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А был ли мальчик? (из комментариев к V главе „Евгения Онегина”)

100%
Кунарев А., Московский государственный областной университет Ф. р. ф.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
|
2014
|
vol. 07
EN
The article reveals an Arzamas-Society subtext of one of Pushkin’s most famous stanzas (“Eugene Onegin”). The source of the lines about a boy with a sledge was ‘Nikolasha’s praise of winter pleasures’ (1783) by Alexandr Shishkov. Shishkov and his ‘children’s poem’ became one of favourite objects of mocks for the Arzamas literary society. “Zhuchka” is a unique word in Pushkin’s vocabulary, but it is a quote neither from a child’s language (cf. Lotman), nor from folk or country discourse (cf. Kasharnova, Stroganov): the lexeme appears in the dictionary of the Russian Academy without any stylistic label. “Zhuchok”, however, was Vasily Zhukovsky’s nickname, known to a narrow circle of his closest friends. Thus, the author of the paper suggests that it was the permanent Secretary of Arzamas who was placed in Shishkov’s sledge. This would make the lines in question a prime example of ‘Arzamas nonsense’.
2
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ДИСКУРСИВНО-СТИЛИСТИЧЕСКИЙ АНАЛИЗ ТЕКСТА

86%
БАЖЕНОВА Е. A.
Stylistyka
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2014
|
vol. 23
9-17
EN
The article reviews the correlation between the discourse theory and the theory of functional stylistics. Recognizing the signifícant contribution of discursive analysis in the study o f such a complex phenomenon as text, the author notes that many of the pro- visions o f the discourse theory were successfully implemented in the functional stylis­ tics earlier. In 60th years o f XX century professor from Perm-city (Russia) Margarita N. Kozhina developed the methodological basis of functional stylistics, which distin- guishes it from “resources stylistics”: speech is determined by extralinguistic factors which influence on the stylistic and language side of the text. The author considers that defacto subject of study in the functional stylistics was and remains discourse, discourse activity, which is carried out in the main spheres o f human life (science, arts, politics, law and others) and expressed in a particular speech organi- zation of the text. Based on the similarity of the most important methodological principles of these Iinguistic directions, the author suggests these directions should be integrated in the dis- course and stylistic approach. This approach is applied to scientific texts. The discourse component of this approach allows idenlifying extralinguistic factors of scientific com- munication; the stylistic component allows discovering the linguistic devices that repre- sent the standard contenl of a scientific páper. The author develops the concept of epistemic situation and considers the latter to be discourse model of scientific texts, which determines its stylistic peculiarity. The struc- ture of epistemic situation is described witli regard to the four interconnected aspects of cognitive activity: ontological, methodological, reflective, communicative-pragmatic. The author reveals the conlent of each aspect and analyses their influence on the sense structure of a scientific text. The author considers the subtext to be a structural element of the text and describes the primary subtexts: the subtext oťa new and old knowledge, the subtext of evaluation, the subtext of recipient and the author, etc. Thus, the discourse and stylistic approach to the text, based on the complementary principles of discourse analysis and functional stylistics, allows identifying pattems of text crealion in each communicative sphere, as well as explaining the stylistic diversity of texts.
3
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Method-ising Cognitive Truth: The Paradigm of Subtext in Baz Luhrmann’s Silver-Screen Vision of Romeo and Juliet’s Wedding

86%
Litwin E.
Anglica Wratislaviensia
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2018
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issue 56
57 - 76
EN
A case study of the wedding scene in William Shakespeare’s Romeo + Juliet directed by Baz Luhrmann (1996), this article is a hermeneutic exploration of the truth pursuits within the subtext from the empirical perspective of a practicing director and a semiotician, in accordance with the principles of the Method acting technique. The author proposes a new, space-negotiated definition of subtext as a separate cognitive unit, based on the multilayered interdependences within the directorial semiotic triad of word–emotional action–mise-en-scène. In a minute shot-by-shot analysis, the author examines the hermeneutic collocations in-between the elements of the triad, and demonstrates the ways cognitive spaces become subtextual statements within each shot, as well as how the internal subtexts shape the metasubtext of each shot in order to arrive at the megasubtext of the scene — and subsequently the total subtext of the entire story in a cultural text. Aspects of the evolution of the subtext representations are analyzed within the triad of word–emotional action–mise-en-scène, against the backdrop of the epistemological pursuits of the truth. How do we reach the truth in a cultural text? What components of the film language rule the expression of the truth in a cultural text?
4
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«Зофьин текст» Иосифа Бродского: начало (1961–1962)

