Studia Rossica Posnaniensia
Not a member yet
597 research outputs found
Sort by
Липкая инфляция, или языковая игра на материале словацких и российских экономических текстов
Get PDFIn modern linguistics, the understanding of language game refers to the field of speech communication, and the language games themselves are seen as a decoration of speech. Language gaming is multifarious. In this article we will focus on some forms of this phenomenon, manifested in the variation of words, their forms and meanings in Russian and Slovak economic media texts. In modern economic media texts, textual “expressivization” is observed, which is realized primarily with the help of the language games. Its evaluative function comes to the forefront – evaluativity is an integral category of media language. In our article we will focus on examples of language games in Slovak and Russian economic texts, which, in our opinion, contain this evaluation. Language gaming is a misuse of words or letters, a breach of logical correspondence, but, very importantly, it is an incorrectness that is realized by the author and deliberately allowed. Only a deliberate incorrectness will cause not annoyance and bewilderment, but a desire to support the game and try to uncover the author’s underlying intention.In modern linguistics, the understanding of language game refers to the field of speech communication, and the language games themselves are seen as a decoration of speech. Language gaming is multifarious. In this article we will focus on some forms of this phenomenon, manifested in the variation of words, their forms and meanings in Russian and Slovak economic media texts. In modern economic media texts, textual “expressivization” is observed, which is realized primarily with the help of the language games. Its evaluative function comes to the forefront – evaluativity is an integral category of media language. In our article we will focus on examples of language games in Slovak and Russian economic texts, which, in our opinion, contain this evaluation. Language gaming is a misuse of words or letters, a breach of logical correspondence, but, very importantly, it is an incorrectness that is realized by the author and deliberately allowed. Only a deliberate incorrectness will cause not annoyance and bewilderment, but a desire to support the game and try to uncover the author’s underlying intention.In modern linguistics, the understanding of language game refers to the field of speech communication, and the language games themselves are seen as a decoration of speech. Language gaming is multifarious. In this article we will focus on some forms of this phenomenon, manifested in the variation of words, their forms and meanings in Russian and Slovak economic media texts. In modern economic media texts, textual “expressivization” is observed, which is realized primarily with the help of the language games. Its evaluative function comes to the forefront – evaluativity is an integral category of media language. In our article we will focus on examples of language games in Slovak and Russian economic texts, which, in our opinion, contain this evaluation. Language gaming is a misuse of words or letters, a breach of logical correspondence, but, very importantly, it is an incorrectness that is realized by the author and deliberately allowed. Only a deliberate incorrectness will cause not annoyance and bewilderment, but a desire to support the game and try to uncover the author’s underlying intention.In modern linguistics, the understanding of language game refers to the field of speech communication, and the language games themselves are seen as a decoration of speech. Language gaming is multifarious. In this article we will focus on some forms of this phenomenon, manifested in the variation of words, their forms and meanings in Russian and Slovak economic media texts. In modern economic media texts, textual “expressivization” is observed, which is realized primarily with the help of the language games. Its evaluative function comes to the forefront – evaluativity is an integral category of media language. In our article we will focus on examples of language games in Slovak and Russian economic texts, which, in our opinion, contain this evaluation. Language gaming is a misuse of words or letters, a breach of logical correspondence, but, very importantly, it is an incorrectness that is realized by the author and deliberately allowed. Only a deliberate incorrectness will cause not annoyance and bewilderment, but a desire to support the game and try to uncover the author’s underlying intention
Игра с нормой в интернет-мемах
Get PDFThere is no doubt that internet communication is characterized by language democratization, which is particularly evident in the case of a genre such as internet memes. In the process of meme creation, the norms are quite often exceeded. Particularly noticeable are deviations from the orthographic, punctuation, grammatical, or stylistic norms (a large number of swear words). A significant part of these deviations is intentional, as they testify to the linguistic creativity of the meme authors who aim to achieve a humorous effect. The purpose of this article is to present how deviations from the norms are used in Russian internet memes. It is also pointed out that memes addressing the problem of linguistic correctness humorously can be found on the internet. The analysis showed that they could be a specific form of fighting against violations of the linguistic norms in online communication. By ridiculing typical mistakes in the contemporary Russian language, they popularize normative forms.There is no doubt that internet communication is characterized by language democratization, which is particularly evident in the case of a genre such as internet memes. In the process of meme creation, the norms are quite often exceeded. Particularly noticeable are deviations from the orthographic, punctuation, grammatical, or stylistic norms (a large number of swear words). A significant part of these deviations is intentional, as they testify to the linguistic creativity of the meme authors who aim to achieve a humorous effect. The purpose of this article is to present how deviations from the norms are used in Russian internet memes. It is also pointed out that memes addressing the problem of linguistic correctness humorously can be found on the internet. The analysis showed that they could be a specific form of fighting against violations of the linguistic norms in online communication. By ridiculing typical mistakes in the contemporary Russian language, they popularize