âşikveysel诗歌中相似性的语境含义

Ceren Selvi̇
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摘要

分析诗歌语言中使用的符号意味着将诗人想要表达的内容从深层结构引向表层结构。诗歌是一门将各种符号准确而艺术地结合在一起的艺术。这意味着通过将所选的语言元素和谐地组合在一起来传达诗歌所要表达的情感。这些语言元素通过相互之间的语义联系构成了诗歌语言的框架。 语境 "这一概念决定了构成诗歌的所有词语将如何组合在一起。诗歌中使用的语言是诗人的工具。在将语言作为工具的同时,诗人希望通过语境向读者传达自己的思想和情感。然而,在此过程中,他们不可能脱离语境。词的概念相当于语言中的符号,不能脱离语境。由于语言中的符号是线性的,因此词语必须按照连续的顺序才能构成有意义的文本序列。在使用语言时,声音和词语是一个接一个的。当词语相互连接时,它们之间就会产生有意义的关系。由于这种有意义的关系,就产生了语境意义。在本研究中,我们将通过表格来解释在 Âşık Veysel 的诗歌中发现的隐喻的语境含义。在进入评述部分之前,将简要介绍符号/参照物/语境的概念并举例说明。
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CONTEXTUAL MEANINGS OF SIMILARITIES IN ÂŞIK VEYSEL'S POEMS
Analysis of the signs used in the language of poetry means bringing what the poet wants to say from the deep structure to the surface structure. Poetry is the art of bringing signs together accurately and artistically. What this means is that the desired emotion of the poem is conveyed by bringing the chosen language elements together harmoniously. These language elements which come together form the framework of the poetic language with the semantic bonds they create with each other. The concept of "context" determines how all the words that make up the poem will come together. The language used in poetry is a tool for the poet. While using language as a tool, the poet will want to convey their thoughts and feelings to the reader through context. However, it’s not possible for them to go out of context while doing this. The concept of word, which corresponds to a sign in language, cannot be separated from the context. Words must be in a consecutive order to form a meaningful text sequence because the signs in language are linear. When using language, sounds and words are placed one after the other. When the words connect to each other, a meaningful relationship will arise between them. As a result of this meaningful relationship, contextual meanings emerge. In this study, the contextual meanings of the metaphors identified in Âşık Veysel's poems are explained through tables. Before moving on to the review section, brief information and examples are given about the concepts of sign/referent/context.
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