Suchergebnisse

Analysis of trade cooperation between countries and identification of the most significant market participants is of great importance, both theoretically and empirically. The global trading community forms a network of international relations defined by trade contracts in various industries. Export-import trade flows are one of the key indicators of the level of cooperation among countries and the state of the global economy. The high intensity of such contacts across groups of countries suggests the existence of clusters in this market segment,consisting of central players — exporters and importers, who often define rules for other participants.Understanding the existence and identification of such a center helps to develop an optimal international trade strategy. The purpose of this contribution is to identify factors affecting trade flows among different countries. Statistical analysis of the international trade relations does not always reveal all the essential aspects of cooperation. This paper combines the methods of graph theory and econometric analysis to study the parameters of trade flows among countries. The parameters used in the network analysis make it possible to obtain additional characteristics of market participants, which help to evaluate their significance in the world trade. The paper also identifies some key mathematical and economic characteristics of export-import flows connecting destination countries. We have analyzed the directions of changes in world trade and established correspondences between metric characteristics of graph vertices and parameters of world trade models. The Russian indicators in export/import categories and its largest sales agents are estimated. The identification of the key intermediaries and importers (centers and authorities) on each of the markets in question has been carried out. As an example for this identification the market of agricultural products among the world's largest exporters and importers of the product were used.

The article deals with general and particular patterns of solving the identification problem of attributional linguistics. Experimental research is carried out on the material of the texts of written network communication. The problem is solved for several discursive areas: online literature, corporate e-mail, short comments on posts on the entertainment portal. These discursive spheres correlate with several functional styles of speech: fiction, official and colloquial, which makes it possible to identify the trends in textual attribution within the material of Internet communication. A holistic approach with linguistic modelling as its means, is used for the analysis of speech material. The problem of determining text authorship is solved by comparing a disputed text, the author of which, according to the conditions of the experiment, is unknown, with texts, the authors of which are known. The application of specialized software "KhoRom", has enabled the researchers to create mathematical models of the individual styles of the compared texts authors. The contrast of the resulting models is performed by considering Pearson linear correlation coefficient, coefficient of determination, and Students t-criterion. On the basis of these models and their study, a number of conclusions about statistical patterns of an authorship study in various discursive spheres of electronic communication are made. The revealed general and particular statistical regularities are represented in score tables.

The present comparative study focuses on the British anti-migrant media discourse of two key periods of migration policy - before and after Brexit. The methodological basis of the work constituted the theory of social actors of van Leuven (2008), the conceptual opposition "us" and "them" by T. van Dijk (1989), and the agenda-setting theory of M. McCombs and D. Shaw (1972). Using a comprehensive analysis of the selected material and the methods of modern computer linguistics, the authors set themselves the task of identifying changes in the tonality of media discourse, key strategies for representing migrants as social actors, and analyzing the media agenda of various political stance with regard to the recent referendum. The data obtained demonstrate the prevalence of the criminalization strategy of migrants in conservative media and their victimization in liberal media both before and after the referendum. However, after the Brexit, there is a shift from a clearly negative tone of media texts of both views to more neutral rhetoric. An analysis of the agenda shows that significant political events unambiguously affect the number of publications in the media in general. However, the strategies used to represent migrants are predefined by the political views of publications.

«Paul Claudel interroge le Cantique des Cantiques» («Paul Claudel questions the Song of Songs») is a landmark work in the oeuvre of Paul Claudel (1868-1955), it is one of the largest artistic and exegetic commentaries in the collection of prose «Le Poëte et la Bible» («The Poet and the Bible») (1998, 2004). The writer creates a new «Claudelian novel» in Bakhtin's understanding of the novelistic word, based on the centuries-old tradition of multiple interpretations, on the one hand, but built into a work of art, on the other. Claudel draws on his experience of reading the Vulgate, working with concordances and the works of the Fathers of the Church, updating the text of the Holy Scripture through the prism of his work. The artistic world of prose allows us to trace themes, motives, images, as well as the style of working with the text in Latin. Upon finishing his work on the commentary, Claudel makes his own translation of the Bible. It reveals the principles that Lemaistre de Sacy and Fillon adhered to, as well as the typical Claudelian methods of translation, which the writer stated in his discussions about language, French verse and orthography. The translation becomes part of the work: the interpreter places it at the beginning of each chapter. Claudel makes a new translation, pursuing other goals: he does not translate the Bible from the sacred language into the profane language, he translates it into the «Claudelian», adding the meanings that he puts into the text himself, which develops in the second part of each chapter – a poetic commentary.

