In both poems, Mayakovsky allies himself as speaker with a lone victim of widespread scorn, offering idiosyncratic consolations that utilize his own humor—a humor steeped in the language and attitudes of childhood—as an antidote to and shield from vicious laughter. The purpose of this essay is to describe the category structure of Verbs of Speaking in Russian.
A Speech event is realized variously in a complicated event structure. Traditionally the meaning of a linguistic unit can be considered discomposable into parts, and the reassembly of the parts produces the meaning, but a number of units in natural language have already shown that this decomposition theory does not explain all cases. Instead of this semantic decomposition theory, in the present study network analysis is used. A network analysis can be divided into micro and macro network analyses: The micro network analysis involves the constructional characteristics of the verbal phrases, while the macro network analysis pertains to a group of words with conceptual similarities.
In other words, this network analysis is an attempt to investigate the meaning of a language unit integrating conceptual and morphosyntactic approaches. This integration method may represent both the inherent semantic structure and the status of the unit in the whole lexicon more effectively than the decompositional approach. This method is similar to WordNet in a way, but it is different in its method of investigation.
Simultaneously this method helps to reduce the number of subjective interpretations on the part of the researcher. Using the Russian National Corpus is another way to examine existing theories and semantic descriptions. This research intends to find a way of testing the current theories and of describing the use of a language unit more accurately and empirically. At the heart of Berlinsko okno is the idea that, not unlike post Germany, Serbia should confront its recent past, especially its role in the wars of Yugoslav succession.
Emphasizing the task of not forgetting the victims of the violence of the s, the novel provocatively engages in the current debate among Serbian writers and literary critics about the social role and political relevance of literature today. This article discusses the nature of some of the mathematical ideas entertained by Daniil Kharms and other former members of the OBERIU and chinari group in the s. This interest is deliberately and programmatically amateurish, and is socially opposed to the institutionalization of knowledge at the same time as it is epistemologically opposed to rationalism in the broad sense of the term.
This article for the first time examines the poetic voice of a fictitious Symbolist woman poet and literary diva, Cherubina de Gabriak , created by poets Maximilian Voloshin and Elizaveta Dmitrieva. The author focuses on the personal subtext of Cherubina de Gabriak's poetry, which made a living poet out of an artificial mask: the themes of love and poetic self-determination. Dobroliubov and N.
Chernyshevsky is built around two potentially conflicting principles.
In his view, Krzhizhanovsky subjects the nature of reality and our sense of the mind's activity to radical intellectual experimentation. The myriad short stories and novellas created by Russian Modernist author Sigizmund Krzhizhanovsky distill the scientific, philosophical, and literary essence of his era and encapsulate it in prose filled with pyrotechnic wordplay.
Often framed as a prodigious yet ultimately unsuccessful talent besieged by phobias, dogged by fickle fate and doomed by mystically self-fulfilling prophecies, Krzhizhanovsky was actually finely attuned to problems that were of paramount importance to his literary contemporaries. In particular, Krzhizhanovsky was intrigued and inspired by scientific and philosophical theories surrounding the existence of a fourth dimension, including those of Minkowski, Uspensky, and Bergson, and by popular experiments in optics and the nature of light.
Among the protagonists in his stories are many starving, idealistic writers and inventors, as well as figures from Western philosophy whom Krzhizhanovsky has fictionalized into his imaginative narratives.
Исполины (Russian Edition) by [Куприн,Александр Иванович] снег, веселая толпа, освещенные окна игрушечных магазинов, бедные дети, глазеющие. Днем он не решался даже приближаться к жилищу Руфи, но по ночам, словно вор, бродил вокругдома Морзов, украдкой глядя на освещенные окна и.
In a key essay from , Krzhizhanovsky uses a systematized series of schemata, description, and reasoning to position theater in a model of levels of consciousness that relates the theater to both the Continental philosophical tradition and to everyday life. Sigizmund Krzhizhanovsky — is best known today as a phantasmagorical, metaphysical prose writer in the style of Zamyatin or Bulgakov.
In his own time, his prose, negatively reviewed by Maxim Gorky in and largely unpublished, was hardly known at all. He also wrote plays himself. Ten of his stage scenarios survive as of , three have been published in Russian and one in English. All of these interests were borderline unorthodox for the Stalinist Shakespeare industry, which published him warily. The Shavians were a smaller, more flexible group.
First, it establishes links to celebrated Russian authors such as Dostoevsky and Gogol, in whose work the Easter tale and its themes play a vital role, as a way to explore issues of narrative and cultural authority. The present study attempts to show how Petrushevskaia negotiates the boundaries of this paradox and the Easter tale genre itself as she expresses both hope in and the failure of its true function — to effect a kind of resurrection of meaning in the atomized society of the Stagnation. In desperate straits and vulnerable to predators such as Anna Fyodorovna, Varenka turns to her only male friend and benefactor, Devushkin, for a means of escape: marriage and the protection it would grant her.
