scholarly journals “The New Ways of the Word”: Theory and Methodology of Cognitive Research into Poetics of the Avant-Garde

2019 ◽  
Vol 37 (2) ◽  
pp. 206-228
Author(s):  
I. V. Zykova
Keyword(s):  
Quantitative Analysis ◽  
Frame Analysis ◽  
Literary Genre ◽  
Historical Evolution ◽  
Specific Character ◽  
Frame Semantics ◽  
Avant Garde ◽  
Interpretive Analysis ◽  
Cognitive Research ◽  
New Type

The present paper aims to study the avant-grade manifesto as the manifesto of a new type and to analyze factors that establish the specificity of its poetics. The research shows that the specific character of the avant-garde manifesto’s poetics is provided by the phenomenon of avant-garde, peculiar ways of historical evolution of the manifesto as a literary genre, and pragmatic goals of the avant-garde manifesto that influence the choice of appropriate language means and artistic and linguistic devices. Special attention is paid to the theory and methodology of exploring the avant-garde manifesto’s poetics that are elaborated on the manifesto “The New Ways of the Word” written by Aleksej Kruchenykh. The methodology is complex and includes the method of frame semantics, the method of ID card of avant-garde idioms, the method of linguocultural reconstruction, and the quantitative analysis. The methodology involves a fivelevel analysis that includes: 1) the interpretive analysis of the title of the avant-garde manifesto; 2) the frame analysis of the text aimed to extract language units that are most relevant in conceptual and practical terms; 3) the study of figurative-expressive means of the text of the avant-garde manifesto; 4) quantitative analysis of idioms and phraseological units used in the text in question; 5) the study of the semantics of the avantgarde idioms and phraseological units. The results obtained let us draw the following deductions. The avant-garde idioms and phraseological units are the key constitutive elements shaping the poetics of the avant-garde manifesto. One of the basic techniques used to construct the poetics of the avant-garde manifesto is the conceptual-metaphorical collage.

The Diaspora of the Novel

1992 ◽  
Vol 2 (1) ◽  
pp. 131-146
Author(s):  
Artemis Leontis
Keyword(s):  
Uneven Development ◽  
Literary Genre ◽  
The Novel ◽  
History Of The Novel ◽  
The West ◽  
The Past ◽  
The Social ◽  
Economic Transformations ◽  
History Of ◽  
New Type

Reflection on the history of the novel usually begins with consideration of the social, political, and economic transformations within society that favored the “rise” of a new type of narrative. This remains true even with the numerous and important studies appearing during the past ten years, which relate the novel to an everbroadening spectrum of ideological issues—gender, class, race, and, most recently, nationalism. Yet a history of the genre might reflect not just on the novel’s national, but also its transnational, trajectory, its spread across the globe, away from its original points of emergence. Such a history would take into account the expansion of western markets—the growing exportation of goods and ideas, as well as of social, political, and cultural forms from the West—that promoted the novel’s importation by nonwestern societies. Furthermore, it could lead one to examine the very interesting inverse relationship between two kinds of migration, both of which are tied to the First World’s uneven “development” of the Third. In a world system that draws out natural resources in exchange for technologically mediated goods, the emigration of laborers and intellectuals from peripheral societies to the centers of power of the West and the immigration of a western literary genre into these same societies must be viewed as related phenomena.

scholarly journals Grażyna Bacewicz – The Polish Sappho

2019 ◽  
Vol 16 (1) ◽  
pp. 65-102
Author(s):  
Małgorzata Gąsiorowska
Keyword(s):  
String Quartet ◽  
Women Composers ◽  
The Political ◽  
String Orchestra ◽  
Limited Extent ◽  
Avant Garde ◽  
Political Transformations ◽  
New Type ◽  
Nadia Boulanger ◽  
Artistic Career

Abstract The paper is an attempt at a synthetic presentation of the Polish composer Grażyna Bacewicz’s (1909–1969) musical output and artistic career, presented against the background of events in her personal life, and of major events in Polish and European history in the first seven decades of the 20th century. Bacewicz was called ‘the Polish Sappho’ already in the years between World Wars I and II, when there were very few women-composers capable of creating works comparable to the most eminent achievements of male composers. Her path to success in composition and as a concert soloist leads from lessons with her father, the Lithuanian Vincas Bacevičius, to studies at the Łódź and Warsaw Conservatories (violin with Józef Jarzębski, composition with Kazimierz Sikorski), and later with Nadia Boulanger at the École Normale de la Musique, as well as violin lessons with André Tourret. Her oeuvre has for many years been linked with neoclassicism, and folkloric inspirations are evident in many of her works. Her crowning achievement in the neoclassical style is the Concerto for String Orchestra of 1948, while influences from folklore can distinctly be heard in many concert pieces and small forms. The breakthrough came around 1958, under the influence of avant-garde trends present in West European music, which came to be adapted in Poland thanks to the political transformations and the rejection of socialist realism. In such pieces as Music for Strings, Trumpets and Percussion of 1958, Bacewicz transforms her previously fundamental musical components (melody, rhythm, harmony) into a qualitatively new type of sound structures, mainly focused on the coloristic aspects. Grażyna Bacewicz also applied the twelve-note technique, albeit to a limited extent, as in String Quartet No. 6 (1960). Her last work was the unfinished ballet Desire to a libretto by Mieczysław Bibrowski after Pablo Picasso’s play Le désir attrapé par la queue.

