scholarly journals Coloristic Expressive Tools in Prose by Volodymyr Drozd

2019 ◽  
pp. 78-97
Author(s):  
Oleksandr Brayko
Keyword(s):  
Literary Work ◽  
Creative Work ◽  
Expressive Function ◽  
Psychological Analysis ◽  
Semantic Associations ◽  
The Rich ◽  
Teaching Function ◽  
The Aesthetic ◽  
Color Rendering

The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art. Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination. The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art. The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers. The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.

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.

Legitimating Media: Shakespeare’s Awkward Travels Through Video Games and Twitter

2018 ◽  
Vol 11 (3) ◽  
pp. 418-435 ◽  
Author(s):  
Li Cornfeld ◽  
Victoria Simon ◽  
Jonathan Sterne
Keyword(s):  
Video Games ◽  
19Th Century ◽  
Creative Work ◽  
Interactive Game ◽  
Media Space ◽  
The Aesthetic ◽  
Media Form ◽  
The 19Th Century

Abstract Since the 19th century, Shakespeare references have recurred with surprising consistency in experimental forms of media. This article considers the role of references to and adaptations of Shakespeare texts when a media form takes on a new valence for a set of users in a particular time and place. We consider two different moments at length: a commercial interactive game from 1984 that made novel use of cassettes and sound, and the production and reception of early Twitter adaptations of Shakespeare in 2010. By standing in for the aesthetic possibilities and limits of a changing media space, Shakespearean references and deviations from them serve a key role for artists and critics in debates over the legitimacy and significance of creative work in emergent media. Thus, cultural producers, critics and audiences thus use these sometimes-awkward appearances of Shakespeare as a means of describing their aesthetic potentials and limits.

scholarly journals The Idiolect of Ernestine de Champourcin in Terms of Cultural Accommodation

2021 ◽  
Vol 12 (4) ◽  
pp. 969-980
Author(s):  
Yakov M. Druzhkov ◽  
Olga S. Chesnokova
Keyword(s):  
Creative Work ◽  
Poetic Text ◽  
Cultural Accommodation ◽  
Poetic Translation ◽  
Key Factor ◽  
The Aesthetic ◽  
The Individual ◽  
Two Stages ◽  
Ernestina De Champourcin

This article is devoted to the idiolect of Ernestina de Champourcin, a contemporary of the Generation-27, an iconic group of Spanish poets of the 20th century. The authors propose is to consider the poetess's idiolect in the aspect of cultural accommodation beyond the traditional translation discourse, through the analysis of two poetry collections - Presencia a oscuras and Primer exilio which stand at the turn of two stages of Ernestina de Champourcin's creative work. The authors analyse the aesthetic, cognitive and linguistic vectors of the poet's idiolect and systematise the reasons for its dynamics. On the basis of the comparative analysis of the elements of the poetic idiolect of her works of different periods, the authors note that the idiolect evolves in accordance with the conditions created by cultural accommodation, and therefore the consideration of cultural accommodation is possible not only in the context of translation adequacy and equivalence, but also chronologically, at the level of idiolect, as evidenced, in particular, by the use of regional variations of lexical units, syntax and the prevalence of this or that temporal plane. The analysis of idiolect makes it possible to narrow the perspective of the material under study, and thus represents the first link of the work on poetic translation. It is argued that the translation of a poetic text is impossible without considering the internal cultural accommodation of the idiolect, which takes place according to the cultural accommodation of the individual and independently of the translation. Based on their analysis, the authors emphasize the role of idiolect as a key factor in the studies devoted to the chronological description of the creative formation of any poet.

scholarly journals «Steppe eagle» a play by O. P. Chuhuy – a sample of drama portrait in the genre system of the author’s biographical creative work

2019 ◽  
Keyword(s):  
Native Language ◽  
Literary Work ◽  
Psychological Characteristics ◽  
Creative Work ◽  
Main Attention ◽  
Political Events ◽  
Maximal Tension ◽  
National Liberation Movement ◽  
Actual Material

