O współczesnym rozkwicie średniowiecza – renesans minionej epoki oraz jego wyraz w XXI-wiecznej niemieckiej kulturze popularnej

Author(s): Katarzyna Socha / Language(s): Polish Issue: 5/2016

This article discusses an observable revival of the interest in the Middle Ages in Germany. This phenomenon—sometimes called medieval renaissance—manifests itself particularly in various areas of popular culture. To prove the thesis posed, the author analyses a handful of these areas, that is: exhibitions, historical reconstructions and imitations of medieval fortresses and settlements, social and computer games as well as reconstructed medieval fairs and chivalry contests. The article presents a survey of the past and present cultural events serving as evidence in favour of the main thesis. At the same time, the author asks about the reasons for this increased interest in the Middle Ages. Representative opinions of historians and other specialists, as well as fans of the Middle Ages seem to suggest one clear answer: the 21st-century man yearns for an alternative reality, dissimilar to the fast and noisy contemporaneity. The Middle Ages offer a shelter based on the strong foundations of the fixed medieval reality and the stable system of values.

ПРЕДЛОЖНАЯ СИНОНИМИЯ В РУССКОМ ЛИТЕРАТУРНОМ ЯЗЫКЕ ПЕРВОЙ ПОЛОВИНЫ XIX ВЕКА

Author(s): Lyaysen Ravilevna Abdulkhakova,Kseniya Valeryevna Kotnikova / Language(s): Russian Issue: 5/2013

The article presents the main types of synonymous prepositions in the Russian literary language of the first half of the 19th century. The author provides the examples of each type based on literary texts of the period under consideration and in accordance with the existing scientific classifications. The paper reveals such trends in the development of prepositional synonymy as the flexibility of the rules of using morphological synonyms and the stylistic reassessment of the components of synonymic rows.

ФОРМИРОВАНИЕ ФИЛОСОФСКОЙ ПРОБЛЕМАТИКИ «ЕВГЕНИЯ ОНЕГИНА» (НА МАТЕРИАЛЕ ПЕРВОЙ ГЛАВЫ)

Author(s): Evgeniy Vasilevich Sintsov / Language(s): Russian Issue: 2/2015

The development of meanings similar to philosophical ideas is revealed in the first chapter of “Eugene Onegin”. A.S. Pushkin based them on the complex and contradictory relationship between the protagonist and the way of his life. Onegin’s dependence on the latter and attempts to assert his individuality in the whirlwind of everyday life give rise to a number of artistic problems, which are close to philosophical reflections on the meaning and purpose of human existence, happiness and its sources, true and false values, as well as their ability to fill life with genuine or illusory sense. The paper proves the thesis that such artistic and philosophical ideas organize the internal artistic unity of the first chapter, turning it into an exposition of “Eugene Onegin” as a philosophical novel.

СВОЕОБРАЗИЕ ФУНКЦИОНИРОВАНИЯ СОВЕТСКОГО ДИСКУРСА В РОМАНЕ М.Ю. ЕЛИЗАРОВА «БИБЛИОТЕКАРЬ»

Author(s): Bulat Alfredovich Khanov / Language(s): Russian Issue: 2/2015

Representation of the Soviet past in modern Russian prose still demands comprehension. This paper is devoted to the analysis of the Soviet discourse in M.Yu. Elizarov’s novel “The Librarian” (2007), the 2008 “Russian Booker” winner. The study is performed using a complex method, which combines discourse, cultural-historical, structural-semantic, and conceptual types of analysis. The Soviet discourse is considered in relation to the national Russian one, which is also presented in the novel. It is demonstrated that Russian and Soviet concepts come into collision. The conflict is realized in a cryptological plot through the image of library, which is emblematic of postmodern literature. The national Russian discourse is embodied in such traditional feminine images as elemental force, proximity to the nature, destructive orientation, and provinces. The Soviet discourse is based on such traditional masculine images as aspiration for orderliness, orientation to logic, and capital. Female and male personifications stand in a symbolical relation with each other. M.Yu. Elizarov introduces the sacral image of the Protection of the Holy Virgin, which is urged to unite the Soviet discourse with the national Russian one. The conclusion is made that the Soviet utopia does not unite with the national Russian tradition despite the introduction of the Protection. The Divine Union declared in the novel remains unrealized.

