Pub Date : 2024-05-01DOI: 10.25136/2409-8698.2024.5.70518
Yihan Sun'
The article explores the cultural significance of tea drinking in Chinese communication by studying the corresponding linguistic and cultural script. The historical context and the current state of Chinese tea culture is considered; the language used to describe the tea drinking process, including individual lexemes, phrases and idiomatic expressions, is analyzed. Also, the article explores the norms of etiquette and traditions associated with tea drinking. A brief overview of tea idioms in the Chinese language reflecting the linguistic and cultural value of tea drinking is provided. The conclusion is made about the high importance of the considered linguistic and cultural script in Chinese culture, as well as the need to introduce this linguistic and cultural component into the process of teaching Chinese to foreign students. The subject of the study is linguistic and cultural scripts relevant within the framework of Chinese linguoculture using the example of the script "tea party". The novelty of the study lies in the fact that it provides a multidimensional analysis of the linguistic and cultural script "Tea Party" in Chinese linguoculture. In particular, the specialized tea vocabulary, phraseological units, as well as etiquette replicas that are related to tea drinking in Chinese linguoculture are considered. In Chinese culture, there is a complex and interesting tea etiquette to study. The linguistic and cultural script "Tea Party" in the framework of Chinese culture consists of three parts: the preamble of the event, the event and the result of the event. The preamble of the event includes a greeting and an order for tea (the latter is relevant if the tea party takes place in a tea room). An event (i.e., a tea party) involves brewing tea and drinking tea. The latter usually goes without words, because in Chinese culture it is customary to turn off all possible stimuli for the sake of enjoying a tea drink. Besides, the important part is gratitude for a good tea. The result of the event is the payment of the bill (if it happens in a tea shop) and farewell at the end of the tea party.
{"title":"The linguistic and cultural script \"tea drinking\" in Chinese communication","authors":"Yihan Sun'","doi":"10.25136/2409-8698.2024.5.70518","DOIUrl":"https://doi.org/10.25136/2409-8698.2024.5.70518","url":null,"abstract":"\u0000 The article explores the cultural significance of tea drinking in Chinese communication by studying the corresponding linguistic and cultural script. The historical context and the current state of Chinese tea culture is considered; the language used to describe the tea drinking process, including individual lexemes, phrases and idiomatic expressions, is analyzed. Also, the article explores the norms of etiquette and traditions associated with tea drinking. A brief overview of tea idioms in the Chinese language reflecting the linguistic and cultural value of tea drinking is provided. The conclusion is made about the high importance of the considered linguistic and cultural script in Chinese culture, as well as the need to introduce this linguistic and cultural component into the process of teaching Chinese to foreign students. The subject of the study is linguistic and cultural scripts relevant within the framework of Chinese linguoculture using the example of the script \"tea party\". The novelty of the study lies in the fact that it provides a multidimensional analysis of the linguistic and cultural script \"Tea Party\" in Chinese linguoculture. In particular, the specialized tea vocabulary, phraseological units, as well as etiquette replicas that are related to tea drinking in Chinese linguoculture are considered. In Chinese culture, there is a complex and interesting tea etiquette to study. The linguistic and cultural script \"Tea Party\" in the framework of Chinese culture consists of three parts: the preamble of the event, the event and the result of the event. The preamble of the event includes a greeting and an order for tea (the latter is relevant if the tea party takes place in a tea room). An event (i.e., a tea party) involves brewing tea and drinking tea. The latter usually goes without words, because in Chinese culture it is customary to turn off all possible stimuli for the sake of enjoying a tea drink. Besides, the important part is gratitude for a good tea. The result of the event is the payment of the bill (if it happens in a tea shop) and farewell at the end of the tea party.\u0000","PeriodicalId":506782,"journal":{"name":"Litera","volume":"48 14","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141142042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-01DOI: 10.25136/2409-8698.2024.5.70576
Shaymaa Thamer Hasan Al- Anbagi
The object of the study is documents of business correspondence in Russian-Arabic official communication; the subject of the study is the syntactic features of Russian and Arabic business documents, the similarities and differences between Russian and Arabic syntax in business communication. Syntactic organization is very important for business writing; it serves as the final stage of its structure. The scientific novelty of the study lies in the identification of universal and culturally determined features of the syntactic structure in relation to Russian and Arabic-language business writing. Among the universal elements are the use of sentences that convey the non-personal nature of communication, indirect expression of imperativeness (using forms of the subjunctive mood, interrogative sentences), introductory words with the semantics of politeness. Original syntactic constructions can be used to achieve a similar communicative effect. The research was carried out on the basis of methods of