This article deals with the tradition of portraying “miserable”, “minuscule”, “tiny”, “poor”, “downtrodden” people in Russian literature between the 1840s and the 1860s. F. M. Dostoevsky, through the main character of The Idiot, called them “a misère” with a “human soul” and considered “the restoration” of the “ruined” the main idea of the art of the entire nineteenth century. The starting point of the research is Poor Folk, Dostoevsky’s novel of the natural school period in which the writer reversed sentimentalist poetics following the new demands of literature, emphasising the socio-economic meaning of the “poor folk” concept. In the 1860s, Dostoevsky’s sentimental-naturalistic style changed, and his feuilletons from the Petersburg Dreams, the discourse of poverty began to sound ironic; it was partly due to Dostoevsky’s polemical tasks. There is a connection with N. A. Nekrasov’s poetry in the middle of the century. It traces the change in the modality in the depiction of the “miserable” and the lower strata of the population from sympathetic drama to irony and sarcasm, which accompanies not so much the images of the poor themselves as the presence of the theme in literature, its traditionally philanthropic and sentimental personification. The material of the analysis in the article is In the Street and About the Weather, Nekrasov’s poetic cycles of the 1850s–1860s, most vividly depicting the images of the “poor folk” in St Petersburg’s streets and “Petersburg slums”. The third writer to focus on the urban poor, inhabitants of the basement slums is F. M. Reshetnikov with his story Yashka (1868). This writer’s story of entering the sphere of literature was comparable with that of the first edition of Dostoevsky’s novel. Reshetnikov himself, judging by his letters and diary, sometimes resembled the “miserable” characters of his much more famous and successful contemporary. Starting from the traditional forms of the author’s emotional experience for the character thrown to the bottom of life, Reshetnikov’s naïve and simple-hearted writing imitated normality, the commonness of the terrible life of his characters, concealed the warmth and human pain that the reader was supposed to perceive. It brought his “miserable” wordless characters closer to the author, and therefore to the reader, opening new possibilities in the literature that would be developed by writers of the turn of the century.
本文论述了19世纪40年代至60年代俄罗斯文学中“悲惨”、“渺小”、“渺小”、“贫穷”、“受压迫”的人物形象的传统。陀思妥耶夫斯基通过《白痴》的主要人物，称他们为具有“人的灵魂”的“丑女”，并认为“恢复”“被毁坏的”是整个19世纪艺术的主要思想。本文的研究起点是陀思妥耶夫斯基自然学派时期的小说《穷人》，陀思妥耶夫斯基在小说中顺应文学的新要求，颠覆了感伤主义诗学，强调了“穷人”概念的社会经济意义。19世纪60年代，陀思妥耶夫斯基多愁善感的自然主义风格发生了变化，他在《彼得堡之梦》中所写的小说集，贫穷的话语开始听起来具有讽刺意味;这部分是由于陀思妥耶夫斯基的辩论任务。这与本世纪中叶n.a.涅克拉索夫的诗歌有关。它追溯了对“悲惨的”和下层人口的描述方式的变化，从同情的戏剧到讽刺和讽刺，这与其说是伴随着穷人本身的形象，不如是文学主题的存在，其传统的慈善和感伤的拟人化。本文分析的材料是涅克拉索夫在19世纪50年代至60年代的诗歌循环《在街上》和《关于天气》，其中最生动地描绘了圣彼得堡街头和“彼得堡贫民窟”的“穷人”形象。第三位关注城市贫民、地下室贫民窟居民的作家是f·m·列舍特尼科夫(F. M. Reshetnikov)，他的小说是《雅什卡》(1868)。这位作家进入文学领域的故事堪比陀思妥耶夫斯基小说的初版。从列舍特尼科夫的书信和日记来看，他自己有时也像他同时代更出名、更成功的人物一样“悲惨”。列舍特尼科夫的naïve和纯朴的写作从作者对陷入生活底层的人物的情感体验的传统形式出发，模仿了他笔下人物可怕生活的常态、共性，隐藏了读者应该感受到的温暖和人性的痛苦。这让他笔下那些“悲惨的”无言的人物更接近作者，也因此更接近读者，为世纪之交的作家们开辟了新的文学可能性。
{"title":"The Miserable with a Human Soul: Portrayal Modes in Works by F. Dostoevsky, N. Nekrasov, and F. Reshetnikov","authors":"","doi":"10.15826/qr.2023.1.775","DOIUrl":"https://doi.org/10.15826/qr.2023.1.775","url":null,"abstract":"This article deals with the tradition of portraying “miserable”, “minuscule”, “tiny”, “poor”, “downtrodden” people in Russian literature between the 1840s and the 1860s. F. M. Dostoevsky, through the main character of The Idiot, called them “a misère” with a “human soul” and considered “the restoration” of the “ruined” the main idea of the art of the entire nineteenth century. The starting point of the research is Poor Folk, Dostoevsky’s novel of the natural school period in which the writer reversed sentimentalist poetics following the new demands of literature, emphasising the socio-economic meaning of the “poor folk” concept. In the 1860s, Dostoevsky’s sentimental-naturalistic style changed, and his feuilletons from the Petersburg Dreams, the discourse of poverty began to sound ironic; it was partly due to Dostoevsky’s polemical tasks. There is a connection with N. A. Nekrasov’s poetry in the middle of the century. It traces the change in the modality in the depiction of the “miserable” and the lower strata of the population from sympathetic drama to irony and sarcasm, which accompanies not so much the images of the poor themselves as the presence of the theme in literature, its traditionally philanthropic and sentimental personification. The material of the analysis in the article is In the Street and About the Weather, Nekrasov’s poetic cycles of the 1850s–1860s, most vividly depicting the images of the “poor folk” in St Petersburg’s streets and “Petersburg slums”. The third writer to focus on the urban poor, inhabitants of the basement slums is F. M. Reshetnikov with his story Yashka (1868). This writer’s story of entering the sphere of literature was comparable with that of the first edition of Dostoevsky’s novel. Reshetnikov himself, judging by his letters and diary, sometimes resembled the “miserable” characters of his much more famous and successful contemporary. Starting from the traditional forms of the author’s emotional experience for the character thrown to the bottom of life, Reshetnikov’s naïve and simple-hearted writing imitated normality, the commonness of the terrible life of his characters, concealed the warmth and human pain that the reader was supposed to perceive. It brought his “miserable” wordless characters closer to the author, and therefore to the reader, opening new possibilities in the literature that would be developed by writers of the turn of the century.