The starting point for the authors is the notion of flexibility and dynamism of Bunin’s text, which was treated by this writer as a narrative that almost never could reach its conclusion, be verified and, since that moment, given an unchangeable version. The travel poems The Temple of the Sun provide one of the instances of that kind of treatment. The uniqueness of the material derives from the following factor – efforts initiated in the 1910s to edit the travelogue were the first experience, unprecedented for Bunin, in dealing with a large form, a prevenient step towards his later and latest works, such as Cursed Days, The Life of Arseniev, The Liberation of Tolstoy, Dark Avenues and Memoirs. For the first time in science, the authors undertake a fullscale reconstruction of the travel poems’ textual history, which became a significant step on the way to complete an academic collection of Bunin’s works that is currently prepared by a team of scholars at the A.M. Gorky Institute of World Literature of the Russian Academy of Sciences. The conceptual center of all observations in the article is an emphasis onto the primarily “semantic” character of Bunin’s amendments – loaded with sense and paving the way towards the new poetics. The authors have found four versions of The Temple of the Sun: (1) initial publications of 1907–1911, which for the first time became an entity of “travel poems” within Bunin’s collected works of 1915; (2) the 1917 edition in which travel sketches were intertwined with oriental verses; (3) the thoroughly revised Paris 1931 edition entitled The Shadow of a Bird; (4) the “Nobel prize” version within collected works issued by Petropolis, a publishing house in Berlin, again under the title The Temple of the Sun. The authors analyze the texts that belong to this outlined circle of sources in the perspective of several topographic locations that concentrate around themselves the main motifs of the travelogue. They also single out a number of essential types of correction Bunin made in his opus. Motifs representing the cosmopolitism of world capitals (remarkably, not Western ones but Eastern, such as Constantinople and Alexandria) alongside with the specific sentiment in the narrator’s voice, marked with the feeling of the all-world unity, serve as indicators of the primal, most archaic layer of the text. Its history reveals how gradually (vigorously in émigré years) Bunin tended to reject both the world capitals’ narrative and hopes for a cosmopolitan future of humanity. These shifts encouraged an alteration of Bunin’s oriental poetics as a whole. Now traces of modernity are excluded from East’s images whereas the feeling of antiquity as a kind of a channel that could bring the reader back into the humanity’s past was, on the contrary, reinforced as years went by. A less conspicuous but not less important type of correction was based on erasing from the text the traces of the narrator who sometimes presented himself as a historic
{"title":"Ivan Bunin’s book of travel sketches the Temple of the Sun: a history of the text","authors":"K. Anisimov, E. Ponomarev","doi":"10.17223/19986645/82/10","DOIUrl":"https://doi.org/10.17223/19986645/82/10","url":null,"abstract":"The starting point for the authors is the notion of flexibility and dynamism of Bunin’s text, which was treated by this writer as a narrative that almost never could reach its conclusion, be verified and, since that moment, given an unchangeable version. The travel poems The Temple of the Sun provide one of the instances of that kind of treatment. The uniqueness of the material derives from the following factor – efforts initiated in the 1910s to edit the travelogue were the first experience, unprecedented for Bunin, in dealing with a large form, a prevenient step towards his later and latest works, such as Cursed Days, The Life of Arseniev, The Liberation of Tolstoy, Dark Avenues and Memoirs. For the first time in science, the authors undertake a fullscale reconstruction of the travel poems’ textual history, which became a significant step on the way to complete an academic collection of Bunin’s works that is currently prepared by a team of scholars at the A.M. Gorky Institute of World Literature of the Russian Academy of Sciences. The conceptual center of all observations in the article is an emphasis onto the primarily “semantic” character of Bunin’s amendments – loaded with sense and paving the way towards the new poetics. The authors have found four versions of The Temple of the Sun: (1) initial publications of 1907–1911, which for the first time became an entity of “travel poems” within Bunin’s collected works of 1915; (2) the 1917 edition in which travel sketches were intertwined with oriental verses; (3) the thoroughly revised Paris 1931 edition entitled The Shadow of a Bird; (4) the “Nobel prize” version within collected works issued by Petropolis, a publishing house in Berlin, again under the title The Temple of the Sun. The authors analyze the texts that belong to this outlined circle of sources in the perspective of several topographic locations that concentrate around themselves the main motifs of the travelogue. They also single out a number of essential types of correction Bunin made in his opus. Motifs representing the cosmopolitism of world capitals (remarkably, not Western ones but Eastern, such as Constantinople and Alexandria) alongside with the specific sentiment in the narrator’s voice, marked with the feeling of the all-world unity, serve as indicators of the primal, most archaic layer of the text. Its history reveals how gradually (vigorously in émigré years) Bunin tended to reject both the world capitals’ narrative and hopes for a cosmopolitan future of humanity. These shifts encouraged an alteration of Bunin’s oriental poetics as a whole. Now traces of modernity are excluded from East’s images whereas the feeling of antiquity as a kind of a channel that could bring the reader back into the humanity’s past was, on the contrary, reinforced as years went by. A less conspicuous but not less important type of correction was based on erasing from the text the traces of the narrator who sometimes presented himself as a historic","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"53 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91014318","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 is based on the material of phraseological units, which include the words utro [morning], den’ [day], vecher [evening], noch’ [night] and their derivatives s utra poran’she, sred’ belogo dnya, dnevat’ i nochevat’, etc., a total of about a thousand units. Dictionaries of literary, dialect, slang types of language served as sources for it. The analysis showed the activity of this group of chronolexis in phrase production from the beginning of the written period (velikaya noshch’, dnevno i noshchno), their transformations with time: Varfolomeya noshch’ (18th century) > Varfolomeevskaya noch’. The formation of compound names can be presented as a result of (1) compounding of lexical means, with the development of additional figurative semantics in them (nochnoy + medveditsa = nochnaya medveditsa [butterfly] or without it (utrenniy + zvezda = utrennyaya zvezda [morning star]), (2) expansion of one-word names into compound ones with the same conceptual volume: devichnik > devich vecher, etc. Higher rates in the implementation of their phraseological and derivational potential are shown by the polysemantic items den’ and vecher. In the primary meaning, noch’ is more active in derivation as a dark, passive period, which marks deviations from the standards of light time in actions, behavior, important characteristics of everything that exists (nochnaya krasota, belye nochi, nochnye volki). Words with the root utr- are the least frequent. The general ratio of phraseological family data can be expressed approximately as 50 (den’) : 25 (vecher) : 20 (noch’) : 5 (utro). The maximum realization of the derivational potential of these words is observed in the dialect and slang types of the language, mainly due to them the latest phraseological units are developing: nachalos’ v kolhoze utro, spokoynoy nochi (political studies in the army). The similarity of the initial semantics of words in families also led to the presence of typical non-single-word formations in them: v utro / den’ / vecher / noch’, of which most often in the phraseological family utro they have corresponding lacunae: den’ dnevat’ / noch’ nochevat’/ vecher vecheryat’, etc. Consistently the same type of stable verbal complexes form antonymous names of parts of the day: zarnitsa vechyoroshnaya / utreshnyaya, den’ v den’ / noch’ v noch’, v dyonnuyu / nóchnuyu, etc. According to the type of grammatical meaning, phraseologisms are represented by groups, the most frequent of which is adverbial (po utryaku, nochnym bytom, v moroshnyj den’ ne pereschitat’), then substantive (vechernyaya shkola, sorok dney), interjective (dobroe utro), verbal (karaulit’ noch’), adjective (noch’yu rodilsya, vidavshiy luchshie dni), verbal-predicative (dni sochteny, v glazah noch’ noch’yu). They are divided into three nominative spheres; the most developed of them is temporal, which is due to the semantics of words in the family. Phraseologisms are represented by different structures, mainly in the form of coord
本研究以词汇单位为基础，包括utro[早晨]、den '[白天]、vecher[晚上]、noch '[夜晚]等词及其衍生词utra poran ' she、sred ' belogo dnya、dnevat ' i nochevat '等，共约一千个单位。文学词典、方言词典、俚语词典都是它的来源。分析表明，这组编年体从文字时代(velikaya noshch '， dnevno i noshchno)开始，在短语生产方面的活动，它们随时间的变化:Varfolomeya noshch '(18世纪)> Varfolomeevskaya noch '。复合名的形成可以表现为(1)词汇手段的复合，并在其中发展额外的比喻语义(nochnoy + medveditsa = nochnaya medveditsa[蝴蝶]或没有它(utrenniy + zvezda = utrennyaya zvezda[晨星]);(2)将单字名称扩展为具有相同概念量的复合名称:devichnik > devich vecher等。多义词den '和vecher在实现其短语和衍生潜能方面表现出较高的比率。在最初的意思中，“noch”在派生上更活跃，作为一个黑暗、被动的时期，它标志着在行动、行为、存在的一切重要特征(nochnaya krasota、belye nochi、nochnye volki)上偏离了光明时间的标准。以utr-为词根的单词使用频率最低。短语族数据的一般比例可以近似表示为50 (den’):25 (vecher): 20 (noch’):5 (utro)。这些词的衍生潜力在方言和俚语类型中得到了最大的实现，主要是由于它们正在发展最新的短语单位:nachalos ' v kolhoze utro, spokoynoy nochi(军队中的政治研究)。语族中单词的初始语义的相似性也导致了它们中典型的非单字结构的存在:v utro / den ' / vecher / noch '，其中最常见的是在短语语族中，它们有相应的空白:den ' dnevat ' / noch ' nochevat ' / vecher vecheryat '等。同样类型的稳定动词复合体形成了一天中不同部分的同义词:zarnitsa vechyoroshnaya / utreshnyaya, den ' v den ' / noch ' v noch '， v dyonnuyu / nóchnuyu等。根据语法意义的类型，短语以组为代表，其中最常见的是副词(po utryaku, nochnym bytom, v moroshnyjden ' ne pereschitat)，其次是实体(vechernyaya shkola, sorok dney)，反语(dobroe utro)，言语(karaulit ' noch ')，形容词(noch ' yu rodilsya, vidavshiy luchshie dni)，言语-谓语(dni sochteny, v glazah noch ' noch ' yu)。它们被分为三个范畴;其中最发达的是时态，这是由于单词在家庭中的语义。短语由不同的结构表现出来，主要表现为并列短语和从属短语。其中，有大量的同义结构:dnyamdnyam, vecher vecherushhey, noch ' -v-polnoch '。这样的短语强化了所表达的概念的意义(den ' -den ' skoy, vecher vecherovat)，也可能表明所使用的词语的语义发展:营养/未来/明天，vechernie noshchi[阴影]。在被分析词的用法中固定新的意义有助于发展它们的主衍生潜能。
{"title":"Phraseological units with the names of the times of the day and their derivatives as a realization of the nominativederivational potential of the original words","authors":"Tatyana S. Sokolova, G. Starikova","doi":"10.17223/19986645/82/8","DOIUrl":"https://doi.org/10.17223/19986645/82/8","url":null,"abstract":"The study is based on the material of phraseological units, which include the words utro [morning], den’ [day], vecher [evening], noch’ [night] and their derivatives s utra poran’she, sred’ belogo dnya, dnevat’ i nochevat’, etc., a total of about a thousand units. Dictionaries of literary, dialect, slang types of language served as sources for it. The analysis showed the activity of this group of chronolexis in phrase production from the beginning of the written period (velikaya noshch’, dnevno i noshchno), their transformations with time: Varfolomeya noshch’ (18th century) > Varfolomeevskaya noch’. The formation of compound names can be presented as a result of (1) compounding of lexical means, with the development of additional figurative semantics in them (nochnoy + medveditsa = nochnaya medveditsa [butterfly] or without it (utrenniy + zvezda = utrennyaya zvezda [morning star]), (2) expansion of one-word names into compound ones with the same conceptual volume: devichnik > devich vecher, etc. Higher rates in the implementation of their phraseological and derivational potential are shown by the polysemantic items den’ and vecher. In the primary meaning, noch’ is more active in derivation as a dark, passive period, which marks deviations from the standards of light time in actions, behavior, important characteristics of everything that exists (nochnaya krasota, belye nochi, nochnye volki). Words with the root utr- are the least frequent. The general ratio of phraseological family data can be expressed approximately as 50 (den’) : 25 (vecher) : 20 (noch’) : 5 (utro). The maximum realization of the derivational potential of these words is observed in the dialect and slang types of the language, mainly due to them the latest phraseological units are developing: nachalos’ v kolhoze utro, spokoynoy nochi (political studies in the army). The similarity of the initial semantics of words in families also led to the presence of typical non-single-word formations in them: v utro / den’ / vecher / noch’, of which most often in the phraseological family utro they have corresponding lacunae: den’ dnevat’ / noch’ nochevat’/ vecher vecheryat’, etc. Consistently the same type of stable verbal complexes form antonymous names of parts of the day: zarnitsa vechyoroshnaya / utreshnyaya, den’ v den’ / noch’ v noch’, v dyonnuyu / nóchnuyu, etc. According to the type of grammatical meaning, phraseologisms are represented by groups, the most frequent of which is adverbial (po utryaku, nochnym bytom, v moroshnyj den’ ne pereschitat’), then substantive (vechernyaya shkola, sorok dney), interjective (dobroe utro), verbal (karaulit’ noch’), adjective (noch’yu rodilsya, vidavshiy luchshie dni), verbal-predicative (dni sochteny, v glazah noch’ noch’yu). They are divided into three nominative spheres; the most developed of them is temporal, which is due to the semantics of words in the family. Phraseologisms are represented by different structures, mainly in the form of coord","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"23 10","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72482675","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}
This article discusses the lexical-semantic field “Benefit” from the point of view of structure in the dialects of the Russian language. Based on lexicographic sources (Dictionary of Russian Dialects, 52 issues), the composition of the lexico-semantic field was determined. The analysis revealed the core of the field – the lexemes benefit/behoof and suitability/pleasure/fit, the near-nuclear zone – gain and the ability to distinguish two subfields in terms of the expressed evaluation: “Benefit/ contributing to benefit, positive result” and “Benefit/gain”. The result of the study showed the following. Firstly, the segmentation of the first subfield (“Useful as something suitable for the subject”, “Useful as something contributing, helping”, “Useful as something healing, curing’) reflects the interaction of the lexico-semantic field “Benefit” with the lexical fields “(something) Suitable”, “Assistance/help”, “Treatment”. The lexico-semantic field “Assistance/help” also intersects with the field “Profit”. The subfield “Benefit/gain” is difficult to divide into segments, it closely interacts with the lexico-semantic field “Profit”. Secondly, the dialects retain a trace of the general development of the idea of the useful, associated in the early and valueundeveloped consciousness with the satisfaction of vital needs and with a general (public) interest, with the idea of the useful as essential, necessary for the physical existence of a person (compare the derivatives