Studia Rossica Posnaniensia
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Ироническое начало в фельетоне Киев-город Михаила Булгакова
Get PDFThe subject of the article is the analysis of the image of Kiev, presented in Mikhail Bulgakov’s feuilleton Kiev, the City. This work has rarely been the subject of in-depth analysis, despite the fact that it is one of the few texts in which the writer presents the image of his hometown. A characteristic element of the description of Kiev’s past and present is the irony. It is noticeable in the title of the feuilleton, as well as in the names of its parts. The ironic image of Soviet Kiev stands in stark contrast to the vision of the city captured in the novel The White Guard. The analysis of the techniques used by the writer in the text of Kiev, the City (e.g. the naive narrator’s mask, a combination of pompous style and colloquial speech) is carried out in order to prove that the feuilleton, in its style and ideas expressed, also shows the author’s rejection of post-revolutionary reality and his attempt to overcome the trauma of the past through laughter. The ironic image of the Soviet reality on the background of eternal spiritual values makes Kiev, the City a harbinger of the problems covered inMikhail Bulgakov’s later works.The subject of the article is the analysis of the image of Kiev, presented in Mikhail Bulgakov’s feuilleton Kiev, the City. This work has rarely been the subject of in-depth analysis, despite the fact that it is one of the few texts in which the writer presents the image of his hometown. A characteristic element of the description of Kiev’s past and present is the irony. It is noticeable in the title of the feuilleton, as well as in the names of its parts. The ironic image of Soviet Kiev stands in stark contrast to the vision of the city captured in the novel The White Guard. The analysis of the techniques used by the writer in the text of Kiev, the City (e.g. the naive narrator’s mask, a combination of pompous style and colloquial speech) is carried out in order to prove that the feuilleton, in its style and ideas expressed, also shows the author’s rejection of post-revolutionary reality and his attempt to overcome the trauma of the past through laughter. The ironic image of the Soviet reality on the background of eternal spiritual values makes Kiev, the City a harbinger of the problems covered inMikhail Bulgakov’s later works
Dwie przestrzenie wojennej propagandy. Język utworów moskiewskich Okien TASS
Get PDFThe aim of the article is to analyze the language of the Soviet propaganda posters from the Second World War period, containing the poetic commentary of the members of the Moscow TASS Agency. The research reveals the main means of persuasion used in the poems. The subject of the analysis is the phenomenon of spreading ideas in two basic social spheres that occurred in the Soviet Union during the war period, which include people who took direct part in military actions, and Soviet citizens who provided the army with all the necessary materials. Texts addressed to potential soldiers contained a direct call to defend the homeland and family. Their most important manipulative tools were emotional arguments and the technique of stereotyping the enemy. Ideas and personal patterns were instilled in the minds of the fighters with various linguistic manipulation techniques. The propaganda referenced to the belongingness need. Different propaganda techniques were used in poems targeted at people behind the lines of hostilities. The authors of the texts of TASS Windows used colloquial language, comprehensible to a wide audience. They created a vision of a world divided into two opposite poles and referred to respected authorities or raised new role models. The propaganda of the victory also required different techniques of information manipulation. The TASS Windows present the unique contribution of the Soviet poets to the action of the mobilization ofsociety to take part in the fight against the German aggressor.The aim of the article is to analyze the language of the Soviet propaganda posters from the Second World War period, containing the poetic commentary of the members of the Moscow TASS Agency. The research reveals the main means of persuasion used in the poems. The subject of the analysis is the phenomenon of spreading ideas in two basic social spheres that occurred in the Soviet Union during the war period, which include people who took direct part in military actions, and Soviet citizens who provided the army with all the necessary materials. Texts addressed to potential soldiers contained a direct call to defend the homeland and family. Their most important manipulative tools were emotional arguments and the technique of stereotyping the enemy. Ideas and personal patterns were instilled in the minds of the fighters with various linguistic manipulation techniques. The propaganda referenced to the belongingness need. Different propaganda techniques were used in poems targeted at people behind the lines of hostilities. The authors of the texts of TASS Windows used colloquial language, comprehensible to a wide audience. They created a vision of a world divided into two opposite poles and referred to respected authorities or raised new role models. The propaganda of the victory also required different techniques of information manipulation. The TASS Windows present the unique contribution of the Soviet poets to the action of the mobilization ofsociety to take part in the fight against the German aggressor
Profile semantyczne przyjaciela i wroga w polsko-, rosyjsko- i niemieckojęzycznym obrazie świata
