Soviet Discourse Research Articles

Gulag Memories: The Rediscovery and Commemoration of Russia’s Repressive Past by Zuzanna Bogumił

Reviewed by: Gulag Memories: The Rediscovery and Commemoration of Russia’s Repressive Past by Zuzanna Bogumił Tyler C. Kirk (bio) Zuzanna Bogumił, Gulag Memories: The Rediscovery and Commemoration of Russia’s Repressive Past (New York; Oxford: Berghahn Books, 2018). 238 pp., ills. Bibliography. Index. ISBN: 978-1-78533927-1. Zuzanna Bogumił’s monograph, Gulag Memories: The Rediscovery and Commemoration of Russia’s Repressive Past, presents a new look at the cultural memory of the Gulag in post-Soviet Russia. Her work examines the search for a “language of commemoration” initiated by the “carnival of memory” of the late 1980s. The chronology of her monograph spans 1989 to 2015, with a brief postscript on the unveiling of the Wall of Sorrow on October 30, 2017, in Moscow. Her analysis takes us to four “islands” of the Gulag Archipelago: the Solovetsky Islands (Solovki), the Komi Republic, Perm, and Kolyma. In this order, each chapter presents a case study of local memory projects, which highlights the work of a diverse cast of Memorial activists, Russian Orthodox clergy, local historians, Gulag survivors, and their families. Each chapter begins with some background information on the region’s connection to the Gulag. As a whole, Bogumił’s analysis of these regions sheds light on the ways in which local memory projects inform, and are sometimes at odds with, how the Stalinist past is understood in post-Soviet Russia. Bogumił’s interdisciplinary approach incorporates ethnography, memory studies, and oral history. She examines a host of sources including museum exhibits, local newspapers, internet news articles, websites, scripts for guided museum tours, and interviews with some of the people involved in these projects. Bogumił’s framework rests on three key categories: Mikhail Bakhtin’s carnival, Michel Foucault’s counterhistory, and Pierre Nora’s lieux de memoire. Bogumił employs Bakhtin’s carnival to describe the period of the late 1980s, which turned existing taboos against discussing Stalinist repression on their head and created a space “for shaping conventions that were to facilitate the comprehension of spoken memories and written memoirs” (P. 8). The result of this carnival of memory, as Bogumił writes, was the emergence of a Foucauldian counter-history, which made the history of Stalinist repression public and revealed that “Soviet discourse was only a falsehood, an illusion” (P. 6). During this period, it became necessary to fix the emerging counter-history of Soviet repression to the cultural landscape, which led to the rediscovery and re-creation of sites of memory. Although Bogumił refers to Nora’s [End Page 388] lieux de memoire, her interpretation underscores the process of dynamic change these sites underwent over time (P. 8). Her examination of monuments, local history museums, and former camp cemeteries illustrates the diverse factors that affected the reconstruction of the past in places where the legacy of Stalinist repression was strongly felt. Bogumił’s monograph contributes to the growing area of study that focuses on cultural memory and the transformation of the past following the collapse of the Soviet Union. Her work primarily engages Alexander Etkind’s Warped Mourning, which explains the instability and failures of the memory of the Gulag to coalesce in the nation’s historical consciousness as a lack of memory “hardware” (monuments and markers) to anchor memory “software” (texts and memoirs) to the cultural landscape.1 One of Bogumił’s principal conclusions locates Russia’s failure to come to terms with the past in a lack of a “comprehensive language” of commemoration that would enable museums and other memory actors to represent “the experience of the Gulag from both an objective and subjective perspective” (P. 189). Bogumił draws this conclusion from her examination of local history museum exhibits, which illustrate the difficulty of incorporating the memory of political repression into new regional and national narratives of the Soviet period. As Bogumił writes, “Gulag history was understood differently in each of the regions I have discussed, and these differences were translated into the form assumed by their local memory projects” (P. 190). The strongest chapters of Bogumił’s monograph are the first and fourth on Solovki and Kolyma. In these chapters, Bogumił reveals the diverse actors involved in the memory projects at these two sites and how...

