Проза Александра Яшина и проблема «вологодского текста»
The report focuses on the issue of "regional text" as one of the urgent problems of modern humanities. Alexander Yashin’s prose is given as an example of "Vologda text" in the report.
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The report focuses on the issue of "regional text" as one of the urgent problems of modern humanities. Alexander Yashin’s prose is given as an example of "Vologda text" in the report.
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The article describes the key features of the individual style of A. A. Akhmatova, in particular, considers the originality of the portrait details in lyric poetry. Portrait detail is used primarily as a means of creating an image and at the same time as the mode of transmission of the conflict, it "replaces" the plot, the author compensates for a given ambiguity. Autobiographical, confessional style of Anna Akhmatova the dominating characteristic of a selfportrait in her poetry. Using portrait detail, clothing detail that accompanies the heroine, the poet shows not only the feeling in the climax, but also how the feeling in turn is reflected in the lyrical portrait of the heroine.
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The aim of this research is to expose Wiktor Voroshilsky’s translation strategy, especially the translation methods and techniques he uses as the author of the Polish versions of Russian poems. Theorists of translation quite often pay attention to the problem of translation of proper names, exploring different contexts related to this issue. Bazyli Tichoniuk wrote about the translation of names within Polish and Russian at the time, while for other languages we can mention works by Ewa Teodorowicz-Hellman, Anna Szcześniak, Elżbieta Skibińska, Anna Majkiewicz, and Krzysztof Hejwowski. This article attempts to indicate a specific translator’s approach to translating proper names. The material under study consists of 25 poems selected from 211 works translated by Voroshilsky. The main selection criterion was the saturation of the poem with elements of interest to the authors, as well as their diversity. This determined the research method, which focused on analysing the repeatability and variety of translation techniques. Finally, we concluded that Voroshilsky employed different methods of translation, often guided by the function performed by the proper names in the text. We also paid attention to his objective to bring the text closer to the target audience and on the creativity of the translator.
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The two selected sources (Siberian and north Russian wedding ceremonies) give semantic projections of “the white swan/pen” towards a fiancée. They are described as “a personal female, maternal, nursing and ancestral” element and a personification of girl’s mommy, dear sister(s), female friends, female relatives and of course the girl’s beauty which she must leave. The bride-to-be / fiancée is called a “cygnet” or a “white swan” in the songs performed by her female friends as well as by the family of her future husband. Her own ancestral element from her point of view is regarded as “swans,” “flock of swans.” On the other hand, from the point of view of the bridegroom, this is called “geese,” “flock of geese,” “goose’s.” Finally, the fiancée must leave her flock of swans to join her husband’s flock of geese. The above observations and their results are related to the folk traditions – in fairy tales, proverbs, catchphrases, and riddles.
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The article presents an analysis of the concept of “Russia” in Nikolai Gogol’s poem “Dead Souls”. The subject of linguistic analysis was 118 text fragments (simple and complex sentences), including the nouns “Russia” and “Rus” and the adjective “Russian”, which were examined from the point of view of the information about Russia contained in them. To analyse the language material, a facet technique was used, which made it possible to present the content of the concept of Russia at several levels: 1) categories of characteristics (facets); 2) characteristics of two types: organic (intrinsic) and axiological, while the article describes in detail the most frequent categories and characteristics. The study was carried out within the framework of linguistic culturalism and is based on the theory of functional semantics, in particular, on such areas as conceptology and imagology.1
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The article is an attempt to analyse the category of freedom in the Russian religious and philosophical thought as well as interpreting this category in Lyudmila Ulitskaya’s selected works. The article offers some reflections on freedom in the view of Aleksey Khomyakov, Ivan Ilyin, Nikolai Berdyaev, Fyodor Dostoevsky, and other Russian intellectuals who considered is a substitutional element of human life and human functioning. The category of freedom presented in Lyudnila Ulitskaya’s works, “Daniel Stein”, “Interpreter”, and “The Kukotsky Enigma”, “About Body and Soul”, uncovers different facets of this phenomenon. The Russian writer approaches the multiplicity of interpretations of freedom through extraordinary figures, on the one hand, and through difficult subjects, on the other: human relations with God, survival of WW2, methods employed by the Soviet regime in their struggle with the Jews, the Holocaust. These are age-old themes in which the limits of freedom of an individual and the responsibility for the fate of others come to the fore.1
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The article discusses how nonverbal communication in Dostoyevsky’s “The Double” is presented. It is a story about an official who fell into madness as a result of dehumanized interpersonal relations. Both, controlled and uncontrolled behaviours, are manifested by the body language. These reactions alternate, and they are a consequence of the protagonist’s emotional state made up of: his physical appearance, face expressions, visual imaging and vocal reactions, gestures, and forms of communicating with the outside world, paralleled or unparalleled by dialogues or monologues. The analysis of selected fragments of the work, which covers, above all, the non-verbal messages sent by Goladkin, and how they correlate with what he actually says, shows that the writer succeeded in creating an astonishingly accurate, even clinical, description of schizophrenia.
