Articles

The article is devoted to the problem of preserving cultural heritage through its reproduction in cultural memory based on the Quebec documentary cinema of the first half of the 20th century. The aim of the research is to identify and to justify the features of films related to “direct cinema” as an important part of cultural heritage, a creative memory carrier. A memory’s need for self-identification in space leads to the creation of places that are for any group not only a scene of joint activity, but also symbols of identity and important points of memories. The appearance of a light and silent camera in the cinematograph in the second half of the 50s contributed to the birth of the “new wave”. The center of “direct cinema” in North America was the French-Canadian province of Quebec. The article analyzes the relationship between cinema and society, cinema language is considered a means of reflecting the characteristics of identity. These characteristics model cultural identity and illustrate the alliance of cultural bearers about ethno-integrating and ethnodifferentiating characters. The article clarifies the contribution of the first priestsfilmmakers to the formation of the collective memory of Quebec. The specificity of the visual solution and dramaturgy of “direct cinema” is analyzed on the basis of the film by Michel Brault, Gilles Groulx and Marcel Carrière. The conclusion about the peculiarities of innovative aesthetics and the significance of films of direct cinema as effective translators of the values of Quebec culture and generators of new meanings of cultural memory is made.

The article describes the urgency of creating a scientific anthology dedicated to the Russian Old Believers. Russian Old Believers are one of the most important spiritual, social, economic and cultural phenomena in the history of Russia. Attention to the Old Believer intellectual heritage is relevant for clarifying the course of Russia’s development in the world community of civilizations. Over the centuries of coexistence with the Russian Empire, the Old Believers developed their own counteractions to the Western path. Nowadays the Old Believers are an arsenal of spiritual, intellectual and cultural methods of resistance to Westernization. A selection of Old Believer texts should illustrate the various trends of Old Believer thought in different epochs, to see the Old Believers as ideology, as a world view, as a men- tality, as a way of life. The collection of texts on the Old Believership should give an objective picture of the place of the Ancient Orthodoxy in the history and the present of Russia. Editorial work should be based on a special methodology, so as not to perceive the Old Believers in an ethnographic or historical-museum format. Old Believership should be presented to the reader in the light of its current opportunities for building a new great culture.

The article deals with the evolution of ruins motif and ruin perception in Spanish poetry, from the Golden Age to contemporary poets. The starting point of the research is the perception of the ruins, after M.M. Bakhtin, as a chronotop, the intrinsic connectedness of temporal and spatial relationships. The ruins became an aesthetic category, whose reflection in the form and the content of a poetic work agreed with the ideology of a particular period – Renaissance, Barocco, Enlightenment, Romanticism, or Postmodernism. Studying the ruins topos in the context of Iberian mentality allows us to see the local tendencies in the perception of the ruins. The Renaissance poets were the first to draw attention to the ancient remnants, from Carthage later refocusing towards the Roman ruins and the Iberian space. Thus, in Renaissance Spanish poetry Garcilaso de La Vega and Gutierre de Cetina were the first to devote the sonnets to the Carthaginian ruins, while the 16th century Seville poets took a broader view, both geographically and historically. The two functions of the ruins established in the early poetic tradition emerged in the later works both individually and in their inseparable unity, to be interpreted in the 20th century poetry by Aníbal Núñez (1944–1987).

The subject of this study was the axiological aspects of the content of Russian classical literature, manifested in the genre and stylistic specificity of artistic works, the purpose of which is to reveal the peculiarities of the content of N.V. Gogol ‘s poem “Dead Souls”, to study the ideological and moral representations of the writer and the ways of their implementation in the text. The work uses relatively historical, system-typological, historical-functional methods, which allow us to consider a complex literary phenomenon in an integrated manner. The results of the work show that the poetry of “Dead Souls” is formed on the basis of the religious world view of the writer, the novelty of the work is that for the first time the topic of mercy is considered as key in the realization of the author ‘s plan in order to show the spiritual values of the Russian people. The results of the study can be used in lectures on Russian classical literature in higher and secondary schools, at seminars and practical classes, the work is of interest to all those interested in the problems of Russian spirituality.

