Pub Date : 2021-10-14DOI: 10.14746/strp.2021.46.2.9
Antoni Bortnowski
The subject of the article is the analysis of the image of Kiev, presented in Mikhail Bulgakov’s feuilleton Kiev, the City. This work has rarely been the subject of in-depth analysis, despite the fact that it is one of the few texts in which the writer presents the image of his hometown. A characteristic element of the description of Kiev’s past and present is the irony. It is noticeable in the title of the feuilleton, as well as in the names of its parts. The ironic image of Soviet Kiev stands in stark contrast to the vision of the city captured in the novel The White Guard. The analysis of the techniques used by the writer in the text of Kiev, the City (e.g. the naive narrator’s mask, a combination of pompous style and colloquial speech) is carried out in order to prove that the feuilleton, in its style and ideas expressed, also shows the author’s rejection of post-revolutionary reality and his attempt to overcome the trauma of the past through laughter. The ironic image of the Soviet reality on the background of eternal spiritual values makes Kiev, the City a harbinger of the problems covered inMikhail Bulgakov’s later works.
{"title":"Ироническое начало в фельетоне Киев-город Михаила Булгакова","authors":"Antoni Bortnowski","doi":"10.14746/strp.2021.46.2.9","DOIUrl":"https://doi.org/10.14746/strp.2021.46.2.9","url":null,"abstract":"The subject of the article is the analysis of the image of Kiev, presented in Mikhail Bulgakov’s feuilleton Kiev, the City. This work has rarely been the subject of in-depth analysis, despite the fact that it is one of the few texts in which the writer presents the image of his hometown. A characteristic element of the description of Kiev’s past and present is the irony. It is noticeable in the title of the feuilleton, as well as in the names of its parts. The ironic image of Soviet Kiev stands in stark contrast to the vision of the city captured in the novel The White Guard. The analysis of the techniques used by the writer in the text of Kiev, the City (e.g. the naive narrator’s mask, a combination of pompous style and colloquial speech) is carried out in order to prove that the feuilleton, in its style and ideas expressed, also shows the author’s rejection of post-revolutionary reality and his attempt to overcome the trauma of the past through laughter. The ironic image of the Soviet reality on the background of eternal spiritual values makes Kiev, the City a harbinger of the problems covered inMikhail Bulgakov’s later works.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45332175","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 : 2021-10-14DOI: 10.14746/strp.2021.46.2.18
Andrzej Narloch
In recent years linguistic studies have laid great emphasis on the semantic side of linguistic expressions. The aim of this paper is to introduce and describe ‘systema digestorium’ viewed from the perspective of the conceptual metaphor in Russian. It describes the process of creating such metaphors based on the notions of source and target domains. From a linguistic point of view, an interest arises to answer the question of how the functioning of such an important organ as the digestive system is reflected in the conceptualization of the surrounding world. This issue is important because the metaphorization is based on the use of everyday human experience, reflecting processes known to all human kind, including those of a physiological nature. The research material was taken from the national corpus of the Russian language and a number of dictionaries. The figurative meaning of activities related to grinding, swallowing, digesting food, as well as excreting food debris became the object of the research. The basic identifiers are the verbs: to chew, to swallow, to digest, to defecate. Each stage of the digestive system has its own specificity and concentrates on specific parts in viewing the world. In addition, the metaphor ‘systema digestorium’ is often used in Russianlinguaculture to convey the expressiveness and originality of a language.
