卷 24, 编号 4 (2024)
Articles
The role of affixal means of the Russian language in the development of the category of aspect
摘要
By the beginning of the written period of the Russian language, the formation of new aspectual meanings in verbs is already noticeable. The means of forming the category of aspect in the history of the Russian language are affixes: prefixes formalize the meaning of finiteness; suffixes participate in expressing the meaning of non-finiteness. The initial stage of the formation of the category of aspect is semantic transformations of prefixes. The processes of delocalization – neutralization of their initial spatial meanings – are developing in prefixes, and the semantic function of expressing the meaning of general result is being formed. This process is accompanied by the development of prefixal synonymy, semantically duplicating secondary prefi xation in verbs with a general resultative meaning. The aspectual function of the prefixes, which originally had a vaguely expressed perfective meaning, was strengthened by the development of special means of imperfectivation, such as a variety of suffixes (with the suffix -iva/-yva prevailing). The competition of suffixal means of imperfectivation is expressed in the development of variation, secondary duplicate suffixation in the circle of imperfective verbs, and changes in the aspectual function of suffixal verbs. Along with the stabilization of the means of expressing the imperfective meaning, the aspectual (perfective) meaning of prefixes is strengthened. A notable role in this process belongs to secondary prefixation as a means of removing the bi-aspectual meanings of prefixal verbs. Suffixes and prefixes play a crucial role in the formation of the aspectual system of the Russian language. However, the nature of their participation in the formation of the category of aspect in Russian is different. In the history of the Russian language special suffixes of imperfectivation appear, there are no special aspect forming prefixes, prefixes undergo a change in terms of content, they acquire the ability to act not only in the function of a word-forming, but also an aspect-forming means. The history of the formation of the category of aspect in Russian indicates its morphological-derivational character.
News of Saratov University. Ser. Philology. 2024;24(4):362-370
362-370
Hedging in written academic discourse as manifestation of its dialogue nature (based on dissertation reviews)
摘要
The article presents the analysis of the dialogue nature of written academic communication based on Russian evaluative academic discourse. The texts of 70 official dissertation reviews in humanities and sciences, published on the sites of dissertation councils of Russian universities in 2020–2024, were used as an empiric base for the research. The research aims to identify the role of hedge markers – specific discourse units used to mitigate the claims of the author – in manifestation of the dialogue character of the dissertation review as a speech genre. The author proves that the dialogue character of the review is determined by its polemical and potentially traumatic nature, embedded ness into a broad academic context, orientation on a concrete addressee, public character of dissertation defenses in RF as well as personal acquaintance of many scholars involved in the academic communication. The dialogue nature of the review, which is explored in close relation to such categories as mitigation, tolerance, vagueness, and politeness, simultaneously realizes the addressing strategy (concern about the addressee) and self-presentation strategy (concern about the author’s reputation). The following types of hedge markers are singled out: self-mentions, mitigation signals, reflexives, performatives with speech and thinking verbs, evaluations of the academic message. It is shown that in humanities hedges demonstrate a higher frequency rate and a greater variety than in sciences which may be explained by the anthropocentric and subjective nature of humanities. The author emphasizes the imperative necessity to use hedges in dissertation reviews to avoid or mitigate communicative and professional risks in academic sphere. The use of hedges may be considered as an ecolinguistic strategy, an element of positive communication and a necessary component of the academic competence of a scholar.
News of Saratov University. Ser. Philology. 2024;24(4):371-378
371-378
Gender influence on structural discourse markers in the English popular-science discourse (based on TED talks)
摘要
The article focuses on the influence of gender on structural discourse markers in the English popular-science genre of TED talks. The research is based on 20 English lectures (10 male and 10 female ones). All the lectures highlight the problems of education and online learning. The overall study materials comprise about 50,000 words. The structural discourse markers include global and local ones. Local structural discourse markers are used to connect statements, express the relations of cause, effect, time, condition, exclusion, inclusion. These discourse markers also let the speaker add information and clarify it, have a pause to search for words, and make a real or implied dialogue. The global structural discourse markers indicate the components of a discourse structure. According to the results of the study, men use structural discourse markers more often than women do (men’s lectures contain about 57% of all registered markers). Women tend to use internal links, authorizing constructions with inclusive let’s and enumerative linkers to structure their speech better. In turn, I-constructions, external links, individual hesitations (you know) and phatives are more typical for the men’s lectures. Gender is revealed to affect the use of the topic introduction markers, signals of order and sequence, external links, signals of conclusion and signals of switching the topic. However, gender differences in the variety and frequency of structural discourse markers are relatively insignificant since the requirements of a TED talk genre oblige speakers to present a pre-rehearsed speech. This fact decreases the influence of personal features, gender among them, on speech. Besides, structural discourse markers function in such a way that no public speech is possible without them, because these markers provide a means of structuring the presentation logically, thus making it easier for the audience to perceive the speech.
