Pub Date : 1900-01-01DOI: 10.20323/2499-9679-2021-3-26-24-28
Valeriya A. Galanova
The article discusses the peculiarities of Fyodor Nikolayevich Glinka's poetry, his work, and the distinctive features of his poems. The attention is focused primarily on the poems: «Karelia, or the Imprisonment of Marfa Johannovna Romanova» (1830), «The Maiden of Karelian Forests» (1826). The poem Karelia, or the Imprisonment of Marfa Johannovna Romanova» is about the events during the Time of Troubles. The prince's mother, Marfa Ioannovna Romanovna, is exiled to Karelia as a result of a conspiracy. A traveling monk helps her survive her exile. He introduces her to the mythology and life of Karelia, comforts her and tells her about the divine miracles that occur in the north. Eventually, Marfa Ioannovna finds the strength to survive her exile and returns to her homeland. The poem also attracted the attention of A. Pushkin who wrote a review of the poem in 1830. The characters of the poem The Maiden of Karelian Forests are contemporaries of the author. A young man arrives in Karelia. There he meets a girl and her father who is hiding from the law. The poem ends with the return of the girl and the main hero from Karelia. Fyodor Glinka's artistic images, in particular the image of Karelia, attracted other poets as well, namely Eugeny Barstynsky and Vladimir Benediktov. Eugeny Barstinsky wrote his poem «Eda» in 1826. This poem is about love between a Finnish girl and a visiting hussar. The poet Vladimir Benediktov wrote several poems devoted to Glinka himself and Karelia. They were published in 1856. These poems are: The Cliff, The Lake and To the Playmates. All these poets wrote about Karelia, but only Glinka wrote in his poems about Christianity and history. Whereas Yevgeny Baratynsky and Vladimir Benediktov depict the splendor and beauty of Karelia, Fyodor Glinka's characters are engaged in spiritual quests among the Karelian nature and eventually gain true inner freedom.
{"title":"Karelian epic poem by F. N. Glinka as a historical Christian legend","authors":"Valeriya A. Galanova","doi":"10.20323/2499-9679-2021-3-26-24-28","DOIUrl":"https://doi.org/10.20323/2499-9679-2021-3-26-24-28","url":null,"abstract":"The article discusses the peculiarities of Fyodor Nikolayevich Glinka's poetry, his work, and the distinctive features of his poems. The attention is focused primarily on the poems: «Karelia, or the Imprisonment of Marfa Johannovna Romanova» (1830), «The Maiden of Karelian Forests» (1826). The poem Karelia, or the Imprisonment of Marfa Johannovna Romanova» is about the events during the Time of Troubles. The prince's mother, Marfa Ioannovna Romanovna, is exiled to Karelia as a result of a conspiracy. A traveling monk helps her survive her exile. He introduces her to the mythology and life of Karelia, comforts her and tells her about the divine miracles that occur in the north. Eventually, Marfa Ioannovna finds the strength to survive her exile and returns to her homeland. The poem also attracted the attention of A. Pushkin who wrote a review of the poem in 1830. The characters of the poem The Maiden of Karelian Forests are contemporaries of the author. A young man arrives in Karelia. There he meets a girl and her father who is hiding from the law. The poem ends with the return of the girl and the main hero from Karelia. Fyodor Glinka's artistic images, in particular the image of Karelia, attracted other poets as well, namely Eugeny Barstynsky and Vladimir Benediktov. Eugeny Barstinsky wrote his poem «Eda» in 1826. This poem is about love between a Finnish girl and a visiting hussar. The poet Vladimir Benediktov wrote several poems devoted to Glinka himself and Karelia. They were published in 1856. These poems are: The Cliff, The Lake and To the Playmates. All these poets wrote about Karelia, but only Glinka wrote in his poems about Christianity and history. Whereas Yevgeny Baratynsky and Vladimir Benediktov depict the splendor and beauty of Karelia, Fyodor Glinka's characters are engaged in spiritual quests among the Karelian nature and eventually gain true inner freedom.","PeriodicalId":282574,"journal":{"name":"Verhnevolzhski Philological Bulletin","volume":"15 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":"117345959","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: 10.20323/2499-9679-2021-3-26-8-16
V. Melnik
