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Metropolis Kijoviensis. Каталог i тексти петербурзьких зiбрань.Пiдготували Валерiй Зема, Свiтлана Зiнченко, Вiра Фрис. Киïв: Iнститут Iсторiï Украïны НАН Украïны, 2010. XXXVIII, 216 с. ISBN 978-966-02-5751-1.
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The article presents the writer’s views on Russia found in his key pieces, such as Russia. A trans-oceanic point of view, Family Europe and some others. Milosz takes on ideas that shaped Russian culture as uniquely expressed in the literary, philosophic and religious thinking of the late 19th–20th century.The person of F.Dostoyevsky is in focus of Milosz investigations.
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The article provides a short review of investigations of the Polish-Russian and Polish-East Slavonic language contacts in 15th –19th cc. of the noted Polish specialist in the philology of the Slavs professor S. Kochman, and his valuable contribution in the working out of these problems.
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Review of: Meilutė Ramonienė (moksl. redaktorė), Miestai ir kalbos. Vilnius: Vilniaus universiteto leidykla, 2010. 321 p., ISBN 978-9955-33-634-1.
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In this paper, we examine causal nominal constructions with the preposition S and the genitive in the Russian language in comparison with Serbian from the syntactic and semantic aspect. Comparing the given construction with a similar OT + genitive, we come to conclusions regarding the specific meaning of the examined construction. The given meaning can be called specific from the aspect of the Serbian causal system. The paper also points to other syntactic studies on the Russian language that draw attention to the specificity of the so-called „small syntax“ constructions.
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The article formulates the theoretical foundations of the study of dramatic text, distinguishes between the concepts of “dramatic text” (affects the reader) and “dramatic work” (verbalizes the theatrical action for the viewer), because these linguistic realities are in the relationship of inclusion. A dramatic text is a unity organized according to certain laws, which has a clear structure: a certain number of lines, designed with the help of the author's remark, forms a dialogical unity; the combination of dialogic units forms a scene; the set of scenes constitute an act; several acts create a complete work. Obligatory factors of expressiveness of the dramatic text that influence the development of dialogic parts of the characters are pragmatic components of speech which are considered as certain rules of successful communication. In the communicative-pragmatic paradigm dramatic text is defined as a specific type of artistic text that has its own structural and speech features due to a combination of informational, pragmatic, stylistic and cognitive aspects, where the pragmatic aspect is found in speech acts, syntactic organization of cues. The scientific novelty of the research is DT of Bukovinian’s writers of the late nineteenth – early twentieth century that have not yet been the subject of analysis. The relevance of scientific research requires a holistic analysis of the dramatic text and difference between the concepts of “dramatic text” and “dramatic composition”, the study of mandatory factors of expressiveness of dramatic text, influencing the development of dialogic parts. The following methods and techniques of linguistic analysis are used in the article: system-functional analysis, method of discussion analysis, contextual-interpretive method. Conclusions. Dramatic text is a complex phenomenon with its own peculiarities of functioning. It is possible to penetrate into the structure of a dramatic text, to reveal the meaning of the author's intentions due to the volume-pragmatic division of the text. The communicative-pragmatic organization of DT influences the processes of active aesthetic influence of a work of art on the consciousness of the addressee. We see the prospect of the represented research in the further deepening of knowledge about the categorical features of the text in the communicative-pragmatic aspect.
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The paper focuses on the ethnic and religious diversity of school community members at the selected schools and investigates whether and how this diversity is acknowledged and managed in the schooling sector. The paper overviews how research participants perceive the interrelation between language, ethnicity and confession, as well as what ways schools use to deal with religious diversity in their communities. The empirical material comes from qualitative interviews with teachers of religion and members of administration at schools with the Polish and the Russian language of instruction in multi-ethnic urban sites in Lithuania, as well as interviews with members of Catholic or Russian Orthodox communities. The data indicates that school strategies to manage cultural diversity of school community are diverse, but schools where ethnicity and religion are seen as closely related can serve as agents of socialisation into a particular religious or ethnic group and in constructing ethno-confessional identities.
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This article discusses the status of thievery in the East Slavic tradition. The prime objective of the publication was to determine the place of the thief in the system of characters with supernatural abilities who also belong to the “knower” category. This category usually includes masters, magic experts, and semi-demonic beings. The work is based on the materials of the peasant culture of the mid-19th — early 20th centuries. A systematic description of the image of the thief as a character with supernatural abilities comprised the first stage of research. The research study reveals the reasons for the inclination to theft and typical characteristics and motifs that confirm the demonological status of the thief. The set of supernatural qualities placed this status higher than that of magic experts, but lower than that of semi-demonic beings. Thus, on the conventional scale ‘man — semi-demonic creature’ thieves are above sorcerers and witches. The characters acquired common motifs and characteristics; a lexicological rapprochement between them is revealed in the research. Additionally, the ideas of the thieves’ special social status, which associates them with sorcerers and witches, in the rural community were revealed.