News of Saratov University. Ser. Philology. 2024;24(4):379-385
379-385
Representation of reality in the aesthetic-philosophical system of Denis Diderot
摘要
The article deals with the comprehension of the concept of reality in the cultural and scientifi c heritage of the French enlightener Denis Diderot. The interest to this topic is dictated by the timeless relevance of the innovative dramaturgical theory of the thinker, in which the issue of depicting the real is central. In the course of the analysis the works of domestic and foreign philosophers and literary critics, who touched upon the problem of the representation of reality in the 18th century and especially in the works of Denis Diderot, were involved. The concept of reality is considered both in aesthetic-philosophical (the article “Beaux”, “Entretiens sur Le Fils naturel”, “Discours sur la poésie dramatique”) and natural-scientifi c (“Pensées sur l’interprétation de la nature” and the article “Nature”) works, which allowed to reveal Diderot’s unifi ed ap proach in defi ning the real and formulating the rules of its representation. The article analyses the approaches to the representation of the real in a work of fi ction, which are described in detail by the enlightener in his treatises on dramaturgy. The study compares the concepts of “nature” and “reality” and explains their diff erences. Nature in Diderot’s understanding is the visible world, objective reality, whereas reality appears as a fi ctional unity, subjectively embodied in an artistic work on the basis of images from memory and imagination. This reality is constructed by the author of the work and is plausible. The author of the article, based on Diderot’s treatises on theatre, has formulated a number of criteria that must be followed in order to recreate a plausible reality. These criteria indicate the same requirements for the arts, which, according to Diderot, are most suitable for depicting the real – theatre, painting and music. The analysis shows that Diderot’s innovative aesthetic system clears the way for the saturation of art with plausible fi ction, and this “enrichment”, in turn, proclaims a new era – the “critical era of theatre”.
News of Saratov University. Ser. Philology. 2024;24(4):386-394
386-394
The representation of childhood in the autobiographical narrative structure (F.-R. de Chateaubriand and George Sand)
摘要
The article considers the theme of childhood and the specific features of its representation in the Mémoires d’outre-tombe by F. R. de Chateaubriand and Histoire de ma vie by Georges Sand. Childhood is seen as an integral structural element of the self-narrative, the artistic concept of which is formed in the context of the era and the existing literary tradition. The conceptualization of the mechanisms of this process seems to be important from the perspective of literary studies, as it allows us to reveal the variety of forms of Romantic worldview and trace their dynamics. The comparative analysis of texts created by authors who belong to different literary generations and represent the extremes of the French Romantic tradition in their work is aimed at exploring the mechanisms and individual features of the childhood representation within the framework of the narrative model developed under the influence of Romanticism. The comparison of the two author’s concepts of childhood reveals the general Romantic dominant perception of this phenomenon, demonstrates the evolution of views on the child in the culture of the first half of the 19th century, and also reveals the specific nature of memoirists’ self-perception expressed in the techniques of recreating child hood. It is shown that Chateaubriand’s portrayal of childhood is focused exclusively on his own, in his opinion, unique experiences that allow him to identify in a child the outlines of the future “son of the century”, a lonely and frustrated wanderer, while for George Sand her personal experience becomes the material for analyzing the phenomenon of childhood itself. Using the material of her own memories, she creates both a deeply intimate and psychologically convincing image of childhood, thereby expanding the palette of topoi formed by her predecessors and forestalling the discoveries of age psychology. This study allows us to conclude that the two narrative models, while retaining the general Romantic tendency to mythologize childhood, also distinctly record the transition from the marked egocentrism and introspection of the older generation of Romantics to the overcoming of individualism and searching for new narrative strategies among writers who worked at a later stage of French Romanticism and were influenced by new aesthetic, philosophical and social concepts.
