Suchergebnisse

Статья посвящена изучению пространства возможных миров в художественном тексте с позиций лингвосемиотического анализа. Рассмотрение формирования возможных миров в художественном тексте в терминологии референциальности высказывания дает возможность автору сделать вывод о перспективности изучения экстенсионала и интенсионала художественного текста в отношении его содержания и смысла, что позволяет описывать возможные миры с позиций экстенсиональных элементов мира и их интенсиональных функций. В статье доказано, что пространствовозможных миров – это не только пространственные координаты действия, событий художественного текста, но и пространство авторской интенциональности, реализующее художественный вымысел. Лингвосемиотическое функционирование возможных миров мыслится автором статьи двойственным образом – с позиций автора и читателя. В процессе исследования выявлено, что в тексте романа В. Орлова «Альтист Данилов» основной функцией маркеров художественного пространства является соотнесение возможных миров с художественной реальностью, по своим семиотическим признакам близкой к советской действительности 1970-х гг., и с фантастическим миром, который дифференцируется от этой условной реальности, но свободно проникает в нее. Определено, что пространственные координаты маркированы в художественном тексте на лексическо-грамматическом и синтаксическом уровнях; для зоны авторской интенциональности свойственен более широкий репертуар средств, применяемых для создания художественного пространства, включая активное воздействие на эмоции читателя, а также использование его фоновых знаний, культурного и обыденного опыта.
The article is devoted to the study of the space of thinkable worlds in a literary text from the standpoint of linguistic and semiotic analysis. Consideration of the formation of thinkable worlds in a literary text in terms of the referentiality of an utterance allows the author to conclude that it is promising to study the extension and intension of a literary text in relation to its content and its meaning, which makes it possible to describe thinkable worlds from the standpoint of the extensional elements of the world and their intensional functions. The article proves that the space of thinkable worlds is not only the spatial coordinates of the action, events of a literary text, but also the space of the author's intentionality, which realizes fiction. The linguistic and semiotic functioning of thinkable worlds is thought by the author of the article as dual – from the positions of the author and the reader. The study revealed that in the text of V. Orlov's novel "Violist Danilov" the main function of markers of artistic space is the correlation of possible worlds with literary reality, in its semiotic features close to the Soviet reality of the 1970s, and with a fantastic world that is differentiated from this conditional reality, but freely penetrates into it. It is determined that spatial coordinates are marked in a literary text at the lexical-grammatical and syntactic levels; the zone of authorial intentionality is characterized by a wider repertoire of means used to create an artistic space, including active influence on the reader's emotions, as well as the use of his background knowledge, cultural and everyday experience.

В статье рассмотрены лингвометодические аспекты, связанные с обучением студентов-иностранцев (инофонов) русскому языку как иностранному на продвинутом уровне на примере работы с текстами А. И. Солженицына. Художественные тексты писателя изобилуют индивидуально-авторскими единицами, созданными по неизвестной или знакомой в современном русском языке модели. Подчеркивается, что сложность обучения инофонов русскому языку на базе художественных текстов А. И. Солженицына вызвана необходимостью самому преподавателю в полном объеме владеть тонкостями стиля писателя. Лингвистический аспект данной статьи позволяет осознать специфику структурного состава индивидуально-авторских единиц А. И. Солженицына. В рамках методического аспекта подобные слова с измененным правописанием или семантической природой расширяют кругозор студента-иностранца, повышая не только уровень его владения русском языком, но и культурный уровень в целом. Активизируются широкие возможности для общения со студенческой аудиторией и преподавателями, а также для наиболее полного понимания всех коннотативных признаков коммуникативной ситуации. Нами выявлено, что при создании индивидуально-авторских единиц прослеживается определенная поэтапность, которая может быть положена в основу разработки ряда приемов обучения, отражающих факт поэтапной концептуализации в сознании студентов-иностранцев значимых особенностей менталитета русскоговорящих людей - носителей языка.
The article deals with the linguistic and methodological aspects related to teaching foreign students Russian as a foreign language at an advanced level by the example of working with the texts by A. I. Solzhenitsyn. Literary texts of the writer abound in individual author units created according to an unknown or familiar model. It is emphasized that the complexity of teaching Russian to foreign speakers based on the texts by A. I. Solzhenitsyn is caused by the need for the teacher to fully master the subtleties of the style of A. I. Solzhenitsyn. The linguistic aspect of this article allows us to get into the specifics of the structural composition of the individual author's constructions of A. I. Solzhenitsyn. Within the methodological aspect, such words with a changed spelling or a changed semantic nature expand the horizons of a foreign student, increasing not only the level of Russian language proficiency, but also the cultural level in general, giving a foreign student greater opportunities not only to communicate with the student audience and teachers, but also to better understand all the connotative signs of a communicative situation. We found that when creating individual author units, there is a certain step-by-step approach, which can be used as a basis for developing a number of teaching methods that reflect the fact of step-by-step conceptualization in the minds of foreign students of significant features of the mentality of Russian native speakers.