analysis, synthesis, observation, description. Methods of component analysis, interpretation and classification, a system-structural method, and elements of a functional approach were used. As a result of the study, it was noted that the differences in the syntactic structure of Russian- and Arabic-language business letters are culturally and historically determined. The specifics of Arabic business syntax were influenced by increased requirements for the expression of politeness in society (indication of the regalia of the addressee), the predominance of the collective over the personal in culture, the origin of the official business style from the artistic, and not from the colloquial (long sentences). It is concluded that it is necessary to take into account cultural and historical factors both in the process of constructing business letters and in the process of their mutual translation. Among the important techniques of Russian-Arabic translation are combining sentences and increasing content
{"title":"Russian and Arabic documentary tradition: syntactic aspect","authors":"Shaymaa Thamer Hasan Al- Anbagi","doi":"10.25136/2409-8698.2024.5.70576","DOIUrl":"https://doi.org/10.25136/2409-8698.2024.5.70576","url":null,"abstract":"\u0000 The object of the study is documents of business correspondence in Russian-Arabic official communication; the subject of the study is the syntactic features of Russian and Arabic business documents, the similarities and differences between Russian and Arabic syntax in business communication. Syntactic organization is very important for business writing; it serves as the final stage of its structure. The scientific novelty of the study lies in the identification of universal and culturally determined features of the syntactic structure in relation to Russian and Arabic-language business writing. Among the universal elements are the use of sentences that convey the non-personal nature of communication, indirect expression of imperativeness (using forms of the subjunctive mood, interrogative sentences), introductory words with the semantics of politeness. Original syntactic constructions can be used to achieve a similar communicative effect. The research was carried out on the basis of methods of analysis, synthesis, observation, description. Methods of component analysis, interpretation and classification, a system-structural method, and elements of a functional approach were used. As a result of the study, it was noted that the differences in the syntactic structure of Russian- and Arabic-language business letters are culturally and historically determined. The specifics of Arabic business syntax were influenced by increased requirements for the expression of politeness in society (indication of the regalia of the addressee), the predominance of the collective over the personal in culture, the origin of the official business style from the artistic, and not from the colloquial (long sentences). It is concluded that it is necessary to take into account cultural and historical factors both in the process of constructing business letters and in the process of their mutual translation. Among the important techniques of Russian-Arabic translation are combining sentences and increasing content\u0000","PeriodicalId":506782,"journal":{"name":"Litera","volume":"19 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141029801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-01DOI: 10.25136/2409-8698.2024.5.70779
Lyubov’ A. Safaralieva, Luay Abdullah
The present study is devoted to the reconstruction of the image of Russia in the minds of native speakers of the national Syrian version of the Arabic language on the basis of data from a free associative experiment with a word روسيا ‘ Russia’. The purpose of the article is a semantic analysis of associative-verbal networks of the associative field روسيا ‘ Russia’ and the identification of frequency, collective characteristics of the image of Russia, as well as the analysis of individual representations of respondents based on the material of individual associates. The conducted free associative experiment made it possible not only to reconstruct a significant fragment of the Syrians' linguistic picture of the world – the image of modern Russia, but also to identify common, average representations of speakers of Syrian linguistic culture due to the following extralinguistic factors: military-political, cultural, scientific and educational contacts between Russia and Syria in the last few years. The main research method was a free associative experiment conducted using the Google Forms resource. 116 Syrian citizens, aged 18 to 60, who are receiving or have received higher education, were interviewed. The respondents were asked to write 3 first reactions to the stimulus روسيا ‘ Russia’. An analysis of the data obtained showed that, first of all, in the minds of speakers of the Syrian linguistic culture, Russia is a cold but beautiful country that is a reliable friend and ally of Syria. It should be noted that among the 319 reactions obtained, only 3 differ in a pronounced pejorative value. For Syrians, Russia is a country with a rich history, diverse culture and vibrant traditions, a country that provides an opportunity for personal development, including higher education. It was also found that for Syrians, the image of Russia is strongly associated with its capital, Moscow. In general, it can be argued that an exceptionally positive image of a strong and independent Russia has developed in the minds of speakers of the Syrian linguistic culture. The prospect of the study is to conduct an associative experiment with Russian-speaking respondents to reconstruct the image of Syria in the minds of native speakers of Russian linguistic culture and compare the results with those given in this article.
