THE SEMIOTICS AND POETICS OF SOUTH CAUCASIAN NONSENSE VOCABULARY. (original) (raw)
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Genre-forming function of factic elements of language in Russian and Tatar lyrics
Linguistics and Culture Review
The article identifies linguistic "initial phenomena" of lyrical genres, forming the core of genre identity of the work and having universal character - supernatural and supranational. It has been concluded that the non-literary "other" in relation to which artistic speech, first of all its lyrical subsystem taken in the aspect of its genre structure, is self-determined, is deixis. On the basis of the analysis of the philosophical lyrics of Russian and Tatar poets of the XIX-XX centuries, it has been established that the genre of "definitions" goes back to the deuttic elements of language. In Russian and Tatar literatures it has similar features: the focus on the process of knowledge (dominance of the hermeneutic code), the reflection in the subject architect of the works of the processes of identification and self-identification of the lyrical subject, the use of tropical and mythopoetic figurative "languages." At the same time in Tatar poetr...
A SEMIOLOGICAL ANALYSIS OF THE SONG "MOLITVA"
New Sound, 2007
In view of the popularity it gained by winning last year's Eurosong festival and by the controversial reactions it provoked in the media, the pop ballad Molitva (Prayer) -written by composer Vladimir Graić and lyricist Saša Milošević Mare, and performed by Marija Šerifović -lends itself to semiological analysis. Given the variety of techniques and the possibilities of the semiological interpretative model, 2 its application in this analysis of Molitva will be carried out in two ways: text analysis and context analysis.
The Poetics of Meráki: Dialogue and Speech Genre in Kalymnian Song
The dominant vehicle for oral poetry in the song culture of Kálymnos is the mantinádha, a rhyming couplet in iambic decapentameter. Though this poetic form has been studied extensively by philologists and anthropologists working in the Greek Aegean, a combined philological, ethnographic, and musicological approach is necessary to establish an expanded theoretical framework capable of exploring the interaction between poetry, music, and sociality. In performance, the texts of these poems are stretched, rearranged, interrupted, and delayed in order to conform to the contours of different melodies, each of which makes unique structural demands on the couplets that are sung to it. Close musical, metrical, and ethnographic analysis of several performances and attention to the interpretive choices of the expert performer or meraklís suggests an implicit theory, a model of the internal theory encoded in the music that governs the Kalymnian melody-poetry interface and reveals the ways in which the application of specific poetic and musical techniques both heightens the dialogic quality of these couplets and imbues them with socially poetic power.
The song-object between theory and practice : diachronic, geographic and cultural variation
This article presents several aspects of research published over the course of the past several years considering both problems linked to different ways of referring to song-objects in French language and problems of referential quasi-equivalence of song genres from one language to another considered from an interlectal perspective. The variety of terms discussed form part of a diachronic movement illustrating the interpenetration of languages and song types over the course of centuries. Few problems are analysed, among others: the borrowings between signed songs and traditional songs, the heteroge-neity of the corpus of song-objets and how it is reflected in the dictionaries. Those familiar with my previous works published in French will recognize some elements of reflexions presented already in books such as Vers une théorie des objets-chansons or Chanson, son histoire et sa famille dans les dictionnaires de langues française, Etude lexicale, historique et théorique. This short contribution will allow anglo-phon readers to get used with some of my concepts in such a way that my lexical contribution to the study of song-objet progressively enters in the practices. This will serve not only the musicologists, but also linguists, philologist and those who are generally concerns with the problem we met in the termi-nological description of a scientific activity diachronically. Keywords Song, intercultural studies, musical terminology, lexicography, poetry (history) ÖZ Makalede son yıllarda yaptığımız araştırmaların değişik görünümlerinin bir sunumunu yapıyoruz ; örneğin bir nesne olarak şarkıya gönderme yaparak, şarkı türünün bir dilden ötekine türselliği bakımından denkliklerini bir söylem biçiminin ötekinden nasıl yararlandığı görüngüsünde ele alıyoruz. Tartışmaya açılan terimlerdeki çeşitlilik artsüremsel bir devinime bağlı olarak değişik dillerin ve şarkı türlerinin yüzyıllar boyunca iç içeliği ele alınacaktır. Çözümlenen sorunların kimileri şunlardır : belirtilen şarkılar yanında geleneksel şarkıların aralarındaki alışverişler, şarkılar bütünc-esinde beliren ayrışıklık özelliği, söz konusu ayrışıklığın sözlüklerde tanımlanma biçimleri vb. Daha önce bu konuda yapılan çalışmalarla içli dışlı olanlar Vers une Théorie des objets-chansons ou Chanson, son histoire et sa famille dans les dictionnaires de langue française, Etude lexicale, historique et théorique adlı kitap çalışmalarımda öne çıkarıp tartıştığım konulardan haberliler. Şarkıların birer nesne olarak sözlüksel alanına katkı yapmaya yönelik bu çalışma gitgide kursamsal uygulamalara dahil olacaktır. Bu yaklaşım müzikbilimle uğraşanlar dışında dilbilim, filoloji ile uğraşanlara da katkı sağlayacaktır. Özellikle artsüremsel bir görüngüde bilimsel aktiviteler içerinside olanlar için terminolojik betimle-melere bağlı olarak ortaya çıkan sorunlara ilgi duyanlara da katkı sağlamayı amaçlamaktadır. Anahtar Kelimeler Şarkı, kültürlerarası çalışmalar, müzikal terimler, sözlükbilim,şiir (tarih)
