Pub Date : 1900-01-01DOI: 10.17721/folia.philologica/2022/4/9
T. Radziievska
The paper deals with the English translation of “The Song of Igor’s Campaign”, carried out by Vladimir Nabokov in the middle of the 20th century. The translation is considered in a linguocultural perspective as a precedent situation (a case) in intercultural communication. Such approach involves not only an analysis of the lexical and syntactical features of the translated medieval text, but also a study of the dynamics of translation activity, which advances in specific historical conditions, depends on certain factors that influence it, and corresponds to certain tasks. The purpose of the paper is to comprehensively analyze Nabokov’s translation of “The Song of Igor’s Campaign” as a dynamic, historically conditioned intellectual process. It aims to characterize its scientific and cultural context, explore the factors shaping the translation concept, and examine the peculiarities of the search for lexical and syntactical resources and the translator’s nominative solutions. The research methodology is based on descriptive and comparative linguistic methods. The author identifies the main factors of the academic and cultural context that influenced the creation of the translation: Nabokov’s pedagogical activity, the intensification of research on the “Song” after the publication of A. Mazon’s book (1940), Nabokov’s interest in translation and scientific work in his “American period”, acquaintance with historical and philological studies on the “Song” and their results. The influence of these factors on the formation of the final conception of translation is shown and the main results of Nabokov’s study of the poetics, the compositional structure of the medieval text and its lexical and syntactical features are characterized. Some of Nabokov’s nominative solutions, his innovative technique for reproducing relevant meanings (lexical, connotative, pragmatic) are discussed. It is concluded that in the process of working on translation, the necessary balance between the strategy of meaning and the strategy of form was achieved.
{"title":"VLADIMIR NABOKOV’S ENGLISH TRANSLATION OF “THE SONG OF IGOR’S CAMPAIGN” AS A PRECEDENT SITUATION IN INTERCULTURAL COMMUNICATION","authors":"T. Radziievska","doi":"10.17721/folia.philologica/2022/4/9","DOIUrl":"https://doi.org/10.17721/folia.philologica/2022/4/9","url":null,"abstract":"The paper deals with the English translation of “The Song of Igor’s Campaign”, carried out by Vladimir Nabokov in the middle of the 20th century. The translation is considered in a linguocultural perspective as a precedent situation (a case) in intercultural communication. Such approach involves not only an analysis of the lexical and syntactical features of the translated medieval text, but also a study of the dynamics of translation activity, which advances in specific historical conditions, depends on certain factors that influence it, and corresponds to certain tasks. The purpose of the paper is to comprehensively analyze Nabokov’s translation of “The Song of Igor’s Campaign” as a dynamic, historically conditioned intellectual process. It aims to characterize its scientific and cultural context, explore the factors shaping the translation concept, and examine the peculiarities of the search for lexical and syntactical resources and the translator’s nominative solutions. The research methodology is based on descriptive and comparative linguistic methods. The author identifies the main factors of the academic and cultural context that influenced the creation of the translation: Nabokov’s pedagogical activity, the intensification of research on the “Song” after the publication of A. Mazon’s book (1940), Nabokov’s interest in translation and scientific work in his “American period”, acquaintance with historical and philological studies on the “Song” and their results. The influence of these factors on the formation of the final conception of translation is shown and the main results of Nabokov’s study of the poetics, the compositional structure of the medieval text and its lexical and syntactical features are characterized. Some of Nabokov’s nominative solutions, his innovative technique for reproducing relevant meanings (lexical, connotative, pragmatic) are discussed. It is concluded that in the process of working on translation, the necessary balance between the strategy of meaning and the strategy of form was achieved.","PeriodicalId":383737,"journal":{"name":"Folia Philologica","volume":"195 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114201457","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 : 1900-01-01DOI: 10.17721/folia.philologica/2021/1/2
Aurelija Gritėnienė
The article deals with what publicist discourse on the late-20th century has to say about soldiers of Russian origin and the extent to which the formation and assessment of this concept has been affected by the historical, political, and ideological context. Material for this study was gathered in the Corpus of the contemporary Lithuanian language: a total of about 400 sentences that mention Russian soldiers. The aim of the article is to analyse the most typical attributes of the concept of RUSSIAN SOLDIER and the potential cognitive definition of the Russian soldier in reliance on the late-20th century publicist discourse. Scientific novelty. Scholars have not yet been drawn to study the image of the Russian soldier in the Lithuanian language and it‘s worldviews; therefore, it is meaningful to formulate the concept of the RUSSIAN SOLDIER on the basis of the analysis of opinion journalism texts; it is interesting to see how Lithuanian consciousness perceives the Russian soldier today. A semantic analysis has clearly revealed that the Russian soldier carries a strong emotional charge in nearly all of the sentences selected for the study and has a negative connotation in publicist texts as often as not. In conclusion, the following cognitive definition is formulated: the Russian soldier is fierce, cruel, impolite, a lout who has no understanding of the traditional Lithuanian values, often ravaging them barbarically. He has no mercy for his enemies and the civilian residents of the lands he has invaded alike, gunning them down, torturing and raping them; he is often a marauder and a drunk, swapping different things, weapons and such for vodka only to become even more brutal when drunk. He has no respect for the living or the dead and feels he is the true master of the occupied lands. So, for all practical purposes, between the 17th century and the late 20th century the image of the Russian soldier had been encoded with negative information. This can be said of both personal recollections and collective memory alike. It should nevertheless be noted that such an image of the Russian soldier is prompted by the texts of opinion journalism of the late 20th century only. The analysis of the opinion journalism of the 1940s–1970s would bring up an absolutely different definition of the Russian soldier, because the evaluation and image of this figure in peopleʼs consciousness is highly dependent on the political and historical context.
