Abstract The problem of the theatrical code has been widely studied in Pasternak’s prose, but it has not received the proper attention from scholars regarding his lyrics. This paper discusses three significant factors having influenced the theatrical code formation. First, the theater is understood as special topos, different from other types of artistic space. Second, the theater becomes a specific semiotic sign, deforming the primary linguistic meaning and endowing it with additional meaning. Third, the theater proves to be a means of creating a universal metonymic discourse extending to other aspects of the lyrical whole. In the lyrical continuum, the theater initially exists as a space presupposing a special eventfulness that cannot be realized in other spheres. Also, the stage becomes a factory of metamorphosis, creating the contours of events related to the lyrical hero. Besides using the topos of the stage, Pasternak, in his lyrics, semiotizes the word, turning it into a vocal gesture. The vocal gesture coming from the stage and the hum of the auditorium form the most crucial counterpoint of theatrical performance, developing the lyrical plot and strengthening the role of the opposition to the stage and life. The focus of this paper is on three types of lyrical plot: 1) the stage play as a tragic sacrifice related to the death of the hero; 2) the lyrical hero endowed with the features of a creator who creates a new world; 3) the hero’s acquisition of the world of freedom, a motive that is significant in the life and work of Pasternak.
{"title":"Theatrical code in the lyrics of Boris Pasternak","authors":"Yu. V. Shatin","doi":"10.17223/18137083/82/12","DOIUrl":"https://doi.org/10.17223/18137083/82/12","url":null,"abstract":"Abstract The problem of the theatrical code has been widely studied in Pasternak’s prose, but it has not received the proper attention from scholars regarding his lyrics. This paper discusses three significant factors having influenced the theatrical code formation. First, the theater is understood as special topos, different from other types of artistic space. Second, the theater becomes a specific semiotic sign, deforming the primary linguistic meaning and endowing it with additional meaning. Third, the theater proves to be a means of creating a universal metonymic discourse extending to other aspects of the lyrical whole. In the lyrical continuum, the theater initially exists as a space presupposing a special eventfulness that cannot be realized in other spheres. Also, the stage becomes a factory of metamorphosis, creating the contours of events related to the lyrical hero. Besides using the topos of the stage, Pasternak, in his lyrics, semiotizes the word, turning it into a vocal gesture. The vocal gesture coming from the stage and the hum of the auditorium form the most crucial counterpoint of theatrical performance, developing the lyrical plot and strengthening the role of the opposition to the stage and life. The focus of this paper is on three types of lyrical plot: 1) the stage play as a tragic sacrifice related to the death of the hero; 2) the lyrical hero endowed with the features of a creator who creates a new world; 3) the hero’s acquisition of the world of freedom, a motive that is significant in the life and work of Pasternak.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"42 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577880","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 paper analyzes in detail the episode in the chapter “Gold Minesˮ of “The Brothers Karamazovˮ by F. M. Dostoevsky. The focus is on the markers of the polemically addressing the episode to Saltykov-Shchedrin and the specifics of his narrative technique. Firstly, the methods of researchers to the background of the polemic originating in the 1860s are reviewed, the necessity of expanding the context of the episode is motivated, and new extra narrative information is introduced completing the picture and deepening the episode's interpretation. Parody has been found to be the leading mode of polemic, with Mrs. Khokhlakova as its “agent,” the absurdity of her statements providing a channel for the transmission of the polemical reference “over and above” the text. A similar function is given to Turgenev, who is semantically close to Saltykov in his parody function in context of the heroine’s reasoning. Secondly, the narrative technique of the episode is analyzed within the framework of a micro-fragment in which Khokhlakova “blessesˮ Dmitry Karamazov for his trip to Siberia. The details are explicated, allowing the allusions to the novel “Crime and Punishment” to be seen, suggesting other pairs of characters: Raskolnikov and the money-lender, Raskolnikov and Sonya. The technique of combining and “splitting” the plot situations in multidirectional projections is considered (comic and dramatic), which implicitly introduces a multidimensional plot of the crime, universal in the work of the writer. The plot auto-parody is considered as a technique triggering the plot-doubling mechanism.