{"title":"Метафора systema digestorium в русском лингвокультурном пространстве","authors":"Andrzej Narloch","doi":"10.14746/strp.2021.46.2.18","DOIUrl":"https://doi.org/10.14746/strp.2021.46.2.18","url":null,"abstract":"In recent years linguistic studies have laid great emphasis on the semantic side of linguistic expressions. The aim of this paper is to introduce and describe ‘systema digestorium’ viewed from the perspective of the conceptual metaphor in Russian. It describes the process of creating such metaphors based on the notions of source and target domains. From a linguistic point of view, an interest arises to answer the question of how the functioning of such an important organ as the digestive system is reflected in the conceptualization of the surrounding world. This issue is important because the metaphorization is based on the use of everyday human experience, reflecting processes known to all human kind, including those of a physiological nature. The research material was taken from the national corpus of the Russian language and a number of dictionaries. The figurative meaning of activities related to grinding, swallowing, digesting food, as well as excreting food debris became the object of the research. The basic identifiers are the verbs: to chew, to swallow, to digest, to defecate. Each stage of the digestive system has its own specificity and concentrates on specific parts in viewing the world. In addition, the metaphor ‘systema digestorium’ is often used in Russianlinguaculture to convey the expressiveness and originality of a language.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42738267","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 : 2021-10-14DOI: 10.14746/strp.2021.46.2.2
J. Brzykcy
The article is an analysis of the poetry of Gisella Lachman (1895–1969), poet of the “first wave” of Russian emigration, from the perspective of the poetics of space. The poet expressed her emigration experience (multiple changes of residence: Russia, Germany, Switzerland, USA) in her poems in spatial relations. They appear on different levels of the works’ morphology: in the construction of the lyrical “I”, in the organisation of the presented world, in the repertoire of motifs and the selection of poetic lexis and genre forms. Space plays a literal role in Lachman’s poetry; it is a representation of extra-literary reality, seen subjectively. It is also subject to metaphorisation, becoming a tool for expressing philosophical content. The poet creates not only a spatial model of the world, but also a spatial model of human life, which she perceives as a transit on the road to eternity.
{"title":"Świat jako tranzyt. Poetyka przestrzeni w poezji Gizelli Lachman","authors":"J. Brzykcy","doi":"10.14746/strp.2021.46.2.2","DOIUrl":"https://doi.org/10.14746/strp.2021.46.2.2","url":null,"abstract":"The article is an analysis of the poetry of Gisella Lachman (1895–1969), poet of the “first wave” of Russian emigration, from the perspective of the poetics of space. The poet expressed her emigration experience (multiple changes of residence: Russia, Germany, Switzerland, USA) in her poems in spatial relations. They appear on different levels of the works’ morphology: in the construction of the lyrical “I”, in the organisation of the presented world, in the repertoire of motifs and the selection of poetic lexis and genre forms. Space plays a literal role in Lachman’s poetry; it is a representation of extra-literary reality, seen subjectively. It is also subject to metaphorisation, becoming a tool for expressing philosophical content. The poet creates not only a spatial model of the world, but also a spatial model of human life, which she perceives as a transit on the road to eternity.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47628166","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 : 2021-10-14DOI: 10.14746/strp.2021.46.2.10
Monika Knurowska
This article presents the thesis that the novel The ape is coming to pick up its skull (1943) by Yuri Dombrovsky bears the genre features of a pamphlet and the structure of the novel, which is subordinated to a didactic purpose – the work contains a warning against the dehumanization and degradation of culture. The novel aims to ridicule the fascists and their ideology. The narrator’s attitude towards all the fascist protagonists is dominated by irony and sarcasm. The character construction of the fascists is ruled by schematism. The narrator emphasizes the animal element in them. They are compared to an ape who is a caricature hybrid of a human and a monkey. The “monkey” traits and behaviours are highlighted in their portraits. In the novel, the dialogues and disputes of the main opponents serve to expose the cynical demagogy of fascism and its inability to create any universal values.
