Vol 6, No 1 (2021)

Отечественная филология и методика преподавания

Conceptology of modern children's literature

Bezrukov A.N.


The peculiarity of children's literature is its pronounced pedagogical pathos. However, the guidelines of children's writers often coincide with the highways and priorities of a particular historical era. The aesthetic coordinates of the modern / modern literary process form the child's worldview complex, taking into account the explicit visualization. The classics of children's literature largely predetermined this moment, although there was no deliberate marking of this in it. It is quite productive, in our opinion, to consider the latest children's literature within the boundaries of cognitive linguistics, concept theory, and receptive criticism. It seems that this perspective allows us to objectify the most noticeable priorities in literature for children. The paper attempts to decipher the conceptual composition of the latest children's literature on the example of the texts of Eduard Uspensky, Grigory Oster, Narine Abgaryan. The social dynamics of time orientates children's writers to a productive dialogue with the cultural past, this fact, therefore, allows for the compilation of knowledge, starting from the Ancient period and ending with the so-called “era of numbers”. It can be assumed that the actual entertainment moment, although present in the latest children's literature, is not the main one. Plots, genre forms, language and image components of texts are transformed in a spherical conglomerate of concepts. Thus, the formal and substantive composition of literary experiments at the present stage becomes more variable, open, compilative, and plural. In turn, the aesthetic component of forms is focused on the matrix model of knowledge generation. Consequently, the young reader, through a literary text, develops for himself a universal scheme of cognitive assessment of realities. The material of this article can be an impulse for further verification and designation of perspective coordinates of the development of children's literature.

Nizhnevartovsk Philological Bulletin. 2021;6(1):4-14
pages 4-14 views

Structural and typological analysis of the name of the noun in the Surgut dialect of the Khanty language

Belkova A.E., Orekhova A.N.


The mother tongue acts not only as a means of communication and knowledge of the surrounding reality, but also as a means of fixing, preserving national, cultural traditions and introducing subsequent generations to them. That is why the quality of teaching the native (khanty) language in Ugra schools depends on the quality of general education of the modern generation of indigenous small peoples of the North. We believe that the improvement of skills and the development of skills on the topic «Name noun» in the lessons of the native (khanty) language in secondary schools of the Khanty-Mansi Autonomous Okrug with a national-regional component is successful if we implement an effective methodological system based on the structural and typological characteristics of the main grammatical categories of this part of speech. The name noun occupies the most important place in the morphological resources of the khanty language. The name noun refers to significant parts of speech. The names of nouns in the khanty language have one basis, which coincides with the form of the main case and to which various suffixes are attached. The main grammatical categories of the noun name as part of the speech of the Surgut dialect of the khanty language are the genus, number, case, animosity, attractiveness, which serve as a means of expressing objectivity. Typological comparison of Russian and khanty languages helps the philologist to better understand the causes of those errors that are the result of interference in the Russian language, and correctly determine the tasks that students have to solve when assimilating each grammatical, lexical and other laws of the Surgut dialect of the khanty language. Taking into account the peculiarities of the native language and its use in the educational process are the most important feature of the method of teaching khanty grammar in classes with a non-ethnic composition of students.

Nizhnevartovsk Philological Bulletin. 2021;6(1):15-24
pages 15-24 views

Formation of a method for studying the stylism of the Russian language

Zakirova G.M.


The article is a study of the formation of a methodology for studying the stylistics of the Russian language. The goal is to trace the origin of the methodology for studying stylistics in the works of authors who chose it as the subject of their research. In the course of the work, in the process of studying various sources of information, it became known that many scholars-philologists turned to this topic, for example: V.V. Vinogradov, A.I. Efimov, M.N. Lotina, A.N. Veselovsky, A.A. Potebnya and many others. Stylistics received the status of an independent science in the XX century, at the same time, its study was of interest to people much earlier. Particular attention is paid to the exercise systems of T.I. Chizhova and S.N. Ikonnikov, designed to study the stylistic features of the text. S.N. Ikonnikov drew attention to the combination of analytical and creative exercises. The system of exercises developed by T.I. Chizhova. There are two types of exercises in her system: exercises to observe the use of phonetic, lexical and other means of speech; exercises to observe speech styles and their key features. Noteworthy is the fact that T.I. Chizhova is assigned a special role as a stylistic exercise in her didactic complex. It includes the following types of exercises: exercises for the analysis and study of individual sections of science related to language (phonetics, vocabulary, etc.); exercises for mastering certain stylistic principles of the language and in its sections; exercises for teaching coherent speech; exercises for understanding the norms, characteristics of individual styles of speech (scientific, journalistic, etc.).