{"title":"The image of Russia in the minds of native speakers of the national Syrian version of the Arabic language","authors":"Lyubov’ A. Safaralieva, Luay Abdullah","doi":"10.25136/2409-8698.2024.5.70779","DOIUrl":"https://doi.org/10.25136/2409-8698.2024.5.70779","url":null,"abstract":"\u0000 The present study is devoted to the reconstruction of the image of Russia in the minds of native speakers of the national Syrian version of the Arabic language on the basis of data from a free associative experiment with a word روسيا ‘ Russia’. The purpose of the article is a semantic analysis of associative-verbal networks of the associative field روسيا ‘ Russia’ and the identification of frequency, collective characteristics of the image of Russia, as well as the analysis of individual representations of respondents based on the material of individual associates. The conducted free associative experiment made it possible not only to reconstruct a significant fragment of the Syrians' linguistic picture of the world – the image of modern Russia, but also to identify common, average representations of speakers of Syrian linguistic culture due to the following extralinguistic factors: military-political, cultural, scientific and educational contacts between Russia and Syria in the last few years. The main research method was a free associative experiment conducted using the Google Forms resource. 116 Syrian citizens, aged 18 to 60, who are receiving or have received higher education, were interviewed. The respondents were asked to write 3 first reactions to the stimulus روسيا ‘ Russia’. An analysis of the data obtained showed that, first of all, in the minds of speakers of the Syrian linguistic culture, Russia is a cold but beautiful country that is a reliable friend and ally of Syria. It should be noted that among the 319 reactions obtained, only 3 differ in a pronounced pejorative value. For Syrians, Russia is a country with a rich history, diverse culture and vibrant traditions, a country that provides an opportunity for personal development, including higher education. It was also found that for Syrians, the image of Russia is strongly associated with its capital, Moscow. In general, it can be argued that an exceptionally positive image of a strong and independent Russia has developed in the minds of speakers of the Syrian linguistic culture. The prospect of the study is to conduct an associative experiment with Russian-speaking respondents to reconstruct the image of Syria in the minds of native speakers of Russian linguistic culture and compare the results with those given in this article.\u0000","PeriodicalId":506782,"journal":{"name":"Litera","volume":"19 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141137005","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 devoted to the representation of the Middle Volga space in the works of the Russian prose writer Denis Osokin. Domestic literary scholars propose to consider artistic space from the point of view of spatial topography, which implies the opposition of abstraction to concreteness, its horizontal or vertical orientation, spatial extent and localization (expansion-compression, openness-closedness). The search for new methods for studying literary texts has given rise to the need for a comprehensive method, in which a method combining cultural-historical, mythopoetic and geopoetic analysis is quite promising. The subject of the research is the artistic space of Osokin’s “Volga region” texts. The purpose of the study is to determine the specifics of the literary geography of Osokin’s works related to the Volga region. The work uses such scientific methods of analysis as cultural-geographical, structural-semiotic methods and contextual analysis. The scientific novelty of the research is determined by the fact that among modern literary works there are no works devoted to the study of the artistic space of the works of many modern authors, in particular Denis Osokin, his works are considered insufficiently in relation to the phenomena of Kazan and other regional texts. The main conclusion of the study is the substantiation of the special properties of the artistic space of the Middle Volga in the works of D. Osokin, which has attractive properties - uniqueness, semantic richness, cognitive value. Reflection of geographical space in works of art makes it possible to represent and interpret the sociocultural processes of a place and set ontological guidelines. Osokin’s Middle Volga region is a metaspace where the national is organically combined with the foreign, it is a space of memory and the rediscovery of lost meanings.
{"title":"Artistic geography of \"Middle Volga texts\" by D. Osokin","authors":"Diana Alexandrovna Khromova, Adilya Ildusovna Kutdyusova","doi":"10.25136/2409-8698.2024.5.70715","DOIUrl":"https://doi.org/10.25136/2409-8698.2024.5.70715","url":null,"abstract":"\u0000 This article is devoted to the representation of the Middle Volga space in the works of the Russian prose writer Denis Osokin. Domestic literary scholars propose to consider artistic space from the point of view of spatial topography, which implies the opposition of abstraction to concreteness, its horizontal or vertical orientation, spatial extent and localization (expansion-compression, openness-closedness). The search for new methods for studying literary texts has given rise to the need for a comprehensive method, in which a method combining cultural-historical, mythopoetic and geopoetic analysis is quite promising. The subject of the research is the artistic space of Osokin’s “Volga region” texts. The purpose of the study is to determine the specifics of the literary geography of Osokin’s works related to the Volga region. The work uses such scientific methods of analysis as cultural-geographical, structural-semiotic methods and contextual analysis. The scientific novelty of the research is determined by the fact that among modern literary works there are no works devoted to the study of the artistic space of the works of many modern authors, in particular Denis Osokin, his works are considered insufficiently in relation to the phenomena of Kazan and other regional texts. The main conclusion of the study is the substantiation of the special properties of the artistic space of the Middle Volga in the works of D. Osokin, which has attractive properties - uniqueness, semantic richness, cognitive value. Reflection of geographical space in works of art makes it possible to represent and interpret the sociocultural processes of a place and set ontological guidelines. Osokin’s Middle Volga region is a metaspace where the national is organically combined with the foreign, it is a space of memory and the rediscovery of lost meanings.\u0000","PeriodicalId":506782,"journal":{"name":"Litera","volume":"89 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141045870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-01DOI: 10.25136/2409-8698.2024.5.70641
Ilan' Lyan, Anna Aleksandrovna Anisova
The article is devoted to the identification and analysis of conceptual metaphors that are involved in the implementation of the concept of "Longing" in the works of A. P. Platonov. The subject of the study is the metaphorical models of the concept under study. At the present stage of linguistic science, metaphors are presented as complex phenomena that are not only a fact of language, but reflect the mechanisms of human consciousness and ideas about the world. Conceptual metaphors are considered as a special tool of human cognition, having a culturally archetypal nature. The mechanisms of perception lie in the subconscious of a person, at the level of which there are units of the mental level – concepts represented to a greater extent by conceptual (cognitive) metaphors. Metaphorical models are one of the components of a concept and can be identified with the "signs of the concept that form its structure". The work is carried out in line with the cognitive campaign in linguistics, based on the research of conceptual metaphor. The following methods were used: continuous sampling, descriptive, contextual, modeling. The scientific novelty of the research consists in identifying metaphorical models of the concept of "Longing" in the discourse of A. P. Platonov. As a result of the study, 6 cognitive models of metaphors were identified: "Localization", "Living being", "Substance", "Object", "Organ", "Receptacle". These models represent the idea of the concept of "Longing" as an entity that has a location inside a person, more often it is the heart of a person. This entity is represented as a living being or object. At the same time, if longing is a living being, then a person cannot control it, but can only hide from it, and if longing appears as an object, then a person can manipulate it. Also, longing is thought of as a kind of container that can absorb a person.
