Studia Rossica Posnaniensia
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Motyw nadziei w twórczości Igora Talkowa
Get PDFThe aim of this paper is to present the literary theme of hope in the works of the Soviet Russian rock poet Igor Talkov (1956–1991). The poet’s poems as well as fragments of texts from the author’s prose serve as examples. In the course of analyzing the literary legacy of the composer, the author of the article distinguishes the following images of hope: the theme of hope conditioned by striving to fulfil his role in a dignified way in the arena of life; the theme of hope for the immortality of the poet’s fame and poetry; an inverted image of hope, interpreted as a loss of delusions; the theme of hope leading to victory in the unequal struggle of two ambivalent forces: Good and Evil; the theme of hope which is faith in a better life. Moreover, the conducted research shows that the poet, recalling the literary image of hope in his work, repeatedly referred to biblical texts and the works of the authors of the Golden Age, which, as works by Igor Talkov, allows to distinguish another characteristic feature of the presented speech master.The aim of this paper is to present the literary theme of hope in the works of the Soviet Russian rock poet Igor Talkov (1956–1991). The poet’s poems as well as fragments of texts from the author’s prose serve as examples. In the course of analyzing the literary legacy of the composer, the author of the article distinguishes the following images of hope: the theme of hope conditioned by striving to fulfil his role in a dignified way in the arena of life; the theme of hope for the immortality of the poet’s fame and poetry; an inverted image of hope, interpreted as a loss of delusions; the theme of hope leading to victory in the unequal struggle of two ambivalent forces: Good and Evil; the theme of hope which is faith in a better life. Moreover, the conducted research shows that the poet, recalling the literary image of hope in his work, repeatedly referred to biblical texts and the works of the authors of the Golden Age, which, as works by Igor Talkov, allows to distinguish another characteristic feature of the presented speech master.The aim of this paper is to present the literary theme of hope in the works of the Soviet Russian rock poet Igor Talkov (1956–1991). The poet’s poems as well as fragments of texts from the author’s prose serve as examples. In the course of analyzing the literary legacy of the composer, the author of the article distinguishes the following images of hope: the theme of hope conditioned by striving to fulfil his role in a dignified way in the arena of life; the theme of hope for the immortality of the poet’s fame and poetry; an inverted image of hope, interpreted as a loss of delusions; the theme of hope leading to victory in the unequal struggle of two ambivalent forces: Good and Evil; the theme of hope which is faith in a better life. Moreover, the conducted research shows that the poet, recalling the literary image of hope in his work, repeatedly referred to biblical texts and the works of the authors of the Golden Age, which, as works by Igor Talkov, allows to distinguish another characteristic feature of the presented speech master.The aim of this paper is to present the literary theme of hope in the works of the Soviet Russian rock poet Igor Talkov (1956–1991). The poet’s poems as well as fragments of texts from the author’s prose serve as examples. In the course of analyzing the literary legacy of the composer, the author of the article distinguishes the following images of hope: the theme of hope conditioned by striving to fulfil his role in a dignified way in the arena of life; the theme of hope for the immortality of the poet’s fame and poetry; an inverted image of hope, interpreted as a loss of delusions; the theme of hope leading to victory in the unequal struggle of two ambivalent forces: Good and Evil; the theme of hope which is faith in a better life. Moreover, the conducted research shows that the poet, recalling the literary image of hope in his work, repeatedly referred to biblical texts and the works of the authors of the Golden Age, which, as works by Igor Talkov, allows to distinguish another characteristic feature of the presented speech master
Стереотипные представления о ленивом человеке: лингвокогнитивный анализ культурных моделей русского и китайского языков
Get PDFThe purpose of the research is to analyze the content of Russian and Chinese proverbs, identify stereotypical ideas about a lazy person and compare the data of the two languages. Based on the analysis, the perceptual and inferior meanings of proverbs were identified. Perceptual meanings involve native speakers’ stereotypical representations obtained through observations: “a lazy person stays in bed a lot, sleeps for a long time”; “a lazy person tends to sit around most of the time and move just a little and slowly”; “a lazy person is fond of eating, but hates working”; “a lazy person does nothing with his hands”. It was concluded that the perceptual meanings of Russian and Chinese proverbs generally coincide. The following is referred to as the inferior meanings: “the conclusion about the causal relationship between laziness and a lack of necessary food and a warm shelter”; “generalization – a lazy person neither benefits from it themselves nor brings any benefit to the society”; “conclusion about the causal relationship between work/laziness and human life expectancy”. It was concluded that the inferior meanings differ: Russian proverbs represent the ideathat hard work leads to illness and shortens a person’s