Abigéltől Emerencig: nevek és sorsok Szabó Magda regényeiben

This article explores the process of shaping the image of Donbas in Ukrainian literature, perceived as a region artificially isolated from the rest of Ukraine. Particular attention is devoted to the mythologisation of Donbas’s space and identity, which has influenced cultural and social processes while intensifying the challenges posed by hybrid warfare. The study draws on the work of Ukrainian and foreign scholars who examine the impact of the Soviet legacy, politically motivated information campaigns, and the narratives crafted in literary and artistic works. The article highlights the transformation of regional identity, the emergence of new cultural codes and narratives, and the role of internally displaced persons in modernising and constructing civil society in Ukraine. Emphasis is placed on the reception of the Donbas myth in literary and documentary works of the early 21st century. The study observes that contemporary literary research has yet to provide a systematic understanding of this phenomenon, despite existing studies on literary genres, the interplay between historical truth and fiction, and structural elements. The importance of developing a new field within literary studies – namely, the “local urban text” – is underscored. This field includes specific interpretations such as the “eastern text” or the “Donetsk text”. Within this context, the works of Oksana Zabuzhko, Serhiy Zhadan, and Andriy Kokotiukha are analysed. Their essays are considered sources of cultural and conceptual codes that shape contemporary perceptions of Donbas. Thus, the study of the symbolism and mythologisation of Donbas by these authors offers fresh perspectives for literary debates, highlighting the uniqueness and multidimensional richness of this region within the Ukrainian national and cultural context.

The review paper aims to summarize scientific theoretical knowledge on the problem of codes presented in its humanitarian aspect. The paper provides various points of view on the essence, composition, structure and functioning of codes in general, culture and linguoculture codes in particular. The interaction of verbal and non-verbal codes is discussed. Special attention is paid to such a variety of linguoculture codes as figurative codes. The scientific novelty lies in the fact that the authors of this review paper attempt to provide insight into the concept of culture and linguoculture codes, to demonstrate scholars’ diverse opinions, coinciding views and their disagreements on this issue, which gives a detailed idea of the current state of the issue. As a result of studying various points of view of Russian linguists, semiologists and scholars in culture studies on the essence, composition, structure and functioning of codes, the review demonstrates the high importance attached to the notion of code within the entire spectrum of the humanities and the great effectiveness of the theory of codes, which acts as a general scientific epistemology that makes it possible to consider society, culture and language in a single system of categories. In addition, by extracting and bringing together the disparate features presented in the works on the subject under consideration, the review paper presented a list of essential (categorical) features collectively forming the notion of ‘culture code’.

Introduction. The study of cultural imprints in Russian history has become particularly relevant in recent decades amid globalization and a crisis of values. Imprints, understood as cultural and symbolic codes that enshrine key events and images in the people’s memory, serve as mechanisms for preserving identity and shaping strategies for the future. Russian culture possesses is a unique heritage; its monumental codes – from Orthodox churches to monuments to military victories – serve as repositories of historical memory and tools for goal-setting. The purpose of this article is to analyze the categories of “imprint”, “impressing” and “cultural code”. to examine the phenomena and processes they designate in the context of Russian history and culture, and to identify their role in the continuity of traditions. Materials and Methods. The research material is drawn from the works of Russian and international scholars in the theory and history of culture, cultural sociology, semiotics, psychology, philosophy, and evolutionary theory, which utilize the above-mentioned categories. Interdisciplinary approaches are employed: cultural-genetic, typological, semiotic, and phenomenological. Results and Discussion. It is shown that cultural imprints represent unique mechanisms for capturing experience through historical events (wars, reforms, cultural breakthroughs), religious symbols, and artistic images. Imprinting and impressioning are defined as complementary processes of cultural memory: the former captures culture through critical events, the latter through everyday practices. The cultural code is interpreted as a universal system of signs, filled with imprints. The integration of the categorical apparatus of cultural studies and the sociology of culture allows us to consider imprints as matrices of identity. Conclusion. Cultural imprints of Russian history are not only elements of the past but also active mechanisms for the cultural future, ensuring identity in the face of global challenges. They correlate with M. M. Bakhtin’s concept of cultural-historical “telepathy”, as well as with F. Tenbruck’s social vocabulary and the concept of cultural trauma developed in contemporary cultural sociology. The research prospects are linked to the development of integrative cultural studies methodologies that will allow us to uncover the evolutionary and prognostic role of imprints and their significance in the strategic goal-setting of culture.