scholarly journals Constructions with the verb EITI ‘to go’ in the 16th century Lithuanian writings

2020 ◽  
pp. 1-19
Author(s):  
Agnė Lisauskaitė
Keyword(s):  
Content Analysis ◽  
Quantitative Analysis ◽  
Qualitative Content Analysis ◽  
16Th Century ◽  
Frame Semantics ◽  
The Core ◽  
Motion State ◽  
The World ◽  
Motion Verb ◽  
Considerable Body

This research investigates the semantics and the structure of the constructions with the verb eiti ‘to go’ extracted from the old Lithuanian written texts, dating back to the 16th century. It aims to examine the meanings and the structure of the constructions that contain the motion verb eiti ‘to go’ within their structure. There is a considerable body of research investigating various aspects of motion verbs in different languages of the world, including Lithuanian. However, no studies have so far targeted constructions with the verb eiti ‘to go’, found in the 16th century Lithuanian writings. The present study is based on the qualitative content analysis, quantitative analysis, and frame semantics methodology. The concordances of the Lithuanian texts have been filtered out from the Database of Old Writings digitalised by the Institute of the Lithuanian Language. The examples were taken from Martynas Mažvydas’ Katekizmas (MžK) and Forma krikštymo (MžF), Jonas Bretkūnas’ Biblija (BB), Giesmės Duchaunos (BG), Kancionalas (BKa) and Kolektos (BKo), Mikalojus Daukša’s Katekizmas (DK) and Postilė (DP).The frames of Motion, State, Law, Eternity, Service, Opposition, Law, etc., evoked by the selected constructions, were examined using the frame semantics (FrameNet Project). The research has shown that the current constructions with the motion verb eiti ‘to go’ can form the core of the mentioned frames. The observation that has emerged from this analysis is that some meanings of the analysed constructions are conserved in the current Lithuanian language while others have already disappeared. This work could be useful for historical linguists.

scholarly journals B.S. Johnson’s Liberatic Cityscape in Albert Angelo

2020 ◽  
Vol 4 ◽  
pp. 99-110
Author(s):  
Katarzyna Biela
Keyword(s):  
Everyday Life ◽  
Literary Work ◽  
Visual Sensitivity ◽  
Material Object ◽  
Literary Genre ◽  
Crucial Aspect ◽  
Avant Garde ◽  
Post War ◽  
The Way

For Bryan Stanley Johnson, a British post-war avant-garde author, space was a crucial aspect of a literary work. Inspired by architects and film makers, he was convinced that “form follows function” (“Introduction” to Aren’t You Rather Young to Be Writing Your Memoirs) and exercised the book as a material object, thus anticipating liberature – a literary genre defined in 1999 by Zenon Fajfer and Katarzyna Bazarnik, which encompasses works whose authors purposefully fuse the content with the form. The goal of this paper is to analyse the cityscape theme in Johnson’s second novel, Albert Angelo (1964), in which London is presented as space that accompanies the character in his everyday life and becomes a witness of the formation of his identity. The protagonist is an architect by profession, so special attention is paid to his visual sensitivity and the way the cityscape is reflected in his memories. Furthermore, Johnson’s formal exploitation of the book as an object and its correspondence to the content is analysed with reference to the metaphor of “[t]he book as an architectural structure” discussed by Bazarnik in Liberature. A Book-bound Genre.

scholarly journals Avant-Garde Children’s Magazines and Newspapers of the 1920s – 1930s in Siberia

2019 ◽  
Vol 14 (2) ◽  
pp. 84-105
Author(s):  
Ksenia V. Abramova
Keyword(s):  
20Th Century ◽  
Children And Youth ◽  
Children's Books ◽  
Self Presentation ◽  
Avant Garde ◽  
Black And White ◽  
Children's Magazines ◽  
New Type ◽  
The Times ◽  
Design Techniques