life, while Chinese proverbs reflect the stereotype “work prolongs a person’s life, whereas laziness makes people grow old”. Unlike the Chinese language, in which laziness is always categorically disapproved of directly, the Russian language reflects a condescending attitude towards lazy people.The purpose of the research is to analyze the content of Russian and Chinese proverbs, identify stereotypical ideas about a lazy person and compare the data of the two languages. Based on the analysis, the perceptual and inferior meanings of proverbs were identified. Perceptual meanings involve native speakers’ stereotypical representations obtained through observations: “a lazy person stays in bed a lot, sleeps for a long time”; “a lazy person tends to sit around most of the time and move just a little and slowly”; “a lazy person is fond of eating, but hates working”; “a lazy person does nothing with his hands”. It was concluded that the perceptual meanings of Russian and Chinese proverbs generally coincide. The following is referred to as the inferior meanings: “the conclusion about the causal relationship between laziness and a lack of necessary food and a warm shelter”; “generalization – a lazy person neither benefits from it themselves nor brings any benefit to the society”; “conclusion about the causal relationship between work/laziness and human life expectancy”. It was concluded that the inferior meanings differ: Russian proverbs represent the ideathat hard work leads to illness and shortens a person’s life, while Chinese proverbs reflect the stereotype “work prolongs a person’s life, whereas laziness makes people grow old”. Unlike the Chinese language, in which laziness is always categorically disapproved of directly, the Russian language reflects a condescending attitude towards lazy people.The purpose of the research is to analyze the content of Russian and Chinese proverbs, identify stereotypical ideas about a lazy person and compare the data of the two languages. Based on the analysis, the perceptual and inferior meanings of proverbs were identified. Perceptual meanings involve native speakers’ stereotypical representations obtained through observations: “a lazy person stays in bed a lot, sleeps for a long time”; “a lazy person tends to sit around most of the time and move just a little and slowly”; “a lazy person is fond of eating, but hates working”; “a lazy person does nothing with his hands”. It was concluded that the perceptual meanings of Russian and Chinese proverbs generally coincide. The following is referred to as the inferior meanings: “the conclusion about the causal relationship between laziness and a lack of necessary food and a warm shelter”; “generalization – a lazy person neither benefits from it themselves nor brings any benefit to the society”; “conclusion about the causal relationship between work/laziness and human life expectancy”. It was concluded that the inferior meanings differ: Russian proverbs represent the ideathat hard work leads to illness and shortens a person’s life, while Chinese proverbs reflect the stereotype “work prolongs a person’s life, whereas laziness makes people grow old”. Unlike the Chinese language, in which laziness is always categorically disapproved of directly, the Russian language reflects a condescending attitude towards lazy people.The purpose of the research is to analyze the content of Russian and Chinese proverbs, identify stereotypical ideas about a lazy person and compare the data of the two languages. Based on the analysis, the perceptual and inferior meanings of proverbs were identified. Perceptual meanings involve native speakers’ stereotypical representations obtained through observations: “a lazy person stays in bed a lot, sleeps for a long time”; “a lazy person tends to sit around most of the time and move just a little and slowly”; “a lazy person is fond of eating, but hates working”; “a lazy person does nothing with his hands”. It was concluded that the perceptual meanings of Russian and Chinese proverbs generally coincide. The following is referred to as the inferior meanings: “the conclusion about the causal relationship between laziness and a lack of necessary food and a warm shelter”; “generalization – a lazy person neither benefits from it themselves nor brings any benefit to the society”; “conclusion about the causal relationship between work/laziness and human life expectancy”. It was concluded that the inferior meanings differ: Russian proverbs represent the ideathat hard work leads to illness and shortens a person’s life, while Chinese proverbs reflect the stereotype “work prolongs a person’s life, whereas laziness makes people grow old”. Unlike the Chinese language, in which laziness is always categorically disapproved of directly, the Russian language reflects a condescending attitude towards lazy people
Политический вербатим в современной русской драматургии