The article explores the concept of «cultural code», which has recently been widely distributed in a variety of Russian discourses. Based on the distribution of the results of the search for the word «cultural code» by dates (frequency per million word forms) from 1983 to 2021. in the system of the National Corps of Russian Language as well as the frequency of use of the wordcombination «cultural code» in the system of the leading electronic library Elibrary.ru from 1988 to 2023. the conclusion is made about the high demand of this concept, its uniqueness (relevance and novelty) and universality (interdisciplinary and interdisciplinary). Proceeding from the ideological principles of text-centrism, presupposing text as the main element in the most complex system of knowledge of the world and implying the difficulty of overcoming «barrier zones» in working with complex abstract concepts, the author tries an independent experiment in studying the concept of «cultural code» with the help of cultural modification of the method of analogy.On the basis of functional and informative analysis of media discourse and scientific discourse the conclusion about the prevailing view on the concept through the prism of semiotic approach is made, and axiomatic (working) definition of «cultural code» is formulated as systems of signs and rules of their use, performing functions of cultural communication and memory. Based on this definition, the author draws an analogy between the «cultural code» and the cryptographic code «Enigma».Analysis of the communication system performed with the help of the known cipher machine, and the subsequent extended analogy with the situation of entering the unknown room, in which the «Enigma» is foundallows the author to draw a conclusion about the«cultural code» as a hollow concept and a universal methodological tool for the humanities.The conclusion asserts the need for further study of culture, texts and codes using data from cryptology, information theory, mathematics, cybernetics, cognitive science, linguistics, cultural studies, etc. as well as the prospect of considering various cryptanalytic methods as cultural approaches.

[full article in Polish, abstract in English and Polish] The article deals with the problem of spelling common names functioning as proper names of literary characters. In general, single word names pose no problems as they are written in capital letters, e.g. Sędzia, Wojski, Asesor, Podkomorzy, Woźny, Hrabia (characters from “Pan Tadeusz”); Cześnik, Rejent (characters from “Zemsta”); Pustelnik (figures from “Dziady”). Definitely less clear is the usage and rule in terms of spelling that applies to names composed of two and more words, such as KRÓLOWA ŚNIEGU, MAŁY KSIĄŻĘ, ŚPIĄCA KRÓLEWNA, KRÓLEWNA ŚNIEŻKA, KOT W BUTACH, STAROSTA GADULSKI, PAN KLEKS. There are three versions of spelling as far as usage is concerned: 1) both words in capital letters, 2) the first word in capital letters, the second word in lower case, 3) both words in lower case. Much depends on the form in which the expression appears in the literary text and in its possible translation into Polish. Proper names in literary works are the result of the author’s choice, and this does not contribute to the unification of their spelling form (the same name of a character may be written differently in different works). If the author’s intentions are not known, we should recommend that all words (except for conjunctions and prepositions) be spelt in capital letters, especially as the other components of these expressions may appear in their own context: Książę, Śnieżka, Królewna.

This article is devoted to the study of the difficulties that arise in the process of literary translation. In translation science, there is a widespread approach in which the translator of a work of art is perceived as its (co)author. Giving him such a role cannot but raise the question of the relationship between the author and the text, and to what extent a literary work is a product of exclusively individual cognitive activity. Based on the ideas of Michel Foucault, this work considers the author (and the translator as the author) as, to a certain extent, the product of the discourse in which he creates the work. In this case, discourse is understood as a set of cultural, political, religious, behavioural and other codes that exist in society at the time of writing the work. Taking into account the socio-cultural aspect of the author’s function, the present study asks to what extent the difference between the discourses of the author and the translatorco-author affects the text of the translation. Cases when the translator is unable to decode the codes of the sending culture lead to translation errors, which entail a distortion of the meaning of the original, illogical causal relationships of the narrative and misinformation of the reader regarding the pragmatic intentions of the author and characters. The material of this study was the text of the novel by Elizabeth Gaskell «North and South» and two of its Russian translations. Several contexts were selected for analysis, which are difficult to translate into Russian due to the presence of extralinguistic factors in them: codes of culture, religious movements, behavioural norms, class relations. In the course of the study, a comparative analysis of the selected elements was carried out with a comprehensive study of the literary, historical and linguistic context. This allowed the authors of the article to trace the causes of translation errors, to establish the relationship between intraand extra-linguistic factors in their commission, and in some cases to offer their own version of the translation. The conclusion of this study was the acceptance of the ambiguity of the phenomenon of translation error in the context of literary translation due to the difference in cultures between the sender of the original and the recipient of the translation. The difficulty of distinguishing between cases when an unreliable transfer of the meaning of the original can be regarded as a translation error, and when it can be considered as a creative rethinking in order to make the text as clear as possible to the reader is emphasized.