god(n)-, dob(n)-, gain in the center of the field; possessions, feeding, etc. in the near periphery). Thirdly, the structure of the dialect field “Benefit” reflected the complication of the concept of benefit, useful under the influence of the Church Slavonic vision: the actualization of benefit as useful for the soul and body, for health, its maintenance, “correction”. This affected the composition of the lexemes of the center of the field, which included derivatives of polg/polz- with the meaning “to heal”, and the establishment of close interaction of the lexico-semantic field “Benefit” with the lexico-semantic field “Treatment/healing” (treat in a quack way, correct, cure, etc.). Fourthly, the analysis of the lexicosemantic field “Benefit” in dialects shows the complication of the concept of the benefit of the new time from the point of view of evaluation, associated with the increasing discrepancy between personal and general (public) interests (the basis for the allocation of subfields of the lexico-semantic field). But among dialect speakers, this restructuring of values associated with changes in social, industrial relations is still poorly expressed, retains echoes of community consciousness, which is evident when comparing the semantic structure of the word greed, its derivatives and, in general, in the semantics of most of the vocabulary of the second subfield, associated with the designation of material benefits, avail, profits, and bearing a positive evaluation
本文从俄语方言结构的角度探讨了俄语方言的词汇语义场“利”。根据词典编纂资料(《俄语方言词典》，52期)，确定了词典语义场的构成。分析揭示了该领域的核心——“利益/利益”和“适宜性/愉悦性/适合性”这两个词，近核区——增益，以及区分“利益/贡献利益、积极结果”和“利益/增益”这两个表达评价的子领域的能力。研究结果如下。首先，第一子场的分割(“作为适合主题的东西有用”、“作为贡献、帮助的东西有用”、“作为治疗、治愈的东西有用”)反映了词汇语义场“利益”与词汇场“(某事)合适”、“协助/帮助”、“治疗”的相互作用。词汇语义字段“援助/帮助”也与字段“利润”相交。子字段“利益/收益”难以分割，它与词汇语义字段“利益”密切相关。其次，方言保留了有用概念总体发展的痕迹，在早期和价值发展的意识中，它与重要需求的满足和一般(公众)利益联系在一起，与有用的概念联系在一起，对于一个人的身体存在是必不可少的(比较一下衍生词god(n)-， dob(n)-， gain在领域的中心;靠近周边的物品、喂养等)。第三，方言场域“有益”的结构反映了有益概念的复杂性，在教会斯拉夫视野的影响下有益:将有益的实现为对灵魂和身体有益，对健康有益，对其维护有益，“纠正”有益。这影响了场中心词素的构成，其中包括具有“治疗”意思的polg/polz-衍生词，以及词汇语义场“Benefit”与词汇语义场“Treatment/healing”(Treatment in a quack way, correct, cure等)密切互动的建立。第四，对方言词汇语义场“利益”的分析表明，从评价的角度来看，新时代利益概念的复杂性，与个人利益与一般(公共)利益(词汇语义场子场分配的基础)之间的差距越来越大有关。但是在说方言的人当中，这种与社会、工业关系变化相关的价值观的重组仍然没有得到很好的表达，保留了社区意识的回声，这在比较“贪婪”这个词的语义结构时很明显，它的衍生词，总的来说，在第二子领域的大多数词汇的语义中，与物质利益、好处、利润的指定有关，并具有积极的评价
{"title":"The structure of the lexical-semantic field \"Benefit\" in the dialects of the Russian language","authors":"Yanchun Liu","doi":"10.17223/19986645/82/5","DOIUrl":"https://doi.org/10.17223/19986645/82/5","url":null,"abstract":"This article discusses the lexical-semantic field “Benefit” from the point of view of structure in the dialects of the Russian language. Based on lexicographic sources (Dictionary of Russian Dialects, 52 issues), the composition of the lexico-semantic field was determined. The analysis revealed the core of the field – the lexemes benefit/behoof and suitability/pleasure/fit, the near-nuclear zone – gain and the ability to distinguish two subfields in terms of the expressed evaluation: “Benefit/ contributing to benefit, positive result” and “Benefit/gain”. The result of the study showed the following. Firstly, the segmentation of the first subfield (“Useful as something suitable for the subject”, “Useful as something contributing, helping”, “Useful as something healing, curing’) reflects the interaction of the lexico-semantic field “Benefit” with the lexical fields “(something) Suitable”, “Assistance/help”, “Treatment”. The lexico-semantic field “Assistance/help” also intersects with the field “Profit”. The subfield “Benefit/gain” is difficult to divide into segments, it closely interacts with the lexico-semantic field “Profit”. Secondly, the dialects retain a trace of the general development of the idea of the useful, associated in the early and valueundeveloped consciousness with the satisfaction of vital needs and with a general (public) interest, with the idea of the useful as essential, necessary for the physical existence of a person (compare the derivatives god(n)-, dob(n)-, gain in the center of the field; possessions, feeding, etc. in the near periphery). Thirdly, the structure of the dialect field “Benefit” reflected the complication of the concept of benefit, useful under the influence of the Church Slavonic vision: the actualization of benefit as useful for the soul and body, for health, its maintenance, “correction”. This affected the composition of the lexemes of the center of the field, which included derivatives of polg/polz- with the meaning “to heal”, and the establishment of close interaction of the lexico-semantic field “Benefit” with the lexico-semantic field “Treatment/healing” (treat in a quack way, correct, cure, etc.). Fourthly, the analysis of the lexicosemantic field “Benefit” in dialects shows the complication of the concept of the benefit of the new time from the point of view of evaluation, associated with the increasing discrepancy between personal and general (public) interests (the basis for the allocation of subfields of the lexico-semantic field). But among dialect speakers, this restructuring of values associated with changes in social, industrial relations is still poorly expressed, retains echoes of community consciousness, which is evident when comparing the semantic structure of the word greed, its derivatives and, in general, in the semantics of most of the vocabulary of the second subfield, associated with the designation of material benefits, avail, profits, and bearing a positive evaluation","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"44 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77802574","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 authors examine the concepts “Acceleration” and “Time” in the context of other constants of the utopian type of consciousness based on the material of the works Zangezi (1922), the poem Boards of Destiny (1922), as well as other poetic, dramatic works, treatises and articles by Velimir Khlebnikov (1885–1922), a futurist poet, a consistent “budetlyanin”, a unique, not fully understood and underestimated utopian thinker. The line-by-line analysis of metaphors and intertextual connections of Zangezi allows the authors to show Khlebnikov’s innovation in solving the main issue of utopia – achieving happiness and likening a person to God. According to the authors of this article, the poet’s innovation consists in a special interpretation of the analyzed concepts that fit into the general conceptual framework of utopia and that are objectified by techniques familiar to the utopian thought of the late 19th and early 20th centuries and developed in the context of the futuristic ideas of their time. The artistic integrity of Zangezi is achieved by the widest hypertext that Khlebnikov provides by using the literary method “zaum”. Meanings, ideas, symbols, images from the seemingly disordered text transform into a harmonious embodiment of the main idea of conquering time. Zaum is a code for hypertext, a symbolic canvas Khlebnikov draws through the cultural contexts of different eras and peoples. Zaum is needed to read the new utopian idea that previous generations uncovered to the prophetic poet – “shaman”. The cultural code Khlebnikov deciphered and presented in his final supersaga Zangezi does not “throw off the ship of modernity” the achievements of other cultures and generations, but unites them, forming a new universal timeless continuum, where time (past, present, future) remain, but the transience of life is not essential since a person can “walk” in time. He controls it completely and he has the ability to go to the past or the future, connect with the following or previous generations. Khlebnikov offers his own solution to the problem of the “siege of time, words and multiplicities”, his own breakthrough into the Future, more precisely, into all times – into a timeless continuum.
