scholarly journals FROM THE HISTORY OF LITERARY TRANSLATIONS OF K.L. KHETAGUROV’S WORKS: L.D. KIPIANI’S RUSSIAN INTERPRETATION OF THE POEM "SIDZÆRGÆS" ("MOTHER OF ORPHANS")

Kavkaz-forum ◽  
2021 ◽  
Author(s):  
Е.Б. ДЗАПАРОВА
Keyword(s):  
Semantic Analysis ◽  
Russian Translation ◽  
Main Idea ◽  
Literary Text ◽  
History Of ◽  
Artistic Images ◽  
Symbolic Images ◽  
Priority Function ◽  
First Time ◽  
Artistic Manner

В статье впервые рассматривается переведенный на русский язык грузинским поэтом и прозаиком Л.Д. Кипиани текст стихотворения К.Л. Хетагурова «Сидзæргæс» (с осет. ‛Вдоваʼ, ‛Мать сиротʼ, в переводе звучит как «Мать»). Автором исследования представлен лексико-семантический анализ разноязычных текстов (оригинал, перевод), прослеживается степень воспроизведения переводчиком интенций автора. В ходе анализа установлено, что приоритетная для художественного текста функция эстетического воздействия на реципиента достигается Л.Д. Кипиани использованием лексических единиц с близким семантическим значением. Однако передача символики, заложенной К. Хетагуровым в художественных образах, не всегда находит выражение в переводе. Важные для раскрытия идейного замысла художественного текста образы-символы: «æргъæвст халон» (‛закоченелая воронаʼ), «сау айнæг» (‛черный утесʼ), «саударæг ус» (‛носящая траур женщинаʼ) и т.д. остаются вне поле зрения реципиента. Не всегда автор перевода преследует цель отразить национально-культурную специфику, заключенную в семантике выражений «зæрдæ къахын», «буц хъæбул», «дудгæ фæбадын», «къона», «гыцци», «лыстæн». В тексте перевода они находят свои русифицированные варианты или не передаются вовсе.Но там, где переводчик отходит от содержания подлинника, создается оригинальный текст в той же художественной манере, близкой к авторской. Основная идея произведения в переводе не теряется: переводчик и на русском языке демонстрирует мытарства матери сирот. Л. Кипиани в целом удалось изобразить картину жизни осетин конца XIX – начала ХХ в., представленную К.Л. Хетагуровым в стихотворении «Сидзæргæс». For the first time, the article considers the translation into Russian by L.D. Kipiani, the Georgian poet and prosaic, of the text of the poem by K.L. Khetagurova "Sidzærgæs" (‛Widowʼ, ‛Mother of Orphansʼ, translated as “Mother”). The author of the study presents a lexical and semantic analysis of multilingual texts (original and translation), traces the degree with which the translator reproduces the author's intentions. In the course of the analysis, it was found that the priority function of aesthetic impact on the recipient for a literary text is achieved by L.D. Kipiani by using lexical units with similar semantic meaning. However, the transmission of the symbolism laid down by K. Khetagurov in artistic images does not always find expression in translation. Symbolic images that are important for the disclosure of the ideological concept of a literary text: "ærgævst halon" (a freezing raven), "sau ainæg" (black rock), "saudaræg us" (a woman in mourning), etc. remain out of sight of the recipient. The author of the translation does not always pursue the goal of reflecting the national-cultural specifics contained in the semantics of the expressions "zarda kahyn", "buts kh'abul", "dudgk fabadyn", "qona", "gyzzi", "lystun". In the text of the translation, they find their Russified versions or are not transmitted at all. But where the translator deviates from the contents of the original, the created text is, nevertheless, in the artistic manner, close to the author's. The main idea of ​​the work is not lost in the translation: in the Russian translation the hardships and ordeals of the mother of the orphans are also vivdly conveyed. L. Kipiani as a whole managed to depict a picture of the life of the Ossetians of the late 19th - early 20th centuries, presented by K.L. Khetagurov in his poem "Sidzærgæs" ("Mother of Orphans").

