Pub Date : 2021-01-01DOI: 10.25205/2307-1737-2021-1-280-297
O. Kuptsova, E. Sozina
Chekhov’s drama has retained its constant popularity throughout the twentieth century and the first two decades of the twenty-first century and has an unbroken scenic history. In modern theater it performs several functions: 1) of a literary basis for the-atrical action, carefully preserved by the director (traditionalist approach); 2) of a kind of material that can and should be adapted, modernized, adjusted to the urgent range of acute problems and to today’s scenic language (avant-garde, post-dramatic approach). One might argue that Chekhov’s drama transitions into the category of “proto-text” or “metatext”. Productions of Chekhov’s plays are often the ones that become the realm of the most radical theatrical experiments when their “familiar” “proto-text”, their basis and foundation are, so to speak, factored out from them: his drama remains in the domain of literature, of reader’s attention while the theater moves ahead – into the area of new scenic opportunities which are only tangentially
{"title":"Chekhov’s Plays as the Basis of Metatheatral Performances in the 2010s","authors":"O. Kuptsova, E. Sozina","doi":"10.25205/2307-1737-2021-1-280-297","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-280-297","url":null,"abstract":"Chekhov’s drama has retained its constant popularity throughout the twentieth century and the first two decades of the twenty-first century and has an unbroken scenic history. In modern theater it performs several functions: 1) of a literary basis for the-atrical action, carefully preserved by the director (traditionalist approach); 2) of a kind of material that can and should be adapted, modernized, adjusted to the urgent range of acute problems and to today’s scenic language (avant-garde, post-dramatic approach). One might argue that Chekhov’s drama transitions into the category of “proto-text” or “metatext”. Productions of Chekhov’s plays are often the ones that become the realm of the most radical theatrical experiments when their “familiar” “proto-text”, their basis and foundation are, so to speak, factored out from them: his drama remains in the domain of literature, of reader’s attention while the theater moves ahead – into the area of new scenic opportunities which are only tangentially","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69315538","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 : 2021-01-01DOI: 10.25205/2307-1737-2021-1-176-192
O. Revzina
Dream and fiction are treated through a prism of creativity and creative capacity. The attempt is made to compare Freud’s method of dream’s analysis and different meth-ods of fiction analysis. The following topics are discussed: possible worlds of dreams and of fiction; correlations between literary meaning and depth meaning; between dreamer and teller in fiction; psychic processes in dreams and their correlates in literary fiction; expressive means of dreams and means in fiction; suggestive processes and language creativity.
{"title":"Dream and Fiction","authors":"O. Revzina","doi":"10.25205/2307-1737-2021-1-176-192","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-176-192","url":null,"abstract":"Dream and fiction are treated through a prism of creativity and creative capacity. The attempt is made to compare Freud’s method of dream’s analysis and different meth-ods of fiction analysis. The following topics are discussed: possible worlds of dreams and of fiction; correlations between literary meaning and depth meaning; between dreamer and teller in fiction; psychic processes in dreams and their correlates in literary fiction; expressive means of dreams and means in fiction; suggestive processes and language creativity.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69314838","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 : 2021-01-01DOI: 10.25205/2307-1737-2021-1-10-24
O. Radchenko
The article is devoted to the metacritical component in the scientific heritage of Yu. S. Stepanov (1930–2012) and its significant presence in modern scientific research. Metacriticism is understood as a method of an analytical revision of estab-lished linguistic concepts, opinions, and assessments related to iconic personalities and their views. This method is included in the tools of narrative linguistic historiography, along with the study of the full linguistic heritage corpus created by specific authors in a strictly chronological order, identifying a broad scientific context, ex-ploring the intellectual discourse of the era, a detailed acquaintance with the linguistic journals and collections of the period of interest, restoring the scientist’s library according to his / her writings, reconstructing his / her conceptual chronology, interviewing eyewitnesses of scientific events, students and opponents of key figures in the specific scientific school, etc. In this sense, metacriticism significantly expands its original boundaries as defined in the middle of the 19th century in the course of revising I. Kant’s critical ideas, and is represented in the works by Yu. S. Stepanov with his arguments about the accuracy of interpretations of classical concepts, terms and categories related to the philosophy of language in Russian and foreign scientific publications.
