Imagery in the translations of the gazelle Nizami «Amade bud» («Came») into Azerbaijani and Russian

The subject of scientific research is the textual analysis of the translation of one of the most famous gazelles by a brilliant Azerbaijani poet Nizami Ganjavi (1141-1209) "Amade bud" ("Came") from Persian into the Azerbaijani and Russian languages. The article discusses in detail the imagery created in these translations and their adequacy to the original, as well as a comparative semantic analysis of each beit; it interprets some situational free interpretations of the original made by translators. In each beit are analyzed the concepts on which the transmission of images is built in translation into Azerbaijani and Russian which in poetic translation include size, rhythm, a number of poetic figures and other artistic means. The study was carried out with the use of theoretical-literary and comparative-analytical methods and at the junction of literary criticism and translation studies. The novelty of the work lies in the fact that the research approach applied by the author in comparative analysis allows us to identify methods and means of rendering the high imagery of the primary source in translations of the classical gazelle into Azerbaijani and Russian by recognized poets-translators − Jafar Khandan (1911-1961) and Arseny Tarkovsky (1907-1989), which makes an undoubted contribution to the development of the basic translation problem − the adequacy of literary translation. Naturally, the concept of imagery in the three texts is expressed differently, due to the typological differences of the compared languages. The Azerbaijani language is agglutinative, while the Persian and Russian languages are inflective. Accordingly, in the comparative analysis all the linguistic subtleties of each language are taken into account in the process of poetic imagery creation as well as their adequacy. Also, a detailed textual conceptual comparative analysis of the poetic text of one gazelle in three languages − the original Persian and translated Azerbaijani and Russian − allows us to draw an important conclusion that an adequate translation fiction text is undoubtedly a work of art in itself that has a long-term aesthetic and substantive value, which makes the position of a number of translation scholars insisting on the need of updating translations irrelevant.

The Idiolect of Ernestine de Champourcin in Terms of Cultural Accommodation

This article is devoted to the idiolect of Ernestina de Champourcin, a contemporary of the Generation-27, an iconic group of Spanish poets of the 20th century. The authors propose is to consider the poetess's idiolect in the aspect of cultural accommodation beyond the traditional translation discourse, through the analysis of two poetry collections - Presencia a oscuras and Primer exilio which stand at the turn of two stages of Ernestina de Champourcin's creative work. The authors analyse the aesthetic, cognitive and linguistic vectors of the poet's idiolect and systematise the reasons for its dynamics. On the basis of the comparative analysis of the elements of the poetic idiolect of her works of different periods, the authors note that the idiolect evolves in accordance with the conditions created by cultural accommodation, and therefore the consideration of cultural accommodation is possible not only in the context of translation adequacy and equivalence, but also chronologically, at the level of idiolect, as evidenced, in particular, by the use of regional variations of lexical units, syntax and the prevalence of this or that temporal plane. The analysis of idiolect makes it possible to narrow the perspective of the material under study, and thus represents the first link of the work on poetic translation. It is argued that the translation of a poetic text is impossible without considering the internal cultural accommodation of the idiolect, which takes place according to the cultural accommodation of the individual and independently of the translation. Based on their analysis, the authors emphasize the role of idiolect as a key factor in the studies devoted to the chronological description of the creative formation of any poet.

World War I Through the Eyes of a Cavalryman: an Overview of the Diary Entries

The work is devoted to the analysis of the field diaries of the participant of the First World War V.D. Efremov (1890–1978), a native of the Chuvash village of Ilyutkino, Staro-Maksimkinskaya volost, Chistopol district, Kazan province. The purpose of the research is to study the document in the context of historical events and introduce them into scientific use. The work is based on the author's field materials. The document is analyzed from a historical perspective. At the same time, in this work, the author turns to ethnographic and literary approaches. V.D. Efremov (1890–1978) – cavalryman of the 5th squadron of the 14th Dragoon Little Russian regiment. His diary entries were made in Russian in 1915 on the territory of Belarus. The value of this document lies in the fact that it represents the records made during the hostilities themselves. There is not so much evidence of this kind in Russian historiography. The records allow us to trace the movement of a soldier for more than six months and his perception of military events. Interesting in the diary is a poetic text in the Chuvash language, the author of which is K.D. Efremov, brother of a soldier. The song is filled with philosophical content and was written in the folklore traditions of the Chuvash people.