News of Saratov University. Ser. Philology. 2024;24(4):395-403
395-403
The image of the Russian people in Notes from a Dead House by F. M. Dostoevsky
摘要
In modern cultural processes, the problems of the essence of the mentality of the Russian people in Dostoevsky’s artistic works are acquiring critical importance. The article provides a detailed analysis of the images of the Russian people and pictures of their life created by F. M. Dostoevsky in Notes from a Dead House, and reveals the origin of the ideas of Pochvennichestvo in Dostoevsky’s work of the early 1860s. The following main typological groups of images of the people are distinguished: the types of “meek” and “fierce”, “tormentors” and “victims”, “self willed” and “weak-hearted”. It is concluded that Dostoevsky affirmed the religious tolerance inherent in Russian Orthodox culture and called on the Russian people to take on the mission of the messiah. In his opinion, “Europeanized” Russian intellectuals are morally lost souls, temporarily cut off from the roots of the people as a result of the reforms of Peter the Great, who were destined to merge with the people. He opposed the “Blame circumstances” form and utilitarianism, and called for a return to art itself. Although Dostoevsky did not hide the obvious cruelty, barbarity and backwardness of Russian peasant life, he still believed that the noble Christian virtues of mercy and self-sacrifice remained at the core of peasant life. He believed in the spiritual strength and moral power of the Russian people and saw the way of salvation for a developed personality in uniting with the people. The significance of the work lies in the in-depth and detailed understanding of the problem of people and nationality in Dostoevsky’s works. The results of the work can be used in the study of Dostoevsky’s oeuvre in universities.
News of Saratov University. Ser. Philology. 2024;24(4):404-411
404-411
The functions of A. S. Pushkin’s intertext in Yu. N. Tynyanov’s novel The Death of Vazir-Mukhtar
摘要
The article focuses on the formal and content role of Pushkin’s intertext in Yu. N. Tynyanov’s novel The Death of Vazir-Mukhtar. Diff er ent ways of introducing quotes, references, allusions to A. S. Pushkin’s works are revealed. Such features of quoting as non-attributiveness, inexactness, pre-text reduction to single word images are elicited in the process of analysis. In the opinion of the author of the paper, this indicates a play-based dialogue with the reader who should unravel Pushkin’s texts independently and discern the “mistakes” of reproduc tion. The titles of A. S. Pushkin’s works being mentioned (The Prisoner of the Caucasus, Eugene Onegin, Stances, Poltava) and allusions (to The Fountain of Bakhchisarai, To Friends etc) are considered as one of the distinctive forms of their representation. Identifying the techniques of introducing Pushkin’s intertext into Tynyanov’s novel through the consciousness of diff erent characters (F. V. Bulgarin, A. S. Griboedov and A. S. Pushkin himself) features largely in the article. The characterological, historic and literary functions of such characters as F. V. Bulgarin and A. S. Griboedov’s refl ection on Pushkin’s texts are elicited. The author of the article focuses on the motive of the creator of Woe from Wit com peting with A. S. Pushkin, that is actualized through intertext. Along the lines of considering this issue in the paper, some inner connections between the novel narrative and the scientifi c papers of Yu. N. Tynyanov are defi ned. The quotes from A Journey to Arzrum at the end of the novel, in the strong position, are given particular importance in the article: Pushkin’s evaluations of the fate and oeuvre of A. S. Griboedov acquire the function of a highly respected statement, enriching the author’s understanding of the hero’s image. Studying the artistic functions of Pushkin’s pre-texts enables to draw a conclusion that A. S. Pushkin is present throughout the whole narration due to the references to his works, and his poetry is an inalienable part of the ‘thesaurus’ of his contemporaries.
