scholarly journals Lisovskaya (Syktyvkar, Russia). Linguistic means of expressing comic in the works by Victor Savin

2019 ◽  
Vol 11 (3) ◽  
pp. 294-300
Author(s):  
Evgenii A. Tsypanov ◽  
Galina K. Lisovskaya
Keyword(s):  
Short Stories ◽  
Literary Criticism ◽  
Role Model ◽  
Semantic Analysis ◽  
Komi Republic ◽  
Contextual Analysis ◽  
Literary Language ◽  
Religious Comedies ◽  
Text Formation ◽  
Linguistic Means

Introduction. In Finno-Ugric Studies, as well as in Komi linguistics, the language of the founders of Komi literature, its features and artistic means of expression, its role in text formation are not well understood. Viktor Alekseevich Savin was not only the first Soviet Komi poet, playwright, composer and critic, but also one of the foundeers of the modern literary language. His works showed the great potential of his native language, laid down the tradition of creative writing, and became a role model for young poets and prose writers. The article analyzes the linguistic means of expressing the comic in his most popular works. Materials and methods. The object of the study was a series of works by Savin, his poems, essays, and several plays, which are traditionally referred to as anti-religious in literary criticism. The authors used traditional methods of semantic analysis of vocabulary, component, and contextual analysis. Results and Discussion. Not everything written by Savin is equally relevant and close to a modern reader, but many items of his poems, his dramas, and short stories are loved by readers and are still in demand. These are the anti-religious comedies “Rayin” (“In Paradise”), “Inastov lov” (“A Restless Soul”), “Wa Shyr” (“Water Rat”), and the poem “Arkirey” (“Bishop”). However, already in the post-perestroika years these works were not staged any longer at any of the state theaters of the Komi Republic. Conclusion. Satirical poems, comedies, short stories, and essays by Savin have been checked by the time, and remained in the Komi literature’s golden fund, loved by readers and spectators. In connection with the 130th anniversary of the birth of Victor Savin, it is necessary to raise the question of reprinting his works and staging his plays.

scholarly journals Semantic diffuseness in Art History terminology

2020 ◽  
Vol 2 (4) ◽  
pp. 43-62
Author(s):  
P. E. Gapienko
Keyword(s):  
Art History ◽  
Semantic Analysis ◽  
Contextual Analysis ◽  
History Taking ◽  
Literary Language ◽  
Scientific Disciplines ◽  
The Difference ◽  
The Moment ◽  
Linguistic Methods ◽  
Terminology System

The aim of the research is to determine the degree of influence of semantic diffuseness on the strength of the Art History terminology system. This paper examines topical issues of Art History. At the moment, the development of diffuseness of Art History terms can lead to the erosion of the Art History terminology system’s borders and even to the loss of the scholarly style of the language of the entire discipline. In this study, the following linguistic methods are used: semantic analysis, definitional analysis, contextual analysis, as well as elements of semasiological and cognitive analysis. The article reveals the specificity of semantic diffuseness, the reasons for diffuseness; violation of the consequences of the development of diffuseness in the terminology and terminological system of Art History. Scientific novelty of the paper lies in identifying ways to strengthen and structure the terminology system of Art History, taking into account the development of diffuseness in the Art History terminology. As a result, the difference between diffuse Art History terms and diffuse terms related to the terminological systems of other scientific disciplines was revealed, the difference between diffuse Art History terms and lexical units of general literary language was established, and linguistic criteria that allow diffuse terms to function in the Art History terminology system without the threat of blurring the boundaries of the Art History terminology system were highlighted.

The foundations of literary rhetoric

2017 ◽  
Author(s):  
Michel Meyer
Keyword(s):  
Literary Criticism ◽  
Reception Theory ◽  
Literary Language ◽  
Literary Interpretation ◽  
Basic Law ◽  
The Law

Chapter 7 deals with one of the most traditional aspects of rhetoric, namely literature. It describes a basic law of literary rhetoric which accounts for the increasing problematicity of literary language in novels, poetry, and drama. This chapter also explains the evolution of literary criticism. The fact that literature is less and less linear in its narratives, and is increasingly enigmatic (Joyce or Kafka) is accounted for by the law of auto-contextualization of the problematic in the fictional answers. This law encourages the reader to provide the meaning of the text, even when it is considered as impossible or equivocal and pluralistic. The four main schools of literary interpretation correspond to our four basic operators of rhetoric: Mimetic for =, Hermeneutics for ±, Reception Theory for + (the reader is the “plus” of the interpretation of the text), and Deconstruction for –.

