This article examines the problem of speech influence on the addressee of the Russian media texts, covering measures to combat coronavirus. We used the material of two oppositely oriented publications (RIA Novosti and Eсho of Moscow) to identify cooperative and non-cooperative communication strategies and tactics, based on the classification of O. Issers and the principle of cooperation of H. Grice. By analyzing the material, we have found that when covering events, RIA Novosti most often refers to cooperative strategies (the strategy of consolation, persuasion, approval and justification), while in Echo of Moscow’s texts, non-cooperative speech actions predominate (mainly the strategy of discrediting). The study of readers’ comments allowed us to identify effective speech strategies and draw a conclusion about how successful the perlocution of the corporate addressee was, meaning both the author and the publication. The article notes that successful perlocution is associated not only with the relevance of speech strategies, but also with the principle of cooperation. A perfect perlocutionary act is possible in compliance with Н. Grice’s principle of cooperation and his postulates. We have found that the principle of cooperation is violated when non-cooperative strategies are used; however, the expected perlocutionary effect is achieved.
Ornithonyms are nominations of birds. Ornithonyms are of interest for Russian linguistics, but they have not been sufficiently studied. This is also true for ornithonyms in literary texts, including the works of Russian poets.
The aim of the research is to study the role of ornithonyms in the poetry of A. Fet. We have used semiotic and linguistic statistical research methods.
The content analysis includes the study of A. Fet’s works in 1839–1892. We have used Dieter Lamping’s classification to determine the functions of ornithonyms. As a result, we have established that a significant proportion of the poet’s works contain ornithonyms and the list of birds’ names is very extensive. Most often, A. Fet uses ornithonyms in a figurative sense, but a third of ornithonyms function in their literal sense, which helps the poet to create a special poetic “landscape”. The analysis of the semantic characteristics of ornithonyms in A. Fet’s poetry shows that the poet successfully creates allegories, comparisons, metaphors and metonymy on their basis. In accordance with the classification of the proper names’ functions, we identify the following functions of ornithonyms in A. Fet’s poetry: identification, illusion, characterization, accentuation, perspective, aesthetics and mythologization.
Borrowing foreign words is an ongoing process that characterizes the historical development of language. In Russia, of interest are the 18th – 19th centuries, distinguished by significant transformations in the field of language and literature, in particular the formation of common linguistic norms that originated from the prose of the bilingual author A. Pushkin, a novelist and a poet, a critic and a publicist. The study of the vocabulary of this period concerns group bilingualism, in which a structural unit simultaneously becomes an element of two contacting systems - Russian and French, when the indispensable knowledge of the latter is a specific feature of the representative of the historical era under consideration. Bilingualism has a direct impact on the process of enriching the Russian language, therefore, under the conditions of diglossia, A. Pushkin’s individual bilingualism presents interest in the study of French lexemes, since it is known that in the consciousness of a person who speaks two languages, one sign changes under the influence of the other, in particular, the assimilation of French words is influenced by the native Russian speech. Occasional lexical neologisms that initially appear in a bilingual environment, gradually, are widely used by society, becoming a part of the national speech. The writer’s texts make it possible to determine the degree of influence that French speech exerts on the Russian literary norm, changing the rules for the use of one language under the influence of the other, which is a consequence of the linguistic interference of heterogeneous systems under conditions of bilingualism. This study, based on the thesauri and works of the author at different times, shows phonographic, grammatical, lexical, semantic and stylistic changes in linguistic units from the end of the 18th to the first half of the 19th centuries in the context of interactions between two heterogeneous systems and the general linguistic process of the russification of foreign words.
The article presents the results of a comparative analysis of Bible quotations found in three translations of Pseudo-Dionysius the Areopagite’s treatise “On the Celestial Hierarchy”. It was translated into the Slavonic-Russian language in the 18th century. This was an important epoch in the formation of the Russian standard language, when, on the one hand, it was actively secularized, differentiating from the Church Slavonic language; on the other hand, the Church Slavonic language also underwent serious changes under the influence of the Russian spoken language. As a result of this process, the conservative version of the Church Slavonic language remained only as the language of liturgical texts, while new translations of theological texts increasingly used the “Slavonic Russian language”, perceiving it as a high church-book style of the Russian standard language. A significant milestone in the fixation of the lexical and grammatical structure of the Church Slavonic language of the Russian version, as well as in the biblical text standardization, was the publication of the Empress Elizabeth Bible in 1751. The article analyzes three translations of the aforementioned theological treatise (belonging to Moses Gumilevsky, Paisiy Velichkovsky and an anonymous author) to reveal the dependence of the Church Slavonic biblical text on this standard sampling twelve quotations from the Holy Scripture. At the same time, we draw conclusions, based on the textology of the analyzed Bible quotations, regarding the clarification of the creation time of the anonymous translation.