本文详细分析了陀思妥耶夫斯基《卡拉马佐夫兄弟》中《金矿》一章中的插曲。本书的重点是对Saltykov-Shchedrin的这一事件进行辩论的标志，以及他的叙事技巧的细节。首先，回顾了研究者对19世纪60年代起的论战背景的研究方法，提出了扩大事件脉络的必要性，并引入了新的额外叙事信息，以完善画面，深化对事件的解释。戏仿被认为是辩论的主要模式，而Khokhlakova夫人是它的“代理人”，她的荒谬陈述为“超越”文本的辩论参考提供了传递渠道。屠格涅夫也有类似的功能，在女主人公推理的语境中，他的模仿功能在语义上接近萨尔蒂科夫。其次，在Khokhlakova“祝福Dmitry Karamazov的西伯利亚之行”这一微片段的框架内分析了这一集的叙事技巧。书中对细节进行了阐释，让人看到了小说《罪与罚》(Crime and Punishment)的影射，暗示了其他几对人物:拉斯柯尔尼科夫和放债人，拉斯柯尔尼科夫和索尼娅。在多向投射中结合和“分裂”情节情境的技术被考虑(喜剧和戏剧)，这隐含地引入了犯罪的多维情节，这在作家的作品中是普遍的。情节自动戏仿被认为是触发情节加倍机制的一种技术。
{"title":"“The Brothers Karamazov” by F. M. Dostoevsky: two addendums to one episode commentary (Khokhlakova and Dmitry Karamazov)","authors":"T. Pecherskaya","doi":"10.17223/18137083/83/6","DOIUrl":"https://doi.org/10.17223/18137083/83/6","url":null,"abstract":"This paper analyzes in detail the episode in the chapter “Gold Minesˮ of “The Brothers Karamazovˮ by F. M. Dostoevsky. The focus is on the markers of the polemically addressing the episode to Saltykov-Shchedrin and the specifics of his narrative technique. Firstly, the methods of researchers to the background of the polemic originating in the 1860s are reviewed, the necessity of expanding the context of the episode is motivated, and new extra narrative information is introduced completing the picture and deepening the episode's interpretation. Parody has been found to be the leading mode of polemic, with Mrs. Khokhlakova as its “agent,” the absurdity of her statements providing a channel for the transmission of the polemical reference “over and above” the text. A similar function is given to Turgenev, who is semantically close to Saltykov in his parody function in context of the heroine’s reasoning. Secondly, the narrative technique of the episode is analyzed within the framework of a micro-fragment in which Khokhlakova “blessesˮ Dmitry Karamazov for his trip to Siberia. The details are explicated, allowing the allusions to the novel “Crime and Punishment” to be seen, suggesting other pairs of characters: Raskolnikov and the money-lender, Raskolnikov and Sonya. The technique of combining and “splitting” the plot situations in multidirectional projections is considered (comic and dramatic), which implicitly introduces a multidimensional plot of the crime, universal in the work of the writer. The plot auto-parody is considered as a technique triggering the plot-doubling mechanism.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67578320","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 artificial, at first glance, and peripheral category of prichastodetie (Gerundivum) (special nominal forms of the verb in -teln-) dynamically turns into the category of state, adverbs, adjectives, discursive words, prepositions, preserving its traces in its meaning of verbal action and a separate subject of action. Discovered by M. Smotritsky and described by other scholars, the prichastodetie experienced a boom in its development in the 18th century, accompanied by the lexicalization of the most common word forms. The process of formation and further lexicalization of the grammatical forms in question (“passing to the rank of qualifying adjectives,” according to Vinogradov) is rather similar to how participles are formed from verbs and transformed into adjectives and adverbial participles into adverbs. The difference is not in the quality but in the degree of productivity. The metaphorization of the verb meaning, its transfer from the physical to the emotional, and, more broadly, to the spiritual sphere facilitates the transformation of Russian “gerundives” into qualifying adjectives. The increased use of Russian “gerundives” formed from verbs of specific semantics in scientific and technical language strengthens their direct semantic link with the verb and prevents them from losing the meaning of verbal action. The prichastodetie is on the periphery of the morphological system of the Russian language and interacts with its system of word formation. The development of the category of prichastodetie is analyzed using the National Corpus of the Russian Language and the works of the Siberian cycle of A. N. Radishchev.
