Literary Reality Research Articles

Cultural reality as a phenomenon of language and artistic text.

The article investigates the specificity of literary realities with a national-cultural component of meaning in the context of a fiction text. Different approaches to the interpretation and classification of this linguistic phenomenon are analyzed, the peculiarities of the use and transfer of cultural realities into the target language are considered. The author analyzes how these cultural elements influence the perception and interpretation of texts, emphasizing their importance for understanding the context and meaning of works. The paper aims to broaden the understanding of the relationship between linguistic and cultural aspects, and to provide readers with a new perspective on the role of cultural realities in enriching language and fiction. The author also analyzes how these cultural elements influence the perception and interpretation of texts and emphasizing their importance for understanding the context and meaning of works. The article aims to broaden the understanding of the relationship between linguistic and cultural aspects, and to provide readers with a new perspective on the role of cultural realities in enriching language and fiction. The main conclusions of the conducted research are the identification of a deep relationship between cultural reality, language and artistic text. The scientific novelty of this article lies in the systematic analysis of the influence of cultural factors on the formation of linguistic reality and its reflection in literary works. The study identifies the key linguistic mechanisms of transmission of cultural concepts, reveals the specifics of text perception in different cultural contexts. These findings provide a basis for further research in linguistics and literary studies, deepening our understanding of the interaction between culture, language and artistic creation. The results can be used to develop language and cultural studies teaching methods and to better analyze literary works in cultural contexts.

К истории сборника «Грузинские романтики» (1940)

The paper reconstructs the history of the publication of the collection of poems “Georgian Romanticists” (1940) published by Yu.N. Tynyanov, N.S. Tikhonov, M.L. Lozinsky using memoirs, letters of the translators and archival materials. Also, the creation of the myth of Georgian Romanticism is traced, as being apart from the literary reality, which was in no way connected with the European Romanticism, but corresponding to its specific Russian version. Particular attention is paid to the role of B.L. Pasternak who, refusing to participate in this collection, familiarized the Russian reader with Georgian poetry by creating his own alternative “canon” of Georgian lyricists and took key positions in this field. By using materials of the First All-Union Congress of Soviet Writers (1934) and the First All-Union Conference of Translators (1936), which secured Pasternak’s fame as the “number one” translator of Georgian poetry and approved his principles of poetic translation which ignored the form of the original, the author outlines the context in which the collection “Georgian Romanticists”, entirely based on the theoretical foundations formulated by M. L. Lozinsky, looked as a manifesto of “accurate” translation, as a collective declaration of the translators that directly opposed the officially adopted translation strategy.

On the approaches to an adequate historiography

The article is devoted to clarifying the essential features of the historiography of Ukrainian literature, which arose on the basis of stories, acquired the meaning of their integration, and comprehended the regularity of historical thinking. To this purpose, an analytical review of the formation and development of the history of Ukrainian literature is made — from the literary and critical publications of Osyp Bodianskyi, Mykola Kostomarov and others, gradual structuring through trial and error in the publications of Mykola Petrov, Omelian Ohonovskyi, who resorted either to ideological and stylistic eclecticism or to prioritisation of the biobibliographical method, raised the question of the essence of the history of literature (Ivan Franko). Serhii Yefremov’s «Istoriia ukrainskoho pysmenstva (History of Ukrainian Literature)» became the first fundamental author’s history with a consistent chromatic series, with the concept of the primacy of ideas over the figurative system, and a sociological understanding of the role of literature. The article traces the evolution of scientific thought from extra-artistic engagement to an immanent understanding of literature as an art, starting with the history of Mykhailo Hrushevsky, corresponding to the provisions of Oleksandr Potebnia’s psycholinguistics and Volodymyr Peretz’s philological school. Such a view, conditioned by literary realities, was emphasised by Mykola Zerov, substantiated by Mykola Hnatyshak, and universalised by Dmytro Chyzhevsky. They presented a new type of history of Ukrainian literature with distinct features of historiosophy. Mykola Hnatyshak and Dmytro Chyzhevsky integrated it into the concept of a wave-like binary literary process, proposed a periodisation adequate to the changing genre and style searches based on the principle of «simple» (idea) to «complex» (metaphor) and, on the contrary, consonant with the European cultural world, and identified (Dmytro Chyzhevsky) the baroque psychotype dominant in the Ukrainian mentality. Each of the author’s stories presents a certain angle of view on the dynamics of literary life, and requires comparison in order to reveal a common understanding of the problem, which is important for historiographical studies, at the intersection of their segments on the principle of overlapping hermeneutical circles. In contrast to previous concepts, the author of the article proposes a history not of biographies or extra-artistic factors, but of literary texts in their immanent characteristics, contexts, chronological coordinates, using the technique of close reading, in the guideline of overcoming the time- spatial distance between the text (author) and the recipient (historiographer).

