Studia Rossica Posnaniensia
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Интерсемиотический и прагмасемантический анализ цикла мемов „Дворец для Путина”
Get PDFThe article is devoted to the analysis of the pragmatics and semiotics in the productive comic genre of digital communication – the political meme. The empirical material consists of actual internet heterogeneous texts, created after the publication of Alexei Navalny’s film “Palace for Putin”. The comic content is viewed as a way of defusing the public tension of the sanctioned protest, an instrument for interpreting and discussing current social reality, as well as a method of demonizing a political subject “them”. The research assumes multimodality of the media environment and its products. It considers verbal, iconic and metagraphic ways of realizing the pragmatic intentions of the participants in the communication process. The author examines the initial situation (proto situation) that caused a communicative reaction of the internet users in the form of memes, analyzes the essence of a political meme as a heterogeneous text. The article describes the structural organization of memes, the syntactic and semantic relations of the verbal and iconic parts, as well as the use of intertextuality to concisely and expressively transmit new meanings.The article is devoted to the analysis of the pragmatics and semiotics in the productive comic genre of digital communication – the political meme. The empirical material consists of actual internet heterogeneous texts, created after the publication of Alexei Navalny’s film “Palace for Putin”. The comic content is viewed as a way of defusing the public tension of the sanctioned protest, an instrument for interpreting and discussing current social reality, as well as a method of demonizing a political subject “them”. The research assumes multimodality of the media environment and its products. It considers verbal, iconic and metagraphic ways of realizing the pragmatic intentions of the participants in the communication process. The author examines the initial situation (proto situation) that caused a communicative reaction of the internet users in the form of memes, analyzes the essence of a political meme as a heterogeneous text. The article describes the structural organization of memes, the syntactic and semantic relations of the verbal and iconic parts, as well as the use of intertextuality to concisely and expressively transmit new meanings.The article is devoted to the analysis of the pragmatics and semiotics in the productive comic genre of digital communication – the political meme. The empirical material consists of actual internet heterogeneous texts, created after the publication of Alexei Navalny’s film “Palace for Putin”. The comic content is viewed as a way of defusing the public tension of the sanctioned protest, an instrument for interpreting and discussing current social reality, as well as a method of demonizing a political subject “them”. The research assumes multimodality of the media environment and its products. It considers verbal, iconic and metagraphic ways of realizing the pragmatic intentions of the participants in the communication process. The author examines the initial situation (proto situation) that caused a communicative reaction of the internet users in the form of memes, analyzes the essence of a political meme as a heterogeneous text. The article describes the structural organization of memes, the syntactic and semantic relations of the verbal and iconic parts, as well as the use of intertextuality to concisely and expressively transmit new meanings
Emotywny komponent znaczenia przymiotników negatywnie waloryzowanych w języku rosyjskim
Get PDFThe article analyses adjectives excerpted from a dictionary entitled Senses, Emotions and Adjectives of the Russian Language and evaluated by respondents as causing very unpleasant emotions (marked in the dictionary with three minuses). An attempt was made to delineate the emotive component of their meaning on the basis of data from dictionaries providing explanations, as well as those presenting associations, accompanied by contexts of their usage traced in the corpus. The data contributing to the analysis can be employed in order to reconstruct emotional images of the world and national cultural specificity of expressing emotions. Additionally, they can be used to scrutinize and shape emotional competence, while the methodology of delineating the emotive component of meaning with the use of affective expression and their associations can be employed in further research into emotive lexical items.The article analyses adjectives excerpted from a dictionary entitled Senses, Emotions and Adjectives of the Russian Language and evaluated by respondents as causing very unpleasant emotions (marked in the dictionary with three minuses). An attempt was made to delineate the emotive component of their meaning on the basis of data from dictionaries providing explanations, as well as those presenting associations, accompanied by contexts of their usage traced in the corpus. The data contributing to the analysis can be employed in order to reconstruct emotional images of the world and national cultural specificity of expressing emotions. Additionally, they can be used to scrutinize and shape emotional competence, while the methodology of delineating the emotive component of meaning with the use of affective expression and their associations can be employed in further research into emotive lexical items
