FIVE JAKOBSONIAN PRINCIPLES OF POETICS (original) (raw)
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Viktor Shklovsky vs. Roman Jakobson. Poetic Language or Poetic Function of Language
2017
The essay aims at analyzing the theoretical dimension of the evolving relationship between Roman Jakobson and Viktor Shklovsky from the initial friendship, through the first tensions-Prague and Berlin were geographical and cultural scene where this rivalry was made its debut-to the final rupture, which has usually been explained by biographical and psychological factors. Beyond the personal causes, at stake there was rather literary theory and two approaches to it, linked with the Prague Linguistic Circle, on one hand, and the Society for the Study of Poetic Language (OPOIaZ), on the other. If in 1923 the distinctions between the two approaches were not as obvious as was the personal rivalry of their founders, subsequently, however, these theoretical differences would become the basis of disagreement between the two theoreticians, one of whom would become the leading figure of Structuralism, while the other would time and again return to his early, formalist propositions. The theoretical divergences that were implicitly present in the two men's understandings of the nature of poetic language from the very inception of their careers became more and more apparent from the start of the 1930s in the work of Jakobson, who was not, like Shklovsky, forced to radically change his method and even his manner of scholarly prose.
2019
The subject of this paper is the supposed affinity between painting and poetry as theorised by the linguist Roman Jakobson who played a crucial role for the Russian avant-garde and its close association of painting and poetry. The paper focuses on Jakobson's relation to the two 1913 manifestos "The Word as Such" and "The Letter as Such", written by the poets Chlebnikov and Kruchenyck, and on Jakobson's own (lost) reply. It calls into question the accuracy of Jakobson's claim of having influcenced the poets' manifestos, and describes what Jakobson considered to be the shared 'core elements' of the visual and literary arts. According to him, they share a visuality, not on the level of the written sign or grapheme, but on a deeper level, visible only to the mind's eye.
Roman Jakobson, linguistica e poetica
2018
Ivi, p. 22. («Якобсон-это связующее звено во всемирном путешествии идеи структуры: Москва-Прага-Копенгаген-Париж-Гарвард-Москва»). 11 id., O nekotorych smyslach raboty filologa [Su alcuni sensi del lavoro del filologo], infra, p. 152. 12 Ibidem. 13 patrick sériot, Structure et totalité. Les origines intellectuelles du structuralisme en
Poeticisms and Common Poetic Discourse in the Digital Russian Live Stylistic Dictionary
Vekshin, Georgy, Maximov, Egor and Lemesheva, Marina. "Poeticisms and Common Poetic Discourse in the Digital Russian Live Stylistic Dictionary". Computational Stylistics in Poetry, Prose, and Drama, edited by Anne-Sophie Bories, Petr Plecháč and Pablo Ruiz Fabo, Berlin, Boston: De Gruyter, 2023, pp. 153-178.
The use of a word in a specific sociocultural environment makes it a marker of that context and of the corresponding typical speech role. Is it possible to create an automatic detector of the poet's role in a text? The Russian poeticisms discussed in this chapter constitute a layer of vocabulary and phraseology that is optional for poetry but indispensable for authors who position themselves as poets and try to make their texts sound as poetry-like as possible. In Russian culture, this stratum is mainly used in common poetic discourse, the popular tradition of naive versification. The technology for poeticism detection implemented in the Russian Live Stylistic Dictionary and described in this chapter opens up possibilities for the essential stylistic differentiation of poems and the preliminary assessment of their aesthetic quality.
2012
The subject of this paper is the supposed affinity between painting and poetry as theorised by the linguist Roman Jakobson who played a crucial role for the Russian avant-garde and its close association of painting and poetry. The paper focuses on Jakobson's relation to the two 1913 manifestos "The Word as Such" and "The Letter as Such", written by the poets Chlebnikov and Kruchenyck, and on Jakobson's own (lost) reply. It calls into question the accuracy of Jakobson's claim of having influcenced the poets' manifestos, and describes what Jakobson considered to be the shared 'core elements' of the visual and literary arts. According to him, they share a visuality, not on the level of the written sign or grapheme, but on a deeper level, visible only to the mind's eye. Content Introduction "The Word as Such" "The Letter as Such" "The Phoneme as Such" Conclusion
Writing as an “Imagetext” in the Poetic Universe of Velimir Chlebnikov
Russian Literature, 2004
Chlebnikov's idea of a universal language is very complex. It is interrelated with his theory of "inner flexion", "word-creation", "zaum'", fate, and a universal mathematical code. Moreover, it differs from most previous attempts to assign a symbolic meaning to sound because Chlebnikov seems to focus partly on sound and partly on the visual shape of letters. As Janecek points out, "Chlebnikov comes closest of anyone to shifting the emphasis away from sound toward sight, and thus of reflecting the standard Symbolist-Futurist shift of emphasis" (Janecek 1985: 172). However, the visual aspect of the written word has largely been ignored or described as a secondary aspect. For instance, in the otherwise very important papers 'The Language of the Stars' by Dubravka Oraid Tolid and '"Azbuka uma" Chlebnikova' by Carla Solivetti the focus is exclusively on the ontologization of sound and the "mathematical code" of the universal language, respectively. Part of this can be explained by the very complexity of the universal language. It is a "new paradigmatic inventory of indexical signs" (Griibel 1986: 434), and it is a set of written characters whose form seems to correspond to its inner idea or representation, an iconic sign. According to Grtibel, the indexical signs have an "existential link between sign-vehicle and object", and yet their function in the word is that of opening up potential meanings of and correspondences between the words. The meanings of these signs are distilled from lexical units of the existing Russian language and projected back on these again in a subjective act of poetic creation (434), and the universal language is constructed on an abstract idea of an inner objective geometrical form.