Pub Date : 2021-01-01DOI: 10.25205/2307-1737-2021-1-298-315
E. Proskurina, P. V. Proskurina-Yanovich
The article proposes a reconstruction of M. Tsvetaeva’s epistolary novel with the young emigrant A. Steiger. The dynamics of their relationship is traced, where there is a tie, movement to the culmination and completion: a break. The characteristic features of Tsvetaeva’s letters are shown: nervous style, expression. The differences of this novel in letters from the epistolary “triangle” of Tsvetaevа – Rilke – Pasternak are revealed. If the dialogue between them is the relationship of equal poets, then in relation to Steiger Tsvetaeva appears as a protective mother. A specific set of Tsvetaevа’s motives is revealed, where the main thing is love for the inaccessible, unrealizable. In general, the correspondence with Shteiger reinforces a virtual plot common for Tsvetaeva’s letters. In it, the main role is assigned to her lyrical perception of another – his “re-creation” for himself, ascension to the romantic ideal and rejection of the original person, leading to disappointment and rupture.
{"title":"Marina Tsvetaeva and Anatoly Steiger: A Novel in Letters (Reconstruction Attempt)","authors":"E. Proskurina, P. V. Proskurina-Yanovich","doi":"10.25205/2307-1737-2021-1-298-315","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-298-315","url":null,"abstract":"The article proposes a reconstruction of M. Tsvetaeva’s epistolary novel with the young emigrant A. Steiger. The dynamics of their relationship is traced, where there is a tie, movement to the culmination and completion: a break. The characteristic features of Tsvetaeva’s letters are shown: nervous style, expression. The differences of this novel in letters from the epistolary “triangle” of Tsvetaevа – Rilke – Pasternak are revealed. If the dialogue between them is the relationship of equal poets, then in relation to Steiger Tsvetaeva appears as a protective mother. A specific set of Tsvetaevа’s motives is revealed, where the main thing is love for the inaccessible, unrealizable. In general, the correspondence with Shteiger reinforces a virtual plot common for Tsvetaeva’s letters. In it, the main role is assigned to her lyrical perception of another – his “re-creation” for himself, ascension to the romantic ideal and rejection of the original person, leading to disappointment and rupture.","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":"69315822","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: 10.25205/2307-1737-2021-1-40-56
V. Karasik
The paper deals with a tentative grounding of philological thinking as a professional-ly determined type of cognitive activity. Two variants of a problem situation (factual and fictional) have been described. Professional philological argumentation is based on the dominant axioms for this type of professional activity.
{"title":"On Philological Thinking","authors":"V. Karasik","doi":"10.25205/2307-1737-2021-1-40-56","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-40-56","url":null,"abstract":"The paper deals with a tentative grounding of philological thinking as a professional-ly determined type of cognitive activity. Two variants of a problem situation (factual and fictional) have been described. Professional philological argumentation is based on the dominant axioms for this type of professional activity.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69316829","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: 10.25205/2307-1737-2021-1-57-77
S. Zolyan
The article develops the idea of Yu. S. Stepanov (1971) that meaning is not an exclusive property of sign systems used by man, and it is present in biosystems. We consider it as one of the specific forms of manifestation of autopoiesis, namely, establishing interconnections between two systems, one of which is used for the other, either a plane of expression or a plane of content. This specification concerning the genetic code has already been named as codopoiesis (M. Barbieri, 2012). We introduce the new term, “semiopoiesis”, since it relies upon sign systems in general. From this point of view, the genetic code’s evolution can be viewed as a process of semiopoiesis – semiosis in its emerging. The increasing complexity of the organization leads to the autonomy of information and semiotic principles. Semiopoiesis, a complex of recursive self-referential operations of a semiotic system, becomes a form of the bio-world's dynamic organization when categories of meaning and purpose appear and become defining in it.
