On the issue of the artistic integrity of Sergey Gorodetsky's cycle “Prison Songsˮ

This article is devoted to the characterisation of the main signs of integration, observed in “Prison Songsˮ by Sergey Gorodetsky, the presence of which testifies to the cyclical structure of the work. The work provides a detailed analysis of the core themes of the cycle, central motifs and images. The author points out that the leading role in the formation of the principle of textual construction of artistic unity is played by antithesis, through the use of which the development of the position of the lyrical hero is most clearly traced, which becomes identical with the position of the author himself. The article concludes that the poems that make up the structure of “Prison Songsˮ do reveal common artistic bonds that support the cyclical nature of the work, as well as maintain strong artistic ties with the entire structure of the collection “Unbound Freedomˮ. These include both a common title, a single lyrical hero, close to the very figure of the author, common motifs and images, and genre characteristics of individual poems of the cycle. In addition, conceptual meanings for understanding the work as a whole are born at their junctions rather than within individual poems, which makes it possible to get closer to comprehending the author's picture of the world, embodied by the poet in the text of the cycle.

Gerechtigkeit und deren intertextuelle und intermediale Beziehungen im Werk des Magisters Vincentius

The aim of present paper is a closer analyze of some textual construction which are imitating a legal action at court. The scene of imagined court were popular in medieval dramaturgy, they are often used as a plot for scenic action. A particular case was created by Master Vincentius (12th Cent.): a passage from chronicle which presents a possible staging of court action.

A Reading of Philip Roth’s Everyman as a Postmodern Parody

Philip Roth’s 2006 novel Everyman borrows its title from the famous fifteenth-century morality play The Summoning of Everyman. Yet, Roth establishes no clear or working connection between his novel and its medieval namesake. Roth scholars and critics have endeavored to identify intertextual continuities between these two works but with no tangible results. This article offers an alternative approach with which to view this problem by exploring the potential parodic nature of Roth’s text. More specifically, the paper theorizes that Roth fashioned a postmodernist brand of parody in his novel to negotiate the politics of representation of the issues of universality and determinism in the Medieval Everyman and the ideological discourses foregrounding their textual construction.

LINGUOCULTURAL CONSTANTS OF SLAVONIC TYPICAL TEXTS

The subsystem of the linguistic cultural constants formed at the early stages of the ethnic genesis and correlated with the subsystem of the ethnos’ moral and ethical values expressed by linguistic means, represents the basis of each idioethnical linguistic system, since it reflects the existential perception of the world and oneself in it as an individual linguistic personality and the community of individuals as a whole. The formal and semantic structural plans of the basic constants, expressed by linguistic units of the ancient Indo-European origin, are associated with Indo-European roots. It is the ancient Indo-European root (the first root) of a linguistic unit of the lexical level as a component of a textual construction that often acts as an etymon (archetype) in the etymological reconstruction of a lexical unit. In turn, the primary meaning of the Indo-European root (the formal-semantic basis of the lingual cultural constant) necessarily correlates with the ancient sacred symbol-image that exists in the collective-individual consciousness of the ethnos, possibly from the pre-literary period, sacred for the ethnos, sometimes with several symbol-images forming a semiotic sacred-mythological linguistic subsystem. The subsystem of the linguistic cultural constants characterizing an ethnos contains information on its ontological peculiarities: its language system and its cultural profile as a set of the linguistic unity, the type of thinking and the nature of textual information perception. Consequently, the social dynamics of the linguistic cultural constants, represented by the translated Typical, or Statutory canonical Christian texts in the Slavic Liturgical discourse of the Kiev Russian at the end of the tenth century determines the specific stability of the purposeful verbal impact as the content of the Slavic-speaking communicative process that took place during the Christianization of the society of Kievan state.

The translingual subjects: Shaping identities and deconstructing rainbowism in One Foreigner’s Ordeal

The end of the apartheid era in South Africa inaugurated an increased mobility and accessibility to previously prohibited spaces. Although African migrant populations are still highly regulated in South Africa, their presence has also profoundly transformed the country’s present-day sociolinguistic and cultural landscape. The textual construction of the literary text in this study draws attention to the post-structuralist perspective which argues that languages are not closed entities but rather open systems utilised for expressive purposes in specific social contexts. Most significantly, recent sociolinguistic studies show that languages are no longer regarded as discrete systems in communication because they form expansive linguistic repertoires in contact spaces. Such an understanding of multilingual use facilitates communication across cultural, linguistic and national borders, thereby subverting exclusionary normative practices. The present article draws from translingual perspectives to examine communicative practices in literary discourse. A close textual analysis is adopted to identify how translingual practices make languaging a contested terrain meant to project multi-voiced and multi-perspectival discourses with transformative capacities in the context of the ‘rainbow nation’ metanarrative.

Estabilidade e mudança na estruturação de segmentos tópicos em cartas de leitor: contribuição à história do português brasileiro

Neste trabalho, consideramos a concepção de Eugenio Coseriu sobre os níveis de linguagem e entendemos que um processo de construção textual como tal não pertence a nenhuma língua (nível histórico), mas ao nível individual dos textos. Nesses termos, um determinado processo pode ser repetido, ao longo do tempo, em um conjunto de textos relacionados a um gênero e ser configurado como uma tradição discursiva. Nesse sentido, nosso objetivo é analisar as permanências, modificações ou exclusões da estruturação interna de segmentos tópicos mínimos em um conjunto de cartas de leitores que constituem o corpus do Projeto História do Português Brasileiro no Rio Grande do Norte (PHPB-RN). Observamos padrões de repetição, exclusão e inserção que mobilizam subunidades de duas regras prototípicas de estruturação intratópica, ligadas ao propósito comunicativo do gênero, o que constitui uma tradição discursiva. No presente caso, uma tradição instável. In this work, we consider Eugenio Coseriu´s conception about language levels and understand that a process of textual construction as such does not belong to any language (historical level), but to the individual level of texts. In these terms, a given process can be repeated, over time, in a set of texts related to a genre and be configured as a discursive tradition. In this sense, our objective is to analyze the permanences, modifications or exclusions of the internal structuring of minimum thematic segments in a set of reader’s letters that constitute the corpus of the Project History of Brazilian Portuguese in Rio Grande do Norte (PHPB-RN). We have observed patterns of repetition, exclusion, and insertion which mobilize subunits of two prototypical rules of intra-topic structuring, connected to the genre’s communicative purpose, which constitutes a discursive tradition. In the present case, an unstable tradition.