normative forms.There is no doubt that internet communication is characterized by language democratization, which is particularly evident in the case of a genre such as internet memes. In the process of meme creation, the norms are quite often exceeded. Particularly noticeable are deviations from the orthographic, punctuation, grammatical, or stylistic norms (a large number of swear words). A significant part of these deviations is intentional, as they testify to the linguistic creativity of the meme authors who aim to achieve a humorous effect. The purpose of this article is to present how deviations from the norms are used in Russian internet memes. It is also pointed out that memes addressing the problem of linguistic correctness humorously can be found on the internet. The analysis showed that they could be a specific form of fighting against violations of the linguistic norms in online communication. By ridiculing typical mistakes in the contemporary Russian language, they popularize normative forms.There is no doubt that internet communication is characterized by language democratization, which is particularly evident in the case of a genre such as internet memes. In the process of meme creation, the norms are quite often exceeded. Particularly noticeable are deviations from the orthographic, punctuation, grammatical, or stylistic norms (a large number of swear words). A significant part of these deviations is intentional, as they testify to the linguistic creativity of the meme authors who aim to achieve a humorous effect. The purpose of this article is to present how deviations from the norms are used in Russian internet memes. It is also pointed out that memes addressing the problem of linguistic correctness humorously can be found on the internet. The analysis showed that they could be a specific form of fighting against violations of the linguistic norms in online communication. By ridiculing typical mistakes in the contemporary Russian language, they popularize normative forms
Польские города как пространство истории в Семейном архиве Бориса Херсонского
Get PDFThis article is focused on the so-called urban texts related to Poland with a special emphasis on the historical and geographical region of Galicia, which covers the territories of Red Ruthenia in Ukraine and Lesser Poland, and on their historical connotations as presented in Boris Khersonsky’s book of poetry Family archive (2006). Khersonsky is a Russian-speaking Ukrainian poet from Odesa, who has been awarded prestigious prizes for his literary work both in Ukraine and abroad. Family archive can be described as a sort of novel in verse about the tragic history of the 20th century told through the family history of the author himself. The main goal of this article is to analyze the specific spatial structure of the book in the context of geopoetics and places of memory with a special accent on Polish cities and towns. This territory is the quintessential locus of historical events connected to Eastern European Jewish heritage and the tragedy of the Holocaust. This paper seeks to reconstruct the image of Poland with all the connotations and cultural myths associated with its multicultural experience.This article is focused on the so-called urban texts related to Poland with a special emphasis on the historical and geographical region of Galicia, which covers the territories of Red Ruthenia in Ukraine and Lesser Poland, and on their historical connotations as presented in Boris Khersonsky’s book of poetry Family archive (2006). Khersonsky is a Russian-speaking Ukrainian poet from Odesa, who has been awarded prestigious prizes for his literary work both in Ukraine and abroad. Family archive can be described as a sort of novel in verse about the tragic history of the 20th century told through the family history of the author himself. The main goal of this article is to analyze the specific spatial structure of the book in the context of geopoetics and places of memory with a special accent on Polish cities and towns. This territory is the quintessential locus of historical events connected to Eastern European Jewish heritage and the tragedy of the Holocaust. This paper seeks to reconstruct the image of Poland with all the connotations and cultural myths associated with its multicultural experience.This article is focused on the so-called urban texts related to Poland with a special emphasis on the historical and geographical region of Galicia, which covers the territories of Red Ruthenia in Ukraine and Lesser Poland, and on their historical connotations as presented in Boris Khersonsky’s book of poetry Family archive (2006). Khersonsky is a Russian-speaking Ukrainian poet from Odesa, who has been awarded prestigious prizes for his literary work both in Ukraine and abroad. Family archive can be described as a sort of novel in verse about the tragic history of the 20th century told through the family history of the author himself. The main goal of this article is to analyze the specific spatial structure of the book in the context of geopoetics and places of memory with a special accent on Polish cities and towns. This territory is the quintessential locus of historical events connected to Eastern European Jewish heritage and the tragedy of the Holocaust. This paper seeks to reconstruct the image of Poland with all the connotations and cultural myths associated with its multicultural experience.This article is focused on the so-called urban texts related to Poland with a special emphasis on the historical and geographical region of Galicia, which covers the territories of Red Ruthenia in Ukraine and Lesser Poland, and on their historical connotations as presented in Boris Khersonsky’s book of poetry Family archive (2006). Khersonsky is a Russian-speaking Ukrainian poet from Odesa, who has been awarded prestigious prizes for his literary work both in Ukraine and abroad. Family archive can be described as a sort of novel in verse about the tragic history of the 20th century told through the family history of the author himself. The main goal of this article is to analyze the specific spatial structure of the book in the context of geopoetics and places of memory with a special accent on Polish cities and towns. This territory is the quintessential locus of historical events connected to Eastern European Jewish heritage and the tragedy of the Holocaust. This paper seeks to reconstruct the image of Poland with all the connotations and cultural myths associated with its multicultural experience
Строить через огонь. Польско-еврейские архитекторы и их профессиональные сети, 1937–1945 г.