O rusycyzmach w utworach Mariusza Wilka (rekonesans badawczy)
Get PDFThe article presents a survey of numerous Russian elements (lexemes and grammatical constructions) in the works of Mariusz Wilk in an attempt to provide their initial classification andinterpretation. Mariusz Wilk, a Polish writer who lives and works in the Russian North, constantly weaves Russicisms into the tissue of his erudite and intertextual statements, making his texts a linguistic experiment with specific textual features. Out of two works by Wilk (Wołoka, Lotem gęsi), more than 140 lexical units (of different status) have been excerpted and subjected to a multifarious analysis. Their typology is based on the concept of space, which is one of the key categories of geopoetics. The author of the article claims that the Russian material in the studied works cannot be treated merely as Russicims in their strict lexicological sense because these words perform specific functions in the texts, among which the communicative, artistic and conceptual functions are in the foreground. Russian segments belong to the most important ingredients of the writer’s idiolect (idiostyle) and, therefore, they should not be treated solely as a violation of the lexical norm. The postulated qualitative and quantitative analysis of Russicisms in Wilk’s works, as well as the assessment of their functional load, open up new possibilities of viewing Russian-Polish language contacts not only as mutual interactions, but above all as building blocks of the author’s message, intersemiotic in its nature.The article presents a survey of numerous Russian elements (lexemes and grammatical constructions) in the works of Mariusz Wilk in an attempt to provide their initial classification andinterpretation. Mariusz Wilk, a Polish writer who lives and works in the Russian North, constantly weaves Russicisms into the tissue of his erudite and intertextual statements, making his texts a linguistic experiment with specific textual features. Out of two works by Wilk (Wołoka, Lotem gęsi), more than 140 lexical units (of different status) have been excerpted and subjected to a multifarious analysis. Their typology is based on the concept of space, which is one of the key categories of geopoetics. The author of the article claims that the Russian material in the studied works cannot be treated merely as Russicims in their strict lexicological sense because these words perform specific functions in the texts, among which the communicative, artistic and conceptual functions are in the foreground. Russian segments belong to the most important ingredients of the writer’s idiolect (idiostyle) and, therefore, they should not be treated solely as a violation of the lexical norm. The postulated qualitative and quantitative analysis of Russicisms in Wilk’s works, as well as the assessment of their functional load, open up new possibilities of viewing Russian-Polish language contacts not only as mutual interactions, but above all as building blocks of the author’s message, intersemiotic in its nature
Вѝшнeвый cад или Вишнёвый cад? Экскурсия по зелeным просторам произведений Чеховa
Get PDFThe cherry orchard marks the end of Anton Chekhov’s life, consecrating him as the author who defined the threshold of the new epoch. In this article, I construe the garden as the motif linking Chekhov’s sensitivity to the general spirit of his era, revealing his poetics to the global stage as the distinctive mark of a historical and socioeconomic shift. On this path, I will clarify how the subtle difference between sour cherries and sweet cherries becomes a symbol of Chekhov’s dramatic construction, and how his poetics are built on nuances and subtle shifts in meanings, representing the irrevocable fading of a culture. A philological reflection combined with an attentive reading of Chekhov’s letters, Stanislavsky’s memoirs and scenic sketches reveal the author’s interest in the relationship between man and nature as well as the need to read his work from a more spatial-oriented standpoint. Chekhov clearly anticipates the so-called ‘spatial turn’, approaching space not through the description of a specific landscape or dramaturgical setting, but from a phenomenological point of view, leading him to profound reflections on the relationship between physical planning and socio-political development, as later conceptualised by key social thinkers such as Henry Lefebvre and Edward Soja. Chekhov’s dramaturgical construction and symbology are the result of this awareness and endless passion for nature in all its