{"title":"„Перед зарей вас родила земля, погибнете вы раньше звезд вечерних”. Роман-памфлет Юрия Домбровского Обезьяна приходит за своим черепом","authors":"Monika Knurowska","doi":"10.14746/strp.2021.46.2.10","DOIUrl":"https://doi.org/10.14746/strp.2021.46.2.10","url":null,"abstract":"This article presents the thesis that the novel The ape is coming to pick up its skull (1943) by Yuri Dombrovsky bears the genre features of a pamphlet and the structure of the novel, which is subordinated to a didactic purpose – the work contains a warning against the dehumanization and degradation of culture. The novel aims to ridicule the fascists and their ideology. The narrator’s attitude towards all the fascist protagonists is dominated by irony and sarcasm. The character construction of the fascists is ruled by schematism. The narrator emphasizes the animal element in them. They are compared to an ape who is a caricature hybrid of a human and a monkey. The “monkey” traits and behaviours are highlighted in their portraits. In the novel, the dialogues and disputes of the main opponents serve to expose the cynical demagogy of fascism and its inability to create any universal values.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41614275","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 : 2021-10-14DOI: 10.14746/strp.2021.46.2.3
Roman Voitekhovich
The hallmarks of space in Tsvetaeva’s poetic world are vertical orientation, two-worldness (many-worldness), measurability, and “immensity”, often expressed by asymmetry. Tsvetaeva’s model of the double world is presented both in its pure form and in a multilayer one (the model of “matryoshka” according to Lotman) with a hierarchical vertical correlation of spaces. The vertical sets the plots, stylistics, system of characters, system of time and expectations of the reader. Tsvetaeva is a bright representative of irrational tendencies in art, which manifest themselves against the background of rational ones, through their violation. Thus, The Attempt of a Room (1926) builds on an imaginary effort to present a hexagonal box of a rendezvous, but fails. The last poem I Keep Repeating the First Verse… (1940) is a poetic reaction to the “mistake in counting”: there should be not six but seven souls at the table. In one of her poems, Tsvetaeva calls herself “one who has edited the miracle with numbers”. This formula aphoristically expresses the nature of creativity asfirst intuitive search, and then rational design. The mathematical calculation of the composition of her books is an analogue of the metric-stanzaic “frame” of her lyrics. In the given proportions she often uses a deliberate failure by one unit (for example, in the collection From Two Books she adds one extra poem, which was originally missing in these two books).
{"title":"Пространства Марины Цветаевой","authors":"Roman Voitekhovich","doi":"10.14746/strp.2021.46.2.3","DOIUrl":"https://doi.org/10.14746/strp.2021.46.2.3","url":null,"abstract":"The hallmarks of space in Tsvetaeva’s poetic world are vertical orientation, two-worldness (many-worldness), measurability, and “immensity”, often expressed by asymmetry. Tsvetaeva’s model of the double world is presented both in its pure form and in a multilayer one (the model of “matryoshka” according to Lotman) with a hierarchical vertical correlation of spaces. The vertical sets the plots, stylistics, system of characters, system of time and expectations of the reader. Tsvetaeva is a bright representative of irrational tendencies in art, which manifest themselves against the background of rational ones, through their violation. Thus, The Attempt of a Room (1926) builds on an imaginary effort to present a hexagonal box of a rendezvous, but fails. The last poem I Keep Repeating the First Verse… (1940) is a poetic reaction to the “mistake in counting”: there should be not six but seven souls at the table. In one of her poems, Tsvetaeva calls herself “one who has edited the miracle with numbers”. This formula aphoristically expresses the nature of creativity asfirst intuitive search, and then rational design. The mathematical calculation of the composition of her books is an analogue of the metric-stanzaic “frame” of her lyrics. In the given proportions she often uses a deliberate failure by one unit (for example, in the collection From Two Books she adds one extra poem, which was originally missing in these two books).","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45306173","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 : 2021-10-14DOI: 10.14746/strp.2021.46.2.17
Maria Dzienisiewicz
The aim of the article is to present the ways of conceptualization of sound in Polish and Russian musical critical texts. For the purpose of the article 145 examples in Polish and 145 examples in Russian were analyzed. The material has been divided into three groups based on the type of sense: a visual approach to sound impressions, a tactile approach to sound impressions and a tastebased approach to sound impressions. The analyzed research material was presented with the use of the linguistic worldview methodology, and grouped into categories. The results of the comparative analysis showed a multiplicity of similarities in the types of categories, as well as in the types of synaesthetic metaphors. The largest groups of conceptualizations are those with Aristotelian origin: QUALITY, SUBSTANCE and SHAPE. Synaesthetic metaphors based on the visual approach to sound impressions proved to be the most widespread. The analyzed texts have provided a huge variety of conceptualizations and synaesthetic metaphors in Polish and Russian musical critical texts which constitute a part of the linguistic worldview of sound.
