Pub Date : 2020-07-09DOI: 10.31861/pytlit2020.101.163
N. Vysotska
The paper seeks to explore the strategies instrumental for the implementation of the body politic metaphor that had been active in Western culture since classical antiquity in the plays authored by present-day North American dramatists (Sarah Ruhl’s Passion Play, USA, 2010, and Timothy Findley’s Elizabeth Rex, Canada, 2000). Drawing upon the concept of the “king’s two bodies” (E. Plowden, E. Кantorowicz, М. Аxton, А. Мusolff, L. Montrose and other New Historicists), the author sets out to demonstrate that in S. Ruhl’s dramatic cycle the metaphor serves to indicate the inextricable links between the concepts of power, the sacred, and the theatrical, whereas Т. Findley uses it to study the ontology of sex and gender in political and theatrical contexts. It is argued that the age-old somatic metaphor conceived in the archaic layers of human psyche manifests its viable receptive potential through its efficient functioning in the early 21st century cultural artifacts.
本文旨在探讨自古典时代以来一直活跃在西方文化中的当代北美剧作家(莎拉·鲁尔的《受难剧》，美国，2010年和蒂莫西·芬德利的《伊丽莎白·雷克斯》，加拿大，2000年)创作的戏剧中实施身体政治隐喻的重要策略。根据“国王的两个身体”的概念(E. Plowden, E. Кantorowicz， М)。АxtonА。Мusolff, L.蒙特罗斯和其他新历史主义者)，作者着手证明，在S.鲁尔的戏剧循环中，隐喻是用来表明权力、神圣和戏剧概念之间不可分割的联系，而Т。芬德利用它来研究政治和戏剧语境中的性和性别本体论。本文认为，在21世纪早期的文化产物中，古老的躯体隐喻通过其有效的功能体现了其可行的接受潜力。
{"title":"Monarch’s Multiple Bodies: Implementing Body Politic Metaphor on Present-Day North American Stages","authors":"N. Vysotska","doi":"10.31861/pytlit2020.101.163","DOIUrl":"https://doi.org/10.31861/pytlit2020.101.163","url":null,"abstract":"The paper seeks to explore the strategies instrumental for the implementation of the body politic metaphor that had been active in Western culture since classical antiquity in the plays authored by present-day North American dramatists (Sarah Ruhl’s Passion Play, USA, 2010, and Timothy Findley’s Elizabeth Rex, Canada, 2000). Drawing upon the concept of the “king’s two bodies” (E. Plowden, E. Кantorowicz, М. Аxton, А. Мusolff, L. Montrose and other New Historicists), the author sets out to demonstrate that in S. Ruhl’s dramatic cycle the metaphor serves to indicate the inextricable links between the concepts of power, the sacred, and the theatrical, whereas Т. Findley uses it to study the ontology of sex and gender in political and theatrical contexts. It is argued that the age-old somatic metaphor conceived in the archaic layers of human psyche manifests its viable receptive potential through its efficient functioning in the early 21st century cultural artifacts.","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48333108","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 : 2020-07-09DOI: 10.31861/PYTLIT2020.101.177
Jüraté Landsbergyté-Becher
Metaphor is the essential form for building momentum in the phenomenon of Baltic music. It created a new silent style of defensiveness and transcendentality, which eventually could help to change the self-awareness of the nation. The purpose of this article is to research the linguistic power of a metaphor, its transfer into the music and how it helped to uncover disinformation in the period of Soviet ideological domination. The comparative methodology is used to examine metaphors in the areas of music, literature, political science, and aesthetics of art philosophy. This article is structured to show the motion of metaphor in particular turns of time. Metaphor is a powerful instrument to raise the dimensions of the archetypes of national identity and statehood rights. Its usage could be compared with religion, nature, sacrality of space and history, and it is necessary for the change in the knowledge about the nation’s development. Metaphor is the renewed road to comprehend the importance of statehood existence and what happened in Baltic states during the times of crucial changes. It could be said that the metaphor helped to regain independence without the army and spreads its influence similarly at the present day, penetrating the new media streams connecting the matters of statehood. The article findings summarise the origins of the power of the nation based on the phenomenon of the resurrection of archetypes (under the theory of C. G. Jung), which were rediscovered by using principles of psychology.
