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1
GHILAȘ, Ana. "Intermediate ways of creating theatricality in artistic discourse". Arta 31, n.º 2 (janeiro de 2023): 67–71. http://dx.doi.org/10.52603/arta.2022.31-2.09.
Resumo:
Th e article addresses the issue of theatricality, especially the way of creating this cultural phenomenon in the dramaturgical text and in the narrative artistic text. Theatricality understood as a cultural and aesthetic aspect is combined in some types of speeches with theatricality in life, especially in prose. If in the dramaturgical text its structure (dialogue — stage directions) constitutes a first element of theatricality, then the theatrical techniques from the show (ad spectatores, the monologue, the actor’s corporeality, etc.) are elements that can also be found in the narrative literary text in the form of authoriality, of various forms of psychology, etc. In this context, an important role in the creation of theatricality is played by intermediality as the interaction of codes specific to certain artistic or non-artistic discourses. We investigate the relationship between theatricality and intermediality from a theoretical and methodological point of view, with some examples from artistic texts or performances.
2
Starostina, Svetlana A. "Modern writing blogs in the literary, scientific, and educational space". Neophilology, n.º 27 (2021): 475–82. http://dx.doi.org/10.20310/2587-6953-2021-7-27-475-482.
Resumo:
We consider the phenomenon of network literature as an integral part of the modern literary process. We analyze such a phenomenon as a “writing blog” for its compliance with the basic requirements of the neterature: hypertextuality, interactivity, multimedia, informality and pro-cessuality of the text, as well as its semantic content. We conduct a study of the author’s blogs of D. Glukhovsky, E. Vodolazkin, E. Grishkovets, on the one hand, as methods of creating an artistic work, on the other, as ways of promoting the personality and creativity of the writer. Meanwhile, we identify not only the author’s peculiarities of blogging and communication of writers with the readership, but also the individual approaches of particular artistic individuals to the creation and popularization of their works (collective texts writing, combining an artistic work with multimedia content, etc.). We consider the issue of studying online literature in secondary educational institu-tions, and also develop ways to solve it. In particular, we propose an introduction to the educational process of research project work on topical issues of neterature, modern interactive teaching methods, as well as communication of schoolchildren with modern network writers in the format of forums and blogs.
3
A, Boomi Selvam. "Modern Tamil Creation Registered A. Madhavan’s Ilakkiya Chuvadukal". International Research Journal of Tamil 4, S-7 (29 de julho de 2022): 182–89. http://dx.doi.org/10.34256/irjt22s728.
Resumo:
In the contemporary modern environment, humanity's quest for knowledge openings is spreading wider and deeper. In the contemporary modern environment, humanity's quest for knowledge openings is spreading wider and deeper. Critical trends that are part of modern art-literature texts are universally creating multifaceted openings for intellectual dialogues in everyday life. Today, its ramifications have crossed the western horizons of the world and have begun to settle in Indo-Tamil regions as well. In particular, when it comes to modern art-literary trends, the novel, short story, poem, drama, review, etc., and finally the 'review' section, which is placed in the last place, has become literature in the public space and a kind of art in the private space and is receiving unique attention. In this way, while all the other artistic-literary activities are traveling with only single functions as their characteristics, only this form of review 'perspective' has many characteristics in itself and determines the metabolism of other artistic-literary forms. As such, it deserves special attention among modern Tamil authors and in creative studies. Although the beginnings of criticism in Tamil literature date back to the period of the textualists, it gained momentum only in the early twentieth century. In particular, the marriage Selvakesavaraya Mudaliar is the starting point of modern Tamil literature. However, while he only did original review work, some of his successors have been doing review work as well as creative work. A. Madhavan deserves to be mentioned in this series.
4
Pavlinchuk, T. "THE PAINFUL EXISTENCE IN THE BOLESŁAW LEŚMIAN’S POEM "AT NIGHT"". Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, n.º 2(95) (17 de dezembro de 2021): 76–90. http://dx.doi.org/10.35433/philology.2(95).2021.76-90.
Resumo:
The paper deals with poetic translation analysis of the poem "At Night"of the Polish poet Bolesław Leśmian. The appearance of Bolesław Leśmian’s poetry in Ukrainian translation (the collections of selected works "Садбожий спалахненець" and "Ангели" translated by M. Kiianovska) has become an important event. The researcher focuses their attention on the contextual, poetic, poetical, artistic and stylistic peculiarities of the poem "At Night", in connection with the philosophic and literary views of the poet. The wide range of scientific works on Bolesław Leśmian’s poetry in Polish literary studies allows us to study different aspects of this poet’s poetics: symbolism, peculiarities of the artistic images creation, the appeal to folk sources, the language of his literary works, the image of God in his poetry, the role of rhythm, immediacy of worldview and creating the world anew in "song without words" etc. The poetics of the poem has been studied, its interpretation is based on the unity of compositional, semantic, figurative elements of the poem.
The translation analysis, aimed at the study of structural and semantic features of the poem "At Night" in Ukrainian translation, is concentrated on the author’s peculiarities of creating images and their representation by M. Kiianovska in her translation of the poem. The author of the article focuses on the concept of the original and translation, the overall mood of the poem, its content, figurative system, structure, rhythmic organization, the rhyming system of the translation and the original. Special attention is paid to the analysis of the selection of lexical equivalents, the poetic syntax of the poem and other translation techniques on the way to better understanding of the text, the artistic images creation and grammatical and compositional integrity of the translation of the poem.
5
Corcinschi, Nina. "Critica și eseul basarabean din 2020". Limba, literatura, folclor, n.º 2, 2021 (dezembro de 2021): 63–66. http://dx.doi.org/10.52505/llf.2021.2.05.
Resumo:
Year 2020 was favorable for the critical and essayistic spirit in the Republic of Moldova. The books written in this section offer an overview of current critical thinking, of the most modern perspectives on literature approaching. The concept “arheul marginii”, by Andrei Țurcanu, offers an artistic and sociological grid for evaluating the relationship of the literary margin with the centre, i.e. of Romanian literature on both banks of the Prut, in a social, political and cultural context. The books of Emilian Galaicu Păun and Adrian Ciubotaru address current cultural phenomena (an anthropological vision of death, disease, suffering, etc.), important authors in Romanian and universal literature. Alexandru Burlacu analyses the 60th and 70th creation generations in Bessarabia, Dumitru Apetri – the phenomenon of translations, etc. All together they confirm a viable Bessarabian meta-literary process, connected to the latest Romanian and European literary challenges.
6
Kovalenko, Timofey V., Peter A. Kulichkin, Lidia A. Mazhul e Vladimir M. Petrov. "Intensity of Creative Innovations: Construing Samples to Measure Artistic Evolution". Key Engineering Materials 437 (maio de 2010): 525–29. http://dx.doi.org/10.4028/www.scientific.net/kem.437.525.
Resumo:
To compile samples (sets of poets, composers, painters, etc.) characterizing the development of different fields of creative activity, it is necessary to overcome two methodical difficulties. First, it is needed to choose due source (e.g., literary or musical encyclopedia) containing the raw data for further studies. Second, the task of averaging these data arises, because usually these data are described by so-called ‘stable non-Gaussian distributions.’ Nevertheless, both problems were solved, and evolutionary curves were built, for some national schools of art (creativity of 5982 composers belonging to 40 national schools, 2741 theatrical persons representing 9 national schools, etc.).
7
Hurbаnskа, Svitlаnа O. "PECULIARITIES OF PRECEDENT NAMES FUNCTIONING IN POSTMODERN ARTISTIC DISCOURSE". Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, n.º 14(82) (29 de agosto de 2022): 26–30. http://dx.doi.org/10.25264/2519-2558-2022-14(82)-26-30.
Resumo:
This article examines intertextuality of artistic texts of postmodern discourse in the aspect of linguosemiotic research; defines intertextuality as a text category that occupies one of the central places among other text categories; summarizes and systematizes the functioning of precedent names in postmodern artistic texts; considers postmodern artistic discourse as a special semantic focus of intertextual connections on the example of precedent names; highlights that intertextuality changes the idea of artistic texts as homogeneous structures, suggesting their consideration as heterogeneous formations. Recently, in linguistic science, general tendencies in the study of artistic texts as an intertextual phenomenon are observed. However, the lack of postmodern artistic discourse research in intertextual context by and large is noticed. Artistic texts of postmodern literature reflect the text-creating tendencies of postmodern creativity, the change of ideological system, the restructuring of values hierarchy, the creation of hybrid artistic forms, the production of new writing ways, and the manifestation of topical issues. Postmodern artistic texts are characterized by the presence of a large number of expressive precedent names. Introduction to the structure of artistic texts names, surnames, nicknames of prominent historical figures, biblical and mythological characters, writers of previous eras, heroes of their works, etc., that are emphasized with deep authorial intentions and meanings, defines literary characters’ destinies in a certain way, and affects the development of artistic text plot lines in general. The category of intertextuality creates a fragmented text in postmodernism fiction. Postmodern artistic text is a complete cognitive and conceptual, communicative and semiotic unity It is a heterogeneous structure marked by intertextual connections and lines with other texts. Therefore, it becomes possible to correlate cultural signs with background knowledge and with the specificity of linguistic consciousness, as well as create a special semiotic space.
8
Korniienko, Oksana. "MODELING OF POSSIBLE WORLDS IN SIGIZMUND KRZHIZHANOVSKY’S PROSE". Polish Studies of Kyiv, n.º 35 (2019): 186–92. http://dx.doi.org/10.17721/psk.2019.35.186-192.
Resumo:
Modern researchers consider the oeuvre of Sigizmund Dominikovich Krzhizhanovsky, the Russian-speaking writer of Polish origin, to be a “literary phenomenon” and a “literary discovery” of the twentieth century. Publications, translations into many world languages and active scholar familiarization with the writer’s heritage begins in the end of XX – at the beginning of XXI centuries. The article examines the Sigizmund Krzhizhanovsky’s prose that presents the original artistic heterogeneous universe, where a “multidimensional world” becomes the structure creating model. In the Krzhizhanovsky’s prose a word-creative experiment plays an important role in the creation of many interconnected worlds. The number of writer’s occasional forms even does not undergo an approximate estimation. The second important factor of creating a model of “multidimensional world” is defamiliarization (by Victor Shklovsky) as a phenomenological and gnoseological principle and method. The writer’s artistic consciousness is based on the phenomenon of understanding, connected with the change of vision and understanding, which pulls objects or things out of usual contexts of recognition and re-describing them as a “new discovered” phenomena. Due to this the usual appears unusual, strange. Krzhizhanovsky creates conditional, metaphysical, phantasmagorical and paradoxical worlds. In these strange worlds boundaries of Real and Irreal are blurred, the fiction itself acquires a real image, and reality emerges fantastic. The “logic” of alogism and paradoxes often functions in these worlds. In the artistic language the writer uses the strategy of “morbid” nomination that creatively enriches speech resources and refreshes the literary thesaurus. In the Krzhizhanovsky’s artistic world dominant narrative and pictorial strategies are also based on the next methods: the reviving of things, phenomena and abstract notions, thoughts and words, etc.; materialisation and narrative implementation of metaphors; the use of grotesque. An important role is played by the saturated intertextuality and game modus at different levels: from language and speech to codification of culture. In such a way the author’s model of Philosophy of creativity and philosophy of culture as an endless polyphonic polylog, continuous creative process and boundless creative imagination is realized.
