Vol 3, No 1 (2018)



Karpov A.K., Rotova L.N.


The article studies the development of the research on parts of speech in Russian language studies. Works of M.V. Lomonosov, A.V. Vostokov, F.I. Buslaev give an idea of the first stage of this process, when the logical semantic principle dominated and the traditional system of parts of speech was gradually built up, convenient primarily for the needs of instruction. The second stage resulted in the creation of a structural and semantic system of parts of speech, based on a combination of semantic, morphological and syntactic principles. The fact that only «pure», ideal representatives of a given part of the speech, its core, have the three indicators, while the peripheral part falls beyond the definition and is transferred by morphologists from one part of the speech to another (for example, ordinal adjectives / numerals) can be considered to be a shortcoming of such approach. Only in the second half of the last century, in connection with the intensive study of word formation, special attention was paid to the transitivity of parts of speech in the system. The objects of study were the «substantivization», «adjectification», «pronominalization», «adverbialization» etc., marked by A.Shakhmatov and similar processes, as well as numerous hybrid words and forms. The development of transformology (a section of linguistics studying the processes of transitivity in the field of parts of speech) made it possible to divide the significant parts of speech into primary and secondary, which is undoubtedly a new approach in the morphology of parts of speech. The materials of the article may be used for the preparation of university courses of morphology, cognitive linguistics, the history of linguistic teachings, and serve as a source of material for bachelors and undergraduates when writing scientific works.
Nizhnevartovsk Philological Bulletin. 2018;3(1):3-12
pages 3-12 views


Bezrukov A.N.


In this article, an analysis of the postmodernist text is carried out from the standpoint of the dialogue of artistic systems. The methodology of the study is within comparative studies, receptive aesthetics, structuralism and hermeneutics. The basis of the analysis is the poem of Venedikt Vasilyevich Yerofeev “Moscow - Petushki” (1969). It is revealed that the uniqueness and uniqueness of the artistic text depends on the principles of author's design of aesthetic reality. Venedikt Erofeev actively uses such techniques of postmodern poetics as simulacrum, pastish, intertext, dialogue of artistic consciousnesses, citation, metanarrative, author's commentary, stylization, parody, deconstruction, rhizome, concept, semantic set. Consequently, the poem Ven. Erofeev “Moscow - Petushki” does not lend itself to an unambiguous interpretation. In this case, the interpretation of the text proceeds over a certain hermeneutic circle, which, with each new revolution, illuminates the spectrum of yet undifferentiated meanings. For the author, the reinterpretation of romanticism (Mikhail Lermontov) and neoromanticism (Semyon Nadson) is a form of translating the dimensionality of reality. The realities of the surrounding world accurately recreate the color and spirit of the era. For the main character, the meaning of existence in finding peace and freedom. Nominally, this station is Petushki. It is in Petushki that the main image - Venichka is happy, emotionally stable. The thinking of Venedikt Erofeev as a postmodernist writer is combinatorial and syncretic. In “Moscow - Petushki” there are allusions, reminiscences to the poetry of M. Lermontov, S. Nadson; there are also literal citations, paraphrases. Their role can be synthetic: it's stylization, and irony, and parody, and language game, and the unfolding of the semantic paradigm. Conclusions on the work relate to the artistic diversity of prose Ven. Erofeev, as well as the importance of further study of the poem “Moscow - Petushki”.
Nizhnevartovsk Philological Bulletin. 2018;3(1):13-21
pages 13-21 views


Eremina M.A.


The article deals with the semantic and constructive features of synonyms that represent the linguistic image of a person with special knowledge: a specialist, an expert, a connoisseur, a professional. The material for the study were the contexts taken from the National corpus of the Russian language. Аnalysis of the contexts identified semantic features that distinguish between synonyms: 1) subject area of competence (expert and specialist is normally engaged in official spheres of activity; professional is attached to a specific task; the interests of the expert is not limited); 2) the nature of the activities (expert and specialist provide information on official request; the expert and the professional must possess not only knowledge, but skills; 3) belonging to the official structure (the expert and the specialist can have both official and independent status; the expert and the professional combines non-binding to the official structure); 4) the form of knowledge representation (the expert demonstrates competence in the form of the official opinion; the expert provides practical information; the expert shares knowledge in the informal oral communication; the form of knowledge transfer is irrelevant for the professional); 5) situation of identification (to obtain the status of an expert, a person need to have the intention to present them selve appropriately); 6) current features (all of the synonyms are evaluated positively on the parameter of social recognition; specialist, professional, expert relate to the scale degrees of a trait; negative assessment valid for the connoisseur and less of a specialist; the specialist and the expert combines the frequency classification on a geographical basis and the basis of belonging to home country; typical performance of a professional as experienced and specialist as narrowly focused); 7) additional aspects of the social role (for the connoisseur and the professional the manifestation of emotions is acceptable).
Nizhnevartovsk Philological Bulletin. 2018;3(1):21-28
pages 21-28 views


Korneychuk J.V.