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44018068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Stanislav Vinaver witnessed October Revolution. In April 1917, he was sent to Russia on a diplomatic mission and stayed there until the autumn of 1919. After returning to Serbia, he published articles about Russia (ideology, revolution, war, life, theatre, art, music) in Politika and Republika, Belgrade daily newspapers, and in Kritika, a Zagreb magazine, which, in their form, resembled dramatic sketches, stories, reports, and travel essays. This paper discusses Vinaver’s articles on theatre issues in Bolshevik Russia, primarily the Kamerny Theatre and the Moscow Drama Theatre. Vinaver’s ideas about the repertoire and aesthetic searches of the two Moscow theatres are interpreted in the context of the time of their emergence, together with the context of artistic assessment, which is by no means inferior to today’s interpretations of the role of the Kamerny and Moscow Drama Theatres in the development of the Soviet experimental theatre.
{"title":"The First Days of the Soviet Theatre: Stanislav Vinaver’s Dramatic Testimonies","authors":"K. Ičin","doi":"10.15826/qr.2023.1.778","DOIUrl":"https://doi.org/10.15826/qr.2023.1.778","url":null,"abstract":"Stanislav Vinaver witnessed October Revolution. In April 1917, he was sent to Russia on a diplomatic mission and stayed there until the autumn of 1919. After returning to Serbia, he published articles about Russia (ideology, revolution, war, life, theatre, art, music) in Politika and Republika, Belgrade daily newspapers, and in Kritika, a Zagreb magazine, which, in their form, resembled dramatic sketches, stories, reports, and travel essays. This paper discusses Vinaver’s articles on theatre issues in Bolshevik Russia, primarily the Kamerny Theatre and the Moscow Drama Theatre. Vinaver’s ideas about the repertoire and aesthetic searches of the two Moscow theatres are interpreted in the context of the time of their emergence, together with the context of artistic assessment, which is by no means inferior to today’s interpretations of the role of the Kamerny and Moscow Drama Theatres in the development of the Soviet experimental theatre.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44054836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article describes the cultural script of the Russian feast. The author refers to texts of conversations recorded using the participant observation method and reflecting the communicative-speech interaction of the speakers of the Ural urban vernacular. The method of script analysis makes it possible to consider a feast as a communicative event, structure it, present it as a sequence of episodes, and open up the possibility for its holistic description. Hospitality is considered a distinctive feature of the Russian national character, the basic value of Russian culture. A feast as a meeting of people on a festive occasion, accompanied by a meal and alcohol, reflects not only typical actions but also typical value ideas, norms, and attitudes of the carriers of the national-cultural community revealed in the process of feast communication. The article consistently examines the supporting links of the cultural script: preliminary preparation for a feast, receiving and honouring guests, refreshments, and conversations at the table. The author describes the role rights and obligations of the hosts and guests, identifying some situational and behavioral attitudes confirming the values of cordiality, hospitality, communicative hedonism, and socio-centricity. Of particular interest is the linguoculturological analysis of table conversations and toasts of the speakers of the Ural vernacular. It reveals the significance of such cultural constants as family, home, work, and “one’s own”. The cultural peculiarities of colloquial communication are manifested in the detabooing of topics related to the physiological needs of a person, in the openness of one’s own and others’ personal space, the inalienable right to an emotional and evaluative interpretation of speech-behavioural reactions of members of “one’s circle”. The organic nature of the cultural script rests on jokes, general laughter reactions, and carnivalisation of speech behavior. The integrative function of the identified attitudes ensures the harmonisation of the participants’ speech behaviour in the feast.
