From (theogonic) mythos to (poetic) logos: reading Pindar’s genealogical metaphors after Freidenberg
The chapter examines the academic dispute in newspapers between two legal scholars on details of the judicial reform in Russia in terms of rhetoric.
This paper explores the ways of displaying anger in the Russian linguistic image of the world. According to the National Corpus of the Russian Language, anger dims eyes, makes blind and mad. In metaphorical projections, anger is defined in relation to the structural elements of other subject areas, including fluid, wild animals, natural disasters, fire, lightning, or thunderstorm. By analogy with some resources, anger is collected, wasted, and exhausted; by analogy with water, anger overflows and boils; by analogy with fire, inflames, and fades, anger can flare up and fade; by analogy with wild animals, it can be curbed, tamed, or subdue. It is quite common that speakers do not pay attention to metaphorical expressions but take them almost for the objective characteristic of anger.
The problem of truth-values of indirect meanings is discussed within the semantical theory of indirect meaning proposed by the present authors in a dialogue with Hintikka and Sandu’s theory. The authors preserve the key notion of the latter, the meaning line, but put it into different semantics (non-Fregean situational) and logic (paraconsistent). Like the contradictions, the indirect meanings tend to an explosion (there are always such possible worlds where they are true); to make them meaningful, there is a need of singling out the only relevant transworld connexion among the infinite number of the possible ones. The meaning line serves to this purpose. An analysis of the simplest semantical constructions with indirect meaning (tropes, humour, hints, riddles, etc.) is proposed.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.