{"title":"The concepts \"Time\" and \"Acceleration\" as constants of a utopian type of consciousness in Velimir Khlebnikov’s supersaga Zangezi","authors":"S. L. Andreeva, Maya L. Bedrikova","doi":"10.17223/19986645/82/9","DOIUrl":"https://doi.org/10.17223/19986645/82/9","url":null,"abstract":"The authors examine the concepts “Acceleration” and “Time” in the context of other constants of the utopian type of consciousness based on the material of the works Zangezi (1922), the poem Boards of Destiny (1922), as well as other poetic, dramatic works, treatises and articles by Velimir Khlebnikov (1885–1922), a futurist poet, a consistent “budetlyanin”, a unique, not fully understood and underestimated utopian thinker. The line-by-line analysis of metaphors and intertextual connections of Zangezi allows the authors to show Khlebnikov’s innovation in solving the main issue of utopia – achieving happiness and likening a person to God. According to the authors of this article, the poet’s innovation consists in a special interpretation of the analyzed concepts that fit into the general conceptual framework of utopia and that are objectified by techniques familiar to the utopian thought of the late 19th and early 20th centuries and developed in the context of the futuristic ideas of their time. The artistic integrity of Zangezi is achieved by the widest hypertext that Khlebnikov provides by using the literary method “zaum”. Meanings, ideas, symbols, images from the seemingly disordered text transform into a harmonious embodiment of the main idea of conquering time. Zaum is a code for hypertext, a symbolic canvas Khlebnikov draws through the cultural contexts of different eras and peoples. Zaum is needed to read the new utopian idea that previous generations uncovered to the prophetic poet – “shaman”. The cultural code Khlebnikov deciphered and presented in his final supersaga Zangezi does not “throw off the ship of modernity” the achievements of other cultures and generations, but unites them, forming a new universal timeless continuum, where time (past, present, future) remain, but the transience of life is not essential since a person can “walk” in time. He controls it completely and he has the ability to go to the past or the future, connect with the following or previous generations. Khlebnikov offers his own solution to the problem of the “siege of time, words and multiplicities”, his own breakthrough into the Future, more precisely, into all times – into a timeless continuum.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"58 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91012487","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 article interprets the mystery codes in the poem “Field Hospital” by Arseny Tarkovsky. The research is based on the principles of mythopoetic and structuralsemantic analysis of the text, and provides a systematic approach to the work, taking into account the specifics of its plot-genre paradigmatics and figurative-symbolic language. The inner world of the poem is organized by the logic of the mystery topos with its key coordinates: frontier ontology; the evolving character of time and the reflection of its dynamics in the “dialectic of the soul”; existential self-reflection and detachment of the hero’s consciousness. The motivic complex of the border, repeatedly manifested in the text and culminating in the symbolism of the limb, becomes a meta-image, in the semantic field of which all the named parameters of the mystery continuum intersect. The model of reality recreated in Tarkovsky’s poem goes beyond mythological monism, but it clearly correlates with the mystery organization of the chronotope: the mystic is aware of the multidimensionality of the universe and the existence of boundaries between different spheres of reality – primarily profane-everyday and sacred – as well as the possibility of moving across these boundaries, which, ultimately, is one of the results of mystery initiations. The plot-forming meaning in “Field Hospital” is acquired by allusive references to the mystery texts of culture: the ancient Egyptian, Christian, alchemical mysteries are dialogically integrated in the act of birth – transfiguration – resurrection experienced by Tarkovsky’s hero. The central place in this paradigm is given to the mystery of Osiris and Isis, the symbolic codes of which are reflected in a number of iconic motifs, images, and details. The key among them are the motif of dismemberment and the semantic complex of the victim associated with it; the symbolism of death – resurrection; the archetypal dyad of a newborn – infant; a tree-natural code associated with the lyrical hero; the allusively designated image of Isis, personifying the female harmonizing principle of the universe. If the motif of dismemberment contains a specific reference to the theme of Osiris, then the other elements in this series also relate to the mystery of Christ and, accordingly, to the texts of culture associated with it, including the mysteries of the alchemists. The study leads to the conclusion that Tarkovsky’s “Field Hospital” is read as a metatext, where in a situation of semantic dialogue different culturological modes of mystery coexist, and the mystery consciousness itself enters into a relationship of mutual reflection with the mythological and tragic worldview. The logic of the myth is intertwined in the development of the lyrical plot with the logic of tragedy, which in turn is overcome through a detached view of the tragic situations experienced and the mystery-conscious acceptance of fate and life in all their manifestations.
