Suchergebnisse

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 traces the function of the word philistine in German literature — from Sturm und Drang to Romanticism. Its etymological premises, two
biblical variants are touched upon, its statement in secular literature is fixed. The
initial use of the word philistine — in the socio-philosophical works — and accompanying, and sometimes preceding it, the corresponding artistic design of the
concept is noted. Th e author considers the emergence of the antithesis 'philistine —
genius' in the aesthetics of Sturm und Drang and the change of Goethe's Sturmer
ideas about philistine to the period of late Romanticism — an unambiguously
negative accentuation of the word. Th e use of the word philistine at two stages of
Romanticism is analyzed as an indicator of reaction to the innovations of the French
Revolution of 1789. Th e meaning of the word among the Jena Romantics is revealed:
the definition of a nature devoid of a romantic worldview — and its subsequent reinterpretation in the propaganda lexicon of the Heidelbergers as a statement of the
German 'elect', which develops into anti-Semitism. Th e actualization and politicization of the concept of philistine in the course of the social movement in Germany
on the eve and aft er the revolution of 1848 is noted.

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.

The article examines the translation of Russian literary works in 21stcentury Bulgaria. The reasons for the decline of the process at the beginning of the century are discussed. Reference is made to the editions of new works by authors who are already popular among Bulgarian readers (V. Pelevin, S. Lukyanenko, B. Akunin, S. Minayev, A. Bushkov), as well as writers who are relatively new to the Bulgarian public (E. Vodolazkin, S. Lebedev, A. Salnikov, D. Rubina) and recent translations of the works of authors who started their literary activity back in the 20th century but who have not been published in Bulgaria until recently. Although modern Bulgarian publishers and translators are mainly interested in Russian prose, we also mention some trends in the reception of poetry and drama and the presence of Russian literature on Bulgarian theatrical stage. Bulgarian publishers, scholars and translators who popularize contemporary Russian prose are named, as well as the events (such as the annual national award of the Bulgarian Translators' Union), the main objective of which is cultural cooperation of the two countries. Translations of Russian literary work in Bulgaria during the politically unstable situation (from February 2022 up to present) are considered, as well as the possibility of publishing such translations in our time.

This article presents the stages of politicization of Russian literature in the era of the Great Reforms. The first stage is the end of the reign of Nicholas I (1848-1855), the second is the period of preparation for the Great Reforms (1855-1861), the third is the period of the Great Reforms (1861-1866), the fourth is the period of the end of the Great Reforms (1866-1881). The first period can be characterized as the period of the emergence of political literature, as yet without a pronounced social ideal. Censorship increased during this period, but important features of the liberal ideal were articulated in the literature. The second period was characterized by the weakening of censorship, the emergence of a number of new newspapers and magazines. Then literary criticism begins to play an important social role and the maximum politicization of the literary process takes place. At the same time, a patriarchal social ideal was formulated in a number of works of art. The third period was distinguished by the fact that raznochintsy authors began to play an important role in literature. This led to the emergence of opposing parties of "nihilists" and "anti-nihilists", as well as to the emergence of the phenomenon of the anti-nihilist novel. First half of 1860 became the time of the formation of a social ideal of raznochintsy. The fourth period can be characterized as a period of reflection on the results of the Great Reforms, as a time for writers to rethink their views and develop new ideas about the social ideal.

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.

In the revolutionary year 1905, Odessa became an area of violence in the tension of social, religious and cultural upheaval. In this year there were strikes, escalations of revolutional mood, a fire in the port after the arrival of the battleship «Knjaz´ Potemkin-Tavričeskij» («Potemkin») in the night of June 14-15. Arrival of the rebellious battleship was a significant event not only for the city of Odessa and the Russian revolution, but also for the history of the fate of Jews of the early 20th century. This was the first armed insurrection in the course of the revolution, which moved Odessa and its social, geographical and semiotic city spaces. The «Potemkin days» entered the history of the city of Odessa mainly through the periodicals of that time but also through the Russian-Jewish literature such as Lazar Karmen's story «Potemkin Days» (1907), Korney Chukovsky's essay «1905, June» (1958) and Vladimir Jabotinsky's novel «The Five» (1936). These works depict not only the resulting collective violence but also its semiotic and social spaces in the city. Up until now, this field has not been investigated in any historical, cultural or literary research. The focus of this paper is to analyse geographical, social and symbolic city spaces in Odessa with the help of the space theories by Jury Lotman and Michel de Certeau. Both scholars work with the definitions of the city, the place and the space, which are significant for the selected literate works about Odessa in 1905. The analysis will show not only the ambivalence, mobility and variability of city spaces, but also the narrators expectations and thus the fate of Jews in Odessa and the perspectives in the historical processes for them — assimilation or emigration.

