卷 46, 编号 1 (2024)
Articles
Editorial note
7-7
ATTRIBUTES ČOMA AND KAUNIS AS NOMINAIONS OF A GOOD-LOOKING PERSON
摘要
The article examines the nominations of a good-looking person, for which the Karelian language uses afairly extensive range of lexical means, including the polysemantic attributes kaunis and čoma. The analyzed nominationconventions are widely represented in the language world picture of the Karelian people, especially in idioms. Therelevance of the study is determined by the fact that this issue has not been previously studied with the use of theKarelian language material. The research methodology included ethnolinguistic and comparative methods, while thetheoretical and methodological basis of the study was the studies of foreign and Russian researchers in the fields oflinguistics and folklore. The sources for collecting language material were dialect and phraseological dictionaries of theKarelian language, samples of Karelian speech, and field materials collected by the authors. The analysis led to theconclusion that the attributes kaunis and čoma have a wide area of use, with both lexemes being polysemantic. A largenumber of nominations for a physically attractive person are derived from the lexemes čoma/šoma and kaunis with thehelp of various suffixes. Moreover, two-component lexemes as parts of the nominative construction with the meaning‘a good-looking, ruddy-faced person’ are common in Karelian dialects. In Karelian phraseology, the physical attractiveness of a person is presented in different aspects: it has both positive and negative connotations and is compared with various human values.
8-12
BORROWED INTERJECTIONS IN THE RUSSIAN LANGUAGE
摘要
The study was aimed at determining the ways of penetration of interjections from other linguistic culturesinto the Russian language, their adaptation to the language, and use in texts of various genres. For this purpose, generallinguistic methods were used, namely the descriptive, comparative, and typological ones. The article examines (from ahistorical perspective) twelve Russian interjections borrowed from the Greek, Church Slavonic, Turkic, and modernEuropean languages. The list of analyzed interjections in the Russian literary language has been almost exhausted. Thesource of the language material for this study was the data from dictionaries and texts of various genres, primarilyfiction. Borrowed interjections enter the Russian language orally and in writing, reflecting a variety of political,economic, cultural and other contacts of the Russian people with neighboring and more distant ethnic groups. Most ofthese units have entered the Russian language orally, so it is difficult to determine the time of their appearance in thelanguage, since words are always fixed in writing after they begin to be used orally. However, interjections are sometimesborrowed as a result of written interactions between languages. Having entered the Russian language, borrowings areintegrated into its phonetic system and are used in the appropriate syntactic positions. Since borrowed interjections haveno etymological connections with Russian words, they belong to primary units, although they may have a more complex phonetic composition than traditional primary interjections (ой, ах, фу, ого, ну, etc.). Russian interjections help to reveal the peculiarities of the ethnolinguistic culture of the Russian people and expressive potential of the Russian language.
13-19
THE CONCEPTUAL SPHERE OF HOMO CORPORIS: THE SOMATISM HAND IN RUSSIAN SPIRITUAL VERSES
摘要
The awareness of human corporeality determines human behavior and affects the spiritual guidelines ofsociety and culture as a whole. However, the concept of the corporeal human being, Homo Corporis, has not beensufficiently studied by the humanities. The cognition of the human body, its comprehension, and somatic perceptions ofpeople of different epochs are manifested in the language and reflected in mythology, philosophy, and art. The relevanceof the research is determined by the need to study the folklore picture of the world presented in spiritual verses andreflecting the general linguistic picture of the world through the prism of its perception by people. The human soul withits thoughts and desires is the main object of the evaluation of spiritual verse, a genre aimed at disclosing the image ofthe “inner person”. However, this does not exclude references to human physicality in the texts and the use of lexemesdenoting the “external person”. The article is aimed at identifying the specific genre characteristics of somatic vocabularywith the component hand in spiritual verses. The study was based on the texts collected in the XX century in Kareliaand adjacent territories. The article establishes the main meanings and concepts of somatisms included in the “upperlimbs” group, as well as the connection between their use and the specific features of the genre of oral folk art. Thestudy was conducted by the continuous sampling method, the holistic, structural-semantic, and cognitive analysis of theverses, and the quantitative analysis in order to determine the frequency of the use of somatisms. The author concludesthat the use of somatic vocabulary with the concept hand is determined by generally accepted cultural interpretations,but the lexical environment of somatisms emphasizes their close connection with the “inner person”. It is also worth noting the presence of purely Christian meanings, according to which the hand acts as a symbol of sacrifice, protection, and repose stressing the strength of a believer.