В статье рассматривается феномен взаимодействия дискурсов в англоязычной металитературе второй половины XX - начала XXI в. с позиций когнитивно-дискурсивного подхода. Актуальность исследуемой проблемы определяется ее включенностью в круг современных научных разработок в рамках когнитивно-дискурсивной парадигмы, в частности исследований, в основе которых лежит теория интердискурсивности, которая активно развивается на стыке теорий текста и дискурса. Материалом исследования являются лексические единицы, а также синтаксические и словообразовательные модели, полученные в ходе выборки из англоязычных научных и художественных текстов. Используемые в работе методы исследования включают комбинирование общенаучных методов дедукции и индукции, методов классификации, моделирования и интроспекции при анализе эмпирического материала, методов концептуального, компонентного, трансформационного анализа и анализа дискурса. Последовательное применение методов концептуального анализа и анализа дискурса позволяет восстановить исходную структуру и содержательное наполнение ментальных единиц, стоящих за репрезентантами научного дискурса в художественном тексте и репрезентантами художественного дискурса в научном тексте, а также проследить ход трансформаций, которым они подвергаются в нехарактерном для них дискурсивном окружении. Все вышесказанное свидетельствует о значительном функциональном потенциале репрезентантов научного дискурса, который делает возможным многовариантное декодирование зашифрованных в тексте смыслов субъектом дискурса, выражающее специфику конструирования и моделирования отражения того или иного фрагмента действительности членами определенного языкового коллектива, выступающими субъектами взаимодействующих дискурсов.
The object of the article is the study of discourse interaction in English metafiction of the second half of the 20th century - beginning of the 21st century in cognitive-discoursive aspect. The topicality of the research is determined by its involvement in the sphere of cognitive-discoursive paradigm, including in particular the theory of interdiscoursivity that exists at the confluence of theory of text and theory of discourse. The material for research is constituted by lexical units, as well as syntactic and word building patterns used in English scientific and literary texts. The methods of research include the deductive and inductive methods, classification, model analysis and introspection as well as methods of conceptual, component, transformation and discourse analysis. The use of these methods allows to reconstruct the structure and the content of concepts represented by interdiscoursive markers in the frames of discourse not characteristic of them. The results of the research allow to make the conclusion about the significant functional potential of representatives of scientific discourse and their role in the process of decoding the author's information in heterogeneous discoursive space by the reader who acts as a subject of interacting institutional discourses.

The article is devoted to the study of the genre of literary epitaph in Tabasaran poetry. In the water part, which has a theoretical character, the difference between the cemetery and literary epitaph is shown, the constitutional signs of two genre varieties are revealed, the degree of mastering of the genre in the literatures of the peoples of Dagestan is stated.
In the main part of the work, the thematic, structural and compositional analysis, as well as the analysis of the subjective organization of the texts of the Tabasaran literary epitaph were carried out on the material of the poetic texts of poets G. Hajiyev and R. Ramazanov. The author comes to the conclusion that the literary epitaph in Tabasaran poetry has an edifying and satirical character; it condemns the actions and qualities of people who contradict the national ideal of a woman, mother, highlander — adultery, violence against people, selfishness and indifference, depravity and perseverance in committing sins. Also in the epitaphs, the problems of retribution for earthly life, gratitude are raised.

The article is devoted to the study of the originality of literary anthroponyms in the works of Boris Ukachin. This problem has been little studied and requires further research. The relevance of the research is determined by the need to interpret the artistic anthroponymicon in order to comprehend the deep meaning of the text. The anthroponymic vocabulary of Boris Ukachin's artistic works has a significant potential for understanding the ways of the individual author's organization of the artistic space and the system of subtext connections. Therefore, the study of the anthroponymy of the author's works makes it possible to expand and streamline information about the traditional and new in the writer's artistic heritage.
Literary anthroponyms serve as a means of designating characters, isolating and distinguishing them, concretizing and generalizing. The anthroponymic space of Boris Ukachin's works is extraordinarily rich, there are names in it that reflect the customs, traditions and worldview of the Altai people, which are formed by different ways of word formation. The name and her appearance largely determine the artistic thought of the author, it is closely related to the plot, portrait, landscape of
Boris Ukachin's works. Since people call an object by their personal names, they do not attribute any properties to it, however, in a literary text, thanks to anthroponyms, the writer hides a certain meaning that reflects the character of the hero. It is thanks to proper names that the reader becomes clear which character is in front of him. Anthroponymic semantics manifests itself especially vividly and profoundly in the title of the stories.
According to the author, anthroponyms are widely and variously represented in the work of B. Ukachin. Many of them are divided by lexical and semantic characteristics into descriptive names, wish names and names that give some information about a person's personality.

