disciplines that compose the humanities teach different kinds of reading practices. The products of these disciplines for the most part belong to the class of prose and poetic discourses. This is why they may often look similar or even the same, especially when they are cast in the same mode: narrative, argumentative, descriptive, or expressive as the case may be.
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Kozlovskaya, Alyona A. "Personal predicatives with the semantics of positive expression in A. Akhmatova's poetry." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 104–11. http://dx.doi.org/10.20323/2499-9679-2021-1-24-104-111.
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The aim of the article is to characterise the specific functions of personal predicative constructions with the semantics of a positive state of mind in Akhmatova's poetry. The author analyses the collections Evening, The Rosary, The White Pack, Plantain, Anno Domini. The study considers personal predicative constructions, using the continuous sampling method to identify them, as well as the structural-semantic description of the linguistic material using the functional approach. The analysis has shown that the main body of Akhmatova's literary texts are syntactic constructions with a personal predicate expressing state of mind. Akhmatova's skillful use of personal predicative constructions enabled her to express her feelings and emotions in a concise and expressive form. The material of this article reveals the peculiarities of Akhmatova's creative method. The theoretical methodology for analysing constructions with predicate can be used when working with the language of the texts written by other authors of the early 20th century, because the predicate is a universal means of creating an artistic image in the poetry and prose of the Silver Age.
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Braiko, Oleksandr. "Cinematographic coloring of open space in Volodymyr Drozd’s short prose from 1960s." Слово і Час, no. 3 (May 26, 2020): 28–47. http://dx.doi.org/10.33608/0236-1477.2020.03.28-47.
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The paper considers the style manner of V. Drozd’s prose from his early writing period with a focus on cinematographic aesthetics of color and possibilities of the screen design of plein air as the most free spatial environment for visual development of the image. The writer’s literary means have their analogues in the well-known contemporary films (“October”, “Poem about Sea”, “Red Desert”).
The dynamic plein air compositions have certain screen potential. The images of open-space are related to freedom in dynamic and successive change of a scene, and alternation of verbal pictures. They are rather close to the specifc cinematographic representation of action, as their color markers may be associated with an imaginary film. The first V. Drozd’s attempts of designing the color and light of plein air are marked with an accent on the hues of the represented objects, the dynamism of objects in the imaginary shots, and expressive motion, increased with spectral indicators. A growth of the writer’s mastery is related to development of successive color ‘melody’, based on nuances of the visual impressions, and harmonized with internal action progress. Plastic imaginal markers with limited color range also remind the technique of cinematographic rush, adding emotional and psychological mood connotations to the narration and stimulating positive (nostalgic, elegiac) associations. Although they may seem random, the light and color signals acquire cinematographic expressiveness due to integration into the plot and its internal action, and to the dynamics of the character’s point of view. Abandoning a picturesque fixed nature, the author acquires possibility to decode wider associative meanings with color and light markers, search for deeper semantics of visual image complexes, and construct deterministic relations of a character and environment. Even minimal visual signals contribute to the color structure of a verbal shot. Such terseness and obscurity of objects in the prospect of a narrative camera, and a rapid change of plein air sections are similar to the features of cinematographic aesthetics and poetics.
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McIlfatrick-Ksenofontov, Miriam. "Fetching Poems from Elsewhere: Ciaran Carson’s Translations of French Poetry." Interlitteraria 21, no. 1 (July 4, 2016): 51. http://dx.doi.org/10.12697/il.2016.21.1.5.
