Vol 5, No 2 (2020)



Bezrukov A.N.


The article is an attempt to analyze contemporary Russian lyric poetry. The literary process actively picks up new codes, new aesthetics, new authorial positions, thus developing a new aesthetic system. The practice of experimenting with form and content is manifested in prose, drama, and, of course, in poetry. Quite a lot of new, as yet unknown names are updating their nomination. These are Dmitry Stepanov, Vera Polozkova, Irina (Ah) Astakhova, Ekaterina Ageeva, Stefania Danilova, Marina Eskina, Danila Nozdryakov, Anna Egonian, Yana Akulinina Yulia Solomonova. In our opinion, the work of Sola Monova looks positional in this row. She strives to organically combine the outer body, the language standard - the literary text - with the realities of our time. The relevance and novelty of the work lies in the fact that the work of Yulia Solomonova has practically not been studied, there are no special, specialized works where an assessment of her individual style, peculiarities of poetics would be given. For the analysis of poetic forms, the principles of the theory of communicative adaptation are applied in the work. The indicated methodological variant is complemented by intentions of a receptive nature, empirical observations. The article also proposes the differentiation of Sola Monova's lyrics into typological series. The expediency of this distinction is associated with a situational layout, since it is in this that an effective contact, a dialogue between the “author” and the “listener” is manifested. Sola Monova's poetic discourse is built into a kind of paradigm of masks that overcome communicative adaptation. The conclusion on the text indicates the further development of literary forms, in general, the process of transformation of aesthetic contours. The material can be useful for a general assessment of the poetry of the beginning of the 21st century, for private analyzes of the text, for identifying the prospects for the development of artistic thought.
Nizhnevartovsk Philological Bulletin. 2020;5(2):3-9
pages 3-9 views


Erofeeva V.B.


Semantic analysis of interjections academician V.V. Vinogradov singled out as one of the priority directions in their study; in modern linguistics, the study of the semantics of interjection words is also relevant. Within the framework of the presented article, we made an attempt to determine the semantics of interjections in the poetic texts of M.I. Tsvetaeva using a linguistic experiment. The article presents the results of defining the semantics of the interjection words “o”, “ah”, “oh” as the most frequent in the poetic text of M.I. Tsvetaeva. The lexicographic description of interjections, recorded in the explanatory dictionary, is compared with the semantic meaning of the interjections in the context of the poetic text of M.I. Tsvetaeva, selected by native speakers, are highlighted by lexical and punctuation markers. So, considering the semantics of the interjection “o”, native speakers highlight the following meanings: prayer, tenderness, self-confidence, thereby complementing the dictionary definitions, the interjection “ah” - regret, irritation, anxious expectation, the interjection “oh” - warning, remorse , concern. The practical significance of the study lies in the possibility of using the analyzed material in the study of the disciplines “Modern Russian language”, “Methods of teaching the Russian language”, at the university, as well as didactic material in the lessons of the Russian language at school. The results of the research will allow expanding the semantic and functional groups of interjections recorded in the existing dictionaries. As a result, we come to the conclusion that the semantic definitions of interjections recorded in dictionaries cannot interpret the meanings of interjections in the poetic texts of M.I. Tsvetaeva. Her works have great potential in the study of the semantics of interjections, since they reflect the author's picture of the world. The detected definitions can significantly expand the dictionary entries about interjections.
Nizhnevartovsk Philological Bulletin. 2020;5(2):10-14
pages 10-14 views


Korosteleva L.V.


Russian vocabulary is the most changeable language level. New vocabulary is a reflection of modern political, cultural and social changes and it may be interesting for different fields of linguistic science and, in our opinion, can be an extraordinary material for studying lexical norms and stylistic features of Russian language. Using new author's vocabulary (protologisms) as language material can be aimed at testing both students' theoretical knowledge of the Russian language and their ability to apply this knowledge in determining the lexical meaning of a word, the relationship of word formation methods with the meaning of a new word, its expressive function, morphological meaning, and the possibility of combining it with other words for inclusion in the structure of an utterance, depending on the sphere of communication. The purpose of this article is to describe ways to include a special category of words in the content of the discipline “Russian language and culture of speech”: the author's vocabulary (protologisms). We assume this language material can be used to systematize students' knowledge of the lexical norms of the modern Russian language and the stylistic features of these words. The object of study in this article are protologism as lexical units, which is a kind of new vocabulary of modern Russian language; the subject of research - the possibility of their use as a language material for teaching lexical and stylistic peculiarities of the Russian language.
Nizhnevartovsk Philological Bulletin. 2020;5(2):15-19
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Markov A.V.