本文致力于识别和分析在阿-普拉东诺夫作品中落实 "渴望 "概念时所涉及的概念隐喻。研究对象是所研究概念的隐喻模型。在语言科学的现阶段，隐喻被视为一种复杂的现象，它不仅是语言的事实，而且反映了人类意识和关于世界的观念的机制。概念隐喻被视为人类认知的一种特殊工具，具有文化原型的性质。感知机制存在于人的潜意识中，在潜意识的层面上存在着精神层面的单位--概念在更大程度上由概念（认知）隐喻所代表。隐喻模型是概念的组成部分之一，可以与 "构成概念结构的概念符号 "相提并论。这项工作的开展符合语言学中的认知运动，以概念隐喻研究为基础。采用了以下方法：连续取样法、描述法、语境法、建模法。研究的科学新颖性在于确定 A. P. Platonov 话语中 "渴望 "概念的隐喻模型。研究结果确定了 6 种隐喻认知模式："本地化"、"生命体"、"物质"、"物体"、"器官"、"容器"。这些模式代表了 "渴望 "这一概念的思想，它是一个在人体内有位置的实体，通常是人的心脏。这个实体被表述为一个有生命的存在或物体。同时，如果 "渴望 "是一个生命体，那么人就无法控制它，只能躲避它；如果 "渴望 "是一个物体，那么人就可以操纵它。此外，人们还认为渴望是一种可以吸收人的容器。
{"title":"Metaphorical models of the concept of \"Longing\" in the idiostyle of A. P. Platonov","authors":"Ilan' Lyan, Anna Aleksandrovna Anisova","doi":"10.25136/2409-8698.2024.5.70641","DOIUrl":"https://doi.org/10.25136/2409-8698.2024.5.70641","url":null,"abstract":"\u0000 The article is devoted to the identification and analysis of conceptual metaphors that are involved in the implementation of the concept of \"Longing\" in the works of A. P. Platonov. The subject of the study is the metaphorical models of the concept under study. At the present stage of linguistic science, metaphors are presented as complex phenomena that are not only a fact of language, but reflect the mechanisms of human consciousness and ideas about the world. Conceptual metaphors are considered as a special tool of human cognition, having a culturally archetypal nature. The mechanisms of perception lie in the subconscious of a person, at the level of which there are units of the mental level – concepts represented to a greater extent by conceptual (cognitive) metaphors. Metaphorical models are one of the components of a concept and can be identified with the \"signs of the concept that form its structure\". The work is carried out in line with the cognitive campaign in linguistics, based on the research of conceptual metaphor. The following methods were used: continuous sampling, descriptive, contextual, modeling. The scientific novelty of the research consists in identifying metaphorical models of the concept of \"Longing\" in the discourse of A. P. Platonov. As a result of the study, 6 cognitive models of metaphors were identified: \"Localization\", \"Living being\", \"Substance\", \"Object\", \"Organ\", \"Receptacle\". These models represent the idea of the concept of \"Longing\" as an entity that has a location inside a person, more often it is the heart of a person. This entity is represented as a living being or object. At the same time, if longing is a living being, then a person cannot control it, but can only hide from it, and if longing appears as an object, then a person can manipulate it. Also, longing is thought of as a kind of container that can absorb a person.\u0000","PeriodicalId":506782,"journal":{"name":"Litera","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141025736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-01DOI: 10.25136/2409-8698.2024.5.70682
Arina Yur'evna Mikhailenko
The linguistic description of a literary text involves consideration of its semantic structure, by which, following L. A. Novikov, we understand the system of images of the work and the linguistic means of their embodiment in the author's text. Peripheral combinations play a significant role in the arsenal of artistic techniques of N.M. Karamzin, implemented in sentimental novels, and demonstrate primarily the functions of indicating feelings and states, embellishing speech, author's characterization and poetization of prose text. The subject of the study of the analyzed text of N. M. Karamzin's novella "Natalia, the boyar's daughter" is periphrasis as a special means of creating a semantic structure. The relevance of the work is due to the clarification of the status of the periphrase as an important structural element of the sentimental story. The aim of the work was to clarify the concept of periphrasis in the modern and preceding N. M. Karamzin literary tradition and highlight its functions in the texts of the stories. The methodological basis of the study was the work of Russian linguists of the V. V. Vinogradov school, based on a system-functional approach to the analysis of the language of fiction. The conducted research allowed us to conclude that the periphrasis is the basis of N. M. Karamzin's imagery and implements the functions of speech decoration; characterization, in which the periphrasis contains the author's attitude to the hero; stylistically marked periphrastic combinations serve to separate parts of the story, for example, the author's digression and the main text of the story. The novelty of the research lies in clarifying the functions of the periphrasis as the central means of the semantic structure of the sentimental story. Periphrases are becoming one of the new tools for constructing the semantic structure of a prose work of the emerging aesthetics of sentimentalism. The use of periphrases is included in the concept of reforming the Russian language by introducing elements peculiar to the sentimental style of French salon literature into the text, while generally ordering syntax at the level of a simple and complex sentence.