The article is devoted to the study of the linguocultural code in proverbs reflecting family relations in the Kazakh and English languages. The purpose of the study: to reveal and analyze the peculiarities of the linguistic, cultural code in paremias about family relations based on the material of the Kazakh and English languages, with an emphasis on cultural meanings, values and worldview aspects reflected in proverbs and sayings. The main attention is paid to the analysis of how the cultural values, worldview and traditions of these peoples are expressed in brief expressions of proverbs. The authors examine specific linguistic and cultural codes that form the concept of ‘family relations’, as well as common and unique features characteristic of each studied cultures. A special place is occupied by the identification of semantic, figurative components that emphasize the national identity of the contrasted languages. Comparative analysis shows how universal values, such as, family values, respect for elders, mutual assistance and moral principles are transmitted through proverbs, taking into account ethnocultural characteristics. The study of the linguocultural code in proverbs allows us to identify how language and culture interact to convey values, worldview, social experience. This contributes to understanding the concept of ‘family relations’ through the prism of linguistic, cultural differences. Theoretical significance lies in identifying common and unique features in Kazakh and English cultures, which expands knowledge about the mechanisms of national identity formation through language. The study is based on linguistics, cultural studies, ethnolinguistics, which allows taking into account both linguistic and linguacultural aspects. The results of the study expand the understanding of the interaction of language and culture, and also contribute to a deeper understanding of intercultural communication. The proposed methods of comparative and semantic analysis can be applied in other studies aimed at studying cultural concepts in different languages. Keywords: paremia, proverbs and sayings, linguacultural code, national identity, family relations, cultural values, comparative analysis, language and culture.

A Cultural Ambassador East and West: J. Hillis Miller’s <i>Lectures in China</i>

The paper explores the concept of literary style, examining its multifaceted and diverse character, which is characterised by the presence of multiple linguistic (and cultural) codes. The manner in which these codes are selected and utilised serves to construct the recipients as subjects who possess (or lack) specific knowledge, experiences, and attitudes. The issue is illustrated with three examples from contemporary Czech detective fiction, since this genre often stresses regional, historical or ethnic specifics. Jaroslav Velinský employs a substantial amount of non-standard Czech in his novels, incorporating colloquialisms and slang words to accentuate the local, social and temporal setting of the narration. Furthermore, the assumption is made that the recipient is familiar with the various cultural codes that exist. In the context of Petr Eidler’s novels, it is notable that the use of elements of the Czech Jewish ethnolect serves to recall the tradition and tragic past of the Jewish community. This contributes to the texts evoking a sense of otherness and exclusivity. (3) The detective stories penned by Jan Sagitarius are set in the environs of Těšín, Silesia. The use of the local dialect is nuanced, serving to demonstrate the distinctiveness of the region and to differentiate the characters’ positions. Eidler and Sagitarius construct the recipient as a subject to whom the codes used are not applicable.

