Connecting and Critiquing the Canon

This article discusses the intertextual connections between the young adult novel, Pride by Ibi Zoboi, and the canonical text, Pride and Prejudice by Jane Austen. Similarities between the plot and structure of the two texts are discussed along with the differences in themes between the novels. Critical Race Theory is used to help make sense of the differences between the novels and critique the overwhelming whiteness of the canon. Implications for educators who wish to pair the two novels are provided.

Implicit ways to express the author’s opinion in the publicistic discourse of Runet blogosphere

The modern analysis of journalist discourse is based on many extralinguistic factors: ethnocultural characteristics of the social environment, creating and sustaining discourse; conditions of political loyalty and the orientation of journalist discourse to the target audience, sources of discourse replenishment and conditions for its self-development in the general discourse-forming environment. These factors have a direct impact on specific ways of delivering information by the authors of the journalistic message to the individual recipient and the mass audience. The relevance of the research is determined, first of all, by the study of the features of the Russian language functioning on the Internet, which fits into the foremost problems of modern Russian studies. The novelty is associated with the analysis of specific ways of linguistic expression of the authors position in Runet journalism, which have not been specially studied so far. The purpose of the research is to consider the ways of expressing evaluation in the texts of the Runet blogs authors. The article shows that implicit ways of expressing the authors evaluation in the Runet texts have the same function as any other evaluative statements: to specifically influence the addressee. The studied material shows that the evaluativeness of the Runet blogosphere authors statements, closely interacting with expressiveness and emotionality, depends on their subjective perception of information and helps them express their point of view. The article highlights the implicit ways of expressing the authors position, which allow in an implicit but understandable form to convey the meaning of the statement to the recipient. The study used materials from Runet blogs, which most vividly and representatively show the features of the Russian-language network journalistic discourse. When working with speech material, analytical methods were used - descriptive (descriptive-analytical) and contrastive, which revealed the linguistic specifics of journalistic discourse, identified and interpreted intra-contextual and intertextual connections, established communication features. The research approaches of discourse analysis and stylistics were also used. The studied material and the results allow to conclude that implicit ways of expressing the authors position have the same goals as explicit value judgments: they emotionally affect the recipient and accurately convey the meaning of the statement. At the same time, implicitness in the Russian language successfully solves the problem of creating and maintaining the authors individuality. The prospects for this study are seen in further scientific development of various implicit ways of expressing the authors position in Runet journalism for further understanding of new processes in the Russian language, in the formation of journalistic discourse and in Russian communication in the digital space.

THE DICHOTOMOUS STRUCTURE OF THE TEXTUAL WORLD OF IVAN FRANKO’S NOVEL "LEL’ AND POLEL’" IN THE ASPECT OF LINGUOPOETICS OF MOTIVENESS

Based on literary studies, the article highlights the text of Ivan Franko's novel "Lel’ and Polel’" from the perspective of motif as a linguistic text category. In this respect, the motive is defined as linked with the personality of the author (narrator) impulse to create the text, related to the psychological aspect of text-creation and actualized by means of certain lingual signals. Understanding the motive as a text-creating category is expressed against the background of the stages of text generation that structure the trajectory of research considerations: situation → actualization of meanings → motive → intention → text concept → semantic organization of text. At the same time, given the presumption of modern French studies on the implicit autobiography of the writer's novels, the conceptual core of the study turns out to be the thesis of the personal senses of the author (narrator) as the basis for the motive. Thus, the effective summarizing positions of the analysis are centered around the linguistic signals associated with the individual consciousness of the sense-creating activity of the writer. In this respect, the intertextual field of the novel is determined to be relevant for grasping the sense, the basis for deriving the motive for creating the text "Lel’ and Pole’l". Intertextual connections, on the one hand, emphasize and maintain the effect of polarity in the text of the novel, and on the other hand, actualize the state of mental dichotomy that the writer experienced throughout his life. On this basis, an implicit presuppositional assessment of life in general and of the man in particular as dual phenomena has been derived, which correlates with the sense-being problem of Franko's life. As a result, the proposed theoretical construct of the logic of understanding the motivation of the text in relation to the novel "Lel’ and Polel’" has been concretized with the conclusive position: the spiritual and mental world of the writer → ambivalent evaluative sense as a basis for the formation of motive → motive, realized in the image of twin brothers → the intensity of explanatory psychology → textual concept as a logos of human destiny. Therefore, the dichotomous structure of the textual world of the novel "Lel’ and Polel’" is realized as a consequence of emanating the nature of the author's motive for the meaningful organization of the text. At the same time, the specificity of the figurative embodiment of the motive, which is consistent with the figurative-conceptual paradigm of text units formed on the basis of changing narrative strategies of the author, connected by means of associative cohesion, determines the centripetal nature of the text of this literary work.

