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Świat polski i świat niemiecki w powieści Mariana Turwida Dwie strony drogi oraz wybranych dziełach Gerarda Górnickiego

Author(s): Sebastian Tauer / Language(s): Polish Publication Year: 0

This article shows the contrasts that can be noticed when analyzing the novel Dwie strony drogi by Marian Turwid. The author focuses on the contrasts both inside and outside the work. Differences in the presentation of the Polish and German world by Turwid are discussed, how they change during the novel’s action, and the differences that occur in such representations between Turwid’s work and other works in which the creation is shown. The place of this novel in a landscape of the communist period, stating that it is an extraordinary work in terms of the ideological message, which is to show Polish-German relations as a coexistence.

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Relacja miłości/nienawiści do Florencji w Domu bezimiennych i Berretti Erasmus Giovanniego Agnoloniego

Author(s): Karolina Kopańska / Language(s): Polish Publication Year: 0

In this article the author examines the heroes’ relations with the city – Florence in Giovanni Agnoloni’s novels: La casa degli anonimi and Berretti Erasmus. Emanuela and Aurelio’s destinies (Casa degli anonimi) cross in a surreal night pursuit along Florence streets. They had long thought of escaping the city inhabited by hostile Florentines. Giovanni (Berretti Erasmus), a law student from the 2000s participates in an Erasmus project in England. During that experience, he understands that his destiny will be linked to elsewhere. He will undertake numerous journeys for study or work reasons in the United Kingdom, Holland, Lithuania, Ireland, and Poland. The cyclical returns to the beloved-hated Florence will be a source of oxygen and suffering for him. In the first part, the author of the article presents the issues related to the city’s periphery. In the second part, she describes the nature of the Florentines. In the third part, she focuses on the process leading to the decision to leave the city and she describes the moment of the turning point.

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„Zbyt długo, w dwu kolorach”. O dychotomii w poezji Jacka Bierezina, [w:] Kontrasty w humanistyce: literatura, język, kultura

Author(s): Oskar Czapiewski / Language(s): Polish Publication Year: 0

This article focuses on the interpretation of the work of Polish contemporary poet Jacek Bierezin (1947-1993), one of the main representatives of the New Wave (Nowa Fala) formation. The author points out the dichotomous poetics present in Jacek Bierezin’s poems using biographical motifs and emphasizing the influence of the author’s biography on his work. As literature on the subject the author uses the collection Linia życia (1999) published after Jacek Bierezin’s death as well as the volume Obudź mnie ze sobą! (2000), also published posthumously. Using the works of other researchers, the author constructs conclusions on the bordering features of Jacek Bierezin’s poetic works.

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Kontrastowe ujęcie krytyki nowoczesności w późnych opowiadaniach Davida Herberta Lawrence’a

Author(s): Magdalena Wylężek / Language(s): Polish Publication Year: 0

The point of departure for the following article is the belief that Lawrence’s primitivism ( J. Kessler) is an important attempt to reply to the modernist crisis. In his late short stories terms such as spirituality, religion or ritual are playing a vital role in his reflection on modern society. To display his criticism Lawrence highlights the contrast between bourgeois class and free-thinking individuals. Terminology for this consideration is derivative from Mircea Eliade’s book The Sacred and the Profane: The Nature of Religion. It is a basic to present Lawrence’s protagonists view on understanding time, space and significance of a ritual.

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Tradition et modernité chez Neil Gaiman : le cas de American Gods et Good Omens

Author(s): David Taquet / Language(s): French Publication Year: 0

Structuring the stories of Neil Gaiman’s American Gods (2001) and Good Omens (1990), which he wrote in collaboration with Terry Pratchett, the contrasts between tradition and modernity are declared on several levels: the relationship between deities and technological advances, the preservation of traditional values in the idyllic small-town setting, as well as Neil Gaiman’s willingness to modernize the original works to fit current societal values. These apparent contrasts sometimes find a peaceful resolution, offering readers a welcome synthesis that encourages acceptance of modernity despite the sacrifices that must be made.