{"title":"Metaphor in the Context of Baltic Music: the Idea of Eternal Return","authors":"Jüraté Landsbergyté-Becher","doi":"10.31861/PYTLIT2020.101.177","DOIUrl":"https://doi.org/10.31861/PYTLIT2020.101.177","url":null,"abstract":"Metaphor is the essential form for building momentum in the phenomenon of Baltic music. It created a new silent style of defensiveness and transcendentality, which eventually could help to change the self-awareness of the nation. The purpose of this article is to research the linguistic power of a metaphor, its transfer into the music and how it helped to uncover disinformation in the period of Soviet ideological domination. The comparative methodology is used to examine metaphors in the areas of music, literature, political science, and aesthetics of art philosophy. This article is structured to show the motion of metaphor in particular turns of time. Metaphor is a powerful instrument to raise the dimensions of the archetypes of national identity and statehood rights. Its usage could be compared with religion, nature, sacrality of space and history, and it is necessary for the change in the knowledge about the nation’s development. Metaphor is the renewed road to comprehend the importance of statehood existence and what happened in Baltic states during the times of crucial changes. It could be said that the metaphor helped to regain independence without the army and spreads its influence similarly at the present day, penetrating the new media streams connecting the matters of statehood. The article findings summarise the origins of the power of the nation based on the phenomenon of the resurrection of archetypes (under the theory of C. G. Jung), which were rediscovered by using principles of psychology.","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49510420","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 : 2020-07-09DOI: 10.31861/pytlit2020.101.064
M. Lanovyk, Z. Lanovyk
The article outlines the problem of the terminological potential of metaphor as the main figure of poetics, rhetoric, artistic and poetic thinking in general. The authors analyze numerous works about the nature and value of the metaphor; comprehend peculiarities of its use, forms and discourses of use, figurative potential of metaphorical thinking; at the same time, they emphasize on the mythological basis of such thinking (in particular, based on the works of O. Freudenberg, N. Frye, F. Nietzsche). The main focus is on the metaphorical (figurative) nature of terminology in both the humanities and the exact sciences, as well as the problem of the interpenetration of terms, in particular, scientific terms, metaphors borrowed from human sciences. The research confirms that at the present stage of development of all spheres of knowledge and science in general there is a cross-cutting penetration of metaphor at different levels: at the level of the names of theories; at the level of titles of scientific works – from ancient times to modern times; at the level of naming / defining phenomena and concepts, etc. Methodological foundation is based at the works of H. Ortega y Gasset, H. G. Gadamer and other philosophers of the twentieth century, who acknowledge the metaphor as a form of scientific thinking and cognition, at the same time see it as a marker of the spiritual space of science. The article outlines the Ukrainian experience of term-building in the context of a long-standing European tradition in combining elements of Western and Eastern approaches to the realization of reality and the transfer of knowledge. Numerous examples confirm the idea that metaphorology as a separate brunch in the 21st century is gaining momentum. Paying attention to metaphorical outview as an integral feature of human thinking (including scientific) offers new aspects and perspectives on the history of the sciences, opens the way to the convergence and interpenetration of scientific spheres, contains a number of axioms for human understanding of nature, history, world and mysteries of being.
本文概述了隐喻作为诗学、修辞学、艺术和诗歌思维的主要形象的术语潜力问题。作者分析了许多关于隐喻的性质和价值的著作;理解其用法的特点、用法的形式和语篇、隐喻思维的形象化潜力;同时，他们强调这种思维的神话基础(特别是基于O. Freudenberg, N. Frye, F.尼采的作品)。主要焦点是人文科学和精确科学术语的隐喻(比喻)性质，以及术语的相互渗透问题，特别是科学术语，从人文科学中借用的隐喻。研究证实，在目前所有知识和科学领域的发展阶段，隐喻在不同层面上都有交叉渗透:在理论名称层面;在科学著作的标题层面——从古至今;在命名/定义现象和概念等层面。方法论的基础是建立在H. Ortega y Gasset, H. G. Gadamer和其他20世纪哲学家的作品上，他们承认隐喻是一种科学思维和认知的形式，同时将其视为科学精神空间的标志。文章概述了乌克兰在长期的欧洲传统背景下建立术语的经验，将西方和东方的方法结合起来，以实现现实和知识转移。在21世纪，隐喻作为一种独立的早午餐，其势头正愈演愈烈。将隐喻观作为人类思维(包括科学思维)的一个整体特征予以关注，为科学史提供了新的方面和视角，为科学领域的融合和相互渗透开辟了道路，为人类理解自然、历史、世界和存在的奥秘提供了许多公理。