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Rogacheva, Natalia A., e Anastasiia O. Drozdova. "NABOKOV’S REFLECTION ON HIS OWN AND OTHERS’ WORKS IN THE SHORT NOVEL “VASILIY SHISHKOV” AND POEM “THE POETS”". Tyumen State University Herald. Humanities Research. Humanitates 6, n.º 2 (2020): 64–78. http://dx.doi.org/10.21684/2411-197x-2020-6-2-64-78.
Resumo:
The problem of Nabokov’s artistic identity is relevant for contemporary literature studies. The researchers interpret writer’s estimation of his Russian works differently: in his American years, Nabokov (1) created a new artistic identity (A. Dolinin) and started a new career (N. Cornwell) or (2) developed his general themes (B. Boyd), targeted at English readers. The unique status of the texts written in French is defined by their “phantom” nature (M. Malikova) and the “final work with the literature legacy” (A. Babikov). In our research, the problem of Nabokov’s identity is analyzed for the first time in its connection with the methods of creation of the “phantom” fictional world. Our research subject includes the poem “The Poets” and the short story “Vasiliy Shishkov”. The texts are considered within the literary-critical and artistic contexts. The purpose of this article is to determine how the reflection of one’s own and other people’s creativity is built in these works, taking into account that perceptual imagery serves as tools for aesthetic assessment for Nabokov. The main research method in the work is structural-semiotic analysis: perceptual images are characterized by the variety of their localization, by the method of creation and distribution, by their attitude to the background, etc. The structural-semiotic approach to the analysis of literary texts has revealed the value of “phantom” or “distinctness” in Nabokov’s artistic optics. The intensity of sensations is directly related to the status of the subject of perception and to its position in the hierarchy of fictional worlds (Vasily Shishkov is the fiction of the narrator, the narrator is the fiction of the emigrant writer Nabokov). The impossibility of reliable perception, its continuity and limitation within the framework of an entire era or individual life are assessed by Nabokov as important conditions for creative development, especially significant in a situation of reflection on a new addressee art creation.
10
Borodina, N. A., O. A. Selemeneva e N. A. Trubitsina. "Mythopoetic Worldview of Bunin: Linguistic and Literary and Cultural Analysis Aspects". Nauchnyi dialog, n.º 10 (29 de outubro de 2021): 28–47. http://dx.doi.org/10.24224/2227-1295-2021-10-28-47.
Resumo:
The results of the analysis of semantic groups of mythonyms of the poetic heritage of I. A. Bunin as means of explication of various historical-informational and cultural-symbolic worldview meanings are presented in the article. The relevance of the work is due to the interest of literary onomastics in identifying units of the onomastic code of artistic and aesthetic systems of various domestic and foreign writers. The novelty of the work is associated with the inclusion of lexical units with different ratios of the nominated image and denotation into the Bunin mythonymicon, with the synthesis of linguistic and literary-cultural approaches in characterizing each of the selected lexical units. The twelve described semantic groups of mythological names are organized in the form of a field with a core and peripheral parts. For each group, the features of contextual use are noted. The authors come to the conclusion that in the Bunin picture of the world, mythonyms of various semantics perform text-forming and meaning-forming functions. They not only represent archetypal images (Fire, Bottom, Feminine, Garden, etc.), axiological oppositions (light — darkness, good — evil, etc.), key ideas, themes and motives (the idea of being still, themes of love, death, motives of temptation, resurrection, dreams, etc.), historiosophical concepts (moral choice and fortitude), but also participate in the creation of an individual author’s myth.
11
Levytska, Oksana. "Intermedial strategies in biographical novels about artists (based on biographical works about Vincent van Gogh written by V. Domontovych and about Chaim Soutine by Ralph Dutli)". LITERARY PROCESS: methodology, names, trends, n.º 18 (2021): 41–47. http://dx.doi.org/10.28925/2412-2475.2021.18.6.
Resumo:
The article is devoted to the study of peculiarities of intermedial relationships in biographical works about artists. Based on V. Domontovych’s fictionalized biography «A Lonesome Traveller Walking along a Lonesome Road» and Ralph Dutli’s novel «Soutine’s Last Journey» («Soutines letzte Fahrt»), it analyses the inter-artistic interaction of literature and painting, traces how the translation is done from the language of visual art into the language of literary work, and how the artist’s creative heritage and especially the peculiarities of his artistic technique influence the poetics of the biographical novel. Applying the methodology of intermedial analysis, it explores the ways in which art manifests itself on compositional, poetical, linguistic and stylistic levels in the novels about artists. The interaction of the verbal and fine arts is analysed at the level of thematization, construction of the artist’s image and description of the creative process. The intermediality of biographical novels about Vincent van Gogh and Chaim Soutine is considered through the transfer of features of a work of fine art into verbal art, through the employment of the main means of image creation in painting, such as colour, line, composition, etc. Based on the artistic practices of avant-garde art, the artists under analysis worked within, particular attention is paid to the identification of the poetical principles of artistic trends in the style of a literary work, that is, naturalistic and impressionist elements in Van Gogh’s biography and expressionist and surrealist elements in the novel about Soutine. In addition, the role of a pictorial quotation in the biographical fiction about the artist is worked out. A significant attention in biographical novels about artists is given to artistic detail and ekphrasis. Novels about artists provide rich material for the research of the dialogue between literature and fine arts not only for literary scholars but also for art critics.
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Aroshidze, Marine, e Nino Aroshidze. "The great social experiment: when dreams did not turn into reality". Balkanistic Forum 30, n.º 3 (5 de outubro de 2021): 314–28. http://dx.doi.org/10.37708/bf.swu.v30i3.18.
Resumo:
The great social experiment in building socialism, which was supposed to develop into communism, was based on a number of attractive political myths, for the creation of which a special symbolic universe was created, a wide range of various sign systems were involved, among which language played the most important role: as a means of creating a political myth and the means of its constant feeding (the myth-making function of the language). This allowed (in conjunction with other means of subjugating the totalitarian state) for a long period to manipulate the consciousness of the masses, educating the younger generation in the given ideological framework. However, being the most important means of creating myths, language at the same time has enormous potential for its destruction. An analysis of texts criticizing the political ideology prevailing in the Soviet empire allowed us to single out two main types of myth-destroying texts: 1) texts criticizing the existing order (anecdotes, caricatures, parodies, political fables, etc.) and 2) texts that destroy the “information vacuum» (photographic documents, archival documents, autobiographies, etc.). The artistic works of dissidents of socialist ideology (Vladimir Vysotsky, Nikolai Guberman, Alexander Solzhenitsyn, Mikhail Bulgakov, etc.), which often combined both functions, had a special appellative-influencing force. Analysis of the role of language in the creation of myth as a socio-cultural phenomenon on the example of the myths of the Soviet era in the context of modern globalization of knowledge and the interdisciplinary scientific paradigm demonstrated the semiotic mechanism of myth creation and the dynamics of their destruction.
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Muntian, Antonina. "INVESTIGATION OF AN ARTISTIC IMAGE OF A LITERARY WORK (DONNA TARTT’S NOVEL “A SECRET HISTORY”)". English and American Studies 1, n.º 16 (7 de setembro de 2019): 172–79. http://dx.doi.org/10.15421/381924.
Resumo:
The aim of the article is to research the artistic image of a literary work. In modern linguistics, interest to the study of artistic image is traditionally considered to be one of the conceptual. Modern psycholinguistics and literary studies direct their scientific potential into the realm of individualism and anthropocentrism, thus contributing to further “decoding” of the phenomenon of artistic image. It is the artistic image; its essence that reflects the forms of perception of reality by the author and its specific refraction. Artistic image has a variety of functions – not only purely aesthetic, but also value-semantic, communicative, psycho-emotional, educational, etc. It is also the symbolic aspect of the content of the artistic image that has various forms of manifestation at all levels of its structure: from the level of elementary sign and artistic reception to the level of archetypal, deep meaning of the work as a complex and holistic artistic world. Thus, the process of creating an artistic image is an act of individual dexterity, the desire to embody the aesthetic ideal, “to decode” the universal secrets of the artistic culture of mankind. The artistic image is a connecting link between the real world and its representation, the living “cell.” Artistic image is the projection of the inner world of the author, the realization of the creative “I-concept”, a personalized dimension of being. The basic structure of an artwork can be represented by a scheme: an expressive element – an artistic element – an image. Obviously, the hierarchical structure of the work does not end with this, because the work does not consist directly of images – the latter also forms certain structures and integrity within the scope of the work. Traditionally, such integrity is achieved with the help of the concepts of the plot and composition.
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Dolidze, Anna, e Tamar Sharabidze. "Psychosemiotics of the dream in Georgian artistic discourse (From realism to modernism)". Signo 47, n.º 88 (3 de janeiro de 2022): 44–49. http://dx.doi.org/10.17058/signo.v47i88.17381.
Resumo:
Abstract: The study of the dream phenomenon in Georgian artistic discourse is important because dreaming represents typological universality, although with ethno-national specificity in its performance, enabling us to understand Georgian mentality peculiarity in relation with Western tradition and also because a dream semantics (in its broadest sense), as a cultural concept, encompasses typologically similar events (prophecies, visions, dreams, prognoses, etc.), the function of which in Georgian texts demands special study, as it represents a provoking element of narrative structure. The research goal is to \ under various perspectives: exploring the dream phenomenon through uniting psychological and literary aspects; typological dreams classification and its variations in the creation by Georgian realist and modernist writers. The research main line involves three types of scientific methodology: The sociological-psychological research method of dream phenomenon; feature-based analysis of dreams and structural-contextual analysis of dreams, which presents paradigmatic variants of diverse literary processes during the 19th and 20th centuries. The Georgian realism considered that dreams adhered to their basic principles.Vazha-Pshavela, in contrast, has a dreamlike vision that is not only related to sleep but it is one of the ways of accessing the irrational world through the dreamer’s mystical-allegorical perception and myths. Vazha-Pshavela's next generation of Georgian writers, who are fond of European culture began to master and develop the themes typical to modernism, and also to it’s theoretical principles. Keywords: Dreams; psychosemiotics; Georgian artistic discourse; Modernism
15
Misyurov, N. N. "Book in the literary discourse of the German Enlightenment". Bibliosphere, n.º 4 (30 de dezembro de 2018): 27–31. http://dx.doi.org/10.20913/1815-3186-2018-4-27-31.
