Translation Pragmatics of Phonic Expressive Means in English Poetic Texts

Phono-stylistics is a promising research area. Expressive power of a text depends on its phonetic imagery. The research objective was to identify the pragmatic features of phonic expressive means in translations of contemporary English poetry. The methods included a comparative analysis, phono-semantic and phono-stylistic interpretation of the original poems and their translations, and O. N. Tynyanov's law of versification. The method of sound counting developed by E. V. Elkina and L. S. Yudina was used to calculate the frequency of sounds in the context of phono-semantic analysis in the Russian translations. The method of sound counting designed by Tsoi Vi Chuen Thomas was used to calculate the frequency of sounds in the original English texts. The theoretical foundation of the research was formed by the works by M. A. Balash, G. V. Vekshin, Z. S. Dotmurzieva, V. N. Elkina, A. P. Zhuravlev, L. V. Laenko, F. Miko, L. P. Prokofyeva, E. A. Titov, etc. The study featured the phonics and pragmatics of S. Dugdale’s poem Zaitz and its three translations made by E. Tretyakova, A. Shchetinina, and M. Vinogradova, and C. E. Duffy’s Anne Hathaway translated by Yu. Fokina. The author compared the pragmatics of sound imagery in the English originals and their Russian translations. The research made it possible to define the role of sound imagery in the poetic discourse, as well as the relationship between the sound organization of poetic speech and the pragmatic value at the phonographic level. The results can be used in courses of translation, stylistics, and phonetics.

Lithuanian Literature in Search of Historical Truth: Three Decades of Independence

The article focuses on the beginning of the Singing Revolution in Lithuanian culture and tries to identify the most significant dominant features in order to understand the entirety of the new changes in literature. In the face of political upheaval, such a dominant feature was the question of truth; however, the well-established poetry tradition – romantic, neo-romantic, modern neo-romantic, which coexisted with social realism in Soviet times, and experimental – did not raise such questions of truth but only reflected the nation’s collective expectations. The evolution of Lithuanian literature, which was highly fragmented during all the decades of the Soviet occupation, united the country through the expatriate poet Bernardas Brazdžionis while he was visiting Lithuania in the summer of 1989. Poetic texts predominated during the first demonstrations of Sąjūdis (the Reform Movement), but while trying to understand their position in the general Lithuanian culture and literature discourse, one needs to acknowledge the leading nature of poetry throughout the Soviet times: having its niche in the cultural system, poetry posed a large number of vexed questions, sought philosophical profundity, and was able to constantly address the deepest metaphysical questions even in strict censorship conditions. Lithuanian prose, which evaded the requirement by the doctrine of social realism to portray the world and characters engaged in class struggles, also found support in the poetry system and created a non-linear but coherent narrative where metaphors prevail. Lithuanian prose poetry became a sign of esthetic quality in independent Lithuania too, where the question of truth, which was important for achieving independence, found a way similar to that of poetry – through memoirs and essays to esthetics and little prose. At the beginning of independence, poetry, which had fed Lithuanian prose with its ideas, themes, conception of the world and esthetic solutions, also merged with memoirs and essays, thus being part of the discourse of telling the truth.

Semiotic Essence of Linguistic Ambiguity in the German Poetic Discourse of the XXI Century

The article deals with the problem of the phenomenon of linguistic ambiguity and methods of its resolution in the context of modern German poetic texts, as well as possible communication failures associated with differences in the sociocultural characteristics of the author and recipient. In particular, there are illustrations of ambiguity of the entire poem, when the analyzed concept has a dualistic origin and certain linguo-stylistic means; lexical ambiguity, which main mechanisms are a language game, polysemantic words, chains of key lexical items, allusions; syntactic ambiguity, that is realized through special punctuation and two-way communication, that allowed two different interpretations of the sentence. In addition, the German poetic text is characterized by temporary and permanent types of ambiguity. As part of the study, it was found that the phenomenon of ambiguity can be resolved due to contextual peculiarities, and situations of communicative failure can be avoided by an increase of the level of linguistic and intercultural competence.