{"title":"RUSSIAN SOLDIERS IN THE CORPUS OF THE CONTEMPORARY LITHUANIAN LANGUAGE","authors":"Aurelija Gritėnienė","doi":"10.17721/folia.philologica/2021/1/2","DOIUrl":"https://doi.org/10.17721/folia.philologica/2021/1/2","url":null,"abstract":"The article deals with what publicist discourse on the late-20th century has to say about soldiers of Russian origin and the extent to which the formation and assessment of this concept has been affected by the historical, political, and ideological context. Material for this study was gathered in the Corpus of the contemporary Lithuanian language: a total of about 400 sentences that mention Russian soldiers. The aim of the article is to analyse the most typical attributes of the concept of RUSSIAN SOLDIER and the potential cognitive definition of the Russian soldier in reliance on the late-20th century publicist discourse. Scientific novelty. Scholars have not yet been drawn to study the image of the Russian soldier in the Lithuanian language and it‘s worldviews; therefore, it is meaningful to formulate the concept of the RUSSIAN SOLDIER on the basis of the analysis of opinion journalism texts; it is interesting to see how Lithuanian consciousness perceives the Russian soldier today. A semantic analysis has clearly revealed that the Russian soldier carries a strong emotional charge in nearly all of the sentences selected for the study and has a negative connotation in publicist texts as often as not. In conclusion, the following cognitive definition is formulated: the Russian soldier is fierce, cruel, impolite, a lout who has no understanding of the traditional Lithuanian values, often ravaging them barbarically. He has no mercy for his enemies and the civilian residents of the lands he has invaded alike, gunning them down, torturing and raping them; he is often a marauder and a drunk, swapping different things, weapons and such for vodka only to become even more brutal when drunk. He has no respect for the living or the dead and feels he is the true master of the occupied lands. So, for all practical purposes, between the 17th century and the late 20th century the image of the Russian soldier had been encoded with negative information. This can be said of both personal recollections and collective memory alike. It should nevertheless be noted that such an image of the Russian soldier is prompted by the texts of opinion journalism of the late 20th century only. The analysis of the opinion journalism of the 1940s–1970s would bring up an absolutely different definition of the Russian soldier, because the evaluation and image of this figure in peopleʼs consciousness is highly dependent on the political and historical context.","PeriodicalId":383737,"journal":{"name":"Folia Philologica","volume":"14 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126146764","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 : 1900-01-01DOI: 10.17721/folia.philologica/2022/3/10
A. Prystash
The study of genre diversity, types and forms of cultural and literary relations is one of the key objectives of comparative literature. Agatangel Krymskyi, an outstanding Ukrainian orientalist scholar, in his work “The Legend of the Seven Young Sleepers of Ephesus” (1927) provided a basis for modern comparative literary studies. This article attempts to provide a comprehensive analysis of the legend of the seven young sleepers of Ephesus in Agatangel Krymskyi’s comparative and literary reception. In particular this research outlines the scholar's scientific interests as well as it reveals specificity of the above-mentioned legend functioning in different cultural and temporal dimensions. The study compares literary variations of the traditional plot and highlights their typical and specific features. Studying the specifics of the traditional plot functioning and the peculiarities of its reflection in A. Krymskyi’s comparative and literary reception requires an analysis of the comparative methods applied by the scholar and their direct use in practice. In particular, the comparative analysis of the legend of the seven young sleepers of Ephesus variations proved to be productive via their parallel comparison with the use of genetic-contactological, thematic, mythical and translational methods within the framework of a comparative historical approach. As a result of the conducted research the author of this article defines that in the work “The Legend of the Seven Young Sleepers of Ephesus” A. Krymskyi traced the regularities of the legend’s evolution, singled out common and distinctive stylistic features inherent in the functioning of the traditional plot in every single culture. In particular, the scholar proved the flexibility, universality and readiness of the traditional plots for formal and substantive adaptation in accordance with the time and the recipients’ needs, as well as he confirmed that traditional plots are the optimal environment for intercultural literary dialogue.