Resumo:
The books’ role in the German Enlightenment discourse explores the intersection of different but complementary disciplines: bibliology, philosophy of culture and «text linguistics», as well as the history of literature that expands the possibilities of studying cultural and public communication. A text (magazine, book) is interpreted as a mechanism that controls the process of learning and understanding. To illustrate the study theoretical foundations, the author considers the historical practice of the literary era in Germany in 1770-1790. The struggle of «cilturtregers» to renew German culture moved from the political sphere to journalism and literature. The author concludes that the book (both scientific and artistic) and reading became a factor of social communication. The struggle for the renewal of German culture, its national identity preservation due to a number of historical reasons hindering the development of the country moved from the political sphere to the journalism and literature field. It was closely connected with the whole complex of the European Enlightenment ideas. The book - both scientific (philosophical work, art treatise) and artistic one (literary and journalistic composition, dramatic creation, etc.) became an indispensable tool of the nation aesthetic education. In such circumstances, a book obtains the significance of not only the «source of knowledge» but a kind of «catechism» to struggle for national culture. Thus, considering a book text as a phenomenon of the German culture of the Enlightenment century with ideological and aesthetic significance, it should be especially notes that such a «text» (a book of scientific, philosophical, moralistic or artistic content) is addressed both to a specific reader, a representative of some class, and to a «collective reader». The German novel (it is the genre of «trivial» literature that is considered directly) is a product of the era. The dialogue «author - reader» (or a complicated triad «author - publisher - reader») was the basis of the nation estetic education. Reading became a fact (and a factor) of social communication. The German book has been transformed from an expensive and exclusive «source of knowledge» targeted for scientists, connoisseurs of «beauty» to a catechism (available for the ordinary reader) of the national struggle to preserve the German culture self-existence and to acquaint the nation to the treasures of the world classical «ancient» and modern literature.
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Timofeeva, A. I. "Image and linguistic personality of the teacher (based on short stories by Anton Chekhov)". Professional Discourse & Communication 2, n.º 3 (30 de setembro de 2020): 85–99. http://dx.doi.org/10.24833/2687-0126-2020-2-3-85-99.
Resumo:
The main purpose of this article is to introduce readers to the linguistic embodiment of the teacher’s image in the short stories by A.P. Chekhov. In recent decades the linguistic personality of the characters of artistic works has often become the subject of thorough linguistic and literary analysis. A.P. Chekhov, being the master of humorous stories, aims at introducing certain features typical only for the images of characters representing various professions but at the same time corresponding to the genre of the work itself. Attention to details, many artistic features are the hallmark of this writer’s work. A.P. Chekhov works through each image at all levels: structural, semantic and linguistic (thesaurus). That is why Chekhov’s works arouse research interest among both literary critics and linguists. The linguistic personality of the teacher in Chekhov’s stories is formed in accordance with the tasks that the writer sets at the time of the creation of the work (for example, a humorous short story, memoirs, etc.). Analysis of the character’s speech characteristics, the verbal portrait of the character allows us to identify the distinctive features of Chekhov’s language and form an idea of the writer as a thinker and researcher of the native language. Working on the semantic level of the linguistic personality allows to reflect on the moral and ethical potential of the characters of Anton Chekhov’s stories.
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Muratova, N. A., e G. A. Zhilicheva. "Semiotics of the Train in Russian Literature: Intermedial and Metapoetical Aspects". Bulletin of Kemerovo State University 24, n.º 1 (11 de abril de 2022): 50–59. http://dx.doi.org/10.21603/2078-8975-2022-24-1-50-59.
Resumo:
This article explores the intermedial and metapoetical semantics of the artistic image of a train. This image is part of the artistic semiotics and plays two interrelated roles: it marks the connection between the discourses of cinema and literature and signifies the act of artistic creation. Based on the Russian literature of the ХХ–ХХI century, this article reviews the origins and development of the arrival of a train as a cinematic metaphor, as well as the ways of depicting images in time and space (including the inner space). Before the age of cinema, the classic Russian literature introduced the railroad motif to make the discourse more dynamic and to highlight the key opposition between traditional lifestyle and technological progress, e.g. in works by F. Ostrovsky, A. Chekhov, etc. The literature of the XX century merged cinematic devices with literary motifs and introduced fragmentation, editing, changing angles, and other new ways of artistic perception, e.g. in A. Platonov’s oeuvre. Train imagery may attain mythological semantics when it manifests the themes of disaster, death, Apocalypse, and revolution, thus becoming a metapoetical symbol, e.g. in B. Pasternak’s Doctor Zhivago. In the contemporary Russian literature, train movement is associated with the life of human consciousness (V. Pelevin) or with text generation (S. Sokolov). In some cases, episodes of rail traffic interspersed with episodes of filming complicate the narrative and multiply transitions from external to internal focalization (E. Vodolazkin).
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Dmitruk, Lyudmila A. "Vocabulary with the Northern Russian dialect base in the Russian literary language". Neophilology, n.º 25 (2021): 5–11. http://dx.doi.org/10.20310/2587-6953-2021-7-25-5-11.
Resumo:
We analyze a number of significant issues of historical lexicology and dialectology related to the development of the Russian literary language, as well as to the study of the nature of its inclusion in the national language. We trace the connection of the codified language with such extra-literary elements as folk patois, vernacular, jargons, we determine their historical significance for the creation in the 18th–19th centuries of a new formation language, built on a democratic basis. Northern Russian patois, including Kostroma, are regarded as the most archaic layer of linguistic phenomena that influenced the Moscow Koine, on the basis of which the literary language was later formed. In this study, the North Russian dialect vocabulary and narrower, Kostroma, is considered as a source of the formation of the vocabulary fund of the literary language, and the artistic, journalistic and scientific works of Kostroma writers and local historians of the late 19th – 20th centuries (A.O. Ablesimov, N.A. Nekrasov, А.N. Ostrovsky, S.V. Maksimov, I.M. Kasatkin, E.V. Chestnyakov, N.N. Vinogradov, V.I. Smirnov, A.V. Gromov, etc.), related to the Kostroma region, as one of the channels of the “migration” of a regional word into the literary language, which largely contributed to its adaptation and consolidation in a standardized language, the de-velopment of extensive lexical and semantic connections and relationships.
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Horbolis, Larysa, Olena Ishchenko, Anatoliy Novykov, Dmytro Marieiev e Nataliya Hrychanyk. "The Cinemapoetics of the modern Ukrainian novel: Myroslav Dochynets’ creative works". Revista Amazonia Investiga 10, n.º 48 (30 de dezembro de 2021): 209–17. http://dx.doi.org/10.34069/ai/2021.48.12.22.
Resumo:
The article presents a review of the Ukrainian literary critics’ works on the relationship between literature and cinema, the relevance and effectiveness of the practice of involving cinematic resources in the literary works of Ukrainian writers of the 20th – early 21st centuries. On the material of the novels “Centenarian. Confession on the Pass of the Spirit”, “Svitovan. Studies under the Tent of the Skies”, “Well-Digger. Diary of the Richest Resident of Mukachevo Dominion”, “Highlander. Waters of Our Lord’s Riverbeds”, “Maftei. Book Written with a Dry Pen” by the contemporary Ukrainian writer M. Dochynets traces the problem of inter-artistic interaction of literature and cinema. The purpose of the research is to single out and analyze film frame, montage, shot, perspective, rhythm as integral elements of the cinematic poetics of M. Dochynets ’prose, which are used in the text to reveal the artistic, aesthetic, philosophical and creative principles of the writer. The study used general scientific (analysis, synthesis, comparison) and literary methods: the systematic approach, hermeneutic method, principles of narratology, intermedia approach. Appealing to the works of O. Chicherin, S. Eisenstein, Yu. Lotman, M. Romm, A. Tarkovsky, etc., the peculiarities of the use of film poetics in the writer’s novels are analyzed. It was found out that in prose by M. Dochynets montage, film frame, shot, rhythm, foreshortening perform intonation-expressive, plot-compositional and characterological functions.
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Ivlieva, Yuliia. "The Concept of the Pictography as a Background for «Free Hands» Written by Paul Eluard and Man Ray". Fìlologìčnì traktati 12, n.º 2 (2020): 22–28. http://dx.doi.org/10.21272/ftrk.2020.12(2)-3.
Resumo:
This article is part of a deeper study of the phenomenon of "picto-poetry" on the example of Paul Eluard and Man Ray's collection "Free Hands". The article proves the intermediality hypothesis of a collection based on the history of its creation, where the two types of arts not only complement each other, but merge into one, creating new forms and genres of French poetry. The purpose of the study is to determine the nature and imagery of the interaction of visual and verbal codes of artistic reality in the collection "Free Hands", as well as to identify the basic features of the composition " in four hands" on the example of the frontispiece of the collection. Research methods: descriptive, structural and semantic analysis methods that allow the identification of relationships between different sign systems (visual, plastic, etc.). The main feature of Paul Eluard and Man Ray's picto-poetic collection "Free Hands", in the preface to which P. Eluard outlined the principles of a single picto-poetic reproduction of the world, is the special principle of organizing the artistic space, when graphic realities also become "literary text", and the poetic text and its graphic "second voice" cannot be interpreted separately. The multi-layered and heterogeneous internal connections in the texts and graphics of authors serve as a form of reproduction of the underlying processes that take place in the human psyche, and the texts of Eluard create visual metaphors that resemble dreams.
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Gabysheva, Luiza L'vovna, e Zoya Konstantinovna Basharina. "Anthroponymic space of the novella “Wolves Do Not Sleep” By L. Gabyshev, I. Zozulya: semantics and functions of the name". Litera, n.º 9 (setembro de 2020): 142–50. http://dx.doi.org/10.25136/2409-8698.2020.9.33759.
Resumo:
This article analyzes the anthroponymy of the detective novella “Wolves Do Not Sleep” (1974) by Lev Gabyshev and Ivan Zozulya, which reflects the author's message, promotes understanding and perception of the text by readers. The subject of this research is the semantics and functions of literary names in artistic space of the text, process of adding meaning, and saturation of content of onym. The goal of this work is to determine functions and multidimensional semantics of anthroponyms based on the internal form of the word, connotations and paronymic associations, as well as reveal the impact of all implicit and explicit components of onym upon discovery of intentions and worldview orientations of the authors. The article is first to analyze the system of literary names of the novella “Wolves Do Not Sleep” by L. Gabyshev and I. Zozolya, and reveal the meanings and functions of the last names of the protagonists. The work contributes to further development of methodology of analysis of proper nouns in artistic space of the text, specification of such fundamental concepts as connotative semantics, function of onym, text, language game, etc The conclusion is made that the literary names of the novella differ in semantic diversity, have a vast and complex lexical background, and characterized as multifunctional symbols. Onyms perform the role of linking structural elements of semantic space of the text, ensuring its coherence. In addition to the text-forming function, anthroponyms fulfill a characteristic and meaning-making function; indicating the spatial-time coordinates of the text as a whole, they localize the character in a certain time and geographical space, giving information on his national affiliation. Being involved in creation of semantic multidimensionality of the text, literary names are verbal means for realization of the author's intentions and worldview.