Get PDFThe aim of this paper it to discuss the techniques employed in modern political Russian verbatim drama, as well as in their performances. Modern verbatim drama seeks to stay relevant and up-to-date by referring to taboos, radical social controversies, and political incidents. So, it becomes an important event of not only cultural but also social life, and it exerts a strong impact onmodern Russian society. The aesthetics of the modern verbatim drama is aimed at representing the reality which is absent from official discourse. Such texts as One hour eighteen minutes by Elena Gremina, Three quarters of sadness (Bolotnaya square case) by Polina Borodina, The last party by Anna Dobrovolskaya, and New Antigone by Elena Kostyuchenko openly explore the issues whichdo not function as part of the public discourse. Thus, they capture the traumatic experiences in order to overcome traumas. These texts take the traumatic events of current political and public life out of the marginal area, and they acquire the status of social statements which give hope for political and social changes, and give rise to unofficial discourse allowing the readers as well as the viewers to define their own opinion related to the traumatizing events.The aim of this paper it to discuss the techniques employed in modern political Russian verbatim drama, as well as in their performances. Modern verbatim drama seeks to stay relevant and up-to-date by referring to taboos, radical social controversies, and political incidents. So, it becomes an important event of not only cultural but also social life, and it exerts a strong impact onmodern Russian society. The aesthetics of the modern verbatim drama is aimed at representing the reality which is absent from official discourse. Such texts as One hour eighteen minutes by Elena Gremina, Three quarters of sadness (Bolotnaya square case) by Polina Borodina, The last party by Anna Dobrovolskaya, and New Antigone by Elena Kostyuchenko openly explore the issues whichdo not function as part of the public discourse. Thus, they capture the traumatic experiences in order to overcome traumas. These texts take the traumatic events of current political and public life out of the marginal area, and they acquire the status of social statements which give hope for political and social changes, and give rise to unofficial discourse allowing the readers as well as the viewers to define their own opinion related to the traumatizing events.The aim of this paper it to discuss the techniques employed in modern political Russian verbatim drama, as well as in their performances. Modern verbatim drama seeks to stay relevant and up-to-date by referring to taboos, radical social controversies, and political incidents. So, it becomes an important event of not only cultural but also social life, and it exerts a strong impact on modern Russian society. The aesthetics of the modern verbatim drama is aimed at representing the reality which is absent from official discourse. Such texts as One hour eighteen minutes by Elena Gremina, Three quarters of sadness (Bolotnaya square case) by Polina Borodina, The last party by Anna Dobrovolskaya, and New Antigone by Elena Kostyuchenko openly explore the issues which do not function as part of the public discourse. Thus, they capture the traumatic experiences in order to overcome traumas. These texts take the traumatic events of current political and public life out of the marginal area, and they acquire the status of social statements which give hope for political and social changes, and give rise to unofficial discourse allowing the readers as well as the viewers to define their own opinion related to the traumatizing events.The aim of this paper it to discuss the techniques employed in modern political Russian verbatim drama, as well as in their performances. Modern verbatim drama seeks to stay relevant and up-to-date by referring to taboos, radical social controversies, and political incidents. So, it becomes an important event of not only cultural but also social life, and it exerts a strong impact onmodern Russian society. The aesthetics of the modern verbatim drama is aimed at representing the reality which is absent from official discourse. Such texts as One hour eighteen minutes by Elena Gremina, Three quarters of sadness (Bolotnaya square case) by Polina Borodina, The last party by Anna Dobrovolskaya, and New Antigone by Elena Kostyuchenko openly explore the issues whichdo not function as part of the public discourse. Thus, they capture the traumatic experiences in order to overcome traumas. These texts take the traumatic events of current political and public life out of the marginal area, and they acquire the status of social statements which give hope for political and social changes, and give rise to unofficial discourse allowing the readers as well as the viewers to define their own opinion related to the traumatizing events
Театральный и балетный жаргон в современной лексикографии и в текстах культуры
Get PDFThe aim of the article is to examine whether the jargon units connected with ballet should be included in the network of terms found in modern dictionaries. The starting point of the analysis was the theoretical discourse concerning the range of meanings that the term “jargon” possesses. The article also gives an overview of the names and works of the authors who analysed the theatrical and ballet jargon. Then, using specific examples, the author confirms that the jargon units occur in the texts of culture, which implies that lay men can also come across such vocabulary. Texts of culture, for example, the analysed film Bolshoy, can be translated. The translation of jargon vocabulary requires the translator to have special competences and profound knowledge of the given field. Theoccurrence of jargon units in freely accessible texts of culture and functioning of these texts in their translated form constitute an argument that jargon words and expressions should be recorded in dictionaries. Recording them in specialist bilingual dictionaries, which usually contain such terms, would be desirable. The addition of jargon lexis which would be provided with appropriate qualifiers to their wordlist would increase the functionality of the dictionaries. This would improve the bilingual communication in the given field and streamline the work of translators.The aim of the article is to