{"title":"The category of prichastodetie (Gerundivum) in the Russian literary language of the 18th century (a case study of the works of the Siberian cycle by A. N. Radishchev)","authors":"Sergei V. Vlasov, Dmitrii G. Demidov","doi":"10.17223/18137083/83/17","DOIUrl":"https://doi.org/10.17223/18137083/83/17","url":null,"abstract":"The artificial, at first glance, and peripheral category of prichastodetie (Gerundivum) (special nominal forms of the verb in -teln-) dynamically turns into the category of state, adverbs, adjectives, discursive words, prepositions, preserving its traces in its meaning of verbal action and a separate subject of action. Discovered by M. Smotritsky and described by other scholars, the prichastodetie experienced a boom in its development in the 18th century, accompanied by the lexicalization of the most common word forms. The process of formation and further lexicalization of the grammatical forms in question (“passing to the rank of qualifying adjectives,” according to Vinogradov) is rather similar to how participles are formed from verbs and transformed into adjectives and adverbial participles into adverbs. The difference is not in the quality but in the degree of productivity. The metaphorization of the verb meaning, its transfer from the physical to the emotional, and, more broadly, to the spiritual sphere facilitates the transformation of Russian “gerundives” into qualifying adjectives. The increased use of Russian “gerundives” formed from verbs of specific semantics in scientific and technical language strengthens their direct semantic link with the verb and prevents them from losing the meaning of verbal action. The prichastodetie is on the periphery of the morphological system of the Russian language and interacts with its system of word formation. The development of the category of prichastodetie is analyzed using the National Corpus of the Russian Language and the works of the Siberian cycle of A. N. Radishchev.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67578342","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 paper deals with the artistic solution of the theme of “the life and death of a man” in the stories about the childhood of the Russian writer, Ivan Sergeevich Shmelev. The analysis covers the works created in 1909–1911 that have not been investigated so far, indicating the novelty of the study. Archival materials and little-known texts of Shmelev are introduced into scientific circulation. The stories “Shelf,” “On the Seashore,” “Gingerbread (the doctor’s story),” and “Stars” ontologically address the issues of the purpose and meaning of human life and death. The theme of human existence is disclosed in the works concerned, accompanied by the natural background entering into an inseparable relationship with the characters. The spiritual antithesis principle – the semantic dominant of the stories – highlights the outcome of earthly and postmortem human existence. The antinomy of ideal and reality is interpreted as heroes’ aspiration for the “world of God.” Human powers and opportunities addressed to the harmonization of reality, overcoming the tragedy of earthly life, relief of suffering, confrontation of disease and death are comprehended by the sacred gifts of God. The image of books and reading, allowing one to acquire the basic constant definitions of being, takes a special place in the texts considered. Artistic creativity becomes a part of the general ontological problematics, close to the phenomena determining the integrity and uniqueness of each human destiny – life and death. The originality of the verbal and linguistic structure of the stories reveals the brightness and originality of Shmelev’s talent.
{"title":"The theme of “the life and death of a man” in the stories about the childhood of I. S. Shmelev 1909–1911","authors":"E. Shestakova","doi":"10.17223/18137083/83/11","DOIUrl":"https://doi.org/10.17223/18137083/83/11","url":null,"abstract":"This paper deals with the artistic solution of the theme of “the life and death of a man” in the stories about the childhood of the Russian writer, Ivan Sergeevich Shmelev. The analysis covers the works created in 1909–1911 that have not been investigated so far, indicating the novelty of the study. Archival materials and little-known texts of Shmelev are introduced into scientific circulation. The stories “Shelf,” “On the Seashore,” “Gingerbread (the doctor’s story),” and “Stars” ontologically address the issues of the purpose and meaning of human life and death. The theme of human existence is disclosed in the works concerned, accompanied by the natural background entering into an inseparable relationship with the characters. The spiritual antithesis principle – the semantic dominant of the stories – highlights the outcome of earthly and postmortem human existence. The antinomy of ideal and reality is interpreted as heroes’ aspiration for the “world of God.” Human powers and opportunities addressed to the harmonization of reality, overcoming the tragedy of earthly life, relief of suffering, confrontation of disease and death are comprehended by the sacred gifts of God. The image of books and reading, allowing one to acquire the basic constant definitions of being, takes a special place in the texts considered. Artistic creativity becomes a part of the general ontological problematics, close to the phenomena determining the integrity and uniqueness of each human destiny – life and death. The originality of the verbal and linguistic structure of the stories reveals the brightness and originality of Shmelev’s talent.