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Rezvan, Maryam. "Russia and Its Oriental Other: Self‑Cognition Through Mutual Influence (Intermediate Results of One Research Project)". Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, n.º 2 (dezembro de 2020): 85–87. http://dx.doi.org/10.31250/1238-5018-2020-26-2-85-87.
Resumo:
The article aims at presenting the project Russian Orientalism (Science, Art, Collections), conducted by the team of researchers from the KunstkameraMuseum (St. Petersburg). We offer the reader an interpretation of orientalism, as having an inner unity of the way of perception and vision of the East, its co-creation, expressed in a wide variety of aspects: professional and scientific, artistic, everyday, etc. The resulting book shows that Russia's and “Orient” mutual history testifies to a continuous dialogue, through which we, realizing our dissimilarity, try to understand not only the Other, but also ourselves, through our reflection in it.
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Ignatenko, Alexander V. "Features of the Language Game in Liu Zhenyun’s Prose on the Example of the Novel “I am not Pan Jinlian”". Vestnik of Saint Petersburg University. Asian and African Studies 14, n.º 3 (2022): 507–23. http://dx.doi.org/10.21638/spbu13.2022.308.
Resumo:
The paper discusses stylistic techniques and means of creating a language game on the example of the novel “I am not Pan Jinlian” (2012) by Liu Zhenyun. The emphasis is on the search for new orderings in the language game within the framework of the artistic universe. Studies of Liu Zhenyun’s artistic discourse today are included in various linguistic, literaryand cultural landscapes, but they are fragmentary in nature and are presented, as a rule, on local material. The language, artistic features and idiosyncrasy of the writer can be considered practically unexplored, which determines the relevance of this study. The linguistic features of the language game in the works of Liu Zhenyun are consistently considered at three levels in this study. Metaphors, oxymorons, irony, etc. are analyzed at the level of the use of artistic means and techniques. At the structural and functional level, attention is focused on the formal structure and organization of the artistic fabric of the text, some stylistic and syntactic aspects of the language game, parallel constructions and techniques (zeugma, chiasm, anacoluf, parallelisms, ekphrasis, etc.) are analyzed. At the cognitive-discursive level, attention is paid primarily to the problem of the organization of the conceptual-semantic space of the text and the disclosure of its laws, as well as its integration and synthesis with non-linguistic sciences - philology, psychology, cultural studies, etc. The mixed methods used in the article allowed us to obtain results that are productive from the point of view of the possibilities of structural- functional and discursive analysis of artistic material. The obtained data and conclusions open up wide opportunities for further analysis of the language game in artistic discourse.
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Belyaeva, Tatyana Nikolaevna. "The Role of Folklore in the Formation of the Genre of the Satirical Novel (based on the Material of the Mari Literature of the First Third of the XX Century)". Litera, n.º 12 (dezembro de 2022): 66–74. http://dx.doi.org/10.25136/2409-8698.2022.12.39402.
Resumo:
This article examines the problem of folklore and literature based on the material of the Mari national literature of the first third of the twentieth century. The subject of the study is the role of folklore traditions in the formation of the genre of the satirical novel. The influence of folklore images-characters, genres of oral folk art (fairy tale, proverb, saying, etc.), their poetics and stylistics on the process of formation of Mari national literature, on the birth of the first Mari satirical novel – N. V. Ignatiev's novel "Savik" is shown. In such a scientific and theoretical aspect, this work of Mari literature is being studied in regional and domestic literary studies for the first time. The research method is structural and semantic, which allows to see the comic component of a satirical novel at the level of both its genre content and its poetics. The article proves that it is the folklore genre and figurative intertext that contributes to the disclosure of the satirical problems of the novel "Savik"; the main satirical techniques and means in it are sarcasm, specific nomination of characters ("talking names"), "sounding" toponymy, parody, comic situation, exaggeration, specific speech techniques, etc., many of which they have a folklore basis. They play an essential role in the creation of a literary and artistic text, are integral components of its poetics and stylistics, are closely related to the author's ideas, the time and space depicted, the essence of the images created.
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Zarkalam, Sattar, e Amin Rooholamini. "Protecting Related Creations to Fashion in the Framework of Literary and Artistic Property Rights of Iran and France". Journal of Politics and Law 10, n.º 5 (29 de novembro de 2017): 157. http://dx.doi.org/10.5539/jpl.v10n5p157.
Resumo:
In today’s world where the process of development and the industry is evolving more rapidly than expected, the legal notions are going forward on their compliance in line with these developments. The increasing development of intellectual property rights and their samples is an example of this change. One of the most important issues and instances of this tendency in legal rights is associated with fashion productions and creations. France, as one of the greatest leading country in fashion industry since long time ago, has legally protected the dress and beautiful creations in the intellectual property rules and in the different time periods, under the various titles, including the drawings and models rights, industrial property rights, literary and artistic property rights. French jurisprudence has broadly interpreted the concept of the fashion industry and consequently, the dress and beauty creations that have evolved not only the goods, but all parties involved in the production of the fashion industry. In Iranian law also, although there is no progress in this field compared to French law, with an optimistic interpretation of the rules of its intellectual property, it can be associated with Droit d'-auteur rules in addition to the industrial property rights under different titles such as design and drawings, Applied artwork, folklore etc.
26
Safonova, Tatyana. "Functions of Phraseological Units in Detective Prose of B. Akunin". Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, n.º 3 (novembro de 2019): 130–39. http://dx.doi.org/10.15688/jvolsu2.2019.3.10.
Resumo:
The author considers the problem of stylistic functions of linguistic units in modern Russian prose works through analyzing phraseological units in the detectives of B. Akunin. The article presents the most frequent types of phraseological units (idioms, set phrases, proverbs, sayings, popular expressions and other types of clichéd utterances) as representation of a personal literary style of this author. The research results point to their stylistic variety with high literary, colloquial, low colloquial, and slang units among them. The major types of phraseological unit conversion are distinguished as a prove of the writer's personal style, including, complete deformation of a component composition of a set phrase, reduction of the lexical length of phraseological units (implication), distribution of any component composition of the unit (explication), combining two or more phraseological units into a single set expression (contamination), replacement of a component in the composition of phraseological units with words of general literary layers (lexical variation), etc. The stylistic functions of all phraseological units under study are interpreted as retro-representation of the language of a certain time period, stylistic imitation of the communicative tone of oral speech, verbal characteristics of the characters who are referred to various social groups, and creation of humorous tone of the story. A comprehensive description of phraseological units used in modern fiction has revealed their artistic and stylistic potential.
27
Marinova, Elena V. "Network communication and its genres as objects of artistic representation (based on Russian literature)". International Journal “Speech Genres” 31, n.º 3 (25 de agosto de 2021): 216–25. http://dx.doi.org/10.18500/2311-0740-2021-3-31-216-225.
Resumo:
The article analyses a new compositional peculiarity of modern fiction – the introduction of a text fragment related by its lexical and graphic features to one of the genres of network communication (chat, blog, electronic mail, etc.) into the structure of the literary works. The dialogue between characters, who communicate on the Net, becomes one of the stable text-forming means, performing various artistic tasks, including formation of the plotline, creating the image (atmosphere) of the time period, character images, reflection of “language taste of the epoch”, and so on. The reproduction of the main linguistic peculiarities of electronic genres, in its turn, enlivens the literary discourse to a considerable degree; the pastiche of network communication becomes one of the expressive means; the cultural dominant of our time – orientation towards visual perception of information – manifests itself. The research has revealed methods and means of transferring graphic and lexical features of genres of informal network communication in the fictional text. The main ways of reflecting the peculiarities of electronic speech are direct stylization (reproduction of alphabetic and other graphemes used in Runet) and indirect image (verbal designation of non-alphabetic graphemes), which becomes the basis of a new imagery, the tropics (laughing brackets, emoji got nervous, an offended smiley, etc.). The analysis of the features of the display of speech behavior on the Net allows to conclude about the formation of a kind of poetics for the artistic embodiment of the stable theme of modern literature – ”Man in the virtual sphere of communication and being”. The study is built on the basis of general philological analysis and specifically linguistic analysis of a fictional text (total number of analyzed works is about 60) and presents a part of the author’s separate research on the formation of Russian Internet lexis in the modern Russian language and realized within the framework of functional sociolinguistics.
28
Shmeleva, A. V., A. E. Lomatova e E. D. Luneva. "Sister of Mercy – Baroness Yu.P. Vrevskaya. On the Issue of Creating an Artistic Image". Язык и текст 9, n.º 1 (2022): 67–82. http://dx.doi.org/10.17759/langt.2022090106.
Resumo:
The article is devoted to Baroness Yu.P. Vrevskaya, who, despite her status and position in society, became a sister of mercy. Russian and European authors dedicated their best works to her. Yu.P. Vrevskaya became a symbol of sacrificial love. The origins of her feat, which are rooted in her "military" childhood and upbringing, are considered; reading the works of Russian classics, in particular, I.S. Turgenev, determined her character, and early widowhood formed a special path – the path of service to one's neighbor. Reflections on the fate of Yu.P. Vrevskaya became the subject of creative discoveries in the artistic world of I.S. Turgenev, served to develop the theme of women's service and women's feat. Special attention is paid to the literary interests of Yu.P. Vrevskaya, her reading of the works of A.S. Pushkin, F.M. Dostoevsky, J. Sand, Cervantes, V. Hugo, Dickens, etc. In the books, Yu.P. Vrevskaya is looking for the meaning of life and role models. The personality and fate of Yu.P. Vrevskaya are considered in the context of historical events – the Caucasian War, the Russian-Turkish War, as well as in the context of social movements – the history of the Red Cross.
29
Boichenko, Mykhailo, e Bohdan Bondarchuk. "Language creativity and the estrangement of language: not friends, neither enemies of the translator". Filosofiya osvity. Philosophy of Education 26, n.º 2 (25 de junho de 2021): 155–67. http://dx.doi.org/10.31874/2309-1606-2020-26-2-11.
