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.

Сохранность и изменяемость поэтико-стилевых слагаемых в разновременных записях песни «Шара Гюргю» эпоса «Джангар»

Introduction. In the system of artistic and visual means, the epithet occupies one of the important places. To create a heroic image, the narrator uses epithets that characterize the status of the hero, age and heroic merits of the heroes. Goal and tasks. The purpose of the article is to study artistic-identifying combinations - epithets in the recordings of the song “Shara Gyurgyu” at different times, to identify their preservation and change over time. To achieve the goal, the following tasks were solved: epithets were identified in three different-temporal texts of the song “Shara Gyurgyu” (1862, 1970, 1971), a comparative analysis of artistic-identifying combinations in the texts of different dzhangarchi was carried out. Method. To study the poetical and stylistic texture, we applied the comparative method. The material of the research was records of different times: 1) “The Song about how the famous Ulan Shovshur of the mangas khan of the Ferocious Shara Gyurgyu reproached the Maloderbet cycle of 1862; 2) an audio recording of “Songs about the duel of a lion [-the hero] Ulan Khongor the Beautiful with the Ferocious Shara Gyurgyu” by Jangarchi Telty Lidzhiev 1970; 3) audio recording of “Song of Shara Gyurgyu” by jangarchi Mikhail Mandzhiev 1971. Results. The study of epithets in recordings of the song “Shara Gyurgyu” at different times showed that over more than a century that has passed since the first recording, the epic text in its artistic embodiment has undergone changes. The song “Shara Gyurgyu” of the Maloderbet cycle of 1862 is distinguished by an abundance of epithets, while in the recordings of the late tradition of the epic, there is a transformation of the artistic level of the text. Storytellers Teltya Lidzhiev and Mikhail Mandzhiev adhere to the main plot structure in the process of performance, without sharpening attention to poetic tropes. Observations of the texts of different storytellers at different times show that Dzhangarchi, having a wider epic knowledge, performs the song in accordance with the criteria of fidelity of reproduction, following the tradition of the epic school to which he belonged. A comparative analysis of recordings of the song “Shara Gyurgyu” at different times allowed us to identify constant units at the level of textual embodiment, which accumulate the poetical and stylistic basis of the epic narrative and mark the key links of the epic narration of the Kalmyk heroic epic “Dzhangar”.

Сюжетные звенья калмыцкого «Сказания о Гесере-богдо» в записи от Ш. Д. Дорджиева (1893–1984): содержательный состав

Introduction. The article aims to analyze the plot lines of the Kalmyk ‘Gesr bogdyn tusk tuuҗ’ (The Legend of Geser Bogdo), performed by Sh. D. Dordzhiev and written down in 1982. So far, the legend has not been examined. The present authors begin with analyzing the way the storyteller composes his narrative in terms of structure and content, while identifying parallels with other epic narratives of Geser. Materials and methods. The study focuses on The Legend of Geser Bogdo recorded from Sh. Dordzhiev, and special attention is paid to S. Neklyudov’s methodological generalizations on the scheme of typical elements within Mongolian epic narratives. Results. The analysis shows that the plot structure of the Legend of Geser Bogdo in question includes a set of motifs that are standard for Geser epic narratives and are logically consistent (heavenly origin, difficult childhood, marriage, demonic fight, etc.). At the same time, individual details of the narrative were modified to a degree. Two storylines (matrimonial and military) are clearly indicated by the narrative, which reflects the memory of Kalmyks of the special character of Geser, the warrior and the defeater of demons. The authors conclude that the Kalmyk Legend of Geser Bogdo was based on the well-known invariants of plot lines and motifs in the oral versions of Geser epic, creatively modified when performed by the narrator.

