The study aims to solve the problem of the image cultural identification within the bounds of the English national cultural code. The object of the study is concentrated around linguistic metaphors representing images of fire and water as a part of the English nature-morphic code in films about catastrophes and survival. In order to solve the problem, the two natural image schemes, the pyromorphic image scheme FIRE > EMOTIONS and the hydromorphic scheme WATER > EMOTIONS, which are subordinate to the general hyperscheme NATURE > PSYCHE, are examined in detail. The study is novel in that it is the first to focus on the natural-elementary imagery as a source of stereotypes in the national cultural code. In order to do so, the article involves the modern cognitive-psychological image paradigm, according to which the activation of an image vividly demonstrates secondary stereotypical comprehension of the emotional world through the world of nature. The results achieved demonstrate that natural metaphors are basic, original and unavoidable in the world of psychology, while their use is quite a powerful source for naming unknown and problematic modern phenomena, such as emotions, feelings and experiences.
{"title":"Cultural code and its image component (by the example of the image of nature in English films)","authors":"S. A. Pankratova","doi":"10.30853/phil20240062","DOIUrl":"https://doi.org/10.30853/phil20240062","url":null,"abstract":"The study aims to solve the problem of the image cultural identification within the bounds of the English national cultural code. The object of the study is concentrated around linguistic metaphors representing images of fire and water as a part of the English nature-morphic code in films about catastrophes and survival. In order to solve the problem, the two natural image schemes, the pyromorphic image scheme FIRE > EMOTIONS and the hydromorphic scheme WATER > EMOTIONS, which are subordinate to the general hyperscheme NATURE > PSYCHE, are examined in detail. The study is novel in that it is the first to focus on the natural-elementary imagery as a source of stereotypes in the national cultural code. In order to do so, the article involves the modern cognitive-psychological image paradigm, according to which the activation of an image vividly demonstrates secondary stereotypical comprehension of the emotional world through the world of nature. The results achieved demonstrate that natural metaphors are basic, original and unavoidable in the world of psychology, while their use is quite a powerful source for naming unknown and problematic modern phenomena, such as emotions, feelings and experiences.","PeriodicalId":415627,"journal":{"name":"Philology. Issues of Theory and Practice","volume":"235 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140449605","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}
The aim of the research is to identify potential problems in translating political German jokes into Russian. The research is based on jokes about the German Democratic Republic and the Federal Republic of Germany extracted from a printed collection and relevant German thematic Internet sites. The scientific novelty of the research lies in substantiating a comprehensive, interdisciplinary approach to the problems of translation (understanding) of a political joke, in which attention should be focused not only on interlingual, but also on intercultural differences between the two societies. The research conducted allows us to confirm that the structure of a (political) joke in German and Russian societies is similar. Translation problems usually arise due to insufficient linguistic competence, as well as to the lack of cultural background in conveying historical, political, cultural realia, which contain implicit cultural subcontext. To understand the latter, one should possess cultural knowledge close to that of a native speaker. So, to perceive a comic effect of a joke, a foreign recipient should first study culturally relevant information or it should be explained to them.
{"title":"Problems in translating political jokes from German into Russian","authors":"Sergey Yuerevich Shcherbina","doi":"10.30853/phil20240065","DOIUrl":"https://doi.org/10.30853/phil20240065","url":null,"abstract":"The aim of the research is to identify potential problems in translating political German jokes into Russian. The research is based on jokes about the German Democratic Republic and the Federal Republic of Germany extracted from a printed collection and relevant German thematic Internet sites. The scientific novelty of the research lies in substantiating a comprehensive, interdisciplinary approach to the problems of translation (understanding) of a political joke, in which attention should be focused not only on interlingual, but also on intercultural differences between the two societies. The research conducted allows us to confirm that the structure of a (political) joke in German and Russian societies is similar. Translation problems usually arise due to insufficient linguistic competence, as well as to the lack of cultural background in conveying historical, political, cultural realia, which contain implicit cultural subcontext. To understand the latter, one should possess cultural knowledge close to that of a native speaker. So, to perceive a comic effect of a joke, a foreign recipient should first study culturally relevant information or it should be explained to them.","PeriodicalId":415627,"journal":{"name":"Philology. Issues of Theory and Practice","volume":"96 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140451206","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}
The aim of the study is to identify the features of implementation of the cinematic chronotope by means of creating literary cinematic quality in Kazuo Ishiguro’s novels aimed at ensuring an audiovisual and emotional impact of the literary text on the reader. Despite the interest in this writer, at the moment, there is a gap in research on the interaction between literature and cinema based on the material of Kazuo Ishiguro’s creative work. The scientific originality of the study lies in the fact that the identified set of literary means of creating cinematic poetics makes it possible to determine how Kazuo Ishiguro’s work with screenplays, personal interest in cinema and focus on the “reader-viewer” determines his individual style. As a result, the study revealed the implementation of the cinematic code in Kazuo Ishiguro’s texts at several levels, which indicates the artistic value of these means for blurring the boundary between cinema and the modern intellectual novel. The pragmatic function of cinematic techniques in Kazuo Ishiguro’s novels helps to dynamically develop scenes, rhythmically alternate images and paintings, deepens the range of problems and contributes to the visualization of psychological experiences of characters, affects the readers, immersing them in a unique fictional world.