{"title":"Mystery metatext in the poem \"Field Hospital\" by Arseny Tarkovsky","authors":"G. Ibatullina","doi":"10.17223/19986645/81/9","DOIUrl":"https://doi.org/10.17223/19986645/81/9","url":null,"abstract":"The article interprets the mystery codes in the poem “Field Hospital” by Arseny Tarkovsky. The research is based on the principles of mythopoetic and structuralsemantic analysis of the text, and provides a systematic approach to the work, taking into account the specifics of its plot-genre paradigmatics and figurative-symbolic language. The inner world of the poem is organized by the logic of the mystery topos with its key coordinates: frontier ontology; the evolving character of time and the reflection of its dynamics in the “dialectic of the soul”; existential self-reflection and detachment of the hero’s consciousness. The motivic complex of the border, repeatedly manifested in the text and culminating in the symbolism of the limb, becomes a meta-image, in the semantic field of which all the named parameters of the mystery continuum intersect. The model of reality recreated in Tarkovsky’s poem goes beyond mythological monism, but it clearly correlates with the mystery organization of the chronotope: the mystic is aware of the multidimensionality of the universe and the existence of boundaries between different spheres of reality – primarily profane-everyday and sacred – as well as the possibility of moving across these boundaries, which, ultimately, is one of the results of mystery initiations. The plot-forming meaning in “Field Hospital” is acquired by allusive references to the mystery texts of culture: the ancient Egyptian, Christian, alchemical mysteries are dialogically integrated in the act of birth – transfiguration – resurrection experienced by Tarkovsky’s hero. The central place in this paradigm is given to the mystery of Osiris and Isis, the symbolic codes of which are reflected in a number of iconic motifs, images, and details. The key among them are the motif of dismemberment and the semantic complex of the victim associated with it; the symbolism of death – resurrection; the archetypal dyad of a newborn – infant; a tree-natural code associated with the lyrical hero; the allusively designated image of Isis, personifying the female harmonizing principle of the universe. If the motif of dismemberment contains a specific reference to the theme of Osiris, then the other elements in this series also relate to the mystery of Christ and, accordingly, to the texts of culture associated with it, including the mysteries of the alchemists. The study leads to the conclusion that Tarkovsky’s “Field Hospital” is read as a metatext, where in a situation of semantic dialogue different culturological modes of mystery coexist, and the mystery consciousness itself enters into a relationship of mutual reflection with the mythological and tragic worldview. The logic of the myth is intertwined in the development of the lyrical plot with the logic of tragedy, which in turn is overcome through a detached view of the tragic situations experienced and the mystery-conscious acceptance of fate and life in all their manifestations.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"71 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83959771","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 article is to reconstruct the semantic structure of Mandelstam’s poem “Ode” using contextual, intertextual and consituative analysis. As the study showed, three types of complexity of nominations lead to significant difficulties in the adequate understanding of the “Ode”: (1) motivational complication, the sources of which are semantic transfers, primarily metaphor. One of the most striking images of the “Ode” is formed by an expanded metaphor based on the comparison of a poet with an artist, a pen with charcoal, which the artist takes for the highest praise to the addressee of the “Ode”. The “duality” of this image that Joseph Brodsky indicated can be explained if we take into account the fact that the line “If I took coal for the highest praise” contains an oxymoron (perhaps with an intertextual allusion to coal in Horace’s Satires), i.e. conceals a contrasting characteristic; (2) intertextual complication. An axiologically significant element of the subtext of the “Ode” is the allusion to the song “Rus” in Nekrasov’s poem Who Is Happy in Russia?; this allusion is expressed metrically and lexically. The song is built on contrasts, which gives reason to correlate this allusion with the above oxymoron as a figure of contrast; (3) consituative complication. The style of the “Ode”, which approaches oratorical and even newspaper, should be considered as consituatively marked, since such a convergence was characteristic of revolutionary and post-revolutionary poetry. Among the facts testifying to the dialectical nature of Mandelstam’s view of what was happening in the USSR, is not only the open statement “Debtor is stronger than the claim”, but also the subtexts confirming its sincerity: (a) a reference to the song “Rus”, one of the fragments of which says that power and untruth do not get along; (b) the likening of Stalin to Prometheus in chains; (c) the above oxymoron. This semantic correlation allows asserting that the text contains elements of two-sided argumentation in relation to the assessment of the activities of the USSR’s leader; for the Stalin era, especially after the XVII Congress of the CPSU(b), the Congress of Winners (1934), this position of the author was politically and ideologically unacceptable. The fact that Mandelstam decided on such an argument confirms the validity of his evaluation as a poet who was unable to compromise in his work. The “Ode” is considered a palinody in relation to the poem “We Live Without Feeling the Country Beneath Our Feet ...” (1933). In the light of the above facts, it would be more accurate to talk about incomplete palinody, since the unambiguously negative evaluation is replaced in the “Ode” by not unambiguously positive, but dialectical, possibly with the prophetic element – power and untruth do not get along.
{"title":"Subtexts of Osip Mandelstam’s \"Ode\" to Stalin: a linguist’s commentaries","authors":"V. Moskvin","doi":"10.17223/19986645/82/7","DOIUrl":"https://doi.org/10.17223/19986645/82/7","url":null,"abstract":"The aim of the article is to reconstruct the semantic structure of Mandelstam’s poem “Ode” using contextual, intertextual and consituative analysis. As the study showed, three types of complexity of nominations lead to significant difficulties in the adequate understanding of the “Ode”: (1) motivational complication, the sources of which are semantic transfers, primarily metaphor. One of the most striking images of the “Ode” is formed by an expanded metaphor based on the comparison of a poet with an artist, a pen with charcoal, which the artist takes for the highest praise to the addressee of the “Ode”. The “duality” of this image that Joseph Brodsky indicated can be explained if we take into account the fact that the line “If I took coal for the highest praise” contains an oxymoron (perhaps with an intertextual allusion to coal in Horace’s Satires), i.e. conceals a contrasting characteristic; (2) intertextual complication. An axiologically significant element of the subtext of the “Ode” is the allusion to the song “Rus” in Nekrasov’s poem Who Is Happy in Russia?; this allusion is expressed metrically and lexically. The song is built on contrasts, which gives reason to correlate this allusion with the above oxymoron as a figure of contrast; (3) consituative complication. The style of the “Ode”, which approaches oratorical and even newspaper, should be considered as consituatively marked, since such a convergence was characteristic of revolutionary and post-revolutionary poetry. Among the facts testifying to the dialectical nature of Mandelstam’s view of what was happening in the USSR, is not only the open statement “Debtor is stronger than the claim”, but also the subtexts confirming its sincerity: (a) a reference to the song “Rus”, one of the fragments of which says that power and untruth do not get along; (b) the likening of Stalin to Prometheus in chains; (c) the above oxymoron. This semantic correlation allows asserting that the text contains elements of two-sided argumentation in relation to the assessment of the activities of the USSR’s leader; for the Stalin era, especially after the XVII Congress of the CPSU(b), the Congress of Winners (1934), this position of the author was politically and ideologically unacceptable. The fact that Mandelstam decided on such an argument confirms the validity of his evaluation as a poet who was unable to compromise in his work. The “Ode” is considered a palinody in relation to the poem “We Live Without Feeling the Country Beneath Our Feet ...” (1933). In the light of the above facts, it would be more accurate to talk about incomplete palinody, since the unambiguously negative evaluation is replaced in the “Ode” by not unambiguously positive, but dialectical, possibly with the prophetic element – power and untruth do not get along.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"32 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88402288","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}
This article is a review of the book The Evidential Model of a Scientific Text by Sergey Grichin. The monograph describes evidentiality, one of the leading discursive categories of a scientific text. Grichin answers the questions: How does new knowledge emerge? How is it converted into a text? How does the dialogue between the author and his predecessors come about? Answering these questions, Grichin substantiates the status of evidentiality as a universal text-forming category. This category reflects all cognitive actions of the author of the text, so the study of evidentiality requires a complex, interdisciplinary approach. In the reviewed book, this approach is represented by the synthesis of functional stylistics, cognitive linguistics, discourse analysis, psychology and logic. The author of the monograph fully and clearly formulates the research methodology and defines the key concepts: evidential sense, evidential unit, evidential indicators, etc. Grichin establishes the extra-linguistic factors influencing the representation of evidential meanings in a scientific text, and describes the linguistic units for expressing these meanings. The correlation between the category of evidentiality and the category of certainty / uncertainty is shown. Regularities in the perception of evidential information by the addressee are defined. The novelty of the research lies in the fact that the category of evidentiality is presented as an integrative, multifactor model, which takes into account extralinguistic (discursive) and linguistic factors of communicative and cognitive activity of the author of the text. The scientific significance of the developed model is ensured by the fact that Grichin interprets evidentiality in a wider and deeper way than it was accepted in traditional linguistics (traditionally evidentiality is understood as referring to the source of someone else’s speech). The monograph considers evidentiality as a multifactorial category, which is a tool for structuring scientific discourse. The evidentiality model is developed by Grichin on the basis of the analysis of vast material, which includes more than 300 texts in 13 branches of science. To check the validity of the concept, journalistic and colloquial (dialectal) texts are used in addition to scientific texts. The regularities of the addressee’s perception of evidential senses are analysed by means of experimental methods. The reviewers note the value of the monograph for speech studies, in particular: development of a cognitive and discursive method of scientific text analysis; identification of new extralinguistic factors of scientific communication; establishment of mechanisms of generation and perception of scientific texts.