Get PDFBefore 1939, Jewish architects were active members of their profession, participating in domestic and international architectural networks and contributing to the built environment of Polish cities. From the mid-1930s, however, intensifying antisemitism and far-right political forces pressured architectural networks to exclude Jews from professional unions. The start of the Second World War and the German occupation in 1939 strained professional architectural networks but led to the formation of underground workshops, cooperatives, and other groups, whose connections extended from Warsaw through the camps and ghettos of occupied Poland. This article presents the history of Jewish-Polish architects from 1937 to 1945. Demonstrating how architectural networks reacted to changing conditions of war, occupation, and genocide, it emphasizes architectural networks as sites of political engagement, ranging from prewar antisemitic attacks on Jews and their removal from the Society of Polish Architects (SARP) to underground architectural networks that hid Jews and allowed them to work. Although the fate of Jewish architects depended largely on their relationships with their professional networks, they also actively decided how to utilize those networks to resist the Nazis and to ensure their survival. This research shows that interpersonal relationships and wartime networks were consequential in determining the wartime fates of Jewish architects and also shaped the profession’s post-war structure.Before 1939, Jewish architects were active members of their profession, participating in domestic and international architectural networks and contributing to the built environment of Polish cities. From the mid-1930s, however, intensifying antisemitism and far-right political forces pressured architectural networks to exclude Jews from professional unions. The start of the Second World War and the German occupation in 1939 strained professional architectural networks but led to the formation of underground workshops, cooperatives, and other groups, whose connections extended from Warsaw through the camps and ghettos of occupied Poland. This article presents the history of Jewish-Polish architects from 1937 to 1945. Demonstrating how architectural networks reacted to changing conditions of war, occupation, and genocide, it emphasizes architectural networks as sites of political engagement, ranging from prewar antisemitic attacks on Jews and their removal from the Society of Polish Architects (SARP) to underground architectural networks that hid Jews and allowed them to work. Although the fate of Jewish architects depended largely on their relationships with their professional networks, they also actively decided how to utilize those networks to resist the Nazis and to ensure their survival. This research shows that interpersonal relationships and wartime networks were consequential in determining the wartime fates of Jewish architects and also shaped the profession’s post-war structure.Before 1939, Jewish architects were active members of their profession, participating in domestic and international architectural networks and contributing to the built environment of Polish cities. From the mid-1930s, however, intensifying antisemitism and far-right political forces pressured architectural networks to exclude Jews from professional unions. The start of the Second World War and the German occupation in 1939 strained professional architectural networks but led to the formation of underground workshops, cooperatives, and other groups, whose connections extended from Warsaw through the camps and ghettos of occupied Poland. This article presents the history of Jewish-Polish architects from 1937 to 1945. Demonstrating how architectural networks reacted to changing conditions of war, occupation, and genocide, it emphasizes architectural networks as sites of political engagement, ranging from prewar antisemitic attacks on Jews and their removal from the Society of Polish Architects (SARP) to underground architectural networks that hid Jews and allowed them to work. Although the fate of Jewish architects depended largely on their relationships with their professional networks, they also actively decided how to utilize those networks to resist the Nazis and to ensure their survival. This research shows that interpersonal relationships and wartime networks were consequential in determining the wartime fates of Jewish architects and also shaped the profession’s post-war structure.Before 1939, Jewish architects were active members of their profession, participating in domestic and international architectural networks and contributing to the built environment of Polish cities. From the mid-1930s, however, intensifying antisemitism and far-right political forces pressured architectural networks to exclude Jews from professional unions. The start of the Second World War and the German occupation in 1939 strained professional architectural networks but led to the formation of underground workshops, cooperatives, and other groups, whose connections extended from Warsaw through the camps and ghettos of occupied Poland. This article presents the history of Jewish-Polish architects from 1937 to 1945. Demonstrating how architectural networks reacted to changing conditions of war, occupation, and genocide, it emphasizes architectural networks as sites of political engagement, ranging from prewar antisemitic attacks on Jews and their removal from the Society of Polish Architects (SARP) to underground architectural networks that hid Jews and allowed them to work. Although the fate of Jewish architects depended largely on their relationships with their professional networks, they also actively decided how to utilize those networks to resist the Nazis and to ensure their survival. This research shows that interpersonal relationships and wartime networks were consequential in determining the wartime fates of Jewish architects and also shaped the profession’s post-war structure
