Studia Rossica Posnaniensia
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Wschód czy Zachód? Konflikt (wrogich) narracji w Petersburgu Andrieja Biełego
Get PDFIn this article, Andrei Bely’s novel Petersburg is analyzed in terms of the clash of two hostile narratives – Eastern and Western – that have shaped Russian statehood from the rule of Tsar Peter I. The presence of solutions associated with the West, in the history of Russia, as well as in the social and political system of the Russian state, is considered to be the result of a kind of self-colonization and internal colonization. The author of the article, drawing on terminology developed in post-colonial research, highlights the tensions existing within Russian society at the beginning of the 20th century, which translate into internal divisions in the main characters of the work, in particular the senator Apollon Ableukhov and his son Nikolay. Although they both appear to belong to Western civilization and culture, they in fact pave the way for the victory of a chaos of Eastern provenance, which culminates in the Russian revolutions of the early 20th century.In this article, Andrei Bely’s novel Petersburg is analyzed in terms of the clash of two hostile narratives – Eastern and Western – that have shaped Russian statehood from the rule of Tsar Peter I. The presence of solutions associated with the West, in the history of Russia, as well as in the social and political system of the Russian state, is considered to be the result of a kind of self-colonization and internal colonization. The author of the article, drawing on terminology developed in post-colonial research, highlights the tensions existing within Russian society at the beginning of the 20th century, which translate into internal divisions in the main characters of the work, in particular the senator Apollon Ableukhov and his son Nikolay. Although they both appear to belong to Western civilization and culture, they in fact pave the way for the victory of a chaos of Eastern provenance, which culminates in the Russian revolutions of the early 20th century.In this article, Andrei Bely’s novel Petersburg is analyzed in terms of the clash of two hostile narratives – Eastern and Western – that have shaped Russian statehood from the rule of Tsar Peter I. The presence of solutions associated with the West, in the history of Russia, as well as in the social and political system of the Russian state, is considered to be the result of a kind of self-colonization and internal colonization. The author of the article, drawing on terminology developed in post-colonial research, highlights the tensions existing within Russian society at the beginning of the 20th century, which translate into internal divisions in the main characters of the work, in particular the senator Apollon Ableukhov and his son Nikolay. Although they both appear to belong to Western civilization and culture, they in fact pave the way for the victory of a chaos of Eastern provenance, which culminates in the Russian revolutions of the early 20th century.In this article, Andrei Bely’s novel Petersburg is analyzed in terms of the clash of two hostile narratives – Eastern and Western – that have shaped Russian statehood from the rule of Tsar Peter I. The presence of solutions associated with the West, in the history of Russia, as well as in the social and political system of the Russian state, is considered to be the result of a kind of self-colonization and internal colonization. The author of the article, drawing on terminology developed in post-colonial research, highlights the tensions existing within Russian society at the beginning of the 20th century, which translate into internal divisions in the main characters of the work, in particular the senator Apollon Ableukhov and his son Nikolay. Although they both appear to belong to Western civilization and culture, they in fact pave the way for the victory of a chaos of Eastern provenance, which culminates in the Russian revolutions of the early 20th century
Miejska przestrzeń pamięci (na podstawie wybranych utworów Herkusa Kunčiusa, Ričardasa Gavelisa, Grigorija Kanowicza)
Get PDFThis article analyses literary representations of Vilnius as a Central and Eastern European city, whose space becomes the field where the memory of many national traditions can be observed. The analysis was conducted on the basis of two novels by Lithuanian writers, i.e. A Lithuanian in Vilnius by Herkus Kunčius and A Vilnius poker by Ričardas Gavelis, as well as the works of Grigory Kanovich, a Lithuanian-Jewish author writing in Russian, i.e. the novel The park of forgotten Jews and the autobiographical-memoir prose Dream about vanished Jerusalem. The conflict-generating aspect of memory is revealed in the works of Lithuanian writers. The city centre becomes a battlefield for the commemoration of one’s own tradition and a sphere of action against the tradition of