The article suggests am attempt of treating the contents-form-language inter change phenomenon found in two well-known Old Russian texts of different periods as a separate stylistic factor.
The infinitive sentences’ structure analysis shows the way of their transformation to particular stylistic-cultural symbols easily identifiable.
The article also points to conditions giving marked national verbal culture attribute capacities to the texts in question.

17 Andrej Stojanović (Belgrade)
Style in terms of lingual synergetic approach
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The carried out research points out that an academician Anohin is the genuine founder of synergetics and synergetic approach in science (at the beginning of the thirties of the twentieth century). Not even mentioning Anohin’s synergetic concept, in contemporary Russia, a German professor Haken is announced as the founder of synergetics (in the middle of the twentieth century), which is true only if neosynergetics is in question. Thus some linguists postulate their lingual synergetic approach on the basis of Anohin’s synergetic concept, while the others, in text research, incline to the synergetics of Haken’s origin, namely neosynergetics. In both cases, lingual synergetic methodology orientation is in its infancy.

27 Switlana Iwanenko (Kiew)
Отправные пункты исследований в области интерлингвальной функциональной стилистики на материале немецкого и украинского языков
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Интерлингвальная стилистика (ее еще называют сопоставительной или сравнительной), несмотря на то, что уже существует ряд публикаций в этой области, стоит еще у своих истоков. Сопоставвительная стилистика немецкого и украинского языков насчитывает около десятка публикаций, не являющихся исчерпывющими. Предметом данной филологической дисциплины является сопоставление стилей или стилевых систем указанных языков. В число задач, стоящих перед исследователями этой области лингвистического знания, входят: обоснование сравнительной базы; разработка соответствующих процедур сравнения стилевых систем; определение аспектов сопоставления элементов стиля; установление различий стилевых систем и языковой формы функциональных стилей в немецком и украинском языках; сравнение принцыпов отбора языковых средств в текстах, сопоставляемых языков, основывающихся на сходстве и различиях в структуре, сочетаемости и функции (относительно синтаксиса, лексики, фразеологии и стилистической тональности); предоставление вариантов передачи соответстующих стилевых элементов для перевода. Сравнение стилевых систем обоих языков необходимо осуществлять в соответствии с тремя основными составляющими этих систем: микростилистика (стилистика языка) и макростилистика (стилистика речи: функциональная стилистика и стилистика текста). Легитимны оба подхода, как от стилистики языка, так и от стилистики текста. Основными видами взаимоотношений между стилевыми элементами как микро- так и макростилистики являются отношения эквивалентности, включения, пересечения и несоответствия. Сравнение функциональных стилей немецкого и украинского языков показало, что в основном речь идет о соотношении включения, при котором функционально-стилевая система немецкого языка имеет более широкую палитру средств.

41 Milosav Ž. Čarkić (Belgrade)
Some stylistic methods of lexical repetitions in modern Serbian poetry
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In investigating the stylistic methods of lexical repetitions in modern poetry, the research was focused on analysing each selected example, which showed that every lexical figure, every example possesses a certain uniqueness based on the specific nature of contexts, the structure of figures and their position within the text. In these terms all the analysed figures can be divided into those the primary character of which is expressed in their organizational function, whereas the other functions are less prominent; they are figures such as anaphora, anadiplosis, epanaphora, epistrophe, framing, symploce. With other figures such as: antanaclasis, antimetabole, gradatio, epizeuxis, polyptoton, regression, their semantic function is prominent, whereas the other functions are secondary. However, there are evident common features in all these figures which make up their integral part, as follows: connector, organizational, semantic, aesthetic and stylistic functions. The connector function is mostly demonstrated in interconnections between certain parts of the text or individual words; the organizational function results from a strong position held by a repeated lexeme in a poetic text (verse line, stanza), and it is always accompanied by the rhythmic function; the semantic function results from the principle that identical things contain something different, which can even be demonstrated in antonymic values; the aesthetic function stems from a particular organization of the poetic text, from its distinct composition. It can be said of the stylistic function that it underlies all these functions, and that it is above all of them. Namely, it is realized by realizing each of those functions.

