Suchergebnisse

The article
is devoted to studying the perception of a literary text
(hereinafter referred to as LT), which is relevant for the current state of literature
research, as projected on the theoretical prerequisites of the domestic prehistory of
European receptive aesthetics. Russian philology has developed two approaches to
LT — the psychological ("Russian psychological school" by A.A. Potebnya and his
followers) and the purely formal ("Russian formal school" of the language — OPOYAZ) ones. Cognitive poetics as the mainstream modern fi eld of literature studies
combines these approaches in the light of the goals that it sets for itself: the study of
both the formal and semantic organization of the text and its understanding by the
reader. Th e focus of the study into a work of literature is its understanding, therefore,
the meaning of the text turns out to be a scientific priority, as well as the development
of algorithms for its reconstruction in the reader's perception. In this regard, the
terminological apparatus is of particular importance, assuming the differentiation
of the terms of the triad "apprehension-perception-reception". Studying reader's
perception particularly focuses on L.S. Vygotsky's concept of the influence of the
text's rhythm on reader.

The second part of the article is devoted to the phenomenon of surprise, which is significant for studying the reader's perception of a literary text (CT) and for understanding estrangement (ostranneniе) not only as a literary device, but also as a certain state of the reader's consciousness. In the ambiguous interpretation of this state of the human psyche, taken in the status of both basic emotion and intellectual assessment, by modern psychology, there is no contradiction, since an attempt to understand the world is accompanied by the experience of an intentional object, if it does not begin with it. However, the new, the unknown, being the objectcause of surprise as an intellectual-cognitive state of consciousness, induces opposite emotional reactions in different people - like (acceptance up to delight) and hostility (rejection up to irritation). It is these emotional epiphenomena of surprise that can serve as an argument for distinguishing within the considered intellectual state «surprise+», when the new causes emotional acceptance and intellectual interest, and «surprise-», when the new causes such emotional rejection that leaves no room for the cognitive aspirations of the mind. Speech examples of the emotional ambivalence of surprise are presented both in Russian and in other languages. Particular attention is paid to the connection between the concept of 'surprise' and the concept of 'estrangement' (ostranneniе), as well as their connection with the author's position. Th e formation of the text also has a cognitive-aesthetic reason, which consists in the author's understanding of life through surprise in its two forms - acceptance and rejection (as a rule, in their complex interweaving), and a formalaesthetic goal, confirmed by draft s. The study of the material made it possible to come to the conclusion that the surprise of the author (in any of the author's artistic incarnations) with his diametrically opposed epiphenomena is the reason for the estrangement as a verbal-compositional embodiment of this mode of consciousness in CT. At the same time, «surprise-» dominates and the method of estrangement adequate to it in the linguistic embodiment given within the framework of this type of surprise.

The second part of the article is devoted to the phenomenon of surprise,
which is significant for studying the reader's perception of a literary text (CT) and
for understanding estrangement (ostrannenie) not only as a literary device, but also
as a certain state of the reader's consciousness. In the ambiguous interpretation of
this state of the human psyche, taken in the status of both basic emotion and intellectual assessment, by modern psychology, there is no contradiction, since an attempt
to understand the world is accompanied by the experience of an intentional object,
if it does not begin with it. However, the new, the unknown, being the object-cause
of surprise as an intellectual-cognitive state of consciousness, induces opposite
emotional reactions in different people — like (acceptance up to delight) and hostility (rejection up to irritation). It is these emotional epiphenomena of surprise that
can serve as an argument for distinguishing within the considered intellectual state
«surprise+», when the new causes emotional acceptance and intellectual interest,
and «surprise–», when the new causes such emotional rejection that leaves no room
for the cognitive aspirations of the mind. Speech examples of the emotional ambivalence of surprise are presented both in Russian and in other languages. Particular attention is paid to the connection between the concept of 'surprise' and the
concept of 'estrangement' (ostrannenie), as well as their connection with the author's
position. The formation of the text also has a cognitive-aesthetic reason, which
consists in the author's understanding of life through surprise in its two forms —
acceptance and rejection (as a rule, in their complex interweaving), and a formal-aesthetic goal, confirmed by draft s. The study of the material made it possible to come
to the conclusion that the surprise of the author (in any of the author's artistic incarnations) with his diametrically opposed epiphenomena is the reason for the estrangement as a verbal-compositional embodiment of this mode of consciousness
in CT. At the same time, «surprise–» dominates and the method of estrangement
adequate to it in the linguistic embodiment given within the framework of this type
of surprise.

Despite the fact that historians almost always recognized that time is important for historiography or simply identified time with history (like Jules Michelet, who said that history is time, or Marc Bloch, who called history the science of people in time), only recently the necessary prerequisites were formed for historical time (its nature, structure, models of periodization and ways of experiencing) to become the direct subject of modern theory of history. This new state of affairs in the field of theory is today more and more often referred to as the temporal turn.

The review presents the results of the international round table On the
Semiotics of Forms in African Literature, which was held on July 19, 2023 as part of
the Festival of African Cultures at the Russian State Library for Foreign Literature
named after M.I. Rudomino. The discussion was organized by the International Center for Semiotics and Intercultural Dialogue of the State Academic University
for the Humanities (MTСS GAUGN) in cooperation with the Cultural Center
Francothèque of the Russian State Library for Foreign Literature. The discussion
was attended by Georice Berthin Madébé, Doctor of Linguistics and Semiotics,
Leading Researcher at the National Center for Scientific and Technological Research
of Gabon (Libreville), and Inna Merkoulova, Doctor of Linguistics and Semiotics,
Associate Professor, founder and director of the GAUGN International Center for
Semiotics and Intercultural Dialogue (Moscow). The participants discussed Professor
Madebe's book On the Semiotics of Forms. An Introduction to Semiotic Criticism of
African Literature (2022).

The article is devoted to the study of the national picture of the world in the works of modern Altai authors.
The relevance of the work and its novelty are determined by the fact that the literary work of Altai poets has not been sufficiently studied and requires further research. There is a need for an in-depth study of cultural and ethnopoetic traditions in creating a national picture of the world in Altai poetry. The purpose of the study is to study and analyze works that reflect the worldview of young poets of the Altai Republic. The work draws conclusions that, due to the conditioning of Altai literature by historical and geographical features, the rich heritage of oral folk art, poetic traditions, the work of Altai poets has its own specific features in the picture of the world they created. Here, archetypes such as horse, hitching post, cedar, hearth, ail (dwelling), Altai stand out.
In recent years, regional literature has especially highlighted this feature of reflecting poetic space, where images are aimed at artistic understanding of a person's inner world in its multifaceted connections with the surrounding reality.
According to the author, modern Altai lyrics widely and diversely represent the folk worldview and national traditions, which reflect the ethnic identity of the Altai people. The works of the poets considered in this study — A. Samunov, B. Burmalov, B. Ukachin — show the nature of the Altai Mountains, the character of the lyrical hero, archetypal images, presenting a holistic picture of the world of the Altai people. This is what makes their work special, recognizable and memorable, enriching Altai poetry with new images, expanding the horizons of the literary picture of the world.