Get PDFThe article aims at reconstructing and comparing the cultural meanings contained in the concepts friend and enemy. To achieve the objective, the author referred to research methodologies elaborated by cognitive linguists. Particularly useful were those approaches which emphasize the necessity of including both the role of cognitive processes in descriptions of language and its historical, cultural and social underpinnings. In such approaches, questionnaires and surveys are accepted as sources of empirical data. In the current study, an analysis of the specific connotations attached to the concepts friend and enemy in Polish, German and Russian is performed. The obtained results allow for creating a hierarchy of the criteria that speakers of the three languages take into consideration, and for establishing significant similarities and differences between the Polish, German and Russian semantic profiles of the two concepts.The article aims at reconstructing and comparing the cultural meanings contained in the concepts friend and enemy. To achieve the objective, the author referred to research methodologies elaborated by cognitive linguists. Particularly useful were those approaches which emphasize the necessity of including both the role of cognitive processes in descriptions of language and its historical, cultural and social underpinnings. In such approaches, questionnaires and surveys are accepted as sources of empirical data. In the current study, an analysis of the specific connotations attached to the concepts friend and enemy in Polish, German and Russian is performed. The obtained results allow for creating a hierarchy of the criteria that speakers of the three languages take into consideration, and for establishing significant similarities and differences between the Polish, German and Russian semantic profiles of the two concepts
Пространства Марины Цветаевой
Get PDFThe hallmarks of space in Tsvetaeva’s poetic world are vertical orientation, two-worldness (many-worldness), measurability, and “immensity”, often expressed by asymmetry. Tsvetaeva’s model of the double world is presented both in its pure form and in a multilayer one (the model of “matryoshka” according to Lotman) with a hierarchical vertical correlation of spaces. The vertical sets the plots, stylistics, system of characters, system of time and expectations of the reader. Tsvetaeva is a bright representative of irrational tendencies in art, which manifest themselves against the background of rational ones, through their violation. Thus, The Attempt of a Room (1926) builds on an imaginary effort to present a hexagonal box of a rendezvous, but fails. The last poem I Keep Repeating the First Verse… (1940) is a poetic reaction to the “mistake in counting”: there should be not six but seven souls at the table. In one of her poems, Tsvetaeva calls herself “one who has edited the miracle with numbers”. This formula aphoristically expresses the nature of creativity asfirst intuitive search, and then rational design. The mathematical calculation of the composition of her books is an analogue of the metric-stanzaic “frame” of her lyrics. In the given proportions she often uses a deliberate failure by one unit (for example, in the collection From Two Books she adds one extra poem, which was originally missing in these two books).The hallmarks of space in Tsvetaeva’s poetic world are vertical orientation, two-worldness (many-worldness), measurability, and “immensity”, often expressed by asymmetry. Tsvetaeva’s model of the double world is presented both in its pure form and in a multilayer one (the model of “matryoshka” according to Lotman) with a hierarchical vertical correlation of spaces. The vertical sets the plots, stylistics, system of characters, system of time and expectations of the reader. Tsvetaeva is a bright representative of irrational tendencies in art, which manifest themselves against the background of rational ones, through their violation. Thus, The Attempt of a Room (1926) builds on an imaginary effort to present a hexagonal box of a rendezvous, but fails. The last poem I Keep Repeating the First Verse… (1940) is a poetic reaction to the “mistake in counting”: there should be not six but seven souls at the table. In one of her poems, Tsvetaeva calls herself “one who has edited the miracle with numbers”. This formula aphoristically expresses the nature of creativity asfirst intuitive search, and then rational design. The mathematical calculation of the composition of her books is an analogue of the metric-stanzaic “frame” of her lyrics. In the given proportions she often uses a deliberate failure by one unit (for example, in the collection From Two Books she adds one extra poem, which was originally missing in these two books)
„Перед зарей вас родила земля, погибнете вы раньше звезд вечерних”. Роман-памфлет Юрия Домбровского Обезьяна приходит за своим черепом
Get PDFThis article presents the thesis that the novel The ape is coming to pick up its skull (1943) by Yuri Dombrovsky bears the genre features of a pamphlet and the structure of the novel, which is subordinated to a didactic purpose – the work contains a warning against the dehumanization and degradation of culture. The novel aims to ridicule the fascists and their ideology. The narrator’s attitude towards all the fascist protagonists is dominated by irony and sarcasm. The character construction of the fascists is ruled by schematism. The narrator emphasizes the animal element in them. They are compared to an ape who is a caricature hybrid of a human and a monkey. The “monkey” traits and behaviours are highlighted in their portraits. In the novel, the dialogues and disputes of the main opponents serve to expose the cynical demagogy of fascism and its inability to create any universal values.This article presents the thesis that the novel The ape is coming to pick up its skull (1943) by Yuri Dombrovsky bears the genre features of a pamphlet and the structure of the novel, which is subordinated to a didactic purpose – the work contains a warning against the dehumanization and degradation of culture. The novel aims to ridicule the fascists and their ideology. The narrator’s attitude towards all the fascist protagonists is dominated by irony and sarcasm. The character construction of the fascists is ruled by schematism. The narrator emphasizes the animal element in them. They are compared to an ape who is a caricature hybrid of a human and a monkey. The “monkey” traits and behaviours are highlighted in their portraits. In the novel, the dialogues and disputes of the main opponents serve to expose the cynical demagogy of fascism and its inability to create any universal values