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Ciaran Carson is a renowned Northern Irish poet with a distinguished record of translating poetry from Irish, Italian and French. This article focuses on his translation practice as evidenced in his three volumes of French poetry in translation: sonnets by Baudelaire, Mallarmé and Rimbaud; prose poems by Rimbaud; and poems by Jean Follain. Guided by the music, the matter, and the linguistic and ontological going-beyond of the originals, Carson variously ‘adapts’ prose poems to a rhyming alexandrine format, makes explicit use of derivation, shifts spatio-temporal perspective, and ‘doubles’ his French translations with English originals. Carson’s approach of ‘fetching’ poems from ‘elsewhere’ is assessed in the light of Meschonnic’s poetics of translation, which would define the overarching objective as producing new poems in English which do in English what the originals do in French. The analysis of Carson’s new poems is also informed by conceptualizations of creativity and originality arising from research in cognitive science, literary studies and critical theory. Carson’s practice of working under constraints suggested by the original poems and exploiting possibilities offered by and between the two languages leads to an expressive plurality that unsettles notions of source and target language. His translation artefacts and commentaries are examined for the light they shed on originality and derivation; writing and translating; the subjectivity of the translator; and the relationship between original poem and new poem.
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Kucheryavykh, Y. N. "SEMANTIC FEATURES OF THE LANGUAGE GAME AND ITS REPRESENTATIONS IN THE PROSE OF A. T. AVERCHENKO." Scientific bulletin of the Southern Institute of Management, no. 1 (March 30, 2018): 86–91. http://dx.doi.org/10.31775/2305-3100-2018-1-86-91.
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The article discusses the features of the formation and functioning of irony as a way of expressing evaluation in the relationship of the characters of works of art A. T. Averchenko. The importance of this phenomenon is determined by the dependence of the elements of its construction, as well as the external historical and literary vertical context, language elements that form the emotional and expressive marking of the statement. Therefore, it is possible to distinguish some types of ironic evaluation: non-reflexive and reflexive. Acting as a means of language comedism, pun in the humorous prose of Arkady Averchenko structurally-semantically organized, and, as an element of the language game, has the laws of construction and selection of stylistic techniques of creation and influence characteristic of the works of the writer. Therefore, the variety of means of creating a comic assessment in the artistic texts of the author suggests that the choice of a particular technique depends on the language personality of the writer, the ratio of linguistic and extralinguistic means of representing the evaluation in the literary text, because the meaning of the phrase predicted by the addressee is created at the expense of the expected word order for the original syntax. Consequently, the realization of the ironic meaning inherent by the Creator of the work of art in the lexemes, becomes clear only from the surrounding context. Since the game is the basis of any culture, the ratio of these concepts becomes the leading person playing, manifested in the manner of speech behavior of the linguistic personality of both the author-Creator and the character - his creations. Therefore, it is appropriate to state that the linguistic personality exists in the space of culture, and, therefore, it can be presented as a linguocultural type as an image recognizable by representatives of a certain national culture, embodied in the character of an artistic work as a creative and playing unique linguistic personality.
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Noland, Carrie. "Phonic Matters: French Sound Poetry, Julia Kristeva, and Bernard Heidsieck." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 108–27. http://dx.doi.org/10.1632/003081205x36895.
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This essay recounts my attempt to teach poetry through theory and theory through poetry by juxtaposing Bernard Heidsieck's sound poem Canal Street with Julia Kristeva's La révolution du langage poétique. The psychoanalytic model Kristeva applies to her exegesis of Mallarmé's “Prose” proves insufficient to account for Heidsieck's materialist poetics. However, by reading Kristeva beside Heidsieck, we can gain a glimpse of the resources held in reserve by both texts. Kristeva's attention to poetry's phonematic material facilitates a sound-sensitive approach to Heidsieck's poem. Heidsieck's poem, in turn, suggests that such material reveals not the libidinal drives of a subject but the nonlibidinal, impersonal, acoustico-physiological instrument undergirding the expressive potential of the human voice. The juxtaposition of theoretical and poetic texts demonstrates that poetry possesses an analytic force that can be applied to the theory meant to explicate it.
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Muradian, Gaiane. "Imagery in Action: G. Orwell’s “Animal Farm”." Armenian Folia Anglistika 12, no. 1 (15) (April 15, 2016): 17–26. http://dx.doi.org/10.46991/afa/2016.12.1.017.
