Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-2-187-195
M. Voronets, N. Shpilnaya
The paper is dedicated to the analysis of speech formulas «Разве?» и «Неужели?» which could be acted as separate response cues. The use of both formulas allows the intentions of maintaining a conversation to be realized, however, the choice of a specific cue should be determined by the different pragmatic meanings. To determine these meanings we have analyzed relevant contexts, selected from the National Corpus of the Russian Language.
{"title":"Aspects of the functioning of the response cues “Разве?” and “Неужели?”","authors":"M. Voronets, N. Shpilnaya","doi":"10.37386/2305-4077-2022-2-187-195","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-2-187-195","url":null,"abstract":"The paper is dedicated to the analysis of speech formulas «Разве?» и «Неужели?» which could be acted as separate response cues. The use of both formulas allows the intentions of maintaining a conversation to be realized, however, the choice of a specific cue should be determined by the different pragmatic meanings. To determine these meanings we have analyzed relevant contexts, selected from the National Corpus of the Russian Language.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129086715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-1-98-109
A. I. Kulyapin, E. A. Khudenko, T. Bogumil
The article is devoted to the semiotics and poetics of artistic geography of V. M. Shukshin. The comprehension of toposes in Shukshin’s texts is based on the archetypal division of space into “one’s own” (positive) and “someone else’s” (dangerous, profane). The space of Altai, endowed with signs of paradise, is the most semiotically loaded. Shukshin refers both the Urals and the Far East to the Siberian topos, scaling his own “map” of a man and being. The capitals - Moscow and Leningrad - are interpreted by Shukshin as a place of conquest and the realization of the hero’s dreams of freedom. Though, for those Shukshin’s characters who have not severed ties with their native land, the village, it is a place of spiritual hard labor and death. The ideal artistic topos is timed by Shukshin to medieval Russia and is embodied in such centers of the Russian world as Tambov, Kaluga, Voronezh and Vologda. The study of Shukshin’s geopoetics, his mythogeography allows us to reconstruct the specifics of the author’s image of the world.
{"title":"ARTISTIC GEOGRAPHY OF V. M. SHUKSHIN","authors":"A. I. Kulyapin, E. A. Khudenko, T. Bogumil","doi":"10.37386/2305-4077-2022-1-98-109","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-1-98-109","url":null,"abstract":"The article is devoted to the semiotics and poetics of artistic geography of V. M. Shukshin. The comprehension of toposes in Shukshin’s texts is based on the archetypal division of space into “one’s own” (positive) and “someone else’s” (dangerous, profane). The space of Altai, endowed with signs of paradise, is the most semiotically loaded. Shukshin refers both the Urals and the Far East to the Siberian topos, scaling his own “map” of a man and being. The capitals - Moscow and Leningrad - are interpreted by Shukshin as a place of conquest and the realization of the hero’s dreams of freedom. Though, for those Shukshin’s characters who have not severed ties with their native land, the village, it is a place of spiritual hard labor and death. The ideal artistic topos is timed by Shukshin to medieval Russia and is embodied in such centers of the Russian world as Tambov, Kaluga, Voronezh and Vologda. The study of Shukshin’s geopoetics, his mythogeography allows us to reconstruct the specifics of the author’s image of the world.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133792320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2021-3-239-245
R. R. Akhunova
The article deals with the analysis of biblical female characters in Anna Akhmatov’s works and examines the features of their artistic interpretation in the cycle of Biblical Poems. The focus of the study is the Old Testament images of Lot’s wife, Rachel, Michola, which are significant for Akhmatov’s creativity. Their special aspects are conditioned by historical and autobiographical context of the poetess’s work. Having got through the civil war and revolution like many poets of the Silver Age, she correlated them, firstly, with the events described in the human eternal book, secondly, she passed them through the prism of her own experiences, which allows us to talk about the gender dimension of her reception of biblical female characters. This is evidenced by the architectonics of the cycle and the author’s re-emphasis in the transmission of biblical plots and characters that essentially disputes the biblical interpretation.