BRIDGE as a Linguistic and Cultural Symbol

The paper deals with a linguistic and cultural conceptualization of reality. A symbolic dimension of a concept is analyzed on the basis of its notional, perceptive and axiological features. The concept BRIDGE has been described in its verbal representation in the Russian and English linguistic cultures. The material of the study includes definitions from dictionaries and encyclopedias, textual samples from the Russian and English national corpuses, proverbs and aphorisms and poetic texts. Metaphorically, a bridge is understood as an opportunity to move on along the road via some natural obstacles, usually rivers. Symbolically, the following ideas come to the fore when applied to the concept BRIDGE: crossing an obstacle, raising up, possibility or impossibility of coming back, safety or insecurity. The novelty of the research consists in the description of these vectors of conceptualization of a BRIDGE as a cluster of the symbolic meanings of building or destroying a bridge and going up or falling down from it.

Buryat Crossroads: Poetry and Mythological Thinking

The authors give a literary assessment of the monograph by I.V. Bulgutova Buryat philosophical lyrics: mythopoetic foundations and traditions with the involvement of some of her other works. A set of questions is studied related to the Buryat mythological school, the mythogenicity index of the Buryat professional literature, various types of mythological thinking, zoonymous mythical plots, the shamanistic cycle, the mythologization of history, and ethno-poetic constants. The practical part of the monograph under review is a mytho-ontological analysis of representative philosophical poetic texts by D. Ulzytuev, L. Tapkhaev, B. Syrenov, G. Radnaeva, R. Shoymardanova. Much attention is paid to the features of the Buryat Russian-language poetry, represented by the works of N. Nimbuev and B. Dugarov.

Chinese Gretchen in Russian Literature: on the Genesis and Attribution of M. Shkapskaya’s Poetry Book Tsa-Tsa-Tsa

This article examines in detail Maria Shkapskayas poetry book Tsa-Tsa- Tsa (1923) and its handwritten genesis. It explains the role and significance of ancient Chinese poetry for this literary piece of work. The problem is to attribute the texts that make up the book and find out their translated or stylized basis. The general thesis is that all the poetic texts of the book are translations: the names of Tao-Yuan-Ming, Du Fu, and Bo-Juyi indicated by Shkapskaya in the manuscripts are reported. One of the texts in the book is attributed as the Sixth Poem from the Shi ju gu shi ( Nineteen Ancient Poems ). The removal of the names of Chinese authors (not only in the book published in 1923 but also in the manuscript of 1921) and the alignment of the thematic word series silk, crane, thousand, spring that organize the book into a single text indicate a tendency to blur the border of the own-alien text (even though the book was treated by the author as translation from the Chinese, in autobiographies and correspondence). This trend leads to the appearance of a central artistic image of the book (it is a feature of M. Shkapskayas poetic books). It is the image of a lonely, longing woman. The mention of the spinning wheel connects this image with the popular (especially in Western European literature) image of Gretchen. This way the poetry book Tsa-Tsa-Tsa goes beyond the narrowly translated work and reveals some features of chronologically later literary trends (such as postmodernism and metapoesis).

How do I Communicate Sringara Rasa (the Emotion Love) Through Pulaneri Vazhakku (Mode of ‘Sensing’)? Experimental Research Study, Practice-Based

Bharathanatyam is practiced for the purpose of experiencing aesthetic pleasure by the actor, dancer and spectator (Rao, 1997). According to ancient treatises such as the Natya Sastra, dancing should be experiential, sensorial and pleasurable. When dance is transmitted, do these core values of the practice get lost? How can we heighten sensorial ranges through the facilitation of a shift in the transmission and dissemination of learning the component Rasa (emotion)? Some of the problems present in the current landscape of learning Bharathantayam is problematic due to the codification of the traditional form and the authoritarian style rooted in its pedagogy. This has left many students feeling incompetent and as a consequence, made the form unattainable. The purpose of my intervention is to make the learning of Sringara Rasa (the emotion of love) a component in the Bharathanatyam curriculum, accessible to all levels of dancers. I hope to achieve this through a sequential model that interrogates cognitive activities present in the engagement of a role or character performing the emotion. My intervention aims at reexamining the theory and practice of Padams (poetic texts) rooted in the Sringara Rasa (emotion of love) and bridging the gaps in learning this component. When dancers introspect, it allows them to access the sensorial dimension of Bharathanatyam.

