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The presence of a particular journalistic thinking, spiritual syncretism, was detected in F.M. Dostoevskii’s “Writer’s diary”. The literary analysis and specific keywords were used for this detection. According to the results of our study, F.M. Dostoevskii’s spiritual syncretism is characterized by spiritual solutions of the political, economic, and social problems, as well as by the fusion of Enlightenment and religious ideas.
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The paper analyzes the aesthetic meaning of adjectives in A.S. Serafimovich’s prose. The most typical groups of adjectives are singled out based on their semantic and functional features, which are analyzed considering the main idea and problems of the prose works, as well as the author’s view of the world. Special attention is paid to the syntagmatic relations between adjectives and dependent nouns. The influence of a particular linguistic context on the semantic and emotional contents of adjectives is investigated. The semantic relations between parts of complex words are discussed. Occasionalisms used by A.S. Serafimovich are distinguished.
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The paper discusses verbal manifestation of the concept of wealth in F.M. Dostoevskii’s novella “Uncle’s Dream”. The content of the concept in the novella is studied in accordance with the field structure of the concept: core; close and far peripheries. It is proved that the peripheries reflect the peculiarities of F.M. Dostoevskii’s concept of wealth and the specifics of the artistic image of reality in the novella “Uncle’s Dream”. The implementation of the concept of wealth in the novella indicates F.M. Dostoevskii’s individual perception of the phenomenon expressed by it. The study of the concept allows to reconstruct the artistic image of the world in the novella and the idiostyle of the author.
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The life of V.G. Korolenko was connected with different regions of Russia. His artistic, journalistic, and epistolary heritage reflects his impression from visits to the capital, central cities, and provincial towns. The paper reviews manifestations of the imagery in “urban texts” of the local author from the point of social and literary discourse. V.G. Korolenko is characterized as a “genius of locality”, who artistically created detailed “portraits” and sketches of St. Petersburg, Moscow, Glazov, Simbirsk, and Poltava. The writer also expressed his own view on various toposes of the Volga Region in literature: Nizhny Novgorod, Pavlovo, Gorodets, and Arzamas (“God’s town”). V.G. Korolenko’s literary works devoted to urban description are analyzed using the comparative approach rather than separately: by contrast with the understanding of loci in folklore, as well as works of other writers (I.A. Goncharov, N.N. Zlatovratskii, L.N. Tolstoi, and P.I. Melnikov-Pecherskii) and regional ethnographers (N.P. Antsiferov, S.N. Durylin, N.E. Mednis, etc.). Biographical, sociological, historic-cultural, and linguistic methods are used in the paper for analysis of the author’s literary works in the local aspect.
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Science fiction studies is a relatively young branch of the humanities that has emerged in the middle of the 20th century. Currently, science fiction studies is a vast network of interdisciplinary research that concentrates on functionality and poetics of fantastic (or, as John Clute has promoted since 2007, ‘fantastika’) literature, cinema, video games, comics etc. Search for genre identity is one of the main concerns of the genre theory in both academic methodology and science fiction studies. Scholars commonly single out three main approaches in the genre theory: essentialism, structuralism, and pragmatism. None of the approaches is universal, i.e., they are all characterized by both benefits and certain limits. While the former two approaches are influential and established analytical paradigms, the latter one is a recent analytical invention. Pragmatism of the genre theory is interdisciplinary per se – its methodology is based on social sciences, sociology of literature, cultural studies, and discourse studies. Pragmatism derives from a number of branches of the humanities in order to solve fundamental problems of the literary theory, particularly the problem of genre genesis. This paper is an attempt to delineate contours of the genre theory in science fiction studies from essentialism to pragmatism.
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A.P. Chekhov actively used animalistic surnames and zoonominations in his early works, thereby attributing appropriate psychological and moral qualities to his characters. As a rule, they allow to achieve the comic effect, on which the writer’s artistic world is based, as well as reveal his personal attitude to the character. A.P. Chekhov’s characters are not only given surnames, which are semantically associated with animals, birds, insects (Loshadinykh, Perepelkin, Chervyakov, etc.). The author also invents bright nominations which are semantically related to the habits of animals (Lyagavaya-Grizlova, Khryukin, Ukusilov, etc.) and animalistic nicknames (Il’ka Sobach’i Zubki, Shchur, Sychikha). Furthermore, animal names is one of the main methods of euphemization (“dissolute pig”, “silly goose”, “donkey”, etc.). The analysis of charactonyms with the zoological code shows the connection of A.P. Chekhov’s short stories with the literary tradition of that time and enables understanding of the author’s underlying ironic message.
