Understanding the social and socio-political events of recent history allowed us to look at them through the prism of a laughing discourse. The events related to the special military operation intensified the topic of sanctions, including in a humorous way, which significantly expanded the semantic field of the concept “sanctions”. The aim of the work is to record the innovations contained in the genre format of comic texts about sanctions and in their content. In the study of humorous texts on sanctions, we used the method of conceptual analysis, which allowed us to obtain (1) knowledge about the concept existing in the minds of the concept carriers, (2) knowledge embedded by the author in the text (in our case, a humorous one). A frame-type model was developed to describe the concept “sanctions”. The methods of analysis developed by the theory of speech genres contributed to the identification of forms of presentation of humorous information. Humorous texts presented in open access on the Internet were taken as the empirical basis of the study by the continuous sampling method. To demonstrate the conclusions in the presented work, the texts of the first half of 2022 are mainly used. Applying the frame modeling methodology to the analysis of the concept “sanctions”, we consider the frame as a structure based on a deep multicomponent proposition with its semantic roles (subject, object, cause, purpose, tool, result), which is demonstrated in the article by concrete examples. Humorous texts, which were a kind of response to anti-Russian sanctions, differ in genre diversity (joke, gratitude, question-joke, chastushka, anti-slogan, transformed proverb, forecast, reproach, advice, announcement, advertisement, humorous rhymes). The genres of joke and meme have become the most widespread and active. The analysis of humorous texts of the period of sanctions allows, among other things, raising questions and problems that reflect the values and mood of the people through language. The humorous product demonstrates the creativity of people’s thinking and the creative potencies of language. The symbiosis of these components leads to an emotional evaluation of the situation. In this regard, the texts of humorous discourse, on the one hand, can be considered as a verbal weapon; on the other, as a psychological shield. The involvement of the method of conceptual analysis in the analysis of humorous texts of the sanctions discourse allowed us to form an idea of the spectrum of semantic potencies of the concept “sanctions” existing in the minds of native speakers of the Russian language. The frame modeling technique contributed to the disclosure of the knowledge laid down by the creators of anti-sanction texts, and the clarification of the semantic content of the concept through the analysis of emotive meanings.
{"title":"The concept \"sanctions\" in humorous discourse","authors":"I. Evseeva, I. A. Slavkina","doi":"10.17223/19986645/82/3","DOIUrl":"https://doi.org/10.17223/19986645/82/3","url":null,"abstract":"Understanding the social and socio-political events of recent history allowed us to look at them through the prism of a laughing discourse. The events related to the special military operation intensified the topic of sanctions, including in a humorous way, which significantly expanded the semantic field of the concept “sanctions”. The aim of the work is to record the innovations contained in the genre format of comic texts about sanctions and in their content. In the study of humorous texts on sanctions, we used the method of conceptual analysis, which allowed us to obtain (1) knowledge about the concept existing in the minds of the concept carriers, (2) knowledge embedded by the author in the text (in our case, a humorous one). A frame-type model was developed to describe the concept “sanctions”. The methods of analysis developed by the theory of speech genres contributed to the identification of forms of presentation of humorous information. Humorous texts presented in open access on the Internet were taken as the empirical basis of the study by the continuous sampling method. To demonstrate the conclusions in the presented work, the texts of the first half of 2022 are mainly used. Applying the frame modeling methodology to the analysis of the concept “sanctions”, we consider the frame as a structure based on a deep multicomponent proposition with its semantic roles (subject, object, cause, purpose, tool, result), which is demonstrated in the article by concrete examples. Humorous texts, which were a kind of response to anti-Russian sanctions, differ in genre diversity (joke, gratitude, question-joke, chastushka, anti-slogan, transformed proverb, forecast, reproach, advice, announcement, advertisement, humorous rhymes). The genres of joke and meme have become the most widespread and active. The analysis of humorous texts of the period of sanctions allows, among other things, raising questions and problems that reflect the values and mood of the people through language. The humorous product demonstrates the creativity of people’s thinking and the creative potencies of language. The symbiosis of these components leads to an emotional evaluation of the situation. In this regard, the texts of humorous discourse, on the one hand, can be considered as a verbal weapon; on the other, as a psychological shield. The involvement of the method of conceptual analysis in the analysis of humorous texts of the sanctions discourse allowed us to form an idea of the spectrum of semantic potencies of the concept “sanctions” existing in the minds of native speakers of the Russian language. The frame modeling technique contributed to the disclosure of the knowledge laid down by the creators of anti-sanction texts, and the clarification of the semantic content of the concept through the analysis of emotive meanings.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"37 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80579743","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 feuilleton as a speech genre. The communicative tasks, linguistic embodiment, images of the author and the addressee in the context of studying the forms of interaction between literature and journalism in transitional epochs are investigated. Based on the texts of Shpilka (Vasily Ivanov) and Nadezhda Lukhmanova, the author of the article examines the strategies and tactics of the feuilleton in the newspaper Yuzhny kray for 1900–1905. The term “feuilleton” contains at least two meanings: (1) a heading with artistic and journalistic texts; (2) genre commonality of texts. The determination of the genre by socio-cultural circumstances and the natural revival of the satirical trend for the pre-revolutionary time are substantiated. Among the features uniting the texts, the article notes the concentration on current events, the lightness and liveliness of the style, the combination of artistic and journalistic properties in the texts, the ease and spontaneity of the composition. Social and political issues, as well as the principles of relevance and topicality, began to dominate by 1905. The growth of sociality in the feuilleton can be explained by a number of factors: impact as a fundamental feature of the genre, as well as the format of the newspaper text itself, where an ongoing dialogue with subscribers is conducted, which provides influence and enhances the role of interaction with the interests of readers. One cannot fail to note the factor of time, especially before the revolution, when the polarity in views among members of society increased, and journalism and propaganda strategies were used more, including through newspaper materials. In the space of feuilleton studies, literary and artistic features and journalistic ideas are combined. For Shpilka’s texts, the most appropriate definition would be the following: the feuilleton is an artistic and journalistic genre in which the comic essence of negative phenomena and situations of reality is revealed through the inverse, associative development of a theme using allegory techniques. Lukhmanova’s texts in form and direction gravitate towards the novella. They are characterized by confession, narrative essay, descriptiveness and detail. Thus, when comparing the works of the two feuilletonists, it is more appropriate to speak of the varieties of the feuilleton. The works of both authors lead to the intersection of journalism and literature, which corresponds to the original borderline of the genre. In the space of their feuilleton studies, literary and artistic features and journalistic ideas are combined.
