Article.
Наталія Романишин DOI 10.31558/1815-3070.2019.38.11 УДК 81‘373 APPROACHES TO
REVEALING THE CONCEPTUAL CONTENT OF LITERARY TEXTS
(COGNITIVE-DISCURSIVE
AND LINGUAL-AESTHETIC PERSPECTIVE) У статті
розглянуто підходи до дослідження семантики художнього тексту з перспективи
когнітивно-дискурсного та лінгво-естетичного аспектів художнього концепту.
Художній концепт представлений як динамічна складова художньої картини світу,
лінгво-когнітивна одиниця, породжена у результаті взаємодії авторської та
читацької художньої свідомості у процесі комунікативно-пізнавальної діяльності,
опосередкованої межами художнього текстосвіту. Ключові слова: художній текст, дискурс, художній концепт,
концептуалізація, художній / поетичний образ. Background.
In modern linguistics the ways to solve the problem of literary
conceptualization are characterized by the divergence of approaches. The
variety of research vectors is caused by the aspiration of scholars to find a
new reliable methodology oriented on the exposure of the dynamic nature of
literary concepts and conceptual systems, substantiation of interdisciplinary
oriented conceptual studies which focus on the specificity of concepts
interrelation, their role in development of textual semantics. Contemporary linguistics treats the
textual semantics as a system of mental structures – conceptual space that
integrates significant textual notions representing author’s artistic aims, the
results of artistic perception of the world which material representations are
localized in multidimensional, multilevel, explicit and implicit verbal matter (Selivanovaа 247; Zusman 15; Bara; Luchjenbroers; “From Text to
Literature”; Vorobyova 4–12). Retrieval of conceptual information
embodied in the literary text can be performed according to certain algorithms.
Since the inception of conceptual studies scholars have been working over the
procedures of concept analysis and have developed different algorithms that
depend on the type of concepts and the environment of their actualization.
However, according to prof. O. Vorobyova, most of them are ineffective
when applying to the analysis of literary concepts due to a number of reasons,
first of all, because of the specificity of their textual embodiment. She
generalizes available methods and approaches defining the basic ones: the
methods of metadescription, methods of associative networks, the method of
cognitive-emotional analysis supported by iconicity and the method of
multimodal analysis based on the concept of inbuilt intersemiotic nature of
literary text (Vorobyova 6–12). But, despite of the
considerable number of ideas generated in the field of literary semantics the
scrupulous search for the reliable ways of concept representation analysis has
been going on and is still among the most topical issues of conceptology. Modern linguistics construes the
literary concept in the plane of author-reader cooperation: the concept concentrates
the result of author’s comprehension of reality and exposes these results to
the reader. Consequently, literary text semantics is the form that consolidates
different types of author’s and reader’s knowledge and experience and secure
the change in their pictures of the world (Behta 57–60). This understanding rests upon the assumption that literary concepts
are notional elements, mental units which are not directly localized either in
language or in mental spheres of the literary text. They are relative
constructs modeled with the aim of research directed to a complex study of
language, cognition and culture (Slyshkin). Thus, the penetration into the
conceptual plane of literary semantics requires the extension of the textual
verbal system, exceeding its boundaries and consideration of the rich palette
of philological, social, cultural, psychological factors that accompany
creation of the literary text and its efficiency (Behta 57–60). Following
the mainstream of contemporary cognitive and conceptual studies we understand
the notion of literary concept as a dynamic component of literary picture of
the world, lingual-cognitive unit generated in the result of interrelations between author’s and recipient’s artistic
cognition within the boundaries of literary textual world; it is characterized
by semantic versatility, interpretative
unlimitedness, aesthetic value, has socially and culturally determined content
(Romanyshyn). Literary concepts transfuse the whole literary line
(works, the whole heritage of the writer, literary trend or epoch), go out its
boundaries into the space of cultural constants of the nation and trigger the
motion of senses at the intersection of historical, social, everyday and proper
literary rows. The ability of literary concepts to focalize the system of
semantic organization of collective and subjective (author’s individual)
cognition requires their treatment in the plane “literary thinking and culture”
with the elaboration of corresponding complex methods of analysis that
integrate both linguistic and
linguo-cultural approaches, combine traditional methods of stylistic, semiotic,
hermeneutic analysis of the text. The purpose
of the article is to present and discuss approaches and general principles
aimed at revealing the conceptual content of literary text proceeding from a) understanding the literary concept as correlation of its cognitive-discursive and lingual-aesthetic manifestations
which exist in the inseparable unity and b) the specificity
of literary communication
that determines the dialogic nature of literary concept emerging as a
superposition of cultural, historical, ideological senses in its semantic
structure that arose in the result of common creative reflections of the author
and the reader. Results Literary concept in
cognitive-discursive perspective. Literary communication develops from