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Myszy przeciw łasicom, ludziom i żabom. O funkcji kontrastu w przedstawieniu przeciwników i kreowaniu akcji w Batrachomyomachii

Author(s): Jakub Zbądzki / Language(s): Polish Publication Year: 0

The work aims to present how the author of Batrachomyomachia used the contrast to illustrate the differences between the sides of the battle in the poem (while also reaching for other creatures), which lead directly to the war. It was noticed that the contrast between them served as a casus belli: the differences under-pin prejudices, and they determine the recognition of the accident as a deliberate attack on mice. There were also showed sources of humour based on contrasts: inter-texts parodying the Greek epics or myths, and the construction of the catalogue of enemies, in which frogs take over the negative traits of usual mice foes.

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Obraz postaci historycznych w trylogii rewolucyjnej Teodora Jeske-Choińskiego (na przykładzie Camille’a Desmoulinsa, Georgesa Dantona i Maximiliena Robespierre’a)

Author(s): Małgorzata Sojak / Language(s): Polish Publication Year: 0

In the revolutionary trilogy, Jeske-Choiński uses historical figures to present the cruelties of the events of the end of the 18th century. For this reason, the fictional characters become a background for the actions of historical heroes, whose pro-files, in turn, are presented by the author by means of suggesting their moral evaluation. Although it seems coherent – the characters are just as cruel as the world they live in – it makes the reader feel uneasy about the contrast between the historical facts and the characters in the novel. In this work, the representations of historical figures created by Jeske-Choiński will be compared with their real counterparts, described by historians.

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« Dans l'amitié du seuil » (Char)

Author(s): Christine DUPOUY / Language(s): French Publication Year: 0

Abstract: The notion of “threshold” was theorized by Genette in 1987, and refers to what is commonly called “paratext” - that is, everything that surrounds the text as such, including the publishing presentation, the name of the author. When dealing with Char, we shall look at the many dedications, epigraphs, forewords and back covers which clearly appear in his books thanks to the use of italics and which typify his writing. One point, essential to Char, was apparently not studied by Genette: the latter obviously underlines the function of presentation of what we call foreword, short of a better definition, and which Char would rather name “argumentations” or ? (bandeau). Yet, according to us, these singular texts, in relation with what follows, also have a value of their own: they are poems in the full sense of the term. Such is the aspect which we wish to study in this paper, thereby restauring the full status of text to what has been called, a bit disparagingly, paratext.

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« Devenir lierre » : le « Poème du mur » d'Antoine Emaz (En deçà, 1990)

Author(s): Laure SAUVAGE / Language(s): French Publication Year: 0

This article discusses the metaliterary nature of Antoine Emaz's "Poème du mur", which raises several questions of poetics. The refusal of immobilization creates an ambivalent confrontation with the wall. Poetic language then proposes different ways of creating thresholds. We first tackle the question of the lyrical outburst, a thwarted, derisory, but persistent impetus. We then study the conflict between the closure of speech and its opening, its dispersal. The mineral nature of the wall contaminates the language and tends to freeze it, but this process is partially countered. At the broader level of Emaz's work, the "Poème du mur" initiates a poetics as much as it reflects (on) it.

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Les portes de la Terre du Milieu : La notion du seuil dans l'univers de Tolkien

Author(s): Mounir Hammouda,Fatma Zohra GHANEM / Language(s): French Publication Year: 0

The door evokes the idea of closure and blocking, opening and passage, crossing the threshold. In Tolkien’s writing, it forms a textual element which seems to be part only of the scenery but which is in reality what allows the hero to enter “a fundamental space” and to accomplish his mission. Therefore, this present work questions the symbolism and the role of the door in two major works of Tolkien's universe, namely The Hobbit and The Lord of the Rings. What does a door symbolize and how can it influence the one who passes through it? What role does it play in the story? Is it an adjuvant or does it oppose the hero's plan? So many questions can be asked about this form of threshold, which is very present in these two novels, because their stories begin and end with the crossing of a door, and to answer to these questions, we will adopt a demarche based on a triad of approaches, namely the symbolic, the mythocritical, and the actancial.

