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1
GHILAȘ, Ana. "Intermediate ways of creating theatricality in artistic discourse." Arta 31, no. 2 (January 2023): 67–71. http://dx.doi.org/10.52603/arta.2022.31-2.09.
Повний текст джерелаАнотація:
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, no. 27 (2021): 475–82. http://dx.doi.org/10.20310/2587-6953-2021-7-27-475-482.
Повний текст джерелаАнотація:
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 (July 29, 2022): 182–89. http://dx.doi.org/10.34256/irjt22s728.
Повний текст джерелаАнотація:
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.
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Pavlinchuk, T. "THE PAINFUL EXISTENCE IN THE BOLESŁAW LEŚMIAN’S POEM "AT NIGHT"." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(95) (December 17, 2021): 76–90. http://dx.doi.org/10.35433/philology.2(95).2021.76-90.
Повний текст джерелаАнотація:
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.
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Corcinschi, Nina. "Critica și eseul basarabean din 2020." Limba, literatura, folclor, no. 2, 2021 (December 2021): 63–66. http://dx.doi.org/10.52505/llf.2021.2.05.
Повний текст джерелаАнотація:
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.
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Hurbаnskа, Svitlаnа O. "PECULIARITIES OF PRECEDENT NAMES FUNCTIONING IN POSTMODERN ARTISTIC DISCOURSE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 14(82) (August 29, 2022): 26–30. http://dx.doi.org/10.25264/2519-2558-2022-14(82)-26-30.
Повний текст джерелаАнотація:
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.
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Korniienko, Oksana. "MODELING OF POSSIBLE WORLDS IN SIGIZMUND KRZHIZHANOVSKY’S PROSE." Polish Studies of Kyiv, no. 35 (2019): 186–92. http://dx.doi.org/10.17721/psk.2019.35.186-192.
Повний текст джерелаАнотація:
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.
8
XUE, CH. "POETICS OF THE TITLES "THE SUN OF THE DEAD” I.S. SHMELEVA." Scientific Notes of Orel State University 100, no. 3 (September 26, 2023): 124–27. http://dx.doi.org/10.33979/1998-2720-2023-100-3-124-127.
Повний текст джерелаАнотація:
The purpose of the article is to identify the artistic specifics of the titles in the «Sun of the Dead» by I.S. Shmelev. The key lexemes «the sun» and «the dead», combined in the title complex, correlate with the image of the distorted Crimean existence of the early 1920s, act as the leitmotives of the narrative, carry an apocalyptic eschatology. The literary context of the interpretation of the solar motif as a marker of morality (Homer, Dante, I. Babel, A. Shiryaevets, etc.) is given. The result of the research shows the correlation of the title of the story with the literary context, the solar mythology of life creation and mortality, expresses the idea of the duality of being, combines the plot-autonomous chapters into a complete work.
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Rogacheva, Natalia A., and 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, no. 2 (2020): 64–78. http://dx.doi.org/10.21684/2411-197x-2020-6-2-64-78.
Повний текст джерелаАнотація:
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.
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Borodina, N. A., O. A. Selemeneva, and N. A. Trubitsina. "Mythopoetic Worldview of Bunin: Linguistic and Literary and Cultural Analysis Aspects." Nauchnyi dialog, no. 10 (October 29, 2021): 28–47. http://dx.doi.org/10.24224/2227-1295-2021-10-28-47.
Повний текст джерелаАнотація:
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.
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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, no. 18 (2021): 41–47. http://dx.doi.org/10.28925/2412-2475.2021.18.6.
Повний текст джерелаАнотація:
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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Kulamanova, Z., T. Zhankulov, and G. Bektleuova. "USE OF PHRASELOGICAL UNITS IN ARTISTIC TEXT." Bulletin of Dulaty University 1, no. 13 (March 26, 2024): 32–38. http://dx.doi.org/10.55956/enpf8503.
Повний текст джерелаАнотація:
Abstract. The article discusses the use of phraseological units in a literary text. It is obvious that the winged words, Proverbs, sayings, sentimental reasoning, thoughtful, key examples, phraseologisms found in our language are all stable expressions due to their own characteristics, thoroughness of the phrase, constancy, etc. Scientists also study the conditions of Use and different transformations of phraseological units, their variability in speech and text. The article discusses the fact that phrases that come mainly from Kazakh phraseology in the form of wisdom, testament, proverbs are also widely used in language use. It is obvious that these studies attach special importance to the study of phraseology in conjunction with the worldview, cultural, historical, spiritual, material values of the nation. In the analysis of the semantic features of phraseology found in works of art, there is a comprehensive coverage of the human factor in the language. There are specific examples of positive and negative emotions that occur in a person, his speech skills, personal qualities of this character, social status in the public environment, mood, etc.are conveyed by figurative phraseological (stable) phrases in the language. A review of research on phraseology is also carried out, it is analyzed whether the definition of the stylistic functions of phraseology allows us to more deeply reveal the features of the author's creative methods, master the skill of accurate creation of artistic images and images using the artistic means of the language.
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Aroshidze, Marine, and Nino Aroshidze. "The great social experiment: when dreams did not turn into reality." Balkanistic Forum 30, no. 3 (October 5, 2021): 314–28. http://dx.doi.org/10.37708/bf.swu.v30i3.18.
Повний текст джерелаАнотація:
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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Nicolau, Felix. "Why politicize the cultural game? (Emil) Cioran’s ethos: mysticism, religion and ethnic philosophy." Swedish Journal of Romanian Studies 7, no. 1 (May 15, 2024): 60–74. http://dx.doi.org/10.35824/sjrs.v7i1.26119.
