Klank-, ritme- en leksikale organisasie as poësieteoretiese konsepte: kognitiewe toetsing en aanvulling van 'n teoretiese kader

[摘要] English: Although sound, rhythm and lexical organization are accepted as poetic strategies inexisting research, no effort is made to explain this supposition. Therefore, anattempt was made by the Science of Literature Department at the UFS to develop amodel which would make possible the objective identification and explanation ofgeneric presence in a literary text. This model seems to be more productive,because logical relations are established between the function of a genre systemand the textual strategies in terms of which generic manifestation can be expected totake place.The aim of my research is cognitive testing and supplementing of this model on thebasis of existing publications in cognitive theory concerning the poem's lexical,rhythmical and sound organization. The productivity of this approach is increased byits interdisciplinary modus operandi.In the first chapter the relevance of my research is motivated where after thehypotheses to be investigated are explicated. The point of departure of theDepartment's model is that culture organizes and explains man's life world.Therefore, in the second chapter I investigate non-cognitive as well as cognitiveconceptions of culture and the cognition systems developed by man. In the firstsections of chapters 3, 4 and 5, I evaluate my hypotheses concerning respectivelylexical, rhythm and sound organization in terms of existing, non-cognitive research.Relevant approaches include: Russian Formalism, New Criticism as well asstructuralist semiotics. Thereafter, the cognitive paradigm's contribution towardstesting and supplementing of the genological model is determined in detail.Only non-cognitive research concerning the poem's rhythmical and lexicalorganization verifies my hypothesis that the reader is identified with a state ofconsciousness. The following hypotheses, however, are confirmed by non-cognitiveas well as cognitive research: that lexical, rhythmical and sound strategies, optimallyorganized,2. identify this state of consciousness for the reader by means of implicitcommunication, i.e. by thematizing strategies of similarity;3. function and interact by means of repetition as the organizing principle;4. do not present the state of consciousness in historical or logical terms.The fifth hypothesis is neither verified nor falsified by existing research on rhythmicaland sound organization. However, it is partially supported by non-cognitive as wellas cognitive studies on the metaphor.While no aspect of this poetological model was contradicted, the second and fourthhypotheses were supplemented by cognitive theory. It appears as if strategies ofsimilarity are thematized in distinctly cognitive ways by a poem's lexical, rhythmicaland sound organization. Perhaps this explains why the information potential of apoem is increased when more than one of these sub-systems is semantically active.The cognitive paradigm has some shortcomings of its own. Nevertheless, itsadvantages for the (scientific) study of literature is illustrated by its ability to explainobjectively some aspects of Grebe's interpretations of Opperman's Kontrak.

[发布机构] University of the Free State