Andrey Bely’s novel Petersburg as Dostoevsky’s hybrid hypertext

Andrei Bely’s “Petersburg” has been analyzed primarily with respect to its intertextual connections with Dostoevsky’s novel “The Brothers Karamazov”. This essay offers a comparative analysis of Nikolai Apollonovich Ableukhov, the main character in A. Bely’s novel, and Nikolai Vsevolodovich Stavrogin, the main character of Dostoevsky's novel “Demons”. We see that, in reality, the “Stavrogin genealogy” of the younger Ableukhov begins already with his name and appearance and continues with extravagant acts committed or only conceived by him. In the context of intertextual connections, other character in Bely’s novel are also considered: Alexander Ivanovich Dudkin – as a kind of hybrid of Ivan Karamazov with Stavrogin, and Nikolai Stepanovich Lippanchenko – as the reincarnation of Pyotr Stepanovich Verkhovensky or his hybrid with Nikolai Stavrogin. We conclude that, on the whole, Bely’s novel is a hybrid hypertext of Dostoevsky’s, in which “Demons” serves in the role of the main hypotext, and “The Brothers Karamazov” plays the role of a secondary hypotext. Thus, the hypertextuality of Bely’s novel in relation to Dostoevsky’s works is its constructive feature, outside of which it cannot be adequately perceived and interpreted.

Intertextual Connections between the Novels The Goat in MILK by Yu. Polyakov and The Joke of the Patron by A. Averchenko

This article is devoted to the analysis of the links between the novels The Joke of the Patron by A. Averchenko and The Goat in Milk by Yu. Polyakov. The purpose of the article is to explain the aspects that bring the two works together, as well as to reveal the characteristics that distinguish Yu. Polyakov from his predecessor. The task is to clarify the traditions of Russian literature and novelty in the novel The Goat in Milk by Yu. Polyakov. In the article, the author examines the similarity of the two works on the plot level, finds similar artistic techniques and motives for the actions of the characters. In addition, the article focuses on the gallery of Soviet writers created by Yu. Polyakov, as well as the important role of the historical event-the collapse of the USSR - in the life of the main characters. In his novel The Goat in Milk , Yu. Polyakov reflects the late Soviet and post-Soviet life in the literary circle. Attention to social phenomena and the development of history in the work of Yu. Polyakov is of great social and historical significance. We can say that Yu. Polyakov did not just borrow the plot of Averchenko, but on its basis he improved the original and gave a peculiar interpretation of the era of change from the point of view of the writer from the Soviet Union.

POETRY OF IRAN IN THE CONTEXT OF THE THEME OF "DEMONISM" BY M.YU. LERMONTOV: BI-DIRECTIONALITY OF THE VECTOR INTERTEXTUAL CONNECTIONS