Маяковский – новатор языка? Словообразовательная структура неологизмов Маяковского и их роль в современном русском языке
Get PDFThis paper deals with the word-formation of Mayakovsky’s neologisms, the principles of their composition and also the objects subjected to neologization. Attention is also paid to the Nachleben of these neologisms in contemporary Russian, based on the research into the Russian National Corpus. The paper is a result of the analysis of all Mayakovsky’s neologisms listed in A. Humesky’s book Majakovskij and His Neologisms (1964), except for those originated by the simple connection of two words or word components. The results were compared with the most recent work dealing with Mayakovsky’s neologisms, V. N. Valavin’s dictionary (Word-formation of Mayakovsky. An Attempt at a Dictionary of Occasiоnalisms). It is argued that the main word-formation principle is that of composition (substantives and adjectives) and suffixation (verbs), that even today many neologisms show surprising vitality, and also that not all of the neologisms ascribed to Mayakovsky are indeed his authorial creations.This paper deals with the word-formation of Mayakovsky’s neologisms, the principles of their composition and also the objects subjected to neologization. Attention is also paid to the Nachleben of these neologisms in contemporary Russian, based on the research into the Russian National Corpus. The paper is a result of the analysis of all Mayakovsky’s neologisms listed in A. Humesky’s book Majakovskij and His Neologisms (1964), except for those originated by the simple connection of two words or word components. The results were compared with the most recent work dealing with Mayakovsky’s neologisms, V. N. Valavin’s dictionary (Word-formation of Mayakovsky. An Attempt at a Dictionary of Occasiоnalisms). It is argued that the main word-formation principle is that of composition (substantives and adjectives) and suffixation (verbs), that even today many neologisms show surprising vitality, and also that not all of the neologisms ascribed to Mayakovsky are indeed his authorial creations
Лингвокультурологические аспекты невербальной коммуникации
Get PDFThe article presents the issue of non-verbal communication from the perspective of translation and teaching a foreign language. The research is based on an experiment conducted among Russian students at the University of Warmia and Mazury, whose task it was to analyze data from Krystyna Jarząbek’s Dictionary of the Body Language of Polish People, from which about 30 unknown or unintelligible units of non-verbal communication were selected. The data show that body language, including gestures, is culture-rooted, and confirm that non-verbal means play a significant role in communication. This is why the author of the article believes it to be justified to introduce elements of non-verbal communication into teaching foreign languages and to compile bilingual dictionaries of body language.The article presents the issue of non-verbal communication from the perspective of translation and teaching a foreign language. The research is based on an experiment conducted among Russian students at the University of Warmia and Mazury, whose task it was to analyze data from Krystyna Jarząbek’s Dictionary of the Body Language of Polish People, from which about 30 unknown or unintelligible units of non-verbal communication were selected. The data show that body language, including gestures, is culture-rooted, and confirm that non-verbal means play a significant role in communication. This is why the author of the article believes it to be justified to introduce elements of non-verbal communication into teaching foreign languages and to compile bilingual dictionaries of body language
Imiona chrześcijańskie w Synodyku nowogrodzkim z końca XIV–XV wieku
Get PDFThe article contains an analysis of Christian names selected from the oldest synodicon written in the Lisitsky monastery near Veliky Novgorod. The analysis comprises 3190 names of laypeople, amongst which are 208 male names and 58 female names. The author discusses the group of given names (basic forms, their phonetic, morphological variants and frequency, as well as rarely used names that occurred in the synodicon).The article contains an analysis of Christian names selected from the oldest synodicon written in the Lisitsky monastery near Veliky Novgorod. The analysis comprises 3190 names of laypeople, amongst which are 208 male names and 58 female names. The author discusses the group of given names (basic forms, their phonetic, morphological variants and frequency, as well as rarely used names that occurred in the synodicon)
Following Brodsky. Andrey Zvyagintsev’s Apocrypha
Get PDFThe article presents the study of the short film Apocrypha by Andrei Zvyagintsev. The text is aimed at the interpretation of the movie in the context of the problem of memory, which is emphasised in the selected work in the explicit and implicit visual associations with the figure and poetry of Iosif Brodsky. The recognition of these characteristic elements in the structure of Zvyagintsev’s film has the influence on the perception of its meaning, leading the culturally aware recipient towards discovering its broad interpretative potential in view of the Russian literary tradition. The study is conducted using the comparative method of analysis. The core theory which constitutes the methodological foundation of the study is Astrid Erll’s concept of cultural memory expounded as intertextuality, i.e. the continuous building up of layers of texts, which are mediated, as well as her idea of transcultural memory, defined in the first instance as a process of fluctuation between the individual and collective level of remembering. Attention is turned to the motifs, which are characteristic both for Brodsky’s and Zvyagintsev’s poetics, such as