LINGUISTIC PROCEDURAL SUPPORT FOR THE RESEARCH OF THE RUSSIAN FAIRY TALE PLOT

The article is devoted to one of the ways of studying the plot of a fairy tale, which was developed as a result of a consistent comprehensive understanding of ideas and concepts in the Russian and French schools of plot composition. The article provides an analytical representation of the concepts of the actant and the actant model, as well as highlights the main stages of the procedure for identifying them from the text. Special attention is paid to the identification and analysis of the verbal expression of the functional and qualitative characteristics of the characters of a fairy tale. Functional characteristics allow us to determine the actant position of the hero in the plot model, and qualitative characteristics help to identify his spiritual traits. In the article, Greimas's methodology is used to correctly identify the plot structure of the Russian folk tale "The Tsar Maiden". To illustrate the research procedure, a fragment of the actant analysis of the fairy tale is given, which presents the procedure of studying a parallel corpus of statements, containing all characteristics and functional messages of one of the characters of the fairy tale. As a result of the semantic analysis of verbal qualitative and functional characteristics, the actant position of the character is determined, which helps to reconstruct the actant model, which is the constructive basis of the tale's plot.

Keats's Haggard Shadow

This article discusses how John Keats’s biography and poetry exerted influence on the development of the plot, structure, protagonists and metaphorical framework of Patrick McGrath’s novel Dr Haggard’s Disease (1993). Furthermore, it contends that the novel does not simply aim to pay tribute to Keats or to function as a literary emulation or even mimicry of Keats’s life and oeuvre. Instead, the novel suggests a postmodernist comment on Keatsian Romanticism as expressed in Keats’s poetry. An interpretation of Dr Haggard’s Disease as historiographic metafiction with an emphasis on the intertextual links between McGrath’s novel and Keats’s work makes clear that the novel’s narrator and protagonist, Edward Haggard, by way of subversion and distortion devaluates the Keatsian dichotomies of real/ideal and Truth/Beauty.

An Archetypal Reading of the Mythic Representations in Seamus Heaney's Selected Poems

Archetypes reveal the shared roles among universal societies. This archetype may create a shared imaginary which is defined by many stereotypes that have not separated themselves from the traditional, biological, religious and mythical framework. In the same way, archetypal criticism represents that body of many stereotypes including plot structure, symbols, character type, themes that occur in mythology, religion, and stories across cultures and time periods. Heaney poetry has rested on a wide range of mythic patterns and archetypal images, particularly the image of the scapegoat/sacrificial victim and earth goddess. His archetypal images have been identified with the contemporary issues in his country. Therefore, this paper explores the underlying archetypal pattern that Heaney implies in some selected poems. These poems target the mythological heritage of his homeland which he either celebrates or criticized. His poems exhibit the poet's unconscious attachment to the universal archetypes which set social phenomena.

Juan Marsé: Broadening the Definition of the Catalan Nation

<p>This thesis argues that Catalan writer Juan Marsé (1933-2020) proposes, in a number of his novels, a postmodern construction of concepts of national identity in the case of Catalonia. The novels which are analysed in this study are Últimas tardes con Teresa (1966), La oscura historia de la prima Montse (1970) and El amante bilingüe (1991). Marsé’s innovative and open concept of the nation is presented in these works through three different strategies, which I refer to as discursive, narrative and linguistic. Marsé’s discursive strategies are traced within the framework of textual semiosis, and comprise, for example, certain vocabulary choices over others, or the predominance of adjectives in certain parts of the text. These strategies thus relate to syntactical and grammatical aspects of the texts. Secondly, the author’s narrative strategies are those related to the works’ themes, linked to the analysis of the plot structure and the novels’ settings and characters. The central issue addressed here is the inclusion of the figure of the charnego in the novels selected for study. The derogatory term charnego was coined in Catalonia to refer to people who migrated from the south of Spain to Catalonia during the 1960s. This wave of Spanish-speaking immigration increased the population of Catalonia by almost 1.5 million, and was overwhelmingly seen as negative by locals at the time. The representation of this figure in these novels is examined through an analysis of the physical descriptions and psychological portrayals of these characters, as well as the vocabulary used in these representations. My discussion of Marsé’s narrative strategies also considers the different ways in which he portrays the idea of what it means to be “Catalan”; that is, the habits, traditions or symbols that traditionally provide a basis for identity. Finally, the linguistic strategy that runs through all Marsé’s work can broadly be defined as the choice of Spanish—as opposed to Catalan—as his literary language. This thesis argues that this choice is not only a strategic one in terms of the broader dissemination of his message but is also a key element in his construction of a broader notion of Catalan nationhood. These strategies interweave to present a shifting representation of Catalan national identity informed by postmodern perspectives and in opposition to traditional concepts of nationhood. Over the course of these three novels, Marsé progressively blurs the boundaries between what is traditionally viewed as “the Catalan” and “the Other”. Through his portrayal of certain characters and spaces, and with significant linguistic interference from Catalan in his Spanish, Marsé undermines traditional boundaries between the identities of Self and Other and suggests a more fluid idea of nationhood. This thesis makes three important contributions to existing scholarship. Firstly through its analysis of Marsé’s postmodern construction of Catalan national identity in these three novels. Secondly, this study also comprises a detailed examination of La oscura historia de la prima Montse (1970), which has not been extensively studied by scholars to date. The comprehensive analysis of Marsé’s use of language is a third original component of the study. It opens new possibilities for the linguistic analysis of other novels, both Marsé’s and those of other Catalan writers.</p>