The article explores the phenomenological aesthetics of Hans-Georg Gadamer, specifically focusing on its application in the context of timbral text analysis. The study thoroughly investigates how Gadamer's phenomenological perspective can enhance the understanding and interpretation of texts, by viewing them as intricate, multi-layered constructs that require analysis of their emotional and expressive elements. The authors delve into such fundamental concepts, as the fusion of the author's and reader's horizons, the hermeneutic circle, and the dynamic nature of these horizons within timbral analysis. A significant portion of the paper is dedicated to examining the role of historical context and personal preconceptions in the interpretation process. It underscores the importance of acknowledging historical and cultural horizons to achieve a comprehensive understanding of texts. The article presents an innovative approach to the interpretation of literary texts, merging Gadamer's phenomenological aesthetics with timbral analysis techniques. This research redefines traditional text analysis methodologies by attempting to bridge the gap between philosophical aesthetics and practical text analysis. This work offers a novel perspective on text analysis and interpretation. The authors' approach not only deepens the understanding of Gadamer's phenomenology but also demonstrates its utility in text analysis. The study is poised to influence future research in text interpretation, encouraging a more nuanced and holistic approach that takes into consideration both the aesthetic and emotional components of texts, as well as the cultural and historical context in which they are embedded.

This article explores the conceptual analysis in literary discourse using the example of the novel "Day of Execution" by Azerbaijani writer Y. Samedoglu. The author proposes a comprehensive approach to concept analysis, including examining the nominative field, semantic analysis, and intertextual relationships. Various techniques and elements such as embedded texts, temporal parallels, intertextuality, irony, and allegory are examined, which help reveal the concept's meaning and organisation in the novel. Additionally, the article emphasises the importance of cognitive-semantic analysis and the study of intertextual relationships in literary discourse. The research contributes to a better understanding of the conceptual worldview in the novel "Day of Execution" and its connection to linguistic means and structures. This article interests linguists, literary scholars, and anyone interested in cognitive analysis and academic discourse.

The phenomenon of the undefined status of literary criticism leads to a lack of clarity in its terminological apparatus. In particular, there is no unity on the issue of what to consider as the plot of a literary-critical utterance, as well as how to determine its motivational structure, or to identify a set of semantic fields. The subject of this research is the literary category of the chronotope, which is used to analyze the poetics of a critical text. This study was carried out on the basis of the collections of I.I. Vinogradov (1930-2015) "Like bread and water. Art in Our Life" (1963), "Art. True. Realism" (1975), "On a living track. Spiritual Searches of Russian Classics" (1987) with the involvement of textual criticism, biographical data and evidence of the historical context. Despite the artificiality of dividing the chronotope as dominant uniting texts, each of its parts is consistently characterized in order to accomplish the most complete presentation. Space, not in physical, but in textual terms, is understood as a set of factors that bind articles together at a formal level (genre format, heading complexes, typography design). The author's image is viewed as multifunctional: it builds an internal connection and a storyline. The functions of the chronological aspect are also shown: responsibility for the historical, cultural and biographical contexts, dating, meaningful transformation of articles. The conclusion deals with the possibility of using a complex view of the totality of chronotopic characteristics of judgment and the methodological preferences of the critic as a whole.