From Praising the Remedy to Eulogising the Patient: Cristóbal de Castillejo’s Satire of Guaiac in Early Modern Spain

Summary The article examines the contemporary satiric treatment of a new transatlantic drug, guaiac, in a sixteenth-century poem by the Castilian writer Cristóbal de Castillejo, entitled En alabança del palo de las Indias, estando en la cura dél (In Praise of the Wood of the Indies, being under its treatment). The article contributes to the body of scholarship on the history of medicine in general and the history of herbal medicine in particular. The investigation of the poem embraces historical contextualisation, early modern rhetoric and classical reception. The article demonstrates the two-way relationship between early modern satire and medicine, arguing that the special significance of satiric productions that engage with medical themes lies in the inventive combination of the literary reality and empirical reality.

Linguacultural prerequisites for the creation of new lexical units in dystopias (on the example of the lexical-thematic group "Names of socio-political organizations" in George Orwell's dystopian novel "1984")

This research studies the mechanisms of the formation of the author's vocabulary in the text of a dystopia. This vocabulary is called non-existent designations of literary reality. Extra linguistic factors influence the formation of the author's neologism. One of the factors is culture, which influenced the formation of linguistic consciousness. A literary work is a space in which the linguistic embodiment of the author's image of the world, his linguistic culture is concentrated. The material of the research is the text of the dystopian novel "1984" by George Orwell. Dystopia is of interest as one of the fantastic subgenres. The structure of the dystopian world is constructed on the author's fantasy, demonstrating non-existent things. Non-existent denotations are named according to this genre specificity. In the composition of the novel, the depiction of contradictions in the life of society and an undesirable political system is significant for building the world. In this regard, the purpose of the study is to describe the lexical-thematic group "Names of socio-political organizations" in George Orwell's dystopian novel "1984" and to identify productive elements for creating the vocabulary of this group. The paper uses the descriptive method used in the onomasiological approach. As a result of the research, the units that make up the lexical-thematic group "Names of socio-political organizations" were selected, productive elements for creating the studied names were identified, and their lexical meaning was characterized. It can also be concluded that the text of a dystopia is the space in which the author's imagination is realized when creating a non-existent world. This world is not a copy of objective reality. At the same time, the naming of fragments of the new reality is based on the knowledge contained in the mind of the author.

Marked Feat of Allusions in Roman Mikhailov’s Fairy Tales Collection «The Berries»

Artistic experiments are characteristic of the latest Russian literature. The experiment allows not only to create the effect of a dialogue with the classics, but also to build a new model for assessing reality. The poetic world traditionally has two highways of balance: this is time and an artistic space. The poetics of postmodernism is focused on the creation of the new within the framework of the transformation of the existing. Aesthetic experience processed by postmodern authors has signs of allusions, reminiscences, quotations, open hints. Roman Mikhailov's prose is a unique example of playing with literary codes, cultural and historical stereotypes. This happens both at the level of form and at the boundary level of content. The new literary reality of assessing the present in the mode of fairy-tale narrative is being implemented in R. Mikhailovs collection The Berries (2019). Lately reseachers have been finding little interest in the collection, there are hadly any works found in the public domain that would concern the analysis of language, style, author's manner of narration, compositional framework, genre variations. Thus, the study in line with the assessment of the typology and poetics of Roman Mikhailov's fairy tales appears to be relevant. The methodological content of this work correlates with the one of a receptive and hermeneutic nature. Labeling of allusions in the collection The Berries is carried out for the purpose of visual differentiation of meanings. The scope of postmodern writers meanings expands to rhizome. Consequently, the text stops being only a formal plane, but becomes a paradigmatic sign system. The collection of fairy tales The Berries contains texts of different years. However, they form a single artistic world with related plots. The literary experiment of R. Mikhailov's fairy tales focuses on the texts by Sh. Perrault, F.M. Dostoevsky, N.A. Nekrasov, I.S. Turgenev, N.S. Leskov, A.P. Chekhov; N. Pogodin's screenplay; V. Suteev's cartoon plots; V.S. Vysotsky's song structure. The range of allusions in this case is wide, while the integrity of the cycle remains impeccable. This material can be used in studies on the poetics of the latest Russian prose, as well as in the invastigations focused on Roman Mikhailovs works.

