Gotowa bibliografia na temat „Belarusian Science fiction”

The article is devoted to the consideration of the representation of cultural meanings when using national cultural codes in fiction. Research objectives: to substantiate the use of the category of cultural code in the analysis of a literary work; to characterize the features of the functioning of the national cultural code in relation to cultural universals; to show the specifics of national images associated with spatial and temporal cultural codes. Methods (historical and literary, structural, semantic) and methodological basis of the work are the works of Russian, Belarusian and foreign scientists in the field of philology (Yu. Lotman, R. Jacobson, M. Epstein, N. Tolstoy, S. Tolstaya, etc.), cultural studies and sociology (K. Rapay, J. Murdoch). The result of the work is that the main approaches to the definition of the cultural code are identified, cultural meanings, translated using national cultural codes, associated with images of the Motherland, small homeland, and Fatherland are identified on the example of works of Russian and Belarusian literature. The scientific novelty of the work lies in the fact that the features of the representation of cultural meanings when using national cultural images in Russian and Belarusian literature are analyzed. The practical scope of the results of the work is seen in the possibility of using this material for deep understanding and studying such academic disciplines as "History of Russian Literature", "History of Belarusian Literature", university historical and literary courses, during independent research work of students, when writing term papers and theses.

It is proved that the modern Internet space creates a fundamentally new communication environment (social networks, chats, etc.), the capabilities of which, in turn, act as a trigger for linguistic transformations. It is the language of Internet communications that is today the field where new trends in language development are most actively formed. The functioning of the language in the network gives rise to a number of new phenomena. So, Internet discourse gives rise to such phenomena as massive abbreviations and an abundance of neologisms (including game ones), acronyms and backronyms, syngrahemics and supragrahemics, interlanguage hybrids, new tools for expressing subject-subject relations (formulas of politeness, for example) and many others. This poses new problems for both linguistics and philosophy of language. For example, it is shown that in the context of Internet communications, the classic dichotomy of verbal speech and written forms of language is blurred: on the one hand, in chats and forums, the language is formally represented by written texts, on the other – interactive dialogues actually set living one-time communication, which allows one to speak simultaneously, interrupt the interlocutor, respond immediately, etc., and all these are characteristic of verbal speech. It is concluded that if until now the main presenter of language in culture has clearly been fiction as embodying the established norm of the correct language, then today language practices (usus) come to the fore, reflecting the trends of linguistic evolution that are forming in the present continuous, that sets a new accentuation in modern culture, namely the prevalence of descriptive linguistics over prescriptive.

Beginning with attempts to deny or repress the very idea of Belarusian history, this article is devoted the use of historical themes by three generations of Belarusian writers, with the youngest first and ending with three from the middle generation who, as a rule, do not show the influence of their elders on themselves, nor do they seem greatly to influence the younger writers. All ages, however, are engaged in the same struggle to counter the anti-historical ideas propagated by the leadership of their country, and the younger writers bring a sometimes unusual, indeed iconoclastic, approach to this important task.

This article presents a comparative study of fictional representation of one type of collective trauma – the trauma of dictatorship. Two contemporary writers – the English Helen Dunmore and the Belarusian Svetlana Alexievich – explore the spirit of the Soviet post-war years. Dunmore fictionalizes the historical fact – the infamous “Doctors’ Plot”, using documentary evidence, while Alexievich documents live narrative, turning living memory into document. Both writers explore the mechanism of dictatorial suppression resulting in mass trauma; its major tool being fear in various forms. The traumatic discourse in both novels is shown as disrupted, silenced and distorted, while such defence mechanisms as displacement, acceptance, dissociation, humility, introjection, repression and rationalization are reenacted trough the narrative and plot.