Most scientists agree that the functioning of a particular science is confirmed by the presence of the formed terminology. As a rule, the basis of this terminology are verbal means of this science. The relevance of this article is determined by the fact that the interest in the language of professional spheres of communication began with the definition of fundamental postulates and methods of working with terminology, which was considered as a certain tool to eliminate difficulties in communication between experts in different fields of knowledge. Doctor of Philology Danilenko V. P. indicates that at the present time in the study of terminology (special) language comes a period when you need as possible, complete his certification as a kind of semiotic system, with all its peculiarities in some part of the available communication tools, of course modified and adapted. Initially, it is necessary to determine what circumstances require native speakers to use a special language. The main of them, of course, is communication occurring within a special field (in this case, science, or, more specifically, linguistics). Next, you should determine who will be involved in the specified form of communication and how the above process will occur. Under the subject of communication is understood to be a person who has a certain level of knowledge in the field of linguistics, actively using the conceptual and categorical apparatus and terminology of the science. As a result, the scientific subjects and special purposes of the conversation encourage linguists to switch to a professional language, which is less related to the national identity of its bearer and should not reflect the political, ideological or cultural views of scientists. The aim of this work is to investigate the problems of the formation and functioning of terms within the framework of the term system of linguistics.
Nizhnevartovsk Philological Bulletin. 2018;3(1):28-33
pages 28-33 views


Korosteleva L.V., Malysheva M.K.


The article is devoted to the study of political discourse as a key aspect of political linguistics. The relevance of this research lies in the active development of political linguistics as a modern research direction, and in increasing the interest of the scientific community to the issues of the analysis of of political discurses. The purpose of this study is to identify the linguistic features of political discourse and peculiarities of functioning of linguistic units in this discourse. The material of our study was the stenography of texts posted on the official website: was shorthand for the texts of speeches by the President of the Russian Federation. The methodological base of the research is represented by qualitative methods aimed at the interpretation of the data, the main of which is the discursive analysis. This method allows to study communicative peculiarities of political discourse, its linguistic and extralinguistic characteristics, which form a favorable background for achieving the goals of political discourse. The presented study also used methods of semantic analysis, denotative analysis. The theoretical basis of the research is represented by fundamental and scientific-practical works of linguists studying the specifics of political linguistics as a scientific direction, which gave us the opportunity to analyze the phenomenon of political linguistics and its main directions; to clarify the concepts of «discourse» and «political discourse», to identify their features, as well as to provide a linguistic analysis of a particular example of political discourse.
Nizhnevartovsk Philological Bulletin. 2018;3(1):33-42
pages 33-42 views


Kultysheva O.M.


The relevance of the topic of this article is caused by the attention of modern society to its recent history, culture and its figures, the search for the roots of crisis and sustainable social processes. V.V. Mayakovsky, one of the brightest poets of the Silver Age, in spite of the availability of multidimensional research on his work at the disposal of literary scholars, remains a figure that still raises controversy about the role in art and significance for the present and the future. Mayakovsky's poetry immediately found itself in the center of the heightened attention of readers, critics, contemporary poets, politicians and ideologists of different convictions, and the most varied manifestations of interest in this phenomenal phenomenon of Russian literature can reveal the essential aspects of the literary process of the 1910s and the 1920s generally. The systematization of this kind of information makes it possible, on the one hand, to reinterpret many pages of Mayakovsky's poetic heritage, on the other, to illuminate the complex problem of the perception of a poetic text. The article states that in the perception of Mayakovsky's «comic» I «, literary contemporaries did not have unanimity. The range of opinions is great: from the complete rejection of his «market» humor and even the refusal to Mayakovsky in a sense of humor to the approval of the social color of laughter and justification in connection with this coloration of the predominance of irony and satire in the poet's works. There were opinions that denied the very ability of Mayakovsky to laugh (L. Brik, Kukryniksy). This was connected either with the «spiritual defect» of the poet, or with a painful awareness of the falsity of the chosen path - the ministry of the revolution (Yu. Annenkov). However, Mayakovsky's witty satirical poems serve as an indisputable proof of the poet's ability to create ridiculous. Despite careful grinding of the techniques when creating a satirical image, this circumstance should not be misleading about the lack of wit of the author, but increases his «effectiveness» and the percentage of «hit the target.»
Nizhnevartovsk Philological Bulletin. 2018;3(1):42-47
pages 42-47 views


Raschupkina O.S., Klochkov A.F.


