Exploring the conceptual implications of poetic line-break: from terminology to phenomenology.

Apart from the surprising fact of being in lack of lexicographical description, line-break, a term widely used in poetic criticism, will be seen to be highly polysemous. What the term refers to, simply, is far from always clear; not only does it seem capable of changing with contexts referred to, it tends to do so in the extremely volatile fashion of attracting contrary or even contradictory referential meanings. This is the case not only in the terminological community of users as a whole but also, more notably, in individual critical texts. Rather than interpreting such terminological polysemy as a sign of critical deficiency in the observing subjects, a lacking in the very ability to make discrete observations, it is the assumption of this study that the polysemy in question may be regarded as a sign of phenomenal ambiguity in the very object observed. Upon pragmatic inspection, the often manifested confusion of terms designating concepts in the tradition of critical discourse will be seen as the expression of a fundamentally precise observation of an inherent complexity on the part of the object of criticism, the poetic phenomenon of 'line-break.' [ABSTRACT FROM AUTHOR]