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The present article discusses the accumuleme soul in Russian and Bulgarian linguoculture. Attention is drawn to the similarities and differences in the use of the above-mentioned accumuleme, which are specific in both of the cultures. The particular character of that phenomenon in national nature is also analyzed. The work describes the meanings of the discussed accumuleme in dictionaries, prose and poetic texts, in folklore (proverbs and sayings). In the work, the descriptive, taxonomic, comparative-historical and counterfactual methods are used. The outcome of the study shows the common and specific meanings in the discussed accumuleme in the two linguocultures – the Russian and Bulgarian.
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This article is devoted to the study of stylistics problems in modern Russian in the light of the cognitive direction. We present the historical and temporal characteristics of the formation of stylistics in Russian linguistics. We have defined the object, purpose and objectives of the study of stylistic phenomena within the cognitive direction in the modern Russian language. We have analyzed the expediency of using linguistic means by communication participants within the framework of a cognitive approach to stylistics. We came to the conclusion that language in the light of the cognitive-stylistic direction is studied at all its levels, taking into account the diversity and specificity of the tasks facing the language in different types of communication. It is within the framework of the cognitive-stylistic direction that cognitive mechanisms involved in the implementation of various stylistic categories are identified.
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The article considers linguistic imagology as a new direction in linguistic research that meets the requirements of science: it has its own object (the image of a people or a country in the linguistic consciousness of another people), a subject (primarily – assessment and its verbalization, as well as more specific categories – precedent phenomena, symbols, etc.), method. Linguoimagological research is based on the material of letters, travel notes, journalism, fiction. Theoretical significance of linguistic imagology is seen in the development of its two main directions – descriptive and comparative. Its practical value lies in facilitating of communication of speakers of different languages and cultures. Certain attention is paid to the origins of linguistic imagology: the opposition of the auto-image of “the self” and the image of “the other”, the further development of this opposition (wandering, traveling). Linguistic imagology has been developing for ten-fifteen years on the basis of imagology (a field of comparative literature) with the use of the data of linguistic culturology, cognitive linguistics, and intercultural communication. The prospects of linguistic imagology are practically immense, since every nation at any period of its development is worthy of a certain image created in the linguistic consciousness of the nations.
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The article is dedicated to description of virtual reality of «my light» which is present and implicitly created in the situation of real-time communication. Phenomenological approach to language opens for linguists a prospect of acquaintance with virtual reality embodied in a living word, «mine» for the speaker. Having no external reference, «here»-reality postulated by the speaker is unquestionable for him and has the characteristic of authenticity. An attempt is made to outline phenomenological parameters and note the paradoxical nature of the reality of «my light». In particular, its phenomenality is noted – impossibility of existence by itself, separately from a person (the paradox of unreal reality); legitimacy as a key condition for the presence of «non-existent structures» of virtual reality; correspondence with the phenomenon of possession – power, which is considered as the antithesis of possession; hieroglyphic character, opposed to semiotic expression and representation of objects (phenomena) of objective reality; pre-predicative apriority («ineffability») and obvious certainty. «My light» has an ethical character and acts as a source of confidence and meanings for the speaker. Conventional institutes and existing institutions of knowledge in this field give way to paradoxical experience of knowing the obvious reality by verbal art. Non-discursive experience of creative cognition does not have access to the sphere of linguistic forms and paradigms, however, it receives a logistic embodiment in a word that sounds in real time. It is the task of phenomenological linguistics to learn the motives and reflexes of invaluable experience of a person’s encounter with genuine reality, embodied in a living word. Phenomenological approach to language supplements the existing language paradigms with logistic fundamentals and principles characteristic of phenomenology.
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The article describes several means of representing axiological intentions of different types in the speech of representatives of the so-called «generation Z», or «digital generation» (young people aged 12-23 years). The research is based on the material of recordings of speeches by young bloggers, statements in the language field of comments on social networks and data from the questionnaire conducted by the author.
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The article is devoted to some particular questions about the place of constructions with the meaning of purpose in the system of other constructions with the meaning of conditionality of parts, their pragmatic potential, structural and semantic features, compatibility with predicates, syncretism of semantics.
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The article is devoted to the consideration of univerbs-quantifiers in modern Russian and Belarusian languages. Univerbs-quantifiers are based on quantitative characteristics, that is, they contain numeric names, are formed using a certain inventory of univerbators, grammatically refer to the feminine or masculine gender. Suffix univerbs-quantifiers refer mainly to the spoken and special areas of use of Russian and Belarusian languages. It is concluded that univerbs-quantifiers are a small but open group of single-word derivatives in comparable closely related languages, as evidenced by their fixation by dictionaries of new words and national language buildings.