Стены памяти и протеста: Как мемориальные доски преобразуют городские ландшафты в России
Get PDFThis article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how theseplaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities.This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how these plaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities.This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how these plaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities.This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how theseplaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities
Нарушение нормы Леонида Андреева в драматургическом произведении – „новая драма”
Get PDFIn this article, considering the specifics of the genre, the author focuses on the new observance of the norm in the text of drama. The concept of “norm” in drama has always been interpreted in different ways, i.e. in accordance with the demands of the era, different definitions of “norm” arose. For example, at the beginning of the 20th century in Russia, a peculiar “crisis of the theater” turned out to be especially fruitful in the search for new norms (in search of a new theater). The debate about the new theater lasted, relatively speaking, for ten years: modernists, symbolists, literary groups and individual writers argued about it. Using the example of Leonid Andreyev’s “new drama”, the author discusses such deviations from the norm (previous views) as symbolismand generalization of the characters (in The life of man and Tsar Hunger), the conventionality of the place and time of action (Black masks), and the narrative of the dramatic text (The ocean). Also, the author pays attention to the specific role of the musical background and the chromatics of Andreyev’s works of the “new theater”. Listed as “new plays” during the discussions on the future path of Russian dramatic literature and Russian theater in general, these plays represent the writer’s search for a new dramatic expression, which would later become known in literature as Leonid Andreyev’s “substantial theater”.In this article, considering the specifics of the genre, the author focuses on the new observance of the norm in the text of drama. The concept of “norm” in drama has always been interpreted in different ways, i.e. in accordance with the demands of the era, different definitions of “norm” arose. For example, at the beginning of the 20th century in Russia, a peculiar “crisis of the theater” turned out to be especially fruitful in the search for new norms (in search of a new theater). The debate about the new theater lasted, relatively speaking, for ten years: modernists, symbolists, literary groups and individual writers argued about it. Using the example of Leonid Andreyev’s “new drama”, the author discusses such deviations from the norm (previous views) as symbolismand generalization of the characters (in The life of man and Tsar Hunger), the conventionality of the place and time of action (Black masks), and the narrative of the dramatic text (The ocean). Also, the author pays attention to the specific role of the musical background and the chromatics of Andreyev’s works of the “new theater”. Listed as “new plays” during the discussions on the future path of Russian dramatic literature and Russian theater in general, these plays represent the writer’s search for a new dramatic expression, which would later become known in literature as Leonid Andreyev’s “substantial theater”.In this article, considering the specifics of the genre, the author focuses on the new observance of the norm in the text of drama. The concept of “norm” in drama has always been interpreted in different ways, i.e. in accordance with the demands of the era, different definitions of “norm” arose. For example, at the beginning of the 20th century in Russia, a peculiar “crisis of the theater” turned out to be especially fruitful in the search for new norms (in search of a new theater). The debate about the new theater lasted, relatively speaking, for ten years: modernists, symbolists, literary groups and individual writers argued about it. Using the example of Leonid Andreyev’s “new drama”, the author discusses such deviations from the norm (previous views) as symbolism and generalization of the characters (in The life of man and Tsar Hunger), the conventionality of the place and time of action (Black masks), and the narrative of the dramatic text (The ocean). Also, the author pays attention to the specific role of the musical background and the chromatics of Andreyev’s works of the “new theater”. Listed as “new plays” during the discussions on the future path of Russian dramatic literature and Russian theater in general, these plays represent the writer’s search for a new dramatic expression, which would later become known in literature as Leonid Andreyev’s “substantial theater”.In this article, considering the specifics of the