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ЭВОЛЮЦИЯ СЛОВООБРАЗОВАТЕЛЬНОГО ПОЛЯ КОНЦЕПТА «ГНЕВ» В РУССКОМ ЛИТЕРАТУРНОМ ЯЗЫКЕ

Author(s): Irina V. VOTYAKOVA / Language(s): Russian Publication Year: 0

The word-formation field is a structured system of the categorical derivational values that reflect cognitive characteristics of the concept. Two microfields are distinguished in the structure of the wordformation field of the emotional concept ‘anger’ [gnev]. They are an ‘Action’ microfield and an ‘Attribute’ one. This is due to the significance of its cognitive characteristics associated with expression of its movement as well as its nature. Other microfields, which are typical for the structure of the word-formative field of this emotional concept, have not received proper derivational development. In general, we can observe a significant reduction in its derivatives. In our opinion, this is due, on the one hand, to the universalization tendency and to some simplification in perception of the emotional state which comes down to a semantic triad: ‘to experience an emotion or a state’ – ‘to bring someone to the given emotion or state’- ‘to get oneself into the given emotion or state’. In modern Russian the most common derivatives have a more generalized meaning by co-opting the semantics of the obsolete derivatives. On the other hand, the decrease in the number of the words used in speech can be ascribed to the development of a complex interaction with synonyms that are members of other families of words.

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ЖЕНСКИЕ ОБРАЗЫ В ПРОЗЕ В.Ф. ОДОЕВСКОГО И СИМВОЛИСТОВ: К ВОПРОСУ О ПРЕЕМСТВЕННОСТИ

Author(s): Galina Zavgorodnyaya,Alexey M. Zavgorodnii / Language(s): Russian Publication Year: 0

The paper is aimed at revealing stylistic continuity between romanticism and symbolism in Russian literature by doing a case study. The works of a prominent representative of Russian romanticism, theorist and innovator V.F. Odoevsky as well as the prose of symbolist writers serve as material for analysis. Images of women and the specificity of their depiction by the above mentioned authors are selected as a research object. The research has shown that although the symbolists did not proclaim V.F. Odoevsky their literary precursor and his name did not emerge in symbolist manifestos and theoretical works (as in case of F. Tyutchev and A. Fet), it is from his conceptually thematic and stylistic trials that one can draw “straight lines” to symbolist experiments clearly illustrating the continuity between two literary directions and confirming the important role of V.F. Odoevsky in the Russian literary process. The analysis of some prose works by V.F. Odoevsky allowed to reveal, for instance, the following recurrent (with some variations) female types: woman possessing arcane knowledge or/and magic powers; woman having dual nature – human and mystical; woman from the picture coming alive. The noted images, depicted highly originally, demonstrate, however, the indubitable influence of Hermeticism (including alchemical symbolism), Schelling’s philosophy and the work of German romanticists. The resemblance between female images in the prose of V.F. Odoevsky and the most frequently encountered ones in the symbolism becomes apparent when making a comparative analysis. It is revealing that semantic accumulations of the images at the beginning of the XX century are carried out in general in line with the directions traced by romanticists and, in the first place, by V.F. Odoevsky – an appeal to mythology, Hermeticism, theosophy in a broad sense; an aspiration to embody artistically the idea of synthesis of arts, religion and philosophy.

