Старобългарският езически пантеон от времето на двоеверието в „Чинъ покаянiя, паче же и скимницамъ“

Author(s): Ancho Kaloyanov / Language(s): Bulgarian,Old Bulgarian / Issue: 1/2013

The Confession Rank (Chin Pokayaniya) for nuns, published in 1874, is known only because of its eleventh question with the list of pagan deities Rod and rozhantsi, Perun, Hars and Mokosh, which, so far in the Slavic studies, have been recognized as Old Russian. The study proves that this manuscript is taken from an epitheme collection of the Bulgarian church and dates back to the time of the double faith of the Bulgarians, at the end of the 9th century, and consequently the deities are from the Old Bulgarian pagan pantheon.

СТАРОБЪЛГАРСКОТО НАСЛЕДСТВО В КНИЖНИНАТА ОТ ХVІІ ВЕК

Author(s): Dilyana Radoslavova / Language(s): Bulgarian / Issue: 12/2012

The article offers a brief account on the original and the translated works, dating back to the beginning of the Old Bulgarian literature and letters, presented in manuscripts produced in the Bulgarian lands during the last period of the Medieval tradition and the time of occurrence of the first New Bugarian texts in the miscellanies called damaskini. The works’ dissemination is examined against the background of the activity of the known scribal centres and against the characteristics of the entire 17th-century literary repertoire, and is considered to be the key feature of the tendency towards archaising. The list of the Old Bulgarian works imcludes prayers found in euchological manuscripts, some translated vitae and apocryphal texts, the Priest Jeremiah’s Story about the Holy Three, and a few homilies and sermons of St. Kliment of Ochrid, incorporated in books of traditional contents and in the New-Bulgarian damaskini.

СТАРОБЪЛГАРСКОТО ПЕСНОТВОРЧЕСТВО ОТ IX ВЕК: ОПИТ ЗА ХРОНОЛОГИЯ

Author(s): Regina Koycheva / Language(s): Bulgarian / Issue: 14/2014

The study provides observations on certain features of the language and spelling of the phrasal acrostics from the Golden Age in order to specify the chronological sequence in which the Old Bulgarian chants were written and to outline the entire strategy according to which the chant-writing in Bulgaria at the end of the IXth and the beginning of the Xth century was conducted. Some of the acrostics are compared with the earliest epigraphs from north-eastern Bulgaria, such as the church-donor's inscription near Izbul village, the graphite on the baptistery of the Round Church in Preslav and others. Several peculiarities in both the acrostic and the content of the triadika (stichera in praise of the Holy Trinity) discovered by Klimentina Ivanova, make it possible to hypothesize that these triadika were composed in or near Pliska in the reign of the Bulgarian Prince (Knyaz) Vladimir-Rasate (889-893). The most significant conclusion of the overall analysis is that the work on the Slavonic Menaion was divided in advance into two stages: 1) In the capital city of Pliska the texts for the primary Christian feasts were prepared, that is for the 12 feasts of the Lord and of the Theotokos (the chief among which are a part of the Triodion, which was elaborated during the same period), as well as for the most important commemorations among the others. 2) The autumn gathering in 893 in the new Bulgarian capital Preslav may be provisorilly recognized as the starting point of the second stage. Most likely in this period the huge corpus of translations and original works for the secondary feasts, such as celebrations of saints, was created.

СТАРОРУССКИЙ ТЕКСТ Ф. М. ДОСТОЕВСКОГО: СТРУКТУРА И ОПРЕДЕЛЕНИЕ ПОНЯТИЯ

Author(s): Yulia V. Yukhnovich / Language(s): Russian / Issue: 1/2018

Presently, the study of local texts (mainly urban ones) is really urgent.One of such local texts that evokes interest of the researches is the text of Staraya Russa by F. M. Dostoevsky. The real space of Staraya Russa town becomes asort of an artistic model of the World embodied in the writer’s works. Such categories as “the text of Staraya Russa” and “Dostoevsky’s text of Staraya Russa”have been defined. From a structural viewpoint the concept “Dostoevsky’s textof Staraya Russa” comprises the following components: Staraya Russa as viewedby the writer, the repercussions of the realias of Staraya Russa in his works(novels “Demons”, “The Adolescent”, “The Brothers Karamazov”, “A Writer’sDiary”), Dostoevsky remembrance at Staraya Russa. The study of this concept allows us to answer the questions about the role of the countryside in life and works of the writer and about the significance of his name for history and culture of Staraya Russa.

