scholarly journals Semantico-Functional Features of Expressive Derivatives in the Artistic Discourse of V. Makanin

2018 ◽  
Vol 7 (4.36) ◽  
pp. 983 ◽  
Author(s):  
Anastasia S.Volskaya ◽  
Olga A. Chupryakova ◽  
Svetlana S. Safonova ◽  
Gulnaz T. Karipzhanova
Keyword(s):  
World View ◽  
Word Formation ◽  
The Novel ◽  
Leading Role ◽  
The World ◽  
Important Means ◽  
Functional Features ◽  
The Individual ◽  
Abstract Feature ◽  
Individual Style

The paper is devoted to the study of semantic and functional features of expressive derivatives, both usual and occasional, in the artistic gist of the novel “Asan” by V. Makanin, as well as their role in structuring the individual-author’s linguistic picture of the world. It has been proven that the derivation of expressive lexemes is the result of improvisation according to established patterns, and that the formation of occasional substantives, adjectives and verbs involved the main methods of the Russian word derivation. It is noted that in the artistic discourse of V. Makanin, in the substantive word-formation, suffixation plays a leading role, which takes place in the sphere of abstractness and includes such lexical-semantic groups as expressive substantives with the meaning of a person, expressive substantives with the meaning of abstracted action or an abstract feature with connotation, as a rule, negative and/or reduced colloquial connotation. While in the sphere of adjectival and verbal word formation, confixation and prefixation, as the formation of expressiveness, is most productive. The paper considers the phenomenon of semantic word formation, describes the formation of semantic derivatives, including in the field of occasional vocabulary. Expressive derivatives in the artistic discourse of V. Makanin are a bright sign of his individual style, an important means of expressing the world view and outlook of the writer.  

The relevance of dietetic approach of Ayurveda from the perspective of COVID-19 pandemic

2020 ◽  
Vol 11 (SPL1) ◽  
pp. 748-752
Author(s):  
Swapnali Khabade ◽  
Bharat Rathi ◽  
Renu Rathi
Keyword(s):  
Severe Acute Respiratory Syndrome ◽  
Healthy Person ◽  
World Health ◽  
Physical And Mental Health ◽  
Leading Role ◽  
Global Pandemic ◽  
The People ◽  
The World ◽  
Health Organization ◽  
The Individual

A novel, severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2), causes severe acute respiratory syndrome and spread globally from Wuhan, China. In March 2020 the World Health Organization declared the SARS-Cov-2 virus as a COVID- 19, a global pandemic. This pandemic happened to be followed by some restrictions, and specially lockdown playing the leading role for the people to get disassociated with their personal and social schedules. And now the food is the most necessary thing to take care of. It seems the new challenge for the individual is self-isolation to maintain themselves on the health basis and fight against the pandemic situation by boosting their immunity. Food organised by proper diet may maintain the physical and mental health of the individual. Ayurveda aims to promote and preserve the health, strength and the longevity of the healthy person and to cure the disease by properly channelling with and without Ahara. In Ayurveda, diet (Ahara) is considered as one of the critical pillars of life, and Langhana plays an important role too. This article will review the relevance of dietetic approach described in Ayurveda with and without food (Asthavidhi visheshaytana & Lanhgan) during COVID-19 like a pandemic.

PRAGMATIC POTENTIAL OF AUTHOR’S AND TRANSFORMED PHRASEOLOGIES IN THE WORK OF CARLOS RUIZ ZAFÓN «THE PRISONER OF HEAVEN»

2021 ◽  
pp. 18-28
Author(s):  
A. Yu. Bovsunivska A. Yu.
Keyword(s):  
Emotional State ◽  
Spanish Language ◽  
The Novel ◽  
Unique Combination ◽  
Textual Space ◽  
Different Types ◽  
General Linguistic ◽  
The Individual ◽  
Pragmatic Aspects ◽  
Individual Style