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ЛЕКСИКО-СЕМАНТИЧЕСКАЯ РЕАЛИЗАЦИЯ КЛЮЧЕВЫХ ОБРАЗОВ-СИМВОЛОВ ПРИРОДНОГО ПРОСТРАНСТВА В ТВОРЧЕСТВЕ В. СОЛОВЬЕВА И О. БРЖЕЗИНЫ

Author(s): Simona Koryčánková / Language(s): Russian Publication Year: 0

Author of the article analyzes the poetic image of nature in Vladimir Solovyov´s and Otokar Březina poetry. The intensity of light and its rays play an important role in the semantics of lexemes and determination of significance of poetic images of the poets. The author of the article aims to reveal the specifics expression of the V. Solovyov's and O. Březina´s authorial style.

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ЯЗЫКОВОЕ ПРЕДСТАВЛЕНИЕ ПЕРЦЕПТИВНОГО ОБРАЗА ГРОЗА В ПОЭТИЧЕСКОМ ТВОРЧЕСТВЕ Б.Л. ПАСТЕРНАКА

Author(s): Larisa Borisovna Kryukova,Anna Vladimirovna Khiznichenko / Language(s): Russian Publication Year: 0

The analysis of linguistic means of verbalization of a perceptual image thunderstorm in B.L. Pasternak’s poetic works is presented in the article. Primary focus is on text production potentialities of the studied perceptual units and author's individual features of the poet’s imagery. In the context of the offered research the perceptual imagery is considered as a subordinate concept in relation to a verbal imagery. The bases for separating of perceptual units is their ability "to create" a perceptual imagery (the esthetic basis) and "to mark" a perception proposition in the text (a proposition as linguistic model of a situation) (the semantic basis). Study material is original poems written by B.L. Pasternak in which contexts with semantics of thunderstorm were revealed by the continuous sampling method. In the course of work methods of the semantic and contextual analysis, elements of the linguistic and stylistic analysis of the literary text were also used. The image of a thunderstorm belongs to the brightest and significant perceptual images which are found in B.L. Pasternak's poetry – there are also nightingale, lilac, candle, kiss, etc. – and it is a complex image, along with such as rain, city, garden, tears, sobbing, etc. In the course of verbalization of a perceptual image of a thunderstorm such expressive means as metaphors, embodiments, comparisons are used

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РУССКИЙ ЯЗЫК КАК ВЕКТОР ПРОСВЕТИТЕЛЬСКОЙ ДОКТРИНЫ ЕКАТЕРИНЫ II (О ЛИТЕРАТУРНЫХ ОСОБЕННОСТЯХ «СКАЗКИ О ЦАРЕВИЧЕ ХЛОРЕ» И «СКАЗКИ О ЦАРЕВИЧЕ ФЕВЕЕ»)

Author(s): Tatiana A. Ivanovna / Language(s): Russian Publication Year: 0

In article the thesis about a special role of Russian (as one of Slavic languages) in the educational doctrine of Catherine II is approved. During the entire periods of the reign the empress understood value of Russian for education of citizens. Unlike French as aristocracy language, Russian symbolized an extra class, universal message of the empress to the people. In the 1760th years it was shown in need of the translations of important modern books when Catherine translated from French on Russian "Velizary" Marmontel. At the beginning of 1770 she as the publicist protected the Russian values in the "Antidote" written in French and addressed to the western reader, and showed knowledge of the Russian customs in the comedies which are staged a bit later. After return from the material collected by him Catherine in the 1780th made of an expedition of professor P.S. Pallas and published "Comparative dictionaries of all languages and adverbs", and a specific place was held here by Slavic languages. In the same time she studied the Russian history, starting introduction of a national education system (I. Madariaga). Transferring "a dispute on ancient and new authors", significant for the French consciousness, to the course "ancient" and "new" Russia (Yu.V. Stennik), Catherine has found "golden mean" between mythological contents and available statement in a fairy tale genre. In 1781 she composes in Russian at the same time and "The Russian alphabet" and the "Tale of the tsarevitch Hlor" approving thoughts of dependence of assessment of behavior of the hero on possession by it of language skills. And if in "The Russian alphabet" language appears as the instrument of increase in personal success, then in "The tale of the tsarevitch Hlor" language – the tool of the correct education. In the following fairy tale by the empress Fevey shows already itself brilliant language proficiency not in sense of rhetorical abilities, as in the Alphabet, and in value of management of the yard − as obligatory performance by the hero of a condition for successful reign. The image in fairy tales of dialogues of heroes with the magician Felitsey-Ekaterina or the grandee Reshemyslom-Potemkin transmitted a special essence of Ekaterina's education – through educational mentoring of the Russian citizens, obligatory in the person of the state.