Comparing official and literary discourses оn sino-soviet border crossings of 1962

Оfficial discourse (soviet and Chinese) interpreted the reasons of ethnic groups exodusetatist – border defense, L control over population migrations, economic losses and maintenance ofbilateral relations at certain level. Q.Zhumadilov drew the line of affirmation of Kazakhs migration fromChina as salvation, but essential ethno-demographic resource for maintenance of ethnic potential ofKazakhs in soviet Kazakhstan. The official soviet discourse being diplomatic in form, especially, when itconcerned the regulating technicalities with the Chinese officials, was civic in nature. The Soviet Unioninterpreted the right to patronize the former Russian/ soviet citizens residing in China through the missionor responsibility to protect. Although the main motivation was to gain as many loyal to the sovietregime human force for realization of state building projects within the USSR. The Chinese discoursewas mainly political administrative in form, and legal in nature, as it referred to the right to supervise thepopulation of the province and prevent intervention of alien forces into it domestic sphere

Підручники для Нової української школи як засіб ефективної освітньої комунікації: дискурс-аналіз і проблеми культури видання

The purpose of the study, which we started in October 2018 with the support of the Ministry of Education and Science of Ukraine and the intergovernmental Ukrainian-Finnish project “Learning together”, is to analyze the quality of modern textbooks for the first grade of the New Ukrainian School, to identify outdated scientific paradigms, to identify and systematize cultural problems of textbook publication, which should be taken into account during the editorial and publishing of textbooks for the second and third grades. Methodology. At the initial stage of the study, a bibliographic method was used for the identification and systematization of scientific sources, normative legal documents on the problems of textbook creation. The use of methods of discourse analysis, logical, semantic, context analysis of text and visual components of textbooks for the first grade of the New Ukrainian School made it possible to identify the problematic aspects of the textbook publication culture. Typical flaws in the culture of textbook publication for the New Ukrainian School are systematized using methods of scientific generalization and classification. The results of the research showed a number of problems: visualization of outdated Soviet discourse, systematic errors, consistency and logic of presentation of the material, fairly low linguistic culture of publications, and sometimes unsatisfactory quality of artistic design. The solution of these problems requires a complex, systemic and integrative approaches. This includes the training of editors, publishers, authors, the formation of their high social responsibility, the creation of a single scientific and informational space for authors, reviewers and editors based on the leading publishing houses and academic departments of publishing and editing, the organization of seminars, trainings, summer/winter schools, etc. Such work has already begun within the preparatory stage of the international project “Finnish support for a New Ukrainian School”. The results of the research were used during the All-Ukrainian scientific and practical seminar “New textbook for the New Ukrainian School: Requirements, criteria for evaluation, registration” organized by the Institute for the modernization of the content of education for publishers who worked on textbooks for the second grade of the New Ukrainian School (November 22, 2018), training for experts who assessed the textbook for the second grade of the New Ukrainian School (January 21-23, 2019) and training sessions for publishers of textbooks for the New Ukrainian School (March 12-15, 2019), prepared by using experts from the Ukrainian- Finnish project “Learning together.”

Вигадка в обґрунтуванні "справжності": як радянські хореографи обґрунтовували народний характер своїх творів

Over the decades, starting from the late 1930’s, soviet journalistic reportage about professional and mainly amateur folk dance groups from central European regions of the USSR and Siberia, Ukraine, Transcaucasia and other parts of the Soviet Union were full of reports about choreographers’ "ethnographic expeditions" down the country and their desire to "learn from the people" dance technique. Why did "field collection" of the choreographic material hold a prominent place and deserve special mention in the stories about amateur folk dance arts? Weren’t numerous stories about folk trips the invention? In the article subsequent steps are undertaken to answer these questions. Firstly, the place of amateur dance art performance in the official soviet culture and the specialists’ role of choreographic business in its development are outlined. Secondly, there is an explanation of reasons of author’s doubts in authenticity of soviet choreographers’ numerous stories about "going to the people". Thirdly, the art of dancing soviet experts’ motives, that frequently inspired them to the fictional stories about the collection of choreographic folklore are explained. Therefore, it makes an attempt to renew folk dance soviet specialists’ logic of notion about the subject of their passion, liking and professional activities. In the issue the author comes to the conclusion that ritualized stories about the analysis of folk sources by choreographer-directors were the significant argument in corroboration of "folk roots" of the soviet choreographic creative work. As the result, in the soviet discourse of folk dance the stories about choreographic "going to the people" paradoxically made instrumentalization of fiction in substantiation of "authenticity".