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67578639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper is devoted to the work of the famous Chinese translator and researcher of Russian literature Yue Fenglin. His monographs, still unknown to the Russian-speaking reader, “Mayakovsky – the literary master of the 20th century” (2004) and “The study of the art of Mayakovsky’s poetry” (2017), are considered in the context of the development of Chinese literary studies. These works systematize and summarize not only the entire work of Mayakovsky translated into Chinese to date but also the history of the Chinese reception of the poet from 1921 to the present. Chinese literary scholars regard Yue Fenglin as an iconic figure in the study of Mayakovsky. He brought a new understanding of Mayakovsky to the perception of Chinese readers. He was the first to propose the concept of Mayakovsky as a “poet of a new futuristic type,” one who put futuristic aesthetics in a new direction to reflect the realities of the revolutionary time and socialist construction. The theme of Mayakovsky’s influence on Chinese poetry is presented ambiguously, with a critical pathos towards literal imitation. Chinese philologists state that the Kubofuturism of Mayakovsky corresponded to the national conditions of China and the political needs of Chinese society. Attention is drawn to the impact of Yue Fenlin’s work on the changing direction of Chinese studies of the poet. Yue Fenglin should be recognized for his focus on futurist aesthetics, marking a turning point for Chinese researchers: from studying the ideological component of creativity to examining his poetics.
{"title":"“New positioning” of Mayakovsky by Yue Fenglin in China","authors":"Liu Chao","doi":"10.17223/18137083/82/16","DOIUrl":"https://doi.org/10.17223/18137083/82/16","url":null,"abstract":"The paper is devoted to the work of the famous Chinese translator and researcher of Russian literature Yue Fenglin. His monographs, still unknown to the Russian-speaking reader, “Mayakovsky – the literary master of the 20th century” (2004) and “The study of the art of Mayakovsky’s poetry” (2017), are considered in the context of the development of Chinese literary studies. These works systematize and summarize not only the entire work of Mayakovsky translated into Chinese to date but also the history of the Chinese reception of the poet from 1921 to the present. Chinese literary scholars regard Yue Fenglin as an iconic figure in the study of Mayakovsky. He brought a new understanding of Mayakovsky to the perception of Chinese readers. He was the first to propose the concept of Mayakovsky as a “poet of a new futuristic type,” one who put futuristic aesthetics in a new direction to reflect the realities of the revolutionary time and socialist construction. The theme of Mayakovsky’s influence on Chinese poetry is presented ambiguously, with a critical pathos towards literal imitation. Chinese philologists state that the Kubofuturism of Mayakovsky corresponded to the national conditions of China and the political needs of Chinese society. Attention is drawn to the impact of Yue Fenlin’s work on the changing direction of Chinese studies of the poet. Yue Fenglin should be recognized for his focus on futurist aesthetics, marking a turning point for Chinese researchers: from studying the ideological component of creativity to examining his poetics.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577764","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}
On October 14–15, 2022, Tomsk State Pedagogical University organized the Second All-Russian National Scientific and Practical Conference, “Literature for children and teenagers: approaches to analysis, reading practices, regional context of the study,” dedicated to the 120th anniversary of the Tomsk State Pedagogical University. The hybrid format of the conference brought together more than two hundred scholars, philologists, teachers, librarians, and publishers from different cities of Russia and Belarus. Two major directions of the conference were literature and methodology, with the thematic panorama of the conference papers giving an idea of the modern context and vectors of the children’s literature science development. The thematic review of the reports provides some evidence of the growing research interest in the phenomenon of a “silent book, prose miniatures, and the specifics of the genre of modern novels for children and teenagers. Also, in the field of pedagogy and methodology of children’s reading, in demand is studying new ways of working with the fiction text at school. The conference has become a space for developing solutions to problems in studying children’s and teenagers’ literature. This paper summarizes the results of the academic and educational event and presents the topics of the reports and the main directions of the dialogue among the participants.
