Pub Date : 2022-01-01DOI: 10.25205/2307-1737-2022-2-114-127
Igor E. Kim
The article considers the interaction of elements of Russian digital and alphabetic subsystems in the text space. The interaction appears in two forms: 1) alternative use of digital and alphabetic number notations; 2) juxtaposition of the digital and alphabetic parts of the number notation or quantitative group (a number and a noun) as well as its derivative. The juxtaposition uses three graphic means: merged spelling, connecting with a hyphen and separate writing. It turned out that the use of these means does not depend on whether the numeral or quantitative group is spelled together of separately. This shows the specificity of how Russian native speakers perceive the number as a potentially composite unit consisting of several digits. Such type of number is simultaneously conceived as a unity and as a set of separate quantities.
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Pub Date : 2022-01-01DOI: 10.25205/2307-1737-2022-2-174-194
T. Mikhailova
Using the term saga in Russian and European criticism is studied. The term denotes Old Irish epic tales. The relation between oral and written narrative traditions is described. Under investigation is the semantic content of the Russian term with the following: 1. the English (saga) and the German (die Sage) scholarly texts describing the same denotates 2. the Icelandic notion saga having a much wider semantic field in the original tradition (though not in mediaeval studies) 3. the semantic field of the original term scél having tale or story as one of its meanings. The work also states the recursive semantic shift tale, story → an event worthy of making a tale of, a piece of news. The shift is also evident in the semantic evolution of the Russian term istoriya. The conclusion points out the relativity of the frame of the term saga as a mediaeval literature’s genre and the necessity to appeal to a scholar’s intuition.
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Pub Date : 2022-01-01DOI: 10.25205/2307-1737-2022-1-90-109
I. Kobozeva
Considering evaluation adverbs of Russian expressing two types of evaluation we argue that the syntactic properties of adverbs are determined by their meaning. The hypothesis is that adverbs of general evaluation (the type good – bad) should have more syntactic functions, than the ones of particularized evaluation, and for this purpose adverbs of hedonistic evaluation (e.g. tasty) are studied. We briefly expose the main insights of linguistic-oriented evaluation theory of N. D. Arutyunova, and discuss syntactic functions of хорошо ‘good’, typical of general evaluation adverbs. Section 2 is devoted to adverbs of hedonistic evaluation. We argue that adverbs of the type приятно – неприятно ‘pleasant – unpleasant’ should be excluded from this class, because in their lexical meaning only the general sensory evaluation is fixed, while its specification as hedonistic or psychological is conditioned by syntactic and/or semantic context. We show that hedonistic evaluation adverbs possess lesser number of syntactic functions than general evaluation adverbs. We demonstrate syntactic differences in the degree of acceptability of the explicit experiencer and the implicit causing factor with the hedonistic evaluation adverbs, conditioned by the channel of perception encoded in adverb’s lexical meaning, and give them the cognitive explanation. The results of our analysis bring into question the syntactic criterion of adverbs with floating scope proposed by M. V. Filipenko (2003). According to this criterion the adverbs of taste and smell evaluation should have floating scope because they have predicative function, but as all hedonistic evaluation adverbs they have the fixed scope over the semantic predicate ‘feel’ implicit in their meaning. We argue that the only syntactic property that guarantees the floating scope for an adverb is its ability to govern the subordinate complement clause with the complementizer chto ‘that’.