{"title":"Metacriticism in Yu. S. Stepanov’s Language Philosophy","authors":"O. Radchenko","doi":"10.25205/2307-1737-2021-1-10-24","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-10-24","url":null,"abstract":"The article is devoted to the metacritical component in the scientific heritage of Yu. S. Stepanov (1930–2012) and its significant presence in modern scientific research. Metacriticism is understood as a method of an analytical revision of estab-lished linguistic concepts, opinions, and assessments related to iconic personalities and their views. This method is included in the tools of narrative linguistic historiography, along with the study of the full linguistic heritage corpus created by specific authors in a strictly chronological order, identifying a broad scientific context, ex-ploring the intellectual discourse of the era, a detailed acquaintance with the linguistic journals and collections of the period of interest, restoring the scientist’s library according to his / her writings, reconstructing his / her conceptual chronology, interviewing eyewitnesses of scientific events, students and opponents of key figures in the specific scientific school, etc. In this sense, metacriticism significantly expands its original boundaries as defined in the middle of the 19th century in the course of revising I. Kant’s critical ideas, and is represented in the works by Yu. S. Stepanov with his arguments about the accuracy of interpretations of classical concepts, terms and categories related to the philosophy of language in Russian and foreign scientific publications.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69314668","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 : 2021-01-01DOI: 10.25205/2307-1737-2021-1-107-126
M. Kiose
In the study the method of ascension developed by Ju.S. Stepanov to explore the modifications in logical and philosophical dimensions of language is applied to explore cognitive-semiotic dimensions of optimal linguistic creativity. Following the system of linguistic creativity dimensions offered by O. K. Iriskhanova, which are formal, cognitive and ontologic, we study the balance of Fixed and Extending creativity (the concept introduced by T. Hoffmann) representing optimal creativity in each of them. To conduct the research, we contrast the values of linguistic creativity parameters in terms of cognitive construal mechanisms in children’s prose discourse, thus detecting the specifics in Fixed and Extending creativity in the cognitivesemiotic dimensions of linguistic creativity as well as the specifics in categorial representation of optimal linguistic creativity.
{"title":"Yu. S. Stepanov’s Method of Ascension and Cognitive-Semiotic Dimensions of Optimal Linguistic Creativity","authors":"M. Kiose","doi":"10.25205/2307-1737-2021-1-107-126","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-107-126","url":null,"abstract":"In the study the method of ascension developed by Ju.S. Stepanov to explore the modifications in logical and philosophical dimensions of language is applied to explore cognitive-semiotic dimensions of optimal linguistic creativity. Following the system of linguistic creativity dimensions offered by O. K. Iriskhanova, which are formal, cognitive and ontologic, we study the balance of Fixed and Extending creativity (the concept introduced by T. Hoffmann) representing optimal creativity in each of them. To conduct the research, we contrast the values of linguistic creativity parameters in terms of cognitive construal mechanisms in children’s prose discourse, thus detecting the specifics in Fixed and Extending creativity in the cognitivesemiotic dimensions of linguistic creativity as well as the specifics in categorial representation of optimal linguistic creativity.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69314712","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 : 2021-01-01DOI: 10.25205/2307-1737-2021-1-193-219
D. I. Ivanov, D. L. Lakerbai
The article studies modern strategies of scientific liberal arts modeling using the ex-ample of the author’s theoretical complex. Special attention is paid to the problems of methodological reflection and metadisciplinary modeling. The metadisciplinarity of the theory is its ability to meet the criteria of a metalanguage for individual disciplines. The article discusses the author’s interrelated terms “synthetic text” (ST), “synthetic lingual personality” (SLP), “cognitive-pragmatic program” (CPP), applicable to the study of various areas of humanitarian knowledge. Modern cognitive science makes it possible to substantiate the possibility of incarnating a newly understood lingual personality in non-linguistic discursive zones. SLP appears as a semiotically under-stood “text of a subject in culture”. The structure of the artist’s lingual personality is determined by his basic cognitive-pragmatic program, conceptually indexing the en-tire space of ST. For example, exploring rock culture in this way, we get not a mechanical set of subtexts, but the possibility of a programmatic semiotic interpretation of the place and function of any significant ST element. And the notion of a CPP makes it possible to shift the emphasis from the discrepancy between the artist's personality and any “legend” about her to those mechanisms of self-understanding that are responsible for the production of texts and the artist’s very personality. The theo-retical complex ST / SLP / CPP also makes it possible to give a metadisciplinary de-scription of the socio-cognitive and communicative foundations of interpretation, while the entire system “interpreter – text” becomes the object of discursive modeling.