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The paper is devoted to the study of computer terminology in the language system. The problem of correlating terminology with such linguistic realities as term, terminology, common language, the language of science and technology and its relationship with the language for special purposes is revealed. This study traces the process of huge explosion of scientific and technical language elements as a result of technological development in the field of communication and the formation of a computer sublingual system. The definitions of concepts of language for special purposes, term, nomenclature and science of terminology in modern Russian are presented. The theoretical issues associated with the problem of distinguishing between the concepts of nomenclature and science of terminology are described. The idea is substantiated that the totality of terms, formed in the process of the emergence and development of a certain scientific field and serving to express special concepts, is called terminology and it is proved that it forms the basis of language for special purposes. Based on the research, it can be argued that any study of terminological vocabulary is based on its own definition of the term, which is often descriptive or normative in nature. The paper confirms the opinion that the sphere of computer technology and the Internet has had a significant impact on the development of society and has added a huge number of new special words and expressions to modern languages. As a result of the analysis, the author proves that computer terminology operates at two levels: the basic terminological system, which consists mainly of technicalisms and the highly professional slang of users, which consists of English loan words.
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The primary focus of this paper, then, is the examination of several of the Odyssey’s xenia scenes and their connection with divine justice within the social and literary context of the rite of passage. In the course of this survey, we will see that the xenia rite serves as a means of identifying recipients of divine punishment in the Odyssey—that is, those who fail to abide by the proper norms of behavior in the course of a hospitality episode soon meet with a significant reversal of fortune or (most commonly) with a violent death. There are several possible reasons for the importance of the xenia rite in the poem, ranging from the abstract importance of modeling and reinforcing behavioral norms, which are crucial to a functioning society, to the more practical need for an institution like xenia in a place like Iron Age Greece, the predominant historical setting for the Homeric poems,4 where communities were small and scattered, travel difficult and uncertain, and the safety of travelers far from guaranteed. In both of these respects, xenia scenes in the Odyssey serve a significant social function, and their blending of the mundane with the fantastical would have made the poem both more relatable and entertaining to its ancient Greek audience while also communicating ideals about the nature of social custom and divine law. But within the context of the Odyssey itself, the formulaic nature of the xenia rite in the poem helps to establish consistent expectations for behavior from guests and hosts, and the violation of those expectations is met with similarly consistent punishment, which means that much of the poem’s internal logic for the application of divine justice seems to center around the behavioral norms of xenia.
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The article is devoted to Serhiy Zhadan’s novel The Orphanage, which is considered by modern criticism mainly from a socio-political and ethical perspective because of the theme of war as the final crisis of a long complex history. The purpose of the research is to propose an interpretation of Zhadan’s novel The Orphanage based on the principles of hermeneutic and comparative-typological methods, as well as applying elements of narrative analysis taking into account the artistic potential of a finalization phenomenon. As a result, the prospective nature of finalization is justified and the appropriate typology of this poetic phenomenon is singled out. According to the actual version, the typology consists of four types, namely, extra plot-spatial, oneiric-imaginary, eidetic, and narrative ones. These types correlate with each other, hence, a whole poetic block emerges, which actualizes the new meanings presented in the work, and deepens the content of the novel’s loci communes. In particular, the listing of three days in the titles of the novel’s chapters indicates a real continuation of the list. Moreover, the title of the novel against such a background expresses its ontological content, which is additionally underscored by oneiric-imaginary pictures and the eidetic way of representing these images; instead, the diegetic shift due to the change of narrators returns the novel narrative from the level of ontological-existential symbolism to the level of personal formation of the novel subject.
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The article explores the concept of sympotic poetics in European culture as a distinctive form of discourse. This tradition originated in the Greek civilisation during the archaic period as a technique for socialisation within aristocratic culture and subsequently developed in Roman culture during the imperial period. Sympotic poetics thrived in medieval and modern Europe, where new forms of literary games, rooted in the intellectual traditions of antiquity, emerged. The article examines the beginnings of scholarly literary discussion and reviews selected examples of sympotic discussion practices in European culture.
