Neofilologiia最新文献

{"title":"Types of formal variants of words in the lexical system of Don patois of the Volgograd region","authors":"Irina M. Filatova","doi":"10.20310/2587-6953-2023-9-4-760-766","DOIUrl":"https://doi.org/10.20310/2587-6953-2023-9-4-760-766","url":null,"abstract":"Don patois – with all the originality of linguistic features - are an organic part of the Russian dialect space. The studied patois are socially isolated, which determines such an inherent linguocultural phenomenon as prestige, therefore the Don patois retains the most important features of the traditional system. Studying the problem of variability allows us to trace the formation of the linguocultural space that forms the vocabulary of the Don patois, and to assess the current state of the lexical system of the studied dialects. Based on the material of Don Cossack patois, the question of the functioning of formal variants of a word in the dialect lexical system is considered. The formal intra-system dialect variation, covering variants of the word-formation level, has been analyzed. A brief overview of currently available points of view regarding the understanding of variability in the domestic linguistic tradition is presented. Criteria have been identified for distinguishing synonyms and variants in the lexical system of the Don patois. The collected material made it possible to trace the peculiarity of the dialect lexical system, which consists in the development of a large number of word variants. The study showed that word variants in Don patois are an integral part of the dialect lexical system, contributing to its preservation. The study of formal variability allows us to show the state of the lexical system of Russian patois at the present stage.","PeriodicalId":34441,"journal":{"name":"Neofilologiia","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135705042","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":"About the process of lexical dearhaization","authors":"Maria M. Kharchenko","doi":"10.20310/2587-6953-2023-9-4-740-748","DOIUrl":"https://doi.org/10.20310/2587-6953-2023-9-4-740-748","url":null,"abstract":"The process of lexical dearhaization in the modern Russian language is considered, as a result of which words “return” to the active vocabulary from the passive stock of the language and take on a new life. Throughout the history and development of a language, the process of archaization is inevitable. Nowadays, this process has become especially relevant. It has been proven that the development of the process of dearhaization, as well as the previous lexical archaization, is facilitated by extra-linguistic factors, primarily ideological, social, as well as historical events that occurred at the turn of the 20th and 21st centuries. Changes in the political system, social system, economic and cultural life, the emergence of new ideas and activities have entailed both qualitative and quantitative changes in the modern lexical fund of the Russian language, as a result of which dearchaized words have become a vivid reflection of changes in public consciousness. It has been established that dearchaisms can be rethought and their meanings can be modified. The returned words reflect a certain layer of the spiritual cultural tradition and consciousness of the Russian people and are neutral lexical units in the modern linguistic communicative space.","PeriodicalId":34441,"journal":{"name":"Neofilologiia","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135705481","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":"Interjections and interjection complexes in the plays of A.N. Ostrovsky","authors":"Xian Du","doi":"10.20310/2587-6953-2023-9-4-749-759","DOIUrl":"https://doi.org/10.20310/2587-6953-2023-9-4-749-759","url":null,"abstract":"An analysis of the use of interjections and interjection complexes in the plays of A.N. Ostrovsky was carried out, whose 200th birthday is celebrated all over the world this year. The playwright’s works significantly changed the Russian theater; ordinary people, representatives of the merchant class and the lower social classes appeared on the stage. They spoke the folk language, in which dialectisms, vernacular units, proverbs, sayings, and phraseological units were widely used. There important component of folk speech are interjections. They represent a complex part of speech with contradictory lexical-semantic and grammatical properties. Among them there are units with non-standard phonetic composition. Attempts to convey such interjections by means of the alphabet lead to the use of traditional notation, which very approximately reflects their real sound appearance (ugh), which becomes the cause of ethnospecific forms of transmission of such physical phonations in different languages, and this causes difficulties in their translation. At the same time, it is hardly worth talking about a special phonetic system of interjections, since the overwhelming majority of primary units (well, ah, ah, ba, wow, alas, and many others) consist of standard phonemes of the language, and their prosody generally corresponds to the prosodic characteristics vocatives and other lingual units. Interjections are widely represented in the texts of A.N. Ostrovsky’s plays. A significant place in the speech of the characters is occupied by primary interjections, with the help of which the author reflects the diversity of feelings and experiences of the characters. Among the most frequent words in plays by A.N. Ostrovsky includes interjections, well, ah. In almost all works there are also primary interjections oh, eh, hey, etc. Secondary interjections in the plays of A.N. Ostrovsky is mainly represented by the interjectivated words God, God, Lord, used both independently and as part of interjectional constructions (God bless, God be with you, etc.). In many cases, it is not easy to draw a line between interjection and religious use of these units in the speech of characters.","PeriodicalId":34441,"journal":{"name":"Neofilologiia","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135705485","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":"Fake information markers in COVID-19 news","authors":"Valeria V. Bitkova","doi":"10.20310/2587-6953-2023-9-1-173-185","DOIUrl":"https://doi.org/10.20310/2587-6953-2023-9-1-173-185","url":null,"abstract":"The relevance of the study is due to the interest of modern linguistics in the phenomenon of fake, the need for