33 research outputs found
Anthroponyms of N.Gogol’s «Taras Bulba»
No full textПредметом аналізу в статті є антропоетоніми повісті М. Гоголя «Тарас Бульба».Невід.ємною складовою характеристики творчої манери, індивідуального стилю автора є особливості формування репертуару антропоетонімів художнього твору, прийоми їх використання, способи формування й окреслення тексту. Розглянуто антропонімікон твору, у якому історична достовірність описуваних подій досягається, окрім інших художніх прийомів, шляхом актуалізації реального ономастикону, співвіднесеного з певним часом.Предметом анализа в статье являются антропоэтонимы повести Н. Гоголя «Тарас Бульба». Обязательной составляющей характеристики творческой манеры, индивидуального стиля автора стали особенности формирования репертуара антропоэтонимов художественного произведения, приемы их употребления, способы формирования и определения художественного текста. Рассмотрен антропонимикон повести.The object of investigation is anthroponyms of N.Gogol’s «Taras Bulba». The obligatory component of creative manner and individual style of the author is the peculiarities of forming the anthroponyms of art work, ways of their usage, means of forming and definition of the text. The anthroponymicon of the novel is analyzed
Anthroponyms of N.Gogol’s «Taras Bulba»
No full textПредметом аналізу в статті є антропоетоніми повісті М. Гоголя «Тарас Бульба».Невід.ємною складовою характеристики творчої манери, індивідуального стилю автора є особливості формування репертуару антропоетонімів художнього твору, прийоми їх використання, способи формування й окреслення тексту. Розглянуто антропонімікон твору, у якому історична достовірність описуваних подій досягається, окрім інших художніх прийомів, шляхом актуалізації реального ономастикону, співвіднесеного з певним часом.Предметом анализа в статье являются антропоэтонимы повести Н. Гоголя «Тарас Бульба». Обязательной составляющей характеристики творческой манеры, индивидуального стиля автора стали особенности формирования репертуара антропоэтонимов художественного произведения, приемы их употребления, способы формирования и определения художественного текста. Рассмотрен антропонимикон повести.The object of investigation is anthroponyms of N.Gogol’s «Taras Bulba». The obligatory component of creative manner and individual style of the author is the peculiarities of forming the anthroponyms of art work, ways of their usage, means of forming and definition of the text. The anthroponymicon of the novel is analyzed
BAROQUE AND ICONIC ECPHRASIS IN GOGOL'S "TARAS BULBA"
No full textThis article discusses the tools verbalization European Baroque painting techniques and Old icons in the Gogol's story "Taras Bulba". Narrative functions of implicit ecphrasis investigated in connection problem relatedness Catholicism and Orthodoxy in the minds of Gogol at the beginning of the 1840s.The purpose of the article analyzes the ways of verbalization and features of non-attributed implicit ecphrasis in the second edition of Gogol's "Taras Bulba" reproducing Caravaggio painting style and Old icons.Method or the methodology of work: Among research material are Gogol's "Taras Bulba" in two editions, the European Baroque paintings and ancient Russian icons. Were applied structural-typological, structural, intertextual, hermeneutical methods.Results: We describe the correlation of ecphrasis in Gogol with referents: the paintings of Caravaggio and Honthorst , and Old Russian iconography . Found that ecphrasis descriptions that appear only in the edition of 1842 are not local segments of the text and form the entire text layers, actively organizing narrative, operating plot and composition. Hidden emplisit ecphrasis is the artistic code, extending the semantic space of the text , the text translation tool of religious and philosophical ideas of the author. Valuable contraposition of baroque and iconic ecphrasis in the story reflects not only the author's reflection on the problem of beauty , inner and outer, but also a reflection of their own style.Application area: The results of our study can be used for lectures on the history of Russian literature of the XIX century, the history of Russian and European culture, cultural studies, specialized courses and electives in the problem of interaction between different kinds of art, as well as material for interdisciplinary humanities research, including in school practice teaching literature and art history.</p
A Postcolonial Reading of Nikolai Gogol’s Taras Bulba
No full textThe sixteenth-century Cossacks became the favourite topic of Ukrainian authors of the nineteenth century who dealt with national and individual identity issues. Nikolai Gogol, the celebrated Russian author who had Ukrainian origin and was born in a Cossack village, wrote the epic romance of Taras Bulba, which narrated the story of Cossacks and their struggle for preserving their independence. While the work has been previously studied under the light of postcolonial theoretical framework, using the concepts developed by Homi Bhabha to scrutinize the situation and the destiny of the two main hybrid characters, Taras Bulba’s sons, takes a step further and reveals the deeply ingrained anxiety and ambivalence in the Cossack mentality. The article focuses on the two main hybrid characters who choose divergent paths upon encountering the conflict brought to them by the imperial power
A Postcolonial Reading of Nikolai Gogol’s Taras Bulba
No full textThe sixteenth-century Cossacks became the favourite topic of Ukrainian authors of the nineteenth century who dealt with national and individual identity issues. Nikolai Gogol, the celebrated Russian author who had Ukrainian origin and was born in a Cossack village, wrote the epic romance of Taras Bulba, which narrated the story of Cossacks and their struggle for preserving their independence. While the work has been previously studied under the light of postcolonial theoretical framework, using the concepts developed by Homi Bhabha to scrutinize the situation and the destiny of the two main hybrid characters, Taras Bulba’s sons, takes a step further and reveals the deeply ingrained anxiety and ambivalence in the Cossack mentality. The article focuses on the two main hybrid characters who choose divergent paths upon encountering the conflict brought to them by the imperial power
Screen Adaptation of N. Gogol’s Story “Taras Bulba” (Russia, Ukraine, Poland 2009).