the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.This article analyses literary representations of Vilnius as a Central and Eastern European city, whose space becomes the field where the memory of many national traditions can be observed. The analysis was conducted on the basis of two novels by Lithuanian writers, i.e. A Lithuanian in Vilnius by Herkus Kunčius and A Vilnius poker by Ričardas Gavelis, as well as the works of Grigory Kanovich, a Lithuanian-Jewish author writing in Russian, i.e. the novel The park of forgotten Jews and the autobiographical-memoir prose Dream about vanished Jerusalem. The conflict-generating aspect of memory is revealed in the works of Lithuanian writers. The city centre becomes a battlefield for the commemoration of one’s own tradition and a sphere of action against the tradition of the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.This article analyses literary representations of Vilnius as a Central and Eastern European city, whose space becomes the field where the memory of many national traditions can be observed. The analysis was conducted on the basis of two novels by Lithuanian writers, i.e. A Lithuanian in Vilnius by Herkus Kunčius and A Vilnius poker by Ričardas Gavelis, as well as the works of Grigory Kanovich, a Lithuanian-Jewish author writing in Russian, i.e. the novel The park of forgotten Jews and the autobiographical-memoir prose Dream about vanished Jerusalem. The conflict-generating aspect of memory is revealed in the works of Lithuanian writers. The city centre becomes a battlefield for the commemoration of one’s own tradition and a sphere of action against the tradition of the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.This article analyses literary representations of Vilnius as a Central and Eastern European city, whose space becomes the field where the memory of many national traditions can be observed. The analysis was conducted on the basis of two novels by Lithuanian writers, i.e. A Lithuanian in Vilnius by Herkus Kunčius and A Vilnius poker by Ričardas Gavelis, as well as the works of Grigory Kanovich, a Lithuanian-Jewish author writing in Russian, i.e. the novel The park of forgotten Jews and the autobiographical-memoir prose Dream about vanished Jerusalem. The conflict-generating aspect of memory is revealed in the works of Lithuanian writers. The city centre becomes a battlefield for the commemoration of one’s own tradition and a sphere of action against the tradition of the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site
„Ненормативные” средства выражения адресованности в школьной практике, или игра с нормой
Get PDFThe article consists of several parts: an introduction, theoretical and practical parts, and the conclusion. This work touches upon several directions in linguistics. First of all, attention is paid to the concept of addressing, namely the terms addressee (Listener) and addresser (Speaker) and their interrelation at the moment of communication. The author provides a definition of human speech behavior, which at the present stage is usually considered in pragmalinguistics. The article focuses on the factor of the addresser in pedagogical discourse (the speech of a Russian language teacher at a secondary school in Slovakia is analyzed) from the point of view of observing the normativity of speech. In this regard, special attention is paid to the culture of speech and the concept ofliterary language. The work shows the varieties of norms of literary language, but the emphasis is on stylistic norms. The author focuses on the search for violations of stylistic norms in а scientific style. The article provides the author’s classification of selected language violations and characterizes the speech behavior of the Speaker.The article consists of several parts: an introduction, theoretical and practical parts, and the conclusion. This work touches upon several directions in linguistics. First of all, attention is paid to the concept of addressing, namely the terms addressee (Listener) and addresser (Speaker) and their interrelation at the moment of communication. The author provides a definition of human speech behavior, which at the present stage is usually considered in pragmalinguistics. The article focuses on the factor of the addresser in pedagogical discourse (the speech of a Russian language teacher at a secondary school in Slovakia is analyzed) from the point of view of observing the normativity of speech. In this regard, special attention is paid to the culture of speech and the concept of literary language. The work shows the varieties of norms of literary language, but the emphasis is on stylistic norms. The author focuses on the search for violations of stylistic norms in а scientific style. The article provides the author’s classification of selected language violations and characterizes the speech behavior of the Speaker.The article consists of several parts: an introduction, theoretical