考虑到俄语中表达两种评价类型的评价副词，我们认为副词的句法性质是由其意义决定的。假设一般评价副词(good - bad)应该比特殊评价副词具有更多的句法功能，并为此研究了享乐主义评价副词(如tasty)。本文简要地揭示了N. D. Arutyunova的以语言为导向的评价理论的主要见解，并讨论了典型的一般评价副词хорошо“good”的句法功能。第二部分是关于享乐主义评价的副词。我们认为，приятно - неприятно“愉快-不愉快”类型的副词应该被排除在这一类之外，因为在它们的词汇意义上，只有一般的感官评价是固定的，而其作为享乐主义或心理的规范是由句法和/或语义语境决定的。结果表明，享乐主义评价副词的句法功能少于一般评价副词。本文论证了享乐主义评价副词对外显体验者和内隐导致因素的可接受程度在句法上的差异，并对其进行了认知解释。我们的分析结果对M. V. Filipenko(2003)提出的浮动范围副词的句法标准提出了质疑。根据这一标准，味觉和嗅觉评价副词应具有浮动范围，因为它们具有谓词功能，但与所有享乐主义评价副词一样，它们在其意义中隐含的语义谓词“感觉”上具有固定范围。我们认为，保证副词的浮动范围的唯一语法属性是它能够用补语chto“that”来控制从属补语从句。
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Pub Date : 2022-01-01DOI: 10.25205/2307-1737-2022-1-183-197
A. Kozlov, F. Varlaro
The article is devoted to the study of the semantic properties of the dialect word listven’ (“larch”) in the narrative prose. Based on the material of encyclopaedias, fiction and travel prose, observations on the lexical and semantic properties of the word “larch” (lat. Larix dahurica; in the studied context – larix sibirica) are presented. It is shown how, being a dialect nomination, the word becomes a part of the individual author’s system. In the treatise of Vitruvius, the word Larix is associated with the name of the citadel Larignum. The historian talks about the fire that started during the storming of the fortress and mentions the amazing durability of the tree. The idea of Larix as being of the same root as the Latin laridum is widespread, which gives the tree a metaphorical resemblance to body. As M. Statley notes, in European shamanism the world tree was often depicted as a larch. It is significant that all these options are equally reflected in the modern village prose, in particular, in the work of V. Rasputin “Farewell to Matera” (1976). The purpose of the article is to trace the stages that a given lexeme goes through on the way from a phytonym to a concept. In particular, the word begins to appear in non-fiction texts related to the development of Siberia and the Far East from the end of the 18th century, for example the Russian travel logs and subsequently reports. In almost all of the considered contexts, a characteristic enumerative intonation is used, while the word is included in the same row as the normative phytonyms. In some contexts, the properties of the tree are recorded, which can be considered proto-metaphors: the extraordinary strength of the wood, the ugliness of the tree itself, and, finally, frequent comparisons of the bark of larch with human skin or paper are noted. These remarks are given in passing and are not developed into a narrative. Ethnographers were not very interested in the picture of the world of the indigenous people, so the rich folklore, pagan idea of larch as the center of hulde. That’s correlated with the spirit or personality of a person in the religion of the Druids, remained out of sight. The considered path of the word demonstrates the specific mechanism of the transition of a marked dialect word into non-fiction writing and narrative reflection on the essence of the word in fiction writing. Referring to the local dialect, D. N. Mamin-Sibiryak and V. G. Korolenko gave to the word the necessary imagery and expressiveness, which became a constructive part of the language of rural prose of the second half of the 20th century, that is to say the new travel prose of the 21st century. Of course, with the development of Siberian literature, these ideas reached their positions in the prose of L. M. Leonova, V. N. Rasputin, E. Aypin and many others. “Farewell to Matera” becomes a precedent text, where larch as a world tree is not only transformed into a dialectal “larch”, but also acquires a different
