The Ideas of Russian Slavophiles and Occidentalists as Reflected in Fyodor Dostoyevsky’s Discourse on Freedom

When developing ideological concepts and creating literary characters, Dostoyevsky drew from, among others, the ideas of the then most important trends in the Russian thought: Slavophilic and Occidental, as refl ected, among other examples, in his discourse on freedom. The condemnation of certain aspects of Western European civilization, present in the writer’s work – often articulated by the Slavophiles – expresses his aversion to negative freedom and excessive individualism, which undercut the roots of the social organism. Dostoyevsky’s affi nity with the Slavophiles is also refl ected in his positive attitude towards the Russian people and fascination with the unspoiled Christianity and community which they preserved. The formation of Dostoyevsky’s views was also infl uenced by the Occidentalists. The need to maintain the personality ideal, as the Occidentalists understood it, was extremely important to him. The writer glorifi ed the values that cemented the Orthodox community, without negating the knowledge and experience gained in the course of the 200-year Europeanization of the upper classes of the Russian society. He considered Occidentalism to be a phenomenon “leaning towards” specifi c social realities from which it drew its strength. The writer envisaged a harmonious coexistence of freedom and love, their unity. In his opinion, this unity could not be an expression of excess, egoism, pride, moral and moral promiscuity, exaggerated individualism and rationalism. He equated genuine freedom with commitment to God and to the well-being of the humankind.

Lowercase or uppercase letter in the names of fairytale heroes and literary characters (from the materials of the academic description of Russian spelling)

This article aims to create a rule explaining the choice of a lower-case or upper-case letter to spell literary characters’ names. The rule should be unambiguous, intrinsically logical, and it should not contradict the codified lexical material. Several formulations of the rule given in reference books were analysed; discrepancies between the rule and dictionary codifications were identified. Additionally, questions and answers related to this issue and obtained from the Russian language query services were studied. As a result, the research revealed types of discrepancies in the recommendations given in the rule and in dictionaries, ambiguous rule formulations that can be interpreted in two ways, and textual conditions that permit different understandings of proper name boundaries. The analysis of the real usage of proper names and their combinations with appositions, attributes, and accompanying words in different types of texts (i. e. in texts created by authors, in fairy tales, byliny, and other authorless texts) resulted in determining several textual conditions which permit or prohibit using this or that combination in the function of a proper name. As for authorless texts, it turned out important to consider the character’s name not only in the work under analysis, but also in the cultural context in its entirety, in the entire fairy tale or heroic epic world. Another significant factor is understanding the boundaries of the proper name and the common nouns accompanying it accepted in this world. Authors are free from the tradition of naming a character in the texts they produce, but at the same time they should take into account the intratextual conditions governing the choice of either a proper name or a common noun. As a result, a special note to the general rule concerning proper name spelling was formulated for the new edition of "The academic rules of orthography". This note identifies different options to understand the boundaries of proper names for various structures. The choice of spelling proper names with a lower-case or a capital letter in a given text depends on the chosen way of understanding the proper name boundaries.

„Od Ognjene do Blage Marije“ u opusu Jovana Radulovića

The paper deals with the novel Od Ognjene do Blage Marije from the point of view of Radulović’s prose as a whole, and especially in the context of his novelisic work. The thematic basis of the novel is the tragic exodus of the Serbian people from the Republic of Serbian Krajina in August 1995, during the “Storm“, Croatian Army invasion on Knin. This topic, most frequently treated by the Serbian writers who have fled Croatia, has become especially important in contemporary Serbian literature. Jovan Radulović based his novel on his previous screenwriting text intended for an unrecorded TV drama. The main characters of the novel are the members of a Serbian family who leave their homeland in a long column of refugees and flee to Serbia. The voices and life stories of these char- acters and of other protagonists and witnesses of the Serbian exodus are intertwined in a polyphonic narrative sequence. Although the novel is dominated by dramatic and tragic life situations, literary characters still have hope for a new life in some other milieu. The novel is characterized by short scenes and sentences which reflect the authentic language; at the same time, the language emphasizes tragic life situation of the refugee people.