{"title":"FEATURES OF INTERPRETATION OF BIBLICAL FEMALE IMAGES IN LYRICS BY ANNA AKHMATOVA","authors":"R. R. Akhunova","doi":"10.37386/2305-4077-2021-3-239-245","DOIUrl":"https://doi.org/10.37386/2305-4077-2021-3-239-245","url":null,"abstract":"The article deals with the analysis of biblical female characters in Anna Akhmatov’s works and examines the features of their artistic interpretation in the cycle of Biblical Poems. The focus of the study is the Old Testament images of Lot’s wife, Rachel, Michola, which are significant for Akhmatov’s creativity. Their special aspects are conditioned by historical and autobiographical context of the poetess’s work. Having got through the civil war and revolution like many poets of the Silver Age, she correlated them, firstly, with the events described in the human eternal book, secondly, she passed them through the prism of her own experiences, which allows us to talk about the gender dimension of her reception of biblical female characters. This is evidenced by the architectonics of the cycle and the author’s re-emphasis in the transmission of biblical plots and characters that essentially disputes the biblical interpretation.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131706877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-3-188-194
Елена Евгеньевна Завьялова
Имя Давида Наумовича Медриша (1926–2011) хорошо известно в отечественной науке. Его методологические подходы до сих пор продуктивно используются фольклористами, литературоведами, лингвистами, культурологами, искусствоведами, историками. О теоретических новациях и научных открытиях профессора Волгоградского государственного социально-педагогического университета написано несколько ценных работ. Однако системного, целостного анализа его роли в развитии гуманитарной науки до сих пор не предпринималось. Выход монографии А. Х. Гольденберга, О. О. Путило, Н. Е. Тропкиной видится очень своевременным.
大卫·诺莫维奇·梅里什(1926 - 2011)在国内科学中很有名。他的方法仍然被民间学者、文学学者、语言学家、文化学家、艺术史学家和历史学家有效地使用。伏尔加格勒州立社会教育大学教授的理论创新和科学发现发表了几篇有价值的论文。然而，还没有对其在人文科学发展中的作用进行系统、完整的分析。a . h . goldenberg的专著出版，o . o . putilo, n。
{"title":"ЖИЗНЬ И СУДЬБА УЧЕНОГО","authors":"Елена Евгеньевна Завьялова","doi":"10.37386/2305-4077-2022-3-188-194","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-3-188-194","url":null,"abstract":"Имя Давида Наумовича Медриша (1926–2011) хорошо известно в отечественной науке. Его методологические подходы до сих пор продуктивно используются фольклористами, литературоведами, лингвистами, культурологами, искусствоведами, историками. О теоретических новациях и научных открытиях профессора Волгоградского государственного социально-педагогического университета написано несколько ценных работ. Однако системного, целостного анализа его роли в развитии гуманитарной науки до сих пор не предпринималось. Выход монографии А. Х. Гольденберга, О. О. Путило, Н. Е. Тропкиной видится очень своевременным.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"232 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117152523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2021-2-21-33
V. Voropaev
The article deals with the similarity of Gogol’ and Pushkin’s ideas about Russian statehood. Such similarity, according to the author, is quite natural and logical for the Russian Orthodox consciousness. These ideas are based on the gospel truths, the idea of autocracy and the Christian attitude to the people. The two Russian writers understood the necessity and vitality of the principles of Orthodoxy, Autocracy and Nationality for the Russian state.
{"title":"Gogol and Pushkin on faith and the russian state","authors":"V. Voropaev","doi":"10.37386/2305-4077-2021-2-21-33","DOIUrl":"https://doi.org/10.37386/2305-4077-2021-2-21-33","url":null,"abstract":"The article deals with the similarity of Gogol’ and Pushkin’s ideas about Russian statehood. Such similarity, according to the author, is quite natural and logical for the Russian Orthodox consciousness. These ideas are based on the gospel truths, the idea of autocracy and the Christian attitude to the people. The two Russian writers understood the necessity and vitality of the principles of Orthodoxy, Autocracy and Nationality for the Russian state.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116988464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2023-2-18-30
N. Krokhina
The relevance of the work is associated with modern disputes about Russian identity, and the purpose of the analysis of the textbook work is to update those works that emphasize the synthetic nature of Onegin at the level of genre, rhythm, and style. The subject of the study is the unpredictable flow of life in this unusual diary novel and the image of the Author as its central character, his thoughts and feelings. The acid feeling of the insignificance of life and its transience are opposed in the novel by the sacred foundations of being, through rebellious youth, through “holy poetry”, through the legends of dear old times, a person joins the immortal mystery of life. The contrasting ages of the human soul are given in the novel in the images of Lensky and Onegin. Onegin in the novel is the double of the Author, the trial of himself. With the image of Onegin, Pushkin begins the typology of the modern groundless hero-immoralist of the literature of the 19th century. Onegin and Tatyana are polar, like emptiness is polar to fullness. The unpredictability of life is fully manifested in the fate of the main character. It is concluded that the basis of Pushkin’s picture of the world is the biblical scale of comprehension of life.