the author through the literary text to the reader as an active participant of
sense creating process resulted in the comprehension of author’s conceptual
model of reality that is actualized in the textual world reflecting
corresponding norms, values, conscious and unconscious ideologies. Irrespective
of its uniqueness author’s artistic-conceptual model of reality correlates with
a part of general collective experience and according to the theoretical
principle of the art as a secondary modeling system is the limited model of
unlimited world, because, according to Yu. Lotman, the model of the object
of reality, created by artistic means, simultaneously embraces both particular
and universal manifestation of reality and represents the life in all its
complexity [Lotman 205–206]. Author’s
individual literary-conceptual model is commonly represented as a configuration
of individual concepts, defining the latter as mental entities with the high
level of subjectivity, modifications that accentuate in their semantic
structures those aspects which may sometimes contradict the conventional values
(Karasik “Linguorulturnaya kontseptologiya” 26; Karasik
“yazykovyie kliuchi” 29, 36). The uniqueness and heuristic potential of literary concepts rests upon
the cognitive essence of the art; in the basis of literary conceptualization
there is an “artistic experiencing” of notions already existing in the ethnic
collective consciousness, their combination as a method of developing holistic spiritual position, author’s priorities and
aesthetic dominants as an outcome of secondary reconsideration of the
conceptualized phenomenon. The author / writer / poet as a subject of artistic cognition, aesthetic, pragmatic and (in
general) creative activity programs and directs the reception of conceptual
model of the depicted phenomenon. And this reception is grounded in the
multilevel semiotic reality of a literary text’s world by corresponding textual
means: image-associative, expressive, stylistic, compositional, by the palette
of verbal imagery with complex semantics created in the correlation of
denotative and connotative aspects of word meanings. Textual sense is the
result of interrelation of different “textual details” included into versatile
systems of connections. Ambiguity of literary semantics and
versatility of literary conceptual model interpretation is determined by the
factor of reader’s reception (Eco 4) that engages a complex of social, cultural, aesthetic, emotional,
psychological factors, dynamics of lingual and communicative competence of the
addressee, and is influenced by historical context (both
of text creation and text comprehension) (Vinogradov 8–9). This two-dimensionality (author centricity and
addressee centricity) of conceptual model of reality as a result of
artistic-aesthetic communication in the plane “artistic cognition – culture”
renovates the understanding of its basic element – the literary concept.
Literary concept as a manifestation of organic interdependence of form and
content of literary work is able to focalize the system of sense organization
of collective and author’s subjective consciousness in cognitive-discursive
plane. The revealing of the specificity of literary
concepts and literary conceptual models according to the cognitive-discursive
approach presupposes the application of hermeneutic principles and the
integration of research tools of linguo-cultural studies and literary criticism
which defines the direction of analytical algorithm from the concept as philosophic notion, mental structure, constant of
the culture, literary dominant identified by a vast spectrum of linguistic and
extra linguistic knowledge to its implicit and explicit embodiment on different
levels of textual matter. Involving to
the scientific analysis data of literary criticism and linguistics makes it
possible to treat the literary semantics fully, to trace in the
multidimensionality of the literary concepts the influence of “conceptual
images of culture on artistic works” (Kaganovska 37), individual and collective values, evaluations and experience in
representation and reflection of reality. Such integration of different
philological disciplines allows to understand and relate cognitive (connected
to the process of knowledge formation and transmission) and communicative (as a
product and object of communicative-cognitive activity) aspects of literary
discourse to the character of author’s creative activity, type of author’s
cognition, artistic intentions and conceptions, methods of artistic tasks
solution and to perceive their interconnections and interdependence. Reception and interpretation of the literary
text is an active process and final stage in the systemic “author – reader”
interplay. Consequently, the literary text as a sense generating entity is a uniting link of literary
aesthetic communication resulted in the formation of holistic understanding of
author’s conceptual system in the unity of logical-notional, valuable and
aesthetic manifestations. Literary concept in lingual
aesthetic space of the literary text. The
interrelation of lingual-aesthetic resources heterogeneous and belonging to
different language levels are the source of semantic diversity of semiotic and
conceptual space of the text. The aesthetic resources of the language
actualized in the literary text are directed to the intensification of sensual
and emotional perception, formation of recipients’ artistic tastes, activation
of their intellectual and creative activity and perform, organized and united
by the artistic intention, the role of complex mechanism of explicit and
implicit information encoding. The conceptual space of the literary text is
embodied in images. Image as a fundamental category of literary
language aesthetics is an aesthetic entity traditionally analyzed in the field