{"title":"Results of the 2nd All-Russian National Scientific and Practical Conference, \"Childrens' and teenagers' literature: approaches to analysis, reading practices, regional context of study,\" dedicated to the 120th anniversary of the Tomsk State Pedogogical U.","authors":"M. L. Levchenko, E. A. Poleva, T. Baydagulova","doi":"10.17223/18137083/82/25","DOIUrl":"https://doi.org/10.17223/18137083/82/25","url":null,"abstract":"On October 14–15, 2022, Tomsk State Pedagogical University organized the Second All-Russian National Scientific and Practical Conference, “Literature for children and teenagers: approaches to analysis, reading practices, regional context of the study,” dedicated to the 120th anniversary of the Tomsk State Pedagogical University. The hybrid format of the conference brought together more than two hundred scholars, philologists, teachers, librarians, and publishers from different cities of Russia and Belarus. Two major directions of the conference were literature and methodology, with the thematic panorama of the conference papers giving an idea of the modern context and vectors of the children’s literature science development. The thematic review of the reports provides some evidence of the growing research interest in the phenomenon of a “silent book, prose miniatures, and the specifics of the genre of modern novels for children and teenagers. Also, in the field of pedagogy and methodology of children’s reading, in demand is studying new ways of working with the fiction text at school. The conference has become a space for developing solutions to problems in studying children’s and teenagers’ literature. This paper summarizes the results of the academic and educational event and presents the topics of the reports and the main directions of the dialogue among the participants.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"102 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577967","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}
An attempt is presented to reconstruct the historiosophical and literary-critical sources of Grigory Potanin’s article “A novel and a story in Siberia.” This article is key to the literary criticism of the “senior” regionalists. Consideration is given to two phenomena: 1) the Russian literature of the 19th century, regarded as “incorrect” as it was forced to evolve rapidly due to the lagging in its development (the consequence of the forced modernization of Russia), and 2) Western European literature, regarded “normal” and supplying the Russian literature with forms seen as models. These two phenomena were reproduced several decades later on a more local scale though less consistently: 1) Russian literature, having become “normative” for the Russian reader by the 1870s, and 2) the literature of Siberia lagging in its development compared to Russian literature. The leaders of Siberian regionalism would speak about the “specialness” of Siberia when comparing it both with Russia and Europe, with this “specialness” requiring a special representation. Considering criticism as an institution that “supervises” literature, Potanin, as his associate and friend Yadrintsev, suggested a radical thesis about the absence of literature in Siberia in his article. At the same time, relying on Karamzin’s article “Why are there few author talents in Russia?” and the first “Philosophical Letter” by Chaadaev, Potanin joins the discourse of the “shortage” of literature generated by several Russian critics of the first third of the 19th century. Potanin’s thought follows the paradigm formed in literary criticism and historiosophical discourse of this period.
{"title":"“Special Path” of Siberian literature? (Experience in the reconstruction of historiosophical and literary critical sources of Siberian regionalism)","authors":"Alexander Yu. Gorbenko","doi":"10.17223/18137083/83/8","DOIUrl":"https://doi.org/10.17223/18137083/83/8","url":null,"abstract":"An attempt is presented to reconstruct the historiosophical and literary-critical sources of Grigory Potanin’s article “A novel and a story in Siberia.” This article is key to the literary criticism of the “senior” regionalists. Consideration is given to two phenomena: 1) the Russian literature of the 19th century, regarded as “incorrect” as it was forced to evolve rapidly due to the lagging in its development (the consequence of the forced modernization of Russia), and 2) Western European literature, regarded “normal” and supplying the Russian literature with forms seen as models. These two phenomena were reproduced several decades later on a more local scale though less consistently: 1) Russian literature, having become “normative” for the Russian reader by the 1870s, and 2) the literature of Siberia lagging in its development compared to Russian literature. The leaders of Siberian regionalism would speak about the “specialness” of Siberia when comparing it both with Russia and Europe, with this “specialness” requiring a special representation. Considering criticism as an institution that “supervises” literature, Potanin, as his associate and friend Yadrintsev, suggested a radical thesis about the absence of literature in Siberia in his article. At the same time, relying on Karamzin’s article “Why are there few author talents in Russia?” and the first “Philosophical Letter” by Chaadaev, Potanin joins the discourse of the “shortage” of literature generated by several Russian critics of the first third of the 19th century. Potanin’s thought follows the paradigm formed in literary criticism and historiosophical discourse of this period.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"125 26 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67578357","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 tradition of singing songs under the influence of fly agaric intoxication has been recorded among many peoples of Siberia. However, this topic still needs to be studied, with publications of texts, translations, and sheet music being scarce. This paper presents samples of Koryak-Nymylan fly agaric songs recorded in the 1990s–2000s in the Karaginsky and Olyutorsky districts of Kamchatka. There are two types of songs associated with different stages of interaction with fly agarics. When fly agarics are found, special songs-dances of a joyful character are sung due to the beliefs about the correct behavior of welcoming a mythical tribe of dancing fly agaric women. When using fly agarics, personal songs are performed, manifested in the commonality of poetic texts and melodies. This paper describes for the first time the modal-melodic structure of the melodies and the versification of the Koryak fly-agaric songs. The specificity of the flapper songs is caused by the special state, reflected in the timbre change of personal songs and the inclusion of “fly agaric” themes in the texts. The following semantic markers can be distinguished: the statement of the fly agaric state, the traditional speech dialogue with people from the real world, the transmission of messages from deceased ancestors, the description of the fly agaric dance, and the elements of the fly agaric journey. Fly agaric songs should be considered in the context of mythological representations of interaction with other worlds where deceased ancestors and special fly agaric creatures live.
