This dissertation focuses on the study of the linguistic and pragmatic features of the German-language lyrical-poetical discourse of the “New Objectivity”, a literary movement at the time of the Weimar Republic (the time period from 1924 to 1933). The literary movement the “New Objectivity” is characterized by the aesthetic features such as the focus on reality, factuality and documentary style. The pragmatic analysis focuses on the artistic discourse, including lyrical-poetical discourse as its subtype. Two types of speech acts (referential and self-referential) are actualized in the lyrical-poetical discourse simultaneously. Referential speech acts correlate nominative units with the real or imaginary world and belong to a certain illocutionary type. Self-referential speech acts are based on self-reference and reflect the aesthetic intention of the author. There are three types of artistic communication in the lyrical-poetical discourse of the “New Objectivity” – aesthetic, vertical and horizontal. Aesthetic artistic communication is based on the author’s self-reference and aesthetic intention and is actualized by the implementation of self-referential speech acts. Vertical artistic communication is the communication between the author and the reader, while horizontal artistic communication is the communication between the characters of the poetic text. Referential speech acts are actualized in both vertical and horizontal artistic communications. Self-referential speech acts are realized only at the background of aesthetic artistic communication. Utterance is the criterion for determining the boundaries of a particular referential speech act. Its boundaries are determined by the illocution. Linguistic and stylistic means of the lyrical-poetical discourse of the “New Objectivity” reflect the aesthetic characteristics of the movement. These means are the indicators of the author’s aesthetic intention and self-referential speech acts and implement aesthetic perlocutionary effect on the reader, despite his/her distance in time and space. Six referential speech acts and their own subtypes – assertives, directives, expressives, quesitives, commissives and contactives are implemented in the lyrical-poetical discourse of the “New Objectivity”. Each type of speech act (except quesitives) can be realized by various linguistic means both in vertical and horizontal communication and at the level of a separate utterance or at the level of the whole text. Assertives are the vast majority of speech acts at the level of utterance, but contactive speech acts are realized more frequently. Quesitives are fixed only in horizontal artistic communication. Assertives, directives and expressives are the vast majority of speech acts at the text level.
Implicatures are common for the lyrical-poetical discourse of the “New Objectivity” on the utterance level. They are actualized due to linguistic and stylistic triggers. Implicatures are realized mainly in vertical artistic communication. Linguistic and pragmatic features of the lyrical-poetical discourse of the “New Objectivity” are reflected in the idiostyle of its authors. The idiostyle of M. Kaleko is formed by the philosophical, civil and love lyrics. Speech acts of assertive, directive and contactive types implement most of the poetic texts. Occasionalisms, forenisms, allusions and phraseological units are the most typical triggers of implicatures. The majority of E. Kästner’s poetic texts belong to the civil, philosophical, landscape and urban lyrics. His idiostyle is characterized by the use of irony and expressions, philosophy. Assertives, directives and contactives are the most frequent types of speech acts. Irony and metaphor are typical triggers of implicatures in most cases, as well as word ambiguity and simile. Factuality, accuracy, laconism, irony, biographic features, complex rhythmic-compositional structure and pun are typical for the lyrical-poetical discourse of J. Ringelnatz. Assertives, directives and contactivs are the vast majority of speech acts. Forenisms, pun, occasionalisms, irony and contrast are typical triggers of implicatures for his idiostyle. Key words: aesthetic artistic communication, horizontal artistic communication, idiostyle, implicature, lyrical-poetical discourse of the “New Objectivity”, referential speech act, self-referential speech act, vertical artistic communication.