{"title":"Russian Feast: The Verbal Realisation of the Celebration Script","authors":"I. Shalina","doi":"10.15826/qr.2023.1.788","DOIUrl":"https://doi.org/10.15826/qr.2023.1.788","url":null,"abstract":"This article describes the cultural script of the Russian feast. The author refers to texts of conversations recorded using the participant observation method and reflecting the communicative-speech interaction of the speakers of the Ural urban vernacular. The method of script analysis makes it possible to consider a feast as a communicative event, structure it, present it as a sequence of episodes, and open up the possibility for its holistic description. Hospitality is considered a distinctive feature of the Russian national character, the basic value of Russian culture. A feast as a meeting of people on a festive occasion, accompanied by a meal and alcohol, reflects not only typical actions but also typical value ideas, norms, and attitudes of the carriers of the national-cultural community revealed in the process of feast communication. The article consistently examines the supporting links of the cultural script: preliminary preparation for a feast, receiving and honouring guests, refreshments, and conversations at the table. The author describes the role rights and obligations of the hosts and guests, identifying some situational and behavioral attitudes confirming the values of cordiality, hospitality, communicative hedonism, and socio-centricity. Of particular interest is the linguoculturological analysis of table conversations and toasts of the speakers of the Ural vernacular. It reveals the significance of such cultural constants as family, home, work, and “one’s own”. The cultural peculiarities of colloquial communication are manifested in the detabooing of topics related to the physiological needs of a person, in the openness of one’s own and others’ personal space, the inalienable right to an emotional and evaluative interpretation of speech-behavioural reactions of members of “one’s circle”. The organic nature of the cultural script rests on jokes, general laughter reactions, and carnivalisation of speech behavior. The integrative function of the identified attitudes ensures the harmonisation of the participants’ speech behaviour in the feast.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41771603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the interconnection of the images of Russia and Italy in B. K. Zaitsev’s artistic consciousness revealing their ideal-forming meaning and studying the literary and aesthetic concept of the writer. It is argued that the themes of Russia, Italy, and Florence dominate in the writer’s work, making up the internal semantic unity of his multi-genre texts. The “Florentine text” is interpreted as a local textual subsystem of the “Italian text”, which is a dialogical element of the Russian-Italian text (super-text) created by the writer throughout his artistic life. According to Zaitsev, the city of Dante formed his aesthetic experience, his spiritual, and intellectual identity. Building a dialogue between Russian literature and Dante’s work, Zaitsev follows the philosophical and aesthetic programme of Russian Europeanism characteristic of the Silver Age culture. In the article, the author develops the thesis about the relationship between the image of Russia and that of Florence in the artistic consciousness of Boris Zaitsev. It is demonstrated that the study of Zaitsev’s “Florentine text” provides an idea of the semantic conditionality between the leading Russian and Italian themes in the writer’s work that define his aesthetic concept as dialogical. To achieve this goal, the paper analyses Zaitsev’s artistic and documentary evidence about Florence and the features of his aesthetic reception of the culture of Russia and Italy. The article focuses on the method of literary mnemonics developed by the writer. With its help, Zaitsev creates an authorial version of the myth of Florence in the context of Russian and European literature. The reconstruction of the historical and ideological context of Zaitsev’s work proposed in the article makes it possible to understand the artistic and philosophical nature of his works addressed to Russia and Italy more accurately. As a result of the study, the author determines the structure of the dialogical interactions of imaginative and semantic elements of Zaitsev’s Russian-Italian narrative. Russian and Italian themes that form the dialogical integrity of the Russian-Italian text in the writer’s work are a key aspect of our understanding of B. K. Zaitsev’s artistic concept from the point of view of literary theory and aesthetics.