{"title":"Językowy obraz dźwięku (na materiale polsko- i rosyjskojęzycznych recenzji muzycznych)","authors":"Maria Dzienisiewicz","doi":"10.14746/strp.2021.46.2.17","DOIUrl":"https://doi.org/10.14746/strp.2021.46.2.17","url":null,"abstract":"The aim of the article is to present the ways of conceptualization of sound in Polish and Russian musical critical texts. For the purpose of the article 145 examples in Polish and 145 examples in Russian were analyzed. The material has been divided into three groups based on the type of sense: a visual approach to sound impressions, a tactile approach to sound impressions and a tastebased approach to sound impressions. The analyzed research material was presented with the use of the linguistic worldview methodology, and grouped into categories. The results of the comparative analysis showed a multiplicity of similarities in the types of categories, as well as in the types of synaesthetic metaphors. The largest groups of conceptualizations are those with Aristotelian origin: QUALITY, SUBSTANCE and SHAPE. Synaesthetic metaphors based on the visual approach to sound impressions proved to be the most widespread. The analyzed texts have provided a huge variety of conceptualizations and synaesthetic metaphors in Polish and Russian musical critical texts which constitute a part of the linguistic worldview of sound.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45944650","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 : 2021-10-14DOI: 10.14746/strp.2021.46.2.4
Alexander Chertenko
Basing on Aleksandr Medvedkin’s New Moscow and Ivan Pyryev’s The Swineherd and the Shepherd, this case study analyses the way the “new” Moscow was represented as a space of realised utopia in the Soviet socialist realist films of the 1930s and at the beginning of the 1940s. Functioning as a supranational centre of the Soviet “affirmative action empire” (Terry Martin), the cinematographic Moscow casts off all constraints of ‘Russianness’ in order to become a pan-Soviet model which, both in its architecture and semantics, could epitomize the perfect city and the perfect state. The comparative analysis of both films demonstrates that, although both directors show Moscow through the lens of the so-called “spaces of celebration” (Mikhail Ryklin), ‘their’ Soviet capital does not compensate for the “traumas of the early phases of enforced urbanization”, as Ryklin supposed. Rather, it operates as a transformation machine whose impact pertains only to periphery and can be effective once the representatives of this periphery have left Moscow. The complex inclusion and exclusion mechanisms resulting from this logic turn the idealised Soviet capital into a space which only the guests from peripheral regions can perceive as utopian. The ensuing suppression ofthe inner perspectives on ‘utopian’ Moscow is interpreted here as a manifestation of the “cinematicunconscious”, which accounts for the anxieties of the inhabitants of the capital concerning both Stalinist terror and their own hegemony in a society haunted by the purges.
