Kritika i Semiotika最新文献

{"title":"Literary Speech as a Medium of Contact","authors":"T. Venediktova","doi":"10.25205/2307-1737-2019-2-183-193","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-183-193","url":null,"abstract":"An intersubjective event, a text comprises the medium of contact between subjects of literary discourse. Within texts the conventionality of speech serves to enable us to express ourselves, while at the same time it-owing to conventionality itself-makes shared individual expe rience at least difficult, if not impossible, a condition of which modern literary culture is painfully aware. Epitomizing this paradox of the uniquely personal and the formulaic/ impersonal is the literary discourse of love. In post-Romantic literary culture this paradox reveals itself in the shift of authors’ and readers’ attention from accepted rhetorical forms to those “transitive parts” of thought and speech that (according to William James) pass largely unrecognized in everyday language practice. Precisely these “transitive parts” activate the fleeting “feelings of relation” (as opposed to conventional meanings) that connote extended and multiple relationships “between the larger objects of our thought.” We argue that this authorreader pact-evinced, variously, by Flaubert’s search for “absolute style” and Barthes’ exploration of the aesthetic potential of lovers’ discourse-heightens attention to the materiality of language and to the mimetic, collaborative, performative aspects of literary communication. “The zealous practice of a perfect reception” invokes enhanced pleasure and the empathic effect that (post)modern readers learn to derive from language play by locating the subtle subjectivity of expression in the seemingly style-less banality of everyday speech. In this article this textual strategy of literary modernism is analyzed by way of selfreflexive love speech in the prose of Gustav Flaubert and the poetry of William Carlos Williams.","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":"69312734","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 Interdisciplinary Notion of Perspective as a Result of Terminological Transferization","authors":"N. Petrova","doi":"10.25205/2307-1737-2019-1-275-284","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-275-284","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":"69311353","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":"From the History of Cognitive Linguistic Approaches in Russian and Western- European Poetics","authors":"V. Feshchenko","doi":"10.25205/2307-1737-2019-2-128-135","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-128-135","url":null,"abstract":"The article provides an overview of some recent works on cognitive poetics. Of particular interest are studies close to linguistic problematic of cognition in literary texts. A separate analysis tackles the case from the history of Russian thought about language and poetry – the theory of artistic (poetic) concepts by the Russian philosopher S. А. Askoldov. The paper also considers conceptions of Western-European linguists that emerged at the peak of the “cognitive turn” in the 1970s: theories of T. van Dijk and J. Lakoff – M. Turner, as well as criticism of these works by the Israeli literary critic R. Tsur; the approaches of P. Stockwell (author of the theory of deictic shifts), the Sheffield School of Text Worlds Analysis (J. Gavins, A. Gibbons), and M. Freeman (applications of cognitive linguistics to the study of literary text).","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":"69312307","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":"Towards the Functional Typology of Signs","authors":"L. Fedorova","doi":"10.25205/2307-1737-2019-2-283-301","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-283-301","url":null,"abstract":"In this paper, we propose a sketch of the functional classification of the sign as the main object of semiotics. The well-known structural classifications of the sign as a carrier of meaning and information were based on its use in communication, while the cognitive value of the sign as a means of cognition was emphasized. As a mental entity, developing in the process of cognition, from the idea of Possibility to revealing Regularity, the sign was represented by Ch. Pierce, who defined its basic, cognitive, function. In linguistics the role of the sign in communication was especially emphasized, systems of communicative functions of the language sign were proposed by K. Bühler and R. Jacobson. However, the specific tasks that different signs perform are not only related to the aspect of meaning, but also to their significance. Signs that regulate social interaction, as well as signs of art, highlight the value side of their content. R. Barthes believed that the function of a thing can be determined on the basis of its structure – in decomposing it into component parts and then in recomposing it; this way you can understand how the whole works. If you use this method, you can distinguish between different functional character types. In the process of semiosis semantic relations between the two sides of the sign (signans vs signatum) can be different, which allows us to distinguish three main functional types of signs: identifiers, regulators and models. A sign-identifier is usually closely connected with its object, it seems to be “talking about itself”; a sign-regulator has the character of an indication or imperative, it “tells you”, indicating the path to its object; a sign-model recreates the image of an object in another space – it “tells about something”. Modeling signs represent the most complex level of sign organization and semiotic problems. Modeling can use iconic techniques, including the principle of harmonic similarity (or syntactic coding, according to U. Eco), or use the principle of functional similarity. Modifications are possible for any type of signs. The functional types of signs are in a sense correlated with the functions of language in the model of K. Bühler. The proposed classification could systematize ideas about the functions of the sign and the essence of semiosis, in which, according to Ch. Morris, “something functions as a sign”. Functional typology of signs can serve as a methodological basis for a particular semiotic analysis in different areas of semiotics and linguistics.","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":"69312551","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 Closed Morphological Structures","authors":"I. A. Kanakin","doi":"10.25205/2307-1737-2019-2-319-326","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-319-326","url":null,"abstract":"The