{"title":"Cinematic quality as a feature of poetics in Kazuo Ishiguro’s novels","authors":"Tatiana Sergeevna Orlova","doi":"10.30853/phil20240059","DOIUrl":"https://doi.org/10.30853/phil20240059","url":null,"abstract":"The aim of the study is to identify the features of implementation of the cinematic chronotope by means of creating literary cinematic quality in Kazuo Ishiguro’s novels aimed at ensuring an audiovisual and emotional impact of the literary text on the reader. Despite the interest in this writer, at the moment, there is a gap in research on the interaction between literature and cinema based on the material of Kazuo Ishiguro’s creative work. The scientific originality of the study lies in the fact that the identified set of literary means of creating cinematic poetics makes it possible to determine how Kazuo Ishiguro’s work with screenplays, personal interest in cinema and focus on the “reader-viewer” determines his individual style. As a result, the study revealed the implementation of the cinematic code in Kazuo Ishiguro’s texts at several levels, which indicates the artistic value of these means for blurring the boundary between cinema and the modern intellectual novel. The pragmatic function of cinematic techniques in Kazuo Ishiguro’s novels helps to dynamically develop scenes, rhythmically alternate images and paintings, deepens the range of problems and contributes to the visualization of psychological experiences of characters, affects the readers, immersing them in a unique fictional world.","PeriodicalId":415627,"journal":{"name":"Philology. Issues of Theory and Practice","volume":"221 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140454288","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}
The study aims to identify the features of rending artistic imagery in the translation of Robert Burns’s poetic texts from English into Russian. The scientific novelty of the study lies in the fact that the researcher for the first time focuses on translation techniques from the perspective of their image-forming function. Using the comparative method and contextual analysis, the most effective ways of translating tropes, stylistic devices and the specifics of preserving the author’s imagery are revealed. The results showed that when translating R. Burns’s poetry, such translation techniques as trope omission, equivalent translation, replacement of the original trope with another stylistic device and word-for-word translation have the greatest distribution. It is noteworthy that it is not always possible to find the equivalent necessary to recreate the image in the target language. Omission is resorted to in the case of cultural and linguistic inconsistencies. A distinctive feature of the translation of the analyzed poetic text is the presence of cases in which the translation of the poetic form and the image it contains virtually have nothing in common with the original and such translation is interpreted as an independent text created on the basis of the original.
