Преднамеренное зачеркивание в Интернете и его аналоги в различных коммуникативных средах
The paper deals with deliberate strikethrough in blogs as a form of word play. We propose a description of strikethrough from the point of view of pragmatics. We analyze the frequency of using strikethrough and choosing one of its two types in Russian and other languages. We also describe in detail substitutes for deliberate strikethrough in other communicative environments such as oral speech, literary works, different platforms on the Web. We pay special attention to «verbal strikethrough» in social networks which is implemented using the word «začerknuto» (lit. «crossed out»).
In this work two philosophical concepts are being examined: “world-picture” of Ludwig Wittgenstein and “lifeworld” of Edmund Husserl. The aim of this work is to show that these two concepts have much in common.
The report on the material of titles of Russian electronic media analyzes the polycode phenomenon as one of the specific features of the modern media text, caused by tendency to aesthetization process of verbal communication in the media discourse, enhancing the gaming part, the influence of globalization processes in the society on the specifics of communication. We study such manifestation of polycode phenomenon as the use of a foreign graphic in the Russian-language text headlines. The headers of Russian internet media actively involve untapped foreignlanguage graphical elements, including onimas, poligraphixation, transliteration, Russian words in a foreign graphics. Analyzed the specific character of functioning of inographic element in the context, the interaction of policode headline with the text. These occasional elements have great expressive potential to use them as part of the language game. Foreign-language elements are used for the formal transformation of precedent phenomena by replacing one of the components to transliterated lexeme, are played semantically and phonetically as part of puns. As part of titles these formation perform entertainment functions and enable to attract the reader's attention..
The article deals with linguistic and pragmatic features of the use of word-formative neologisms in the texts of modern Russian media. An analysis is presented of the specific features of word-formative neologisms created by the conventional methods (affixation, affixoidation, complex-suffixal method) and non-conventional methods (hybridization, substitutive word-formation, derivation according to a specific pattern, graphic derivation).
The attention which was shown to Vs.N.Nekrasov’s poetry (not only to his visual texts) by artists of different generations and styles, forced the poet discuss the border between verbal and visual arts, that loosens in the twentieth century, but remains nevertheless permanent and significant. This awareness of the border was inevitable in a situation of unprecedented rapprochement and mutual influence of these arts (for example, the use of a horizontal line in some texts Nekrasov at early 1980s can be compared with the idea of the horizon in Boulatov’s paintings). In a letter to French publisher P.Mréjen about С.Cofone’s book, that played up Nekrasov’s text "Growth" ("A Poem") by its total strikethrough, Nekrasov discusses semantic differences between Russian poetry and their interpretation in the work of book-art. Different cases of strikethrough in the original texts of Nekrasov are further shown, for instance, in early (1970-1980th)) use of strikethrough as a way of marking the "extra", "inconvenient" words (the device has recently become very popular in network imitation of "natural" speech).
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.