Te paper analyzes the motive structure of the Khanty and Mansi folk fairy tales, significantly overlooked issue. The relevance of our research is determined by the fact that we live in Yugra - the territory that was historically inhabited by the Khanty and Mansi peoples. Therefore everyone should know the culture and traditions of their homeland. Problems of the indigenous peoples of the North, including the preservation of their language and culture are a pressing issue in modern discourse. In this regard, the issue of originality and uniqueness of Khanty literature acquires special significance. The study of any national literature should begin with its origins, that is, with folklore. It embodies the ideals and aspirations of people, their ideas about the world around them. Fairy tales can rightly be considered a moral code of the people, because in them the aesthetic, moral, philosophical laws on which it develops in a peculiar way are formed. Since the motive is one of the fundamental literary categories, our interest in the topic is explained by the desire to understand whether an independent tradition of fairy-tale narrative has been created in the Khanty folk fairy tales through a special motive structure. To achieve the goal of the work, we solved a number of problems, in particular, revealed the genre peculiarity of the Khanty tales, studied different approaches to the classification of motives and analyzed the motives of the Khanty folk fairy tales, based on the morphological approach founded by was V.Ya. Propp. The comparative and descriptive methods used in the research allowed to reveal the features of the motive structure of the Khanty folk fairy tales. The results of this study can be used by teachers of the Russian language and literature in the implementation of the regional component assigned to the literature of the Khanty-Mansiysk Autonomous Area - Jugra.
Nizhnevartovsk Philological Bulletin. 2018;3(1):52-58
pages 52-58 views


Lysenko L.A.


This article aims to follow the creative path of I. Shmelev and B. Zaitsev in the context of two literary and artistic methods: Impressionism and spiritual realism. So, at the beginning of the creative path, both authors gravitated towards impressionism, especially this tendency is traced in the work of Boris Zaitsev. However, later Shmelev and Zaitsev wrote in the framework of realism. Today you can already say that the leading method of their work was «spiritual realism». This term was introduced by the well-known literary critic A. Lubomudrov in the process of a careful analysis of the works of these authors created during the period of emigration. He argues that this is a method of «artistic mastery of spiritual reality, i.e., the reality of the spiritual level of the universe and the spiritual sphere of human existence» (Lubomudrov 2003: 38). In this article various variations of this method are investigated: «realism in the highest sense», which was first discussed by F. Dostoyevsky, «Christian realism» (V. Zakharov and I. Esaulov) and «Orthodox realism» (N. Konyaev). The creators of these terminological combinations believe that the term «spiritual realism» is largely inferior to these methods, since it does not cover the depth of the message of the Christian worldview that Russian writers originally laid down in their works, adhering to spiritual themes in their creative work. However, when correlating the main provisions of these methods, following the opinion of A.P. Chernikov, M.M. Dunaev and other literary critics, we come to the conclusion that Shmelev and Zaitsev's works were realized within the framework of spiritual realism, which allowed the authors to create images of Orthodox Russia with the aim of establishing a positive spiritual ideal, understood in Christian traditions.
Nizhnevartovsk Philological Bulletin. 2018;3(1):47-52
pages 47-52 views


Raschupkina O.S.