{"title":"Fly agaric songs of the Koryaks-Nymylans","authors":"E. L. Tiron","doi":"10.17223/18137083/82/2","DOIUrl":"https://doi.org/10.17223/18137083/82/2","url":null,"abstract":"The tradition of singing songs under the influence of fly agaric intoxication has been recorded among many peoples of Siberia. However, this topic still needs to be studied, with publications of texts, translations, and sheet music being scarce. This paper presents samples of Koryak-Nymylan fly agaric songs recorded in the 1990s–2000s in the Karaginsky and Olyutorsky districts of Kamchatka. There are two types of songs associated with different stages of interaction with fly agarics. When fly agarics are found, special songs-dances of a joyful character are sung due to the beliefs about the correct behavior of welcoming a mythical tribe of dancing fly agaric women. When using fly agarics, personal songs are performed, manifested in the commonality of poetic texts and melodies. This paper describes for the first time the modal-melodic structure of the melodies and the versification of the Koryak fly-agaric songs. The specificity of the flapper songs is caused by the special state, reflected in the timbre change of personal songs and the inclusion of “fly agaric” themes in the texts. The following semantic markers can be distinguished: the statement of the fly agaric state, the traditional speech dialogue with people from the real world, the transmission of messages from deceased ancestors, the description of the fly agaric dance, and the elements of the fly agaric journey. Fly agaric songs should be considered in the context of mythological representations of interaction with other worlds where deceased ancestors and special fly agaric creatures live.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577852","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}
For the first time, a semantic-functional and structural analysis of the linguistic structure of the work of G. V. Pryakhin, a Russian journalist, writer, and publisher, is undertaken. Pryakhin’s works are interesting not only for their problematics and depiction of contempo- rary reality but also for the originality of the linguistic organization, with the story “Intelli- gentsia and cruelty” taken as an example. A large number of various subject-expressive forms of syntax are found to be used in one work. The focus is on the structural-semantic and func- tional features of parcelation, one of the brightest subject-expressive syntactic tools with which to realize the author’s artistic goals. The analysis allowed the following conclusions to be made. First, both simple and complex sentences prove to be parceled. Simple sentences have their main and secondary members parceled. Parceled in complex sentences are the se- cond parts of compound and conjunctionless subordinates, subordinate parts of complex sub- ordinates, and parts of complicated structures, thus creating complex syntactic wholes. Se- cond, the parceled structures in the text under consideration contribute to conveying lively speech and creating a touch of informality, help a narrator deliver emotions, create gradation, provide additional information about the subject of description, as well as perform expressive- characterological and expressive-emphasizing functions. Also, they serve as a powerful tool for drawing the reader’s attention to more meaningful information and manipulating the reader’s consciousness.