20-25
UTILITARIAN EVALUATION IN GERMAN ENGINEERING DISCOURSE
摘要
The article studies the means of expressing utilitarian evaluation in German engineering discourse. Theaim of the study is to examine the presuppositions that form a person’s perception of the usefulness or uselessness ofmaterial and ideal manifestations of scientific and technological progress. Using the method of cognitive interpretationand definitional analysis, the work reveals the conditionality of characterizing an evaluation object as having or notbeing beneficial or useful, taking into account the areas of its positive impact on society. The theoretical significance ofthe study lies in clarifying the cognitive foundations of object qualification in terms of additional (background)knowledge, while its practical significance derives from the possibility to use the key research results within cognitivedisciplines. The study resulted in making a list of presuppositions significant for utilitarian evaluation, including such substantiations of utility as efficiency, obtaining benefits, saving resources, ease of use, dynamism, value to society, reliability, and optimality related to the feasibility of resource consumption and predicted results.
26-33
THE SYMBOLIC IMAGE OF MOTHER IN THE MODERN DRAMA OF THE VOLGA REGION (the case of Chuvash and Mari literatures)
摘要
The article examines national symbolic images in the drama of the Volga region (using the material ofthe Chuvash and the Mari literatures) with the special focus on identifying the authors’ common and specific ways ofreflecting the national picture of the world. The analysis revealed that the playwrights give a special place among thefundamental images to the image of mother, which is associated with the images of house, village or homeland. Thestudy was aimed at determining the place and significance of these images in the artistic system of the modern nationaldrama of the Volga region using the historical and cultural analysis and the comparative method as the most relevantresearch tools. In regional literary studies, there are works addressing the symbolic images in individual nationalliteratures, but there are no comparative studies, which confirms the novelty of this research. This line of researchhelped to reveal common meta-senses characteristic of the Chuvash and Mari literatures. They both use the image of mother as a means of expressing the authors’ stances on contemporary national and moral issues, including the issues of preserving traditions and the spiritual heritage of the people.
34-39
THE “DECEMBRIST MYTH” IN THE HISTORICAL WORKS BULAT OKUDZHAVA AND BORIS GOLLER
摘要
The article is aimed at tracing the presence of the Decembrist problematics in works of different genresthrough the analysis of the contextual connections between Bulat Okudzhava’s novel Poor Avrosimov and Boris Goller’splay One Hundred Bestuzhev Brothers in order to establish the intersections and deep connections between authors whowere contemporaries. The research methodology included comparative, sociocultural, historical, and literary methods,as well as the holistic analysis of art works. The novelty of the research is that it is the first study of the “Decembrist”plot in Okudzhava’s and Goller’s historical works. The writers created similar fiction worlds, and their works turned outto be very much in tune with the spirit of the time. That said, Goller uses the documentary materials to build apsychologically credible portrait of a historical figure, while Okudzhava in his novel shifts his focus from the image ofthe Decembrist Pavel Pestel to the spiritual life of an “amateur” who became unwittingly involved in the tragedy. Themention of the Decembrists made it possible to create allusions, or historical parallels between the past and the present,giving rise to a completely new value content of the concept of “freedom”. The article suggests a hypothesis that oneimportant thing the two authors’ views of the Decembrist uprising have in common is their intentional subjectivityaimed at expressing their personal attitudes to the recreated events. All this forms the stylistic basis for their works. At the same time, their narratives are focused not on the direct depiction of the historical events, but on unlocking the moral worlds of the heroes, their experiences, and personal upheavals.
40-46
SCHOLARLY LEGACY OF EINO GENRIKHOVICH KARHU: CELEBRAING THE CENTENARY OF THE SCHOLAR
摘要
The article is devoted to the centenary of a prominent philologist E. G. Karhu, the Doctor of Philologyand Professor at the Institute of Linguistics, Literature and History of the Karelian Research Centre of the RussianAcademy of Sciences. The author systematizes, describes, and summarizes his academic achievements, whichdetermines the novelty of the reported research. The article is aimed at describing Karhu’s contribution to the study ofKarelian and Finnish literatures, Russian-Finnish literary relations, and Karelian-Finnish folklore. The main stages ofKarhu’s academic biography and his key works are investigated with the special focus on his translation work. Karhuwas the pioneer in the study of Russian-Finnish literary and cultural relations, he investigated the evolution of Finnishliterature written in Finnish and Swedish, from its origins to the post-war modernism (the “second modernism”), and conducted a historical review of the main genres of Karelian and Ingrian folklore taking into account the connection between folklore and literary traditions. Karhu also studied Elias Lonnrot’s biography as well as the genre specifics and problematics of the Kalevala epic. The scholar explored local material in the light of European and world traditionsplacing it within a wide historical and cultural context. The reported study led to the conclusion that Karhu’s main research tools, the historic approach and the use of a wide context, enabled him to solve large-scale problems of Russian philological science in the field of comparative literature studies and the systematic study of the history of Finnish literature.
