Kritika i Semiotika最新文献

{"title":"Language as a Major Agent in the Poetry of Alexander Kabanov","authors":"A. Gavrilyuk","doi":"10.25205/2307-1737-2019-1-108-124","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-108-124","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69310930","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":"Croch ~ cros ‘cross’: Latin Borrowings and Christian Traditional Metaphors in Early Ireland","authors":"T. Mikhailova","doi":"10.25205/2307-1737-2019-1-125-139","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-125-139","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69310939","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":"War and Language in Italian Futurism, Russian Cubofuturism and British Vorticism (Cognitive-Discursive Approach)","authors":"O. Sokolova","doi":"10.25205/2307-1737-2019-2-229-248","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-229-248","url":null,"abstract":"The paper explores the conceptualization of war in the texts of different avant-garde movements. The article considers the case of manifestos, articles, journal issues and poetic collections of Italian Futurism, Russian Cubofuturism and British Vorticism, primarily, texts by F. T. Marinetti, V. Mayakovsky and W. Lewis. The war served as a trigger for artistic and language experiments. That is why Benjamin’s conception of “politicization of aesthetics” and Deleuze and Guattari’s conception of the “war machine” are relevant for the analysis. The text analysis is based on discourse-pragmatic and cognitive-linguistic approaches. These approcaches make it possible to reveal the specifics of avant-garde experiments aimed at the formation of a new artistic language with the help of a fundamental transformation and activation of cognitive, communicative and linguistic resources. Avant-garde movements formulated the conceptions underlying their communicative strategies: Marinetti’s performance-actional strategy “Art as action” (l'Arte-azione), Mayakovsky’s linguistic-creative strategy “Cacophony of war” as “sermon of new beauty”, and Lewis’s performance-contextual “Blast and Bless-strategy”. Cognitive approach reveals the overcoming of the border between art and reality, artistic and conceptual metaphors, as well as bridging the “source area” and “target area” in conceptual metaphor. In Italian Futurism, the target area can be both Art and War, which affects the choice of source area: Art is War, but War is Medicine, War is Holiday. Russian Cubofuturists formed a special type of “introvertive” (Jakobson’s term) conceptual metaphors: Poetry is War. War is Poetry; Art is War. War is Art. In British Vorticism both “traditional” (Art is War, War is Game) and “introvertive” conceptual metaphors meets: Enemy / Poet is Ally / Soldier. Ally / Soldier is Enemy / Poet.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69312967","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":"Linguistic and Cognitive Properties of the Process of Perspectivization in Contemporary Lyrics (On the Example of “Bohemian Rhapsody”)","authors":"N. Petrova","doi":"10.25205/2307-1737-2019-2-249-261","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-249-261","url":null,"abstract":"The present paper is a continuation of the study of linguistic and cognitive properties of perspectivization treated as an inseparable part of the process of constructing of meaning in text and discourse. The author shows typological proximity of such terms as “perspectivization”, “image of the author” and “author’s intentionality”. The lyrics of the cult Bohemian Rhapsody serves an example of the effectiveness of the theory of pespectivization in tackling the problems of text polyphony and linguistic ambiguity.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69312979","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 Peculiarity of the Visual Autofiction of Sergei Parajanov","authors":"T. Amiryan","doi":"10.25205/2307-1737-2019-2-47-63","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-47-63","url":null,"abstract":"In this article, a number of works by Sergei Parajanov are considered within the context of such type of writing and movement in fiction and arts as autofiction. The objective of this article is to identify various types of autofictionality, common in both Parajanov's feature films (“Shadows of Forgotten Ancestors”, “The Color of Pomegranates”, “Kyiv Frescoes”), and his performative projects, collages, assemblages, scenarios (“The Confession”), the epistolary text corpus, etc. The analysis of Parajanov’s artistic heritage through the prism of visual autofiction contributes to a more precise definition of the place and significance of the filmmaker’s works in the world artistic culture of the second half of the 20th century.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69313393","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":"Black Sun and Ring-Fenced Space: Images of Сaptivity in the Art of Sergey Parajanov and Kazuki Yasuo","authors":"E. Guchinova","doi":"10.25205/2307-1737-2019-2-78-99","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-78-99","url":null,"abstract":"The article is devoted to the art of two outstanding artists – Sergey Paradzhanov (USSR) and Kazuki Yasuo (Japan). Sregey Paradjanov was convicted and spent five years in camps, Yasuo Kazuki found himself in a Soviet camp for prisoners of war. The humiliating experience of the imprisonment of artists was reflected in their works, which did not cease behind barbed wire. But both artists are united by the theme of human freedom in unfree conditions, where the boundaries of freedom can be outlined by the boundaries of a totalitarian state, and by military order at the front, and by barbed wire of a camp fence.Paradzhanov and his camp creativity and outlined – fenced open space. He and Kazuki used bricolage techniques, and the Japanese artist himself composed the composition of colors, since the factory colors do not convey the alien black sun. At the same time, their presence in fundamentally different camps (camps and GUPVI camps) was reflected in the portraits of the prisoners: Parajanov’s campers had no need to survive, and Parajanov painted their colorful faces, tired of hunger and excessive labor, Japanese prisoners of war depersonalized and Kazuki painted them with the same faces. By the way, bodily practices were different: Paradzhanov's fellow campers suffered from syphilis, and Kazuk's fellow campers suffered from dystrophy. Paradzhanov and Kazuki create dolls that, by their own genre, reflect the depersonalization process and the puppet dependence of man in the hands of a totalitarian state. However, the fact that after the camp they became different, that the camp experience remained with the artists forever reflected in their self-portraits and especially in the logo. Sergey Paradzhanov in his logo depicted not only his profile, but also a thumbprint inside the letter C., this shows the prisoner's fingerprint and his unique identity, as well as the barbed wire. Kazuki in his logo shows a self-portrait in which he removed all the details and instead of a human face the captive's working tool appears.