{"title":"Rendering of artistic imagery in poetic translation (based on the poetry of R. Burns)","authors":"Olga Pavlovna Alekseeva","doi":"10.30853/phil20240060","DOIUrl":"https://doi.org/10.30853/phil20240060","url":null,"abstract":"The study aims to identify the features of rending artistic imagery in the translation of Robert Burns’s poetic texts from English into Russian. The scientific novelty of the study lies in the fact that the researcher for the first time focuses on translation techniques from the perspective of their image-forming function. Using the comparative method and contextual analysis, the most effective ways of translating tropes, stylistic devices and the specifics of preserving the author’s imagery are revealed. The results showed that when translating R. Burns’s poetry, such translation techniques as trope omission, equivalent translation, replacement of the original trope with another stylistic device and word-for-word translation have the greatest distribution. It is noteworthy that it is not always possible to find the equivalent necessary to recreate the image in the target language. Omission is resorted to in the case of cultural and linguistic inconsistencies. A distinctive feature of the translation of the analyzed poetic text is the presence of cases in which the translation of the poetic form and the image it contains virtually have nothing in common with the original and such translation is interpreted as an independent text created on the basis of the original.","PeriodicalId":415627,"journal":{"name":"Philology. Issues of Theory and Practice","volume":"54 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140455363","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}
The aim of the study is to prove the productivity of a military metaphor reflecting the perception of the situation of the fight against coronavirus as akin to a military battle. The scientific novelty of the work lies in the fact that the systematization and interpretation of linguistic and conceptual metaphors in the structure and content of the COVID-19 mental frame have been carried out. As a result of the study, it was revealed that nominal metaphors provide access to the content of the frame, while verbal metaphors provide access to the frame scenario. The functionality of the frame is supported by conceptual metaphors. The most productive linguo-cognitive mechanisms of metaphorization that allow identifying the conceptual metaphors THE PANDEMIC IS WAR, THE CORONAVIRUS IS THE ENEMY are as follows: the use of military vocabulary with metaphorical meaning; substitution of the PANDEMIC, WAR, ENEMY, DISEASE concepts; the scenario “coronavirus SARS-CoV-2 poses a threat to human life” in the COVID-19 mental frame. In this mental frame, concepts are being replaced as the basis for manipulating linguistic consciousness, which suggests that the social mission for the media is to create semantic negativity of the PANDEMIC concept in the human cognitive sphere.
{"title":"Linguo-cognitive mechanisms of metaphorization in COVID-19 discourse (based on Russian-language media)","authors":"Alexandra Sokratovna Dadueva, S. A. Khakhalova","doi":"10.30853/phil20240058","DOIUrl":"https://doi.org/10.30853/phil20240058","url":null,"abstract":"The aim of the study is to prove the productivity of a military metaphor reflecting the perception of the situation of the fight against coronavirus as akin to a military battle. The scientific novelty of the work lies in the fact that the systematization and interpretation of linguistic and conceptual metaphors in the structure and content of the COVID-19 mental frame have been carried out. As a result of the study, it was revealed that nominal metaphors provide access to the content of the frame, while verbal metaphors provide access to the frame scenario. The functionality of the frame is supported by conceptual metaphors. The most productive linguo-cognitive mechanisms of metaphorization that allow identifying the conceptual metaphors THE PANDEMIC IS WAR, THE CORONAVIRUS IS THE ENEMY are as follows: the use of military vocabulary with metaphorical meaning; substitution of the PANDEMIC, WAR, ENEMY, DISEASE concepts; the scenario “coronavirus SARS-CoV-2 poses a threat to human life” in the COVID-19 mental frame. In this mental frame, concepts are being replaced as the basis for manipulating linguistic consciousness, which suggests that the social mission for the media is to create semantic negativity of the PANDEMIC concept in the human cognitive sphere.","PeriodicalId":415627,"journal":{"name":"Philology. Issues of Theory and Practice","volume":"160 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140455807","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}
The study aims to determine the ways of implementing some factors of discursivity, namely cultural-historical and psychological factors, in the process of poetic translation based on Sergei Gontsov’s poem “In a red tower-room”. The paper examines the views on poetic translation as a meaning-extracting and meaning-forming process. The study emphasizes the expediency of highlighting the recreational phase, during which the translator first becomes the recipient and decoder of the author’s idea, then encodes the mastered material by means of another language. Special attention is paid to the notions of discourse and a communicative block, the possibility of correlating them is considered. Using Gontsov’s poem “In a red tower-room” as an example, a sample of dividing the poem into communicative blocks is given, along with predictions of the reader’s questions for each block and ways of implementing these discursive factors when translating the poem into English. The scientific novelty lies in the fact that translations of S. A. Gontsov’s poems have not been published to date, the paper is the first to present an English-language version of this poem and offer an analysis of the stylistic devices used in the rendering of the original from the perspective of the semio-discursive model of translation. As a result, it was possible to identify the means by which cultural-historical and psychological discursive factors are expressed in the original poem and the means by which they are projected in the English text.