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The subject of the article is a work of the famous poet of the turn of the 18th century, Gabriel Derzhavin. The work is dedicated to the favourite grandson of Catherine II, Alexander I. The poem is part of the so-called Felician cycle and is closely related to the moral and didactic fable, About “Tsarevich Khlor”, dedicated to Alexander I. Derzhavin’s poem does not only refer to the fairy-tale staffage but also shows a close relationship with the political and social reality of the time. The article also discusses the artistic value of this work, its content, and form.
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The city is one of the main topics of the modern reality, and literature is not an exception. While studying the city in literature, researchers pay their attention to anatomy, physiology and psychology of the city, as well as its chronotope etc. We tried to show some of these aspects basing on Republic of Shkid by G. Belykh and L. Panteleev. After some basic facts about the book and its authors there follows the description of Petrograd in the book. The dominant of the city space here is the school itself and surrounding streets. From the authors’ point of view there is some connection between the school, its pupils and the city so that they can influence each other. The city for them is predominantly the school, and the main city monuments are not so attractive for them. It is very important that even if the atmosphere of the epoch is so negative, the authors see the city in happy colours.
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Over the last two decades, students of the Russian language have tended to analyse and interpret the texts of literary works in an overly simplistic manner. Such analysis tends to refer only to the text itself, sometimes only to the plot. It was the recognition of this fact which provided us with the inspiration to prepare a new reading-book concerned with Russian literature, which motivates the students not only to read literary works, but also to gain knowledge on how to read, understand and interpret a literary work. Initial feedback concerning the use of the reading-book has shown the concept to be successful.
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The article discusses the processes of transformation of wishes in modern precedent texts and social networks. It also focuses on the messages from Russian Twitter (in which there occur substitutions, omissions, additions, contaminations, occasional coinages or the usage of expressions in their direct meaning). The research presents the results of the origin of expressions Pip to your tongue, No bottom no cover, etc. analysis and reveals their frequency in text corpora from chronological perspective. The origin of these phrases is well known and is recorded in dictionaries and in the usage, speech practice and dialect phraseology of the Russian language and traditional folklore.
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The city is an important aspect when studying any kind of art, including literature. The city is different in the literatures of different peoples and eras, it is constantly changing like any other living organism. The city in literature is most often represented in two ways: “physical” city (buildings, streets, cultural monuments, climate, transport, etc.) and “psychological” city (atmosphere, the influence of the city on heroes, the experience of heroes as a way of describing the city and etc.). This article examines the depiction of Novosibirsk in modern Russian literature from its “physical” and “psychological” points of view. For different writers, different aspects have the key significance when describing its urban scenery. Some of the description items are the same, but the authors see them in a different way. On the contrary, some of the details in the writers’ work coincide. Most often this applies to the “physical” city, for example, to the description of some streets, climate, and movement in the city.
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The author of the present study deals with the picture of family and family relationships which gained an important place especially in Russian literature of the 19th century. The study is focused on the interpretation of the motif of so-called accidental family in five works by Fyodor Mikhailovich Dostoyevsky (1821–1881). This motif connects four novels Netochka Nezvanova (1849), Humiliated and Insulted (1861), The Adolescent (1875) and The Brothers Karamazov (1880) with A Writer’s Diary which is a work moving on the borders between belles-lettres and documentary literature. According to Dostoyevsky’s views on family and family happiness, the author tries to interpret the motif in connection with developing of this motif in Dostoyevsky’s works and with the genre of a diary as well. Among the works by Dostoyevsky the author highlighted an important role of A Writer’s Diary because of the fact that especially this work serves as a key to the interpretation of the motif of an accidental family.