Resumo:
The article is devoted to the analysis of the special place of language creation and the estrangement of language in literary and professional translation. The research methodology is determined by the search for a balance between the approach to the internal form in Oleksadr Potebnia’s school and to the external form in literary formalism. To make translation a solid foundation for education, it must be correct. The reliability of translation should be based on adequate translation practices, which are determined by following the correct principles of handling the language of translation. Hermeneutics focuses on the language of the original text, revealing its hidden meanings and alternative interpretations. Instead, professional translation also takes into account the creative potential of the language of translation. If in previous times the translator was a servant of the author of the original, then in the age of postmodern and intertextuality the translation sometimes turns into a kind of quest for the reader, and even an experienced consumer of translation does not always manage to unravel the translation idea and reproduce the author's original text intention. All this raises the question of the admissibility of language searches – language creation, estrangement of language, etc. – in translation. The translator inevitably appears as another author, which must, however, be minimally tangible to the reader. Only as an exception, the merit of a good translator is language creation, but where it is really needed: the translator have to be a language creator – at least not worse than the author of the original text. Often the translator acts as a co-creator of the native language – because it is through him that foreign words, artistic images, new language themes and language forms usually come into the language. This is especially evident in the translation of poetic works. Renaissance and Baroque give classic examples of active work of translators as creators of the language. In Ukrainian history, such features were generously endowed with the Ukrainian avant-garde of the early twentieth century.
30
Diachenko, Nataliia, e Olesia Kydysiuk. "Verbal representation of monster’s image in works for children of modern Ukrainian authors". Philological Review, n.º 2 (5 de dezembro de 2021): 15–22. http://dx.doi.org/10.31499/2415-8828.2.2021.246060.
Resumo:
The article investigates the peculiarities of the linguistic representation of monster image in modern Ukrainian children’s literature. The literary discourse of fear and monster image is presented. From the communicative-pragmatic point of view, the traditional, usual images of monster, in particular Babay and Chupacabra, are compared with their counterparts from the works of such popular Ukrainian writers. New images of the monster, the appearance of which was caused by the COVID-19 pandemic, are characterized.
The purpose of the article is to investigate the peculiarities of the linguistic representation of the image of monster in modern Ukrainian children’s literature.
The following research methods were used: linguistic observation and description of language phenomena; method of decoding an artistic text, analysis, synthesis, induction, deduction, as well as the method of continuous sampling.
It is established that in the works for children of modern Ukrainian authors the image of a fearless, good monster is gaining popularity, which testifies to the tendency to improve traditional negative images. To create «updated» images of monsters, writers use a range of language tools and stylistic devices. The individual author’s onyms for monster and occasional sign tokens are particularly expressive, which appear during the creation of these images. It is observed that the image of monster in children’s works implements a number of pragmatic functions: cognitive (acquisition and assimilation of knowledge about the world (about the world of things; about the world of human relations); developmental (enrichment of the child’s vocabulary, formation of reading skills, development of imagination, critical / creative thinking, cognitive interest, etc.); educational (formation of basic moral principles, learning patterns of behavior, etc.); entertainment (enjoyment of artistic communication). The study of the usual and occasional in the linguistic representation of fear and monster in the works for children of modern Ukrainian writers complemented the knowledge about the connection of the writer’s worldview with the works’ language and with the national linguistic picture of the world.
31
Панеш, Учужук Масхудович, e Шамсет Еристемовна Шаззо. "On the poetry features at the turn of the century (from the creative work of Muliat Emizh)". Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», n.º 2(277) (6 de outubro de 2021): 148–52. http://dx.doi.org/10.53598/2410-3489-2021-2-277-148-152.
Resumo:
Задача выявить в творчестве Мулиат Емиж конца ХХ - начала XXI века типологические особенности национальной литературы определяет исследование проблемно-тематического содержания, эволюции конфликта и жанровых форм художественных явлений. Устанавливаются усиление проблемности и попытки углубления концепции личности в сборниках «Возвратившиеся песни», «Таинственный знак», «Горное озеро» и др. Отмечается движение к художественной объемности и концентрации поэтических средств. Определяется влияние фольклора и традиций литературы на формирование жанровых форм поэзии. Опора на историко-литературный и сравнительно-типологический методы позволяет сделать вывод об отражении в творчестве М. Емиж таких особенностей современной литературы, как освобождение от декларативности, публицистического многословия и торжественности. Работа может быть востребована при изучении теоретических проблем формирования отечественной литературы ХХ века. The authors set objectives to identify the typological features of national literature in the work of Muliat Emizh of the late 20 - early 21 centuries, which determine the study of the problem-thematic content, the evolution of the conflict and genre forms of artistic phenomena. The authors establish the strengthening of the problematic nature and attempts to deepen the concept of personality in the collections "Returned Songs", "The Mysterious Sign", "Mountain Lake", etc. The movement towards artistic volume and concentration of poetic means is noted. The influence of folklore and literary traditions on the formation of genre forms of poetry is determined. The reliance on historical-literary and comparative-typological methods makes it possible to draw a conclusion about the reflection in the work of M. Emizh of such features of contemporary literature as liberation from declarativity, journalistic pleonasm and solemnity. This work may be in demand in the study of theoretical problems of the formation of Russian literature of the twentieth century.
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Kondratieva, Natalia V., e Beatrix Oszkó. "Features of artistic bilingualism in modern Udmurt literature (based on the poetry by B. Anfinogenov)". Finno-Ugric World 13, n.º 3 (25 de outubro de 2021): 243–53. http://dx.doi.org/10.15507/2076-2577.013.2021.03.243-253.
Resumo:
Introduction. The article deals with artistic bilingualism which is interpreted as the creative use of two languages in creating works of literature based on precise understanding of the specific features of semantic and pragmatic potential of these languages. The purpose of the article is to identify the features of artistic bilingualism in the work of the modern Udmurt poet B. Anfinogenov. Materials and Methods. The main source of research is the collection of B. Anfinogenov’s poetry “Aishet of the future”. The methodological framework includes linguistic analysis of poetic texts, synthesis and generalization of the achievements in literary studies, structural analysis, etc. The research is based on the use of the descriptive method as well as the method of full coverage and methods of contextual and situational-contextual analysis. Results and Discussion. Based on the analysis of the poetry of the young Udmurt author Bogdan Anfinogenov, it was revealed that one of the techniques inherent in the bilingual communication strategy is the use of code switching, which performs various functions. In addition to the traditional thematic function, emotional, decorative, recipient, factual and emphatic functions of code switching, artistic bilingualism in the work of this author draws the reader’s attention to the Udmurt language and culture. Also, the Udmurt poet deliberately emphasizes changes in the social environment and orientation towards Western culture. In other words, the use of code switching introduces additional semantic nuances into the literary text, a certain system of values, a certain type of modal-emotional meanings. Conclusion. The main constituent elements of code switching are language units representing all language levels: phonetic, morphological, syntactic. Special attention is paid to the phenomenon of code switching, represented at the level of the graphic system of the Udmurt language.
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Anna A., Zabiyako, e Zemlyanskaya Kseniya A. "Stories of the East in the Context of Artistic Ethnography by V. Mart of the Soviet Period". Humanitarian Vector 16, n.º 4 (outubro de 2021): 8–17. http://dx.doi.org/10.21209/1996-7853-2021-16-4-8-17.
Resumo:
The relevance of the research is determined by the interest of modern literary criticism in the methodological paradigms of studying texts of artistic and ethnographic content in thematic, genre-stylistic, receptive aspects. The novelty lies in the source study, textual, genre-stylistic analysis of the unpublished collection Stories of the East by V. Mart. The research problem lies in the poetological reconstruction of the history of the creative failure of the opportunist literate writer in the Soviet literature at the beginning of the 1930s. The research methodology is based on genre-stylistic, structural-semantic analysis, source analysis of manuscript texts from the point of view of their ethnographic orientation. Based on the experience of research published in the USSR and works of artistic ethnography of the writer, the authors establish the typological features of the artistic strategy by V. Mart. Research methods: historical and literary, structural and semantic, source analysis, mythological reconstructions. The authors state that the unifying principle of V. Mart’s collection Stories of the East is his “old-fashioned” attitude. It turned out that V. Mart collected variations of previously published “oriental” stories and only a few completely new works (Indian, Japanese, Korean, Chinese themes) into a single artistic space. When creating them, he mainly used typological techniques used in previous publications of the Soviet period: the contamination of traditional mythological plots and revolutionary maxims, the transposition of foreign cultural realities into Russian reality, simplified linguistic, ethnocultural, mythological commentaries, etc. The authors of the article came to the conclusion that the collection was compiled in the early 1930s; at the same time, neither artistic flaws nor problems with the reliability of the ethnographic material became the reason for the rejection of the manuscript for publication. Factography in depicting revolutionary events in China and other countries of the late 1920s played the fatal role of anachronism in the early 1930s, when the situation in the Northeast and Southeast Asia changed dramatically. The ethnographic “true stories” of Mart put together became convincing “sabotage” evidence of the defeat of the revolutionary movement in the East and the strategic mistakes of Soviet diplomacy in the region.
34
Proskurina, Elena N. "Poetics of Transformation in I. Silantyev’s The Light of Arkhangelsk". Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, n.º 4 (2022): 281–92. http://dx.doi.org/10.15826/izv2.2022.24.4.078.
Resumo:
This study focuses on The Light of Arkhangelsk, a prose collection by Igor Silantyev, a Novosibirsk-based author and philologist. The subject of the analysis is the poetics of transformation that unites all the works in the book. The autobiographical framework that forms the subject of the memoir determines the creation of the author’s artistic myth, in which everything is possible: a mixture of present and past, past and unprecedented, the real and the unreal. Allusions to the works of Gogol, Hoffmann, N. A. Ostrovsky, and other writers flicker in the text. At the same time, the reminiscent field of the collection is fraught with wide possibilities for interpretation. The book is also full of many musical leitmotifs. The author plays with genres masterfully. In his artistic universe, confession is mixed with fairy tale, legend, dream, horror, etc. And vivid images undergo many metamorphoses, arising in the memories of the self-narrator through the principle of complicity. At the same time, all the meanings found in the collection are devoid of direct manifestation but are presented from the position of homo ludens — not in the postmodern meaning of a literary game for the sake of the game. However, the grotesque phantasmagoria of transformation does not become the theatre of the absurd in the book. The ethical position of the author, whose emblem is the title of the collection, puts a limit to such confusion. The plot of I. Silantyev’s book conceals many different states of mind presented in the light of the “final understanding” of the finiteness of earthly existence and the eternity that opens behind it. It is no coincidence that the leading leitmotif images in it are wings, the sun, the dawning sky that has overcome the night. This essential layer supports the basis of hope, which is so shaky in today’s world that is losing value orientations.
35
Halchuk, Oksana. "Features of animalistic codes of the prose of Edgar Allan Poe". Synopsis: Text Context Media 28, n.º 3 (2022): 131–39. http://dx.doi.org/10.28925/2311-259x.2022.3.5.