Adaptation Strategies for Chinese Names of Literary Characters in Russian Translation

The article analyzes the features of the translation into Russian of Chinese names containing a metaphorical or symbolic component. It argues the necessity of using, in addition to transcription and transliteration, contextual strategies of domestication and foreignization in order to adapt fragments of text containing names to the linguocultural mentality of Russian speakers, while preserving the cultural flavor and connotations of the original text. Such tactics of strategies of domestication and foreignization as structuralsemantic and lexical-semantic adaptation with the techniques of generalization and modulation are identified.

Aesthetic phenomenon of the reader in Givi Margevlashvili's prose (Who "is a reader")

The main characteristic of Georgian postmodernism has become metaprose or the principle of double coding - text within text, in which the effect is achieved in the form of linguistic games. When we talk about Georgian postmodernism, the greatest innovator is the famous German-speaking Georgian author Givi Margvelashvili. His work is a peculiar expression of postmodern aesthetics and deserves special attention, since his works have not been properly researched in terms of the deconstruction of classical texts.Givi Margvelashvili, in fact, lived under two dictatorships - fascism and communism. A family sacrificed to repression ... Spending the best years of life under pressure ... Constant persecution and harassment ... After all this, the writer's words that he is the protagonist of his book and has a flat in the book alone, intensifies the sense of the logic of fate.The subject of the Georgian postmodernist author's passion is the concept of the French philosopher Gilles Deleuze, according to which we do not draw dots, but draw lines. This means that literary characters are not even "buried" in their own texts, but they also run away from the texts. This phrase will probably be used as a starting point for Givi Margvelashvili's prose - Stop death in the texts! Considering the Kantian maxims, he is sincere with the reader and offers us the highest principle, the observance of which would be desirable of a universal nature. His prose is a text of the text, a metaphor, he calls himself an ontotext and believes that the characters in the book are determined by the same lyrical characters, they try their hand at the reader and can do nothing but what the author himself has determined. Margvelashvili becomes the savior of the book's characters, studies their existence and believes that people are defined by the text. The purpose of this paper is to show what kind of readers the audience of Margvelashvili's characters has, who the reader is in his understanding, what metaphorical attitudes the latter offers and what is the dichotomy of the relationship between the reader and the book characters.

Un sistema mitico in continua evoluzione: le grandi parodie Disney

ABSTRACT: Il fitto dialogo intertestuale con i classici di ogni tempo è stato inteso dagli autori della Disney Italia come una pratica di cannibalizzazione delle fonti; d’altra parte il confronto con la dimensione letteraria, estendendosi nel tempo ‒ dalla fine degli anni Quaranta a oggi ‒, ha lasciato un’impronta indelebile sulle Grandi Parodie: per un verso esse hanno acquisito uno spessore testuale inedito, riconnettendosi alle grandi matrici narrative in cui affonda le proprie radici il più vasto mondo della finzione; per l’altro hanno costituito un formidabile banco di prova per la variegata compagine Disney: gli eroi del fumetto, da Topolino a Paperino, si sono cimentati nell’impresa di interpretare il ruolo e assumere le fattezze dei più rinomati protagonisti della pagina letteraria mostrando al contempo una grande duttilità e una spiccata personalità. Il complesso dei personaggi Disney funziona in definitiva come un sistema mitico: il corpo delle loro storie costituisce un intero aperto a un continuo accrescimento ed è in effetti costantemente aggiornato da una pluralità di autori che rende il sistema perennemente sincronico col tempo dei lettori.Parole chiave: Fumetto. Disney. Grandi Parodie. Mito. Intertestualità. RESUMO: O estreito diálogo intertextual com os clássicos de várias épocas foi entendido pelos autores da Disney Itália como uma prática de canibalização das fontes, que proporcionou o confronto com a dimensão literária, estendendo-se no tempo ‒ do fim dos anos 40 a hoje ‒, e deixou uma marca indelével nas Grandes Paródias: por um lado, estas adquiriram um peso textual inédito, reconectando-se com as grandes matrizes narrativas nas quais fincam as suas raízes no mais vasto mundo da ficção; por outro ainda constituíram um formidável teste para a multifacetada equipe Disney: os heróis dos quadrinhos, de Mickey a Donald, cimentaram-se na empreitada de interpretar os papéis e assumir os perfis dos mais renomados protagonistas das páginas literárias, demostrando, ao mesmo tempo, uma grande flexibilidade e uma marcada personalidade. O conjunto dos personagens Disney funciona definitivamente como um sistema mítico: o corpo das suas histórias constitui um todo, aberto em uma contínua evolução, e é, de fato, constantemente atualizado por uma pluralidade de autores que torna tal sistema perenemente sincrônico com o tempo dos leitores.Parole chiave: História em quadrinhos. Disney. Grandi Parodie. Mito. Intertextualidade. ABSTRACT: An intense intertextual dialogue with the classics of all time has been intended by Disney Italian authors as a practice of source “cannibalization”. Their long-lasting dialogue with the literary dimension left an indelible mark on the Grandi Parodie: on the one hand they acquired an unprecedented textual depth, connecting them to the major narrative roots of the fictional world; on the other hand, they represented a crucial test for the varied team of Disney characters: the heroes of comics, from Mickey Mouse to Donald Duck, undertook the remarkable feat of interpreting the roles of renowned literary characters, showing a great adaptability as well as a strong personality. Disney characters function fundamentally as a mythical system: their stories constitutes an ever-changing whole, constantly updated to the time of their readers.Keywords: Comics. Grandi Parodie. Disney. Parody. Myth. Intertextuality.

