Klank-, ritme- en leksikale organisasie as poësieteoretiese konsepte: kognitiewe toetsing en aanvulling van 'n teoretiese kader

English: Although sound, rhythm and lexical organization are accepted as poetic strategies in existing research, no effort is made to explain this supposition. Therefore, an attempt was made by the Science of Literature Department at the UFS to develop a model which would make possible the objective identification and explanation of generic presence in a literary text. This model seems to be more productive, because logical relations are established between the function of a genre system and the textual strategies in terms of which generic manifestation can be expected to take place. The aim of my research is cognitive testing and supplementing of this model on the basis of existing publications in cognitive theory concerning the poem's lexical, rhythmical and sound organization. The productivity of this approach is increased by its interdisciplinary modus operandi. In the first chapter the relevance of my research is motivated where after the hypotheses to be investigated are explicated. The point of departure of the Department's model is that culture organizes and explains man's life world. Therefore, in the second chapter I investigate non-cognitive as well as cognitive conceptions of culture and the cognition systems developed by man. In the first sections of chapters 3, 4 and 5, I evaluate my hypotheses concerning respectively lexical, rhythm and sound organization in terms of existing, non-cognitive research. Relevant approaches include: Russian Formalism, New Criticism as well as structuralist semiotics. Thereafter, the cognitive paradigm's contribution towards testing and supplementing of the genological model is determined in detail. Only non-cognitive research concerning the poem's rhythmical and lexical organization verifies my hypothesis that the reader is identified with a state of consciousness. The following hypotheses, however, are confirmed by non-cognitive as well as cognitive research: that lexical, rhythmical and sound strategies, optimally organized, 2. identify this state of consciousness for the reader by means of implicit communication, i.e. by thematizing strategies of similarity; 3. function and interact by means of repetition as the organizing principle; 4. do not present the state of consciousness in historical or logical terms. The fifth hypothesis is neither verified nor falsified by existing research on rhythmical and sound organization. However, it is partially supported by non-cognitive as well as cognitive studies on the metaphor. While no aspect of this poetological model was contradicted, the second and fourth hypotheses were supplemented by cognitive theory. It appears as if strategies of similarity are thematized in distinctly cognitive ways by a poem's lexical, rhythmical and sound organization. Perhaps this explains why the information potential of a poem is increased when more than one of these sub-systems is semantically active. The cognitive paradigm has some shortcomings of its own. Nevertheless, its advantages for the (scientific) study of literature is illustrated by its ability to explain objectively some aspects of Grebe's interpretations of Opperman's "Kontrak".