News of Saratov University. Ser. Philology. 2024;24(4):412-420
412-420
World-modeling universals of childhood in M. A. Osorgin’s story From the Little House
摘要
The purpose of this article is to consider the specific features of the artistic embodiment of the components of the author’s childhood world model in the story From the Little House by the writer of the first wave of the Russian émigré, M. A. Osorgin. The author-narrator appears as the central world-modeling category of the work. He remembers, reflects, describes himself as a child. The theme of memory stated in the story is the leading one for the autobiographical prose of the Russian émigré writers. Everything in the work is controlled by the author’s creative power, his inner experiences and sensations. Alongside with that, by describing himself in his childhood, the author gives an infant, a child an opportunity to become the subject of world modeling and at the same time a participant of the depicted events. As a result, the reader sees the child’s world as he himself created and modeled it. The “voice” of the adult narrator is nevertheless significant in the story. The artistic model of the world, recreated in the work, is based on a number of images-memories, saturated with philosophical, historical, and ethical issues. The story presents a picture of the world that has special world-modeling universals, expressed by means of oppositions, the antithesis of the eternal and the mundane, models of world duality, the opposition of Space and Chaos, the image of changing space, recurrent themes, motifs and images that undergo a symbolic generalization. The earthly world correlates with the idea of the fragility of human existence. The image of home is interpreted as a space of protection, peace, desired solitude, and unaffectedness. Infancy is associated with the category of eternity. The world-modeling category of time in Osorgin’s story acquires the characteristics of fleetingness, cosmic f l ow, return from the present to the past, duration, and expansion. The theme of music plays a big role. Childhood is interpreted as a time of ultimate harmonious existence. Scenes of nature are closely related to the themes of origins, beauty and spiritual purity. The story combines real and fantastic plans. The author’s reflections are addressed to the fate of Russia and issues of spiritual national existence.
News of Saratov University. Ser. Philology. 2024;24(4):421-426
421-426
Film adaptations of Mikhail Bulgakov’s works: Literary source and its interpretation
摘要
Over the course of more than fifty years, thirteen of M. Bulgakov’s works have been adapted for the screen: The Master and Margarita, Heart of a Dog, Flight, The White Guard, Days of the Turbins, The Fatal Eggs, Morphine, A Young Doctor’s Notebook, The Red Crown, Ivan Vasilievich, A Theatrical Novel, The Crimson Island, and The Last Days. The novel The Master and Margarita holds the record for the most screen adaptations in cinema: twelve films. The play Flight has been adapted for the screen three times, and the stories Heart of a Dog and The Fatal Eggs have also been adapted three times. A Young Doctor’s Notebook and the story Morphine were combined into a single script twice. The film versions are so different that they were perceived, both immediately and over time, as classic interpretations and examples of fakes and “failed” films. Despite the critical level of assessments, one cannot help but see the significant achievements of filmmakers (A. Alov and V. Naumov, V. Basov, L. Gaidai, V. Bortko), more modest ones (M. Yakzhen, Yu. Kara) and completely controversial to admirers of the classic author and the connoisseurs of Bulgakov (films by A. Lattuada, S. Lomkin, A. Balabanov, S. Snezhkin, M. Lokshin). The article presents a brief overview of screen adaptations with their very risky innovation, sometimes with a political bias towards the literary source, which has its own author’s concept, plot movement, and the logic of constructing episodes. But the “translation” of the literary source into a script and into the language of cinema is a “re-creation”, in fact a new work of art, and literary scholars have to take this into account, since the very perception of the cinematic text changes in all its new “film composition”, in its entirety.
News of Saratov University. Ser. Philology. 2024;24(4):427-433
427-433
“A fighting body” in the poetry of the Thaw epoch
摘要
The article traces the transformation of the corporeal imagery in the poetry of the thirteen key war-veteran poets, who started writing in the war years and continued to create during the Thaw: O. Berggolts, S. Gudsenko, Yu. Drunina, Yu. Levitansky, A. Mezhirov, B. Okudzhava, N. Panchenko, D. Samoylov, I. Selvinsky, K. Simonov, B. Slutsky, Ya. Smelyakov, A. Tvardovsky. In the course of the analysis six types of corporeal images are revealed in the works of the authors under study: sensor, morbual, mortal, mnemonic, age and gender oriented. The author of the article studies the changes of these images in the post-war poetry caused by reconsidering the issues of life and death, war and peace, memory and forgetfulness, age and generation, love and friendship, epoch and creativity. According to the findings, corporeal imagery in the war years primarily focused on the immediate sensations: cold, hunger, pain, fear, closeness of death, wrath, etc. Sensory, morbual, mortal functions of physicality prevailed. War poetry overcame many taboos of portraying the suffering and resisting flesh. At the same time the corporeal imagery served as an acutely emotional means of confirming the official narrative of fight and victory over the enemy. In the Thaw period the poets, who returned from the war, used the corporeal code for a more in-depth comprehension of the experienced trauma. The mnemonic, age and gender oriented functions of the corporeal images come to the foreground. The body retains the memory of what it has endured, it realizes its age (non-biological) in a new way, it re-discovers its gender identity, senses its mortality. Alongside with this, the sensor, morbual, mortal images, developed during the war, become metaphorized. Pain, shard, wound, cold etc. move from the physical plane to the spiritual one. The war experience enters the conflicting relationships with the new sensory characteristics of a peaceful life and becomes the foundation for the unification of the war generation, searching for their place in the post-war poetry.