Статья-автокомментарий: потенциал смыслов (И. С. Тургенев, И. А. Гончаров)

Author(s): Natalya Volodina / Language(s): Russian / Issue: 11/2018

The article is devoted to two authors’ commentaries on their own works: Ivan Turgenev’s – on his novel Fathers and Sons and Ivan Goncharov’s concerning The Precipice. Both writers provided explanations in view of the fact that their works continued to arouse controversy long after they had been published. The crucial issue for critics as well as for the readership was the authors’ attitude to their nihilist characters, Evgeny Bazarov and Mark Volokhov respectively. When explaining his position, either author talks about the novel’s conception, reconstructs the process of creation, living through it again; at the same time, they already look at their creations from a distance. The clarifications offered by Turgenev and Goncharov “outside” the literary text proper are revealing in terms of which aspects of the interpretative potential were particularly important for them, how well these correlate with what is said in the literary work itself and what is “heard” by the readership.

СТЕЛІАН ГРУЯ – ДОСЛІДНИК ТВОРЧОСТІ ТАРАСА ШЕВЧЕНКА

Author(s): Antoniy Moysey,Iryna Kaizer / Language(s): Ukrainian / Issue: 1/2017

The process of assimilation of Shevchenko`s writings in Romania, and, accordingly, the appearing of the Shevchenko studies are divided into two periods – before and after World War II. For the first time the Kobzar`s name began to appear on the pages of periodicals in the 90's. XIX century, when the magazine «Contenporanul» reprinted the article about the Ukrainian poet from the French newspaper «Le Temps». The ballad «Prychynna» became the first translated work of the Ukrainian poet in Romania. The Romanian academic Shevchenko studies begin only after World War II. One of the most famous Romanian experts of the Ukrainian literature and culture can be considered Stelian Hruya. His works hane not only historical and educational value, but are also characterized by deep analitical approach, using new methods. Stelian Hruya was a professor of the Bucharest University and was teaching Ukrainian literature. He devoted his doctoral dissertation to the work of the Ukrainian poet «Taras Shevchenko – a romanticpoet» (1973) and the book «Prayer and curse : Critical research» (1995). These works, written in the conditions of the communistic dictationship,are remarked with brave interpretation of the «Кobzar». In the proposed article the analysis of the works «Gaydamakɿ», «Psalms of David», «Big cellar» are examined in details. Let`s point out that the suggestions of S. Hruya about the genre of ballads in the Kobzar work became innovate for the literaries. In the opinion of the scientist, that genre is presented not only by «Prychɭnna», «Drown», «Poplar», «Lily», «Mermaid», but also by such works as «There laid an ax behind the God`s door», «Perebendya», «Ivan Pidkova», «Gamalia», «Taras’ night». A separate part of his work «Prayer and curses» S. Hruiya dedicates to the image of woman in the work of the poet. There are also lots of investigations to grotesque, irony and sarcasm in Kobzar poetry. Applying the comparative method of the literary, the Romanian researcher analyses Shevchenko`s poem «Dream» in the context of the other European authors – «Monument to Peter the Great» A. Mickiewicz and «The Bronze Horseman» by Alexander Pushkin. Thus, the suggestions of Hruya regarding the work of poet Taras Shevchenko represented the poet as European and intellectual, whose mental horizons cover different spheres and problems of life and culture, outline the scale context of the mental world.

Стенограма от представянето на съставената от Емил Басат книга с интервюта с преводачи „На Полша – с любов“

Author(s): Editorial board The Literature / Language(s): Bulgarian / Issue: 20/2018

Стенографическая система А. Г. Достоевской: проблема дешифровки

Author(s): Irina S. Andrianova,Oksana A. Sosnovskaya / Language(s): English,Russian / Issue: 1/2018