Juan Marsé: Broadening the Definition of the Catalan Nation

<p>This thesis argues that Catalan writer Juan Marsé (1933-2020) proposes, in a number of his novels, a postmodern construction of concepts of national identity in the case of Catalonia. The novels which are analysed in this study are Últimas tardes con Teresa (1966), La oscura historia de la prima Montse (1970) and El amante bilingüe (1991). Marsé’s innovative and open concept of the nation is presented in these works through three different strategies, which I refer to as discursive, narrative and linguistic. Marsé’s discursive strategies are traced within the framework of textual semiosis, and comprise, for example, certain vocabulary choices over others, or the predominance of adjectives in certain parts of the text. These strategies thus relate to syntactical and grammatical aspects of the texts. Secondly, the author’s narrative strategies are those related to the works’ themes, linked to the analysis of the plot structure and the novels’ settings and characters. The central issue addressed here is the inclusion of the figure of the charnego in the novels selected for study. The derogatory term charnego was coined in Catalonia to refer to people who migrated from the south of Spain to Catalonia during the 1960s. This wave of Spanish-speaking immigration increased the population of Catalonia by almost 1.5 million, and was overwhelmingly seen as negative by locals at the time. The representation of this figure in these novels is examined through an analysis of the physical descriptions and psychological portrayals of these characters, as well as the vocabulary used in these representations. My discussion of Marsé’s narrative strategies also considers the different ways in which he portrays the idea of what it means to be “Catalan”; that is, the habits, traditions or symbols that traditionally provide a basis for identity. Finally, the linguistic strategy that runs through all Marsé’s work can broadly be defined as the choice of Spanish—as opposed to Catalan—as his literary language. This thesis argues that this choice is not only a strategic one in terms of the broader dissemination of his message but is also a key element in his construction of a broader notion of Catalan nationhood. These strategies interweave to present a shifting representation of Catalan national identity informed by postmodern perspectives and in opposition to traditional concepts of nationhood. Over the course of these three novels, Marsé progressively blurs the boundaries between what is traditionally viewed as “the Catalan” and “the Other”. Through his portrayal of certain characters and spaces, and with significant linguistic interference from Catalan in his Spanish, Marsé undermines traditional boundaries between the identities of Self and Other and suggests a more fluid idea of nationhood. This thesis makes three important contributions to existing scholarship. Firstly through its analysis of Marsé’s postmodern construction of Catalan national identity in these three novels. Secondly, this study also comprises a detailed examination of La oscura historia de la prima Montse (1970), which has not been extensively studied by scholars to date. The comprehensive analysis of Marsé’s use of language is a third original component of the study. It opens new possibilities for the linguistic analysis of other novels, both Marsé’s and those of other Catalan writers.</p>

“Losing a Leg to Gain a Wife”: Marriage, Gender, and the Prosthetic Body Part

This chapter traces representations of male and female prosthesis users in the marriage plot, the nineteenth-century narrative form most heavily populated by users of prosthetic devices. Building on the work of scholars such as Martha Stoddard Holmes and Talia Schaffer, who expose the important roles that disabled characters perform in Victorian marriage plots, this chapter identifies the prosthesis-marriage plot as a related yet separately identifiable formulaic plot structure. As the chapter argues, when viewed collectively, and at times also individually, prosthesis-marriage plots present unstable affective and imaginative treatments of prosthesis users. These representations shed light on the complex ways in which discourses of gender, class, and ableism intersect and how, in particular instances, the bodily status quo is challenged, brought into question, or even outright rejected.