A closer look at the often cited Roman Jakobson’s work “Why Mama and Papa?” reveals that the concept of ‘mama’ does not always refer to Motherhood. The paper focuses on some aspects related to the derivation of the basic maternal term and describes how it developed into ‘father’/’dad’/’person’, etc. social labels, which are a prevalent (although not an exclusive) part of the inchoative verbal development of baby speech. The lexemes, comprising similar semantics and phonological contours, were taken from 1000 languages from around the world and this phenomenon is studied globally and cross-linguistically. Among the parental terms, “mama” lexemes meaning “dad”, “father”, “husband”, “male”, “man”, “person”, and “human being'” (due to semantic shifts), manifest less of a worldwide tendency for cross-linguistic distribution than “mama” “mam” and “mother”; nevertheless, they are widely represented in lexicon on the global language map. The noted lexico-semantic universals of family terms’ domains may serve as useful tools for semantic shifts’ study in lexical-semantic typology. We argue that the mentioned greatly overlooked tendency bears world-wide significance, deeply rooted in human psychology, and influences the semantic development of an individual speaker and a language community. Thus, we assume that certain language paradigms are naturally determined.
This article examines general and distinctive characteristics of the Arabic dialects of Iraq, Lebanon, Egypt and Morocco in comparison with the classical literary language in order to identify specific features of clichéd vocabulary based on the intentions “Greetings”, “Gratitude”, “Advice”, “Invitations”,
“Congratulations”, “Apologies”, and “Farewells”. We analyze formal and informal speech situations (when communicating with friends, close people, and also in a formal setting).
Scientific research relevance of the work is determined by the increased linguists’ interest in the problems of language dialectology in general and the Arabic language in particular.
Today, the study of dialects is an important aspect for Arabists, as well as for native speakers of the Arabic language to be able to communicate effectively and efficiently with representatives of various dialect groups.
The purpose of this study is to highlight specific features of Arabic dialects in comparison with literary Arabic based on the intentions “Greetings”, “Gratitude”, “Advice”, “Invitations”, “Congratulations”, “Apologies”, and “Farewells”.
The article summarizes information about the several dialects’ features of the Arabic language, analyzes the current state and the degree of study of the issue, and provides the corresponding theoretical and empirical material. In the process of writing the article, we used theoretical analysis, and empirical, comparative, historical, linguo-geographical and other research methods.
The purpose of the study is to describe a two-component communicative metamodel as an independent unit of syntax, different from the extended and minimal structural scheme of the sentence.
The scientific novelty of the work is the fact that previously such metamodels were not considered as part of the syntax theory of the modern Russian language.
We identified these patterns in the process of teaching Russian grammar to inophones. In our opinion, metamodels as a minimal element of communication, represent the necessary abstract form, which includes typical semantics and grammar. In the article, we propose use metamodels to significantly simplify the understanding of Russian by international students, which means they have important methodological significance. Their introduction into scientific circulation is determined by the practical need for the modern teaching process, which is getting increasingly remote. As a result, the article attempts to prove that there is a concept of a metamodel as a minimal abstract unit that comprises a formal expression and content. In the process of teaching international students, such typical samples more clearly demonstrate the grammatical form and semantic content of modern communication. This article lists the main characteristics of this syntax unit. They allow you to distinguish it from an extended and minimal sentence scheme. The article presents the hierarchy of communicative metamodels: two-component, two-component – infinitival and single-component type. Low-frequency minimum metamodels are subsumed into a separate group. The article focuses on two-component non-infinitive metamodels and describes how a typical form expresses the necessary communicative content of the utterance. A logical conclusion is made that these units are able to solve a centuries-old dispute in the syntactic theories of the modern Russian language: how a formal expression can reflect a semantic meaning and vice versa.
The article discusses the spectrum of spatial models expressed in the process of categorization and further mutual transformations of birds and fish in the Chinese mythological picture of the world. The understanding of such a universal category as space enables us to describe the national image of the world, including the Chinese worldview. Our research is based on the ancient Chinese monument “山海经” (“Shang Hai Ji”) and the philosophical treatise “庄子” (“Chuang Tzu”). An important research element is the description of three types of relationships between birds and fish: the coexistence of fish and birds, the transformation of the bird into the fish and the fish into the bird. The research results revealed such spatial oppositions as sky – water, south – north, top – bottom. In this case, the first word of the contrast always has a positive connotation, while the second word has a negative one. At the same time, the identified types of the contrast are characterized by national-cultural features, as specified in the concept of yin-yang and the five elements of Chinese traditional philosophy. In this regard, the members of the opposition do not confront each other but interact, turn into each other, which reflects the idea of the cyclical process in the life of the Chinese, the process that is subject to renewal and development.
The verbal game is a highly wide-spread subject of modern scientific research in arts and humanities. An eLIBRARY.RU keyword search of “verbal game” suggests 2198 scientific publications. The abundance of verbal play investigations is due to various reasons. One of the reasons is a broad range of verbal play interpretations – from the whole scope of human existence, including all the types of human activity (such a broad interpretation of the verbal play can be called “total gamification”), to a joke, a pun. Another reason is the epoch of post-modernity, which characterizes the present-day world and which is distinguished by the expression of freedom, uniqueness, a search for one’s own way and identity. The verbal game is a bright manifestation of the epoch of post-modernity. This paper is focused on the investigation of the verbal game in the context of precedent statements. This dimension of verbal play investigations is determined by the fact that the linguocultural peculiarity of precedent statements highlights essential characteristics and linguocreative potential of verbal game representations as well as the sense-making and structure-forming functions of the verbal game. This article defines the verbal game as an intentional violation of the formal or meaningful canon of a precedent statement.