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The present paper is a literary stylistic analysis that highlights the imagery, the allegorical significance, linguistic manipulation or abuse of language in the novel Animal Farm by George Orwell. Orwell’s sophisticated exposure of political abuse of language is one of the most typical characteristics of Animal Farm and an indispensable part of his imagery. Seemingly a plain story of animals, inwardly this novel is an allegory that refers to power struggle, usurpation, intimidation, exploitation, hypocrisy, corruption, political racket and terror of the ruling classes in whatever form they may appear (human or animal). However serious the theme is, Orwell has made it fictitious and amusing through his vivid imagery and artful use of literary devices. With its clear, deceptively simple, but creatively honed prose style and expressive language, the novel is a source of great aesthetic and intellectual pleasure and political insight.
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Braiko, Oleksandr. "Story “Beauty and Force” by V. Vynnychenko and prose by M. Gorky. Poetics and typology of individual styles." Слово і Час, no. 5 (October 2, 2020): 3–20. http://dx.doi.org/10.33608/0236-1477.2020.05.3-20.
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The paper focuses on the functionality and style characteristics of the authors’ expressive means. It shows differences in the literary handling of similar subjects at the level of forms and functions of pictorial-like images, narrative presentation of action, the integrity of plot and composition in the works. The analysis proves the style originality of the Ukrainian aspiring writer. Gorky’s bright pictorialism with a tendency towards impressionistic images and enthusiastic evaluation connects his narration to the codes and toposes of a higher, elite culture, open to aesthetic contemplative perception and intellectual reaction to the action of a work. While Vynnychenko’s model revises or even rejects external picturesqueness as an attribute of national realistic style. This feature gets a universal ontological dimension, and the verbal representation of scenes approaches to the reality of the potential reader’s world. The internal action in Gorky’s works is characterized by reflection that stays in line with the literary tradition of the rational interpretation of a character and the logical development of a plot leading to the disclosure of existential truth. Vynnychenko, using emotionally perceptible plastic tools of naturalistic psychologism and minimal narrative rhetorical devices, appeals to universal anthropological experience.
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Clark/Keefe, Kelly. "Becoming Backpack: Towards a Counter-Inscription of Young Adult Collegian Identity Work." Art/Research International: A Transdisciplinary Journal 5, no. 1 (February 28, 2020): 158–79. http://dx.doi.org/10.18432/ari29495.
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This article invites readers to encounter the author’s early attempts at engaging creatively with data produced during a research project called Life Lines: The Art of Being Alive to Young Adulthood. Launched in January 2019, the Life Lines project was conceived as a critical participatory arts-engaged research endeavor aimed at opening up conventional theoretical wisdom about the nature of young adult college student identity formation. In addition to providing details of the inquiry project’s design and aims, a series of visual and poetic prose narratives open and become threaded throughout the article. These multimodal expressive forms function as a type of creative counter-inscription device, working both to complicate identity development models that limit subjectivity to human consciousness and agency, and to illustrate a more expansive, somatically attuned, and materially-entangled set of practices and productions of young adult identity work’s work and its study.
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Wettlaufer, Alexandra K. "THE SUBLIME RIVALRY OF WORD AND IMAGE: TURNER AND RUSKIN REVISITED." Victorian Literature and Culture 28, no. 1 (March 2000): 149–69. http://dx.doi.org/10.1017/s1060150300281096.