Resumo:
This article analyzes Edgar A. Poe’s short stories “The Black Cat”, “Hop-Frog”, “Four Beasts in One — The Homo-Cameleopard”, “Morning on the Wissahiccon”. The aim of the study is to determine their animalistic codes — artistic images and motifs related to the life of animals, human-animal relations, “animal” symbolism, etc. Having applied historical-literary, psychoanalytical, and comparative methods of research, these short stories are identified as variants of the author’s modeling of an animalistic text. The subject of the study is the specifics of Edgar A. Po’s interpretation of images and motifs that are directly or indirectly related to artistic animalistic. The novelty of the research is determined by the following tasks, solved for the first time in its course: considering the correlation of animalistic codes with the ideological pathos of short stories; allocating the characteristic features of the author’s models of artistic animalistic and the arsenal of their poetics; provides a comparison of the psychoanalytical and metaphorical versions of Edgar A. Po’s interpretation of animalistic codes in the context of his idiostyle. As a result of the study, it was found that the writer’s usage of the animal theme, in the broadest sense, is the result of his view on relevant natural and philosophical ideas, which resonate in his prose with the manifestation of various animalistic codes. Two types of novels of the author’s animalistic text were distinguished. The first one, psychoanalytical, provides a realistic and concrete image of an animal perceived through the prism of the narrator’s consciousness and the tradition of his mystical interpretation, turning into an image-symbol as a result (“The Black Cat”, “Morning on the Wissahiccon”). The parable-like text of the second one, philosophical-metaphorical, despite the absence of an animal image emphasizes the problem of a “human beast” (“Hop-Frog”, “Four Beasts in One — The Homo-Cameleopard”). Symbolization of animalistic codes is common for both types. The article generalizes the important role of animalistic codes in the modeling of a psychological portrait of a contemporary man by Edgar A. Po and in the genre creation of diffuse varieties of a psychological-analytic novel.
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Hrinik, Tetiana. "The practice of interpreting an artistic text. Punctuation as a mean of expressiveness and acquisition of phonation skills". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, n.º 50 (3 de outubro de 2018): 102–20. http://dx.doi.org/10.34064/khnum1-50.08.
Resumo:
Background. Actuality of the research theme. The awareness of the importance of mastering the treasures of the native language is dictated by the rapid development of modern Ukrainian statehood. The problems of artistic culture are very acute today, and the educational role of national literature, theater, cinema, broadcasting, television in modern society is increasing. One of the ways of forming a linguistic culture is the constant contact of the country’s population with the artistic word presented at the appropriate professional level. Therefore, the professional skill of the artist-actor as the bearer of the artistic word and the direct interpreter of cultural values embodied in the artistic work becomes of great importance as a means of fulfilling this vital aesthetic-educational mission. Thus, the study of the process of improving the actor’s professional skills of the stage language, the ways of optimizing of modern education in this field seems very relevant. Analysis of recent publications on the research topic. The problems of the culture of speech, the expressiveness of the oral word, the creative nature of the artistic language and its contemporary sound on the stage are highlighted in many scientific works of theatrical teachers, linguists and theatrical scholars, psychologists and sociologists. The special investigations in the field of stage language in recent years are the works of the practitioners of artistic word, the Ukrainian actors and teachers R. Cherkashin, Yu. Sheyko, L. Vazhniova, A. Gladysheva and others. So, Yu. Sheyko pays much attention to the norms of Ukrainian oral literary speech, and insists on the need for the development of the intelligence of a contemporary actor. As the techniques of speech are an integral part of the learning process, the tutorials of L. Vazhniova and A. Gladysheva are devoted to the development of skills of high-artistic embodiment of the work. However, the special studies devoted to the formation of actor voice skills as part of the process of understanding the important role of punctuation marks in the artistic interpretation of the work were not carried out. Methodology, goals, objectives, practical value of the research. The combination of training and creative aspects of the theory and practice of the stage language requires a great deal of methodological flexibility. The proposed article, devoted to the improvement of the actor’s educational activity on mastering the skills of the stage language, uses a complex methodological base, which combines a wide cultural and highly specialized, purely methodical, approaches to the analysis of the process of work on the acquisition of practical skills of the stage language. The first involves entering adjoining artistic spheres – literary and musical; the second refers to concrete – to the practice of stage action. Their combination allows us to construct an optimal algorithm for the work of the actor over the interpretation of artistic text within the framework of the study, which is his goal. Such an algorithm, aimed at perfect mastering the heights of professional skill, can be used successfully in the acting practice of the stage speech. The results of the study. The article emphasizes the importance of the stage of analytical work with literary text, both in a broad historical and stylistic context, and in details, in order to “appropriate” the position of author of the work and, further, create self-own actor’s interpretation. A versatile analysis of the text, preparing it for reading, can be done in this way. 1. Determine the type of work – is this the entire work or a fragment; if this is a fragment, then what is exactly? (Excerpt from the poem, a passage from the ballad, prose, etc.). 2. Having defined the species, it is necessary to give the work the cultural and historical characteristic (at what time it is written, to which national culture belongs, on which social ground it arose, what is the outlook and life positions of the author of the text and peculiarities of his work, the place of work in the author’s creativity, the distinctive features the era in which the author worked, and the one about which the work tells, is the text original or translated etc.). 3. To carry out the ideological-thematic and plot analysis of the work, to determine its main idea, to disclose in connection with it the logical content of the text, to determine what kind of plot vicissitudes prevail. 4. To analyze, how much the author turns to sensual, visual, auditory phenomena. 5. Identify and “view” the spectacular content of the text. 6. It is necessary to understand what the form of a work is, which stylistic and author’s techniques are used to create an artistic whole. 7. On the basis of such a detailed analysis, one should check the first impression of the whole and redefine the content-like structure of the work. 8. Determine the personal attitude to the work. 9. To work on the “vision” of the text. 10. Based on our findings and in depth study of the work, we should outline the line of the dynamic and tempo-rhythmic interpretation of the work. Assistants of the actor in the awareness of the author’s intention become punctuation marks, which also mark the way to artistic expression of speech. Like a musician, an actor should distinguish them by intonation: by changing pitch, volume, tempo, rhythm of speech. Therefore, in our opinion, the creative using of analogies with musical syntax (pauses, leagues, rubato, etc.) and with performing touches of a musician (legato, marcato, etc.) is appropriate in working on the stage speech. The next key point in creating a convincing stage interpretation is his own acting “visions” (K. Stanislavsky’s term), which the performer creates in his imagination based on his previous sensual, intellectual, life experience. Tied to a verbal text, they make it possible for an actor to experience an emotoin of such a force that is able to establish “feedback” with the audience at the time of the stage embodiment of the work. Conclusions and perspectives of the research. The presence of a “feedback” with audience is a prerequisite for the fact that the stage speech, as a special kind of literary language and, at the same time, a socially prestigious form of communication, forms a linguistic culture. It is inextricably linked with the development of society and is the bearer of language traditions of the people. Therefore, the prospects of studying the speech art are seen in the ways of its improvement: the creative decision of the main tasks of the course of the stage speech, the most important of which is a full and meaningful presentation to the audience of art intention through a set of skills aimed at voice expressiveness, precision of diction and clarity of pronunciation in the process of theatrical communication. Punctuation is the way to expressive speech. Punctuation marks discipline our language, and this must be remembered by everyone – students, actors, everyone who is working on a language, because excessive hastiness is the greatest enemy of beginners.
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Salamatina, Anna. "Imagery means of subjective personality assessment based on the example of the german classics". Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, n.º 23 (2020): 115–23. http://dx.doi.org/10.34079/2226-3055-2020-13-23-115-123.
Resumo:
The research paper presents the imagery means of the subjective personal assessment in literary works. The aim of the study is the analysis of imagery means when describing characters; their classification and role when depicting characters to identify the stylistic features of German classics as well as thorough study of stylistic means by using specific examples. The linguistic and stylistic analysis of the work is inseparably linked with the general literary work analysis. It plays a significant role when learning foreign languages and it is important for studying the foreign writers’ style. The methods of character creation as well as the language role are considered in the research paper. The huge impact of living colloquial speech on the author's language and how it influences the main features of the imagery-syntactic structure of the character’s direct speech are studied. It is suggested that the stylistic features of characterology should be considered with their functional correspondence to images, aesthetic motivation and appropriateness. One should focus on the general, typical repetitious features of the images, which are determined by the stable concept of the writer’s personal characteristic. When motivating a stylistic phenomenon it is advisable to proceed not only from the figurative idea but also from the author's worldview and the subjective properties of the portrayal object as these subjective properties are reflected in the subjective writer’s vision. The purpose of the study is to identify the techniques used by such writers as E. M. Remarque, T. Mann, A. Zegers and others as well as the means of imagery they used by establishing the peculiarities of the author's language, the language in general and the language of the characters, by classifying the means of imagery according to stylistic and emotional characteristics. The linguistic description method has been used for this purpose. The features of direct and indirect speech are analyzed on the basis of the well-known novels. The significant role in the creation of the literary and artistic character portrait belongs to the character speech, transmitted in a literary text by such methods as direct, indirect, improper direct speech and their mixed forms. It has been found out that direct speech is a method of language transmission that provides linguistic autonomy of characters; indirect speech is a form of coexistence of author’s language and the characters’ language within certain grammaticalized structures. The research demonstrates the role of using indirect speech in showing the ironic content, some characters’ thoughts, gossips etc.
38
Bren, Valerii. "THEORETICAL AND PRACTICAL UNIVERSALITY OF MEMORY AND OBLIVION CATEGORIES IN LITERATURE". LITERARY PROCESS: methodology, names, trends, n.º 13 (2019): 70–75. http://dx.doi.org/10.28925/2412-2475.2019.1311.
Resumo:
This research is devoted to the concepts of memory and oblivion in terms of the universality of these categories for literature, and their interdisciplinary in history, culturology, and sociology. The theoretical basis for analysis in the artistic text is shown on the example of Ukrainian and foreign researchers, specified and illustrated manifestations in the Ukrainian novels by Y. Andrukhovych, O. Zabuzhko, S. Zhadan, O. Irvanetz, etc. Literature is the centre of individual and national cultural memory and a means of creating of it. However, it becomes a platform for social discourse of memory, as well as the preservation of individual memory as a genetic key in the text. Consequently, modern literary studies require a well-balanced approach and analysis of the ways, means, methods, and forms of its functioning in contemporary art. Such approach will enable an understanding of the past experience, as well as assessments of contemporary imprints of events in the future, on a qualitatively new level.
39
Belova, Tatiana. "Stylistics of Sasha Sokolov’s Novels “School for Fools” and “Palisandria” (“Astrophobia”): Is It a Tribute Paid to Vladimir Nabokov’s Tradition or Typological Convergence?" Stephanos Peer reviewed multilanguage scientific journal 44, n.º 6 (30 de dezembro de 2020): 113–25. http://dx.doi.org/10.24249/2309-9917-2020-44-6-113-125.