The article is devoted to the study of pragmatic aspects of the use of phraseology in the textual space of Carlos Ruiz Safón’s novel «Prisoner of Heaven». One of the defining features of the individual style of this well-known modern Spanish writer is the metaphoricity and figuration of aristic expression, the saturation of the text with phraseological units that play a significant role in creating a pragmatic charge of the work of art. Along with general linguistic phraseological units, which include commonly-used vocabulary, the author uses dialectal and authorial phraseological units, which is a feature of his individual style. All three designated groups of phraseological units mostly reflect the negative psychophysical and emotional state of the characters. The author uses dialectal, individually-authorial and modified phraseological units, which is a feature of his individual style. It is determined that transformation is one of the most productive and most effective ways to update linguistic means in works of art. Author’s modification of FU leads to a change in the semantics and structure of expression, gives it a more expressive or emotional coloring. Transformed phraseology is limited to individual usage and is subject to the context of the work. Modified FUs in the Zafón’s artistic space acquire certain aesthetic and artistic qualities. Their modification is mainly to create the desired stylistic effect – to achieve emotional or expressive expression, which increases the reader’s interest, focuses on the content, issues of the work, as well as reveals the potential expressive potential of the Spanish language. In the transformed FUs, not just a new meaning is traced, but a combination of the well-known and the occasional. The unique combination of different types of phraseological units in the novel is considered a manifestation of individual style and makes a representation of the individually-authorial linguistic picture of the world more expressive.

New Outlines of Structural Sociology, 1945–70

2019 ◽  
pp. 63-85
Author(s):  
J.P.S. Uberoi
Keyword(s):  
Social Sciences ◽  
Scientific Theory ◽  
World View ◽  
Empirical Studies ◽  
Point Of View ◽  
Home Rule ◽  
The Social ◽  
The World ◽  
The Individual ◽  
Indian Point

This chapter presents a discussion of international intellectual trends in the social sciences, theoretical and empirical studies in India, the question of independence of mind or home rule in intellectual institutions. Following the swarajist project outlined earlier of viewing Europe and its systems of knowledge and practices from an independent Indian point of view, this chapter is in effect a research outline for a new structural sociology in India. We are introduced to structuralism as it exists in the world, its scope and definition and as a methodology for the social sciences. This is followed by the approach to structuralism as scientific theory, method and as philosophical world view. Finally discusses are the principles of structural analysis, structuralism in language, literature and culture, in social structure, with regard to society and the individual, religion, philosophy, politics, sociology and social-anthropology.

Design in Deloney's Jack of Newbury

PMLA ◽  
1973 ◽  
Vol 88 (2) ◽  
pp. 233-239 ◽  
Author(s):  
Max Dorsinville
Keyword(s):  
Middle Class ◽  
World View ◽  
The State ◽  
The Novel ◽  
Way Of Life ◽  
Literary Value ◽  
Greco Roman ◽  
Political Conception ◽  
The Social ◽  
The World

Jack of Newbury's surface realism in characters, setting, and speech has led to an underestimation of its historical and literary value. A close reading reveals the consistent use of the Greco-Roman ethical-political conception of the state, epitomized in the figure of the ruler. Deloney shows his familiarity with this tradition, probably known to him through Erasmus and Sidney, in the three controlling motifs of his novel. First, the middle class of weavers, represented in Jack's household and dramatized in allegories and symbols, is portrayed as a self-sufficient state where peace and harmony reign. Second, this state is shown to be such because of the nature of its ruler, Jack, a benevolent, generous, wise man. Third, the middle-class way of life—hard work, thriftiness, material gains—serves as princely education; accordingly, Jack, from a menial position, goes on to become ruler of the state. Jack of Newbury, as a systematical reordering of an aristocratic tradition, represents the world view of the emergent middle class; and as such, a momentous shift in the social temper of the Renaissance and an important step in the evolution of the novel.