{"title":"Between “Scyllae” and “Charybdae”, or Theory’s Attempt in the Era of Research Practices","authors":"D. I. Ivanov, D. L. Lakerbai","doi":"10.25205/2307-1737-2021-1-193-219","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-193-219","url":null,"abstract":"The article studies modern strategies of scientific liberal arts modeling using the ex-ample of the author’s theoretical complex. Special attention is paid to the problems of methodological reflection and metadisciplinary modeling. The metadisciplinarity of the theory is its ability to meet the criteria of a metalanguage for individual disciplines. The article discusses the author’s interrelated terms “synthetic text” (ST), “synthetic lingual personality” (SLP), “cognitive-pragmatic program” (CPP), applicable to the study of various areas of humanitarian knowledge. Modern cognitive science makes it possible to substantiate the possibility of incarnating a newly understood lingual personality in non-linguistic discursive zones. SLP appears as a semiotically under-stood “text of a subject in culture”. The structure of the artist’s lingual personality is determined by his basic cognitive-pragmatic program, conceptually indexing the en-tire space of ST. For example, exploring rock culture in this way, we get not a mechanical set of subtexts, but the possibility of a programmatic semiotic interpretation of the place and function of any significant ST element. And the notion of a CPP makes it possible to shift the emphasis from the discrepancy between the artist's personality and any “legend” about her to those mechanisms of self-understanding that are responsible for the production of texts and the artist’s very personality. The theo-retical complex ST / SLP / CPP also makes it possible to give a metadisciplinary de-scription of the socio-cognitive and communicative foundations of interpretation, while the entire system “interpreter – text” becomes the object of discursive modeling.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69315127","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 : 2021-01-01DOI: 10.25205/2307-1737-2021-1-351-363
G. D. Drobinin
The research is based on the analysis of the poem “Walks on water” by I. Kormiltsev and consideration of this text as a song of the group “Nautilus Pompilius”. The interpretation of the text is based on comparison of the plot with the text of the New Testament, on analysis of the opposition of the two heroes, on consideration of separate images of the poem within the poetics of the whole creativity of the poet. The anthropological concept of “meme” as a unit of cultural evolution was involved to analyze the reasons for the popularity of this composition. When people listen to the song, they don’t perceive the meaning of the original statement, but only memes are perceived.