Resumo:
The paper analyses stylistics of two famous novels by Sasha Sokolov published in the USA: “School for Fools” (1976, 1977) and “Astrophobia” (1985). The first one was highly appreciated by Vladimir Nabokov who saw a close affinity of its poetics with his own style of writing though before emigration Sokolov couldn’t gain access to his books. However the insane marginal hero fully immersed in his own fantasy and hallucinations, numerous double-characters, repeated key-words and symbolic details creating metaphoric style of writing, the multi-layered intertextuality, literary allusions, etc. – all these artistic means happened to be just similar typical features of their novels. But as the author of the article states, such poetic similarity manifests only their multiform typological convergence. A grotesque parody on “Lolita” and “Ada” – “Palisandria”, written in exile, on the contrary carries the peculiarities of Nabokov’s poetics to the point of absurdity by means of the same creative approach – postmodernism.
40
Ocheretiana, Lydiіa. "Books of Ukraine in the mirror of the state bibliography (according to materials of database of the state bibliography "Book Chronicle" 2019)". Вісник Книжкової палати, n.º 11 (23 de março de 2022): 9–16. http://dx.doi.org/10.36273/2076-9555.2020.11(292).9-16.
Resumo:
The system of bibliographic information of the Book Chamber of Ukraine, based on the receipt of mandatory copies of printed materials, comprehensively covers various types of domestic printed materials and serves as an exhaustive basis for the creation and publication of state bibliographic indexes. The most important component of the current state bibliography is the "Book Chronicle", which contains comprehensive bibliographic information about books and brochures published in Ukraine from all fields of knowledge: scientific, popular science, educational, reference, religious, official, socio-political, production and practical, literary, artistic and popular publications for children and youth, etc.
Current trends in the development of the publishing industry, science and culture necessitate bibliometric analysis of the database of the state bibliography of book editions "Book Chronicle". The proposed analytical review covers the thematic distribution of publications in the database for 2019, which contains 17 634 bibliographic records, according to UDC classes.
A comparative analysis of the number of publications by sections of the UDC in order to determine the thematic focus of book publishing in Ukraine in 2019 in accordance with the branches of science. The analysis revealed that most of the records belong to classes 0, 3, 6 and 8 — 13 942 titles, or 79% of the total number of publications in 2019 — works of art and literature and books on education, law, economics, medicine, science; the remaining sections together account for less than half of all database records — 21%, or 3692 records.
41
Yanqiu, Wu, e Nurbanu A. Abuyeva. "Discursive elements of Chinese culture in the literature of the Russian diaspora of China: perception and traditions". Current Issues in Philology and Pedagogical Linguistics, n.º 1(2021) (25 de março de 2021): 226–36. http://dx.doi.org/10.29025/2079-6021-2021-1-226-236.
Resumo:
The article is devoted to the study of the general and different aspects of the presentation of Chinese culture discursive elements in the literature of the Russian diaspora in China. The perception of a large number of “Chinese elements” by the emigration literature determines not only the specificity of this layer of the literary creativity, but also the production of the whole series of traditions that are receptive by their nature. Tradition markers, various signs of the Chinese culture, as well as the problems of the traditional Chinese philosophy and a special process of plot making - these are the aspects that the literature of the Russian diaspora perceives creatively. Traditional Chinese symbols (lotus, fan, etc.) play a special role in the creation of special traditions of the Russian emigration literature, which convey inspiration and depth to the works, and to the literature of the Russian diaspora as a whole, that is an appeal to the world cultural values, that are all-embracing in nature. The purpose of the article is a multifaceted analysis of the discursive elements of Chinese culture in the literature of the Russian diaspora of China from the standpoint of the traditional foundations perception of the Chinese culture and the development of their own traditions within the literature of the Russian emigration, which makes it possible to reveal the artistic features of the works created by the Russian writers and poets outside the influence of the native culture. The relevance of the study is determined by the insufficient study of the role of the traditional Chinese culture in the formation of new imagery in the works of representatives of the Russian emigration literature in China. It is necessary to analyze the discursive elements of Chinese culture in the artistic world of the Russian emigration literature, using the capabilities of an interdisciplinary complex of research methods to identify the nationally-specific and individual-author’s perception of Chinese traditional culture and develop on this basis its own traditions of Russian emigre literature.
42
Vorobyova, Svetlana, e Elena Oganova. "Romantic songs by the Turkish ashik Karacaoğlan: key motifs and system of poetic imagery". Litera, n.º 11 (novembro de 2021): 63–77. http://dx.doi.org/10.25136/2409-8698.2021.11.34321.
Resumo:
The goal of this research lies in the analysis of romantic motifs and corresponding poetic images in the works of the prominent Turkish ashik of the XVII century Karacaoğlan, as well as in determination of the nature of interaction of the folklore and his original tradition therein. The article employs literary text analysis, as well as the method of description and comparison. Using the specific examples, the author examines the key motifs of Karacaoğlan’s romantic lyrics (praise and admiration of the beauty of the beloved; infidelity of the beloved; separation; doubting the feelings of the beloved, etc.), and the imagery system associated with these motifs: a nightingale, rose, grus, a “burning heart”, a “wounded soul”, landscape sketches (snowcapped mountains, light breeze, etc.). Analysis is also conducted on the artistic means of creating the portrait of a beauty: her face, eyes, eyebrows, hair, manner of walking, clothes, and accessories. Literary works of the Turkish ashik Karacaoğlan have not previously become the object of separate research within the Russian science, which detfines the novelty of this article. The conclusion is made that the traditions of folklore and Diwan (Sufi) poetry are organically intertwined in the works by Karacaoğlan, which determines the specificity of poetics of ashik literature not only of the XVII century, but also the entire time continuum. This study contributes to clarification of the typology and poetics of ashik poetry, as well as the nature of interaction of the folklore and the author’s individual tradition within a single work.
43
Kononenko, Vitalii. "‘Author/Reader’ Dichotomy: Linguistic and Cognitive Intentions". Journal of Vasyl Stefanyk Precarpathian National University 4, n.º 2 (30 de outubro de 2017): 45–53. http://dx.doi.org/10.15330/jpnu.4.2.45-53.
Resumo:
The purpose of this research is to address the issue of the interaction between the author of a literary text and the reader in the system of linguocognitive intention. The article covers the problems of contextual interpretation of the author’s linguistic and artistic strategies, their personality traits, verbal means of creating the image of the author in the addressee’s consciousness. In order to get the image of the recipient of the text, one has to make subconscious inferences from the author’s comments, statements addressed to the reader, lyrical and epic digressions, etc. The analysis of the texts by modern Ukrainian authors – their linguopoetic paradigm and the intimization of speech technique deployed in order to produce a greater illocutionary effect on the addressee – has made it possible to establish the means and strategies which stimulate communicative process and enhance understanding between the author and the reader. Another problem highlighted in the research is critical perception of the text creator’s ego conception and the probability of providing feedback within the ‘author/reader’ dimension
44
Kaminskaya, Elena A. "Folklore work: legality of the use of the term". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n.º 47 (2022): 61–68. http://dx.doi.org/10.17223/22220836/47/5.
Resumo:
The purpose of the article is to provide essential justifications for the validity of the definition of “folklore work”. The main sources were the works of philosophers, culturologists, art historians, and folklorists in the field of definitional analysis of the “work of art” category and directly folklore texts. The research methodology includes a structural and functional approach to the analysis of the features of the existence of artistic texts, a phenomenological and anthropological interpretation of folklore artifacts with the inclusion of elements of textual analysis. The question of terminology in the Humanities is quite acute. The use of terms without an exact designation of their subject field can lead not only to discrepancies, but also to significant errors in understanding the essence of phenomena. Moreover, this may lead to claims that the use of certain terms is incorrect. This is the case with the term “folklore work”, which is used in scientific terms. A number of studies, primarily of art criticism, deny the validity of its application on the grounds that the status of stability of works of art contradicts the variant character of folklore texts. This contrast between constancy and variability is explained by a somewhat simplified view of the phenomena being compared. The basis of the folklore work is avantext, which generates equal variants, but performs the function of a stable image structure. It should be interpreted quite broadly: as a kind of conditional matrix within which elements vary without changing the cultural meaning. This is why folklore works are recognizable, preserved and recreated in each case. This variation, in turn, expands the set framework, filling the tradition with relevant content, enriching it with new artistic images, etc. A similar situation occurs with the author's works of art, which for a long time included improvisational fragments. It is the execution and perception of a literary text (and not just the fact that it is fixed in a sign system) that turns it into a work itself, with the inevitable variability. Of course, these changes are not as obvious as in the case of folklore works, but they do not exclude them. Thus, any work of art does not act as a constant system, but as a phenomenon that is quite mobile in the dynamics of cultural activity. In addition, it should be remembered that a work of art is always the result of a specific activity for the production of artifacts. In this case, any created artifact acts as a work of art or, more generally, a work of culture. Therefore, the creation of an artifact in the sphere of folklore culture is the same artistic production as creativity in the sphere of author's musical culture, literature, painting, etc. The use of the term “folklore work” is not only quite justified, but also corresponds to the essential structural, functional and semantic characteristics of this phenomenon.
45
Ramač, Janko. "BASIC DIRECTIONS, ASPIRATIONS AND DILEMMAS IN THE CULTURAL, EDUCATIONAL AND NATIONAL LIFE OF THE RUTHENIANS IN YUGOSLAVIA (1945–1970)". Kyiv Historical Studies, n.º 1 (2018): 63–73. http://dx.doi.org/10.28925/2524-0757.2018.1.6373.
Resumo:
After the end of the Second World War and the creation of the Federative People’s Republic of Yugoslavia (since 1963 the Socialist Federative Republic of Yugoslavia) the Ruthenians in the new state, although a small national community, could accomplish their national rights, among them the most important were: the right of gaining education in their native language; founding of cultural, educational and national organizations, the right to be informed and have publications in their native language etc. In the period after the war, as well as in the interwar period, the Ruthenian community encountered many dilemmas, opposing views and polemics concerning the basic issues on their ethnicity and national identity. The part of the Ruthenian intellectuals advocated of the Ruthenians as members of the Ukrainian nation, striving to establish stronger cultural, educational and national connections with Ukraine and Ukrainian Diaspora. On the other hand, a part of intelligentsia, which leaned on the authorities and the Communist Party, advocated a pro-Ruthenian attitude, claiming that the Ruthenians living in this region were autochthonous, special Slavic people and that they didn’t have their Motherland. Yugoslav authorities seemingly didn’t participate in the discussions and polemics between the two Ruthenian options, but nevertheless they supported the protagonists of the pro-Ruthenian orientation and favored the attitude that the Ruthenians didn’t have their Motherland. As the most signifi cant achievement of the Ruthenian community in Yugoslavia in that period was the education in the Ruthenian language in the eight-year elementary school, publishing of weekly newspapers, magazines, annual books — calendars, literary works, radio shows in the Ruthenian language, establishing cultural and artistic societies, drama clubs, music festivals etc. Another signifi cant success was establishing connections and cooperation with Ukraine and Ukrainians in Diaspora in the fi eld of literature, publishing, science and mass culture. Certainly, there was a rise and fall in that cooperation, mostly depending on the attitude of the authorities towards the concrete actions and their protagonists.