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Who cares whether Mr. Ruskin’s views on Turner are sound or not? What does it matter? That mighty and majestic prose of his, so fervid and fiery-coloured in its noble eloquence, so rich in its elaborate, symphonic music, so sure and certain, at its best, in subtle choice of word and epithet, is at least as great a work of art as any of those wonderful sunsets that bleach or rot on their corrupted canvases in England’s Gallery; greater, indeed, one is apt to think at times, not merely because its equal beauty is more enduring, but on account of the fuller variety of its appeal, soul speaking to soul in those long cadenced lines, not through form and colour alone, though through these, indeed, completely and without loss, but with intellectual and emotional utterance, with lofty passion and with loftier thought, with imaginative insight, and with poetic aim; greater, I always think, even as Literature is the greater art.—Oscar Wilde, The Critic as ArtistWHILE MUCH ATTENTION has been lavished upon the positive and ultimately profitable relationship between Ruskin and Turner, the closeness of their association has served to obscure a more subtle dynamic between the author and the painter in their respective quests for expression. Both Turner, who considered himself a poet as well as a painter, and Ruskin, an accomplished draughtsman who illustrated his own writings, were actively involved in forging new connections between word and image, and in breaking down the barriers between genres embraced by earlier generations. Turner and Ruskin each turned to the sister art both for inspiration, and importantly, for a means of supplementing what each perceived to be the insufficiencies of his own medium. For Turner, painting’s concrete, mimetic nature was at odds with his desire to communicate abstract ideas, while for Ruskin, language’s abstract and conventional nature fell short of our visual experience of the world and failed adequately to address our visual powers of thought, memory, and imagination. Yet as Turner tried to infuse his painting with poetry and Ruskin tried to render his prose visual, they nonetheless remained acutely aware of the gap between words and images. And if Turner and Ruskin readily acknowledged their intergeneric borrowings from the sister arts, implicit within their formulations of “poetic painting” and “painterly prose” is the subtext of the paragone, an age old rivalry between painters and poets for representational or expressive superiority.
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Vodyasova, Lyubov P. "Structural correlation and expression of chain connection in complex syntactic whole (based on the works by K. G. Abramov)." Finno-Ugric World 11, no. 3 (December 16, 2019): 255–67. http://dx.doi.org/10.15507/2076-2577.011.2019.03.255-267.
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Introduction. The subject of the research is complex syntactic whole (CSW), the components of which are united by a chain connection. It identifies the structural correlation of this connection, and examines tools for its implementation. Materials and Methods. The material of the study is prosaic works by K. G. Abramov. The main method is descriptive. It was used to analysis of structural correlation and means of expression in the organization of CSW in the prose of the writer. Results and Discussion. The article revealed that chain connection can be defined by structural correlation, in other words, by which models form the members of related sentences that are related to each other, and by the way these models are expressed. It is noted that in the prosaic works by K. G. Abramov the following models are the most common: “subject – subject”, “subject – object”, “object – object” and their varieties. They can be made explicitly and implicitly. The means of expressing explicit communication are lexical repetition, implicit one is periphrasis and pronominal substitutions, adverb, etc. The writer also uses root words referring to different parts of speech (one of the correlating members of a sentence is usually a predicate). Conclusion. The components of CSW combined by chain connection are an expressive and fine structure. Consistently developable repetition (explicit or implicit) “glue” these components and make the impression of visualization; they are designed for artistic effect. From phrase to phrase repetitive structures (words, word combination) vary its syntactic role as members of the sentence and they also vary its composition.
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Baptista, Luis Antonio Dos Santos. "Profanações Urbanas: ficção e imagem no subjetivismo Psi / Urban Profanations: fiction and the image in Psy subjectivism." Revista Polis e Psique 7, no. 2 (July 1, 2017): 106. http://dx.doi.org/10.22456/2238-152x.74584.