The article is devoted to the question of how and why the images of the British in French literary works of the Hundred Years War period received their reflection. The Hundred Years War became a catalyst for the formation of the French nation and national identity. French authors, whose works are analyzed, belonged to different age and social groups, had different educational levels, and the time of their work covers the period from the end of the XIV century until the first half of the XV century. It is such a rather long period that allows us to see the dynamics in the development of the national identity of the French authors. The sense of homeland, which each had their own (Champagne, Normandy), they intertwined with the awareness of themselves subjects of the French king. In this sense, we can talk about the transfer of patriotic feelings in relation to a particular territory to France within the French kingdom as a whole. The image of the British as conquerors ravaging the French lands, in the views of some of the authors, however, does not mix with a respectful attitude to English culture.

The article is devoted to the frequency analysis of anthroponymic units
in textbooks on the discipline 'Classical Literature'. The analysis of these lexical units
was carried out in two stages — first by computer, and then by manual processing
of texts. The objective of the research was to identify the lexical features of the text
of the subject area, as well as the features of the frequency dictionary of the discipline
'Classical Literature', due to the uniqueness of the course under consideration. The
article discusses one of the features of the terminological component of the discipline
'Classical Literature' — terminological syncretism. The essence of this concept in
the discipline under consideration is that on the pages of textbooks on Classical
Literature for higher educational institutions, you can find the terminology of
other areas of knowledge. Thus, the study of the discipline under consideration
presupposes knowledge of the terminological units of such fields of knowledge as
history, philosophy, rhetoric, and others. Also, in the course of the research, it was
possible to identify the feature of the composition, the specifics of the types and
functions of anthroponyms in textbooks on Classical Literature against the background of other disciplines. In addition, the automated frequency analysis of vocabulary made it possible to identify the richest and poorest textbooks in terms of
the number of anthroponyms, as well as unique anthroponyms. Automated analysis
of anthroponyms in textbooks has both methodological and scientific value. Methodologically this research is important for preparation the lexical minimum of the
discipline. And its scientific significance consists in the fact that frequency analysis
correlates with the periodization of the object of research and with the point of view
of each of the authors on it.

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.

Статья посвящена рассмотрению семантики религиозно-мифологического мотива Молитвы/Мольбы в современной татарской литературе (конца XX - начала XXI века) на татарском и русском языках как отражения верований тюркских народов в целом и татар в частности. В центре исследования находится мифопоэтика произведений современных авторов (М. Магдеев, Р. Мухамадиев, Ф. Гильми, М. Валеев, Н. Гиматдинова, Ф. Байрамова), продолжающих традицию обращения к религиозным мотивам и образам в творческом наследии классической татарской литературы (Кул Гали, С. Сараи, Мухаммедьяр, Г. Тукай, Г. Исхаки и др.). Своеобразие современного обращения к мотивам Молитвы и Мольбы представляется не только в изображении религиозной обрядовой практики («намаз», «дуа», «салават», «зикр», «никях» и др.), но и в выражении различных чувств, эмоций и состояний человека (надежда, восхищение, хвальба, благодарность, покаяние и др.). Кроме того, мифологический мотив Молитвы - важный, обогащающий художественное произведение элемент как изображения культурно-религиозной жизни народа, его истории, так и исторической памяти, связи поколений. Результаты проведенного анализа применимы в теоретических работах по религиозной символике в словесности, а также во время учебных занятий при изучении системы образов художественного текста.
The article is devoted to the semantics of the religious and mythological motif of prayer/supplication in modern Tatar literature (the end of the 20th century - beginning of the 21st century) in Tatar and Russian as the reflection of the beliefs of the Turkic peoples in general and the Tatars in particular. The research focuses on the mythopoetics of the works of modern authors (M. Magdeev, R. Mukhamadiev,F. Gilmi, M. Valeev, N. Gimatdinova, F. Bayramov), who continue the tradition of addressing religious motifs and images in the creative heritage of classical Tatar literature (Kul Gali, S. Sarai, Mukhammedyar, etc.). The peculiarity of the modern appeal to the motifs of Prayer and Supplication is represented not only in the depiction of religious ritual practice ("namaz", "dua", "salavat", "zikr", "nikyah", etc.), but also in the expression of various feelings, emotions and human states (hope, admiration, praise, gratitude, repentance, etc.). In addition, the mythological motif of Prayer is an important, enriching element of both the image of the cultural and religious life of the people, its history, and historical memory, the connection of generations. The results of the analysis are applicable in theoretical works on religious symbolism in literature, as well as during training sessions when studying the system of images of a literary text.

