RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series最新文献_第3页

ALBRECHT DURER: FROM RENAISSANCE TO BAROQUE. EVOLUTION OF THEORY 阿尔布雷希特·丢勒:从文艺复兴到巴洛克。理论演化

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series Pub Date : 1900-01-01 DOI: 10.28995/2686-7249-2019-10-129-138

A. F. Esono

引用次数: 2

“ODE ON VISITING THE BELOSARAISK SPIT ON THE SEA OF AZOV” BY ILIA KUTIK. MYTHOPOETICS, METAMORPHOSES OF THE SPACE AND THE FUNCTION OF METABOLE “访问亚速海上的别罗萨拉斯克吐槽颂”，作者:伊利亚·库提克。神话学，空间的变形与新陈代谢的功能

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series Pub Date : 1900-01-01 DOI: 10.28995/2686-7249-2021-8-86-95

Aleksei E. Masalov

{"title":"“ODE ON VISITING THE BELOSARAISK SPIT ON THE SEA OF AZOV” BY ILIA KUTIK. MYTHOPOETICS, METAMORPHOSES OF THE SPACE AND THE FUNCTION OF METABOLE","authors":"Aleksei E. Masalov","doi":"10.28995/2686-7249-2021-8-86-95","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-8-86-95","url":null,"abstract":"In this article the author analyses “Ode on Visiting the Belosaraisk Spit on the Sea of Azov” by Ilia Kutik. There is a special mythopoetic in this text, reassembling the vegetative version of the mythological plot through the transformation of the monstrous fish into the Belosaraisk spit. At the same time, the image of that fish is not reduced to the usual outlines of a mythical character or monster, since it is based on a rethinking of the resurrection motive contained in the structure of the vegetative composition. The key episode of “Ode...”, the birth of the Belosaraisk spit, is represented by synthesis, where one detail is layered on another, and space is always in dynamics, which speaks of another feature of the poem, constant metamorphoses of space. The crossing of myth and technology in the language of the work creates both specific coordinates and the special functioning of the metabole. The mythopoetic basis provides the cumulative structure of the metabole. Cumulations synthesizing the semantic fields of physical phenomena and physicality, the natural and technological form the basis of the synthetic trope. Such functioning of the metabole organizes the mutual involvement of various details in the universe, characteristic of the metarealistic expressing. In that sense, “Ode...” by Kutik is built as a kind of reassembling Ovid’s “Metamorphoses” through the odic canon and the metabolic language of metarealism.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123328479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

BRIGHT TOMORROW YESTERDAY AND TODAY (SOVIET COLLOCATION IN A CONTEMPORARY MEDIA TEXT) 光明的明天，昨天和今天(当代媒体文本中的苏联搭配)

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series Pub Date : 1900-01-01 DOI: 10.28995/2686-7249-2019-9-129-141

E. Basovskaya

引用次数: 0

EGYPTIAN INFLUENCE ON THE SHAPE AND DECORATION OF MEROITIC CERAMICS (BASED ON THE MATERIALS FROM EXCAVATIONS IN ABU ERTEILA, SUDAN 埃及人对美洛石陶瓷形状和装饰的影响(基于苏丹阿布埃尔泰拉出土的材料)

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series Pub Date : 1900-01-01 DOI: 10.28995/2686-7249-2019-1-28-38

S. Malykh

引用次数: 0

WHAT DOES IT “LOSE FACE” MEAN IN RUSSIAN? “丢脸”在俄语里是什么意思?

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series Pub Date : 1900-01-01 DOI: 10.28995/2686-7249-2022-8-78-90

Lyudmila I. Bogdanova

{"title":"WHAT DOES IT “LOSE FACE” MEAN IN RUSSIAN?","authors":"Lyudmila I. Bogdanova","doi":"10.28995/2686-7249-2022-8-78-90","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-8-78-90","url":null,"abstract":"The article deals with the semantic uncertainty of the phraseologism to lose face in the modern Russian language. The purpose of the study is to establish the evaluative characteristics of “loss of face” in the context of other moral “losses” (lose shame, lose conscience). The work was carried out on the material of explanatory and phraseological dictionaries of the Russian language with the use of data from the National Corpus of the Russian Language. In the course of the study, methods and operational procedures were used, including contextual analysis of phraseological unit syntagmatics, elements of component and frame analysis, methods of equivalent substitutions and context transformations. The study found that the “loss of face” in the Russian language occupies a special position among other significant moral losses. “To lose conscience, shame” denotes the loss of morally valuable qualities denoted by these words, and is understood unambiguously in this regard. The polysemy of the word face leads to the fact that the phraseological units lose face can convey a whole range of meanings, among which the main ones are the following: loss of individuality, distinctive personality traits, loss of reputation and respect in the eyes of others, loss of control over oneself, one’s emotions. The evaluative characteristics of the phraseological unit to lose face also differ from the evaluation of “loss of shame” or “loss of conscience”. “Loss of shame (conscience)” receives public censure; “loss of face” is negatively evaluated and painfully realized by the subject himself.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"16 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123719924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