of stylistics and literary studies which treated it as a system of expressive
and depicting means securing artistic merit in the context of literary process (Vinogradov). From modern scientific positions
both the image and the concept are comprehended as lingual-mental categories in
which objective-cognitive and subjective-creative aspects are closely
connected. Literary concept as well as literary image is construed as building
material in formation of literary senses (Nikonova 173). Proceeding from the fundamental principle of
unity of content and form “what” the author is speaking is simultaneously “how”
it is spoken since in the development of artistic texture of the literary work
the “subtlety” of artistic word plays the crucial role. Verbal image is a
“molecule” of poetic language, a representative of the existence
of literary work as an aesthetic object; it is an important means of aesthetic
mastering that inform the text with bright individual colouring (Kaganovska 17). It is the basis of forming the textual
literary meaning, poetic thought that emerges and is realized in the text in
the result of correlation between external (general, language systemic) and
individual, subjective contexts, world of associations and comparisons
characteristic for author’s consciousness, it leads into the sphere of
different forms of cultural manifestations of the language – mythological,
archetypal, symbolic. Verbal images alongside the so call
“nonimagery” vocabulary, semantic shifts and connotative stratification – the
whole system of textual construction, its external and internal organization
(including the plot, composition, pragmatic intentions) – are the means of
literary concept explication. Analytical processing and of the
external verbal cover of the text directs the recipient to the synthetic
generalization about the internal circle of senses where each of them reflects
in the reduced form the content of a certain textual fragment and constitutes
the level of content-conceptual information. Consequently, we
understand the correlation of conceptual, ideological, literary and lingual
aesthetic aspects of the literary text as a structured system in which conceptual
level is not only the central link that connects the level of idea-aesthetic
content and the system of expressive means which embody a corresponding
artistic idea but also a factor that determines the result of creative
comprehension of definite planes of being presented in the form of existential
senses and values. The system of concepts that constitutes the basis of
author’s understanding of the world determines the character and structure of
the literary work, the choice of corresponding objects of depiction, actions
and states which are able to form the ground for development of literary
images, to shape a desired “motion” of associative lines, to create the effect
of semantic “tension” as an intensification of informative depth of the text
(Gadamer, “Philosophia i literatura”
110–114). The conceptual level of literary
texts includes elements of different complexity and abstraction. The analytical
algorithms based on the linguo-poetic perspective of research reflecting the
dynamic character of forming and functioning of literary text conceptual system
in the plane of its lingual-aesthetic manifestation presupposes the development
of analytical procedures from the textual
matter to the concept which first step implies “fumbling” in the meaning of
poetic word – a medium of conceptual sense – for the information that
reflect the characteristic features of the concept, sets of its attributes,
predicates, imagery: to the description of concept sphere of the literary work,
defining the place of the concept in author’s worldview, its connections with
other conceptual dominants and modeling of author’s individual and national
literary system. The studies of lingual-aesthetic embodiment of literary concepts first of
all should take into consideration: – semantic, semiotic,
associative dynamics of literary / poetic text determined by the very
nature of poetic language as “a specific form of imagery representation of
reality in the aesthetic evolution of the form against the background of historic
development of national literary language; – diversity of
imagery-associative ways of concepts explication, continual nature of textual
conceptual system in which the associative-semantic planes of different
concepts may intersect, include each other according to the principle of
complementation, inclusion etc.; – types of artistic
consciousness and the development of types of poetic cognition; stylistic and
genre parameters of the work; – the phenomenon of
semantic versatility of the literary text as a basis feature of its artistic
merit. This versatility of poetic word is the source of poetic image emergence
and causes the correlation of objective and subjective aspects of content of
the text, its inner and outer forms (according to O. Potebnia). In this
respect Yu. Stepanov states that in the structure of the literary text
there are two systems of images – the system of immediately represented
images and the system of indirectly represented images. The latter may be
beyond recipient’s understanding but it is as real and efficient as the first
one and it develops on the basis of the first one (Stepanov “Frantsuzskaya stilistika”
291). More over the superposition of the imagery
elements of the first level, their parallel development, intersection, combinations
generate poetic / literary image that does not belong to any of them separately but creates
imagery transformations as a result of both planes fusion [там
же, с. 290], it generates the “beyond textual”
organization of meanings (Bart 417, 459–460) that
models author’s artistic world and sets the variants of possible ways of its