对文学文本的语言描述涉及对其语义结构的考虑，按照列-阿-诺维科夫的说法，我们可以理解为作品的形象系统以及在作者文本中体现这些形象的语言手段。外围组合在尼-米-卡拉姆钦的艺术技巧库中发挥着重要作用，在情感小说中得以实现，主要表现为表明情感和状态、润色语言、作者的性格特征和散文诗化等功能。卡拉姆钦的长篇小说《波亚尔的女儿娜塔莉亚》分析文本的研究课题是作为创造语义结构的特殊手段的 "倒装句"。这部作品的意义在于澄清了作为情感故事重要结构元素的倒装句的地位。这部作品的目的是澄清现代及之前尼-米-卡拉姆津文学传统中的近义词概念，并强调其在故事文本中的作用。 研究的方法论基础是 V. V. 维诺格拉多夫学派的俄罗斯语言学家的研究成果，其基础是对小说语言进行系统功能分析的方法。通过研究，我们得出结论："套语 "是尼-米-卡拉姆钦意象的基础，具有语言装饰、人物描写的功能，其中 "套语 "包含了作者对主人公的态度；具有文体标记的 "套语 "组合用于分隔故事的各个部分，例如作者的离题和故事的正文。这项研究的新颖之处在于阐明了作为感伤故事语义结构核心手段的 "咏叹调 "的功能。近义词正在成为新兴的感伤主义美学中构建散文作品语义结构的新工具之一。通过在文本中引入法国沙龙文学感伤风格的特有元素，同时在简单句和复杂句的层面上对句法进行总体排序，近义词的使用被纳入俄语改革的概念中。
{"title":"The functions of peripheral combinations of N. M. Karamzin's novella \"Natalia, the Boyar's Daughter\"","authors":"Arina Yur'evna Mikhailenko","doi":"10.25136/2409-8698.2024.5.70682","DOIUrl":"https://doi.org/10.25136/2409-8698.2024.5.70682","url":null,"abstract":"\u0000 The linguistic description of a literary text involves consideration of its semantic structure, by which, following L. A. Novikov, we understand the system of images of the work and the linguistic means of their embodiment in the author's text. Peripheral combinations play a significant role in the arsenal of artistic techniques of N.M. Karamzin, implemented in sentimental novels, and demonstrate primarily the functions of indicating feelings and states, embellishing speech, author's characterization and poetization of prose text. The subject of the study of the analyzed text of N. M. Karamzin's novella \"Natalia, the boyar's daughter\" is periphrasis as a special means of creating a semantic structure. The relevance of the work is due to the clarification of the status of the periphrase as an important structural element of the sentimental story. The aim of the work was to clarify the concept of periphrasis in the modern and preceding N. M. Karamzin literary tradition and highlight its functions in the texts of the stories. The methodological basis of the study was the work of Russian linguists of the V. V. Vinogradov school, based on a system-functional approach to the analysis of the language of fiction. The conducted research allowed us to conclude that the periphrasis is the basis of N. M. Karamzin's imagery and implements the functions of speech decoration; characterization, in which the periphrasis contains the author's attitude to the hero; stylistically marked periphrastic combinations serve to separate parts of the story, for example, the author's digression and the main text of the story. The novelty of the research lies in clarifying the functions of the periphrasis as the central means of the semantic structure of the sentimental story. Periphrases are becoming one of the new tools for constructing the semantic structure of a prose work of the emerging aesthetics of sentimentalism. The use of periphrases is included in the concept of reforming the Russian language by introducing elements peculiar to the sentimental style of French salon literature into the text, while generally ordering syntax at the level of a simple and complex sentence.\u0000","PeriodicalId":506782,"journal":{"name":"Litera","volume":"9 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141024188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-01DOI: 10.25136/2409-8698.2024.4.70109
Jing Wang
Language is one of the main tools for communication between people, allowing to express our thoughts and feelings, as well as describe the world around us. Phraseology, as an integral part of any language, plays an important role in the transmission of cultural values and traditions of the people. One of the key groups of phraseological units are phraseological units with the semantic field "human appearance", which reflect ideas about beauty, ugliness, age and other characteristics of appearance. In this article, we will consider phraseological units with the semantics of "human appearance" using the example of Russian and Chinese languages. The relevance of this topic is due to the need to study and analyze phraseology as a means of expressing culture, mentality and national characteristics of peoples. In addition, the study of phraseological units in different languages allows to identify similarities and differences in the perception of certain concepts, as well as the peculiarities of translating these units into other languages. The subject of the study: phraseological units with the semantics of "human appearance" in Russian and Chinese. Methods: 1. analysis of scientific literature on the phraseology of the Russian and Chinese languages; 2. comparative analysis of phraseological units with the semantics of "human appearance" in Russian and Chinese; 3. study of examples of phraseological units and their translation into another language; 4. identification of similarities and differences between phraseological units in Russian and Chinese. Scientific novelty: for the first time, a comparative analysis of phraseological units with the semantics of "human appearance" in Russian and Chinese is carried out. The article identifies similarities and differences between these units, as well as examines the features of their translation from one language to another. Conclusions: 1. In Russian and Chinese, there are phraseological units with the meaning "human appearance", which play an important role in communicating and describing people. 2. Despite some similarities, phraseological units in the two languages have their own peculiarities in terms of structure, semantics and pragmatics. 3. The translation of phraseological units requires taking into account their connotations, cultural characteristics and historical context. 4. Phraseological units can serve as a source for studying cultural differences and interaction between peoples.