The question of the stage relevance of the last major work of B. Pasternak has not been resolved, but the comparative analysis of other dramas for reading, with similar existential motives, arises interpretation of the narrative and potential stage effects of this play. His Blind Beauty is a series of dramatic scenes that demonstrate key moments in Russian life before and after the reforms, exploring how exactly the influence of Western models on Russian culture was replaced by the opposite influence of Russian culture on Western. In this sense, Pasternak's scheme is close to the ambitions of Russian modernity, to introduce those complex ideas that will be perceived throughout the world not just as mere ideas, but in their current symbolic and dialogical shell. In this sense, the Blind Beauty continues the return to the values of symbolism as a source of metaphysical dialogue, religious sense and large-scale discussion of metaphysical issues, outlined in the Doctor Zhivago . Among the possible prototypes of Pasternak's play, I note M. Kuzmin's play Venetian Madness , which is a complex combination of symbolist mythology, its criticism, grotesque mockery of the theater conventions and research into the mechanics of the dramatic denouement. Both works can be viewed as metatheatrical: they do not so much create effects for the audience, which turn out to be quite standard for the existing traditions of drama, but show how the dramatic mechanics are arranged, how fractures, twists and turns and denouements are possible proceeding from the real passions of people, and not from the simple audience's expectations. In these plays, a metacritic of the theater is undertaken, the theatrical conventions turn out to be moments of real life and historical processes. Numerous parallels confirm this new technique, which we called the technique of inauthentic mimesis, close to cinematography, and allow us to understand the previously unclear details of the intrigue.
Nizhnevartovsk Philological Bulletin. 2020;5(2):20-27
pages 20-27 views


Merkushov S.F.


Concretization of the discursive space of the models “absurd in literature” and “literature of the absurd” consists in their comparison, as well as the differentiation of related concepts of the sphere of the absurd (paradoxical and absurd, irrational and absurd, etc.), since, despite their Dialogic nature, they do not coincide in certain parameters. Meanwhile, the issue of dividing terms included in the paradigm of the absurd, we touch indirectly, especially since we will not find a clear division of these related terms in the works of researchers, since the border between them is rather shaky, and the criteria for determining both are difficult to reproduce. We approach the problem of demarcation of the absurd and related concepts from the point of view of distinguishing public and private in the terminology, namely, we define the absurdity as metaborate as common and widespread in the literature of intercultural and mesdiscussions semantic category; the other mentioned formation - private occasional-more manifestations. Thus, the problem of distinguishing the absurd and related terms should be solved, in our opinion, in favor of the absurd as a generic term, and the other determinations (“irrational”, “paradox”, “nonsense”, “fantasy”, etc.) - secondary typological formations.
Nizhnevartovsk Philological Bulletin. 2020;5(2):28-32
pages 28-32 views


Sanjyarova N.S.


The article discusses the criteria for distinguishing between accession and parcellation based on the material of dissertational studies and special scientific papers that contain this kind of information. The goal was to identify the various criteria proposed in the research literature, and to analyze the approaches of scientists to the distinction between accession and parcellation. During the study, methods of observation, description, analysis and synthesis were used. The article notes that, in general, researchers are united in their ideas about the nature of accession and parcellation. Most scientists offer similar criteria for distinguishing between them, based on the idea of the static connection and the dynamism of parcellation, although this does not mean that the question of distinguishing between these phenomena is currently closed. Obviously, ways to distinguish accession from parcels will be of interest to linguists until the complex question of the linguistic status of these phenomena is unambiguously resolved. It is concluded that the most effective for distinguishing between parcellation and accession are objective formal-structural criteria, the main of which: connecting components are part of the main proposal, and parcel constructions are outside the main proposal. Semantic, contextual, functional and stylistic criteria, as well as criteria for the modality and reference of a statement, the speaker’s intentions suggest a high proportion of the researcher’s subjectivity in assessing the status of phenomena of parcel or accession. The author believes that the structural criteria of differentiation identified by scientists should be widely applied both in secondary and higher schools in the process of teaching the Russian language, in the study of accession and parcellation.
Nizhnevartovsk Philological Bulletin. 2020;5(2):33-42
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Sebeleva A.V.