Despite the fact, that literary work of O.P. Chuhuy has already become an object of scientific research by A. Novikov, T. Kononchuk, T. Virchenko and others, drama portrait still remains unnoticed by literary critics. The aim of the author’s research is an attempts to analyze the chosen type of biographical work which requires keeping a specific filling of measure while using actual material and fiction. The peculiarities of using biographical material in the literary work of O.P. Chuhuy, in particular when creating the images of H. Skovoroda, V. Karazin, O. Kurbas, V. Ivasuk and others are surveyed in the article. The main attention is concentrated on analyzing the bibliographical portrait of I.P. Kotlyarevskiy, the famous of the new Ukrainian literature, created by O.P. Chuhuy in his play “Steppe eagle” (which appeared in 2012), reflecting his versatile activity aimed of defending the rights of the Ukrainian people for their identity, realizing cultural and enlightment process in their native language. A high mastery of the author in plot creating, in building up characters, very often by just a few phrases, making up monologs and dialogues, independent of space and time, for that matter, in widely using folklore in confirmed. The important role of drama portrait for achieving of genre diversity of the authors plays is emphasized. The above works by O.P. Chuhuy testify to complete mastery of biographical genre in the process of drama reflection of the reality, great mastery of using techniques and means of poetics, in particular, when choosing conflicts and characters capable of fighting either to a complete victory or failure, achieving maximal tension, unity and concentration of action, expressive psychological characteristics. Thanks to these peculiarities of the play I.P. Kotlyarevskiy as a personality is shown multi-faceted and attractive way so typical of him, closely connected with social and political events of that time, in particular, with the desembrist community and national liberation movement. That is why, the drama portrait created by O.P. Chuhuy in “Steppe eagle” maybe used not only by the teachers of high and secondary schools but also by all admires and masters of literature, music and theatre and hence is worth of being staged by the talented servants of Melpomene.

scholarly journals CHRONOTOPE INTERPRETATION OF MODERN UZBEK NOVELS’ TITLES

2021 ◽  
pp. 3-21
Keyword(s):  
Structural Analysis ◽  
Literary Work ◽  
Structural Method ◽  
World Picture ◽  
Literary Process ◽  
Special Approach ◽  
Composition Structure ◽  
The Aesthetic ◽  
Complex Methods

The article provides a structural analysis of the titles “Between Two Doors” by Utkir Khoshimov, “Eternal Gates” by Isajon Sultan and “Rebellion and Humility” by Ulugbek Hamdam. The author explains the writers’ creative goal in the title of a work of art, the role of plot elements and the composition of novels in revealing the essence of the title. Criteria that are important for naming the author’s works are classified, and chronotopic representation is analyzed. In the course of the research, the principles of the structural method were applied, the relevance of the title of works to events and the direction of each storyline in revealing the content of the title were described. The analysis of the works proves that each expresses the essence of the work, the role of the title in the structure of the text is unique, that is, before the text, the title is the first semiotic sign seen by the reader, as well as the meaning of the title mediates between the reader and the work. A creative comprehension of the chronotope as a means used for arranging the work composition, structure, and constructing an epic field of the text demands a special approach to understanding the aesthetic character of the work. Since the chronotope includes all the elements of a fictional work, it is impossible to present the plot, composition, conflict, system of characters, feelings and the mood of the characters without the description of the chronotope. The chronotope is accepted to be one of the poetic means to demonstrate the reality as well as to be a literary process that is basic for the expression of the reality in the compositional construction and illustration of the plot relying on the writer’s intention and the ideological conception of the literary work. The literary time enables to cognate the literary world picture created by the author in terms of the descriptive subject and object of the work. Utkir Hoshimov’s “Between Two Doors”, Isajon Sultan’s “Eternal Gates”, and Ulugbek Hamdam’s “Rebellion and Humility” were selected as the object of the research. The article uses comparative-typological, structural and complex methods of analysis.