The purpose of this article is to analyze the magazines and newspapers for children and youth issued on the territory of Siberia in 1920s – 1930s. A great many children’s books were issued that years, moreover, the approach to design of that books and to the contents of writings for children changed significantly: the topics had to be actual, associated with the construction of the new society. At the same time, exactly in children’s press in 1920s, the new principles of book graphics were formed. There are a large number of magazines and newspapers aimed at youth audiences were published in Siberia in the 1920s and 1930s, but they did not have a long history. Some of them appeared only once or twice, after that they closed. But all the more interesting is the study of these rare publications as experiments that influenced how the Soviet children’s and youth magazine was formed. Viewing magazines and newspapers allows you to observe how the rubrication and the genre system of Soviet publications for children evolved, as well as identify trends that have become a definite “sign of the times”. The article explores archive materials and examines the contents of printed issues, peculiarities of the approaches to the inner composition of the material and design techniques, discovers the features of the “Soviet avant-garde” development in children’s and youth periodicals. It indicates that the majority of the Siberian Children’s and youth magazines issued within that period has demonstrated a strongly demonstrated ideological overtone, claiming its purpose raising the new type of human and orientation on the “iterature of fact”. The article covers the peculiarities of the illustration techniques in Siberian post-revolutionary magazines. The article marks that up to the mid – late 1920s, the children’s and youth periodicals design became composed of such elements as insets, plane drawings based on a contrast combination of black and white, photography and photographic compilation. Furthermore, it describes a number of self-presentation techniques, developed exactly by the avant-garde art. As can be seen from the above, it can be stated that Siberian children’s and youth journalism acquired the avant-garde trends of the first third of the 20th century, however, they haven’t been gradually and fully realized.

Montage Reloaded: From Russian Avant-Garde to the Audiovisual Essay

2020 ◽  
Author(s):  
Julia Vassilieva
Keyword(s):  
Theory And Practice ◽  
Avant Garde ◽  
New Type ◽  
Movie Camera

In this chapter, I explore the relevance of early Russian montage theory and practice to new issues raised by the shift from the essay film to the audiovisual essay. I investigate how, specifically, Sergei Eisenstein’s vision of the new type of cinema of ideas formulated in his project for filming Marx’s Das Kapital, Dziga Vertov’s foregrounding of subjectivity and reflexivity in The Man with a Movie Camera, and Esphir Shub’s practice of ‘compilation film’ contributed to the emergence of the essay film and continue to stimulate the theory and practice of the audiovisual essayism.

The Lag Comparator of the Two-State Modulation Technology to the Development of a New Type of Dynamic Electronic Load

2011 ◽  
Vol 291-294 ◽  
pp. 2615-2619
Author(s):  
Xu Cheng Zhao ◽  
Yu Kui Wang ◽  
En Yong Hu
Keyword(s):  
Quantitative Analysis ◽  
Power Supply ◽  
Current Amplifier ◽  
New Type ◽  
Electronic Load

This paper described how to apply the lag comparator of the two-state modulation circuit to the development of the current-controlled two-state modulation technology which, under the control of a micro-computer, is used to a new type of dynamic electronic load of power supply for the detector of the starting property and capability of the battery for aircraft. Based on the quantitative analysis of the lag comparator of the two-state modulation circuit, the inclusion is drawn that the system is an excellent dynamic electronic load and controlled current amplifier. The result and curves of the detection and imitation detection of batteries are given in the paper.

scholarly journals The Phenomenon of C.T. Aitmatov: To the 90th Birthday of the Writer

2019 ◽  
Vol 16 (1) ◽  
pp. 52-62
Author(s):  
Alfia I Smirnova
Keyword(s):  
Text Analysis ◽  
Specific Character ◽  
90Th Birthday ◽  
Poetic Language ◽  
National Image ◽  
Level Of Consciousness ◽  
The World ◽  
90Th Anniversary ◽  
New Type ◽  
Philosophical Understanding

The purpose of the article dedicated to the 90th anniversary of Chinghiz Aitmatov’s birth is the study of the phenomenon of the writer’s artistic world, the uniqueness of which is due to a special author’s vision, manifested in the mythopoetic and philosophical understanding of life, in the “new” type of literary thinking, in creating a holistic national image of the world, in the “linguistic cosmos” of the bilingual author. On the material of the texts “The White Sheamboat”, “The Day Lasts More Than a Hundred Years”, “Scaffold”, “When the Mountains Fall (Eternal Bride)” and others, the poetics of the title, spatial loci and images of animals, the function of motives, the semantics of the circle, the specific character of poetic language are analyzed. The thirst for creativity as the need for “artistic perception of life” is considered in the article in two main aspects, formulated by Aitmatov himself as the Artist’s responsibility before the future: “knowledge of infinite beauty and infinite contradiction of the world”. The results of the text analysis are correlated in the article with the creative principles of the author, which made it possible to define the phenomenon of the artistic world of the bilingual writer as an achieving a “new level of consciousness” (Chinghiz Aitmatov’s “Linguistic Cosmos”).