and practical parts, and the conclusion. This work touches upon several directions in linguistics. First of all, attention is paid to the concept of addressing, namely the terms addressee (Listener) and addresser (Speaker) and their interrelation at the moment of communication. The author provides a definition of human speech behavior, which at the present stage is usually considered in pragmalinguistics. The article focuses on the factor of the addresser in pedagogical discourse (the speech of a Russian language teacher at a secondary school in Slovakia is analyzed) from the point of view of observing the normativity of speech. In this regard, special attention is paid to the culture of speech and the concept of literary language. The work shows the varieties of norms of literary language, but the emphasis is on stylistic norms. The author focuses on the search for violations of stylistic norms in а scientific style. The article provides the author’s classification of selected language violations and characterizes the speech behavior of the Speaker.The article consists of several parts: an introduction, theoretical and practical parts, and the conclusion. This work touches upon several directions in linguistics. First of all, attention is paid to the concept of addressing, namely the terms addressee (Listener) and addresser (Speaker) and their interrelation at the moment of communication. The author provides a definition of human speech behavior, which at the present stage is usually considered in pragmalinguistics. The article focuses on the factor of the addresser in pedagogical discourse (the speech of a Russian language teacher at a secondary school in Slovakia is analyzed) from the point of view of observing the normativity of speech. In this regard, special attention is paid to the culture of speech and the concept of literary language. The work shows the varieties of norms of literary language, but the emphasis is on stylistic norms. The author focuses on the search for violations of stylistic norms in а scientific style. The article provides the author’s classification of selected language violations and characterizes the speech behavior of the Speaker
Юзовка – Сталино – Донецк: политизация национального вопроса в прозе о Донбассе советских писателей 1930–1980-х гг.
Get PDFDonetsk is a young industrial city. This is captured in the history of its naming, reflective of the transformations of the politics of the two empires: Yuzovka – Stalino – Donetsk. There are few fictional works devoted to Donetsk in Soviet literature. It is local, regional literature, created by natives of the region from the 1930s to the 1980s. Donetsk’s art-journalistic metatext was formed along with the city transforming itself from a worker’s settlement into the capital of industrial Donbass. After October 1917 the city and metatext of Donetsk consistently “did not remember”, “did not see” its origins – Yuzovka – but was concentrated on the Soviet present of the region. The historically conditioned multinational of Yuzovka, under the pressure of Soviet policy and ideology, was transformed into an internationality based on the dominance of the Soviet (essentially Russian) man and his local kind: the Donbasovets. The aspirations to level out the national diversity of the region, to obscure the role of people with Ukrainian roots, and to replace it with the politicised internationalization in the fabric of the works have found their semantic and ideological limit. This limit intensified when the depersonalisation of national-cultural features of the city, region was artificially imposed and it manifested in speech, everyday realities, and the memorial culture of the common people.Donetsk is a young industrial city. This is captured in the history of its naming, reflective of the transformations of the politics of the two empires: Yuzovka – Stalino – Donetsk. There are few fictional works devoted to Donetsk in Soviet literature. It is local, regional literature, created by natives of the region from the 1930s to the 1980s. Donetsk’s art-journalistic metatext was formed along with the city transforming itself from a worker’s settlement into the capital of industrial Donbass. After October 1917 the city and metatext of Donetsk consistently “did not remember”, “did not see” its origins – Yuzovka – but was concentrated on the Soviet present of the region. The historically conditioned multinational of Yuzovka, under the pressure of Soviet policy and ideology, was transformed into an internationality based on the dominance of the Soviet (essentially Russian) man and his local kind: the Donbasovets. The aspirations to level out the national diversity of the region, to obscure the role of people with Ukrainian roots, and to replace it with the politicised internationalization in the fabric of the works have found their semantic and ideological limit. This limit intensified when the depersonalisation of