Повний текст джерелаАнотація:
The present research aims at understanding some of Emil Cioran's spiritual positions in several of his writings. The tools of analysis are the philosophical and cultural approaches, but also elements of positivist determinism, such as climate, disease, etc. The oeuvres studied belong to different periods of creation. The working hypothesis is that the essayist remained a lifelong thinker oscillating between the extreme right and the extreme left, as well as a stubborn and metaphysically rejected progressive thinker, but always obsessed with metaphysics and the transcendent. Among the commonplaces of Cioran's artistic and geopolitical critique of reality and the real are narcissism, humor, victimhood and diatribe. His work is underpinned by intuition and Utopian projection and much less by logic. Cioran becomes dangerous if treated as a programmatic philosopher, but otherwise he is a spectacular source of artistic and literary-philosophical insights; an experimental essayist, dangerous as an influencer. The fate of his thinking has been heavily marked by the ideologies of his interpreters.
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Dolidze, Anna, and Tamar Sharabidze. "Psychosemiotics of the dream in Georgian artistic discourse (From realism to modernism)." Signo 47, no. 88 (January 3, 2022): 44–49. http://dx.doi.org/10.17058/signo.v47i88.17381.
Повний текст джерелаАнотація:
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
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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, no. 16 (September 7, 2019): 172–79. http://dx.doi.org/10.15421/381924.
Повний текст джерелаАнотація:
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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Jeyran Valiyeva, Jeyran Valiyeva. "SCENERY TRADITION IN AZERBAIJAN POETRY (FROM VI-VII CENTURES BC TILL THE MODERN AGES)." PIRETC-Proceeding of The International Research Education & Training Centre 28, no. 07 (October 2, 2023): 39–48. http://dx.doi.org/10.36962/piretc28072023-39.
Повний текст джерелаАнотація:
The main aim of the article is to study the scenery tradition of Azerbaijan poetry. Literary studies as a science in Azerbaijan began to emerge in the Middle Ages. Travelogue, historical chronicle, dictionary, etc. there are many elements of literary studies in the works, biographical information about the writers is given, quotes from the works are given, the date of their creation, the plot, etc. is talked about. However, the development of national literary studies began directly at the beginning of the 20th century. The subject of the research is to explore the period from VII-VI centuries BC till the modern period of Azerbaijani poetry. The task of the research is to clarify the possibilities of folklore symbolism in scenery lyrics. Research methods: the theoretical-methodological basis of the article is the comparative-historical method. Depending on the nature of the research and investigation, the theoretical-analytical method was also used in the explanation and interpretation of the problems that were attempted to be solved scientifically. Main provision: evaluation of poetic themes based on factual materials that give rise to conditioning of landscape lyrics as an artistic practice. Application importance is the material can be used in lecturers and seminars in Higher Education Institutions, and it can be useful whom is interested in literature, poetry and the history of culture. Keywords: Azerbaijan, literature, scenery, poetry, well-known writers of Azerbaijan
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Korablyov, Alexander A. "Creation of the World as an Ontology of Creative Predestination: Geopoetics and Theopoetics (On the Example of the Donetsk Literature Genesis)." Historical Geography Journal 1, no. 3 (2022): 44–59. http://dx.doi.org/10.58529/2782-6511-2022-1-3-44-59.
Повний текст джерелаАнотація:
The article examines the ontological prerequisites of regional creative paradigmatics on the example of the formation of a new Donetsk literature. The Creation concept is chosen as an identification marker repeated in the works of famous Donetsk poets (Boris Lastovenko, Natalia Khatkina, etc.) and Donetsk philologists (Mikhail Girshman, Vladimir Fedorov, etc.). The author analyses poems from N. Khatkina’s debut poetry collection «Touch» (1981), characterizing its literary and conceptuality, as well as a polemical orientation in relation to the methodological principles of the Donetsk philological school. The main theses of M. Girshman’s theory of integrity and V. Fedorov’s cosmogonic concept are also presented. The integrity category is shown as the main integrating principle of the Donetsk philological school, which, accordingly, tested philological integrity. It is claimed by Donetsk philologists to be a universal principle of the artistic world. M. Girshman’s theory is complemented with the philological cosmogony by V. Fedorov who proceeds from the premise of literature as the root quality of the universe, since «In the beginning was the Word». Accordingly, philology appears as an internal form of all sciences and all forms of knowledge. Based on the thematic similarity and conceptual correlation of the leading Donetsk poets and philologists and in view of their mutual independence, a hypothesis is expressed about the presence of a common geopoetic premise of their creativity, and the laws of the Creation are interpreted as an ontology of creative predestination. As one of the confirmations of this assumption, the author’s literary experiments are presented.
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Misyurov, N. N. "Book in the literary discourse of the German Enlightenment." Bibliosphere, no. 4 (December 30, 2018): 27–31. http://dx.doi.org/10.20913/1815-3186-2018-4-27-31.
Повний текст джерелаАнотація:
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, no. 3 (September 30, 2020): 85–99. http://dx.doi.org/10.24833/2687-0126-2020-2-3-85-99.
Повний текст джерелаАнотація:
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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Božić, Snežana. "Ergodicity, graphism, and multimediality as literary strategies in the literary works by Serbian authors." Zbornik radova Filozofskog fakulteta u Pristini 53, no. 2 (2023): 149–61. http://dx.doi.org/10.5937/zrffp53-43090.