Strolling in Tel Aviv: Setting Up and Breaking Down Boundaries in S. Yizhar'sPreliminaries(Mikdamot)

AJS Review ◽  
2017 ◽  
Vol 41 (1) ◽  
pp. 67-88
Author(s):  
Dvir Tzur
Keyword(s):  
The Other ◽  
The Novel ◽  
Urban Experience ◽  
Tel Aviv ◽  
Other Hand ◽  
The World ◽  
The One ◽  
The Individual

The article discusses the image of Tel Aviv, the first Hebrew city, as it is described in the novelPreliminariesby S. Yizhar (Yizhar Smilansky), one of Israel's best-known authors. In this novel, which engages with the question of home and borders, borders function as a double-edged sword: on the one hand, they define home and create a circumscribed place for the protagonist and his family. On the other hand, the novel dwells on the urge to cross borders and shatter the distinction between home and the world. In this regard, Tel Aviv is sometimes described as a pleasant, “normal” city, yet at other times it is written as a perilous place—since it divides between Jews and Arabs. Tel Aviv is also the place where one can imagine a great future or see a concealed history. It is a total urban experience, encapsulating the individual.

scholarly journals Pyotr Chardynin’s The Idiot as a Phenomenon of Creative Reinterpretation of Dostoevsky’s Novel

2019 ◽  
Vol 11 (4) ◽  
pp. 34-42
Author(s):  
Anastasia Ryabokon’
Keyword(s):  
Film Adaptation ◽  
The Novel ◽  
Human Beings ◽  
National Cinema ◽  
Garden Of Eden ◽  
Human Personality ◽  
The World ◽  
The One ◽  
The Individual ◽  
Main Protagonist

The essay explores the artistic and expressive features of the world's first film adaptation of Dostoevsky's novel The Idiot, directed in 1910 by Pyotr Chardynin. The author substantiates the degree of influence of one of the most important philosophical concepts of the novel that of a split in the human personality on Russian national consciousness at the beginning of the 20th century. The analysis of the figurative system of the film shows that its semantics and the images of its characters were ahead of its time and, therefore, deserve closer critical attention.In the The Idiot the idea of Dostoevsky about a human beings separateness in the world is revealed in the four main characters Prince Myshkin, Parfyon Rogozhin, Nastasya Filippovna and Aglaya who are not complete, full-fledged personalities but separate components of a harmonious human personality. These characters, like puzzle pieces, possess mutually complementary qualities. Thus, Prince Myshkin, the bearer of the highest spirituality, is contrasted with the earthly and passionate Rogozhin. And the images of Nastasya Filippovna and Aglaya are connected, respectively, with the images of Heavenly Love and Earthly Love. If the characters of the novel could unite with each other in love and harmony, the world would get a complete harmonious person, like the one created by God for the Garden of Eden. However, such a merger seems impossible within the limits of earthly existence. In Dostoevsky's novel the individual parts of the soul could not unite into a harmonious whole. Egoism, passion, pride and imperfection of human nature do allow the protagonists to unite and lead them towards personal disintegration.In Russian national cinema, Dostoevskys idea of human beings separateness undergoes a number of transformations. The changes introduced by Pyotr Chardynin into the film adaptation of the novel mostly relate to the image of the films main protagonist Nastasya Filippovna, whom the filmmaker associates with a dying Russia. Chardynin also transforms other protagonists. Prince Myshkin is the only carrier of the highest spirituality, while Nastasya Filippovna, Aglaya and Rogozhin are earthly and passionate. At the end of the film, Nastasya Filippovnas murderer Rogozhin, dressed in a Russian folk costume, sobs at the bedside of the dead tsarina, while heavenly prince Myshkin who was not accepted by her in her lifetime, comforts the sinner. Chardynins film transforms the idea of a split in the human personality into the idea of the Russian separateness from God, the internal split within the Russian world and, as a consequence, that worlds inevitable death.

