Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-2-183-193
T. Venediktova
An intersubjective event, a text comprises the medium of contact between subjects of literary discourse. Within texts the conventionality of speech serves to enable us to express ourselves, while at the same time it-owing to conventionality itself-makes shared individual expe rience at least difficult, if not impossible, a condition of which modern literary culture is painfully aware. Epitomizing this paradox of the uniquely personal and the formulaic/ impersonal is the literary discourse of love. In post-Romantic literary culture this paradox reveals itself in the shift of authors’ and readers’ attention from accepted rhetorical forms to those “transitive parts” of thought and speech that (according to William James) pass largely unrecognized in everyday language practice. Precisely these “transitive parts” activate the fleeting “feelings of relation” (as opposed to conventional meanings) that connote extended and multiple relationships “between the larger objects of our thought.” We argue that this authorreader pact-evinced, variously, by Flaubert’s search for “absolute style” and Barthes’ exploration of the aesthetic potential of lovers’ discourse-heightens attention to the materiality of language and to the mimetic, collaborative, performative aspects of literary communication. “The zealous practice of a perfect reception” invokes enhanced pleasure and the empathic effect that (post)modern readers learn to derive from language play by locating the subtle subjectivity of expression in the seemingly style-less banality of everyday speech. In this article this textual strategy of literary modernism is analyzed by way of selfreflexive love speech in the prose of Gustav Flaubert and the poetry of William Carlos Williams.
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Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-1-275-284
N. Petrova
{"title":"The Interdisciplinary Notion of Perspective as a Result of Terminological Transferization","authors":"N. Petrova","doi":"10.25205/2307-1737-2019-1-275-284","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-275-284","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69311353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-2-128-135
V. Feshchenko
The article provides an overview of some recent works on cognitive poetics. Of particular interest are studies close to linguistic problematic of cognition in literary texts. A separate analysis tackles the case from the history of Russian thought about language and poetry – the theory of artistic (poetic) concepts by the Russian philosopher S. А. Askoldov. The paper also considers conceptions of Western-European linguists that emerged at the peak of the “cognitive turn” in the 1970s: theories of T. van Dijk and J. Lakoff – M. Turner, as well as criticism of these works by the Israeli literary critic R. Tsur; the approaches of P. Stockwell (author of the theory of deictic shifts), the Sheffield School of Text Worlds Analysis (J. Gavins, A. Gibbons), and M. Freeman (applications of cognitive linguistics to the study of literary text).
本文综述了近年来认知诗学的一些研究成果。特别感兴趣的是文学文本中认知的语言学问题的研究。俄罗斯哲学家S. А的艺术(诗歌)概念理论是俄罗斯语言和诗歌思想史上的一个独立分析。Askoldov。本文还考虑了在20世纪70年代“认知转向”高峰时期出现的西欧语言学家的概念:T. van Dijk和J. Lakoff - M. Turner的理论，以及以色列文学评论家R. Tsur对这些作品的批评;P. Stockwell(指示转换理论的作者)，谢菲尔德文本世界分析学派(J. Gavins, A. Gibbons)和M. Freeman(认知语言学在文学文本研究中的应用)的方法。
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Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-2-283-301
L. Fedorova
In this paper, we propose a sketch of the functional classification of the sign as the main object of semiotics. The well-known structural classifications of the sign as a carrier of meaning and information were based on its use in communication, while the cognitive value of the sign as a means of cognition was emphasized. As a mental entity, developing in the process of cognition, from the idea of Possibility to revealing Regularity, the sign was represented by Ch. Pierce, who defined its basic, cognitive, function. In linguistics the role of the sign in communication was especially emphasized, systems of communicative functions of the language sign were proposed by K. Bühler and R. Jacobson. However, the specific tasks that different signs perform are not only related to the aspect of meaning, but also to their significance. Signs that regulate social interaction, as well as signs of art, highlight the value side of their content. R. Barthes believed that the function of a thing can be determined on the basis of its structure – in decomposing it into component parts and then in recomposing it; this way you can understand how the whole works. If you use this method, you can distinguish between different functional character types. In the process of semiosis semantic relations between the two sides of the sign (signans vs signatum) can be different, which allows us to distinguish three main functional types of signs: identifiers, regulators and models. A sign-identifier is usually closely connected with its object, it seems to be “talking about itself”; a sign-regulator has the character of an indication or imperative, it “tells you”, indicating the path to its object; a sign-model recreates the image of an object in another space – it “tells about something”. Modeling signs represent the most complex level of sign organization and semiotic problems. Modeling can use iconic techniques, including the principle of harmonic similarity (or syntactic coding, according to U. Eco), or use the principle of functional similarity. Modifications are possible for any type of signs. The functional types of signs are in a sense correlated with the functions of language in the model of K. Bühler. The proposed classification could systematize ideas about the functions of the sign and the essence of semiosis, in which, according to Ch. Morris, “something functions as a sign”. Functional typology of signs can serve as a methodological basis for a particular semiotic analysis in different areas of semiotics and linguistics.