From the History of Scientific Communications of the Russian Emigration: Egyptologist Gregory Lukyanov and the Kondakov Archaeological Institute in Prague

Istoriya ◽  
2021 ◽  
Vol 12 (6 (104)) ◽  
pp. 0
Author(s):  
Mikhail Kovalev
Keyword(s):  
Art History ◽  
Russian Translation ◽  
Scientific Communication ◽  
Professional Activity ◽  
Czech Academy ◽  
History Of ◽  
History Of Translation ◽  
Academy Of Sciences ◽  
First Time

The article deals with the history of relations between Gregory Lukyanov, Russian Egyptologist and antiquarian, and his colleagues from the Kondakov Archaeological Institute in Prague in the 1930s. The article is based on materials from Czech archives (Archives of the Art History Institute of the Czech Academy of Sciences and the collection of manuscripts of the Slavonic Library in Prague). The author of this work reveals the unknown page of the history of scientific communications in the midst of the Russian emigration, shows the existence of intellectual contacts between the «Russian Czechoslovakia» and «Russian Egypt». The article is devoted to the analysis of the internal contacts of Gregory Lukyanov, the motives of his professional activity abroad, the basic directions of his cooperation with colleagues from Prague and attempts to create there a collection of Coptic textiles and to publish its catalogue, which unfortunately failed. For the first time, the history of translation of «The Poem of Pentawer» by Lukyanov and attempts of publication of its Russian translation have been described. The author reveals the various contradictions between Gregory Lukyanov and his Prague colleagues that arose in the process of scientific communication.

scholarly journals The ‘I’ of the author and its persuasive function (as exemplified by the complex sentence with homogeneously collateral sub clauses)

2019 ◽  
Vol 69 ◽  
pp. 00081 ◽  
Author(s):  
Olga Nikolenko ◽  
Olga Zakharchu ◽  
Larisa Babakova ◽  
Boris Morenko
Keyword(s):  
Direct Observation ◽  
Research Method ◽  
Semantic Analysis ◽  
Complex Sentence ◽  
Additional Information ◽  
Complex Sentences ◽  
History Of Linguistics ◽  
History Of ◽  
First Time ◽  
Better Than

What makes this study topical: the urgency of the problem under consideration is due to the existing need for structural and semantic analysis of complex sentences (CS) with homogeneously collateral subordination of clauses, in different functional styles of speech and language. Our study is directed towards revealing the ability of syntaxemes with homogeneously collateral subordination to render hidden meanings of the author‘s ‘I’ and to thereby affect the reader/hearer. The cornerstone research method in this study is direct observation of language phenomena with generous borrowings from transformational analysis; it allows us to assert that the multi-component sentences under scrutiny here possess powerful expressive potential and can better than any other render additional information, thereby giving a strongly suggestive focus to an utterance or statement. In this paper, for the first time in the history of linguistics, we reveal how CS with homogeneously collateral subordination of sub clauses work in all functional styles. We also define cognitive boundaries within which takes place the choice between such multi-component structures in the process of language activity, with concern for how the ‘I’ of the author affects the addressee.

scholarly journals The genre of a ballad in Khanty literature

2021 ◽  
Vol 11 (1) ◽  
pp. 44-51
Author(s):  
Е. V. Kosintseva ◽  
Keyword(s):  
Religious Beliefs ◽  
Ethical Dilemmas ◽  
Russian Literature ◽  
Literary Text ◽  
The Real ◽  
Creative Practice ◽  
History Of ◽  
The Fantastic ◽  
First Time