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Fyodor Mikhailovich Dostoyevsky (1821–1881), unlike other Russian writers of the 19th century, never wrote his memoirs but he put them into A Writer’s Diary—a publication that first came out as a part of Grazhdanin (The Citizen) magazine, later as an independent periodical. Based on A Writer’s Diary, we defined six types of memoirs: 1. memories of social events (a criminal case of an abused child), 2. memories of the family circle (brother Mikhail Mikhailovich, nanny Alena Frolovna), 3. memories of important personalities (N. Nekrasov, V. G. Belinsky or I. S. Turgenev), 4. memories of important life moments (Dostoyevsky’s meeting with the Decembrist wives, two reminiscences from the story The Peasant Marey, prisoner abuse in prison), 5. memories of places (Ems, Florence), 6. minor reminiscences (memories of childhood friends, cruelty to a mare, lawsuit). In the study, we dealt with these types of memoirs from the genre and thematic point of view, we stated connections to the biography and links to the writer’s work.
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V příspěvku se zabýváme použitím motivu iniciační cesty ve dvou uměleckých dílech ze současné české a ruské literatury. K analýze byla vybrána díla Cesty na Sibiř (2008) Martina Ryšavého a Vánice (2011) Vladimira Sorokina. Cílem příspěvku je analyzovat kompoziční výstavbu literárních děl, kdy v rámci prozkoumání možností využití motivu iniciační cesty bude zvláštní pozornost věnována narativním technikám, kategorii času a prostoru, interním subjektům a vedlejším motivům.
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The city prose is a specific genre in the Russian literary development from the 60s till the 80s of the 20th century. It arose as a result of search for new literary forms and ways under the given political and cultural circumstances. Trifonov is one of the founders of the city prose. In his work, he focuses on a city man in everyday situations. This article offers a new way of analysis of Trifonovʼs city short prose according to genre peculiarities.
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This paper discusses the phenomenon of the literary remake, which was mainly touched by the Russian literature in the recent years. The vast majority of this type of literary work provokes paying closer attention not only to the reasons but also to the consequences of this phenomenon. The researchers have been having a sceptical approach towards remakes, and even if they do mention remakes among the border genres, seldom do they find them worthy a more thorough study. Concerning the dramaturgy as such, the remake-plays characteristics are listed (in which the signals of the new literary genre are noticeable), the differences between the remake and the rest of the literary genres, and last but not least the doubtful aspects of the remake as a literary genre. Finally, I will try to answer the question if it is possible to accept the remake as a real new genre of the Russian dramaturgy
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In this work the author discusses in a great detail a novel-computer game Quest by Boris Akunin. The novel is analysed from the aspects of its genre, structure, plot, narrative functions and style. The work deals with the phenomenon of the style of the novel-computer game in great depth. Additionally, the author includes a short historical section on the game tradition in literature.
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Opera Libretto is situated on the border of literature and music. Its controversial status is the reason of the insufficient attention paid to this genre from Philology and Musicology sciences. Another reason of the lack of studies of the genre in the academic environment is its (pseudo) invariability that can be explained by the traditional perception of the libretto as a secondary element of the music theatre. Russian librettist Yury Dimtrin is trying to change this point of view, primarily with his own experiments that show almost unlimited possibilities of actualization of the genre. The paper aims to describe a new approach to studying of the libretto genre in a connection with the theatrical experience of Dimitrin and to open a debate about perspectives for its future research.
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Polish text in Russian culture exists as other “texts” (such as St. Petersburg, Italian, etc.), however, it has a complicated synthetic structure, that’s why the task of locating a single semantic centre is supposed to be the relevant problem of modern literary criticism. At the same time, genres of Polish text have not been investigated yet, the scientific analysis is mainly connected with the deconstruction of traditional ethnic stereotypes and cultural myths, existing in the Russian-speaking conceptual sphere. The author of the article makes the first attempt to analyse this problem in accordance with the theory of ontological and epistemological nature of genres by M. M. Bakhtin, wherein each text can be assigned to any genre depending on the purpose of expression.
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