| Abstract [eng] |
The master's thesis focused on the problematic of iconicity in poetry. It analyzed how motivation / iconicity arises and functions in poetry, as a special type of discourse, and how it affects the formation of meaning. The theoretical part presented Charles Sanders Peirce's concepts of iconicity and Roman Jakobson's aesthetic function of language, which helped to expand the key concept of Yuri Lotman's Iconic Rhetoric within the framework of this study. The connection between these three paradigms of thinking was substantiated, and the essential arguments for this connection were developed (iconicity, the importance of the sensory element of the sign, the assumption of the dynamism and multifunctionality of the sign, and its dialogical nature). Based on the refined theoretical foundations, an analysis of two radically differently constructed poetic texts is carried out: Pranas Morkūnas's "bepročio maršas" and Vytautas Stankus's kabantys sodai. The study revealed how the formal aspects that perform an additional coding function in the “bepročio maršas” ─ segmentation, graphic line puzzles, phonetic features of the text, rhythm, etc. ─ shape meaning. Iconic reading based on the activation of architextual reference allowed the same representamen, described in previous studies by literary scholars as “incoherent babbling”, to be heard as onomatopoeias of the march’s performance – musical instruments and the action of marching itself. The analysis of "The Hanging Gardens" showed how the hypertextual connection to Thomas Stearns Eliot's poem becomes an additional code that (along with other intertexts and the ambivalent figures of gardens, ants, and water) substantiates and motivates the correlation between the planes of expression and content of Stankus' poem. |