{"title":"Semiopoesis: Formation of Meaning in Molecular Genetics and Biosemiotics","authors":"S. Zolyan","doi":"10.25205/2307-1737-2021-1-57-77","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-57-77","url":null,"abstract":"The article develops the idea of Yu. S. Stepanov (1971) that meaning is not an exclusive property of sign systems used by man, and it is present in biosystems. We consider it as one of the specific forms of manifestation of autopoiesis, namely, establishing interconnections between two systems, one of which is used for the other, either a plane of expression or a plane of content. This specification concerning the genetic code has already been named as codopoiesis (M. Barbieri, 2012). We introduce the new term, “semiopoiesis”, since it relies upon sign systems in general. From this point of view, the genetic code’s evolution can be viewed as a process of semiopoiesis – semiosis in its emerging. The increasing complexity of the organization leads to the autonomy of information and semiotic principles. Semiopoiesis, a complex of recursive self-referential operations of a semiotic system, becomes a form of the bio-world's dynamic organization when categories of meaning and purpose appear and become defining in it.","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":"69316899","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: 10.25205/2307-1737-2021-1-127-144
T. Radbil
The paper examines the ways of implementation and syntactic organization of the discourse of the Russian segment of the Internet as a syncretic phenomenon that organically combines the principles of actualizing oral and written forms of communication. The methods of linguosemiotic and linguo-cognitive analysis of discourse as an information flow, based on the ideas of Yu. S. Stepanov, V. Z. Demyankov, U. Chafe and others are applied in the work. The research material is text data extracted from the Russian National Corpus and obtained by the method of continuous sampling based on the results of the author’s own Internet monitoring. The study shows that the syntax of Internet speech is not reduced to the process of hybridization of traditionally existing oral and written forms of language existence. In the usus of the information environment of the informal Internet, their own norms are developed, which are organic for the conditions of communication offered in this environment. The specific role of syntactic models of parcelling, segmentation, stringing techniques, graphic abbreviations, and other paraverbal means in informal Internet communication is analyzed. Also, special attention is paid to the originality of the punctuation design of speech on the Internet, the emergence of new punctuation norms. The author came at a conclusion that the Internet discourse is a new equal third form of language existence, along with the traditionally distinguished oral and written forms.
本文考察了互联网俄语部分话语的实现方式和句法组织，作为一种有机地结合了实现口头和书面交流形式原则的融合现象。语篇作为信息流的语言符号学和语言认知分析方法。S. Stepanov, V. Z. Demyankov, U. Chafe等人在工作中得到了应用。本文的研究资料是从俄罗斯国家语料库中提取的文本数据，基于作者自身的互联网监测结果，采用连续抽样的方法获得。研究表明，网络言语的句法并没有简化为传统上存在的口头和书面语言存在的混合过程。在非正式互联网的信息环境中，他们形成了自己的规范，这些规范对于在这种环境中提供的传播条件是有机的。分析了打包、切分、串接技术、图形缩略语等辅助语言手段的句法模型在非正式网络交际中的具体作用。此外，还特别关注网络语音标点设计的独创性，新的标点规范的出现。本文认为，网络话语是继传统上泾渭分明的口头和书面形式之后，一种新的、平等的第三种语言存在形式。
{"title":"Active Processes in the Syntax of Modern Russian Speech in the Aspect of Linguo-Semiotic and Linguo-Cognitive Interpretation","authors":"T. Radbil","doi":"10.25205/2307-1737-2021-1-127-144","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-127-144","url":null,"abstract":"The paper examines the ways of implementation and syntactic organization of the discourse of the Russian segment of the Internet as a syncretic phenomenon that organically combines the principles of actualizing oral and written forms of communication. The methods of linguosemiotic and linguo-cognitive analysis of discourse as an information flow, based on the ideas of Yu. S. Stepanov, V. Z. Demyankov, U. Chafe and others are applied in the work. The research material is text data extracted from the Russian National Corpus and obtained by the method of continuous sampling based on the results of the author’s own Internet monitoring. The study shows that the syntax of Internet speech is not