{"title":"Strategies and tactics of feuilleton in the newspaper Yuzhny kray (Vasily Ivanov, Nadezhda Lukhmanova)","authors":"E. Zakharova","doi":"10.17223/19986645/81/8","DOIUrl":"https://doi.org/10.17223/19986645/81/8","url":null,"abstract":"The article analyses the feuilleton as a speech genre. The communicative tasks, linguistic embodiment, images of the author and the addressee in the context of studying the forms of interaction between literature and journalism in transitional epochs are investigated. Based on the texts of Shpilka (Vasily Ivanov) and Nadezhda Lukhmanova, the author of the article examines the strategies and tactics of the feuilleton in the newspaper Yuzhny kray for 1900–1905. The term “feuilleton” contains at least two meanings: (1) a heading with artistic and journalistic texts; (2) genre commonality of texts. The determination of the genre by socio-cultural circumstances and the natural revival of the satirical trend for the pre-revolutionary time are substantiated. Among the features uniting the texts, the article notes the concentration on current events, the lightness and liveliness of the style, the combination of artistic and journalistic properties in the texts, the ease and spontaneity of the composition. Social and political issues, as well as the principles of relevance and topicality, began to dominate by 1905. The growth of sociality in the feuilleton can be explained by a number of factors: impact as a fundamental feature of the genre, as well as the format of the newspaper text itself, where an ongoing dialogue with subscribers is conducted, which provides influence and enhances the role of interaction with the interests of readers. One cannot fail to note the factor of time, especially before the revolution, when the polarity in views among members of society increased, and journalism and propaganda strategies were used more, including through newspaper materials. In the space of feuilleton studies, literary and artistic features and journalistic ideas are combined. For Shpilka’s texts, the most appropriate definition would be the following: the feuilleton is an artistic and journalistic genre in which the comic essence of negative phenomena and situations of reality is revealed through the inverse, associative development of a theme using allegory techniques. Lukhmanova’s texts in form and direction gravitate towards the novella. They are characterized by confession, narrative essay, descriptiveness and detail. Thus, when comparing the works of the two feuilletonists, it is more appropriate to speak of the varieties of the feuilleton. The works of both authors lead to the intersection of journalism and literature, which corresponds to the original borderline of the genre. In the space of their feuilleton studies, literary and artistic features and journalistic ideas are combined.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"14 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88467559","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}
W.G. Sebald (1944–2001) is considered one of the important authors in German literature after World War II and also is a writer with a special influence in contemporary world literature. Sebald’s first prose work, Vertigo (Schwindel. Gefühle), carries in embryonic form all the motifs that can be encountered in the Sebaldian corpus, specifically the motif of travel, in close connection with the theme of memory. Based on the intertextuality approach, the article aims to interpret the relationship between different kinds of texts on the plot of many vertiginous journeys through space, time, and point out the borders between history and representation, text/image and reality, life, and writing. In doing this research, the author uses the qualitative method with a descriptive approach to disclose the discursive strategies of a superposition of text types in a highly complex narrative. The article has analyzed the plot’s structure of four parts and the overlapping text layers in the novel and found that Vertigo is written in travel style. The story is like a pilgrimage; however, the narrator is not a tourist, but like a “flâneur” on drift journeys (according to Guy Debord’s dérive theory). And Sebald, in a way, always tended to portray scenes haunted by grief and loss. The physical spaces in Sebald’s work are always inlaid with historical, cultural, metaphysical, and psychological sediments, making it not simply a place to visit. The Sebald-flâneur’s journey often deliberately drifts to the periphery, wandering in the edge, they are a traveller who does not intend to relax, whose movement is drawn from emotions arising from the outside landscape. Moreover, from the result of analysing Sebald’s narrative techniques, the author has demonstrated that Vertigo is also a hypertext, that every symbol in a text is also a collection of networks of links to innumerable other texts. It is a labyrinth expressing the concept of the “rewriting” of existing texts. Sebald seems to want to create a feeling of “schwindel” (vertigo) to encourage a viewing, which reads as if it were against the tyranny of a mono-discourse. The novel becomes a space for experiments to break down genre boundaries. The work is a warning for the “reading” since fiction could be nonfiction and vice versa. Therefore, this novel can be read as a collection of short stories with the idea: the “writing” merely “rewriting” over existing texts.
{"title":"The journeys and the \"rewriting\" in Vertigo by W. G. Sebald","authors":"Phuong-Khanh T. Nguyen","doi":"10.17223/19986645/81/13","DOIUrl":"https://doi.org/10.17223/19986645/81/13","url":null,"abstract":"W.G. Sebald (1944–2001) is considered one of the important authors in German literature after World War II and also is a writer with a special influence in contemporary world literature. Sebald’s first prose work, Vertigo (Schwindel. Gefühle), carries in embryonic form all the motifs that can be encountered in the Sebaldian corpus, specifically the motif of travel, in close connection with the theme of memory. Based on the intertextuality approach, the article aims to interpret the relationship between different kinds of texts on the plot of many vertiginous journeys through space, time, and point out the borders between history and representation, text/image and reality, life, and writing. In doing this research, the author uses the qualitative method with a descriptive approach to disclose the discursive strategies of a superposition of text types in a highly complex narrative. The article has analyzed the plot’s structure of four parts and the overlapping text layers in the novel and found that Vertigo is written in travel style. The story is like a pilgrimage; however, the narrator is not a tourist, but like a “flâneur” on drift journeys (according to Guy Debord’s dérive theory). And Sebald, in a way, always tended to portray scenes haunted by grief and loss. The physical spaces in Sebald’s work are always inlaid with historical, cultural, metaphysical, and psychological sediments, making it not simply a place to visit. The Sebald-flâneur’s journey often deliberately drifts to the periphery, wandering in the edge, they are a traveller who does not intend to relax, whose movement is drawn from emotions arising from the outside landscape. Moreover, from the result of analysing Sebald’s narrative techniques, the author has demonstrated that Vertigo is also a hypertext, that every symbol in a text is also a collection of networks of links to innumerable other texts. It is a labyrinth expressing the concept of the “rewriting” of existing texts. Sebald seems to want to create a feeling of “schwindel” (vertigo) to encourage a viewing, which reads as if it were against the tyranny of a mono-discourse. The novel becomes a space for experiments to break down genre boundaries. The work is a warning for the “reading” since fiction could be nonfiction and vice versa. Therefore, this novel can be read as a collection of short stories with the idea: the “writing” merely “rewriting” over existing texts.