examine whether the jargon units connected with ballet should be included in the network of terms found in modern dictionaries. The starting point of the analysis was the theoretical discourse concerning the range of meanings that the term “jargon” possesses. The article also gives an overview of the names and works of the authors who analysed the theatrical and ballet jargon. Then, using specific examples, the author confirms that the jargon units occur in the texts of culture, which implies that lay men can also come across such vocabulary. Texts of culture, for example, the analysed film Bolshoy, can be translated. The translation of jargon vocabulary requires the translator to have special competences and profound knowledge of the given field. Theoccurrence of jargon units in freely accessible texts of culture and functioning of these texts in their translated form constitute an argument that jargon words and expressions should be recorded in dictionaries. Recording them in specialist bilingual dictionaries, which usually contain such terms, would be desirable. The addition of jargon lexis which would be provided with appropriate qualifiers to their wordlist would increase the functionality of the dictionaries. This would improve the bilingual communication in the given field and streamline the work of translators.The aim of the article is to examine whether the jargon units connected with ballet should be included in the network of terms found in modern dictionaries. The starting point of the analysis was the theoretical discourse concerning the range of meanings that the term “jargon” possesses. The article also gives an overview of the names and works of the authors who analysed the theatrical and ballet jargon. Then, using specific examples, the author confirms that the jargon units occur in the texts of culture, which implies that lay men can also come across such vocabulary. Texts of culture, for example, the analysed film Bolshoy, can be translated. The translation of jargon vocabulary requires the translator to have special competences and profound knowledge of the given field. The occurrence of jargon units in freely accessible texts of culture and functioning of these texts in their translated form constitute an argument that jargon words and expressions should be recorded in dictionaries. Recording them in specialist bilingual dictionaries, which usually contain such terms, would be desirable. The addition of jargon lexis which would be provided with appropriate qualifiers to their wordlist would increase the functionality of the dictionaries. This would improve the bilingual communication in the given field and streamline the work of translators.The aim of the article is to examine whether the jargon units connected with ballet should be included in the network of terms found in modern dictionaries. The starting point of the analysis was the theoretical discourse concerning the range of meanings that the term “jargon” possesses. The article also gives an overview of the names and works of the authors who analysed the theatrical and ballet jargon. Then, using specific examples, the author confirms that the jargon units occur in the texts of culture, which implies that lay men can also come across such vocabulary. Texts of culture, for example, the analysed film Bolshoy, can be translated. The translation of jargon vocabulary requires the translator to have special competences and profound knowledge of the given field. Theoccurrence of jargon units in freely accessible texts of culture and functioning of these texts in their translated form constitute an argument that jargon words and expressions should be recorded in dictionaries. Recording them in specialist bilingual dictionaries, which usually contain such terms, would be desirable. The addition of jargon lexis which would be provided with appropriate qualifiers to their wordlist would increase the functionality of the dictionaries. This would improve the bilingual communication in the given field and streamline the work of translators
Nuda codzienności w sztuce Marzec Iriny Waśkowskiej
Get PDFThe article attempts to describe how everyday life and the ennui it entails influence the lives of the protagonists of Irina Vaskovskaya’s play March. The banality of everyday life is one of the main themes in this young author’s works – Vaskovskaya draws portraits of women that are bored and disillusioned with their shallow, bland life, who are waiting for a miracle to free them from the abyss of monotony. The protagonist of the play March stands out against the background of these characters. For her, the trivial everyday life becomes an incentive to abandon her current existence and look for happiness elsewhere (although the actions she takes are often destructive). In the case of the other characters, the lacklustre reality does not spark creativity, but only deepens their passivity and inertia. Vaskovskaya’s play is quite a sombre image of provincial Russia, whose inhabitants live in a state of numbness. While maintaining a semblance of normalcy, they flit between boredom and despair in relation to the meaninglessness of their existence.The article attempts to describe how everyday life and the ennui it entails influence the lives of the protagonists of Irina Vaskovskaya’s play March. The banality of everyday life is one of the main themes in this young author’s works – Vaskovskaya draws portraits of women that are bored and disillusioned with their shallow, bland life, who are waiting for a miracle to free them from the abyss of monotony. The protagonist of the play March stands out against the background of these