ОПЫТ ЛИНГВОРИТОРИЧЕСКОГО ИССЛЕДОВАНИЯ ОБЩЕСТВЕННО-ПОЛИТИЧЕСКОГО ДИСКУРСА В ТРУДАХ СОЧИНСКОЙ ШКОЛЫ

В статье охарактеризованы выполненные представителями Сочинской лингвориторической (ЛР) школы исследования общественно-политического дискурса – на примере дискурса эпохи социальных катаклизмов – периода революционных преобразований и военного противостояния (большевистский дискурс, советский дискурс периода Великой Отечественной войны).

The Sociability of Janina Degutytė’s Poetry

Janina Degutytė (1929–1990) has gone down the history of Lithuanian literature as a poet who has continued the lyrical and neo-romantic tradition of Salomėja Nėris (1904–1944), whose worldview is dominated by the intimate relationship between the individual and the world, humans and nature, and, in late poetry, the dramatics resulting from her personal life story. The article raises the questions of whether one could consider such personal lyrical poetry as sociable, or whether it is possible to examine for the seal of problems, conflicts, and imagination characteristic of the period when Degutytė created her works – the Soviet era.The stimulus and theoretical basis for this research was Theodor Adorno’s article On Lyric Poetry and Society. Social assumptions for lyrical poetry, as described by Adorno, are considered the first and most abstract layer of sociability. The author discovers the other two layers of sociability of Degutytė’s lyrical poetry by doing sociocritical analysis, where she compares the official Soviet discourse with the poetic text by observing the ways in which poetry reacts to the sociolectic situation of the Soviet era. She considers the second layer of sociability to be the traces of the Soviet discourse in a poem, such as the speaker’s enthusiasm, maximalism, cosmic perspective of the living world, and the contraposition of spirituality and materiality. The third layer is considered to be the very situation of reciting the poetry, whose basis is an intimate appeal to the other. The Soviet reader perceived it as an alternative to Soviet rhetoric.In her late poetry, along with the dramatic reflection on the relationship between mother and daughter, the poet develops the theme of social sensitivity, and intensifies her effort to give voice to the mutes of society.

Political Symbols and Regime Change: The Russian Experience

ABSTRACTThe collapse of communism in the Soviet Union in 1991created a dilemma for the post-communist authorities of what they were to do about Soviet symbolic discourse. This was central to the task of regime legitimation. The post-Soviet regime sought to eliminate the multivocalism of symbols by encapsulating them in a new cultural-historical narrative. This involved a coming to grips with the Soviet period, and has been immensely complicated by the nature of memory in post-Soviet Russia. The result is the continuing ambiguity, and multivocalism, of symbols in contemporary Russia. This experience is a common one for new regimes of all types, but especially those that come to power as a result of revolution.

Re-negotiating the Boundaries of the Permissible: The National(ist) Revival in Soviet Armenia and Moscow’s Response

In Soviet Armenia, nationalist discourse, in particular, demands for recognition of the 1915 Armenian Genocide, became prominent in public debate during the Khrushchev era. The essay uses the case study of Soviet Armenia to explore how nationalist ideas became an accepted part of the official Soviet discourse, in doing so examining the relationship between popular sentiment, the local authorities and the central authorities in Moscow. The case study suggests that the Soviet authorities implemented a much more fluid and flexible nationality policy in the periphery than is usually assumed. It also suggests that the local authorities tried to find a balance between local sentiments and the demands of the central authorities in Moscow. The research demonstrates that they positioned themselves simultaneously as guardians of the national interest and social order to their respective audiences.

Writers and Rebels: The Literature of Insurgency in the Caucasus

Writers and Rebels: The Literature of Insurgency in the Caucasus

The Strategy of Shimmering in Moscow Conceptualism

This paper argues that “shimmering”, in the discourse of the Moscow Conceptual group, distinguishing them from their Noncoformist peers, represents a strategic counter-ideology of principled tergiversation designed to prevent the consolidation of the authoritative voice within the artwork. Skeptical whether the avant-garde could offer an escape from Soviet official culture, the Moscow Conceptualists undermine the authoritative voice in avant-garde and Soviet discourses by complicating the binary oppositions between them, reflexively examining Nonconformist artwork in continuity with Soviet daily life. I describe the development of shimmering in paintings, installations, and performances by several Moscow Conceptualists as a vital critical intervention into Russian Nonconformist art.