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The paper for the first time examines unpublished letters of N.M. Karamzin to E.A. Karamzina (nee. Kolyvanova) against the background of the examples of love letters given in “Pismovniki …” of the 18th–early 19th centuries. The purpose of this work is to present the formation of author’s individual modality in Russian literature in more detail and to show more vividly and specifically the personality traits of N.M. Karamzin by the example of his epistolary heritage. The objectives of the paper are to examine the motivic structure and composition of the letters, to describe the basic motivic complexes of an “exemplary” love letter, to trace changes in the epistolary genre at the turn of the century, and to specify the sources of love phraseology in private letters of this period (“Pismovniki …”, French sentimental novel). The study establishes a special status of a love message, as well as its exclusive right to violate the canon, to disregard the established norms and patterns, which, in turn, becomes a normative characteristic of the genre. In the letters to E.A. Karamzina, N.M. Karamzin often used ready-made expressions, certain bookish clichés. At the same time, the diverse and unpredictable reality does not fit into the paradigm of rhetorical culture. It often precludes the use of stable formulas and causes the author of the letters to develop his own unique style. The obtained results reveal genre and style originality of N.M. Karamzin’s letters to his wife, where the letters represent a universal genre that combines in itself addressing his wife with love and concern, conversations with the estate manager, information about N.M. Karamzin’s health (the mes-sages on 1805), reporting from a place of epoch-making events, interpretation of the historical mission of Russia, a prayer to God for the salvation of his loved ones and his motherland (the letters of 1812 from besieged Moscow); court chronicle, small talk, the historiographer’s diary, moral and philosophical conclusions, passionate love declarations, parental blessing, etc. (the letters of 1816 from St. Petersburg). One of the unpublished letters of N.M. Karamzin to E.A. Karamzina is presented for the first time (1805).
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The paper considers comparison of the literary methods of two most prominent Russian satiric poets, A.G. Arkhangel’skii and A.A. Ivanov. Their literary heritage was analyzed by the researches only separately and not in full. Comparison of the authors has been done for the first time. Both satirists did a lot for the evolution of the genres of verse parody and epigram. The development of these genres in the first part of the 20th century went under the sign of A.G. Arkhangel’skii, the second part – under the sign of A.A. Ivanov. A.G. Arkhangel’skii is considered to be the founder of the genres of parody and epigram in Soviet literature. A.A. Ivanov cannot be called his direct follower, for he just took the vacant place of a parodist in the late Soviet literature. The literary strategies of A.G. Arkhangel’skii and A.A. Ivanov were different. A.G. Arkhangel’skii parodied only undoubtedly prominent or widely popular authors. Unlike him, A.A. Ivanov was ready to parody every poet, both famous and unknown if he found that their poems had some failed lines, expressions or images. Many of A.A. Ivanov’s addressees became known all over the country only after their lines had been stated by the satirist as an object of parody in the popular TV-show “Vokrug Smekha” (Around the Laughter). A.G. Arkhangel’skii in his works bore in mind the classical system of genres and thought his goal was to understand the literary-artistic world of the satirized author. Both best and third-best litterateurs became objects of his smart and witty analysis. Therefore, A.G. Arkhangel’skii implemented the philological approach in his parodies and epigrams. A.A. Ivanov, having developed in the Soviet time when many previous achievements of the native culture had been long forgotten or dismissed, found his main goal in withstanding ignorance, imitation, banality, and playing familiar terms with classics. Such approach should be characterized as guarding and enlightening. The epigrams and parodies of A.A. Ivanov were not mere literary gestures, but also had some didactic functions. The only criterion for both standard and taste was the parodist’s individual point of view. Thus, the balance between playing jokes and moralizing was not always observed.