Statement of the problem. The phenomenon of Schubertianism, which is one of the most representative manifestations of the European chamber and vocal tradition, has not yet received the proper interdisciplinary theoretical considering. In most musicological works, it is understudied either as a stylistic category, or as a historical reception of Franz Schubert’s creative work, or as a manifestation of the vocal interpretation of German Lied. At the same time, Schubertianism is much broader – it constitutes a unique cultural and aesthetic code that combines intonation psychology, poetic semantics, performance dramaturgy and the philosophy of subjectivity. The absence of a holistic integral model of this phenomenon determines the need for its comprehensive scientific analysis. Objectives, methods, and novelty of the research. The purpose of the study is to understand Schubertianism systematically as a multidimensional cultural phenomenon that has formed a separate model of musical thinking based on the psychological dramaturgy of Lied, intonational subjectivity and the interpretative tradition of the 19th–20th centuries. The research is based on historical-contextual, structural-analytical, semiotic, hermeneutic and cultural studies approaches, taking into account vocal performance as a component of musical semantics. The scientific novelty lies in revealing the Schubertianism as an integrative intonation and cultural code that encompasses musical text, psychological states, performance models and cultural memory; in defining Lied as a form of musical self-disclosure of subjectivity; and also in emphasizing the decisive role of Dietrich Fischer Dieskau’s performance school in forming the canon of interpretation of Schubert cycles. Research results. As a result of the study, it has been established that Schubertianism functions as a holistic intonation and semantic system, which combines poetic imagery, psychological reflexivity, chamber dramaturgy, and philosophical symbolism. The three F. Schubert’s vocal cycles – «Die sch&amp;#246;ne M&amp;#252;llerin», «Winterreise» and «Schwanengesang» – form the dramaturgical axis of the lyrical subjectivity: from emotional primordiality to existential brokenness and meditative maturity. The Fischer-Dieskau’s performance paradigm has established microdynamic accuracy, text-centricity, intonation chamber nature and psychological depth as the main principles of interpreting the Lied. Conclusion. Thus, the phenomenon of Schubertianism goes beyond the boundaries of its definition as style and appears as a universal cultural code that determines the modern perception of musical subjectivity, artistic thinking and performance memory.

Affect has become something of a buzzword in cultural and feminist theory during the past decade. References to affect, emotions and intensities abound, their implications in terms of research practices have often remained less manifest. Working with Affect in Feminist Readings: Disturbing Differences explores the place and function of affect in feminist knowledge production in general and in textual methodology in particular. With an international group of contributors from studies of history, media, philosophy, culture, ethnology, art, literature and religion, the volume investigates affect as the dynamics of reading, as carnal encounters and as possibilities for the production of knowledge. Working with Affect in Feminist Readings asks what exactly are we doing when working with affect, and what kinds of ethical, epistemological and ontological issues this involves. Not limiting itself to descriptive accounts, the volume takes part in establishing new ways of understanding feminist methodology.

&lt;p&gt;Anita Liepa (born 1928) is a contemporary Latvian prose writer whose creative work was closely related to the post-soviet period in Latvia in the late 20th – and the beginning of the 21st century. In her works she depicted significant evidence of complex and contradictory processes in the history of Latvia in the 20th century, especially those related to World War II and its consequences for Latvia. Her works are divided into two distinct groups: documentary prose and fiction. The writer was born in Daugavpils, a town on the south-eastern border of Latvia, that had a significant role in the history of Latvia, especially in relation to World War II, as the town, was the place of dislocation of the major cavalry corps regiment in Daugavpils fortress. A. Liepa’s uncle Anatolijs Sondors was the fortress commandant, who faced the entrance of the Red Army and along with other Latvian army officers was deported to the Far North of the Soviet Union and died there.&lt;/p&gt;&lt;p&gt;The present paper regards the depiction of the cultural space of Daugavpils in Liepa’s works, searching for parallels with the writer’s biography and views expressed in different media, that attribute specific connotations to the semantic of the topos of Daugavpils with border as its major dominant. The paper follows up the depiction of Daugavpils both in Liepa’s documentary prose (“Exhumation”, “Colt Years”, “Silenced Pages”) and fiction (“Windfall”). The paper is methodologically based on the notions of cultural geography, semiotics and feminist autobiography studies. It makes use of Mikhail Bakhtin’s term “topos” to denote a model of spatial construction. Border is singled out as the central element of the semantic of the topos of Daugavpils in Liepa’s works, focusing on its spatial, temporal aspects, as well as the depiction of culture environment.&lt;/p&gt;&lt;p&gt;The topos of Daugavpils is most precisely and extensively depicted in the memory novel “Colt Years” („Kumeļa gadi”). Though published in 1993, the novel had actually been completed before any other of Liepa’s documentary works; this may partially be the reason, why she made depictions of Daugavpils in her following works more laconic. However, the major difference is determined by the genre of her works. In documentary prose the topos of Daugavpils reveals the information about the epoch or what may be called “signs of the time”, activating the culture code (according to Roland Barthes’ division of codes into hermeneutic, semic, proairetic, symbolic, culture codes), yet also developing a bond with the depiction of action and manifestations of the narrator’s subjective emotional states and the system of values. In works of fiction, space is a poetic category closely related to other poetic elements of the text, foregrounding the hermeneutic, semic, proairetic and symbolic codes. Hence, in “Colt Years” the topos of Daugavpils depicts not only the historical and cultural realia and landmarks of the town in the period of the 1930–1940s, but also spatial opposites of two homes the homodiegetic narrator lived in (her deceased father’s house, where she spent the happiest time of her childhood, and her uncle’s hous, where she lived during her school years), accentuating the bond between space and the narrator’s psycho-symbolic reality (referring to the semic and symbolic codes). The link between the topos of Daugavpils and the plot in all documentary works regarded is implied by the locus of Daugavpils railway station as a point of departure or arrival of characters involved in central plot lines. Scenery seen through the train window is realistically described in detail, providing place names, geographical names, referring to earlier episodes of characters’ lives. Thus, the proairetic code is activated along with the culture and other codes. The hermeneutic code is activated in the novel “Windfall” in a very interesting way. On the one hand, the author realistically describes the town of Daugavpils referring to historical events of the time of Awakening there; on the other, the toponym “Daugavpils” is replaced by an imagined name “Rūdunava”. Thus, the analysis of the depiction of Daugavpils in A. Liepa’s works leads to conclusions about the close connection between the category of space and the genre.&lt;/p&gt;