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Starting with the explication of title terms derived from theories of ergodicity (E. Aarseth), new media and visual arts (Mitchell W. J. T., A. Hescher), i.e. from the practice of digital literature and graphic novel, this paper points to their increasingly significant presence within the framework of contemporary Serbian (printed) literature, which is observed as an outcome of the implications of the altered technological-communicational, socio-cultural, and economic contexts on the literary creation and the reception of literature. Are the strategies of ergodicity, graphism, and multimediality (present in the forms of nonlinearity, playability, interactivity, synthetic visual and narrative forms, cinematographic dynamics etc.) expressions of authentic artistic inspiration that seeks for new means of expression and finds them in the sphere of visual and digital, or products of the author's desire to get closer to the reader and expand the circle of his addressees? Are we within the space of a literature experiment or are we talking about new, hybrid genres that are still a step above literature understood in the traditional sense? Are all the graphic and multimedia "extensions" of the narrative causing benefit or detriment of literature and overall aesthetic value? These are some of the questions that the paper seeks to answer through theoretical insights, as well as several brief analytical reviews of specific works taken as case studies, by authors S. Vladušić (Mi, izbrisani), T. Stupar Trifunović and T. Vidojević (More je bilo mirno), U. Krčadinac, L. Pašćanović, and M. Đedović (Bantustan: Atlas jednog putovanja).
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Muratova, N. A., and G. A. Zhilicheva. "Semiotics of the Train in Russian Literature: Intermedial and Metapoetical Aspects." Bulletin of Kemerovo State University 24, no. 1 (April 11, 2022): 50–59. http://dx.doi.org/10.21603/2078-8975-2022-24-1-50-59.
Повний текст джерелаАнотація:
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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Tsopanova, R. G., F. A. Tsarikaeva, and E. S. Kachmazova. "Metaphor in Ossetian Literary-Critical Text." Nauchnyi dialog 13, no. 4 (May 25, 2024): 93–110. http://dx.doi.org/10.24224/2227-1295-2024-13-4-93-110.
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The article is dedicated to the study of metaphor as a means of forming scientific concepts and creating expressive-illustrative context. The research aims to identify types and sources of metaphorical transfers in Ossetian literary-critical texts and analyze their functioning as an important part of the language of these texts. The novelty of this study lies in the first-ever analysis of metaphor types in Ossetian literary-critical texts, verbalizing scientific concepts and creating an expressive field specific to scientific discourse. Sources of metaphors and their functions are identified. The study reveals that the main types of metaphors in the language of the texts under investigation are nominative, figurative, poetic (individual), and cognitive. Sources of metaphors include nature-mimetic and anthropocentric, acoustic, visual, and spatial groups, artifacts, symbols, etc. Metaphors are integrated into the content of the texts as essential linguistic material capable of creating a scientific context and reflecting the scientific worldview of the people. Many scientific concepts and a range of artistic-illustrative means in the analyzed texts can be considered borrowings from the Russian language, indicating a connection between the two languages in the scientific sphere of communication.
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Dmitruk, Lyudmila A. "Vocabulary with the Northern Russian dialect base in the Russian literary language." Neophilology, no. 25 (2021): 5–11. http://dx.doi.org/10.20310/2587-6953-2021-7-25-5-11.
Повний текст джерелаАнотація:
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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Ivlieva, Yuliia. "The Concept of the Pictography as a Background for «Free Hands» Written by Paul Eluard and Man Ray." Fìlologìčnì traktati 12, no. 2 (2020): 22–28. http://dx.doi.org/10.21272/ftrk.2020.12(2)-3.
Повний текст джерелаАнотація:
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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Маторiна, Наталя. "Провiнцiйний свiт у творчостi Бруно Шульца як елемент авторськоï концепцiï". Studia Wschodniosłowiańskie 22 (2022): 79–98. http://dx.doi.org/10.15290/sw.2022.22.06.
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Bruno Schulz is one of the most original creators of Polish culture of the first half of the 20th century. Recently, interest in Bruno Schultz’s creative work has been growing all over the world. The literary works by Bruno Schulz clearly confirm that his artistic creativity is characterized by extraordinariness in everything: both in the context of artistic works and the author’s concept and the artistic reflection of reality. The writer chooses such characters, such dramatic situations, which allow him to unravel his creative ideas with the greatest expressiveness and evidence, to realize his author’s concept. The provincial world of Shultz’s works, his “special province”, as an element of the author’s concept, is represented in scientific studies through the lens of several elements: topographical, linguistic, “characteristic” (images of the characters), the element of numerous details, etc. The dilogy of short stories has been chosen as the source base: “Cinnamon Shops” and “Sanatorium Under the Sign of the Hourglass”, as well as several works that were not included in the first editions of these collections. The analysis of Bruno Schulz’s authorial concept contributes to a deeper and more complete understanding of the features of Bruno Schulz’s creation of a unique, artistic world, as well as the features of the artist’s way of perceiving and mastering real reality with its subsequent transformation into an artistic reality. Bruno Schulz tried to overcome the mediocrity destined for him by fate, to go beyond the boundaries of his “region of heresy”, while remaining himself – a Galician Jew, a classic of Polish literature, a singer of a special Ukrainian “secret” province, the symbolic mystical portrait of which, according to researchers, he had left to posterity.
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Atamanchuk, V. P. "TRADITIONS OF I. KARPENKO-KARYI IN M. KULISH’ DRAMA: LITERARY ASPECT." Literary Studies, no. 60 (2021): 11–20. http://dx.doi.org/10.17721/2520-6346.60.11-20.