its comprehensive understanding and description. The aim of the work is to study the spread of fake information in the context of the COVID-19 pandemic, as well as to create a classification of fake information markers based on the study of I.A. Sternin and A.M. Shesterina. For the analysis of fakes, the database “Fake News in Social Networks and Media” was created, the material was 252 Internet texts containing false statements about COVID-19 from January 2020 to February 2022. Texts were collected using a continuous sampling method, sources for collecting material served as social networks and media sites. All fragments are divided into six groups by content: “Vaccination” (32 %), “Conspiracy Theories” (20 %), “International News” (18 %), “Panic Reports and Warnings” (14 %), “Pseudo-medical advice” (9 %), “Reports of confirmed cases/deaths” (7 %). In addition, the distribution of fakes in each year is considered. In the above fragments of fakes, the following groups of typical markers of fake information were identified: Formal markers, Content markers, Lexical markers, Pragmatic markers, Information sources, Argumentation. Examples from the database are selected for each marker.","PeriodicalId":34441,"journal":{"name":"Neofilologiia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68215598","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":"The rhetorical potential of the folklore word","authors":"M. A. Vengranovich","doi":"10.20310/2587-6953-2023-9-2-249-256","DOIUrl":"https://doi.org/10.20310/2587-6953-2023-9-2-249-256","url":null,"abstract":"The study is devoted to the analysis of a whole complex of factors that determine the formation of the rhetorical properties of a folklore word as a key component of a traditional folklore text. The relevance of the study is seen in the existing discrepancy between the stable nature of the folklore word as a unit of traditional culture and its resonant power, which causes emotional responsiveness of the audience and provides the rhetorical potential of the word in folk culture, which requires scientific understanding. In the course of the study, significant factors influencing the formation of the rhetorical properties of a traditional word were identified and substantiated. It is noted that a folklore word, like any word in traditional culture, having a high degree of generalization and semantic integrity, gives rise to a special aesthetic feeling in the recipient, based on a deep knowledge of the common traditional culture. Due to the meaningful dynamism, the folklore word acquires the ability to influence the performers and the audience, to arouse in them a sense of belonging to the ideal common for a given linguistic community. Under the conditions of the oral form of existence, the existence of a traditional word in a subject-aesthetized environment, the continuity of a folklore creative act, the special nature of communication based on the synchronism of the process of performing and perceiving the text, the simultaneity of the experiences of the performer and the listener, ensuring the active perception of a folklore work, subject to the common folklore tradition the performer and recipient of the traditional folklore word is provided with an increase in rhetorical potential and, ultimately, the preservation of the folklore tradition.","PeriodicalId":34441,"journal":{"name":"Neofilologiia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68218468","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":"Intercategorical interactions in non-prototypical taxis constructions of the German language","authors":"Irina V. Archipova","doi":"10.20310/2587-6953-2023-9-3-545-552","DOIUrl":"https://doi.org/10.20310/2587-6953-2023-9-3-545-552","url":null,"abstract":"The subject of the research is the description of intercategorial interactions in non-prototypical taxis constructions of the German language. The aim of the work is to analyze the intercategorical connections of taxis with the semantic categories of instrumentality, conditionality, causality, concession and consecutivity. The mutual connections of the above categories specify the second-taxis actualization or adverbial-taxis categorical meanings of simultaneity in utterances with prepositional-deverb combinations. The relevance of the research is related to the lack of study of the issue of intercategorial relationships of semantic categories established at the paradigmatic level and implemented in a syntagmatic context, that is, in non-prototypical taxis constructions with adverbial prepositions. It is revealed that the relationships of interacting categories are realized in concrete speech utterances with prepositional-deverbative constructions with prepositions of instrumental, conditional, causal, concessive, consecutive semantics bei, mit, durch, wegen, aus, vor, ungeachtet, trotz, infolge. They condition the actualization of such second-taxis categorical meanings of simultaneity as instrumental-taxis, medial-taxis, conditional-taxis, concessive-taxis and consequential-taxis.","PeriodicalId":34441,"journal":{"name":"Neofilologiia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68219764","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":"The cinematography of the novel “Sasha, hello!” Dmitry Danilov","authors":"I. R. Kuryaev","doi":"10.20310/2587-6953-2023-9-3-596-606","DOIUrl":"https://doi.org/10.20310/2587-6953-2023-9-3-596-606","url":null,"abstract":"The implementation of aspects of literary cinematography in Dmitry Danilov’s novel “Sasha, hello!”, which was analyzed using contextual, structuralist methods, the method of holistic analysis of a literary text, is considered. For the analysis, the concepts of “literary cinematography”, “audiovisuality”, “edit”, “plot”, “chronotope”, “eye” and “look”, “image of the author”, “reader-viewer” are used, the specifics of cinema as a fact of culture. It is substantiated that literary and cinematic codes are intertwined within the framework of this work. The specificity of the implementation of the principle of audiovisuality in the text is considered. It is revealed that the text is built according to the assembly principle. To construct the plot, the writer uses, among other things, emphatically cinematic plot. At the same time, the emphasized visibility of history, the orientation towards the creation of visible spaces allows the writer to create a specific absurdist narrative. The use of the vocabulary