The aim of the investigation is to detect and parameterize structural and semantic transformational capacities of precedent statements based on British mass-media discourse.
The conducted research has led to the discovery of semantic transformations of precedent statements resulting in a denotational or significative change as well as structural transformations consisting of substitutions, reductions, additions and readjustments. Besides, we have found the non-linear character of the connection between structural and semantic shifts.
The study is carried out in the context of text linguistics and the latest trend in linguistics – suggestive linguistics. It is based on horoscope texts, representing the most common suggestive tactics in speech communication. The article suggests a new interpretation of the term “horoscope”, which objectively reflects the current social and information situation. The timeless popularity and relevance of the horoscope is due to its pragmalinguistic orientation, while the structure of its text determines the strategy of its deployment. We have found that the horoscope text usually has a three-part structure, but in modern prognostic texts, the introductory part in most cases is omitted. By analyzing the texts of daily horoscopes, we have identified the most common methods of speech influence, including keywords, figurative and emotional vocabulary, the use of popular aphorisms, proverbs, symbolic language, the method of contrast, which determines predictive pluralism, etc. In order to create a total orientation, the authors of horoscopes often resort to specific lexical and morphological means. The effect of the horoscope “individuality” is most often achieved by describing the internal state of a person, a generalized characteristic of common emotional matrices. Each horoscope usually ends with a life-affirming thesis and a call to perform some concrete action.
The article studies the category of “relevance”, which is known as a core part of the scientific research methodology.
The subject of the analysis is the ways “relevance” is verbally represented in English and Russian academic discourse.
The purpose of the study is to identify and analyze the ways “relevance” is verbally represented in scientific texts of academic discourse in the field of medical research.
The analysis is based on the ‘Introductions’ of research articles from the leading British and Russian medical journals. The research methodology is based on the selection and description of incorporated elements, revealing the meaning of “relevance” as a scientific category represented in the original English and Russian texts of ‘Introductions’. The selected components were consecutively described according to the language means of their representations in these texts. The results have identified both similarities and differences between the pieces of national discourse. While the similarities are considered to prove universal typological properties of academic discourse, the differences demonstrate the national identity of English and Russian academic discourse. The article concludes that there are standard ways of representing relevance, such as the explicit use of the same-name word marker in Russian texts and implicit lexical markers in English texts. The awareness of the norms and conventions of English academic discourse can help non-native English writers become active participants of the global academic community.
In the 18th century, the fate of the Russian literary language in general and Church Slavonic in particular was decided. The Church Slavonic language continued to exist in the form of a conservative standard, simultaneously developing stylistic differentiations within itself. However, its fate was ultimately decided in line with general linguistic processes, as a result of which Church Slavonic remained only in the liturgical sphere. The high genres of literature began to move to the “Slavonic” language, whose lexical fund and word-formation possibilities represented the Church Slavonic heritage, while the grammatical structure was Russian. These changes are especially clearly traced on translated spiritual literature: it raises another important problem – the relationship with the Greek language, which was rightfully considered the prototype of Church Slavonic, and this understanding formed the basis of the doctrine of word-by-word translation in Slavia Orthodoxa. The article presents the results of observation conducted on three translations of the same text made in the second half of the 18th century – the treatise of Dionysius the Areopagite “De coelesti hierarchia”. These translations demonstrate all three main tendencies in the functioning of the Church Slavonic language: the desire to preserve it (translation by Paisiy Velichkovsky), russification of grammar while preserving traditional vocabulary (translation by Moses Gumilevsky), and destruction of connections with Greek (anonymous translation). In our opinion, the latter tendency contributed to the formation of a new language of spiritual literature, in which the Church Slavonic element performed the function of a style sign.
The main purpose of this article is to describe the semantic aspects of the lexeme Ulug, found in the Arabographic medieval Turkic-language monument “Nahj al-Faradis” by Mahmud Bulgari, which is of particular value for the history of Tatar linguistics.
The relevance of the study is due to the lack of research devoted to the semantic and stylistic features of Mahmud Bulgari’s work.
A contextual analysis and comparative method enabled us to show the grammatical and lexical features of the polysemous word Ulug in a diachronic sense and to identify the frequency phrases with the determinative Ulug. The research is based on the authoritative lexicographic sources and the Istanbul manuscript of “Nahj al-Faradis” rewritten in 1360. This article traces and describes the narrowing of meaning of the word olug in the modern Tatar language in comparison with the lexeme found in the manuscript “Nahj al-Faradis”. It was established that the manuscript contains both traditional meanings of the lexeme Ulug and the meanings that have an individual authorial semantics, some of them are used only in the work of Mahmud Bulgari. Further development of the topic is seen in the comparison of “Nahj al-Faradis” polysemantic lexemes with their equivalents in the modern Tatar language, which will make it possible to see the features of the Turk-Tatars’ world perception in the Middle Ages.