national-cultural features of the city, region was artificially imposed and it manifested in speech, everyday realities, and the memorial culture of the common people.Donetsk is a young industrial city. This is captured in the history of its naming, reflective of the transformations of the politics of the two empires: Yuzovka – Stalino – Donetsk. There are few fictional works devoted to Donetsk in Soviet literature. It is local, regional literature, created by natives of the region from the 1930s to the 1980s. Donetsk’s art-journalistic metatext was formed along with the city transforming itself from a worker’s settlement into the capital of industrial Donbass. After October 1917 the city and metatext of Donetsk consistently “did not remember”, “did not see” its origins – Yuzovka – but was concentrated on the Soviet present of the region. The historically conditioned multinational of Yuzovka, under the pressure of Soviet policy and ideology, was transformed into an internationality based on the dominance of the Soviet (essentially Russian) man and his local kind: the Donbasovets. The aspirations to level out the national diversity of the region, to obscure the role of people with Ukrainian roots, and to replace it with the politicised internationalization in the fabric of the works have found their semantic and ideological limit. This limit intensified when the depersonalisation of national-cultural features of the city, region was artificially imposed and it manifested in speech, everyday realities, and the memorial culture of the common people.Donetsk is a young industrial city. This is captured in the history of its naming, reflective of the transformations of the politics of the two empires: Yuzovka – Stalino – Donetsk. There are few fictional works devoted to Donetsk in Soviet literature. It is local, regional literature, created by natives of the region from the 1930s to the 1980s. Donetsk’s art-journalistic metatext was formed along with the city transforming itself from a worker’s settlement into the capital of industrial Donbass. After October 1917 the city and metatext of Donetsk consistently “did not remember”, “did not see” its origins – Yuzovka – but was concentrated on the Soviet present of the region. The historically conditioned multinational of Yuzovka, under the pressure of Soviet policy and ideology, was transformed into an internationality based on the dominance of the Soviet (essentially Russian) man and his local kind: the Donbasovets. The aspirations to level out the national diversity of the region, to obscure the role of people with Ukrainian roots, and to replace it with the politicised internationalization in the fabric of the works have found their semantic and ideological limit. This limit intensified when the depersonalisation of national-cultural features of the city, region was artificially imposed and it manifested in speech, everyday realities, and the memorial culture of the common people
Sowiecki dzikus, cuchnący dorsz i Muza – Władysława Chodasiewicza widzenie Petersburga
Get PDFThe aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views).The aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views).The aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views).The aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views)
Восстановление женственности в городах, подвергшихся воздействию войны: женская активность, пространственнaя субверсия и лингвистическое сопротивление в литературе, созданной авторами-женщинами
Get PDFThis article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration
Gry interdyskursywne w rosyjskojęzycznych parodiach politycznych
Get PDFPolitical parodies transcend the prevailing social hierarchies, opening the field for polemics with government representatives. They also provide a space for the contamination of two or more distant discourses. In their texts, parodists refer to the rules of creating texts and utterances of political discourse, while modifying their selected elements by means of interdiscursive games. The purpose of the study is to define the category of the interdiscursive game and to analyze its strategies based on the example of contemporary Russian parodies on political issues published on YouTube. The study examines interdiscursive games grouped according to the following classification: genre convention games, intertextual games, games at the level of different linguistic means, structural games involving extralinguistic signs. As a result of the analysis, parodic interdiscursive games were divided into two categories: first-degree references and further references. The references of the first degree consist in transferring the main imitated discourse to the discourse of the comic. The second type of games concerns parodic references to other discourses that are introduced to the main imitated discourse. Interdiscursive games of both types help to discover the mechanisms that shapethe political