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Айшен Гасымова - Мустафаева Фазиль
Азербайджанский Государственный Аграрный Университет Старший преподаватель, кафедра "Языков" DOI: 10.24412/2520-6990-2023-11170-51-53 СТАНОВЛЕНИЕ ДИСЦИПЛИНЫ ПОЭТИЧЕСКОЙ ПРОЗЫ
Ayshen Gasimova - Mustafayeva Fazil
Azerbaijan State Agrarian University Senior lecturer, department of "Languages"
FORMATION OF THE DISCIPLINE OF POETIC PROSE.
Аннотация.
В современной теоретической литературе поэтика, будь она составной частью теории или отдельной отраслью литературоведения, является одним из дискуссионных вопросов. На наш взгляд, чтобы решить эту проблему и прийти к относительно объективному научному выводу, необходимо учитывать значение слов «поэтика», «поэт», «поэтизм». Что такое поэтическое слово, чем оно отличается от других слов?
Подчеркивая необходимость обращать внимание на идеализацию и обыденные представления о вещах при обсуждении видения невозможного в поэзии, Аристотель пришел к выводу, что в поэтическом произведении лучше представить возможные события, чем невероятные.
Придание «вероятно возможного» напрямую зависит от творческого воображения поэта, степени его таланта, умения превращать обычные слова в слова поэтические с помощью художественных средств описания.
Abstract.
In modern theoretical literature, poetics, whether it is an integral part of the theory or a separate branch of the science of literary studies, is one of the controversial issues. In our opinion, in order to solve this problem and come to a relatively objective scientific conclusion, it is necessary to take into account the meaning of the words "poetics", "poet", "poetism". What is a poetic word, what distinguishes it from other words?
Emphasizing the need to pay attention to idealization and ordinary ideas about things when discussing the vision of impossible things in poetry, Aristotle came to the conclusion that it is better to present possible events in a poetic work than improbable events.
Giving the "probably possible" directly depends on the creative imagination of the poet, the degree of his talent, and the skill of turning ordinary words into poetic words with the help of artistic means of description.
Ключевые слова: теоретическая литература, поэтика, поэзия в прозе, восприятие, классические методы
Keywords: theoretical literature, poetics, poetry in prose, perception, classical methods
The interpretation of the discourse of E. S. Kubryakova can be used to clarify the points of its conjugation with specific texts of poetic prose. As E. S. Kubryakova notes, discourse should be understood as the cognitive process associated with real speech production, the creation of a speech work, while the text is the end result of the process of speech activity, resulting in a certain finished (and fixed) form". With this approach, the discourse of poetic prose is the speech-thinking environment in which, on the one hand, the text formation of poetry in prose is carried out, and on the other hand, its perception and understanding by recipients. Wed: In late spring, lakes lie in the Vyatka flood meadows.
The wild apple trees that grow along their banks are in bloom, and the lakes look like a calm fire all day long.
Closer to the hayfield, fruits are born under the flowers. Beauty becomes superfluous, flowers fall into their reflection. And they live on water for a long time. The lakes lie white, wedding, and at night the shroud is remembered.
The dew is falling. Petals, like ships carrying tears, sway, touching each other.
Gradually, the water settles, the lakes go into underground rivers. And as if the petals are with them.
Water in Vyatka springs and wells smells like flowers all year round. Horses and people drink this water, birds and animals, flowers and herbs, this water gives life to all things, all living things.
Only the dead don't need water. Therefore, a place for them is chosen on the hills (V. N. Krupin, "In flood meadows"). The lyricism of text formation is formed by synthesizing the synergy of poetry and prose: the flowers reflected in the water surface of the lake look like a calm fire. This evokes new associations: the lakes resemble white wedding dresses, and the petals resemble ships. At the same time, the voice of a cognitive metaphor is connected: dew on flower petals resembles tears.
Compare: petals-ships carry tears - dew. This kind of artistic imagination of the author usually creates a single cognitive-discursive block in poetic prose - a lyric-prose text. If we turn to the communicative style of N. S. Bolotnova, then the lyric-prosaic text can be
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characterized as "a speech work, conceptually conditioned (i.e., having a concept, idea) and communicatively oriented within a certain sphere of communication, having an informative, semantic and pragmatic essence" [ 1, p. 224].
The following points are important for this definition:
1) the text is a speech product (not a language unit of the highest level);
2) the text always has a hyperconcept (an idea that reflects the author's intention and forms the integrity of the text);
3) the text has a stylistic coloring that reflects a certain area of communication;
4) the text is always focused on the addressee (even if it is the author himself);
5) the text carries information (reflected in the mind of the reader, it acquires the status of meaning);
6) the text has an impact effect (pragmatics) [1, p.
224].
The problem of the relationship between text and discourse is the most significant for cognitive linguopoetics, since discourse, notes N.F. Alefirenko, can be considered a text only if it is subjected to personal comprehension by the speakers: it is encrypted, decrypted or interpreted [2, p. 13], and is a synergetically (non-linearly) organized set of institutionally and thematically united statements, the cognitive-pragmatic potential of which reflects the subjective socio-cultural experience of the communicants, their inner world, experiences and beliefs [see. 2].
The text and discourse have the following codification fixation: "in the definition of the text, such qualities as integrity, completeness, processing, coherence, structuredness are distinguished, while in the definition of discourse the idea of dynamism, eventfulness, "fluidity" dominates, but at the same time "modern linguistics postulates non-rigid opposition text - discourse" [3, p. 16]. The relationship between the concepts of text and discourse, notes N. S. Bolotnova, is connected by inclusion relations: the text is included in the concept of discourse as its component [1, p. 199]. The formation of the discourse of poetic prose occurs when the author needs a communicative dialogue with the reader and decoding his subjective experience, inner world, feelings and beliefs: Water in Vyatka springs and wells smells of flowers all year round, <..> gives life to all things, all living things.