EXPLICIT AND IMPLICIT MEANS OF IMPLEMENTING THE VOLUNTATIVE FUNCTION OF A LANGUAGE IN GERMAN AND OSSETIAN LINGUOCULTURES: TO THE PROBLEM OF THE NATIONAL PICTURE OF THE WORLD

Настоящее исследование посвящено выявлению структурно-семантических и функциональных особенностей средств выражения категории побуждения на примере анализа употребления эксплицитных и имплицитных форм реализации волюнтативной функции языка в поэтических произведениях австрийской поэтессы Ингеборг Бахман и осетинского поэта Нафи Джусойты. Способы реализации категории побуждения в поэтическом тексте рассматриваются сквозь призму немецкоязычной и осетинской лингвокультур. Выбор лингвокультурологического подхода к изучению прямых и косвенных форм вербализации волюнтативной функции в стихотворных текстах объясняется тесной взаимосвязью языка и культуры, носителем которых является поэт. Картина мира, включающая в себя определенные представления об окружающей действительности, обусловливает характерные особенности идиостиля автора, детерминируя выбор тех или иных художественных средств. Анализ средств выражения волеизъявления позволил сделать вывод о высокой плотности употребления форм повелительного наклонения в поэтических произведениях И. Бахман и Н. Джусойты. В частности, отмечается более широкое использование грамматически маркированной формы – императива – в текстах обоих авторов. По результатам проведенного исследования императив может быть квалифицирован как доминантная (эталонная) форма выражения категории побуждения как в немецком, так и в осетинском языках. Дальнейшее изучение стихотворных произведений указанных авторов выявило преобладание прямых средств репрезентации волюнтативной семантики в текстах Бахман и индиректных форм – в стихотворных произведениях Джусойты. Данное наблюдение позволяет в рамках нашего исследования сделать предварительный вывод о различиях в немецкоязычной и осетинской лингвокультурах, который, безусловно, нуждается в подтверждении на основе анализа более обширного эмпирического материала. Следовательно, на основании проведенного исследования можно заключить, что для наиболее полного и корректного изучения национальной картины мира необходим анализ идиостиля поэта на разных языковых уровнях – прагматики, семантики и грамматики. The present study is devoted to the identification of structural, semantic and functional features of the expression’s means of the motivation’s category by the example of the analysis of the using explicit and implicit forms of the implementation of the voluntative function of a language in the poetic works of the Austrian poetess Ingeborg Bachman and the Ossetian poet Nafi Dzhusoity. The ways of implementing the category of motivation in a poetic text are considered through the prism of German- and Ossetian-speaking linguocultures. The choice of a linguoculturological approach to the study of direct and indirect forms of verbalization of the voluntative function in poetic texts is explained by the close relationship of language and culture. The picture of the world, which includes certain ideas about the surrounding reality, determines the characteristic features of the author's idiostyle, determining the choice of certain artistic means. The analysis of the means of will’s expression allowed us to conclude about the high density of the use of imperative forms in the poetic works of I. Bakhman and N. Dzhusoity. In particular, there is a wider use of the grammatically marked form – imperative – in the texts of both authors. According to the results of the study, the imperative can be qualified as the dominant form of expression of the motivation’s category in both German and Ossetian languages. Further study of the poetic works of these authors revealed the predominance of direct means of representation of voluntary semantics in the texts of I. Bakhman and indirect forms – in the poetic works of N. Dzhusoity. This observation allows us to make a preliminary conclusion about the differences in the German- and Ossetian-speaking linguocultures, which, of course, needs confirmation based on the analysis of more extensive empirical material. Therefore, basing on the conducted research, we can conclude that for the most complete and correct study of the national picture of the world, an analysis of the poet's idiostyle at different language levels – pragmatics, semantics and grammar – is necessary.

