2026· Alford Council of International English & Literature Journal· Vol 09, pp. 01-13· 0 citations· 5 references
Abstract
This article examines the relevance of grammatical structures in stemming meaning from Shakespeare’s Sonnets 3, 40 and 147 through a formalist lens. By interrogating the intrinsic elements of language, such as syntax, semantics, and literary devices, the paper reveals how these features contribute to the sonnets’ thematic richness and highlights the relevance of grammatical and linguistic structures. The analysis of grammatical composition, including clauses, sentence types and punctuation, exposes the poet’s purposes and emotions, as well as the characters’ behaviour. Sonnet 3 serves as a pivotal point, showing the poet’s appeal to the “fair young man” concerning the nature of beauty and procreation, while Sonnet 40 brings to light themes of betrayal and loss through complex sentence structures. On the other hand, Sonnet 147 mirrors hopelessness in response to earlier denunciation, as indicated by disordered expressions. Ultimately, this article aims to highlight the significance of structural analysis in comprehending Shakespeare’s poetic expression by examining similarities and differences among the selected sonnets. This underscores the wider implications of the interconnected themes of love, beauty, and existential reflection.
This study is a natural continuation of the description of the lexical devices employed to create personification in V. Malenko’s poetic texts. The object of the analysis is the grammatical means of expressing personification in his poems. The article aims to identify the structural semantic variants of these devices and to describe the conditions of their functioning which facilitate the personification of inanimate objects. The source material for this research was V. Malenko’s poetry collections "The Sea Rises in Different Ways" and "Electric Poems". To examine the linguistic material, we used structural-semantic, componential, and comparative analysis. The study shows that even though the lexical factor has the major role in creating the living world image, substantive prepositional-nominal forms are also actively involved in the process. They either directly express the semantics of the subject or contribute to its formation in inanimate nouns through the meanings of purpose, instrument, or compatibility. The personification function was identified in reflexive verbs with the meaning of reciprocal-reflexive action of persons as well as in imperative mood forms. These morphological devices function together within a specific syntactic structure which ensures the necessary semantic and grammatical connections between word forms. The specialised syntactic means of personification include constructions with subordinate clauses of purpose when the goal-setting subject is non-human as well as constructions with nouns of direct address and direct speech coming from an inanimate object or addressed to it. The semantic basis for such constructions often lies in the semantisation of the formal grammatical gender of inanimate nouns. The article concludes that personification semantics formation stems from the functional interaction between the lexical and grammatical language resources. The studied poetic discourse, whose elements reveal diverse semantic and figurative connections, convincingly demonstrates the field organisation of the animacy/inanimacy category. Moreover, the significance of a particular linguistic means type varies across different poetic texts.
E. I. Budaragina, N. Petrova, O. D. Prokurorova· Russian language at school· 0 citations
The study provides a quantitative syntactic analysis of Jan Neruda’s Povídky malostranské (Tales of the Lesser Quarter) and seeks to empirically verify the traditional literary-historical characteristics of his style. Using stylometric indicators, it examines sentence length, the ratio of simple sentences to compound sentences, the relationship between the narrator and the characters, the degree of parataxis and hypotaxis, and the horizontal structure of the text. The results demonstrate the stability of Neruda’s syntactic model across the collection. Parataxis is the dominant principle, while hypotaxis serves more as a means of semantic differentiation. The differences between simple sentences and compound sentences are mainly quantitative in nature. The horizontal division of the text does not manifest itself as a factor of syntactic fragmentation, but rather as a means of compositional organisation and thematic clarity. The stylometric data thus corrects the idea of the fragmentary nature of Neruda’s syntax and confirms its structural coherence.
This study aims to analyze how Oppenheimer employs ambiguity as a storytelling device to enrich the narrative and encourage audiences to critically interpret the ideas and messages conveyed in the film. A descriptive qualitative method was employed to examine lexical and structural ambiguities found in the dialogues spoken by the main character, J. Robert Oppenheimer, portrayed by Cillian Murphy. The findings reveal a total of 24 ambiguous dialogues, consisting of 17 instances of lexical ambiguity and 7 instances of structural ambiguity. Lexical ambiguity occurs when a word has more than one possible meaning, potentially leading to different interpretations. Structural ambiguity arises from sentence structures that allow multiple interpretations due to their grammatical arrangement. These findings suggest that ambiguity plays a significant role in shaping the film’s narrative by encouraging viewers to interpret the dialogues from different perspectives. Rather than creating confusion, the use of ambiguity enhances the complexity of the characters, supports the thematic depth of the story, and promotes critical engagement with the film’s underlying messages.