Russian love-knowledge verbs are analyzed in the article, which reveal the specifics of Russian ideas about love - to admit, explain, and open up. The verb “to confess” gives love to a crime, “to explain” - to a riddle, incongruity, “to open” - to a secret. Each of these similes has a mythological and cultural-historical origin, and none of these uses is accidental. So behind the verb “explain” is an ancient (ancient Greek) myth that explains why two people feel a sudden strong attraction to each other, passion. The article explains the origin of the typical Russian representations of a couple of lovers and then spouses as two halves. We are talking here about a story from Plato’s “Feast” (a dialogue dedicated to the issues of love), about people who once lived, according to this myth, of three genders: men, women and androgynes, who had incredible power. It was for this that the last ones were cut into two halves by the will of the gods. “And when”, we read in Plato, “the bodies were thus dissected, each half longing for the other half, they embraced, intertwined, longing to grow together, and died of hunger and inactivity, because they did not want to do anything apart... From such a long time ago, people have a love attraction for each other, which, by connecting the former halves, tries to make one of the two and thereby heal human nature”. Aristophanes writes the same story about androgynes. He says that “love is called the thirst for wholeness and the desire for it.

To the same story, the “crime” of love is being built. A crime in the desire to unite contrary to the will of the gods. The etymologies of the words “gender” and “sex” indicate the same situation. The word “gender” (male and female), came from the Old Slavic “half” – half. The same picture is observed in other Slavic languages, where the root is associated with the concepts of “side”, “half”, “cut”. The situation of cutting off, separation is behind the word “sex”, which came to Russian from English, and there – from Latin. “Sexus” originally meant “separation”, “dissection” (see the single-root “section”, “segment”, “secateur. “Sexus”, like the Latin – the line of separation, separation, which was once separated, hence the attraction of the sexes, the sexual attraction, which, under any ideological tendencies, has never been questioned. The same subject constitutes a mystery, which must be hidden, and the decision to open requires courage and readiness to take risks. First of all, because it is the Slavs who love, would-be wife and would-be husband – parts of fate. Unlike the European destiny (Fortune), the Slavonic Sudzhenitsy, coming to the house to the newborn, is sure to discuss the issues of his future heart life. The article lists and analyzes examples from the love explanations contained in Russian classical literature, or rather, in Russian prose.

The paper continues discussing the subject opened in a previous issue concerning the need to develop new approaches to the problems of intercultural communication under modern conditions. This time it is illustrated by the important issue based on the experience of Chinese students who study in Russian universities and Russian lecturers who teach Chinese students. The number of Chinese students is steadily growing and Russian educational organizations are not quite ready to deal with such a great number of pupils. And students, in their turn, are unprepared for integrating into an alien culture. Old theories of intercultural communication, formulated in the middle of the 20th century under specific historic conditions and for certain purposes, today are outdated. The necessity of working out new principles, methods and theories in the field of intercultural communication is being considered, as well as the great need for presenting practical information in various forms – the internet, manuals, introductory courses for adaption foreign students in Russian educational system and everyday life. Courses for Russian teachers working with students from China, telling about Chinese educational traditions, behavioral customs and mentality are also very important. Some other ways of solving the problems of integrating Chinese students into the Russian world are suggested.

