scholarly journals Topos of irony in the receptive-interpretative space of the postmodern literary text

2020 ◽  
pp. 125-132
Author(s):  
Anna V. Kuznetsova
Keyword(s):  
Specific Area ◽  
Literary Text ◽  
Literary Texts ◽  
Regulatory Mechanisms ◽  
Art World ◽  
Forming Mechanism ◽  
Cultural Codes ◽  
Aesthetic Practice ◽  
The Aesthetic ◽  
Language Text

The article is devoted to the main semantic and text-forming mechanism for organizing a literary text - the topos of irony from the standpoint of establishing its role in the reception and interpretation of the postmodern worldview embodied in such a text. Since reality is not conceived of postmodernly outside of the language (text), the need for receptive competence and the handling of information defined by a specific area of ​​communication and possessing accuracy increases. The recipient focuses only on the necessary part of the information flow, so the text is the basis of the methodology of world perception. Cultural codes and cultural competencies acquire the properties of regulatory mechanisms capable of selecting perceived facts. The relevance of the article consists in establishing those correlative relationships and factors that determine the reception and interpretation of the postmodern literary text. These factors include topos of irony, the correct decoding of which is due to presuppositions characteristic of the representative of a particular socio-linguistic and cultural collective. All postmodern literary texts are characterized by a playful character, which, in turn, now determines the foundation of artistic creativity in general, and not just those texts that put comic or only satire as part of the comic in the center of the art world, determining their aesthetic tasks. The purpose of the article is to determine the ontological status of the topos of irony in the receptive-interpretative space of the postmodern literary text. The topos of irony in the postmodern literary text is the textual and style-forming principle of the aesthetic practice of a particular author, the purpose of which is to engage the recipient in the dialogue, co-creation in receptive and interpretive activities, “unrolling” the literary text itself in the coordinates of the ironic and game scenario. Since irony is a kind of intellectual provocation that allows the author to identify “his” reader, there is also the need to consider the topos of irony in relation to the specifics of a socio-linguistic and cultural collective.

Cognitive Thesaurus of Cultural Code: Communicative and Epistemological Aspects

2020 ◽  
Vol 43 (2) ◽  
pp. 234-243
Author(s):  
S. Altybayeva ◽  
Keyword(s):  
Literary Text ◽  
Historical Narrative ◽  
Art World ◽  
Cultural Codes ◽  
Narrative Structures ◽  
Communicative Strategies ◽  
Communicative Process ◽  
Cultural Code ◽  
The Stability ◽  
Conceptual Core

The article discusses the problem of the formation of the cognitive thesaurus of the developed theory of the cultural code, defines some aesthetic-communicative strategies of the literary discourse of Kazakhstan. It is noted that in the implementation of these strategies a specific role is played by specific epistemes– cultural codes. The cultural code is defined as a significant semiotic unit of text included in its conceptual core. Such concepts of the theory of cultural code as philosophical, ideological, conceptual core, ethnostereotype, heterotopic markers, detailed multicultural landscape and others receive terminological design. The thesis of knowledge of the world and understanding of history, modernity, the possible future through the universalization of the art world, multiculturalism, complex narrative structures is substantiated. The specificity of a historical narrative is analyzed with its characteristic capacious referential mode, involving the reader in the active communicative process of decoding narrated events, cultural artifacts. The heterotopic markers of myth-folklore units in the structure of a literary text are studied, the stability and iteration of traditional ethnocultural codes are noted.

TRADITIONS OF POSITIVISM IN THE CONTEXT OF THE POLISH-UKRAINIAN BORDERLAND

2019 ◽  
pp. 100-104
Author(s):  
Bogdana Goncharenko
Keyword(s):  
Intercultural Communication ◽  
Ethnic Groups ◽  
Collective Identity ◽  
Research Work ◽  
Literary Text ◽  
Literary Texts ◽  
World Picture ◽  
Comparative Aspect ◽  
History Of ◽  
The Aesthetic