characters. For her, the trivial everyday life becomes an incentive to abandon her current existence and look for happiness elsewhere (although the actions she takes are often destructive). In the case of the other characters, the lacklustre reality does not spark creativity, but only deepens their passivity and inertia. Vaskovskaya’s play is quite a sombre image of provincial Russia, whose inhabitants live in a state of numbness. While maintaining a semblance of normalcy, they flit between boredom and despair in relation to the meaninglessness of their existence.The article attempts to describe how everyday life and the ennui it entails influence the lives of the protagonists of Irina Vaskovskaya’s play March. The banality of everyday life is one of the main themes in this young author’s works – Vaskovskaya draws portraits of women that are bored and disillusioned with their shallow, bland life, who are waiting for a miracle to free them from the abyss of monotony. The protagonist of the play March stands out against the background of these characters. For her, the trivial everyday life becomes an incentive to abandon her current existence and look for happiness elsewhere (although the actions she takes are often destructive). In the case of the other characters, the lacklustre reality does not spark creativity, but only deepens their passivity and inertia. Vaskovskaya’s play is quite a sombre image of provincial Russia, whose inhabitants live in a state of numbness. While maintaining a semblance of normalcy, they flit between boredom and despair in relation to the meaninglessness of their existence.The article attempts to describe how everyday life and the ennui it entails influence the lives of the protagonists of Irina Vaskovskaya’s play March. The banality of everyday life is one of the main themes in this young author’s works – Vaskovskaya draws portraits of women that are bored and disillusioned with their shallow, bland life, who are waiting for a miracle to free them from the abyss of monotony. The protagonist of the play March stands out against the background of these characters. For her, the trivial everyday life becomes an incentive to abandon her current existence and look for happiness elsewhere (although the actions she takes are often destructive). In the case of the other characters, the lacklustre reality does not spark creativity, but only deepens their passivity and inertia. Vaskovskaya’s play is quite a sombre image of provincial Russia, whose inhabitants live in a state of numbness. While maintaining a semblance of normalcy, they flit between boredom and despair in relation to the meaninglessness of their existence
Источники надежды в меняющейся действительности (на материале романа Бориса Пастернака Доктор Живаго)
Get PDFThe article analyzes the sources of hope in the changing reality in Boris Pasternak’s novel Doctor Zhivago. The concept of changing reality is presented through the prism of Zygmunt Bauman’s sociological reflections. In Pasternak’s novel, the high concentration of events of the first part of the 20th century, filled with social upheavals and catastrophes, such as wars and revolutions, becomes part of the protagonist’s biography. The novel reveals the protagonist’s ability to find sources of hope in a hopeless environment. This ability strengths Yuri Zhivago and helps him to live and be engaged in creative activity in hard times. Yuri Andreevich finds salvation in everyday worries, which helps him to overcome chaos in post-revolutionary Moscow. Events filled with the warmth and comfort of everyday life acquire a special status. The next source of hope and inspiration in the book is a creative activity. An inexhaustible source of motivation in the novel is also nature, which is inextricably linked with the theme of creativity. For the protagonist, life is most fully revealed in compassion, active love, admiration for the world, and hope for the triumph of beauty and goodness.The article analyzes the sources of hope in the changing reality in Boris Pasternak’s novel Doctor Zhivago. The concept of changing reality is presented through the prism of Zygmunt Bauman’s sociological reflections. In Pasternak’s novel, the high concentration of events of the first part of the 20th century, filled with social upheavals and catastrophes, such as wars and revolutions, becomes part of the protagonist’s biography. The novel reveals the protagonist’s ability to find sources of hope in a hopeless environment. This ability strengths Yuri Zhivago and helps him to live and be engaged in creative activity in hard times. Yuri Andreevich finds salvation in everyday worries, which helps him to overcome chaos in post-revolutionary Moscow. Events filled with the warmth and comfort of everyday life acquire a special status. The next source of hope and inspiration in the book is a creative activity. An inexhaustible source of motivation in the novel is also nature, which is inextricably linked with the theme of creativity. For the protagonist, life is most fully revealed in compassion, active love, admiration for the world, and hope for the triumph of beauty and goodness.The article analyzes the sources of hope in the changing reality in Boris Pasternak’s novel Doctor Zhivago. The concept of changing reality is presented through the prism of Zygmunt Bauman’s sociological reflections. In Pasternak’s novel, the high concentration of events of the first part of the 20th century, filled with social upheavals and catastrophes, such as wars and revolutions, becomes part of the protagonist’s biography. The novel reveals the protagonist’s ability to find sources of hope in a