{"title":"“Army of Metaphors” in Scientific Discourse","authors":"M. Lanovyk, Z. Lanovyk","doi":"10.31861/pytlit2020.101.064","DOIUrl":"https://doi.org/10.31861/pytlit2020.101.064","url":null,"abstract":"The article outlines the problem of the terminological potential of metaphor as the main figure of poetics, rhetoric, artistic and poetic thinking in general. The authors analyze numerous works about the nature and value of the metaphor; comprehend peculiarities of its use, forms and discourses of use, figurative potential of metaphorical thinking; at the same time, they emphasize on the mythological basis of such thinking (in particular, based on the works of O. Freudenberg, N. Frye, F. Nietzsche).\u0000The main focus is on the metaphorical (figurative) nature of terminology in both the humanities and the exact sciences, as well as the problem of the interpenetration of terms, in particular, scientific terms, metaphors borrowed from human sciences.\u0000The research confirms that at the present stage of development of all spheres of knowledge and science in general there is a cross-cutting penetration of metaphor at different levels: at the level of the names of theories; at the level of titles of scientific works – from ancient times to modern times; at the level of naming / defining phenomena and concepts, etc. Methodological foundation is based at the works of H. Ortega y Gasset, H. G. Gadamer and other philosophers of the twentieth century, who acknowledge the metaphor as a form of scientific thinking and cognition, at the same time see it as a marker of the spiritual space of science. The article outlines the Ukrainian experience of term-building in the context of a long-standing European tradition in combining elements of Western and Eastern approaches to the realization of reality and the transfer of knowledge.\u0000Numerous examples confirm the idea that metaphorology as a separate brunch in the 21st century is gaining momentum. Paying attention to metaphorical outview as an integral feature of human thinking (including scientific) offers new aspects and perspectives on the history of the sciences, opens the way to the convergence and interpenetration of scientific spheres, contains a number of axioms for human understanding of nature, history, world and mysteries of being.","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69758516","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 : 2020-07-09DOI: 10.31861/pytlit2020.101.007
Olha Chervinska, Roman Dzyk
Taking in to account the analytical experience of Metaphorology, the article understudies deals with the ontological essence of a literary metaphor. It mostly occurs as a receptive issue and is regarded on a specific example of poetry by W. Shakespeare’s – the central figure of “the western canon”. Particular emphasis has been laid on Sonnet 64 and its Ukrainian and Russian translations, where the paradigm of time arises as a basic metaphor. According to O. Potebnia’s concept, time, as an image, always preserves its “inner form”: it is anthropomorphic and in all respects corresponds to the archaic mythologeme, which is further on is implemented as a detailed generative metaphor. A multi-componential metaphor of a “deadly thought” (“This thought is as a death”) about the destruction and fatal end of all things, which perfectly corresponds to the overall theme of the sonnet, consistently appears, unfolds and gets materialized in Shakespeare’s text. It transforms the abstraction of thought into a format of metaphorical imagery, the latter being distinctly conveyed in practically all translations. This metaphor is formed along an “ontological spiral” by zeugma (a four-time repetition of ‘when’, eventually attached to the generalization “Ruin hath taught me thus to ruminate...”). This classical figure also models a compositional frame of metaphors in the sonnet. Relying on the issue of primacy in the ontological pair “essence” and “substance”, we might conclude that metaphor, being treated as a subjective reality-text, creates simultaneously “non-being” and is considered as a specific, fragmentary copy of the world, its quasi-original. The paradox of the phenomenon lies in the fact that “plunging” into the metaphorical field, we thus deeply penetrate into non-being, however heading to reality.