The category of intertextuality and playing with the reader have become an integral part of mass literature in the era of postmodernism. The aim of this article is to analyse the intertextual inclusions in Maskerade (1995), a novel by Terry Pratchett, a British writer who achieved success in comic fantasy and is well-known for his book series Discworld and the use of different cultural references which play a crucial role in the construction of the storyline. The research refers to the original text of Maskerade, the primary precedent texts, i.e. The Phantom of the Opera by Gaston Leroux and the musical of the same name by Andrew Lloyd Webber, as well as several musical works of the last century. The distinctive features of the novel include a predominance of musical references over literary ones, which can be explained by the primary plot of the book developing on the stage of the Ankh-Morpork Opera House. In the very paratitle of the novel, the writer begins an intertextual game with the reader, hinting at the main narrative line, the duality and masquerade of what happens. All the plot-forming intertextual connections analysed in this article have no attribution and are expressed in the form of marked quotations, quasi-quotations, and allusions. However, taking into consideration "the white knowledge" and the readers' horizon of expectations, Terry Pratchett reconsiders many images of the characters and seemingly well-known plot twists of The Phantom of the Opera. Furthermore, showing the backstage of the theatrical world with its prejudices and difficulties, the author thereby connects the real world with the secondary fictional world which turn out to be hardly distinguishable from each other.

The article examines the metaphor London-as-the-World in the structure of the London text of English linguistic culture (i.e., an emic or invariant text for a group of texts related to the British capital). Such an analysis makes it possible to update the most important dimension of the London text: its objects turns out to be a key component of Englishness, being conceptualized as a model of all-English and world processes, as an analogy of the civilized world and the universe. The metaphorical realizations of the London text are seen as the result of conceptual fusion. The research cited in the article is carried out at the junction of the cognitive and semiotic approaches, according to which socially significant mental entities are examined via a semantic analysis of corresponding supertexts. The integration of the cognitive and the semiotic is effected within the framework of unified semantics. Thereby a semiotic analysis of text consists in singling out propositions of diverse degrees of similarity in it, in the selection and classification of predicates with which characters and "things" are endowed in the text, and in the inclusion of individual entities from the text in the general categories, what reveals the picture of the world deep structure from the standpoint of that text. The article draws on the literary canon of New English, and a study into that material educes a continuity in the metaphors and the means of their linguistic expression that were used by the English-speaking community to structure the reality. The article thus postulates the relative stability of London text as a supertextual entity.

This article examines film adaptation of a literary work, which is regarded as an "intersemiotic translation" (R. O. Jakobson's term). Research in the field of film adaptations has experienced a real boom abroad for at least the last two decades. In recent years, one can notice an increase in interest in this topic in Russia as well. This is evidenced by even a cursory acquaintance with newly written articles, monographs, and dissertations, whose authors approach the problem of film adaptation from the standpoint of a wide range of research fields: film studies, linguistics, philosophy, sociology, literary criticism, etc. At the same time, the question of whether an adaptation of a literary text can be regarded as a translation is still debatable. Employing this point of view, this article proposes to consider two adaptations of Shakespeare's tragedy Hamlet: by T. Richardson (1969) and by F. Zeffirelli (1990), where the directors abandoned the traditional interpretation of the play in the theatre and the cinema but did not choose to transfer the action to a different epoch. A comparative analysis of the performance of Hamlet's monologue as a key moment of the protagonist's internal conflict demonstrates that even though both directors keep the text of the monologue unchanged, its interpretation undergoes serious transformations. Due to its multimodality and in addition to the word, cinematography uses sound and visual images. These extra artistic means which cinematography has at its disposal offer a recoding of meanings akin to transcoding a text by means of another language, characteristic of translation in its classical sense.