reduced to the process of hybridization of traditionally existing oral and written forms of language existence. In the usus of the information environment of the informal Internet, their own norms are developed, which are organic for the conditions of communication offered in this environment. The specific role of syntactic models of parcelling, segmentation, stringing techniques, graphic abbreviations, and other paraverbal means in informal Internet communication is analyzed. Also, special attention is paid to the originality of the punctuation design of speech on the Internet, the emergence of new punctuation norms. The author came at a conclusion that the Internet discourse is a new equal third form of language existence, along with the traditionally distinguished oral and written forms.","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":"69314725","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: 10.25205/2307-1737-2021-1-145-158
T. Yanko
The paper is aimed at the analysis of expressing the meaning ‘long ago’ or the meaning of pluperfect. In the meaning of ‘long ago’ the Russian word davno is the focus of a sentence. Meanwhile, if an event began long ago and is taking place at the time of reference (for instance, at the moment of speech), such context does not require davno to function as the focus. At present, the hypothesis was verified on the spoken corpora material. The key to the analysis is the prosody of the focus. On the whole, the hypothesis appeared to be true. At the same time, it acquired some substantial corrections. If earlier it was presumed that the context of pluperfect arises from the combination of davno and the aspectual forms of a verb, at present, the corpus analysis has revealed the third factor: it is the lexical semantics of the verb. The corpus analysis shows that the verbs of information transfer and the verbs in the negative can recover the connection of the past events with the point of reference. This meaning, in its turn, can cause the loss of the invariable focal function of davno in the context of the general factual in the past.
{"title":"The Meaning of Pluperfect: Lexical and Grammatical Semantics","authors":"T. Yanko","doi":"10.25205/2307-1737-2021-1-145-158","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-145-158","url":null,"abstract":"The paper is aimed at the analysis of expressing the meaning ‘long ago’ or the meaning of pluperfect. In the meaning of ‘long ago’ the Russian word davno is the focus of a sentence. Meanwhile, if an event began long ago and is taking place at the time of reference (for instance, at the moment of speech), such context does not require davno to function as the focus. At present, the hypothesis was verified on the spoken corpora material. The key to the analysis is the prosody of the focus. On the whole, the hypothesis appeared to be true. At the same time, it acquired some substantial corrections. If earlier it was presumed that the context of pluperfect arises from the combination of davno and the aspectual forms of a verb, at present, the corpus analysis has revealed the third factor: it is the lexical semantics of the verb. The corpus analysis shows that the verbs of information transfer and the verbs in the negative can recover the connection of the past events with the point of reference. This meaning, in its turn, can cause the loss of the invariable focal function of davno in the context of the general factual in the past.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69314778","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: 10.25205/2307-1737-2021-1-259-279
L. E. Muravieva
The present article attempts to reveal forms of representation of anxiety in fictional narrative. We propose to consider two main ways of representation of the narrative anxiety: Mimetic and Diegetic, which are constructed based on three parameters: (1) orientation towards the subject vs. the event; (2) participation in construction of the narrative intrigue, and (3) explicit (“semiotic”) vs implicit (“cognitive”) form of representation of the narrative. Analysis of the narrative anxiety representation is based on recent research in the field of cognitive narratology and affective narratology, as well as on a semiotic approach to text analysis.