The Category of ‘Method’ in the Didactics of Artist and Teacher D. N. Kardovsky

This article describes a terminology issue which appeared as a result of intrusion of politically engaged verbal constructs in the conceptual apparatus of art history and the theory of art education. The author proves the contradictory nature of definitions and discloses the authentic meaning of statements in the original context. He also argues with the provisions of Soviet authors about the pedagogical method of D. Kardovsky. It is established that the category of ‘method’ still lacks proper reflection in theoretical works on the topic, because it was previously considered by Russian authors as one existing a priori as a universal category or as a number of techniques. The notion of ‘method’ which was popular during the Modern Era owing to Descartes, and reached the peak of its popularity in the epoch of Positivism in Europe, was an active construct much later, i.e. in the 1930s thanks to the concept of the Russian Association of Proletarian Writers. In the article, the author studies the Soviet discourse of the category of ‘method’ and its connotations with kindred notions such as, e.g. methodology (a relatively ordered sequence of actions). The author disproves the descriptions of the teaching activity of an artist and teacher through the category of ‘realism’ or any other tendency, direction or style. On the contrary, he puts forward categories of method and professional tradition. The school of art is regarded as a place to teach basics of art, which makes it different from the literary understanding of a school as a group of authors united by a stylistic proposition. The notions of ‘method’ and ‘style’ are differentiated in order to diverge from the Soviet literary understanding of a ‘school’ which heavily relied on the concept of method of socialist realism, reproduced by the Soviet art studies as an ‘artistic method’.

Nõukogulik või ebanõukogulik? Veel kord olmekirjanduse olemusest, tähendusest ja toimest / Soviet or Anti-Soviet? Once more on the nature, meaning, and function of 'everyday literature'

Nõukogulik või ebanõukogulik? Veel kord olmekirjanduse olemusest, tähendusest ja toimest / Soviet or Anti-Soviet? Once more on the nature, meaning, and function of 'everyday literature'

Regilaul tuulte pöörises. Eesti folkloristika poliitiliste muutuste ajajärgul 20. sajandi keskel / Regilaul in the whirlpool. Estonian folkloristics during the political changes in the middle of the 20th century