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One of the brightest playwrights of the twentieth century, M. Kulish has synthesized significant artistic achievements of his outstanding predecessors. The Ukrainian playwright has organically combined the achievements of many artistic trends (realism, symbolism, expressionism, “theatre of the absurd”), creating an original, aesthetically and artistically perfect, stylistic system. In dramatic works by M. Kulish, the intersection of diverse semantic and artistic planes, as well as the interaction of different discourses with the involvement of the achievements of world art and philosophy, is combined with a strong reliance on the traditions of national drama. The traditions of I. Karpenko-Karyi in the drama by M. Kulish can be traced in various aspects. First of all, as the top achievements that became the basis for further development, deepening and the transformation of ideological and artistic achievements of Ukrainian drama of the early twentieth century. The vector of development, which was formed by I. Karpenko-Karyi, determined the initial positions for the realization of the first dramatic attempts of M. Kulish and some aesthetic parameters of the dramatic techniques, artistic achievements of his outstanding predecessor in accordance with the conceptual tasks that faced him as a creator of modern drama under the new historic conditions. At the same time, the traditions of the Ukrainian Coryphées theatre, modified to the circumstances and challenges of the twentieth century can be traced in the literary works by M. Kulish on different levels: stylistic (that is manifested in the use of realism aesthetics, with its topmost embodiment in plays by I. Karpenko-Karyi; expressionism aesthetics, with its basics of development in the literary works of the XIX century playwrights); genre (which is realized in the appeal to the genres of classical drama – comedy, tragicomedy, melodrama – with its further rethinking of the these main genres attributes in accordance with the modernist worldview); plot (which is displayed in the use of similar in some parameters plot frameworks), etc.
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Gabysheva, Luiza L'vovna, and Zoya Konstantinovna Basharina. "Anthroponymic space of the novella “Wolves Do Not Sleep” By L. Gabyshev, I. Zozulya: semantics and functions of the name." Litera, no. 9 (September 2020): 142–50. http://dx.doi.org/10.25136/2409-8698.2020.9.33759.
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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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Badalov, Oleh. "THE RECITER’S CREATIVITY IN THE CONTEXT OF REGIONAL CULTURAL CREATION (BY THE EXAMPLE OF ACTIVITY BY HONORED ARTIST OF UKRAINE RAISA RESHETNYUK)." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 94–104. http://dx.doi.org/10.25128/2411-3271.19.2.13.
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The purpose of the article is to cover the stages of the life-stage development of the Chernihiv Philharmonic’s reciter, laureate of reciter’s national competitions, Honored Artist of Ukraine Raisa Reshetnyuk (1948–2014), understanding her contribution to the development of Chernihiv region’s culture of the ending of the 20th – the beginning of the 21th centuries. In the field of view of the author – the formation of artistic personality of Raisa Reshetnyuk as the reciter in the late 1970’s, the study of her major literary-and-musical programs “Solo for the Violin and the Clarinet” by the life and works of young P. Tychyna, “On the Wings of Song” by the circumstances of M. Kotsyubinsky’s life and work, the lyric poetry by T. Shevchenko “I’ll build the House and the Room…”, “My Sophia Rusova” (about the life feat of S. Rusova). The significant contribution of R. Reshetnyuk to the modern Shevchenkian was emphasized – the creation of a literary-and-musical work based on the poem-mystery by T. Shevchenko “The Great Cellar”, where R. Reshetnyuk was the author of the idea, performer and director. The educational orientation of literary-and-musical compositions created by R. Reshetnyuk, based on the works of authors, who lived and created in Chernihiv region (P. Tychyna, M. Kotsyubynsky, L. Glibov and others), caused their inclusion in the concert plan of the Philharmonic Lecture, headed by R. Reshetnyuk. The wide audience (schoolchildren, college and universities students, teachers etc.) regularly saw these programs. Historical-chronological, source study and logical-resumptive methods constitute the methodological basis of the work to study Raisa Reshetnyuk’s creativity, the analysis of data from periodical sources. The scientific novelty of the research is conditioned by the fact of the first research in the national theater science and the Ukrainian culturology the creativity of Raisa Reshetnyuk as the only representative of reciter art in Chernihiv region. The results of this research made it possible to draw a conclusion that R. Reshetnyuk’s many years of creative activity were closely intertwined with the socio-cultural context of the time and became an important period in the development of artistic life in Chernihiv region. Her work was aimed at forming the public perception of Chernihiv as one of the centers of national cultural formation. The educational nature of R. Reshetnyuk’s work influenced the development of the musical life of Chernihiv region at the end of 20th – beginning of the 21th centuries. This influence can be traced to the emergence of numerous examples of contemporary composer creativity by M. Demidenko, A. Tkachuk, M. Zbaratsky, V. Kotsur, M. Borsch which were written specifically for the literary-and-music programs of R. Reshetnyuk. Further study of R. Reshetnyuk’s creative activity can continue in the direction of clarifying the features of her work with literary sources, generalization of her directorial work in forming the repertoire of the Philharmonic Lecture, the study of the influence of the reciter on the development of the humanitarian space of the Chernihiv region of the late 20th – beginning of the 21th centuries, will help to form an integrated picture of the artistic life of the region.
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Novikova, S. Yu. "Thomas Bernhard: a portrait of the artist in comics." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 8, no. 2 (June 30, 2023): 53–67. http://dx.doi.org/10.18522/2415-8852-2023-2-53-67.
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The article offers an analysis of graphic books based on the works of Thomas Bernhard (1931−1989), the classic of Austrian literature of the 20th century. The material for the study consists of graphic novels, graphic memoirs, and biographical books created by two Austrian artists − Nicholas Maler and Lucas Kummer. The techniques used by the creators in their work with the “hypotext” (G. Genette) − Bernhard's dramatic and narrative oeuvre: the play “The World-Fixer” (Der Weltverbesserer, 1978), the novel “Old Masters: A Comedy” (Alte Meister: Komödie, 1985), and the autobiographical novellas “An Indication of the Cause” (Die Ursache: Eine Andeutung, 1975), “The Cellar: An Escape” (Der Keller: Eine Entziehung, 1976), “Atem: Eine Entscheidung” (Breath: A Decision, 1978), and “In the Cold” (Die Kälte: Eine Isolation, 1981) – are analyzed. Special attention is paid to the methods of conveying the writer's poetics through artistic means, such as drawing techniques, color palette, panel composition, character stylization, and scenes. The selection of thematic complexes (theatricality and metatheatricality, the problem of truth and fiction, trauma, etc.) and the peculiarities of translating the writer's individual literary style (syntax, rhythm and rhetoric, etc.) are examined. The comparative analysis allows to identify similarities and differences in the ways of visualizing and interpreting the literary material, to reveal the diversity of visual solutions and approaches towards the artistic world of Thomas Bernhard. The research results enable a comprehensive understanding of the potential of comics as a means of conveying literary aesthetics and creating a unique visual space that complements and expands the textual dimension of literary works.