本文对叙事散文中方言词“听”(“落叶松”)的语义特性进行了研究。根据百科全书、小说和旅游散文的材料，对“落叶松”一词的词汇和语义特性进行了观察。落叶松属达到;本文介绍了西伯利亚落叶松(larix sibirica)。它显示了，作为一个方言提名，这个词如何成为个人作者系统的一部分。在维特鲁威的论文中，落叶松这个词与Larignum城堡的名字联系在一起。这位历史学家谈到了在攻陷堡垒期间发生的大火，并提到了这棵树的惊人耐久性。落叶松(Larix)与拉丁语laridum同根的想法很普遍，这使这种树在隐喻上与身体相似。斯特利指出，在欧洲萨满教中，世界之树经常被描绘成落叶松。值得注意的是，所有这些选择都同样反映在现代乡村散文中，尤其是拉斯普京的作品《告别马泰拉》(Farewell to Matera, 1976)。本文的目的是跟踪给定词素从植物词到概念所经历的各个阶段。特别是，从18世纪末开始，这个词开始出现在与西伯利亚和远东发展有关的非虚构文本中，例如俄罗斯的旅行日志和随后的报告。在几乎所有考虑的上下文中，都使用了典型的枚举语调，而单词与规范的植物词放在同一行。在某些情况下，记录了树的属性，可以认为是原始隐喻:木材的非凡力量，树本身的丑陋，最后，经常将落叶松的树皮与人的皮肤或纸张进行比较。这些评论只是随口说说，并没有发展成叙述。民族志学者对土著人民的世界图景并不是很感兴趣，所以丰富的民间传说、异教思想把落叶松作为胡尔德的中心。这与德鲁伊教中一个人的精神或性格有关，但却看不见。通过对词语路径的思考，揭示了一个具有标志意义的方言词语向非虚构写作过渡的具体机制，以及对小说写作中词语本质的叙事性反思。D. N. Mamin-Sibiryak和V. G. Korolenko根据当地方言赋予了这个词必要的意象和表现力，这成为20世纪下半叶乡村散文语言的建设性组成部分，也就是说，21世纪的新旅行散文。当然，随着西伯利亚文学的发展，这些观点在列昂诺娃、拉斯普京、艾平和其他许多人的散文中得到了体现。《告别Matera》成为一个先例文本，落叶松作为一种世界树不仅被转化为一种方言的“落叶松”，而且获得了不同的形态和语义属(Nf + sing→Nm + sing)。在现代文学中，这个词变成了一种主题，或者更确切地说，是一种叙事元素，它是可变的，重复的，被读者识别的。当然，在这方面，“落叶松”一词翻译成其他语言的问题就出现了。当然，将这个词位与文学对等，“落叶松”显著地削弱了所考虑的词位所包含的风格、话语和情节的可能性。
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Pub Date : 2022-01-01DOI: 10.25205/2307-1737-2022-2-18-36
Olga V. Sokolova
The article examines the key provisions of Ezra Pound's aesthetic conception of poet-ic language. On the one hand, this concept resonates with the general tendencies to-wards the interaction of poetic and political discourses of the early twentieth century. On the other hand, the conception indicates the role of poetic language for world cul-ture and modern politics. Analysis of Pound’s essays corpus for the period from 1912 to the 1940s provides identification of three main vectors: the vector of transatlantic policy (American Risorgimento); the vector of political and poetic performativity: (Literature is language charged with meaning), and the vector of semantic shift (Make it new). The article scrutinizes the pragmatic and sematic techniques that man-ifest Pound’s intention to update the language and increase the performativity of the statement that can have an active effect on the addressee and reality.
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Pub Date : 2022-01-01DOI: 10.25205/2307-1737-2022-2-142-157
E. V. Tyuntesheva
In the following article, we analyse the Altai and Khakas phraseological units based on the dead metaphor of motion. They describe a person’s state within some kind of everyday situation or environment, as well as interpersonal relations and one’s intellectual and social achievements. These units contain the following verbs of motion: tüš= ~ tüs= ‘to come down; to fall’, kir= ‘to enter’, čïq= ~ sïx= ‘to come out; to raise’. These verbs form the semantics of the phraseological units and denote the formation, beginning, or end of a person’s state or action, as well as its intensity. The verb tüš= ~ tüs= is shown to be the most frequent component; it is found in most phraseological units describing a person’s state. Kir= is chiefly found in units describing interpersonal relationships, while units with čïq= ~ sïx= are very rare. In our article, we build models and analyze these units in contrast with other Turkic and non-Turkic languages. We distinguish 7 models that can be categorized into 4 types according to their structure and semantics: ‘motion – state’, ‘motion – event’, ‘motion – interpersonal relations’, and ‘motion – achievement’. Each type excluding the last one are represented by 2 antonymous models for a number of phraseological units with antonymous verbs tüš= ~ tüs= ‘to come down; to fall’, kir= ‘to enter’ (denoting the formation of one’s state or relationship, as well as the starting point of action) and čïq= ~ sïx= ‘to come out; to raise’ (denoting the termination of state or relationship. These metaphorical models of motion found in Altai and Khakas are also typical for Russian, French, and English, where phraseological units are numerous. It is possible that such basic concepts of space and their representations via metaphors of motion are similar in various linguistic world images. In Altai and Khakas, correlations of specific phraseological units are also observed.