{"title":"Affective Narratology: The Representation of Anxiety in Fictional Narrative","authors":"L. E. Muravieva","doi":"10.25205/2307-1737-2021-1-259-279","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-259-279","url":null,"abstract":"The present article attempts to reveal forms of representation of anxiety in fictional narrative. We propose to consider two main ways of representation of the narrative anxiety: Mimetic and Diegetic, which are constructed based on three parameters: (1) orientation towards the subject vs. the event; (2) participation in construction of the narrative intrigue, and (3) explicit (“semiotic”) vs implicit (“cognitive”) form of representation of the narrative. Analysis of the narrative anxiety representation is based on recent research in the field of cognitive narratology and affective narratology, as well as on a semiotic approach to text analysis.","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":"69315176","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: 10.25205/2307-1737-2021-1-316-338
E. Kryukova, O. Koval
The article is devoted to the phenomenon of insanity in the artistic discourse of the 1920s. Such a literary reception is interesting because, on the one hand, it goes against the dominant clinical approaches at that time, which emphasized the medical aspect of the problem, and on the other hand, it anticipates the antipsychiatric philoophical theories, whereby the marginal figure of the madman was gradually included in the social space. Using the example of three iconic works of modernist literature, the article demonstrates how innovative techniques of working with language make the speech of a mentally ill person distinctly audible. Virginia Woolf in “Mrs Dalloway” conveys the disastrous experience of the First World War through the stream of consciousness of the mentally traumatized character Septimus Smith. Woolf puts an anti-militaristic appeal into the mouth of a madman and thus makes him the herald of a simple truth that reasonable people, however, prefer not to notice. Ryūnosuke Akutagawa’s short story “Cogwheels” reproduces the experiences of the author, who feels the approach of insanity. Madness opens up as a borderline case that reveals its deep kinship with the source of writing, understood as a lack of form, lack of meaning, lack of creation. William Faulkner in the novel “The Sound and the Fury” gives the gift of speech to the weak-minded Benji, who doesn’t talk. His im-possible narrative offers an alternative to the linear logic, which clarify Benji’s confusing narration but fail to rival it in conveying the directness of human suffering or happiness.
{"title":"The Literary Madness: Language as an Indicator of Insanity in the Fiction of the 20th Century (1920s)","authors":"E. Kryukova, O. Koval","doi":"10.25205/2307-1737-2021-1-316-338","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-316-338","url":null,"abstract":"The article is devoted to the phenomenon of insanity in the artistic discourse of the 1920s. Such a literary reception is interesting because, on the one hand, it goes against the dominant clinical approaches at that time, which emphasized the medical aspect of the problem, and on the other hand, it anticipates the antipsychiatric philoophical theories, whereby the marginal figure of the madman was gradually included in the social space. Using the example of three iconic works of modernist literature, the article demonstrates how innovative techniques of working with language make the speech of a mentally ill person distinctly audible. Virginia Woolf in “Mrs Dalloway” conveys the disastrous experience of the First World War through the stream of consciousness of the mentally traumatized character Septimus Smith. Woolf puts an anti-militaristic appeal into the mouth of a madman and thus makes him the herald of a simple truth that reasonable people, however, prefer not to notice. Ryūnosuke Akutagawa’s short story “Cogwheels” reproduces the experiences of the author, who feels the approach of insanity. Madness opens up as a borderline case that reveals its deep kinship with the source of writing, understood as a lack of form, lack of meaning, lack of creation. William Faulkner in the novel “The Sound and the Fury” gives the gift of speech to the weak-minded Benji, who doesn’t talk. His im-possible narrative offers an alternative to the linear logic, which clarify Benji’s confusing narration but fail to rival it in conveying the directness of human suffering or happiness.","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":"69315616","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: 10.25205/2307-1737-2021-1-439-458
A. Markov, O. Fedunina
The film Yorinda and Yoringel by Bodo Fürneisen, created on the basis of the recordings of a folktale by the Grimm brothers, shows an affinity for both a literary fairy tale and romance traditions, including a post-modern novel with a hero’s free choice of identity as the basis of the plot movement. To analyze the film, we relied on the methodology of psychoanalytic cinema science by Slavoj Žižek, supplementing it with the achievements of fundamental plotology from Freidenberg and Propp to the present day. At the same time, the nature of the film as a screen medium showed how the need for a more flexible plot development scheme, including compliance with changes in the character of the hero or his specific phenomenon on the screen, is not just one option for the development of actions, but a whole fan of the possibilities of such development. It is proved that the screen medium, which requires to monitor not only the correspondence of the hero’s adventures to expectations, but also the unexpected phenomena of the hero, demanded to modify the plot, which acquired not only the features of a psychological and adventurous novel, but also a computer game. At the same time, Fürneisen’s experience requires