Macedonian Literary Reality after the Postmodernism (The Reality as a Future Challenge of the Literary History)

This paper is dedicated to the events of the Macedonian literary scene in the period after postmodernism, with a separate focus on the poetics of the authors born in the 70s and 80s of the 20th century. At the same time, the question of the poetic (un) coverage of the authors who debuted in the end and after the end of postmodernism is separately opend, while analyzing whether in the current moment, in the Macedonian literacy area in general, a separate stylistic formation can be recognized, but at the same time, is the postmodernism really over? By tracing the development of Macedonian literature, it is also analyzed whether it is even possible to speak of new literary generations in the sense in which the literary generation was prevously regarded in the Macedonian literary history. With this, the paper builds on the insights of Ala Sheshken in relation to the Macedonian literary history, with that it touches to the period of postmodernism, but then follows a great (future) challenge – how literary science will (can) valorize the current literary reality.

FLASH FICTION DI INDONESIA: 1858 HINGGA KINI

Flash fiction or what is better known in Indonesia as "mini fiction" or also "mini prose" is not a form of work that arises as a result of dealing with limited space today but also has something to do with the level of literacy at a certain time. It is not surprising that the publication of early prose in Indonesia, which at that time was still under colonial rule, namely in the mid-19th century, was essentially similar to the “fiksi mini” that has been developing in Indonesia in recent years. Thus, this paper is an attempt to straighten out and trace the dynamics of the flash fictions which have been published in Indonesia since more than a century ago. Because of this tracking will, reading of the flash fictions that have been published is a must. From the data obtained, several “fiksi mini” were used which were clearly able to confirm the existence of flash fictions which could be said to have been ahead of its time. Facts like this are results that are worth caring about considering that the present atmosphere has existed in the past. This kind of literary reality reaffirms the understanding that literary works in particular, whatever their form, have the power to enter the future unconsciously or not on purpose. In form, what happens is the tacit proclamation of a genre, for example, while in content it is usually concerned with some sort of natural forecast or prediction.

An Analysis of the Combination of Chinese and Western Cultures in Discrete Literature -- Taking Li Yan's English novel Snow Lily as an Example

Cultural amalgamation is not only a striking phenomenon in discrete literary works, but also a literary reality in the creation of non-native language literary works in the multicultural context. Through the text analysis of the latest English novel "Snow Lily" by Li Yan, a Chinese Canadian writer, this paper discusses the application of the combination of Chinese and Western cultures in literary works in the multicultural context. At this time, Utopia plays a negative role in reality, alerting people to reset their hopes in time, in order to connect with the future; Although it is an exotic life from the bottom of the society, the protagonist Lily never gives up her efforts. She is pursuing a kind of universal values about the growth of the soul and human beings. Utopia has realized the budding role of the future ideology here.

According to Chronicles, Did the “Route from the Varangians to the Greeks” Go by Sea or Overland?

This article deals with the historical and geographical analysis of the description of the “Route from the Varangians to the Greeks” — a key reference point in the system of spatial coordinates of the Primary Chronicle. The author reconsiders the “ultra-philological” approaches to this description and the cosmographic introduction of the Primary Chronicle as a purely literary (and manuscript) reality and argues in favor of the real geographical basis of the passage about the “Route from the Varangians to the Greeks”. Contrary to the traditional historiographical idea, the scheme mainly reflects not the water, but the overland route covered by the hypothetical author of this passage. Firstly, this is indicated by the obvious view of the “Route from the Varangians to the Greeks” “from land” (волоки), and not “from the river / sea”. Secondly, the medieval word usage of the term “волок” in the sense of a land route through a vast watershed space and at the same time about this space itself, which finds analogies not only in Old Russian sources but also in at least one medieval Icelandic text. The author draws a comparison of the building activity of prince Vsevolod Yaroslavich with his special attitude to the cult of Andrew the Apostle which makes it possible to assume that the author of the description of the “Route from the Varangians to the Greeks” was Metropolitan Ephrem of Pereyaslavl. Being of Greek origin, Ephrem entered the close circle of Vsevolod Yaroslavich after his marriage to the daughter of the Byzantine Emperor Constantine IX Monomachos. Ephrem personally made a journey along the “route from the Varangians to the Greeks” and left a topographically detailed description typical of Greek (Byzantine) culture, i.e. an eye-witness observation. In accordance with Christian cosmography, his task was to “normalize” the vast territory of Rus’ which had never been part of the universal Roman imperial (and later Christian) order.

