Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ最新文献

{"title":"A Glimpse into Literary Translation through Interpeter’s Critical Reflection","authors":"O. Pavlenko","doi":"10.34079/2226-3055-2021-14-25-69-78","DOIUrl":"https://doi.org/10.34079/2226-3055-2021-14-25-69-78","url":null,"abstract":"The article aims to analyze general insights and main trends increasingly related to literary translation studies focusing on translator’s critical reflection and peer-evaluation of a literary text (based on the gothic novel “Beyond the Abyss”) as well as reveals a clear sense of directions to build up key components of translator’s individual style and language policy.","PeriodicalId":228347,"journal":{"name":"Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ","volume":"106 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":"124333206","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}

{"title":"Artistic Historicism in V. Rutkivsky's Novel “Dzhuras of cossack Shvaika”","authors":"O. Kravchenko, A. Galenko","doi":"10.34079/2226-3055-2021-14-25-47-55","DOIUrl":"https://doi.org/10.34079/2226-3055-2021-14-25-47-55","url":null,"abstract":"The article deals with the peculiarities of historicism in Volodymyr Rutkivsky's novel “Dzhuras of Cossack Shvaika”. The historicism of V. Rutkivsky's works is presented not in its narrow interpretation – as an appeal to real historical facts and introduction of as many historical heroes as possible into the fabric of the text, but in a broad sense – as an artistic attempt understanding of Ukrainian history. It is emphasized that, despite the lack of historical facts and historical characters, the author managed to recreate the historical era of the late fifteenth century. This is the period of Cossacks emergence on Ukrainian lands. Thanks to artistic conjecture, the writer described the motives that moved Ukrainians at a crucial time to comprehend their own identity, which later led to the emergence of the center of Ukrainian statehood. The aim of the writer is to outline the historical landmarks for the formation of the Ukrainian national idea at the present stage with his historical adventure novels. This goal is realized through the reception of historical reconstruction. The reference points of the assertion of historical memory are the mentions of Kievan Rus, the battle of Blue Waters and the Cossack victory in the defense of the native land. The writer tries to instill to young reader a reverent attitude to the history of his land, presents an effective mechanism of self-determination of Ukrainians in the context of social and political relations – to respect himself as a descendant and successor of the traditions of his predecessors. V. Rutkivsky's artistic imagination helped to comprehend the causes and consequences of Ukrainian-Tatar contacts, to depict the historically accurate experience of previous generations. As a true historian, V. Rutkivsky shows the past not only of the Ukrainian ethnolinguistic community, but also of the foreign one, which lived in the territory that is now part of the Ukrainian state. The analysis of the artistic mastery peculiarities of the specific historical content in V. Rutkivsky's works proved the commonality of approaches in the depiction of historical reality in the novels “Blue Waters” and “Dzhuras of Cossack Shvaika”. It is proved that the mention of historical events in the novel performs several functions – contribute to the fabula unfolding, affect the vicissitudes of the novel, help to show the characters better.","PeriodicalId":228347,"journal":{"name":"Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ","volume":"12 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":"115648220","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}

