4,086 research outputs found
Yu. M. Lotman and Contemporary Narratology
No full textThe paper reconstructs the influence of the semiotic studies of Yu. Lotman on the formation of the problems and the research apparatus of modern (“post-classical”) multimedia narratology, associated with the names of J. Genette, P. Ricoeur, W. Schmid and others. In particular, the author discusses the emergence of scientific interest in the film narrative, which has also had a significant impact on literary narratology, enriching it with the constructive concept of the “narrative image”. The article focuses on Lotman’s storytelling research, especially the concept of “plot-driven texts” of culture in their opposition to “plotless texts”. Particular importance is attached to the distinction between plot and myth, which continued O. M. Freidenberg’s investigations into the origin of narration. Lotman’s pioneering role in mastering the scientific categories of “narrative worldview” and “narrative event” is described. The author reveals the place of Lotman's research heritage in the comprehension of narrative practices as a tool for mental appropriation of life, accumulation and retranslation of event experience, as well as in the birth and development of the modern project of historical narratology
Fables: Fong Siue-Fong
No full textI already have a similar book with English translations of Feng Hsueh-Feng, now here written Fong Siue-Fong. In fact, I have it in a hardbound first edition of 1953 and a paperbound second edition of 1955. Here is the hardbound French edition of 1955. The artist in those editions was called Huang Yung-yu; here he is Houang Yong-yu. The translator is not here acknowledged. This copy adds a picture of the author at the head of two new pages devoted to him. Surprisingly, the first full-page illustration -- for Le Paysan, les Moineaux et les Alouettes -- is reduced in size (5). Not all of the printer's designs used in the second edition are used here, perhaps because some texts run longer on the page. The order of fables seems to differ from the respective orders in the English editions. As I mention there, the fables are often directly admonitory and/or of a highly political slant. Un Rat Original may have the best illustration (77). Among the most overtly political is the fable on the imperialist weasel munching a duckling (26-8); here again the illustration is reduced, this time to fit horizontally and not vertically onto its page. There is a T of C at the back. The Foreign Languages Press in 1983 also did a paperbound version in smaller format but using the same illustrations, and I have that edition too.This is a hardbound book (hard cover)Language note: FrenchOriginal language: chiStated first editionFong Siue-Fon
Yu. M. Lotman and the Problems of Theoretical Literary Criticism
No full textIn the article, the author tries to assess the contribution of Yu. M. Lotman to the development of basic concepts of literary theory, which, along with the study of the problems of culture studies and the history of Russian literature, played an extremely important role in philological science. Among the large number of monographs and articles written by the scholar from Tartu, “Lectures on Structural Poetics” (1964) and “Culture and Explosion” (1992) stand out. According to the author of this article, it was in these works that the main break through took place, which put up an end to the rule of dogmatic literary criticism and opened up new opportunities in the field of philology. In particular, in the first book, the concept of structure as an epistemological category was postulated for the first time, in contrast to composition, which represents the material embodiment of the structure in text. In the last study, Lotman largely develops a number of new ideas, in which the text is understood as a field of relationships between systemic and non-systemic elements and suggests the possibility of various options for its development. In “Culture and Explosion”, the scholar presented a set of ideas that largely coincide with the thoughts of European poststructuralists, but differ in the interpretation of the main features of the literary process
Sage King Yu 禹 and the Bin Gong<i>XU</i>豳公盨
No full textThe recent discovery of an unusual ninth century B.C.E. bronze inscription dedicated to Yu as a founder deity has reopened discussions regarding the historicity of legendary figures. This article examines the occult role of this figure in Zhou society and suggests that the inscription be read as a song used in a harvest ceremony of thanksgiving to Yu. The author suggests that Yu once functioned along the same lines as Houji, as both ancestral founder and earth deity, but was eventually suppressed in favor of Houji.</jats:p
Saratov’s plot in Yu. N. Chumakov’s letters
