scholarly journals The Crimea’s linguistic image in the poetry of Lesia Ukrainka

2020 ◽  
pp. 88-99
Author(s):  
Nina Danylyuk
Keyword(s):  
Indigenous People ◽  
Young Female ◽  
The Black Sea ◽  
Profound Knowledge ◽  
The World ◽  
The Crimea ◽  
Poetic Texts ◽  
The Individual ◽  
Crimean Tatar ◽  
Living Creature

The article is devoted to the linguistic image of the Crimea, conceptualized on the basis of the analysis of Lesia Ukrainka’s poetic texts from the cycles “The Crimean Recollections” (the collection “On the Wings of Songs”, Lviv, 1893), “The Crimean Reminiscences” (the collection “Thoughts and Dreams”, Lviv, 1899) and two poems “A Memory from Yevpatoria” (1904) and “A Wave” (1908) which do not belong to any collections. In these texts Lesya Ukrainka’s recollections about the visit to the Crimea in 1890–1891, 1897–1898, and in 1907–1908 are reflected with the help of figurative means. A linguistic image of the Crimea is a segment of the individual-authorial map of the world of the writer that reflects her language-thinking, Ukrainian origin, and profound knowledge of folklore resources. It has been found out that the image is consists of the descriptions of such cities as Yalta, Yevpatoria, and Bakhchysarai where the writer stayed or visited them. A special distinction is given to Bakhchysarai with its realia of the khan’s palace and muslimness to which three poems were devoted. With the help of figurative means the lines of mountains and certain places, connected with the Crimean legends (Baidary, Chortovi skhody (Devil’s stairs)), obtain their prominence. The nature and elements of the Black sea are thoroughly depicted – quiet in the bright weather and wild during the storm. Many contexts prove that the poetess perceived the sea as a living creature, relevant to her moods and feelings. It has been pointed out that Lesia’s Crimea is associated with her dear ones – first of all with her brother Mykhailo and beloved Serhii, with the forgotten poet Nadson, with the Crimean Tatars (the appearance and clothes of a young female Tatar (who is called by a diminutive form of the ethnic name Tatar - tatarochka) is described in the brightest way). Most of the appellatives of the peninsular (God’s given land, a land of constant rays, a bright country, a country of light, a joyful country, a beautiful side (of the world) and others) have a positive connotation caused by the author’s admiration of its gorgeous nature. But there have been found negative evaluative expressions that resulted from the understanding of the decay of the traditional Crimean Tatar material and spiritual culture, enslavement of the indigenous people (Неволя й досі править в сій країні! - Captivity still rules in this country!). That is why the author compared the captivated land with a boat, broken by a storm, and a steppe horse that dies in the sands of a desert.

scholarly journals LINGUOREPRESENTATION OF IMAGES OF HEAVENLY LIGHTS IN B.-I. ANTONYCH’S POETIC TEXTS

2020 ◽  
pp. 134-144
Author(s):  
Olha SENKOVYCH
Keyword(s):  
Time Of Day ◽  
Individual Experience ◽  
The Sun ◽  
Gold Silver ◽  
The World ◽  
Celestial Bodies ◽  
Poetic Texts ◽  
The Individual ◽  
Psychological Mood ◽  
Aesthetic Preferences

The paradigm of describing celestial bodies sun, moon, stars is important for understanding the national-linguistic picture of the world. An objective picture of the world in the poetry of B.-I. Antonych is represented by stable associative-semantic connections of the celestial bodies – time (sun –dawn, day, light time of day; moon, stars – evening, night, dark time of day). The individual poetic picture of the world is commensurate with the objective also in the artistic statement of the property of celestial bodies to radiate light, to be sources of radiance. The corresponding archetypes ‘light’, ‘radiance’, ‘brilliance’ determine the semantics and value of numerous author’s landscape descriptions and psychological-mood metaphors. A number of recorded metaphors represent the folklore-mythological tradition of describing celestial bodies by a visually perceptible sign of shape (sun– circle, wheel, sphere; moon – sickle, horned, horseshoe, circle), color (sun – gold, red; moon – yellow, gold, silver, red; star – silver, gold). These traditional poetic models are supplemented by individual authorial interpretations. Productive author’s models of describing the realities of the sun, moon, and stars include domestication, anthropomorphization and natural morphization. It is established that the contextual uses of celestial bodies in the poetry of B.-I. Antonych is mostly correlated with direct, nominative meaning or actualized in the folklore-mythological key. Also, the concretely nominative and cultural-aesthetic information implicitly embedded in them is often rethought and actively expanded. These nominations actively form new lexical-associative complexes of meanings, new connotations caused by individual experience, ideas, feelings, emotions of the author, his personal creative and aesthetic preferences.