La traducción literaria y la cuestión de la renovación de la lengua árabe durante la Nahḍa

"Aware of the literary heritage that was spreading and renewing itself on the northern shores of the Mediterranean, the Arab literary figures of the Nahḍa did everything possible to welcome this new literature that emanated from the European Enlightenment. Indeed, translation was the ideal instrument to address this new nineteenth-century literary reality. However, the sole translation of texts did not help to achieve the objectives pursued. In this article, the problem of Arab cultural identity is approached from a linguistic-literary perspective. Emphasis will be placed on issues related to paratextual phenomena, language and translation criticism, the translation pact, and comparative literature. Within this context, the translations of some prominent experts in the field of literary translation will be studied, such as al-Ṭahṭāwī, al-Manfalūṭī, Wadī‘ and Sulaymān al-Bustānī. Finally, the first Arabic version of Victor Hugo’s Les Misérables will serve as a practical case through which the linguistic and cultural effects that literary translation had on contemporary Arabic language will be examined."

ВО СНЕ: ПРОСТРАНСТВО ВООБРАЖАЕМОЕ И ФАНТАСТИЧЕСКОЕ ("ПЕЩЕРА СНА" Н. ГУМИЛЕВА, "СОН" Н. ЗАБОЛОЦКОГО И "СОН" А. ГРИНА)

The article analyses the form of dreaming in lyric poetry. It is considered, firstly, as a representation of the visual in literature. Secondly, the question of how dreaming in a lyrical poem can relate to the categories of the fantastical world-image and the imaginary world of the hero is investigated. The material is three poems in which dream is not only mentioned or serves as a motif, but is actually a reality (world, space) of dream existing within the literary reality of the poem. Thus the category of border as both a connecting and disconnecting entity is also significant. The conclusion is made about how to differentiate between dream as a phenomenon of the fantasy world-image and dream as a type of the hero’s imaginary world

ΜΑΡΙΑ ΧΑΤΖΗΚΥΡΙΑΚΙΔΟΥ, Η Ιταλία του Νίκου Εγγονόπουλου

The Italy of Nikos Eggonopoulos The presence of the Italian culture is reflected in all kinds of art with which the diverse representative of Greek surrealism Nikos Eggonopoulos dealt. «Although, […], the French fed my childhood dreams with Italy and Spain, I [only] loved Italy, and then got to know it in person» he wrote to his later wife, underlining the theoretical and experiential stimuli he received from the other side of the Adriatic coast. From the brush to the pen and vice versa, through reflections and patterns, the Italian landscape, the visual arts, the historical and literary reality and, of course, the monuments of Italy «rest his soul» and exert, as he states, a «deep and invincible» charm for him. But beyond the observations and critical thoughts about Italy as a historical and cultural entity, the Italian culture is part of the artistic ecosystem created by Eggonopoulos. He combines, seemingly incongruously, the painters and poets of Italy by placing them next to ordinary people or Greek deities while, conversely, Greek poets are depicted in his paintings with Venetian masks and renaissance attire or are described in his poems wandering in the streets of Venice. In this way he achieves multiple connections between the arts and the spaces, creating mixed forms and approaches that seem to have a common denominator: the answer to the question that concerns the origins of the Greek identity. Although in his time such a thing was treated as heretical, for Eggonopoulos these effects not only do not alter but, on the contrary, renew the cultural creation, enhancing the uniqueness, the dynamics and the universality of Greek culture.

