scholarly journals CONTEXTUAL FEATURES OF THE IRREAL MODALITY IN THE RUSSIAN LANGUAGE

2021 ◽  
Vol 10 (34) ◽  
Author(s):  
E.V ASTASHCHENKO ◽  
Keyword(s):  
Fairy Tales ◽  
Russian Language ◽  
Second Person ◽  
Avant Garde ◽  
Old Russian ◽  
Subjunctive Mood ◽  
Contextual Features ◽  
Alternate Reality ◽  
The Aesthetic ◽  
Imperative Mood

The paper attempts to build a system of functions of the Russian subjunctive mood and irreal comparison constructions. The purpose of the article is to analyze the multi - level text modality (from an application of a modality-based semantic grammar to an aesthetic). The distinction between objective and subjective modality allows to identify their contextual features. There wasn’t an irreal modality in old Russian texts. But number of irreal signs had been rising since the aesthetic, art role of written language enhanced. Meanwhile the objective unreal modality of fairy tales was created by the subjunctive mood in Russian folklore. The unreal modality had reached its apotheosis in modern style fin de siècle. The irreal comparison constructions also were widespread, especially that came from the future tense form. But there were also Russian rare "imperfect" relicts. Subsequently, grammar constructions typical of art Nouveau, similar to the European "future in the past", creating an alternate reality, replaced by the imperative mood second person, with the illocutionary act of calling for change to the existing reality in the early avant-garde and by the imperative mood third-person with a particle of "pust’" in the mid-twentieth century, with the word "puskay", that gave its peculiar connotation and that was used not only as a formative particle, but also as a modal particle, resonant with a non-equivalent particle «avos’».

Imperative Forms with the Meaning of Obligation

2019 ◽  
Vol 80 (6) ◽  
pp. 80-84
Author(s):  
N. A. Nikolina
Keyword(s):  
Russian Language ◽  
Imperative Mood ◽  
Modern Russian

This article sets out to analyse forms of the imperative mood, which bear the indirect meaning of obligation. The aim is to characterise the structure and semantics of phrases, in which quasi-imperative forms are used. This analysis determines the direction of grammatical transposition and its nature. It is suggested that the imperative forms with the meaning of obligation are interpretative in nature and indirectly reflect the alleged expression of will. The analysis uses descriptive and structural-semantic methods. The semantic groups of clauses that include the imperative mood forms under consideration are distinguished. The features of the use of imperative forms with the meaning of obligation in the modern Russian language are described.

Replacing the Stressed [é] with the Stressed [ó]: Causes and Effects

2019 ◽  
Vol 80 (2) ◽  
pp. 80-87
Author(s):  
V. P. Moskvin
Keyword(s):  
Literary Form ◽  
Russian Language ◽  
National Language ◽  
Old Russian ◽  
Literary Forms ◽  
Modern Russian

The article considers the positional conditions of the transition of [é] to [ó], the causes of this phonetic transformation, which can be traced back to the Old Russian language, as well as the conditions for its gradual weakening. On this basis, the A.A. Shakhmatov’s hypothesis, interpreting this transition as a type of regressive labialization, was defined more precisely. Stylistically and orthologically significant reflexes of transition [é] to [ó] in the literary form of the modern Russian national language and its non-literary forms have been characterized and systematized.

LEXICOGRAPHICAL PORTRAIT OF THE LEXEME «POGRYAZNUT’» (X - XVII CENTURIES)

2021 ◽  
pp. 23-30
Author(s):  
Е.Ю. Долгова
Keyword(s):  
Native Speakers ◽  
Word Formation ◽  
Russian Language ◽  
Distinctive Features ◽  
Old Russian ◽  
Slavonic Language ◽  
Abstract Nouns ◽  
Derivatives Of ◽  
The Church ◽  
The Russian Language