{"title":"Dialogic Aesthetics in Boris Zaitsev’s Russian-Italian Text","authors":"O. Zhukova","doi":"10.15826/qr.2023.1.792","DOIUrl":"https://doi.org/10.15826/qr.2023.1.792","url":null,"abstract":"This article examines the interconnection of the images of Russia and Italy in B. K. Zaitsev’s artistic consciousness revealing their ideal-forming meaning and studying the literary and aesthetic concept of the writer. It is argued that the themes of Russia, Italy, and Florence dominate in the writer’s work, making up the internal semantic unity of his multi-genre texts. The “Florentine text” is interpreted as a local textual subsystem of the “Italian text”, which is a dialogical element of the Russian-Italian text (super-text) created by the writer throughout his artistic life. According to Zaitsev, the city of Dante formed his aesthetic experience, his spiritual, and intellectual identity. Building a dialogue between Russian literature and Dante’s work, Zaitsev follows the philosophical and aesthetic programme of Russian Europeanism characteristic of the Silver Age culture. In the article, the author develops the thesis about the relationship between the image of Russia and that of Florence in the artistic consciousness of Boris Zaitsev. It is demonstrated that the study of Zaitsev’s “Florentine text” provides an idea of the semantic conditionality between the leading Russian and Italian themes in the writer’s work that define his aesthetic concept as dialogical. To achieve this goal, the paper analyses Zaitsev’s artistic and documentary evidence about Florence and the features of his aesthetic reception of the culture of Russia and Italy. The article focuses on the method of literary mnemonics developed by the writer. With its help, Zaitsev creates an authorial version of the myth of Florence in the context of Russian and European literature. The reconstruction of the historical and ideological context of Zaitsev’s work proposed in the article makes it possible to understand the artistic and philosophical nature of his works addressed to Russia and Italy more accurately. As a result of the study, the author determines the structure of the dialogical interactions of imaginative and semantic elements of Zaitsev’s Russian-Italian narrative. Russian and Italian themes that form the dialogical integrity of the Russian-Italian text in the writer’s work are a key aspect of our understanding of B. K. Zaitsev’s artistic concept from the point of view of literary theory and aesthetics.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45852483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the role of Zhukovsky, a nineteenth-century ballad author, in Zabolotsky’s creative consciousness. Among the biographical facts and writings of the twentieth-century poet that reveal his constant interest in the canonic figure of his predecessor, the author pays special attention to Zhukovsky’s Ballad (1927) that has a metaliterary title. Zabolotsky included this work which looks like a riddle in the composition of Ararat, his handwritten book, and therefore is considered by the author of the article in the context of this collection. The paper aims to overcome the semantic opacity of Zhukovsky’s Ballad and to determine its place and functions in the structure of the Ararat poetic cycle. Methodologically, the analysis is based on historical poetics, which implies, on the one hand, the identification of a genre basis relevant to both Zhukovsky and Zabolotsky, and on the other hand – the transformations that the ballad underwent in the context of a “new worldview and new art”. Another theoretical reference point is B. M. Gasparov’s Poetics of the Tale of Igor’s Campaign dedicated to the interpretation of the opaque text and based on the analysis of its linguistic and genre-stylistic features. The main sources in this research are the manuscript of Zhukovsky’s Ballad as well as the cover of Ararat with drawings by the writer, and the other poems of the collection. The main result lies in the reconstruction of the cyclical plot implying the unity of all the poems of the collection through the prism of their motifs and imagery, which, in turn, revisits the biblical story of the Flood. The author analyses intertextual connections within the book and specifies their functions. In the first part of Ararat, Zhukovsky’s Ballad which completed the collection was the most conflictual work within a triad of texts dedicated to the end of the old tsarist and imperial way of life. Based on the clarified symmetrical composition of the cycle, in its second half, the author discovers the poem Movement mirroring Zhukovsky’s Ballad. Instead of the tsar in the ballad, there appears a cabman sitting “as if on the throne” as a representative of the new “proletarian” authorities. In the place of a drowned man who lived in the “round village,” the reader now sees a “poor horse” as the driving force of modernity. Thus, Zabolotsky captures the change of the social and everyday life paradigms, bringing the heroes of a new era to the fore.
