scholarly journals THE FUNCTIONAL ASPECT OF THE ZERO NAME IN THE STORIES BY VLADIMIR NABOKOV

2020 ◽  
Vol 23 (4) ◽  
pp. 25-33
Author(s):  
Boris V. Kovaliov ◽  
◽  
Vadim E. Pugach ◽  
Keyword(s):  
Detailed Analysis ◽  
Vladimir Nabokov ◽  
Main Character ◽  
Functional Aspect ◽  
The Third ◽  
Different Types ◽  
Proper Name ◽  
Third Person

The article is devoted to the analysis of the functions of the zero name of proper characters in V. V. Nabokov's short prose. The factors are highlighted on the basis of which an attempt can be made to classify zero names in Nabokov's texts. The first factor is the grammatical person from whom the story is told. Particular cases related to narration from the first and third person are analyzed. The second factor is who in the text is the bearer of the zero name: the main character or the minor one? The authors pay special attention to antonomazia as a way of replacing a proper name with a null name. In the course of the study, it turns out that antonomazia can be used as a means of characterizing a character, as well as a reference not to a specific image, but to a certain class. The third factor is the possible taboo of the name as a technique. In the course of the research, two types of tabooing of a proper name are distinguished: religious and sociopsychological. The second part of the article analyzes V. V. Nabokov's story «The Razor» as an example of a text, on the basis of which one can prove the assertion about the polyfunctionality of a null name. The nomination of each character is studied in detail. The authors conclude that the opposition of full and null names plays a key role in building conflict in the plot. Moreover, the opposition of different types of nominations is a technique that determines the structure of the text, its semantic and associative levels. Based on a review of a number of Nabokov's texts and a detailed analysis of «The Razor» story, eleven functions of the zero name of V. V. Nabokov's own characters are formulated.

scholarly journals W. TREVOR’S APPLICATION OF J. JOYCE’S INSPIRATION

2021 ◽  
pp. 37-47
Author(s):  
Olha Kabkova
Keyword(s):  
The Other ◽  
Third Party ◽  
Original Text ◽  
Creative Activity ◽  
The Third ◽  
Poetic Image ◽  
Different Types ◽  
Third Person ◽  
To Come ◽  
The One

While finding out the relation of W. Trevor’s writing to Joyce, we are to take into account the fact, fixed by the German writer H. Bell in his “Irish diary”: Joyce is one of the ordinary surnames in Ireland. Yet the aim of the article was to search for the influence of the literary technique of J. Joyce — one of the well-known modernists — on W. Trevor’s creative works. On the one hand, W. Trevor himself in the interviews insisted that “Dubliners” and “A Portrait of the Artist as a Young Man” were valuable for him within the whole life; on the other hand, the known and famous writers and critics aimed at finding those links. A number of researchers took into account that Joyce’s later texts were not so valuable for Trevor’s creative works. His influence was not the linguistic pyrotechnics of the “Ulysses” but the modest and punctilious voice of “Dubliners”. It is possible to determine some levels of Joyce’s presence in W. Trevor’s texts: Joyce as a character, as a model of creative activity, as a pattern for stylization and even comic imitation. One of the characters of Trevor’s “Music” was fascinated with Joyce’s appearance, his photograph. Sometimes, while hearing music, he was imagining himself a human being similar to Joyce. “The Third Party” began with a meeting of two men, one the husband, one the lover in a Dublin hotel bar. They have to come to an agreement on the end of the marriage, which was not achieved. The plot of this story is somewhat a travesty of “A Little Cloud” (from “Dubliners”). Moreover, the main characters are W. Trevor’s version of two different types of mental constitution vivid in “A Little Cloud” as well as in “Ulysses”. The interview of two characters in Trevor’s text allowed using Joyce’s telling strategy: an application of subjective third-person narration. An aspect of location in Trevor’s story is similar to that of Joyce, it is Dublin. Nevertheless for Trevor Dublin was a city, where events took place, not a version of the important original location, as it was with Joyce. The same may be said about “Two More Gallants”. Th is story of the modern and equally traditional Irish writer is the most vivid example of the author’s dialogue with the original text of Joyce. Th e writer simultaneously reflected and parodied “Two Gallants” (from “Dubliners”). There is a certain similarity between the viewpoints of both authors on Dublin and Ireland in general. The creative activity of Joyce was governed by Ireland. W. Trevor’s links with Ireland were restored only when he became something of a stranger to this country. Moreover, Trevor’s conception of Ireland remained constant as if nothing had happened in this country during the second half of the XX century. So the reality of “Two Gallants” and “Two More Gallants” remained alike, as well as irresponsibility of the main characters. The narrative nerve in Joyce’s text may be defi ned as no-event, while Trevor’s text is arranged according to tale tradition. “Two Gallants” is associated with the concentrated poetic image of paralysis. A similar representation is evident in “Two More Gallants”: puppets dance to the music of original sins. Th at shows Trevor’s play with the original text.