72%
Бараш О.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2022
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issue 15
59-73
EN
The paper discusses two pieces of poetry from the early period of Iosif Brodsky’s creative work (early 1960s): the long poem Zofia and the 16-line verse “Leti otsiuda, belyi motyljok…” [En. “Fly away from here, white moth…”], dedicated to the addressee referred to in “Zofia”. The presumption is that Brodskii’s verses dedicated or referring to his Polish friend Zofia Kapuścinska (Z. K.) form a kind of hypertext with a single set of images, motifs, and subtexts, which, according to Vladimir Toporov’s terminology, may be defined as the “Zofia’s Text”. The paper presents some facts from the poet’s biography that gave rise to the “Zofia’s Text” and provides a comparative analysis of the two mentioned works. Guided by Vladimir Toporov’s methodological principles used in his study of the “Liza’s Text” in Russian literature, the author points out the conceptual features of “Leti otsiuda, belyi motyljok…” and shows how all of them were later reproduced and elaborated in “Zofia”. Without making it her aim to undertake a comprehensive analysis of the texts, the author confines herself to considering some lexical and lexical-grammatical means, interpreting some images and motifs, and identifying some sense-forming subtexts that can be taken as differential features characteristic of the assumed hypertext.
RU
В статье рассматриваются два произведения Иосифа Бродского начала 1960-х гг. – поэма Зофья и стихотворение «Лети отсюда, белый мотылек…», посвященное тому же адресату. Делается предположение, что стихотворения Бродского, посвященные Зофье Капущиньской (Z. K.) или обращенные к ней, складываются в своего рода гипертекст с единым набором образов, мотивов и подтекстов – «Зофьин текст». В статье приводятся некоторые факты биографии поэта, послужившие толчком к возникновению «Зофьина текста» и проводится сопоставительный анализ указанных произведений, весьма несхожих по форме и содержанию. Руководствуясь методическими принципами, использованными Владимиром Топоровым в его исследовании «Лизина текста» русской литературы, автор выявляет концептуальные особенности стихотворения и показывает, как все они были воспроизведены и развиты в поэме. Не ставя задачи всестороннего анализа текста, автор ограничивается рассмотрением некоторых лексических и лексико-грамматических средств, интерпретацией некоторых образов и мотивов и выявлением смыслообразующих подтекстов, которые могут быть приняты как дифференциальные признаки, на основе которых возможно формирование гипертекста. Представляется, что статья может послужить основой для анализа других компонентов гипотетического «Зофьина текста», а также для его расширения путем выявления обнаруженных дифференциальных признаков в других произведениях Бродского.
5
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О возможных гумилевских подтекстах в рассказе В. В. Набокова "Порт"

58%
Филатов А.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2020
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issue 13
149-159
EN
The article deals with the absorption of Nikolai Gumilyov’s poetics and biographical legend in Vladimir Nabokov’s short story “Port”. The great importance of Gumilyov’s works and personality for the emigre writer makes it possible to classify Nikitin, the protagonist of the story, as a heroic type, whose features go back to the mythologized image of Gumilyov. The author of the article argues that the plot of the story displays semantic similarities with Gumilyov’s poem “Conversation”. The analysis of the two works allows one to discover further possible parallels with Gumilyov, which are actualized in the structure of the story (in motifs and imagery). The author comes to the conclusion that such forms of borrowing are on the part of Nabokov a conscious artistic strategy.
RU
В статье рассматриваются элементы поэтики и биографической легенды Николая Гумилева в рассказе Владимира Набокова Порт. Значение личности и творчества лидера акмеистов для писателя-эмигранта позволяет отнести главного героя рассказа Никитина к героическому типу, черты которого восходят к мифологизированному образу Гумилева. Высказывается предположение, что сюжет рассказа содержит смысловые переклички с гумилевским стихотворением Разговор. Анализ двух произведений позволяет обнаружить другие подтексты Гумилева, которые актуализируются в мотивной и образной структуре рассказа. Делается вывод, что обращение к наследию старшего поэта является сознательной установкой автора.
6
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Christlich tradierte Aggressionsdarstellung in Monika Hunnius’ Erlebnisbericht "Bilder aus der Zeit der Bolschewikenherrschaft in Riga vom 3. Januar bis 22. Mai 1919"

51%
Hartmann R.
Convivium. Germanistisches Jahrbuch Polen
|
2010
45-59
PL
Artykuł bada relację z rosyjskiej okupacji Rygi w 1919 roku przedstawioną przez Monikę Hunnius. Opisuje ona przemoc i terror wojsk okupacyjnych wobec tzw. Niemców bałtyckich (Baltendeutsche) aż do chwili ich wypędzenia. Jednak nie chodzi tu jedynie o problem agresji. Recepcja Apokalipsy św. Jana jako swoistego subtekstu pozwala dostrzec agresywność w sferze języka. Agresywne strategie opisu są tu cechą charakterystyczną tekstu, apokaliptyczne obrazy przemocy służą do wyrażenia takich doświadczeń jak prześladowanie, strach i agresja.
EN
The present paper contributes to the discussion of violence in literature and language. It investigates the report by Monika Hunnius which describes aggression and terror under Russian occupation in Riga in 1919. Thereby, the analysis concentrates on two aspects: violence as the subject of the text – terror of Russian soldiers against Germans (the so called ‚Baltendeutschen‘) – and violence as a quality of the language the report uses. The interpretation of the text focuses on Hunnius’ reception of the apocalypse in The Book of the Revelation to John. Hunnius draws on apocalyptical visions to express suppression, fear and aggression.
DE
Der Beitrag untersucht einen Erlebnisbericht der deutschbaltischen Autorin Monika Hunnius über die russische Besetzung Rigas im Jahre 1919. Geschildert werden Gewalt und Terror der Besatzungsmacht bis zu deren Vertreibung. Doch hier geht es nicht nur um das Thema ‚Aggression‘, sondern durch die Rezeption der Offenbarung des Johannes gewissermaßen als Subtext auch um sprachliche Aggressivität, um aggressive Darstellungsstrategien als Texteigenschaft, zumal die apokalyptischen Gewaltbilder sich als Ausdruck von Unterdrückungs-, Angst- und Aggressionserfahrungen zu erkennen geben.
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