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"99 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83399186","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 evolution of the perception of the works of Charles Leconte de Lisle in Russian literary criticism in the late 1880s – early 1910s. The chronological framework of the study is due to the fact that in 1889 the first detailed analysis of works by Leconte de Lisle appeared and, in the 1890s, Russian symbolists paid attention to the French poet; the other chronological boundary was caused by the crisis and end of Russian symbolism in in the late 1900s and early 1910s. Using the historical comparative method, the author analyzes articles by Maria Frishmut, Dmitry Merezhkovskiy, Valery Bryusov, Innokentiy Annenskiy, fully or partially dedicated to Leconte de Lisle. The author discovers that Russian critics relied on French critical works on Leconte de Lisle: critics saw his poetry as cold, dispassionate, objective (nonpersonal), possessing the perfection of a poetic form close to sculpture and painting. While Frishmut uses the judgments of his French predecessors, relying primarily on Paul Bourget, the symbolists put works of Leconte de Lisle in the context of the genealogy of Russian symbolism. Merezhkovskiy in the 1890s leads the genealogy of the symbolists from Leconte de Lisle. Bryusov considered Leconte de Lisle a classic and a representative of a certain line in poetry characterized by a careful accomplishing of a poetic form. The author pays particular attention to the evolution of the perception of Leconte de Lisle in Annenskiy’s literary criticism. She shows that Annenskiy developed his aesthetic concepts on the basis of Leconte de Lisle’s works and infers that in the late 1890s–1900s, during the period of the formation of symbolism, Annensky formed the concept of art as a symbol based on Leconte de Lisle’s works and in the late 1900s, in the period of the crisis of symbolism and the appeal to extra-aesthetic reality, considered Leconte de Lisle in the appropriate categories, seeing his tragedy in the fact that in his work he turned away from life and always talked about death. A statue is a stable image in Annenskiy’s articles that mention Leconte de Lisle; for the critic, a statue as a perfection of form and a classic monument corresponds to all Leconte de Lisle’s works and his place in the history of literature.
本文考察了19世纪80年代末至20世纪10年代初俄罗斯文学批评中对查尔斯·勒孔特·德·莱尔作品认知的演变。这项研究的时间框架是由于1889年首次出现了对勒孔特·德·莱尔作品的详细分析，并且在19世纪90年代，俄罗斯象征主义者开始关注这位法国诗人;另一个时间上的界限是由20世纪末和10世纪初俄罗斯象征主义的危机和终结造成的。作者运用历史比较的方法，分析了Maria Frishmut、Dmitry Merezhkovskiy、Valery Bryusov、Innokentiy Annenskiy全部或部分致力于le Leconte de Lisle的文章。作者发现，俄国评论家依赖法国对勒孔特·德·莱尔的批评作品:评论家认为他的诗歌冷酷、冷静、客观(非个人)，具有接近雕塑和绘画的诗歌形式的完美。当Frishmut使用他的法国前辈的判断时，主要依靠保罗·布尔歇，象征主义者把Leconte de Lisle的作品放在俄罗斯象征主义谱系的背景下。梅列日科夫斯基在19世纪90年代领导了象征主义者的谱系。布吕索夫认为勒孔特·德·莱尔是一位经典之作，是诗歌中某一行诗的代表，这一行诗的特点是精心完成了一种诗歌形式。作者特别关注安连斯基文学批评中“勒孔特”观念的演变。她指出，安涅斯基在勒孔特·德·莱尔作品的基础上发展了自己的美学概念，并推断，在19世纪90年代末至20世纪初，在象征主义形成时期，安涅斯基在勒孔特·德·莱尔作品的基础上形成了艺术作为符号的概念，而在20世纪后期，在象征主义危机和对超审美现实的呼吁时期，安涅斯基认为勒孔特·德·莱尔属于适当的范畴。看到他的悲剧在他的工作中，他远离生活，总是谈论死亡。在安连斯基提到勒孔特的文章中，雕像是一个稳定的形象;对于评论家来说，雕像作为一种完美的形式和经典的纪念碑，与勒孔特·德·莱尔的所有作品和他在文学史上的地位相对应。
{"title":"Leconte de Lisle in Russian literary criticism of the 1880s – early 1910s","authors":"K. Sarycheva","doi":"10.17223/19986645/81/14","DOIUrl":"https://doi.org/10.17223/19986645/81/14","url":null,"abstract":"The article examines the evolution of the perception of the works of Charles Leconte de Lisle in Russian literary criticism in the late 1880s – early 1910s. The chronological framework of the study is due to the fact that in 1889 the first detailed analysis of works by Leconte de Lisle appeared and, in the 1890s, Russian symbolists paid attention to the French poet; the other chronological boundary was caused by the crisis and end of Russian symbolism in in the late 1900s and early 1910s. Using the historical comparative method, the author analyzes articles by Maria Frishmut, Dmitry Merezhkovskiy, Valery Bryusov, Innokentiy Annenskiy, fully or partially dedicated to Leconte de Lisle. The author discovers that Russian critics relied on French critical works on Leconte de Lisle: critics saw his poetry as cold, dispassionate, objective (nonpersonal), possessing the perfection of a poetic form close to sculpture and painting. While Frishmut uses the judgments of his French predecessors, relying primarily on Paul Bourget, the symbolists put works of Leconte de Lisle in the context of the genealogy of Russian symbolism. Merezhkovskiy in the 1890s leads the genealogy of the symbolists from Leconte de Lisle. Bryusov considered Leconte de Lisle a classic and a representative of a certain line in poetry characterized by a careful accomplishing of a poetic form. The author pays particular attention to the evolution of the perception of Leconte de Lisle in Annenskiy’s literary criticism. She shows that Annenskiy developed his aesthetic concepts on the basis of Leconte de Lisle’s works and infers that in the late 1890s–1900s, during the period of the formation of symbolism, Annensky formed the concept of art as a symbol based on Leconte de Lisle’s works and in the late 1900s, in the period of the crisis of symbolism and the appeal to extra-aesthetic reality, considered Leconte de Lisle in the appropriate categories, seeing his tragedy in the fact that in his work he turned away from life and always talked about death. A statue is a stable image in Annenskiy’s articles that mention Leconte de Lisle; for the critic, a statue as a perfection of form and a classic monument corresponds to all Leconte de Lisle’s works and his place in the history of literature.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"26 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82782699","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}
Currently, the study of social conflicts in the media environment is becoming increasingly relevant: large-scale mediatization has significantly changed the course and consequences of any kind of social processes, including those with conflict potential. However, as the critical analysis of the relevant scientific discourse carried out in this article shows, there are many gaps in the existing body of literature, the appearance of which is caused by both objective and subjective reasons. The insufficient level of scientific development of social conflicts in the media is associated both with the imperfection of the methodological tools and with the historically established traditions of the scientific field. The extreme heterogeneity of the “field” of this kind of research is obvious, due primarily to the phenomenological complexity of the object – social conflicts unfolding in the media environment. On the one hand, the interpretation of any kind of data on the representation of conflicts in the mass media is possible and often takes place within the framework of the institutional-normative approach. On the other hand, scientists often implement approaches that only record the influence of the media on unfolding conflicts. In this article, as part of the study of representations of social conflicts in the media, the question is raised about the need to shift the focus of research attention from media texts to