{"title":"THE LEGEND OF THE SLEEPERS OF EPHESUS IN AGATANGEL KRYMSKYI’S COMPARATIVE AND LITERARY RECEPTION","authors":"A. Prystash","doi":"10.17721/folia.philologica/2022/3/10","DOIUrl":"https://doi.org/10.17721/folia.philologica/2022/3/10","url":null,"abstract":"The study of genre diversity, types and forms of cultural and literary relations is one of the key objectives of comparative literature. Agatangel Krymskyi, an outstanding Ukrainian orientalist scholar, in his work “The Legend of the Seven Young Sleepers of Ephesus” (1927) provided a basis for modern comparative literary studies. This article attempts to provide a comprehensive analysis of the legend of the seven young sleepers of Ephesus in Agatangel Krymskyi’s comparative and literary reception. In particular this research outlines the scholar's scientific interests as well as it reveals specificity of the above-mentioned legend functioning in different cultural and temporal dimensions. The study compares literary variations of the traditional plot and highlights their typical and specific features. Studying the specifics of the traditional plot functioning and the peculiarities of its reflection in A. Krymskyi’s comparative and literary reception requires an analysis of the comparative methods applied by the scholar and their direct use in practice. In particular, the comparative analysis of the legend of the seven young sleepers of Ephesus variations proved to be productive via their parallel comparison with the use of genetic-contactological, thematic, mythical and translational methods within the framework of a comparative historical approach. As a result of the conducted research the author of this article defines that in the work “The Legend of the Seven Young Sleepers of Ephesus” A. Krymskyi traced the regularities of the legend’s evolution, singled out common and distinctive stylistic features inherent in the functioning of the traditional plot in every single culture. In particular, the scholar proved the flexibility, universality and readiness of the traditional plots for formal and substantive adaptation in accordance with the time and the recipients’ needs, as well as he confirmed that traditional plots are the optimal environment for intercultural literary dialogue.","PeriodicalId":383737,"journal":{"name":"Folia Philologica","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126219660","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 : 1900-01-01DOI: 10.17721/folia.philologica/2022/4/1
Olena Ardelian
The article provides a description of secondary phrase-forming processes in the English language, which result in the emergence of usual derived phraseological units. The typology of these processes has been examined according to structural and semantic criteria. According to structural criteria, secondary phrase-forming processes can be classified into intrastructural (where the derivative and creative unit have the same structure) and interstructural (involving units with different structures). The relevance of the study is determined by both active secondary phraseology in the English language and interest in derived phraseological units, as well as the need to provide generalization and explanation regarding the process of formation of a new phrase based on an existing one. The aim of the work is the study of secondary phrase formation as one of the language mechanisms for describing the phraseological system in its dynamic state and development. In the course of the study, all possible changes in the expression plan of the creative phraseological unit that occur in the process of creating a new phraseological unit have been summarized and correlated with changes in the content plan. It has been established that the formation of a new phraseological unit is possible if the meaning of the derived unit differs from the value of the original unit. The meaning of a derived phraseological expression is created based on an existing linguistic sign, therefore it necessarily incorporates in a certain way the meaning of the creative unit. The common elements of the structure of the creative and derived phraseological units create a material basis for the semantic correlation between the units. The process of secondary phrase formation leads to the emergence of phraseological units with new structural and semantic indicators. It is simultaneously associated with changes in both form and content. The analyzed linguistic material has demonstrated that based on the same event or plot, different phraseological nominations can arise, including new meanings of already existing units.