One of the particular features of the Dostoevsky family’s handwritten archive is that it contains documents containing verbatim records. This is the diary of Anna Dostoevskaya of 1867, rough novel “The Brothers Karamazov”, “A Writer’s Diary”, a series of memorial and business records made by the writer’s assistant. Most of these documents were deciphered in the 1950s—1970s by Ceciliya Poshemanskaya, however, there are documents, lines, words, left undeciphered or presumably deciphered while those deciphered require critical analysis. The purpose of this study is to find out whether the decoding of the transcripts of Anna Dostoevskaya 150 years since their creation, whether it is possible to repeat the experience of Ceciliya Poshemanskaya today. To achieve this goal, the main features of the stenographic system by Dostoevsky’s wife were identified, and difficulties in reading her transcripts were spotted. Anna Dostoevskaya used the German Gabelsberger cursive shorthand system adapted for the Russian language by Pavel Olkhin and currently forgotten. But she also updated this shorthand for her own use, inserting some logical acronyms “Samoslovy” inventing a “system in the system”, and thus, making the task of reading her transcripts more complicated. Our attention is focused on the earliest of A. Dostoevskaya’s shorthand documents still existing — the first part of the diary deciphered and edited by her and Ceciliya Poshemanskaya which provides a “key” to all the shorthand notes of the writer’s wife. Our experience of the work upon the given autograph showed that the methods employed by Ceciliya Poshemanskaya, more specifically the compilation of abbreviations dictionary used by Anna Dostoevskaya in her work and the use of this dictionary in further decryption, is still relevant today, especially due to the possibility of using modern digital technologies. The article presents excerpts from unknown archival materials of Anna Dostoevskaya and Ceciliya Poshemanskaya, shapes a plan in the study of verbatim records of Anna Dostoevskaya.

СТЕПЕНЬ СИНТАКСИЧЕСКОЙ РАСЧЛЕНЕННОСТИ ТЕКСТА И ФУНКЦИЯ ЗАГЛАВИЯ СОВРЕМЕННОГО РУССКОГО РАССКАЗА

Author(s): Svetlana Vadimovna Vyatkina / Language(s): Russian / Issue: 7 (168)/2017

The cognitive approach to the analysis of the literary text, undertaken in the work, assumes characterization of the mental model of the reader’s perception. The perception is motivated by various syntactic features of the text. The material of short stories as a small text genre is employed. These stories are “visible and observable”. It helps to reveal how the information is presented in the text and how it is distributed therein (E. S. Kubryakova). A comparative analysis of the syntactic features, of the text structure, and of the story title (based on different in volume works by V. Makanin, A. Ivanov and A. Arkatova, published in the “New World” in 2010–2014) reveals such common feature as the syntax of the being written oral story, in which many rules of the written text are ignored. The stories are contrasted by the degree of the text deconstruction: from the minimal and graphically designed deconstruction (V. Maka¬nin’s) to the maximum deconstruction of the text (A. Arkatova’s). Such deconstructions predetermine different mental models of the reader‘s perception. In correlation with the character of syntactic deconstructions, the functions of the story titles, as reader-oriented vectors of perception, are defined: 1) a structure-forming element of the text in the story by V. Makanin; 2) a method of narrative motivation in the story by A. Ivanov; 3) a key for the perception of the parody game by the form in the story by A. Arkatova). Using a variety of ways, the authors set a mental model for the perception of the text. The model is oriented toward readers with different volumes of background knowledge.

Стервология, czyli o współczesnej kobiecie rosyjskiej bez cenzury

Author(s): Halina Kudlinska / Language(s): Polish / Issue: VIII/2006

The aim of the present paper is to analyse the Russian substandard nominative unit стерваreferred to the lexico-semantic field of ‘woman’. In the light of the presented discussion, based oncontemporary printed and electronic texts, it can be said that the lexeme стерва has achieved newpositive conceptualizations in the area of Russian mass communication. The analysed phenomenonmay be considered as an evidence of social changes.

Стил као свет књижевног дела

(Милош Ковачевић, Стил и језик српских писаца, Завод за уџбенике и наставна средства, Београд 2015, 303 стр.)

Author(s): Sonja Milovanovic / Language(s): Serbian / Issue: 159/2016

Стилевой синтез в изображении Петра I (Г. Р. Державин)

Author(s): Sergej Vasilev / Language(s): Russian / Issue: 11/2018

The article analyses the image of the first Russian Emperor created in Gavrila Derzhavin’s poetry, from the early poems of the 1770s to the late works written during the Patriotic War of 1812. Only some of the poems directly address Peter and his epoch. Mostly, the image of Peter I is auxiliary and in terms of the correlation of image and idea – usually emblematic. References to the tsar often correlate with reconstructing the stylistic context of Mikhail Lomonosov’s poetry, with continuing the formation of a special literary mythology, which presents Peter as a demiurge who created New Russia, and Catherine II as a continuator of his work, sometimes even surpassing her great predecessor in her achievements. In terms of genre, Derzhavin’s works which feature the image of Peter or include stylistically significant references to him, in some cases tend towards the synthesis of arts: musicality (hymn, ode) or ekphrasis. In creating the image of Peter I, the poet relies on the Western European context but also on generic and stylistic achievements of Old Russian literature. Special attention is paid to the poem “On the Prophecy of Simeon of Polotsk and Dmitry of Rostov at the Birth of Peter the Great”, which has not attracted the attention of literary scholars so far.