scholarly journals “How often can you ask your reader to leave?” Text and Reader in Lars Skinnebach: Din misbruger (You/r addict)

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 145
Author(s):  
Marianne Ølholm
Keyword(s):  
Characteristic Feature ◽  
Artistic Expression ◽  
Literary Genre ◽  
Avant Garde ◽  
Poetic Voice ◽  
The Status ◽  
Role Of The Reader ◽  
Radical Approach

A characteristic feature of Avant-garde art is the radical approach to established artistic forms. One way of describing tradition and norms of artistic expression is through genre: Literary genre represents a set of conventions which are transcended by the experimental text. The poetic genre can be defined through the expectations of the reader, and this approach seems particularly relevant in the case of Lars Skinnebach's Din misbruger (You/r addict) (2006) as this work actively addresses the role of the reader, his or her expectations of the text, and the status of the work as an object of interpretation. This paper investigates the conditions of the construction of poetic voice in the Din misbruger (You/r addict) and how it challenges the role of the reader as well as the status of the text as a literary product. 

scholarly journals Idiomatics of V. Khlebnikov and V. Mayakovsky in translation: decoding vs. encoding idioms (lexicographic aspect)

2020 ◽  
pp. 52-66
Author(s):  
О. В. Соколова
Keyword(s):  
Comparative Analysis ◽  
Umberto Eco ◽  
Vladimir Mayakovsky ◽  
Avant Garde ◽  
New Type

В статье исследуется проблема перевода авангардной литературы, ориентированной на создание нового художественного языка и языковой эксперимент. Отмеченные черты обусловливают особую сложность перевода авангардных текстов и необходимость поиска оригинальных стратегий при их переводе. Один из подходов к поставленной проблеме предлагается в словаре нового типа «Идиоматика русского авангарда (кубофутуризм)». Микроструктура словаря включает зону форм идиомы на разных языках и зону межъязыкового перевода, где русскоязычные авангардные идиомы сопровождаются переводами. В статье проводится сопоставительный анализ авангардных идиом в творчестве Велимира Хлебникова и Владимира Маяковского как двух ключевых представителей кубофутуризма. Такое сопоставление с учетом степени экспериментальности и языкового творчества позволило сделать вывод о том, что идиоматика Хлебникова в меньшей степени характеризуется семантической композициональностью и в большей степени креативностью и экспериментальностью, в то время как идиоматика Маяковского характеризуется большей семантической композициональностью и меньшей креативностью. В соответствии с классификацией идиом Ч. Филлмора идиоматика Хлебникова относится к классу “decoding idioms”, а Маяковского — к “encoding idioms”. Выявленные отличия в большей или меньшей степени экспериментальности и креативности идиом двух авторов характеризуют переводы их текстов. Анализ переводов авангардных идиом позволил выявить, что при переводе текстов Хлебникова переводчики регулярно ищут способы формирования окказиональных лексических единиц и идиом. Это сближает выбранный подход со стратегией «остранения» У. Эко, в то же время при переводе идиом Маяковского чаще используется поиск эквивалентов на других языках, что соответствует, по У. Эко, стратегии «одомашнивания». The paper deals with the problem of translating avant-garde literature focused on creating a new language and conducting a linguistic experiment. These features make the translation of avant-garde texts particularly difficult and the need to find original strategies for translating them. The dictionary of a new type “Idiomatics of Russian Avant-garde (Cubo-Futurism)” offers one of the approaches to this problem. The microstructure of the dictionary includes a zone of idiom forms in different languages and a zone of interlanguage translation, where Russian avant-garde idioms are accompanied by translations. The article provides a comparative analysis of avant-garde idioms in the works of Velimir Khlebnikov and Vladimir Mayakovsky as two key representatives of Cubo-Futurism. Taking into account the degree of linguistic creativity, the paper concludes that Khlebnikov’s idiomatics is less semantically compositional and more creative, and Mayakovsky’s idiomatics is more semantically compositional and less creative. Following Charles J. Fillmore’s idiomatic classification, Khlebnikov’s idiomatics belongs to the “decoding idioms”, and Mayakovsky's idiomatics refers to the “encoding idioms”. Revealed differences characterize the translations of their texts. Analysis of avant-garde idioms translations indicates that translators of Khlebnikov’s texts regularly look for ways to create nonce words and idioms. This translation approach is close to the “foreignization” (“ostranenije”, “estraniante”) strategy of Umberto Eco. Translators of Mayakovsky's idioms often use the equivalents in other languages, which corresponds to the strategy of “domestication”, according to Umberto Eco.

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