TRAGEDY IN L. TIECK’S DRAMA. SOME ASPECTS 蒂克戏剧中的悲剧。某些方面

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series Pub Date : 1900-01-01 DOI: 10.28995/2686-7249-2021-3-32-41

T. A. Zotova

{"title":"TRAGEDY IN L. TIECK’S DRAMA. SOME ASPECTS","authors":"T. A. Zotova","doi":"10.28995/2686-7249-2021-3-32-41","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-3-32-41","url":null,"abstract":"The article considers the genre of tragedy in the works of L. Tieck, one of the key figures of German Romanticism. It is known that the tragedy genre among the German romantics is represented mainly by two varieties: the “tragedy of fate” (Schicksalsdrama) and the drama on a religious-historical theme (in literature most often referred to as Universaldrama, “universal drama”). L. Tieck stands at the origins of both genres, while the tragedy “The Life and Death of Saint Genoveva” (1801), to which other religious and historical dramas of German romanticism go back, turned out to be especially influential. Having created examples of those two genres, Tieck rethinks tragic structures, relativizing them in different ways – firstly, by transforming the tragic genre itself, and, secondly, by including tragic elements into the complex genre constructs, mainly into fairy-tale dramas. That rethinking, however, takes place mostly in the mainstream of the parody typical of Tieck’s work – whether it is a parody of the “main” tragedy with a comedy counterpart or the inclusion of parodies of the tragedy, including his own tragedies, in comedy texts. At the same time, however, Tieck’s last dramatic work, “Fortunat”, which has much in common with his fairy-tale dramas and, like them, is a complex genre construct, ends in tragedy in its purest form, the triumph of the tragic substance. In our opinion that testifies to the impossibility of complete relativization of tragedy and to the crisis of romantic drama","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"129 21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125281644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

ON THE ISSUE OF THE “ROCK POETRY WORD” IN CONTEMPORARY RUSSIAN NOVEL. THE WORLD OF BORIS GREBENSHCHIKOV IN THE WORLD OF “DREAMS SWIMMER” BY LEV NAUMOV 论当代俄罗斯小说中的“摇滚诗词”问题。列夫·诺莫夫《梦想游泳者》中的鲍里斯·格林本什奇科夫的世界

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series Pub Date : 1900-01-01 DOI: 10.28995/2686-7249-2021-8-96-111

Y. Domanskii

引用次数: 0

LITERARY-CRITICAL AND JOURNALISTIC TEXTS OF D.S. MEREZHKOVSKY, WRITTEN IN THE 1880-1890S AND NOT INCLUDED IN THE "ETERNAL COMPANIONS". TOWARDS THE QUESTION OF AUTHOR'S SELF-REPRESENTATION 梅列日科夫斯基的文学评论和新闻文本，写于1880-1890年代，不包括在“永恒的同伴”中。论作者的自我表现问题

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series Pub Date : 1900-01-01 DOI: 10.28995/2686-7249-2019-2-68-83

A. Kholikov

引用次数: 0

IOACHIM OF FLORES, MENDICANT ORDERS AND THE EARLY ITALIAN ALTARPIECE 约阿希姆的花，乞丐的命令和早期的意大利祭坛

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series Pub Date : 1900-01-01 DOI: 10.28995/2686-7249-2021-6-53-64

O. Nazarova

引用次数: 0

ODESSA WRITERS OF THE 1920S IN THE JOURNALISM OF N.A. LOGUNOVA (IVANOVA) 敖德萨作家在20世纪20年代的新闻。

RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series Pub Date : 1900-01-01 DOI: 10.28995/2686-7249-2021-10-52-68

O. Kiyanskaya, D. Feldman

{"title":"ODESSA WRITERS OF THE 1920S IN THE JOURNALISM OF N.A. LOGUNOVA (IVANOVA)","authors":"O. Kiyanskaya, D. Feldman","doi":"10.28995/2686-7249-2021-10-52-68","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-10-52-68","url":null,"abstract":"The article is the fourth in a series of publications devoted to the biography and journalistic work of N.A. Logunova the Russian emigrant writer. It deals with the first years of her adult life in Odessa, the beginning of her literary career and the activities of the literary circle “The Green Lamp” (Zelenaya lampa). The authors focus on the first steps in the literature of the later famous Soviet writers and journalists V.P. Kataev, I.E. Babel, E.G. Bagritsky, Y.K. Olesha, etc., their first publications in the Odessa periodicals and their public speeches. In addition, it is about, one might say, a particular lifestyle of Odessa writers, formed under the influence of the cultural specifics of their home-city. Logunova tells in detail about the life of Eduard Bagritsky, who loved birds and was indifferent to the conveniences of life, describes the methods of Babel’s literary work, who from his youth aspired to the maximum saturation of his prose, literally honing every phrase, removing everything that he considered optional. The article also characterizes methods used by Odessa writers for adaptation to the new – Soviet – conditions of literary life, fundamentally different from the pre-Soviet – political situation.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122929718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0