scholarly journals THE PROPER NAME IN THE STORIES BY VLADIMIR NABOKOV (on the examples of the stories «An Affair of Honor» and «Christmas»)

2020 ◽  
pp. 171-178
Author(s):  
Boris V. Kovalev ◽  
Vadim Ye. Pugach
Keyword(s):  
Proper Names ◽  
Vladimir Nabokov ◽  
Main Character ◽  
Small Form ◽  
Large Form ◽  
Proper Name ◽  
One Step ◽  
Step Mechanism

The article is devoted to the study of the semantics of proper names in the stories «An Affair of Honor» and «Christmas» by Vladimir Nabokov. Topicality of the study is due to the emergence of a large number of studies devoted to the most striking and obvious cases related to the analysis of the semantics of proper names in Vladimir Nabokov, to an insuffi cient analysis of the nominations in the texts of the small form. The work uses the methods of semantic and intertextual analysis. The analysis of the names of each character of the stories «An Affair of Honor» and «Christmas» is carried out. It turns out that the peculiarity of the story «Scoundrel» is «pairedness», which manifests itself at all levels – from name to composition. The names of characters pairwise located in the story are investigated. On the material of the story «Christmas», the phenomenon of an incomplete name is studied – one character has a name but lacks last name (footman Ivan), another has a last name but not name – Sleptsov, and the name of Sleptsov’s son is not mentioned at all in the story. The authors conclude that in small form the hero does not need to have both a fi rst name and a last name. One thing is enough – if it clearly and clearly characterizes the image, then the absence of one of the components is not signifi cant. The image of the main character is analysed, it is proved that a hero by the name of Sleptsov has moral and aesthetic blindness. The special mechanisms of correlation of the name system with the system of characters are revealed, an attempt is made to classify proper names in Vladimir Nabokov’s work. The authors propose classifying names according to the mechanism for implementing the name in the text (one-step and two-step mechanism) and according to the method of formulation (speaking name, key-name, pun-name). It turns out that Vladimir Nabokov uses the same mechanisms and regularities in building a name system in both small and large form, however, it is in stories that these mechanisms are formed and fi rst used by Nabokov. The question is raised about the need for further use of the method of analysis of proper names in Vladimir Nabokov.

scholarly journals On the Function of Name in Irish and Slavonic Written Incantation Tradition

2006 ◽  
Vol 1 ◽  
pp. 163-173
Author(s):  
Tatyana Mikhailova ◽  
Keyword(s):  
Detailed Analysis ◽  
Early Period ◽  
Traditional Use ◽  
Old Russian ◽  
Different Types ◽  
Written Form ◽  
Proper Name ◽  
Celestial Bodies ◽  
The Subject ◽  
The One