scholarly journals FORGOTTEN NAMES OF POLISH LITERATURE – KAZIMEZH TRUKHANOVSKY

2019 ◽  
pp. 347-356
Author(s):  
T. Hajder
Keyword(s):  
Twentieth Century ◽  
Short Stories ◽  
Literary Criticism ◽  
The Novel ◽  
Global Level ◽  
Polish Literature ◽  
Literary Traditions ◽  
Time Space ◽  
Complicated Model

Polish literature is one of the leading positions not only in the Slavic world, but also well-presented at the global level. The article is devoted to the Polish writer of the middle of the twentieth century, whose name is unknown to the Ukrainian narratee, but his works are extremely interesting. The reasons why some writers do not fall into the field of wide-ranging research are different. In the case of the Kazimierz Trukhanovsky’s works, this is an insufficient research of the Polish literary criticism, the researchers are writing about it only now. Returning the names of interesting writers and attracting attention to their works is an actual and interesting task.The creative legacy of K. Trukhanovsky is quite extensive – it’s a romance cycle, story and short stories, individual novels. Philosophy, reflection and utopia are the most extensive characteristics of the writer’s works. The imagery and aesthetic background of the novels become clearer if we attract the work of artists, whose leading motive of creativity was the hell and the wandering of human souls in the search of divine light. The writer applied to mythologization and the magic properties of time-space measurements in the novel. Mythological and literary traditions are superimposed, as a result of which the author creates a complicated model of a labyrinthine novel.

RUSSISMS IN THE MODERN SERBIAN LANGUAGE

2021 ◽  
Vol 4 (103) ◽  
pp. 54-65
Author(s):  
JELENA LEPOJEVIC
Keyword(s):  
Semantic Analysis ◽  
Russian Language ◽  
Point Of View ◽  
Modern Theory ◽  
Literary Language ◽  
Lexical Semantic ◽  
Theory Of Language ◽  
The Russian Language

This paper considers, from the point of view of modern theory of language in contact, words loaned from the Russian language or through the Russian language that are still in active use in the modern Serbian language. The aim of this paper is to determine the corpus of these elements in the dictionaries of the modern Serbian literary language, as well as to conduct a morphological and lexical-semantic analysis of the collected material. Many of these words are not perceived as borrowings by speakers of the Serbian language, but it is a fact that these elements came to the Serbian language from Russian. The author studies the words with the label rus. , identified by the analysis of Serbian language dictionaries. Words of Russian origin that are on the periphery of the lexical fund of the Serbian language, such as archaisms and historicisms, have not been taken into consideration.

Introduction

2005 ◽  
Author(s):  
J. N. Adams ◽  
Michael Lapidge ◽  
Tobias Reinhardt
Keyword(s):  
Literary Criticism ◽  
Native Speaker ◽  
Literary Text ◽  
Major Theme ◽  
Literary Language ◽  
Literary Education

‘Language’ is given a comprehensive sense in this book. Many of the chapters are not ‘linguistic’ in any formal sense, but are about the skill (or otherwise) of writers in expressing themselves. They are thus about style, the study of which can be seen as a branch of literary criticism. There are various objections that can be made to the notion (implicit in Bernhard’s statement) that the inclusion of ‘poeticisms’ in prose was an imperial development and represented a debasement of the literary language. The diversity of extant prose is a major theme of this book. Examples of early long sentences are also presented. Bad writing may show up clearly in a translation. This writing may be determined in a non-literary text written by someone who had not had a literary education and might not even have been a native speaker of Latin. Archaism emerges as a generic label rather than a unified category. The chapter then discusses the translation from Greek. Aspects of high-style Latin prose, namely neologism, archaism, Greek loanword, and poeticism, are described.

Horizon Magazine and the Wartime Short Story, 1940–1945

2020 ◽  
pp. 229-249
Author(s):  
Ann-Marie Einhaus
Keyword(s):  
Short Stories ◽  
Literary Criticism ◽  
Short Story ◽  
Short Fiction ◽  
Editorial Policy ◽  
Filler Material ◽  
Critical Factors ◽  
Aesthetic Judgement

Cyril Connolly’s wartime periodical venture Horizon is commonly regarded as one of the most significant British literary publications in this period alongside John Lehmann’s New Writing series. Connolly’s specialism was literary criticism and cultural commentary, but the magazine also prided itself in offering readers exciting new (and some older) works of poetry and fiction. Given the stature of the magazine, this chapter investigates whether Horizon had a noticeable impact on the wartime short story in Britain, and if so, what this impact might have been. It outlines an editorial policy that, with few exceptions, regarded short fiction as filler material and chose short stories based on a combination of practical and critical factors, determined by availability and convenience as much as by aesthetic judgement.