{"title":"SECONDARY PHRASE-FORMATION PROCESSES IN THE ENGLISH LANGUAGE","authors":"Olena Ardelian","doi":"10.17721/folia.philologica/2022/4/1","DOIUrl":"https://doi.org/10.17721/folia.philologica/2022/4/1","url":null,"abstract":"The article provides a description of secondary phrase-forming processes in the English language, which result in the emergence of usual derived phraseological units. The typology of these processes has been examined according to structural and semantic criteria. According to structural criteria, secondary phrase-forming processes can be classified into intrastructural (where the derivative and creative unit have the same structure) and interstructural (involving units with different structures). The relevance of the study is determined by both active secondary phraseology in the English language and interest in derived phraseological units, as well as the need to provide generalization and explanation regarding the process of formation of a new phrase based on an existing one. The aim of the work is the study of secondary phrase formation as one of the language mechanisms for describing the phraseological system in its dynamic state and development. In the course of the study, all possible changes in the expression plan of the creative phraseological unit that occur in the process of creating a new phraseological unit have been summarized and correlated with changes in the content plan. It has been established that the formation of a new phraseological unit is possible if the meaning of the derived unit differs from the value of the original unit. The meaning of a derived phraseological expression is created based on an existing linguistic sign, therefore it necessarily incorporates in a certain way the meaning of the creative unit. The common elements of the structure of the creative and derived phraseological units create a material basis for the semantic correlation between the units. The process of secondary phrase formation leads to the emergence of phraseological units with new structural and semantic indicators. It is simultaneously associated with changes in both form and content. The analyzed linguistic material has demonstrated that based on the same event or plot, different phraseological nominations can arise, including new meanings of already existing units.","PeriodicalId":383737,"journal":{"name":"Folia Philologica","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114803028","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 : 1900-01-01DOI: 10.17721/folia.philologica/2021/2/4
Andrianna Milo
The article is devoted to the study of the concept REFUGEE / MENEKÜLT in the discourse of new media of Hungary in 2015, marked by the migration crisis in Europe. Based on the results of content analysis with the use of the “Big Data” technology, a discourse-forming role of the concept REFUGEE / MENEKÜLT has been proven in relation to the ratio of government and public positions. Hungary has formed a strategy of a “single voice” of official media and social networks which systematically implement the strategic narrative “Refugees are a threat to Hungary”(“Menekültek veszélyt jelentenek Magyarországnak”). Hungary's unified national communicative strategy of non-admittance of refugees and the corresponding discourse as a type of social behavior were laid down by national consultations (a referendum) and in V. Orbán's speeches. The narratives and thematic groups of linguistic markers of social networks regarding the concept REFUGEE / MENEKÜLT mostly coincide with the narratives and messages of the official media which relay the policy of the of Hungarian government of the day. The development of the strategic narrative is carried out according to the following structural blocks: abstract, climax, outcome, essessment, conclusion. The “single voice”policy on the issue of refugees was implemented in Hungary through various communicative channels with a focus on all target audiences.
{"title":"THE CONCEPT REFUGEE IN THE DISCOURSES OF NEW MEDIA OF HUNGARY: “DEVELOPMENT OF A SINGLE VOICE\"","authors":"Andrianna Milo","doi":"10.17721/folia.philologica/2021/2/4","DOIUrl":"https://doi.org/10.17721/folia.philologica/2021/2/4","url":null,"abstract":"The article is devoted to the study of the concept REFUGEE / MENEKÜLT in the discourse of new media of Hungary in 2015, marked by the migration crisis in Europe. Based on the results of content analysis with the use of the “Big Data” technology, a discourse-forming role of the concept REFUGEE / MENEKÜLT has been proven in relation to the ratio of government and public positions. Hungary has formed a strategy of a “single voice” of official media and social networks which systematically implement the strategic narrative “Refugees are a threat to Hungary”(“Menekültek veszélyt jelentenek Magyarországnak”). Hungary's unified national communicative strategy of non-admittance of refugees and the corresponding discourse as a type of social behavior were laid down by national consultations (a referendum) and in V. Orbán's speeches. The narratives and thematic groups of linguistic markers of social networks regarding the concept REFUGEE / MENEKÜLT mostly coincide with the narratives and messages of the official media which relay the policy of the of Hungarian government of the day. The development of the strategic narrative is carried out according to the following structural blocks: abstract, climax, outcome, essessment, conclusion. The “single voice”policy on the issue of refugees was implemented in Hungary through various communicative channels with a focus on all target audiences.","PeriodicalId":383737,"journal":{"name":"Folia Philologica","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121475201","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 : 1900-01-01DOI: 10.17721/folia.philologica/2022/3/7
M. Zhuikova, Olena Kotys
The article presents results of textological research based on Polish humor. The jokes feature music-related topics (approx. 400 jokes were analyzed). The general peculiarity of such jokes is richness of hyperbole that is used to display characteristics of musicians and the instruments they play. Constant attention to these characteristics creates some certain cultural stereotypes that are transmitted through short funny texts that are easy to remember and pass on in the society. For instance, viola players are rather popular characters of Polish jokes. However, they are usually presented as individuals whose performance cannot be referred to as professional: they play out of tune, if they play in an orchestra, they lag behind the rhythm, they can not tune their instrument properly and what they play is not music, but some noise. There are jokes that depict characteristics of specific groups of musicians as narrow-minded and not well-educated people (for instance, village musicians who usually play at wedding parties, think they could play in a philharmonic orchestra). However, not all the jokes include negative stereotypes: some characters evoke sympathy and even admiration: one of the jokes portrays a jazz musician who does not earn money by performing; on the contrary, they invest in music. Such a musician is devoted to their art and is ready to make financial sacrifice to promote their music. Our analysis has proved that Polish music jokes are based on rich musical background and require readers/listeners to have considerable amount of such knowledge. Moreover, in the process of understanding and interpretation of these texts a recipient has to undergo series of cognitive procedures (to understand the desirable implication, to quickly single out the characteristic feature of an object that usually takes marginal position in a concept structure, etc.).