the figure of a person – both as a recipient of numerous conflict messages and as a participant in any conflict media discourse, which, thanks to digital technologies, itself turns into a separate subject of media communication. In particular, it seems very fruitful to intensify research into the causes of the audience’s behavior – their making decisions that contribute to the escalation of the conflict or its relief. A separate important scientific direction is the development of memory issues at the level of personal and, further, group experience associated with certain conflict contexts, most often represented in the media. These studies can get a legitimate epistemological perspective, which is to study the trauma of participants in a mediated conflict and/or audiences/communities receiving such information through traditional or new media. The application of interdisciplinary approaches can open up original promising directions for further research. Modern media research discourse, which traditionally exists within the framework of contentanalytical methods and is focused on the study of media texts, should be supplemented by attracting the methodological achievements of modern psychology, economics, anthropology, ethnography, which will significantly enrich the research process aimed at mastering the essence of social conflicts in the media and understanding the impact of media representations of the conflict on the audience and on the modern person as a whole.
{"title":"Media and social conflicts: theoretical and methodological challenges of an interdisciplinary approach","authors":"E. Vartanova, Andrey V. Vyrkovskiy","doi":"10.17223/19986645/82/15","DOIUrl":"https://doi.org/10.17223/19986645/82/15","url":null,"abstract":"Currently, the study of social conflicts in the media environment is becoming increasingly relevant: large-scale mediatization has significantly changed the course and consequences of any kind of social processes, including those with conflict potential. However, as the critical analysis of the relevant scientific discourse carried out in this article shows, there are many gaps in the existing body of literature, the appearance of which is caused by both objective and subjective reasons. The insufficient level of scientific development of social conflicts in the media is associated both with the imperfection of the methodological tools and with the historically established traditions of the scientific field. The extreme heterogeneity of the “field” of this kind of research is obvious, due primarily to the phenomenological complexity of the object – social conflicts unfolding in the media environment. On the one hand, the interpretation of any kind of data on the representation of conflicts in the mass media is possible and often takes place within the framework of the institutional-normative approach. On the other hand, scientists often implement approaches that only record the influence of the media on unfolding conflicts. In this article, as part of the study of representations of social conflicts in the media, the question is raised about the need to shift the focus of research attention from media texts to the figure of a person – both as a recipient of numerous conflict messages and as a participant in any conflict media discourse, which, thanks to digital technologies, itself turns into a separate subject of media communication. In particular, it seems very fruitful to intensify research into the causes of the audience’s behavior – their making decisions that contribute to the escalation of the conflict or its relief. A separate important scientific direction is the development of memory issues at the level of personal and, further, group experience associated with certain conflict contexts, most often represented in the media. These studies can get a legitimate epistemological perspective, which is to study the trauma of participants in a mediated conflict and/or audiences/communities receiving such information through traditional or new media. The application of interdisciplinary approaches can open up original promising directions for further research. Modern media research discourse, which traditionally exists within the framework of contentanalytical methods and is focused on the study of media texts, should be supplemented by attracting the methodological achievements of modern psychology, economics, anthropology, ethnography, which will significantly enrich the research process aimed at mastering the essence of social conflicts in the media and understanding the impact of media representations of the conflict on the audience and on the modern person as a whole.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79827605","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 work explores the concept of theatre and the role of theatrical conventions in Julian Barnes’s utopian novel England, England. This article discusses theatricality as the principal artistic strategy of the novel, heavily influencing its formal and thematic structure. It outlines the main characteristics of the theatrical chronotope, and considers the similarities between theatricality and the conventions of the utopian novel per se. It examines closely the way Barnes exploits the various semantic implications of the chronotope in his critique of contemporary society. Methodologically the article is based on the findings of theatre semiotics and employs them as its theoretical framework (Alter, Fischer-Lichte, Pavis), while also considering sociological (Debord), anthropological (Milton Singer, Geertz Clifford), and psychological (Erving Goffman) approaches to the phenomena of theatre. Tightly intertwined with actual cultural and social strategies, theatre has always been an essential integrative part of social life. The author uses theatricality to take a reflective attitude towards the contemporary culture, to examine and display the political and social strategies which are considered as immanently theatrical. Under the theory of theatrical semiotics, the decisive aspects of theatre as an aesthetic system are theatrical space and time. The main characteristics of the theater are conceptualized primarily in the theatrical chronotope. On this ground, it can be argued that the significant structural element through which theatricality is incorporated in novelistic discourse is that of the artistic chronotope. The specific enclosure of the theatre universe manifested within the typical utopian locus serves to arrange it as the space of utopian social experiment perfecting the latent tendencies of the culture and exposing them to critical observation. Theatrical “a-temporality” correlates with utopian “a-historicity” and unfolds the rupture with the historical continuum which gives free rein to its purposeful reconstructions. Theatrical images are subjected to regrouping in eclectic totality and re-combinations of disrupted elements of the historical continuum. The cyclicity of the performances representing historical and mythical figures and the re-enacting events essential for national identity involves the spectators in pseudo-communication. It actually deprives them of experiencing real time and space, replacing it with the comfortable pseudoexperience of consuming surrogate images. Thus, the main characteristics of theatrical chronotope are employed to develop the novel’s essential concerns with such issues as reconstruction of individual and national identity and their subjection to distorting speculations. Theatricality reveals the nature of a forward-looking industrial society as a commercial spectacle turning national culture and history into a manipulated commodity.