The problem of N. A. Nekrasov's religiosity, especially its biographical aspect, has not been studied well. As for the sources of information about the dogma of Orthodoxy, in his poetic texts Nekrasov shows considerable awareness of spiritual issues, as they are addressed by the church and the Holy Fathers of the Church. The poet is interested in Orthodox hagiography. His source of information could be, first of all, the so-called popular Orthodoxy. The question remains open about the formation of Nekrasov's religiosity at an early age, about the nature of his spiritual disposition. This article attempts, on the one hand, to present a complete picture of the religious life of the Nekrasov family, which is currently available to us from isolated fragments, and, on the other, to understand the role of his mother, Elena Alexandrovna, as well as the accompanying factors that influenced the primary organization of his religious aspirations. The author suggests that the religious and general romantic mood of the poet’s worldview, inherited from his mother are inseparable. There is no doubt that the high civic pathos of Nekrasov's poetry, developed under the influence of the poet's revolutionary democratic environment, was formed on the childhood basis of a «holy», romantic religious outlook and the perception of life as care for the weak and disadvantaged – in which the main role was played by Nekrasov's mother. The protest pathos of Nekrasov's poetry acquires an unconventional meaning because subjectively, in the poet's own mind, it grows directly out of the ideals of the Gospel.
{"title":"The development of N. A. Nekrasov's religious consciousness","authors":"V. Melnik","doi":"10.20323/2499-9679-2021-3-26-8-16","DOIUrl":"https://doi.org/10.20323/2499-9679-2021-3-26-8-16","url":null,"abstract":"The problem of N. A. Nekrasov's religiosity, especially its biographical aspect, has not been studied well. As for the sources of information about the dogma of Orthodoxy, in his poetic texts Nekrasov shows considerable awareness of spiritual issues, as they are addressed by the church and the Holy Fathers of the Church. The poet is interested in Orthodox hagiography. His source of information could be, first of all, the so-called popular Orthodoxy. The question remains open about the formation of Nekrasov's religiosity at an early age, about the nature of his spiritual disposition. This article attempts, on the one hand, to present a complete picture of the religious life of the Nekrasov family, which is currently available to us from isolated fragments, and, on the other, to understand the role of his mother, Elena Alexandrovna, as well as the accompanying factors that influenced the primary organization of his religious aspirations. The author suggests that the religious and general romantic mood of the poet’s worldview, inherited from his mother are inseparable. There is no doubt that the high civic pathos of Nekrasov's poetry, developed under the influence of the poet's revolutionary democratic environment, was formed on the childhood basis of a «holy», romantic religious outlook and the perception of life as care for the weak and disadvantaged – in which the main role was played by Nekrasov's mother. The protest pathos of Nekrasov's poetry acquires an unconventional meaning because subjectively, in the poet's own mind, it grows directly out of the ideals of the Gospel.","PeriodicalId":282574,"journal":{"name":"Verhnevolzhski Philological Bulletin","volume":"91 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":"116276527","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: 10.20323/2499-9679-2021-2-25-119-128
Anna V. Solntseva
The article is an attempt of a semantic and syntactic analysis of French complex conjunctions autant que, d'autant que and d'autant plus que. The author undertakes to find out which means of conjunction can be regarded as their equivalents in Spanish. The research is based on the data provided by dictionaries and translations of French fiction and press into Spanish. The article defines the grammatical status and lexical meaning of the conjunctions autant que, d'autant que and d'autant plus que and their Spanish equivalents, analyzes the conditions of their functioning in speech, reveals common features and differences in the fields of syntagmatics and paradigmatics. The conjunction autant que can denote a variety of meanings and their shades: comparison, limitation, equivalence, condition, concession. In Spanish it corresponds to tanto como, como, cuanto, hasta donde, según lo que, en lo que, todo lo que and the combination a más po + infinitive, cuando, por mucho que. French verbless constructions containing autant que can be translated by Spanish constructions containing lo que, lo mismo que, el mismo + noun + que, al mismo tiempo. French conjunctions d'autant plus que and d'autant que correspond in Spanish to tanto más cuanto que, tanto más cuanto, tanto más que. These conjunctions serve to indicate additional motivation for the action described in the mainsentence. They introduce subordinate clauses expressing additional reason and operate within constructions consisting of three components: the motivated message, the main reason, and the additional reason.