scholarly journals FORMATION OF TEXT LINGUISTICS IN THE FIELD OF LINGUISTICS

2020 ◽  
Vol 73 (3) ◽  
pp. 36-41
Author(s):  
B. Yelchibekov ◽  
◽  
A. Rauandina ◽  
B. Yelikbaiev ◽  
◽  
...  
Keyword(s):  
Literary Work ◽  
Scientific Discipline ◽  
Young Generation ◽  
Text Linguistics ◽  
Cultural Aspects ◽  
History Of Research ◽  
The People ◽  
History Of ◽  
The Aesthetic

The author in this article considers the history of the formation of text linguistics as a scientific discipline in the field of linguistics, in connection with the emergence of intersubject situations in the study of the text of literary works at the turn of the last century. The article deals with the history of research of the text of a literary work in the linguistic direction and its further development in the field of linguistics. It also examines the scientific works and their features of domestic and foreign scientists in this area. Examines the role of language in shaping identity, culture and future of the people, and explained that acknowledge the value and the aesthetic function of language affects linguistic, logical, intellectual, and cultural aspects of life of the young generation, as well as the fate and future of the people as a whole.

scholarly journals The English Translation of Goenawan Mohamad’s On God and Other Unfinished Things with Special Reference to Poem No. 15: Reiss’ Method Application

E-Structural ◽  
2019 ◽  
Vol 1 (02) ◽  
pp. 192-206
Author(s):  
Almira Ghassani Shabrina Romala ◽  
Harris Hermansyah Setiajid
Keyword(s):  
Quality Assessment ◽  
Special Reference ◽  
English Translation ◽  
Semantic Content ◽  
Literary Work ◽  
Text Type ◽  
Expressive Function ◽  
The Aesthetic

This paper aims to explicate and examine one of the poems written by Goenawan Mohamad, Poem No. 15, which is included in his poem and poetic essay collection entitled Tuhan dan Hal-hal yang Tak Pernah Selesai, which was translated into On God and Other Unfinished Things by Laksmi Pamuntjak by applying Reiss’ method. This method scrutinizes the translation shift, especially the expression shift and the intralinguistic criteria comprising semantic, lexical, grammatical, and stylistic features. As a creative composition and a piece of literary work that illuminates the imaginative, emotional, and intellectual experience and creativity of its author, a poem is classified in the expressive text type based on Reiss’ text-type category. The result shows that there are several intralinguistic criteria and stylistic features maintained and also modified by the translator in the English translation of Goenawan Mohamad’s Poem No. 15 in On God and Other Unfinished Things, that is done not only to preserve the aesthetic dimension of the language used in the poem but also to fulfill the expressive function of the text. By employing various translation shifts and metaphor translation to make the target text more natural, preserving the relevant aspects of the semantic content, and taking the standpoint of the author in translating the poem, the English translation of Poem No. 15 can fulfill its quality assessment required by its expressive text type.

History Through the Prism of V.V. Rozanov’s Views and Myth-Creating

2019 ◽  
Vol 60 ◽  
pp. 40-48
Author(s):  
Galina V. Talina
Keyword(s):  
Middle Ages ◽  
Political Organization ◽  
Creative Work ◽  
Russian History ◽  
Historical Process ◽  
Static Image ◽  
State Bureaucracy ◽  
Role Of Religion ◽  
Public Person

The article analyzes V.V. Rozanov’s conceptions of antiquity, Middle Ages and new history. Rozanov singles out three periods of Russian history – Kiev, Vladimir-Moscow and Petersburg ones. The essence of each of those periods the philosopher consecutively correlates with adoption of Christianity, political organization formation and the beginning of individual creative work dominance. While interpreting his contemporary events as a public person and a journalist, Rozanov regards earlier epochs from the position of a myth-creator. The diverse historical process gives way to the literary and static image of the epoch. The author of the article pays special attention to how Rozanov characterizes historical personalities, to his views on the role of religion, state, bureaucracy and parliamentarism.