{"title":"Staged history: Concept of theatricality in the modern utopia (England, England by Julian Barnes)","authors":"A. P. Filimonova, S. Mazhitayeva","doi":"10.17223/19986645/82/14","DOIUrl":"https://doi.org/10.17223/19986645/82/14","url":null,"abstract":"The work explores the concept of theatre and the role of theatrical conventions in Julian Barnes’s utopian novel England, England. This article discusses theatricality as the principal artistic strategy of the novel, heavily influencing its formal and thematic structure. It outlines the main characteristics of the theatrical chronotope, and considers the similarities between theatricality and the conventions of the utopian novel per se. It examines closely the way Barnes exploits the various semantic implications of the chronotope in his critique of contemporary society. Methodologically the article is based on the findings of theatre semiotics and employs them as its theoretical framework (Alter, Fischer-Lichte, Pavis), while also considering sociological (Debord), anthropological (Milton Singer, Geertz Clifford), and psychological (Erving Goffman) approaches to the phenomena of theatre. Tightly intertwined with actual cultural and social strategies, theatre has always been an essential integrative part of social life. The author uses theatricality to take a reflective attitude towards the contemporary culture, to examine and display the political and social strategies which are considered as immanently theatrical. Under the theory of theatrical semiotics, the decisive aspects of theatre as an aesthetic system are theatrical space and time. The main characteristics of the theater are conceptualized primarily in the theatrical chronotope. On this ground, it can be argued that the significant structural element through which theatricality is incorporated in novelistic discourse is that of the artistic chronotope. The specific enclosure of the theatre universe manifested within the typical utopian locus serves to arrange it as the space of utopian social experiment perfecting the latent tendencies of the culture and exposing them to critical observation. Theatrical “a-temporality” correlates with utopian “a-historicity” and unfolds the rupture with the historical continuum which gives free rein to its purposeful reconstructions. Theatrical images are subjected to regrouping in eclectic totality and re-combinations of disrupted elements of the historical continuum. The cyclicity of the performances representing historical and mythical figures and the re-enacting events essential for national identity involves the spectators in pseudo-communication. It actually deprives them of experiencing real time and space, replacing it with the comfortable pseudoexperience of consuming surrogate images. Thus, the main characteristics of theatrical chronotope are employed to develop the novel’s essential concerns with such issues as reconstruction of individual and national identity and their subjection to distorting speculations. Theatricality reveals the nature of a forward-looking industrial society as a commercial spectacle turning national culture and history into a manipulated commodity.","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":"78675292","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}
In the article, based on the theory of intertextuality (Roland Barth, Julia Kristeva), the question of the influence of E. T. A. Hoffmann on the formation of the satirical style of Edgar Allan Poe in the cycle of stories Grotesques and Arabesques (Tales of the Grotesque and Arabesque (1839)). The author argues that Hoffmann’s recognizable plots (“The Sandman”, “Princess Brambilla”, “Elixirs of Satan”, etc.), which were popular during this period in Europe, as well as the relevance of the problems of his works and the original style, could become a source of not only satire (the story “Loss of Breath” is written as a parody of works from Blackwood’s Edinburgh Magazine, where Hoffmann was also published during this period), but also samples for the early works of Poe. The hypothesis of the article is the statement about the possibility of applying in American literature, on the example of Poe’s story “Loss of Breath”, the previously developed methodology of “Hoffmann’s complex” (characterized by the integrity of the reproduced content, the unity of issues, images and stylistic techniques), which allows highlighting the traditions of the German romantic in Poe’s works, where they are not obvious. The features of Hoffmann’s poetics are considered in Poe’s “Loss of Breath” (1832) in the form of “Hoffmann’s complex”, which includes the following components. Firstly, it is the transformation of the romantic plot (Hoffmann’s “Adventure on New Year’s Eve”), which Poe reinterprets ironically, depriving it of an infernal context. He rethinks the idea of a two-world and mixes the real-life and theatrical narrative planes by combining the puppet element with the human one, by characters’ behaving theatrically, by acting out the roles that are imposed by society (a corpse, a criminal), by replacing household details with theatrical attributes (a false jaw, two buslles, a false eye). Secondly, it is the actualization of the problem of mechanization of life and man, which is realized in the opposition of the living – the inanimate (“The Sandman”, “Princess Brambilla’) and is aimed at criticizing society, which devalues a person and turns him into a “living” corpse, a doll. In contrast, objects come to life, and abstract concepts (breath) become materialized. Another manifestation of the problem of mechanization of life and man is the comparison of a man with an animal, and an animal with a man. Thirdly, it is the use of stylistic techniques characteristic of Hoffmann (“The Golden Pot”, “Little Zaches Called Cinnabar”, “Princess Brambilla”, etc.): hyperbole, self-explanatory names, romantic irony and grotesque, which are characterized by a sharp change of the serious and the frivolous, a combination of the objective and the subjective, a continuous parody, as well as the use of alogism – reasoning that violates the laws of logic, when something terrible (execution, autopsy of the body) is described as funny, etc.