本文试图对法语复杂连词“autant que”、“d’autant que”和“d’autant plus que”的语义和句法进行分析。作者致力于找出在西班牙语中哪些连词可以被视为它们的对等物。这项研究是基于词典以及法语小说和出版物的西班牙语译本所提供的数据。本文界定了连词“autant que”、“d'autant que”和“d'autant plus que”及其西班牙语对等词的语法地位和词汇意义，分析了它们在言语中发挥作用的条件，揭示了它们在句法学和范式学领域的共同特点和差异。连词限定词可以表示多种含义及其深浅:比较、限制、等价、条件、让步。在西班牙语中，它对应于tanto como, como, cuanto, hasta donde, según lo que, en lo que, todo lo que以及más po +不定式，cuando, por much que的组合。法语无动词结构包含了动词的que可以翻译成西班牙语结构包含了lo que, lo mismo que, el mismo +名词+ que, al mismo timempo。法语连词d'autant + que和d'autant que在西班牙语中对应于tanto más cuanto que, tanto más cuanto, tanto más que。这些连词用来指示主句中描述的动作的附加动机。它们引入表达附加理由的从句，并在由三个组成部分组成的结构中运作:动机信息、主要原因和附加原因。
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Pub Date : 1900-01-01DOI: 10.20323/2499-9679-2022-2-29-46-52
Elena V. Nikkareva
The article attempts to consider the peculiarities of text formation and imagery in Konstantin Kravtsov's (b. 1963) po-etry, based on the specific optics of the lyrical character, from the standpoint of semantic poetics. The poet, whose work is the object of the study, belongs to a special group of poets, representing, according to I. Kukulin, «the new reli-gious poetry». At the same time, evangelical images and a special theological discourse, although defining K. Kravtsov's ideostyle, do not give a complete picture of his artistic method. The antinomy of the author's consciousness, his desire to overcome any form of completeness (the creative act, meaning, image, etc.) are an integrating element in K. Krav-tsov's poems. The author of the article makes an attempt to identify the mechanisms of image creation in K. Krav-tsov's poetry and offers to define its basic property as the enantiotropy of the image. The material for the analysis is the poem «Night» (collection «Arctic Flax»), as well as its variants, considered in the synchronous and diachronic as-pects, and the poem «Assumption». The author concludes that Kravtsov's artistic means are intended to realize the principle of inseparability and non-conflation (including a variant of the Chalcedonian dogma): the leading composi-tional principle of poetics is the hermeneutic circle; liminal topos and motifs (metamorphosis, overcoming/ removing boundaries, transformation); the symbolic meaning of the circumpolar attributes; tropes («metaphor-reflection» (N. Chernykh), double allegory (I. Kukulin)) and even the word-formation models chosen by the poet act as particular ways of overcoming the antinomy of being.
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Pub Date : 1900-01-01DOI: 10.20323/2499-9679-2021-4-27-205-213
T. I. Erokhina
The article deals with the specifics in representing the work of N.A. Nekrasov on the theatrical stage. The author notes the lack of demand for the poet's dramaturgy and the attention to the poem Who is Happy in Russia? in the modern theatrical space. Focusing on the cultural codes embedded in N.A. Nekrasov's poem, the author turns to analyzing the paradoxes of the poem's stage version directed by K. Serebrennikov and P. Vasilyev. Based on hermeneutic methodology, semiotic and symbolic analysis, the article highlights the peculiarities of the directors' interpretations. The specifics of Serebrennikov's play lie in its evolution from verbatim forms to conventional theater. While respecting the author's text, the director chooses the key chapters of the poem, whose sequence extends the temporal and spatial boundaries of the text. The play features multi-genre parts that involve experiments with different theatrical forms. P. Vasilyev's puppet show focuses on intertextuality and symbolism in N.A. Nekrasov's poem, expressed through associations and allusions, as well as through the symbolism of puppets and scenography. The paradoxes of the poem's existence on the modern stage are determined by the interpretive potential of the text, its embedded cultural codes, internal drama, incompleteness and open ending. Contemporary Russian theater, gravitating toward experiments and intertextuality, offers a paradoxical interpretation of N. A. Nekrasov's poem, referring the audience both to Russian classics and to mass culture.