She carefully cultivates her feelings for her older neighbor, eventually coming to love and respect him in a more-than-platonic way. Devushkin, however, is too insecure and downtrodden to see in her actions anything but rejection, thereby forcing Varenka to turn to Bykov in the end. Her marriage to the man who despoiled her serves as the final evidence that Varenka would have accepted a proposal from Devushkin, had he ever offered one.
Who is Prince Myshkin? This question is central to The Idiot.
In the novel, the question is bifurcated into questions of identity and diagnosis, which are inextricably bound together. The title of the novel itself certainly points to the importance of his diagnosis in regard to his identity. Dostoevsky was well read in the sphere of medicine and was quite knowledgeable on every aspect of epilepsy, including prognosis, treatment, and related conditions.
This article applies this body of knowledge to The Idiot. This paper traces these additional allusions and also asks why they are there in the first place beyond their obvious function to parody Wagner opera, not least the librettos. The assumption is that Nabokov wanted to convey more than his disrespect for Wagner's music and poetry. Pnin intimates that ideological myth-making produces convictions which are neither intellectually, nor ethically, valid, even when presented in haunting film cadres, such as found in Lang's The Nibelung.
German-born Dr. Why is he loyal to Russian Pnin though? How does the Russian literature taught by Pnin fit into the program of Hagen's journal Europa nova and the planned course Wingless Europe?
Hagen is not the only character in the novel to yield to ideological seductions of the mythopoeic kind. The point of Nabokov's irony is that much academe is non-academic for a variety of dubious reasons. Due to insufficient research into idiolects in Shakespeare and its controversial nature, Pasternak was compelled to come up with his own solutions for speech individualization, which are dependent on his perceptions of the characters.
This essay examines the popularization of Russian museum culture via periodical press during the second half of the nineteenth century. This dialogue, uniquely preserved by the contemporary press, allows us to document how the museum age was written.
It also demonstrates that Russian museums and exhibitions were fashioned in the popular press as much as they were by architects, curators, and patrons. While exhibitions and museums proper take care of material objects, the discourse constructed around them deals with the portrayal of these objective realities in light of national ideologies, public opinion, and personal preferences.
A historically grounded analysis of this discourse gives insight into the larger process of culture making via writing. Between the two modes of representation which are at work in the museum—the visual and the verbal—layer upon layer of meaning have been created over time. If Dostoevsky points to salvation through truth, Sologub points to perdition through self-deception. Repressed guilt like redemption in both cases is conveyed indirectly through an artistic code of doubling and parallels.
Like Raskolnikov, Login commits an ax murder and escapes the consequences of his crime through a series of fortuitous circumstances; only he does not confess and accept punishment like his predecessor did.
It seems that Login is free to pursue his own definition of happiness unimpeded by any moral restrictions whatsoever. But as Login walks toward that vaguely happy horizon, some ominous suggestions follow the pretense of his buoyant stride.
Her longest poetic cycle, Lavinia consists of seventy-eight short poems written from the perspective of a fictional nun, at times deeply religious, at times heretical. Throughout the book, Shvarts brings together disparate worlds: Christianity and Buddhism; the temple and the body; the ritualized past and the individualized present. I argue that this urge to integrate, combined with a desire to value and preserve the distinct parts, defines Lavinia and the spiritual journey which it contains.
This research study describes how English L1 readers use grammatical knowledge when reading L2 Russian informational texts. The study uses introspective verbal protocols i. Although both reader factors breadth and depth of L2 lexical knowledge, background knowledge, motivation, strategies, etc.
The article considers in detail how readers render two frequent features of formal Russian writing strings of adnominal genitives and Russian passive constructions. This article describes a study on the relative effects of explicit information on the processing of nominative and accusative case by L2 learners of Russian. Forty-four participants were divided into two groups: those who received explicit information prior to a treatment involving processing structured input and those who did not. The main assessment was trials to criterion how many items it took before the participants began to interpret sentences correctly.
Our results show no significant effects for explicit information. The present essay identifies the topos of our travelers and the English as a prism that illuminates the rise of a vacation mentality in imperial Russia. Although these texts are seventy years apart, I argue that the way in which Karamzin emphasizes the process of crossing the border from Russia to Europe in Letters of a Russian Traveler serves as a reference point for Dostoevsky in his Winter Notes on Summer Impressions.
In both texts I explore the relationship between Russian identity and the phenomena of writing and travel. For Karamzin, travel is a matter of choice and a cosmopolitan endeavor that reaffirms his Europeanized Russian identity; for Dostoevsky, the perceived lack of any core Russian identity and the impossibility of accessing a Russian homeland renders travel an inescapable fate for the Russian educated elite.