{"title":"Phraseological units with the semantics of \"human appearance\" in Russian and Chinese","authors":"Jing Wang","doi":"10.25136/2409-8698.2024.4.70109","DOIUrl":"https://doi.org/10.25136/2409-8698.2024.4.70109","url":null,"abstract":"\u0000 Language is one of the main tools for communication between people, allowing to express our thoughts and feelings, as well as describe the world around us. Phraseology, as an integral part of any language, plays an important role in the transmission of cultural values and traditions of the people. One of the key groups of phraseological units are phraseological units with the semantic field \"human appearance\", which reflect ideas about beauty, ugliness, age and other characteristics of appearance. In this article, we will consider phraseological units with the semantics of \"human appearance\" using the example of Russian and Chinese languages. The relevance of this topic is due to the need to study and analyze phraseology as a means of expressing culture, mentality and national characteristics of peoples. In addition, the study of phraseological units in different languages allows to identify similarities and differences in the perception of certain concepts, as well as the peculiarities of translating these units into other languages. The subject of the study: phraseological units with the semantics of \"human appearance\" in Russian and Chinese. Methods: 1. analysis of scientific literature on the phraseology of the Russian and Chinese languages; 2. comparative analysis of phraseological units with the semantics of \"human appearance\" in Russian and Chinese; 3. study of examples of phraseological units and their translation into another language; 4. identification of similarities and differences between phraseological units in Russian and Chinese. Scientific novelty: for the first time, a comparative analysis of phraseological units with the semantics of \"human appearance\" in Russian and Chinese is carried out. The article identifies similarities and differences between these units, as well as examines the features of their translation from one language to another. Conclusions: 1. In Russian and Chinese, there are phraseological units with the meaning \"human appearance\", which play an important role in communicating and describing people. 2. Despite some similarities, phraseological units in the two languages have their own peculiarities in terms of structure, semantics and pragmatics. 3. The translation of phraseological units requires taking into account their connotations, cultural characteristics and historical context. 4. Phraseological units can serve as a source for studying cultural differences and interaction between peoples.\u0000","PeriodicalId":506782,"journal":{"name":"Litera","volume":"1 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140352925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-01DOI: 10.25136/2409-8698.2024.3.70297
Nikita Mikhailovich Demidov
The subject of the study is the evolution of the "little man" as a literary phenomenon based on the novels "Overcoat" by Gogol and "Irrepressible Tambourine" by Remizov. It is noted that the content of the term under study is not limited to the semantics of the image, which contains a meaningful characteristic of a certain type of literary hero, but depends on the narrative structure of the work. This position of the "little man" in Gogol and Remizov is at the intersection of interrelated factors: details as a carrier of the grotesque in fictional reality and at the level of narrative instance, as well as modifications of a specific genre form, expressed in the original construction of the composition — Gogol overcoming the genre of physiological essay and Remizov household anecdote, respectively. The study shows that detail plays a key role in the poetics of the works of these authors and determines not only the dynamics of the image in a particular work, but also forms an appropriate aspect of influence. Remizov inherits the indirect characterization of a literary character through the details of the external world, adopted by Gogol, but in another way secures with their help the status of the main character of the "Irrepressible Tambourine" as a small person at the narrative level due to a more open organization of the horizon of readers' expectations. The task required the synthesis of a historical and genetic approach with a genrological (genological) one, which made it possible to consider the category of "little man" as an element of poetics, reinterpreted by Remizov in "Irrepressible Tambourine" under the influence of Gogol's work, and its significance in connection with the transformation of the genre model with an individual author's approach to narration. The study showed that Remizov overcomes the epistemological uncertainty of the narrator in the "Overcoat" and, thanks to the details referring to the mythopoeic context (Ancient Russia, Eros), builds the image of a small man (Stratilatov), whose insignificance and mediocrity are less related to the plot of the "Irrepressible Tambourine" than with archetypal references that are carriers of narrative semantics stories and setting the meaningful direction of the author's thought. Thus, the unknowability of the foundations of being by the character is emphasized at the narrative level of the work, enhanced by the grotesque characterization. The corresponding conclusion, according to the author of the article, is relevant in analyzing the system of images of literary heroes in Remizov and his anticipation of the work of European expressionist prose writers with their emphasis on the existential, rather than social source of human suffering.
