WAR POETICS IN TS - ZH. ZHIMBIEV'S NOVEL "THE YEAR OF THE FIERY SNAKE"

В статье рассматриваются этнопоэтические истоки сюжетостроения в прозе Бурятии 2 - й половины 20 века. В основу обзора положен анализ романа «Год огненной змеи» Ц. - Ж. Жимбиева. Выявляются особенности использования символов и понятий этнопоэтики в названии произведения, сюжетной структуре романа и художественный опыт самого писателя в осмыслении начала Великой Отечественной войны, совпавшей по восточному календарю - литэ с годом огненной змеи. Автором статьи смысловое наполнение образа змеи, в мифологии монголоязычных народов выступающей символом врага, опасности, рассматривается в связи и противопоставлении с понятиями «война» как пожирающий огонь (пожар) и «враг» как змея, от которого страдает «народ». На основе анализа сюжетно - композиционной структуры романа доказывается, что чередованием глав «День» и «Ночь» Ц. - Ж. Жимбиев актуализирует смысловую логику понятия «война» как противоестественное состояние жизни, когда всё меняется местами: день становится мрачным и беспросветным проявлением темного, а ночь позволяет уйти от дневного мрака будней в сказочно - загадочное со звездами и небом. Обоснован вывод о том, что соединение реального и мифологического придает сюжету романа особую художественную полноту и национальный колорит, способствует усилению трагического смысла событий года «змеи», раскрывает характеры, моральные качества литературных героев. The article deals with the ethnopoetic origins of plot - building in prose of Buryatia of the second half of the twentieth century. The review is based on the analysis of Ts-Zh. Zhimbiev's novel "The Year of the Fiery Snake". It identifies the features of the use of symbols and concepts of ethnopoetics in the title, the plot structure of the novel and artistic experience of the writer in understanding the beginning of the Great Patriotic war, which, according to the Chinese calendar, coincided with the year of the fiery snake. The meaning of the snake's image, which in the mythology of Mongolian - speaking peoples serving as a symbol of an enemy, danger, is considered by the author of the article in connection and opposition with concepts "war" like a consuming flame (fire) and "enemy" like a snake that oppresses "the people" Based on the analysis of the plot - compositional structure of the novel, it is proved that alternating chapters "Day" and "Night" Ts-Zh. Zhimbiev actualizes the semantic logic of the concept "war" as an unnatural state of life, when everything swaps over: the day becomes a dark and gloomy expression of darkness, and the night allows you to escape from dark daily routine into a fabulous mystery with the stars in the sky. The conclusion is proved that the conjunction of real and mythological essence gives the plot of the novel special artistic completeness and national character, enhances sense of tragic events of the year of the "snake', and reveals literary heroes' tempers and moral qualities.

WAR POETICS IN TS - ZH. ZHIMBIEV'S NOVEL "THE YEAR OF THE FIERY SNAKE"

В статье рассматриваются этнопоэтические истоки сюжетостроения в прозе Бурятии 2 - й половины 20 века. В основу обзора положен анализ романа «Год огненной змеи» Ц. - Ж. Жимбиева. Выявляются особенности использования символов и понятий этнопоэтики в названии произведения, сюжетной структуре романа и художественный опыт самого писателя в осмыслении начала Великой Отечественной войны, совпавшей по восточному календарю - литэ с годом огненной змеи. Автором статьи смысловое наполнение образа змеи, в мифологии монголоязычных народов выступающей символом врага, опасности, рассматривается в связи и противопоставлении с понятиями «война» как пожирающий огонь (пожар) и «враг» как змея, от которого страдает «народ». На основе анализа сюжетно - композиционной структуры романа доказывается, что чередованием глав «День» и «Ночь» Ц. - Ж. Жимбиев актуализирует смысловую логику понятия «война» как противоестественное состояние жизни, когда всё меняется местами: день становится мрачным и беспросветным проявлением темного, а ночь позволяет уйти от дневного мрака будней в сказочно - загадочное со звездами и небом. Обоснован вывод о том, что соединение реального и мифологического придает сюжету романа особую художественную полноту и национальный колорит, способствует усилению трагического смысла событий года «змеи», раскрывает характеры, моральные качества литературных героев. The article deals with the ethnopoetic origins of plot - building in prose of Buryatia of the second half of the twentieth century. The review is based on the analysis of Ts-Zh. Zhimbiev's novel "The Year of the Fiery Snake". It identifies the features of the use of symbols and concepts of ethnopoetics in the title, the plot structure of the novel and artistic experience of the writer in understanding the beginning of the Great Patriotic war, which, according to the Chinese calendar, coincided with the year of the fiery snake. The meaning of the snake's image, which in the mythology of Mongolian - speaking peoples serving as a symbol of an enemy, danger, is considered by the author of the article in connection and opposition with concepts "war" like a consuming flame (fire) and "enemy" like a snake that oppresses "the people" Based on the analysis of the plot - compositional structure of the novel, it is proved that alternating chapters "Day" and "Night" Ts-Zh. Zhimbiev actualizes the semantic logic of the concept "war" as an unnatural state of life, when everything swaps over: the day becomes a dark and gloomy expression of darkness, and the night allows you to escape from dark daily routine into a fabulous mystery with the stars in the sky. The conclusion is proved that the conjunction of real and mythological essence gives the plot of the novel special artistic completeness and national character, enhances sense of tragic events of the year of the "snake', and reveals literary heroes' tempers and moral qualities.