genre, the author focuses on the new observance of the norm in the text of drama. The concept of “norm” in drama has always been interpreted in different ways, i.e. in accordance with the demands of the era, different definitions of “norm” arose. For example, at the beginning of the 20th century in Russia, a peculiar “crisis of the theater” turned out to be especially fruitful in the search for new norms (in search of a new theater). The debate about the new theater lasted, relatively speaking, for ten years: modernists, symbolists, literary groups and individual writers argued about it. Using the example of Leonid Andreyev’s “new drama”, the author discusses such deviations from the norm (previous views) as symbolismand generalization of the characters (in The life of man and Tsar Hunger), the conventionality of the place and time of action (Black masks), and the narrative of the dramatic text (The ocean). Also, the author pays attention to the specific role of the musical background and the chromatics of Andreyev’s works of the “new theater”. Listed as “new plays” during the discussions on the future path of Russian dramatic literature and Russian theater in general, these plays represent the writer’s search for a new dramatic expression, which would later become known in literature as Leonid Andreyev’s “substantial theater”
Эволюция концепта скуки в творчестве Елены Шварц
Get PDFThis paper focuses on the concept of boredom in the creative work of one of the significant figures of Soviet underground culture – Elena Shvarts. All the creative heritage – both poetic and prosaic – is treated like a semiotic unity, so that it is possible to see the evolution in understanding such a notion during more than five decades of the poet’s life. While analyzing the five-volume collection by Shvarts, statistical calculation has revealed only 28 cases of using the concept. Even though for Shvarts’s lyrical subjects, who are usually passionate and ecstatically active, boredom is not specific at all, the author sometimes puts this concept in the meaningful center of her creative universe. It could be done both explicably and implacably through the description of “boring” landscapes and events. After close reading of the texts from the five-volume collection, it is claimed that boredom in Shvarts’s oeuvre is strictly associated to the physical (and\or physiological) world, with its routines, wishes and activities. To the contrast, the transcendental world and everything connected to the sacrum, according to Elena Shvarts, cannot be boring.This paper focuses on the concept of boredom in the creative work of one of the significant figures of Soviet underground culture – Elena Shvarts. All the creative heritage – both poetic and prosaic – is treated like a semiotic unity, so that it is possible to see the evolution in understanding such a notion during more than five decades of the poet’s life. While analyzing the five-volume collection by Shvarts, statistical calculation has revealed only 28 cases of using the concept. Even though for Shvarts’s lyrical subjects, who are usually passionate and ecstatically active, boredom is not specific at all, the author sometimes puts this concept in the meaningful center of her creative universe. It could be done both explicably and implacably through the description of “boring” landscapes and events. After close reading of the texts from the five-volume collection, it is claimed that boredom in Shvarts’s oeuvre is strictly associated to the physical (and\or physiological) world, with its routines, wishes and activities. To the contrast, the transcendental world and everything connected to the sacrum, according to Elena Shvarts, cannot be boring.This paper focuses on the concept of boredom in the creative work of one of the significant figures of Soviet underground culture – Elena Shvarts. All the creative heritage – both poetic and prosaic – is treated like a semiotic unity, so that it is possible to see the evolution in understanding such a notion during more than five decades of the poet’s life. While analyzing the five-volume collection by Shvarts, statistical calculation has revealed only 28 cases of using the concept. Even though for Shvarts’s lyrical subjects, who are usually passionate and ecstatically active, boredom is not specific at all, the author sometimes puts this concept in the meaningful center of her creative universe. It could be done both explicably and implacably through the description of “boring” landscapes and events. After close reading of the texts from the five-volume collection, it is claimed that boredom in Shvarts’s oeuvre is strictly associated to the physical (and\or physiological) world, with its routines, wishes and activities. To the contrast, the transcendental world and everything connected to the sacrum, according to Elena Shvarts, cannot be boring.This paper focuses on the concept of boredom in the creative work of one of the significant figures of Soviet underground culture – Elena Shvarts. All the creative heritage – both poetic and prosaic – is treated like a semiotic unity, so that it is possible to see the evolution in understanding such a notion during more than five decades of the poet’s life. While analyzing the five-volume collection by Shvarts, statistical calculation has revealed only 28 cases of using the concept. Even though for Shvarts’s lyrical subjects, who are usually passionate and ecstatically active, boredom is not specific at all, the author sometimes puts this concept in the meaningful center of her creative universe. It could be done both explicably and implacably through the description of “boring” landscapes and events. After close reading of the texts from the five-volume collection, it is claimed that boredom in Shvarts’s oeuvre is strictly associated to the physical (and\or physiological) world, with its routines, wishes and activities. To the contrast, the transcendental world and everything connected to the sacrum, according to Elena Shvarts, cannot be boring