This paper is a study at the junction of two current trends in modern linguistics, media linguistics, aimed at studying the linguistic features of mass media, and sociolinguistics, which studies the social nature of language and problems of the language preservation and development. In the context of the modern dynamic development of media corporations and global culture, of special importance is the relationship between the linguistic and social nature of language and their influence on the implementation of the functions of regional and minority languages. This paper deals with the functioning of the Tatar language in the regional media.
The aim of the research is to analyze the decreased use of regional languages in the media due to linguistic changes in the modern Tatar regional media.
The subject of the study is the current trends of the lexical units’ functioning in the texts of Tatar printed and electronic publications.
The paper identifies positive and negative aspects concerning the integration of new concepts, as well as the return to the old terminology, providing examples of lexical units that characterize modern texts of printed periodicals and highlighting the main areas of Tatar vocabulary replenishment.
Russian phraseological units with a proper name component are distinguished due to the character and properties of their name component that interacts with the properties and features of other components, making up the phraseological unit, which determines the structural, semantic and syntactic features of the phraseological unit and identifies the scope of its use. The components of a phraseological unit are characterized by grammatical meanings that organize its semantic structure, which influences the development of its meaning, or meanings. Modern phraseology studies grammatical structure characteristics of phraseological units to address issues in the field of phraseological functions and their development, as this approach allows identifying patterns of structural dependence of phraseological units on the syntactic units of the language, which are a productive basis for the development of phraseological units. This article analyzes polysemantic object phraseological units with a proper name component, taking into account the cultural correlation of the proper name with the cultural continuum, namely, phraseological units with anthroponyms, mythonyms, historical onyms, literary onyms and chrononyms. The research highlights special types of onyms in the structure of polysemantic object phraseological units with a proper name component and their structural models based on certain types of phrases and sentences. The article also shows the results of the structural and quantitative analysis of polysemantic phraseological units selected from the Phraseological Dictionary of the Russian Literary Language, the Academic Dictionary of the Russian Phraseology and the Dictionary of Proper Names.
The article studies Chinese loan words related to the sphere of state structure in the annals of the Shenekhen Buryats Bodongut Abida (1983); Abida, B. Dimchig, Z. Bolod, S. Lhamasurjen (1985); Huasai Sogtyn Zhamso (2011), written in Old Mongolian. These are the names of people given according to their position, the names of institutions, the names of trade, money and administrative units (ᠸ ᠠ ᠩ wang; ᠶ ᠠ ᠮ ᠥ ᠨ yaamon; ᠭᠦ ᠩ ᠵ ᠦ gunju; ᠲ ᠠ ᠢ ᠢ ᠵ ᠢ taizh; ᠮ ᠠ ᠢ ᠢ ᠮ ᠠ ᠢ maimai; ᠰ ᠢ ᠶ ᠠ ᠨ xian; ᠬᠦ ᠸ ᠸ ᠪᠢ huo bi). The fact that Chinese words were included in the lexicon of the Old Mongolian language is confirmed by their fixation in the dictionaries Norzhin Ch., Muren Man, Sichenchogto, and 大 Big Chinese–Russian Dictionary. The research results have led to the conclusion that the use of Chinese borrowings in the annals testify to the contacts of the Shenekhen Buryats with the Chinese ones and may illustrate the meanings of words in the named dictionaries. This testifies to their mastery of the old Mongolian writing, that is, the written form of the Buryat language in Shenekhen. Some borrowed Chinese words retain their polysemy. There are borrowings that are doublets to Mongolian words. The topic of interactions between the Chinese and Mongolian languages requires further research.
The article discusses the linguistic representation of the concept “persistence” in the aspect of syntactic coordinative relations. The work is carried out within the framework of the semantic-cognitive approach to linguistic phenomena. The consideration of coordinative chains as a means of explicating the content of the concept is based on their close connection with the mental, cognitive activity of a person. We have established that cognitive processes of conceptualization and categorization of reality can be reflected in coordinative constructions. This study, based on the texts of the newspaper subcorpus from the National Corpus of the Russian Language, considers coordinative chains with the key lexeme-representative of the concept “persistence”. By analyzing the semantic characteristics of the components in coordinative chains, we have identified various semantic features of the concept. The study shows that persistence belongs to the thematic categories of “character traits”, “volitional qualities”, representing the inner spiritual strength of a person. It often manifests itself in striving to achieve a set goal and performs an important function in labor, sports activities, or other activities that require the use of great effort. We have also found that if persistence is understood as a character trait, it is most often accompanied by many other positive qualities, such as patience, courage, hard work, determination, self-discipline, etc. When it points to a certain action, persistence can be characterized as a negative quality.
The article considers the horoscope as a special form of the predictive text. It is practically unknown what underlies the origin and organization of the horoscope, whether prediction is really related to astrology, why we believe in horoscopes.