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«ЕСЛИ НЕ БУДЕТЕ КАК ДЕТИ…»: НРАВСТВЕННЫЙ ОБРАЗЕЦ ЖИЗНИ ЧЕЛОВЕКА В ТВОРЧЕСКОМ СОЗНАНИИ РУССКИХ ПИСАТЕЛЕЙ

Author(s): Nina Alekseevna Dvoryashina / Language(s): Russian Publication Year: 0

Judgment and treatment by the Russian writers of an evangelical order of Christ are presented in the article: "… if don't address and you won't be as children, you won't enter the Kingdom of Heaven". Many people reflected over a question: what does it mean "to be as children". Their private answers noted a way of comprehension of the general truth the Russian national consciousness. In N. Fedorov's works being a child – the following to the blameless nature of the child conducting to family relations of all people. In V. Zenkovsky's understanding childishness – the embodiment of the original spiritual life keeping communications with the Father Nebesny. L. Tolstoy saw in an evangelical appeal refusal of any violence, innocence the evil, ability to forgiveness and life at God's will. For F. Dostoyevsky childishness – the measure of moral solvency of the person, that saving beginning which grants him a possibility of redemption promotes his spiritual regeneration. In F. Sologub's creativity childishness in a man is the embodiment of innocence, joyful and fresh acceptance of the world, spiritual dominant, which defines all his subsequent course of life. The loss of these properties of soul inevitably conducts to an evil celebration. Z. Gippius perceived this property of the personality as sincere mobility as existence in her of "the sacred law" – conscience. S. Durylin appreciated at "great eternally children's beginning" show of Divine light with its inviolable purity, truthfulness, joy. Judgments of the Russian word artists confirm unconditional recognition of childishness as a moral sample for organization by the person of the life as criterion for evaluation of her spiritual solvency.

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ЧИТАТЬ ГОРОД. СОВРЕМЕННАЯ ПОЭЗИЯ В ПУБЛИЧНОМ ПРОСТРАНСТВE

Author(s): Jana Kostincová / Language(s): Russian Publication Year: 0

Significant segment of contemporary Russian poetry is no more limited to print page, some texts are presented on new interfaces, in virtual space, some create an integral part of urban landscape. The paper will consider different forms of poetry intervention into urban space, that explore and apply the approaches and practices of the 20th century avant-gardes, as well as situationist dérive and the use of contemporary digital technologies. It will focus on activities of St Petersburg group Laboratoria Poeticheskogo Aktionizma (The Laboratory of Poetic Actionism), their projects will be discussed and interpreted within the context of transmedia art and literature. The aim is to present the type of contemporary literature that struggles to break stereotypes of contemporary city life, enter into a dialogue with cultural memory using poetic utterance and placing it in city space.

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ВОПЛОЩЕНИЕ ПЕДАГОГИЧЕСКИХ КОНЦЕПЦИЙ Л. Н. ТОЛСТОГО В ХУДОЖЕСТВЕННОЙ ЛИТЕРАТУРЕ И В КОНТЕКСТЕ РАССКАЗОВ КАЗАХСКОГО ПЕДАГОГА И. АЛТЫНСАРИНА

Author(s): Dinara Tolbayeva / Language(s): Russian Publication Year: 0

The article is devoted to the influence of conceptual aspects of Leo Tolstoy’s work (flash fiction and stories, in relation to which he was an editor) on the works of Ybyrai Altynsarin, classic of Kazakh literature and author of Kyrgyz Chrestomathy and Welcome Guide to Teaching Russian. The article compares the views of the writers and educators on the pedagogical process, reflected in unfolding the character of a teacher-mentor, in development of the motive of labor as an instrument of moral education, and in forming a specific direction – literature for and about children.