В статье рассмотрены жанры современной литературы, основанные на принципах компьютерной игры, такие как книга-игра, книга-квест и т. п. Исследуются истоки формирования подобных жанров в «докомпьютерную» эпоху, а также их развитие в практике современных видеоигр. Логика работы предполагает обращение к наиболее показательным текстам литературы предшествующего периода, таким как «Сад расходящихся тропок» Х. Л. Борхеса, «Игра в классики» Х. Кортасара, а также упоминание широкого круга подобных книг прошлого, заключающих потенциал для видеоигр с интерактивным сюжетом, вовлекающих читателя-игрока в процесс сотворчества. Авторы подробно анализируют современные игры-квесты «Симбионт», «Пандемия. Дорога домой» с точки зрения технологии их создания. Отдельному изучению подверглась экспериментальная книга Б. Акунина «Квест», созданная по законам интерактивных жанров. Кроме того, была изучена «визуальная новелла» как гибридный жанр, в котором соединились текст и визуальные образы видеоигры.В заключении делается вывод о том, что интерактивные жанры литературы не теряют своей актуальности во многом благодаря внедрению в компьютерное игровое пространство, где автор выступает на равных с читателем-игроком в процессе создания текста.
The article examines the genres of modern literature based on the principles of computer games, such as game-book, quest-book, etc. The origins of the formation of such genres in the "pre-computer" era are investigated, as well as their development in the practice of modern video games. The logic of the work involves referring to the most revealing texts of literature of the previous period, such as "The Garden of Forking Paths" by J. L. Borges, "The Game of Classics" by H. Cortazar, as well as mentioning a wide range of similar books of the past, revealing the potential for video games with an interactive plot, involving the reader-player in the process of co-creation. The authors analyze in detail the modern game-quests "Symbiont", "Pandemic: The Road Home" from the point of view of the technique of creation. The experimental book "Quest" by B. Akunin created according to the laws of interactive genres, was also considered. In addition, the "visual novel" was studied as a hybrid genre in which the text and visual images of a video game were combined. As a result, it is concluded that interactive genres of literature do not lose their relevance, largely due to the introduction into the computer gaming space, where the author acts on an equal footing with the reader-player in the process of creating a text.

The popularity of «Prose Poems» (1878–1882) by Ivan Sergeevich Turgenev dates back more than a hundred years, while they remain the very first works of the writer, translated into Chinese. The study of Turgenev has gained particular relevance in China. This article discusses the understudied issue of the influence of the Turgenev's prose poem «Threshold» on Chinese literature through the example of the work of the classics of Chinese literature of the first half of the 20th century, such as Lu Xin (1881–1936), the father of the modern Chinese novel, Li Ni (1913–1968), the singer of «sorrow and grief», and Lu Li (1908–1942), one of the founders of the new Chinese lyrical prose. Using the comparative method, the article analyses the artistic features of the following prose poems: «The Traveler» by Lu Xin, «The Falcon Song» by Li Ni, and «The Door and the Recluse» by Lu Li. The author reveals the significant influence that the philosophical ideas of Turgenev and his creative style had on these writers and Chinese literature in general. The comparative analysis shows that in the poems of Lu Sin and Li Ni, the spatial characteristics of Turgenev's prose poem «The Threshold» are recreated, while Lu Li was inspired by the philosophical meaning of this work of art. In this way, opening a new page for Russian literary scholars in the history of the relationship between Russian and Chinese cultures, the research topic and the analysis done reveal new material for Russian literary studies about on the history of the reception of Turgenev's creative work in China.