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ResumoA arte como representação e expressão do Sujeito, ou do Humano, é uma concepção marcante nos discursos Psi. O cinema e a literatura são utilizados como campo expressivo do reconhecimento do funcionamento psíquico. Deseja-se neste artigo problematizar este recurso metodológico. À luz das análises de Walter Benjamin sobre a prosa poética de Charles Baudelaire e sua relação com a cidade, pretende-se indagar sobre os efeitos ético-políticos desta metodologia da representação. A categoria de aura proposta por Walter Benjamin, assim como a da imagem como truque, utilizada por pesquisadores da história do cinema, são ferramentas fundamentais para a argumentação do artigo. No uso destas categorias, objetiva-se por em análise o caráter pedagógico, pastoral, da aura da arte e do artista utilizado por profissionais Psi. O artigo aposta, à luz de Walter Benjamin, entre outros autores, na dessacralização da experiência artística, na afirmação laica do artista e da arte. Ficção e Imagem são utilizados como instrumentos interpeladores de categorias alheias aos paradoxos, conflitos e invenções que habitam as cidades.Palavras-chave: Ficção; Imagem; Cidade; Poder. AbstractAs representation and expression of the Subject, or of the Human, Art is a striking concept within Psy discourses. Cinema and literature are used as an expressive field for the recognition of psychic functioning. This article problematises this methodological resource. In light of Walter Benjamin's analysis of Charles Baudelaire's poetic prose and his relationship with the city, we seek to inquire upon the ethical-political effects of this methodology of representation. The category of aura proposed by Walter Benjamin, as well as that of the image as deception, as used by researchers in the history of cinema, are fundamental tools for the argumentation of this article. By using these categories, we look to analyse the pedagogical and pastoral character of the aura of Art and the artist as used by Psy professionals. The article relies on Walter Benjamin as well as other authors to profane artistic experience and the secular affirmation of the artist and Art. Fiction and the Image are used as instruments which call forth other categories so as to question the paradoxes, conflicts and inventions which inhabit cities.Keywords: Fiction; Image; City; Power.
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Haleta, Olena. "A poet on the other bank: processual writing in the prose by Bohdan Ihor Antonych." Слово і Час, no. 1 (February 2, 2021): 56–71. http://dx.doi.org/10.33608/0236-1477.2021.01.56-71.
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The study examines the ‘unwritten novel’ “On the Other Bank” by Bohdan Ihor Antonych, a notable Western Ukrainian writer of the interwar period. Known primarily for his poetry, Antonych did not finish this novel-in-progress, leaving behind only draft notes, which offer a glimpse into the very process of his writing. Analyzed from the perspective of genetic criticism, Antonych’s manuscripts are treated as an avant-text, demonstrating a ‘scenario of writing’ in the transition from the novel of action to the novel of state.
In contrast to his image-based poetry, Antonych’s prose is based on the technique of description. Depicting nature or the urban environment, the author conveys a certain emotional and psychological condition; and paying special attention to qualitative adjectives, he appeals to the sensory experience of the reader. Despite the fact that the plan of the novel indicates the main events of the plot, the author mainly captures the emotions of the characters. Dialogues also play an unusual role in the text as their function is an expressive rather than a communicative one.
Since the dynamics of the text are based on emotional and psychological movement, and not on the succession of events or judgments, it is considered to be an example of affective poetics in Ukrainian modern literature. The affect appears in Antonych’s text as a force and tension. It shapes the human personality and at the same time challenges it. The affect goes beyond discursiveness and captures the body while its intensity is expressed through the voice and speed. Antonych’s characters share a common transpersonal experience in their childhood and a common object of desire after becoming adults. Moreover, the transfer of emotions into the sphere of interpersonal relations gives to the affect not only a psychological but also an ethical dimension.
The researcher analyzes Antonych’s manuscript focusing on the dynamics of writing and not on the dynamics of the plot, and this approach gives reason for the conclusion about the affective nature of Antonych’s prose. It is evident that in the ‘unwritten novel’ “On the Other Bank” Antonych depicts the modernist type of literary character as ‘homo sentiens’, who perceives the world in a subtle way and experiences it deeply.
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Mohd. Shamsuddin, Salahuddin, and Siti Sara Binti Hj. Ahmad. "Art of the article and its technical characteristics in the modern age." Advances in Social Sciences Research Journal 7, no. 2 (February 23, 2020): 78–86. http://dx.doi.org/10.14738/assrj.72.7822.