Статья посвящена изучению стилистических особенностей произведений современного литературного процесса на материале романов Маргарет Этвуд "The Blind Assassin", Анны Бернс "Milkman" и Хилари Мантел "Giving up the Ghost". В данной работе отмечается, что литература служит некоего рода лакмусовой бумажкой, запечатлевающей и отражающей всеобщее стремление к упрощению языка, его отдельных единиц и синтаксических структур. По мнению исследователей, подобные тенденции приводят к упрощению не только устных форм языка, но и языка художественной прозы, тем самым понижая ее эстетическую значимость и культурологический статус. В статье описывается процедура общефилологического анализа художественного текста и его основные методы. Среди исследователей нет единого мнения относительно поэтичности литературных произведений и роли в ее формировании различных языковых единиц. Некоторые ученые рассматривают тропы как один из обязательных элементов любого художественного текста, представляя их как нечто независимое и существующее даже в изоляции от текстового пространства. Согласно другому мнению, формирование стилистических приемов обусловлено взаимодействием языковых единиц, которые, лишь попадая в структуру текста, приобретают несвойственные им ранее образность и метафоричность. Проведенный филологический анализ материала исследования позволил опровергнуть распространенное мнение о крайнем обеднении стилистического потенциала современных англоязычных романов и установить, что задачей авторов современного литературного процесса является создание текстов, чья стилистическая организация не только сохранит статус литературы как искусства слова, но и сможет приблизить произведение к описываемой действительности.
The article is devoted to the study of stylistic peculiarities of the literary works of the modern literary process on the material of the novels "The Blind Assassin" by Margaret Atwood, "Milkman" by Anna Burns and "Giving up the Ghost" by Hilary Mantel. The article notes that literature serves as some sort of a touchstone depicting and reflecting the universal desire to simplify the language, its separate units and syntactic structures. According to scientists, such tendencies lead to simplification of both oral speech and literary prose, which understates its esthetic value and cultural status. The article describes the procedure of philological analysis of a literary text and its basic methods. There is no common opinion on the poetry of literary works and on what role linguistic units play in its creation among scientists. Some researchers consider tropes one of the essential elements of any literary work, viewing them as something independent and existing even in isolation from the text. Others believe that the formation of stylistic devices results from interaction of linguistic units, which acquire earlier extrinsic imagery and metaphorical character only in the structure of a text. The philological analysis of the research material made it possible to refute a widespread impression of utmost impoverishment of stylistic potential in modern English novels and to establish the aim of modern literary process writers, which is to create texts which stylistic organization will not only preserve the status of literature as the art of the word but will also be able to bring the text closer to the described reality.

Dystopian images: myth or reality? How to understand the risks in the field of progress from the perspective of semiotics of culture? In the article we propose a semiotic approach to the ethics of the relationship between humans and artificial intelligence products in a literary context. The literary dystopia of the early 21st century is built on the principle of "feeling for the future" (Shklovsky) and at the same time "taking a closer look at similar events in the past" (Lotman). From the point of view of semiotics, a person in a dystopia is an image of a "thinking reed": the ability to innovate is his evolutionary advantage. Human thought is comparable to geological force, and in this sense, Yuri Lotman's approach continues the intellectual tradition of Vladimir Vernadsky, from the biosphere to the semiosphere. Modern dystopias by Kazuo Ishiguro show us a society of the future with the division of human groups into 'reserve' and 'legitimate'. Clones and robots are proposed to be viewed not as soulless devices, but as works of art. Dystopian texts are the basis for thinking about the ethical behavior of a person of the future.

The article dealt with a certain fragment of the linguistic world view, which is significant to be studied to provide a number of ways of describing of the national and cultural component of the concept "horse" in the English linguoculture. The article provides the description of a number of costume calendar customs prevalent in different parts of Great Britain after XIII century, with a central element the hobby-horse, which according to a number of authors (Lamb, Pikli), subsequently became a symbol of mass culture. The article considers the functioning of the studied fragment of the linguistic world view in the English phraseology and literary texts. The presented ethnographic material indicates to different functions, features and associative links of the hobby-horse, which is a central element of the described customs. The phraseological representation reflects the studied fragment of the linguistic world view in a partial way and indicates apparently to its later development. In its turn, the analysis of literary texts supported by ethnographic material, allowed to track the dynamics of new meanings emergence of the lexeme hobby-horse and its old meanings disappearance that were widespread in certain historic periods. The article concludes that the considered examples of the hobby-horse in literary texts though convey different meanings with either positive or negative connotation, however come from the common source ('prancing hobby-horse of the morris dance').

The literary heritage of an influential German writer and academical
literary critic of the late twentieth century W.G. Sebald (1944–2001) is considered in
relation to the essential features of Austrian literature (as a special phenomenon)
identified by N.S. Pavlova, and in the context of its important topics. The article
traces Sebald's rise as an outstanding prose writer in parallel with how his interest
as an academic Germanist was focusing on the work of Austrian writers (from
Adalbert Stift er, 1805–1868, to Peter Handke, b. 1942), how he was familiarizing
himself with fundamentals of their worldview (distrust of reality; lack of confidence
in the state, homeland and the language; deep intimacy with 'things'; dominance of
sensation over judgment) and acute topics (physical and mental pain, illness, homelessness, isolation).
Some pieces of Sebald's prose are compared here to the work of the Austrian
writers (Franz Kafka and Th omas Bernhard in particular) to study his extremely
mobile and multi-layered perspective of narration, which is characteristic for all his
texts and lies at the core of the specifics of his literary style. The article aims not only
to show some important features of Sebald's prose (the multilevel mediation of
perspective, 'network structures' within the text) in their connection to Austrian
literature of the last two centuries, but also to demonstrate that they were formed
largely due to his deep understanding of this literature.