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The paper deals with the issues related to analysis of some special features inherent in the literary genre of travelogue. The research is focused on the artistic originality of “The Word on the Way” (2010) by Pyotr Vail. The ways of constructing the dialog in the communicative chain, by which the information is transferred from the author to the reader, are studied. Pluralism as the main principle in the organization and structuring of the material reveals the importance of the author’s image in the inner world of the text. The relation between the concepts of “native” and “foreign” is fundamental for understanding the artistic originality of “The Word on the Way”. The originality of this binary opposition in Pyotr Vail’s collection actualizes the significance of the USSR’s role in the process of constructing the world’s history. The author’s attitude to the well-known historical facts appeals to the recipient consciousness, thereby engaging them in active mental activity. In this case, the book lined up a trusting relationship with the recipient. Despite the dominant role of the author where the narrator acts as a slave of the subject, it is necessary to touch upon the process of bilateralism. It promotes the recipient’s living response to the provocations given in the idiomatic statements.
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This paper is devoted to the writing style of Chuck Palahniuk, a modern American author. The writer owes the international acknowledgment to his scandalously famous novel “Fight Club”. He has been named “the king of counterculture” due to the nihilistic themes and motifs used by him. Ch. Palahniuk’s creativity has been often examined in the light of the influence of the romantic tradition; special attention has been paid to the existential problematics, which appears to be the major focus of many of the writer’s novels. Ch. Palahniuk’s most emblematic works, especially his non-fiction book “Stranger than Fiction: True Stories”, as well as the novels “Fight Club” and “Invisible Monsters”, served as the basis for analyzing the author’s creativity in this paper. Ch. Palahniuk’s numerous interviews and the works of a number of American researchers and scholars, who associate Ch. Palahniuk’s creativity with the traditions of the New Journalism, were also considered. The conclusion was made that the technique used by Ch. Palahniuk in most of his works makes it possible to consider them in the light of postmodernism. Minimalism and dynamism are the key features of the writing style of Ch. Palahniuk, which make his works more understandable and attractive to the general public.
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Orhan Pamuk is Turkey’s prominent contemporary novelist and recipient of the 2006 Nobel Prize in Literature. The main theme of his works is the clash of the Eastern and Western civilizations, interaction between cultures and their interpenetration. Russian readers are familiar with O. Pamuk’s novels “The Black Book”, “The White Castle”, “My Name Is Red”, “Snow”, “Istanbul. The City of Memories”, as well as with his short stories and essays. The novel “My Name Is Red” (1998), on which this paper is focused, talks about the penetration of the traditions of European painting into the Eastern art and their influence on Turkish miniatures. O. Pamuk considers the problem of dramatic interaction between the “native” and the “foreign”, shows the painful process of understanding of their own identity by Turkish artists. The philosophical reflections on art, faith, and traditions are closely connected with the detective plot and love story of the novel. The novel has a complex polyphonic structure: it consists of numerous alternating monologues of characters, such as the painted dog, Satan, dead artist, and, finally, the Red – the life-giving and fire-like element and the color which gave the title to the novel. The problems raised in the novel determine its distinct intermedial character. The aim of this paper is to identify and systematize the intermedial components (manifestations of the pictorial and literary interaction) of the novel. The paper is conditionally divided into two parts. The first part analyzes the novel under consideration. The second part of the article is devoted to the intermediality of the play based on O. Pamuk’s novel and staged in 2014 by M. Kal’sin, the director of the G. Kamal Tatar State Academic Theater (Kazan). In our opinion, the intermedial field of the play expands as the rich visual imagery is added to the verbal techniques of thematization of the works of visual art. This includes the accentuated decorativeness of the play seen in the stage design and costumes, images of Turkish miniatures projected on the screen (by A. Votyakov), and creation of characters through choreography (by M. Bol’shakova). It is shown in the paper how the intermedial references in the novel and the play based on it contribute to the main idea, thereby helping to realize the author’s intent by means of different kinds of art.