forms.The cherry orchard marks the end of Anton Chekhov’s life, consecrating him as the author who defined the threshold of the new epoch. In this article, I construe the garden as the motif linking Chekhov’s sensitivity to the general spirit of his era, revealing his poetics to the global stage as the distinctive mark of a historical and socioeconomic shift. On this path, I will clarify how the subtle difference between sour cherries and sweet cherries becomes a symbol of Chekhov’s dramatic construction, and how his poetics are built on nuances and subtle shifts in meanings, representing the irrevocable fading of a culture. A philological reflection combined with an attentive reading of Chekhov’s letters, Stanislavsky’s memoirs and scenic sketches reveal the author’s interest in the relationship between man and nature as well as the need to read his work from a more spatial-oriented standpoint. Chekhov clearly anticipates the so-called ‘spatial turn’, approaching space not through the description of a specific landscape or dramaturgical setting, but from a phenomenological point of view, leading him to profound reflections on the relationship between physical planning and socio-political development, as later conceptualised by key social thinkers such as Henry Lefebvre and Edward Soja. Chekhov’s dramaturgical construction and symbology are the result of this awareness and endless passion for nature in all its forms
Świat jako tranzyt. Poetyka przestrzeni w poezji Gizelli Lachman
Get PDFThe article is an analysis of the poetry of Gisella Lachman (1895–1969), poet of the “first wave” of Russian emigration, from the perspective of the poetics of space. The poet expressed her emigration experience (multiple changes of residence: Russia, Germany, Switzerland, USA) in her poems in spatial relations. They appear on different levels of the works’ morphology: in the construction of the lyrical “I”, in the organisation of the presented world, in the repertoire of motifs and the selection of poetic lexis and genre forms. Space plays a literal role in Lachman’s poetry; it is a representation of extra-literary reality, seen subjectively. It is also subject to metaphorisation, becoming a tool for expressing philosophical content. The poet creates not only a spatial model of the world, but also a spatial model of human life, which she perceives as a transit on the road to eternity.The article is an analysis of the poetry of Gisella Lachman (1895–1969), poet of the “first wave” of Russian emigration, from the perspective of the poetics of space. The poet expressed her emigration experience (multiple changes of residence: Russia, Germany, Switzerland, USA) in her poems in spatial relations. They appear on different levels of the works’ morphology: in the construction of the lyrical “I”, in the organisation of the presented world, in the repertoire of motifs and the selection of poetic lexis and genre forms. Space plays a literal role in Lachman’s poetry; it is a representation of extra-literary reality, seen subjectively. It is also subject to metaphorisation, becoming a tool for expressing philosophical content. The poet creates not only a spatial model of the world, but also a spatial model of human life, which she perceives as a transit on the road to eternity
“The Moscow Sun Shines Everywhere”. The Soviet Capital as a Utopian Space in New Moscow (1938) and The Swineherd and the Shepherd (1941)
Get PDFBasing on Aleksandr Medvedkin’s New Moscow and Ivan Pyryev’s The Swineherd and the Shepherd, this case study analyses the way the “new” Moscow was represented as a space of realised utopia in the Soviet socialist realist films of the 1930s and at the beginning of the 1940s. Functioning as a supranational centre of the Soviet “affirmative action empire” (Terry Martin), the cinematographic Moscow casts off all constraints of ‘Russianness’ in order to become a pan-Soviet model which, both in its architecture and semantics, could epitomize the perfect city and the perfect state. The comparative analysis of both films demonstrates that, although both directors show Moscow through the lens of the so-called “spaces of celebration” (Mikhail Ryklin), ‘their’ Soviet capital does not compensate for the “traumas of the early phases of enforced urbanization”, as Ryklin supposed. Rather, it operates as a transformation machine whose impact pertains only to periphery and can be effective once the representatives of this periphery have left Moscow. The complex inclusion and exclusion mechanisms resulting from this logic turn the idealised Soviet capital into a space which only the guests from peripheral regions can perceive as utopian. The ensuing suppression ofthe inner perspectives on ‘utopian’ Moscow is interpreted here as a manifestation of the “cinematicunconscious”, which accounts for the anxieties of the inhabitants of the capital concerning both Stalinist terror and their own hegemony in a society haunted by the purges.Basing on Aleksandr Medvedkin’s New Moscow and Ivan Pyryev’s The Swineherd and the Shepherd, this