LANDSCAPE AESTHETICS AS OBJECT OF LINGUISTIC POETIC ANALYSIS
Introduction. Linguistic poetic study primarily focuses on the elements of expression that is the author’s aesthetic manifestation of certain constants through the prism of poetic passages tissue. In this respect, understanding the aesthetics of the landscape as the object of poetic linguistic analysis becomes of great importance.The purpose of the article is the comprehension of aesthetics of the landscape as an object of linguistic research on the basis of English poetic means of pastoral poetry analysis of a narrative poem “Four Seasons” by James Thomson in correlation with its aesthetic meaning.Methods. To achieve this goal the methods of thematic classification, semantic, comparative stylistic analysis and a method of lingua poetic interpretation of a literary text have been used.Results. In poetry the landscape is considered to be one of the semantic and composite components performing graphic-expressive, emotional and aesthetic functions and being an important means of ideological and artistic content of the work deployment. Emotional-sensory perception of images is updated not only due to syntactic and phonetic expressive means, but also penetrates the layer of lexical description, causing the appearance of emotionally rich epithets sublimely poetic metaphors and comparisons and is amplified by the bright coloring of the landscape elements.Originality. The language and poetic imagery of J. Thompson’s idiostyle is distinguished by figurative speech dynamism, inherent semantic and aesthetic author's intention deployment, prevalence of lingua poetic constructs of landscape discourse. J. Thompson’s landscape is represented in two-dimensional aspect performing both artistic and aesthetic functions. Such a landscape should be considered from the standpoint of the landscape aesthetics as it is “constructed” by aesthetic and poetic language constants implementation.Conclusion. Explication of aesthetic sense of poetic discourse becomes possible through particular author’s lingua poetic means comprehension in correlation with variable idiostyle and aesthetic-linguistic picture of the worldview of the master. The author’s poetic means, embodied in the landscape passages of the poem are not only a generator of new figurative and poetic meanings, but also model artistic and aesthetic picture outlook in general.
Iermolenko, S. Ia. (2007). Methods stylistic research. Ukrainian linguostylistics XX – beginning of XI. : System concepts and bibliographical sources (Ukrainska linhvostylistyka XX – pochatku XI st. : systema poniat i bibliohrafichni dzherela), 13-17 (in Ukr.)
Moisiienko, A. K. (2002). Poetic text as a dynamic structure. Linguistics (Movoznavstvo), 2-3, 3-9 (in Ukr.)
Zadornova, V. Ja. (1992). Verbal and artistic work in different languages as a subject of linguistic research : Thesis of Doctor. Philology 10.02.04 “German languages”. Moscow (in Russ.)
Koval'ova, T. P. (2000). Linguopoetic features of the birth of the world of things in English prose of
XVIII-XX centuries : Theses of Candidate of Philology 10.02.04 “German languages”. Kyi'v (in Ukr.)
Filinjuk, V. A. (2006). Figurative word in Emma Andiyevska’s poetic text system : Theses of Candidate of Philology 10.02.01 “Ukrainian language”. Kyi'v (in Ukr.)
Budagova, L. N. (1997). Nature as the Dictionary of feelings : On one of the functions of nature in poetry. Natura i kul'tura (Nature and Culture), 97-109 (in Russ.)
Petruhina, L. (2002).The landscape in the context of literary theory (based on Slavic poetry). Problems of Slavonic Studies (Problemy slov’janoznavstva), 6, 125-134 (in Ukr.)
Stupak, N. Phonetic component in the imagery of the poetic work. Retrieved from http://www.philology.kiev.ua/Lingur/art_9.htm (in Ukr.)
Borisova, E. B. (2010).The artistic image in English literature of XX century: typology – linguopoetics – translation : Thesis of Doctor. Philology 10.02.04 ; 10.02.20 “German languages”. Samara (in Russ.)
Thomson, James (1981). The Seasons, edited with introduction and commentary by James Sambrook. Oxford: Clarendon Press.
- There are currently no refbacks.