Non-speech information w angielskich i rosyjskich napisach Closed Captions zawartych w serialu Эпидемия. Analiza kontrastywna
Get PDFThe article focuses on a specific and little explored branch of audiovisual translation, namely non-speech information (Zdenek, 2015) in the Closed Captions (CC) in the Netflix production series To the lake (Russian title Эпидемия), directed by Pavel Kostomarov. The article attempts to reach a consensus in the terminological dispute between the countries of North America and Oceania (Captions) on the one hand, and the countries of Europe on the other (Subtitles). The decision to use the term “captions” and “captioning” is being justified. The method used in the research is the corpus-driven method, and the contrastive method between the intralingual captions in Russian and the interlingual captions in English. Individual types of non-speech information are compared: Speaker identifier, Language identifier, Sound effects, Paralanguage, Manner of speaking identifiers, Music and Channel identifier (Zdenek, 2015). In addition, some space is devoted to the NSI as non-verbatim. The results show a slight discrepancy in the amount of NSI used (2,020 in the English version and 2,004 in the Russian version). The greatest disproportions are noticed only at the level of individual categories. Differences were noticed, among others, in the level of the originality of data records, i.e. greater synonymy in the English version, especially in the category of Paralanguage and Sound effects. The research opens up a discussion on the condition of captions and improving accessibility in the NSI usage.The article focuses on a specific and little explored branch of audiovisual translation, namely non-speech information (Zdenek, 2015) in the Closed Captions (CC) in the Netflix production series To the lake (Russian title Эпидемия), directed by Pavel Kostomarov. The article attempts to reach a consensus in the terminological dispute between the countries of North America and Oceania (Captions) on the one hand, and the countries of Europe on the other (Subtitles). The decision to use the term “captions” and “captioning” is being justified. The method used in the research is the corpus-driven method, and the contrastive method between the intralingual captions in Russian and the interlingual captions in English. Individual types of non-speech information are compared: Speaker identifier, Language identifier, Sound effects, Paralanguage, Manner of speaking identifiers, Music and Channel identifier (Zdenek, 2015). In addition, some space is devoted to the NSI as non-verbatim. The results show a slight discrepancy in the amount of NSI used (2,020 in the English version and 2,004 in the Russian version). The greatest disproportions are noticed only at the level of individual categories. Differences were noticed, among others, in the level of the originality of data records, i.e. greater synonymy in the English version, especially in the category of Paralanguage and Sound effects. The research opens up a discussion on the condition of captions and improving accessibility in the NSI usage.The article focuses on a specific and little explored branch of audiovisual translation, namely non-speech information (Zdenek, 2015) in the Closed Captions (CC) in the Netflix production series To the lake (Russian title Эпидемия), directed by Pavel Kostomarov. The article attempts to reach a consensus in the terminological dispute between the countries of North America and Oceania (Captions) on the one hand, and the countries of Europe on the other (Subtitles). The decision to use the term “captions” and “captioning” is being justified. The method used in the research is the corpus-driven method, and the contrastive method between the intralingual captions in Russian and the interlingual captions in English. Individual types of non-speech information are compared: Speaker identifier, Language identifier, Sound effects, Paralanguage, Manner of speaking identifiers, Music and Channel identifier (Zdenek, 2015). In addition, some space is devoted to the NSI as non-verbatim. The results show a slight discrepancy in the amount of NSI used (2,020 in the English version and 2,004 in the Russian version). The greatest disproportions are noticed only at the level of individual categories. Differences were noticed, among others, in the level of the originality of data records, i.e. greater synonymy in the English version, especially in the category of Paralanguage and Sound effects. The research opens up a discussion on the condition of captions and improving accessibility in the NSI usage.The article focuses on a specific and little explored branch of audiovisual translation, namely non-speech information (Zdenek, 2015) in the Closed Captions (CC) in the Netflix production series To the lake (Russian title Эпидемия), directed by Pavel Kostomarov. The article attempts to reach a