ДУХОВНЫЙ СИНКРЕТИЗМ В ПУБЛИЦИСТИКЕ Ф.М. ДОСТОЕВСКОГО

Author(s): Ivan Igorevich Banderov / Language(s): Russian Issue: 4/2015

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.

ПУБЛИЦИСТИЧЕСКАЯ ПУШКИНИАНА М.Н. КАТКОВА

Author(s): Airat Shamilevich Bik-Bulatov / Language(s): Russian Issue: 4/2015

The paper, for the first time in Russian history, considers the journalistic and literary critical statements of M.N. Katkov, a leader of the traditional conservative trend in political journalism during the late 19th century, devoted to A.S. Pushkin. M.N. Katkov’s journalistic Pushkiniana is the most significant one among other contemporaries and covers the period from 1838 to 1880. M.N. Katkov numerously appealed to the figure of A.S. Pushkin throughout his journalistic activity. The interpretations of A.S. Pushkin by M.N. Katkov in different years are analyzed.

ЭСТЕТИЧЕСКОЕ ЗНАЧЕНИЕ ИМЁН ПРИЛАГАТЕЛЬНЫХ В ЯЗЫКЕ ХУДОЖЕСТВЕННОЙ ПРОЗЫ А.С. СЕРАФИМОВИЧА

Author(s): Kamily Eduardovna Sadrieva / Language(s): Russian Issue: 5/2015

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.

КОНЦЕПТ БОГАТСТВО В ХУДОЖЕСТВЕННОЙ КАРТИНЕ ПОВЕСТИ Ф.М. ДОСТОЕВСКОГО «ДЯДЮШКИН СОН»

Author(s): Svetlana Gregoryevna Safonova / Language(s): Russian Issue: 5/2015

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.

КОНЦЕПТУАЛИЗАЦИЯ МЕСТНОГРАФИЗМА ГРАДОВЕДЧЕСКОГО НАСЛЕДИЯ В.Г. КОРОЛЕНКО

Author(s): Nataliya Nikolaevna Zakirova / Language(s): Russian Issue: 1/2016

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.

ПОЭТИКА ИМЕНИ В РАННЕЙ ПРОЗЕ А.П. ЧЕХОВА: ЗООЛОГИЧЕСКИЙ ОНОМАСТИКОН

Author(s): Rufiya Muslimzhanovna Imankulova / Language(s): Russian Issue: 1/2016

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.

«ЛЮБОВНЫЕ ПИСЬМА СОВСЕМ НЕ ПРИНАДЛЕЖАТ К ПИСЬМАМ…» (СПЕЦИФИКА ЖАНРА В ЭПИСТОЛЯРИИ Н.М. КАРАМЗИНА)

Author(s): Lyubov' Aleksandrovna Sapchenko / Language(s): Russian Issue: 1/2016

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).

ЖАНРЫ СТИХОТВОРНОЙ ПАРОДИИ И ЭПИГРАММЫ В ТВОРЧЕСТВЕ А.Г. АРХАНГЕЛЬСКОГО И А.А. ИВАНОВА

Author(s): Lev Dimitrievich Galkin,Artem Eduardovich Skvortsov / Language(s): Russian Issue: 1/2016

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.

ДИАЛОГ С ЧИТАТЕЛЕМ В КНИГЕ ПЕТРА ВАЙЛЯ «СЛОВО В ПУТИ»

Author(s): Alsu Hadievna Vafina / Language(s): Russian Issue: 1/2016

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.

ПИСАТЕЛЬСКИЙ СТИЛЬ ЧАКА ПАЛАНИКА

Author(s): Anastasiya Igorevna Zholud / Language(s): Russian Issue: 1/2016

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.