本文以互文性理论(Roland Barth, Julia Kristeva)为基础，探讨e.t.a. Hoffmann对爱伦坡小说《怪诞与Arabesques》(Tales of the怪诞与Arabesques, 1839)讽刺风格形成的影响。作者认为，霍夫曼在这一时期在欧洲流行的可识别的情节(《睡魔》、《布兰比拉公主》、《撒旦的长生不老药》等)，以及他的作品中存在的问题与原著风格的关联，不仅可以成为讽刺的来源(《失去呼吸》的故事是对布莱克伍德的《爱丁堡杂志》作品的模仿，霍夫曼也在这一时期发表过该杂志)，也可以成为坡早期作品的样本。本文的假设是关于在美国文学中应用的可能性的陈述，以坡的故事“失去呼吸”为例，先前开发的“霍夫曼情结”方法(以复制内容的完整性，问题，图像和风格技巧的统一性为特征)，这使得在坡的作品中突出德国浪漫主义的传统，这些传统并不明显。在坡的《失去呼吸》(1832)中，以“霍夫曼情结”的形式体现了霍夫曼诗学的特点，包括以下几个组成部分。首先，是对浪漫情节(霍夫曼的《除夕夜冒险》)的改造，爱伦·坡对其进行了讽刺性的重新诠释，使其失去了内在的语境。他重新思考了两个世界的概念，通过将木偶元素与人类元素结合起来，通过人物的戏剧性行为，通过表演社会强加的角色(一具尸体，一个罪犯)，通过用戏剧属性(假下巴，两个胡茬，一只假眼睛)代替家庭细节，将现实生活和戏剧叙事平面混合在一起。其次，它是生命和人的机械化问题的实现，这是在对有生命的-无生命的(“睡魔”，“布兰比拉公主”)的反对中实现的，目的是批评社会，贬低一个人，把他变成一个“活的”尸体，一个玩偶。相反，物体变得有生命，抽象的概念(呼吸)变得物质化。生活和人的机械化问题的另一个表现是把人比作动物，把动物比作人。三是运用了具有霍夫曼特色的风格手法(《金罐》、《朱砂小扎》、《布兰比拉公主》等);夸张、自明的名字、浪漫的反讽和怪诞，其特点是严肃与轻浮的急剧变化，客观与主观的结合，不断的模仿，以及使用反逻辑论——当可怕的事情(处决、尸体解剖)被描述为有趣时，违反逻辑规律的推理。
{"title":"\"Hoffmann’s complex\" in Edgar Allan Poe’s story \"Loss of Breath\"","authors":"V. Koroleva","doi":"10.17223/19986645/82/13","DOIUrl":"https://doi.org/10.17223/19986645/82/13","url":null,"abstract":"In the article, based on the theory of intertextuality (Roland Barth, Julia Kristeva), the question of the influence of E. T. A. Hoffmann on the formation of the satirical style of Edgar Allan Poe in the cycle of stories Grotesques and Arabesques (Tales of the Grotesque and Arabesque (1839)). The author argues that Hoffmann’s recognizable plots (“The Sandman”, “Princess Brambilla”, “Elixirs of Satan”, etc.), which were popular during this period in Europe, as well as the relevance of the problems of his works and the original style, could become a source of not only satire (the story “Loss of Breath” is written as a parody of works from Blackwood’s Edinburgh Magazine, where Hoffmann was also published during this period), but also samples for the early works of Poe. The hypothesis of the article is the statement about the possibility of applying in American literature, on the example of Poe’s story “Loss of Breath”, the previously developed methodology of “Hoffmann’s complex” (characterized by the integrity of the reproduced content, the unity of issues, images and stylistic techniques), which allows highlighting the traditions of the German romantic in Poe’s works, where they are not obvious. The features of Hoffmann’s poetics are considered in Poe’s “Loss of Breath” (1832) in the form of “Hoffmann’s complex”, which includes the following components. Firstly, it is the transformation of the romantic plot (Hoffmann’s “Adventure on New Year’s Eve”), which Poe reinterprets ironically, depriving it of an infernal context. He rethinks the idea of a two-world and mixes the real-life and theatrical narrative planes by combining the puppet element with the human one, by characters’ behaving theatrically, by acting out the roles that are imposed by society (a corpse, a criminal), by replacing household details with theatrical attributes (a false jaw, two buslles, a false eye). Secondly, it is the actualization of the problem of mechanization of life and man, which is realized in the opposition of the living – the inanimate (“The Sandman”, “Princess Brambilla’) and is aimed at criticizing society, which devalues a person and turns him into a “living” corpse, a doll. In contrast, objects come to life, and abstract concepts (breath) become materialized. Another manifestation of the problem of mechanization of life and man is the comparison of a man with an animal, and an animal with a man. Thirdly, it is the use of stylistic techniques characteristic of Hoffmann (“The Golden Pot”, “Little Zaches Called Cinnabar”, “Princess Brambilla”, etc.): hyperbole, self-explanatory names, romantic irony and grotesque, which are characterized by a sharp change of the serious and the frivolous, a combination of the objective and the subjective, a continuous parody, as well as the use of alogism – reasoning that violates the laws of logic, when something terrible (execution, autopsy of the body) is described as funny, etc.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"100 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87000386","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}
A. Kolmogorova, S. A. Lyamzina, Olga N. Nikolskaya
The article considers the relationship between the language biography of a patient with aphasia and the process of her speech rehabilitation. The research project focuses on the problem of predicting the structure of mental lexicon in patients with aphasia via modeling it in native speakers from the same socio-professional groups without speech disorders. The process is largely based on knowledge about common characteristics of their language biography. The aim of the article is to feature the methodology used in such a type of predictive modeling, its theoretical foundations and main advantages for speech rehabilitation work. The research data include: statistics about sociological characteristics of patients collected at the local Neurorehabilitation Center from 2014 to 2018; 18 questionnaires filled in by the relatives of the patients in question; interviews with healthy Russian native speakers, whose socio-professional characteristics are similar to characteristics of one of the target groups of the patients; 12 hours of audio recordings of interviews with healthy native speakers of the Russian language, whose language biography, gender and age characteristics are similar to those of the target groups of the patients; a corpus of interview scripts processed with the Sketch Engine corpus manager; 14 patients’ speech assessment sheets completed in accordance with the Wasserman scale (it is designed to determine speech disorders of patients with a local cerebrovascular accident). By using an interdisciplinary complex of methods we obtained the following results: completed a sociolinguistic portrait of people at risk of aphasia with similar language biographies; listed the most frequent words, collocations and automated verbal series (phrases and sayings) specific to people at risk of aphasia; identified the language biography features that affect mental lexicon; elaborated a complex of exercises for speech rehabilitation of patients with aphasia regarding the specificity of their language biography; validated and assessed the exercises’ effectiveness in clinical practice. Our main conclusion is that the proposed method can help to design for patients with aphasia a more personalized complex of speech recovery exercises that will be adapted to their language biography
