Падежный синкретизм в истории славянских парадигм

Case syncretism in the history of Slavic paradigms. The article is devotedto the problem of case syncretism. Specific definitions of this concept and theclassification of its types from different periods of linguistic research are given.Further on, the issues of case syncretism are discussed, with special attentionpaid to its manifestation and regularities in the Slavic languages. The mostcommon cases of syncretism in modern literary languages are presented andcompared to the situation of the Common Slavic period. The problems ofcertain historical aspects of the formal concurrency of case endings and theirpossible causes are touched upon. The article concludes with a brief review ofthe theoretical explanations of syncretism and stresses the applicability ofnatural morphology to solve the questions posed.

Slovak Verbal Derivatives in Background Taxis Constructions

Slovak Verbal Derivatives in Background Taxis Construction. Taxis semantics expresses simultaneity, precedence andposteriority of events in the time span span. Taxis construction contains two propositions in the sentence. Background taxis usually appears in complex sentence s with circumstantial clause clauses, where taxis semantics plays a sub -dominant role role. A verbal derivative , which inherits tense and aspect semantic components from its original verb form, is able to participate in backgroundtaxis constructionconstructions. Semantic peculiarities of the verb predict its involvement in the taxis constructionconstruction. The objective of this paper is to clarify how verbal derivatives function in background taxis constructions in Slovak Slovak.

Достоевский в игровом мире Б. Акунина

Dostoevsky in the Game World of B. Akunin. The article identifies two types of inclusion of Dostoevsky’s legacy in the artistic world of B. Akunin: an open declaration of the work based on which the text is created, and intertextual game with Dostoevsky’s work as a whole. The research material was “A Provincial Detective, or The Adventures of Sister Pelagia” and the novel “F. M.” It is shown that B. Akunin in the trilogy about the Russian provinces directly names the sources (mainly Dostoevsky’s “great Pentateuch”), which removes intertextuality, since it manifests itself during the decoding operation. Study of the genre specificity of the novel “F. M.” leads to the conclusion about the existence of a metatext layer in the text, indicates an increased author’s self-irony and self-reflection, which is a sign of readiness to supplement the detective-adventurous direction of creativity with other artistic strategies.

Травматический опыт сталинизма в романах Гузели Яхиной

The traumatic experience of stalinism in the novels of Guzel Yakhina. The focus of the study is on how the bestselling novels of the young writer Guzel Yakhina reflect on Russian collective trauma and the traumatic experience of the 20th century. The novels Zuleikha and My Children are set in the post-revolutionary period, among ethnic groups who were victims of Stalinist terror. The analysis explores how Yakhina depicts the colonialism of the Soviet empire and the role of mythic and mythological models in the interpretation of historical events.

Проблема личности в диалоге автора и героя «Записок из подполья» Ф.М. Достоевского

The problem of personality in the dialogue of the author and the hero of “Notes from the Underground” by F.M. Dostoevsky. The problem of personality in “Notes from the Underground” is considered in the article in two interrelated aspects. The first is an analysis of the anthropological views of Dostoevsky’s hero, radical for the time of the creation of the story, but positively presented in the existentialism of the twentieth century (Sartre, Camus, Frankl). The second is an analysis of the forms of expression of the author’s position, which paradoxically combines distance from the hero's ideology and attention to his point of view. Dialogism and the internal contradictoriness of the author’s position are considered as a factor that determines the structure of authorship, the organization of the narrative, the functioning of temporal images (“forty years”), the peculiarities of the plot-compositional structure of “Notes from the Underground”.

«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.

Зоонимната фразеологиjа и надворешниот изглед на човекот (на материjал од македонскиот jазик)

Zoonymic phraseology and external Appearance (On Macedonian language material). Zoonyms as an important and numerous lexical layer are often in the focus of interest of linguists. In this paper, zonyms are considered as an integral component of the phrasemes in which they experience complete transformation and lose their basic meanings. More specifically, on this occasion we focus on the zonyms in Macedonian language phrasemes that describe the external appearance of man. For this purpose 54 phrasemes were collected and analyzed in order to determine the zonymic components present in the specific units and their impact on the motivation for the formation of the phraseme and in the formation of its meaning.

Библиски алузии во современиот македонски роман

Biblical Allusions in Macedonian Contemporary Novel. This paper aims to show some models of biblical intertext in Macedonian contemporary novels. The concept “allusion” in this frames is not considered in classical sense, but it means more an inter-play, a ludicrous strategy of postmodern writing. The biblical allusions are interpreted as explicate quotes, implicit references, inclusions, re-writings, parodies, travesties, echoes etc. In the focus of interest are the novels: Novel for Noah by Danilo Kocevski, On the Road to Damascus by Elizabeta Bakovska, The Prophet of Diskantrija by Dragi Mihajlovski and Witch by Venko Andonovski.

O Šokcima u mađarskim enciklopedijskim izdanjima

About the inclusions of the „Šokac” ethnic group in Hungarian encyclopaedic texts. This work does not intend to answer who the „Šokac” ethnic group are, but rather to introduce the ways in which Hungarian encyclopaedic texts represent the „Šokac” people and outline what is emphasised in certain entries or texts that refer to them. The work scrutinises some of the most significant encyclopaedic volumes issued in the period between the years of the late-nineteenth century and the first decade of the twenty-first century. Such volumes are most often intended for the widest possible audience of readers, and therefore mirror the ideological background of their authors, editors, publishers and possibly the reigning authority of their time. In other words, these volumes serve as the reflection of the era they were created in. At the same time, they compile various aspects of scientific and scholarly research and its results, pertaining to the specific historical era of when they were issued.

Живописные реминисценции в фильме Владимира Мотыля «Белое солнце пустыни»

References to Fine Arts in Vladimir Motil’s Feature Film “White Sun of the Desert”. The Soviet feature film “White Sun of the Desert” (1970) by Vladimir Motil is considered a landmark in many ways. The circumstances of filming, screening, release, audience reaction, and the genre and formal language of the film itself all are significant. The article focuses on the filming process in the experimental studio ETO, the specificities of the genre called eastern and some features of the movie’s formal language, namely, the reminiscences of paintings by artists such as Korovin, Kuznetsov, Kustodiev, Larionov, Malevich, Sarian, Jakulov from the beginning of the 20th century.