Constructing Alien Space in South Slavic Oral Lyric
Folklore. Electronic Journal of Folklore, 2018
The paper discusses alien space as a construct whose meanings are variable and depend on the assumed perspective, context of singing, and human relations. Alien space is constructed in South Slavic oral lyric as a space of the Other or as the other (liminal) space. The analyzed songs show tension between the alien and own worlds. The alien spaces are marked by relations of alienness and neighborliness. These relations are changeable and limited by the period of the ritual. The ritual context of songs and the ritual inversions of meanings and order make the spatial constructs complex. Oral lyric dominantly subjects the locus to the characters, whereby it has an attributive function. The songs make an analogy between the alien space and the Other. They model alien spaces as unknown, far, fantastic, wild, and dangerous, and as places of death. The paper deals with liminal zones as radically alien. These zones connect or separate own and alien spaces, enabling communication between them. The alien space is constructed as dominantly non-homogeneous and unintegrated, and as such it is an ample reservoir of meanings in oral songs.
PROSPECTS FOR ANTHROPOLOGICAL RESEARCH IN SOUTH-EAST EUROPE, 2019
Contemporary singing to the gusle and the new decasyllabic songs made in the style of the Serbian “classical epics” ‒ which both gained in public visibility with the break-up of Yugoslavia ‒ is a phenomenon which calls for scholars’ attention. Until recently, the interest has been reduced to the attempts of explaining its sudden expansion by relating it to the rising nationalism and populism during the 1990s. This made some authors reduce the whole contemporary singing to the gusle to the instrument for promoting the warmongering and extreme-nationalist ideas. The disdain for these ideological and political standpoints was transferred not only to the “new” singing to the gusle, but to the gusle itself and their language ‒ which put some scholars in the situation to defend this instrument and the language of the epic genre from accusations of their “historical guilt” for the war during the nineties. This paper aims to show that the contemporary singing to the gusle ‒ at least among the Serbian population ‒ is a complex phenomenon (both from the thematic and functional points of view) and that the songs about the events and historical protagonists of the nineties are only one of its subtypes. Communication in epic decasyllables is discussed as one of the historically recorded registers of the Serbian language, which, as such, should not be the object of ethical evaluation, since it does not imply any ethical value in its very form and structure.
Figurative Semiotics: A Textual Analysis of FAK Songs
This article explores the ideological content of (political) folk songs in apartheid South Africa. The FAK Sangbundel (songbook) found its way into countless Afrikaner homes, churches, organisations and schools, and became unanimous with Afrikaner culture and nationalism, imprinting certain beliefs and ideas on society. Johann Visagie's Figurative Semiotics theory serves to expose hidden ideological elements in discourse or, in this case, folk song texts. Within the semiological field different themes (symbols, metaphors, models, myth, narrative, irony, etc.) are analysed but in this specific theory, the distinction between the individual themes is not as important as identifying the figurative expressions present in ideological discourse. Although these themes are labelled as 'metaphors', it is only a collective expression to refer to the individual semiological themes involved in an analysis. Despite the fact that Figurative Semiotics theory was not originally designed to be used within the field of musicology, it is not considered to be a hindrance in terms of this investigation because of the fact that the musical nature of the songs does not lend itself to a detailed analysis of musical parameters, but rather displays conformist, stereotyped musical formats. Through application of Visagie's theory on the song texts, and, where possible, on musical parameters of the songs, an acute awareness of the musical dimension within an ideological environment was established and it is indeed the simplicity of the folk songs that so uniquely contributes to the effortless transferral of ideology-politcal content and values to masses of people, thereby contributing to the underlying and sometimes hidden ideological deep structures found in political folk song texts.