STRATEGIES OF NOVELTY IN THE POETIC LANGUAGE — SYSTEM CHANGES

 Neology is largely determined by the attitude toward the new in this or that era and depends on what is linguistic dominants in the cultural systems. In the poetry of the last decades one can observe systematic changes in the strategies of presenting novelty and attitudes towards the new. The modern era can be defined by the reign of the new and by the undivided dominance of the creative. Changes in attitudes towards the new are related to a protest against the demand for creativity as a special capitalist mandate of our time. In the cultural system of the 20th century novelty was presented as something alien to the recipient, aiming to provoke an initial rejection, followed by obedience and ultimately acceptance of the new as familiar (the postmodernist era is not an exception to this). Whereas in the language of 21st century poetry, a strategy of hedging of the new and avoiding its branding can be noticed. The linguistic mechanisms of poetry imply keeping the new as a coincidence that does not accentuate the contradiction between the new and the old. This is not a rejection of the new, as the very idea of time is new in itself, but this is the new without the apology of innovation or initiation. The new arises as a perception of integrity, and not as a result of analysis. Since traditional neology is now the prerogative of everyday speech, communication, and media spaces, which contradicts the tasks of poetry, and the task of poetry in recent years is to resist the dictate of creativity.