consensus in the terminological dispute between the countries of North America and Oceania (Captions) on the one hand, and the countries of Europe on the other (Subtitles). The decision to use the term “captions” and “captioning” is being justified. The method used in the research is the corpus-driven method, and the contrastive method between the intralingual captions in Russian and the interlingual captions in English. Individual types of non-speech information are compared: Speaker identifier, Language identifier, Sound effects, Paralanguage, Manner of speaking identifiers, Music and Channel identifier (Zdenek, 2015). In addition, some space is devoted to the NSI as non-verbatim. The results show a slight discrepancy in the amount of NSI used (2,020 in the English version and 2,004 in the Russian version). The greatest disproportions are noticed only at the level of individual categories. Differences were noticed, among others, in the level of the originality of data records, i.e. greater synonymy in the English version, especially in the category of Paralanguage and Sound effects. The research opens up a discussion on the condition of captions and improving accessibility in the NSI usage
Литературное изображение Ивана Мазепы в поэме Байрона Мазепa и в поэме Пушкина Полтавa. Сравнительный анализ
Get PDFThis article provides a comparative analysis of Ivan Mazepa – the protagonist in the poems Mazeppa (1819) by George Gordon Byron and Poltava (1829) by Alexander Pushkin. It gives a brief outline of who Mazepa was to identify the reasons for this historical figure to have attracted the considerable attention of the Great Romantics. Deploying the theoretical method on recognition and the juxtaposition of differences of literary works within Reception theory developed by Mary N. Layoun, the article examines aspects of dissimilarity in the literary portrayals of the image of Mazepa in Byron’s and Pushkin’s poems. The juxtaposition of Mazeppa and Poltava explains ways in which details from Mazepa’s biography and exploits that inspired Byron’s creative imagination and kindled his desire to recount the story of Mazepa can be contrasted with Pushkin’s presentation of the same protagonist as generated by his own viewpoints on the political aspects surrounding the events of the Great Northern War, specifically the Battle of Poltava. The article applies Hans Robert Jauss’s concept of the horizon of expectations to examine the case of Pushkin’s reception of Byron. It argues that what underlies the nature of Pushkin’s disagreement with Byron is his emotional involvement with the subject matter.This article provides a comparative analysis of Ivan Mazepa – the protagonist in the poems Mazeppa (1819) by George Gordon Byron and Poltava (1829) by Alexander Pushkin. It gives a brief outline of who Mazepa was to identify the reasons for this historical figure to have attracted the considerable attention of the Great Romantics. Deploying the theoretical method on recognition and the juxtaposition of differences of literary works within Reception theory developed by Mary N. Layoun, the article examines aspects of dissimilarity in the literary portrayals of the image of Mazepa in Byron’s and Pushkin’s poems. The juxtaposition of Mazeppa and Poltava explains ways in which details from Mazepa’s biography and exploits that inspired Byron’s creative imagination and kindled his desire to recount the story of Mazepa can be contrasted with Pushkin’s presentation of the same protagonist as generated by his own viewpoints on the political aspects surrounding the events of the Great Northern War, specifically the Battle of Poltava. The article applies Hans Robert Jauss’s concept of the horizon of expectations to examine the case of Pushkin’s reception of Byron. It argues that what underlies the nature of Pushkin’s disagreement with Byron is his emotional involvement with the subject matter.This article provides a comparative analysis of Ivan Mazepa – the protagonist in the poems Mazeppa (1819) by George Gordon Byron and Poltava (1829) by Alexander Pushkin. It gives a brief outline of who Mazepa was to identify the reasons for this historical figure to have attracted the considerable attention of the Great Romantics. Deploying the theoretical method on recognition and the juxtaposition of differences of literary works within Reception theory developed by Mary N. Layoun, the article examines aspects of dissimilarity in the literary portrayals of the image of Mazepa in Byron’s and Pushkin’s poems. The juxtaposition of Mazeppa and Poltava explains ways in which details from Mazepa’s biography and exploits that inspired Byron’s creative imagination and kindled his desire to recount the story of Mazepa can be contrasted with Pushkin’s presentation of the same protagonist as generated by his own viewpoints on the political aspects surrounding the events of the Great Northern War, specifically the Battle of Poltava. The article applies Hans Robert Jauss’s concept of the horizon of expectations to examine the case of Pushkin’s reception of Byron. It argues that what underlies the nature of Pushkin’s disagreement with Byron is his emotional involvement with the subject matter.This article provides a comparative analysis of Ivan Mazepa – the protagonist in the poems Mazeppa (1819) by George Gordon Byron and Poltava (1829) by Alexander Pushkin. It gives a brief outline of who Mazepa was to identify the reasons for this historical figure to