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.

В статье представлена символическая интерпретация образа вокзала во французской литературе. На основе анализа произведений французской литературы, содержащих в себе образ вокзала, этот образ раскрывается как символ свободы, перемен и мимолетности, выявляются ключевые смыслы в данном контексте. Символизм является важным элементом французской литературы. Железнодорожные вокзалы сыграли в ней значительную роль – как в качестве декорации, так и в качестве символа. В романах Г. Флобера, Э. Золя, М. Барбери, Ж. Сименона, Ж. Верна, П. Модиано вокзал является символом меняющихся времен и символом беспокойства персонажей перед дорогой, ведущей из пугающего настоящего в неизвестное будущее. В связи с реорганизацией городского пространства, начиная с середины XIX века, вокзал становится ярким примером мира, находящегося в процессе преобразования, который не может не найти отражения в литературе. Здесь происходят случайные и неожиданные встречи. Если в начале своей истории вокзал, находящийся на окраине и состоящий из двух частей – каменной и железной, выполнял роль границы между городом и пространством за его пределами, то современный вокзал – это многофункциональное пространство, часто находящееся практически в городском центре. Меняются эпохи, но вокзал продолжает символизировать перемены. На вокзале появляется возможность выбрать путь, решиться на изменения в судьбе и сделать первый шаг к этим изменениям, шагнув на подножку поезда. Образ вокзала подчеркивает преходящий характер жизни. Это место ожидания и интриги, одновременно вершина развития современных технологий и прогресса. Проведенное исследование позволяет сделать вывод о глубоком смысловом наполнении образа вокзала во французской литературе, об устойчивости и универсальности его символизма.
The article presents a symbolic interpretation of the image of the railway station in French literature. On the basis of the analysis of works of French literature containing the image of the train station, this image is revealed as a symbol of freedom, change and transience, the key meanings in this context are revealed. Symbolism is an important element of French literature. Railway stations played a significant role in it, both as a setting and as a symbol. In the novels of G. Flaubert, E. Zola, M. Barbery, G. Simenon, J. Verne, P. Modiano, the railway station is a symbol of changing times and a symbol of characters'anxiety before the road leading from the frightening present to the unknown future. In connection with the reorganisation of urban space since the mid-nineteenth century, the railway station becomes a vivid example of a world in the process of transformation, which cannot but be reflected in literature. Random and unexpected encounters take place here. If at the beginning of its history the railway station, located on the outskirts and consisting of two parts - stone and iron - served as a border between the city and the space beyond, the modern railway station is a multifunctional space, often located almost in the city centre. Epochs change, but the railway station is still a symbol of change. At the railway station, a hero gains an opportunity to choose a path, decide on changes in destiny and take the first step towards these changes by stepping on the footboard of the train. The image of the railway station emphasizes the transient nature of life. It is both a place of expectation and intrigue. At the same time, it is the apex of the development of modern technologies and progress as well. The study allows us to conclude about the deep semantic content of the image of the railway station in French literature and the stability and universality of its symbolism.

The article presents the analysis of the literature of travel of French authors of the XIXth century. Authers put the aim to create the general investigation dedicated to this therm, bringing in the quality of the source base as a quite famous works of the French travelers and writers, and little-known to a wide circle of readers. XIX century is a time of expanding cultural, humanitarian, diplomatic contacts between Russia and France, which resulted in an increase in the number of foreigners who traveled to Russia, and, consequently, of the works explaining all the features of the trip, impressions, fears, etc. During this period, the Europeans started to visit not only Moscow and Saint Petersburg, but also Siberia, the Far East, the geography of travelling considerably expanded, and new works of foreigners about Russia appeared. Still, as in the previous epoch, the French authors writed about traditions and mores, the state and social structure, religious peculiarities, the culture of Russia. In general, the travel literature on Russia is significantly enriched, indicating the increasing interest of the Russian state. It is not only about informative motives, but also need to learn the realities of the Russian state, the mood in society, the level of military capabilities etc. Notes of a travelling foreigners were thus provided very valuable information about the state of affairs in Russia, it was important for European readers and, of course, diplomats, military and the rulers of other states. Of course, the French authors reproduced pictures seen in Russia through the prism of their own experience, political affiliation, certain stereotypes and myths about the Russian state and people, developed in a previous era. However, despite a certain subjectivity in the estimates and judgments, the works of French authors are a very valuable source in the framework of imagological research, studying the image of «their» and «alien» in the view of Europeans of the XIX century. © Copyright 2017 by Sochi State University.

This article considers the authors' theoretical complex 'cognitive humanitarian semiotics' (ST (synthetic text) - SLP (synthetic lingual personality) - CPP (cognitive-pragmatic program)) as 'growth points' of philological knowledge. This complex is built in the mode of metadisciplinarity, the essence of which is in a deep epistemological substantiation of those interdisciplinary connections that unambiguously point to the internal kinship of outwardly heterogeneous principles that define a complex (hybrid) cultural and linguistic object.Main results: for a deep interpretation of the 'subject-text' in culture, its model analysis is necessary (according to uniform rules on variable material and with variable components). The specifics of SLP is that it allows modeling heterogeneous in terms of discursiveness zones (for example, verbal and behavioral at the same time) culturally significant 'text of the subject in culture' precisely as an individual one. This is possible because its main parameters are determined by the CPP of the SLP of the source subject. The basic CPP of the artist that is directly related to the intentionality of the acts of his consciousness, demonstrates the inseparability of the spiritual, emotional, intellectual, cognitive intentions of the personality and the forms of its creative (life-creating) self-realization, conceptually indexes the entire synthetic text space and sets the analytical-interpretative / reinterpretative vectors of its perception and self-perception. The creativity of a real artist in the aspect of the CPP appears, on the one hand, as a purposeful developing system (otherwise, the emergence and evolution of a recognizable author's artistic world and poetics, style formation, etc., is impossible), on the other hand, as an 'open system' that constantly 'finds itself' under all transformations. The literary projection of the SLP allows us to give a 'deep' (cognitive-discursive), rather than an external description of many processes of the sociocultural 'field of literature' and - deepened to the analysis of the CPP - the leading strategy of the author-creator, in fact, the 'basic law' of his creative (life-creating) path. The CPP determines the patterns of the culture of the Fate of the Myth-Creating Poet, which has become a precedent text, or any other stable form of 'non-standard discursiveness'.