{"title":"Book review: Grichin, S. V. (2020) The evidential model of a scientific text. Novosibirsk: Novosibirsk State Technical University","authors":"E. Bazhenova, M. Kotyurova","doi":"10.17223/19986645/81/15","DOIUrl":"https://doi.org/10.17223/19986645/81/15","url":null,"abstract":"This article is a review of the book The Evidential Model of a Scientific Text by Sergey Grichin. The monograph describes evidentiality, one of the leading discursive categories of a scientific text. Grichin answers the questions: How does new knowledge emerge? How is it converted into a text? How does the dialogue between the author and his predecessors come about? Answering these questions, Grichin substantiates the status of evidentiality as a universal text-forming category. This category reflects all cognitive actions of the author of the text, so the study of evidentiality requires a complex, interdisciplinary approach. In the reviewed book, this approach is represented by the synthesis of functional stylistics, cognitive linguistics, discourse analysis, psychology and logic. The author of the monograph fully and clearly formulates the research methodology and defines the key concepts: evidential sense, evidential unit, evidential indicators, etc. Grichin establishes the extra-linguistic factors influencing the representation of evidential meanings in a scientific text, and describes the linguistic units for expressing these meanings. The correlation between the category of evidentiality and the category of certainty / uncertainty is shown. Regularities in the perception of evidential information by the addressee are defined. The novelty of the research lies in the fact that the category of evidentiality is presented as an integrative, multifactor model, which takes into account extralinguistic (discursive) and linguistic factors of communicative and cognitive activity of the author of the text. The scientific significance of the developed model is ensured by the fact that Grichin interprets evidentiality in a wider and deeper way than it was accepted in traditional linguistics (traditionally evidentiality is understood as referring to the source of someone else’s speech). The monograph considers evidentiality as a multifactorial category, which is a tool for structuring scientific discourse. The evidentiality model is developed by Grichin on the basis of the analysis of vast material, which includes more than 300 texts in 13 branches of science. To check the validity of the concept, journalistic and colloquial (dialectal) texts are used in addition to scientific texts. The regularities of the addressee’s perception of evidential senses are analysed by means of experimental methods. The reviewers note the value of the monograph for speech studies, in particular: development of a cognitive and discursive method of scientific text analysis; identification of new extralinguistic factors of scientific communication; establishment of mechanisms of generation and perception of scientific texts.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"35 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86611039","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 article analyses the essay “Waiting for the Passage-Boat” (1857) by the Russian writer and publicist Dmitry Vasilyevich Grigorovich. The essay was published in the magazine Sovremennik (“Contemporary”), and its publication seemed to draw a line under the discussion of the slaver and serfdom question in Russian magazines. Grigorovich’s prose played a role in this discussion. Grigorovich was one of the first writers of Russian realism (the so-called “natural school”) and tried to move away from the theatre vaudeville and sentimental images of Russian peasants in his novellas The Village and Anton-Goremyka. His subsequent texts on peasant themes, written during the “gloomy seven years”, varied the source material, sometimes showing a movement towards melodrama. The article offers a variant of a narratological and hermeneutic reading of the essay in the aspect of reflection and narration. In the author’s opinion, Grigorovich demonstrates the exhaustion of the peasant theme in literature, using the technique of multiple storytelling (from Hoffmann’s Serapion Brothers or Odoevsky’s Russian Nights). This becomes most obvious at that moment of the narrative, when the “right to voice” passes to casual interlocutors, while the narrator, correlated with the writer, loses this right. He is not recognized as the author of stories in his environment and takes the passive role of a listener. The use of allusions, remeniscences (from Karamzin, Radishchev, Mérimée, de Prevost), and autoquotation creates “noise” in the communication channel, making it difficult to perceive these stories as “bitter truth” (Stendhal), at the same time convincing the reader of the impossibility of finding an adequate description language for peasant everyday life. In this regard, Grigorovich’s position coincides with that of Honore de Balzac in the introduction to his Les Paysans or of Pavel Annenkov that was declared in his main article: you can expect a lot of pleasure from the expression in art of the course of common life, many pictures, original faces, excellent descriptions, but hardly real knowledge of this course as a subject for discussion and conclusion. Yet many of the writers and a very large number of readers have in mind this latter goal; but it is the same as judging about the height of the people who built the Egyptian pyramid by the pyramid’s height. This epistemological impossibility is illustrated in Grigorovich’s essay: the nobles and the peasant world exist in parallel. Thus, interlocutors do not feel empathy, and the purpose of conversation is not to change reality, but to spend time. Thus, the conversation of the nobles can be correlated with the Socratic dialogue, in which the possibility of the maieutic acquisition of truth is not realized due to the failure of communication. The arrival of the passage-boat demonstrates the inconsistency and exhaustion of conversations about people’s happiness, becomes a marker of such a failure. The article is illustrate