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Pub Date : 1900-01-01DOI: 10.20323/2499-9679-2022-1-28-162-168
Zoya B. Dolgikh
The interest in wine as a cultural and value-semantic phenomenon led to the emergence and formation of a specialized language, the so-called oenological discourse, affecting both the description of the processes of beverage production and the evaluation of its color, aromatic, taste and other characteristics. Due to the complex nature of the oenological discourse, which involves almost all spheres of human perception (except hearing), as well as the well-known complexity of verbalization and transmission of human sensations from one language to another, wine terminology could not remain out of the focus of linguists, interpreters and translators for a long time. The author of the article emphasizes the relevance of the studied issues and cites the studies of Russian and foreign linguists who have made a contribution to the study of oenological discourse. The oenological discourse, characterized by an abundance of color, taste and aroma nominations, a high degree of imagery and expression, is considered primarily in the article from the point of view of its lexical features. The author compares Portuguese and Russian organoleptic descriptions, analyzes lexical units that provide visual, olfactory and taste evaluation of wine. In the three thematic groups described ("color", "aroma", "taste") there are adjectives whose meaning directly correlates with the existing nominations of shades of color, smells (aromas) and tastes, and there are those that fix sensations based on more complex and multi-layered comparisons with objects, objects or phenomena, can be associated with tactile perception (touching), going beyond linear designations and informing the recipient of some additional information. Decoding the meanings of such lexico-semantic units occurs exclusively in accordance with the level of awareness of the recipient, his experience and professionalism in this field. By the terms and phrases used by the speaker and the interlocutor, it is easy to determine the scale of their knowledge and the degree of their involvement in the area under study. The author of the article comes to the conclusion about the amazing metaphoric features of oenological descriptions, revealing the deep cognitive mechanisms inherent in Portuguese and Russian speakers.
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Pub Date : 1900-01-01DOI: 10.20323/2499-9679-2022-1-28-48-54
L. V. Dubakov
The article is devoted to analysing the perception of concepts related to the human sex in the novels and essays of A. Ivanchenko. The article specifies that this author's prescription is primarily due to Buddhist philosophy. The novel «SWEDENBORG. The Separate Life of the Genitals» demonstrates the external suppression of man's higher spiritual movements, and, as a result, the moral and mental decay due to the hero's absorption in the lust for existence, especial-ly the lust for sexuality. It is one of the basic darkening aspects of Buddhism that plunges one into suffering: sensual attachment, or raga, which Ivanchenko believes to be the main one. The artistic conception of the novel «SWEDENBORG. Separate life of the genitals» is also due to the symbolic (phallic) interpretation of the title image in N. Gogol’s novel «The Nose» and the mysticism of E. Swedenborg, who also discussed the posthumous consequences of adultery. The hero of the novel takes a dual position: on the one hand, he realizes and exposes to the reader the cor-rupting nature of modern reality, on the other, he accepts this situation and thus debunks it even more by the example of his own life. The novel «Monogram» and essays included in the cycle «Homo Mysticus». «The Sutras of the Sun-strokeSunstroke» offer various Buddhist ways to overcome gender and, more broadly, sensual affection to samsaric reality: comprehending the consequences of bad existence, discovering the illusory nature of a person, turning to meditation cultivating aversion to the sensual in the human mind.