comprehension by the reader. Linguo-poetic perspective of research of literary concepts also
presupposes the necessity to account for the role of thematic, compositional,
symbolic levels of the work in the processes of literary conceptualization,
extra textual relations of the literary work, its inclusion into historic,
cultural and social context. Combination of cognitive discursive and lingual-aesthetic perspectives of
concept analysis or in other words the rapprochement of cognitive and poetic
planes of literary concept leads to its (concept) understanding as an
embodiment of individual and collective intellect and experience as well as the
result of aesthetic representation of the world in personal and national
artistic systems of thinking. Application of both described vectors of
scientific analysis secures a complex systemic penetration into the problem of
literary semantics that construes the text as an integration of imagery,
symbolic, compositional, intertextual and epistemological spaces. Extraction of
deep conceptual information (due to the ability of consciousness to reconstruct
the network of concepts as “compression of dominant senses”) resembles the
infill of a certain amount of information (packing of voids) caused by a
“chink” (Stepanov “V mirie siemiotiki” 8) that exists between the verbal sign
and the concept – as an asymmetry between the expected and the realized in
the literary text. In the result the lingual-aesthetic phenomena are
represented in the form of multidimensional constructs that correlate with
corresponding cognitive processes and structure. Let us demonstrate the process of reconstructing author’s conceptual
system based on the assumption that the specific character of poetic language,
its imagery-associative and lexical-semantic potential is an instrument of
literary concept actualization, their cognitive, aesthetic and emotionally
expressive embodiment. The poetry of William Wordsworth was selected as the
source of illustrative material. We focus on the peculiarities of poetic
representation of space as physical and spiritual backbone of human existence. Wordsworth addresses the problem of poetic depiction of space and
representation of human interaction with physical and social space from
different ideological and conceptual angles. Space is not only the natural
environment of an individual but his essence, the sense of his existence. The
maximal trustworthiness and authenticity in representation of space, detailed
depiction of everyday ethnical aspect of space, striving for the highest
possible artistic expressiveness in reflection of ethical, psychological,
social, historic parameters of space, developed in large textual contexts, are
aimed at intensification of pragmatic influence on the recipients, secure their
emotional “immersion” into the reality. Space in Wordsworth’s works reveals itself both as a factor
of comfortable human existence, safety, intimacy and as uncontrolled power,
fate, destiny. Space can become hostile to a person, devouring him, taking his life. The popular in the world literature theme of a
human being lost in space, engulfed by natural powers is realized in Wordsworth’s
poetry where poems Lucy
Gray, Or Solitude and George And Sarah Green may serve as an example. The plot of the poem Lucy Gray, Or Solitude (written in 1799) represents a real accident (retold to the poet by
his sister) – when once a little girl were lost in a winter storm and
died. Protagonists of the poem George And Sarah Green are also real personalities whose tragic death was reported to the poet
by their daughter. Wordsworth’s personal comments, his epistolary heritage
elucidate poet’s artistic intention to sublimate by the poetic imagination the
personalities of Lucy Gray, George
and Sarah Green in order to imprint in the memory their bright and positive
images. However we argue that philosophical,
symbolic and ethical content of these poems turns to be much deeper since the
symbolization is characteristic feature of the poetry due to its tendency to
semantic saturation of a word, due to the general symbolic manifestation of the
art as cognition. Thus, the whole system of images and poetic lexicon of the poem Lucy Gray, Or Solitude can be conventionally subdivided into several
associative planes which elements’ semantics entangling associative senses of
accompanying verbal images creates definite notional spheres or domains:
emotions, motion, natural elements etc. which form the semantic structure of
the text. Conceptual domain “motion” includes verbal structures that denote ain and
direction of the motion (to the
town must go; to light / Your mother through the snow), characteristics of the motion (She
wandered up and down; And many a hill did Lucy climb; O'er rough and smooth she
trips along),with the sense of
overcoming obstacles; this conceptual domain also includes nouns and
expressions denoting trajectory of movement, roaming: The print of Lucy's feet, footmarks; Then downwards from the steep hill's edge; And through the broken
hawthorn hedge, / And by the long stone-wall; And then an open field they
crossed; And to the bridge they came. Conceptual domain “space” is represented by language elements: the moor; the bridge of wood, the steep
hill's edge, the broken hawthorn hedge, the long stone-wall; an open field, the
snowy bank, the middle of the plank. Conceptual domain “natural phenomena” includes
verbal elements: a stormy night, the snow, the powdery snow, / That rises up like smoke; The
storm came on before its time. Conceptual domain “state of a person” include poetic expressions: The solitary child, No mate, no comrade Lucy knew; / She dwelt on a wide moor; That you may see sweet Lucy Gray / Upon the lonesome wild; And sings a solitary song / That whistles in the wind that perform the function of poetic framing. In