47-52
THE BASIC CONCEPT OF FEAR IN MODERN GREEK LANGUAGE: ASPECT OF METAPHORIZATION OF PHYSICAL STATES
摘要
The article focuses on one of the aspects of the metaphorical representation of the emotional concept offear in modern Greek Language, aiming to identifying the features of fear conceptualization process that originate fromits basic nature inherent to human beings and other living creatures. The research methodology includes analyzingdictionary definitions, using the etymological method, and conducting frame analysis. In modern Greek, fear isexpressed as a deviation from one’s natural state in one direction or another: lexical and phraseological units understudy are semantically can be classified into a person’s internal reaction to fear (the slots “breathing”, “speech” andothers) and to external influences (the slot “blow”, metaphorization of fear as a living thing, an enemy). While there arecertain ethnospecific manifestations of fear, there are also universal features that are manifested cross-culturally andinfluenced by the fundamental nature of fear. This nature serves as a basis for the formation of more complex, uniquelyhuman levels of the concept realization, including mythological, psychological, behavioral, expressive, and existential ones. These levels emerge from people’s experiences with the surrounding world and are often represented through somatisms. Ultimately, these levels find their fullest representation in discourse as components of a comprehensive concept.
53-58
THE IMAGE OF HUNTING IN MIKHAIL PRISHVIN’S WORKS IN THE LIGHT OF THE PLATONIC TRADITION
摘要
The article examines the image of hunting in Mikhail Prishvin’s works and its interconnection with thefundamental ideas of Plato’s aesthetics. The relevance of the stated topic is determined by the search for new approachesto the study of the writer’s works and the need for a comprehensive study of the influence of the ancient tradition onPrishvin’s writing. The objective of the study was to investigate the reflection of images, ideas, and symbols of Platonismin Prishvin’s “hunting texts” in order to to establish the motives of his referral to Platonic aesthetics and to identify thespecifics of the representation of this ancient philosopher’s ideas in the semantic paradigm of the image of hunting. Themain research methods were the intertextual, comparative, and motive-figurative analysis. The study revealed the imageof hunting in different contexts and at the different levels of artistic representation – as a space of the soul and ametaphor for knowledge, creativity, love, and life itself. The article focuses on the polyphonism of Prishvin’s discourse,which combined different approaches to understanding the phenomenon of hunting – the traditional Russian huntingnarrative, the refined aestheticism of the turn of the century, and the sustainable reception of Platonic thought, whichhad a vivid continuation in the literature of modernism. It was concluded that in Prishvin’s literary world picture theunderstanding of the hunting phenomenon as a specific lyrical space for the author’s reflection and a metaphor for creativity and the quest for eternal truths was the development of the Platonic tradition.
59-65
RECEPTION OF ANTIQUITY IN RUSSIAN LITERATURE OF THE FIRST THIRD OF THE XIX CENTURY (the study of the Norhern Flowers almanac)
摘要
In the first third of the XIX century, the role of the periodicals in the development of Russian literatureincreased. Northern Flowers is one of the most authoritative and long-lived almanacs, edited by Anton Delvig (1825–1831) and Alexander Pushkin (1832). The authors and editors had common views on aesthetics and shared interest in harmonic antiquity, plastic arts, and categories of philosophy and culture. This is the first time the study of antique reminiscences is conducted using the materials of all issues of the Northern Flowers almanac as a single complex oftexts. The method of content analysis makes it possible to highlight specific cases of reception and review of the ancienttradition and to identify the most regular reminiscences according to the statistical data. The following issues are considered:the reception of antiquity in critical literature; theoretical questions of translation; publication of translations ofancient authors’ texts; references to and direct citations of ancient authors; reception of ancient genres; and images of plastic art and mythology. The study revealed that the ancient theme was not only a means of stylization and providing aesthetic value for literary texts. The reception of classical art forms served as the basis for the development of ideas of Russian national literature.
66-75
RECEPTION OF ARISTOTLE’S “POETICS” IN WORKS OF A. S. PUSHKIN’S LYCEUM TEACHERS
摘要
The first half of the 19th century is the period of formation of Russian literary criticism. However, theworks of theorists of significant period are practically not studied. This gap is especially significant when it is associated with teachers who have had a significant impact on the formation of literary concepts of several generations of philologists. The article describes the reception of the main provisions of Aristotle’s “Poetics” – the basis for the European literary theory of literary – in the works of the lyceum teachers N. F. Koshansky and A. I. Galich. It is notedthat Aristotle was an absolute authority for these authors, however, the assimilation of the concept of the Greekphilosopher took place in the context of its interpretation by European aesthetic theories. So Koshansky agrees withAristotle that art gives pleasure and this idea supports the hedonistic theory of catharsis reflected in Koshansky’s work. Schellingian Galich develops the idea of German romanticism about fate as the main force opposing the hero of tragedy, and at the same time defends the classic rule of three unities, which is absent from Aristotle.