{"title":"The Ontological Essence of Transferring the Word Meaning: the Interpretive Resource of a Metaphor","authors":"Olha Chervinska, Roman Dzyk","doi":"10.31861/pytlit2020.101.007","DOIUrl":"https://doi.org/10.31861/pytlit2020.101.007","url":null,"abstract":"Taking in to account the analytical experience of Metaphorology, the article understudies deals with the ontological essence of a literary metaphor. It mostly occurs as a receptive issue and is regarded on a specific example of poetry by W. Shakespeare’s – the central figure of “the western canon”. Particular emphasis has been laid on Sonnet 64 and its Ukrainian and Russian translations, where the paradigm of time arises as a basic metaphor. According to O. Potebnia’s concept, time, as an image, always preserves its “inner form”: it is anthropomorphic and in all respects corresponds to the archaic mythologeme, which is further on is implemented as a detailed generative metaphor. A multi-componential metaphor of a “deadly thought” (“This thought is as a death”) about the destruction and fatal end of all things, which perfectly corresponds to the overall theme of the sonnet, consistently appears, unfolds and gets materialized in Shakespeare’s text. It transforms the abstraction of thought into a format of metaphorical imagery, the latter being distinctly conveyed in practically all translations. This metaphor is formed along an “ontological spiral” by zeugma (a four-time repetition of ‘when’, eventually attached to the generalization “Ruin hath taught me thus to ruminate...”). This classical figure also models a compositional frame of metaphors in the sonnet. Relying on the issue of primacy in the ontological pair “essence” and “substance”, we might conclude that metaphor, being treated as a subjective reality-text, creates simultaneously “non-being” and is considered as a specific, fragmentary copy of the world, its quasi-original. The paradox of the phenomenon lies in the fact that “plunging” into the metaphorical field, we thus deeply penetrate into non-being, however heading to reality.","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69758332","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 : 2020-07-09DOI: 10.31861/pytlit2020.101.209
N. Nikoriak
The article under studies deals with theoretical and practical discourse of the issue of cinema metaphor. It emphasizes that certain investigations of the issue are carried out in terms of theory, in the aspect of typology of cinema metaphors. The article also analyzes the ways of their creation and their impact on the recipient; in the cases of moving to the practical plane, particular attention is drawn to the analysis of either individual cinema metaphors or to the peculiarities of cinema metaphors of individual authors. The film “Sayat Nova” (“The Color of Pomegranates”) has been considered in the above aspect. The author of the article distinguishes a few detailed cinema metaphors that most clearly demonstrate the deep receptive potential of visual reading of this movie text. The key metaphorical codes in this case are wine, pomegranate, water, book, ladder, ritual, sheep, dream, vision, thread, lace, and poet. Particular emphasis has been laid on the fact that the he author's methods of creating cinema metaphors are polymorphic in their nature. Some of them contain a deeply conceptual, symbolic meaning, which is formed due to the context and can be expanded because of additional connotations arising during the perception of “cinema metaphors”. Others are formed as a result of a montage combination of two or more frames, through the use of purely cinematic means (for instance, shooting angle, close-up, sound, color) or involvement of viewer’s receptive experience in the course of perception.
{"title":"Metaphorical Codes of S. Parajanov’s Movie Text “Sayat Nova” (1969)","authors":"N. Nikoriak","doi":"10.31861/pytlit2020.101.209","DOIUrl":"https://doi.org/10.31861/pytlit2020.101.209","url":null,"abstract":"The article under studies deals with theoretical and practical discourse of the issue of cinema metaphor. It emphasizes that certain investigations of the issue are carried out in terms of theory, in the aspect of typology of cinema metaphors. The article also analyzes the ways of their creation and their impact on the recipient; in the cases of moving to the practical plane, particular attention is drawn to the analysis of either individual cinema metaphors or to the peculiarities of cinema metaphors of individual authors. The film “Sayat Nova” (“The Color of Pomegranates”) has been considered in the above aspect. The author of the article distinguishes a few detailed cinema metaphors that most clearly demonstrate the deep receptive potential of visual reading of this movie text. The key metaphorical codes in this case are wine, pomegranate, water, book, ladder, ritual, sheep, dream, vision, thread, lace, and poet. Particular emphasis has been laid on the fact that the he author's methods of creating cinema metaphors are polymorphic in their nature. Some of them contain a deeply conceptual, symbolic meaning, which is formed due to the context and can be expanded because of additional connotations arising during the perception of “cinema metaphors”. Others are formed as a result of a montage combination of two or more frames, through the use of purely cinematic means (for instance, shooting angle, close-up, sound, color) or involvement of viewer’s receptive experience in the course of perception.","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49064186","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}
{"title":"The Ontology of a Metaphor","authors":"","doi":"10.31861/pytlit2020.101","DOIUrl":"https://doi.org/10.31861/pytlit2020.101","url":null,"abstract":"","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69758311","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 : 2019-12-27DOI: 10.31861/pytlit2019.100.089
Оlga Тabachnikova
This paper attempts to look at Dovlatov in a broad context – starting with a personal case of Dovlatov the emigrant, it aims to arrive at a more general portrait of a Soviet Russophone writer in exile and to uncover common features inherent in the outlook at life of a Russian émigré artist of the third wave of Russian emigration. To this end, it appears important to consider emigration not only as a liminal situation, a situation of transition, i.e. of crossing all sorts of borders – external and internal, but also (by and large as a consequence of this border crossing) as a traumatic situation. This relates first of all to exile, that is, to a forced loss of one’s own motherland and environment. Indeed, a voluntary emigration, especially in the post-Soviet period, is a phenomenon of a completely different order – it is, instead, a migration, a question of a conscious choice, without the tragedy of a no-return, i.e. without the fatal ingredient characteristic of the Russian exiles of the Soviet period. In the case in question, however, we are dealing with an existential laboratory which tests above all human dignity, and with a state of acute existential solitude which this laboratory considerably magnifies. In this case, it would be more appropriate to talk about self-destruction than salvation. As for compassion, it remains relevant, but only at a personal, human level, only towards one’s close circle rather than an émigré environment as such. In the light of the above, if we interpret compromise as one’s readiness to be transplanted onto a foreign soil, as a borrowing of alien themes, criteria and language, or simply as a game on the seemingly native linguistic field, but according to non-native (and, as it happens, unfair) rules, then in a higher spiritual sense Dovlatov, having crossed the border from ours to non-ours, turned out to be incapable of compromise – just as he was incapable of it while in Russia. Indeed, he wrote his most profound and most piercing lines at the edge of anguish and longing – on the nostalgic material, that of the past.