Десять темных мест в поэзии О. Мандельштама: комментарии и расшифровка

Предложен ряд решений, проливающих свет на темные и спорные места в десяти стихотворных текстах выдающегося русского и советского поэта О. Э. Мандельштама, критически проанализи- рованы существующие в современной специальной литературе трактовки таких мест. Выявлены тактики, реализующие характерную для позднего Мандельштама «установку на загадку» (О. Ронен), определены базисные функции данной установки в его поэтике. Как показал анализ, основной из таких тактик является метафора, различными способами затемненная, а потому допускающая вари- ативность трактовок либо в той или иной степени герметичная, т. е. закрытая для исчерпывающего и однозначного истолкования. Такие «темные» метафоры, основной субъект которых не поддается уверенной экспликации, поэт именовал «гераклитовыми».В статье приведены доводы в пользу того факта, что внутренняя форма термина гераклитова метафора восходит к прозванию раннеантичного греческого философа Гераклита Эфесского – σκοτεινός ‘темный’. Среди применяемых О. Э. Мандельштамом способов затемнения семантических переносов наиболее востребованными, а значит, характерными для его авторского идиостиля ока- зались: 1) недостаточность контекста, в частности незамкнутый характер метафор указанного типа; тщательно «припрятанная», т. е., как правило, не более чем однословная, аллюзийная опора на прецедентный текст, зачастую малоизвестный, а значит, недоступный для широкой читательской аудитории; 3) «замаскированное» указание на отдельный элемент (или элементы) той актуальной для поэта бытовой либо исторической конситуации, с опорой на которую может быть достигнуто адекватное понимание текста.Это означает, что трактовка, более или менее отвечающая авторскому замыслу, облигаторно предполагает применение контекстуального, конситуативного либо интертекстуального анализа построенных поэтом семантических переносов, в частности «гераклитовых метафор», анализ же семантических переносов настоятельно требует применения трансформационного анализа; соот- ветственно, удаленность исследователя от указанных лингвистических методов, прежде всего от экспериментальных, т. е. дистрибутивного и трансформационного анализа, если не лишает ясной перспективы, то существенно затрудняет дальнейшее герменевтическое осмысление творческого наследия позднего Мандельштама, т. е. тех текстов, которые были написаны им после 1920 года.Исследование показало, что неясность целого ряда таких текстов, иногда вплотную приближаю- щаяся к сфере герметизма, имеет определенное функциональное обоснование. Установка на загадку, или, в античной терминологии, «темный намек» (κάλυμμα, συγκάλυμμα), в подавляющем большин- стве случаев используется в стихотворных текстах О. Э. Мандельштама не как привычный атрибут эзопова языка (мнение Н. Струве), а в эстетических целях, т. е. как прием, который придает тексту эмоционально минорный, стилистически приподнятый, нередко профетический оттенок, характер энигмы.A number of solutions are proposed that shed light on the dark and controversial passages in ten poetic texts of the outstanding Russian and Soviet poet O. Mandelstam. The existing interpretations of such passages in modern special literature are critically analyzed. The tactics that implement the characteristic for late Man- delstam “orientation to riddle” (O. Ronen) are identified, the basic functions of this orientation in his poetics are determined. As the analysis has shown, the main of these tactics is a metaphor that is in various ways darkened, and therefore allows for variability of interpretations, or is more or less hermetic, i.e. closed to an exhaustive and unambiguous interpretation. Such “dark” metaphors, the main subject of which does not lend itself to confident explication, the poet called “heraclitic”.The paper provides arguments in favour of the fact that the internal form of the term heraclitic metaphor goes back to the nickname of the early antique Greek philosopher Heraclitus of Ephesus – σκοτεινός ‘dark’. Among the applied by O. Mandelstam methods of darkening of semantic transfers were the most popular, and therefore characteristic for his author’s idiostyle: 1) the lack of context, in particular, the non-closed nature of metaphors of type mentioned above; 2) carefully “hidden”, i.e., as a rule, no more than a one-word, allusive reliance on a precedent text, often little-known, and therefore inaccessible to a wide readership; “disguised” indication of a separate element (or elements) of the actual for the poet everyday or historical consituation, based on which an adequate understanding of the text can be achieved.This means that the interpretation that more or less corresponds to the author’s intention obligatorily involves the use of contextual, consituative, or intertextual analysis of the semantic transfers constructed by the poet, in particular, “heraclitic metaphors”, while the analysis of semantic transfers obligatorily requires the use of transformational analysis. Accordingly, the researcher’s remoteness from the above-mentioned linguistic methods, primarily from experimental, i.e., distributive and transformational analysis, if not de- prives of a clear perspective, then significantly complicates further hermeneutical understanding of the cre- ative heritage of the late Mandelstam, i.e., those texts that were written by him after 1920.The study has shown that the darkness of a number of such texts which sometimes comes close to the sphere of hermeticism has a certain functional justification. “Orientation to riddle”, or, in ancient terminol- ogy, “dark hint” (κάλυμμα, συγκάλυμμα), in the vast majority of cases is used in the poetic texts of O. Man- delstam not as a familiar attribute of the Aesop language (opinion of N. Struve) but for aesthetic purposes, i.e. as a technique that gives the text an emotionally minor, stylistically elevated, often prophetic shade, the character of Enigma.