{"title":"An individual’s language biography as a tool for modeling the mental lexicon (based on experimental work with patients with aphasia)","authors":"A. Kolmogorova, S. A. Lyamzina, Olga N. Nikolskaya","doi":"10.17223/19986645/81/2","DOIUrl":"https://doi.org/10.17223/19986645/81/2","url":null,"abstract":"The article considers the relationship between the language biography of a patient with aphasia and the process of her speech rehabilitation. The research project focuses on the problem of predicting the structure of mental lexicon in patients with aphasia via modeling it in native speakers from the same socio-professional groups without speech disorders. The process is largely based on knowledge about common characteristics of their language biography. The aim of the article is to feature the methodology used in such a type of predictive modeling, its theoretical foundations and main advantages for speech rehabilitation work. The research data include: statistics about sociological characteristics of patients collected at the local Neurorehabilitation Center from 2014 to 2018; 18 questionnaires filled in by the relatives of the patients in question; interviews with healthy Russian native speakers, whose socio-professional characteristics are similar to characteristics of one of the target groups of the patients; 12 hours of audio recordings of interviews with healthy native speakers of the Russian language, whose language biography, gender and age characteristics are similar to those of the target groups of the patients; a corpus of interview scripts processed with the Sketch Engine corpus manager; 14 patients’ speech assessment sheets completed in accordance with the Wasserman scale (it is designed to determine speech disorders of patients with a local cerebrovascular accident). By using an interdisciplinary complex of methods we obtained the following results: completed a sociolinguistic portrait of people at risk of aphasia with similar language biographies; listed the most frequent words, collocations and automated verbal series (phrases and sayings) specific to people at risk of aphasia; identified the language biography features that affect mental lexicon; elaborated a complex of exercises for speech rehabilitation of patients with aphasia regarding the specificity of their language biography; validated and assessed the exercises’ effectiveness in clinical practice. Our main conclusion is that the proposed method can help to design for patients with aphasia a more personalized complex of speech recovery exercises that will be adapted to their language biography","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"11 1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88463967","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 representation of dogs in children’s literature forms the subject of this article. It is framed within the concept of human-canine societies introduced by the French anthropologist Dominique Guillot who claimed that alongside any human society there exists a hybrid society formed by human beings and dogs in which dogs are regarded as its full members. Such societies exist in each country and they generate their own cultures that are developed gradually through ontogenetic ritualization but may change over time. The focus of the following research is the interconnection between children’s literature and such human-canine cultures. I claim that children’s literature is influenced by them and influences them at the same time. The key figure of the research, the Scottish writer James M. Barrie, not only gave dogs the status of full members of the society but endowed them with the status of his muses in his personal, public, and literary life. His own dog, a landseer Newfoundland called Luath, was his pet, friend, muse, and a prototype for Nana, a nanny dog from Barrie’s most famous play Peter Pan, or the Boy Who Wouldn’t Grow Up. I aim to study and analyze the transformations that occur to Nana when the play was staged, adapted, illustrated and published into a different human-canine culture. The source material of the study is a draft version of the play, the first published version of the play, illustrations for numerous British and American adaptations of the Peter Pan story, and the first Soviet edition of the play. The three parts of the article describe the history of the creation of Nana and the formation of her iconography in Great Britain; the history of the first American production and two further adaptations of the play, as well as the changes that Nana underwent in the American tradition; the history of the first translation of the play in the USSR and the work of the translator and artist in the construction of the Soviet Nana. I come to the conclusion that the image of Nana is formed in the period of time when the contemporary human-pet culture was introduced and incorporated into British mindset. I prove that Nana was Luath’s copy: his character and even his black marks were recreated in Nana’s costume. Moreover, Barrie’s popularity and his daily walks with Luath in Kensington Gardens turned the writer and his dog a landmark in London, so the British iconography of Nana developed rapidly and practically did not change over time. In the United States and the Soviet Union, the countries with their own unique human-dog cultures, Nana was transformed into a St. Bernard and a Cocker Spaniel respectively. Such transformations may be explained by different reasons. While in the United States this is a consequence of the blend of Luath with Barrie’s first dog, St. Bernard Porthos, which the writer himself confessed, in the USSR the reasons were rooted in politics and ideology which to a large extent influenced Soviet human-canine culture
狗在儿童文学中的表现构成了本文的主题。它是在法国人类学家多米尼克·吉洛(Dominique Guillot)提出的人犬社会概念的框架内建立的，他声称，在任何人类社会之外，都存在着一个由人和狗组成的混合社会，其中狗被视为其正式成员。这样的社会存在于每个国家，它们产生了自己的文化，这些文化是通过个体发生的仪式化逐渐发展起来的，但可能随着时间的推移而改变。下面研究的重点是儿童文学与这种人犬文化之间的联系。我认为儿童文学受到他们的影响，同时也影响着他们。这项研究的关键人物是苏格兰作家詹姆斯·m·巴里(James M. Barrie)，他不仅赋予狗以社会正式成员的地位，而且在他的个人生活、公共生活和文学生活中赋予它们缪斯的地位。他自己的狗，一只名叫Luath的纽芬兰兰泽犬，是他的宠物、朋友、缪斯，也是巴里最著名的戏剧《彼得潘》(即《不会长大的男孩》)中保姆狗Nana的原型。我的目标是研究和分析娜娜在戏剧被上演、改编、插图和出版到不同的人犬文化时所发生的转变。这项研究的原始材料是剧本的草稿，剧本的第一个出版版本，许多英国和美国改编的彼得潘故事的插图，以及该剧的第一个苏联版本。文章的三个部分描述了娜娜形象在英国的创作历史和她的形象在英国的形成;该剧在美国的第一部作品和后来两次改编的历史，以及《娜娜》在美国传统中所经历的变化;这部剧在苏联的第一次翻译的历史以及翻译和艺术家在苏联娜娜建设中的工作。我的结论是，娜娜的形象形成于当代人类宠物文化被引入并融入英国思维的时期。我证明娜娜是卢斯的复制品:他的性格，甚至他的黑色印记，都在娜娜的服装上重现了。此外，巴里的受欢迎程度和他每天与Luath在肯辛顿花园散步的经历使这位作家和他的狗成为伦敦的地标，因此，娜娜的英国肖像学发展迅速，几乎没有随着时间的推移而改变。在美国和苏联这两个有着独特人狗文化的国家，娜娜分别被改造成了一只圣伯纳犬和一只可卡犬。这种转变可以用不同的原因来解释。而在美国，这是Luath与Barrie的第一只狗St. Bernard Porthos混合的结果，作者自己承认，在苏联，原因植根于政治和意识形态，这在很大程度上影响了苏联人犬文化，因此在儿童书籍中对狗的表现。
{"title":"Children’s literature and human-canine culture: Transformations of James M. Barrie’s dog Nana in cross-cultural translation","authors":"M. Ivankiva","doi":"10.17223/19986645/81/10","DOIUrl":"https://doi.org/10.17223/19986645/81/10","url":null,"abstract":"The representation of dogs in children’s literature forms the subject of this article. It is framed within the concept of human-canine societies introduced by the French anthropologist Dominique Guillot who claimed that alongside any human society there exists a hybrid society formed by human beings and dogs in which dogs are regarded as its full members. Such societies exist in each country and they generate their own cultures that are developed gradually through ontogenetic ritualization but may change over time. The focus of the following research is the interconnection between children’s literature and such human-canine cultures. I claim that children’s literature is influenced by them and influences them at the same time. The key figure of the research, the Scottish writer James M. Barrie, not only gave dogs the status of full members of the society but endowed them with the status of his muses in his personal, public, and literary life. His own dog, a landseer Newfoundland called Luath, was his pet, friend, muse, and a prototype for Nana, a nanny dog from Barrie’s most famous play Peter Pan, or the Boy Who Wouldn’t Grow Up. I aim to study and analyze the transformations that occur to Nana when the play was staged, adapted, illustrated and published into a different human-canine culture. The source material of the study is a draft version of the play, the first published version of the play, illustrations for numerous British and American adaptations of the Peter Pan story, and the first Soviet edition of the play. The three parts of the article describe the history of the creation of Nana and the formation of her iconography