{"title":"斯洛伐克象征主义者诗歌中的感性意象(以克拉斯科诗歌原文和译文为例)","authors":"L. Kryukova, Irina Dulebová","doi":"10.17223/23062061/25/1","DOIUrl":null,"url":null,"abstract":"The article provides an analysis of perceptual images in the aspect of text-related activities based on the poems by the Slovak symbolist poet Ivan Krasko. The focus is placed on the linguistic means of expressing perceptual semantics which allow exploring the artistic picture of the author’s world within the given literary direction. The problem of artistic perception is examined in the context of current research in the field of lin-guistic semantics and philological analysis of literary texts. In the first part of the article, the authors give a definition of a perceptual image, understood as one of the forms of an artistic image that is filled with a specific lexical and semantic content in the author’s individual worldview. A review of the works of Slovak researchers who discuss the features of the symbolist poetry of Ivan Krasko is given. It is emphasized that the creativity of the Slovak symbolist is characterized by poetic parallelism between the internal state of the lyrical hero and their surrounding nature. Sensory perception in the poetry of Ivan Krasko is focused on the awareness and classification of “perceived” objects and phenomena. The second (main) part of the article deals with a comparative linguistic analysis of the original poem “My Songs” and its poetic translation by Anna Akhmatova. The most significant artistic image in the original and translated text is všednosť/ordinariness (everydayness), which reflects the internal state of the lyrical hero and is represented by a wide range of linguistic units with perceptual semantics. The analyzed perceptual images are fog, haze, poplar, mountains, flowers, etc. At the lexical level, there are similar features in the description of the landscape: nouns and adjectives with semantics of visual perception are used – greenness, whiteness, blue-ness. The differences at the formal-syntactic level are due to the peculiarities of the syntactic structure of the Slovak language and the Russian language, while the proposi-tional semantics generally corresponds. At the stylistic level, minor differences are explained by the author’s worldview: in case of Krasko, it is a symbolist worldview; in case of Akhmatova, it is the acmeist worldview. In the original text, the main images are represented by expressions with an abstract meaning: božie muky dole v cintoríne, striebro riavy, v dolinu, vzkvetlú tisícerým kvetom; in translation, the images are more specific: crucifixion, a rose hip, a crest, a cliff. As a result of the comparative analysis of the original and translated texts, the peculiarities of the representation of the percep-tual picture of the world of the author and the translator, realized at different text levels, were revealed. Poetic transformations testify to the “special type of perception” charac-teristic of the Slovak poet as a representative of the symbolist trend.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Perceptual Images in the Poetry of Slovak Symbolists (Based on the Original and Translated Poems by Ivan Krasko)\",\"authors\":\"L. 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The differences at the formal-syntactic level are due to the peculiarities of the syntactic structure of the Slovak language and the Russian language, while the proposi-tional semantics generally corresponds. At the stylistic level, minor differences are explained by the author’s worldview: in case of Krasko, it is a symbolist worldview; in case of Akhmatova, it is the acmeist worldview. In the original text, the main images are represented by expressions with an abstract meaning: božie muky dole v cintoríne, striebro riavy, v dolinu, vzkvetlú tisícerým kvetom; in translation, the images are more specific: crucifixion, a rose hip, a crest, a cliff. As a result of the comparative analysis of the original and translated texts, the peculiarities of the representation of the percep-tual picture of the world of the author and the translator, realized at different text levels, were revealed. 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引用次数: 0
