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This text treats the specifics of postmodern poetics in Central European Slavic literaures after 1989. The Postmodernism in this part of Europe is considered as a cultural gesture rather than a cultural style or cultural essence of the epoch.
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The Homily on the Eve of Candlemas is attested in the manuscript synaxaria F 19-95 and F 19-97, kept in the Wroblewski Library of the Lithuanian Academy of Sciences. The sermon was written on the territory of the Great Duchy of Lithuania in the begin
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The "Eulogy on the Sofia Martyrs" is one of the few original Bulgarian works created most probably early in the second half of the 16th century and preserved only in one copy, probably an original, included in the MS № 1521 in the collection of the Institute of Church History and Archives at the Bulgarian Patriarchate in Sofia. The eulogy praises the righteous struggle of three martyrs from Sofia - George the New Martyr from Sofia, George the Newest Martyr from Sofia and Nicholas of Sofia. The work concentrates on the activity of Nicholas of Sofia, which shows that the author was his contemporary. The study presents some specific features of the MS such as the fact that it is the work of three scribes and not of one as has generally been assumed. In spite of the similarities in the handwriting of the second and the third copyist, the text shows some characteristic graphic peculiarities. On the basis of this three independent parts may be distinguished that were bound together later on. The article presents a diplomatic edition of the text of the eulogy. It characterizes the lexicon of the three parts of the manuscript and traces the historical development of some lexemes from the time of the classical Old Bulgarian manuscripts (10th century) onward.
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The article focusses on the poetry of Joseph Brodsky. The researcher looks at the poet‘s interest in the seasons of the year and nature‘s transformations in different seasons. Poems featuringthe intertwining motifs of “time” and “weather” are analysed in chronological order. The researcher aims at exploring in detail the characteristics of the imagery, as well as reconstructing the world of Brodsky‘s poetic self, where anthropomorphic nature plays an important artistic role.
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The paper surveys the work of the Russian playwright, author of nine dramas, written in 2004–2011 and not subjected to research yet. Two of the plays ("A Triangle" and "Under Heavens") are analysed and also compared with others. This makes possible the conclusion that the modern drama is characterized not only by breaking off with the experience of the predecessors, manifest in post-modernist provocations of „the new drama”. Natalia Moshina is presented as a talented playwright developing the potential of the intellectual, epic drama of the 20th century within the paradigm of the latest non-classical poetics.
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The description of world pictures is one of the most important tasks of the humanities, including literary science. Space is one of the dominant categories of the world picture. The spatial co-ordinate axes – both the vertical and horizontal – determine the fundamental features of the world perception, the way of life and the manner of feeling of the individual, as well as humankind. The horizontal axis constructs a network of topoi that marks the boundaries of consciousness, forming the spatial model of the spiritual continuum. The major topoi are as follows: house, city – village, East – West, North – South, homeland – foreign land, capital – province, etc.
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The article is devoted to studying of poetics of the monodrama (features of the organization stage action, plot, conflict, character). Recent decades, in the theater and literary practice in Europe and Russia monodrama is becoming increasingly important as a phenomenon of art. In contemporary critical literature, the term is used to refer some of the texts of so-called «new drama» (for example, works of E. Grishkovets, I. Vyrypaev, Y. Klavdiev and other playwrights). Over the last few years there have been several attempts to model theoretical interpretation of the genre monodrama. However, the few studies that focus on this version of the drama genre are reduced primarily to the description of its architectonic or to address particular aspects mostly in terms of narratology. The purpose of this research is to identify and describe the specific features of the complex monodramatic text with comparative analysis of generic and genre components in Russian monodrama late XX – early XXI century.
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Sharing the idea of socio-cultural nature of emotions, the article’s author analyzes perception of Andreev’s work as an outcome of extremely emotional public discourse at the time of the Russian fin-de-siècle. An organic part of this discourse was the style and the language of literary criticism. The horrors were understood as social horrors, which had already been aesthetically assimilated by naturalism, and as horrors associated with the portrayal of irrational forces controlling a man. These ideas were introduced to the readers by modernism. In Andreev’s works both of these lines merged and conditioned his literary reputation of “the singer of horrors”. Poetics of fear has already attracted attention of multiple researchers (S. Rolet). However, the author of this article, distin-guishing between the concepts of “fear” and “horror” and applying their philosophical interpretations (Kierkegaard, Heidegger, and Berdiaev), prefers the latter. In this article, the author studies the aspect of Andreev’s poetics perception using critical responses of D. Merezhkovsky, A. Bely, I. Annensky, M. Voloshin and others.
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Variability of the poetic norm in the context of globaliation and nationally oriented processes, corresponding as two parts of modern creation of culture, currently prevails. The main consequence of globaliation in Ukrainian lingual creative practice at the end of the twentieth and beginning of twenty-first century, and the poetry of New York Group, are the rethinking and renewal of the traditional lexical-and-semantic paradigms as paradigms relating to image and text creation, making an effort to place Ukrainian poetry in the context of the broadest expanse of world literature. Nationally oriented processes lead to an increase attention to the lingual-and-aesthetic signs of national culture and to the verbaliation the national-and-philosophical idea.
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The article deals with several regional words registered in the Gabrovo dialect in an attempt to connect their origin with the Proto-Bulgarian language. The author makes use of data found in the existing Bulgarian etymological dictionaries, as well as of studies of the way of life, the culture and history of the Gabrovo region.