Alexander Solzhenitsyn was a bright, original and thought-provoking writer. In addition to his writing, he left a legacy of criticism and journalism that is significant for the history of Russian literature. Solzhenitsyn's work as a publicist teaches respect for the national cultural and spiritual heritage. Insufficient attention to the writer's historical and journalistic activities sometimes led to narrowed ideas about how Solzhenitsyn evaluated certain phenomena of Russian literature, culture, and society as a whole. Insufficient attention to the journalistic activities of the author of “GULAG Archipelago” and “Оne day of Ivan Denisovich” is also explained, in our opinion, by the fact that until recently the motives of his contradictory attitude to Russian culture were not fully revealed. The author of the article refers to the two most significant, in our opinion, articles: “Remorse and self-restraint as categories of national life” and “Speech at Harvard”. We conducted a review of critical articles about the journalistic work of Solzhenitsyn. In the Harvard speech, Solzhenitsyn appeals to his contemporaries in the West to change, to be reborn in order to avoid a complete historical collapse. The article “Remorse and self - restraint as a category of national life” defined the Central concepts in the writer's journalism-the ideals of spiritual improvement are opposed to anthropocentric tendencies. In the course of the research, we come to the conclusion that the entire literary and journalistic work of the writer is based on major philosophical, socio-political and aesthetic ideas: the struggle for spirituality, morality and realism. The pathos of moral self-consciousness and self-determination, Christian ideals that permeate all of Solzhenitsyn's work, characterize his views on the history of Russian art. All this makes the scientific heritage of the writer-publicist extremely valuable for Russian literature and literary criticism.
Nizhnevartovsk Philological Bulletin. 2020;5(2):43-46
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Soroka S.N.


The purpose of this work is to clarify the meanings of the image of the wind in the poetic heritage of the poet-young symbolist S.M. Solovyov. Particular attention is paid in the article to the interpretation of the image of the natural element in the lyric poems of S. Solovyov, included by him in various poetic cycles, and the comparison with the works of his contemporaries: Blok, Bunin, as well as based on the theoretical works of V.S. Soloviev, A. Bely, Viach. Ivanov. When analyzing poetic texts, cultural-historical and hermeneutic methods are used. In the course of the analysis of the poems, the meanings of the image of the wind in the work of S. Solovyov of the pre-revolutionary period are revealed. The wind space, reinforced with woody images, in the poet's poems reflects “the general aspiration of the earthly soul for higher forms of being ...” The movement of the wind symbolizes the “aspirations of life”, which are contrasted in the lyric texts of S.M. Solovyov “the eternal peace of the universe”. Combined with a sound and visual image, the breath of the wind helps to convey the fullness of sensations and feelings of the lyric hero, making him an accomplice in the described events, blurring the boundaries between reality and dreams. Wind in the poetry of S.M. Solovyova is a harbinger of winter cold, and also accompanies the awakening of spring nature, which renewed life at different times. Along with other natural images: sky, water, trees, symbols of love and death - the wind in the poetry of S.M. Solovyov acts as a kind of glue, a constant that “brings together centuries and the masses”. It combines different cycles, as well as seemingly dissimilar poems in one cycle. Thanks to this image, a holistic perception of paintings is preserved, combining Christian and pagan images, past and present, mythological subjects and the fate of real people. Thus, the poet achieves the presence of timelessness, eternity in his poetry.
Nizhnevartovsk Philological Bulletin. 2020;5(2):47-52
pages 47-52 views


Faronskaya S.A.


This article examines the discourse of older people in the communication space of the Internet - the social network VKontakte - through the prism of speech genres (RG). Science knows a large number of works on the topic of discourse, scientists do not lose interest in genre studies - the relevance of this work is due to the fact that earlier the issue of the discourse of older people on the social network VKontakte was not considered, and the features of the Internet texts of pensioners were not identified. This article contains a brief theoretical presentation of the research topic, in particular, the author relies on the scientific works of N.D. Arutyunova and M.M. Bakhtin, practical material and conclusions to the text analyzes carried out - the intentional component of the selected news entries and the dominant speech genres in the comments of older users to publications. The subject of the research is speech genres in the discourse of pensioners (based on comments to news publications). The goal is to identify the features of the discourse of older people on the VKontakte social network. The material for the work was the posts of the “News for pensioners” group on the topics “Politics” and “Medicine” and the comments of subscribers to them. The audience of the named group is 55+, subscribers prefer the lexeme “retired” to the definition of “elderly”. The methodological basis of the research is made up of linguistic analyzes of texts - content and intent analyzes; when describing RJ, the speech genre model developed by T.V. Shmeleva and the RJ formula by A. Vezhbitska were used. Thus, in the course of the study, a content analysis of the News for Seniors group, an intent analysis of publications were carried out, and the leading speech genres in the comments of older people were identified. In total, ten publications on the topics “Politics” and “Medicine” were considered (five on each topic), there were 200 comments to these news entries (114 - “Medicine”, 86 - “Politics”).
Nizhnevartovsk Philological Bulletin. 2020;5(2):53-61
pages 53-61 views


Fisenko A.B., Kultysheva O.M.


