LINGUISTIC AND CONCEPTUAL FEATURES OF POETIC DISCOURSE

Abstract

INTRODUCTION This article puts forward the study of E. Dickinson’s poetic discourse specific features, in particular with a reference to its linguistic and conceptual levels. Despite the fact that the issue of discourse has been in the central focus of linguists for almost half a century, an abiding scientific interest in this phenomenon seems to be reaching its peak. The explanation leads to a widespread assumption that discourse has no rigid boundaries which in turn causes its ambiguous understanding and interpretations in most linguistic works. Consequently, the study of discourse is heavily conditioned by the approach applied, its methodology and procedures aimed at establishing the most significant features of a given discourse, its common and specific implications. Poetic discourse is defined as linguistic and mental space created by the author and his/her reader by means of a poetic text that combines three aspects: linguistic, communicative and cognitive. The linguistic aspect is embodied in a poetic text itself (hereinafter – PT) by thoroughly selected language means that can be perceived sensitively. The communicative aspect is revealed in a dialogue between the author and reader of a PT in which a poetic function of language prevails and defines the implication of a vast range of linguostylistic devices. The cognitive aspect deals with the verbalization of artistic concepts. Discourse concepts configuration is defined as a totality of key concepts that belong to various concept fields of a national conceptual sphere and verbalized in a given discourse by linguistic means (A. Pryhodko). Thus, it has been hypothetically suggested that stylistic devices (phonetic, lexical, syntactical and textual) provoke triggers in the reader’s consciousness, i.e. the verbalization of artistic concepts and their implications