{"title":"From Imperial to Soviet Power: Interpretation of Zabolotsky’s Creative Quest in the Ararat Collection","authors":"Evgenia Anisimova","doi":"10.15826/qr.2023.1.793","DOIUrl":"https://doi.org/10.15826/qr.2023.1.793","url":null,"abstract":"This article examines the role of Zhukovsky, a nineteenth-century ballad author, in Zabolotsky’s creative consciousness. Among the biographical facts and writings of the twentieth-century poet that reveal his constant interest in the canonic figure of his predecessor, the author pays special attention to Zhukovsky’s Ballad (1927) that has a metaliterary title. Zabolotsky included this work which looks like a riddle in the composition of Ararat, his handwritten book, and therefore is considered by the author of the article in the context of this collection. The paper aims to overcome the semantic opacity of Zhukovsky’s Ballad and to determine its place and functions in the structure of the Ararat poetic cycle. Methodologically, the analysis is based on historical poetics, which implies, on the one hand, the identification of a genre basis relevant to both Zhukovsky and Zabolotsky, and on the other hand – the transformations that the ballad underwent in the context of a “new worldview and new art”. Another theoretical reference point is B. M. Gasparov’s Poetics of the Tale of Igor’s Campaign dedicated to the interpretation of the opaque text and based on the analysis of its linguistic and genre-stylistic features. The main sources in this research are the manuscript of Zhukovsky’s Ballad as well as the cover of Ararat with drawings by the writer, and the other poems of the collection. The main result lies in the reconstruction of the cyclical plot implying the unity of all the poems of the collection through the prism of their motifs and imagery, which, in turn, revisits the biblical story of the Flood. The author analyses intertextual connections within the book and specifies their functions. In the first part of Ararat, Zhukovsky’s Ballad which completed the collection was the most conflictual work within a triad of texts dedicated to the end of the old tsarist and imperial way of life. Based on the clarified symmetrical composition of the cycle, in its second half, the author discovers the poem Movement mirroring Zhukovsky’s Ballad. Instead of the tsar in the ballad, there appears a cabman sitting “as if on the throne” as a representative of the new “proletarian” authorities. In the place of a drowned man who lived in the “round village,” the reader now sees a “poor horse” as the driving force of modernity. Thus, Zabolotsky captures the change of the social and everyday life paradigms, bringing the heroes of a new era to the fore.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44613875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article identifies and interprets the genesis of the “sensory perception of an object – understanding an object” cognitive metaphor, which is a key means of conceptualising intellectual activity. This object is considered from the point of view of the interaction of mental and linguistic units. The reflection of the process of understanding in consciousness is interpreted using the concept of a scenario-type concept, which is gestalt. The study uses a complex methodology such as methods of conceptological modeling, component, and contextual analysis. The complex methodology makes it possible to comprehend the origin of the cognitive metaphor considering the role of perception reflected in the structure of the scenario-type gestalt and the selection of linguistic means to denote the process of cognition in speech. The author demonstrates that two mental models are widely represented as ways of designating the process and the result of cognition: the metonymic model of sensory perception of an object – understanding of the object and the metaphorical model of sensory perception of an object – understanding of the object. The metonymic model reflects the relationship of contiguity between sensory perception as the initial stage of cognition and the cognitive process as a whole and is a scenario type of lexical metonymy. The author establishes that the formation of a cognitive metaphor is preceded by the metonymic identification of the sensory stage of cognition and the entire process of cognition including the intellectual act of understanding the object. Consequently, the metonymic identification of the sensory and intellectual stages of cognition provides conditions for their comparison, “creating” similarities between them as a result of the comparison and thereby predetermines the emergence of the cognitive metaphor of sensory perception of an object – understanding of an object. The author reveals a specific feature of the cognitive metaphor that distinguishes it from other metaphorical types, i. e. a regular correlation with the metonymic model of the same name, which is also widespread in this denotative sphere. The discursive aspect of considering the metonymic and metaphorical mental models of the same name that combine the same components (sensory perception of the object and understanding of the object) makes it possible to establish the presence of a transition zone between metonymic and metaphorical expressions, in which metonymy and metaphor cannot be told apart unambiguously.
{"title":"The Cognitive Aspect of the Genesis of Intellectual Metaphors","authors":"Nadezhda Ilyukhina","doi":"10.15826/qr.2023.1.784","DOIUrl":"https://doi.org/10.15826/qr.2023.1.784","url":null,"abstract":"This article identifies and interprets the genesis of the “sensory perception of an object – understanding an object” cognitive metaphor, which is a key means of conceptualising intellectual activity. This object is considered from the point of view of the interaction of mental and linguistic units. The reflection of the process of understanding in consciousness is interpreted using the concept of a scenario-type concept, which is gestalt. The study uses a complex methodology such as methods of conceptological modeling, component, and contextual analysis. The complex methodology makes it possible to comprehend the origin of the cognitive metaphor considering the role of perception reflected in the structure of the scenario-type gestalt and the selection of linguistic means to denote the process of cognition in speech. The author demonstrates that two mental models are widely represented as ways of designating the process and the result of cognition: the metonymic model of sensory perception of an object – understanding of the object and the metaphorical model of sensory perception of an object – understanding of the object. The metonymic model reflects the relationship of contiguity between sensory perception as the initial stage of cognition and the cognitive process as a whole and is a scenario type of lexical metonymy. The author establishes that the formation of a cognitive metaphor is preceded by the metonymic identification of the sensory stage of cognition and the entire process of cognition including the intellectual act of understanding the object. Consequently, the metonymic identification of the sensory and intellectual stages of cognition provides conditions for their comparison, “creating” similarities between them as a result of the comparison and thereby predetermines the emergence of the cognitive metaphor of sensory perception of an object – understanding of an object. The author reveals a specific feature of the cognitive metaphor that distinguishes it from other metaphorical types, i. e. a regular correlation with the metonymic model of the same name, which is also widespread in this denotative sphere. The discursive aspect of considering the metonymic and metaphorical mental models of the same name that combine the same components (sensory perception of the object and understanding of the object) makes it possible to establish the presence of a transition zone between metonymic and metaphorical expressions, in which metonymy and metaphor cannot be told apart unambiguously.