本研究旨在以谢尔盖-冈佐夫的诗歌《在红色塔楼的房间里》为基础，确定在诗歌翻译过程中实施某些话语因素（即文化-历史和心理因素）的方式。本文探讨了将诗歌翻译视为意义提取和意义形成过程的观点。在这一阶段，译者首先成为作者思想的接受者和解码者，然后通过另一种语言对掌握的材料进行编码。在此过程中，译者首先成为作者思想的接受者和解码者，然后通过另一种语言对所掌握的材料进行编码。我们特别关注了话语和交际块的概念，并考虑了将它们联系起来的可能性。以冈佐夫的诗歌《在红色的塔楼上》为例，给出了将诗歌划分为交际块的示例，同时预测了读者对每个交际块提出的问题，以及在将诗歌翻译成英语时落实这些话语因素的方法。本文的科学新颖性在于迄今为止尚未出版过 S. A. 龚佐夫诗歌的译本，本文是首次提出这首诗歌的英文版本，并从半话语翻译模式的角度分析了翻译原作时使用的文体手段。因此，本文得以确定原诗中文化历史和心理话语因素的表达方式，以及这些因素在英文文本中的投射方式。
{"title":"Realization of poetic discourse in the recreative phase of translation (based on an English translation of Sergei Gontsov’s poem “In a red tower-room”)","authors":"Elena Nikolayevna Guseva","doi":"10.30853/phil20240057","DOIUrl":"https://doi.org/10.30853/phil20240057","url":null,"abstract":"The study aims to determine the ways of implementing some factors of discursivity, namely cultural-historical and psychological factors, in the process of poetic translation based on Sergei Gontsov’s poem “In a red tower-room”. The paper examines the views on poetic translation as a meaning-extracting and meaning-forming process. The study emphasizes the expediency of highlighting the recreational phase, during which the translator first becomes the recipient and decoder of the author’s idea, then encodes the mastered material by means of another language. Special attention is paid to the notions of discourse and a communicative block, the possibility of correlating them is considered. Using Gontsov’s poem “In a red tower-room” as an example, a sample of dividing the poem into communicative blocks is given, along with predictions of the reader’s questions for each block and ways of implementing these discursive factors when translating the poem into English. The scientific novelty lies in the fact that translations of S. A. Gontsov’s poems have not been published to date, the paper is the first to present an English-language version of this poem and offer an analysis of the stylistic devices used in the rendering of the original from the perspective of the semio-discursive model of translation. As a result, it was possible to identify the means by which cultural-historical and psychological discursive factors are expressed in the original poem and the means by which they are projected in the English text.","PeriodicalId":415627,"journal":{"name":"Philology. Issues of Theory and Practice","volume":"416 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140455547","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}
T. B. Zaitseva, Veronika Valentinovna Tsurkan, Alena Olegovna Veseleva
The aim of the research is to identify the most important features in representation and reception of A. Blok’s poetic texts in the genre of video poetry presented at the international festival ‘Videostikhiya’. The paper examines the specifics of video poetry as a new sphere in art associated with the search for both modern forms of poetic creativity and ways of its interpretation and representation; analyzes video clips based on A. Blok’s poems. Scholars’ attention is focused on the complexity of audio visualization of the works by the symbolist poet, who perceived life in its transcendent essence. The scientific novelty of the research lies in the fact that for the first time, the results of analysing modern works in the genre of video poetry based on Blok’s texts are presented; approaches to the study of the visual sphere of A. Blok’s poems are expanded. It is proved that the representation of A. Blok’s creative work in video poetry has its own specifics: the authors can modernize the Blok text, deepening the perception of the poem through metaphorical and symbolic video sequences, or recreate the context, immersing the viewer in the atmosphere of the Silver Age; intertextual inclusions also help each of the video artists to present in the media space a new reading of A. Blok’s poetic statement about the world and about people.