This article is devoted to the consideration of the concept of “dialogue” as a literary phenomenon. It provides different options for using the concept of “dialogue” in different contexts, such as: dialogue of cultures, timeless dialogue between authors and their texts (intertextuality), as well as the dialogue between the author and the reader through the text of a work of art and the dialogue between the reader and the text. The various meanings of the above term are revealed, for example: interaction and interpenetration of different cultures, reflection of socio-cultural changes in society and the country by the authors of works, dialogues of characters as an element of artistic speech and composition of a work. At the same time, it is noted that dialogue as a form of artistic speech performs its functions in each literary genus, and each has its own characteristics. This article is based on the study of opinions on the essence of the dialogue of such famous literary scholars of the past as M. Bakhtin, R. Barth, G. Bloom, as well as the works of modern scientists A. Valipur, V. Domansky, M. Krongauz and A. Smolina. When writing the article, the cultural-historical, historical-theoretical method, the method of comparative studies and the method of hermeneutics were used. As a result of the research carried out, a conclusion was made about the versatility and scale of the concept of “dialogue” in literary criticism, as well as the importance and necessity of analyzing dialogue from various angles. This article can be used by students-philologists in preparation for practical classes within the discipline “Theory of Literature”, as well as when writing term papers, final qualification works and master's theses in literature; language teachers can rely on the material of the article when preparing for literature lessons at school.
Nizhnevartovsk Philological Bulletin. 2020;5(2):62-66
pages 62-66 views


Ilina A.A., Zyryanova I.P.


The article is devoted to an urgent issue - peculiarities of teaching a foreign language online. It contains a detailed research of its advantages and disadvantages, and stresses the importance of introducing new online methods and aids to potential teachers at pedagogical universities to face the realities of modern education. Considering the current tendencies in teaching worldwide it is important for students who are trained to be teachers of foreign languages to participate in WorldSkills Russia championship in the block “Teaching a foreign language online”. The article shows the experience of participation in the competition, a step-by-step analysis, representing teaching methods and techniques of each unit. The championship lasts for two days and consists of four units, two for each day. The students are volunteers who have their own role. Each participant has a compatriot who guides him/her. The first unit deals with interviewing a potential student, finding out the level of the language, the goals of studying. The second unit is devoted to making up a draft of the lesson, teaching aids, finding the material resources and timing. The made-up online lesson is given during the third unit. The final forth part of the championship allows the participants to analyze the overall experience and fill in the form. The participation in the championship proves the effectiveness of teaching a foreign language online, allows to motivate and support a student, apply various teaching aids, methods and techniques. The enumerated aspects of teaching online help to achieve high results in studying a foreign language.
Nizhnevartovsk Philological Bulletin. 2020;5(2):67-72
pages 67-72 views


Trubina Z.I.


The paper deals with the concept of “cognitive visualization” as a mental visualization of the text with its subsequent rendering in graphic forms. The concepts of cognitive visualization and illustrativeness are distinguished. The definition of cognitive visualization is similar to the principle of illustrativeness in teaching, but it has the advantage of being a way developing students’ thinking. The paper identifies the main characteristics of cognitive visualization, such as concentration and generalization of knowledge. Various methods of cognitive visualization help systematize large amounts of information. The main techniques of cognitive visualization are: mind maps, comics, a diagram “Heaven and Hell”, a bridge of negotiations, infographics, Metro map, bar charts, scribing, dilemma diagrams, spray diagrams. The methodological model aimed at developing students ' skills of extracting information from texts of any type using effective methods of cognitive visualization consists of such components as motif-based, informative (based on the unity of linguistic, psychological and methodological components), methodological (teaching to work with texts based on cognitive visualization techniques) and resultative (getting a product).
Nizhnevartovsk Philological Bulletin. 2020;5(2):73-83
pages 73-83 views

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