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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, no. 2 (December 2020): 85–87. http://dx.doi.org/10.31250/1238-5018-2020-26-2-85-87.
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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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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, no. 12 (December 2022): 66–74. http://dx.doi.org/10.25136/2409-8698.2022.12.39402.
Повний текст джерелаАнотація:
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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Sizova, Irina I. "Little-known Details from the History of the Creation of L.N. Tolstoy’s Play “The Power of Darkness” (1886) and Its Staging in “Skomorokh” Theater (Based on the Materials of the Russian State Archive of Literature and Art and Periodicals of the Second Half of the 19th Century)." Literary Fact, no. 2 (28) (2023): 156–70. http://dx.doi.org/10.22455/2541-8297-2023-28-156-170.
Повний текст джерелаАнотація:
The article arranges little-known details from the history of the creation of L.N. Tolstoy’s folk play “The Power of Darkness” (1886) and its staging in “Skomorokh” Theater (1886–1887, 1895) in chronological order. The article presents a historical and literary review of the “Skomorokh” Theater (1882–1897) as one of the city’s professional theaters for the public audience before and after the intersection of its repertoire with Tolstoy’s work on the basis of materials from the Russian State Archive of Literature and Art (RGALI), namely memoirs of the theater’s entrepreneur M.V. Lentovsky, the manuscript of the book “Spectators and Theater. Theatrical notes and memoirs of the half-century theatrical work” of the theatrical figure and teacher N.A. Popov, correspondence of Tolstoy’s friend and follower V.G. Chertkov and the diary of the writer R.M. Khin-Goldovskaya. The analysis also involves factual information about the “Skomorokh” and the drama “The Power of Darkness” from literary and theatrical periodicals of the second half of the 19th century, i. e. the section “Chronicle” of the journal “Theater and Life,” critical works by N.A. Popov, V.P. Burenin, A.L. Volynsky, E.E. Matern, etc. The results show that the artistic tasks set by the theater “Skomorokh” in 1886–1887 and in 1895, the declaration of literary and critical thought of the 2nd half of the 19th century was broken in its own way about the nationality / accessibility of art, the active creator of which was Tolstoy. The article reveals new aspects of Tolstoy’s creative manner as a playwright by the example of unknown circumstances of the participation of theatrical figures (M.V. Lentovsky) in the creation of the script for Tolstoy’s work.
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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, no. 3 (2022): 507–23. http://dx.doi.org/10.21638/spbu13.2022.308.
Повний текст джерелаАнотація:
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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Safonova, Tatyana. "Functions of Phraseological Units in Detective Prose of B. Akunin." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 3 (November 2019): 130–39. http://dx.doi.org/10.15688/jvolsu2.2019.3.10.
Повний текст джерелаАнотація:
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.
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Zarkalam, Sattar, and 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, no. 5 (November 29, 2017): 157. http://dx.doi.org/10.5539/jpl.v10n5p157.
Повний текст джерелаАнотація:
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.
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Marinova, Elena V. "Network communication and its genres as objects of artistic representation (based on Russian literature)." International Journal “Speech Genres” 31, no. 3 (August 25, 2021): 216–25. http://dx.doi.org/10.18500/2311-0740-2021-3-31-216-225.
Повний текст джерелаАнотація:
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.
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Zhang, Yichi. "Film as Art: From Art Theory to Film Theory." Scientific and Social Research 6, no. 2 (February 28, 2024): 173–78. http://dx.doi.org/10.26689/ssr.v6i2.6275.
Повний текст джерелаАнотація:
This article uses the introduction of the book Film as Art, the definition and interpretation of the concept of “film,” the connotation and extension of “film art,” the necessity and possibility of “film art” research, etc. to analyze China’s important theoretical issues in the development of film theory are sorted out and reflected on. The article believes that in the context of globalization, the development of Chinese film theory faces many theoretical issues, such as the independent character of the theory itself, the relationship between theoretical research and creative practice, and the influence of socialist literary and artistic thought with Chinese characteristics on contemporary Chinese film creation and theoretical research. In this regard, the article puts forward some corresponding countermeasures. This article believes that only by adhering to the development path of socialist literature and art with Chinese characteristics and taking film as art as a basic principle can we promote the prosperity and development of Chinese film theory in the new era and can we better play the important role of Chinese films in the world cultural field.
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Shmeleva, A. V., A. E. Lomatova, and E. D. Luneva. "Sister of Mercy – Baroness Yu.P. Vrevskaya. On the Issue of Creating an Artistic Image." Язык и текст 9, no. 1 (2022): 67–82. http://dx.doi.org/10.17759/langt.2022090106.
Повний текст джерелаАнотація:
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.
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Wenzel, Ryszard. "Science fiction and fantasy in general education." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 19/2 (June 15, 2022): 119–63. http://dx.doi.org/10.26881/bp.2022.2.05.