hopeless environment. This ability strengths Yuri Zhivago and helps him to live and be engaged in creative activity in hard times. Yuri Andreevich finds salvation in everyday worries, which helps him to overcome chaos in post-revolutionary Moscow. Events filled with the warmth and comfort of everyday life acquire a special status. The next source of hope and inspiration in the book is a creative activity. An inexhaustible source of motivation in the novel is also nature, which is inextricably linked with the theme of creativity. For the protagonist, life is most fully revealed in compassion, active love, admiration for the world, and hope for the triumph of beauty and goodness.The article analyzes the sources of hope in the changing reality in Boris Pasternak’s novel Doctor Zhivago. The concept of changing reality is presented through the prism of Zygmunt Bauman’s sociological reflections. In Pasternak’s novel, the high concentration of events of the first part of the 20th century, filled with social upheavals and catastrophes, such as wars and revolutions, becomes part of the protagonist’s biography. The novel reveals the protagonist’s ability to find sources of hope in a hopeless environment. This ability strengths Yuri Zhivago and helps him to live and be engaged in creative activity in hard times. Yuri Andreevich finds salvation in everyday worries, which helps him to overcome chaos in post-revolutionary Moscow. Events filled with the warmth and comfort of everyday life acquire a special status. The next source of hope and inspiration in the book is a creative activity. An inexhaustible source of motivation in the novel is also nature, which is inextricably linked with the theme of creativity. For the protagonist, life is most fully revealed in compassion, active love, admiration for the world, and hope for the triumph of beauty and goodness
Dum spiro spero? (Anna Starobiniec, Żywi)
Get PDFThe subject of the analysis is the short story by Anna Starobiniec titled The alive (2005). By using, inter alia, anti-utopia elements, the author analyzes the contemporary problems of mankind, presenting them against the backdrop of the world after “the end of history”, in which the catastrophe opens a completely new chapter in the history of Russia. The main characters are a pair of humanoids living in the posthuman world who are desperately trying to validate their human identity. In terms of the ideological aspect of the work, this raises the need to reformulate the thesis about the essence of humanity and the question about the criterion of the role and place of man in the world. If we assume that what people hope for defines their place in reality, then how to position the robot that hopes to become human? This problem (in the light of scientific progress) is only apparently distant and exotic, and in fact closer than we all think (especially in the moral and ethical dimension). In this context, it can be said that the story by Starobiniec is an important voice in the discussion on the problems of the future of the modern world in relation to the postulates of transhumanism – that considers and even allows for the abandonment of the human in favor of various variants of the posthuman.The subject of the analysis is the short story by Anna Starobiniec titled The alive (2005). By using, inter alia, anti-utopia elements, the author analyzes the contemporary problems of mankind, presenting them against the backdrop of the world after “the end of history”, in which the catastrophe opens a completely new chapter in the history of Russia. The main characters are a pair of humanoids living in the posthuman world who are desperately trying to validate their human identity. In terms of the ideological aspect of the work, this raises the need to reformulate the thesis about the essence of humanity and the question about the criterion of the role and place of man in the world. If we assume that what people hope for defines their place in reality, then how to position the robot that hopes to become human? This problem (in the light of scientific progress) is only apparently distant and exotic, and in fact closer than we all think (especially in the moral and ethical dimension). In this context, it can be said that the story by Starobiniec is an important voice in the discussion on the problems of the future of the modern world in relation to the postulates of transhumanism – that considers and even allows for the abandonment of the human in favor of various variants of the posthuman.The subject of the analysis is the short story by Anna Starobiniec titled The alive (2005). By using, inter alia, anti-utopia elements, the author analyzes the contemporary problems of mankind, presenting them against the backdrop of the world after “the end of history”, in which the catastrophe opens a completely new chapter in the history of Russia. The main characters are a pair of humanoids living in the posthuman world who are desperately trying to validate their human identity. In terms of the ideological aspect of the work, this raises the need to reformulate the thesis about the essence of humanity and the question about the criterion of the role and place of man in the world. If we assume that what people hope for defines their place in reality, then how to position the robot that hopes to become human? This problem (in the light of scientific progress) is only apparently distant and exotic, and in fact closer than we all think (especially in the moral and ethical dimension). In this context, it can be said that the story by Starobiniec is an important voice in the discussion on the problems of the future of the