Each of the words of this topic needs a special commentary. Our study aims to shed some more light on the problem of typology of the magic texts as a special cultural phenomenon that obtains a constant character. NAME. By the ‘name’ in charm tradition we mean two different types of usage of a personal name: (a) ‘background name’ and (b) ‘subject name’. By (a) we mean a traditional use of names of sacred Christian figures as well as of pagan mythological characters that create a specific background of the magic formula. It serves as an indicator of the compiler’s/user’s Christian or pagan character. But, in fact, it is very difficult to draw a strict distinction between the paganism and a so-called ‘naive Christianity’ in the primary sources (esp. in Slavic and, in particular, in Russian). Some further discussion can be provided by a more detailed analysis of a number of ‘background names’ used in charms. At the same time, being unique for the user, the names of celestial bodies, forces of nature, ‘daughters of the sea’ (in Irish lorica) etc. can fulfill the role of the ‘background name’. By (b) the ‘subject name’ we mean a proper name of an individual for (against) whom the magic text is once composed (pronounced, written etc). WRITTEN TRADITION. Two different types of usage of the term are possible. On the one hand, we are dealing with a so called ‘naive recording’ (remembering) of the oral text, probably, for the purpose of its further (oral) reproduction. In this situation, we suppose, the use of the ‘subject name’ is impossible. On the other hand, the written tradition of magic texts presumes (and includes) a manufacturing of specific magical ‘artefacts’ (tablets, amulets, Old Russian ‘nauzes’ etc.). In this case the name fulfills its specific function. It creates a proper magical object (cf. Plotius, Caer, Mikhej of a Novgorod birchbark etc). The idea that the magical texts that use 1 sg. poss. pron. (me) as a subject may be reproduced orally (or in a written form) should be given some consideration. Me-tradition (not widespread in Russia) supposes the poly-functional use of a charm. CHARM. By this term we mean both an incantation (a spell as a text and as a language artifact) and a magical action (a rite, including the manufacturing of an object with specific characters, for example, magical runes of Old Scandinavia). The comparison between Mediaeval Irish and Russian charm traditions is possible due to the typological relation that exists between Irish and Russian cultures in the early period when Christianity coexisted with paganism. The more detailed analysis can be presented as a schema or a table, embracing all situations of the use of ‘charms’ in a traditional culture”.

scholarly journals A Constructive Explanation of Consciousness

2020 ◽  
Vol 07 (02) ◽  
pp. 257-275
Author(s):  
Pei Wang
Keyword(s):  
Self Control ◽  
First Person ◽  
Self Awareness ◽  
Functional Aspect ◽  
The Third ◽  
Person Perspective ◽  
Third Person ◽  
First Person Perspective ◽  
Third Person Perspective ◽  
The Third Person

This paper describes the consciousness-related aspects of the AGI system NARS, discusses the implications of this design and compares it with other relevant theories and designs. It is argued that the function of consciousness is self-awareness and self-control, and the phenomenal aspect of consciousness is the first-person perspective of the same process for which the functional aspect is the third-person perspective.

scholarly journals SOME ASPECTS OF LINGUISTIC ANALYSIS OF H. KORTASAR’S SHORT STORY «СONTINUITY OF PARKS»

2020 ◽  
Vol 22 (3) ◽  
pp. 134-140
Author(s):  
Michail S. Burak ◽  
Keyword(s):  
Detailed Analysis ◽  
Short Story ◽  
Linguistic Analysis ◽  
Short Description ◽  
Multidimensional Analysis ◽  
Main Task ◽  
The Novel ◽  
Main Character ◽  
Main Attention ◽  
The Third

This research is devoted to H.Kortasar’s short story «Сontinuity of parks». The relevance of the topic is connected with the possibility to make a multidimensional analysis. The aim of the research is to demonstrate great importance of linguistic analysis of a short story for the revealing of its meaning. In the Introduction a short description of the structure of the story is given. There are two plans, two realities which exist parallel to each other and at the end they meet. The main character of the story «Сontinuity of parks» is the victim of the character of the novel read by him. The second part of the article is devoted to the short view of the literature criticism of this piece of work. The main attention is given to the phenomenon of metallepsis, the notion of chronotope, the category of myth and connection of this piece of work with H. L. Borhes’s works. The author of the article also pays attention to H. Kortasar’s aesthetic concept connected with the phenomenon of «reader-female» and the author’s view on a literature piece of work from the viewpoint of «play». The relevance of «interaction between key moments of the text» and a reader’s experience. The third part of the article gives a linguistic analysis of some elements of the story including nominalization and ontological metaphor. The author gives a detailed analysis of lexeme and phrase dibujo (drawing, outline), el dibujo de los personajes (outline, character sketch), ilusióni (illusion), intrusion (intrusion), continuidad (continuity). As a result the author makes following conclusions. As in many other stories H. Kortasar in «Continuity of parks» involves the reader in the narration, gives a riddle to him which can’t be solved from the viewpoint of formal logics. The intrigue of the narration, its «its inner structure» is implemented because of great opportunities of Spanish. The interpretation of an open end in some literature works of postmodern period is the main task of the reader who becomes а «co-author» of the text.

scholarly journals “To the Man and the Horse – Perdition”: The Semiotics of Corporeali- ty in Vasily Belov’s Short Story “For Carriage”