No full textThe article discusses the place of Saratov-based plot in Yu. N. Chumakov’s letters addressed to the author of the article. The subject of discussion in the correspondence is the defense of Yu. N. Chumakov’s dissertation at Saratov University in 1970 and its role in his scientifi c biography. The defense of the dissertation with Yu. M. Lotman as the fi rst opponent became the key event of the Saratov plot and its climax. Having singled out fragments from the correspondence related to the plot of Saratov, the author seeks to explain the direction of the ensuing epistolary dialogue, why the defense of the dissertation was perceived by Yu. N. Chumakov as a more than signifi cant event for him, especially in the context of his dramatic biography. The author proves that the defense was an explosion of the linear sequence of the text of life, which dramatically changed the fate of the scientist. The desire to talk in detail about the defense, to fi nd out what impression it made, and to look at what was happening on that memorable day for him through the eyes of the addressee of the letter, betrayed the desire to read and interpret his fate again and again. Particular attention is paid in the correspondence to the personalities of such outstanding philologists, professors of Saratov University as A. P. Skaftymov and E. I. Pokusaev. Yu. N. Chumakov was not A. P. Skaftymov’s student and was not familiar with him, but specifi cally noted the acquisition and subsequent development of the principles of a scientifi c approach to the work, set out in his theoretical article in 1923. About the personality of E. I. Pokusaev, his supervisor, and the history of the relationship with him, Yu. N. Chumakov wrote in great detail. Having told about the role of E. I. Pokusaev, who supported the dissertation at the defense, and having outlined his complex, large and humanly attractive personality, Yu.N. Chumakov completes the plot of Saratov, which was very meaningful for him, primarily for self-understanding of his scientifi c path
Yu. M. Lotman Forever Turned the Idea of the Text
No full textAn interview with O. A. Kling is presented, revealing the significance of Yu. M. Lotman’s works for literary criticism of the XX–XXI centuries. Oleg Alekseevich Kling is a Russian literary critic, Doctor of Philology, Professor, Head of the Department of Literary Theory of the Faculty of Philology of Lomonosov Moscow State University, winner of the magazine award “Questions of Literature”. The areas of scientific interests are Russian literature, the history of Russian literary studies, symbolism and post-symbolism, the Silver Age. He is the author of many works in these fields, including books: “Alexander Blok: The Structure of the Novel in Verse”, “Russian Poetry: The poem ‘Twelve’” (2004), “The Poetic World of Marina Tsvetaeva” (2004), “The Influence of Symbolism on Post-Symbolist Poetry in Russia of the 1910s: Problems of Poetics” (2010), “‘The Platinum Age’ in Russian Literature” (2017), editor-in-chief of the encyclopedia “Russian Literary Critics of the twentieth Century: BioBibliographic Dictionary. Vol. I: A–L” (2017)
Artistic Expression of Russian National-Cultural Concept of River in M. Yu. Lermontov’s Works
Get PDFThe author’s individual artistic expression of the concept of RIVER in the artistic world of M. Yu. Lermontov is considered. The aim of the research is a complex philological (linguistic and literary) analysis of the RIVER concept in the Russian national conceptual sphere through the prism of its aesthetic transformation in M. Yu. Lermontov’s works. The materials of the research are the data of lexicographical sources - the main etymological, explanatory and special dictionaries of the Russian language, and the texts of poetic and prose works by M. Yu. Lermontov. The research is based on the method of linguocognitive analysis of culturally significant concepts in the system of language and on the method of literary analysis of “toposes” as landscape elements, acting as integral principles of the organization of the total artistic world of the author. It is shown that Lermontov’s RIVER topos as a whole correlates with the meanings that are characteristic of the corresponding concept in the Russian national language consciousness, but the greatest relevance for the artistic world of Lermontov have values associated with the idea of the border, the boundary, as well as the idea of time, the idea of life and its course, the idea of death. The practical significance of the study is that its main results can be used in the teaching of cognitive linguistics, linguoculturology, the basics of conceptual analysis, theory of literature, history of Russian literature, as well as in the practice of compiling dictionaries of a new type - dictionaries of concepts (including educational), linguistic and cultural thesauruses and literary dictionaries of “toposes” of Russian literature
Intertext in Yu. Buyda’s Story “The Damn and The Chemist”