本文分析了俄罗斯作家、政治学家格里戈洛维奇的散文《等待船》(1857)。这篇文章发表在《当代》(Sovremennik)杂志上，它的发表似乎与俄罗斯杂志上关于奴隶制度和农奴制问题的讨论划清了界限。格里戈洛维奇的散文在这场讨论中发挥了作用。格里戈洛维奇是俄罗斯现实主义(所谓的“自然学派”)的首批作家之一，他试图在他的中篇小说《村庄》和《安东-戈雷梅卡》中摆脱戏剧杂剧和俄罗斯农民的情感形象。他在“阴郁的七年”期间撰写的关于农民主题的后续文本，改变了原始材料，有时显示出向情节剧的运动。文章从反思和叙述的角度对这篇文章进行了一种叙事学和解释学的解读。作者认为，格里戈洛维奇运用多重叙事的手法(从霍夫曼的《塞拉皮昂兄弟》到奥多耶夫斯基的《俄罗斯之夜》)，展示了文学中农民主题的枯竭。这在叙述的那一刻变得最明显，当“话语权”转移到不经意的对话者时，与作者相关的叙述者失去了这一权利。在他所处的环境中，他不被认为是故事的作者，而只是一个被动的倾听者。使用暗示，回忆(来自Karamzin, Radishchev, msamrisame, de Prevost)和自动引用在交流渠道中制造了“噪音”，使得这些故事很难被理解为“痛苦的真相”(司唐达)，同时说服读者不可能找到一个适当的描述农民日常生活的语言。在这方面，格里戈洛维奇的立场与巴尔扎克在他的《Paysans》的引言中或者帕维尔·安年科夫在他的主要文章中宣称的立场一致:你可以从日常生活过程的艺术表达中获得很多乐趣，许多图片，原始的面孔，出色的描述，但很难真正了解这一过程作为讨论和总结的主题。然而，许多作家和大量读者心中所想的是后一个目标;但这与根据金字塔的高度来判断建造埃及金字塔的人的高度是一样的。这种认识论上的不可能性在格里戈洛维奇的文章中得到了说明:贵族和农民世界是平行存在的。因此，对话者没有同理心，谈话的目的不是为了改变现实，而是为了消磨时间。因此，贵族的对话可以与苏格拉底的对话相关联，在苏格拉底的对话中，由于沟通的失败，无法实现对真理的maieutic acquisition的可能性。游船的到来表明了关于人们幸福的对话的不一致和疲惫，成为这种失败的标志。文章是由格里戈洛维奇的批评文章和书信体作品的片段说明。他的200周年纪念激励着研究人员去寻找最新的解读和更新阅读作者文本的方式。文章中提出的结果和观察结果可用于19世纪俄罗斯文学史的教学。
{"title":"Storytelling, reflection and narration in Dmitry Grigorovich’s essay \"Waiting for the Passage-Boat\"","authors":"A. Kozlov","doi":"10.17223/19986645/81/11","DOIUrl":"https://doi.org/10.17223/19986645/81/11","url":null,"abstract":"The article analyses the essay “Waiting for the Passage-Boat” (1857) by the Russian writer and publicist Dmitry Vasilyevich Grigorovich. The essay was published in the magazine Sovremennik (“Contemporary”), and its publication seemed to draw a line under the discussion of the slaver and serfdom question in Russian magazines. Grigorovich’s prose played a role in this discussion. Grigorovich was one of the first writers of Russian realism (the so-called “natural school”) and tried to move away from the theatre vaudeville and sentimental images of Russian peasants in his novellas The Village and Anton-Goremyka. His subsequent texts on peasant themes, written during the “gloomy seven years”, varied the source material, sometimes showing a movement towards melodrama. The article offers a variant of a narratological and hermeneutic reading of the essay in the aspect of reflection and narration. In the author’s opinion, Grigorovich demonstrates the exhaustion of the peasant theme in literature, using the technique of multiple storytelling (from Hoffmann’s Serapion Brothers or Odoevsky’s Russian Nights). This becomes most obvious at that moment of the narrative, when the “right to voice” passes to casual interlocutors, while the narrator, correlated with the writer, loses this right. He is not recognized as the author of stories in his environment and takes the passive role of a listener. The use of allusions, remeniscences (from Karamzin, Radishchev, Mérimée, de Prevost), and autoquotation creates “noise” in the communication channel, making it difficult to perceive these stories as “bitter truth” (Stendhal), at the same time convincing the reader of the impossibility of finding an adequate description language for peasant everyday life. In this regard, Grigorovich’s position coincides with that of Honore de Balzac in the introduction to his Les Paysans or of Pavel Annenkov that was declared in his main article: you can expect a lot of pleasure from the expression in art of the course of common life, many pictures, original faces, excellent descriptions, but hardly real knowledge of this course as a subject for discussion and conclusion. Yet many of the writers and a very large number of readers have in mind this latter goal; but it is the same as judging about the height of the people who built the Egyptian pyramid by the pyramid’s height. This epistemological impossibility is illustrated in Grigorovich’s essay: the nobles and the peasant world exist in parallel. Thus, interlocutors do not feel empathy, and the purpose of conversation is not to change reality, but to spend time. Thus, the conversation of the nobles can be correlated with the Socratic dialogue, in which the possibility of the maieutic acquisition of truth is not realized due to the failure of communication. The arrival of the passage-boat demonstrates the inconsistency and exhaustion of conversations about people’s happiness, becomes a marker of such a failure. The article is illustrate","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"23 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84141781","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 article examines the central sea image of Iris Murdoch’s novel The Sea, the Sea. The image of sea, as one of the key ones in the world literature, is considered on the material of the original novel and in its translation into Russian by Maria Lorie. The aim of the study is to analyze the linguistic means of embodying the image of sea and their text-forming potential in the above-mentioned novel and its translation into Russian. The study is based on the method of modeling the author’s image by analyzing various ways of its linguistic representation and metaphorization. The translation analysis is based on the study of shifts as the consequences of interlingual asymmetry. The authors note that the modeling of the author’s image of sea is carried out in the novel in different ways: the description of sea through the prism of different channels of perception (visual, auditory, olfactory); organization of the text on the basis of such key metaphors as “sea – life”, “sea – death”, “sea – creator”, etc. The analysis of various ways of linguistic representation of perceptual images of sea, which are closely related to thinking and the subconscious, associative memory and imagination, has shown the special importance and semantic loading in the text of lexical groups of the sphere of perception. The authors stress that visual perception is in first place in terms of the importance and volume of information received by a person; followed by hearing, touch, smell and taste. The dominant feature of sea from the point of view of perception is visual (color, light, size, shape, etc.). Thanks to visual features, a unique image of sea is created – frosted glass, a mirror that emits light, reflects human experiences and is reflected in a person. Before the reader there is the image of sea as a living being, habitat, a protector, a refuge, medicine, a source of danger and death, a creator. Sea is often alive; it smiles, jumps, splashes; sea can be a threat. Sometimes it serves as a background against which the characters experience a wide range of feelings and emotions (jealousy, hatred, struggle). It makes the reader think about eternity. However, sea does not accompany a person, but lives its own life. On the one hand, in sea, as in a mirror, emotions and experiences of a person are reflected. On the other hand, a person adapts to sea, which can be good or evil, can caress or kill. The analysis of the Russian translation of the text indicates a fairly high degree of equivalence in the translation of metaphors and reflection of all shades of the image of the sea. All translation shifts are justified in terms of conveying the emotional background of the work.