46
VASYLKIVSKA, NADIIA. "MOTIVATIONAL FUNCTION OF THE PRIMARY SCHOOL TEXTBOOKS". Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy 1, n.º 1 (7 de julho de 2021): 153–61. http://dx.doi.org/10.25128/2415-3605.21.1.19.
Resumo:
The problem of creating a new generation textbook and the implementation of the motivational function in primary school textbooks has been substantiated. The motivational function is characterized as a leading one for the textbooks. The recent publications on the discussed issue have been analyzed. The article emphasizes the importance of the textbook analysis techniques for strengthening its motivational function. The technique of the motivational component representation in the Ukrainian language textbooks for the third grade has been described. The textbook analysis has been carried out considering the following components of the motivational function of the primary school textbooks: the emotional content of educational materials, the ways of its didactic organization, the design of the textbooks. Analyzing the content of the textbooks, the author has taken into account the cognitive interests of young learners and the content characteristics of the materials. Considering the cognitive interests of students means that the textbook contains interesting cognitive materials, various literary genres, topics important for third-graders. The analysis of the subject content with the most interesting information for young learners draws attention to the presence of developmental texts (scientific facts in biology, geography, history, ecology, Ukrainian language, etc.) real life situations, facts from today’s reality; local lore materials; folk works; interesting tasks; famous people’s quotations; elements of humor etc. The presence of various literary genres in the textbook (articles, stories, poems, fairy tales, legends, songs, works of small folklore forms, etc.) has been analyzed. Topics significant for third-graders (changes in natural world, history of the local area, human relationships, stories about famous people, scientific travels, discoveries, life abroad, children’s dreams and hobbies, healthy lifestyle etc) have been analyzed. The author also takes into consideration semantic characteristics of the materials (value, accessibility, curiosity, emotionality). The analysis of the ways of didactic organization of educational materials takes into account the availability of practical tasks, didactic games, tasks involving emotional and evaluative activities, developmental tools, interactive teaching methods, the way of presenting the materials. The design of the textbook has been analyzed in terms of keeping to hygienic requirements, aesthetic and didactic criteria of the decoration. The research has contributed to identifying new possible problems that deserve special study, in particular, the problem of application of emotional and artistic materials in textbooks.
47
Ļaksa-Timinska, Ilze. "Oskara Rihtera „Meži šalc” – pirmais latviešu sociālistiskā reālisma romāns". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, n.º 25 (4 de março de 2020): 64–73. http://dx.doi.org/10.37384/aplkp.2020.25.064.
Resumo:
In the 1920s–1930s a significant number of Latvians lived in the USSR (the number of Latvians in the USSR ranged from 120,000 to 200,000 in these decades). The USSR Latvian diaspora had a small contact with the Latvian population in Latvia, but despite this, a separate, unique Latvian culture was formed – a network of Latvian schools, technical schools, periodicals, theatres, publishing houses, etc. Literature was also of great importance – it helped to improve the Latvian language, as well as intellectually unite the wide-spread Latvian diaspora in the USSR. The choice of Latvians to live in the USSR rather than in Latvia in the 1920s–1930s, could be interpreted as submission to the Soviet regime and even betrayal of Latvia, therefore, even today, the life of Soviet Latvians, and especially literature, has been relatively under-researched. In the 1930s in the USSR, there were six novels published in Latvian. They were written in the context of the totalitarian rule when the process of literary control was intensified, so writers had to be subject to the principles of socialist realism. The focus of the research is on the last Soviet Latvian novel issued in the 1930s –“Meži šalc” (1936) by Oskars Rihters (1898–1938). In the analysis of the novel, attention is drawn to its creation, perception, cultural, and historical context, as well as its artistic structure and value. The novel is an apology of Marxist-Leninist ideology. “Meži šalc” has similarities with canonical Russian texts (for example, “How the Steel Was Tempered” (Как закалялась сталь, 1934) by Nikolai Ostrovsky (Николай Островский, 1904–1934)). The novel represents the USSR trend in art not only thematically, but also in compositional form. Hence, this novel should be regarded as the first consistent novel of socialist realism in the history of Latvian literature.
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Lepetiuk, Iryna. "Analysis of dialogical relations between speech genres in the text of a french novel". ScienceRise, n.º 1 (28 de fevereiro de 2022): 19–24. http://dx.doi.org/10.21303/2313-8416.2022.002319.
Resumo:
The object of research of this article is the types of dialogic connections that arise between speech genres inserted into the structure of a literary text, between genres and the text of a novel, between inserted genres and existing texts.
Investigated problem: This study covers several levels. Firstly, the mechanisms of artistic communication, during which the author, with the help of the speech genres present in the text, can give the reader implicit information and activate the latter's participation in the perception of the text of the novel. Secondly, the concept of intertextual relations is expanded, in the case when we consider the inserted speech genre as an independent text. Thirdly, the studied dialogic connections can be extended to other areas of communication: advertising, political, Internet communication, etc.
Main results scientific: The article is the result of the application of the theory of speech genres by M. Bakhtin to the analysis of the structure of a literary text, leading to further development of the concepts of dialogism and intertextuality.
Area of practical implementation of the research results. Intertextuality is one of the main means of creating pragmatic influence in both commercial and political advertising, media and political discourse. Moreover, it can already be argued that with the advent of the latest information technologies, society is moving from intertext to hypertext, which is typical for communication in almost all areas, since they are mediated in one way or another by computer technologies. It is this fact that explains the necessity and necessity of studying the problem of dialogism and intertextuality
49
Sergeeva, Marina Georgiyevna, Natalia Leonidovna Sokolova, Elena Yurevna Pryazhnikova, Iana Viktorovna Poliakova, Boris Anatoliyevich Shvyrev, Yulia Anatolevna Repkina e Grigorij Pavlovich Petrov. "Personal Educational Medium of A Creative Teacher In The Continuing Education System". Revista Amazonia Investiga 9, n.º 26 (21 de fevereiro de 2020): 511–19. http://dx.doi.org/10.34069/ai/2020.26.02.58.
Resumo:
Along with the sociocultural, natural and technogenic life environments in the post-industrial society, the information environment, embodied by the media and the global Internet, is becoming the leading one. In the information environment, individual activity is transferred to the Internet. It includes professional activities mediated by distance technologies, social networking, Internet communities, personal sites, blogs, twitters, collections of scientific, educational, literary and artistic publications, news, movies, concerts, meetings, etc. In this context, the dual social role of the teacher as a provider and, at the same time, consumer of educational services is highlighted. The development of general and professional competencies (especially socio-communicative) affects the success of a teacher in the field of socialization, education and upbringing of young people in the society based on innovations and high technologies. The education system demands a teacher who is able to implement innovative changes in the educational process, requires fundamentally new technological support for innovations and involves the development of the relevant norms of innovative behavior and description of the models, types and methods of disseminating innovative pedagogical experience. Such a teacher meets the requirements of the Russian national project “Our New School” and should be one of the most important resources for modernizing the education system as a whole and, in particular, in terms of continuing professional development. High-quality performance of professional labor functions (training, educating, upbringing) implies the possession of competencies in the analysis, exchange and dissemination of innovative pedagogical technologies. Professional development of a teacher is impossible without the need to transmit the positive experience to wide pedagogical communities.
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Sofilkanych, Marina. "OUT-OF-SCHOOL ESTABLISHMENTS OF TRANSCARPATHIA AND THEIR ROLE IN THE SYSTEM OF ART EDUCATION". Academic Notes Series Pedagogical Science 1, n.º 192 (março de 2021): 203–9. http://dx.doi.org/10.36550/2415-7988-2021-1-192-203-209.
Resumo:
The retrospective analysis of emergence of out-of-school art education of the region is made in the article, organization and role of extracurricular education in Ukraine, its organizers and researchers in this field. The emergence and development of art school of Transcarpathia in the twentieth century led to the formation of new generations of artists and the creation of art education. Out-of-school educational establishments of artistic and aesthetic direction were created for young children of the first school age, the first of which was a studio of fine arts under the direction of Zoltan Bakonii. Following the example of this studio in Transcarpathia in the second half of the twentieth century. opened children's art schools with the department of fine arts in the cities of Mukachevo, Uzhhorod, Khust, Vynohradiv, v.Chynadiyevo, etc., where teachers were mostly graduates of Transcarpathian art educational establishments. The development of art education in Transcarpathia and the extracurricular education of the region was studied by Nebesnyk I. I., Voloshchuk A .V, Mochan T. M, Rosul T. I. In the system of art education in Transcarpathia, founded by Adalbert Erdeli and Joseph Boksai, such well-known teachers as V. Skakandii, I. Masniuk, N. Ponomarenko, M. Syrohman, L. Prymych, V. Manailo, E. Roman, T. Bartosh, H. Homoki, V. Dorosh, A. StasIuk and others studied and worked there. Important role in the development of regional extracurricular education of artistic and aesthetic orientation belongs to such well-known pedagogues-educators as V. Burch and V. Tsibere. They played a major role in the creation of Mukachevo Children's ArtSchool named after M. Munkachi. This school of arts, after Z. Bakonii's studio, is one of the first art schools in the field where fine arts is taught. Later the art departments were based on children's music schools. The fine arts department at Uzhhorod Children's School of Arts started its activity in 1984. Most of the teachers came to Zoltan Bakonii's schools: V. Vovchok, O. Sidoruk, G. Kramarenko, E. Roman (head of the department of fine art) and others. Over 200 students study at the fine arts department of named school. During the 1990s, Transcarpathian extracurricular institutions were stagnant and even have undergone a numerical reduction. Since the beginning of 2000, as a result of the successful management of local administrations and their successful policies, their activities have been normalized and coordinated with the work of leading educational establishments of the art education of the region, in particular the College of Arts named after A. Erdeli and the Transcarpathian Academy of Arts. The joint actions and events, workshops for the students of art schools of the region, as well as training courses and seminars for teachers are held. Therefore, in the system of continuous art education (school, college, academy), extra-curricular institutions play an important role. At the School of Arts children learn the basics of fine literacy, academic drawing, painting, composition and get acquainted with examples of the world's best art at the Art history lessons. It is at the School of Arts that the artistic and aesthetic tastes and sensations of beauty are formed, the aesthetic education of young people, its professional orientation, and the formation of artistic environment of the region. In the field of art education, this three-stages system is important, because it solves its sectoral tasks and is a very important link and system of continuous art education in Transcarpathia.