scholarly journals THE PHENOMENON OF REPLACEMENT OF VOICEd-VOICELESS CONSONANTS IN RUSSIAN POETRY (BY THE EXAMPLE OF EXACT RHYMES IN LERMONTOV’s EARLY LYRICS (1828-1832))

2019 ◽  
Vol 29 (5) ◽  
pp. 824-831
Author(s):  
Fan He
Keyword(s):  
Statistical Data ◽  
Russian Literature ◽  
New Materials ◽  
Russian Poetry ◽  
History Of

The aim of the article is to identify the phenomenon of the replacement of voiced-voiceless consonants in Russian poetry and to study its use for exact rhymes in Lermontov’s early lyrics. The main content of the article is the analysis of replacement of voiced-voiceless consonants as a phonetic phenomenon and a corresponding method of rhyming in Russian poetry, the history of its employment in Russian poetry. The analysis helps to reveal the conditions of the use of replacement of voiced-voiceless consonants in exact rhymes of Lermontov’s early lyrics. In the article, the new materials and statistical data of different kinds of rhymes in Lermontov’s early lyrics are summarized. The article is directed to the specialists in the history of Russian literature and the researchers of Lermontov’s works in general.

Reconstruction of the «Armenian» Text in the Russian Poetry of the XX Century (Computer Research Experience)

2020 ◽  
pp. 5-21
Author(s):  
Mikhail Amirkhanyan ◽  
Larisa Pavlova ◽  
Irina Romanova
Keyword(s):  
Russian Literature ◽  
Russian Language ◽  
Research Experience ◽  
Poetic Tradition ◽  
Software Complex ◽  
Russian Poetry ◽  
History Of ◽  
Computer Research ◽  
The Common ◽  
Literary Portrait

The article describes a study on the reconstruction of the so-called «Armenian » text in Russian poetry. Russian folklore and ancient Russian literature have already mentioned Armenian literary portrait that was finally formed in Russian literature only in the ХХ century, after the tragic events in the history of Armenia in 1915. Through applying the software complex «Hypertext search for companion-words in author's texts» to the representative corpus of the Russian language poems on the Armenian theme (65 works of different poets), lexemes marking the minimal themes of the «Armenian» text have been identified. These lexemes act as dominant components of the «Armenian» lexical combinations presented in the poems of Russian poets («Ararat», «Yerevan», «mountain», «sky», «ground», «blood», «heart», «soul», «flame», «eternal») and optional ones («hostile», «to rot», «myopic», «book», «child», «Komitas», etc.). The common lexical combinations will allow the authors to establish intertextual links, which form the basis of the «Armenian» text in Russian poetry. However, in most cases poems have no intertextual links that could signal the influence of one text on another. The coincidence of vocabulary in the texts is usually explained by geographical and historical realities, as well as a poetic tradition.

scholarly journals GIOTTO IN RUSSIAN POETRY: NEGATIVITY, DESIGN AND CONSTRUCTION OF SOCIETY

2020 ◽  
Vol 18 (1) ◽  
pp. 170-181
Author(s):  
Alexander V. Markov ◽  
Keyword(s):  
Art History ◽  
Russian Literature ◽  
Careful Analysis ◽  
Russian Philosophy ◽  
Russian Art ◽  
Old Russian ◽  
Real Place ◽  
Russian Poetry ◽  
History Of ◽  
Writing Practice