{"title":"\"Little Man\" in the context of the narrative structure of the work: \"Overcoat\" by N. V. Gogol and \"Irrepressible Tambourine\" by A.M. Remizov","authors":"Nikita Mikhailovich Demidov","doi":"10.25136/2409-8698.2024.3.70297","DOIUrl":"https://doi.org/10.25136/2409-8698.2024.3.70297","url":null,"abstract":"\u0000 The subject of the study is the evolution of the \"little man\" as a literary phenomenon based on the novels \"Overcoat\" by Gogol and \"Irrepressible Tambourine\" by Remizov. It is noted that the content of the term under study is not limited to the semantics of the image, which contains a meaningful characteristic of a certain type of literary hero, but depends on the narrative structure of the work. This position of the \"little man\" in Gogol and Remizov is at the intersection of interrelated factors: details as a carrier of the grotesque in fictional reality and at the level of narrative instance, as well as modifications of a specific genre form, expressed in the original construction of the composition — Gogol overcoming the genre of physiological essay and Remizov household anecdote, respectively. The study shows that detail plays a key role in the poetics of the works of these authors and determines not only the dynamics of the image in a particular work, but also forms an appropriate aspect of influence. Remizov inherits the indirect characterization of a literary character through the details of the external world, adopted by Gogol, but in another way secures with their help the status of the main character of the \"Irrepressible Tambourine\" as a small person at the narrative level due to a more open organization of the horizon of readers' expectations. The task required the synthesis of a historical and genetic approach with a genrological (genological) one, which made it possible to consider the category of \"little man\" as an element of poetics, reinterpreted by Remizov in \"Irrepressible Tambourine\" under the influence of Gogol's work, and its significance in connection with the transformation of the genre model with an individual author's approach to narration. The study showed that Remizov overcomes the epistemological uncertainty of the narrator in the \"Overcoat\" and, thanks to the details referring to the mythopoeic context (Ancient Russia, Eros), builds the image of a small man (Stratilatov), whose insignificance and mediocrity are less related to the plot of the \"Irrepressible Tambourine\" than with archetypal references that are carriers of narrative semantics stories and setting the meaningful direction of the author's thought. Thus, the unknowability of the foundations of being by the character is emphasized at the narrative level of the work, enhanced by the grotesque characterization. The corresponding conclusion, according to the author of the article, is relevant in analyzing the system of images of literary heroes in Remizov and his anticipation of the work of European expressionist prose writers with their emphasis on the existential, rather than social source of human suffering.\u0000","PeriodicalId":506782,"journal":{"name":"Litera","volume":"48 11-12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140399051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-01DOI: 10.25136/2409-8698.2024.3.70202
Chuyao Wang
The subject of this study is the changes in ideological literary policy by I.V. Stalin to N.S. Khrushchev. The article examines the features of Stalin’s literary ideological policy (concept of socialist realism). This concept, developed in the light of the ideological and political guidelines of the Stalinist leadership and supervision, writers, poets, and critics lost their creative freedom. This was the reason for the formation of the theory of conflict-free behavior in the literature. The author notes that by the early 1950s a new path opened for creating examples of literary creativity, since the new political leader rethought the concept of socialist realism and eliminated Stalin’s cult of personality. When studying problems related to the analysis of the ideology and political orientations of outstanding statesmen of the USSR, comparative historical and typological research methods were used in the work. To formulate the conclusions of the study, the author used methods such as comparative and descriptive. As a result of the research, the evolution in the ideological and political views of the state leadership on the course of the literary process in the country was revealed, it was concluded that the period of Khrushchev’s reign can rightfully be called the time of the onset of the cultural “thaw” in the details of the writers, poets, and critics. However, factors that seem obvious at first glance, introducing a certain degree of freedom into the creative process, are still accompanied by the inevitable tightening of policies and political supervision over the content of literary works. The author concluded that the cultural “thaw” that clearly emerged in the country during the reign of Khrushchev turned out to be an incomplete reform, since the content of creativity was still supposed to revolve around the ideas and orientations of the party’s activities.