在接下来的文章中，我们将基于运动的死隐喻来分析阿尔泰语和卡卡斯语的用语单位。它们描述了一个人在某种日常情况或环境中的状态，以及人际关系和一个人的智力和社会成就。这些单位包含下列运动动词:t = ~ t = '下来;倒下’，kir=‘进入’，čïq= ~ sïx=‘出来’;提高”。这些动词构成了词组单位的语义，表示一个人的状态或行动的形成、开始或结束，以及强度。动词t = ~ t =是最常见的组成部分;在大多数描述一个人状态的词汇单位中都可以找到它。Kir=主要出现在描述人际关系的单位中，而čïq= ~ sïx=的单位非常少见。在本文中，我们将建立模型并将这些单元与其他突厥语和非突厥语进行对比分析。我们区分了7种模型，根据其结构和语义可分为4类:“运动-状态”、“运动-事件”、“运动-人际关系”和“运动-成就”。除最后一种外，每一种都用2个反义模型来表示一些词组单位，反义动词t = ~ t = '往下;“坠落”，kir=“进入”(表示一个人的状态或关系的形成以及行动的起点)，čïq= ~ sïx=“出来”;表示状态或关系的终止。这些在阿尔泰和卡卡斯发现的隐喻运动模式，在俄语、法语和英语中也是典型的，这些语言的词汇单位很多。在不同的语言世界意象中，这些空间的基本概念及其通过运动隐喻的表达可能是相似的。在阿尔泰语和卡卡斯语中，还观察到特定短语单位的相关性。
{"title":"Metaphorical Models of Phraseological Units with Motion Verbs in Altai and Khakas (Comparative Aspect)","authors":"E. V. Tyuntesheva","doi":"10.25205/2307-1737-2022-2-142-157","DOIUrl":"https://doi.org/10.25205/2307-1737-2022-2-142-157","url":null,"abstract":"In the following article, we analyse the Altai and Khakas phraseological units based on the dead metaphor of motion. They describe a person’s state within some kind of everyday situation or environment, as well as interpersonal relations and one’s intellectual and social achievements. These units contain the following verbs of motion: tüš= ~ tüs= ‘to come down; to fall’, kir= ‘to enter’, čïq= ~ sïx= ‘to come out; to raise’. These verbs form the semantics of the phraseological units and denote the formation, beginning, or end of a person’s state or action, as well as its intensity. The verb tüš= ~ tüs= is shown to be the most frequent component; it is found in most phraseological units describing a person’s state. Kir= is chiefly found in units describing interpersonal relationships, while units with čïq= ~ sïx= are very rare. In our article, we build models and analyze these units in contrast with other Turkic and non-Turkic languages. We distinguish 7 models that can be categorized into 4 types according to their structure and semantics: ‘motion – state’, ‘motion – event’, ‘motion – interpersonal relations’, and ‘motion – achievement’. Each type excluding the last one are represented by 2 antonymous models for a number of phraseological units with antonymous verbs tüš= ~ tüs= ‘to come down; to fall’, kir= ‘to enter’ (denoting the formation of one’s state or relationship, as well as the starting point of action) and čïq= ~ sïx= ‘to come out; to raise’ (denoting the termination of state or relationship. These metaphorical models of motion found in Altai and Khakas are also typical for Russian, French, and English, where phraseological units are numerous. It is possible that such basic concepts of space and their representations via metaphors of motion are similar in various linguistic world images. In Altai and Khakas, correlations of specific phraseological units are also observed.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69316868","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 : 2022-01-01DOI: 10.25205/2307-1737-2022-2-275-294
L. Yakimova
In the wide chronological section and through poetic-semantic analysis of the mane works of the Russian literature (for example, Gogol novel “Overcoat”, “Poor people” of F. M. Dostoevsky, Chehov’s novel “Three years” and Vs. Ivanov’s story “Fertility”) opens the inevitability of social historical motivation of richness-poverty, as well as it’s motif domination in the literature in the sense of the conflict of socially determined and existentially deterministic view of human nature. Primary focus is the wealth of intertextual field of Russian literature, which is caused by motive roll call, creative dialog and writers’ polemics of different generation, which appears as a factor cementing the humanistic orientation of the Russian literature.