article deals with the analysis of ‘closed’ morphological systems, containing oppositional and contrastive elements. The category of case in the Slavic languages represents the systems of this kind. An attempt is made to shed light on the meaning of the case category in the Russian language. We argue that neither its semantic nor syntactic explanation are taken as being the only criterion of truth. The formal analysis of this category reveals that there is no relationship of noun case forms and that the structuring of pronoun and noun paradigms is different. Case government through prepositions, widely spread in many languages, also fails to explain case distinctions either from only semantic or syntactic perspective. The distribution of words into parts of speech in various languages still remains the only undoubted and common function for all inflectional case paradigms. We view ‘closed’ derivational and inflectional morphological systems as a fundamental condition in this respect; the character of there structure is of little importance; however, formal and unambiguous description can only be applied to the rigidly structured systems.","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":"69313017","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 Musical Phenomenon in the Films of Sergey Parajanov","authors":"S. Sarkisyan","doi":"10.25205/2307-1737-2019-2-64-77","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-64-77","url":null,"abstract":"Music and cinema are two arts that have shown the most varied synthesis on semiotic and phenomenological levels during their century-old history. The permeation of these two arts has given birth to a substantially new form of their existence. That is the reason that the films and the complete creation of Sergey Parajanov are somehow situated in between these arts, between the plasticity of the cinema and the expressiveexpressiveness of the silent film. The overflowing of characteristics from one art to another does not occur to the detriment of the genre category of this particular art; in other words, the film does not cease to be film, nor is this the case with music. It would be more precise to confirm just the opposite: the permeation of the characteristics between the arts enriches each individual art, because the associative degree is augmented. This circumstance influences the perception of these arts, especially of the cinema. It acquires the capacity to actively influence the spectator, seemingly evading its basic visual rank. This genre of cinema refers to intellectual, sensual and subconscious incentives, forming at the same time a new type of spectator.","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":"69313443","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":"How to Read a Leskov’s Story “Chertogon” (“The Devil-Chase”): There Is Absolutely no Life…","authors":"A. E. Bochkarev","doi":"10.25205/2307-1737-2019-1-243-253","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-243-253","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":"69310545","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":"From Biosphere to Noosphere: Theory and Practice","authors":"T. Simyan","doi":"10.25205/2307-1737-2019-1-173-197","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-173-197","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":"69310964","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 Function of the Concepts of East and West in the Poetry of Olga Sedakova and Elena Shvarts","authors":"A. Schmitt","doi":"10.25205/2307-1737-2019-1-93-107","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-1-93-107","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":"69312151","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":"Lyric and Narration as Two Versions of Cognitive Modeling of the Reality","authors":"T. Radbil","doi":"10.25205/2307-1737-2019-2-171-182","DOIUrl":"https://doi.org/10.25205/2307-1737-2019-2-171-182","url":null,"abstract":"The work presents the foundations of cognitive interpretation of the category of artistry with regard to its text realization by means of a natural language. The purpose is to formulate the theoretic principles of distinction between narration and lyric as two versions of cognitive modeling of the reality. The theoretical basis of the study is elaborated by the author “philosophy of literary word” and interdisciplinary, general humanitarian narration theory on the basis of communicative and cognitive-oriented approach. The methodology of the study is the cognitive-discursive analysis of a text. The study shows that verbal way of embodiment of the category of artistry reflects a special type of consciousness oriented towards linguo-creative and heuristic modeling of otherness which is transcendent in relation to the speaker’s reality, to that we call “simply life” which involves to two additionally distributed modes of existence – being in event and being in experience. In accordance with this, two ways of verbal cognitive modeling of aesthetic kind: (1) the narration cognitive model; (2) the lyric cognitive model. Narration is based on the model of objectification, i.e. unfolding in temporal sequence of something that happens out of subject’s zone, when so-called “outside world” is the focus; lyric realizes the model of registration of reactive non-reflected intentional experience of things which a subject feels himself, when inner world is the focus. The author distinguished consistently narration1 and lyric1 as phenomena of human everyday existence and, accordingly, narration2 and lyric2 as turning natural things into semiotic ones, nature into culture due to aesthetic transformation. Both versions of cognitive modeling of the reality are conditioned by some peculiarities of a natural language. Aesthetic transformation of “simply life” in its two versions is realized by a natural language by the use of universal mechanisms of a conceptual (cognitive) metaphor of pictorial or expressive types. In this, lyric is a kind of dominance of modus over dictum, and narration is, vice-versa, a kind of prevalence of dictum over modus. Findings are that there is not any special “aesthetic language” – we deal with the most ordinary language, simply in especial conditions of its functioning, in especial mode of communication and with especial intentionality, simply used in especial function of cognitive modeling of probabilistic states of the world and / or mind.","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":"69312675","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}