本研究是基于对I. Kormiltsev的诗“Walks on water”的分析，并将这首诗视为“Nautilus Pompilius”组合的一首歌。对文本的解读是基于对情节与新约文本的比较，基于对两位英雄对立的分析，基于在诗人整体创造力的诗学中对诗歌的独立形象的考虑。本文以人类学的“模因”概念作为文化演化的单位，分析了这一构成流行的原因。当人们听这首歌的时候，他们并没有感知到原始语句的含义，而只是感知到模因。
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Pub Date : 2021-01-01DOI: 10.25205/2307-1737-2021-1-423-438
F. Androsova
The article discusses the semantics of the image of an eagle in the drama “Toyon Kyyl” (The Lord Eagle) by a Sakha director Eduard Novikov. The research is based on various methods, including linguo-cultural analysis, structural semiotic analysis, and interpretative methods of analysis. Eagle is one of the oldest symbols used by various peoples of the world. The Sakha called eagle toyon kyyl (lord of birds) or toyon bulur (lord who brings misfortune). In modern context the image of the eagle represents nature, while the relationship between the eagle and the characters represent the relationship between people and nature. Humanity, just like that young boy Mikiper who scared away the eagle in his childhood, is destroying the natural world. However, the punishment for this act is waiting in the future. The article discusses the main symbols of the film, connected with the image of an eagle: the Sun, a tree, an egg. The Sun (mark of the Upper World) is connected with divine punishment and divine eye. An egg, floating in the world ocean, contained the Universe inside of it, according to myths of the peoples of the world. In the analysed film the eggs symbolise children, offspring, and thus the future. A special role in the film is given to an old tengke tit larch tree, which symbolises the world tree, while the eagle on its top is the mark of the Upper World.
{"title":"Eagle Image in the Contemporary Movie Text (“Toyon Kyyl” by E. Novikov as a Case Study)","authors":"F. Androsova","doi":"10.25205/2307-1737-2021-1-423-438","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-423-438","url":null,"abstract":"The article discusses the semantics of the image of an eagle in the drama “Toyon Kyyl” (The Lord Eagle) by a Sakha director Eduard Novikov. The research is based on various methods, including linguo-cultural analysis, structural semiotic analysis, and interpretative methods of analysis. Eagle is one of the oldest symbols used by various peoples of the world. The Sakha called eagle toyon kyyl (lord of birds) or toyon bulur (lord who brings misfortune). In modern context the image of the eagle represents nature, while the relationship between the eagle and the characters represent the relationship between people and nature. Humanity, just like that young boy Mikiper who scared away the eagle in his childhood, is destroying the natural world. However, the punishment for this act is waiting in the future. The article discusses the main symbols of the film, connected with the image of an eagle: the Sun, a tree, an egg. The Sun (mark of the Upper World) is connected with divine punishment and divine eye. An egg, floating in the world ocean, contained the Universe inside of it, according to myths of the peoples of the world. In the analysed film the eggs symbolise children, offspring, and thus the future. A special role in the film is given to an old tengke tit larch tree, which symbolises the world tree, while the eagle on its top is the mark of the Upper World.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69316839","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 : 2021-01-01DOI: 10.25205/2307-1737-2021-1-238-258
I. Vysotskaya
The article notes the tendency towards the preferred choice of the preposition pro (about) (instead of o) in modern Russian speech. The above said leads to a change in the compatibility of the accusative word form with the explanatory meaning, to an expansion of the range of verbs and nouns that control this form. The use of the word forms in names is updated (in different communicative spheres). Observations on the use of the so-called “The Accusative of theme” in media speech allowed us to identify different communicative intentions of the speaker, which are marked by the word form pro (about) N4: fixation of the topic, announcement, continuation and development, return to the topic, change of topic, forecast, clarification, accentuation. In addition, as part of the predicate, the word form with the preposition pro (about) is used as a means of the object of speech / thought characterization. In these syntactic conditions, a new way of defining the concept is formed: X eto pro (is about) N4, as well as a new question: What is X about? They are actively used in speech by adherents of the newest rhetorical canon – as opposed to the traditional one.
