Adjoined Conceptual Domains in the Bilingual Poetry of Pablo Picasso

E. Mallen, Luis Meneses
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Abstract

Picasso started writing poems in April, 1935 during a period of personal crisis. This shift to literature is predicated on an assumed irreducible conflict between new verbal expressions and his established visual composition. Picasso’s texts provide a window into the artist’s mind that is separate from his own artistic creations —which makes them extremely relevant. This paper investigates two aspects of Picasso’s poetry. First, how Picasso used subtle differences between the lexical realization of concepts in French and Spanish: the two languages he used to compose his poems. And Second, how he explored the potential overlap between semantic categories for concepts associated with co-occurring words. When these linguistic phenomena are examined carefully, it becomes clear that the lexical combinations that Picasso implemented in his poems were far from arbitrary. Resume Picasso a commence a ecrire des poemes en avril 1935, pendant une periode de crise personnelle. Ce passage vers la litterature se fonde sur le conflit irreductible suppose entre de nouvelles expressions verbales et sa composition visuelle etablie. Les textes de Picasso nous donnent un apercu de ce qui se passe dans la tete de l’artiste qui est separe de ses propres creations artistiques – ce qui rend ces textes extremement pertinents. Cet article enquete sur deux aspects de la poesie de Picasso. Premierement, la maniere dont Picasso a employe des differences subtiles entre la realisation lexicale de concepts en francais et en espagnol, les deux langues dans lesquelles il a ecrit ses poemes. Deuxiemement, la maniere dont il a explore le chevauchement potentiel entre des categories semantiques pour des concepts associes aux mots coexistants. Apres un examen approfondi de ces phenomenes linguistiques, il s’est avere clair que les combinaisons lexicales avec lesquelles Picasso a compose ses poemes etaient loin d’etre arbitraires. Mots-cles: Picasso; bilingue; la poesie; domaines conceptuelsl; categories semantiques
巴勃罗·毕加索双语诗歌中的相邻概念域
1935年4月,毕加索在个人危机时期开始写诗。这种向文学的转变是基于一种假设,即新的语言表达与他已确立的视觉构成之间存在不可调和的冲突。毕加索的文本为艺术家的心灵提供了一扇窗,这扇窗与他自己的艺术创作是分开的,这使得它们非常相关。本文从两个方面考察毕加索的诗歌。首先,毕加索是如何利用法语和西班牙语这两种他用来创作诗歌的语言在词汇实现概念上的细微差别的。第二,他如何探索与共现词相关的概念的语义类别之间的潜在重叠。当仔细研究这些语言现象时,很明显,毕加索在他的诗中使用的词汇组合远非随意的。毕加索于1935年4月开始了他的诗歌创作,并在一段时期内经历了危机。这篇文章是关于文学的,它是关于冲突的,不可简化的,假设新事物的中心,表达,词汇,写作,视觉,表格。毕卡索的作品不像毕加索的作品,而是像他的作品,他的作品是艺术家的作品,他的作品是艺术家的作品,他的作品是艺术家的作品,他的作品是艺术。这篇文章是关于毕加索诗歌的两个方面的。首先,我要讲的是,毕加索和毕加索之间的差异,微妙的差别,法语和西班牙语之间的实现,词汇概念之间的差异,两种语言之间的差异,以及诗歌之间的差异。deuxiement, la maniere不会在类别、古董、概念、关联和共存中探索其发展潜力。他对语言学现象进行了深入的研究,并对毕加索的作品进行了深入的研究,并对他的作品进行了深入的研究。Mots-cles:毕加索;她来说;la集子里;而conceptuelsl;类别semantiques
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