{"title":"Genological Narrative Models in Paul Verlaine’s Prose Poems","authors":"O. Bigun","doi":"10.34079/2226-3055-2021-14-25-17-24","DOIUrl":"https://doi.org/10.34079/2226-3055-2021-14-25-17-24","url":null,"abstract":"The aim of the article is to study the specific features of the narration in Paul Verlaine’s prose poems. Historical and genetic origins of prose poems were analyzed. We observed that poems in prose became extremely popular at the turn of the XIX–XX centuries, meeting the demands of modernism regarding the change of the aesthetic canons through the renewal of artistic systems and types of narration. The prose poems sketches are characteristic of subtlety in reproducing the personal experience, in subtle play of the colours and chiaroscuro which create impressions, moods and association. The exterior details, landscapes, nature become the means of conveying ambivalent emotional process. The research describes, analyzes and generalizes the narrative models of the prose poems by Paul Verlaine, on the material of his “Mémoires d’un veuf” (“The Memoirs by a Widower”). Research methodology is based on integrated use of systematic, philosophical aesthetic approaches; cultural-historical, contextual, biographic methods; theoretical studies carried out with narrative typologies and methodological analysis of the main narrative strategies as important components of the artistic storytelling in the text. We define narration as the system of principles of constitution of the text at the deep level of its formation in complete agreement with the nature of the narration featuring the following components: specific traits of the organization of the chain of episodes; way of presentation of the writer’s theme; presentation order of events; focalization as a condition node, that affects the perception and reproduction of events; presentation type of statements and opinions of characters in the text. The basis of the model division of narration types in prose poems is the syncretic nature of the genre, which involves interpenetration of epic and lyrical principles, «superimposement» of some modifications. Depending on the dominance of certain genealogical elements and stylistic dominating idea of the work, the contexture of the narration is prevailed by epic-realistic or lyrical-impressionistic components. It has been found that according to the plot-compositional structure, the works of the epic-realistic block are divided into two categories: the first category has the dominance of the linear principle, the second – of the fragmentary construction principle with the strengthening of aestheticization and intellectualization. The works of the lyrical-impressionistic model contain an internal psychologized plot, attention to feelings and changes in emotional state, stylistic syncretism, an appeal to «eternal themes». The position of the lyrical hero, personal authorial experience, is closely connected with lyrical semantics.","PeriodicalId":228347,"journal":{"name":"Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ","volume":"12 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":"114918116","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}

{"title":"Pushkin and George Sand","authors":"Vladimir Zvinyatskovsky, Vlada Linnik","doi":"10.34079/2226-3055-2021-14-25-34-46","DOIUrl":"https://doi.org/10.34079/2226-3055-2021-14-25-34-46","url":null,"abstract":"The proposed article reveals the problem of objective perception of Pushkin's skeptical attitude to the personality of George Sand and her novels. In some mystical way this skeptical attitude was connected with poet’s attitude to the personality of Anna Kern and her work as George Sand’s translator and in the same time (as Pushkin guesed) with her being George Sand’s “copy”. But Anna Kern was not “a copy” of George Sand. She was 5 years older, and her multitude love stories (including her love story with Pushkin himself) preceded the world-known George Sand’s love stories – in her life and in her novels as well. Simultaneously Pushkin created a novel in George Sand’s genre – histoire d’amour sur fond champêtre (this genre was in fact created by George Sand): “Dubrovskiy, le roman infini”. This unfinished novel gives us a key to the nature of Pushkin's skeptical attitude – neither to the personality of George Sand nor to her novels – but to some values propagated by Franch writer, especially the free interpretation of married women’s duties. George Sand’s popularity all over Europe (including Russia) promoted the dissimination of those values. The comparison of Pushkin's “Dubrovskiy” with George Sand’s “Valentine” (1832) brings some clarification of the matter. Plot and social and historic background of “Dubrovskiy” and “Valentine” are almost the same, and it is no coincidence. Pushkin chooses for “Dubrovskiy” the circumstances which give him an opportunity for polemic with George Sand’s “Valentine”. But the polemic begins where “Dubrovskiy” is left finished (rather unfinished). A mistery of the unfinished Pushkin’s novel has never been resolved ever since. Well-known Pushkin’s plan of it’s final part is nothing more than a stingy outline. Nevertheless the context of other Pushkin’s works and his biography gives us some opportunities for a reconstruction of his arguments (subjective and objective as well) in his polemic with George Sand. А comparison of Pushkin’s “Dubrovskiy” with Pushkin’s “Snowstorm” and a final part of “Evgeniy Onegin” clearly shows author’s intentions in the unfinished novel. Dostoyevskiy (in his speech devoted to the opening of Pushkin’s monument in Moscow) had announced the matter in such words: “A Russian woman is not a French one”. Given George Sand’s popularity in Russia in the second part of 19 century it can be argued that Dostoyevskiy had in mind Pushkin’s discussion on the so called “woman`s question” with the author of “Valentine”.","PeriodicalId":228347,"journal":{"name":"Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ","volume":"26 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114013241","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}