Vazha-Pshavela’s and K. Gamsakhurdia's characters according to Lawrence Kohlberg’s moral development theory

The article presents an innovative method of characterization of literary characters. It is known that the moral attitudes and the process of their formation equally raises the interest of psychologists and writers, which gives an absolute freedom to use psychological-philosophical theory for opening the character of literary characters. Moral development theory of American philosopher Lawrence Kohlberg is used for a new purpose in this work, which is the main novelty of the article. Literary character is assessed according to Kohlberg’s stages of moral development and is defined to which level it is relevant according to Kohlberg’s developed scale. Famous characters of two well-known Georgian writers Vazha-Pshavela and K. Gamsakhurdia have been selected for observation. The article is based on two articles already published by the author, which follows: ”Concept of Freedom and characters of Vazha-Pshavela” and “Jacob wrestling with God”, As a prototype of Constantine Arsakidze In K. Gamsakhurdia's historical novel “The right hand of the Great master".

Literary Characters and their Verbal Mimicry through the Prism of Gestalt Analysis

The paper represents a fragment of a multi-year project focused on everyday speech interaction and, particularly, on verbal mechanisms of granting speech efficiency and effectiveness. The introductory statement of the research is more precise thespeaker organizes his/her message verbally, the easier it is understood by the listener. Special attention is paid to the methodological approach to verbal identification of literary characters’ social strata. The paper also elicits how Gestalt analysis can be successfully applied to different practical linguistic tasks. Hence, the article deals with the advantages of Gestalt, used for unmasking the virtual speaker’s social identity and his social status. Besides, a close study of speech situations has revealed some cases when the speaker tries to play a verbal trick on the audience, thus consciously or unconsciously imposing a false image and hiding his/her true identity. The phenomenon of speech imposters, discovered in literary dialogues termed “speech, or verbal mimicry,” while the speakers who use such verbal masks are called “mimics.” In the presented research, two types of mimicry are distinguished: progressive and regressive speech mimicry. Hence, the characters’ speech was analyzed through the prism of his/her actual or imposed social status, which allowed to single out sufficiently reliable syntactic indicators of the speaker’s real social profile.

Verhinderte Liebende

This article examines the reception of Heliodor’s Aethiopica in German novels around 1700. The ‘Heliodor model’ proves to be remarkably persistent, as the form’s specific affordances offer an attractive variety of possible uses. At the same time, writers stick to the legitimized form of the novel for reasons of genre politics. In analyzing Eberhard W. Happel’s Afrikanischer Tarnolast (1689) and August Bohse’s Letztes Liebes- und Heldengedichte (1706), the article shows how these exemplary novels transform the ‘Heliodor model’ in idiosyncratic ways, and argues that these transformations aim at exploring and expanding the potential of literary characters.