The object of this study is the two most significant signs of the zodiac that form the opposition of fire and water signs - Aries and Pisces.
The analysis of predictive texts, focused on these signs of the zodiac, showed that they all, despite certain semantic differences, have an invariant structure, which first of all actualizes the national perception of the signs and symbols of the zodiac circle.
The purpose of this article is to identify the principles of organization and functions of the Russian predictive text.
A statistical analysis of keywords, found in a significant number of texts (500 titles), allowed us to identify the most significant elements, characterizing each of the zodiac signs, which are built according to the center/periphery principle. The associative experiment, aiming to identify the zodiac sign by means of keywords, indicates that the perception of the zodiac signs is based on intuitive, curtailed knowledge and ideas about rams and fish. The results of our research strongly suggest that horoscopes are special texts constructed according to certain schemes that actualize in the mind of the perceiver certain national stereotypes, preserved in small genres of folklore of a particular ethnos. We have established that keywords play a special role in the construction and understanding of the predictive text scheme, working as clamps that allow the subjects to orient themselves in a certain situation.
The paper studies the structure and semantics of information technology neologisms in the modern Russian language. The research is based on the method of contextual search, as well as on the analysis of literary sources, with the aim to identify the ways neologisms function in electronic media. The article raises the question of the influence that the English language exerts on the formation of neologisms in the modern Russian language and carries out a structural and semantic analysis of new words in the field of IT technologies, highlighting the main trends in their formation and semantic assimilation.
The object of this scientific work is the texts of electronic media, and the subject is the neologisms of the IT sphere.
The purpose of the article is a functional and stylistic analysis of IT neologisms in the Russian language of the latest period, based on electronic media texts.
The article presents the results of research into information technology neologisms in the texts of modern mass media, which are an interesting and actively developing phenomenon in the modern Russian language.
The relevance of the research can be explained by the rapidly increasing number of new words, denoting the means of communication and the latest computer technologies.
The study of the development of neologisms makes it possible to observe characteristic features in the language development and the organization of speech activity. The article employs the descriptive method with respect to neologisms of the IT sphere, found in modern electronic media texts, using elements of etymology, as well as various types of dictionaries and journalistic publications.
The practical significance of the scientific article lies in the possibility of using the obtained data as reference material for further research in the field of Russian language lexicology of the recent period.
The relevance and novelty of the research is determined by the use of quantitative methods to analyze the facts of transitivity and syncretism in the parts-of-speech system and inter-speech сategories, which makes it possible to minimize the element of subjectivity in the assessment of grammatically controversial material.
The aim of the work is to identify the function peculiarities of such word forms as “truth” and “fact” in the context of asyndetic complex sentences, explicating the zone of hybridity on the modulation scale.
Modulation is understood as the process and result of the transposition of linguistic units of different categorical affiliation into the introductory-modal components of the statement. The results of the study are the qualitative and quantitative characteristics of hybrid structures, combining in different proportions the properties of nouns and introductory-modal units interacting during modulation. We used the methods of oppositional analysis and indexing to calculate the degrees of conformity between differential features of the type “true” hybrid formations and the initial and final elements of the intercategory transposition. We have found that the “true” hybrid formation, functioning in the first incomplete predicative part of an asyndetic complex sentence, demonstrates 56 % of conformity (similarity and difference) to a nuclear noun (true) and 25 % conformity to a nuclear denominal introductory-modal word-conjunction (true).
Imaginative perception of the world is the study subject of one of the current areas of cultural linguistics – imagology, which suggests synergy and harmonious unity of the physical, intellectual and spiritual spaces of the surrounding world.
The relevance of the study is justified by the need to recreate the image
of Russian culture in its entirety.
The study of the topic “the space of Russia as an image” involves the
understanding of the contribution, made by the poetry of the Russian Diaspora to this process exemplified by the work of Igor Chinnov (1909–1996).
The purpose of the article is to consider the significance of poetry as a special cultural space, where images and themes have both an emotional and intellectual impact on society, and explore interactions between culture and space in the formation of a poetic image.
The task is to clarify the concepts of “the image of space” and “the space of image” in the poetry of Igor Chinnov, based on the analysis of the features of the cultural identity formation, memories and the role of language in this process.
The conclusions confirm the hypothesis that the work of the emigrant poets, although often oriented towards the images of lost spaces, allows, however, recreating Russian culture in its entirety.
The article offers an interpretation of the genre designation “opera” in the “Supplement” to Maria Stepanova’s cycle “Kireevsky”. The name of the cycle refers to the collection of folk songs by P. Kireevsky. The poems contain many allusions (including rhythmic and intonation ones) to the popular song repertoire. However, in the “operas” the plots of musical works are played out, not their own musical speech, so we can speak of the “libretto” poetics. Based on the text “Aida”, the article reveals the priority of the word over the “music” of the verse. The lyrical subject ironically calls his own voice “fioritura” and “coloratura”, which indicates the complexity of the poetic language, playing out a certain classical pretext. Verdi’s opera, whose plot is based on an ancient legend, acts as the basis for mythologizing the modern situation in which a migrant saleswoman finds herself. The two poems, following the operas, contain the images of an oak, squirrel, falling acorns. They are filled with motifs of life and creativity, in contrast to the plots of the operas. These images incorporate both mythological semantics and historical and literary traditions. Stepanova’s task is to keep the fabric of culture, its threads and basis from falling apart. Metaphorically, her texts can be called “libretto” in the sense that they combine different cultural and stylistic “parts”, and the actual lyrical “I” is woven into the chorus of other “voices”.