{"title":"Parceled constructions in the linguistic structure of “Intelligentsia and cruelty” by G. V. Pryakhin","authors":"Elvina A. Alieva","doi":"10.17223/18137083/82/21","DOIUrl":"https://doi.org/10.17223/18137083/82/21","url":null,"abstract":"For the first time, a semantic-functional and structural analysis of the linguistic structure of the work of G. V. Pryakhin, a Russian journalist, writer, and publisher, is undertaken. Pryakhin’s works are interesting not only for their problematics and depiction of contempo- rary reality but also for the originality of the linguistic organization, with the story “Intelli- gentsia and cruelty” taken as an example. A large number of various subject-expressive forms of syntax are found to be used in one work. The focus is on the structural-semantic and func- tional features of parcelation, one of the brightest subject-expressive syntactic tools with which to realize the author’s artistic goals. The analysis allowed the following conclusions to be made. First, both simple and complex sentences prove to be parceled. Simple sentences have their main and secondary members parceled. Parceled in complex sentences are the se- cond parts of compound and conjunctionless subordinates, subordinate parts of complex sub- ordinates, and parts of complicated structures, thus creating complex syntactic wholes. Se- cond, the parceled structures in the text under consideration contribute to conveying lively speech and creating a touch of informality, help a narrator deliver emotions, create gradation, provide additional information about the subject of description, as well as perform expressive- characterological and expressive-emphasizing functions. Also, they serve as a powerful tool for drawing the reader’s attention to more meaningful information and manipulating the reader’s consciousness.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper considers G. Gazdanov’s journalistic and editorial work for Radio Liberty from 1953 to 1971 In this period, the distinctive literary-centrism of the writer’s creative personality was manifested in several cultural and educational programs (“In the World of Books”, “On Books and Authors”, “Round Table Talks”, “Before the Curtain”, “Diary of a Writer”), reviews (“Review of cultural life”, “Review of thick magazines”), and “special programs” related to literature. Using the pseudonym Georgy Cherkasov, Gazdanov talks about culture with his friends and professional colleagues: poets, prose writers, critics of the first Russian emigration, orders “scripts” and organizes the writer’s radio performances, and creates his own series of radio monologues. Apparently, he becomes a certain personified authority for Soviet listeners, shaping for them the images of Russian émigré literature, the European literature of the twentieth century and, finally, Soviet literature as seen from within a Western world. Currently available recordings of G. Cherkasov’s radio speeches were studied and his business correspondence with G. Adamovich, R. Gulym, Y. Ivask, L. Rzhevsky, Gen. myakov (Andreev), and other writers of the Russian emigration were analyzed. Gazdanov’s assessments and views on the literature of the Russian emigration and the literature created in the metropolis were collected, systematized, and examined. Despite Gazdanov’s desire to maintain parity between culture and politics, his journalistic, propagandistic, and culturist activities were found to be biased by objective and subjective factors, manifested primarily in a superficial, often tendentious, and intolerant attitude toward all the literary works bearing the stamp of Soviet life and influence.
{"title":"“Emigrant” and “soviet” literature as covered by Georgy Cherkasov (G. Gazdanov) on Radio Liberty","authors":"Yulia V. Matveeva, A. Y. Kirienko","doi":"10.17223/18137083/82/13","DOIUrl":"https://doi.org/10.17223/18137083/82/13","url":null,"abstract":"The paper considers G. Gazdanov’s journalistic and editorial work for Radio Liberty from 1953 to 1971 In this period, the distinctive literary-centrism of the writer’s creative personality was manifested in several cultural and educational programs (“In the World of Books”, “On Books and Authors”, “Round Table Talks”, “Before the Curtain”, “Diary of a Writer”), reviews (“Review of cultural life”, “Review of thick magazines”), and “special programs” related to literature. Using the pseudonym Georgy Cherkasov, Gazdanov talks about culture with his friends and professional colleagues: poets, prose writers, critics of the first Russian emigration, orders “scripts” and organizes the writer’s radio performances, and creates his own series of radio monologues. Apparently, he becomes a certain personified authority for Soviet listeners, shaping for them the images of Russian émigré literature, the European literature of the twentieth century and, finally, Soviet literature as seen from within a Western world. Currently available recordings of G. Cherkasov’s radio speeches were studied and his business correspondence with G. Adamovich, R. Gulym, Y. Ivask, L. Rzhevsky, Gen. myakov (Andreev), and other writers of the Russian emigration were analyzed. Gazdanov’s assessments and views on the literature of the Russian emigration and the literature created in the metropolis were collected, systematized, and examined. Despite Gazdanov’s desire to maintain parity between culture and politics, his journalistic, propagandistic, and culturist activities were found to be biased by objective and subjective factors, manifested primarily in a superficial, often tendentious, and intolerant attitude toward all the literary works bearing the stamp of Soviet life and influence.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577935","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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