Get PDFThe story by Yu. Buyda “The Damn and The Chemist” is analysed. Multiple links of this work with the precedent texts are revealed. Intertextual parallels marked in the text by language markers are commented. It is revealed that intertextuality in the texts by Yu. Buyda affects different levels: external (explicit) and underlying (implicit). Because of this, this technique is characterized by explicitness and implicitness. In the writer’s artistic world the studied technique has a hidden projective force - it appears at the level of the whole text, organizing a complex system and participating in the generation of the plot. It is shown that the analysis of examples of intertextuality requires knowledge of linguistic and extralinguistic nature. It is proved that in Yu. Buyda’s stories intertextual links serve as a means of creation of comic effect. The author argues that the sphere of the comic in the writer’s works is close to the field of lowest people’s bodily comic. Such proximity is explained by the desire of Yu. Buyda to make an artistic image closer to archaic past, when laughter, being associated with life and death, and through them with the topographic bottom of the Earth and human productive bottom, was considered as having the regenerating ability
Formation of A. S. Pushkin’s Creative Personality in the Mirror of Yu. N. Tynianov’s Novel “Pushkin”
Get PDFThe features of the image of the formation of Alexander Pushkin’s creative personality in Yu. Tynyanov’s novel “Pushkin” are investigated. The question of realization Yu. Tynyanov’s creative concept in this work is raised. Tynyanov sought to escape from the prevailing of the absolutization of the individual and the work of the poet in literary studies of the time and create his own interpretation based on comparative historical and formal approaches. The author of the article points out that the writer depicts the poet as an unusual child deprived of love and understanding of relatives and, as a consequence, lonely. Attention of Yu. Tynianov to the origins of the creative personality is emphasized. It is shown that the writer refers to the description of how the boy masters the art of watching and reflecting, how he awakens the love of literature and folk art, develops a tendency to poetry. It is noted that Yu. Tynyanov’s interpretation of Pushkin’s childhood is sometimes distressing, but in the description of the youth perspective of the narrative changes: in Lyceum, overcoming the drama of his awareness of the differences from others, the young poet begins to understand the value and purpose of creative personality. The conclusion about the links between the principles of image formation of the poet’s personality and Yu. Tynyanov’s concept of historicity is made
Appropriations of Irish drama by modern Korean nationalist theatre : a focus on the influence of Sean O’Casey in a colonial context
Get PDFMy thesis explores how a translated author on the periphery of the host culture’s
translated repertoire can be at once subversive and innovative on the colonial scene,
using as an example the case of Sean O’Casey in colonial Korea. It explores the
importation of Irish drama in modern Korean theatre during the colonial period and
examines the appropriations of O’Casey’s plays by a central Korean playwright, Yu
Chi-jin, in creating his own plays. Under Japanese colonial rule in the early twentieth
century, intellectuals perceived the supreme task for the Korean people to be the
recovery of national sovereignty and independence. The modern Korean theatre
movement which rose among Korean intellectuals and dramatists during the colonial
period was to play a major part in this task. The ultimate goal of this movement was
to establish a modern national theatre promoting Korean culture and educating the
people, thereby recovering national independence. As their modernised dramatic
polysystem was still "young", Korean intellectuals and dramatists who were
involved in the theatre movement had to borrow dramatic models from other
countries. One of the models they chose was Irish playwrights, especially those who
were involved in the Irish dramatic movement. They published or staged the works
of W.B. Yeats, Lord Dunsany [Edward John Moreton Drax Plunkett], Augusta
Gregory, J.M. Synge, St. J. Ervine, T.C. Murray and Sean O'Casey. Although
O'Casey was considered an important dramatist in the Irish dramatic movement, he
was a playwright on the periphery in the list of translated Irish dramatists in Korea
due to the colonisers’ censorship. However, he remained as a subversive and
innovative playwright on the colonial scene by virtue of being appropriated by Yu
Chi-jin who used O’Casey’s plays as models when creating his own works. In
discussing the subject matter of my thesis, I use Even Zohar’s polysystems theory as
a starting point in looking at ideological issues surrounding translation and extend
the discussion to offer a postcolonial perspective. While most translation in a
colonial context was considered as "an expression of the cultural power of the
colonisers," my thesis shifts the focus to translation as an expression of the cultural
power of the colonised. I explore how the colonised uses another colonised culture to
subvert the colonisers’ power
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