Landscape areas of the dendrological park “Trostyanets”: peculiarities of formation, tendencies of compositional structure changes, and current state

The article presents an analysis of the state and changes in the structural and compositional organization of plantations of landscape areas of the Trostyanets arboretum.

Exhibitions of Soviet fine art in 1930 in the reviews of the foreign press

The article examines the reviews of the German, Austrian and Swedish periodicals about some exhibitions of Soviet fine art held in 1930. On the basis of archival materials, the attitude of the foreign press to the Soviet exhibition projects in Berlin, Vienna and Stockholm is analyzed. The influence of the political orientation of periodicals on the assessment of the plots of the works of Soviet artists is emphasized. When characterizing the painting technique and compositional structure of the works, critics pointed to their continuity from the Western European tradition. Soviet graphics and sculpture made a positive impression. Critics associated the artistic successes mainly with the masters of the old Russian school.

“The Trout Breaks the Ice” by Mikhail Kuzmin: Verse and Grammar

The author explores various compositional levels of the Russian modernist author Mikhail Kuzmin’s long poem “The Trout Breaks the Ice”. The levels are: (1) the grammatical tenses vs. the astronomical time (non-finite verb forms (imperative) are also assumed to indicate time); (2) the meters of this polymetric poem; (3) realistic vs. symbolic and (4) static vs. dynamic narrative modes. The analysis is done by the chapter, and the data are summarized in five tables. It turned out that certain features regularly co-occur, thus supporting the complex composition of the poem. In particular, the present tense and time regularly mark the realistic and static chapters written in various meters, whereas the past tense and time are specific to the realistic and dynamic chapters written in iambic pentameter. The article sheds new light on the compositional structure of Kuzmin’s poem and the general principles of poetic composition.

The Message Is Seen

Chapter 4 moves from France to England, where the growth of fervent evangelical Protestantism and a massive publishing industry resulted in an exponential increase in the reproduction and adaptation of Doré’s imagery. At the heart of this chapter are the monumental religious works produced for the Doré Gallery, established in London in 1868. By relying on consistent compositional structure and highly legible narratives, Doré’s biblical paintings cohere to evangelical principles and functioned counterdiscursively to the visual cultures of spectacle that shaped much of Victorian experience. While French audiences derided Doré’s efforts at painting, British viewers eagerly consumed these works, which were offered in the heart of the commercial art district and provided wholesome entertainment that counterbalanced the more suspect spectacles of nearby neighborhoods. This was a context in which commercialism and religious experience overlapped and which became, as one commentator put it, “where the godly take their children.”

The Compositional Nature of Tense, Mood and Aspect

Bringing together fifty years' worth of cross-linguistic research, this pioneering monograph explores the complex interaction between tense, mood and aspect. It looks at the long way of combining elementary semantic units at the bottom of phrase structure up to and including the top of a sentence. Rejecting ternary tense as blocking compositionality, it introduces three levels obtained by binary tense oppositions. It also counters an outdated view on motion by assuming that change is not expressed as having an inherent goal but rather as dynamic interaction between different number systems that allows us to package information into countable and continuous units. It formally identifies the central role of a verb in a variety of argument structures and integrates adverbial modifiers into the compositional structure at different tense levels of phrase structure. This unique contribution to the field will be essential reading for advanced students and researchers in the syntax-semantics interface.