No full textDarbs veltīts Nikolaja Gogoļa stāsta ekranizācijas “Taras Buļba” (Krievija, Ukraina, Polija, 2009, rež. Vladimirs Bortko) analīzei. Darba mērķis ir noteikt N. Gogoļa stāsta “Taras Buļba” ekranizācijas kinovalodas specifiku un salīdzināt oriģinālo tekstu ar ekranizāciju. Autore veic salīdzinošu analīzi, sastatot ekranizācijas un stāsta raksturojošos aspektus. Īpaša uzmanība veltīta kadra problēmai, montāžai, sižeta specifikai, kā arī ekranizācijas skaņas noformējumam un mākslinieciskās izteiksmes līdzekļiem. Darbs sastāv no divām daļām. Pirmajā nodaļā tiek apskatīti galvenie teorijas jautājumi, kas nepieciešami, praktiskā pētījuma veikšanai. Praktiskajā daļā, sastatot verbālo un vizuālo tekstu, tiek analizēti dažādi literārās ekranizācijas aspekti.The Diploma paper is dedicated to the investigation of the film adaptation of the story “Taras Bulba” (Russia, Ukraine, Poland 2009). The aim of the work is to define the cinematic idiom’s specifity and to compare the story of N.V. Gogol "Taras Bulba" with its adaptation of the 2009th year of the director Vladimir Bortko. The author conducts a comparative analysis of the characteristics of the screen version and the story, through the analysis of the material high lights the main topics of interest to literary scholars.The author pays careful attention to edit, story line, sound and representation appearance of the film story. The author analyzes the artistic techniques that are used in the film adaptation and generalizes his observations, determining the specifity of the film adaptation. The present paper consists of two Chapters. The basic theoretical questions are enunciated in the Chapter 1. The specifity of the film adaptation cinematic idiom is shown in the Chapter 2. The investigation can be interesting for the scholars who handle a problem of the cinematization of the piece of writing, and other readers who care for the given questuins
Producer's messages as instruments of supranational slavic identity construction (on the case of a screen version of Gogol's novel «Taras Bulba»)
No full textВ статье представлены результаты сравнительного анализа повести Н.В. Гоголя «Тарас Бульба» и кинопродукта режиссера А. Бортко. Автор выделяeт режиссерские мессиджи как инструмент формирования наднациональной славянской идентичности.The article presents the results of a comparative analysis of the Gogol's novel «Taras Bulba» and a screen version, produced by A. Bortko. The author highlights the producer's messages as the instruments of supra-national Slavic identity construction
Producer's messages as instruments of supranational slavic identity construction (on the case of a screen version of Gogol's novel «Taras Bulba»)
No full textВ статье представлены результаты сравнительного анализа повести Н.В. Гоголя «Тарас Бульба» и кинопродукта режиссера А. Бортко. Автор выделяeт режиссерские мессиджи как инструмент формирования наднациональной славянской идентичности.The article presents the results of a comparative analysis of the Gogol's novel «Taras Bulba» and a screen version, produced by A. Bortko. The author highlights the producer's messages as the instruments of supra-national Slavic identity construction
NOTAS SOBRE HISTÓRIA, FICÇÃO E REALIDADE EM TARAS BULBA DE NIKOLAI GOGOL
No full textThis article is dedicated to identifying fundamental elements of the literary conception held by Ukrainian author Nikolai Gogol regarding the notions of History, Fiction, and Reality in his work Taras Bulba, published in its definitive form in the year 1842. The text aims to reflect, initially, on the theoretical relationship between these categories, then briefly contextualizing the impact of historiography on Russian culture in the early decades of the 19th century – particularly in the thought of Gogol – as well as some elements of Cossack society and the causes of the rebellion led by this people in the mid-17th century against the Kingdom of Poland. In the actual analysis, attention is briefly given to the chronotopic matrix provided by geographical and historical references, the use of stereotyping, the transition between the objective and subjective planes of the narrative, and, especially, the decisive importance of the religious worldview originating from beliefs fostered by the Orthodox Church.O presente artigo se dedica a identificar elementos fundamentais da concepção literária sustentada pelo autor ucraniano Nikolai Gogol acerca das noções de História, Ficção e Realidade em sua obra Taras Bulba, publicada, em sua forma definitiva, no ano de 1842. O texto busca refletir, a princípio, acerca da relação teórica entre essas categorias, passando, a seguir, de modo sucinto, à contextualização do impacto da historiografia na cultura russa das primeiras décadas do século XIX – e, em particular, no pensamento de Gogol –, bem como de alguns elementos da sociedade cossaca e das causas da rebelião promovida por esse povo, em meados do século XVII, contra o reino da Polônia. No trabalho de análise propriamente dito, atenta-se, brevemente, à matriz cronotópica propiciada pelas referências geográficas e históricas, ao emprego da estereotipia, à transição entre os planos objetivo e subjetivo da narrativa e, em especial, à importância decisiva da visão de mundo religiosa, originária das crenças alimentadas pela Igreja Ortodoxa