The article examines the traditions of Polish literary of positivism in the context of the Polish-Ukrainian bor- derland. The issues of collective identity in the context of literary models of images and concepts of both Own and Strange, as artistic markers of the polyethnic society of the Ukrainian and Polish peoples of this epoch are also considered. Draws attention to the processes of changing the image of a Ukrainian as another in the Polish literary text. Beginning with the first written references to the cultural and historical dialogue between the two ethnic groups, the Ukrainian- Polish ties have changed. These are the influences of the Ukrainian language in Polish literary texts as far back as the XVI century. The Cossacks’ interest in this period, especially in the context of wars with Cossacks and Turks, is intensifying during this period. The Ukrainian-Polish cultural discourse is considered in the context of the communicative relations of His-Other, while changing the cognitive completeness of both terms during the history of relations and coexistence of both peoples in the his- torical retrospection. Understanding the cultural Polish-Ukrainian frontier as a result of the joint efforts of the participants in the cul- tural process, which created a separate world picture of specific codes of intercultural communication, current research on these phenomena is being conducted by modern scholars, in particular, in the context of artistic markers of the polyethnic society of this epoch of Own– Strange – Another at the end of the nineteenth century. are obviously funda- mentally different from their interpretation in the era of romanticism and in the works of Polish romantic writers of the “Ukrainian school”. In comparative aspect of the research work compares the dynamics of the processes in Polish and Ukrainian lit- erature of the ХІХ century, their typology taking into account the absorption positivist ideas of systematic features of the phenomenological paradigm of ethnic and cultural artistic patterns in both literatures, defined the aesthetic specificity of interethnic positivism, given the special condition of the ХІХ century society, ethnicity and culture of both peoples.

scholarly journals Poets of the Sixties as Translators of Ossetian Poetry

2020 ◽  
pp. 236-264
Author(s):  
E. B. Dzaparova
Keyword(s):  
Comparative Analysis ◽  
Foreign Language ◽  
Literary Text ◽  
Original Text ◽  
New Work ◽  
Formal Organization ◽  
The Sixties ◽  
The Aesthetic ◽  
Language Text

The results of a comparative analysis of multilingual texts - the original and the translation - of poetic works by Ossetian authors (M. Tsirikhova, A. Tsarukaev, R. Asaev, G. Dzugaev, H.-M. Dzuzzati, D. Darchieva, T. Tettsoeva) in the light of the translation interpretation by famous Russian poets of the sixties (E. Evtushenko, B. Akhmadulina, R. Kazakova, B. Okudzhava, Yu. Morits) are presented. In the course of comparative analysis, it was found that some translators resorted to adapted rethinking of the lines of a foreign language text (Yu. Morits, B. Akhmadulina). It was shown that for this purpose, in some places, translators violated the formal organization of the verse, expanded the original text by adding stanzas (R. Kazakov) or, conversely, narrowed the verse of the original (B. Okudzhava, B. Akhmadulina), but changes in the structure of the original did not affect the adequate perception of the text to recipients. The features of the implementation of the original pragmatic potential in translation are commented. It is noted that translators not only find lexical means characterized by semantic affinity with the words of the original, but also embody the aesthetic component of the literary text (R. Kazakova, Yu. Moritz) and others. It is stated that some poets deliberately resorted to rethinking the artistic reality captured by the author: in the language of translation, a new work is actually created based on the poem in the original (E. Evtushenko, B. Akhmadulina).

scholarly journals AESTHETIC AND COGNITIVE VALUES OF SEAMUS HEANEY’S WINTERING OUT: A FRYEAN APPROACH TO SELECTED POEMS

2019 ◽  
Vol 7 (4) ◽  
pp. 722-729
Author(s):  
Amjad Alsyouf
Keyword(s):  
Literary Text ◽  
Literary Texts ◽  
Seamus Heaney ◽  
Poetic Tradition ◽  
Cognitive Value ◽  
Cognitive Values ◽  
The Aesthetic ◽  
Critical Model ◽  
Poetic Creation ◽  
Aesthetic Values