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In this work, a list of the house nominations, stylistic and poetic means and techniques used to describe the groom’s and bride’s houses are considered based on published and archival materials of the 19th — early 21st centuries. The description of the newlyweds’ houses is formed by depicting three macrolocuses: the adjacent territory, or courtyard; the zone connecting the courtyard with the interior of the dwelling (porch, door, threshold) and the interior of the house, the image of which is formed by sequentially naming the loci that are most significant from the ritual viewpoint (place of honor, wide bench, furnace, etc.). The houses of both the groom and the bride are described using the very same poetic means of the ‘house’ semantic group. The concept of the bride’s house as a “strange” space for the groom’s party is manifested in speeches related to climbing the porch, opening doors, crossing the threshold and entrance. As the groomsman progresses and claims the house territory, the sense of the house as “strange” intensifies, reaches a critical point at the moment of crossing the threshold and declines after the entrance to the house. The dynamics of the groomsman’s image is revealed in speeches emphasizing the crossing of the threshold. The entrance of the best man to the house is interpreted as a case of crossing the boundary: penetration of the “strange” space is accompanied by a deterioration in vision, the onset of limpness and muteness, being marked, losing clothes or shoes, and giving away material values (money). As he claims the “strange” space and transcodes it into “own space,” the temporary physical indisposition of the groomsman passes. The courtyard, staircase, steps, porch, and threshold are regularly depicted in the descriptions of houses and adjacent territory. The most frequent epithets are wide and new. Numerous diminutives are another feature of the texts that describe the house.
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The following paper presents techniques that arise in translating nouns of foreign origin in Russian opinion journalism. Translational texts published under the common name of Vesti-Kuranty served as the source. The material for analysis was extracted from all available editions of the manuscripts produced in 1600–1670. The article aims to present selected techniques used by 17th century translators that were meant to serve as prompts for understanding words unknown in Russian at that time and demonstrate different translation solutions aimed at introducing foreign phrases and values.
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The article is devoted to Russian translation of the book Inni ludzie by Dorota Masłowska that has been done for the theatrical adaptation. Particular focus is put on the genre specificity of the text and its specific linguistic, narrative and cultural indicators, some of which have not been reflected in the Russian version. Text orientation towards the different recipient results in the transition of certain threads affecting interpretation of the text. An image of the Pole depicted in the translated theatrical adaptation is softened in comparison with the original text and issues related to the collective Polish awareness sound more universal.
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The present article focuses on the problem of inter- and intralingual translation — or, more precisely, its adaptation. Adaptation is considered here in terms of the translation studies as well as the theatre studies — as a transfer of written text into the language of theatre. The research materials are Chekov’s play The Cherry Orchard, its translation into Polish made by Agnieszka Lubomira Piotrowska and its stage realization. The performance was staged by the Georgian director David Mgebrishvili in 2017 in Teatr Nowy in Zabrze, Poland. The author analyses how to transfer the sounds, which are thought to be a typical motive in Chekhov’s works.
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The given paper is dedicated to the analysis of the word combination “administrative delight,” which was firstly used by F. Dostoevsky in his novel Demons to describe the bureaucratic arbitrariness, and later on became a figure of speech. By considering the examples of the usage of the mentioned stylistic device in Russian, Ukrainian and Polish mass media, the context extension and the change of semantics were pointed out by the author of the paper. The undertaken research leads to the conclusion about the universality and the convincing factor of the viability of the figure of speech created by F. Dostoevsky.
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The paper touches the matter of evaluation in press discourse which is presented from the perspective of Russian press articles translation into Polish language. Axiology in terms of press articles translation — creative, also usually persuasive, in which various means are used as carriers of evaluative connotations describing the matter of statement in negative or positive way — prompts us to consider to what extent the original evaluation is reproduced (or changed). The author proves that the holistic view on original and translated media texts allows to discover also other important elements of press articles structure which presence, emphasis or omission influences axiological valuation.
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The author analyses the translation strategies used by the translators of S. Lem’s The Futurological Congress to Bulgarian, Czech and Russian languages. The significant differences in the approach is noted — Helena Stachová, who translated to Czech language, tries to preserve in all the circumstances the author’s idea of challenging the reader with ethymological puzzles — and succeeds in that task very well. The Russian translator, Konstantin Dushenko and the Bulgarian translator, Svetlana Petrova, choose different approach, trying to maximalize understandability for the target language reader. With this approach quite a lot of intellectual challenges disappear from the text. The other discovered fact is, that with very high probability Svetlana Petrova must have been influenced by the Russian translation.
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The article deals with the ways of transferring words and phrases naming things, phenomena, and objects typical for life, daily routine and culture of the Muscovites during the first decades of Soviet power, used for translation of the novel “The Master and Margarita” into South Slavic (Bulgarian, Serbian, Croatian, Slovenian) languages. The complexity of the novel’s artistic structure, the combination of several cultural, historical and religious traditions, stylistic and linguistic layers, possess a very difficult task for translators. One of the necessary conditions for its solution is the presence in the translated edition a reference device (reference comments) explaining difficult passages.
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