Грехневские чтения: Литературное произведение в системе контекстов
The collected papers contain articles by famous and young scientists on actual problems of philology (cognitive linguistics, lexical semantics, semiotics, pragmatics, text linguistics, stylistics; poetics, literary criticism; translation, intercultural communication). The issue also presents research on foreign language teaching methods. The edition is addressed to linguists, translators, teachers, postgraduates, students and a wide readership.
The paper examines how a writer turns to rewriter who repairs his/her and other works according to changes political conditions. In patrticular, the Soviet writer is a special kind of employee, a machine of an endless improvement - not of style or creative manner but of the ability to guess all whims of authorities and to repent of the mistakes (first of all, potential, imaginary mistakes). The material of Viktor Shklovsky's production may brightly demonstrate how does repair of a text replace an innovative mechanism of its creation in absentia.
The foreword precedes and presents the works by the prominent Hungarian writer and essayist of the interwar period Antal Szerb.
The essay draws on Wyndham Lewis’s literary criticism written in response to some of the major modernist writers between the late 1920s and mid–1930s, which is considered here both as development of his initial critical writings about modern painting and as evidence of a change in his evaluation of the whole modernist practice.
The argument begins by outlining three reasons that make Lewis’s critical oeuvre a valuable object of modernist studies. Firstly, Lewis is a critic who, even in his literary criticism, continuously maintains the point of view of a visual artist, providing commentary upon the significance of the visual in modernist writing, a feature strikingly illustrated in his own fiction. Secondly, Lewis’s criticism thoughtfully and revealingly puts the artist in a specifically modernist position towards modernity, demanding from the former both engagement with and critical distance from the latter. Thirdly, Lewis merits attention by virtue of much better known modernist writers, such as Ezra Pound, James Joyce, and T.S. Eliot, whom he relentlessly criticizes on a number of grounds, offering a uniquely perceptive (if not always fair) first-hand account of their work.
In his early art criticism Lewis was mostly concerned with the limitations he saw in European avant-garde painting, which he considered a challenge to be overcome by truly modern English art, of both visual and verbal kind. If modernist painting at large is defined as a thoroughly grounded in modernity constructive response to overwhelming Impressionist mimesis, Vorticism as the most viable form of modernism is supposed to avoid the dangers (including that of romanticizing modern industrial conditions, limiting oneself to pointless experimentation, or retreating from modernity into purely subjective vision) the artist going in this direction faces. This criticism with the aim of self-identification emphasizes, above all, transformative power that modernist art should gain from the type of detached engagement with modernity proposed for it.
Lewis’s literary criticism, being part of an ambitious project of all-grasping cultural criticism, clearly follows the same oppositional strategy, but with even a bigger determination to distance oneself from “advanced” literature in the post–World War I world. Lewis interprets work of Pound, Joyce and Eliot as different forms of betrayal of two fundamental principles that form the basis of his conception of modernism, namely that, just like visual art, in order to be creative, modernist literature has to deal with the present rather than the past and be an expression, rather than suppression (voluntary or involuntary), of the individual. At the same time, the centrality that criticism gains in Lewis’s output since the late 1920–s indicates his not at first overt reevaluation of the modernist enterprise as it reflects at least a partial failure of creative (as opposed to critical) intelligence in whose name it was created in the first place.
The formulas of fragrances in the Persian classic literature and their semantic composition ("friend's scent", "Yusuf's scent" and "Uvays' scent ") -"terms" or "devices" of poets - are included in the lexical composition of the Persian language, they were often distinguished in the late medieval dictionaries in special sections. Examples of their use are considered in the article.
The collection contains research in the field of folklore, literature and linguistics
Based on the analysis of the image of the hero of the novel A. Ivanov, "The Geographer Globe propyl" discusses the idea of the modern teacher.
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.