Статья посвящена изучению воздействия сюжета и идей поэмы Лермонтова «Демон» на поэтов Ирана, осмыслению причин их неослабевающего интереса к образному воплощению демонизма представителем иной ментальности, иного эстетико-культурного опыта. «Демон» неоднократно переводился на персидский язык, но самым авторитетным признан перевод Т. Таша, сыгравший значительную роль в творческой жизни таких современных персидских авторов, как Нима Юшидж и Мохаммад Хосейн Шахрияр. Масштабы влияния на них поэмы Лермонтова не ограничиваются мотивными и образными перекличками. В лексической и синтаксической структуре, в описании природы, в характере повествования и романтическом стиле иранских стихотворений явно прослеживаются следы лермонтовского воздействия. Вместе с тем в статье затронута проблема двувекторности интертекстуальных связей: ставится вопрос об истоках древнеиранского дуализма в «Демоне», о кавказских фольклорных заимствованиях, в частности, трансформации в лермонтовском сюжете осетинского предания о духе Гуд-горы; раскрыто значение символики Иблиса в мистической литературе Ирана. В качестве методологической основы в работе использован сравнительный метод, способствующий выявлению сходства и единства человеческого духа и мировоззрения. Компаративистский анализ творчества иранских поэтов дает также возможность показать особенности взаимодействия национальных культурных кодов. Постановка на уровне архетипа демонизма проблемы выбора между добром и злом, между сопротивлением искушению и отходом от духовно-нравственных норм поведения проясняет акценты художников в изображении дисгармоничности мира как следствия слепых и разрушительных страстей, в обрисовке изъянов и слабостей человеческой натуры, трагизма бытия отступившего и отверженного. Доказывается, что всемирный характер литературы, позволяющий мыслям одного поэта проникать в душу и разум поэта другой национальности, создает единое смысловое поле. Материал и выводы статьи представляют практическую ценность при изучении литературных связей Ирана с другими народами, могут быть использованы в преподавании курсов компаративистики на кафедрах русского языка в иранских университетах. The article is devoted to the study of the impact of the plot and ideas of Lermontov's poem "Demon" on the poets of Iran, understanding the reasons of the unrelenting interest of Iranian authors in the different embodiment of demonism by a representative of a different mentality, a different aesthetic and cultural experience. "Demon" was repeatedly translated into Persian, but the most credited is the translation made by T. Tash, which influenced such modern Persian poets as Nima Yushij and Mohammad Hossein Shahriyar. The extent of the influence of Lermontov's poem on their work is not limited to motivational and figurative roll-calls. In the lexical and syntax structure, in the description of nature, in the nature of the narrative and the romantic style of Iranian poems Lermontov’ influence is distinctly traceable. Alongside with this, the article touches on the problem of two-vector intertextual connections: the question of the origins of the ancient Iranian dualism in “Demon” and the Caucasian folklore borrowings, in particular, the transformation in Lermontov’s plot of the Ossetian Stories about the spirit of Gud-gori; this article, in parallel with this issue, reveals the significance of Iblis's symbolism in Iran's mystical literature. A comparative method was used as a method of work, which allowed to prove the similarity and unity of the human spirit and worldview. Comparative analysis of the work of the Iranian poets also provides an opportunity to show the peculiarities of interaction of national cultural codes. The choice between good and evil on the level of the demonism archetype, between resisting temptation and a departure from spiritual and moral standards of behavior clarifies the accents of artists in depicting the disharmony of the world as the consequence of the blind and destructive passions, in depicting the flaws and weaknesses of human nature, the tragedy of being estranged and outcast. The results of the study contribute to the development of comparative literary studies. The article proves that the world nature of literature, allowing the thoughts of one poet to penetrate into the soul and mind of a poet of another nationality, creates a single semantic field. The materials and conclusions of the article are of practical value in studying Iran's literary ties with other nations, and can be used in teaching comparative studies at The Russian Language Departments in Iranian universities.

Turkic-language interpretations of Quran from Bashkiria of the XIX century as literary monuments

The subject of this research is the literary-aesthetic characteristics of interpretation of Manzil written by Bashkir theologians Bahadirshah al-Qaynawi and Taj ad-Din ibn Yalchigul: the presence of coherent narratives based on the authorial approach towards the interpreted text, literary-aesthetic interpretations of plots and images reflected in the Quranic text directly, intertextual connections of interpretations with the works in other genres. The goal of this article lies in determination and description of the meaningful literary-aesthetic characteristics of interpretations of Manzil. The following tasks are resolved within the framework of this research: 1) determination of the key characteristics of the Tafsir genre, 2) revelation of the role of works under review for the tradition of the Turkic-language interpretation of Quran, 3) description of the literary-aesthetic characteristics of the interpretations by Bahadirshah al-Qaynawi and Taj ad-Din ibn Yalchigu, 4) translation of fragments of their interpretations that are significant from the perspective of literature into the Russian language. The scientific novelty and practical importance of this publication lies in introduction into the scientific discourse of two previously unexplored literary monuments that have not been translated into the Russian language. This significantly broadens the knowledge on the literary process in Bashkiria of the early XIX century. The author concludes that the interpretation of Quran fragments should be viewed in the context of evolution of Bashkir literature of the pre-national period. This opens great potential for studying their intertextual correlations with Turkic-language literary of the earlier period in the genres of “chronicles”, “history of the prophets”, and “miracles of the created”, as well as with sententious literature of the later period.