{"title":"„Die Moskauer Sonne scheint überall“. Die sowjetische Hauptstandt als Raum der Utopie in Das neue Moskau (1938) und Die Schweinepflegerin und der Hirt (1941)","authors":"Alexander Chertenko","doi":"10.14746/strp.2021.46.2.4","DOIUrl":"https://doi.org/10.14746/strp.2021.46.2.4","url":null,"abstract":"Basing on Aleksandr Medvedkin’s New Moscow and Ivan Pyryev’s The Swineherd and the Shepherd, this case study analyses the way the “new” Moscow was represented as a space of realised utopia in the Soviet socialist realist films of the 1930s and at the beginning of the 1940s. Functioning as a supranational centre of the Soviet “affirmative action empire” (Terry Martin), the cinematographic Moscow casts off all constraints of ‘Russianness’ in order to become a pan-Soviet model which, both in its architecture and semantics, could epitomize the perfect city and the perfect state. The comparative analysis of both films demonstrates that, although both directors show Moscow through the lens of the so-called “spaces of celebration” (Mikhail Ryklin), ‘their’ Soviet capital does not compensate for the “traumas of the early phases of enforced urbanization”, as Ryklin supposed. Rather, it operates as a transformation machine whose impact pertains only to periphery and can be effective once the representatives of this periphery have left Moscow. The complex inclusion and exclusion mechanisms resulting from this logic turn the idealised Soviet capital into a space which only the guests from peripheral regions can perceive as utopian. The ensuing suppression ofthe inner perspectives on ‘utopian’ Moscow is interpreted here as a manifestation of the “cinematicunconscious”, which accounts for the anxieties of the inhabitants of the capital concerning both Stalinist terror and their own hegemony in a society haunted by the purges.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43258193","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 : 2021-10-14DOI: 10.14746/strp.2021.46.2.14
Alena Kalechyts
The article discusses the features of the functioning of phraseological units and other stable combinations in the headings of the media texts of Belarusian and Russian online newspapers. We analyze the pragmatic function of intertexts and present them as pointers to certain types of speech acts. The intent of the addressee is the most important factor in creating a text. It is usually reflected, directly or indirectly, in every communication product. The main purpose of media texts (or a hint of it) is contained in headings, especially when they are intertextemes, various renewable speech units that we classify according to the types of speech acts: representatives, rogatives,directives, commissives, contactives, declarations and expressives. Such headings are best used to perform a pragmatic function because they retain an emotional and evaluation component that stimulates communication with the mass recipient. These stable units (phraseological locutions, winged expressions and aphorisms, paroemias and compound terms) comprise the background knowledge of the participants in communication and are therefore productive language tools used by journalists in their practice. And very often the intertextemes are transformed or updated. Employees of “BelGazeta” and “Rossiyskaya Gazeta” use both the general phraseological fund of Belarusians and Russians and the national language means in web media texts. The headlines of “BelGazeta” havea distinctive feature, as they mix graphic and lexical systems of different languages (Russian, Belarusian,English and, less frequently, Ukrainian). This fact can be explained, firstly, by the tendency to widely spread the features of the conversational speech of Belarusians, trasyanka, in book speech styles. And, secondly, by the address policy of the publication of the named newspaper, which is aimed at the mass Belarusian reader. Following the use of occasionalisms, updated stable expressions, we also call the above feature a specific method of influencing the addressee.