Introduction: the article is part of a complex of studies of the genre specifics of literature and actualizes the genre features of a ballad in the creative practice of Khanty poets. Objective: to analyze the specifics of ballad forms in the works of two Khanty poets – R. P. Rugin and M. I. Novjukhov. Research materials: the works of the ballad genre in the works by R. P. Rugin and M. I. Novjukhov. Results and novelty of the research: for the first time the article analyzes the works of the ballad genre found only in the works of two poets in the history of Khanty literature – R. P. Rugin and M. I. Novjukhov. Less than a dozen samples of the ballad genre were identified, which indicates that the ballad genre has not received a decent development in Khanty art literature. The analysis of the ballad forms of R. P. Rugin and M. I. Novjukhov showed that most often their works are based on a plot. Only one sample of M. I. Novjukhov has the plot replaced by a dialogue. Combination of the real and the fantastic is clearly seen in the poets’ appeal to the folklore and mythological symbolism of images, in the inclusion of folklore traditions and religious beliefs of the Khanty people in the literary text. The motifs of mystery, death, and world duality become mandatory components of the ballad genre of R. P. Rugin and M. I. Novjukhov. The themes of freedom, war / battle, and ethical dilemmas are the plot-forming in their ballads. The poets and translators do not preserve the ballad strophe in all their works. The ballad forms of the Khanty poets reflect the national worldview and poetic traditions of Russian literature.

PAINTING BY I.I. MIKHAILOV “ANDREI DIONISIEVICH, PRINCE MYSHETSKY” (1930S). SYMBOLS OF RELIGIOUS PAINTING AND THE IDENTITY OF RUSSIAN OLD BELIEVERS IN POLAND

2021 ◽  
pp. 94-116
Author(s):  
Grigoriy V. Potashenko ◽  
Keyword(s):  
Original Work ◽  
Main Idea ◽  
Interdisciplinary Approach ◽  
Old Believers ◽  
History Of ◽  
The Subject ◽  
Religious Painting ◽  
History Of Culture ◽  
The Aesthetic ◽  
First Time

The article is concerned with a religious painting by Ivan Ipatievich Mikhailov “Andrey Dionisevich, Prince Myshetsky”, created in the 1930s. The main idea of the article is to show the aesthetic and didactic functions of art. The study employs an interdisciplinary approach that contributes to a better comprehension of the picture: the iconographic, iconological and iconic methods are complemented by the analytical history of culture. The analysis allows concluding that 1) the painting reveals a direct connection with the national Russian-Old Believers culture in Poland in the 1930s; 2) the painting depicting the Vygovsky leader and celibacy advocate A. Denisov, in a direct and paradoxical way also served to strengthen the special ideology of married Pomortsy (the most moderate trend among Old Believers – Bespopovtsy) in Poland in the 1930s; 3) Mikhailov’s “Andrey Dionisevich” was an original work, and not just a reproduction (of an earlier engraving), since through the “seeing vision” (an important term in the iconology by M. Imdal) it acquired a new meaning. The hero of the early Old Belief A. Denisov for the first time became a particularly important religious figure and a fellow for the married Pomortsy of Poland in the first half of the 20th century. In other words, the “seeing vision” allowed to cover both the subject of the picture itself, and the artist or viewer who saw it anew (comprehended, understood).

Whose face to be saved? Mubarak’s or Egypt’s? A pragma-semantic analysis

2014 ◽  
Vol 5 (1) ◽  
pp. 128-146 ◽  
Author(s):  
Amir H.Y. Salama
Keyword(s):  
Speech Acts ◽  
Democratic Party ◽  
Semantic Analysis ◽  
Semantic Theory ◽  
Political Crisis ◽  
Social Actors ◽  
Grass Root ◽  
History Of ◽  
The Military ◽  
First Time

The 25th of January, 2011 witnessed a wave of political unrest all over Egypt, with repercussions that have re-shaped the future of contemporary Egypt. For the first time in the modern history of Egypt since the 1952 Nasserite revolution, grass-root protestors went to streets chanting slogans against the military regime headed by the (since then ex-) President of Egypt, Hosni Mubarak. This placed the then regime, as well as its mainstay, the National Democratic Party (NDP), in a political crisis on both local and international scales. It is this critical moment that led Mubarak to give his unprecedented speech on February 1st, 2011. The speech has brought about epoch-making political changes in the history of contemporary Egypt. Under public pressure, two seminal declarations were made in this speech: (1) Mubarak’s intention not to nominate himself for a new presidential term; (2) a call on the Houses of Parliament to amend articles 76 and 77 of the constitution concerning the conditions on running for presidency and the period for the presidential term in Egypt. The present paper seeks to answer the following overarching question: what are the discursive strategies used for saving the political face of Mubarak in his speech on February 1st, 2011? I follow a text-analytic framework based on the socio-semantic theory of social actors and the pragmatic models of speech acts and face-threatening acts. The analysis reveals Mubarak’s attempt to save his positive political face as a legitimate President who regarded himself as the official ruler invested with absolute power over Egypt.