76-81
INTERMEDIAL INTENTIONS OF THE MYTH OF ORPHEUS IN THE CULTURAL CONTEXT OF THE XX AND EARLY XXI CENTURIES
摘要
The article explores the tendencies of audio-visual reception of the myth of Orpheus, that have beenreflected in the modern culture. The relevance of the work is determined by the interest of various national cultures andhistorical eras in ancient Greek mythology as a system of cultural codes. The research focuses on the polyvariance ofthe myth and its intermedial intentions, which together lead to the emergence of a new type of communication and away of “making a statement”. From this perspective, the myth of Orpheus is considered to be the most representative.The article is aimed at systematizing the main trends in the reference to the “Orphic code” in the cultural space of the XX and early XXI centuries. The methodological base is determined by the specifics of the analysis of syncretic forms of art and the identification of their polycode basis. The study draws a conclusion that the culture of the XX and early XXI centuries saw a gravitation towards the audio-visual models of the embodiment of the myth of Orpheus, which was determined by the intermedial intentions inherent in it and in the “precedent texts”.
82-88
THE IMAGE OF SEMIRAMIS IN THE PROSE OF FRANCESCO PETRARCH
摘要
The purpose of this article is to analyze the image of Queen Semiramis, its creation and functioning inthe prose work of F. Petrarch (1304–1374), “the first humanist of Europe”, based on the historical work “De virisillustribus” and letters from the collections “Epistolae sine titulo” and “De rebus familiaribus”. The image of Semiramishas been very significant in world literature and culture since antiquity, which determines the relevance of the research.The use of this image in the works of F. Petrarch has not yet been analyzed in domestic and foreign literature, whichdetermines the novelty of the chosen topic. The chapter on Semiramis was included in the second part o “De virisillustribus”, among the stories about the deeds of biblical heroes and legendary characters. In the biography of thequeen, Petrarch emphasizes her most important qualities, creating the image of a cruel warrior, builder and harlot. In hisextensive correspondence, Petrarch most often uses the image of Semiramis as one of the symbols of Babylon-Avignon,and Semiramis becomes the embodiment of the vices of the papal curia. Petrarch uses the positive connotation of theimage of Semiramis the warrior only in a letter to Empress Anna on the occasion of the birth of her daughter toemphasize the versatility of the female sex and its importance in the history of mankind. The image of Semiramis allowsPetrarch to create vivid, emotionally colored artistic and journalistic images of modernity. In addition, symbolic images like “Semiramis” are significant units of the international language of the new, humanistic culture, which Petrarch develops in his work to communicate with like-minded people.
89-94
RUSSIAN-GREEK TRANSLATION OF MUTATIONAL DERIVATIVES WITH THE PREFIX ПРО- IN ANTON CHEKHOV’ WORKS
摘要
Translation of classical works has an impact on their perception by an international audience of readers.The question of the possibility of an equivalent transfer of multilevel meanings of a literary text and the writer’sintention, as well as the degree of permissible influence of the translator’s personality and their individual interpretationon the translated text does not have an unambiguous answer. In the process of literary translation, linguo-cognitiveinformation plays an important role, revealing the hidden semantic meanings of linguistic units and influencing theunderstanding of the text. The subject of the study is prefixed verbs with mutational meanings, their impact on theunderstanding of literary texts, and the importance of their correct translation. This article examines the translation ofthe mutational meanings of three derivatives with the prefix –pro (проспать (oversleep), пропить (drink away) andпроговариваться (let slip)) in the works of Anton Chekhov into Modern Greek, namely the frequency of their use andthe importance of the equivalent translation. The methodology of the research comprised the comparative analysis ofverbal derivatives in Chekhov’s texts and their translations into Modern Greek, as well as the comparative analysis ofdictionary entries of explanatory dictionaries, and methods of corpus linguistics. The linguistic correspondencesbetween Russian and Greek create a unique field for a comparative study of prefix derivation and the development of the mutational semantics of prefixes in both languages. The linguo-cognitive analysis helps to achieve equivalence in literary translation, and its results need to be applied when translating the works of great Russian writers into Modern Greek.
95-103
Theatrical review: Christoph Willibald Gluck’s opera Orpheus and Eurydice staged by the Nizhny Novgorod State Academic Opera and Ballet Theater named after A. S. Pushkin (2022).
摘要
Theatrical review: Christoph Willibald Gluck’s opera Orpheus and Eurydice staged by the NizhnyNovgorod State Academic Opera and Ballet Theater named after A. S. Pushkin (2022).
104-106
“The thread that binds the fates”: in memory of Alexander F. Belousov
107-109
XV MAPRYAL CONGRESS “RUSSIAN LANGUAGE AND LITERATURE IN A CHANGING WORLD”.
摘要
110-111
RYABININ READINGS – 2023
112-117