Tradition and Modernity in the Work of Komi Storytellers (SUS 502 “Copper Forehead”)

Глубокая и прочная связь коми и русской сказочных традиций отмечалась неоднократно, вместе с тем конкретных разысканий по данной проблеме недостаточно. По этой причине в статье предпринята попытка исследовать особенности взаимодействия сказок соседних народов, принадлежащих к разным языковым семьям, но имеющих близкие культурные традиции. Материалом стал сказочный сюжет СУС 502 «Медный лоб». Проанализировав пять вариантов коми сказки, можно заметить, что в них реализованы все значимые эпизоды этого сюжетного типа. Однако наблюдения над коми региональным материалом меняют представление о стабильности законов народной сказки. При современном процессе затухания сказочной фольклорной традиции произошли изменения в наиболее устойчивой ее составляющей - сюжетно-композиционном строении. Широкое варьирование коми сказочниками сюжетов, образов, их трансформация привели к «новеллизации» некоторой части коми сказок, превращению их в авантюрно-фантастические устные повести. Традиционные сюжеты переосмыслялись прежде всего путем контаминации, а также путем сближения фольклорных сказок с русскими книжными произведениями. Приведенные примеры закономерных изменений отнюдь не говорят о полном разрушении его глубинной традиционной основы. Исследование показало, что коми сказочники имели представление о традиционной сказочной обрядности, широко ими пользовались, что во многом способствовало сохранению волшебной сказки как жанра. The strong connection between the Komi and Russian fairy tale traditions has been noted repeatedly, yet research on this issue is clearly insufficient. In this article the author attempts to define the interaction of fairy tales of these neighboring peoples which belong to different linguistic families but which have closely related cultural traditions. Its specific focus is fairy tale SUS number 502 “Copper Forehead.” It examines five Komi variants of the fairy tale that contain all of the significant elements of this plot type. Examination of the Komi material challenges the idea that the laws governing folktales are stable. With the fading of folkloric traditions, there have been changes in fairy tales’ most stable components, their plot and compositional structure. Komi storytellers have introduced changes that transform Komi fairy tales in the direction of “novelization,” turning them to some extent into oral tales of adventure and fantasy. Traditional stories are reinterpreted primarily due to contamination, including bringing folklore tales closer to those from Russian books. At the same time, these normal changes by no means indicate the complete destruction of Komi folklore’s deep traditional basis. The study also demonstrates that Komi storytellers have had a clear notion of traditional fairy-tale patterns and made wide use of them, which has largely contributed to the preservation of the fairy tale as a genre.

Peculiarities of the Compositional Structure of the Text of the English-Language Academic Lecture

The academic lecture is considered to be one of the basic genres of modern English-language academic discourse. The study of the compositional structure of the lecture text is extremely important, since a correctly arranged composition contributes to a better presentation of the topic by the lecturer and systemic learning of the material by the students. The purpose of this research was to identify the compositional features of the text of the English-language academic lecture. To achieve this goal, eight English-language lectures on the humanities were selected and carefully analysed. In the course of the analysis, phases of the lecture were singled out, the hierarchy of its elements was revealed, and the composition matrix of the lecture text was built. The main compositional elements of the lecture are as follows: the pre-text part (title complex), the text part (introduction, body, and conclusion) and the aftertext part (references and expression of gratitude for attention). As a result, the author proved that the lecture text has a matrix structure, whose elements are nonuniform, each being designed to perform its own specific function. The compositional-semantic structure of the lecture captures the movement from the “old” knowledge to the “new”. Further, English-language lectures demonstrate both strong and weak positions. This means that some elements in the text are more important than others. At the same time, the strong position does not have to be rigidly connected with the structure of the text. The following are regarded as strong positions: title of the lecture, names of its subsections, beginning and end of subsections, introductory and closing parts of the lecture, conclusions, semantic repetitions of key information, questions-and-answers part, and in-text references.