Semantics of Adjectives in the Story «Wooden Horses» by F. A. Abramov (To the 100th Anniversary of the Birth)

2020 ◽  
Vol 81 (1) ◽  
pp. 61-66
Author(s):  
V. A. Maryanchik ◽  
L. V. Popova
Keyword(s):  
Detailed Analysis ◽  
Semantic Analysis ◽  
Literary Text ◽  
100Th Anniversary ◽  
Material Appearance ◽  
Semantic Fields ◽  
Conceptual Semantic ◽  
Artistic Images ◽  
Semantic Identity

The article investigates the semantic identity and intertextual correlation of adjectives used by F. A. Abramov in his story «Wooden horses». The study focuses on the conceptual significance of adjectives in a literary text. The aim of the research was to discover the role of quality-denoting lexemes (qualitative concepts) in the formation of artistic images and expression of the author’s intention on the basis of a linguistic analysis of adjectives. The most active lexico-semantic groups of adjectives are described: time, human character, material, appearance of objects, human physical appearance, colour and light, intellectual assessment, mirative assessment; and proves the role of adjectives in the conceptualization of literaty images. On the basis of quantitative and semantic analysis and also taking into the account the syntagmatic features of adjectives, the important conceptual semantic fields – «Time» and «Man» – are defined. A detailed analysis of the semantics of adjectives helps to ascertain the correlation of conceptually relevant meanings in the text, as well as to bring the reader’s interpretation closer to understanding the author’s intention.

scholarly journals Poetic Structure and Arts of Prose in Modern Arabic Literature

2021 ◽  
Vol 4 ◽  
pp. 208-256
Author(s):  
Zakira Jahantab
Keyword(s):  
Arab World ◽  
Literary Text ◽  
Poetic Structure ◽  
Critical Theories ◽  
The Arts ◽  
History Of ◽  
Entire History ◽  
Modern Arabic ◽  
First Time ◽  
Modern Era

الأدب هو شكلٌ من أشكال التعبير عن مشاعر الإنسان وعواطفه، وهو أسلوبٌ من الأساليب التي يستخدمُها الإنسان لإفراغ هواجسِه وخواطره وعرض أفكاره بمساحة يخلقُها لنفسه من الحروف، ويُعرَفُ الأدب في كلِّ لغة من لغات الأرض بأنّه مجموعة النصوص التي كتبها الأدباء والشعراء حول العالم بهذه اللغة، وتختلف فنون الأدب في كلِّ اللغات؛ فمن الأدباء من يعبّر عن أفكاره ومشاعره شِعرًا، ومنهم من يعبّر عن ذلك نثرًا، وللنثر أنواعٌ أيضًا، وهذا التنوّع في هذه الفنون قائمٌ على الأدوات التي يمتلكها كلُّ كاتب، وعلى الميول الأدبيّة الخاصّة به، كما اتخذ الأدب في العصر الحديث في العالم العربي منحى جديدًا بدخول مجموعة من الفنون الأدبية العربية الجديدة على الأدب، لم تكن هذه الفنون معروفة من قبل أو سائدة عند الأدباء العرب، دخل الفنّ المسرحي النثري والشعري لأول مرة في تاريخ الأدب العربي كلِّه، فقد تطورت الدراسات النقدية في العصر الحديث و اكتشف النقاد عوالمَ أخرى في النص الأدبي العربي ورصدوا تطورات النص الأدبي عبر العصور، وفصَّلوا في المعجم اللغوي والدلالي في كلِّ نص أدبي، فمنحوا النقد مساحات إضافية ونظريّات نقدية جديدة لم تكن معروفة ومتداولة في عصور الأدب السابقة، وهذا المقال سيسلِّط الضوء على الأدب في العصر الحديث بفنونِه المختلفة. الكلمات المفاتيح: الأدب، العصر الحديث، مشاعر، نثرًا، الفنّ الشعري، ونظريّات نقدية. Abstract Literature is a form of expression of human feelings and emotions, and it is one of the methods that a person uses to express thoughts and present his ideas with a space that he creates for himself  from words, and literature is known in every language of the earth as the set of texts written by writers and poets around the world in the language, and the arts of literature differ in all languages; Some writers express his thoughts and feelings in poetry, and some express it in prose, and prose has types as well, and this diversity of art is based on the tools and on his own literary tendencies that each writer possesses, and literature in the modern era in the Arab world has taken a new turn with the recognization of new Arab literary arts to literature, these arts were not known before or prevalent among Arab writers. Theatrical prose and poetic art recognized for the first time in the entire history of Arab literature. The Studies of Criticism have developed in the modern era and critics discovered other worlds in the Arabic literary text and monitored the developments of the literary text through the ages and explained the linguistic and semantic lexicon in every literary text. These studies have given criticism additional areas and new critical theories that were not known and circulated in previous literary eras, and this article will highlight on literature in the modern era with its various arts. Keywords: Literature, modern era, emotions, prose, poetic art, critical theories.

