Vol 9, No 1 (2024)

The end of the ХХ century is not so full of new faces and new authors. In prose, postmodernists enjoy authority, constructive domestic prose disappears, the literary world is replaced by simulacra, a different reality. The social background is not so actively introduced into the fabric of the works, although V. Aksenov, A. Kabakov, V. Makanin, A. Slapovsky remain markers of aesthetic research. In dramaturgy there is also a crisis of thoughts and ideas. This is expressed not so much in the absence of a strict conceptual point of view, but in the insufficiency of the view. The texts of the “new drama”, and these are O. Bogaev, E. Gremina, D. Lipskerov, O. Mukhina, M. Ugarov and others, only form a different living flow of plot development, working on the probable transmission of a new life background. Approximately the same situation is observed in poetry. However, the format of rock poetry is being developed well, the texts of A. Dementiev, B. Kenzheev, D. Novikov, O. Chukhontsev and Boris Ryzhey are read and successfully structured. The lyrics of the latter will interest us within the framework of this article. The purpose of the work is to provide a probable argument for the thematic openness of Boris Ryzhiy’s lyrics. The format of his poems has both a classical and modernist feel. The world of Boris Ryzhiy’s poetry is complex, multidimensional, spatial boundaries are opened due to an explicit reference to the texts of A.S. Pushkina, F.I. Tyutcheva, A.A. Fet, Alexander Blok, Innokenty Annensky, Sergei Yesenin, Georgy Ivanov, Boris Pasternak, Joseph Brodsky. At the same time, B. Ryzhiy does not so much copy the classics as learn from them an obvious openness to the reader. It can be assumed that the modes of thematic openness of Boris Ryzhiy’s poetry are discursive nature, a model of intertextual play, an arrangement of the narrative level, and stylization.

This article examines the image of the artist and the conflict “artist and power” in the work of M.A. Bulgakov “The Cabal of the Saints”, as well as in the plays “Alexander Pushkin” and “Crimson Island”. This study talks about the confrontation between the artist and the government as a traditional conflict for Russian literature on the example of the works of G.R. Derzhavin, A.S. Pushkin, M.Y. Lermontov and N.A. Nekrasov. The author reveals the creative motivation of the writer, which caused M.A. Bulgakov's appeal to the above-mentioned conflict, in connection with the historical realities and facts of the author's life. Based on a comparative analysis of the works of the authors of the XVIII and XIX centuries, as well as the plays of M.A. Bulgakov, the authors conclude that, as a rule, the image of the artist in the studied plays is associated with the conflict “artist and power” and is revealed through it. Writers addressed the conflict “artist and power” long before M.A. Bulgakov. This confrontation is most often found in works from the time of Romanticism, in which the poet is confronted with a soulless crowd or greedy powerful. In turn, feeling the pressure of censorship bodies that impede the freedom of creative expression, M.A. Bulgakov turns to the above-mentioned conflict, which is vital for him, and rethinks it. Based on this statement, the authors of the article analyzed and compared the works “Crimson Island”, “Alexander Pushkin” and “Cabal of saints”, thereby identifying the features of the artist, manifested through the prism of the conflict “artist and power”. The scientific works of both recognized researchers in the field of literary studies and literary history, as well as young scientists, were used as a theoretical basis for this article.

The study examines the psychological portrait of the main character of the novel “The Life of Klim Samgin” through the analytical theory of schizoid personality accentuation by A. Lowen and R. Lang. The article analyzes the character's childhood, which had a decisive influence on Samghin's specific traits. The author describes the phenomenon of schizoid alienation of the book's hero, his ambivalent-polyphonic dialogue with himself, due to the specifics of his inner world. Klim is extremely clearly aware of the split of his personality into several incompatible characterological radicals, totally opposed to each other. According to the author, «polyphonic character» can be positioned as a synthesis of multidirectional volitional impulses in the destructive consciousness of the protagonist of the novel, in which «social absenteeism» is opposed to activity, «revolutionary ideas» are opposed to conservatism, etc. According to the researcher, the character’s social autism is fraught with not only very negative and catastrophic consequences, but also a hidden opportunity to find one’s true being. Thanks to such self-isolation, Samghin has the opportunity to preserve his authentic features, to avoid the total depersonalizing influence of the social system, which is capable of subjecting his inner world to «chaotic non-existence». A comparative comparison of the personalities of Samgin and the worker Kutuzov allows us to draw a paradoxical conclusion that the main character of the work A.M. Gorky is much closer to understanding his bottomless inner world than the “Bolshevik-Leninist”, very limited by the social dictates of «democratic centralism». The study raises the question of the comparative relationship between different types of characters. In our opinion, «monological character» is a type of characterological mosaic in which there is a total absence of a «split of consciousness» into several subpersonalities united in one body. In our opinion, this character is most clearly captured in the image of the merchant Marina Zotova. Unlike Samghin, she is not absorbed in «existential Hamletism», she is completely open to the world, optimistic, and has overcome «social absenteeism».