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In this article, I intend to briefly present Aristotle’s view on metaphors, in general, and then focus mainly on his (implicit) theory of scientific metaphors. There is no doubt that such (short) presentations have already been made. In this context, the originality of my presentation will reside in the different perspective from which I approach the subject-matter. In other words, my aim is to clarify certain aspects of Aristotle’s theory of metaphors, namely those aspects that may seem strange to today’s readers who understand metaphor in a dissimilar way. For instance, one can sometimes notice that the ancient Greek philosopher praises the use of metaphors, while other times he does not agree with their use. I will try to demonstrate that Aristotle is not at all contradictory in his suggestions, if we were to consider the essence of each of the three types of discourse (lógos pragmatikós, lógos poietikós and lógos apophantikós) which the great philosopher always considered.
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Fundamental differences between Kyiv-Pechersk choral style and Western model of performance of religious chants can be considered in various contexts and at several levels. One should take into account diversity of church rules (canon), mentality, even geographical location and physiological capabilities of voices of the singers coming from a particular area. The performance practice is also connected with such factors as cultural traditions, language, way of life and social issues related to faith. It is therefore understandable that, after a short period of a fragile cultural unity of the Church, different traditions emerged. The author argues that the way of singing is directly dependent on the fundamental philosophical and theological ideas, originating from the Church canon. Then, the differences between chant performance in two main branches of the Christian Church seem to be a consequence of the distinct ways in which the theological doctrine, dogma of the Church, the temporal and spatial principles of worship and art developed in Roman Catholic and Byzantine Orthodox traditions. The two different perceptions of communication with God and its influence on church singing are considered by the author as an exemplary case.
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The article concerns the rule-following paradox, which, according to Saul Kripke, was formulated in “Philosophical Investigations” (PI) by Ludwig Wittgenstein. The article indicates that an interesting starting point for the discussion of the paradox may be the concept of structure from Principia Mathematica and used in the Tractatus. It makes it possible to show how extracting a set of rules and a set of actions designated by them (which together form structure) can lead to paradoxical consequences and difficulties, as well as to identify three sceptical clues based on famous paragraph 201 of the PI. These are: (1) An action can be coordinated with a rule only for a finite number of steps. (2) A specific rule can be coordinated with any action. (3) A specific action can be coordinated with any rule. In order to analyse the first of them, the author evokes Wang’s finitism paradox. The second and third clue refer to the semantic difficulties identified by Saul Kripke in his famous book Wittgenstein on Rules and Private Language and to the problem of recognition of the sign, which Kripke does not mention and which makes the scepticism of the clues more radical. Wittgenstein’s paradox was already implicitly present in the transcendental philosophy of Immanuel Kant, as well as in the later discussions on the foundations of logic and mathematics — in the works of Ernst Schröder and David Hilbert, who pointed out the necessity of the principle of recognition of the sign as a kind of protection against doubt. Although transcendental philosophy, from its Kantian origins, was to be an alternative to both skepticism and dogmatism, transcendentalism is not the only possibility to escape the paradoxical sceptical consequences that Wittgenstein presented. Another solution may be to reject the distinction between rules and actions.
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Trauma is a notion whose perception in the psychoanalytic discourse has undergone dynamic changes, starting from the transfer of this concept to the psychic ground, through the conceptualisation of its impossibility of being shared, ending with Bracha L. Ettinger’s intervention. The aim of this paper is twofold: to track these changes and to (re)define the potential of the trauma discourse(s). After the analysis of main assumptions concerning the psychic wound in the thought of the fathers of psychoanalysis, the author proceeds to the branch of trauma studies influenced by the Holocaust, so as to finally introduce Bracha L. Ettinger – a clinical psychoanalyst, theoretician, artist, feminist and member of the Second Generation after the Holocaust – and her matrixial theory. As the author endeavours to demonstrate, this thought provides us with the tools to rethink the shape and possibilities of the trauma discourse.
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The paper focuses on the problem of constitution of our cognitive experience. Two approaches to this problem proposed by Ernst Cassirer and John McDowell are central for the analysis. Both authors use Immanuel Kant’s theory of cognition as a foundation for their own conceptions und they develop their independent interpretations of it according to the traditions they belong to. Although McDowell’s interpretation emerged within analytical philosophy, we can see similarity with Cassirer’s theory. Comparative studies of these theories will point out the convergences and divergences between them.
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