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Art of the article is one of the expressive arts. It has its own origins, features, and importance. Art of the article can be defined as one of the prose genera that appeared in the modern Arabic literature after its connection to European literature in the eighteenth century, when the art of the article appeared as a separate literary genre, in which the writers deal with the issues related to the aspects of their individual, social, political, religious, literary and scientific lives and environments, with the criticism and analysis. Development of the press helped to develop this literary genus. Some writers became popular and famous through this art, but many of them misused it and failed to build a bridge between them and their readers through this artistic circumstance, which has a limited size, in which the writer can put a specific topic not exceeded from a few pages, where the writer finds a complete freedom in choosing the topic, so that the article contains various topics, but the writer must avoid lengthening in explaining the dimensions of the subject of his article, as the author often deals with what is limited to a specific idea around which the whole article revolves, and tries to reveal and clarify all dimensions that relate to it briefly. We try to shed light on the art of article, its types and forms in terms of its technical characteristics, using the descriptive approach that is more suitable for such topics of the expressive arts.
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Clogan, Paul M. "Lydgate and the Roman Antique." Florilegium 11, no. 1 (January 1992): 7–21. http://dx.doi.org/10.3138/flor.11.002.
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The obsession with Lydgate's style, according to Derek Pearsall, "is endless, and to some extent self-sufficient, for there is no other poet in whom 'style' becomes so nearly an end in itself, a fixed entity, whose relation to 'subject' is one of abstract congruence not expressive embodiment." For John Ganim Lydgate's "often prolix narrative style . . . can be understood as part of a process of literary history that begins to include an audience broader than the court or monastery. His style comes about from a union of the perspectives of the court and the cloister; . . . his creation of a voice that could speak to prince and merchant on the same level." This paper focusses on the relation of narrative and moral generalization in The Siege of Thebes and suggests that it springs from a elaboration of elements in the tradition of the roman antique and, in particular, the recovery and assimilation of Le Roman de Thébes into the prose text of the Histoire ancienne jusqu'a Cesar, the earliest ancient history written in Old French.
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Haleta, Olena. "A POET ON THE OTHER BANK: POETICS OF AFFECT IN THE PROSE BY BOHDAN IHOR ANTONYCH." Слово і Час, no. 2 (March 25, 2021): 53–67. http://dx.doi.org/10.33608/0236-1477.2021.02.53-67.
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The is the second paper of the two-part study examining the ‘unwritten novel’ “On the Other Bank” by Bohdan Ihor Antonych, a notable Western Ukrainian writer of the interwar period. Known primarily for his poetry, Antonych did not finish this novel-in-progress, leaving behind only draft notes, that offer a glimpse into the very process of his writing. Analyzed from the perspective of genetic criticism, Antonych’s manuscripts are treated as an avant-text, demonstrating a ‘scenario of writing’ in the transition from the novel of action to the novel of state.
In contrast to his image-based poetry Antonych’s prose rests on the technique of description. Depicting nature or the urban environment, the author conveys a certain emotional and psychological condition. Paying special attention to qualitative adjectives, he appeals to the sensory experience of the reader. Despite the fact that the plan of the novel indicates the main events of the plot, the author mainly captures the emotions of the characters. Dialogues also play an unusual role in the text, as their function is expressive rather than a communicative one.
Since the dynamics of the text is based on emotional and psychological movement, and not on the sequence of events or judgments, it is considered to be an example of affective poetics in Ukrainian modern literature. Affect appears in Antonych’s text as force and tension. It shapes the human personality and at the same time challenges it. Affect goes beyond discursiveness and captures the body; its intensity is expressed through the voice and speed. Antonych’s characters share a common transpersonal experience in their childhood and a common object of desire after becoming adults. Moreover, the transfer of emotions into the sphere of interpersonal relations gives the affect not only a psychological but also an ethical dimension.
Analyzing Antonych’s manuscript, the author of the paper focuses on the dynamics of writing, not on the one of the plot, and finds grounds for conclusions about the affective nature of Antonych’s prose. It is evident that in the ‘unwritten novel’ “On the Other Bank” Antonych depicts the modernist type of literary character as homo sentiens, who perceives the world in a subtle way and experiences it deeply.