the aquatic symbolism, temporal and topographical relationships, chromatography of cold colours etc. The application of the selected methodology in the presented discussion allows for exposing the dynamics of the changing nature of culture, which becomes the container of the social and territorial fluctuations of memory.The article presents the study of the short film Apocrypha by Andrei Zvyagintsev. The text is aimed at the interpretation of the movie in the context of the problem of memory, which is emphasised in the selected work in the explicit and implicit visual associations with the figure and poetry of Iosif Brodsky. The recognition of these characteristic elements in the structure of Zvyagintsev’s film has the influence on the perception of its meaning, leading the culturally aware recipient towards discovering its broad interpretative potential in view of the Russian literary tradition. The study is conducted using the comparative method of analysis. The core theory which constitutes the methodological foundation of the study is Astrid Erll’s concept of cultural memory expounded as intertextuality, i.e. the continuous building up of layers of texts, which are mediated, as well as her idea of transcultural memory, defined in the first instance as a process of fluctuation between the individual and collective level of remembering. Attention is turned to the motifs, which are characteristic both for Brodsky’s and Zvyagintsev’s poetics, such as the aquatic symbolism, temporal and topographical relationships, chromatography of cold colours etc. The application of the selected methodology in the presented discussion allows for exposing the dynamics of the changing nature of culture, which becomes the container of the social and territorial fluctuations of memory
Концепт „олигарх”: опыт корпусного анализа
Get PDFThe structure, content and communicative significance of the oligarch concept are explicated using corpus analysis. The structure of the oligarch concept is asymmetric: the logical and figurative components are presented much more narrowly than the axiological one. The axiological component dominates the structure of the concept. Various assessments from the negative zone of the axiological scale are included in the axiological component of the concept. The logical components of the concept are ‘the presence of very significant financial resources’, ‘the source of finance – most often oil or other extractive industry’,‘power’, ‘participation in the actual government of the country’, ‘belonging to a certain country (more often Russia or Ukraine)’, and ‘opposition to official authorities and government’. The status of “oligarch” is associated with a small number of the same persons. All logical components are assessed negatively, disparagingly or ironically. The concept of an oligarch receives significant signs from the concept of wealth – the main part of the logical component and axiology. The article compares the axiological components of the concepts oligarch and wealth. As a result, the attitude of the “ordinary Russian people” to wealth and the oligarchs isrevealed: this is envy and distrust, a rich person has extremely negative qualities and has accumulated wealth in an illegal or immoral way.The structure, content and communicative significance of the oligarch concept are explicated using corpus analysis. The structure of the oligarch concept is asymmetric: the logical and figurative components are presented much more narrowly than the axiological one. The axiological component dominates the structure of the concept. Various assessments from the negative zone of the axiological scale are included in the axiological component of the concept. The logical components of the concept are ‘the presence of very significant financial resources’, ‘the source of finance – most often oil or other extractive industry’,‘power’, ‘participation in the actual government of the country’, ‘belonging to a certain country (more often Russia or Ukraine)’, and ‘opposition to official authorities and government’. The status of “oligarch” is associated with a small number of the same persons. All logical components are assessed negatively, disparagingly or ironically. The concept of an oligarch receives significant signs from the concept of wealth – the main part of the logical component and axiology. The article compares the axiological components of the concepts oligarch and wealth. As a result, the attitude of the “ordinary Russian people” to wealth and the oligarchs isrevealed: this is envy and distrust, a rich person has extremely negative qualities and has accumulated wealth in an illegal or immoral way.The structure, content and communicative significance of the oligarch concept are explicated using corpus analysis. The structure of the oligarch concept is asymmetric: the logical and figurative components are presented much more narrowly than the axiological one. The axiological component dominates the structure of the concept. Various assessments from the negative zone of the axiological scale are included in the axiological component of the concept. The logical components of the concept are ‘the presence of very significant financial resources’, ‘the source of finance – most often oil or other extractive industry’,‘power’, ‘participation in the actual government of the country’, ‘belonging to a certain country (more often Russia or Ukraine)’, and ‘opposition to official authorities and government’. The status of “oligarch” is associated with a small number of the same persons. All logical components are assessed negatively, disparagingly or ironically. The concept of an oligarch receives significant signs from the concept of wealth – the main part of the logical component and axiology. The article compares the axiological components of the concepts oligarch and wealth. As a result, the attitude of the “ordinary Russian people” to wealth and the oligarchs isrevealed: this is envy and distrust, a rich person has extremely negative qualities and has accumulated wealth in an illegal or immoral way