News of Saratov University. Ser. Philology. 2024;24(4):434-442
434-442
Transformation of the biblical myth in the play Judith by Elena Isaeva
摘要
The paper examines the features of the image of Judith in the play of the same name by the modern playwright Elena Isaeva, in which the author relies on the story described in the Book of Judith, which was a part of the Old Testament. Comparison with the original biblical myth allows us to conclude that it has been significantly transformed in the play. Isaeva does not limit herself to describing the clash of Assyrians and Jews, she muffles the bloody conflict. And the picture of the leader of the Assyrians, Holofernes, being murdered, is replaced by romantic episodes, secret meetings of lovers. The article compares two versions of the play (1992, 2004), which allows us to talk about the development of the author’s idea. An important role in the first version, which is designated in the article as “brief”, is played by the presence of two women in the play: Judith and her maid Elima. In this version, Elima’s frivolity is contrasted with the depth of Judith’s emotional turmoil. Elima is ready to enter into a love affair with almost every man she meets. For Judith, after many years of widowhood, the love that arose for Holofernes becomes a tragedy, as it is considered as an obstacle to achieving the goal of killing the enemy of her country. In the full version, Elima is “replaced” by her great-granddaughter, which allows Isaeva to build a fl ashback of events, as the heroine tells the girl what had happened in her life before the girl was born. To confirm the importance in the change of emphasis in the original biblical text, N. Nedobrovo’s play Judith is also drawn upon, which allows us to emphasize the difference in the interpretations of the biblical plot by the male and female authors. The result of the comparison is the statement about the development of a complex of “femininity” in Isaeva’s play. The analysis also makes it possible to comprehend the problem of interpreting biblical myths in culture.
News of Saratov University. Ser. Philology. 2024;24(4):443-450
443-450
Poetic texts in the perception of journals and the Internet literary criticism
摘要
Nowadays literary criticism on the Internet is actively developing, becoming an area of influence on the worldview of the modern reader. The article provides a comparative analysis of literary and critical publications on the Internet and in literary and art journals on poetic texts in the period from 2020 to 2023. The analysis of literary and critical publications suggests that journal criticism provides more structured and formalized synopses of poetry collections and their reviews, since professional critics are published in “thick” journals, and each article meets the requirements of the “editorial policy” of the issuing publication. Internet criticism is characterized by the lack of regulation of creativity on the part of the editorial board, publications are not subject to professional censorship, therefore synopses and reviews are extremely subjective, emotional and present the examples of “readers’ criticism”. The contradictory influence of the Internet on the state of literary criticism is emphasized: on the one hand, online criticism is more accessible and democratic, and this allows a wide range of people to express their opinions and create an interactive literary community, but, on the other hand, literary critical publications on the Internet are most often superficial, express a subjective assessment, affect the reader psychologically, as they are extremely emotional and subjective. The structural and content features of literary and critical publications in “thick” journals and the Internet are addressed. The principles of interaction between the critic and the reader, the peculiarities of style, the use of certain syntactic constructions in literary and critical publications are considered, which help literary critics convey their feelings and evaluate works both in periodicals and on the Internet.