in Great Britain; the history of the first American production and two further adaptations of the play, as well as the changes that Nana underwent in the American tradition; the history of the first translation of the play in the USSR and the work of the translator and artist in the construction of the Soviet Nana. I come to the conclusion that the image of Nana is formed in the period of time when the contemporary human-pet culture was introduced and incorporated into British mindset. I prove that Nana was Luath’s copy: his character and even his black marks were recreated in Nana’s costume. Moreover, Barrie’s popularity and his daily walks with Luath in Kensington Gardens turned the writer and his dog a landmark in London, so the British iconography of Nana developed rapidly and practically did not change over time. In the United States and the Soviet Union, the countries with their own unique human-dog cultures, Nana was transformed into a St. Bernard and a Cocker Spaniel respectively. Such transformations may be explained by different reasons. While in the United States this is a consequence of the blend of Luath with Barrie’s first dog, St. Bernard Porthos, which the writer himself confessed, in the USSR the reasons were rooted in politics and ideology which to a large extent influenced Soviet human-canine culture ","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":"80799737","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 test Skinner’s hypothesis regarding the distribution of linguistic units in the text. In accordance with this hypothesis, the distances between similar linguistic units should be less than between different units. In a more general form, one can raise the question of whether there is any regularity in the length of distances between identical units in the text. The units taken for this study are distinguished at a rather abstract level – different types of attributes. The scheme of attribute types is based on the part-of-speech characteristics of words that replace the syntactic position of the attribute. Attributes, constituting an extremely important component of the description of the artistic world, at the same time are an optional syntactic element in the sentence structure and are not determined by the valency of verbs in the predicative position. This allows the author to use attributes based on one’s preferences and the characteristics of the author’s style, which makes attributes an extremely successful means of describing an individual style. Distances between attribute types are determined by the number of steps from one attribute to another identical attribute in the chain formed by all attributes in the order in which they appear in the text. The article also considers the possibility of identifying patterns in the alternation of distances between attributes of the same type. The research material is six poems by Alexander Pushkin, written in iambic tetrameter. These poems are especially significant in connection with the place of the brilliant poet in the development of Russian literature and the Russian language. The poems are: “Ruslan and Lyudmila”, “The Prisoner of the Caucasus”, “The Fountain of Bakhchisaray”, “Count Nulin”, “Poltava” and “The Bronze Horseman”. The study was carried out by quantitative analysis of large volumes of text using a number of statistical measures (Busemann’s coefficient, chi-square, etc.). As a result of the analysis, data were obtained on the degree of attraction of the same type of attributes to each other, and the degree of structural ordering of the description was determined. The use of the exponential function was very successful in fitting the distribution of distances between identical attributes. It was found that within each poem there is not only a predominance of short distances over large distances for identical attributes, but also a certain trend in the distribution of these distances, which is well caught by the exponential function. As a result of the analysis, Skinner’s hypothesis was confirmed. This is expressed in the fact that in judging by the distances between attributes of the same type there is a hidden tendency towards order in preserving formal repetition until the fading of the stimulus.
{"title":"The distribution of attributes in poems by Alexander Pushkin and Skinner’s hypothesis","authors":"Sergey N. Andreev","doi":"10.17223/19986645/82/1","DOIUrl":"https://doi.org/10.17223/19986645/82/1","url":null,"abstract":"The article aims to test Skinner’s hypothesis regarding the distribution of linguistic units in the text. In accordance with this hypothesis, the distances between similar linguistic units should be less than between different units. In a more general form, one can raise the question of whether there is any regularity in the length of distances between identical units in the text. The units taken for this study are distinguished at a rather abstract level – different types of attributes. The scheme of attribute types is based on the part-of-speech characteristics of words that replace the syntactic position of the attribute. Attributes, constituting an extremely important component of the description of the artistic world, at the same time are an optional syntactic element in the sentence structure and are not determined by the valency of verbs in the predicative position. This allows the author to use attributes based on one’s preferences and the characteristics of the author’s style, which makes attributes an extremely successful means of describing an individual style. Distances between attribute types are determined by the number of steps from one attribute to another identical attribute in the chain formed by all attributes in the order in which they appear in the text. The article also considers the possibility of identifying patterns in the alternation of distances between attributes of the same type. The research material is six poems by Alexander Pushkin, written in iambic tetrameter. These poems are especially significant in connection with the place of the brilliant poet in the development of Russian literature and the Russian language. The poems are: “Ruslan and Lyudmila”, “The Prisoner of the Caucasus”, “The Fountain of Bakhchisaray”, “Count Nulin”, “Poltava” and “The Bronze Horseman”. The study was carried out by quantitative analysis of large volumes of text using a number of statistical measures (Busemann’s coefficient, chi-square, etc.). As a result of the analysis, data were obtained on the degree of attraction of the same type of attributes to each other, and the degree of structural ordering of the description was determined. The use of the exponential function was very successful in fitting the distribution of distances between identical attributes. It was found that within each poem there is not only a predominance of short distances over large distances for identical attributes, but also a certain trend in the distribution of these distances, which is well caught by the exponential function. As a result of the analysis, Skinner’s hypothesis was confirmed. This is expressed in the fact that in judging by the distances between attributes of the same type there is a hidden tendency towards order in preserving formal repetition until the fading of the stimulus.","PeriodicalId":43853,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology","volume":"36 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79062113","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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