Nizhnevartovsk Philological Bulletin. 2021;6(1):25-33
pages 25-33 views

Features of the folklore of the peoples of Hanta and Mansi

Zelenova G.A.


This article assumes that in the early stages of national literatures, folklore is of exceptional importance. Folklore plots and images are a sign of the national originality of artistic creativity, evidence of its connection with myth. Thus, folklore is represented in the author's text on behalf of the collective, indicates the relationship of the artist with his people. The literature of the Ob Ugrians arose in a situation when folklore had not yet ceased to satisfy the needs of society. Folklore and fiction coexist in the minds of the people. In the rich Ob-Ugric folklore, genres are divided into sacred and ordinary. The most widespread genre was the fairy tale. All the wisdom of the people is reflected in fairy tales: learning to hunt, about human morals, customs and rituals, about the animal world, about the ability to fight the harsh surrounding nature. It can also be stories about the heroic deeds of their ancestors. The performance of fairy tales among the Khanty and Mansi is seasonal; they can be told only in winter, approximately from mid-November to mid-March. The language of fairy tales is short, clear, clear, the sentences are simple. In the past, it was customary to gather together in a certain house on winter evenings. Children's fairy tales introduce kids to the world around them, to the interaction of man and nature. They are usually told by mothers or grandmothers. The language of oral texts has its own characteristics that distinguish it from ordinary speech. The folklore language is characterized by well-established formulas, an abundance of parallelisms, rhythmics, alliteration, artistic epithets, tautology, metaphors, and euphemisms. In myths, cult and heroic songs, there are often old, now no longer used grammatical forms, outdated expressions. This makes it difficult for researchers and readers to understand the text, because the performer himself often does not know the meaning of many words. The author of the article attempts to review the history of the collection of Khanty folklore, its interpretation and processing.

Nizhnevartovsk Philological Bulletin. 2021;6(1):34-40
pages 34-40 views

The precedent phenomenon as a means of expressing the idea of the article in Russian press

Zyryanova I.P.


The article is devoted to studying precedent phenomena in headlines of Russian press, their functions and the way they are connected with different parts of articles. To achieve the goal the following methods are used: a continuous sampling method, comparative and descriptive methods, statistical data processing, context analyzing and cognitive modelling. The research shows that a precedent phenomenon in the title is connected with certain parts of the article, i.e. its main idea, the author’s conclusion, its background, or different combinations of the given elements accordingly. High effectiveness of expressing the main idea with the help of a precedent phenomenon is quite common in Russian press. It proves the main function of a title to give general understanding of the following article. The second position is given to showing the key point of the article through the precedent phenomenon to attract the reader’s attention to the main pieces of information. Repeating the idea of the title at the end of the article serves to shape the reader’s perception of the information. Referring to a precedent phenomenon as a background to the publication is rare. The research shows that a precedent phenomenon in the title has the following functions: expressive, informative, persuasive, comic or intriguing.

Nizhnevartovsk Philological Bulletin. 2021;6(1):41-49
pages 41-49 views

Images of art in the poetry of Boris Filippov

Markov A.V.


Boris Filippov, one of the greatest poets of the «second wave» of the Russian emigration, was also an accomplished publisher and an astute critic. At first glance, his aesthetics seem eclectic, combining the achievements of symbolism and acmeism, and his poems are an example of cultural poetry with many allusions, hidden quotes and side plots. The article proves that in fact the poetry of Boris Filippov was a study of how lyrics are possible after a disaster. The preceding myths of culture, from Platonism to Romanticism, are considered by Filippov as reflections, as a field of emotional experiences, while he understands the procedures for creating a complete text as methodical and similar to painting. Filippov, both in his criticism and in his poetry, opposes the nobility of the completed form to those conflicts that lead to catastrophe, but he also considers most of the «eternal» plots to be variants of conflicts that are not capable of generating aesthetic value in the modern world. Aesthetic value cannot be the subject of a simple presentation or presentation, according to Filippov, it requires the use of fairy-tale or everyday stories, opposite to the catastrophic ones, but at the same time, it acts not as a subject of representation, but as its instrument. To substantiate his position, Filippov turns to the analysis of Pushkin's The Bronze Horseman and the literary tradition of the analysis of catastrophes, which he engendered, which does not exclude lyrical delight. In order to preserve the instrumental status of value, Filippov turns to Mandelstam's experience as a poet and theorist, to the culture of developing fairy-tale plots of the early twentieth century, to the experience of A. Blok, in which he sees both a victim of the old idea of ​​lyrics and a prophet. In the end, Filippov asserts the new status of lyrics, not as one of the stable types of literature, but as a certain way of producing meanings, which cannot be reduced to dramatic plots. Lyrics, unlike prose, can distance from current emotions and detached human characters, thanks to the fascinating experience of participating in the creation of some picture. Therefore, Filippov often introduces fabulous and mythological motifs into the lyrics as the most picturesque and reproduces the procedural stages of creating a painting in the design of a lyrical whole statement.