{"title":"CULTURAL STEREOTYPES IN POLISH JOKES","authors":"M. Zhuikova, Olena Kotys","doi":"10.17721/folia.philologica/2022/3/7","DOIUrl":"https://doi.org/10.17721/folia.philologica/2022/3/7","url":null,"abstract":"The article presents results of textological research based on Polish humor. The jokes feature music-related topics (approx. 400 jokes were analyzed). The general peculiarity of such jokes is richness of hyperbole that is used to display characteristics of musicians and the instruments they play. Constant attention to these characteristics creates some certain cultural stereotypes that are transmitted through short funny texts that are easy to remember and pass on in the society. For instance, viola players are rather popular characters of Polish jokes. However, they are usually presented as individuals whose performance cannot be referred to as professional: they play out of tune, if they play in an orchestra, they lag behind the rhythm, they can not tune their instrument properly and what they play is not music, but some noise. There are jokes that depict characteristics of specific groups of musicians as narrow-minded and not well-educated people (for instance, village musicians who usually play at wedding parties, think they could play in a philharmonic orchestra). However, not all the jokes include negative stereotypes: some characters evoke sympathy and even admiration: one of the jokes portrays a jazz musician who does not earn money by performing; on the contrary, they invest in music. Such a musician is devoted to their art and is ready to make financial sacrifice to promote their music. Our analysis has proved that Polish music jokes are based on rich musical background and require readers/listeners to have considerable amount of such knowledge. Moreover, in the process of understanding and interpretation of these texts a recipient has to undergo series of cognitive procedures (to understand the desirable implication, to quickly single out the characteristic feature of an object that usually takes marginal position in a concept structure, etc.).","PeriodicalId":383737,"journal":{"name":"Folia Philologica","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121557099","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 : 1900-01-01DOI: 10.17721/folia.philologica/2022/4/8
Anatoly Popovsky, Halyna KHMEL-DUNAI
The article examines the transformational processes of preserving the ethnic authenticity of the human essence in the context of the historical development of statehood in Lithuania and Ukraine, which continue to function in the creative cooperation of modern sovereign states. Ukraine and Lithuania are long-standing and reliable partners not only in economic, political, scientific and cultural cooperation – they are united by a common history and ancient cultural processes. In Dnipropetrovsk region, with the assistance of the regional state administration, centers of representatives of various nationalities are actively functioning, among which the cultural and business center of Lithuania occupies an important place in the economic, scientific and cultural life of Ukraine. The purpose of the article is to highlight the enduring ethnic authenticity of Lithuanians and Ukrainians in the long-term state-building cooperation between Ukraine and Lithuania, encompassing the political-economic and scientific-cultural spheres of both ethnic groups. This is the first attempt to shed light on the relations between Ukrainians and Lithuanians from the point of view of the organization of their socio-historical formations in the state-building, economic, and cultural spheres of cooperation. Moreover, the question of the ethnic authenticity of both ethnic groups outside their homeland in the modern Ukrainian-Lithuanian discourse, unfortunately, has not become the subject of dedicated historical-linguistic research. The issue of preserving ethnic identity remains a highly relevant factor in modern globalization processes and requires a thorough study of its important social features that form mutual respect, creative cooperation, and a high spiritual culture of international relations, which will resist discord, enmity and aggressive intentions between representatives of different nationalities of our planet.
{"title":"ON THE QUESTION OF PRESERVING ETHNIC AUTHENTICITY OF HUMAN ESSENCE","authors":"Anatoly Popovsky, Halyna KHMEL-DUNAI","doi":"10.17721/folia.philologica/2022/4/8","DOIUrl":"https://doi.org/10.17721/folia.philologica/2022/4/8","url":null,"abstract":"The article examines the transformational processes of preserving the ethnic authenticity of the human essence in the context of the historical development of statehood in Lithuania and Ukraine, which continue to function in the creative cooperation of modern sovereign states. Ukraine and Lithuania are long-standing and reliable partners not only in economic, political, scientific and cultural cooperation – they are united by a common history and ancient cultural processes. In Dnipropetrovsk region, with the assistance of the regional state administration, centers of representatives of various nationalities are actively functioning, among which the cultural and business center of Lithuania occupies an important place in the economic, scientific and cultural life of Ukraine. The purpose of the article is to highlight the enduring ethnic authenticity of Lithuanians and Ukrainians in the long-term state-building cooperation between Ukraine and Lithuania, encompassing the political-economic and scientific-cultural spheres of both ethnic groups. This is the first attempt to shed light on the relations between Ukrainians and Lithuanians from the point of view of the organization of their socio-historical formations in the state-building, economic, and cultural spheres of cooperation. Moreover, the question of the ethnic authenticity of both ethnic groups outside their homeland in the modern Ukrainian-Lithuanian discourse, unfortunately, has not become the subject of dedicated historical-linguistic research. The issue of preserving ethnic identity remains a highly relevant factor in modern globalization processes and requires a thorough study of its important social features that form mutual respect, creative cooperation, and a high spiritual culture of international relations, which will resist discord, enmity and aggressive intentions between representatives of different nationalities of our planet.","PeriodicalId":383737,"journal":{"name":"Folia Philologica","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131191909","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 : 1900-01-01DOI: 10.17721/folia.philologica/2021/2/6