The perception of Giotto’s heritage in Russian literature and culture has always been directly linked not only with the concept of the Renaissance and the development of Western culture, but with a special interest in writing practice and in the ambition of the narrative presented as innovative style to create communities. The main topic of the poetic thought was the transition from community to society, in other words, from community to church, so Giotto's status as a genius was always supported with statements about other geniuses who directly, but rather indirectly, made this transition. Despite the scarcity of references to the name Giotto, Russian poetry did not so much reflect the current art history conception, but anticipates or correctsconclusions of art historians. My careful analysis of the statements about Giotto in Russian poetry (V.Komarovsky, S.Soloviev, A.Voznesensky) in comparison with the conclusions of Russian philosophy and humanities (P.Florensky, P.Muratov, P.Bitsilli, V.Lazarev)explains plots of the poems related to picturesque impressions. The technique of chiaroscuro in Giotto, who first began to convey plausible depth through the illusory distribution of light, was understood as a technique primarily of hint and reflection, anegative, in comparison with which later Italian painting looks like a colorful positive. Such concept did not correspond to Giotto's real place in the history of art, but it did make it possible to correlate Giotto with Byzantine and Old Russian art using a golden background, emphasizing in the legacy of the Italian artist not credibility, but ability to create own art project relevant other projects.

Classical and non-classical verse: terminological aspects

2019 ◽  
pp. 118-124
Author(s):  
Yaryna Khodakivska
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Russian Literature ◽  
Scientific Discourse ◽  
Evaluative Judgments ◽  
Russian Scientific ◽  
Cultural Conditions ◽  
Different Types ◽  
Russian Poetry ◽  
History Of

The paper deals with the expediency of using the terms classical verse and non-classical verse in Ukrainian versification studies. They are borrowed from Russian scientific discourse. The article shows the semantics of these terms in Russian versification studies. The phrase classical verse in works on poetry has wide semantics and means different types of poetry for different literatures: syllabic, quantitative, etc. In the first half of the 20th century Borys Tomashevsky began to use the phrase “Russian classical verse” to refer to the syllabic-tonic verse along with the accent verse. In 1959, he narrowed the semantics of this phrase and used it for syllabic-tonic verse only. Such a decision was motivated by the fact that in the “golden time of Russian literature” (19th century) syllabic-tonic verse was the prevailing system of versification, unlike the syllabic verse that could be rarely found in the Russian literature, and the tonic verse that was starting to develop during Tomashevsky’s time. Thus, in the studies of Russian poetry, the phrase classical verse became the term (acquired termhood) with the meaning of “syllabic-tonic verse”. In 1974, Mikhail Gasparov created the antonymic term “non-classical verse”, which marked other types of Russian verse: syllabic, tonic. Both terms became widespread in Russian poetry. Ideological as well as political and cultural conditions for the development of the Ukrainian science in the 20th century promoted uncritical replication of evaluative judgments expressed by Russian scholars in the Ukrainian poetry. The terms classical verse (as syllabic-tonic) and non-classical verse (as non-syllabic-tonic) having the component of estimating semantics faced the abovementioned situation. They were borrowed and applied in the Ukrainian poetry with the same meaning as in the Russian ones. Halyna Sydorenko, Natalia Kostenko, Olena Kytsan and others used these terms in their works. However, the history of the Ukrainian verse differed from the history of the Russian verse. The syllabic verse occupies a significant place therein, whereas the tradition of using it extends to the first half of the 20th century. The greatest Ukrainian poet Taras Shevchenko and many of his followers wrote syllabic-verse poems. Pavlo Tychyna used the syllabic verse in the 20th century. Therefore, the exclusion of syllabic verse from the notion of “classical verse” in relation to the Ukrainian literature is unjustified. These terms in Ukrainian verification studies have false motivation. They are used incorrectly in Ukrainian versification sources. This terminological situation needs adjustment.

FROM THE HISTORY OF THE RUSSIAN POETRY IN AVAR TRANSLATIONS (Based on the work of R. Gamzatov)

2021 ◽  
pp. 38-43
Author(s):  
Ahmed Magomedovich Murtazaliev ◽  
Anisat Gasanovna Suleymanova
Keyword(s):  
Native Language ◽  
Russian Literature ◽  
Special Place ◽  
Russian Poetry ◽  
History Of

The article considers the history of Russian poetry in the translations of Rasul Gamzatov, an outstanding mas-ter of the artistic word, a national poet of Dagestan. Thanks to his activity and talent, the Avar recipient was able to read the works of famous Russian authors in his native language, among which the creative heritage of A. S. Pushkin occupies a special place. The review presented in the article allows not only to recreate in the fullest extent the chronology of R. Gamzatov's activities in translating works of Russian literature into his native language, but also to pay tribute to his titanic work, which has become a vivid phenomenon of the artistic culture of the Avar people.