discourse. Thus, parody, using borrowed schemes, reveals those meanings which were not expressed explicitly in the original texts and utterances.Political parodies transcend the prevailing social hierarchies, opening the field for polemics with government representatives. They also provide a space for the contamination of two or more distant discourses. In their texts, parodists refer to the rules of creating texts and utterances of political discourse, while modifying their selected elements by means of interdiscursive games. The purpose of the study is to define the category of the interdiscursive game and to analyze its strategies based on the example of contemporary Russian parodies on political issues published on YouTube. The study examines interdiscursive games grouped according to the following classification: genre convention games, intertextual games, games at the level of different linguistic means, structural games involving extralinguistic signs. As a result of the analysis, parodic interdiscursive games were divided into two categories: first-degree references and further references. The references of the first degree consist in transferring the main imitated discourse to the discourse of the comic. The second type of games concerns parodic references to other discourses that are introduced to the main imitated discourse. Interdiscursive games of both types help to discover the mechanisms that shape the political discourse. Thus, parody, using borrowed schemes, reveals those meanings which were not expressed explicitly in the original texts and utterances.Political parodies transcend the prevailing social hierarchies, opening the field for polemics with government representatives. They also provide a space for the contamination of two or more distant discourses. In their texts, parodists refer to the rules of creating texts and utterances of political discourse, while modifying their selected elements by means of interdiscursive games. The purpose of the study is to define the category of the interdiscursive game and to analyze its strategies based on the example of contemporary Russian parodies on political issues published on YouTube. The study examines interdiscursive games grouped according to the following classification: genre convention games, intertextual games, games at the level of different linguistic means, structural games involving extralinguistic signs. As a result of the analysis, parodic interdiscursive games were divided into two categories: first-degree references and further references. The references of the first degree consist in transferring the main imitated discourse to the discourse of the comic. The second type of games concerns parodic references to other discourses that are introduced to the main imitated discourse. Interdiscursive games of both types help to discover the mechanisms that shape the political discourse. Thus, parody, using borrowed schemes, reveals those meanings which were not expressed explicitly in the original texts and utterances.Political parodies transcend the prevailing social hierarchies, opening the field for polemics with government representatives. They also provide a space for the contamination of two or more distant discourses. In their texts, parodists refer to the rules of creating texts and utterances of political discourse, while modifying their selected elements by means of interdiscursive games. The purpose of the study is to define the category of the interdiscursive game and to analyze its strategies based on the example of contemporary Russian parodies on political issues published on YouTube. The study examines interdiscursive games grouped according to the following classification: genre convention games, intertextual games, games at the level of different linguistic means, structural games involving extralinguistic signs. As a result of the analysis, parodic interdiscursive games were divided into two categories: first-degree references and further references. The references of the first degree consist in transferring the main imitated discourse to the discourse of the comic. The second type of games concerns parodic references to other discourses that are introduced to the main imitated discourse. Interdiscursive games of both types help to discover the mechanisms that shapethe political discourse. Thus, parody, using borrowed schemes, reveals those meanings which were not expressed explicitly in the original texts and utterances
„Miasto nigdy się nie kończy…”. Mroczne oblicze miasta w prozie Herty Müller