Poetic Structure and Arts of Prose in Modern Arabic Literature

2021 ◽  
Vol 4 (Special Issue) ◽  
pp. 208-256
Author(s):  
Zakira Jahantab
Keyword(s):  
Arab World ◽  
Literary Text ◽  
Poetic Structure ◽  
Critical Theories ◽  
The Arts ◽  
History Of ◽  
Entire History ◽  
Modern Arabic ◽  
First Time ◽  
Modern Era

Literature is a form of expression of human feelings and emotions, and it is one of the methods that a person uses to express thoughts and present his ideas with a space that he creates for himself from words, and literature is known in every language of the earth as the set of texts written by writers and poets around the world in the language, and the arts of literature differ in all languages; Some writers express his thoughts and feelings in poetry, and some express it in prose, and prose has types as well, and this diversity of art is based on the tools and on his own literary tendencies that each writer possesses, and literature in the modern era in the Arab world has taken a new turn with the recognization of new Arab literary arts to literature, these arts were not known before or prevalent among Arab writers. Theatrical prose and poetic art recognized for the first time in the entire history of Arab literature. The Studies of Criticism have developed in the modern era and critics discovered other worlds in the Arabic literary text and monitored the developments of the literary text through the ages and explained the linguistic and semantic lexicon in every literary text. These studies have given criticism additional areas and new critical theories that were not known and circulated in previous literary eras, and this article will highlight on literature in the modern era with its various arts.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

A Confrontation between Two Doctrines: The Birth of Struggle for Hegemony in Hebrew Children's Literature during the 1930s and 1940s

2008 ◽  
Vol 1 (2) ◽  
pp. 139-155 ◽  
Author(s):  
YAEL DARR
Keyword(s):  
Children's Literature ◽  
Educational System ◽  
Single Channel ◽  
Children’S Literature ◽  
The Political ◽  
Literary Creation ◽  
History Of ◽  
High Level ◽  
First Time ◽  
Literary Quality

This article describes a crucial and fundamental stage in the transformation of Hebrew children's literature, during the late 1930s and 1940s, from a single channel of expression to a multi-layered polyphony of models and voices. It claims that for the first time in the history of Hebrew children's literature there took place a doctrinal confrontation between two groups of taste-makers. The article outlines the pedagogical and ideological designs of traditionalist Zionist educators, and suggests how these were challenged by a group of prominent writers of adult poetry, members of the Modernist movement. These writers, it is argued, advocated autonomous literary creation, and insisted on a high level of literary quality. Their intervention not only dramatically changed the repertoire of Hebrew children's literature, but also the rules of literary discourse. The article suggests that, through the Modernists’ polemical efforts, Hebrew children's literature was able to free itself from its position as an apparatus controlled by the political-educational system and to become a dynamic and multi-layered field.

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