Արտահայտչամիջոցների գործառույթները Կոմիտասի «Անտունի» երգում (Ի՞նչ է լսել Դեբյուսին «Անտունի» երգում)

Հոդվածը նվիրված է Կոմիտասի «Անտունի» երգին: XX դարասկզբին Փարիզում Կոմիտասի դասախոսությունների և համերգների շնորհիվ ֆրանսիացի անվանի գործիչները ծանոթացան հայ հոգևոր և ժողովրդական երաժշտության գլուխգործոցներին: Դրանք արժանացան Ռոմեն Ռոլանի, Գաբրիել Ֆորեի, Լուի Լալուայի և այլոց բարձր գնահատականին: Ի թիվս այլ երգերի՝ հնչեց «Անտունին», որը խորապես հուզեց հատկապես Կլոդ Դեբյուսիին: Սույն հոդվածում փորձ է արվում լուսաբանելու Դեբյուսիի բարձր գնահատականի շարժառիթները: Վերլուծվում է բանաստեղծական տեքստը, մեղեդին, այնուհետև Կոմիտասի՝ երգից բխեցրած դաշնամուրային նվագակցությունը: Անշուշտ, Դեբյուսին նկատած կլիներ Կոմիտասի զգայուն, յուրօրինակ վերաբերմունքն առանձին հնչյունին, նրբերանգներին, լուսաստվերներին, ինչը բնորոշ էր հատկապես իմպրեսիոնիստներին: Օրինակ՝ «Անտունի» երգի միայն վերջին 12 տակտում Կոմիտասը զետեղել է 35 կատարողական ցուցում: Ավելին՝ հատկանշական են նվագակցության և ռեգիստրների հնչուժի հուժկու հակադրումները, բևեռացումները՝ հատկապես 37-38-րդ տակտերում: Այստեղ վոկալի հնչողությունը երկու ֆորտեից նվազում է մինչև երկու պիանո, մինչդեռ նվագակցությունը հնչում է երկու ֆորտե: Դաշնամուրի այդ «մռնչյունը», տիեզերական կոչը հոդվածագիրը համեմատում է Հրեշտակապետի փողի հետ, որը «Ցասման օրը» պիտի ազդարարի «Ահեղ Դատաստանի» սկիզբը: Նման սուբյեկտիվ մեկնաբանությունը չի բացառվում, քանի որ երգն ունի նաև գոյաբանական հնչեղություն: Բացի այդ՝ նախքան ձայնի մուտքը դաշնամուրային նախաբանը նմանակում է եկեղեցական զանգերին, ինչը ոչ միայն երգի համար ստեղծում է հնչյունային դաշտ, այլ նրան հաղորդում է խորհրդավոր բնույթ: Ահա նաև այս զանգերն են, որ կարող էին Դեբյուսիի հոգում արթնացնել իր իսկ «Զանգեր սաղարթի միջով» և «Ջրասույզ տաճարը» դաշնամուրային պիեսների կերպարները: This article is dedicated to the song Antuni by Komitas.At the beginning of the 20th century, thanks to Komitas's lectures and concerts held in Paris, famous French figures got acquainted with the masterpieces of Armenian folk and sacred music. They were highly praised by Romain Rolland, Gabriel Faure, Louis Laloy, and others. Among other songs, Antuni was performed there, which deeply touched Claude Debussy. This article attempts to shed light on the reason of Debussy’s high appreciation. The poetic text, the melody, and then the piano accompaniment are analyzed which are derived from the song itself. Debussy would have noticed Komitas's sensitive and unique attitude to individual sounds and nuances, which was especially typical of the Impressionist artists. For example, in the last twelve bars of the song Antuni, Komitas has written as much as 35 performance marks. Moreover, the strong contrasts of dynamics in different ranges in the accompaniment are to be noted, especially in the bars 37-38. Here the volume of the voice decreases from ff to pp, while the accompaniment continues sounding ff. The author of the article compares this "roar" of the piano, the cosmic call, to the trumpet of the Archangel, which will announce the beginning of the “Day of Wrath” on the “Doomsday.” Such a subjective interpretation is not excluded, as the song also has an ontological meaning. In addition, before the voice enters, the piano accompaniment imitates church bells, which not only creates a sound environment for the song, but also endows it with a mysterious character. These are the bells that could awaken in Debussy's soul the characters of his own piano works.