本文注意到，在现代俄语口语中，介词pro(约)(而不是o)有首选的趋势。上述情况导致宾格词形式与解释意义的兼容性发生变化，控制这种形式的动词和名词的范围扩大。(在不同的交际领域中)姓名中词形的使用得到了更新。通过观察媒体话语中所谓“主位宾格”的使用，我们可以识别出说话人不同的交际意图，这些意图以词形pro (about) N4为标志:固定话题、宣布、继续和发展、回到话题、改变话题、预测、澄清、强调。此外，作为谓语的一部分，带有介词pro(约)的词形式被用作表征言语/思想对象的手段。在这些句法条件下，形成了一种新的定义概念的方式:X eto pro (is about) N4，以及一个新的问题:What is X about?与传统修辞学相反，最新修辞学经典的追随者在演讲中积极使用它们。
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Pub Date : 2021-01-01DOI: 10.25205/2307-1737-2021-1-25-39
V. Demyankov
Opinions have degrees of epistemic “value”, measured in the framework of a given culture. These degrees do not necessarily coincide with degrees of momentary actuality in the society and in the cultural environment. Parameters of social-cultural evaluation vary with time gaining and/or losing actuality. They even depend on whether those who pronounce these opinions are acquainted with those whom these opinions are ascribed to or with “certified” authors of the ideas. This social dimension of opin-ion evaluation may be manipulatively used in mass media so that even openly fake news and fake ‘truths’ are taken for granted by addressees. Two approaches are extensively discussed in the literature on such “quotational” view of language use: the “semantic” approach and the “formal” approach. The for-mer takes the content of propositions not to depend on the sentence forms presented to the audience. For the second approach, the propositions taken as ideas wholly de-pend on the form of presentation, even on syntactical details of formal realizations of ideas in discourse, being socially adapted to the cultural environment. This view im-plies that evaluation of ideas depends even on “syntactic vagaries” of a given lan-guage, such as Russian or English additionally to the ways they present propositions and propositional attitudes in formal logical systems.
{"title":"On Eternal Value of Ideas in Their Momentary Actuality","authors":"V. Demyankov","doi":"10.25205/2307-1737-2021-1-25-39","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-25-39","url":null,"abstract":"Opinions have degrees of epistemic “value”, measured in the framework of a given culture. These degrees do not necessarily coincide with degrees of momentary actuality in the society and in the cultural environment. Parameters of social-cultural evaluation vary with time gaining and/or losing actuality. They even depend on whether those who pronounce these opinions are acquainted with those whom these opinions are ascribed to or with “certified” authors of the ideas. This social dimension of opin-ion evaluation may be manipulatively used in mass media so that even openly fake news and fake ‘truths’ are taken for granted by addressees. Two approaches are extensively discussed in the literature on such “quotational” view of language use: the “semantic” approach and the “formal” approach. The for-mer takes the content of propositions not to depend on the sentence forms presented to the audience. For the second approach, the propositions taken as ideas wholly de-pend on the form of presentation, even on syntactical details of formal realizations of ideas in discourse, being socially adapted to the cultural environment. This view im-plies that evaluation of ideas depends even on “syntactic vagaries” of a given lan-guage, such as Russian or English additionally to the ways they present propositions and propositional attitudes in formal logical systems.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69315120","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 : 2021-01-01DOI: 10.25205/2307-1737-2021-1-78-93
V. Feshchenko
Based on Yu. S. Stepanov’s conception of the three paradigms in the history of linguistics, philosophy and art (semantic, syntactic and pragmatic), this study highlights the three phases of the linguo-aesthetic turn in the theory of language and in the artistic language experiment of the 20 th century: formal-semantic, functional-syntactic and actional-pragmatic. Analyzed are the creative linguistic techniques used in experimental literary discourse throughout the 20 th century, predominantly in Russian and Anglo-American literature, and the linguistic procedures corresponding to these techniques, discovered in twentieth century linguistics as a path to new theories of language. The research material testifies to complex and productive interactions between experimental-artistic and scientific-linguistic discourses. The creative linguistic techniques of the literary experiment are consistent with the techniques of language analysis in the linguistic theories of the twentieth century.
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