СТИЛИСТИКА И РИТОРИКА: ЗАОСТРЕНИЕ ВНИМАНИЯ НА МЕДИАЛЬНЫХ ДИСКУССИЯХ О БЕЖЕНЦАХ

Author(s): OLGA ORGONOVÁ,Alena Bohunická / Language(s): Russian / Issue: XXV/2016

In the study we pay attention to the interactive stylistics, with emphasis on the monitoring of language use by people, who are viewed from an interdisciplinary perspective in order to maximally understand their communication practices (including understanding of language). We are interested in how such a science relates with practical rhetoric as the art of good and convincing verbal communication across the three modes of persuasion (logos, ethos and pathos), as well as in the fact which particularities repose in any of the disciplines. The background for such exploration is represented by the real argumentations of common people in internet discussions about refugees in the Slovak mass media in 2015.

СТИЛИСТИКА НАРРАТИВА В РОМАНЕ «ЖИЗНЬ ГОСПОДИНА ДЕ МОЛЬЕРА» МИХАИЛА БУЛГАКОВА (ЛИТЕРАТУРОВЕДЧЕСКИЙ АСПЕКТ)

Author(s): Tatiana Stepnowska / Language(s): Russian / Issue: 11/2015

The article presents the most significant issues which are connected with the narration inthe Bulgakov’s novel. The first-person narrative is construed by means of the vivid and flowerylanguage. The author’s critical comments on the age of Louis XIV and human relationships thatprevailed in the then theatres, proved to be universal and timeless. To a large extent the commentsreveal the author’s own opinions on the life of theatre in the times of Stalin’s terror.

Стилистическое оформление продающих рекламных текстов

Author(s): Tamara Goncharova / Language(s): Russian / Issue: 7/2017

The present article describes stylistic peculiarities of advertising texts aimed at selling products. Many other linguistic means (phonetic, lexical, grammatical etc.) are of importance, but it is stylistic devices that make speech more expressive, picturesque and figurative. The words used in figurative meaning, which create images, are called stylistic figures. Owing to them (metaphors, personifications, similes, epithets, hyperboles, etc.) advertising language becomes more original and vivid and attracts consumers’ attention. The analysis is based on English and Russian advertisements of cosmetics. For buyers of cosmetics one of the most important aspects at choosing some product is its affect on gaining prestige with the aid of magnetic appearance and feeling of comfort. It is ensured by the use of one or another cosmetic product and expressed by linguistic stylistic means.

Стилът себки хинди в класическата турска литература

Author(s): Vejdi Hasan / Language(s): Bulgarian / Issue: 1/2017

In terms of its language and content, Divan Poetry was undoubtedly exposed to the most crucial change with Sebk-i Hindi which was significantly effective in the 17th and 18th centuries. Though the meaning and content aspects of this style capture the researchers’ attention, the meaning and content features eventuate through the new structures of the language used. The acarpous structures and combinations in the poems written under the influence of Indian style poses the most important problem for those who want to understand and explain this poem. Without resolving[analysing] these structures and contents, it seems impossible to enter the rich imagination and sense world of the Sebk-i Hindi. Symmetry which is made up of words in Classical Turkish Literature texts, new phraseologies and giving meaning are among the features that improve the depth of the meaning in the poetry. This style whch was seen as exaggeraton in Nefi’s poems, as hikem^ and unvoicednew meanings in Nabi’s poems has been seen first as hikemi meaning as Koca Ragip Pasha’s poems just like in Nabi’s poems. Sebk-i Hindi, which appeared in our literature evidently in the seventeenth century and which gave its examples that can be thought as masterpieces in the eighteenth century, reached to a new period with Divan of feyh Galip because Indian Style in Galip ’s poems include effects of the style in question that belong to Indian branch that is more complex and deeper in terms of meaning and content.

СТИЛЬ И СЛОВО

Author(s): Liliya Duskaeva,Vladimir A. Salimovskii / Language(s): Russian / Issue: XXVI/2017

The reorientation of linguistics to the study of the regularities of its functioning in stylistics, manifested in the fact that functional style has been regarded as a type of language in any sphere of human activity, regards language in the aspect of differentiation and modification in the basic speech varieties. It is not by chance that text samples from different areas of communication are used in frequency dictionaries. Understanding style as a way to integrate speech performance first put forward the questions of the compositional-semantic organization of the text, the realization of its categories, constructive principles, and techniques. In functional stylistics studies the two main areas – the use of language and the organization of a speech performance – are analyzed as complementary, but cohesion requires understanding the regularities of the functioning of language units in a text with many objectives, updated in texts of the given sphere. To resolve this problem, it is reasonable to rely on the notion of speech genres, each of which is a sequence of standard cognitive-communicative actions – structural elements acting as an object in the text of spiritual socio-cultural activities. The analysis of these actions has revealed and systematized lexical units in communicative composition of language material (Gasparov 2010).