Статья посвящена описанию глагола «погрязнуть» по лексикографическим источникам, фиксирующим словарный состав русского языка X - XVII вв. В работе используется метод лингвистического портретирования, позволяющий объединить данные этимологических и исторических словарей и увидеть динамику развития семантического, словообразовательного, сочетаемостного и стилистического потенциала языковой единицы в диахронии. В статье подробно изложены материалы этимологических и исторических словарей русского языка, приведены и описаны многочисленные варианты употребления имперфектива грязнуть и перфектива погрязнуть, зафиксированные в словарях, содержащих лексику древнерусского и старорусского периодов: гр#зъти, гр#зhти, гр#зити, гр#знqти, погрязати - погр#зти, погр#зити, погр#знqти. Установлено, что в древнерусском языке глагол гр#зноути (гр`t#знuти) имел прямое номинативное значение «погружаться, тонуть» и редко употреблялся в памятниках письменности. Многозначным и наиболее частотным был положительный, результативный член глагольной видовой пары перфектив погрязнуть (погр#зноути). В статье приведены все лексико-семантические варианты глагола и примеры словоупотреблений, зафиксированные в словарях, отражающих лексику X - XVII веков. В статье приведены синонимы и многочисленные дериваты глагола погрязнуть , в том числе рассмотрена семантика абстрактных существительных, образованных от глагола погрязнуть ( погрязение, погрязнение, погрязновение ) и отражающих влияние церковнославянского языка на книжно-письменный литературный язык древнерусского и старорусского периодов. Лексикографический портрет лексемы погрязнуть проявляет неоднозначность в трактовке некоторых значений в разные исторические периоды. Проведенный анализ позволяет сравнить значения лексемы, увидеть их отличительные особенности и сделать вывод о существовании самостоятельных стереотипных образов, существующих в сознании носителей языка в X - XVII веках. The article is devoted to the description of the verb "to wallow" from lexicographic sources that fix the vocabulary of the Russian language of the X - XVII centuries. The method of linguistic portraiture is used to combine data from etymological and historical dictionaries and see the dynamics of the development of the semantic, word-formation and stylistic potential of the language unit in the diachrony. The article details the materials of etymological and historical dictionaries of the Russian language, presents and describes numerous variants of the use of an imperfective “gryaznut’” and a perfective “pogryaznut’”, recorded in dictionaries containing the vocabulary of the Russian language of the X - XVII centuries. It has been established that in the ancient Russian language, the imperfective “gryaznut’” had a direct nominative meaning of "dive, sink" and was rarely used in monuments of writing. The multi-valued and most frequency used was the positive, effective perfective “pogryaznut’”. The article presents all lexical and semantic variants of the verb and examples of word usage recorded in dictionaries that reflect the vocabulary of the X - XVII centuries. The article presents synonyms and numerous derivatives of the verb, including the semantics of abstract nouns formed from the verb “pogryaznut’” and reflecting the influence of the Church Slavonic language on the book-written literary language of the old Russian period. The lexicographic portrait of the lexeme “pogryaznut’” shows ambiguity in the interpretation of certain meanings in different historical periods. The analysis allows us to compare the meanings of the lexeme, see their distinctive features and conclude that there are independent stereotypical images that exist in the minds of native speakers in the X - XVII centuries.

SPECIFICITY OF LANGUAGE MATERIAL SELECTION FOR INTRODUCTION OF RUSSIAN IMPERATIVE MOOD IN “RUSSIAN AS A FOREIGN LANGUAGE” CLASSES

2020 ◽  
Author(s):  
Elena Kolosova
Keyword(s):  
Young People ◽  
Foreign Language ◽  
Communicative Competence ◽  
Material Selection ◽  
Russian Language ◽  
Modern Approach ◽  
Language Classes ◽  
Selection For ◽  
Authentic Language ◽  
Imperative Mood

The article is dedicated to the research of specificity of language material selection for introduction of Russian imperative mood in “Russian as a foreign language” (“RFL”) classes. Authentic language materials from different discourses that best showcase the diversity of modern Russian language (such as young people slang, jargons, common folk slang etc.) are required for the modern approach of communicative competence improvement.

Theoretical Problems of Soviet Underground Culture

2021 ◽  
Author(s):  
Mark Lipovetsky ◽  
Tomáš Glanc ◽  
Maria Engström ◽  
Ilja Kukuj ◽  
Klavdia Smola
Keyword(s):  
Communicative Practices ◽  
Avant Garde ◽  
Central Focus ◽  
Cultural Phenomenon ◽  
Relational Art ◽  
Theoretical Hypothesis ◽  
Historical Specificity ◽  
The Aesthetic

This article presents a spectrum of theoretical problems associated with the Soviet artistic underground as a historical and cultural phenomenon. The central focus is on constellating issues of terminology and definition around the borders of underground culture in the USSR, within scholarship about it. As a theoretical hypothesis of the handbook, the chapter introduces the concept of the lifeworld, which the volume editors and contributors interpret as a synthetic multimedia nexus of a given nonconformist circle’s activities, both artistic and cultural. The underground lifeworld manifests the aesthetic discourse idiosyncratic for each artistic circle and serves as the source of semi-spontaneous “relational art” that absorbs and generates artworks, along with performative and communicative practices. Through the concept of the aestheticized lifeworld, the authors of this article define the historical specificity of the Soviet artistic underground in relation to the Russian historical avant-garde and Western neo-avant-garde.