The article focuses on some issues of audiovisual translation, executed in voiceover mode within the scope of audiovisual media. Audiovisual translation is regarded as an interlingual transfer of the verbal component of layered multimodal texts that is characterized by a range of constraints that allow little latitude in the translator’s choice of pertinent translation strategies, procedures and techniques. The most significant to be mentioned are the time constraints, the requirements for synchronizing the sounding of the translated voice-over with the shots and frames of the video sequence, as well as the psychophysiological parameters of the perception of the translated content by ear. In this regard, it seems obvious that the traditional concepts of translation equivalence, which were posited on the basis of written, mainly literary, translations analysis, do not always turn out to be relevant as far as revoicing in media workflow is concerned, and therefore require to be revisited in the light of the communicative-functional approach. However, Comparative Stylistics and linguistics-oriented Translation Studies, contributed largely to building up an extensive taxonomy of translation operations, which have significant descriptive potential. For this reason, the present article uses the typological arsenal of translation techniques depicted by the seminal works which developed within the framework of transformation-centered approach (transposition, equivalence, modulation and adaptation). Nevertheless, the study focuses on the translation techniques the usage of which is motivated not by structural language asymmetry, but rather by discrepancies in the cultural and cognitive repertoire of the source and target languages speakers, as well as by specific conditions of multichannel perception of audiovisual media texts.

The present paper deals with the representation of the names of the ancient gods in New Testament translations. In the text of the original which was Greek the names of gods were naturally Greek. But as in Antiquity the characters of the Greek mythology were identified with the Roman ones, the text of the Vulgate renders them in Latinized form. Because in Europe before the Reformation the Latin translation was the main and the most authoritative version of the Holy Writ, it had been used as the source text for the rendering of the Bible, even by the authors, who were opposed to Catholic Church (e.g. Wycliffe). After the Reformation, the Catholic translators continued the use of the Vulgate as the original even until the middle of the 20th century. In contrast to them, the Protestants translated the Bible almost exclusively from Hebrew and Greek texts, but often retained the Latin names of the Greek gods until approximately the same period. The Russian tradition of translating the Bible is characterized by some peculiarities. On the one hand, there was a general orientation towards the Greek and Church Slavonic texts; on the other, the influence of the Latin forms also occurred in the early New Testament version edited by the Russian Bible Society in the first quarter of the 19th century.

When we use bilingual dictionaries, what makes us believe that the translations they offer are valid? Comparing the English nouns smile, grin, smirk, sneer with their translations in bilingual English-Russian and English-French dictionaries, I consider as criteria of translational adequacy the following: ostensive (referential) equivalence, etymology, morphology, phonology, (monolingual) definitional equivalence, (bilingual) reversion (reversibility). The special characteristics of reversion suggest that It might be worth distinguishing translation equivalents (=reversible items typically heteroglossal synonyms) as a hyponymic subset of translations (=heteroglossal definitions). Not considered here (for lack of immediately accessible evidence) is contextual or cotextual equivalence, though it would be significant if items in different languages had similar collocations and colligations.

The paper highlights (from a position of conceptual integration techniques) the ways the verbal anti/memes function in the modern political communication. Special attention is paid to the role and ways in which the definite memplex is used in the special politically controversial situation of Brexit, particularly for persuasive purposes.

This article is dedicated to the jubilee of the outstanding scientist, talented person and experienced leader, Professor Galina Georgievna Molchanova. Scientific interests of G.G. Molchanova cover a wide range of areas and topics in the field of cognitive linguistics, polycodal models of intercultural communication, clustering approach in verbal and non-verbal communication studies, memetics and other breakthrough interdisciplinary areas. The focus of special attention is on the issues of the cognitive and polycodal aspects of communication a) in speech; b) in text/discourse, mythology as a means of mind transformation in political discourse, cognitive memology, intertextuality as a semiotic code, semiotic approaches to the study of text and discourse. Author’s courses “Semiotics in intercultural communication”, “Modern techniques and approaches to the study of text/discourse”, “Cognitive studies in language and intercultural communication, intercultural adaptation of text and translation” are a platform for the development of students and the formation of young researchers. Achievements in pedagogical, scientific and administrative work spheres of G.G. Molchanova present a portrait of a brilliant scientist and an outstanding personality, her energy and inexhaustible scientific potential give prompt development and support to all those who work day after day with Galina Georgievna.

