{"title":"民族诗歌中的互文联系","authors":"S. G. Vorkachev","doi":"10.29025/2079-6021-2023-1-104-114","DOIUrl":null,"url":null,"abstract":"The article is devoted to the study of the specifics of the secondary texts creation by studying the phenomena of intertextuality and precedence on the material of the national hymnody. It is established that intertextuality and precedence in a certain interval of abstraction are almost completely synonymous, and translations marked by the integrity of similarity, coded texts, and plagiarism also fall into the number of secondary texts. The semantic content of the national anthem is presented in the form of linguistic and cultural meanings (concepts). Among such semantic formations, in addition to the basic concepts of the patriotic discourse of the motherland and freedom, there are cultural meanings associated with the previous genres of hymnody and lyric poetry and acting as precedent ones: God, which came from a religious hymn; the struggle that came from the battle songs; power is the basic concept of the monarchical anthem, the people is the basic concept of the republican anthem, love (for the motherland), which came from lyrical poetry. According to the coefficient of intertextual similarity, national anthems are divided into works of integral precedence, partial precedence and fragmentary precedence. Relationships of holistic precedence are observed in the case of interdiscursive and inter-genre transposition of a poetic work, when a lyric verse or civil lyrics turn into a national anthem; and also in the case of interlingual transposition – an adequate translation from one language to another. Relations of partial precedence take place in the case of modifications of the original text, the creation of its variants, its free translations, analogues based on it, paraphrasing, imitation and citation. Fragmentary precedence in the national hymnody mainly concerns the history and culture of the native country, present here in the form of names of nationally or universally known characters, significant events and dates, reproduction of precedent phrases and verbalization of patriotic concepts.","PeriodicalId":34231,"journal":{"name":"Aktual''nye problemy filologii i pedagogicheskoi lingvistiki","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2023-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Intertextual Connections in the National Hymnody\",\"authors\":\"S. G. Vorkachev\",\"doi\":\"10.29025/2079-6021-2023-1-104-114\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article is devoted to the study of the specifics of the secondary texts creation by studying the phenomena of intertextuality and precedence on the material of the national hymnody. It is established that intertextuality and precedence in a certain interval of abstraction are almost completely synonymous, and translations marked by the integrity of similarity, coded texts, and plagiarism also fall into the number of secondary texts. The semantic content of the national anthem is presented in the form of linguistic and cultural meanings (concepts). Among such semantic formations, in addition to the basic concepts of the patriotic discourse of the motherland and freedom, there are cultural meanings associated with the previous genres of hymnody and lyric poetry and acting as precedent ones: God, which came from a religious hymn; the struggle that came from the battle songs; power is the basic concept of the monarchical anthem, the people is the basic concept of the republican anthem, love (for the motherland), which came from lyrical poetry. According to the coefficient of intertextual similarity, national anthems are divided into works of integral precedence, partial precedence and fragmentary precedence. Relationships of holistic precedence are observed in the case of interdiscursive and inter-genre transposition of a poetic work, when a lyric verse or civil lyrics turn into a national anthem; and also in the case of interlingual transposition – an adequate translation from one language to another. Relations of partial precedence take place in the case of modifications of the original text, the creation of its variants, its free translations, analogues based on it, paraphrasing, imitation and citation. Fragmentary precedence in the national hymnody mainly concerns the history and culture of the native country, present here in the form of names of nationally or universally known characters, significant events and dates, reproduction of precedent phrases and verbalization of patriotic concepts.\",\"PeriodicalId\":34231,\"journal\":{\"name\":\"Aktual''nye problemy filologii i pedagogicheskoi lingvistiki\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-03-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Aktual''nye problemy filologii i pedagogicheskoi lingvistiki\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.29025/2079-6021-2023-1-104-114\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Aktual''nye problemy filologii i pedagogicheskoi lingvistiki","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.29025/2079-6021-2023-1-104-114","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
The article is devoted to the study of the specifics of the secondary texts creation by studying the phenomena of intertextuality and precedence on the material of the national hymnody. It is established that intertextuality and precedence in a certain interval of abstraction are almost completely synonymous, and translations marked by the integrity of similarity, coded texts, and plagiarism also fall into the number of secondary texts. The semantic content of the national anthem is presented in the form of linguistic and cultural meanings (concepts). Among such semantic formations, in addition to the basic concepts of the patriotic discourse of the motherland and freedom, there are cultural meanings associated with the previous genres of hymnody and lyric poetry and acting as precedent ones: God, which came from a religious hymn; the struggle that came from the battle songs; power is the basic concept of the monarchical anthem, the people is the basic concept of the republican anthem, love (for the motherland), which came from lyrical poetry. According to the coefficient of intertextual similarity, national anthems are divided into works of integral precedence, partial precedence and fragmentary precedence. Relationships of holistic precedence are observed in the case of interdiscursive and inter-genre transposition of a poetic work, when a lyric verse or civil lyrics turn into a national anthem; and also in the case of interlingual transposition – an adequate translation from one language to another. Relations of partial precedence take place in the case of modifications of the original text, the creation of its variants, its free translations, analogues based on it, paraphrasing, imitation and citation. Fragmentary precedence in the national hymnody mainly concerns the history and culture of the native country, present here in the form of names of nationally or universally known characters, significant events and dates, reproduction of precedent phrases and verbalization of patriotic concepts.
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