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47591026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is devoted to the description of verbs of the emotional states of shame, embarrassment, and shyness in the diachronic aspect. The relevance of the research is due to the need to expand knowledge about the dynamic changes in the vocabulary of emotions, and the impact of cultural and political transformations on these changes. Although semantic differences in Russian expressions for shame-like emotional states have been well studied, diachronic changes in the meanings of these expressions have received little attention. The scholarly novelty of this work is determined by the fact that it examines the diachronic development of the verbs for these emotional states, which occurred in the Russian language in the eleventh–twenty-first centuries, and the factors that caused these changes. The data have been collected from explanatory dictionaries of the modern Russian language, etymological dictionaries, and historical dictionaries of different ages and coverage, as well as the National Russian electronic corpora. The material for the study was data from explanatory dictionaries of the modern Russian language, historical, and etymological dictionaries of the Russian language, as well as data from the National Corpus of the Russian language. The theoretical basis of this research was formed by works in the field of the linguistics of emotions and linguistic culture. The main research methods were the contextual-functional method, as well as etymological analysis. This study demonstrates that in the process of the semantic development of the verbs of shame and embarrassment in the Russian language, both general tendencies towards a decrease in the polysemy of semantically overloaded linguistic structures and tendencies towards a more accurate and precise labelling of various aspects of emotional states play an important role. It is shown that during the semantic development of words denoting shame and embarrassment, the polysemy “to be shameful” / “to feel shame” was gradually lost and the polysemy “to be ashamed” / “to be embarrassed” decreased in use. The article also describes the main patterns of semantic derivation that are typical of verbs of shame and embarrassment, which appear in the Russian language of different centuries.
{"title":"Verbs of the Emotional States of Shame and Embarrassment in Russian: A Diachronic Aspect","authors":"M. Kalyuga","doi":"10.15826/qr.2023.1.785","DOIUrl":"https://doi.org/10.15826/qr.2023.1.785","url":null,"abstract":"This article is devoted to the description of verbs of the emotional states of shame, embarrassment, and shyness in the diachronic aspect. The relevance of the research is due to the need to expand knowledge about the dynamic changes in the vocabulary of emotions, and the impact of cultural and political transformations on these changes. Although semantic differences in Russian expressions for shame-like emotional states have been well studied, diachronic changes in the meanings of these expressions have received little attention. The scholarly novelty of this work is determined by the fact that it examines the diachronic development of the verbs for these emotional states, which occurred in the Russian language in the eleventh–twenty-first centuries, and the factors that caused these changes. The data have been collected from explanatory dictionaries of the modern Russian language, etymological dictionaries, and historical dictionaries of different ages and coverage, as well as the National Russian electronic corpora. The material for the study was data from explanatory dictionaries of the modern Russian language, historical, and etymological dictionaries of the Russian language, as well as data from the National Corpus of the Russian language. The theoretical basis of this research was formed by works in the field of the linguistics of emotions and linguistic culture. The main research methods were the contextual-functional method, as well as etymological analysis. This study demonstrates that in the process of the semantic development of the verbs of shame and embarrassment in the Russian language, both general tendencies towards a decrease in the polysemy of semantically overloaded linguistic structures and tendencies towards a more accurate and precise labelling of various aspects of emotional states play an important role. It is shown that during the semantic development of words denoting shame and embarrassment, the polysemy “to be shameful” / “to feel shame” was gradually lost and the polysemy “to be ashamed” / “to be embarrassed” decreased in use. The article also describes the main patterns of semantic derivation that are typical of verbs of shame and embarrassment, which appear in the Russian language of different centuries.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43185495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the problem of the special emotional regime of hard labour prisons in the Russian Empire in the early twentieth century in the context of the social construction of emotions characteristic of a revolutionary community. The paper aims to identify the determinants of the success of the revolutionary movement in the events of 1917. The author focuses on the mechanisms of communication of political prisoners and the role of the emotional component in the formation of a stable system of social interaction in a revolutionary environment. Employing the methodology of the history of emotions and comparative analysis, the author studies both previously known historical sources (letters of F. E. Dzerzhinsky) and archival materials (perlustration of letters from prisoners of the Smolensk convict prison) which have not been studied before. The article demonstrates how the special conditions of imprisonment shaped the emotional regime of hard labour prisons and contributed to the formation of a revolutionary community. With classical communication mechanisms limited, prisoners developed alternative means of communication. Also, the author pays special attention to the peculiarities of the written language of political prisoners and its evolution in conditions of hard labour and interaction with the criminal environment. The main results of the study are related to the term “emotional code” as a characteristic communication mechanism (“friend or foe” system) within a revolutionary community. In the context of the social processes of the beginning of the century, the opposition to the growing social melancholy on the part of the revolutionary community stands out. It was not only able to build communication mechanisms that were reliable and closed to external analysis based on similar emotional patterns but also used emotional constructions for agitation and propaganda in the public environment. Specific images of the future and the positive emotions associated with it have become a constructive alternative to the negative phenomena that prevail in the public consciousness during the last years of the empire’s existence. The main “weapon” of the revolutionary community in 1917, along with propaganda, was empathy, highly developed emotional intelligence, and the ability to accurately capture the emotions of one’s surroundings. The article concludes that labour prisons were “laboratories of emotions” which played a significant role in the crystallisation of the revolutionary community and the formation of its mobilisation potential.