Russian formalists and Russian literature

Russian literature of the present day has lost its statehood and no longer pretends to build its own laws of development in the historical movement. The “dictatorship of art” predicted by the formalists, intended for the total textuality of Russian culture, turned out to be a predominantly optimistic slogan that has lost its stimulating function in the context of living literary reality. The research is devoted to the problem of interaction of Russian literature and formalism. Russian literature in the works of Russian formalists was considered as an autonomously existing system structure that simulates a “different” reality, independent of social and political conditions. The movement of literature in a functional perspective determined the activities and tasks of the so-called “formal school” mainly represented by Viktor Shklovsky, Boris Eikhenbaum and Yury Tynyanov.

Жанрово-видовые особенности книги воспоминаний Е. Б. Халезовой. Часть 1. Автобиография

The book “The Road of a Lifetime” (2020) was written by a geologist, candidate of sciences E. B. Khalezova (1924–1921), daughter of I. D. Borneman-Starynkevich (1891–1988), prominent chemist and mineralogist. The article presents the first part of a comprehensive study of this text as a work of factual literature and a historical source. The purpose of the article is to determine the genre nature of the text of factual literature as a set of properties. Autobiography is the dominant feature of the work. It defines the general meaning, content and construction. The narrative construction corresponds to a specific biographical model of a field researcher, whose life world is divided into two halves in terms of space, time, events and other aspects. In the literary reality and in the case under consideration, autobiography is consistently combined with signs of memoirs and family history. The plot-generating possibilities of family and professional trajectories are realized at the level of discrete units of a cumulative plot. The biographical model is consistent with a number of features of the travelogue. The work has the properties of artistry due to colorful descriptions, the inclusion of poems in the narrative and other techniques. In general, it can serve as an example of factual literature with an enhanced artistic function

Design of Literary Theory Teaching System in the Visual Field of Language Graphic Relations

Literary theory has developed with the development of the times. In traditional literary theory teaching, we always adhere to the “literature is the art of language” and “literature is a reflection of social life.” The essence of literature, the writer, the text, and the interpretation of the content, for example, are established on the basis of the understanding of language, in order to understand the world of literature reflect and express, and the image idea is basically not involved. This paper discusses the teaching of literary theory based on the relationship between language and picture, close to the literary reality to optimize the teaching content, carry out research-based teaching, and cultivate students’ thinking ability and practical ability, so as to explore and innovate the teaching of literary theory. For the objective questions or questions close to the objective questions, the machine is used for marking, while the subjective questions need teachers to mark. In addition, in terms of evaluation, qualitative and quantitative methods are used to comprehensively evaluate learners, and a preliminary evaluation table for students is designed.

The Construction of the Reception of Rilke and the Contexts of the Soviet Period

Written in spirit of literary hermeneutics, this article presents the research of the reception of Rainer Maria Rilke (1875–1926) in the Lithuanian Soviet period as well as the related problems. In this sense, the aim of such research could be treated as the process of creating an academic text. Its reconstructive origin impels us to question the relatively proper level of the existing investigation and discuss its fragmentary mode. In this case, it is necessary to introduce such aspects of this type of reconstruction based on the previously accomplished texts and results of the research, e. g. so-called “taxonomy”, chronologies, comprehensible and consistent narrative of the literary history, etc. The double effect of the latter, as positive prejudices (according to the German term Vorurteile), significant approaches or as stereotypic judgements, popular clichés, to the potential researcher must also be taken into consideration. The epoch in mind – The Soviet period – possesses multifarious ambiguities and binary systems. For this reason, the whole unity of the contexts of literary science, literary critique, and even literary policy and politics is relevant for this type of reconstruction of the reception. Though the article follows a certain chronological sequence, which is merely for pragmatic convenience, nevertheless it questions the very implications of the “evolution” of the reception, the literary and historical periodization, etc. The first part of this text deals with the theoretical overview of the basic problems mentioned above. In the second part, those problems are included in the context of the research of the reception of Rilke in Lithuanian literature of the Soviet period. According to the claims of literary scientists, ambiguity is one of the main characteristics of the Lithuanian Soviet period that affected the whole of literary reality: the practices of reading, translations, the behavior of readers, etc. Besides, it necessitated the various semantic actions in order to adapt to the conditions of the shifting socialism. On the other hand, Rilke as an author of the bourgeois West had to be included in the dialectics of the constant interplay between ideological conformism and intellectual opposition. As could be seen further, there were different phases of the reception of Rilke in the Soviet Lithuanian literature. By the way, at least two different types of readers (“dependent” vs. “opposing”) and the variety of the reading strategies were created.