Повний текст джерелаАнотація:
This article deals with the possible application of the genres of science fiction (SF) and fantasy – novels, short stories, films, dramas, spectacles etc. in secondary schools as part of the programme of general education. The discussion concerns both the production and the reception of such works by the students. The purpose of this educational proposal is to introduce in the system an opportunity for the students to coordinate and consolidate creatively the knowledge and the skills acquired in the classes of all the other disciplines of the curriculum. The basic assumption of the thesis is that the characteristic features of these genres, i.e., their appeal to the imagination, curiosity, and the natural need of the students for their own artistic creation, may prove effective to elevate the educational targets beyond the pragmatic level of absorbing information for the sake of the formal requirements of the school programme. These aims, which transcend the level of the practical utility of existential and psychosocial needs, concentrate on the search for objective knowledge about the world through the development of the skill of critical thinking in the domain of cognition, the search for the artistic talents and predispositions of all the students in the domain of creation, and on the essential issues of educing the need for harmonious and peaceful coexistence with other people and with the environment. The article presents the essential features of the theoretical grounding of this conception, the pedagogical implications of its introduction into the system and suggestions for its practical realization illustrated with examples of possible activities for students and teachers. The essay is concluded with a speculation on the future perspectives of a reciprocal reinforcement of the quality of general education and the development of the literary genres of SF and fantasy.
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Chikhladze, Nino. "Artistic Decoration of Art Café Khimerioni and its Cultural Context." Caucasus Journal of Social Sciences 8, no. 1 (November 13, 2023): 121–34. http://dx.doi.org/10.62343/cjss.2015.148.
Повний текст джерелаАнотація:
In the early 20th century, artistic café clubs and café cabarets, as places where artistic leaders gathered and venues for creativity events, were spread across Europe and Russia. Similar places were also found in Tbilisi (Fantastic Tavern, Argonauts’ Boat, Peacock’s Tale, etc.). Although Khimerioni seemed similar at the first sight, it still differed from the others due to its function, status and the character of its decoration.Initially Khimerioni was considered as the first house of Georgian Writers in 1919. Unlike the intimate art cafes, the large space of Khimerioni consisted of several parts: a central hall with a small stage for artistic performances and small rooms for the literary evenings and anniversaries. The Georgian symbolist poets’ union Blue Horns was in charge of creating the appropriate atmosphere and artistic design for Khimerioni. They invited Sergei Sudeikin a distinguished representative of the Russian Art Nouveau. Other artists: David Kakabadze, Lado Gudiashvili, Sigizmund Valishevsky, Kirill Zdanevich, Mose Toidze and Irakli Toidze also worked on the mural decorations in Khimerioni. Understanding the whole concept of the artistic décor of Khimerioni became possible after collating preserved paintings and different sources (memories, memos and artistic sketches). The content of the compositions shows the introduction of several themes that can conventionally be called Creator and Muse, Life and Culture of Old and New Georgia and Imaginary Reality of Art.Khimerioni was the first among the artistic cafés of Tbilisi that, apart from general European tendencies, reflected the traits of national art, which was a component part of the cultural ideology of independent Georgia in 1919-1920.
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Kononenko, Vitalii. "The I-Author Image in the Structure of Literary Discourse." Journal of Vasyl Stefanyk Precarpathian National University 9, no. 2 (July 28, 2022): 25–34. http://dx.doi.org/10.15330/jpnu.9.2.25-34.
Повний текст джерелаАнотація:
The article studies the basis of the functional use of the author's self-image (I-author) as a constituent part of the literary discourse. The literary author’s position is based on them being the subject of study, a generalized carrier of the national culture of a certain period; this image may lose their personification features and become the interpreter of the traditional knowledge. At the same time, the author’s perception as the one conveying artistic relies on the theory of communicative activity, narratology, linguopoetics, stylistics, psycholinguistics, etc.
The image of the I-author is perceived as a “mask” structured in the text, a carrier of a literary meaningful I-position, subjective intentions, and this figure hides an idealized author in various implementations on the one hand, while on the other hand it is a narrator close to a real or fictitious character, kind of a phantasmagorical figure. In any of its artistic incarnations, this image is relative, transformed, combining the features of various actors – an agent, character, witness, lyrical hero, who get changed in the process of becoming various positive, negative, or phantasmagorical figures. The position of the I-author as a part of the text creation process acquires different formal features; however, even when they try to avoid the role of an active figure the functional meaning remains and is felt at the level of deep meaning and subconscious understanding.
Changes in the stylistic function of the I-author are caused by the desire to identify themselves as a character of the story, the one chosen because of the conditions of conveying the I-author position, as well as subjective-evaluative intentions, at least to some extent. The variability of this image embodiment relies on the discursive possibilities of it being included into a certain prose, poetic, or dramatic context, based on the description of contemporary or historical events, the desire to be or not to be relatable to the reader, to become similar to “others” or to rise above the cultural, educational, and social level of the reader. The indirect influence of the target audience is reflected both in direct “communication” with the recipient of the literary text and at the level of striving for mutual understanding, taking into account common semi-known moods and experiences, and ultimately at the level of a common linguistic world picture reproduction.
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KOZII, Olha. "EXPRESSIVE GRAPHICS AS A COMPONENT OF THE LANGUAGE GAME IN LEWIS CARROLL’S LITERARY FAIRY TALE ALICE’S ADVENTURES IN WONDERLAND." Astraea 5, no. 1 (2024): 53–70. http://dx.doi.org/10.34142/astraea.2024.5.1.03.