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СЮЖЕТ ПЕРЕСЕЛЕНИЯ НА ЗЕМЛЮ В ЛИТЕРАТУРЕ ПЕРВОЙ ВОЛНЫ РУССКОЙ ЭМИГРАЦИИ

Author(s): Marina Albertovna Khatyamova / Language(s): Russian Publication Year: 0

The White émigrés writers were concerned with mission to conserve the national culture saw a tragedy of their generation in being isolated from their native land. One of the ways to arrange their Dasein was a Nativist idea of redemption through being closer to land. Mikhail Osorgin and Nina Berberova pertained to different generations of the émigré writers and gave their own variants of the in his cycles of short stories titled Memoirs from a Vegetable Garden and Dweller’s Letters, included in Incidents in the Green World collection (1938), and in his novella A Free Mason (1937), Osorgin, creates his ontological utopia of living in a small cabin. Moreover, he implements it in a life-as-a-work-of-art approach, by moving to a real cabin in Sainte-Geneviève-des-Bois, near Paris and tending to his vegetable plot and garden together with his wife. Existence of both the author and his character, Yegor Tetekhin, comply with the masonic ideal: an eccentric gardener and bibliophile arranges his spiritual existence close to nature, a “cultural home” as an alternative to foreign and destructive forces of civilization. Nina Berberova’s novel The Last Ones and the First Ones (1929), addresses life of ordinary Russians in France, their arrangements for the here-and-now life on land as an opposition to a utopia of return to Russia. The author creates her own myth of saving the unnoticed generation of the Russian emigration and then follows it herself: she moves to the countryside and starts a farmstead. Similarly, Berberova’s characters save themselves from meaninglessness of existence by absorbing themselves in collective agricultural work somewhere in Provence. Family values and domestication of alien space allow the émigrés to gain “aerial roots”, which the author understands in a spiritual way: keeping distinctive internal national identity will allow reconstructing their cultural motherland in the alien land.

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ЖЕНСКИЕ ОБРАЗЫ В ТРЕХ ПЕРЕВОДАХ «АЛИСЫ В СТРАНЕ ЧУДЕС» ЛЬЮИСА КЭРРОЛЛА

Author(s): Irina Shishkova / Language(s): Russian Publication Year: 0

The article highlights the analysis of transformations of female images in the three well-known translations of “‘Alice in Wonderland”’ by Lewis Carroll: Vladimir Nabokov’s (1923), N.M. Demurova’s (1965) and B.V. Zakhoder’s (1972). Each translated text of the famous fairy tale is original. If the works of Demurova and Zakhoder enjoyed tremendous popularity in the Soviet Union, Nabokov's translation came to the Russian reader only after perestroika and to this day causes heated discussions among the numerous admirers of ‘Alice.’ The rendering of the character names and places presents a particular difficulty in the translation, as well as the English context itself. In this regard, it is interesting to consider the artistic features of verbal portraits of female characters: Alice herself, her sisters, the Duchess and the Queen. The three masters approached the interpretation of the Alice image, the prototype of which was Alice Liddell, in their own way. As you know, Nabokov renamed Alice in Anya, Demurova retained her Englishness, subtly emphasizing the mentality of the little Victorian, and Zakhoder turned her into an inquisitive girl, interested in everything in the world. Each Russian version presents witty parodies, subtle idioms, elegant wordplay, funny epithets, designed to replace Carroll’s unique style. In Nabokov’s translation the scene is laid in pre-revolutionary Russia. Demurova paid special attention to preserving the original, and Zakhoder called his translation a retelling, although he treated Carroll's text not less carefully.

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