Kalba ir kontekstai / Language in different contexts 2016, t. 7(1), d. 2

Straipsnyje kalbama apie I. Turgenevo požiūrį į nacionalinės tapatybės klausimus, kurie susiklostė nuo bendresnių iki konkretesnių dalykų: iš pradžių per rašytojo suvokimą, kad rusų tautybės žmogus pirmiausiai priklauso europinei šeimai, po to per įsižiūrėjimą į jo „keistą“ nepakartojamumą. Šią logiką patvirtina memuarinio pobūdžio publicistiniai šaltiniai, kuriuose fiksuojami įdomūs rašytojo pasisakymai apie rusus ir europiečius („lotynų rasės žmones“). Atskirai aptariama mintis apie tamprų rusų kalbos ir laisvės, kaip ne tiek pilietinės, pagal I. Turgenevą, kiek dvasinės ir dorovinės kategorijos, ryšį, laisvės, kurią atvėrė ir padovanojo rusų tautai A. Puškinas, ir tam, kad rusų tautybės žmogus pasiektų tokią laisvę, jis turi dar auklėti save. Pateikiami I. Turgenevo samprotavimai apie Europos tautų, prie kurių rašytojas priskyrė ir rusų tautą, mentaliteto skirtumus. I. Turegnevas teigė, kad šie skirtumai neliudija, kad viena ar kita tauta yra nedora, bet jie kalba apie skirtingas tradicijas, apie tai, kaip skirtingos tautos supranta gėrį ir blogį.

Straipsnis skirtas žymiai ir talentingai, bet dėl tam tikrų nepalankių priežasčių užmirštai suomių poetei L. Onervai (1882–1972). Ji parašė keletą poezijos rinktinių,apsakymų ir romaną „Mirdja”. Pagrindinė jos kūrybos tema buvo protestas prieš žiaurumą ir šiuolaikinės visuomenės dehumanizaciją. Poetė stengėsi nugalėti individualizmą ir kvietė imtis socialinių veiksmų. Tęsdama suomių moterų literatūros tradiciją L. Onerva skyrė didžiulį dėmesį moterų emancipacijos problemai. Karo ir revoliucijos veiksmai pasaulyje sukėlė poetei vidinį sąmyšį, ir tai buvo priežastimi, kodėl poetė nesuprato sociokultūrinių tendencijų. L. Onerva priklausė suomiškosios idėjos propaguotojų grupei ir reikalavo kardinalių sprendimų įgyvendinant perėjimo prie oficialaus suomių kalbos vartojimo suomių visuomenėje programą. Ji bendradarbiavo su daugeliu laikraščių spausdinamų suomių kalba, tuo būdu propaguojančių ir gerinančių suomių kalbos statusą. L. Onerva vertė vakarų literatūrą į suomių kalbą.

Straipsnyje aptariami pagrindiniai I. Bunino ir L. Zurovo kūryboje sutinkami prozos miniatiūros tipai. Teorinių prielaidų išeities taškas – tai teiginys, kad miniatiūra negali būti prilyginama tik jos lyrinei atmainai, t.y. „eilėms prozoje“. Lyrinė miniatiūra daugiausiai būdinga ankstyvajai I. Bunino prozai (1890-ji metai), o 1920-jų pabaigos – 1930-jų metų pradžios kūryboje („Trumpi apsakymai“, įtraukti į rinkinį „Dievo medis“) dominuoja epinis tipas. L. Zurovo prozos miniatiūrose 1920–1930-ais metais (ciklas „Septyni“) dažniausiai sutinkamas epinis (siužetinis pasakojimas arba charakterio apybraiža) ir draminis (dialogas, maža scena) tipai. L. Zurovo kūrybai nebūdinga grynai lyrinio tipo miniatiūra, bet lyrizmas sutinkamas visuose ciklo kūriniuose kaip subjektyvi autoriaus emocija. Abu rašytojai atskleidė plačias miniatiūros žanro galimybes.

This paper examines intertextual and metaliterary ingredients that resonate in the collection of sonnets “The Seasons” (2014) by a prolific contemporary Canadian poet Bruce Meyer (1957). The sonnet is hardly characteristic of contemporary poetry situation, moreover to the Canadian poetry, which has strived for innovative forms of expression. The aim of the present research is to offer a short overview of the main trends in contemporary Canadian poetry and to analyse one particular form of the traditional poetry – the sonnet – in creations of B. Meyer, tracing the resonance of classical literature structure, themes and images in them. The verse of B. Meyer’s sonnets demonstrates the quality of sound that stays clear and deep in meaning. At the time B. Meyer’s poetic career started, the standards of Canadian poetry were very different and experimental poetry prevailed. The poet wishes and strives for music in the language, his Canadian experience “to sing and to be memorable because it could be repeated”. B. Meyer tries to convince readers and general public that rhyme, meter and prosody are not evils, that the tradition of poetry form is to be valued, because the form is an extra layer of meaning. The analysis of the collection of 100 sonnets presents B. Meyer’s efforts to revive the literary genre of classic sonnet, to adapt it to contemporary times. Parallels with classical sonnets and texts of W. Shakespeare, J. Donne, G. Herbert, J. Milton, J .Swift and P. Neruda are traced in the sonnet construction techniques, literary overtones, recurrent topics and images. Love, and more specifically, marital love, theme runs through a hundred of sonnets in this collection dedicated to the poet’s wife Kerry. Inspired by the original meaning of the word “sonnet” (“a little sound”), B. Meyer transforms the poetic form into a series of portraits that record the intimate moments in the lives of two people which are equally important and meaningful to his poetry readers. B. Meyer purposefully breaks with the title giving tradition to his sonnets in line with some of his poetic predecessors. The paper focuses on the ways several creations by renowned poets resonate in B. Meyer’s sonnets.