{"title":"Stylistic Role of Deminutive Vocabulary in the Work of D. Hnatko “The Impious Soul”","authors":"Lyudmila Kulishenko, L. Bidenko","doi":"10.34079/2226-3055-2021-14-25-183-190","DOIUrl":"https://doi.org/10.34079/2226-3055-2021-14-25-183-190","url":null,"abstract":"The article examines the diminutive vocabulary of the modern women’s novel “The Impious Soul” by D. Hnatko. The stylistic role of diminutives is considered, their lexical and semantic groups, morphological affiliation, as well as the most productive ways of creation are determined. It has been found that diminutives add lyricism to the narrative, set the reader up for sincerity, and enhance the emotionality of the narrative. Among the units of linguistics that reveal the mental characteristics of Ukrainians, diminutives are also mentioned, because their use is a reproduction of one of the character traits of Ukrainians – emotionality. The author’s positive attitude to certain characters is reflected in speech by the use of diminutive vocabulary – derived nouns, adjectives, adverbs which express the meaning of diminutiveness and affection. There are 9 lexical-semantic groups of nouns with the meaning of diminutiveness in the work. They are different in meaning, but play one role – show the author’s positive attitude towards the characters and bring the style of the story closer to folk creation. The use of adjectives actualizes the reader’s attention to the peculiarities of the shape and size of the object; colour characteristics of the object, which allow to achieve accuracy, rich in the reproduction of artistic details. In general, adjective-diminutives play the role of epithets, which are used with nouns. The use of such adjectives gives the story emotionality, friendliness, positivity. With their help the author expresses sympathy and condolence to the characters of the story. The research allowed to reveal the use of emotionally coloured adverbs in the novel, which give the depicted situation additional meaning of kindness, affection, joy or dissatisfaction. It seems important to identify the most productive way of creating diminutives. As the examples show, this method is a suffixation. The most used suffix in the text is -onk- / -enk-. As we can see, this suffix mainly joins the basis of feminine nouns, and also functions in stems of qualitative adjectives and circumstantial adverbs. The analysis of the diminutives in the historical novel “The Impious Soul” by D. Hnatko has led to the following conclusions: - the writer often uses diminutives because they help to express her positive attitude, sympathy for the characters of the story and depicted objects; - the use of diminutives contributes to the emotionality of the work, as the main storyline is the image of a difficult female fate.","PeriodicalId":228347,"journal":{"name":"Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ","volume":"8 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":"123837602","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}

{"title":"Axiological Paradigm of Lyro-Epic Song: Ethical and Irrational","authors":"Alla Pavlova","doi":"10.34079/2226-3055-2021-14-25-111-116","DOIUrl":"https://doi.org/10.34079/2226-3055-2021-14-25-111-116","url":null,"abstract":"The love in the Ukrainian folk ballad is the center of the axiological model, associated with the concepts of “care”, “tenderness”, “warmth”, “joy” and so on. At the same time, this feeling often appears in antinomies, as it can become a powerful destructive force, shattering destinies and entire worlds. The aim of the work is to clarify the dialectic of ethical and irrational in Ukrainian ballads about love and premarital relationships, family life. Among the tasks: to trace the opposition structure of the concept of “love”; to find out the dialectic of the ethical and the irrational in the folk ballad. The vital meaning of the subject is characterized by certain conceptual features: the desire to achieve love, to have a loved one, to give happiness, to die for love, to fight with the world for their feelings, to know the essence of love, to expose indifference to recklessness. Carelessness as a human defect that causes tragedy appears in several realities of the song. Love in the dramatic boundaries of the work becomes not only the world but also the universe. With the death of a loved one does not come the death of love, because a stressful situation exacerbates these feelings, and partially manifests them in the human mind. Textual analysis of ballads reveals that often in life love is associated with a change of ideas, life meanings of the subject, a state of spiritual confusion. Love is distinguished by ambivalence: through suffering or hopelessness it turns into hatred. You can draw the same parallels by exploring the existence of love in folk ballads. The antinomy of the individual and the social in the studied lyrical songs is manifested at the level of a special human reality. Important concepts of “boon”, “care”, “mercy” are taken beyond positive emotional perception: the power of love becomes another force. On the example of such ballads we can trace the realization of educational and psychological functions: to encourage rethinking of the act, to teach a person to love the world and other people with true love, to help in spiritual growth. The ambivalence of love is manifested even at the level of poetic structuring of the text. Even this oppositional structure of the concept of «love», represented in the ballad, confirms the indirect discursive orientation of folklore on the model of the anthropological model, which is structured according to the system of values of the Ukrainian ethnic group. The essential assessment of an event or character of a folklore work, presented at the level of recognition – denial, contributes to the assertion of axiological constants: love in harmony, spiritual unity, mutual aid, tenderness and care as a synthesis of ethical and rational, goodness and beauty can bring this feeling to the horizon of majesty and eternity. Thus, in a folk ballad, the folklore image of a loved one is revealed at the level of cognitive activity of the society and the whole ethnic group.","PeriodicalId":228347,"journal":{"name":"Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ","volume":"5 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":"114437965","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}

