EXPRESSIVE POTENTIAL OF PARCELED SENTENCES IN THE ARTISTIC DISCOURSE OF THE SIXTIES

Keywords: artistic discourse, text, sentence functional cleaving, parcelling, simple and complex sentence, basic construction, the parcel

Abstract

Abstract Background. Search for new forms of reality rendering precondition functional activity of expressive syntactic units which are able to replace widely used stylistically neutral structures as synonyms. The Sixtiers  artistic discourse  demonstrates a specific approach to sentence functional cleaving. Poetical work of these masters of word can be studied in various aspects but one of them – syntactic – has not been described in linguistics yet. Unity of novel European and native Ukrainian traditions which we observe in the artistic work by Lina Kostenko promoted specific syntactic manner appearance that discovers new expressive aptness of the author’s artistic text speech. The purpose of our research is to identify and substantiate the peculiarities of parceling syntactic constructions in the first collections of the poetess («Rays of the Earth» and «Sails»). The main objectives of the article are to describe the structural and syntactic types of parceled constructions in the works by Lina Kostenko, to reveal the functional and stylistic potential of parcels in contemporary artistic speech, to clarify the specifics of the poet's creative style influence on the tendency of figurative word semantics in Ukrainian artistic discourse of the 60-s in the 20th century. Methods. The choice of research methods depends on the purpose of the article, its tasks and object. In our scientific exploration general scientific methods of analysis, synthesis, comparison are used; linguistic methods, in particular such as: descriptive method – to interpret the status of parceled units; the method of integrative analysis, which is the basis of a comprehensive study of a set of different aspects, which we touched upon during the study of the literary text as the embodiment of individual-author communicative intentions; transformational analysis – to determine the syntactic and semantic similarities and differences of divided and undivided sentences, as well as contextual-interpretive method – to describe the possible reader strategies  of the literary text perception. Results. The form chosen by the poetess to reproduce reality, contributes to a better understanding of the content, gaining either concise or widened outlines, gives the opportunity to show their assessment, attitude to each of the poles of opposition. Having analyzed the main types of parceled formations in Lina Kostenko's poetry collection «Rays of the Earth», we can see that the author consistently parcels complex syntactic constructions, preferring multicomponent, complex, unconnected sentences, almost avoiding the dismemberment of complex ones. The nature of parceling in the collection of poems «Sails» appears somewhat different, a simple sentence is actively broken down into semantic segments, parceled secondary members appear. This confirms the opinion that the dismemberment of the syntactic construction created according to the sentence formula is necessary for Lina Kostenko not only in order to avoid overloading the sentence with punctuation marks, but also in order to emphasize each member of the syntactic row. Discussion. The use of large sets of parceled constructions becomes a certain feature of the artistic discourse of the 60’s 20th century. The dismemberment of the syntactic construction, built on the sentence formula, is caused not only by the need to reduce the volume of a complex or simple sentence, but primarily by the search for a new form to convey the uniqueness of lyrical experiences, intonations. The suggested scientific investigation opens up prospects for further research, both the features of the artistic discourses of classic writers and famous contemporary artists, and the syntactic semantics of the sentence in general.

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Published
2022-02-23
How to Cite
Shevchenko, T. (2022). EXPRESSIVE POTENTIAL OF PARCELED SENTENCES IN THE ARTISTIC DISCOURSE OF THE SIXTIES. Journal “Ukrainian sense”, 1(2), 176-185. https://doi.org/10.15421/462130