In a number of works on literary studies (both scientific and critical), we find an attempt to compare the protagonist of the production novel and his counterpart in the epic (O. Brik, H. Gunter, K. Clark). These analogies served as a basis for testing the hypothesis, suggesting that the plot of the production novel of the 1920s is a heroic myth narrative. Our study compares the narrative of the “hero’s path”, described by V. Ya. Propp, and the heroic deeds as the protagonist’s initiation (J. Campbell) with the production novels of the 1920s. By comparing the works of the 1920s, united by the theme of labour, with the epic narrative, we reveal analogies and qualitative differences for the hero-protagonist, his path of exploits in the “space of the unknown”. The paper highlights a narrative correlation between the production novel’s plot, based on the trials of its protagonist, and the stages of his personality transformation on the “hero’s path”. At the same time, the qualitative difference of the author’s early 20th century text from the mythopoetic story is the emphasis on transforming the “space of the unknown”, on remaking the world and creating a cognitive reality of “the future world”. We analyze the analogy and textual differences based on the novel “The Sot’” by L. Leonov.
The article analyzes Foat Galimullin’s journalistic works, which reveal his gift of a literary critic. The analysis is based on the articles devoted to the life and work of Amirkhan Eniki. The article highlights that in his works, F. Galimullin focuses on the personal qualities of the writer, with whom he was acquainted. The critic breaks down the myth that A. Eniki was a “silent” writer. In his works, F. Galimullin convincingly proves that A. Eniki was a very courageous man, capable of decisive actions at the right time. The writer, distinguished by his inner nobility, spoke little, but aptly and weightily. The critic focuses on the encyclopedism of A. Eniki’s thinking and on his human qualities. F. Galimullin seeks to popularize the aksakal’s work, which often caused the authorities’ dissatisfaction. The researcher focuses on the nature of psychologism in his works, on the issues related to the history of their creation. The critic’s articles are distinguished not only by their rich content and the simplicity of the material presentation, but also by the variety of genres. Among the works, dedicated to A. Eniki, there are purely scientific articles, anniversary articles, obituaries and reviews. In addition, the critic introduces the epistolary legacy of the writer in order to reduce the distance between the reader and the classic.
The tale “Zoki and Bada” by Irina and Leonid Tyukhtyaevs, rooted in parental experience and family communication with children, is an original version of a literary tale based on parodically interpreted intertextual connections; on transformations of folklore formulas; on enchanting dynamics of rapidly changing scenes; on grotesque actions of its characters-transformers; on a continuous linguistic game that includes a pun and a mix of semantically dissimilar words by sound similarity; on literal nominations and language experiments with phraseological units and set phrases. The artistic model of the world in the Tyukhtyaevs’ fairy tale is based on the gaming principle, embodied in speech nominations, in the plot structure and character system. In accordance with the features, characterizing children’s psychology and children’s word-creation manner, it is based on “shifters” (inverted speech formulas, the situational behavior of zoks), on associative connections (words are linked in unexpected chains, based on sound associations), on a paradoxical mixture of zoo- and anthropomorphic features in the appearance of characters, carnivalization and humorous elements that permeate all fairy tales. The artistic chronotope of a fairy tale has its specific features. The time is organized as a series of days, each of them representing a new educational stage. According to the subtitle of the work – “A manual for children on parenting” – it is the “adult” bada who is the object of educational influences. The mythologized archaic-like fairy-tale space is divided into “ours” and “theirs”; the night light, the moon, is reified, its dimensions are fabulously narrowed and the heavenly body itself is miraculously brought close to the earth. The fictional space is created according to the folklore-archaic code. In accordance with it, the characters make a journey from their home to the outside world and back. The conventionally grotesque world of the fairy tale “Zoki and Bada”, its semantic multidimensionality, the all-encompassing laughter perspective and the triumph of the word in its artistic universe, the features of a linguistic quest, which amusingly breaks linguistic norms and laws of the habitual usage, allow you to rediscover the special world of childhood and outline the ways of gaining harmony and understanding between adults and children.