{"title":"Ideological literary policy of Stalin and Khrushchev","authors":"Chuyao Wang","doi":"10.25136/2409-8698.2024.3.70202","DOIUrl":"https://doi.org/10.25136/2409-8698.2024.3.70202","url":null,"abstract":"\u0000 The subject of this study is the changes in ideological literary policy by I.V. Stalin to N.S. Khrushchev. The article examines the features of Stalin’s literary ideological policy (concept of socialist realism). This concept, developed in the light of the ideological and political guidelines of the Stalinist leadership and supervision, writers, poets, and critics lost their creative freedom. This was the reason for the formation of the theory of conflict-free behavior in the literature. The author notes that by the early 1950s a new path opened for creating examples of literary creativity, since the new political leader rethought the concept of socialist realism and eliminated Stalin’s cult of personality. When studying problems related to the analysis of the ideology and political orientations of outstanding statesmen of the USSR, comparative historical and typological research methods were used in the work. To formulate the conclusions of the study, the author used methods such as comparative and descriptive. As a result of the research, the evolution in the ideological and political views of the state leadership on the course of the literary process in the country was revealed, it was concluded that the period of Khrushchev’s reign can rightfully be called the time of the onset of the cultural “thaw” in the details of the writers, poets, and critics. However, factors that seem obvious at first glance, introducing a certain degree of freedom into the creative process, are still accompanied by the inevitable tightening of policies and political supervision over the content of literary works. The author concluded that the cultural “thaw” that clearly emerged in the country during the reign of Khrushchev turned out to be an incomplete reform, since the content of creativity was still supposed to revolve around the ideas and orientations of the party’s activities.\u0000","PeriodicalId":506782,"journal":{"name":"Litera","volume":"18 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140399894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-01DOI: 10.25136/2409-8698.2024.3.70135
D. L. Shukurov
The article analyzes the hidden semantic associations, allusions and reminiscences associated with the artistic technique of anagramming the surname of the main character of K.K. Vaginov's novel "The Goat Song" (1928) — the "unknown poet" Agafonov. The subject of our research attention was the linguistic and cultural complex of associations as part of an incomplete anagram of the writer's surname (Vaginov) in the family "mask" of the autobiographical hero (Agafonov). Special attention is paid to the analysis of the phenomenological structure of this image, based on elementary semantic connections with the formally absent linguistic and cultural complex of the reconstructed context: the "Dionysian" component (the motif of the "unknown god" in the Pradionysian cults); the cultural and semantic stereotype of the Silver Age (in particular, the features of the symbolist "poet-theurgist" are obvious); the Nietzschean image "the artist of intoxication and sleep"; and finally, with the ancient Greek etymology of the word-concept ἀγάπη ( love, Christian meals of love) in the structure of the surname of the character in question – Agafonov. The anagramming technique is presented from the perspective of the artistic teleology of Vagin's work and is considered by us within the framework of the methodological guidelines of historical poetics (O.M. Freudenberg) and selectively applied methods of deconstructivist analysis. As part of the analysis of the phenomenological structure of the image of the "unknown poet", we sought, using a wide range of interpretative possibilities of the Vagin text, to demonstrate the hidden semantic structures associated with the anagram of the surname of the main character of the novel – the "unknown poet" Agafonov. The main result of the conducted research is the conclusion that the anagramming technique is presented by K. K. Vaginov in the perspective of the artistic teleology of the novel narrative, which is based on the principle of multifunctional interaction between the author and the character. A special research contribution to the development of the presented topic is an indication of specific structural and semantic complexes linking the surname of the hero of the Vaginovsky novel with a wide linguistic and cultural tradition – from antiquity (Plato's "Feast" dialogue) to the modern era ("The Birth of Tragedy from the Spirit of Music" by F. Nietzsche).
{"title":"An anagram of the \"unknown poet\" in K.K. Vaginov's novel \"The Goat Song\"","authors":"D. L. Shukurov","doi":"10.25136/2409-8698.2024.3.70135","DOIUrl":"https://doi.org/10.25136/2409-8698.2024.3.70135","url":null,"abstract":"\u0000 The article analyzes the hidden semantic associations, allusions and reminiscences associated with the artistic technique of anagramming the surname of the main character of K.K. Vaginov's novel \"The Goat Song\" (1928) — the \"unknown poet\" Agafonov. The subject of our research attention was the linguistic and cultural complex of associations as part of an incomplete anagram of the writer's surname (Vaginov) in the family \"mask\" of the autobiographical hero (Agafonov). Special attention is paid to the analysis of the phenomenological structure of this image, based on elementary semantic connections with the formally absent linguistic and cultural complex of the reconstructed context: the \"Dionysian\" component (the motif of the \"unknown god\" in the Pradionysian cults); the cultural and semantic stereotype of the Silver Age (in particular, the features of the symbolist \"poet-theurgist\" are obvious); the Nietzschean image \"the artist of intoxication and sleep\"; and finally, with the ancient Greek etymology of the word-concept ἀγάπη ( love, Christian meals of love) in the structure of the surname of the character in question – Agafonov. The anagramming technique is presented from the perspective of the artistic teleology of Vagin's work and is considered by us within the framework of the methodological guidelines of historical poetics (O.M. Freudenberg) and selectively applied methods of deconstructivist analysis. As part of the analysis of the phenomenological structure of the image of the \"unknown poet\", we sought, using a wide range of interpretative possibilities of the Vagin text, to demonstrate the hidden semantic structures associated with the anagram of the surname of the main character of the novel – the \"unknown poet\" Agafonov. The main result of the conducted research is the conclusion that the anagramming technique is presented by K. K. Vaginov in the perspective of the artistic teleology of the novel narrative, which is based on the principle of multifunctional interaction between the author and the character. A special research contribution to the development of the presented topic is an indication of specific structural and semantic complexes linking the surname of the hero of the Vaginovsky novel with a wide linguistic and cultural tradition – from antiquity (Plato's \"Feast\" dialogue) to the modern era (\"The Birth of Tragedy from the Spirit of Music\" by F. Nietzsche).\u0000","PeriodicalId":506782,"journal":{"name":"Litera","volume":"41 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140400995","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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