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theoretically drawn attention to the poetic word. Itthe attention has led to the emergence of the term poetic languageinthe opposition to the practical, everyday, mundane. Here is the distinction, made first byA. L. Yakubinsky: "The semantic side of the word (meaning) plays in practicallanguage a greater role than sound (which is understandable); therefore, differentthe details of the pronunciation of the reach of consciousness, mainly, so faras they serve to distinguish words in meaning" (Collections on the theorythe poetic language. -- PG., 1916. -- Vol.1. P. 16-17). "In the language of poetry is not the case; it can be argued that the soundspeech in poetic language POPs up in bright field of consciousness and attentionfocus on them; in this respect, an important introspection poets who find themselvesproved by some theoretical considerations" (Ibid.C.17). "The phenomenon of "exposure" the word is very common, and probably everywatched it on himself" (ibid.P.23). "It is clear that the emotion caused by sounds should not leak inthe opposite direction to the emotions caused by the "content" of the poem(and Vice versa), and, if so, the "content" of the poem and its soundcomposition are in emotional dependence on one another" (ibid.P.25). Interesting the statement of V.B. Shklovsky on abstruse language as atoday's reality: "Abstruse language" exists "not only clean yourform, that is how some meaningless words, but mainly ina latent state, as there was a rhyme in the ancient verse, alive, butnot conscious" (ibid.P.9). V. B. Shklovsky the result comes to the following conclusion:"abstruse sukorejo wants to be a language.
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