Purpose of the study: This study investigates the relevance of the aesthetic values to the cognitive values in the poetry of the Anglo-Irish poet Seamus Heaney 1939-2013. It examines “The Tollund Man,” “Servant Boy,” “Gifts of Rain” and “Limbo” from his poetry collection Wintering Out (1972), and focuses on their treatment of rebirth imagery and archetypes aiming to address their aesthetic and conceptual features. Methodology: The study approaches the poetry of Seamus Heaney using Northrop Frye’s critical archetypal approach to literature. It is based on examining the mythical aspects and archetypes of the literary text as a way to highlight its value, whether the aesthetic which is concerned with the artistic side of literature or the cognitive which is related to its epistemological value. Main Findings: The study concludes with the assumption that Heaney’s poetry, which is part of the modern poetic tradition, occasionally resorts to mythology as a way of intensifying its both aesthetic and cognitive values. The reason lies in the beauty mythology adds to the poetic creation, and the focus it sheds on the thematic features of the work. Applications of this study: This study proposes a creative-critical model that can help the scholars of literature, particularly those who study the cognitive value of literature and the literary archetypal theory to employ while dealing with literary texts that utilize mythical archetypes so as to distinguish their aesthetic and cognitive features. Novelty/Originality of this study: This study proposes an application of Frye’s theories to Heaney’s poetry which former scholarship on Heaney, and to the best of my knowledge, hasn’t examined. Besides, Frye’s archetypal theory is applied in a creative way seeking to examine the mythical aspects of Heaney’s poetry aiming to emphasize aspects that are not only cognitive and thematic but also cultural and aesthetic.

scholarly journals Portrait of the artist as a philosopher

2021 ◽  
pp. 105971232199468
Author(s):  
Jeannette Pols
Keyword(s):  
Know How ◽  
The Past ◽  
Aesthetic Practice ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

The response asks about the relationship between artist and audience in the RAAAF artworks. Is the artist an Autonomous Innovator who breaches the ties with the past and the environment? Or is the aesthetic practice located in the creation of relationships around these objects, hence expanding the artwork by using know-how, experiences and enthusiasm of the audience/users?

Bleibende Aufgaben einer phänomenologischen Literaturtheorie

2019 ◽  
Vol 23 (1) ◽  
pp. 265-273
Author(s):  
Eckhard Lobsien
Keyword(s):  
Literary Theory ◽  
Literary Text ◽  
Point Of View ◽  
Literary Texts ◽  
Radical Theory ◽  
Theory Of Reading ◽  
Phenomenological Point

Abstract What sort of object is a literary text? From a phenomenological point of view - phenomenology considered as both a radical theory of reading and a theory of radical reading - a range of answers arise, many of them tinged with deconstructive momentum. This paper aims at pointing out some basic issues in reading literary texts, offering ten theses on the enduring tasks of phenomenological literary theory.

Working-Class Writing and the Use Value of the Literary

PMLA ◽  
2012 ◽  
Vol 127 (4) ◽  
pp. 932-938 ◽  
Author(s):  
Sonali Perera
Keyword(s):  
Working Class ◽  
World Literature ◽  
Literary Texts ◽  
Second Phase ◽  
Use Value ◽  
Aesthetics And Politics ◽  
Republic Of Letters ◽  
Greenwich Meridian ◽  
Country Culture ◽  
The Aesthetic

Formal preoccupations, which is to say specifically literary concerns, appear in small literatures only in a second phase, when an initial stock of literary resources has been accumulated and the first international artists find themselves in a position to challenge the aesthetic assumptions associated with realism and to exploit the revolutionary advances achieved at the Greenwich meridian.—Pascale Casanova, The World Republic of Letters“In our country culture has become so complex, this complexity is reflected in our literature. It takes a certain level of education to understand our novelists. The ordinary man cannot understand them …” … And she reeled off a list of authors, smiling smugly. It never occurred to her that these authors had ceased to be of any value whatsoever to their society—or was it really true that an extreme height of culture and the incomprehensible went hand in hand?—Bessie Head, A Question of Power (first ellipsis in orig.)ON WHAT BASIS ARE SELECT TRADITIONS OF LITERARY INTERNATIONALISM RECOGNIZED AS WORLD LITERATURE AND OTHERS DEEMED MERELY historical, relics of nostalgic Marxism or of resolved debates on aesthetics and politics? According to recent influential formulations, world literature is writing that in original or translated form circulates outside the author's country of origin. But what of traditions of literary internationalism, like those of working-class writing, that reverse and displace practical, utilitarian propositions to ask, instead, in more abstract terms, what is the use value of the literary? Bessie Head's A Question of Power poses a challenge to practical definitions. What of literary texts that have global currency but aren't of “any value whatsoever to their society”?

scholarly journals Rosencrantz and Guildenstern Meet Edward II

2003 ◽  
Vol 9 ◽  
Author(s):  
Boldizsár Fejérvári
Keyword(s):  
Literary Criticism ◽  
Literary Text ◽  
Human Behaviour ◽  
The Other ◽  
Literary Texts ◽  
Symbiotic Relationship ◽  
The Real ◽  
Edward Ii