Artikli eesmärk on jälgida regilaulu kui Eesti folkloristika paraadžanri käekäiku Eesti sovetiseerimise ajajärgul 1940.–1950. aastatel ja selle kaudu eesti folkloristide kohandumisi muutuva teaduspoliitikaga. Kuna sõjajärgset Eestit võib lugeda koloniseerituks Nõukogude Liidu poolt, tuvastatakse sotskolonialismi tunnuseid Eesti sõjajärgses folkloristikas. Vaatluse alla võetakse regilaulu muutuv positsioon ametlikus retseptsioonis ning folkloristlikel välitöödel. Kuna nõukogude ajajärku esitatakse sageli eesti rahvakultuuri õitseajana, vaadeldakse lähemalt rahvaloomingu viljelemist harrastajate ja professionaalsete kunstnike tasemel, rahvusliku vormi sotsialistliku sisuga täitmist. The purpose of the paper is to follow how Estonian folklorists adapted changing science policy in the 1940s and 1950s, and how an elite genre of the Estonian folklore – regilaul – was treated in the course of the Sovietization of Estonian humanities and cultural life.There are several distinctive features of the Soviet colonization in the post-war Estonian folkloristics. First, an extensive reform of the organization of the academic institutions took place in annexed Estonia, following the example of organizational structures in Soviet Russia’s Academy of Sciences.The most specific feature of the Soviet colonialism was the extremely strong dependence of the peripheries on the colonial centre. Academic life in Estonia was guided by the resolutions of the Communist Party of the Soviet Union, which were observed and monitored closely by local authorities at the plenary meetings of the Estonian Communist Party and further discussed at the meetings of local academic institutions. These discussions were followed by waves of reassessments, (self) criticism and repressions. Folklorists from the Baltic republics were supervised and “assisted” by Russian folklorists in terms of the methods of the Soviet folkloristics at the union-wide conferences held in Moscow, the Soviet colonial centre. Direct models were taken over to reorganize folkloristic fieldwork and research in the spirit of the new ideology.The third specific feature of the Soviet colonialism was the adaption of Soviet pidgin, colonial discourse, which proliferated especially during the last years of the Stalinist era, from 1948 to 1953. Research in any discipline was limited by the Marxist method; any deflection in it was considered renegade and therefore punishable. In Estonian folkloristics, however, the mastering of the Marxist method comprised largely of clever usage of the colonists’ slogans and formulae, such as “bourgeois-nationalist”, “formalism”, “cosmopolitanism” versus “internationalism”, “objectivism”, and “anti-patriotic” etc. Oft-repeated labels carried no actual meaning; far from any rationale, they were rather formulaic weapons of fighting with enemies, tools of revaluing and (self) criticism. In the end of the 1950s, the use of most grievous lexis declined, but in general, the Soviet discourse was adapted.The altering position of regilaul in the folkloristic writings and fieldwork is discussed in the paper. The last years of the Stalinism, the hierarchy of the folklore genres was turned upside down and classical folklore genres were marginalized because mainstream Soviet folkloristics were focused on contemporary “Soviet folklore” and amateur cultural activities. Estonian folklorists adapted the new reality expeditiously, implementing a sort of mimicry. Fieldwork was carried on in areas with vivid traditional culture, such as Setumaa and Kihnu Island, using the collection of Soviet folklore as pretext. Folklorists did not change their collecting methods and continued to collect traditional folklore genres. Examples of contemporary “folk creations” were documented randomly and unsystematically; all the more were these findings proudly brought before the public at the union-wide forums and in the local press. In these years, curiosa like eulogies to the Lenin and Stalin, collective farms and the Soviet Army in the form of regilaul were documented.After the death of Stalin, Estonian folklorists returned to the classical folklore genres, though overemphasizing the motifs of “class struggle” and “heroism of the working crowds” in the old oral poetry.Due to the existing stereotypes regarding favouring ethnic minorities and folk culture under the Soviet regime, the paper takes a closer look to the use of folklore or/and folk creations at both the amateur and professional level of cultural activities. Although Soviet propaganda hailed the blossoming of the folk cultural activities, not all branches of the folk culture were allowed to blossom. Certainly, “folk” and “national” cannot be seen as synonyms. The concept of folklore was blurred because of the parallel concept of folk creations, which included non-traditional cultural activities. Folklorists were forced to deal with amateur cultural activities. In the professional level, the slogan of “socialist content in national form” marked deterioration, simplification and impoverishment regarding means of artistic expression. Instead of folklore pieces, the national epic “Kalevipoeg” was used as an exemplary to the professional artistic creations. Because of sophisticated stylistic features and lyricist mood of regilaul, conflicting to the Soviet aesthetics, becoming inspired by the regilaul tradition was out of the question for artists of the Stalinist era. Enforced simplicity and conservatism caused innovation in literary and musical creations in 1960s, broadening the use of regilaul in professional culture.

Political Mobilisation and Discourse Networks: A New Youth and the Breakdown of the Soviet Union

The disintegrating discourse about youth during the perestroika period conveyed the fading legitimacy of the Soviet political order. During that era (1985–1991), media reports about young people’s discontent and political disillusionment questioned the very legitimacy of the Soviet system. Youth took to the streets early, contributing to the conditions needed to conceive of a possible failure of the USSR. This research uses a recent methodological development in text analysis—discourse network analysis—which allows for an analysis of the shifting paradigms of speaking about youth. I draw on a sample of newspaper articles to capture the variation of the heterogeneous Soviet discourse.

THE IRONY OF SOCIAL REALISM: SOTS-ART AS AN EARLY STAGE OF RUSSIAN POSTMODERNISM

Socialist art, which is shortly known as Sots-art is an art movement derived from the reality of Social realism by the late 1950's. The term was first used in 1972 by the artists Vitaly Komar and Alexandr Melamid to define the brand-new Russian pop-art as an alternative to American pop art. Sots-art is an ironic expression of oppresive social realism, therefore, allegorically approaches to Soviet totalitarism using typical Soviet discourses. Sots-art is quite closely related to Moscow (Russian) Conceptualism, namely share similar grounds and therefore usually associated to it. One can say with certainty that both of them share the same views on art such as destroying the classic sense of art and creating a new art form. Sots-Art is also closely related to postmodernism, not only in terms of sense, but also technically. The movement makes use of postmodernism’s beloved techniques like deconstruction, intertextuality and other rhetorical devices to release his voice. In this respect it is regarded as an essential component of Russian conceptualism and postmodernism. Having known that Soviet discourses played a crucial role in Soviet society’s memory, Sots-artists took advantage of its plain but picturesque language and inverted it to an Anti-Soviet art using the slogans and expressions that are inherent in them. Sots-art, as an art movement is tend to reconsider and reevaluate the Soviet past by defamiliarizing, estranging socialist cliches. The reflections of this estrangement can be seen both in art and literature; especially in the works of Ilya Kabakov, Erik Bulatov, Dmitrri Prigov, Lev Rubinstein and Vladimir Sorokin. The history of Sots-art movement, its’ features and correlation with Russian postmodernism are examined and discussed in this paper.