The article deals with one of the most important issues of current methodology of teaching Russian as a foreign language, and, on a larger scale, of teaching foreign languages, which is the problem of adapting a literary text. The study is relevant today because there is a need to introduce a scientific and theoretical approach to this problem, since the underdeveloped theoretical and practical system of tools complicate the adaptation of the original text, and, consequently, the reading and understanding of the adapted version of the text. The article describes the author’s long-standing experience and presents the results of the comparative analysis of authentic literary texts and their adapted versions taken from Russian textbooks for foreigners. The question is raised concerning the correlation between the concepts of a secondary text and an adapted text. The academic novelty of the research con- sists in formulating the concepts of linguistic and non-linguistic principles of adaptation. The non-linguistic principles (citation, deletion, reordering) relate to the structural changes in the work of fiction, while linguistic principles (replacement, reduction, addition, inversion) belong to the sphere of language. A definition is given to the concept of an adapted literary text. A classification is proposed for the types of adapted literary texts (fragment text, editing text, variation text).

Content and language integrated learning of a foreign language for professional communication is a new approach for Russian higher education. Its distinctive feature lies in the dual purpose of teaching non-language-majoring students: a) a foreign language for professional communication and b) a basic specialty. Achieving the goal of the simultaneous formation of professional foreign-language communicative competence and a number of general professional and professional competencies will be largely determined by the subject-specific content of the integrated course and educational materials developed on the basis of this particular approach. In this paper, the authors points out the relevance of developing educational materials based on content and language integrated learning and contucts six stages of developing teaching materials on subject-specific modules of an integrated course: 1) determination of the content of subject-specific modules of the advanced course; 2) determination of subtopics of each subject-thematic module for study during the integrated course; 3) selection of professionally oriented texts for training; 4) highlighting active vocabulary in selected texts of professional orientation; 5) development of tasks for the development of types of speech activity; 6) development of tasks of professional orientation. The article details the content of each of the stages.

This article addresses the issue of the Event, which is of great importance for XX century’s philosophical thought (A. Badiou, V. Bibihin, M. Heidegger), but has its roots in Ancient “Poetics”, where Aristotle sees it as the basis of ancient Greek art and ancient Greek drama in particular. We examine the Sophocles’s tragedy “Oedipus Rex” to illustrate the duality of the Event as it unveils itself during the performance, combining theatricality, introspection and observation with action and pathos. The Event in full measure reveals itself through the main character, Oedipus, creating the tragic universe of the apollonian harmony and dionysian knowledge. It should be noted that previously mentioned characteristics of the phenomenon do not only reveal themselves on the stage, but have their roots in a real life experience, so we can refer to them as to the very beginning of the theatre. The Event has the ability to organize and emphasize special moments of the awareness and consciousness in the world of chaos and instability, and so becomes an “impulse”, the beginning of the theatricality itself. Thus, this peculiarities of the concept let us compare and analyze two distant epochs such as Ancient Greece and Modernism: find more similarities than differences in the operas of Sophocles, Artaud and Beckett despite the gulf of time which separates them, which is also a significant contribution of the Event.

The article analyzes the influence of mass culture on theatre experiments of Italian futurists. Mass culture is considered to be an opposition of elite or high culture because its production has a standard character, it is aimed at entertainment and it is commercial, while high culture is aimed at creating new esthetical experience and serves as a source for mass culture where it is reproduced in a reduced way. However, the study of Italian Futurist theatre of 1910–1920s reveals that it was mass culture that served as a source for the transformation of high culture and the creation of new language of theatre. In particular, Italian futurists turn to such forms of shows as variety theatre and music hall and borrow a number of their practices. In their theatre experiments they aim at changing the idea of theatre and separate it from literature as a different art genre. In order to do so they deny the dominating character of text in favour of other means of expression. Although Futurism as one of avant-garde movements, without doubt, belongs to high culture, it redefines the notion of public and turns to mass audiences trying to get them out of the state of passive perception by attacking their senses instead of their intellect. The avant-garde aims at transforming the world by means of art, and to solve this task it sometimes adopts the formal elements belonging to mass culture.