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The very title of the collection of poems, Foricenia, is associated with banquets, and conviviality is the dominant feature of its composition. Following this convention, the poet also presents himself in several poems as a comedy parasite. In the Foricenia, the traditional sympotic motifs appear, as well as references to the ancient debate about whether wine or water is the source of inspiration. Wine, of course, wins, and Kochanowski joins the ranks of the poietai oinopotai. It is interesting to note the play on contrasts between the words calor and frigus, using their literal meaning (physical sensations of heat or cold) or their metaphorical meaning (calor as the heat that brings inspiration, and frigus as a style error). The collection ends with an epigram that engages in a humorous dialogue with Catullus’ work and underlines the sympotic nature of the Foricenia.
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The subject of the present considerations is the phenomenon and topos of the symposion and its contemporary reinterpretations in the works of Tadeusz Różewicz written by him in the final years of his life. In his late works, the poet willingly plays the role of a sage and jester, combining the serious with the light-hearted and the trivial with the sublime. Różewicz’s references to the rules of sympotic poetics and the poet’s play with sympotic conventions are a key element of the poem tempus fugit (tale), which is a literary reference to Plato’s Banquet, Athenaeus’s Banquet of the Learned and Xenophon’s Banquet. The poem tempus fugit (tale) is therefore a description of humorous and intellectual debates on cuisine, visual arts, literature and philosophy, conducted by the poet with his friends Ryszard Przybylski (essayist, translator and historian of Polish and Russian literature), Piotr Lachmann (director and founder of the experimental “Poza” theatre) and Jerzy Nowosielski (painter, stage designer, Orthodox theologian and icon-maker). The interpretative context of the poem discussed in the article is the poet’s long-term epistolary exchange with Ryszard Przybylski and his critical essay “Notes to Nowosielski.”
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This article looks at the practice of banqueting among the authors of the sodalitium Lugdunense, a group of Latin poets active in Lyon in the 1530s. Their epigrams, the literary genre they practiced, showcase their friendship through numerous pieces that are invitation tickets in the manner of Martial. Their banquets have all the hallmarks of ancient banquets: the presence of Bacchus in due measure, the idea of a “community” in which speech circulates on an egalitarian basis, and the use of witty jokes. All this defines the rules of a good banquet, which provide a pleasant venue for socializing among fellow human beings.
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Henryk Jakubanis (1879–1949) was a researcher of antiquity and a historian of ancient philosophy. He was born in central Russia to a Polish family of Lithuanian origin. The intellectual biography of this researcher is usually divided into two periods: Kyiv (1897–1922) and Lublin (1922–1949). The Lublin period is quite well studied by Polish authors, while the importance of the Kyiv period can be assessed on the basis of the preserved archival materials, which are in the University Library of the Catholic University of Lublin, and the works of Jakubanis published in Kyiv. The aim of this article is to present the entire scientific path of this researcher of ancient Greek philosophy, showing both periods of his life and academic activity. The article has primarily a biographical purpose, as the information about Jakubanis’ life so far is incomplete, and sometimes inaccurate or even false information appears.
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The article deals with the problem of periodization of Latin literature at the time of the Roman Empire, especially in the first two centuries AD. Having assumed the cyclical nature of phenomena in the field of culture and literature, the author proposes to identify three successive historical-literary phases: [a] the early-imperial period (14–68 AD); [b] the Flavian or liberal period (69–117 AD); [c] the archaizing or Frontonian period (117–192 AD). The scrupulous analysis of the epic, lyric and dramatic works, written in Latin in the first and second centuries AD, clearly documents that the individual literary periods stand in clear opposition to the preceding and following phases. They contain dominant trends, current movements and literary phenomena, distinct from the ones which precede and follow. Ten main differences or similarities between the historical-literary periods are carefully presented in three attached tables (Nos. 1–3).
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Rilke’s encounter with the Russian culture played a pivotal part in shaping his perception of art and poetry. His two consequent journeys to Russia (1899 and 1900) enabled him to fully immerse in experiencing the country and the land, which resulted in the creation of the poetry band Book of Hours (Das Stundenbuch). The article explores the depth of the cultural encounter, analyzing the different stages of the Russian experience and its relation to Rilke’s perception of art and spirituality. His encounter with Russia is believed to be critical to his poetic development, representing a key element in the creativity process of the poet.
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The prose poem remains a controversial topic in literary criticism today, challenging the clear definitions of “poem” and “prose”. This study provides an overview of major theories on the prose poem and its historical context, focusing on its role in Charles Baudelaire’s work, particularly in “Le Spleen de Paris” (1869). It reveals the prose poem’s significance as an influential literary genre that defies conventions, enriching our understanding of the interplay between poetry and prose.
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