Only the dead don't need water. Therefore, a place for them is chosen on the hills. The categorical aspects of the formation of the discourse of poetic prose are explicated as a synthesis of the intent of the text, perception and understanding of reality by the egotope( means: subjective-individual perception of reality, the correlation of the object of artistic description with the "I-personality", the creation of certain ego-meanings, ego-memories, ego-assessments, that is, the I-space of poetic prose.).
Perception and understanding of the discourse of poetic prose. Due to the genre specificity of poetic prose, its discursive perception and understanding is a serious problem of cognitive linguopoetics. The term
perception is used in a binary way: 1) it is an image of an object that arises as a result of the process of perception and 2) the process of this perception itself. The perception of the discourse of poetic prose is associated with understanding, as a result of which the linguo-psychological and linguo-culturological aura of the author is revealed, since "in the image of the author, as in a focus, all the structural qualities of the verbal and artistic whole converge". Influencing the sensory perception of the reader, the author "processes the world with the help of the word, for which the word must be immanently overcome" and "become an expression of the author's attitude to this world. No less important is the question of the perception of the text by the addressee, since it is he who decodes and interprets the discourse of poetic prose as a "scheme and riddle", which "must be supplemented and unraveled in a concrete semantic plan". The perception and experience of the discourse of poetic prose can be defined as a process of communication; as a result, the meanings of the lyrical prose text are mastered, which are subject to subjective perception and are explicated as a mechanism for including the author-reader interaction in the situation. With such interaction, the reader's value-based and cultural guidelines, emotive and communicative attitudes are revealed in refraction to the semantic thesaurus of the discourse of poetic prose. The perception of a lyrical-prose text is also conditioned by the complex of deep meanings that explicate the author's intention, since it is the reader, interpreting the text, who demonstrates the perception of not only the discourse of poetic prose, but also the author's world, his culture and era. This multifaceted process becomes 1) the process of direct sensory cognition and 2) a signal of reflection of reality, that is, "the process of revealing connections and relationships mediated by words, including comprehension. The perception of the discourse of poetic prose as a mental process, which includes comprehension and memory work, constitutes an interconnected perceptual-mnemonic activity as a unity of the actual, procedural and resultative level of the information received, which, in subjective-evaluative processing, correlates this information with the past, as a rule, sensory experience. . Understanding the discourse of poetic prose is associated with going beyond the immediate content and is the individual's understanding of himself, his feelings and experiences. V. E. Chernyavskaya distinguishes two levels of discourse understanding [4, p. 143 - 144]: 1) the perception of the discourse of poetic prose as a specific communicative event, fixed in written texts and oral speech, carried out in a certain, cognitively and typologically determined communicative space; 2) the perception of the discourse of poetic prose as a set of thematically related texts: the texts combined into a discourse are addressed, one way or another, to one common theme. The content (theme) of the discourse of poetic prose is revealed not by one single text, but intertextually, in the complex interaction of many individual texts.
From the point of view of the relationship between the author and the reader, the discourse of poetic prose is fully consistent with its understanding as an
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interactive activity of the participants in communication. Its goal is "to establish and maintain contact, emotional and information exchange, influence each other, interweaving of instantly changing communication strategies and their verbal and non-verbal incarnations in the practice of communication" [5, p. 5].
Adequate perception and understanding of poetic prose is possible, in our opinion, only with its cognitive hermeneutical interpretation. Since the analysis of the discourse of poetic prose is at the intersection of different disciplines, it has a special approach to the problem of meaning, however, "this approach is not a copy of the historical approach, which ascribes a certain meaning to some event". The discourse analysis of poetic prose creates its own "referent" within the descriptive approach. "By describing statements, he tries to discover a new meaning, features of the event that elude the historian, who uses only classical methods of analysis. Interpretation is based on the correlation of arguments, stories, descriptions". The specificity of the creation by the discourse of poetic prose of its own "referent" is manifested in the subjective axiological perception of the temporary model of the Orthodox holiday "Transfiguration of the Lord". The connotative effect (connotative synergy) explicates the cultural concept "Transformation", which conveys the emotive-psychic state of the author through recollection. In the discourse of poetic prose, time is a temporal reality—it is the time of the author. A person in the discourse of poetic prose is coherently correlated with the sensory perception of reality. M. M. Bakhtin spoke about the "creative chronotope", through which "the exchange of the work with life" takes place, the "apperceptive background of perception" in a lyric-prosaic text is based on the interaction between the author - the work and the addresser - the addressee. In the discourse of poetic prose, the addressee becomes "an immanent participant in an artistic event, determining the form of the work from within".
Thus, the discursive meaning of poetic prose never directly correlates with extralinguistic reality, but is
built through the mechanism of the archive, in which the materiality of language is manifested. By the word archive, Michel Foucault understands a mechanism built according to a certain principle that creates various configurations of elements, while each such archive mechanism sets its own order of its own formation. From the point of view of the archive, the meaning is made up of the maximum variety of texts contained in it, which allows not to increase the number of meanings of the text, but "to determine the meaning by introducing restrictions into the description of the semantics of the statement". The formation of the discursive meaning of poetic prose occurs not only with the help of lexical mechanisms, but also through the mechanisms of utterance formation. This "double materiality of archive and language forms the basis of discourse analysis".
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