The article analyzes semantic and axiological transformations of the classical fairy-tale plot of «Cinderella» being observed in such verbal and creolized texts of the Runet distractive discourse as anecdotes, jokes, statuses, demotivators, memes. These anonymous variative speech products are regarded as samples of the so called «naive» gender knowledge. Being an inalienable part of Russian gender Internet discourse, they constitute valuable resourse of information about the Russian speaking Internet users spontaneous beliefs of the actual gender order. The author defines Russian gender Internet discourse as dynamically broadening formation Internet texts of gender theme and agenda having different nature, structural organization, linguostylistic specifics and genre parameters, containing implicit gender senses and producing its own discoursive semantic dominants, values and antivalues. The author specifies that the name of the fairy-tale heroine is a usual connotative literary anthroponym which plays an essential role in organization of the semantic space created in distractive Internet texts. The quantitative analysis results show that 75 % of the revealed text about Cinderella contain explicit gender senses, represent typical femininity and masculinity images and perform marriage and romance as antivalues. The author reveals that 93 % of all gendered Internet texts about Cinderella clearly express negative evaluation of the generalized feminine image (126 items, 57 % of the total number), masculine image (58 items, 26,2 %), marriage and romance (29 texts, 13,1 %), but some samples contain negative evaluation both marriage as a social institution and one of the gender categories. The vagrant fairy-tale plot with its key images, motives and axiologemes become an object of mocking and carnivalesque reinterpretaton of anonymous Internet users. The author shows that the classical source main components occurring in the semantic space of the modern Russian cyberlore artifacts suffer grotesque transformations. That leads to the concepts of «Love» and «Marriage» deaxiologization and creating generalized negatives images of femininity and masculinity.

This article examines two methodologies for analyzing a literary work. The first one was developed by M.M. Bakhtin on the basis of a broad aesthetic and philosophical approach; the second one was developed by V.M. Zhirmunsky on the basis of a more specific formal and poetological approach. These methodologies were applied by both researchers to A.S. Pushkin's poems in the 1920s. It is argued that Bakhtin's methodology was worked out in opposition to the main provisions of Zhirmunsky, who was close to the position of Russian formalism, also taking into account L.V. Shcherba's achievements in the field of the linguistic analysis of a poetic text. This article describes the fundamental differences in the methodological conceptions of the philosopher and the literary critic concerning the nature of verbal creativity and understanding of the spatial and temporal organization of a literary work. The comparison of two analyses of Pushkin's poem "For the Shores of Distant Homeland…", shows that Zhirmunsky reduces the spatial and temporal aspects of a work of art to the compositional arrangement of verbal and sound material, since he considers verbal creativity as a linguistic phenomenon, while Bakhtin refers to the space and time of aesthetic reality, drawing a distinction between the composition and the architectonics of the literary work. It appears that the philosopher perceives the work as a field of dialogue between various subjects of consciousness (the author, the characters, the reader), while the literary critic proceeds from the author's primacy as creator of a system of artistic techniques, giving the reader a position of passive perception. It is concluded that both methods of analysis complement each other organically, Zhirmunsky analyzing the verbal-compositional dimensions of a literary work and Bakhtin its objective-architectonic dimension.

As a language phenomenon, literature resists being described in terms of linguistic units and structures. Of key importance is the aesthetic experience of language and its uses in context. The experience is particularly dependent on the changing formats of communication, the development of the technologies of production and distribution of texts. This dependency, in turn, creates fresh stimuli for creative experimental work with word and letter. The nature of these processes being largely pre-reflexive invites and presupposes the effort of reflection. The potential for 'self-problematization' contained in a literary text is a crucially important but yet largely unexplored aspect of its meaning and form. It invites a philologist to try out new analytic techniques. Perspectives of present day developments in cognitive literary studies are closely related to the so called 'material turn' and 'experiential turn' in the humanities. The means of poetic expressivity are transformed in the changing media field providing for the increasingly multisensorial experience of writing and reading. The alliance of literary scholarship with cognitive research in embodied and situated knowledge is promising of new fruit.