scholarly journals Sound in the individual poetic picture of the world of Mykola Vihranovskyi

2019 ◽  
pp. 86-95
Author(s):  
Iryna Ivanenko
Keyword(s):  
National Space ◽  
Individual Author ◽  
Living Things ◽  
The World ◽  
Poetic Practice ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Definition Of ◽  
The Individual ◽  
Metaphorical Structures

The article analyzes models of metaphorical description of sounds that are relevant to M. Vinhranovsky’s individual poetic picture of the world. It is determined that the most productive type of audio metaphorization is related to the verbalization of associative sound-to-nature relationships. Its relevance is determined by the collective (secured by verbal tradition) and individual (author) experience of perceiving objects of national space, such as river, sky, water, forest, grove, trees, as well as related phenomena of nature (wind, storm, thunder, rain). and living things (birds, animals, insects). The persistence of associations in the poetic texts motivated by this experience has been consistently confirmed. The collective and individual experience of perception of the phenomena of the nature of rain, thunderstorm, rain, wind, water motivates the active use of «sound» verbs, which metaphorize the various actions and intensity of manifestation of these phenomena. The stylistic performance of common linguistic formulas with stylistically neutral verbs – carriers of the archives of ‘sounds of nature’ is traced. It is proved that an important fragment of the sound definition of the world in the national linguistic-poetic practice and in the idyllic style of M. Vinhranovsky as its symbolic fragment is the image of “silence”. Updating the “zero” manifestation of audio semantics, it creates a semantic opposition to images with the seven “sound”. The aesthetic unfolding of the image of silence in various structural metaphorical structures: verbal predicative, verbal object, oxymoronic, tautological is attested. Analyzed metaphors confirm that the aesthetized verbalization of sound impressions is one of the dominants of M. Vinhranovsky’s individual poetic phrase, in which the metaphors with the seven ‘sound’ are indisputable artistic dominants.

scholarly journals PECULIARITIES OF A VERBAL REPRESENTATION OF A CONCEPTUAL LANGUAGE IMAGE “NIGHT” IN THE POETIC TEXTS OF AFANASY AFANASYEVICH FET

2019 ◽  
Vol 7 (6) ◽  
pp. 481-485
Author(s):  
Ilvira R. Galiulina ◽  
Alexandr V. Spiridonov ◽  
Iana A. Byiyk
Keyword(s):  
Russian Language ◽  
Cognitive Approach ◽  
Discursive Space ◽  
Continuous Sampling ◽  
Verbal Representation ◽  
The World ◽  
Poetic Texts ◽  
The Individual ◽  
Conceptual Language ◽  
The Russian Language

Purpose: This study was conducted in the framework of the anthropocentric direction with elements of the cognitive approach. Based on the concept of Yuriy M. Lotman, who asserts that a literary text is a model of reality, it verbally represents real components that structure the real world and ideal components. The purpose of this article is to identify the characteristics of the representation of the linguistic image of the concept “night” in the poetry of Afanasy A. Feta as a fragment of the Russian language picture of the world. Methodology: For this purpose, the extralinguistic conditions of the formation of the discursive space of Afanasy A. Fet's poetic texts are analyzed. The theoretical literature on the picture of the world and the poetic text are studied. The peculiarities of the linguistic concept image as a complex and multidimensional education are revealed. The paper also reveals the method of continuous sampling on the material of collections of poems by Afanasy A. Fet compiled a card index of poems about the night (187 poetic texts). Result: The rating of the frequency of language units is determined: night, moon, star, dawn; the ways of representing the linguistic image-concept “night” through the prism of the author purely individual consciousness have been revealed. The peculiarities of the verbalization of the linguistic image of the concept “night” in the composition of graphic-expressive means are determined. The study made it possible to conclude the picture of the world of the poet Afanasy A. Fet is a unique version of the individual picture of the world that has enriched the “concept-sphere” of the Russian language. The individual picture of the world of the lyrics is presented in his poetic texts, the complexity of the study of which lies in the fact that they are pointed out such features as emotionality, fragmentation, phatic imagery. Applications: This research can be used for universities, teachers, and students. Novelty/Originality: In this research, the model of Peculiarities of a Verbal Representation of a Conceptual Language Image “Night” in the Poetic Texts of Afanasy Afanasyevich Fet is presented in a comprehensive and complete manner.

