scholarly journals Разновидности Текстовой Динамики В Свете Феномена Признаковости В Повести Ф. М. Достоевского «Двойник» (Статья Первая)

2021 ◽  
Author(s):  
Каталин Кроо
Keyword(s):  
Semantic Integration ◽  
Close Reading ◽  
Motif Pair ◽  
Static State ◽  
Linguistic Unit ◽  
Repetitive Structure ◽  
Developmental Line ◽  
Recursive Dynamics ◽  
Static World ◽  
Semantic Attributes

В настоящей статье изучаются поэтические принципы и функции двух типов структурно-семантической логики, влияющей на возникновение текстовой динамики в «Двойнике». Парадоксально, что главная линия развития сводится к структуре высокой повторяемости рекуррентных / рекурсивных фигурирований стабильных нарративных единиц, мотивов, лексических элементов текста. Их постоянное возвращение (см. события, характерные черты персонажа, семантические признаки, компоненты устойчивых фразеологических выражений) создает впечатление модели неизменного мира, в котором не происходит никаких смен. Такой феномен можно условно назвать динамикой рекуррентности под знаком статичности. Транспозиционная динамика, с другой стороны, определяется в качестве второго направления текстового развертывания, формирующего механизм порождения смысла. Транспозиция в данной работе понимается в широком смысле, со специальным сосредоточением на 1) трансфигурации и проек\xD1\x86ии смысла путем сдвига от однородности семантических признаков к наделению означающих или означаемых новыми признаками (проблема референтности); 2) процессах семантической интеграции, касающейся включения мелких смысловых единиц в более крупные формации (семантический признак → мотив → литературный персонаж). Цель статьи состоит в выяснении взаимоотношения (своеобразной интеракции) двух типов динамики. Рассматриваемое смысловое образование, воплощаемое в минимальной единице моторной (моторно-словесной) «экспрессии» Голядкина, обладает двойной ориентацией, основанной на корреляции движения и остановки, которую В. B. Виноградов интерпретировал в своей знаменитой работе. С точки зрения объекта изучения в настоящей статье указанная нарративная и лингвистическая единица подвергается толкованию в качестве рекурсивной пары мотивов, обладающей особенной способностью перевоплощаться путем транспозиции. Применением метода «close reading» в пятой главе повести, где появляется двойник господина Голядкина, подробно продемонстрировано, как транспозиция действует в рамках процесса смысловых интеграций. Значение мотива врага претерпевает сдвиг от смысла человеческого врага к смыслу петербургской погоды и человеческой судьбы как новых субъектов. Они ассоциируются с мифологией и литературной культурой (интертексты), подводящими к толкованию личности Голядкина. Образ главного героя проецируется на его двойника многими семантическими признаками. «Тоскливая побежка» в смысле столкновения Голядкина с самим собой представляет его в качестве прозревающего героя, который как л\xD0\xB8тературный персонаж развивается постепенно, включением в этот процесс и образ двойника как транспозицию фигуры, также представляющей собой динамическое смысловое образование. Соотношение Голядкина и его двойника в аспекте проблемы первичности и вторичности поставлено также в контекст семиотики Пирса. The paper examines the poetic principles and functions of two sorts of structural-semantic logic influencing the emergence of textual dynamics in The Double. Paradoxically, the main developmental line consists in a highly repetitive structure of permanent reiteration of fixed narrative units, motifs, and lexical items in the text. Their constant recurrence (cf. events, character traits, semantic attributes, and elements of stable idiomatic phrases) creates the impression of a static world model in which no changes occur. This may be called recursive dynamics under the sign of a static state. Transpositional dynamics, on the other hand, can be regarded as the second direction of the textual developmental movement, producing the mechanism for meaning-generation. Transposition is interpreted broadly, in the paper, with a special accent on 1) meaning transfigurations and projections through the shift from the uniformity of semantic attributes to the acquiring of new attributes by the signifier or the signified (the problem of reference); 2) processes of semantic integration concerning the inclusion of smaller semantic units into larger ones (semantic attribute → motif → character figure). The purpose of the paper is to clarify the reciprocity (the special interaction) of the two types of dynamics. The semantic formation under scrutiny embodied by the smallest unit of Golyadkin’s motoric-verbal expression has a double orientation based on the correlation of motion and stop interpreted by V. Vinogradov in his famous study. From the perspective of the paper’s research object, this narrative and linguistic unit is examined as a recursive motif pair with a special capacity of transformation through transposition. It is demonstrated in detail, within the close reading of the fift h chapter, where Golyadkin’s double appears, how transposition works through a process of semantic integrations. The meaning of enemy is shift ed from human rivals to Petersburg weather and human fate as new subjects, associated with mythology and literary culture (intertexts), leading up to the interpretation of Golyadkin’s personality. The protagonist’s figure is projected upon his double through many semantic attributes. The “melancholy flight” as his encounter with himself presents him as an awakening hero, who as a character is developed gradually, including his double as his figure-transposition which also embodies a dynamic semantic pattern. The correlation of Golyadkin and his double in the context of firstness and secondness is also put into the context of Peircean semiotics.

