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UDC 821.161.1-1
DOI 10.20339/PhS.6s-25.155
Ovcharenko Alexey Yu.,
Doctor of Philology,
Professor of the Russian Language and Linguistic Culture Department
Institute of Russian Language
Peoples’ Friendship University of Russia
e-mail: ovcharenko_ayu@pfur.ru
Shaprinskaya Elizaveta A.,
Laboratory Assistant of the Russian Language and
Linguistic Culture Department
Institute of Russian Language
Peoples’ Friendship University of Russia
e-mail: shaprinskaya_ea@pfur.ru
Dubinina Alla P.,
Senior Lecturer of the Humanities Department
Belarusian-Russian University (Mogilev, Belarus)
e-mail: alladubinina@inbox.ru
This work is devoted to a comparative phonosemantic analysis of two poetic texts — the poems by O.E. Mandelstam “The wave runs on, breaking the wave’s back…” (1935) and by A.A. Tarkovsky “And this is what I dreamed, and this is what I dream…” (1974). The study is conducted at the intersection of poetics, psycholinguistics, and digital philology and aims to identify hidden patterns that connect sound and meaning at the deep level of the text. The focus is on the phenomenon of phonosemantic parallelism, which is understood as the interdependence of the sound pattern and the semantic structure of intertextually related poems. The article analyzes the articulatory and acoustic features of phonemes in O. Mandelstam’s poem, which form a sound wave that aligns with the figurative dynamics of the text. It shows how the alternation of consonant and vowel phonemes in combinations such as “v-l-n” or “r-v” creates the effect of homophony, where the leading sound “voice” organizes the semantic perception, and then how this sound wave is refracted in A. Tarkovsky’s work. The methodology of “slow / close reading” allowed us to capture the sound structure of the text as a self-organizing system that reflects an emotional palette ranging from anxiety and tension to immersion in the image. Comparing it with the poetics of A. Tarkovsky, whose text is also rich in phonosemantic connections, we can say that the intonational thinking of both poets is typologically related, despite the time gap between them. Thus, the article offers a new perspective on the interaction between sound and meaning in 20th century Russian poetry, emphasizing the need for an interdisciplinary approach and addressing the intuitively elusive yet formalizable patterns of poetic language.
Keywords: O.E. Mandelstam, A.A. Tarkovsky, phonosemantics, poetics, poetic organism, parallelism, psycholinguistics
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