Абай қҰнанбаевтың Әлемі мен шығармашылығына жастардың КӨЗҚарасы

«Абай Құнанбаевтың әлемі мен шығармашылығына жастардың көзқарасы» атты республикалық ғылыми онлайн-конференция 
exploiting all these patterns by the poet. And the reader encounters this end product, reads it and 
may adopt a kind of cognitive or aesthetic effect. But since high attention is given to the function 
performed by poetic genre, it is necessary to go beyond text dimension and consider poetry as 
discourse. 
Verdonk (1991) defines a poem's discourse as a contextual and interpersonal activity with the 
purpose of transmitting a literary message from the author to the reader. There is no unanimous 
description of the nature of poetry since it avoids any norms which confine it to a single 
interpretation. In other words, everybody preserves one's individuality in its interpretation by 
adopting one's own impressions and attitudes. Hence, in ordinary communication, linguistic 
code acts as indices which direct one to extra linguistic contextual factors in order to get out 
relevant information (Widdowson, 1990). 
Poetry is open to endless interpretations. In fact, the meaning of a poem changes not only 
from reader to reader, but also from reading to reading, i.e. every time one reads the same poem, 
he/she perceives its message differently, consequently receives a new effect. 
In this regard, linguistic patterns across all phonological, lexical, grammatical and 
graphological levels consistently realize semantic unity of the poem. Regarding to lexical items 
contribute to creating the context of the poem through their association with each other. Put it 
another way, the value of every lexical item cannot be specified without referring to its 
neighboring words. The patterning of syntactic structures in equivalent patterns can also suggest 
some common semantic features of the poem. 
The concept of maximum coherence as used here has been emphasized by many stylisticians, 
although they give it different titles such as: consistency of foregrounding (Hasan, 1985); 
motivated foregrounding (Halliday, 1971); semantic drift (Butt, 1988b); independent coherence 
(Widdowson, 1992). 
Every lexical item, according to Cummings (1983), contributes to produce images in poetry, 
either directly or in an oblique manner. Once an image has been established in a poem, all lexical 
items in the poem may probably be applied to it by extending their meaning metaphorically. 
What is called a lexical pattern is equivalent to lexical cohesion as developed by Halliday and 
Hasan (1976). Lexical cohesion can be found between content words or lexical items which may 
be in three sense relations to one another, generally recognized as synonymy, antonymy, 
meronymy and repetition. 
To demonstrate the way in which lexical items associate in the context of a poem to realize a 
final, higher-order context, an example has been taken from Abai's poem ‘Winter’. In English 
poem was translated by Dorian Rottenberg. 

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