Making It Count

2020 ◽  
Author(s):  
Arunabh Ghosh
Keyword(s):  
Cold War ◽  
Statistical Data ◽  
New Technology ◽  
Political Leaders ◽  
Republic Of China ◽  
Great Leap Forward ◽  
History Of ◽  
History Of Statistics ◽  
The Government ◽  
The Great Leap Forward

In 1949, at the end of a long period of wars, one of the biggest challenges facing leaders of the new People's Republic of China was how much they did not know. The government of one of the world's largest nations was committed to fundamentally reengineering its society and economy via socialist planning while having almost no reliable statistical data about their own country. This book is the history of efforts to resolve this “crisis in counting.” The book explores the choices made by political leaders, statisticians, academics, statistical workers, and even literary figures in attempts to know the nation through numbers. It shows that early reliance on Soviet-inspired methods of exhaustive enumeration became increasingly untenable in China by the mid-1950s. Unprecedented and unexpected exchanges with Indian statisticians followed, as the Chinese sought to learn about the then-exciting new technology of random sampling. These developments were overtaken by the tumult of the Great Leap Forward (1958–1961), when probabilistic and exhaustive methods were rejected and statistics was refashioned into an ethnographic enterprise. By acknowledging Soviet and Indian influences, the book not only revises existing models of Cold War science but also globalizes wider developments in the history of statistics and data. Anchored in debates about statistics and its relationship to state building, the book offers fresh perspectives on China's transition to socialism.

Public Libraries of the Vladimir and Kostroma Provinces' District Towns in the Second Half of the 19th — early 20th Century

2010 ◽  
pp. 98-101 ◽  
Author(s):  
Aleksey A. Soloviev
Keyword(s):  
20Th Century ◽  
Statistical Data ◽  
Public Libraries ◽  
17Th Century ◽  
Early 20Th Century ◽  
Native Population ◽  
History Of

On the history of the first public libraries in the province towns of Vladimirskaya and Kostromskaya provinces in the second half of the 17th century - early 20th century. The author considers main statistical data of libraries and analyses necessity and influence of these libraries and reading rooms on the native population.

From the history of the NKVD “national operations” in 1937, 1938 years in Kyrgyzstan. Repression of ethnical minority

2020 ◽  
Vol 2020 (10-3) ◽  
pp. 126-135
Author(s):  
Bolotbek Abdrakhmanov
Keyword(s):  
New Materials ◽  
Foreign Nationals ◽  
The Real ◽  
History Of ◽  
Ruling Party

To analyze the repressive policy of the ruling party and NKVD organs towards the foreigners who lived in Kyrgyzstan in 1937-1938 years. The real materials being used in this research make it possible to think over the events of that complicated period in a new way and give them certain appreciation. Therefore the main aim of the article is to bring together new materials to through the light on the nature of the mass repressions towards a number of soviet citizens as foreign nationals.

РАССКАЗЫ В.ШУКШИНА И ПРОБЛЕМЫ ПЕРЕВОДА ИХ НА КЫРГЫЗСКИЙ ЯЗЫК

2020 ◽  
pp. 77-81
Author(s):  
Джээнбүбү Бегеева
Keyword(s):  
Key Words ◽  
Russian Literature ◽  
Main Task ◽  
Stylistic Variation ◽  
Psychological Feature ◽  
Translation Analysis ◽  
History Of ◽  
The Creation ◽  
Problems Of Translation