addition the word-concept Solitude included
in the poem’s title perform the function of semantic and pragmatic hint on the
vector of text decoding as generalizer of integral textual structure and its
elements. The sum of imagery elements meanings in itself does not constitute a
symbol, a definite image of an object should be unconventionally convincing as
a starting point of researcher’s activity in search for the poetic metasenses
and ideas. When separate elements of the
image are shaped and their semantics decoded they create the ground for
generalization of textual symbolic and conceptual content – which in the
discussed case we consider as symbols of human existence, loneliness, life. Physical
obstacles (spatial – field, hill, moor; powers – storm, snowdrifts)
are symbols of tragic fate; the little girl is the symbol of defencelessness,
human solitude, a human being as a plaything of destiny. Fate and tragic destiny as a main
directing force of poetic and real plot development in George And Sarah Green (written
1808) is explicated in the first line
of the poem by the words strangers, fate and grave that refer
to the corresponding interrelating semantic
paths of imagery development. Alongside with the conceptual domains “motion”
(including the character of motion, aim, direction): wife and husband roam; Not
many steps: A few short steps; For 'any' dwelling-place of man / As vainly did
they seek; “natural powers”: By night, upon these stormy fells;
and
“space”: those
sternly-featured hills which contextual semantics
realization evokes (similar to the previously analyzed poem) the associative
parallels “life – is a road”, “life is a roaming in darkness” there are
the conceptual domains:“sound” voice was heard; lonely shriek as symbols of isolation,
alienation, inability to be heard;“death” He perish'd; A body without
life; O darkness of the grave; That last and dreary living one; O sacred
marriage-bed of death, / That keeps them side by side;and “psychological states” that
include axiologically contradictory semantic subsystems “suffering” and “quietness”:
gently; And
quiet now are the depths of air, / As a sea without a wave; the heart of
peace; quiet more profound; The heart of quietness; safe, and far; In bond of
peace, in bond of love; sorrow and affright; fear and grief; agony of mind. They become the notional
background for conceptual metphorization “grave means death – death is
liberation and repose”. Such sections of text imagery perceived in their interrelations opens a
perspective for symbolic interpretation of the motive of Human being in the
space of life as a poetic conceptualization of the problem of sense of life,
human being and his value orientation in the world, determination of the human
fate by supreme powers which dominion is absolute. Being a central figure in Wordsworth’s poetry an image of human reveals a
set of conceptual spheres. A man as a bearer of definite social, moral,
psychological features is transformed into the symbol. In this respect both
analyzed poems (although distant chronologically) can be considered as
representations of poet’s artistic tendency in conceptualization of
anthropomorphic notions through human images. Lucy Gray George and Sarah Green became the symbols of human
fate that embody the ideas of human defencelessness against the supreme power,
predestination of human fate and mark the general worldview tendency of the
poet towards humble contemplation, especially in
the final period of his creative activity. Conclusions. The conceptual level constitutes the configuration
of the main “knots” of the semantic framework of a library text as author’s
corresponding model of the represented world, as a product and result of
artistic cognition that occurs in a certain social, cultural, historic and
ideological context. Different lingual-aesthetic resources are involved in the
explication of conceptual information. In their systemic correlation they
construct the semantic volume of the literary concept, reveal the dynamics of
cognitive processes and strategies that form the ground of text creation and
interpretation. Understanding of the unity and interrelation of cognitive-discursive and
lingual-aesthetic aspects of literary concept determines the necessity to
integrate to mutually directed vectors of analysis: from the system of author’s
worldview and esthetic, evaluative dominants → through
the analysis of ideological content ↔ to the system of literary concepts → and
their description by relevant forms of textual actualization” and “from the system of verbal and literary means, dynamics of plot and
composition → through the conceptual system of the work →
identification of dominant literary concepts of author’ individual and
collective national literary system”. Proceeding
from the comprehension of the multidimensional nature of the literary text
semantics determined by the very essence of fiction and the specificity of
poetic language as its instrument and matter the research of the conceptual
framework setting the process of sense creation is based on the analysis of
lingual aesthetic aspects of the text, semiotic and linguo-cognitive processes
underlying the semantic structure, explicit and implicit verbal means of
litersyr concepts verbalization. All above mentioned prerequisites of the research
involves the symbiosis of different methodological models that approach the
textual meaning not as a static, inwardly stable feature but as a dynamic
result of communicative and discursive practices in the plane of author-reader
cooperation and provide the researcher with a vast space for individual
analytical activity, the choice of the vector of analysis, flexibility of
research procedures, principles and stages.
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