{"title":"The image of the sea in Iris Murdoch’s The Sea, the Sea: On the problem of author’s and translator’s interpretation","authors":"E. Basalaeva, N. V. Nosenko","doi":"10.17223/19986645/82/2","DOIUrl":"https://doi.org/10.17223/19986645/82/2","url":null,"abstract":"The article examines the central sea image of Iris Murdoch’s novel The Sea, the Sea. The image of sea, as one of the key ones in the world literature, is considered on the material of the original novel and in its translation into Russian by Maria Lorie. The aim of the study is to analyze the linguistic means of embodying the image of sea and their text-forming potential in the above-mentioned novel and its translation into Russian. The study is based on the method of modeling the author’s image by analyzing various ways of its linguistic representation and metaphorization. The translation analysis is based on the study of shifts as the consequences of interlingual asymmetry. The authors note that the modeling of the author’s image of sea is carried out in the novel in different ways: the description of sea through the prism of different channels of perception (visual, auditory, olfactory); organization of the text on the basis of such key metaphors as “sea – life”, “sea – death”, “sea – creator”, etc. The analysis of various ways of linguistic representation of perceptual images of sea, which are closely related to thinking and the subconscious, associative memory and imagination, has shown the special importance and semantic loading in the text of lexical groups of the sphere of perception. The authors stress that visual perception is in first place in terms of the importance and volume of information received by a person; followed by hearing, touch, smell and taste. The dominant feature of sea from the point of view of perception is visual (color, light, size, shape, etc.). Thanks to visual features, a unique image of sea is created – frosted glass, a mirror that emits light, reflects human experiences and is reflected in a person. Before the reader there is the image of sea as a living being, habitat, a protector, a refuge, medicine, a source of danger and death, a creator. Sea is often alive; it smiles, jumps, splashes; sea can be a threat. Sometimes it serves as a background against which the characters experience a wide range of feelings and emotions (jealousy, hatred, struggle). It makes the reader think about eternity. However, sea does not accompany a person, but lives its own life. On the one hand, in sea, as in a mirror, emotions and experiences of a person are reflected. On the other hand, a person adapts to sea, which can be good or evil, can caress or kill. The analysis of the Russian translation of the text indicates a fairly high degree of equivalence in the translation of metaphors and reflection of all shades of the image of the sea. All translation shifts are justified in terms of conveying the emotional background of the work.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"27 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80100600","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 article aims to explore Leo Tolstoy’s reader reactions to Anthony Trollope’s novel The Bertrams (1859) and to identify the probable “points of convergence” between the two masters of psychological realism. “Trollope kills me with his excellence”, – the writer noted in his diary on 2 October 1865. The essential basis for the comparison of the two writers’ works is their creative method: it has a considerable commonality, which consists in a shift of focus from the plot to the logic of the characters’ behaviour. The two scenes of an explanation between characters in love are analysed as an example. The author of the article notes that Trollope’s narrative style has a significant difference: the narrator is always present in his works, he “accompanies” the reader by commenting on the characters’ thoughts and behaviour. In Tolstoy’s works it is the characters themselves who reveal their psychological state: this is clearly visible in the epilogue of War and Peace in the scene of Nikolai Rostov’s visit to Princess Marya. The author of the article shows that the images of the main characters of The Bertrams could be also close to Tolstoy and notices their identical auto-psychological basis. Arthur Wilkinson embodies the type of an unsuccessful character, tormented by the awareness of his own mistakes. A similar image, as shown in the article, is portrayed by Tolstoy in Youth. Another character of Trollope’s novel, George Bertram, is presented as a young man in a situation of life choices. He is compared to Dmitry Olenin from The Cossacks. In this character Tolstoy reproduces the portrait of a young man in confusion who has no clear goals in life. The author indicates that both characters choose a common way out – “escape from civilization”: Olenin goes to the Caucasus and George Bertram to Jerusalem. Another reason for Tolstoy’s interest in The Bertrams may have been Trollope’s appeal to religious themes. In depicting the holy places of Jerusalem, the writer uses the same method of “defamiliarisation” as Tolstoy did in describing the church service in The Resurrection. What refers to Tolstoy’s future religious treatises is the fact that the protagonist of The Bertrams writes books reinterpreting the main statements of the Bible. The author also pays attention to the faults of Trollope’s novel, which Tolstoy mentions: “diffusness” is interpreted as a flaw in the writer’s style, conventionality as a reference to the novel’s plot. The author points out the artificiality of the happy ending, as well as the contradictory image of Bertram’s beloved Caroline Waddington. The article concludes that Tolstoy’s reviews of Trollope’s novel help clarify the question of the formation of his creative manner and artistic principles: Tolstoy often succeeded in understanding his place in literature through the knowledge of others’ works. The comparative typological analysis carried out may provide new material in the field of interaction and mutual influence of Engli
{"title":"\"A killing excellence\": Anthony Trollope’s The Bertrams in Leo Tolstoy’s evaluation","authors":"Irina F. Gnyusova","doi":"10.17223/19986645/82/12","DOIUrl":"https://doi.org/10.17223/19986645/82/12","url":null,"abstract":"The article aims to explore Leo Tolstoy’s reader reactions to Anthony Trollope’s novel The Bertrams (1859) and to identify the probable “points of convergence” between the two masters of psychological realism. “Trollope kills me with his excellence”, – the writer noted in his diary on 2 October 1865. The essential basis for the comparison of the two writers’ works is their creative method: it has a considerable commonality, which consists in a shift of focus from the plot to the logic of the characters’ behaviour. The two scenes of an explanation between characters in love are analysed as an example. The author of the article notes that Trollope’s narrative style has a significant difference: the narrator is always present in his works, he “accompanies” the reader by commenting on the characters’ thoughts and behaviour. In Tolstoy’s works it is the characters themselves who reveal their psychological state: this is clearly visible in the epilogue of War and Peace in the scene of Nikolai Rostov’s visit to Princess Marya. The author of the article shows that the images of the main characters of The Bertrams could be also close to Tolstoy and notices their identical auto-psychological basis. Arthur Wilkinson embodies the type of an unsuccessful character, tormented by the awareness of his own mistakes. A similar image, as shown in the article, is portrayed by Tolstoy in Youth. Another character of Trollope’s novel, George Bertram, is presented as a young man in a situation of life choices. He is compared to Dmitry Olenin from The Cossacks. In this character Tolstoy reproduces the portrait of a young man in confusion who has no clear goals in life. The author indicates that both characters choose a common way out – “escape from civilization”: Olenin goes to the Caucasus and George Bertram to Jerusalem. Another reason for Tolstoy’s interest in The Bertrams may have been Trollope’s appeal to religious themes. In depicting the holy places of Jerusalem, the writer uses the same method of “defamiliarisation” as Tolstoy did in describing the church service in The Resurrection. What refers to Tolstoy’s future religious treatises is the fact that the protagonist of The Bertrams writes books reinterpreting the main statements of the Bible. The author also pays attention to the faults of Trollope’s novel, which Tolstoy mentions: “diffusness” is interpreted as a flaw in the writer’s style, conventionality as a reference to the novel’s plot. The author points out the artificiality of the happy ending, as well as the contradictory image of Bertram’s beloved Caroline Waddington. The article concludes that Tolstoy’s reviews of Trollope’s novel help clarify the question of the formation of his creative manner and artistic principles: Tolstoy often succeeded in understanding his place in literature through the knowledge of others’ works. The comparative typological analysis carried out may provide new material in the field of interaction and mutual influence of Engli","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"21 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74181939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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