{"title":"The Concept of Poverty-Wealth as a Motivational Constant in Russian Literature","authors":"L. Yakimova","doi":"10.25205/2307-1737-2022-2-275-294","DOIUrl":"https://doi.org/10.25205/2307-1737-2022-2-275-294","url":null,"abstract":"In the wide chronological section and through poetic-semantic analysis of the mane works of the Russian literature (for example, Gogol novel “Overcoat”, “Poor people” of F. M. Dostoevsky, Chehov’s novel “Three years” and Vs. Ivanov’s story “Fertility”) opens the inevitability of social historical motivation of richness-poverty, as well as it’s motif domination in the literature in the sense of the conflict of socially determined and existentially deterministic view of human nature. Primary focus is the wealth of intertextual field of Russian literature, which is caused by motive roll call, creative dialog and writers’ polemics of different generation, which appears as a factor cementing the humanistic orientation of the Russian literature.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69317721","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 : 2022-01-01DOI: 10.25205/2307-1737-2022-2-364-384
M. Savina
The article characterizes the similarities of the semantic fields “alcohol use” and describes their differences on the example of lexical paradigms like “drinking alcohol in large quantities for a long time (binge drinking)”, “physical and psychological destruction as a result of drinking alcohol (become an inveterate drunkard)” and “hangover” in Russian and Italian. The study is based on the materials of the National Corpus of the Russian Language, the ContextReverse portal of works by Italian authors and various dictionaries. The author used methods of continuous sampling, corpus, comparative, modeling, the method of contextual, definitional and component analysis.
{"title":"Semantic Field “Alcohol Use” in Russian (In Comparison with Italian)","authors":"M. Savina","doi":"10.25205/2307-1737-2022-2-364-384","DOIUrl":"https://doi.org/10.25205/2307-1737-2022-2-364-384","url":null,"abstract":"The article characterizes the similarities of the semantic fields “alcohol use” and describes their differences on the example of lexical paradigms like “drinking alcohol in large quantities for a long time (binge drinking)”, “physical and psychological destruction as a result of drinking alcohol (become an inveterate drunkard)” and “hangover” in Russian and Italian. The study is based on the materials of the National Corpus of the Russian Language, the ContextReverse portal of works by Italian authors and various dictionaries. The author used methods of continuous sampling, corpus, comparative, modeling, the method of contextual, definitional and component analysis.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69318428","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 : 2022-01-01DOI: 10.25205/2307-1737-2022-1-319-348
K. Abramova
The article deals with the analysis of publications of poetic feuilletons in the satirical leaflet “Blokha” (“Flea”), which was published in 1920 in Vladivostok. The authors of the publications hid behind pseudonyms that are currently indecipherable. Analyzing the texts, we primarily drew attention to the features characteristic of the poetry of futurists. On the one hand, these features served to create a parody, ridicule the figures of the literary community of Vladivostok in those years. On the other hand, having analyzed examples of poetic and prose feuilletons, we can say that the satirical magazine “Blokha” (“Flea”), published in Vladivostok in 1920, is closely connected with the futuristic movement that was actively developing in the Far Eastern republic in 1918–1921.