{"title":"Прагматическая функция интертекстем в веб-медиатекстах белорусских и российских интернет-СМИ","authors":"Alena Kalechyts","doi":"10.14746/strp.2021.46.2.14","DOIUrl":"https://doi.org/10.14746/strp.2021.46.2.14","url":null,"abstract":"The article discusses the features of the functioning of phraseological units and other stable combinations in the headings of the media texts of Belarusian and Russian online newspapers. We analyze the pragmatic function of intertexts and present them as pointers to certain types of speech acts. The intent of the addressee is the most important factor in creating a text. It is usually reflected, directly or indirectly, in every communication product. The main purpose of media texts (or a hint of it) is contained in headings, especially when they are intertextemes, various renewable speech units that we classify according to the types of speech acts: representatives, rogatives,directives, commissives, contactives, declarations and expressives. Such headings are best used to perform a pragmatic function because they retain an emotional and evaluation component that stimulates communication with the mass recipient. These stable units (phraseological locutions, winged expressions and aphorisms, paroemias and compound terms) comprise the background knowledge of the participants in communication and are therefore productive language tools used by journalists in their practice. And very often the intertextemes are transformed or updated. Employees of “BelGazeta” and “Rossiyskaya Gazeta” use both the general phraseological fund of Belarusians and Russians and the national language means in web media texts. The headlines of “BelGazeta” havea distinctive feature, as they mix graphic and lexical systems of different languages (Russian, Belarusian,English and, less frequently, Ukrainian). This fact can be explained, firstly, by the tendency to widely spread the features of the conversational speech of Belarusians, trasyanka, in book speech styles. And, secondly, by the address policy of the publication of the named newspaper, which is aimed at the mass Belarusian reader. Following the use of occasionalisms, updated stable expressions, we also call the above feature a specific method of influencing the addressee.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66621691","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 : 2021-10-14DOI: 10.14746/strp.2021.46.2.21
Zofia Szwed
The article describes the specificity of the changes that took place in the process of dissemination of double negation, typical for Slavic languages, visible in the Ruthenian recension of Church Slavonic texts. The reflections on the achievements in the field are enriched with the results of research on the text of Gospel No. 7 from the collection of the Russian State Archive of Ancient Acts (RGADA F. 381. Op. 1 Unit hr 7), which has not been analyzed so far in terms of the issues raised. Nearly three hundred negative structures were subjected to observations. In order to determine the number of single negation cases in relation to double negation the main focus was on structures such as: (1) ni Pron + V, (2) ni Pron + ne V oraz (3) ne V + ni Pron. It was determined, among other things, that their use was influenced by both the literature tradition and live language with elements of the northern dialect of the East Slavonic. On the other hand, the analysis of the negative structures preceding homogeneous parts of the sentence revealed the tendency, manifested onthe leaves of the monument, to transform towards the norm of the contemporary Russian language.
这篇文章描述了双重否定在传播过程中发生的变化的特殊性，这是斯拉夫语言的典型特征，在鲁塞尼亚对教会斯拉夫语文本的重新理解中可见。对俄罗斯国家古代行为档案馆（RGADA F.381）收藏的第7号福音文本的研究结果丰富了对该领域成就的思考。Op.1单位hr 7），迄今为止尚未就提出的问题进行分析。对近三百个负结构进行了观察。为了确定与双否定有关的单否定格的数量，主要关注的结构有：（1）ni Pron+V，（2）ni Pron+ne V oraz（3）ne V+ni Pron。除其他外，还确定了它们的使用受到文学传统和带有东斯拉夫北方方言元素的活语言的影响。另一方面，对句子同质部分之前的否定结构的分析揭示了纪念碑叶子上表现出的向当代俄语规范转变的趋势。
{"title":"Из наблюдений над способами выражения отрицания в церковнославянском тексте русского извода","authors":"Zofia Szwed","doi":"10.14746/strp.2021.46.2.21","DOIUrl":"https://doi.org/10.14746/strp.2021.46.2.21","url":null,"abstract":"The article describes the specificity of the changes that took place in the process of dissemination of double negation, typical for Slavic languages, visible in the Ruthenian recension of Church Slavonic texts. The reflections on the achievements in the field are enriched with the results of research on the text of Gospel No. 7 from the collection of the Russian State Archive of Ancient Acts (RGADA F. 381. Op. 1 Unit hr 7), which has not been analyzed so far in terms of the issues raised. Nearly three hundred negative structures were subjected to observations. In order to determine the number of single negation cases in relation to double negation the main focus was on structures such as: (1) ni Pron + V, (2) ni Pron + ne V oraz (3) ne V + ni Pron. It was determined, among other things, that their use was influenced by both the literature tradition and live language with elements of the northern dialect of the East Slavonic. On the other hand, the analysis of the negative structures preceding homogeneous parts of the sentence revealed the tendency, manifested onthe leaves of the monument, to transform towards the norm of the contemporary Russian language.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48159748","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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