THE SOCIALISTIC REALISM CANON AND THE MAIN PROBLEMS OF ITS REINTERPRETATION: MULTIVECTORNESS OF APPROACHES

The paper deals with complex and ambivalent problem of modern literary criticism, namely, with the discourse of socialistic realism. Its actuality is not caused by the popular trend of researching. It is a normal process of rereading the canon of Ukrainian literature with the socialistic realism literature as one of its integral parts. Multivectorness of approaches in the researching of Soviet discourse is analyzed for the making possible of new literary criticism interpretations.

Translations of Sovietisms: A Comparative Case Study of English Translations of Bulgakov’s The Master and Margarita

Bulgakov’s novel The Master and Margarita (1966-1967), a highly complex and multi-levelled narrative, is a challenge for any translator. Because Bulgakov’s narrative has been translated into English seven times (twice by the same translator, Glenny), with the first two translations published in the same year, 1967, and the latest in 2008, the novel offers a unique insight into the analysis of translation shifts, not merely from a synchronic, but also from a diachronic perspective. The emphasis here is on the translation of historical realia, referred to as Sovietisms, and pertaining to items characteristic of Soviet discourse of the 1930s, word-formations of the non-standard “Soviet Russian.” Bulgakov’s language is sated with Soviet vocabulary which refers to various cultural and socio-political elements of Soviet reality. Sovietisms occur at various levels (lexical, syntactical, stylistic and rhetorical) and should be carefully translated as a significant characteristic of Bulgakov’s style. A complete domestication of Sovietisms may lead to a loss of a connotative meaning essential for understanding the context, while a foreignization of these terms which are most likely unknown to Western readers may disturb the fluency of reading. The purpose of the analysis, thus, is to illustrate the use of domesticating/foreignizing strategies employed by the translators and to assess the translation choices, considering that the target audience of English-speaking readers are most likely completely unfamiliar with most terms. The analysis employs theory on foreignizing and domesticating principles, as well as taxonomies suggested by Vinay and Darbelnet (1958/1989), Vlakhov and Florin (1980) and Aixelá (1996) as the grounds for the case study.

Women, wars and militarism in Svetlana Alexievich’s documentary prose

This work examines the war prose of Svetlana Alexievich, an author from Belarus who writes predominantly in the oral history genre about significant political and social events in the Soviet Union and post-Soviet states. Alexievich is the 14th woman who has won the Nobel Prize in Literature and is one of just a few nonfiction authors recognized by the Nobel Prize Committee. Although only one of Alexievich’s writings from her magnum opus – the grand cycle of books Voices of Utopia – is explicitly devoted to women in wartime, essentially many of her creations analyze war from gender perspectives. Her honest and raw books are based on carefully documented eyewitness accounts of the scariest things that can happen to people in horrific wartime situations. In each of her works, Alexievich emphasizes the discrepancy between the official Soviet discourse of glorious wars and the survivors’ true accounts of the horrors they experienced.

Семантичні типи метафор в українському радянському дискурсі 70-х років ХХ ст.

The present article suggests studying semantic types of metaphoric compounds in the Soviet era political discourse the peculiarity of which is standardization and strict regulation of linguistic means. For this reason it is important to study peculiarities of metaphoric semantics under the conditions of ritual-symbolic communication. Semantics of Ukrainian Soviet discourse narrows the referential zone for the formation of metaphoric meanings. The main semantic types of metaphoric models are personification, war, construction, movement, sport, family. All of them are frequently met and have diffusive character. Homogeneity of semantics and the use of metaphoric models turn them into symbolic-ritual patterns that reflect the main mythologems of Soviet discourse.

Концептуализация советского дискурса в романе А. Терехова «Каменный мост»

Концептуализация советского дискурса в романе А. Терехова «Каменный мост»