THE LINGUOPOETICS OF GEOFFRET CHAUCER’S THE CANTERBURY TALES AND ALISHER NAVVOI’S HAYRAT UL-ABROR

Abstrak

Linguopoetics occupies a significant position within contemporary philological research, as it represents an interdisciplinary field that integrates linguistic analysis with literary interpretation. Emerging at the intersection of linguistics and poetics, linguopoetics investigates how language functions within artistic discourse and how linguistic structures contribute to the formation of aesthetic meaning. Unlike traditional literary criticism, which primarily focuses on thematic, historical, or biographical aspects, linguopoetics emphasizes the internal organization of the text and the interaction between form and content. The term “linguopoetics” itself reflects this dual orientation: it combines the linguistic dimension (the study of language as a system) and the poetic dimension (the study of artistic expression). Thus, linguopoetics may be defined as a branch of philology that examines the aesthetic potential of language and the ways in which linguistic means create artistic imagery, emotional impact, and ideological depth in literary texts. The formation of linguopoetics as an independent field was preceded by the development of several related disciplines, including stylistics, structural linguistics, semiotics, and discourse analysis.[1] In the early twentieth century, scholars associated with the Russian Formalist movement and the Prague Linguistic Circle laid the groundwork for systematic analysis of literary language. They proposed that the artistic function of language differs fundamentally from its everyday communicative function

[1] Bakhtin, M. M. (1981). The dialogic imagination: Four essays p. 259. University of Texas Press.