{"title":"Far Eastern Futurists and the Satirical Leaflet “Blokha” (“Flea”) (Vladivostok, 1920)","authors":"K. Abramova","doi":"10.25205/2307-1737-2022-1-319-348","DOIUrl":"https://doi.org/10.25205/2307-1737-2022-1-319-348","url":null,"abstract":"The article deals with the analysis of publications of poetic feuilletons in the satirical leaflet “Blokha” (“Flea”), which was published in 1920 in Vladivostok. The authors of the publications hid behind pseudonyms that are currently indecipherable. Analyzing the texts, we primarily drew attention to the features characteristic of the poetry of futurists. On the one hand, these features served to create a parody, ridicule the figures of the literary community of Vladivostok in those years. On the other hand, having analyzed examples of poetic and prose feuilletons, we can say that the satirical magazine “Blokha” (“Flea”), published in Vladivostok in 1920, is closely connected with the futuristic movement that was actively developing in the Far Eastern republic in 1918–1921.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69316579","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 : 2022-01-01DOI: 10.25205/2307-1737-2022-1-380-399
P. E. Zhilichev
This paper deals with the specifics of metadrama in Vladimir Mirzoev's works. The metatextual aspect of the communicative structure of Mirzoev’s plays is based on uti-lizing traditional actants of the dramatic intrigue, including kings, jesters, army officers, magicians, Hamlet, Don Juan, etc. Mixing references to classic and contemporary literature, Mirzoev’s texts take palimpsest (G. Genette), pastiche (R. Dyer) as a basis for developing dramatic action and tension. For example, The Tower decon-structs the archetype of Don Juan by combining the elements of the traditional plot with the iconography of the Tarot, references to well-known Russian classics, and elements of avant-garde aesthetics. Moreover, another “layer” of the “palimpsest” is formed by interactions with the “absurd authors of the past” (Harms, Pinter), weaving the position of interpretation (philological, directorial) into the discursive structure. Overall, the usage of palimpsest and pastiche corresponds with the dramatic intrigue of metamorphosis, the depiction of an absurdist cosmogony of a fictional world that stands on the deconstruction of cultural cliches and re-shaping the consciousness of both the characters and the recipients.
{"title":"Metadrama in V. Mirzoev’s Works","authors":"P. E. Zhilichev","doi":"10.25205/2307-1737-2022-1-380-399","DOIUrl":"https://doi.org/10.25205/2307-1737-2022-1-380-399","url":null,"abstract":"This paper deals with the specifics of metadrama in Vladimir Mirzoev's works. The metatextual aspect of the communicative structure of Mirzoev’s plays is based on uti-lizing traditional actants of the dramatic intrigue, including kings, jesters, army officers, magicians, Hamlet, Don Juan, etc. Mixing references to classic and contemporary literature, Mirzoev’s texts take palimpsest (G. Genette), pastiche (R. Dyer) as a basis for developing dramatic action and tension. For example, The Tower decon-structs the archetype of Don Juan by combining the elements of the traditional plot with the iconography of the Tarot, references to well-known Russian classics, and elements of avant-garde aesthetics. Moreover, another “layer” of the “palimpsest” is formed by interactions with the “absurd authors of the past” (Harms, Pinter), weaving the position of interpretation (philological, directorial) into the discursive structure. Overall, the usage of palimpsest and pastiche corresponds with the dramatic intrigue of metamorphosis, the depiction of an absurdist cosmogony of a fictional world that stands on the deconstruction of cultural cliches and re-shaping the consciousness of both the characters and the recipients.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69316628","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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