СТИХОТВОРЕНИЕ И. БРОДСКОГО «RITRATTO DI DONNA»: КОНТЕКСТЫ И ИНТЕРПРЕТАЦИИ

Author(s): Tatjana Autukhovich / Language(s): Russian / Issue: 2/2015

The article offers an interpretation of the poem of I. Brodsky “Ritratto di Donna”, based on the establishment of contextual links with the picture by the great Italian Renaissance painter Raphael “La Donna Velata (The woman with the veil)” and Brodsky’s essay “Altra Ego” (1990). It is argued that the poem by Brodsky is an “improper ecphrasis” whose purpose is not the description of works of art. This poem is the metaphysical meditation about the essence of art, about the relation between daily life and Being in the artistic creativity.

СТИХОТВОРЕНИЕ Н. ГУМИЛЕВА «ЛЕСНОЙ ПОЖАР»: СТАНОВЛЕНИЕ ПОЭТИКИ АДАМИЗМА

Author(s): Arkadyi Aleksandrovich Chevtaev / Language(s): Russian / Issue: 5 (166)/2017

The article is concerned with the structural-semantic organization of the poem “The Wild Fire” (1909) by N. Gumilev. The poem was included into the composition of his third book of poems “Pearls” (1910). Turning from the symbolist perception of the world towards new poetics, the subsequently formed conceptual paradigm of acmeistic world vision and implemented ideologeme of adamism is emerging in N. Gumilev’s creative mind during creation of this poetry collection. The adamistic meaning of the poem is formed by the narrative representation of disastrous and rampant natural disasters. The fire in the African forest gets a status of an apocalyptic catastrophe because it destroys hierarchically organized forms of life, simultaneously reproducing the evolutionary logic of the living and of the ontological process of creation of all beings: from the flora through the fauna to a human being. The ideologeme of the human “self” involvement into the nature-prehistoric rhythms of the existential movement of the universe is actualized in the structure of this text. The primacy of the human immersion in an apocalyptic wildfire, marked by death, becomes a sign of the adamistic “return” to the created primeval essence of the world. Coming as the first death of the natural disaster, a human being is mortally involved into a common process of existence. Therefore, poetics of adamism in “The Wild Fire” is represented implicitly and is not so much concerned with the biblical meaning of Adam as with the idea of creaturely cognation of a man and nature. Revelation of primordial essence of the human “self” in the event of the catastrophic death marks the initial stage of the adamistic concept formation in N. Gumilev’s poetry.

Стихотворение Н. Гумилева «Лесной пожар»: становление поэтики адамизма

Author(s): Arkadyi Aleksandrovich Chevtaev / Language(s): Russian / Issue: 5 (166)/2017

The article is concerned with the structural-semantic organization of the poem “The Wild Fire” (1909) by N. Gumilev. The poem was included into the composition of his third book of poems “Pearls” (1910). Turning from the symbolist perception of the world towards new poetics, the subsequently formed conceptual paradigm of acmeistic world vision and implemented ideologeme of adamism is emerging in N. Gumilev’s creative mind during creation of this poetry collection. The adamistic meaning of the poem is formed by the narrative representation of disastrous and rampant natural disasters. The fire in the African forest gets a status of an apocalyptic catastrophe because it destroys hierarchically organized forms of life, simultaneously reproducing the evolutionary logic of the living and of the ontological process of creation of all beings: from the flora through the fauna to a human being. The ideologeme of the human “self” involvement into the nature-prehistoric rhythms of the existential movement of the universe is actualized in the structure of this text. The primacy of the human immersion in an apocalyptic wildfire, marked by death, becomes a sign of the adamistic “return” to the created primeval essence of the world. Coming as the first death of the natural disaster, a human being is mortally involved into a common process of existence. Therefore, poetics of adamism in “The Wild Fire” is represented implicitly and is not so much concerned with the biblical meaning of Adam as with the idea of creaturely cognation of a man and nature. Revelation of primordial essence of the human “self” in the event of the catastrophic death marks the initial stage of the adamistic concept formation in N. Gumilev’s poetry.