This article studies the relationship between the historical and the “non-historical” in the novel “Laurus” by E. Vodolazkin. This ratio is comprehended through the category of time, which is the key to understanding the ideological and thematic design of the work in the context of the philosophical interpretation of the chronotope by ancient Russian people. The novel combines the ideas of linear and cyclical time, which is a characteristic feature of medieval Russian booklore. Therefore, the text combines and intertwines the signs of different time periods. There are several striking stylistic techniques that implement this idea. Some intertextual inclusions in the text of the novel refer the reader to the texts of a later period, which creates a single literary cultural space of different literatures, presenting it as an entirety. The cultural code of some characters in the work is much ahead of their era. Also, a striking feature of the writer’s idiostyle is the use of lexical anachronisms - words that could not be used in the characters’ speech, since they were not yet formed or borrowed in the described era. This fact allows us to find out how the idea of the absence of time is realized in the text of the novel “Laurus”.
The article discusses the functions of the illustrative corpus used to create a cinematic effect in Boris Akunin’s prose. The analysis shows that the illustrative corpus contributes to the establishment of the “cinematic novel” occasional genre invariant and the implementation of the literary cinematography principles in the text of the novels “Brüderschaft with Death”. The illustrations not only duplicate the visualizing function for the events described, but also provide additional semantics in the textual space. Through illustrations an analogue of a cinematic show is created, facilitated by the inclusion of the visual image of the author (Boris Akunin) in the role of the taper and / or banshi, as well as by consolidating the spatial dimension in the book. At the same time, the illustrations create a situation, which contributes to the inversion of the relation “text and image” with regard to the classical form of the literary work: thus, they affirm the “primacy” of the visual / cinematic code and the “inferiority” of the verbal one. In this way, the text of the cycle novels becomes an act of novelization of the visual and – more broadly – cinematic text. In addition, the illustrative corpus creates a situation (through the generation of an analogue of a cinematographic show), in which the book is seen as an analogue of the social practice of going to the cinema, that is, its reading becomes an act of overcoming space, a kind of its model.
The paper analyzes the short story “The Case of Death and Honey” (2011) by the renowned English writer Neil Gaiman. This work is a remarkable case of the intertextual dialogue between the contemporary work and the original A. C. Doyle’s series. Our goal is to analyze the features of intertextuality in this story and determine their connection to the message of the story. While carefully and respectfully recreating certain aspects of the original series, Neil Gaiman simultaneously explores the unsaid elements of the plot, such as Holmes’s hobby of beekeeping. At the same time, the author purposefully contradicts the “Holmsians” in several aspects. We have come to the conclusion that the image of Sherlock Holmes becomes less “human” than in the original series, it also deliberately contradicts the message of the Sherlock Holmes story referenced in the text. All contradictions and references result in a message about the immortal nature of A. C. Doyle’s work and its characters, which continue to live on in the works of other authors while still closely related to the original series. In this intertextual connection, we can see the idea of cultural continuity.
The article examines the specifics of creating an intertextual field in V. Plevin’s novel “T”.
The purpose is to discover the intertextual connections of the novel both with the pretexts and with the various works of Pelevin himself.
Based on the principles of comparative historical, mythopoetic and intertextual methods, as well as on the method of a holistic analysis of works of art, the article has established that, just like in his early novels, the writer both creates the author’s neomyth and debunks it using intertextual connections, which, on the one hand, is associated with the ridicule of cultural archetypes and mythologemes of our time (images of Dostoevsky, Nabokov, etc.), on the other hand, is related to the fundamental centricity of the world that is being created before the eyes of the reader (in “T”, intertextmes of ancient mythology, Buddhism, Dante’s “Divine Comedy”, etc. are intertwined). In the novel “T”, intertextuality, firstly, asserts the equality of the mental and the real world, the unity of fictional and genuine reality (owing to the references to V. Pelevin’s early novels). Secondly, it becomes the key principle of creating the author’s neomyth about Leo Tolstoy, based on debunking and parodying its key components (the idea of simplification, non-resistance to evil, religiosity, acquaintance with Dostoevsky).
The article studies the scientific, scientific-critical and popular science activities of Foat Galimullin, professor of Kazan Federal University. The work reveals the scientist’s contribution to the study of the history of the Tatar literature development, its individual eras and the work of writers who have determined the creative potential of Tatar national literature. Foat Galimullin is a well-known Tatar literary critic, an honored worker of culture of Tatarstan and the Russian Federation, the author of about a thousand critical and popular science articles in the field of the history of Tatar literature, sixteen monographs and collections of selected works, as well as textbooks and educational aids on Tatar literature for educational institutions. In the last decade, the scientist has paid special attention to the study of the Tatar literature phenomena in the broad context of Turkic literature, as well as in the dialogue among cultures and literatures of the Volga and Ural region peoples. The analysis of the scholar’s main scientific works allows us to draw conclusions about Foat Galimullin’s prominent and active role in the modern literary process; his scientific, critical and popular science research as a whole represents an objective assessment of the literary process of the 20th century, it can be called a chronicle of the modern Tatar literature development. The scholar’s scientific-critical activity is a significant contribution to the creation of an objective picture of the national literary process in the twentieth century.