The appealing to the stories of I.A. Bunin written in the period from 1909 to 1919 allows you to see the changes in sounding of the theme of love in the writer's work in comparison with his early stories. So, the theme of love in the works of I.A. Bunin, referring to the pre-October period, is closely related to the statement of the problem of individual consciousness. On the pages of the works the writer reflects on human nature and the power of love and passion over the human person. Bunin seeks to comprehend the spontaneous processes of consciousness of his characters; this is precisely what becomes the subject of the author's artistic research. The main characters’ images of the stories «Ignat» (1912) and «At the Road» (1913), analyzed by us, are distinguished by deep psychology: the writer raises the problems of the relationship of the conscious and the unconscious in the person. The correlation of the event-psychological narrative plan with the art space and time allows I.A. Bunin to bring a symbolic sounding into the image of reality: in particular, in the story «Ignat», giving the seasons with an appraising beginning shows the destruction of Ignat's personality and brings the narrative to a qualitatively new level, and in the story «At the Road» a special place is taken by leitmotives of a rye field and a road. In the works of this period I.A. Bunin turns to conflict, eventually acute situations, deliberately focuses attention on the dramatic element, emphasizes and, moreover, sharpens it. The love in pre-October works is interpreted by the writer as a passion that has a tragic nature, leading to the destruction of personality or to the death.
Nizhnevartovsk Philological Bulletin. 2018;3(1):58-63
pages 58-63 views


Rimareva E.N., Sebeleva A.V.


The article deals with the creativity of the Ob Ugrians, the people living in the north of our country. Khanty and Mansi have a unique world outlook that is different from other peoples. This makes their creativity original. However, their mythology and artistic creation are characterized by plots and images that can be called world ones. One such is the image of the «world tree». The authors of the article consider it from the standpoint of the theory of the archetypes of K. Jung. It is well known that an archetype is an «original image» that is transmitted to a person genetically, on an unconscious level and possesses a multitude of different semantic connections. With the archetype of the World Tree, the idea of »ascent» is connected. Based on research by V.N. Toporov concludes that this archetype is universal. In this regard, the article analyzes the archetypal features in the song folklore of the Ob Ugrians. It is noteworthy that this tradition is still preserved. Further, the transition of the researched archetypal image into the contemporary work of the writers of Ugra is considered. The authors pay attention to the story «Waiting for the first snow» by E. Aypin, which depicts the interaction of the aborigines of Yugra and «outsiders»- oil. In the course of the analysis, it is concluded that the Tree is the foundation of the universe, it provides the connection of the worlds. The world in the understanding of the Khanty is continuous, it flows from one state to another, at its base it is an eternal movement, it is spiritual, and therefore it can not be reconciliation with the new philosophy of life, where the forest is destroyed, according to the logic of things. To the same conclusion comes the lyrical hero of A. Tarkhanov's poetry.
Nizhnevartovsk Philological Bulletin. 2018;3(1):63-67
pages 63-67 views


Shinkevich O.N.


This article realizes the task of identifying features of female images in the stories of A.I. Kuprin «Olesya» and «Sulamith». It is known that the female image often became the central character of the artistic text of the author in question, which determined the need to address this issue. In the depiction of the main characters, there is a community embodied in such an artistic device as a literary portrait of a character. The ambiguity and incompleteness of the study of the literary portrait in contemporary literary criticism testifies to the relevance of this work. Highlighting the main functions of the portrait of the character - descriptive, psychological, and evaluative - the peculiarity of the representation of women's portraits of Kuprin is determined. The images of «Olesya» and «Sulamith» realize the ideal images of the feminine element. Such an approach in the depiction of a literary hero forms the author's connection with mythopoetics. In the description of heroines, the author often uses portrait details. Eyes - the central portrait detail of Kuprin in the creation of a psychological portrait. With the help of such a detail, the descriptive and psychological functions of the portrait are realized simultaneously. The color used by the author on portrait details carries a symbolic and evaluative function, which speaks about the features of the writer's worldview and style. The author uses blue and white colors, the meaning of which reflects the hero's positive inner world, thereby helping to more deeply imagine and appreciate the hero. Thus, with the comparative analysis of female portraits in the novels «Olesya» and «Sulamith», the symbolic function of the portrait is revealed. While the image of both the external and spiritual beauty of the character indicates a community with the long cultural traditions of the hero's representation in art, when external beauty coincided with the inner world of the hero.
Nizhnevartovsk Philological Bulletin. 2018;3(1):67-71
pages 67-71 views


Shoshina A.A.