{"title":"Representation of A. Blok’s creative work in video poetry","authors":"T. B. Zaitseva, Veronika Valentinovna Tsurkan, Alena Olegovna Veseleva","doi":"10.30853/phil20240055","DOIUrl":"https://doi.org/10.30853/phil20240055","url":null,"abstract":"The aim of the research is to identify the most important features in representation and reception of A. Blok’s poetic texts in the genre of video poetry presented at the international festival ‘Videostikhiya’. The paper examines the specifics of video poetry as a new sphere in art associated with the search for both modern forms of poetic creativity and ways of its interpretation and representation; analyzes video clips based on A. Blok’s poems. Scholars’ attention is focused on the complexity of audio visualization of the works by the symbolist poet, who perceived life in its transcendent essence. The scientific novelty of the research lies in the fact that for the first time, the results of analysing modern works in the genre of video poetry based on Blok’s texts are presented; approaches to the study of the visual sphere of A. Blok’s poems are expanded. It is proved that the representation of A. Blok’s creative work in video poetry has its own specifics: the authors can modernize the Blok text, deepening the perception of the poem through metaphorical and symbolic video sequences, or recreate the context, immersing the viewer in the atmosphere of the Silver Age; intertextual inclusions also help each of the video artists to present in the media space a new reading of A. Blok’s poetic statement about the world and about people.","PeriodicalId":415627,"journal":{"name":"Philology. Issues of Theory and Practice","volume":"183 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140456637","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}
The aim of the study is to show that the prose works by the Tang dynasty writers reflected the new ethnotype of Chinese women, formed in the minds of the Chinese during this period. The study is original in that it is the first in Russian sinology to carry out a comparative analysis of female images in ancient and medieval Chinese literature. In the songs of the ancient Chinese poetic collection ‘Shijing’, the portrait included not only descriptions of women, but also a list of moral qualities and less often the behavior of the heroines, but did not touch upon their character traits. The authors of short stories of the Tang dynasty refuse to describe heroines’ appearance and expand the circle of female characters, adding celestials and foxes who take the form of a woman. The results have shown that in medieval literature, the description of a heroine’s appearance played an insignificant role and most often amounted to using the epithet ‘beauty’ without paying attention to the details adopted in archaic literature. The problem of the relationship between the descriptions of details in heroines’ portraits and their character traits and behavior is discussed. As a result, it has been proved that in the prose works under study, priority is given to the moral qualities of female characters, which indicates the influence of Confucian ideology on the authors during the period under consideration.
{"title":"Female ethnotype in the lyrical songs of ‘Shijing’ (11th-6th centuries BC) and in the narrative prose of medieval China","authors":"N. V. Zakharova","doi":"10.30853/phil20240056","DOIUrl":"https://doi.org/10.30853/phil20240056","url":null,"abstract":"The aim of the study is to show that the prose works by the Tang dynasty writers reflected the new ethnotype of Chinese women, formed in the minds of the Chinese during this period. The study is original in that it is the first in Russian sinology to carry out a comparative analysis of female images in ancient and medieval Chinese literature. In the songs of the ancient Chinese poetic collection ‘Shijing’, the portrait included not only descriptions of women, but also a list of moral qualities and less often the behavior of the heroines, but did not touch upon their character traits. The authors of short stories of the Tang dynasty refuse to describe heroines’ appearance and expand the circle of female characters, adding celestials and foxes who take the form of a woman. The results have shown that in medieval literature, the description of a heroine’s appearance played an insignificant role and most often amounted to using the epithet ‘beauty’ without paying attention to the details adopted in archaic literature. The problem of the relationship between the descriptions of details in heroines’ portraits and their character traits and behavior is discussed. As a result, it has been proved that in the prose works under study, priority is given to the moral qualities of female characters, which indicates the influence of Confucian ideology on the authors during the period under consideration.","PeriodicalId":415627,"journal":{"name":"Philology. Issues of Theory and Practice","volume":"112 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140456962","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}
The paper analyzes a number of poems by Joseph Brodsky that have not been previously investigated in detail by philologists and examines certain motifs and images that cause discrepancies in critics’ interpretations. The study aims to understand the poet’s creative work through a new perspective, to some extent, in a more “materialistic” and “physiological” way, which affects the emotional charge of the Nobel laureate’s main motifs. The study also aims to identify the role played by “heart” motifs in shaping Brodsky’s figurative and metaphorical world of poetry. The paper reinterprets the traditional connotations of heart imagery (life, death, pain, etc.) and shows how Brodsky’s worldview was shaped by the heart attacks, illnesses, and surgeries he endured. The scientific novelty of the study lies in its deep and detailed analysis of the system of motifs and images in Brodsky’s poetry, offering explanations for some obscurities in his poems that have caused significant difficulties and variations of meaning among critics. As a result, it has been proved that the philosophical inspiration of the persona and Brodsky’s overall poetic world is due to an alternative interpretation and understanding of heart imagery, endowing it with unique, Brodsky-specific connotations that form a dominant parallel between the poet and the heart.