adjusting the psychoanalysis of cinema, supplementing the study of the effect of reality with the opposite effect of thought. The cinema allows you to demonstrate how not only the hero’s intentions change, but also the content of thoughts that are relatively autonomous from intentions that belong to the hero’s existence. At the same time, the existence is realized unexpectedly, so that the magical item is modified into a McGuffin, and the hero himself can repeatedly pass the fabulous test, while such a repetition will not be a way to correlate imagination and reality, as in a book narrative, but a way to once again appreciate the wonderful character of the hero. In the course of the study, it was possible to establish that the literary (Hans Christian Andersen), stage (Richard Wagner) and cinematic (Fürneisen) variations of the fairy tale plot do not simply subordinate it to some rules of the novel, in accordance with the prevailing tastes in society. Most of the changes are secondary to the change in the general concept of the hero, when the scenarios of existential choice are put in place of the test scenario and their uniqueness is defended. The structure of the on-screen memory and on-screen attention accelerates this design of the hero, although it does not completely determine it. Then the function of all the fabulous elements changes, moreover, the plot itself turns out to contain variability. In place of the usual separation between the world of sleep and the world of reality comes the existential test of both worlds. Thus, such processing of fairy tales is productive for the development of virtuality in art and for dialogue not only between different arts, but also art and various social practices related to information technology, from com
{"title":"Yorinda and Yoringel by Bodo Fürneisen: Type of the Hero and Trial in Screen-Presented Fairy Tale","authors":"A. Markov, O. Fedunina","doi":"10.25205/2307-1737-2021-1-439-458","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-439-458","url":null,"abstract":"The film Yorinda and Yoringel by Bodo Fürneisen, created on the basis of the recordings of a folktale by the Grimm brothers, shows an affinity for both a literary fairy tale and romance traditions, including a post-modern novel with a hero’s free choice of identity as the basis of the plot movement. To analyze the film, we relied on the methodology of psychoanalytic cinema science by Slavoj Žižek, supplementing it with the achievements of fundamental plotology from Freidenberg and Propp to the present day. At the same time, the nature of the film as a screen medium showed how the need for a more flexible plot development scheme, including compliance with changes in the character of the hero or his specific phenomenon on the screen, is not just one option for the development of actions, but a whole fan of the possibilities of such development. It is proved that the screen medium, which requires to monitor not only the correspondence of the hero’s adventures to expectations, but also the unexpected phenomena of the hero, demanded to modify the plot, which acquired not only the features of a psychological and adventurous novel, but also a computer game. At the same time, Fürneisen’s experience requires adjusting the psychoanalysis of cinema, supplementing the study of the effect of reality with the opposite effect of thought. The cinema allows you to demonstrate how not only the hero’s intentions change, but also the content of thoughts that are relatively autonomous from intentions that belong to the hero’s existence. At the same time, the existence is realized unexpectedly, so that the magical item is modified into a McGuffin, and the hero himself can repeatedly pass the fabulous test, while such a repetition will not be a way to correlate imagination and reality, as in a book narrative, but a way to once again appreciate the wonderful character of the hero. In the course of the study, it was possible to establish that the literary (Hans Christian Andersen), stage (Richard Wagner) and cinematic (Fürneisen) variations of the fairy tale plot do not simply subordinate it to some rules of the novel, in accordance with the prevailing tastes in society. Most of the changes are secondary to the change in the general concept of the hero, when the scenarios of existential choice are put in place of the test scenario and their uniqueness is defended. The structure of the on-screen memory and on-screen attention accelerates this design of the hero, although it does not completely determine it. Then the function of all the fabulous elements changes, moreover, the plot itself turns out to contain variability. In place of the usual separation between the world of sleep and the world of reality comes the existential test of both worlds. Thus, such processing of fairy tales is productive for the development of virtuality in art and for dialogue not only between different arts, but also art and various social practices related to information technology, from com","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":"69316889","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: 10.25205/2307-1737-2021-1-94-106
V. Zabotkina
The article concentrates on the interaction between the four dimensions of language space (Yu. S. Stepanov) and four mental spaces involved in the contact of two cultures. We argue that all four dimensions of language (semantic, pragmatic, syntactic and cognitive) are activated in the interaction between cultures. The main emphasis is on the cognitive/conceptual line studied through the lens of conceptual blending. We distinguish three levels of conceptual integration. We hold that at every level the mechanism of interactive alignment is at work. It ensures that interlocutors operate on common representations underlying semantic, syntactic and pragmatic linguistic structures of the two cultures in contact.