{"title":"Uncompromising Compromise of Sergei Dovlatov – from “Ours” to Non-Ours","authors":"Оlga Тabachnikova","doi":"10.31861/pytlit2019.100.089","DOIUrl":"https://doi.org/10.31861/pytlit2019.100.089","url":null,"abstract":"This paper attempts to look at Dovlatov in a broad context – starting with a personal case of Dovlatov the emigrant, it aims to arrive at a more general portrait of a Soviet Russophone writer in exile and to uncover common features inherent in the outlook at life of a Russian émigré artist of the third wave of Russian emigration. \u0000To this end, it appears important to consider emigration not only as a liminal situation, a situation of transition, i.e. of crossing all sorts of borders – external and internal, but also (by and large as a consequence of this border crossing) as a traumatic situation. This relates first of all to exile, that is, to a forced loss of one’s own motherland and environment. Indeed, a voluntary emigration, especially in the post-Soviet period, is a phenomenon of a completely different order – it is, instead, a migration, a question of a conscious choice, without the tragedy of a no-return, i.e. without the fatal ingredient characteristic of the Russian exiles of the Soviet period. \u0000In the case in question, however, we are dealing with an existential laboratory which tests above all human dignity, and with a state of acute existential solitude which this laboratory considerably magnifies. In this case, it would be more appropriate to talk about self-destruction than salvation. As for compassion, it remains relevant, but only at a personal, human level, only towards one’s close circle rather than an émigré environment as such. \u0000In the light of the above, if we interpret compromise as one’s readiness to be transplanted onto a foreign soil, as a borrowing of alien themes, criteria and language, or simply as a game on the seemingly native linguistic field, but according to non-native (and, as it happens, unfair) rules, then in a higher spiritual sense Dovlatov, having crossed the border from ours to non-ours, turned out to be incapable of compromise – just as he was incapable of it while in Russia. Indeed, he wrote his most profound and most piercing lines at the edge of anguish and longing – on the nostalgic material, that of the past.","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47953183","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}
{"title":"Jazz is “another possible way of perceiving the world...” [Review on the monograph: Matsenka, S. (ed.) (2019). Literaturno-dzhazovi improvizatsiï: intermedial′ni studiï (Literary-Jazz Improvisations: Intermedial Studies). Lviv : Sribne slovo, 396 p.]","authors":"Olha Chervinska","doi":"10.31861/pytlit2019.100.169","DOIUrl":"https://doi.org/10.31861/pytlit2019.100.169","url":null,"abstract":"Review on the monograph: Matsenka, S. (ed.) (2019). Literaturno-dzhazovi improvizatsiï: intermedial′ni studiï (Literary-Jazz Improvisations: Intermedial Studies). Lviv : Sribne slovo, 396 p.","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48447035","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 : 2019-06-28DOI: 10.31861/PYTLIT2019.99.111
G. Dranenko
{"title":"Bayard’s Fables: A Fictional Theory or / and / is a Theoretical Fiction","authors":"G. Dranenko","doi":"10.31861/PYTLIT2019.99.111","DOIUrl":"https://doi.org/10.31861/PYTLIT2019.99.111","url":null,"abstract":"","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69758245","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 : 2019-06-28DOI: 10.31861/PYTLIT2019.99.194
Liliya Nester
{"title":"Clothes as an Identity Sign of Personality in the novels by W. Genazino","authors":"Liliya Nester","doi":"10.31861/PYTLIT2019.99.194","DOIUrl":"https://doi.org/10.31861/PYTLIT2019.99.194","url":null,"abstract":"","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69758672","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：