2020 ◽  
Vol 38 (2) ◽  
pp. 380-387
Author(s):  
A. I. Kulyapin
Keyword(s):  
Gender Identity ◽  
Short Story ◽  
Sense Of Self ◽  
Main Character ◽  
Small Child ◽  
The Third ◽  
Male Characters ◽  
Stage Of Development ◽  
Third Person ◽  
The Third Person

The article analyzes the semiotics of bodily deformations of the heroes of the story by Vasily Belov “For Carriage”. All male characters of the story are endowed with physical inferiority. The main character of the story, Senka Gruzdev, lost his right hand fingers in the war, and once in his youth, he licked an ax brought from the cold and left a half-tongue on that ax. Senka’s irreconcilable enemy – the brigadier Ilyukha – is one-eyed. As a result, a triad conceptually significant for the author arises: armless – tongueless – eyeless. The defective corporeality of the heroes is correlated with their defective spirituality, semi-faith. Belov very persistently and consistently draws parallels between people and animals in the text. In the story there are two representatives of the animal world with an indefinite gender identity: a rooster that has lost its crest and a horse Sparrow – half stallion half gelding. The masculine dignity of the main character of the story Senka Gruzdev is also metaphorically halved. Senka Gruzdev fails when he tries to demonstrate one hundred percent manifestation of masculinity. Senka usually speaks about himself in the third person. Psychologists and linguists noted that self-name from a third person is peculiar primarily to the speech of young children, as well as to adults who enter into communication with them. Senka was clearly stuck at the infantile stage of development; he does not have a sense of self as a full-fledged personality. The figure of Senka Gruzdeva is typical of the artistic world of Vasily Belov. The most famous hero of the writer is Ivan Afrikanovich from the story “A Habitual Affair” “himself sometimes as a small child”.

Effects of Light-Hearted and Serious Entertainment on Enjoyment of the First and Third Person

2016 ◽  
Vol 28 (1) ◽  
pp. 42-48 ◽  
Author(s):  
Matthias Hofer
Keyword(s):  
Young People ◽  
Media Consumption ◽  
First Person ◽  
Online Experiment ◽  
Entertainment Media ◽  
Third Person Effect ◽  
The Third ◽  
Third Person ◽  
Perceived Enjoyment ◽  
The Third Person

Abstract. This was a study on the perceived enjoyment of different movie genres. In an online experiment, 176 students were randomly divided into two groups (n = 88) and asked to estimate how much they, their closest friends, and young people in general enjoyed either serious or light-hearted movies. These self–other differences in perceived enjoyment of serious or light-hearted movies were also assessed as a function of differing individual motivations underlying entertainment media consumption. The results showed a clear third-person effect for light-hearted movies and a first-person effect for serious movies. The third-person effect for light-hearted movies was moderated by level of hedonic motivation, as participants with high hedonic motivations did not perceive their own and others’ enjoyment of light-hearted films differently. However, eudaimonic motivations did not moderate first-person perceptions in the case of serious films.

Topoi in der Musik Béla Bartóks

2013 ◽  
Vol 54 (3) ◽  
pp. 289-299
Author(s):  
Jürgen Hunkemöller
Keyword(s):  
Bird Song ◽  
Musical Analysis ◽  
Piano Concerto ◽  
The Third ◽  
Different Types ◽  
Important Means

The recognition of topoi, i.e. traditional formulae, is an important means of musical analysis. To illustrate this, the paper discusses the types of the battaglia and the pastoral in Bach’s Cantata Halt im Gedächtnis Jesum Christ, and briefly enumerates different types of allusions to jazz in 20th-century compositions by Stravinsky, Milhaud, Blacher, Tippet, and Zimmermann. Then it raises the possibility of an analysis of topoi in Bartók’s music in four main categories. It considers Bartók’s musical quotations from Bach to Shostakovich; the chorale as special topos appearing in Mikrokosmos, in the Concerto for Orchestra, in the Adagio religioso of the Third Piano Concerto; the topos-like employment of the tritone; and finally the idea of a Bartókian Arcadia in the Finale of Music for Strings, and the integration of bird song in the Adagio religioso.