Get PDFOne of the recurring motifs in Herta Müllerʼs work is the experience of the city, which often becomes a space of threat, violence, uncertainty, and finally repression and death. The German Nobel Prize laureate describes urban spaces, where the fate of the city is intertwined with the fate of the protagonists, depicting a world of people who are downtrodden, lost, defeated, and yet not without hope. This article discusses selected works by Herta Müller, in which the multidimensional image of the city opens up new fields for reflection and allows us to gain insight into how a totalitarian state functions. The cities the author describes are reflective of all Romanian cities under the dictatorship of Nicolae Ceaușescu; they are places of depravity and terror. This article also explores the aesthetics of ugliness which affects the understanding of the role of cities in Herta Müllerʼs prose, and analyzes important urban symbols such as asphalt, apartment blocks, parks and the flora and fauna characteristic of communist cities. In many of Müllerʼs texts, cities form a dramatic backdrop for acts of violence and repression against ‘the Stranger’ – for instance, the German minority,the Roma community, and women. Thus, the experience of an individual becomes the experience of the whole community, which makes Herta Müllerʼs work enduringly relevant.One of the recurring motifs in Herta Müllerʼs work is the experience of the city, which often becomes a space of threat, violence, uncertainty, and finally repression and death. The German Nobel Prize laureate describes urban spaces, where the fate of the city is intertwined with the fate of the protagonists, depicting a world of people who are downtrodden, lost, defeated, and yet not without hope. This article discusses selected works by Herta Müller, in which the multidimensional image of the city opens up new fields for reflection and allows us to gain insight into how a totalitarian state functions. The cities the author describes are reflective of all Romanian cities under the dictatorship of Nicolae Ceaușescu; they are places of depravity and terror. This article also explores the aesthetics of ugliness which affects the understanding of the role of cities in Herta Müllerʼs prose, and analyzes important urban symbols such as asphalt, apartment blocks, parks and the flora and fauna characteristic of communist cities. In many of Müllerʼs texts, cities form a dramatic backdrop for acts of violence and repression against ‘the Stranger’ – for instance, the German minority,the Roma community, and women. Thus, the experience of an individual becomes the experience of the whole community, which makes Herta Müllerʼs work enduringly relevant.One of the recurring motifs in Herta Müllerʼs work is the experience of the city, which often becomes a space of threat, violence, uncertainty, and finally repression and death. The German Nobel Prize laureate describes urban spaces, where the fate of the city is intertwined with the fate of the protagonists, depicting a world of people who are downtrodden, lost, defeated, and yet not without hope. This article discusses selected works by Herta Müller, in which the multidimensional image of the city opens up new fields for reflection and allows us to gain insight into how a totalitarian state functions. The cities the author describes are reflective of all Romanian cities under the dictatorship of Nicolae Ceaușescu; they are places of depravity and terror. This article also explores the aesthetics of ugliness which affects the understanding of the role of cities in Herta Müllerʼs prose, and analyzes important urban symbols such as asphalt, apartment blocks, parks and the flora and fauna characteristic of communist cities. In many of Müllerʼs texts, cities form a dramatic backdrop for acts of violence and repression against ‘the Stranger’ – for instance, the German minority,the Roma community, and women. Thus, the experience of an individual becomes the experience of the whole community, which makes Herta Müllerʼs work enduringly relevant.One of the recurring motifs in Herta Müllerʼs work is the experience of the city, which often becomes a space of threat, violence, uncertainty, and finally repression and death. The German Nobel Prize laureate describes urban spaces, where the fate of the city is intertwined with the fate of the protagonists, depicting a world of people who are downtrodden, lost, defeated, and yet not without hope. This article discusses selected works by Herta Müller, in which the multidimensional image of the city opens up new fields for reflection and allows us to gain insight into how a totalitarian state functions. The cities the author describes are reflective of all Romanian cities under the dictatorship of Nicolae Ceaușescu; they are places of depravity and terror. This article also explores the aesthetics of ugliness which affects the understanding of the role of cities in Herta Müllerʼs prose, and analyzes important urban symbols such as asphalt, apartment blocks, parks and the flora and fauna characteristic of communist cities. In many of Müllerʼs texts, cities form a dramatic backdrop for acts of violence and repression against ‘the Stranger’ – for instance, the German minority,the Roma community, and women. Thus, the experience of an individual becomes the experience of the whole community, which makes Herta Müllerʼs work enduringly relevant