Keywords : Linguistics, Semantics, Lexical, Structural, Ambiguity
Ari Arfian, Sayyid Khairunas, Ary Iswanto Wibowo et al.· Journal of Applied Linguisti...· 0 citations
This article examines the linguistic description of compound sentences in modern English linguistics from syntactic, functional, and communicative perspectives. The study analyzes theoretical approaches proposed by prominent linguists such as N. Chomsky, G. Leech, J. Svartvik, R. Quirk, M.A.K. Halliday, R. Huddleston, and G.K. Pullum regarding the structure and formation of compound sentences. Special attention is given to coordination as a syntactic mechanism connecting independent clauses and to the derivational processes underlying the formation of compound constructions. The article explores the semantic, pragmatic, and communicative functions of compound sentences, emphasizing their role in expressing complex thoughts and maintaining coherence in discourse. Comparative observations between English and Uzbek compound sentence structures are also presented, highlighting similarities and differences in coordination, punctuation, and stylistic realization. The findings demonstrate that compound sentences represent an essential component of syntactic organization, allowing speakers to convey interconnected ideas effectively while preserving the independence of individual clauses. The study contributes to a deeper understanding of the theoretical foundations of compound sentence formation and their significance in contemporary linguistic research.
Introduction. The relevance of the study is determined by the sustained interest of contemporary linguistics and literary studies in implicit, non-logocentric forms of argumentation in literary discourse, as well as the need to rethink the persuasive potential of a text that is not based on explicit rational arguments. This article examines the argumentative potential of a literary text in terms of its ability to influence the reader through imagery, empirical experience, and symbolic interpretation of experience. The research problem lies in identifying the linguistic and compositional mechanisms through which literary discourse performs an argumentative function beyond the framework of the traditional logical-discursive model. The aim of the study is to analyze the linguistic, stylistic, and compositional means of implicit argumentation in the contemporary Russian novel. The empirical material consists of a text of the novel “Laurus” by E.G. Vodolazkin that represents a synthesis of literary, philosophical, and spiritual discourses. The research methodology includes stylistic analysis, elements of hermeneutics, narratology, and literary rhetoric; the theoretical basis is provided by concepts of latent argumentation developed in the works of O. Ducrot, Ch. Perelman, and other representatives of the rhetorical tradition. Results. The study demonstrates that the argumentative structure of the text is formed through empirically rich vocabulary, bodily and sensory imagery, symbolism of the path, fire, water, and the body, polyphony of narration, linguistic archaisms, and stylistic anachronisms. The scientific novelty of the work lies in interpreting the argumentation of a literary text as an existentially experienced and culturally mediated mode of persuasion, which expands traditional conceptions of argumentation limited to a logical-rational approach. Conclusion. Substantiate the idea that a literary text can perform an argumentative function through appeals to cultural memory, bodily involvement, and the spiritual intuition of the reader, opening prospects for further studies on the rhetoric of literary discourse, including within the context of Christian and philosophical prose.
P. Gong, I. Mitrofanova· Vestnik of Samara University...· 0 citations
This study examines how present tense verbs in their negative and affirmative forms function semantically and stylistically in Maha Al-Attoum’s poetry collection Imra’at Al‑Waqt (The Woman of Time). By tracing the poet’s alternation between negation and affirmation, the research seeks to uncover how verbal choices construct psychological states, negotiate temporality, and articulate a female poetic voice within contemporary Arabic literature. Adopting a descriptive–analytical approach, the study first identifies instances of negated and affirmed present tense verbs across the collection, then analyzes their dominant semantic implications. The analysis is organized into two main sections: negative present tense verbs and their meanings, and affirmative present tense verbs and their meanings, each further divided according to recurring thematic patterns. An introductory section foregrounds the central role of the verb in Arabic grammar and explains why the present tense is particularly significant for expressing continuity, expectation, and inner experience in poetic discourse. The findings reveal that Al‑Attoum’s shifting use of negation and affirmation in the present tense is closely tied to psychological nuance: it encodes tension between despair and hope, constraint and agency, absence and presence. These verbal patterns help to disclose the poet’s stance toward self, time, and surrounding reality, demonstrating how grammatical choices participate in meaning-making and subject formation in modern Arabic poetry. The study concludes by calling for more applied grammatical and semantic analyses of literary texts, arguing that such work not only revitalizes the study of Arabic grammar but also deepens our understanding of how formal linguistic structures shape literary expression and cultural imagination.
Murad Rafik Albayyari· Jordan Journal of Applied Sc...· 0 citations
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