Повний текст джерелаАнотація:
The fairy tale “Alice’s Adventures in Wonderland” by Lewis Carroll is one of the most popular children’s literary works, which has not lost its relevance for almost 160 years. During this time, the phantasmagoric story was never taken out of print, and was translated into 174 languages. The main aim of the article is the analysis of graphical stylistic devices in Lewis Carroll’s fairy tale “Alice’s Adventures in Wonderland”, which is a real cultural phenomenon. Linguistic and extra-linguistic devices create the world of the tale.The methodology includes literature review related to the topic; methods of analysis, classification and comparative analysis. It includes the methods of literature analysis of the stylistic role of the word game. As the word game, especially the creation of neologisms, the use of graphic means of highlighting become the ways of designing an original text and an unreal-real world. The analysis of transformations of the artistic language as a means of overcoming the framework of the game space and its inherent closedness extend beyond the analysis of only a visual framework of the text but becomes the study of the main idea if it could be found in this extraordinary piece of literature. The vast majority of studies devoted to the works of L. Carroll touch upon the problems of the play of words in his works and aspects of the translation experience. The study of any fiction text inevitably involves the study of the features of its graphic design. It is well-known that graphics is a means of securing information; in a fiction text, where any unit is potentially expressive, graphic means carry a pragmatic load, and therefore are one of the ways to influence the addressee of written speech. An extraordinary way of use of graphics draws the reader’s attention to the form of writing. Thus, the form becomes significant and, interacting with the meaning of the graphically selected lexical unit, makes it semantically more complicated. The main graphic means of expression include paragraph organization, punctuation marks, numbering, typefaces, combination of fonts of different languages, color selection, underlining, deliberate division into syllables, creation of figurative elements (most often in poetic works of art), etc. “Alice’s Adventures in Wonderland” is a complex and unique fantasy story but usually accepted and interpreted as a fairy tale. This is a kind of allusion to the author’s modern world. The artistic world lives according to its own laws. Many characters and episodes of the book, funny lines and situations are not random, but deeply motivated: they are fully based on the play of words, on the revival of metaphors, on the literal interpretation of components, phraseological combinations and puns. The author’s text of the fairy tale can be defined as a game and two main principles of its formation can be identified, namely: the creation of unusual language material and its non-standard (non-linear) organization of the text. Among the indicated graphic means of expression, L. Carroll’s work is primarily characterized by font selection (capital letters and italics), deliberate division of words into syllables, and the creation of figurative verse. It is concluded that the general peculiarity of L. Carroll’s fairy tale is the extremely high artistic value of the work, which is manifested in the wealth of stylistic means and techniques and is ambiguously perceived by readers due to the structure of the text itself. The writer’s attitude to the interaction between the text and the reader is important. The latter’s perception of the text will be qualitatively different depending on whether the reader understands the playful nature of the work or perceives it as an ordinary text. The elements of the game are the characters, the narrative style of the work, and the language tools used by the author at different levels
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Boichenko, Mykhailo, and Bohdan Bondarchuk. "Language creativity and the estrangement of language: not friends, neither enemies of the translator." Filosofiya osvity. Philosophy of Education 26, no. 2 (June 25, 2021): 155–67. http://dx.doi.org/10.31874/2309-1606-2020-26-2-11.
Повний текст джерелаАнотація:
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.
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Turysbek, R. S., and U. Samenkyzy. "THE REVERSE IMPACT OF THE «SOCIALIST REALISM» METHOD IN CREATING A HERO'S PERSONALITY AND MODERN KAZAKH NOVEL." Bulletin of Dulaty University 1, no. 13 (March 26, 2024): 39–46. http://dx.doi.org/10.55956/bjzh5861.
Повний текст джерелаАнотація:
The era of the Soviet Union proved that real national literature cannot be created under colonialism. The "socialist realism" method created by the authorities had a reverse impact on the nature of the artistic image. The characters in the work are politicized. Special attention was paid to the class division (rich and poor), and the images were depicted one-sidedly. The collapse of the USSR allowed the development of a new type of literature in the post-Soviet countries. In the research paper, we made comparisons, and the damage caused by the method of "socialist realism" to fiction is mentioned. However, these years were also successful. Kazakh literature has developed in terms of genres. The genre of the novel has been mastered. Talented writers have mastered describing the reality of life with clues. Literary tradition and skill practices were used in the literature of the period of Independence. The fate and history of the nation were shown in innovative novels. Modern realities and changed human psychology were depicted together with the world space. A stream of postmodern, realistic novels came to literature. The release of the novel from political restrictions allowed genre change (historical, biographical, satirical, fantasy, etc.). The storytelling style has been renewed. There was new artistic and stylistic research in creating a hero’s personality.
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Fedakar, S. "THE REVERSE IMPACT OF THE «SOCIALIST REALISM» METHOD IN CREATING A HERO'S PERSONALITY AND MODERN KAZAKH NOVEL." Bulletin of Dulaty University 14, no. 2 (May 20, 2024): 54–61. http://dx.doi.org/10.55956/efyh1176.
Повний текст джерелаАнотація:
The era of the Soviet Union proved that real national literature cannot be created under colonialism. The "Socialist realism" method created by the authorities had a reverse impact on the nature of the artistic image. The characters in the work are politicized. Special attention was paid to the class division (rich and poor), and the images were depicted one-sidedly. The collapse of the USSR allowed the development of a new type of literature in the post-Soviet countries. In the research paper, we made comparisons, and the damage caused by the method of "socialist realism" to fiction is mentioned. However, these years were also successful. Kazakh literature has developed in terms of genres. The genre of the novel has been mastered. Talented writers have mastered describing the reality of life with clues. Literary tradition and skill practices were used in the literature of the period of Independence. The fate and history of the nation were shown in innovative novels. Modern realities and changed human psychology were depicted together with the world space. A stream of postmodern, realistic novels came to literature. The release of the novel from political restrictions allowed genre change (historical, biographical, satirical, fantasy, etc.). The storytelling style has been renewed. There was new artistic and stylistic research in creating a hero’s personality.
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Bashkir, Olha, Oksana Zhukova, and Bi Yun. "The Competence Paradigm of the Future Teacher of Choreography: the Experience of the PRC." Professional Education: Methodology, Theory and Technologies, no. 16 (November 30, 2022): 43–58. http://dx.doi.org/10.31470/2415-3729-2022-16-43-58.
