Verbal means of acceleration of the perceptual time in the poetic texts of the Ukrainian avant-garde
Time is a form of matter, a fourth dimension of being and a category of culture. The present article characterizes subjective time as a broad concept in culture studies. It establishes a connection between the rhythm of perceptual time in literature and in music/film. The change of diction in a literary text is compared to montage (film) and rhythm, intonation and plot development (music). Every type of time except for the fictional is characterized by its own ways of slowing down and accelerating. The concentration of perceptual time in the poetic texts of the avant-garde is accompanied by an axiological recoding of the components of referential spheres such as "individual", "machine", "the past", "the future", etc. This concentration provides a backdrop for the interaction between the axiological and the deontological modality. The article addresses the connection between models of perceptual time and the aesthetics of the avant-garde. The activization of textual temporality is shown to be relevant to the aesthetic and philosophical ideas of the avant-garde. The author of the article elucidates the role linguistic and stylistic units play in accelerating the perceptual time. She offers an analysis of the stylistic interaction between linguistic means of poetic modelling. The article demonstrates that, in order to compress the perceptual time, the poets rely on phono-semantic (phonocomplex repetitions, leitmotif), lexical-semantic (lexical repetition, use of neolexemes), as well as semantic-syntactic (occasional combination, parcellation). The temporal rhythm is shown to have a visual and auditory perceptual basis. Language as the second signalling system makes impressions and ideas more vivid and accelerates the subjective time of poetic texts.
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