The article is concerned with the problem of cognitive modeling forming the basis of fictional text interpretation. The novelty of the research is conditioned by a) the topicality of the interdisciplinary approach to the analysis of linguistic phenomena; b) the necessity of in-depth study of the problem of fictional text perception and interpretation; c) the insufficient development of the problem of cognitive text interpretation. The article is aimed to define the process of cognitive modeling and develop the algorithm of its implementation. The research is done on the material of the English language. The main methods are conceptual analysis and cognitive modeling at the certain stages of which stylistic and propositional analysis are used. As a result of the research the conclusions about a) the specificity of literary concepts and the conceptosphere of a fictional text; b) the typology of literary concepts according to the criteria of conceptual significance, linguistic representations and reference correlations; c) the expediency of applying the method of cognitive modeling to text interpretation. literary concept having common cognitive mechanisms with other types of concepts, nevertheless is characterized by its own specific features: a) relativeness with the conceptual information of the fictional text; b) the reflection of stylistic categories: c) axiological significance; d) the dynamic status; d) contextual determinism. According to the developed criteria for typology literary concepts are classified into three groups: 1) mega-, macro-, miniconcepts; 2) explicit (lexical, phraseological, syntactical, etc.) and implicit; 3) thematic literary linguoconcepts are subdivided into concrete and abstract. The linguistic representations of literary linguoconcepts are specified by a frequent usage of stylistic means, actualizing the most significant for fiction imagery, emotive and axiological components of the concept. A multi-step procedure of fictional text cognitive modeling including a certain sequence of the interpreter’s actions aimed at conceptualization and interpretation of the information about the author’s imaginary world and individual world picture has been developed.

This article is devoted to the cognitive stylistic analysis of semantic deviations as foregrounding devices in slogans. The ultimate objective of this article is to reveal and depict stylistic attractors, cognitive processes, structures and mechanisms which determine cognitive stylistic specificity of semantic deviations utilized in slogans. The article sets forth the definition of semantic deviation, expands on what impact stylistic devices falling into the category of semantic deviations make on a reader from cognitive perspective. It also displays how rules and literary norms are violated so as to foreground information, encode implicit information, defamiliarize a media text and capture a potential customer’s attention in slogans. The semantic deviations were analyzed from cognitive and stylistic perspective in slogans of companies with a household name. Furthermore, conceptual metaphor analysis and cognitive-stylistic analysis were applied to analyze how semantic deviations are deployed in the text. Having conducted the research, the following findings were revealed: By means of leveraging bodily and sensory-motor experience and displaying tangible and nonhuman items as something animate metaphorical utterances allow a potential end user to envision and get a profound insight into what is being represented by the advertiser. Regarding simile, it incorporates conceptual mapping between two incompatible concepts by juxtaposing two tangible objects. Direct and specific comparison of two entities facilitates the decipherment of the message behind the stylistic device and evokes the mental images. When it comes to pun, by virtue of dual meaning pun calls forth the potential customer’s brainwork and pushes him/her to interpret the hidden meaning. By means of pun the slogan grabs a potential user’s attention and exerts a humorous effect on him/her. As for paradox, this stylistic device activates a potential end user’s cognitive processing and encyclopedic knowledge structures as well as calls for unraveling the parallel between and make sense of two abnormal and contradictory terms to decode the creative and novel meaning behind the hidden message where pun was integrated.

The article offers an analysis of the impact of collaboration between author and translator on the process of literary translation. The study covers a variety of collaboration methodologies, including informal discussions and joint translations, highlighting their importance for achieving more accurate and harmonious results. The problem raised in the article is the need to understand how the collaboration between the author and the translator affects the quality of literary translation. In particular, the article examines the issues of mutual understanding between these two parties and the role that active cooperation plays in achieving more accurate and harmonious translation results. The issue also concerns what factors facilitate or hinder successful collaboration and what strategies can be used to optimize the process. Particular attention is paid to the role of the author in providing context, clarifying meanings and conveying the style of the original, which actively contributes to the accuracy of the translation. The article emphasizes that successful cooperation is possible subject to mutual understanding between the author and the translator. The result of the study is confirmation that the collaboration between the author and the translator represents a unique approach that contributes to a deeper and more accurate reproduction of works of art in other languages, the author concludes that an experienced and adaptive translator, capable of internalizing with the author’s method, has a high potential to preserve all the nuances and specificity a work of art.