Junction of deep structures of the Carpatho-Balkan region with those of the Black and Adriatic Seas

1968 ◽  
Vol 5 (4) ◽  
pp. 1027-1035 ◽  
Author(s):  
S. I. Subbotin ◽  
V. B. Sollogub ◽  
D. Prosen ◽  
T. Dragasevic ◽  
E. Mituch ◽  
...  
Keyword(s):  
Black Sea ◽  
Gravity Anomalies ◽  
The Black Sea ◽  
Moho Discontinuity ◽  
Crimean Peninsula ◽  
The Crimea ◽  
Deep Seismic Soundings ◽  
Basaltic Layer ◽  
The Individual ◽  
Deep Fractures

Deep crustal structures have been studied on the territory of southeastern Europe by means of deep seismic soundings (DSS), and a topographic scheme of the Mohorovičić (Moho) discontinuity has been compiled.Crustal thickness varies from 20–25 km in the Black Sea Depression and the Pannonian Middle Massif to 50–55 km in the Crimea, Carpathians, and Dinarides. Mountain 'roots' have been revealed along the Moho discontinuity and 'antiroots' along the 'basaltic' layer surface in the highland areas. Different relationships between the Moho discontinuity and the Conrad and basement surfaces are established, from the conformable to the inverse. Different types of crust are distinguished, characterized by different thicknesses of the individual layers as well as by deep fractures causing a block structure.The depressions of the Black and Adriatic Seas are characterized by the presence of intensive positive gravity anomalies, which are due to zones of subcrustal substance of higher density and thinning of the crust owing to a smaller thickness of the 'basaltic' or 'granitic' layers. The smaller thickness of the crust or its individual layers is associated with vertical and horizontal movements of the crust, which had resulted in over-thrusts, overthrust sheets, etc.The earth's crust of a continental type is contiguous with a sub-oceanic crust of the Black and Adriatic Seas along the deep fractures. The main fracture in the Black Sea is found near the south coast of the Crimean Peninsula, and the second one in the zone of a wedging out of the 'granitic' layer. The crustal region between these fractures should be related to an intermediate type.

Ideology, history, and politics in service of repatriation

Focaal ◽  
2014 ◽  
Vol 2014 (70) ◽  
pp. 37-48
Author(s):  
Eftihia Voutira
Keyword(s):  
World War Ii ◽  
Black Sea ◽  
The Black Sea ◽  
Group Status ◽  
Black Sea Region ◽  
Post Cold War ◽  
Indigenous Group ◽  
The Crimea ◽  
Dual Commitment ◽  
Crimean Tatar

This article discusses the post–Cold War repatriation to the Black Sea of people deported to Central Asia after World War II, Crimean Tatars and Pontic Greeks. It reflects on their novel ethnic and religious identifications, not available to them before their exile. Religious labeling is now used by officials as a criterion for allocating people to places, and by people as expressions of loyalty and belonging. Politically, such labeling is used for negotiating appropriate sites for resettlement schemes for the two groups in the region. The Crimean Tatar strategy is to argue in favor of “indigenous group” status, while the Pontic Greeks opt for dual commitment between repatriation to their “kin state” (Greece) and their pre-WWII places of residence in the Crimea. The comparison of the dilemmas faced by the two communities upon repatriation elucidates the role of the Black Sea region in the pragmatics of “returning home” and people's sentiments of belonging.

scholarly journals The Atlántida of Capitalism. The murals of Sert in the decorative programme of New York’s Rockefeller Center

2021 ◽  
pp. 369-386
Author(s):  
Jorge Latorre-Izquierdo ◽  
Marcos Jiménez-González ◽  
Clare-Elizabeth Cannon
Keyword(s):  
American Dream ◽  
Free Movement ◽  
Main Building ◽  
The World ◽  
History Of ◽  
Poetic Texts ◽  
The Individual ◽  
Literary Myth ◽  
Rockefeller Center ◽  
Free Movement Of Capital

New York’s Rockefeller Center is one of most symbolically rich places in the world, although few of its millions of visitors stop to reflect on what its images of power really mean. In the form of an Atlantean mythological allegory, Rockefeller Center was conceived as symbolic propaganda for capitalist, liberal values implicit in both the ‘American Dream’ and the ideology espoused by the Rockefeller family. It embodies the utopia of progress and science that promotes the freedom of the individual and the free movement of capital. Due to ideological clashes –or the vagaries of fate– the Catalan José María Sert was the artist to ultimately complete the most eloquent mural in the main building, a mural which had formerly been painted by Diego de Rivera, and entitled Man at the Crossroads. Sert was a muralist who had previously worked on the scenographic illustration of Manuel de Falla’s Atlántida, capturing some of the motifs that inspired that great cantata based on poetic texts by Jacint Verdaguer. That earlier work is reflected in the lobby of Rockefeller Center’s main building. While Diego de Rivera’s censored frescoes have been studied prolifically, little attention has been paid to Sert’s paradoxical reading of the same subjects. In this article, we analyse the history of the Atlantean Mediterranean literary myth in relation to Spain, the use John D. Rockefeller Jr. made of them in his emblematic urbanistic ensemble, and also the peculiar reading that the Catalan muralist made of these themes of Atlantis in relation to capitalism.