have attracted the considerable attention of the Great Romantics. Deploying the theoretical method on recognition and the juxtaposition of differences of literary works within Reception theory developed by Mary N. Layoun, the article examines aspects of dissimilarity in the literary portrayals of the image of Mazepa in Byron’s and Pushkin’s poems. The juxtaposition of Mazeppa and Poltava explains ways in which details from Mazepa’s biography and exploits that inspired Byron’s creative imagination and kindled his desire to recount the story of Mazepa can be contrasted with Pushkin’s presentation of the same protagonist as generated by his own viewpoints on the political aspects surrounding the events of the Great Northern War, specifically the Battle of Poltava. The article applies Hans Robert Jauss’s concept of the horizon of expectations to examine the case of Pushkin’s reception of Byron. It argues that what underlies the nature of Pushkin’s disagreement with Byron is his emotional involvement with the subject matter
Музыка в романе Евгения Водолазкина Брисбен
Get PDFThe author of the article examines the role of music in Evgeny Vodolazkin’s novel Brisbane, analyzing individual manifestations of the widely understood intermediacy. The musical code of the text is expressed in audibility of the sounds the world of the novel is filled with, and in musical ecphrasis (the profession of the protagonist, professional vocabulary and slang, references to musical compositions; descriptions of the world of music through the prism of the characters’ perception). These techniques perform plot and semantic functions, combine two equal plot plans, and constitute the image of the protagonist and other important characters. Fragments with musical ecphrasis have a vivid narrative, emotionally saturated (“moments of explosion”). The main emotional codes (or affects) find expression in the selection of musical compositions that assert the dramatic direction of the narrative. Music in the novel expresses the hero’s inner state, his relationship to the world, and symbolizes the metaphysical breakthrough experienced by the hero: from love and sound, to silence and eternity.The author of the article examines the role of music in Evgeny Vodolazkin’s novel Brisbane, analyzing individual manifestations of the widely understood intermediacy. The musical code of the text is expressed in audibility of the sounds the world of the novel is filled with, and in musical ecphrasis (the profession of the protagonist, professional vocabulary and slang, references to musical compositions; descriptions of the world of music through the prism of the characters’ perception). These techniques perform plot and semantic functions, combine two equal plot plans, and constitute the image of the protagonist and other important characters. Fragments with musical ecphrasis have a vivid narrative, emotionally saturated (“moments of explosion”). The main emotional codes (or affects) find expression in the selection of musical compositions that assert the dramatic direction of the narrative. Music in the novel expresses the hero’s inner state, his relationship to the world, and symbolizes the metaphysical breakthrough experienced by the hero: from love and sound, to silence and eternity.The author of the article examines the role of music in Evgeny Vodolazkin’s novel Brisbane, analyzing individual manifestations of the widely understood intermediacy. The musical code of the text is expressed in audibility of the sounds the world of the novel is filled with, and in musical ecphrasis (the profession of the protagonist, professional vocabulary and slang, references to musical compositions; descriptions of the world of music through the prism of the characters’ perception). These techniques perform plot and semantic functions, combine two equal plot plans, and constitute the image of the protagonist and other important characters. Fragments with musical ecphrasis have a vivid narrative, emotionally saturated (“moments of explosion”). The main emotional codes (or affects) find expression in the selection of musical compositions that assert the dramatic direction of the narrative. Music in the novel expresses the hero’s inner state, his relationship to the world, and symbolizes the metaphysical breakthrough experienced by the hero: from love and sound, to silence and eternity.The author of the article examines the role of music in Evgeny Vodolazkin’s novel Brisbane, analyzing individual manifestations of the widely understood intermediacy. The musical code of the text is expressed in audibility of the sounds the world of the novel is filled with, and in musical ecphrasis (the profession of the protagonist, professional vocabulary and slang, references to musical compositions; descriptions of the world of music through the prism of the characters’ perception). These techniques perform plot and semantic functions, combine two equal plot plans, and constitute the image of the protagonist and other important characters. Fragments with musical ecphrasis have a vivid narrative, emotionally saturated (“moments of explosion”). The main emotional codes (or affects) find expression in the selection of musical compositions that assert the dramatic direction of the narrative. Music in the novel expresses the hero’s inner state, his relationship to the world, and symbolizes the metaphysical breakthrough experienced by the hero: from love and sound, to silence and eternity