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Pub Date : 1900-01-01DOI: 10.20323/2499-9679-2021-3-26-151-157
Margarita M. Kaplina, Svetlana A. Zhezlova
The article is devoted to studying the toponymic picture of the Alsace historical region from the point of view of linguistic limology. An attempt is made to define the limological approach in linguistic research and describe the peculiarities of coexistence and development of the Alsatian dialect, German and French languages in a cross-border region. The authors of the article attempt to trace the interdependence of changes in national borders and geographical names in a linguo-historical context. The article presents an analysis of the views of Russian and foreign researchers on the meaning of the term limology and investigates the process of «francisation» of toponyms which coexist on the same territory (in a cross-border region) of the Romance and Germanic languages. The novelty of the study lies in the fact that for the first time an attempt is made to answer the following questions: how does the movement of national borders affect the toponymy of the region, what linguistic transformations can be traced in geographical names, and how great is the interplay of languages and cultures in cross-border regions (for example, the historical region of Alsace). The analysis of the practical material made it possible to identify the following types of transformations of Alsace toponymic picture in the French-speaking environment: literal transcription, phonetic adaptation, alternation of suffix forms, translation. The identified types of transforming the toponymic picture of Alsace demonstrate the complexity and diversity of the cross-border region linguistic picture. In the conclusion the authors underline the change in the function of language: from a means of communication it turns into a sign of the preservation of ethnic identity.
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Pub Date : 1900-01-01DOI: 10.20323/2499-9679-2021-2-25-148-155
M. Cherkunova
This paper investigates the category of expressivity in contemporary English scientific discourse. In particular, metatexts representing scientific articles in the international citations databases, namely Scopus and WoS, are analyzed. The aforesaid metatexts, including the title of the publication and the abstract to it, are treated as secondary small format units which represent a complete semantic replica of the original full-text version of the article retaining its basic functional and pragmatic characteristics. Objectivity, clarity of expression and lack of subjective modality are traditionally perceived as the key features of written scientific communication. At the same time, the argumentative nature of scientific discourse is supposed to bring about the language means of expressing one’s personal position and affecting the addressee. Thus, this paper aims to elicit the expressive means typical of scientific small format metatexts, and to shape them into an expressivity matrix. With the help of stylistic and discourse analysis, the expressive means ofdifferent linguistic layers are selected. Further on, due to the quantitative analysis the hierarchy of expressive means is determined on all the levels of the language system. In the final stage of the analysis the data is systematized into a matrix of scientific metatexts expressivity means. The acquired data prompt a conclusion that the scientific metatexts are characterized by a specific system of linguistic expressive means. The central position in this system is occupied by the lexical means, mainly by the evaluative adjectives. The second place is taken by the tropes, especially metaphor. The means of expressive syntax are on the periphery of the expressivity matrix, as well as the expressive means of the graphical character. The acquired results contribute to the understanding of the dynamic processes that the category of expressivity is undergoing in the contemporary scientific discourse; also they can be of practical use for those intending to publish their scientific works in the international high-rating scientific editions.
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Pub Date : 1900-01-01DOI: 10.20323/2499-9679-2022-2-29-80-88
E. I. Beglova
The article focuses on studying phraseological units (PUs) that serve as a text formation factor in the genre of apho-rism. These are mainly PUs which are the semantic core of the aphorism as a text of a minor speech genre. The aim of the article is to find out the features of using the PUs in the aphorism, which lead to generating a text small in size and deep in content, which is expressive, emotional and evaluative. First of all, the author defines the features of the aphorism as a text of a small speech genre, gives its definition and one of the classifications of aphorisms. As a result of studying the use of PUs in aphorisms, it was found that PUs often act as text-forming language units; there-fore, the genre of aphorism requires the addressant to have a high level of linguistic and communicative competence, erudition and a broad outlook. The article provides a semantic analysis of aphorisms containing PUs created by fa-mous philosophers, writers, satirists, selected by continuous sampling method from books and a collection of apho-risms. The article reveals the main ways of using PUs in aphorisms, when they are not only the main semantic component but also a text-forming factor: preserving the linguistic (dictionary) form as a unit of language and the semantic unit of an aphorism; de-metaphorizing the meaning of PUs; expanding the component structure of PUs; clipping (narrowing) the component structure of PUs; using two or more PUs within one aphorism; breaking a PU and presenting its compo-nents part by part within one aphorism; changing the grammatical form of a PU component, for example, changing its part-of-speech, etc. It has been proved that in order to understand the meaning of some PUs serving as a semantic component of aphorisms, it is necessary to know their etymology. It applies to bookish PUs originating in mythology, ancient philosophy and history. It is confirmed that aphorisms as texts of small speech genre require a high level of linguistic, cultural, historical, literary and communicative competence not only from the addressant, but also from the addressee to understand its deep meaning correctly.
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