Аннотация. В статье анализируется качество переводов рассказов В.Шукшина, осуществленных в середине 70-х годов С. Наматбаевым. Переводоведческий анализ вывил многочисленные стилевые расхождения между оригиналом и переводом. При переводе одного из лучших рассказов Шукшина «Чудик» искажения стиля не передали психологические тонкости рассказа. При переводе рассказа «Дядя Ермолай» философский аспект рассказа выпал, так как переводчик исказил жанровую специфику. Перевод рассказа «Два письма» оказался более качественным по сравнению с предыдущими. Переводчик рассказа «Два письма» сумел приблизиться к оригиналу, расшифровать его основную тональность, воспроизвести атмосферу напряженных поисков истины героем рассказа Николаем Иванычем. Этот перевод оказался более качественно выполненным по сравнению с предыдущим рассказом «Дядя Ермолай». Причину переводческого успеха можно объяснить, прежде всего, доступностью содержания рассказа, да и сам герой не столь сложная и глубокая личность, как повествователь в рассказе о дяде Ермолае. В целом, переводы С.Наматбаева являются своеобраз- ным этапом в переводческом деле. В настоящее время необходимо более полное и глубокое восприятие творчества В.Шукшина и создания новых адекватных переводов. Ключевые слова: качество переводов, стилевые расхождения, психологические тонкости, философский аспект, этапом. Аннотация. Макалада В.Шукшиндин аңгемелеринин кыргыз тилине которуудагы сапаты каралат, котормолор 1970-жылдары котормочу С.Наматбаев аркылуу жаралган. Котормонун сапатына талдоо жүргүзгөндө көпчүлүк каталар табылган, алардын эң олуттуусу стилдердин айырмасы, негизги чыгарма менен котормонун ортосунда. Мисалы, “Чудик” деген аңгеменин психологиялык мүнөздөмөсү жоголуп кеткен. “Ермолай байке” деген аңгемеде жанрдын туура эмес берилишинен жазуучунун негизги ою жоголуп кеткен. “Эки кат” деген аңгеме беркилерге караганда сапаттуу которулган. Котормочу " Эки кат" деген аңгемени оригиналга жакындатып которгон. Башкы каарман Николай Иванычтын изденүүлөрүн, ойлорун, чындыкты табууга аракеттерин Шукшинден кем эмес окуучуларга жеткирген. Котормочунун жетишкендиги аңгеменин түшүнүктүү мазмуну менен түшүндүрсө болот, жана Николай Ивановичтин жөнөкөйлүгү менен. С.Наматбаевдын котормолору каталарына карабастан котормочулук иште алдыга жылуу болгон. Бирок, азыркы заманда сапаттуу котормо жаратууда мезгил келди. Түйүндүү сөздөр: которуудагы сапаты, стилдердин айырмасы, психологиялык мүнөздөмөсү, негизги ою жоголуп. Annotation. The quality of translation of the Shukshins stories is analyzed in the Middle 70- years. By S.Namatbaev. The translation analysis had idenh hed numerous style discrepancies between the original and the translation. The psychological feature of the compasihion were not be hansfered by the translation one the bestand famous story by. V.Shukshin due to distorhion of the style. By the translation of the story “The uncle Ermolai” had full a phisichal aspect of the story, because the translator had distorted the genre specifics. The translation of the stories “Two letters” was wade more qualitative comparated with another stories. Generally, the Namatbaevs translation are a sui generis stage in the translatiobs. We need currently more total and profound perception of the creation by V.Shukshin. The create of the new adeavate translation is the main task. The head of the theory and history of Russian literature department. V. Shukshin’s stories and problems of translation them into Kyrgyz language. This article is analysed the quality of translation of V. Shukshin’s stories, which were written in 70 th with S. Namatbaev. Translation analyse deduced many stylistic variations between translated version and original. There is a misrepresentation, was not transmitted psychological subtleties of the story in translation of one of the best V. Shuk- shin’s story “Wierdo”. Metaphysical dimension is disappeared in translation of the story “Uncle Ermolai”, since translator destort the genre specificity. The translation of the story “Two letters” has been more qualitative in comparison with previous translations. In common, S. Namatbaev’s translation is a genius stage in translation. It needs more full and deep comprehension of S. Shukshin’s work and to establish new suitable translation. Key words: Quality of translation, stylistic variation, psychological subtleties, metaphysical dimension, stage.

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