From Research on the Literary Hermeneutics

2021 ◽  
pp. 9-84
Author(s):  
Anatoly S. Demin ◽  
Keyword(s):  
18Th Century ◽  
Literary Work ◽  
17Th Century ◽  
Foreign Affairs ◽  
16Th Century ◽  
Old Russian ◽  
Russian State ◽  
State Library ◽  
The Aesthetic

The research consists of the series of articles analyzing the pre- viously unexplored expressiveness, figurativeness, fantasy and sarcasticity of a number of Old Russian works. The first article reveals the expressiveness of the “Turkic” utterances of Afanasy Nikitin in The Journey Beyond Three Seas according to the list of the Russian State Archive of Ancient Acts (RSAAA), f. 181, no. 371 of the first quarter of the 16th century. The second article characterizes the distorted, fantastic earthly worlds depicted in the Tale of the Twelve Dreams of King Shahaisha according to the list of the Russian National Library (RNL), Kir.-Beloz., no. 22/1099 of the 1470s; in the Conversation of Three Saints according to the list of the Russian State Library (RSL), Troitsk., no. 778 of the beginning of the 16th century; in the collection of proverbs and sayings according to the list of the RSAAA, Ministry of Foreign Affairs, Moscow Main Archive (MMA), no. 250–455 of the late 17th century; in The Tale of Ersh Ershovich according to the list of Pushkin House, 1.27.105 of the late 17th — early 18th centuries; in the Bird Council according to the list of the RNL, 0.XVII.17 the mid-18th century; in the Medicine Book. How to Treat Foreigners according to the list of the RNL, Q.XVII.96, Peter’s time; in the Legend of a Luxurious Life and Fun according to the list of the RNL, 0.XVII.57 of the first quarter of the 18th cen- tury. The third article examines the aesthetic role of verses in the collections of the late 17th century: RSL, Tikhonravov, no. 233, 249, 380, 411, 499. The fourth article shows that some compilers of collections of the 17th century appreciated the visual arts of works, mostly very old (оn the example of collections of the RSL, Tikhonravov, no. 460, 384, 18, 340, 231). In two Appendices to the article are published the descriptions of the composition of the collection no. 231 and the text of the parable about the dispute of parts of the human body. In two Ap- pendices to the article, it is said about the everyday depiction of the collection of proverbs and sayings according to the list of the RSAAA, MMA, no. 250–455 of the late 17th century and on the expressiveness of articles in the miniature collection of the RSL, Bolshakov, no. 325. The fifth article points to the mocking meaning of proverbs and sayings about criminals in the same collection of the RSAAA, MMA, no. 250–455. Finally, the sixth article draws attention to the evolution of the literary work of Archpriest Avvakum from brief mentions of events to detailed stories about them (оn the material of Vita, petitions, Book of Interpretations, Book of Accusations, Write-off about the creation of man, The Lamentable Word about the death of noblewoman F. Morozova). We must warn you that the pictorial and expressive meaning of the examples and phrases quot- ed from the texts of the monuments is not thoroughly proved in this work, but is only stated. Otherwise, each example would require an independent essay on certain literary means, and the theme and composition of the work would be completely different.

Conclusion

2020 ◽  
pp. 522-538
Author(s):  
Jonathan Walley
Keyword(s):  
Avant Garde ◽  
Medium Specificity ◽  
Expanded Cinema ◽  
The Aesthetic ◽  
Experimental Films

The conclusion argues that while expanded cinema might seem radically opposed to conventional, popular, and mainstream cinema, it nonetheless attempts to articulate and specify the aesthetic qualities that define all cinema. This parallels a trait of conventionally made avant-garde/experimental films; the assertion of cinema’s nature and essences, which constitute all forms of cinema regardless of how different one kind of film appears from another. The conclusion also draws upon the notions of the “essentially cinematic” explored across the book to counter theoretical arguments against such specificity positions (e.g. medium specificity) that have been advanced by critics and scholars in the worlds of cinema and art. The conclusion argues that these anti-specificity positions are overly simplistic, and that expanded cinema represents a more nuanced and sophisticated notion of what a medium specific theory—or work of cinema—can be.

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