case study analyses the way the “new” Moscow was represented as a space of realised utopia in the Soviet socialist realist films of the 1930s and at the beginning of the 1940s. Functioning as a supranational centre of the Soviet “affirmative action empire” (Terry Martin), the cinematographic Moscow casts off all constraints of ‘Russianness’ in order to become a pan-Soviet model which, both in its architecture and semantics, could epitomize the perfect city and the perfect state. The comparative analysis of both films demonstrates that, although both directors show Moscow through the lens of the so-called “spaces of celebration” (Mikhail Ryklin), ‘their’ Soviet capital does not compensate for the “traumas of the early phases of enforced urbanization”, as Ryklin supposed. Rather, it operates as a transformation machine whose impact pertains only to periphery and can be effective once the representatives of this periphery have left Moscow. The complex inclusion and exclusion mechanisms resulting from this logic turn the idealised Soviet capital into a space which only the guests from peripheral regions can perceive as utopian. The ensuing suppression ofthe inner perspectives on ‘utopian’ Moscow is interpreted here as a manifestation of the “cinematicunconscious”, which accounts for the anxieties of the inhabitants of the capital concerning both Stalinist terror and their own hegemony in a society haunted by the purges
Między ratio a emotum. Polsko-rosyjskie postrzeganie wzajemne w perspektywie binarnej
Get PDFA characteristic feature of Polish-Russian mutual perception is binarity, manifesting itself in various discursive spaces, from colloquial stereotypes, through popular literature, to sophisticated forms of meta-historical discourse. Asian-Europeanness, Latin-Byzantism/Orthodoxy, collectivism-individualism, and authenticity-falsehood, are just some of the oppositions that organise the social imagination of Poles and Russians in the sphere of their mutual assessments and opinions. The article draws attention to the partial manifestations of such oppositions (literary discourse, postcolonial studies, etc.) in order to show their hidden, dialectical dimension. To achieve this goal, the author refers to the category of ratio and emotum, which refers to a specific current of the European philosophical tradition. Both of these binary categories are the foundation for creating an image of the Other. They also fit into self-defining strategies important for understanding Polish and Russian identity.A characteristic feature of Polish-Russian mutual perception is binarity, manifesting itself in various discursive spaces, from colloquial stereotypes, through popular literature, to sophisticated forms of meta-historical discourse. Asian-Europeanness, Latin-Byzantism/Orthodoxy, collectivism-individualism, and authenticity-falsehood, are just some of the oppositions that organise the social imagination of Poles and Russians in the sphere of their mutual assessments and opinions. The article draws attention to the partial manifestations of such oppositions (literary discourse, postcolonial studies, etc.) in order to show their hidden, dialectical dimension. To achieve this goal, the author refers to the category of ratio and emotum, which refers to a specific current of the European philosophical tradition. Both of these binary categories are the foundation for creating an image of the Other. They also fit into self-defining strategies important for understanding Polish and Russian identity
Прагматическая функция интертекстем в веб-медиатекстах белорусских и российских интернет-СМИ
Get PDFThe article discusses the features of the functioning of phraseological units and other stable combinations in the headings of the media texts of Belarusian and Russian online newspapers. We analyze the pragmatic function of intertexts and present them as pointers to certain types of speech acts. The intent of the addressee is the most important factor in creating a text. It is usually reflected, directly or indirectly, in every communication product. The main purpose of media texts (or a hint of it) is contained in headings, especially when they are intertextemes, various renewable speech units that we classify according to the types of speech acts: representatives, rogatives,directives, commissives, contactives, declarations and expressives. Such headings are best used to perform a pragmatic function because they retain an emotional and evaluation component that stimulates communication with the mass recipient. These stable units (phraseological locutions, winged expressions and aphorisms, paroemias and compound terms) comprise the background knowledge of the participants in communication and are therefore productive language tools used by journalists in their practice. And very often the intertextemes are transformed or updated. Employees of “BelGazeta” and “Rossiyskaya Gazeta” use both the general phraseological fund of Belarusians and Russians and the national language means in web media texts. The headlines