The article is devoted to the identification of the content essence of the concept of "cultural code" and the outline of promising directions for the study of the cultural code in the media space from the standpoint of modern cultural studies. The definition of the concept of "cultural code" was analyzed from the standpoint of cultural knowledge and in the context of the specifics of the media space; the philosophical and cultural approach to the study of the peculiarities of the media space is considered. It was established that the cultural code is built on the basis of a verbal, iconic and conventional system of signs and their combinations, therefore its meaning is variable and polysemantic. The concept of "cultural code" allows us to consider modern media content presented in the media space at both diachronic and synchronic levels. The specificity of the media space can be considered in terms of manifestations of national cultural codes at the thematic, genre, and stylistic levels, in the structure of media texts, the subjective organization of media works, principles and techniques of image, etc. In the cultural sciences, the analysis of the phenomenon of the cultural code in the context of the media space can be carried out from the level of the sign system to the cultural tradition and, ultimately, to the semantic structures of the text of the media work/media content in a certain culture.

The present article deals with the interaction problem between human and time as exemplified in the novel of A. Ilichevskys novel Newtons Drawing. The aim of the present research work analysis of the literary text, its structural and compositional elements, artistic images from the authors concept regarding his / her personal perception and translation of the protagonists cultural code. The cultural signs, symbols and codes are synthetized in the text via artistic images. The writer creates a multidimensional space in the novel through the readers exposure into the spheres of culture, music, painting, theater, photography, references to other literary texts. The unified cultural of a literary work is created with the help of the focalization literary technique on the image of protagonists father. In the novel the readers come across the main character, Konstantin, searching for his significant parent, his father. The son reflects on his intimate memories regarding his father, his aesthetic preferences, his fathers creative works. These memories help the readers understand the complex essence of the protagonist, his intellectual and cultural values. Architectonics of the text is also created via paratextual relationships, that broaden the boarders of the novel as a separate text up to the cultural text level in terms of semiotics. The artistic space of the novel is filled with the cultural symbols of the past. It also includes intertextual elements of the purpose of the citys solid image creation via system or symbols sum in the novel, The head motif of the novel the search of the father via understanding his values, his life, as well as an attempt to find the protagonists own path, gain the main characters significance and penetrate into his cultural code.

The article is devoted to the snake-like mythological characters, found in the mythology of Chinese Shandong province in comparison with South Slavic word on the example of the Serbian tradition. The article presents an analysis of the names of mythological characters through the two languages on the basis of the ethnic tradition. The images of snake-like mythological characters, etiological legends, local rituals and folk customs in the Shandong province and the Serbian tradition are also considered. This study shows how the mythological perception of reality is reflected in the cultural code and in the language picture of the world. The characters can be divided according to the appearance into zoomorphic and anthropomorphic ones. The names of various snake-like characters, corresponding to the presentational carrier of the ethnic culture in Shandong province and Serbia, show typological and individual differences. In the analysis of cultural vocabulary common linguistic phenomena were found, such as taboo words, euphemisms, etc. In the mythology of Shandong province and Serbia, the images of snake-like characters have similarities and differences, reflecting the human perception and cognitive process. The study uses the methodology of the Moscow ethnolinguistics school, aimed at the reconstruction of spiritual culture.