of the “Kino” group and the inclusion of the image of the author in the form of a conditional director-screenwriter transform the very status of a literary text. This makes it possible to present a literary work as an analogue of a motion picture, while actualizing the interactive moment, including the reader-viewer in the unfolding of the text. The materials of the study and its conclusions can be used not only to analyze other works by D. Danilov, but also in the analysis of modern domestic and world literature in the context of literary cinematography and the relationship between literature and cinema.","PeriodicalId":34441,"journal":{"name":"Neofilologiia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68220567","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":"Plot transformation of “Mozart and Salieri” tragedy by A.S. Pushkin in the story “Pi Day” by N. Dashevskaya","authors":"Svetlana Y. Zhutova, Nataliya V. Sorokina","doi":"10.20310/2587-6953-2023-9-4-845-854","DOIUrl":"https://doi.org/10.20310/2587-6953-2023-9-4-845-854","url":null,"abstract":"The ways of reflecting classical texts in modern literature on the example of the story “Pi Day” by N. Dashevskaya addressed for teenage readers are considered. It is shown how the creation is formed on the allusion to the tragedy “Mozart and Salieri” by A.S. Pushkin. The specificity of a new type of hero, developed in the context of traditions, taking into account the ideas about modern teenager personality is revealed. The correlation of the plot about Mozart and Salieri with the literary hero of the new time is described. In the main antagonists’ images of N. Dashevskaya’s story – Lev Inozemtsev and Kirill Komlev – the positive and negative features combination is emphasized. The methods of gifted teenager image formation in the creation are characterized, the artistic embodiment specificity of his socialization, adaptation way in the school community is determined. Differences number of the modern author’s book from the classical creation are highlighted, the writer’s desire to form in young readers the need to have a look at the source material is emphasized. The compositional features of the story “Pi Day” are defined: division into two equal parts, narration on behalf of different characters, fragmentary day-night narration. The practical significance of the research, the results using possibility in literature school teaching as a way of increasing the high school students reading interest to the classic Russian literature is outlined.","PeriodicalId":34441,"journal":{"name":"Neofilologiia","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135660946","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":"Compositional and graphic model of the literary and artistic magazine “Don”","authors":"Elena N. Klemenova, Angela V. Mukha","doi":"10.20310/2587-6953-2023-9-4-902-913","DOIUrl":"https://doi.org/10.20310/2587-6953-2023-9-4-902-913","url":null,"abstract":"The study examined changes in the compositional and graphic model of the Don magazine. Various definitions of the term “compositional-graphic model” were also analyzed, on the basis of which the authors determined that this is a publication model, a kind of regulatory system that reflects the essential characteristics of the appearance of a periodical. The work identifies criteria for analyzing the compositional and graphic model of a literary and artistic magazine: 1) brand and logo; 2) cover design model; 3) original design of materials on the strips; 4) font design of headings, headings and texts; 5) additional means of selection; 6) color scheme of the publication. Based on the selected characteristics, an analysis was carried out of the design model of the magazine “Don” in the period from 1945 to 2022. The transformation of the compositional and graphic model of the literary and art magazine “Don” was analyzed. To achieve this goal, compositional and graphic models of the publication were considered in different periods of the existence of the Don magazine: 1945–1949, 1950–1952, 1953–1957, 1958–1963, 1963–1976, 1977–1979, 1980–1989, 1990–1993, 1994–2000, 2001–2022 At the final stage of the study, the modern compositional and graphic model of the publication was considered, which, according to the researchers, does not contribute to the recognition of the Don brand. During the study, the authors came to the conclusion that modern issues of the magazine lack an original design concept that could attract a new audience.","PeriodicalId":34441,"journal":{"name":"Neofilologiia","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135661312","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":"Gamification elements in event marketing","authors":"V. A. Romashkin","doi":"10.20310/2587-6953-2023-9-1-195-201","DOIUrl":"https://doi.org/10.20310/2587-6953-2023-9-1-195-201","url":null,"abstract":"We consider the specifics of using gamification elements in event marketing from the standpoint of involving and retaining participants in special event. Gamification is defined as the use of game mechanics in non-game situations. Gamification techniques are used in education, business, and marketing. In the promotion system, gamification techniques demonstrate consistency in the struggle of companies and brands for the attention of the audience. The work clarifies the boundaries of the concepts of “game” and “gamification”. As the established practice shows, gamification can be used at various stages of the implementation of special event: at the stage of announcement, at the stage of greeting and meeting participants before the start of event, gamification elements can be included in the structure of individual blocks of special event. Gamified solutions can be used to collect feedback at the end of event. When using gamification elements in event marketing, it is important to follow a number of rules, namely: gamification should have a clear, achievable goal that is relevant for the player; gamification rules should be clear to participants; gamification should have simple tasks to complete; game mechanics should fully and accurately reflect the progress of the player; you cannot completely turn the gamification process into a game and offer only virtual achievements for participation, etc.","PeriodicalId":34441,"journal":{"name":"Neofilologiia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68216691","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}