Nizhnevartovsk Philological Bulletin. 2021;6(1):50-60
pages 50-60 views

I.A. Salov and Russian literary criticism

Sebeleva A.V.


Criticism is a specific form of social consciousness and activity. It is directly related to literary criticism and literary creation. The picture of the literary-critical development of the 19th century, social science and aesthetic typology of criticism reveals the most important trends in the literary-historical process of the era. The most intense state of critical thought was observed in the second half of the century. Diverse literary-critical currents appear, and a tendency towards dogmatization appears. This leaves an imprint on the nature of the understanding of traditions and heritage in different groups of critics. Thus, there is a change in the role of literary criticism in the cultural system. In Russia in the 50–60s of the XIX century, two historical tendencies were outlined – liberal-conservative and revolutionary-democratic. Each of the directions had a supporting print edition. Depending on which of the magazines the writer was published in, his work was included in that camp. It was at such a difficult time that the second-tier writer I.A. Salov. In connection with the intensive process of the democratization of literature, new creative forces are being formed. Critics assess the writer from the standpoint of the new character of the depiction of the people. There is a controversy around the solution of the problem of the positive hero in fiction and criticism. The domestic literary process of the 19th century is known for the work of major authors, while writers of the second row often go unnoticed. However, the significance of their creativity is distinguished only by the scale of the described phenomena. So, for example, the problems that I.A. Salov raises at the regional level, M.E. Saltykov-Shchedrin elevates to the national level. The author of the article tries through a review of modern I.A. Salov criticism to designate the place and significance of the writer in the literary process of the second half of the 19th century.

Nizhnevartovsk Philological Bulletin. 2021;6(1):61-68
pages 61-68 views

The montage type of narrative analesis in the story “The fate of a man”

Qian Z.


“The Fate of a Man” is one of the classics of the outstanding Soviet writer Sholokhov, showing readers the real life of Soviet people during the Great Patriotic War. At present, the plot and the main theme of the story of M.A. Sholokhov “The Fate of a Man” have been seriously studied, but the artistic form of the story has been little studied. More precisely, the art form itself is part of the content of the story “The Fate of Man”. This story is still relevant and gives readers endless space for imagination and interpretation. Describing real historical events, the writer deliberately uses unique art forms to make the text stronger, emotional and express important thoughts that deepen the theme of “war and humanity”. Sholokhov's works, such as “Quiet Don”, “Virgin Soil Upturned”, “The Fate of a Man” and others, were filmed and gained popularity among viewers. The successes of the adaptation of the novels and the story not only show their independent value, but also to some extent demonstrate the cinematic characteristics of Sholokhov's novel. The writer uses editing in the story, carefully adapts and systematizes the four-year military test of Sokolov's hero, so that the narrative is more dynamic and picturesque, awakens the creative imagination of readers, and gives readers a psychological experience of a cinematic nature. At the same time, the writer does not forget to separate readers from the text so that readers can think rationally. The article makes an attempt to “re-read” the classics in the aspect of film editing in order to analyze the structure of the narrative, the rhythm of the narrative, the psychological distance in the narration, and also to explore the aesthetic meaning of the story.

Nizhnevartovsk Philological Bulletin. 2021;6(1):69-75
pages 69-75 views

Иностранная филология и методика преподавания

Heroic and tragic in the novel “A farewell to arms”

Bukhantsova E.V.