The automyth of the writer is genetically related to the genres of biography and autobiography, hagiographic literature, and the genre of “literary monument”. Its important features are the creation of an idealized image of the writer with the aim to influence both the existing reader and potential reader. In this regard, the quintessence of the “myth about the writer” is the paragraph “about the author” on the back cover of the book, which the reader looks at when deciding whether to buy it or not. Now the myth about the writer is an important component of the marketing policy of the author or his literary agent. Based on the analysis of the Strugatsky brothers’ life and work, one can come to the conclusion that the basis of the myth is the triad “biography-creativity-environment”. The myth about the writer is rarely based on reality, it creates the image that is most necessary for a specific goal - to influence the reader. And most importantly, the task of the myth is to increase “the most likely number of readers of the text”.
The article studies the way the image of the criminal is embodied in F. Schiller’s story “The Criminal from Lost Honor” and in F. Dostoevsky’s novel “Crime and Punishment”. The comparative analysis allows us to draw a conclusion about the similarity of the authors’ aesthetic views. Both writers rely on the principle of anthropocentrism. Both Schiller and Dostoevsky focus on the inner world of the protagonist, not on the event component. Despite the many differences in the depiction of the criminal, both authors’ poetics has common features - the image of a person who is under the influence of conscience and morality. The aesthetic ideal of the Russian writer is a person who expresses moral principles and the divine in man. The theoretical thought of the Russian writer contains the idea of moral beauty. Harmony and good looks are just an outward appearance, while high morals are F. Dostoevsky’s aesthetic ideal. The characters of his works strive for this beauty and truth. The Russian writer speaks about the duality of beauty, the “two abysses” of the human soul: “the Sodom one”, which is low, sinful, and sensual, connected with the beauty of the body, and “the Madonna one” - high, connected with spiritual beauty; a person can have both. The writer’s aesthetic ideal is spiritual beauty.
The article is devoted to the metamorphosis of genre strategies in E. Vodolazkin’s novel “The Aviator”. The article analyzes the narrative activity of the writing character and the author’s creative intention, aimed at a life-description strategy, which determines the poetics of the work as a whole. The character’s attitudes of self-determination influence his discourse, the distance between Platonov and the perceived realities and events. The article highlights the ratio of different channels in the character’s reception of his ego and the outer world – visual, acoustic and kinesthetic, and characterizes the connection between the present and the past in the main character’s world-picture, which leads him to timeless universals. We also consider Platonov, Geiger and Nastya’s speech correlations, which form the “undifferentiated unity” of their voices, the dialogic interactions of the main character’s words not only with the utterances of other characters, but also with “ready-made” precedent texts and idioms. By referring to the words of “others”, the author determines the intertextual aspect of the novel’s structure and introduces archetypal images (hell and paradise) in the text and the fictional world of the work. The subjective and transpersonal point of view of the writing character, the image of the world as a result of his narrative activity and the structure of the storyline transform the life-description strategy into a hagiographic one, making the act of writing sacral. The genre interoperation clarifies the meaning of the novel’s title and its epigraph.
The article studies the contribution of the literary critic F. Galimullin to the development of Tatar literature methodology at school. At the beginning of his pedagogical career, the researcher wrote a number of jubilee articles, systematizing the material about the history of the Department of Tatar Literature of the Kazan State Pedagogical Institute and this educational institution as a whole. Having worked as a radio presenter, Foat Galimullin focused further on the elaboration of the curricula and workshops aiming at the development of expressive reading skills. In the late 1980s, having formed a solid historical and literary base, the scholar embarked upon the development of school textbooks on literature and anthologies. In collaboration with researchers and practicing teachers, Foat Galimullin has developed a line of text-books for Tatar students, studying in a Russian school. An analysis of the textbooks, created by this team, convincingly shows that, as a methodologist, the scientist is a supporter of the “knowledge approach” to mastering the subject. Foat Galimullin shares the ideas of Tatar scholars and educators of the early 20th century and Russian methodologists of the late 20th century (V. Ya. Korovina’s conception). The Tatar scientist is sure that the best way to comprehend a literary work is to consistently accumulate the knowledge about the era, the author, and the specific literary text. F. Galimullin’s textbooks are based on “solid classics”, they are distinguished by a logical structure and a well-thought-out methodological apparatus.
The article discusses the advantages of using video materials with foreign students. According to the authors, it is effective to use short cartoons in an RFL lesson, including beginner level students. Such work helps to increase students’ motivation, assimilation and consolidation of new and previously studied material (lexical, grammatical, phonetic and regional studies), and develops students’ listening and speaking skills by involving them in conversations and discussions, making the learning process more interesting as a whole. The authors propose methodological guidelines for the cartoon “Masha and the Bear” (the episodes “Bless you!” and “One, two, three! Shine, Christmas tree!”). The cartoon is offered for watching in the classroom as a part of the study of the relevant lexical topics. The work is carried out without the help of L1 (students’ native language). Our target audience is cadets of the preparatory course of the military university (far abroad), aged 18-20 years. Their language proficiency level is A1-A2. The presented tasks allow us to intensify the teaching process, make classes more interesting and dynamic. The authors have come to the conclusion that the use of short-length Russian cartoons in the lessons of Russian as a foreign language contributes to an increase in the effectiveness of teaching.