scholarly journals Perempuan dan Pelacuran dalam Kumpulan Cerpen Genduk Dukuh Seti Karangan Rohana Handaningrum Sebuah Kajian Feminis Radikal

2018 ◽  
Vol 13 (4) ◽  
pp. 658
Author(s):  
Laura Andri Retno Martini
Keyword(s):  
Short Stories ◽  
Literary Criticism ◽  
Research Data ◽  
Radical Feminism ◽  
General View ◽  
Men And Women ◽  
Women's Power ◽  
Feminist Literary Criticism ◽  
Condition Of Women ◽  
People’S Perceptions

Prostitution or prostitution is a phenomenon in people's lives and is considered a "social problem". The general view states that the emergence of prostitution is based on a sense of women's helplessness in aspects of life when compared to men. This perception is not only found in social reality. The condition of women as objects also appears in literary works, as a reflection of people's perceptions. Therefore, it takes a study in the perspective of feminism, especially radical feminists to explore the issue of prostitution that occurs in women. The feminist literary criticism approach was carried out in this study with the type of qualitative research. Data was taken from the collection of Genduk Dukuh Seti short stories written by Rohana Handaningrum. The study was conducted aimed at describing the elements of radical feminism found in texts. The results of this study indicate that there are elements of radical feminism in the cepen group. The power relations of men and women are shown in the doctrine of marriage and the traditional ties that bound women. Whereas the removal of virginity and prostitution is a form of women's power over their bodies.

Notes on the colloquial lanǵuaǵe of Persia as recorded in certain recent writings

1952 ◽  
Vol 14 (3) ◽  
pp. 451-462 ◽  
Author(s):  
J. A. Boyle
Keyword(s):  
Short Stories ◽  
Classical Tradition ◽  
Spoken Language ◽  
The Other ◽  
Natural Speech ◽  
Literary Language ◽  
Persian Literature ◽  
The West ◽  
Colloquial Language ◽  
Ordinary Conversation

§ 1. There is in all languages a considerable difference between literary and colloquial usage. Sometimes this difference is so great that one can almost speak of two distinct languages. But even when the contrast is less striking it remains true that a large part of the vocabulary and a number of grammatical forms are to be encountered only in books and do not come spontaneously to the lips in natural speech; just as, on the other hand, there are words and expressions to be heard on every side in ordinary conversation that would be unthinkable in formal writing. All this is as true of Persian as of any other language; but whereas in the West the colloquial idiom has long since achieved literary recognition in the drama and in fiction, this is by no means the case in Persia, where recent experiments in the recording of the spoken language have met with strong opposition from the upholders of the classical tradition. The first shot hi this new ‘Battle of the Books’ was fired more than 30 years ago by Sayyed Mohammad ‘Ali amālzāde with the publication of his celebrated collection of short stories known as Yekī būd yekī na-būd, in which he introduced into Persian literature a host of words and phrases in common use by all classes throughout Persia but unrecorded in dictionaries and carefully avoided by men of letters. ǰamālzāde was content to enrich the vocabulary of the literary language: it was left to men like the late Sādeq Hedāyat and his disciple Sādeq Čūbak to take a second and much more controversial step and to make the creatures of their imagination employ, as nearly as possibly, the actual pronunciation and grammar of the spoken language.

scholarly journals A case for corpus stylistics

2011 ◽  
Vol 4 (2) ◽  
pp. 204-227 ◽  
Author(s):  
Michaela Mahlberg ◽  
Dan McIntyre
Keyword(s):  
Literary Criticism ◽  
Semantic Analysis ◽  
Fictional World ◽  
Semantic Domain ◽  
Qualitative Approaches ◽  
Corpus Stylistics ◽  
Semantic Domains

In this article we investigate keywords and key semantic domains in Fleming’s Casino Royale. We identify groups of keywords that describe elements of the fictional world such as characters and settings as well as thematic signals. The keyword groups fall into two broad categories that are characterized as text-centred and reader-centred, with the latter providing particular clues for interpretation. We also compare the manually identified keyword groups with key semantic domains that are based on automatic semantic analysis. The comparison shows, for instance, how words that do not seem to fit a semantic domain can be seen as reader-centred keywords fulfilling specific textual functions. By linking our analysis to arguments in literary criticism, we show how quantitative and qualitative approaches can usefully complement one another.

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