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The article focuses on some typical spelling and punctuation mistakes which are encountered in the Bulgarian mass media, namely, the use of the definite article, capital letters, comma and ways of avoiding and eradicating them.
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The article deals with one of the traditional questions of linguistic pragmatics – its relations with the semantics. The author points out two general features of the corresponding discussion: 1) the relationship between semantics and pragmatics is usually discussed in terms of distinctions and 2) examining data from the semantic point of view, a researcher usually fo-cuses attention at the figure of the speaker, while the pragmatic approach is usually concen-trated on the figure of the hearer. Review of a number of contemporary sources shows that researchers are nearly unanimous in the rejection of attempts to draw a clear demarcation line between semantics and pragmatics. A turn to the origins of theoretical pragmatics allows one to treat the latter as a special type of semantics. A mathematical analogy is proposed, according to which several different meanings of an utterance may be distinguished: a “pure” one (the semantics proper) – a scalar sense; meanings containing the implications of the speaker and the hearers' inferences – vector senses. The difference between vector senses of an utterance is shown depending on the hearers to whom the sense is formulated (the addressee or witnesses). In conclusion, it is stated that the proposed mathematical analogy allows constructing a satisfactory calculation of semantic interpretations (i.e., practical senses) for any utterance.
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Pragmatic purposes sometimes require serious changes in translation. While translating it is necessary to go beyond the limits of purely linguistic units. Surely, simple transferring of the realities of another culture to the translated text is not enough to completely preserve all the in-formation contained in the text. Therefore translators use special devices, on condition the cul-ture specific unit is known and understood correctly by the translator, which is not guaranteed. Having analysed extensive material, we have come to a conclusion, that there might be five ways of transferring English culture specific units into Russian: 1) рreserving the culture specif-ic units in the text with the subsequent commentary; 2) “descriptive” translation without preser-vation of culture specific units; 3) preservation of culture specific units in the text with addition of explaining words; 4) transformation, i.e. replacement of one culture specific unit with more familiar ones; 5) ignoring of culture specific units in the text. Translators prefer to use descrip-tive translation, mostly ignoring all the other ways of translating the “untranslatable” culture specific units. But, in our opinion, in most cases the first way i.e. a post-textual commentary, is preferable. Only the commentary permits to completely reveal all the implications and ambigui-ties hidden behind the background words.
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According to the systematic approach the scientific text is a complicated system of subtexts which reflect the ontology, methodology, and axiology, reflective and pragmatic components of the scientist cognitive activity. An important extralinguistic factor, determining pragmatic content of the text is the “addressee-factor”. The article reviews the manifestation of this factor in Russian scientific texts. Linguistic units, which represent pragmatic information, should be combined in a specific text substructure – the subtext of addressing. This subtext is redundant for the formation of the cognitive content of the text, but it is necessary for the exposition of the scientific content, i.e. its presentation for the reader according to the standards of scientific style, because due to it the reader gets oriented in the text. The article reviews various types of operators of pragmatic information – cliché units, which “pack” the cognitive content. Some of these units reflect prospect and retrospect of exposition, others limit the problem of research, and the third activate the reader’s mind and involve him into dialogue with the author of the text. In addition to the above, the units of addressing provide for the cohesion of the overall text. On the whole, the subtext of addressing is a universal pragmatic means of scientific knowledge representation.
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The article deals with pronominal constructions – free relatives like [Beri] chto hochesh (‘Take what you like’). They are the result of pronoun clauses reduction (Beri vsio, chto hochesh ‘Take whatever you like’). Russian free relatives (free-choice pronouns) of the hochesh series (chto hochesh ‘what(ever) you like’; kogda hochesh ‘when(ever) you like’, kto hochesh ‘who(ever) you like’…) have two types of uses. The first type (Ty mozhesh vziat’ chto hochesh ‘You may take what you want’) is characterized by denotative controller of hochesh (‘want’, ‘like’) and by deontic mo-dality of context (‘X was allowed to do P’ – deontic possibility). The second type (On mozhet obmanut’ kogo hochesh ‘He can deceive anyone’) is characterized by communicative controller of hochesh (i.e. addressee). The context expresses alethic possibility (potentiality). Free relative chto hochesh (‘what(ever) you like’) has a paradigm of the person and number. The main hypothesis: incomplete morphologization of free relatives of the hochesh series can be explained by the fact that hochesh has a subject in contrast to ugodno.
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The current article is devoted to the issues of pragmatic potential transferring in the translated text. The purpose of this paper is to define the means of transferring of pragmatic potential for the English verbs describing the situation of deceiving. It’s noted that the process of translation can require the communicative and pragmatic shifts that signalize about the interpretation of pragmatic potential by the translator. The author analyzes the contexts including the verbs of deceiving: the comparison of original and translated text fragments reveals the differences in pragmatic meanings of lexical units and different ways of equivalent contextual translation for the chosen lexical units. The particular attention is drawn to the examples of non-local transferring of pragmatic component in translation, the article also describes the cases of morphological transformation and the contexts with the series of emotive lexical unites.
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The modern language situation in Russia is characterised by expansion of substandard language which gets into traditional spheres of functioning of the literary standard. Bright example of the switching language codes such as standard/ substandard is modern political communications. The functional features of Common Russian and the reasons of its use in the language of Russian politicians are considered in the article. It is supposed that politicians use substandard lexicon of Common Russian for strengthening of pragmatical and expressive effect of their speech, with the purpose of negative influence on the recipient, intimidation, warning or requirement.
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