THE ROLE OF ANTHROPONYMS IN THE SEMANTIC FIELD OF ARTISTIC WORKS

2019 ◽  
Vol 2019 (29) ◽  
pp. 66-77
Author(s):  
Lidiya Derbenyova
Keyword(s):  
Literary Work ◽  
Main Theme ◽  
Semantic Field ◽  
New Meanings ◽  
Minor Part ◽  
The One ◽  
A Minor ◽  
And Storage ◽  
Horizon Of Expectations

The article explores the role of antropoetonyms in the reader’s “horizon of expectation” formation. As a kind of “text in the text”, antropoetonyms are concentrating a large amount of information on a minor part of the text, reflecting the main theme of the work. As a “text” this class of poetonyms performs a number of functions: transmission and storage of information, generation of new meanings, the function of “cultural memory”, which explains the readers’ “horizon of expectations”. In analyzing the context of the literary work we should consider the function of antropoetonyms in vertical context (the link between artistic and other texts, and the groundwork system of culture), as well as in the context of the horizontal one (times’ connection realized in the communication chain from the word to the text; the author’s intention). In this aspect, the role of antropoetonyms in the structure of the literary text is extremely significant because antropoetonyms convey an associative nature, generating a complex mechanism of allusions. It’s an open fact that they always transmit information about the preceding text and suggest a double decoding. On the one hand, the recipient decodes this information, on the other – accepts this as a sort of hidden, “secret” sense.

Jazz als gelungene Performance – Ästhetische Normativität und Improvisation

2014 ◽  
Vol 59 (1) ◽  
pp. 105-140 ◽  
Author(s):  
Alessandro Bertinetto
Keyword(s):  
Successful Performance ◽  
The Aesthetic ◽  
The Right

Die Hauptfrage, die ich in diesem Aufsatz diskutieren will, ist die folgende: Welche sind die ästhetisch-normativen Voraussetzungen für das richtige Verständnis und die richtige Evaluation von Jazz? Meine These lautet: Die Jazzästhetik ist eine Ästhetik der gelungenen Performanz. Sie ist nicht eine Ästhetik der Unvollkommenheit. Ich werde meine Argumentation in die folgenden Abschnitte gliedern. Nach der Einleitung (I.) wird in Abschnitt II. die ›These der Unvollkommenheit‹ dargestellt und in III. werden anschließend einige Argumente dagegen diskutiert. In den Abschnitten IV. und V. werden die für die Jazzästhetik wichtige Frage nach dem »Fehler« und das entscheidende Thema der Normativität untersucht. Dazu werde ich geltend machen, dass die ›These der Unvollkommenheit‹ insbesondere deswegen unbefriedigend ist, weil sie die spezifische Normativität von Jazz als Improvisationskunst missversteht. In Abschnitt VI. wird schließlich erklärt, in welchem Sinne von einer Normativität der gelungenen Performanz die Rede sein kann und warum dies für unser Verständnis von Jazz bedeutend ist. Abschließend (VII.) wird diese Idee gegen mögliche Einwände verteidigt.<br><br>In this paper I aim at discussing the aesthetic-normative conditions for the right understanding and the right evaluation of jazz. My main point is this: The aesthetics of jazz is an aesthetics of the successful performance, rather than an aesthetics of imperfection. The paper will be structured as follows. SectionI introduces the topic. SectionII presents the ›imperfection thesis‹, while III discusses some arguments against it. Sections IV and V investigate two related questions: the first is about the role of the »mistake« in jazz; the second concerns the crucial topic of normativity. At this regard I will maintain that the ›imperfection thesis‹ does not work, especially because it misunderstands the specific normativity of jazz as improvisational art. Section VI is devoted to clarifying both in which sense the idea of a normativity of the successful performance is sound and why this idea is important for understanding jazz. Finally (VII) I defend this view against possible objections.

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