Individual and Author's Non-Formations as a Dominant Language of Tatar Poetry of the First Half of the XX Century

Abstract

The article is devoted to the study of linguistic-stylistic features of Tatar poetry of the first half of the XX century and the identification of the style-forming properties of new lexical means in the language of fiction; it reveals the artistic and aesthetic features and semantics of new formations in the language of poetic texts; explores the methods of formation of new lexical units, which until now have not become the object of special linguistic research. The relevance of the research topic is explained, first of all, by the possibility of revealing the behavior of new formations at different levels of the language and is determined by the need to study new individual-author formations in Tatar poetry. The scientific novelty of the research lies in an interdisciplinary approach: interdisciplinary analysis made it possible, on the one hand, to more fully identify the specifics of the “poetic style" of the Tatar literary language in the first half of the XX century, and, on the other hand, to develop a methodology for studying the stylistic patterns of the formation of the language of poetic texts.<br /> In relation to the research problems, the set of existing basic research methods is effectively used: descriptive (generalization techniques and interpretation of the material under study), comparative-historical methods, partial and continuous sampling techniques, systematization of units by denotative classes, elements of component, contextual, and etymological analysis.<br /> The study proved that any changes in the social, literary and aesthetic process, the history of the Tatar literary language transform not only the ideological and meaningful layer of poetic works but also the stylistic background of their language. The authors established that in the poetic language of the first third of the XX century, lexical units and grammatical forms are formed by suffixation, phonetic method, and abbreviation. Poetic language strives for brevity as much as possible, in terms of the use of linguistic units, the author's choice of linguistic and stylistic means, and differs from other types of works.