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Antwi, Emmanuel. "AFRICA'S DIRGE: THE ILLUSION OF SOLUTIONS TO THE NATIONS?" JOURNAL OF ADVANCES IN HUMANITIES 4, no. 2 (December 9, 2016): 431–42. http://dx.doi.org/10.24297/jah.v4i2.1299.
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Over the centuries, the theatrical and pretentious activities of African Political leaders have culminated in the evolution of a thick skin of carelessness and indifference guided by fuzzy and visionless eyes that stare hopelessly into the future. It is certainly difficult now to determine what could stair her to realize her precarious situation and act. Time and again African nations have proven unable to solve petty problems, thoughtless of managing weightier matters of the current century, while her keen and expectant citizens behold, distressed with disillusion and frustration. Employing a constructivist paradigm the studyfocuses onthe works of artists whose works reference issues of the continent of Africa, as means to lambast satirize and chastise her to wake up. The work is organised on the basis of Stream - Write,a qualitative method of research through art that share qualities of prose, poetry and drama to benefits from the expressive qualities available in same, and to allow for the liberty needed in exploring the domain of the intuitive, creative and sometimes illogical writing impulse. From all historical indications I submit in conclusion that indeed Africa is gleefully willing and hopeful to embrace an end far worse than her most dreadful past.
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Yarmak, V. "ADDITIONAL MEANS OF ENHANCING THE EXPRESSIVENESS OF PRETERIT VERB FORMS IN THE SERBIAN LITERARY DISCOURSE." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 153–61. http://dx.doi.org/10.17721/2075-437x.2019.35.16.
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The article deals with an outstanding role of secondary means of enhancing the stylistic expressiveness of preterit verb forms in the Serbian literary discourse on a large diachronic cut, which, along with explicit means, enrich their figurative potential. Such factors include the negative particle не; the negative amplifying particle ни; the particles ено, ето, год, ала; the conjunction junction и; the adverb баш; the preterit forms based on verbs with prefixes or polyprefixed verbs etc. Not only semantic and formal peculiarities of tense verb forms, but also their morphologic and word-formative features come into notice in this respect. In the first instance, negative particles and conjunctions as parts of reiterations act as expressive additional means of preterit semantics enhancing. B. Stancović and V. Ognjenović, R. Petrović often resort to this method’s use. Satirical works by E. Kosh abound with use of the intensifying negative particle «ни» and the conjunction «и» in masterfully built sentences with inverted word order. Various particles decorate not only prose and drama (S. Ranković, B. Nušić), but are also found in the discourse of literary criticism (L. Nedić). The Serbian literary works discourse of different historical periods witness that in general additional means of figurative expressiveness do not double but considerably complete, enrich and harmonize various semantic and expressive range plans of explicit means of past tense grammatical designation. The second prefix’s semantics is particularly interesting in this regard. The research illustrates, in particular, that the second prefix’s role does not come down just to perfectivization of imperfective verbs with prefix. The prefix, which is added to a verb that is already prefixed, modifies its meaning without changing the main verb’s meaning. However, sometimes, like the first prefix, the second prefix has both grammatical and lexical function.
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Shevchenko, Mikhail. "COLORONYMS AND LUXONYMS AS A MEANS OF CREATING ARTISTIC IMAGE IN HISTORICAL PROSE BY V. IPATOVA AND V. KARATKEVICH." Philological Review, no. 1 (May 31, 2021): 157–62. http://dx.doi.org/10.31499/2415-8828.1.2021.232714.
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The article examines the color and light vocabulary, with the help of which the authors create a figurative system of artistic text. It is a universal tool for creating a figurative and expressive characteristics of a real, ethnocultural space. The use of coloronyms and luxonyms in the historical prose of the authors, their linguistic interpretation indicates the determination of the individual author’s specificity of the perception of color by the writer and the adequate associative connection of color combinations arising from the reader.