{"title":"Language and Culture: Within the Four Dimensions","authors":"V. Zabotkina","doi":"10.25205/2307-1737-2021-1-94-106","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-94-106","url":null,"abstract":"The article concentrates on the interaction between the four dimensions of language space (Yu. S. Stepanov) and four mental spaces involved in the contact of two cultures. We argue that all four dimensions of language (semantic, pragmatic, syntactic and cognitive) are activated in the interaction between cultures. The main emphasis is on the cognitive/conceptual line studied through the lens of conceptual blending. We distinguish three levels of conceptual integration. We hold that at every level the mechanism of interactive alignment is at work. It ensures that interlocutors operate on common representations underlying semantic, syntactic and pragmatic linguistic structures of the two cultures in contact.","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":"69316995","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: 10.25205/2307-1737-2021-1-339-350
F. V. Kuvshinov
Daniil Kharms created the short story “Historical episode” in 1939 inspired by the performance of the opera “Ivan Susanin”. Deep and profound critical reflection on a particular cultural event is concealed behind humor and playful attitude towards Russia’s past. The libretto of the monarchist opera by M. I. Glinka had to be rewrit-ten in accordance with the Stalinist concept of patriotism. At the same time, “A Life for the Tsar” was chosen not only to create an image of “the classic Soviet opera”. The ultimate goal of this revised and updated version was to influence international relations, mainly to serve as the instrument of propaganda when it came to Russian-Polish ones. The reminder of the victory over the Poles in the Time of Troubles served the majority of the Soviet people as the distraction from the memory of from the defeat of Stalin in the Warsaw campaign of 1919. Kharms, being a keen admirer of musical culture, viewed the new production as a historical anecdote. His rejection and non-acceptance of the opera is reflected in the mocking attitude towards the character of Ivan Susanin.
{"title":"“Hidden” Anecdote: About the “Historical Episode” by D. I. Kharms","authors":"F. V. Kuvshinov","doi":"10.25205/2307-1737-2021-1-339-350","DOIUrl":"https://doi.org/10.25205/2307-1737-2021-1-339-350","url":null,"abstract":"Daniil Kharms created the short story “Historical episode” in 1939 inspired by the performance of the opera “Ivan Susanin”. Deep and profound critical reflection on a particular cultural event is concealed behind humor and playful attitude towards Russia’s past. The libretto of the monarchist opera by M. I. Glinka had to be rewrit-ten in accordance with the Stalinist concept of patriotism. At the same time, “A Life for the Tsar” was chosen not only to create an image of “the classic Soviet opera”. The ultimate goal of this revised and updated version was to influence international relations, mainly to serve as the instrument of propaganda when it came to Russian-Polish ones. The reminder of the victory over the Poles in the Time of Troubles served the majority of the Soviet people as the distraction from the memory of from the defeat of Stalin in the Warsaw campaign of 1919. Kharms, being a keen admirer of musical culture, viewed the new production as a historical anecdote. His rejection and non-acceptance of the opera is reflected in the mocking attitude towards the character of Ivan Susanin.","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":"69316028","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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