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69313516","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 Concept of “Projection” and “Projective Meaning” in the Term System of Cognitive Linguistics","authors":"L. Cherneyko","doi":"10.25205/2307-1737-2019-2-158-170","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-158-170","url":null,"abstract":"The paper proposes a nontrivial approach to the study of the mechanism of associating meanings and words in speech, which allows us to consider not their equal connection, but the projection of the unknown and/or incomprehensible to the elements of experience – a collective, molded in usual compatibility of language units, or an individual that creates occasional compatibility. The purpose of the study is to provide a detailed theoretical justification for the use of the term “projection” in cognitive linguistics and in cognitive poetics as an emerging paradigm of knowledge about the artistic text, as well as the term “projective meaning”, which allows us to approach such traditionally distinguished paths as metaphor, comparison and metamorphosis from a single point of view. The theoretical basis of the research is the concept of grammaticality of abstract substantives with secondary predicates developed by the author, the method of modeling culturally developed and artistic ideas on the abstract phenomenon calculated in projective meanings, and the principles of linguistic modeling of the semantic structure of artistic text. The argument of the relevance of the term “projection” in linguistics is based on the scientific achievements of domestic and foreign linguists, but the historical perspective requires recognition of the priority in developing a method that later received the name “conceptual analysis of the word” for such domestic linguists as A. Bely and V. A. Uspensky. In the mathematical term “projection”, which is adopted by linguistics relevant for cognitive science, the idea of dependence of the unknown on the known in the process of its mental development, as well as the idea of the “picture plane”, which can be interpreted as applied to linguistic tasks as an object plane filled with the results of everyday experience. Projective meanings (projectives) are proposed to be considered as sensual and logical images of an abstract phenomenon, in which its meaningful cultural profiles (sides, aspects) are conceptualized and which guide the compatibility of its name, and the set of projectives is a verifiable model of the content of an abstract name. The article proposes the establishment of similarity (by projectivity) of cognitive metaphors and comparisons and their cognitive and structural differences: logical redundancy of comparison and the logical need for a cognitive metaphor for the discursive existence of abstract names. In comparison, as a kind of widely understood metaphor, there is a “form-building instinct” (O. Mandelstam), in which knowledge prevails over vision, metaphysics over physics, individual over universal.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69312662","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 New Ways of the Word”: Theory and Methodology of Cognitive Research into Poetics of the Avant-Garde","authors":"I. Zykova","doi":"10.25205/2307-1737-2019-2-206-228","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-206-228","url":null,"abstract":"The present paper aims to study the avant-grade manifesto as the manifesto of a new type and to analyze factors that establish the specificity of its poetics. The research shows that the specific character of the avant-garde manifesto’s poetics is provided by the phenomenon of avant-garde, peculiar ways of historical evolution of the manifesto as a literary genre, and pragmatic goals of the avant-garde manifesto that influence the choice of appropriate language means and artistic and linguistic devices. Special attention is paid to the theory and methodology of exploring the avant-garde manifesto’s poetics that are elaborated on the manifesto “The New Ways of the Word” written by Aleksej Kruchenykh. The methodology is complex and includes the method of frame semantics, the method of ID card of avant-garde idioms, the method of linguocultural reconstruction, and the quantitative analysis. The methodology involves a fivelevel analysis that includes: 1) the interpretive analysis of the title of the avant-garde manifesto; 2) the frame analysis of the text aimed to extract language units that are most relevant in conceptual and practical terms; 3) the study of figurative-expressive means of the text of the avant-garde manifesto; 4) quantitative analysis of idioms and phraseological units used in the text in question; 5) the study of the semantics of the avantgarde idioms and phraseological units. The results obtained let us draw the following deductions. The avant-garde idioms and phraseological units are the key constitutive elements shaping the poetics of the avant-garde manifesto. One of the basic techniques used to construct the poetics of the avant-garde manifesto is the conceptual-metaphorical collage.","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69312913","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":"Creativity of Arseny Nesmelov in Literary Aspect: History and Prospects of Research","authors":"A. B. Borisova","doi":"10.25205/2307-1737-2019-1-254-274","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-254-274","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69310560","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":"Theory of Arts as a Popular Science Topic in the “Soviet Photo” Magazine","authors":"I. V. Silantev","doi":"10.25205/2307-1737-2019-1-320-328","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-320-328","url":null,"abstract":"","PeriodicalId":36800,"journal":{"name":"Kritika i Semiotika","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69311899","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}