Attempts to understand Ernest Hemingway are reflected in more than one hundred and fifty studies. F. Young tried to reveal the secrets of creating main characters’ portraits, E. Halliday paid attention to the place of irony, K. Baker focused on the issue of narrative perspective, I. Finkelstein considered the ideological content, M. Mendelsohn and I. Zasursky analyzed love and military lines. All literary critics have noted a certain ambiguity in battle scenes. They necessarily pose two problems: the cost of brave behavior (or cowardly one) and the payment for it. In this way the dual nature of military aggression is emphasized. Horrors of bloody battles, broken human destinies, and painful relationships are combined with heroic feats, true patriotism, foolish risk, cowardice. The unification and opposition of the tragic and the heroic (non-heroic) is the topic of this article. This research is carried out on the material of the novel. Research methodology is literary analysis. Everything is quite traditional here. The goal is non-standard: to reveal the ways and methods of expressing the heroic and tragic, to show connection of these so different manifestations. Tasks are also interesting: to reveal the features of the time of creation of the novel, the author's attitude to the war, to compare images of heroic acts and tragedies. Their decision leads to interesting conclusions. The years of writing the novel were extremely depressing. Heroic acts suddenly lost their meaning, only tragic events remained important. Epoch-making phenomena (economic collapse, social decline, spiritual crisis) helped the author rethink the meaning of the First World War, to see in it a ruthless force that awoke dangerous diseases, lead to madness, provoked cataclysms. These conclusions force us to revalue the tragic and heroic in the novel, the side that is the least studied.

Nizhnevartovsk Philological Bulletin. 2021;6(1):76-82
pages 76-82 views

The question about the categorization of the world in the modern American novel

Kulikova D.M.


This article examines one of the areas of cognitive linguistics - linguo-psychological, designed to explore the categorization of the world and the characteristic features of the picture of the world. The article also provides a distinction between the concepts of “conceptualization” and “categorization”. One of the categories of this direction of linguistics is categorization, the essence of which is obtaining information and distributing it into categories of knowledge, for which it is required to structure the phenomena and processes that occur. The paper presents a graphical representation of the categorization process and the inclusion of new knowledge in the experience gained in the past. It is concluded that the process under study is complex, it is based on a variety of mental operations. On the example of E. Donoghue's psychological novel “The Room”, an analysis was made of the situations in which one of the main characters, a five-year-old boy Jack, was, the ways in which he categorizes the world were determined, and examples of these situations were given. One of the most important problems described in this book is the problem of communication between heroes and other people, namely, its lack. The boy grew up in a room, for him what is not located in it is in open space. The objects and living things that he sees on the TV screen are living; he does not understand why his favorite cartoon about the fish Dora is drawn on TV, and the character is fictional. Thus, the author comes to the conclusion that the categorization of the world by the boy occurs on the basis of previous experience, as a result of his isolation from the outside world, the process of categorization is violated.

Nizhnevartovsk Philological Bulletin. 2021;6(1):83-87
pages 83-87 views

Verbal representation of the concept “power” in W. Shakespeare's tragedy “King Lear”

Filistova N.Y., Russkikh G.I.


The article is devoted to the study of linguistic and stylistic features of the verbal representation of the concept “power” in W. Shakespeare’ tragedy “King Lear”. Currently, an increasing number of linguists are conducting research on literary concepts based on the material of works in various languages. The relevance of this article is due to the growing interest of scientists in the study of concept sphere of a whole literary text. The article shows the importance of the works of W. Shakespeare in world literature, and also contributes to the understanding of such a widespread and multifaceted concept “power” in the tragedy “King Lear”. The purpose of this study is to characterize the concept “power”, as well as to describe the ways of its actualization in the work under consideration. To achieve this goal, we used the following general scientific and linguistic research methods: descriptive-analytical method, conceptual analysis method and continuous sampling method. The object of the research is the concept “power” and the subject of research is the linguistic means of its representation in the text. The article reveals the essence of the term “concept” and methods of its research, gives a characteristic of such a socio-political phenomenon as power, provides the results of the analysis of the occurrence of frames in the tragedy. The analysis allowed us to identify various linguistic means of representing the concept “power” in the studied text. This, in turn, leads to a deeper understanding of the plot and ideas of one of the most relevant works of the playwright in our time.

Nizhnevartovsk Philological Bulletin. 2021;6(1):88-97
pages 88-97 views

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