of “BelGazeta” havea distinctive feature, as they mix graphic and lexical systems of different languages (Russian, Belarusian,English and, less frequently, Ukrainian). This fact can be explained, firstly, by the tendency to widely spread the features of the conversational speech of Belarusians, trasyanka, in book speech styles. And, secondly, by the address policy of the publication of the named newspaper, which is aimed at the mass Belarusian reader. Following the use of occasionalisms, updated stable expressions, we also call the above feature a specific method of influencing the addressee.The article discusses the features of the functioning of phraseological units and other stable combinations in the headings of the media texts of Belarusian and Russian online newspapers. We analyze the pragmatic function of intertexts and present them as pointers to certain types of speech acts. The intent of the addressee is the most important factor in creating a text. It is usually reflected, directly or indirectly, in every communication product. The main purpose of media texts (or a hint of it) is contained in headings, especially when they are intertextemes, various renewable speech units that we classify according to the types of speech acts: representatives, rogatives,directives, commissives, contactives, declarations and expressives. Such headings are best used to perform a pragmatic function because they retain an emotional and evaluation component that stimulates communication with the mass recipient. These stable units (phraseological locutions, winged expressions and aphorisms, paroemias and compound terms) comprise the background knowledge of the participants in communication and are therefore productive language tools used by journalists in their practice. And very often the intertextemes are transformed or updated. Employees of “BelGazeta” and “Rossiyskaya Gazeta” use both the general phraseological fund of Belarusians and Russians and the national language means in web media texts. The headlines of “BelGazeta” havea distinctive feature, as they mix graphic and lexical systems of different languages (Russian, Belarusian,English and, less frequently, Ukrainian). This fact can be explained, firstly, by the tendency to widely spread the features of the conversational speech of Belarusians, trasyanka, in book speech styles. And, secondly, by the address policy of the publication of the named newspaper, which is aimed at the mass Belarusian reader. Following the use of occasionalisms, updated stable expressions, we also call the above feature a specific method of influencing the addressee
Из наблюдений над способами выражения отрицания в церковнославянском тексте русского извода
Get PDFThe article describes the specificity of the changes that took place in the process of dissemination of double negation, typical for Slavic languages, visible in the Ruthenian recension of Church Slavonic texts. The reflections on the achievements in the field are enriched with the results of research on the text of Gospel No. 7 from the collection of the Russian State Archive of Ancient Acts (RGADA F. 381. Op. 1 Unit hr 7), which has not been analyzed so far in terms of the issues raised. Nearly three hundred negative structures were subjected to observations. In order to determine the number of single negation cases in relation to double negation the main focus was on structures such as: (1) ni Pron + V, (2) ni Pron + ne V oraz (3) ne V + ni Pron. It was determined, among other things, that their use was influenced by both the literature tradition and live language with elements of the northern dialect of the East Slavonic. On the other hand, the analysis of the negative structures preceding homogeneous parts of the sentence revealed the tendency, manifested onthe leaves of the monument, to transform towards the norm of the contemporary Russian language.The article describes the specificity of the changes that took place in the process of dissemination of double negation, typical for Slavic languages, visible in the Ruthenian recension of Church Slavonic texts. The reflections on the achievements in the field are enriched with the results of research on the text of Gospel No. 7 from the collection of the Russian State Archive of Ancient Acts (RGADA F. 381. Op. 1 Unit hr 7), which has not been analyzed so far in terms of the issues raised. Nearly three hundred negative structures were subjected to observations. In order to determine the number of single negation cases in relation to double negation the main focus was on structures such as: (1) ni Pron + V, (2) ni Pron + ne V oraz (3) ne V + ni Pron. It was determined, among other things, that their use was influenced by both the literature tradition and live language with elements of the northern dialect of the East Slavonic. On the other hand, the analysis of the negative structures preceding homogeneous parts of the sentence revealed the tendency, manifested onthe leaves of the monument, to transform towards the norm of the contemporary Russian language