Implicit views of the historical heritage of the countries and peoples are an integral part of the collective stereotypes. As a product of social information categorization at the everyday life level, they are included in the personal linguistic and conceptual picture of the world, and when verbalized can intensify cognitive scripts of communicators. Creation of a mythology around the historical past in the process of collective consciousness stereotyping is a natural process. Over time it accompanies formation of the background, or presuppositional, knowledge of people. The variability in implication of “contingency sense” embodied in indirect speech acts, which include the implicit social theories and stereotypes as their variety, opens the possibility of manipulating public consciousness. The inclusion of such acts in the dialogue discourse may cause appearing of so-called “new knowledge” which under the influence of pragmatic factors not only reproduces, but often modifies the usual presentation of the people about their past.

The article investigates the image of Georgia which is formed in Russian and Lithuanian media discourse (2001-2009). The author was intrested how to interpret certain events in Georgia for Russian and Lithuanian recipients. The source of the data were Russian National Corpus (www.ruscorpora.ru) and the Corpus of the Modern Lithuanian Language (http://tekstynas.vdu.lt/ tekstynas/). The analysis showed, for example, that: 1) in the Russian media discourse 2001-2009 Georgia is a country of rampant criminality, incompetent political leaders; in the Lithuanian media discourse Georgia is a normal democratic state; 2) in the Russian media discourse when covering 2008 war, Georgia was portrayed as an agressor, in Lithuania – the victim, the object of provocation by Russia; 3) in the Russian media discourse Georgia is drawn as a bridgehead and colony of its puppeteer – the US; in the Lithuanian media discourse Georgia is presented as a provider of Western values in the Caucasus, a faithful friend of the US.

According to the definition given by Czeslaw Milosz, Vilnius and Gdansk are cities extremely susceptible to mythologization. Multicultural worlds of these cities became the objects of the analysis of such writers as G. Grass, P. Huelle, S. Chwin, Cz. Milosz, T. Konwicki, H. Kunčius, R. Gavelis, and G. Kanovičius. Literary activity is a specific reservoir of memory measuring the level of societal consciousness and registering its changes. The article analyses the role of memory in the writings of the aforementioned writers in the process of mythologization of multicultural city.

Fernando Arrabal was born in 1932 In Spain, but he is best known for his absurd plays written in French. He still lives in Paris and his style of writing is characterized as Panic. This anti-movement was founded by Arrabal together with Jodorowsky and Topor. In 1962 these artists decided to adopt the concept Panic, but for private use only, because they all agreed not to create any school or literary movement. A considerable step was made when Arrabal gave lecture un Sidney University in Australia in 1963. This speech entitled “El Hombre panico” gave most of basic notions in the philosophy of Panic. The present paper analyses the characteristic features in Arrabal’s writing and shows the transition process from absurd to panic using the comparative method.

The article deals with Leo Tolstoy’s “War and Peace” is explored in the background of the archaic ritual. L. Tolstoy’s “War and Peace” contains many typical details and images embodying certain mythology and ritual structures, such as the potlatch and sacrificial ritual, hunting ritual, divination ritual, the so-called ritual of along-boundary going, the so-called separation ritual for the same-birthday people and many others. Actually, the plot of “War and Peace” may be regarded as the plot based on a gigantic potlatch. The latent (hidden) meanings of ritual references are exposed to the selective comparative analysis. The structures concerning ritual codes are also investigated as the most important structures expressing the ideas of Russian philosophy of history.

The article describes the specificity of the term ‘concept’ as used in studies of artistic speech and other aspects of the literary works by I. Bunin. The author of the article presents the analysis of the artistic concepts of ‘old’ and ‘antiquity’ related in the stories of the writer to the topic of memory. The article deals with the basic and peripheral meaning of the concepts, their visual form and the associative field generated particularly by biblical and literary reminiscences. It is revealed that the concepts of ‘old’ and ‘antiquity’ in the stories of I. Bunin represent the verbalization of ideas about the history, about the patterns of development of life which belong to the heroes (subjects of speech) and, ultimately, to the author. The stories “The Sacred Mountains” (Svyatyie Gory), “The Legend” (Legenda) and the essays from the book “Bird’s Shadow” (Tenj ptitsy) are analyzed. The article revises the traditional interpretation of the short story “Antonov Apples” (Antonovskiye Yabloki).