{"title":"“EUGENE ONEGIN”: THE RUSSIAN PICTURE OF THE WORLD","authors":"N. Krokhina","doi":"10.37386/2305-4077-2023-2-18-30","DOIUrl":"https://doi.org/10.37386/2305-4077-2023-2-18-30","url":null,"abstract":"The relevance of the work is associated with modern disputes about Russian identity, and the purpose of the analysis of the textbook work is to update those works that emphasize the synthetic nature of Onegin at the level of genre, rhythm, and style. The subject of the study is the unpredictable flow of life in this unusual diary novel and the image of the Author as its central character, his thoughts and feelings. The acid feeling of the insignificance of life and its transience are opposed in the novel by the sacred foundations of being, through rebellious youth, through “holy poetry”, through the legends of dear old times, a person joins the immortal mystery of life. The contrasting ages of the human soul are given in the novel in the images of Lensky and Onegin. Onegin in the novel is the double of the Author, the trial of himself. With the image of Onegin, Pushkin begins the typology of the modern groundless hero-immoralist of the literature of the 19th century. Onegin and Tatyana are polar, like emptiness is polar to fullness. The unpredictability of life is fully manifested in the fate of the main character. It is concluded that the basis of Pushkin’s picture of the world is the biblical scale of comprehension of life.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"124 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116326985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-4-48-54
L.E. Lyapina
The article is devoted to the study of polysensory compositions in the lyrics of the 19th century, highlighting the features and role of Fet as the lyricist in this regard. The poetics of his works demonstrates a systematic interest in a variety of sensory modes, the intertextual correlation of which generates a special structure of the plot. Inheriting the conceptions of M. Lermontov, F. Touché and others, Fet gives impetus to the development of polysensory in the future, including Ya. Polonsky and A. Maikov among the poets of his generation, each developing their own aesthetic dominant of polysensory plots corresponding to the nature imaginative system of each.
本文对19世纪抒情诗中的多感官作曲进行了研究，并着重分析了费特作为抒情诗作者在这方面的特点和作用。他作品的诗学表现出对各种感官模式的系统兴趣，这些感官模式的互文关联产生了特殊的情节结构。Fet继承了莱蒙托夫(Lermontov)、touch (F. touch)等人的概念，推动了未来包括Ya在内的多感官的发展。波隆斯基和A.迈科夫是同时期的诗人，他们各自发展了自己的审美优势，即与各自的自然想象系统相对应的多感官情节。
{"title":"THE POETICS OF POLYSENSORY COMPOSITIONS IN THE LYRICS OF A.FET AND HIS CONTEMPORARIES","authors":"L.E. Lyapina","doi":"10.37386/2305-4077-2022-4-48-54","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-4-48-54","url":null,"abstract":"The article is devoted to the study of polysensory compositions in the lyrics of the 19th century, highlighting the features and role of Fet as the lyricist in this regard. The poetics of his works demonstrates a systematic interest in a variety of sensory modes, the intertextual correlation of which generates a special structure of the plot. Inheriting the conceptions of M. Lermontov, F. Touché and others, Fet gives impetus to the development of polysensory in the future, including Ya. Polonsky and A. Maikov among the poets of his generation, each developing their own aesthetic dominant of polysensory plots corresponding to the nature imaginative system of each.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124647507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2021-3-215-225
S. A. Golubkov
The article deals with the attraction of the art of the 20th century to the paradox as a tool for understanding the absurdity of life. Paradox and laughter share their inherent structural ambiguity, pulsating ambivalence. Paradox and laughter are often a platform for the conflict of different logics - ordinary logic and “paralogy” (alogism). Consideration of the typology of objects of ridicule helps to reveal the paradoxical nature of laughter. At the same time, attention is drawn to two types of object: an integral system (institution, professional team, power institutions) and an individual person (in particular, an adventurous hero). It is interesting to study the paradoxical in the very fabric of a comic work. In particular, pleonasm is described as a component of the funny technique. It denotes a paradoxical contradiction between the necessary and the redundant in the description. Paradoxically, the two-dimensional texts associated with the laugh attitude, which are built on the model of the anti-genre, have a conflict-like nature: false panegyrics, anti-idylls, dystopias.