On Practical Validity of Quantity Theory of Money, or How Much the Dogmatism of Monetary Authorities Costs

2008 ◽  
pp. 31-45 ◽  
Author(s):  
S. Glazyev
Keyword(s):  
Monetary Policy ◽  
Economic Development ◽  
Money Supply ◽  
Market Equilibrium ◽  
Static State ◽  
Quantity Theory ◽  
Monetary Authorities ◽  
State Of The Economy ◽  
Market Organization

The article critically considers basic postulates of quantity theory of money. It shows that they reflect the static state of the economy in abstract models of market equilibrium but do not prove true in actual economic processes. In contrast to monetarists’ view, prices can rise as well as fall even if other variables of the monetarist equation are stable. Thus it cannot be used for grounding monetary policy. The author comes to the conclusion on the dogmatism of Russian monetary authorities that seriously hinders the country’s economic development. He proposes to switch to market organization of money supply basing on regulation of the refinancing rate.

Stolen from the Snows: John Kinsella as Poet and as Fiction Writer

CounterText ◽  
2020 ◽  
Vol 6 (2) ◽  
pp. 232-238
Author(s):  
Nicholas Birns
Keyword(s):  
Close Reading ◽  
Artistic Identity ◽  
Close Analysis ◽  
Fiction Writer

This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.

‘Nothing is simply one thing’: Woolf, Deleuze and Difference

2013 ◽  
Vol 7 (4) ◽  
pp. 456-474
Author(s):  
Beatrice Monaco
Keyword(s):  
Virginia Woolf ◽  
Prose Poetry ◽  
Close Reading ◽  
Similar Model ◽  
Complex Interplay ◽  
To The Lighthouse

This paper explores some key texts of Virginia Woolf in the context of Deleuzian concepts. Using a close reading style, it shows how the prose poetry in Mrs Dalloway engages a complex interplay of repetition and difference, resulting in a remarkably similar model of the three syntheses of time as Deleuze understands them. It subsequently explores Woolf's technical processes in a key passage from To the Lighthouse, showing how the prose-poetic technique systematically undoes the structures of logical fact and rationality inscribed in both language and everyday speech to an extremely precise level.

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

On the Primacy of Matter: Neoplatonism Right-Side Up

2018 ◽  
Author(s):  
Tyler Tritten
Keyword(s):  
Close Reading ◽  
After Effect ◽  
The One

This chapter provides a close reading of Schelling’s early commentary on Plato’s Timaeus and then contrasts this reading with Neoplatonism’s, particularly Proclus’, understanding of this same text. While Neoplatonism views being according to a hierarchy of degradation or descent, with matter at the bottom, Schelling affirms that being potentiates itself into higher and greater degrees of order such that matter is not the last but the first. He is able to do this, however, only by rejecting the Platonic notion of participation. For Schelling, the participating acquires an independence from the participated so that an effect can be greater than its cause and, moreover, the effect exerts a retroactive after effect on the cause. The identity of a cause or antecedent is only constituted in and through its consequents. If matter is said to process from the One, then matter, in turn, is the consequent condition of the identity of the One as one rather than as many.

Transformation and Education in GDR Youth Literature: A Script Theory Approach

2016 ◽  
Vol 9 (1) ◽  
pp. 65-82
Author(s):  
Jean E. Conacher
Keyword(s):  
Fairy Tale ◽  
Democratic Republic ◽  
Socialist Realism ◽  
National Literature ◽  
Close Reading ◽  
Theory Approach ◽  
Conceptual Blending ◽  
Script Theory ◽  
Cultural Policies ◽  
Youth Literature

Youth literature within the German Democratic Republic (GDR) officially enjoyed equal status with adult literature, with authors often writing for both audiences. Such parity of esteem pre-supposed that youth literature would also adopt the cultural–political frameworks designed to nurture the establishment of socialism on German soil. In their quest to forge a legitimate national literature capable of transforming the population, politicians and writers drew repeatedly upon the cultural heritage of Weimar classicism and the Bildungsroman, Humboldtian educational traditions and Soviet-inspired models of socialist realism. Adopting a script theory approach inspired by Jean Matter Mandler, this article explores how directive cultural policies lead to the emergence of multiple scripts which inform the nature and narrative of individual works. Three broad ideological scripts within GDR youth literature are identified which underpin four distinct narrative scripts employed by individual writers to support, challenge and ultimately subvert the primacy of the Bildungsroman genre. A close reading of works by Strittmatter, Pludra, Görlich, Tetzner and Saalmann reveals further how conceptual blending with classical and fairy-tale scripts is exploited to legitimise and at times mask critique of transformation and education inside and outside the classroom and to offer young protagonists a voice often denied their readers.