modern world in relation to the postulates of transhumanism – that considers and even allows for the abandonment of the human in favor of various variants of the posthuman.The subject of the analysis is the short story by Anna Starobiniec titled The alive (2005). By using, inter alia, anti-utopia elements, the author analyzes the contemporary problems of mankind, presenting them against the backdrop of the world after “the end of history”, in which the catastrophe opens a completely new chapter in the history of Russia. The main characters are a pair of humanoids living in the posthuman world who are desperately trying to validate their human identity. In terms of the ideological aspect of the work, this raises the need to reformulate the thesis about the essence of humanity and the question about the criterion of the role and place of man in the world. If we assume that what people hope for defines their place in reality, then how to position the robot that hopes to become human? This problem (in the light of scientific progress) is only apparently distant and exotic, and in fact closer than we all think (especially in the moral and ethical dimension). In this context, it can be said that the story by Starobiniec is an important voice in the discussion on the problems of the future of the modern world in relation to the postulates of transhumanism – that considers and even allows for the abandonment of the human in favor of various variants of the posthuman
Transkrypcja tekstu rosyjskiego na znaki polskiego alfabetu w relacjach z zesłania publikowanych na łamach czasopisma „Zesłaniec”
Get PDFThe aim of the article is to analyze transcription errors occurring in the texts transcribed from Russian into the Polish alphabet which were published in the journal “Zesłaniec”. The results of the study show that the majority of errors are caused by Polish language interference and insufficient knowledge of the Russian language. Many errors are also influenced by the sounds of the Russian language. The obtained results are compared against the outcomes of (presented) previous analyses and high-frequency errors observed in studies to date. On the basis of the conducted analysis, the author proposes to modify the current Polish transcription system of the Russian language. He postulates that the rules used by the Polish Scientific Publishers PWN are replaced with a set of rules which would to a greater extent reflect the phonetic features of the Russian language as well as the transcription practices of Polish speakers.The aim of the article is to analyze transcription errors occurring in the texts transcribed from Russian into the Polish alphabet which were published in the journal “Zesłaniec”. The results of the study show that the majority of errors are caused by Polish language interference and insufficient knowledge of the Russian language. Many errors are also influenced by the sounds of the Russian language. The obtained results are compared against the outcomes of (presented) previous analyses and high-frequency errors observed in studies to date. On the basis of the conducted analysis, the author proposes to modify the current Polish transcription system of the Russian language. He postulates that the rules used by the Polish Scientific Publishers PWN are replaced with a set of rules which would to a greater extent reflect the phonetic features of the Russian language as well as the transcription practices of Polish speakers.The aim of the article is to analyze transcription errors occurring in the texts transcribed from Russian into the Polish alphabet which were published in the journal “Zesłaniec”. The results of the study show that the majority of errors are caused by Polish language interference and insufficient knowledge of the Russian language. Many errors are also influenced by the sounds of the Russian language. The obtained results are compared against the outcomes of (presented) previous analyses and high-frequency errors observed in studies to date. On the basis of the conducted analysis, the author proposes to modify the current Polish transcription system of the Russian language. He postulates that the rules used by the Polish Scientific Publishers PWN are replaced with a set of rules which would to a greater extent reflect the phonetic features of the Russian language as well as the transcription practices of Polish speakers.The aim of the article is to analyze transcription errors occurring in the texts transcribed from Russian into the Polish alphabet which were published in the journal “Zesłaniec”. The results of the study show that the majority of errors are caused by Polish language interference and insufficient knowledge of the Russian language. Many errors are also influenced by the sounds of the Russian language. The obtained results are compared against the outcomes of (presented) previous analyses and high-frequency errors observed in studies to date. On the basis of the conducted analysis, the author proposes to modify the current Polish transcription system of the Russian language. He postulates that the rules used by the Polish Scientific Publishers PWN are replaced with a set of rules which would to a greater extent reflect the phonetic features of the Russian language as well as the transcription practices of Polish speakers
Юмористический тон как маркер авторского взгляда в комедиях Надежды Птушкиной