摘要
本文以斯洛伐克象征主义诗人伊万·克拉斯科的诗歌为基础,从文本相关活动的角度对感性意象进行了分析。重点放在表达感性语义的语言手段上,在给定的文学方向下探索作者世界的艺术图景。艺术感知的问题是在当前文学文本的语言语义学和语言学分析领域的研究背景下进行研究的。在文章的第一部分,作者给出了感性形象的定义,将感性形象理解为艺术形象的一种形式,在作者个人的世界观中充满了特定的词汇和语义内容。本文回顾了斯洛伐克学者对克拉斯科象征主义诗歌特征的研究。强调斯洛伐克象征主义者的创造力的特点是抒情英雄的内部状态与其周围自然之间的诗意平行。克拉斯科诗歌中的感官知觉关注的是对“感知”对象和现象的认识和分类。文章的第二部分(主要部分)是对安娜·阿赫玛托娃的原诗《我的歌》及其诗歌翻译作比较语言学分析。原文和译文中最重要的艺术形象是všednosť/ ordinary (everyday),它反映了抒情英雄的内在状态,并由广泛的具有感性语义的语言单位来表现。分析的感知图像有雾、霾、杨树、山、花等。在词汇层面上,对景观的描述也有相似的特点:使用具有视觉感知语义的名词和形容词——绿、白、蓝。在形式句法层面上的差异是由于斯洛伐克语和俄语句法结构的特殊性,而命题语义总体上是一致的。在风格层面上,细微的差异可以用作者的世界观来解释:在克拉斯科身上,这是一种象征主义的世界观;对于阿赫玛托娃来说,这是一种种族主义的世界观。在原文中,主要图像用具有抽象意义的表达式表示:božie muky dole v cintoríne, striebro riavy, v dolinu, vzkvetlú tisícerým kvetom;在翻译中,这些形象更具体:钉十字架、玫瑰果、王冠、悬崖。通过对原文和译文的对比分析,揭示了作者和译者在不同文本层次上对世界感知图景的表征的独特性。作为象征主义思潮的代表,斯洛伐克诗人的诗歌转型体现了其“特殊的感知类型”特征。
Perceptual Images in the Poetry of Slovak Symbolists (Based on the Original and Translated Poems by Ivan Krasko)
The article provides an analysis of perceptual images in the aspect of text-related activities based on the poems by the Slovak symbolist poet Ivan Krasko. The focus is placed on the linguistic means of expressing perceptual semantics which allow exploring the artistic picture of the author’s world within the given literary direction. The problem of artistic perception is examined in the context of current research in the field of lin-guistic semantics and philological analysis of literary texts. In the first part of the article, the authors give a definition of a perceptual image, understood as one of the forms of an artistic image that is filled with a specific lexical and semantic content in the author’s individual worldview. A review of the works of Slovak researchers who discuss the features of the symbolist poetry of Ivan Krasko is given. It is emphasized that the creativity of the Slovak symbolist is characterized by poetic parallelism between the internal state of the lyrical hero and their surrounding nature. Sensory perception in the poetry of Ivan Krasko is focused on the awareness and classification of “perceived” objects and phenomena. The second (main) part of the article deals with a comparative linguistic analysis of the original poem “My Songs” and its poetic translation by Anna Akhmatova. The most significant artistic image in the original and translated text is všednosť/ordinariness (everydayness), which reflects the internal state of the lyrical hero and is represented by a wide range of linguistic units with perceptual semantics. The analyzed perceptual images are fog, haze, poplar, mountains, flowers, etc. At the lexical level, there are similar features in the description of the landscape: nouns and adjectives with semantics of visual perception are used – greenness, whiteness, blue-ness. The differences at the formal-syntactic level are due to the peculiarities of the syntactic structure of the Slovak language and the Russian language, while the proposi-tional semantics generally corresponds. At the stylistic level, minor differences are explained by the author’s worldview: in case of Krasko, it is a symbolist worldview; in case of Akhmatova, it is the acmeist worldview. In the original text, the main images are represented by expressions with an abstract meaning: božie muky dole v cintoríne, striebro riavy, v dolinu, vzkvetlú tisícerým kvetom; in translation, the images are more specific: crucifixion, a rose hip, a crest, a cliff. As a result of the comparative analysis of the original and translated texts, the peculiarities of the representation of the percep-tual picture of the world of the author and the translator, realized at different text levels, were revealed. Poetic transformations testify to the “special type of perception” charac-teristic of the Slovak poet as a representative of the symbolist trend.