Ukrainian philosophical prose: objectum fictum or literary reality?

Some critics consider a certain amount of works by Ukrainian writers to be philosophical. However, there are no systematic and general works or monographs about Ukrainian philosophical fiction as a defined phenomenon with its sources, historical dynamics, and genre differentiation. So the question arises: is this type of prose something sporadic and accidental, or is it fully represented in Ukrainian literature but still unidentified due to the inconsistency of the approaches applied? One can ask a more radical question: is philosophical prose the reality of Ukrainian literature or just critical fiction? The raised problem is relevant because its solution can shed light on such an obscured sector as philosophical prose and clarify its place in Ukrainian literature. So, the subject of the study is the genre boundaries of Ukrainian philosophical prose. We used analytical, generalization, biographical, and hermeneutical methods to establish these boundaries. The article aims to substantiate the view of Ukrainian philosophical prose as a defined, integral phenomenon. Achieving the goal required the following tasks: to consider the reasons for the absence of a detailed literary discourse on Ukrainian philosophical prose; to analyze the essential nature of philosophic prose, in particular, the dispersion of its components in the structure of the work and text; and to use the example of a short period at the beginning of the 20th century and several writers’ names to outline the approximate typology of Ukrainian philosophical prose. The article focuses on literary factors (the dominance of positivist and aesthetic optics) and general scientific ones (the long-term narrowing of the field of philosophy), which cause the confusing identification of philosophical prose. An attempt to eliminate these factors has been made. Also, we propose a terminological clarification regarding the essential characteristic of philosophical prose: not “typologization” but rather “prototyping”. In the article, we use the example of a short period at the beginning of the 20th century and the works of several famous writers (Olexiy Plyushch, Mykhailo Mohylyansky, Valerian Pidmohylyny) to demonstrate that Ukrainian prose contains the essentials of artistic philosophizing (prototyping). The conclusions of this article regarding the reasons for the absence of generalizing works on Ukrainian philosophical prose and its essential nature, as well as specific examples of artistic philosophizing, can be used in further studies of Ukrainian philosophical prose.

Жанр жития в бурят-монгольской литературе XVIII – начала XX вв.

The article is devoted to the study of the hagiographic genre in the Buryat- Mongolian literature of the medieval period. The author examines origins of the genre, rooted in the Indo-Tibetan literary tradition and associated with Buddhist “hagiographic” literature. The traditions of Indo-Tibeto-Mongolian hagiography in Buryat literary criticism have not been specially studied, so this is one of the new areas of study that requires comprehensive review. The analysis of the poetic work of Aghvan Dorzhiev, “Entertaining stories about a trip around the world,” undertaken in the article, makes it possible to trace how such a unique author, who has absorbed the primordial traditions of Indo-Tibetan culture, due to the received almost twenty years of education in Tibet, then the experience of teaching Buddhist philosophy to such a student, like the XIII Dalai Lama, managed to creatively synthesize, as a citizen of Russia, who received his initial education at home, two different cultures. His work, although written in the genre of a medieval life, is evidence of the genre transformation under the influence of new historical, literary and other realities. Thus this work can be viewed as a transition from medieval traditions to the new realistic literature in Buryat- Mongolian culture.

Oroonoko: Post-colonialism, Kant and Todorov

Postcolonial theory looks at history, and it links to culture, sociology, psychology, and even politics and law. This study aims to analyze Aphra Behn Oroonoko with respect to post-colonialism, in particular, investigation of the extent colonialism, slavery, and being other. Oroonoko displays literary fiction and reality at the same time; thus, Immanuel Kant’s concepts of the noumenal world and phenomenal world have significant meaning. It draws on these theories and worlds: while the phenomenal world is day-to-day life conditions, the noumenal world is impossible to experience. On the other hand, Tzvetan Todorov’s perspectives on stories and novels are different, and he puts them in scales such as fantastic, uncanny and marvelous. For Oroonoko, readers can decide the scales only if they are willing to understand Todorov’s aims. The aim of this study is to examine Kant's concepts of the noumenal world and the phenomenal world, and Todorov's scales, as well as colonialism, slavery and being other.