News of Saratov University. Ser. Philology. 2024;24(4):451-457
451-457
Categories of institutionality, targeting and timeliness in sport discourse (based on publications from L’Équipe)
摘要
L’Équipe is one of the most popular French daily sports newspapers. It is ranked number one by circulation volume and readership scope in sports events. The current study intends to highlight the process of L’Équipe becoming an institutionalized media outlet. The research analyzes the newspaper’s development from the time of its foundation to the present days. The paper dwells on critical stages of the newspaper’s modernization and elaborates on the main sports events that L’Équipe was involved in and supported. These factors influenced the process of the formation of the newspaper as an institutional publication of mass media discourse in the subject area of “sport”. Apart from that, this study aims to analyze the target audience of L’Équipe. Using static data and newspaper content analysis the research differentiates categories of readership classified by age and gender. It is noted that by providing a wide range of sport news topics L’Équipe considers various interests of intended recipients. Online media format emphasizes timeliness as one of the key characteristics that defi ne the newspaper. The further L’Équipe television channel, Internet website and then Internet radio development made it possible to promptly inform the readership about the current events in the sports world. The newspaper online version allows readers to get news, reports and interviews faster. It is therefore proved that the categories of institutionality, targeting and timeliness are significant for sports news written discourse.
News of Saratov University. Ser. Philology. 2024;24(4):458-464
458-464
“One good person less...”: Responses of the Russian press to the death of academician A. N. Pypin
摘要
The work publishes the responses of St. Petersburg press to the death of a literary historian, academician Alexander Nikolaevich Pypin. The correspondence, notes, and obituaries of three newspapers – Peterburgskie Vedomosti, Rus’, and Novoye Vremya – for November 27–29, 1904 are presented. The materials are arranged in the chronological order of their publication in each edition. In newspaper correspondence, notes with exact date and time indication, event details, names of participants, a series of farewell events with A. N. Pypin were highlighted: the memorial service, funeral procession, burial. This reliable factual information fills the gap in the Pypin historiography related to the issues of his death, burial, as well as the first posthumous evaluations of his personality and activities expressed in the obituaries by his contemporaries. Periodicals express the unity of opinions about the late scientist, the social and historical significance of his work is noted. The obituaries emphasize the role of A. N. Pypin in educating the Russian society, in developing national consciousness, they highlight the popularity of his scientific research in various fi elds of scientific knowledge in wide learned circles, his international scientific authority. The name of the scientist serves as the personification of enlightenment, progress, genuine public spirit, and high humanistic ideals. The published newspaper materials make it possible to identify the attitude of the official authorities towards the scientist, to note their recognition of A. N. Pypin at the end of his life. The publication is accompanied by an introductory article and comments. The material is included in the collection of M. N. Chernyshevsky of the main fund of the Museum-Estate of N. G. Chernyshevsky (Saratov).
News of Saratov University. Ser. Philology. 2024;24(4):465-477
465-477
“Authors are best known through their books...”
摘要
This review is dedicated to the book by a renowned literary critic, lecturer at the A. M. Gorky Literary Institute, and editor of one of the best literary and artistic journals, S. I. Chuprinin. S. I. Chuprinin’s course of lectures for students at the Literary Institute is embedded in the context of the writer’s socio-literary activities, including his articles and books on the destiny of our literature. The book’s content encompasses reflections on the role and mission of the writer, the venues and methods of publishing works, reader feedback, literary editors and awards, freedom of speech, and self-censorship. S. I. Chuprinin discusses fame and ephemeral success, the hierarchy within the literary world, and the mechanisms of promoting a literary brand. He provides numerous details, creating his own history of literature, literary life, and literary culture. Written with emotion and inspiration, this course of lectures radiates the author’s love for his audience. By explaining how the literary space is structured and how to navigate it, S. I. Chuprinin aims to convey to future writers the unpredictability of the writing profession, its significant moral underpinnings, and its responsibility to the reader. The book does not delve into the “spiritual thirst” that drives a writer to create a literary masterpiece, but rather into the everyday aspects of the writer’s work and literary life in general. This rather controversial approach to the writer’s labor, whose existence and purpose have always held a sacred meaning, results in unexpected effects in the reviewed book. Through the lens of the gradual formation of literary reputation and all its components, the author engagingly acquaints the audience and readers with the foundations of artistic creativity, demonstrates the ways literature exists in modern society, and discusses the features of promoting the resulting creative output.
News of Saratov University. Ser. Philology. 2024;24(4):478-482
478-482