{"title":"Heart motifs in the creative work of Joseph Brodsky","authors":"Tatyana Nikolaevna Baranova","doi":"10.30853/phil20240053","DOIUrl":"https://doi.org/10.30853/phil20240053","url":null,"abstract":"The paper analyzes a number of poems by Joseph Brodsky that have not been previously investigated in detail by philologists and examines certain motifs and images that cause discrepancies in critics’ interpretations. The study aims to understand the poet’s creative work through a new perspective, to some extent, in a more “materialistic” and “physiological” way, which affects the emotional charge of the Nobel laureate’s main motifs. The study also aims to identify the role played by “heart” motifs in shaping Brodsky’s figurative and metaphorical world of poetry. The paper reinterprets the traditional connotations of heart imagery (life, death, pain, etc.) and shows how Brodsky’s worldview was shaped by the heart attacks, illnesses, and surgeries he endured. The scientific novelty of the study lies in its deep and detailed analysis of the system of motifs and images in Brodsky’s poetry, offering explanations for some obscurities in his poems that have caused significant difficulties and variations of meaning among critics. As a result, it has been proved that the philosophical inspiration of the persona and Brodsky’s overall poetic world is due to an alternative interpretation and understanding of heart imagery, endowing it with unique, Brodsky-specific connotations that form a dominant parallel between the poet and the heart.","PeriodicalId":415627,"journal":{"name":"Philology. Issues of Theory and Practice","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140457782","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}
Elena Petrovna Perepelkina, Ekaterina Romanovna Yakimova
The research aims to identify changes in mythological plots and images in modern Chuvash fairy-tale plays for children. The paper analyzes fairy-tale plays by Iosif Trer, Olga Turgay, and Elen Narby. As the genre background, the plots of fairy tales by Konstantin Ivanov, Efim Nikitin, and Mikhail Yukhma are considered. The paper is novel in that it is the first in Chuvash literary studies to analyze the characters and plots of modern stage fairy tales the heroes of which are mythological figures and which include story-lines from national folklore. The research findings showed that folklore is a rich cultural source for modern Chuvash literature. Ancient mythological plots and images, transforming and adapting to modern realities, receive a new interpretation, retain their relevance and acquire a different meaning. Using the motif of the hero’s disappearance and of his loved ones (bride, wife, father, etc.) looking for him, the authors created dozens of stage fairy tales. They present the ancient Chuvash mythological images of Pyulekhse, Esrel, Kiremet, etc., which are close to today’s life. Mythological plots, having received a new literary manifestation, are being revived on the modern stage.
{"title":"Transformation and synthesis of mythological plots and images in the modern Chuvash dramatic fairy tale","authors":"Elena Petrovna Perepelkina, Ekaterina Romanovna Yakimova","doi":"10.30853/phil20240054","DOIUrl":"https://doi.org/10.30853/phil20240054","url":null,"abstract":"The research aims to identify changes in mythological plots and images in modern Chuvash fairy-tale plays for children. The paper analyzes fairy-tale plays by Iosif Trer, Olga Turgay, and Elen Narby. As the genre background, the plots of fairy tales by Konstantin Ivanov, Efim Nikitin, and Mikhail Yukhma are considered. The paper is novel in that it is the first in Chuvash literary studies to analyze the characters and plots of modern stage fairy tales the heroes of which are mythological figures and which include story-lines from national folklore. The research findings showed that folklore is a rich cultural source for modern Chuvash literature. Ancient mythological plots and images, transforming and adapting to modern realities, receive a new interpretation, retain their relevance and acquire a different meaning. Using the motif of the hero’s disappearance and of his loved ones (bride, wife, father, etc.) looking for him, the authors created dozens of stage fairy tales. They present the ancient Chuvash mythological images of Pyulekhse, Esrel, Kiremet, etc., which are close to today’s life. Mythological plots, having received a new literary manifestation, are being revived on the modern stage.","PeriodicalId":415627,"journal":{"name":"Philology. Issues of Theory and Practice","volume":"33 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140457220","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：