Смех (в) „фантастической трилогии” Федорa Достоевского
Get PDFAmong the works included in A writer’s diary by Fyodor Dostoevsky, literary scholars point out the “fantastic trilogy” – The dream of a ridiculous man, A gentle creature, and Bobok. Three heroes of Dostoevsky, three outsiders who are in conflict with their environment – a ridiculous man, an underground man and a drunken writer – are the main characters of the “fantastic trilogy”. Thearticle examines the poetological principle of laughter, on which the ontology of Dostoevsky’s artistic world is based. In the aforementioned three short stories three varieties of laughter are identified: 1) laughter as a result of realizing the incompatibility of the truth of the heart with the necessity to live here and now (The dream of a ridiculous man, 1877); 2) laughter as Bakhtin’s genre-forming principle: muffled laughter, that is, laughter that is not heard, which is an expression of the impossibility of resolving a dispute, the impossibility of saying the last word about a problematic world, about its dual truthfulness – the truth of the heart and the truth of the mind (A gentle creature, also titled as The meek one, 1876); 3) a type of parodic laughter, or laughter that laughs out loud (Bobok, 1873).Among the works included in A writer’s diary by Fyodor Dostoevsky, literary scholars point out the “fantastic trilogy” – The dream of a ridiculous man, A gentle creature, and Bobok. Three heroes of Dostoevsky, three outsiders who are in conflict with their environment – a ridiculous man, an underground man and a drunken writer – are the main characters of the “fantastic trilogy”. Thearticle examines the poetological principle of laughter, on which the ontology of Dostoevsky’s artistic world is based. In the aforementioned three short stories three varieties of laughter are identified: 1) laughter as a result of realizing the incompatibility of the truth of the heart with the necessity to live here and now (The dream of a ridiculous man, 1877); 2) laughter as Bakhtin’s genre-forming principle: muffled laughter, that is, laughter that is not heard, which is an expression of the impossibility of resolving a dispute, the impossibility of saying the last word about a problematic world, about its dual truthfulness – the truth of the heart and the truth of the mind (A gentle creature, also titled as The meek one, 1876); 3) a type of parodic laughter, or laughter that laughs out loud (Bobok, 1873).Among the works included in A writer’s diary by Fyodor Dostoevsky, literary scholars point out the “fantastic trilogy” – The dream of a ridiculous man, A gentle creature, and Bobok. Three heroes of Dostoevsky, three outsiders who are in conflict with their environment – a ridiculous man, an underground man and a drunken writer – are the main characters of the “fantastic trilogy”. The article examines the poetological principle of laughter, on which the ontology of Dostoevsky’s artistic world is based. In the aforementioned three short stories three varieties of laughter are identified: 1) laughter as a result of realizing the incompatibility of the truth of the heart with the necessity to live here and now (The dream of a ridiculous man, 1877); 2) laughter as Bakhtin’s genre-forming principle: muffled laughter, that is, laughter that is not heard, which is an expression of the impossibility of resolving a dispute, the impossibility of saying the last word about a problematic world, about its dual truthfulness – the truth of the heart and the truth of the mind (A gentle creature, also titled as The meek one, 1876); 3) a type of parodic laughter, or laughter that laughs out loud (Bobok, 1873).Among the works included in A writer’s diary by Fyodor Dostoevsky, literary scholars point out the “fantastic trilogy” – The dream of a ridiculous man, A gentle creature, and Bobok. Three heroes of Dostoevsky, three outsiders who are in conflict with their environment – a ridiculous man, an underground man and a drunken writer – are the main characters of the “fantastic trilogy”. The article examines the poetological principle of laughter, on which the ontology of Dostoevsky’s artistic world is based. In the aforementioned three short stories three varieties of laughter are identified: 1) laughter as a result of realizing the incompatibility of the truth of the heart with the necessity to live here and now (The dream of a ridiculous man, 1877); 2) laughter as Bakhtin’s genre-forming principle: muffled laughter, that is, laughter that is not heard, which is an expression of the impossibility of resolving a dispute, the impossibility of saying the last word about a problematic world, about its dual truthfulness – the truth of the heart and the truth of the mind (A gentle creature, also titled as The meek one, 1876); 3) a type of parodic laughter, or laughter that laughs out loud (Bobok, 1873)