Get PDFThe article considers comic humour as an emotional and semantic component of the statements in two comedies written by Nadezhda Ptushkina: Paying ahead and Come and take away, which can be attributed to popular mass literature. Distinguishing between the manifestations of situational and semantic comedy and humour the article shows how the humorous tone of the character’s remarks changes the overall genre tone of the comedy. Due to the idea of how much the personality does not fit into the narrow framework of the stereotypical perception of the situation of the husband’s withdrawal from the family, the article notes the dramatic and tragic modality of the statements in the plays. At the same time, in all situations and in all manifestations of the relationship between the characters, we feel the author’s view. The author is distinguished by the ability to understand and accept a different opinion to optimistically see the possibility of preserving the family and identity of each person in the process of collisions with other opinions. Despite the author’s rejection the play retains a belief in a certain general harmony of the human soul, which is especially vividly perceived thanks to allusions to Chekhov’s plays. Techniques contribute to the removal of the author’s view and the positions of the characters: dialogue of the deaf, distancing the author’s view and the character’s position, wordplay. All these techniques contribute to overcoming the farcical nature of the conflict and its dramatization.The article considers comic humour as an emotional and semantic component of the statements in two comedies written by Nadezhda Ptushkina: Paying ahead and Come and take away, which can be attributed to popular mass literature. Distinguishing between the manifestations of situational and semantic comedy and humour the article shows how the humorous tone of the character’s remarks changes the overall genre tone of the comedy. Due to the idea of how much the personality does not fit into the narrow framework of the stereotypical perception of the situation of the husband’s withdrawal from the family, the article notes the dramatic and tragic modality of the statements in the plays. At the same time, in all situations and in all manifestations of the relationship between the characters, we feel the author’s view. The author is distinguished by the ability to understand and accept a different opinion to optimistically see the possibility of preserving the family and identity of each person in the process of collisions with other opinions. Despite the author’s rejection the play retains a belief in a certain general harmony of the human soul, which is especially vividly perceived thanks to allusions to Chekhov’s plays. Techniques contribute to the removal of the author’s view and the positions of the characters: dialogue of the deaf, distancing the author’s view and the character’s position, wordplay. All these techniques contribute to overcoming the farcical nature of the conflict and its dramatization
Карикатура и пропаганда: образ современной Украины в изображении пророссийских СМИ (2014–2018)
Get PDFThe information policy of the official Russian and pro-Russian online media regarding the so-called Ukrainian crisis contributes to the formation of the image of a new “ideological enemy” in public consciousness. With the help of traditional techniques of political propaganda, persistent clichés, and vivid visual images, modern Russian cartoonists influence the emotional perception of the situation by the public and perpetuate new myths about Ukraine. This article examines how the formation and dissemination of the image of the “enemy” occurs through its representation in the genre of modern political caricature. Caricatures reflecting the attitude of Russian artists to the political and economic situation in the neighboring country, to the bilateral conflict, as well as to attempts to resolve it by influential world political actors are analyzed using examples of specific authors and the plots of their caricatures.The information policy of the official Russian and pro-Russian online media regarding the so-called Ukrainian crisis contributes to the formation of the image of a new “ideological enemy” in public consciousness. With the help of traditional techniques of political propaganda, persistent clichés, and vivid visual images, modern Russian cartoonists influence the emotional perception of the situation by the public and perpetuate new myths about Ukraine. This article examines how the formation and dissemination of the image of the “enemy” occurs through its representation in the genre of modern political caricature. Caricatures reflecting the attitude of Russian artists to the political and economic situation in the neighboring country, to the bilateral conflict, as well as to attempts to resolve it by influential world political actors are analyzed using examples of specific authors and the plots of their caricatures.The information policy of the official Russian and pro-Russian online media regarding the so-called Ukrainian crisis contributes to the formation of the image of a new “ideological enemy” in public consciousness. With the help of traditional techniques of political propaganda, persistent clichés, and vivid visual images, modern Russian cartoonists influence the emotional perception of the situation by the public and perpetuate new myths about Ukraine. This article examines how the formation and dissemination of the image of the “enemy” occurs through its representation in the genre of modern political caricature. Caricatures reflecting the attitude of Russian artists to the political and economic situation in the neighboring country, to the bilateral conflict, as well as to attempts to resolve it by influential world political actors are analyzed using examples of specific authors and the plots of their caricatures