Zoya Rozhchenko, Amirreza MOLLAAKHMADI-DEKHAHI
Simin Behbahani is the most outstanding contemporary Iranian poet famous for her participation in political actions for civil freedoms such as women’s rights, against cruel forms of punishment and against Iran-Iraq war. She participated in the movement of mothers of political prisoners as well. But she became more famous in Iran for her lyrical poetry written in a traditional form of ghazal and not for her political activities. The aim of the article is to make the analyses of Simin Behbahani’s poetry and to consider the problems of its translation into different European languages. Such problems can be explained by the different ways of poetry in the eastern and western cultures: 1) the problem of keeping the metrics of ghazal; 2) the problem of keeping the sense of ghazal. Ghazal as the form originated in the Arabic literature was spread through the Near and Middle East culture and it was not known in Europe until 19th century. From the very beginning ghazal was performed against the backdrop of playing stringed musical instruments. According to the last researchers, ghazal became a base for the development of European sonnet. The authors of this article make a short review of the rhythmical features of ghazal and define its main components, such as bayt, matlaa, radif and others, that should be present at the translated text. It is important to keep these components in verse while translating because rhythmical characteristics of the ghazal are primary relatively to its sense. Scientific novelty. Simin Behbahani is known as a pioneer, who combined in her poetry genres and style of qasida and ghazal. This article deals with the translation of the ghazals by Simin Behbahani into different European languages, such as English and Romanian. Various poems by Simin Behbahani were translated by several interpreters who based their work on different reproduction principles of the original text. Metric and rhythmic of Persian verses were not kept even by the best translators into English. Farzane Milani used in her adaptation the free verse (vers libre) which had become the national form in the English poetry of the 20th century. This choise is good for translator who was born in Iran and now works at the University of Virinia. She made Persian verse understandable for native English speaker and focused at the main substance of poetry. In conclusion, Romanian translator reproduced metric and rhythmic features of the English translation but not of the Persian original. That’s why Ukrainian translators must take in account such experience and use the original text for reading.
{"title":"THE GREAT POET OF IRANIAN MODERNITY SIMIN BEHBAHANI AND SOME INTERPRETING PROBLEMS IN THE TRANSLATION OF PERSIAN GHAZAL INTO INDO-EUROPEAN LANGUAGES","authors":"Zoya Rozhchenko, Amirreza MOLLAAKHMADI-DEKHAHI","doi":"10.17721/folia.philologica/2021/2/6","DOIUrl":"https://doi.org/10.17721/folia.philologica/2021/2/6","url":null,"abstract":"Simin Behbahani is the most outstanding contemporary Iranian poet famous for her participation in political actions for civil freedoms such as women’s rights, against cruel forms of punishment and against Iran-Iraq war. She participated in the movement of mothers of political prisoners as well. But she became more famous in Iran for her lyrical poetry written in a traditional form of ghazal and not for her political activities. The aim of the article is to make the analyses of Simin Behbahani’s poetry and to consider the problems of its translation into different European languages. Such problems can be explained by the different ways of poetry in the eastern and western cultures: 1) the problem of keeping the metrics of ghazal; 2) the problem of keeping the sense of ghazal. Ghazal as the form originated in the Arabic literature was spread through the Near and Middle East culture and it was not known in Europe until 19th century. From the very beginning ghazal was performed against the backdrop of playing stringed musical instruments. According to the last researchers, ghazal became a base for the development of European sonnet. The authors of this article make a short review of the rhythmical features of ghazal and define its main components, such as bayt, matlaa, radif and others, that should be present at the translated text. It is important to keep these components in verse while translating because rhythmical characteristics of the ghazal are primary relatively to its sense. Scientific novelty. Simin Behbahani is known as a pioneer, who combined in her poetry genres and style of qasida and ghazal. This article deals with the translation of the ghazals by Simin Behbahani into different European languages, such as English and Romanian. Various poems by Simin Behbahani were translated by several interpreters who based their work on different reproduction principles of the original text. Metric and rhythmic of Persian verses were not kept even by the best translators into English. Farzane Milani used in her adaptation the free verse (vers libre) which had become the national form in the English poetry of the 20th century. This choise is good for translator who was born in Iran and now works at the University of Virinia. She made Persian verse understandable for native English speaker and focused at the main substance of poetry. In conclusion, Romanian translator reproduced metric and rhythmic features of the English translation but not of the Persian original. That’s why Ukrainian translators must take in account such experience and use the original text for reading.","PeriodicalId":383737,"journal":{"name":"Folia Philologica","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129293469","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 : 1900-01-01DOI: 10.17721/folia.philologica/2022/4/3