Causal determinism and a totally global fatalism from the third-person perspective

2020 ◽  
Author(s):  
Xiaoyang Yu
Keyword(s):  
Human Brain ◽  
Human Language ◽  
Causal Determinism ◽  
The Third ◽  
Person Perspective ◽  
Neural Substrate ◽  
Third Person ◽  
Third Person Perspective ◽  
Physical Laws ◽  
The Third Person

The human brain and the human language are precisely constructed together by evolution/genes, so that in the objective world, a human brain can tell a story to another brain in human language which describes an imagined multiplayer game; in this story, one player of the game represents the human brain itself. It’s possible that the human kind doesn’t really have a subjective world (doesn’t really have conscious experience). An individual has no control even over her choices. Her choices are controlled by the neural substrate. The neural substrate is controlled by the physical laws. So, her choices are controlled by the physical laws. So, she is powerless to do anything other than what she actually does. This is the view of fatalism. Specifically, this is the view of a totally global fatalism, where people have no control even over their choices, from the third-person perspective. And I just argued for fatalism by appeal to causal determinism. Psychologically, a third-person perspective and a new, dedicated personality state are required to bear the totally global fatalism, to avoid severe cognitive dissonance with our default first-person perspective and our original personality state.

TO THE PROBLEM OF PHRASEOLOGICAL UNITS REFLECTION IN DICTIONARIES OF DIFFERENT TYPES

2020 ◽  
pp. 130-142
Author(s):  
Е.М. Григорьева
Keyword(s):  
Detailed Analysis ◽  
English Language ◽  
Sampling Method ◽  
Semantic Features ◽  
Continuous Sampling ◽  
Translation Equivalent ◽  
Different Types ◽  
Individual Source ◽  
Graphic Illustration ◽  
Characteristic Features

Постановка задачи. Статья посвящена детальному анализу фразеологизмов английского языка различных тематических групп и особенностям их регистрации в англо-английских и англо-русском словарях и справочных пособиях. Рассматривается ряд характеристик, которые отличают фразеологические единицы от свободных словосочетаний. Кроме того, исследуется вопрос включения пословиц в состав фразеологического фонда того или иного языка. Впоследствии отобранные методом сплошной выборки фразеологические единицы классифицируются по различным основаниям, а также проводится детальный анализ особенностей их отражения в представленных изданиях. Результаты. Осуществляется классификация фразеологизмов по следующим категориям: функция в коммуникации, определяемая их структурно-семантическими особенностями, а также тематическое деление. Отдельно рассматриваются фразеологизмы-эвфемизмы, относящиеся к нескольким тематическим группам, среди которых смерть, ругательства и беременность. Выделяются и описываются характерные особенности организации микроструктуры (словарной статьи) каждого отдельно взятого издания. Выводы. На основании проведенного анализа регистрации английских фразеологизмов сделаны выводы о том, что данная лексика получает подробное и точное отражение в справочниках. Проведенный анализ теоретической литературы показал правомерность включения пословиц во фразеологический фонд, поскольку они принадлежат к культурному наследию того или иного народа и воспроизводятся в речи в исходной форме. Тип и адресат справочника определяют особенности организации словарной статьи, а также компоненты, которые входят в нее (дефиниция, переводной эквивалент, иллюстративный пример, грамматическая, стилистическая, региональная и этимологическая пометы, графическая иллюстрация). Statement of the problem. The article is devoted to a detailed analysis of the phraseological units of the English language of various thematic groups and the features of their registration in the English-English and English-Russian dictionaries and reference books. Features that distinguish phraseological units from free phrases are studied. More than that, the question of belonging proverbs to phraseological stock is studied. Then phraseological units selected by the continuous sampling method are classified according to different grounds, and a detailed analysis of the features of their reflection in the analyzed sources is carried out. Results. Phraseological units are classified into some categories according to the following criteria: function in communication, determined by their structural and semantic features and thematic division. Phraseological units-euphemisms related to several thematic groups, including death, curse words and pregnancy are studied. The characteristic features of microstructure organization of each individual source are described. Conclusion. The analysis of English phraseological units registration showed that this lexis is reflected in dictionaries in a proper way. Theoretical literature analysis shows justification of proverbs inclusion into phraseological stock as they are a part of national cultural heritage and are reproduced in speech in the basic form. Further, the author comes to a conclusion that dictionary type and addressee of the reference book determine features of microstructure organization and their components (definition, translation equivalent, illustrative example, grammar, stylistic, regional and etymological labels, graphic illustration).

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