{"title":"Feeling the Revolution: The Emotional Regime of Russian Empire’s Penitentiaries in the Development of Protest Communication","authors":"Anton Laptev","doi":"10.15826/qr.2023.1.776","DOIUrl":"https://doi.org/10.15826/qr.2023.1.776","url":null,"abstract":"This article examines the problem of the special emotional regime of hard labour prisons in the Russian Empire in the early twentieth century in the context of the social construction of emotions characteristic of a revolutionary community. The paper aims to identify the determinants of the success of the revolutionary movement in the events of 1917. The author focuses on the mechanisms of communication of political prisoners and the role of the emotional component in the formation of a stable system of social interaction in a revolutionary environment. Employing the methodology of the history of emotions and comparative analysis, the author studies both previously known historical sources (letters of F. E. Dzerzhinsky) and archival materials (perlustration of letters from prisoners of the Smolensk convict prison) which have not been studied before. The article demonstrates how the special conditions of imprisonment shaped the emotional regime of hard labour prisons and contributed to the formation of a revolutionary community. With classical communication mechanisms limited, prisoners developed alternative means of communication. Also, the author pays special attention to the peculiarities of the written language of political prisoners and its evolution in conditions of hard labour and interaction with the criminal environment. The main results of the study are related to the term “emotional code” as a characteristic communication mechanism (“friend or foe” system) within a revolutionary community. In the context of the social processes of the beginning of the century, the opposition to the growing social melancholy on the part of the revolutionary community stands out. It was not only able to build communication mechanisms that were reliable and closed to external analysis based on similar emotional patterns but also used emotional constructions for agitation and propaganda in the public environment. Specific images of the future and the positive emotions associated with it have become a constructive alternative to the negative phenomena that prevail in the public consciousness during the last years of the empire’s existence. The main “weapon” of the revolutionary community in 1917, along with propaganda, was empathy, highly developed emotional intelligence, and the ability to accurately capture the emotions of one’s surroundings. The article concludes that labour prisons were “laboratories of emotions” which played a significant role in the crystallisation of the revolutionary community and the formation of its mobilisation potential.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48140685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The problem field of this article lies in the examination of the mechanisms of modelling and reading the codes of language game in the aspect of their emotional and evaluative impact (including negative) on an individual’s consciousness. The author refers to game nominations of different objects in Yekaterinburg. She proceeds from the theoretical provisions on the complex polycode (multimodal) nature of human emotions, which determines the need for a comprehensive (linguistic, psychological, and psycholinguistic) approach to the analysis of discursive practices of speech activity. The author focuses on the phenomenon of language game understood as a form of lingua-creative thinking based on associative mechanisms of destruction and switching of perception stereotypes, modelling, and using verbal signs. The decoding of the linguistic game unit involves the identification of its prototype and the awareness of a special linguistic technique for its transformation. From this point of view, decoding game ergonyms appears as a reflexive act in which emotional and evaluative projections of their perception manifest themselves. In the light of linguistic technique, the author distinguishes ergonymic linguistic createmes emphasising the emotional and evaluative charge of the motivators used, and game ergonyms modelled using the principles of associative provocation, associative identification, associative derivability, and associative overlay. The article considers ergonymic game units and linguistic createmes, respectively, in the light of pragmatic attitudes and emotional-evaluative vectors of influence on the consciousness of various urban population groups. Additionally, the author pays special attention to emotional-evaluative negative attitudes as planned or unplanned reactions of the nominee to the game ergonym or ergonymic linguistic createmes. Examples of the first type are provocative ergonyms that intentionally cause emotional shock (at primary perception); the second type of game ergonyms and ergonymic linguistic createmes does not imply a negative reaction of the addressee, but their perception encounters communicative barriers – linguistic, social, role-playing, psychological, ideological, aesthetic, etc. To check the positive or negative assessment of the respective nominations, the analysis uses data from psycholinguistic experiments conducted by the author by interviewing random respondents of different gender and age and social and professional status among urban residents. Finally, the author makes a conclusion regarding the zones of negative emotions in the game ergonymic continuum and outlines the prospects of an in-depth experimental study of the psychological reality of the perception of such nominations by bearers of urban culture.