It is a common fashion in literary criticism, or 'Lit Crit,' to treat reality, human behaviour, communication, and everything else as though they were 'texts to be read.' This paper proposes to go the other way: it interprets literature (or, more precisely, one literary text, Tom Stoppard's Rosencrantz and Guildenstern Are Dead) as a part of reality in which several other layers of the real combine, such as linguistics, science, or other literary texts, most notably Hamlet. While Edward II is not generally considered a direct source for Stoppard's play, this paper shows how, in the wider perspective of 'interreality,' Marlowe's tragedy might interact with Rosencrantz and Guildenstern. At the same time it is proved that Rosencrantz and Guildenstern Are Dead, contrary to the critical conception of many, is not a parasitic work 'feeding off' Elizabethan playwrights, but a play that enters a symbiotic relationship with its host (as defined by Hillis Miller).

scholarly journals Środki retoryczne, liryka, glottodydaktyka – o zastosowaniu poezji na lekcji języka obcego

Neofilolog ◽  
1970 ◽  
pp. 157-166
Author(s):  
Dorota Szczęśniak Dorota Szczęśniak
Keyword(s):  
Foreign Language ◽  
Literary Text ◽  
Language Teachers ◽  
Literary Texts ◽  
Language Awareness ◽  
Rhetorical Devices ◽  
Teaching Language

This paper discusses the importance of working with a literary text (especially poetry) in the context of the foreign language (FL) classroom. In order to facilitate FL teaching, language teachers are encouraged to use poetry and rhetorical devices occurring in such texts (e.g. rhymes, alliteration, metaphor etc.). The paper offers some teaching procedures and techniques based on rhetorical devices, which may prove valuable in raising FL students’ motivation and language awareness while having fun analyzing quality literary texts.

scholarly journals Бытие и небытие смерти в смысловой картине реально- сти и художественного текста на материале романов Леонида Леонова Дорога на Океан и Максима Горького Жизнь Клима Самгина

2018 ◽  
Vol 167 ◽  
pp. 375-383
Author(s):  
Valentyna Gerasymchuk
Keyword(s):  
Semantic Space ◽  
Literary Text ◽  
Transcendental Philosophy ◽  
The Other ◽  
Literary Texts ◽  
Human Being ◽  
Ontological Status ◽  
Physical Time ◽  
Existence And Nonexistence ◽  
The One

Existence and nonexistence of death in the semantic picture of reality and artistic text on the material of romans Leonid Leonov Road to the Ocean and Maxim Gorkogo The Life of Klim SamginIn this article the problem of death is unfolding in the semantic space of its ontological and existential conception in reality and a literary text. On the one hand, death as the concept of being is presented as its continuation, spiritual content, confirmation. On the other hand, death as a concept of non-being is considered as nothingness, rejection of being and its spiritual content.In reality the concept of death becomes an issue of the questionary and transcendental philosophy, that takes place in the physical time and metaphysical space of thought and expression. When the matter concerns the death of human being, his death acquires an ontological status of being, a status of spiritual significance. In the contrary case, it is possible to consider death and even life in terms of the concepts of being and nothingness. In literary texts the concept of death is also considered to be being or non-being, but taking into account constitutive characteristics of the text, its figurative and notional polysemant, the concept of death acquires not only aesthetic but also conceptual focus. In the article the main points of the topic of death, its being and non-being, are illustrated on the examples of specific literary texts. Буття і небуття смерті в смисловій картині реальності і художньому текстіПроблема смерті у статті розгортається в смисловому просторі онтологічного і екзистенціалістського її розуміння в реальності і в художньому тексті. З одного боку, смерть — поняття буття — постає як його продовження, його духовна наповненість, його стверждення. З другого — смерть — поняття небуття — розглядається як ніщо, як заперечення буття і його духовної наповненості.У реальності поняття смерті стає проблемою запитальної, трансцендентальної філософії, що розгортається у фізичному часі і метафізичному просторі думки і слова. І якщо йдеться про смерть буттюючої особистості, то і її смерть набуває онтологічного статусу, статусу духовної значущості, інакше можна говорити про смерть і навіть життя у поняттях небуття і ніщо. У художніх текстах поняття смерті також розглядається як буття і небуття, проте з урахуванням конститутивних особливостей тексту, його образної і смислової багатозначності, образ смерті набуває, крім онтологічної, ще й естетичну спрямованість.

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