Patrick Kavanagh and the Authentic ‘Dispensation’: Rereading the Role of Narrator in The Great Hunger

2012 ◽  
Vol 42 (1) ◽  
pp. 86-104 ◽  
Author(s):  
Catherine Kilcoyne
Keyword(s):  
National Literature ◽  
Close Reading ◽  
Peasant Farmer ◽  
Nineteen Forties ◽  
Death Knell

This essay posits a challenge to the continued reading of The Great Hunger (1942) as a realist depiction of the Irish small-farming class in the nineteen forties. The widespread critical acceptance of the poem as a socio-historical ‘documentary’ both relies upon and propagates an outmoded notion of authenticity based upon the implicit fallacy that Kavanagh's body of work designates a quintessence of Irishness in contradistinction to his Revivalist predecessors. In 1959 Kavanagh referred to this delusion as constituting his ‘dispensation’, for indeed it did provide a poetic niche for the young poet. Kavanagh's acknowledgement of this dispensation came with his rejection of all prescriptive literary symbols. While this iconoclasm is widely recognised in his later career, the relevance of The Great Hunger to this question continues to be overlooked. In fact, this poem contains his strongest dialectic upon the use of symbols – such as the peasant farmer – in designating an authentic national literature. The close reading of The Great Hunger offered here explores the poem's central deconstruction of ruralism and authenticity. The final ‘apocalypse of clay’ is the poem's collapse under the stress of its own deconstructed symbolism; the final scream sounds the death knell to Kavanagh's adherence to his authentic dispensation.

The Triumph of Olemaun: Survivance, Empathic Unsettlement, and Restorying the History of Canadian Residential Schools

2018 ◽  
Vol 11 (2) ◽  
pp. 132-146
Author(s):  
Anah-Jayne Markland
Keyword(s):  
Residential Schools ◽  
Truth And Reconciliation Commission ◽  
Aboriginal Peoples ◽  
Close Reading ◽  
Reconciliation Commission ◽  
Mandatory Education ◽  
Truth And Reconciliation ◽  
Young Readers ◽  
History Of ◽  
Age Appropriate

The ignorance of many Canadians regarding residential schools and their traumatic legacy is emphasised in the reports of the Truth and Reconciliation Commission (TRC) as a foundational obstacle to achieving reconciliation. Many of the TRC's calls to action involve education that dispels and corrects this ignorance, and the commission demands ‘age-appropriate curriculum on residential schools, Treaties, and Aboriginal peoples' historical and contemporary contributions to Canada’ to be made ‘a mandatory education requirement for Kindergarten to Grade Twelve students’ (Calls to Action 62.i). How to incorporate the history of residential schools in kindergarten and early elementary curricula has been much discussed, and one tool gaining traction is Indigenous-authored picturebooks about Canadian residential schools. This article conducts a close reading of Margaret Pokiak-Fenton and Christy Jordan-Fenton's picturebook When I Was Eight (2013). The picturebook gathers Indigenous and settler children together to contest master settler narratives regarding the history of residential schools. Using Gerald Vizenor's concept of ‘survivance’ and Dominick LaCapra's notion of ‘empathic unsettlement’, the article argues that picturebooks work to unsettle young readers empathetically as part of restorying settler myths about residential schools and implicating young readers in the work of reconciliation.

Outlaws and Misfits: The Identities of Modernist Criticism

2019 ◽  
Vol 14 (3) ◽  
pp. 337-356
Author(s):  
Ben Knights
Keyword(s):  
Literary Criticism ◽  
Close Reading ◽  
Industrial Capitalism ◽  
Emotional Maturity ◽  
English Departments ◽  
Emotional Autonomy ◽  
And Gender ◽  
Implicit Identity ◽  
The University ◽  
Cultural Positioning

The images of the writer as exile and outlaw were central to modernism's cultural positioning. As the Scrutiny circle's ‘literary criticism’ became the dominant way of reading in the University English departments and then in the grammar-schools, it took over these outsider images as models for the apprentice-critic. English pedagogy offered students not only an approach to texts, but an implicit identity and affective stance, which combined alert resistance to the pervasive effects of mechanised society with a rhetoric of emotional ‘maturity’, belied by a chilly judgementalism and gender anxiety. In exchanges over the close reading of intransigent, difficult texts, criticism's seminars sought a stimulus to develop the emotional autonomy of its participants against the ‘stock response’ promulgated by industrial capitalism. But refusal to reflect on its own method meant such pedagogy remained unconscious of the imitative pressures that its own reading was placing on its participants.

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