Повний текст джерелаАнотація:
The issues of professional training of future teachers of choreographic disciplines have always aroused the researchers’ interest. A number of historical and pedagogical, experimental studies highlight the issues of training, forming the readiness of specialists in choreography. However, comparative studies, where the comparing of the experience of the leading countries of the world in training specialists in a particular specialty is progressive and contributes to the adaptation of the best practices in the work of the higher education institutions, are gaining significant demand among scientists. The training of future choreography teachers in the People's Republic of China (PRC) is of interest in terms of the traditions that have accumulated in this country over the centuries. The purpose of the article is to determine the components of the competence paradigm of the choreography teacher of the People's Republic of China for the purpose of their implementation in the progressive experience of training choreographers in Ukraine. The methodological basis of the research has a complex nature, combining the following methods: historical, system and analytical, contextual, comparative. Results. Based on the study of literature, the authors of the article determined that the training future teachers of choreography for professional activities is an integral, holistic creation of the personality of a specialist, which includes readiness to carry out professional activities on the basis of special choreographic knowledge (history, theory and practice of choreographic art, methods of implementation and teaching different types of choreography (classical, modern, folk stage dance, etc.), modern directions of choreographic art); skills (choreographic skills, the ability to use the basics of the theory and methodology of choreography in innovative professional activities, to improvise, design and implement the educational process of choreographic training, taking into account the socio-cultural situation and the level of development of the choreographic abilities of the children's choreographic group in the education system in real and virtual fashionable dance movements, create dance repertoire of different levels of complexity in accordance with the social and cultural needs of society); abilities (artistic and creative, artistic and aesthetic, artistic and mental, artistic literacy, team building, self-development based on the reflection of the results of their professional activities, the ability to use educational and communication technologies, find and use information from various sources (electronic, written, archival and oral)); professional and personal qualities (creative independence, performance and emotional mobility, stage improvisation, tolerance, empathy, spirituality, etc.). Conclusions. It is determined that in addition to the knowledge, skills, abilities and qualities indicated above, the competent paradigm of the future teacher of choreography is cultural, cross-cultural, artistic, professional-artistic and artistic-stage competence.
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Tasalyan, Anush. "Diversity, structural and linguistic features of the genre poetry of the 1920s by Yeghishe Charents." JOURNAL FOR ARMENIAN STUDIES 1, no. 60 (March 27, 2023): 100–108. http://dx.doi.org/10.24234/journalforarmenianstudies.v1i60.36.
Повний текст джерелаАнотація:
At the beginning of the 20th century, a new era began in the fields of world and Russian literature, art and culture, which Armenian literature could not remain indifferent. The theoretical foundations of taking the progress of the post-October art in a new direction, to changing the plan of the poem, enriching the content, of looking for new methods and ways of creating images were presented in declaration in three, which being the first attempt in that direction was naturally not free from controversial formulations. In the quest to take the literary and artistic developments in a new direction the role of Y. Charents can't be renounced, whose poems were new both in terms of content and imagery, introducing newly created words into poetry, enriching the genre system with new nuances and a number of other aspects. Charents was experimenting with new models of poem structure, where the means of representation became more objective, the dictionary meanings of words were enriched with new content, and practical applications with new syntactic classifications. Charents' works of the 1920s were notable for their genre variety: poem, poetry, agitka, radio poem, rubayats, rhabsody, publicity, poster, etc. It should be noted that it is difficult to give a stable definition of genre to many of these works, because the poet combines the peculiarities of different genres: style, language, structure, etc. Of course, the poet's persistent search was not always successful. He sometimes crosses the boundaries of propriety, directs the arrows of criticism against him with sharp wordings, which were often directed or intentional. But in honour of the poet it should be noted that he persistently continued his efforts to push literary and artistic productions to a new path of progress enriching Armenian literature with new peculiarities and concluding his search with the monumental collection of "Book of the way.
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Y.Y., Yevtushevska. "The modern comic theories in the light of literary translation. Multidisciplinary approach." Studia Philologica, no. 22 (2024): 69–80. http://dx.doi.org/10.28925/2412-2491.2024.225.
Повний текст джерелаАнотація:
The article investigates and systematizes modern theories of comic as a culturally specific phenomenon based on multidisciplinary approach. The comic as an interesting and multifaceted phenomenon has been of interest to researchers since antiquity. However, defining the concept of “comic” and its belonging to a certain scientific discipline still poses certain difficulties for scientists. In the light of modern studies, researchers prefer to study this phenomenon at the intersection of several sciences with the involvement of the theoretical base of such disciplines as linguistics, cultural studies, cognitive studies, pragmatics, etc. The article analyzes and determines the expediency of applying the approach of modern theories in the study of the comic in view of its complexity and cultural conditioning, specifically on the base of literary texts and their translations. It was found that for the most successful study of the mechanisms of emergence and the specifics of the rendering of this phenomenon in literary translation. It is necessary to conduct research at the intersection of translation studies and other disciplines, the object of which is the comic. The article suggests that the results of such interdisciplinary cooperation can become the basis for a more in-depth translational analysis of the comic. Such an analysis makes it possible to cover different levels of research on this phenomenon and to open up new perspectives for the study of the nature of the comic in literary texts and the strategies of its rendering in literary translation. Due to the fact that the difficulties faced by the translator of a literary text when rendering humor are not considered by scientists as a purely linguistic problem, there is a need to consider the comic in literary texts, taking into account the mechanisms of creation of this phenomenon and its cultural specificity. The research contributes to the development of the modern theory of artistic translation, the results of the research can be used in teaching theoretical and practical translation courses.
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Diachenko, Nataliia, and Olesia Kydysiuk. "Verbal representation of monster’s image in works for children of modern Ukrainian authors." Philological Review, no. 2 (December 5, 2021): 15–22. http://dx.doi.org/10.31499/2415-8828.2.2021.246060.
Повний текст джерелаАнотація:
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.