{"title":"Language Game in Ergonymic Nominations: Provocativeness and Emotional and Communicative Reception","authors":"T. Gridina","doi":"10.15826/qr.2023.1.787","DOIUrl":"https://doi.org/10.15826/qr.2023.1.787","url":null,"abstract":"The problem field of this article lies in the examination of the mechanisms of modelling and reading the codes of language game in the aspect of their emotional and evaluative impact (including negative) on an individual’s consciousness. The author refers to game nominations of different objects in Yekaterinburg. She proceeds from the theoretical provisions on the complex polycode (multimodal) nature of human emotions, which determines the need for a comprehensive (linguistic, psychological, and psycholinguistic) approach to the analysis of discursive practices of speech activity. The author focuses on the phenomenon of language game understood as a form of lingua-creative thinking based on associative mechanisms of destruction and switching of perception stereotypes, modelling, and using verbal signs. The decoding of the linguistic game unit involves the identification of its prototype and the awareness of a special linguistic technique for its transformation. From this point of view, decoding game ergonyms appears as a reflexive act in which emotional and evaluative projections of their perception manifest themselves. In the light of linguistic technique, the author distinguishes ergonymic linguistic createmes emphasising the emotional and evaluative charge of the motivators used, and game ergonyms modelled using the principles of associative provocation, associative identification, associative derivability, and associative overlay. The article considers ergonymic game units and linguistic createmes, respectively, in the light of pragmatic attitudes and emotional-evaluative vectors of influence on the consciousness of various urban population groups. Additionally, the author pays special attention to emotional-evaluative negative attitudes as planned or unplanned reactions of the nominee to the game ergonym or ergonymic linguistic createmes. Examples of the first type are provocative ergonyms that intentionally cause emotional shock (at primary perception); the second type of game ergonyms and ergonymic linguistic createmes does not imply a negative reaction of the addressee, but their perception encounters communicative barriers – linguistic, social, role-playing, psychological, ideological, aesthetic, etc. To check the positive or negative assessment of the respective nominations, the analysis uses data from psycholinguistic experiments conducted by the author by interviewing random respondents of different gender and age and social and professional status among urban residents. Finally, the author makes a conclusion regarding the zones of negative emotions in the game ergonymic continuum and outlines the prospects of an in-depth experimental study of the psychological reality of the perception of such nominations by bearers of urban culture.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46936037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Russian studies have a decade-long tradition in Hungary. As part of a professional renewal following the change of the regime, new forums were established, including the Eötvös Lóránd University Russian Studies Institute, which later became a centre, and then was replaced by the Centre for the Research and Methodology of Russian Studies. In the meantime, Russian studies workshops were launched at other universities in Pécs, Szeged, Eger, Szombathely, and Debrecen. Research in Russian studies covers a broad spectrum in Hungary both in terms of time and topics, applying a multidisciplinary approach to Russian history and culture. The Russian Studies Hu periodical has undertaken to provide this multi-layered cultural and academic community with a medium and, along with it, a unique opportunity to present their most recent research findings in Russian studies. Representing a broad scholarly perspective, the periodical also promotes cooperation with international researchers studying Russian history and culture. The composition of the editorial board and the content of the issues published so far reflects this approach, with recognised international historians among the authors whose works have been published in the journal between 2019 and 2022. The issues of Russian Studies Hu provide an overview of the trends in modern Russian studies (after 2000). The periodical covers a wide range of historical genres and views and is strongly connected to historiographical approaches. This is especially true of the issues published after 2021, which we will pay particular attention to in our study.
{"title":"Hungarian and International Russian Studies in a Modern Academic Journal: Overview and Trends","authors":"Katalin Schrek","doi":"10.15826/qr.2022.5.771","DOIUrl":"https://doi.org/10.15826/qr.2022.5.771","url":null,"abstract":"Russian studies have a decade-long tradition in Hungary. As part of a professional renewal following the change of the regime, new forums were established, including the Eötvös Lóránd University Russian Studies Institute, which later became a centre, and then was replaced by the Centre for the Research and Methodology of Russian Studies. In the meantime, Russian studies workshops were launched at other universities in Pécs, Szeged, Eger, Szombathely, and Debrecen. Research in Russian studies covers a broad spectrum in Hungary both in terms of time and topics, applying a multidisciplinary approach to Russian history and culture. The Russian Studies Hu periodical has undertaken to provide this multi-layered cultural and academic community with a medium and, along with it, a unique opportunity to present their most recent research findings in Russian studies. Representing a broad scholarly perspective, the periodical also promotes cooperation with international researchers studying Russian history and culture. The composition of the editorial board and the content of the issues published so far reflects this approach, with recognised international historians among the authors whose works have been published in the journal between 2019 and 2022. The issues of Russian Studies Hu provide an overview of the trends in modern Russian studies (after 2000). The periodical covers a wide range of historical genres and views and is strongly connected to historiographical approaches. This is especially true of the issues published after 2021, which we will pay particular attention to in our study.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46410937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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