{"title":"ON THE PARADOXICAL NATURE OF LAUGHTER IN THE LITERATURE OF THE XXTH CENTURY","authors":"S. A. Golubkov","doi":"10.37386/2305-4077-2021-3-215-225","DOIUrl":"https://doi.org/10.37386/2305-4077-2021-3-215-225","url":null,"abstract":"The article deals with the attraction of the art of the 20th century to the paradox as a tool for understanding the absurdity of life. Paradox and laughter share their inherent structural ambiguity, pulsating ambivalence. Paradox and laughter are often a platform for the conflict of different logics - ordinary logic and “paralogy” (alogism). Consideration of the typology of objects of ridicule helps to reveal the paradoxical nature of laughter. At the same time, attention is drawn to two types of object: an integral system (institution, professional team, power institutions) and an individual person (in particular, an adventurous hero). It is interesting to study the paradoxical in the very fabric of a comic work. In particular, pleonasm is described as a component of the funny technique. It denotes a paradoxical contradiction between the necessary and the redundant in the description. Paradoxically, the two-dimensional texts associated with the laugh attitude, which are built on the model of the anti-genre, have a conflict-like nature: false panegyrics, anti-idylls, dystopias.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121359456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2021-3-260-270
R. T. Rukoleeva
This article analyzes the essay «Either-or» by the Danish thinker S. Kierkegaard. The musicality is an important feature of this work. The author attempts to combine the languages of music and prose, and a unique philosophical and literary text is born on the border of two types of art. Kierkegaard considered Mozart’s opera «Don Giovanni» as the pinnacle of musical creativity. Through the character of Don Juan, the philosopher recreates the type of aesthetic personality in the spirit of romanticism and shows the vulnerability of the romantic worldview. «Either-or» includes works written in different genres and reflecting opposing attitudes in life. This feature of narration can be compared with the phenomenon of polyphonism in music.
{"title":"MUSIC OF THOUGHT OF S. KIERKEGAARD","authors":"R. T. Rukoleeva","doi":"10.37386/2305-4077-2021-3-260-270","DOIUrl":"https://doi.org/10.37386/2305-4077-2021-3-260-270","url":null,"abstract":"This article analyzes the essay «Either-or» by the Danish thinker S. Kierkegaard. The musicality is an important feature of this work. The author attempts to combine the languages of music and prose, and a unique philosophical and literary text is born on the border of two types of art. Kierkegaard considered Mozart’s opera «Don Giovanni» as the pinnacle of musical creativity. Through the character of Don Juan, the philosopher recreates the type of aesthetic personality in the spirit of romanticism and shows the vulnerability of the romantic worldview. «Either-or» includes works written in different genres and reflecting opposing attitudes in life. This feature of narration can be compared with the phenomenon of polyphonism in music.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123327611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-4-6-21
N. Rymar
Perspectivism is considered in the article following on from the problem of the productivity of aesthetic activity, seeking ways and forms for solving new creative tasks of the artist. The perspectivism of the 20th century is manifested in the creation of new forms of vision and understanding of reality: the main poetological principle of constructing a novel is not the time of the plot story, but the space of consciousness of the hero or the author.
{"title":"PERSPECTIVISM IN ART AND THE NOVEL OF THE 20TH CENTURY: DEFABULIZATION","authors":"N. Rymar","doi":"10.37386/2305-4077-2022-4-6-21","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-4-6-21","url":null,"abstract":"Perspectivism is considered in the article following on from the problem of the productivity of aesthetic activity, seeking ways and forms for solving new creative tasks of the artist. The perspectivism of the 20th century is manifested in the creation of new forms of vision and understanding of reality: the main poetological principle of constructing a novel is not the time of the plot story, but the space of consciousness of the hero or the author.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123906568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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