{"title":"Typology of an Elegic Artistic Modus in Russian Rhetorics and Poetics of the 18th Century","authors":"N. Volik, Olena Pedchenko","doi":"10.34079/2226-3055-2021-14-25-25-33","DOIUrl":"https://doi.org/10.34079/2226-3055-2021-14-25-25-33","url":null,"abstract":"The genre of elegy realizes the need to express feelings, emotions by 18th century poets in Russian literature of the. It becomes reflective and is different in non-canonical form and in communicative approach. The Modus of artistry in elegy allows us to analyze the genesis and formation of its genre. It is possible to determine the main genre characteristics of elegy based on theoretical sources of this period. We can get rid of the void in scientific theory regarding the subordination of elegy to rhetorical instructions. The appearance of elegy in Russian literature falls on the reflex-traditionalist (classical) era, which at the turn of the XVIII–XIX centuries is replaced by a new non-rhetorical era. It creates an idea of the genre as a modus of artistry. The elegiac genre differs in thematic and tonal diversity, demonstrates the flexibility of form. Elegiac modus is characterized by tragic content, unsustainable pattern and emotional focus of the persona on their own worries. The main features of elegy are realized through elegiac motifs, personas, plot, chronotope, communicative strategy and worldview. The sad tone of the elegiac modus implies a rather diverse structural and thematic classification, and ancient history reproduces the independence of the genre form of Elegy from the canons. Specific features of the elegiac modus are the Alexandrian verse, the elegiac Topos, the situation when a person finds himself in the face of time and death, the elegiac contradiction of a person with fleeting time. The most significant works for the formation and development of the genre of Russian elegy should be considered the works on rhetoric and poetics by Feofan Prokopovich, V. Trediakovsky, A. Sumarokov and M. Lomonosov. Feofan Prokopovich emphasizes the absence of an elegiac composition and the presence of a wide range of moods. The scientist suggests transmitting the joyful, angry, mournful, loving moods in elegies. V. Trediakovsky distinguishes between erotic and funeral types of elegies. He believes that the main genre feature of the elegiac mode is the content, emphasizes the rational nature of creativity and the presence of certain rhetorical laws. A. Sumarokov defends the sincerity of feelings with which the poet fills the content of the love elegy. M. Lomonosov calls the Elegy a middle genre in relation to stylistic theory, which is supported by almost all scientists. The study of the elegiac genre allows us to research the Russian elegy of the reflexive era in the aspect of artistic mode as a discursive practice. It will expand our horizons by analyzing the elegiac works of other authors in 18th century.","PeriodicalId":228347,"journal":{"name":"Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ","volume":"4 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":"131938333","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}