Article is devoted to the problems of the mankind rupture and nature in the anti-utopian world. The concept of the word «utopia» goes back to antiquity and means, literally, «a place that does not exist». In Plato’s «State», the idea of utopian state was first recreated, and therefore it is considered to be the founder of this genre. The utopia researcher A. Morton says that this treatise is at the source of all utopian literature. E.L. Chertkova, speaking about «State», stresses that the book fixes the concept of the ideal policy and identifies the «metaphysical preconditions of utopia», which manifested itself in the use of myths, in the strengthening of rationalism and, as a consequence, «the dictates of tradition inherent in mythological thinking are replaced by the dictates of reason». Anti-utopia appears at the beginning of the 20th century as opposed to utopian ideal and cloudless depiction of reality. The features of anti-utopia prior to registration in a separate literary genre were manifested in adventurous nature works. With the design of a separate genre the anti-utopian world began to be constructed as a debunking of the ideal world, as a warning about the impossibility of universal equality against the background of human individualization. The anti-utopian novel is basically based on a conflict between a natural person who has not been able to adapt to the existing reality, and a single-person person who lives according to the totalitarian world laws. It is the anti-utopia that shows the totalitarian regime's decadence as a person who oppresses the person. A vivid example of this is the image of nature in the anti-utopian world. In anti-utopias, civilization and nature, personality and nature are divided by aesthetic qualities. The description of nature as such in anti-utopias does not exist. The nature of anti-utopia is a gloomy sky, covered with gray and lifeless clouds. This all corresponds to the character and soul of the protagonist. The atmosphere of anti-utopia is filled with fear, which is transmitted through a stating image of natural phenomena. Thus, the nature of the anti-utopia appears as a symbol of the life of the society described by the anti-utopian society. Nature fills the literary anti-utopia with the motive of doom.
Nizhnevartovsk Philological Bulletin. 2018;3(1):71-76
pages 71-76 views


Zaitsev A.A.


The present research is dedicated to analyzing some traits of using relative adjectives in the modern French language. The research is based on studying the publicistic texts from such leading French editions as Le monde, Le figaro, La libération, Le point. Contrastive-comparative, transformative and descriptive research methods were used in the analysis process. Broadening the relative adjective application sphere was revealed as the result of the research. This application broadening moves in the certain direction: an adjective displaces some prepositional constructions in the noun phrases characterized by some certain semantics- where a dependent word is in subjective relationship to some certain noun, that expresses an action somehow. Such a presentation of subjective relationship in exclusively an attributive form (noun-adjective combination) is a specific French language trait. As the research conducted demonstrates, in most cases the combinations considered are not represented in Russian by means of being combined with adjectives. Being translated into Russian, an adjective is usually replaced by either an appropriate noun or a combination of a noun specially introduced with an adjective given. Besides, this research enables to make some conclusions about the language change mechanism. It is evident that the French language was not only developing in the past, but is also developing in the present. Nowadays this language movement seems to be provided by strengthening the unification processes, the neutralization in oppositions, existing in all language system levels. When the language system is operating, weak, unstable strands, where the oppositions are erased, arise.
Nizhnevartovsk Philological Bulletin. 2018;3(1):77-80
pages 77-80 views


Kirichuk E.V., Shevchenko O.A.


In article the song beginning of the poem «Le pont Mirabeau» (Mirabo Bridge) of the French poet of the 20th century G. Apollinaire is investigated. The poetics and semantic contents are compared with the translations into Russian (N. Strizhevskaja and M. Kudinov). The rhythmics of the lyrical work, reception of tone painting are combined with the figurative system of a verse and in general confirm a possibility of his treatment as songs. During the research hermeneutical, biographic, historico-literary approaches to the analysis of the text help to open deep communication between spatial, real symbolics (the bridge, a wave, the river, the weaved hands) and abstract and philosophical, «eternal» categories (time, life, love). The musicality of lyrical poetry of G. Apollinaire is continuation of his innovative transformation of classical versification. Synthesis of music and a word in the poem «Mirabo Bridge» from the collection “Alkools” will gain development as synthesis of a word and the image in well-known “Calligrammes”. The refusal of a punctuation, game with rhythmics of a verse became not just formal experiments, but have provided the bright figurative system of the lyrical text with new paints. The poetic collection «Alkools» became for the poet finding of the original art language. These qualities are shown by one of the most popular poems of the collection «Mirabo Bridge». The sonority, existence of a refrain, a smooth rhythm of a verse which symbolizes and will organize an image of eternally current river under Mirabo Bridge reproduce effect of song execution of the lyrical text that confirms also his execution by the author which is written down on a phonograph. The conclusions drawn as a result of a research can have practical values for development of the programs devoted to XX century poetry.
Nizhnevartovsk Philological Bulletin. 2018;3(1):81-85
pages 81-85 views

This website uses cookies

You consent to our cookies if you continue to use our website.

About Cookies