scholarly journals Zarathustra’s dance: Nietzsche’s creative aesthetic

KÜLÖNBSÉG ◽  
2013 ◽  
Vol 13 (1) ◽  
Author(s):  
Erzsébet Lamár
Keyword(s):  
Language Use ◽  
World View ◽  
Way Of Life ◽  
Eternal Return ◽  
Ascetic Ideal ◽  
The World ◽  
Metaphysics Of Presence ◽  
The One ◽  
The Individual ◽  
New View

Nietzsche criticized the tradition of Western metaphysics (based on the principle of representation, the duality of subject and object of representation, the metaphysics of presence as Derrida puts it) and its language use. In place of this he presents a world view he calls Dionysian: it is a possibility of cognition in which the individual disappears and the tragic subject is merged with archaic substance in an experience that eliminates the dualism of appearance and reality. Nietzsche claims there is a basic tension between life and cognition in Western metaphysics, but this is a symptom of the ascetic ideal which manifests itself in illness and in wanting nothing. Instead the ascetic ideal a new kind of sensibility is necessary which affirms life and gives rise to a new view of the world and to new values. Deleuze claims Nietzsche’s philosophy has three basic tenets: evaluation, affirmation, and the superman as a new way of life. He adds that “Nietzsche attributes such importance to art because art has already achieved the whole program.” The paper shows that Nietzsche’s aesthetics is a creative aesthetic, a selective ontology based on the principle of double affirmation. The paper argues that Dionysus is the one who returns to Nietzsche eternally, and together with him haunts the idea of creative aesthetics, a key element of the idea of eternal return.

scholarly journals MODELLING OF THE CHILDHOOD WORLD IN THE NOVEL “MARGHERITA DOLCEVITA” BY S. BENNI

2020 ◽  
Vol 1 (9(77)) ◽  
pp. 111-113
Author(s):  
Iryna Kushnir,
Keyword(s):  
World View ◽  
Family Values ◽  
Growing Up ◽  
The Novel ◽  
Self Identity ◽  
Her Family ◽  
The World ◽  
Home Space ◽  
Existential Dimension ◽  
First Time

In the article the problem of the childhood in the novel “Margherita Dolcevita” by S. Benni has been studied. The well-known Italian author shows the particular situation when the child comes into collision with the world of adults for the first time. That’s why the main character 15-year-old Margherita became an active adolescent who fights for her family and the main family values. The narrative subjectified child’s “I” reflects the world-view of the XXI century where adults are enchanted by the power of consumerism. Margherita struggles for salvation of the family because she is the only child who can find forces to resist the evil in his own pure soul. The process of modeling of the childhood world is accomplished due to the symbolization of the home space as hearth in contrast with modern soulless neighbors’ world embodied by their black house. Margherita became the core to assemble all generations of her family together. The following microdominants of modeling of the childhood world have been defined: existential dimension of home and family, discontinued connection between family generations, the way to self-identity through the life trials and growing up. The formal peculiarities of the novels such as visuality, unity of composition, burning conflict to show as if from within a difficult emotional and psychological situation in which the character is found have been investigated. This novel by its title “Margherita Dolcevita” gives the child answer to the challenge of the world which she would like to preserve as kind and joyful. The studied novel is rated between the best examples of literature on child’s problems and childhood. Unfortunately this writer remains quite unknown to Ukrainian audience. This fact shows the topicality of this research.

scholarly journals IN THE INSIDE-OUT WORLD: MADNESS AS A THEME AND PLOT

2021 ◽  
pp. 57-75
Author(s):  
Vadym Vasylenko
Keyword(s):  
Mental Disorders ◽  
Mentally Ill ◽  
Conveyor Belt ◽  
Self Awareness ◽  
The Novel ◽  
Romantic Poet ◽  
The World ◽  
Functional Features ◽  
Split Personality ◽  
Inside Out