New walls to keep the bad out: populism and the totalitarian psyche

2019 ◽  
Vol 1 (2) ◽  
pp. 120-130
Author(s):  
Coline Covington
Keyword(s):  
Cold War ◽  
Balance Of Power ◽  
Berlin Wall ◽  
Group Solidarity ◽  
Freedom Of Movement ◽  
Psychological Understanding ◽  
Psychic Development ◽  
The World ◽  
The Individual ◽  
The Cold War

The Berlin Wall came down on 9 November 1989 and marked the end of the Cold War. As old antagonisms thawed a new landscape emerged of unification and tolerance. Censorship was no longer the principal means of ensuring group solidarity. The crumbling bricks brought not only freedom of movement but freedom of thought. Now, nearly thirty years later, globalisation has created a new balance of power, disrupting borders and economies across the world. The groups that thought they were in power no longer have much of a say and are anxious about their future. As protest grows, we are beginning to see that the old antagonisms have not disappeared but are, in fact, resurfacing. This article will start by looking at the dissembling of a marriage in which the wall that had peacefully maintained coexistence disintegrates and leads to a psychic development that uncannily mirrors that of populism today. The individual vignette leads to a broader psychological understanding of the totalitarian dynamic that underlies populism and threatens once again to imprison us within its walls.

Virginia Woolf and Being-in-the-world

2017 ◽  
Author(s):  
Emma Simone
Keyword(s):  
Virginia Woolf ◽  
Historical Context ◽  
The Political ◽  
Cartesian Dualism ◽  
Self And Other ◽  
The World ◽  
Binary Oppositions ◽  
The Individual ◽  
The Relationship ◽  
Existential Perspective

Virginia Woolf and Being-in-the-world: A Heideggerian Study explores Woolf’s treatment of the relationship between self and world from a phenomenological-existential perspective. This study presents a timely and compelling interpretation of Virginia Woolf’s textual treatment of the relationship between self and world from the perspective of the philosophy of Martin Heidegger. Drawing on Woolf’s novels, essays, reviews, letters, diary entries, short stories, and memoirs, the book explores the political and the ontological, as the individual’s connection to the world comes to be defined by an involvement and engagement that is always already situated within a particular physical, societal, and historical context. Emma Simone argues that at the heart of what it means to be an individual making his or her way in the world, the perspectives of Woolf and Heidegger are founded upon certain shared concerns, including the sustained critique of Cartesian dualism, particularly the resultant binary oppositions of subject and object, and self and Other; the understanding that the individual is a temporal being; an emphasis upon intersubjective relations insofar as Being-in-the-world is defined by Being-with-Others; and a consistent emphasis upon average everydayness as both determinative and representative of the individual’s relationship to and with the world.

A Māori Girl Watches, Listens, and Learns – Coming of Age from an Indigenous Viewpoint: Mauri (Merata Mita, 1988)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Indigenous People ◽  
Coming Of Age ◽  
Natural World ◽  
Feature Film ◽  
Indigenous Woman ◽  
Spiritual Dimension ◽  
The World ◽  
Life Force ◽  
Relationship Of ◽  
The Relationship

This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.

Margaret Mahy: An Adlerian Reading

2008 ◽  
Vol 1 (2) ◽  
pp. 187-199
Author(s):  
KATHRYN WALLS
Keyword(s):  
Young Female ◽  
The Other ◽  
Individual Psychology ◽  
The Novel ◽  
Alfred Adler ◽  
Female Protagonists ◽  
Magical Power ◽  
Margaret Mahy ◽  
The Individual

According to the ‘Individual Psychology’ of Alfred Adler (1870–1937), Freud's contemporary and rival, everyone seeks superiority. But only those who can adapt their aspirations to meet the needs of others find fulfilment. Children who are rejected or pampered are so desperate for superiority that they fail to develop social feeling, and endanger themselves and society. This article argues that Mahy's realistic novels invite Adlerian interpretation. It examines the character of Hero, the elective mute who is the narrator-protagonist of The Other Side of Silence (1995) , in terms of her experience of rejection. The novel as a whole, it is suggested, stresses the destructiveness of the neurotically driven quest for superiority. Turning to Mahy's supernatural romances, the article considers novels that might seem to resist the Adlerian template. Focusing, in particular, on the young female protagonists of The Haunting (1982) and The Changeover (1984), it points to the ways in which their magical power is utilised for the sake of others. It concludes with the suggestion that the triumph of Mahy's protagonists lies not so much in their generally celebrated ‘empowerment’, as in their transcendence of the goal of superiority for its own sake.

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