The influence of poetic and musical rhythm on the perception and comprehension of an educational text by an Ancient Greek student

The article presents the results of the historical and psychological reconstruction of educational reading in an Ancient Greek school. The purpose of this reconstruction was to identify the psychological mechanisms of influence of the musical and poetic rhythm on the student's personality, to determine the pedagogic potential of the poetic text as a means of raising, to reveal the psychological mechanisms of the activity of the text as a subject of educational reading. The educational effects of the rhythm of the mythological and poetic text in the context of the formation of the socio-cultural identity of an Ancient Greek student are revealed. The psychological mechanisms of the participation of poetic and musical rhythm in the organisation of the practice of reading in an Ancient Greek school are described. It is noted that the poetic rhythm of the text suggests a special way of participating in the teacher's educational reading. Based on the reconstruction, it is concluded that the rhythmically intense educational mythological and poetic text has the ability to evoke an emotional response in the student, influence his unconscious attitudes, and impose emotional and semantic dominants of perception and understanding of what is written. The most important task of modern education is found in the formation of student's sense of rhythm in the process of educational reading. It is noted that this sense of rhythm in a modern school can be formed by referring to educational texts and texts used in youth culture.

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.

Chinese Text in a Poem by N. Gumilyov

The article considers N. Gumilevs poem The Moon at Sea from the cycle Porcelain Pavilion. New in the work is the interpretation of the poem, the identification and explanation of the Chinese realities of N. Gumilevs poetic text. Revealed the original texts, which became the basis for the creation of N. Gumilevs poem The Moon on the Sea, considered a version of the poem, preserved in the poets manuscript. The authors reasoning and conclusions are based on critical research, which compares two cultures. The analysis of N. Gumilevs poem is carried out in the semantic aspect using the search for textual parallels. Interpretation of N. Gumilevs poem The Moon on the Sea allows, on the other hand, to approach the world outlook of the Silver Age culture, explains the genesis of the image of China in N. Gumilevs poetry.

The Dorjéling Armoury in the Potala According to the Fifth Dalai Lama’s gsung ’bum

Although the government established through the alliance of the Gélukpa (Dge lugs pa) and the Khoshud in 1642 took its appellation from the Ganden Palace (Dga’ ldan pho brang/Ganden Phodrang) at Drepung (’Bras spung), the symbolic seat of power of this government was the Potala, at the same time fortress, administrative centre, earthly copy of the celestial palace of Avalokiteśvara, and official residence of the Fifth Dalai Lama. Less known, however, is that the Potala also came to symbolise military readiness. It acquired this new martial function in 1667, when an armoury, called Dorjéling (Rdo rje gling), was set up at the base of the White Palace. The Fifth Dalai Lama memorialised its establishment with a poetic text, which is included in volume nineteen (ma) of his collected works. This paper examines this text, which provides information both on the contents of the armoury and on the logic employed to justify the creation of spaces dedicated to military preparedness within a palace that was fast becoming one of the most revered sites in the Tibetan sphere.

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.

THE GREAT GATSBY BY F. S. FITZGERALD: POETIC TEXT

В статье обсуждается вопрос о понимании текста на основе восстановления читателем смысла «поэтическое» как инварианта жанрового смысла культуры. Ритмический рисунок романа является одновременно и важной характеристикой стиля текста и основанием для отбора автором стилистических изобразительных средств. Смысл «поэтическое» прослеживается на всех уровнях организации высказывания и помогает восстанавливать его более частные смыслы. The article discusses the issue of understanding the text based on the reader's restoration of the meaning of «poetic» as an invariant of the genre meaning of culture. The rhythmic pattern of the novel is an essential characteristic of the author's style and, at the same time, the basis for the selection of stylistic pictorial means. Rhythmization can be traced at all levels of the organization of the utterance and helps to restore its more particular meanings.