本文对符号作为符号学主要研究对象的功能分类进行了概述。众所周知的符号作为意义和信息的载体的结构分类是基于它在交流中的使用，而符号作为一种认知手段的认知价值被强调。符号作为一种精神实体，在认知过程中从可能性的概念发展到揭示规律性，皮尔斯代表了符号，他定义了符号的基本认知功能。语言学特别强调符号在交际中的作用，K. b hler和R. Jacobson提出了语言符号的交际功能系统。然而，不同的符号所执行的具体任务不仅与意义方面有关，而且与它们的意义有关。规范社会互动的标志，以及艺术的标志，都突出了其内容的价值面。巴特认为，事物的功能可以根据其结构来确定，即将其分解为若干组成部分，然后再将其重新组合;这样你就能理解整个系统是如何工作的。如果使用这种方法，可以区分不同的功能字符类型。在符号学过程中，符号双方(signans vs signatum)之间的语义关系可能是不同的，这使得我们可以区分出符号的三种主要功能类型:标识符(identifiers)、调节器(regulator)和模型(model)。符号标识符通常与其对象紧密相连，它似乎在“谈论自己”;符号调节器具有指示或命令的特征，它“告诉你”，指示通向其对象的路径;符号模型在另一个空间中再现了一个物体的形象——它“讲述了一些事情”。符号建模代表了符号组织和符号学问题中最复杂的层次。建模可以使用符号技术，包括谐波相似原则(或句法编码，根据U. Eco)，或使用功能相似原则。任何类型的标志都可以修改。符号的功能类型在某种意义上与K. b hler模型中的语言功能相关联。提出的分类可以系统化关于符号功能和符号学本质的想法，其中，根据莫里斯的说法，“某种东西作为符号起作用”。符号的功能类型学可以作为符号学和语言学不同领域特定符号学分析的方法论基础。
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Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-2-319-326
I. A. Kanakin
The article deals with the analysis of ‘closed’ morphological systems, containing oppositional and contrastive elements. The category of case in the Slavic languages represents the systems of this kind. An attempt is made to shed light on the meaning of the case category in the Russian language. We argue that neither its semantic nor syntactic explanation are taken as being the only criterion of truth. The formal analysis of this category reveals that there is no relationship of noun case forms and that the structuring of pronoun and noun paradigms is different. Case government through prepositions, widely spread in many languages, also fails to explain case distinctions either from only semantic or syntactic perspective. The distribution of words into parts of speech in various languages still remains the only undoubted and common function for all inflectional case paradigms. We view ‘closed’ derivational and inflectional morphological systems as a fundamental condition in this respect; the character of there structure is of little importance; however, formal and unambiguous description can only be applied to the rigidly structured systems.
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Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-2-64-77
S. Sarkisyan
Music and cinema are two arts that have shown the most varied synthesis on semiotic and phenomenological levels during their century-old history. The permeation of these two arts has given birth to a substantially new form of their existence. That is the reason that the films and the complete creation of Sergey Parajanov are somehow situated in between these arts, between the plasticity of the cinema and the expressiveexpressiveness of the silent film. The overflowing of characteristics from one art to another does not occur to the detriment of the genre category of this particular art; in other words, the film does not cease to be film, nor is this the case with music. It would be more precise to confirm just the opposite: the permeation of the characteristics between the arts enriches each individual art, because the associative degree is augmented. This circumstance influences the perception of these arts, especially of the cinema. It acquires the capacity to actively influence the spectator, seemingly evading its basic visual rank. This genre of cinema refers to intellectual, sensual and subconscious incentives, forming at the same time a new type of spectator.
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Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-1-243-253
A. E. Bochkarev
{"title":"How to Read a Leskov’s Story “Chertogon” (“The Devil-Chase”): There Is Absolutely no Life…","authors":"A. E. Bochkarev","doi":"10.25205/2307-1737-2019-1-243-253","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-243-253","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69310545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-1-173-197
T. Simyan
{"title":"From Biosphere to Noosphere: Theory and Practice","authors":"T. Simyan","doi":"10.25205/2307-1737-2019-1-173-197","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-173-197","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69310964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-1-93-107
A. Schmitt
{"title":"The Function of the Concepts of East and West in the Poetry of Olga Sedakova and Elena Shvarts","authors":"A. Schmitt","doi":"10.25205/2307-1737-2019-1-93-107","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-93-107","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69312151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.25205/2307-1737-2019-2-171-182
T. Radbil
The work presents the foundations of cognitive interpretation of the category of artistry with regard to its text realization by means of a natural language. The purpose is to formulate the theoretic principles of distinction between narration and lyric as two versions of cognitive modeling of the reality. The theoretical basis of the study is elaborated by the author “philosophy of literary word” and interdisciplinary, general humanitarian narration theory on the basis of communicative and cognitive-oriented approach. The methodology of the study is the cognitive-discursive analysis of a text. The study shows that verbal way of embodiment of the category of artistry reflects a special type of consciousness oriented towards linguo-creative and heuristic modeling of otherness which is transcendent in relation to the speaker’s reality, to that we call “simply life” which involves to two additionally distributed modes of existence – being in event and being in experience. In accordance with this, two ways of verbal cognitive modeling of aesthetic kind: (1) the narration cognitive model; (2) the lyric cognitive model. Narration is based on the model of objectification, i.e. unfolding in temporal sequence of something that happens out of subject’s zone, when so-called “outside world” is the focus; lyric realizes the model of registration of reactive non-reflected intentional experience of things which a subject feels himself, when inner world is the focus. The author distinguished consistently narration1 and lyric1 as phenomena of human everyday existence and, accordingly, narration2 and lyric2 as turning natural things into semiotic ones, nature into culture due to aesthetic transformation. Both versions of cognitive modeling of the reality are conditioned by some peculiarities of a natural language. Aesthetic transformation of “simply life” in its two versions is realized by a natural language by the use of universal mechanisms of a conceptual (cognitive) metaphor of pictorial or expressive types. In this, lyric is a kind of dominance of modus over dictum, and narration is, vice-versa, a kind of prevalence of dictum over modus. Findings are that there is not any special “aesthetic language” – we deal with the most ordinary language, simply in especial conditions of its functioning, in especial mode of communication and with especial intentionality, simply used in especial function of cognitive modeling of probabilistic states of the world and / or mind.
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