The War Requiem by Benjamin Britten in the Light of Intertextual Links

The theme of war and peace is one of humankind’s eternal problems and one of the most relevant topics in art at all times. On the 75th anniversary of the Victory in the Great Patriotic War (1941—1945), the author’s research interest is focused on one of the rare works in terms of its power of influence, which tears the mask off the apologetics of war, uncompromisingly and honestly telling about the human price for the military madness. That is B. Britten’s “War Requiem”.The presented experience of art historical analysis is intended to explicate the intertextual connections of the work with a number of texts (verbal and mainly musical) inscribed in a wide socio-historical and artistic context of both the past and contemporary works of the English musician. This way of reading the opus allows to trace the role of dialogue with the European and national tradition in the birth of B. Britten’s text, which is original, innovative in style, highly outstanding in its artistic and civil-ethical merits. With the identification of intertextual inclusions — literary, ideological-shaped, story, genre, musical-lexical, intonational, and those at the level of musical thematism (from the works of Mozart, Berlioz, Tchaikovsky, Shostakovich) — a number of new opportunities appear: to strengthen the emotional experiences of the recipient; to deepen the understanding of the meaning of both individual sections of the requiem and its general concept; to expand the content field of interpretations of the musical score; to ensure that cultural traditions are inexhaustible for relevant art creativity; and finally, to specify our ideas about Britten’s expressed humanist and anti-militarian aspirations, which were dictated not so much by the external reasons (the relevance of the topic during the Cold War, the Requiem’s being ordered for the opening of the cathedral in Coventry), but by his deep sufferings for the fate of the world and humanity. In general, according to the author, the analysis practically confirms the idea that semiosis — the process of interpreting signs and generating meanings in art (including music) — is unlimited, and can cease only with the termination of the existence of the culture itself.

Intertextuality of Yevgen Pluzhnyk's Poetic Legacy

For understanding Y. Pluzhnyk’s poetry in the context of modern discourse, it is valuable to study the content of his lyrics in light of intertextual connections, which are presented in the article at the formal and semantic levels. It was determined that different intertextual forms reveal a functional dependence on the purpose underlying their introduction into the text by Y. Pluzhnyk (the illustrative charge, contrast, tho­ught reinforcement, delimiting observation, accumulation, etc.). The active use of various folkloric, mythological, artistic, and philosophical reminiscences transmits a distinctive repulsion from a known pattern for the sake of a new creative result. The presence of different intertextual types is a unique marker for the semantics embedded within Pluzhnyk’s text, which forms a circle that intertwines moods, worldview, and the author’s philosophy.

«Два романа одного жизнеописания»: «Три года» А.П. Чехова и «Братья Карамазовы» Ф.М. Достоевского

“Two novels of one biography”: “Three years” by A.P. Chekhov and “The Brothers Karamazov” by F.M. Dostoevsky. In contemporary Chekhov studies the significance of Dostoevsky’s creative heritage in Chekhov’ artistic world is increasingly comprehended. They attempt to reveal and interpret intertextual connections with Dostoevsky’s novels, embedded in the subtext of Chekhov’s works. On the one hand, common themes and problems that bring writers closer together are revealed, on the other hand, Chekhov’s polemical rethinking of Dostoevsky’s legacy is noted. Connected with this tendency the article deals with comparative analysis of Chekhov’s story “Three Years” and Dostoevsky’s novel “The Brothers Karamazov”. In this work we try to identify and interpretate the allusions and parallels hidden in Chekhov’s story.