D. Drozdovskyi
In the paper, the author explores the problem-thematic landscape explicated in Ian McEwan’s post-postmodern novel “Lessons” (2022). Philosophical aspects of the literary work by the British writer have been studied, in particular, the representation of environmental issues that shape the worldview of the protagonist (Roland). The genre specification of the novel has been clarified, and the genre forms exploited in the novel Lessons have been outlined. Emphasis is placed on the reinforcement of the topics of romantic discourse (with a focus on the metaphysical/transcendental phenomenon represented through music), which is a general typological feature of the British post-postmodern novel. The scope of problem-thematic complexes that define the existential and epistemological landscape of the novel has been determined: the interaction of erotic and thanatological aspects in the life of the protagonist, problems of sexuality, the motif of Roland’s coming of age, awareness of the planetary threat to humanity, the fragility of human life in the second half – end of the 20th century. The specific events in Roland’s life are compared with historical, social and political events, particularly in terms of how the specific and general interact in the space of the novel. Emphasis is placed on the forms of explication of the road motif in McEwan’s Lessons, which involves the sub-motif of self-discovery, rethinking mistakes and self-improvement, etc. In this way, the thematic aspects of the novel reveal the meta-genre pattern of mystery, which opposes the carnivalization of reality in postmodern novels. The protagonist understands the crisis of political institutions and the danger of an ideology that seeks to conquer the individual at all costs. The policy of the USSR indirectly affects the formation of the worldview of the young British man, Roland, giving him the opportunity to accept for the first time his own finitude through the understanding of a hypothetically possible nuclear explosion. The second global problem discussed in the novel as a consequence of the Soviet ideology, is the Chernobyl disaster. The novel reveals the stages of formation of existentially significant categories and values in the life of the protagonist. The detective plot, which revolves around the key intrigue in the novel, intersects with social criticism of power, political discourse in general, environmental policy, etc., combining skepticism and irony with Roland’s attempt to find out the essence of human beings: both physical and metaphysical.
{"title":"THE SCORE OF PROBLEM-THEMATIC COMPLEXES IN I. MCEWAN’S NOVEL “LESSONS” (2022): THE TOPIC OF “THE WAY OF THE HERO”","authors":"D. Drozdovskyi","doi":"10.17721/folia.philologica/2022/4/3","DOIUrl":"https://doi.org/10.17721/folia.philologica/2022/4/3","url":null,"abstract":"In the paper, the author explores the problem-thematic landscape explicated in Ian McEwan’s post-postmodern novel “Lessons” (2022). Philosophical aspects of the literary work by the British writer have been studied, in particular, the representation of environmental issues that shape the worldview of the protagonist (Roland). The genre specification of the novel has been clarified, and the genre forms exploited in the novel Lessons have been outlined. Emphasis is placed on the reinforcement of the topics of romantic discourse (with a focus on the metaphysical/transcendental phenomenon represented through music), which is a general typological feature of the British post-postmodern novel. The scope of problem-thematic complexes that define the existential and epistemological landscape of the novel has been determined: the interaction of erotic and thanatological aspects in the life of the protagonist, problems of sexuality, the motif of Roland’s coming of age, awareness of the planetary threat to humanity, the fragility of human life in the second half – end of the 20th century. The specific events in Roland’s life are compared with historical, social and political events, particularly in terms of how the specific and general interact in the space of the novel. Emphasis is placed on the forms of explication of the road motif in McEwan’s Lessons, which involves the sub-motif of self-discovery, rethinking mistakes and self-improvement, etc. In this way, the thematic aspects of the novel reveal the meta-genre pattern of mystery, which opposes the carnivalization of reality in postmodern novels. The protagonist understands the crisis of political institutions and the danger of an ideology that seeks to conquer the individual at all costs. The policy of the USSR indirectly affects the formation of the worldview of the young British man, Roland, giving him the opportunity to accept for the first time his own finitude through the understanding of a hypothetically possible nuclear explosion. The second global problem discussed in the novel as a consequence of the Soviet ideology, is the Chernobyl disaster. The novel reveals the stages of formation of existentially significant categories and values in the life of the protagonist. The detective plot, which revolves around the key intrigue in the novel, intersects with social criticism of power, political discourse in general, environmental policy, etc., combining skepticism and irony with Roland’s attempt to find out the essence of human beings: both physical and metaphysical.","PeriodicalId":383737,"journal":{"name":"Folia Philologica","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134243352","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 : 1900-01-01DOI: 10.17721/folia.philologica/2021/1/7
Yana Reznyk