ИНТЕРМЕДИАЛЬНОСТЬ ЛИТЕРАТУРНОГО И ТЕАТРАЛЬНОГО ТЕКСТА (НА ПРИМЕРЕ РОМАНА ОРХАНА ПАМУКА «МЕНЯ ЗОВУТ КРАСНЫЙ» И ОДНОИМЁННОГО СПЕКТАКЛЯ ТАТАРСКОГО ГОСУДАРСТВЕННОГО АКАДЕМИЧЕСКОГО ТЕАТРА ИМ. Г. КАМАЛА)

Author(s): Elena Nikolaevna Shevchenko / Language(s): Russian Issue: 1/2016

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.

Zachodnia i wschodnia tradycja wykonawcza śpiewu sakralnego: aspekt estetyczny

Author(s): Ievgeniia Lazarevych / Language(s): Polish Issue: 04 (31)/2016

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.

Dwa Źródła Aretuzy. Semantyka, literackie właściwości i funkcjonowanie aspektów kompozycji Karola Szymanowskiego w sonecie Jarosława Iwaszkiewicza

Author(s): Łukasz Kraj / Language(s): Polish Issue: 04 (31)/2016

The purpose of this article is to define the possible meanings and connotations of musical compositions and their conversion into the lingual substance of poetry. Since the issue is varying internally and always needs particular examples, the undertaken analysis concerns two pieces of art: Fountain of Arethusa by a Polish composer Karol Szymanowski and a sonnet of the same title written by his friend and relative, writer Jarosław Iwaszkiewicz. Firstly, the matter of literary title and its associations is compared in both pieces, which leads to conclusion that while the name of composition generates loose and imprecise connotations, literature requires more specification, nonetheless both the composer and the poet understand mythical subject alike and reception of the work of the latter is based on emotional and semantic qualities similar to those included in the composition. Then, the subject of musical genre is depicted, with emphasis placed on literary connotations and their implications in the process of transcription of music into words. As the poet uses sonnet, which apparently has got poor connections to music, the motives of such choice are enumerated, including significance in European culture and interior dichotomy, both of which one can find in Szymanowski’s work. Further, the article describes relations between music character indications in musical score and particular lexemes in the poem. Musical work can exist in literature in many ways, first of which is being a theme of objective or subjective description. Such illustration of music in the poem is analysed. Then the euphonious and rhythmic features of the text are described in order to prove that music exists in the sonnet in its sound as well as being a scheme which is reinterpreted and imitated by the writer. The analysis shows that although one cannot translate musical matter into words, it is impossible to ignore many intersemiotic correlations between music and literature. Every example of such coexistence – either on the ground of semantics or form – must be studied individually.

NEW BOOKS

Author(s): Carmen Ardelean / Language(s): English,Romanian Issue: 2/2014

CINE, GUERRA Y POLÍTICA EN EL SIGLO XX

Author(s): Oscar Ruiz Fernandez / Language(s): Spanish Issue: 1/2014

During the main events of XX century, such as the First and Second World Wars, or the Vietnam War, the world of cinema has changed accordingly. There are many movies offering a image of those events as they were interpreted, observed or seen by the people and the society of their days. These different images depend on when the movie was made, by whom and by which country. It is not the same, for a Vietnam War movie, the 60s, the 70s, or the 80s and the 90s, as not the perception of the First World War or the Second. Ideologies such as Communism, Nazism or Fascism were another key factor for the development of the film industry, especially in Europe during the inter-war period. Links between movies and politics during 1914-1991 are the field of research and study of this present article.

Partykularne i uniwersalne w literaturach narodowych

Author(s): Michał Masłowski / Language(s): Polish Issue: 2/2016

Opposition between the notion of universalism, created in the age of Enlightenment and the Romantic tradition, which dominates in Central Europe is discussed in the article. Universalism is understood as the process of emancipation of man, but at the same time, in countries ‘between Russia and Germany’ it is also understood as the rule of adherence. In the Romantic tradition there is the symbolic extrapolation of historic experiences and the use of metaphors that have ethical universalism, both of which are described by the author in this article. The understanding of culture as a spiritual sphere which unites the national spirit was destroyed in the 20th century due to totalitarianism, but this grotesque tragedy from our absurd history has created ‘anti-modern modernism'.