Creating a masterfully figurative picture or model of a certain ethnic group in the context of a work of art is an important task of every writer who conveys his vision of the world through different semantic groups of words as elements of artistic imagery. This also applies to the corresponding group of vocabulary denoting color and light.
The semantic group of words denoting color is used in any work of art: in one the frequency of use of color designations is greater, in the second - less. Selected literary works on historical themes by V. Ipatova and V. Korotkevich are widely saturated with color vocabulary, which deserves a multifaceted analysis.
The perception of the artistic word is an individualized phenomenon and is unique in the history of national literature and culture in general. The writers virtually penetrated into ancient events, rites and customs, skillfully described their heroes, national color, ethnic culture, social and spiritual life not only of Belarusians but also of other nations. The authors have made extensive use of the color palette, which involuntarily attracts the attention of readers and affects their figurative imagination.
The peculiar style of writing of each author, the lexical and systemic organization of their texts, which organically include coloronyms, give the opportunity to vividly imagine the verbal picture of the world created by the writer. It should be noted that when describing a broad historical panorama, the authors often use color in the lexical microsystem as a means of creating a highly artistic text. Language in works of art of the historical genre acts not only as a means of communication, but also as a carrier of artistic imagery.
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Kanchanapradit, Jarun, and Wanida Bhrammaputra. "Rājādhirāt: From the History to an Influential literature for Mon-accented Thai traditional Repertoires." International Journal of Creative and Arts Studies 2, no. 2 (December 18, 2015): 23. http://dx.doi.org/10.24821/ijcas.v2i2.1795.
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This article aimed to study Mon-accented Thai traditional repertoires through Rājādhirāt literature, which owe its origin from the Chronicles of the Mon. It is the story about the battle between the king Rājādhirāt of Pegu and King Farang Mang Kong of Ava. The translated Thai language prose version was arranged by Chao Phraya Phra Khlang (Hon), a poet master during King Rama I. Later during King Rama V, the Rājādhirāt was adapted for theatrical play – Lakorn Pan Tang – leading to development in musical front in order to assign appropriate Mon-accented musical pieces for the characters, their expressions, and story. Anthropologically, Rājādhirāt Literature was not only an entertainment, but also a revival of Mon-accented Thai traditional repertoires which have been associated with the Thai society for so long. The repertoires served as a reminder of once-flourishing Mon history through literature, play, music. Analysis of historical evidence, concerned persons such as the translator of Rājādhirāt from Burmese to Thai language, experienced Thai musician who played and assigned the repertoires; and expressive interpretation of musical repertoires from Rājādhirāt play by the Fine Arts Department are the integral process that made this article present another perspectives of Mon-accented Thai traditional repertoires while featuring relationship between literature, play and music in Thailand.
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Juanillo, Kay Tepait. "Challenges of Translating Poetry: The Filipino Translation of William Shakespear's Sonnet 18." JETAL: Journal of English Teaching & Applied Linguistic 2, no. 2 (April 29, 2021): 49–55. http://dx.doi.org/10.36655/jetal.v2i2.528.
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Translation plays an important role in understanding different cultures and societies. Among the various kinds of translation, many scholars have debated the difficulty even impossibility of literary translation, especially Poetry. Translation of poetry requires the preservation of the specific aesthetic and expressive value when the work is transferred from the source language to the target language, which may be changed or altered after translating the work. This study discusses the different linguistic, cultural, and aesthetic issues in translating poetry. This study also discusses the translation issues in the Filipino translation of William Shakespeare�s Sonnet 18. The study shows the complications and sometimes impossibility in translating poetry as compared to other literary works like prose. This study is significant as it encourages experimental strategies that can show the uniqueness of translation as a linguistic and cultural practice.As a result, it can be concluded that the task of the translator is not to express what is to be conveyed but to find the intended effect upon the language into which she/he is translating in a way that leads to produce the echo of the original, even though it is impossible to be able to create a replica of the original text.