Poetry is a kind of discourse distinct from ordinary, everyday speech; it is an institution, a kind of speech that a society has marked as special, with special rules applying to its production and reception. Didactic poetry is a kind of poetry that it aims to instruct (Toohey, 2013: 2). In didactic poetry the reader is invited to consider not just the message and the brilliant language of its exposition, but what lies behind the message, the human values and the vision which the poem embodies. The article analyzes the work of Orientius “Commonitorium” and his role as an innovative writer of Latin didactic poetry as well as his position in the landscape of late antique literature of the 5th century AD. The aim of the article is to show to what extent the defining characteristics of the genre can be found in Orientius’ poem “Commonitorium” and to trace the permutations of these features throughout the text. A full range of issues, which scholarship on Orientius has hitherto neglected, will be studied: the “poetics” of the work, that is the poetic selfawareness expressed in the poem, as well as techniques of composition, rhetorical argumentation, strategies of persuasion and narration, intertextual allusions, relationship with contemporary works and other aspects. Scientific novelty. Whereas Latin poetry flourished under the reign of Augustus (27 BC – 14 AD) and the first century AD, only few poetic works survived which were produced in the later second and third century AD. After a long period of silence, Latin poetry had its comeback in late antiquity when in the 4th century AD various writers started composing poetic genres again. Instead of Rome, other locations became important breeding grounds for the production of literature, especially Gaul, where writers such as Ausonius, Paulinus of Nola, Sulpicius Severus, Sidonius Apollinaris and others were active. Whereas the genres composed by late antique writers were more or less the same as in Classical literature, most of their works differ in content and meaning (Gasparov, 1982: 2; Johnson, 2000: 335–337). Late antique writers were deeply familiar with their Classical literary predecessors, but due to the influence of Christian religion, the character of Latin literature produced in late antiquity also differs significantly from the works which were written by pagan writers in the preceding centuries. This article discusses the work of a poet who has been rarely studied so far. Orientius, whom the majority of scholars now identify with the homonymous bishop of Augusta Ausciorum (modern Auch, France) in Southern Gaul, is an important representative of didactic poetry and his work constitutes an important example in the history of the genre. His didactic poem with the title “Commonitorium”, in elegiacs was probably written around 430 AD. In conclusion, the “Commonitorium” presents itself as a serious poem concerned with issues of paramount importance to humanity. The question of what exactly the “
{"title":"POETICS OF ORIENTIUS’ “COMMONITORIUM”","authors":"Yana Reznyk","doi":"10.17721/folia.philologica/2021/1/7","DOIUrl":"https://doi.org/10.17721/folia.philologica/2021/1/7","url":null,"abstract":"Poetry is a kind of discourse distinct from ordinary, everyday speech; it is an institution, a kind of speech that a society has marked as special, with special rules applying to its production and reception. Didactic poetry is a kind of poetry that it aims to instruct (Toohey, 2013: 2). In didactic poetry the reader is invited to consider not just the message and the brilliant language of its exposition, but what lies behind the message, the human values and the vision which the poem embodies. The article analyzes the work of Orientius “Commonitorium” and his role as an innovative writer of Latin didactic poetry as well as his position in the landscape of late antique literature of the 5th century AD. The aim of the article is to show to what extent the defining characteristics of the genre can be found in Orientius’ poem “Commonitorium” and to trace the permutations of these features throughout the text. A full range of issues, which scholarship on Orientius has hitherto neglected, will be studied: the “poetics” of the work, that is the poetic selfawareness expressed in the poem, as well as techniques of composition, rhetorical argumentation, strategies of persuasion and narration, intertextual allusions, relationship with contemporary works and other aspects. Scientific novelty. Whereas Latin poetry flourished under the reign of Augustus (27 BC – 14 AD) and the first century AD, only few poetic works survived which were produced in the later second and third century AD. After a long period of silence, Latin poetry had its comeback in late antiquity when in the 4th century AD various writers started composing poetic genres again. Instead of Rome, other locations became important breeding grounds for the production of literature, especially Gaul, where writers such as Ausonius, Paulinus of Nola, Sulpicius Severus, Sidonius Apollinaris and others were active. Whereas the genres composed by late antique writers were more or less the same as in Classical literature, most of their works differ in content and meaning (Gasparov, 1982: 2; Johnson, 2000: 335–337). Late antique writers were deeply familiar with their Classical literary predecessors, but due to the influence of Christian religion, the character of Latin literature produced in late antiquity also differs significantly from the works which were written by pagan writers in the preceding centuries. This article discusses the work of a poet who has been rarely studied so far. Orientius, whom the majority of scholars now identify with the homonymous bishop of Augusta Ausciorum (modern Auch, France) in Southern Gaul, is an important representative of didactic poetry and his work constitutes an important example in the history of the genre. His didactic poem with the title “Commonitorium”, in elegiacs was probably written around 430 AD. In conclusion, the “Commonitorium” presents itself as a serious poem concerned with issues of paramount importance to humanity. The question of what exactly the “","PeriodicalId":383737,"journal":{"name":"Folia Philologica","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117256446","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：