"Вселенная внутри нас": "Гамлет" Б. Пастернака через призму философии немецкого романтизма
The article is devoted to the analysis of Boris Pasternak’s “Hamlet” with the help of some of the key concepts of the philosophy and motives of German romanticism, such as the theater, the night, the world soul, the microcosm and the macrocosm. The author also refers to the concepts of Mikhail Bakhtin’s chronotope and polyphony and to the concept of intertextuality, referring to the influence of German romantic poets on Boris Pasternak’s work.
The goals of research on conceptual metaphor in discourse are at present remarkably multifaceted, from describing specific social, pragmatic, rhetorical, aesthetic, and discursive functions in real discourse data, through assessing metaphor entrenchment in the cultural and conceptual system, to identification methods as well as criteria for metaphorical mapping description and classification. The volume the reader is about to explore provides a broad panorama of perspectives tackling diverse aspects of metaphor analysis, including a wide range of topics such as the levels of source domain knowledge configuration, new Metaphor analysis in discourse. Introduction 7 target domain knowledge, conscious usage, metaphor identification procedures, communicative functions, linguistic metaphor, visual modes of metaphorical expression, corpus processing, trans-modal metaphor, among others. One of the assets of this collective work consists in showing how the scrutiny of metaphorical connections in multimodal discourse reveals the conceptual nature of metaphorical thinking. The book is organized in three parts, each one focussing on certain aspects of metaphor analysis in discourse. The first part emphasizes the description and characterization of metaphorical knowledge. The chapters offer a view on knowledge configurations like image schemas, frames, scenarios and domains that configure particular kinds of discourse and knowledge. The second part puts the stress on communicative aspects, particularly on the analysis of author/speaker intentionality and the tools to measure intention and effect in metaphor usage. Finally, the third block in the volume delves into the intricacies of disclosing metaphorical codes in non-linguistic modes of semiosis, be it cartoons, film, or other visual media.
Plato’s interest in vision and the visual is multifaceted, and complex. Visual words and images are frequent in the dialogues along with many direct and indirect discussions of physiological, intellectual, and social vision. The increased emphasis in recent scholarship on the importance of visuality in Plato is a part of a ‘scopic turn,’ the effect of which was to ground interpretations of the history of western European philosophy and metaphysics in its entirety in certain optical premises.
This article considers the model of metaphorical transfer of names of natural (atmospheric) phenomena. The worn inner form of many metaphors needs to consult the diachronic aspect, which allowes us to determine the conceptual transfer vector - the emotional attitude of speakers to natural phenomena, deterministic fear of them, faith in their supernatural origin.
The monograph presents a scientific and theoretical edition and devoted to the problem of polysemy with a cognitive-semantic context, in particular, complex, not single metaphors and their cognitive heuristic function. The study is based on further development and elaboration of the theory of custody schemes of J. Lakoff and M. Johnson, and considers a metaphor as a tool for systemic understanding of deep conceptual spheres, giving the structural cohesion to the human experience. Cognitive approach to the scientific study assumes that the entire role in the formation of language values belongs to the person as a participant of communication, the observer and the media of knowledge and some experience.
Meaningful life is emotionally marked off. That’s the general point that Johansen (IPBS: Integrative Psychological & Behavioral Science 44, 2010) makes which is of great importance. Fictional abstractions use to make the point even more salient. As an example I’ve examined Borges’ famous fiction story. Along with the examples of Johansen it provides an informative case of exploring symbolic mechanisms which bind meaning with emotions. This particular mode of analysis draws forth poetry and literature in general to be treated as a “meaningful life laboratory”. Ways of explanation of emotional effect the art exercises on people, which had been disclosed within this laboratory, however, constitute a significant distinction in terms that I have designated as “referential” and “substantive”. The former appeals to something that has already been charged with emotional power, whereas the latter comes to effect by means of special symbolic mechanisms creating the emotional experience within the situation. Johansen, who tends to explain emotions exerted by the art without leaving the semiotic perspective, is drawn towards the “referential” type of explanation. Based upon discussions in theory of metaphor and Robert Witkin’s sociological theory of arts it is demonstrated an insufficient of “referential” explanation. To overcome a monopoly of “referential” explanation of emotional engagement, in particular, in literature, means to break away from the way of reasoning, stating endless references to “something else”, presupposing the existence of something already significant and therefore sharing its effects.
The article offers a detailed analysis of Louis-Ferdinand Celine’s individual style on the material of his novel Voyage au bout de la nuit. In particular it is focused on the author’s characteristical choice of the invective vocabulary, aimed at creation of a peculiar esthetic space of the literary work under study.
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.