The paper focuses on the madness as a theme and plot in Ukrainian literature of the 1st half of the 20th century. The researcher analyzes ideological and aesthetic tendencies associated with the understanding of the madness phenomenon, clarifies its functional features, symbolic and ideological significance, and emphasizes the connection between the psychological atmosphere of the totalitarian reality and literary interpretations of madness. The analysis involves works of different genres, styles, and dates of writing in which the theme of madness acquires ideologically engaged and symbolically significant content. In “Sanatorium Zone” by M. Khvylovyi the madness phenomenon is associated with the problems of split personality and suicide. It may be explained in a modernist context, as a reflection of the internally conflicting nature of a man, incapable of changing the existing world or getting adjusted to it. In the tragicomedy “People’s Malakhiy”, M. Kulish introduced the idea of madness into the complex sociopolitical context of the soviet reality which he revealed in various forms (from mythological to social-political) using satirical and grotesque images, philosophical generalization, etc. An episode of madness in the novel “The Garden of Gethsemane” by I. Bahrianyi emphasizes the anomality of the soviet world which is symbolized by the punishment cell and characterized as a “conveyor belt for dismantling human souls”. The story of the romantic poet Hӧlderlin in the novel by V. Domontovych is socially and politically conditioned. It reveals the state of a man and the world in a difficult transitional era. In “The Enameled Bowl”, Domontovych elaborates the theme of illness through the idea of the lack of consistency between the internal and external and understands it as an artistic convention that marks the absurdity of the world. T. Osmachka in his prose was especially focused on the theme of madness. He was interested in mental disorders both as a form of the character’s self-awareness and as a clinical story. The mythological and ideological image of a mentally ill man, reflecting a creative person subjected to repression and persecution, is a symbol of his own biography. In general, the changes in the interpretation of mental disorders are associated with the renewal of the modernist poetics and caused by the writers’ attempts to clarify the connection between the external and internal.

scholarly journals THE UNIQUENESS OF THE CHRONOTOPOS IN THE NOVEL BY MAX KIDRUK “WHERE GOD IS NOT PRESENT”

2019 ◽  
pp. 325-331
Author(s):  
O. A. Ogulchanska
Keyword(s):  
Spatial Organization ◽  
Time Of Day ◽  
Multidimensional Analysis ◽  
The Novel ◽  
Literary Research ◽  
Time Space ◽  
Important Means ◽  
Character Building ◽  
Definition Of ◽  
The Individual

The article deals with the uniqueness of the chronotopos in the novel by Max Kidruk “Where God is not present”. The research of leading scholars in various fields of science, such as M. Bakhtin, N. Kopistyanska, A. Temirbolat, O. Chicheryn, O. Ukhtomskyi and others, was dedicated to the problems of the time-spatial organization of the artistic text. The analyzed novel of the famous and popular modern Ukrainian writer has recently been published and has not yet been the subject of literary research. The main events in the work take place on the mountain summit in the array of Gasherbrum - Gasherbrum VI, where “Boeing 777” has crushed. Various time-space planes are harmoniously interwoven in the novel, due to the introduction of retrospections of different plans to the text. This contributes not only to the expansion of time-space coordinates, but also allows to use multidimensional analysis of the psychological portrait of the characters. While investigating the time and space of the novel, we rely on N. Kopistyanska's idea that space is not only a place and a background of action; it is the vector that influences the formation of the character, moral properties of the individual. During the analysis of the chronotopos of the novel “Where God is not present”, attention is focused on the character-building function of one's or another's space, which is one of the important means of psychologization. The psychological space of characters and their relationship with the outside is analyzed. The titles of the sections of the novel “Where God is not present” point to spatial boundaries, where chronological events will take place: “Airport”, “Airplane”, “Mountain”. The chronotopos of each section is expanded by the introduction of retrospectives. The writer uses various forms of time specification, such as: the exact definition of cyclic coordinates (indication of seasons, time of day, hours, minutes) and indication of the years in which events occur. In the novel, various countries, cities (Beijing, the Netherlands, Dubai, Sweden, Zaporizhzhia, Kyiv, Moscow, etc.) are mentioned spontaneously.

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