63 Ирина В. Дмитриева (Минск)
Functional styles, genres and categories of speech communication
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Article presents an attempt to apply pragmatic categories of speech communication to diversification of texts representing various functional styles. The categories under discussion possess a clear-cut set of opposing forms: direct or shift ed forms of the category of speech agent representation; single or multiple direction forms of the category of dominational direction; algorithm-like, corregating or motivating forms of the category. of stage goal inclination. It is argued that these forms are actually marked by definite semantic and syntactic properties of text elements, both implicit and explicit. It was proved that literary texts predominanly employ structures presenting the semantic subject explicitly, in case it is not verbilized – they provide enough textual information for its straightforward retrieval identification; they tend to curtail the information on the semantic object, either by making it implicit or by using uncomplementive predicate-verbs. The explicit semantic subject mainly preserve the position of a syntactic subject. The above marks the direct form of the category of representation, the single-dominational direction towards the subject and the motivating form of the goal inclination category, the latter also correlates with a motivating stage in regulating the process of human interaction. Scientific texts, on the contrary, tend to employ the structures making the semantic subject implicit (its “de-implication”, i.e. retrieval, can result in elements with variable scope of reference) and preserving the information on the object explicitly verbalized; they presuppose the wide use of readers’ background knowledge for identification of the semantic elements curtailed. The position of a syntactic subject is nearly as regularly occupied by the semantic instrument (the subject being curtailed) as by the semantic subject (when explicit), while the semantic object rarely shift its syntactic position. These features signal direct and/or shift ed forms of agent representation, the single-dominational direction towards the object and the algorithm-like form of the goal inclination category, as scientific texts are associated with a stage in the process of human activities when people take decisions. A set of correlated formal, semantic and pragmatic characteristics mark literary texts as subject-centred and scientific – as object-centred.

77 Mirčeta Vemić (Beograd)
Semiology, semiography, and semio-design of geographic maps
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The semiology of geographic maps refers to the representation of cartographic signs, the system of signs on a map as a text drawn (written) in those signs. The representation of cartographic signs is based on their logical and aesthetic code, which consists in producing the most faithful and accurate spatial appearance and spatial expression, scope and substance of their meaning, logics and aesthetics, significance and style of the system of cartographic signs and the language of cartography.
The semiography of geographic maps refers to the ways of positioning the signs in a map’s referential field, so as to function in accordance with their primarily established codes. That kind of linking is called the schematization or symbolization of a map. It is carried out according to certain rules, depending on two visual positions, viewpoints or perspectives of looking at the map: external and internal. In that case the presentation forms of individual signs stand above their initially defined appearance and primarily registered meaning. The external perspective is the visual position of a viewer outside the map, i.e. the viewpoint of an external observer from a certain distance, orthogonally or normally to the plane of the map. The internal perspective is the visual position of an internal viewer, located within the mapped world, but not as a fixed, but a dynamic point or multiple points of view serving the cartographer for achieving the most effective expression of individual signs. The semio-design of geographic maps refers to authorial stylisation – the design of the map according to the law of unity of the general, special and individual. The semiotic processes in geographic map design are concluded through the general composition of the map, made up of special thematic elements, mapped from two perspectives, with a predetermined logical and aesthetic code of individual signs. Those processes are finalized through creating an original authorial work in compliance with the aims, methods, conditions, expectations and plans of designing a map.
In that sense the semiotics of cartography is a meta-theory of cartography and it can be conceptualized as semiology, semiography and semio-design of cartography.

89 Mария П. Котюрова (Пермь)
Editor’s Reading of Scientific Texts
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One of the major tasks of applied linguistics in the formation of the strategy of editing scientific texts. The conception of editing is based on the mechanizm of integrated compositional thinking in action. This mechanism functions when the editor switches over his attention, overcoming the oppositions of the addresser – addressee of speech, the process of thinking – speech-textual product, contact – distant text units, their relations, etc. As a result of this mechanism in action the editor reveals the speech errors.

105 Tатьяна П. Карпилович (Минск)
Grammatical Transformations in a Scientific Text
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This paper considers the problem of grammatical transformations in scientific texts written in the English language. By comparing the peripheral parts of a scientific article (introduction and conclusion) and its summary (abstract) two main types of grammatical transformations have been singled out: morphological and syntactical. Morphological transformations mean transposition of the forms representing the grammatical categories of prospect, tense and correlation. The resulting grammatical form for all the cases is the Present Indefinite, which is attributed to the generalized character of scientific prose and the possibility for a summary to function as a separate text.
Syntactical transformations occur on the levels of parts of the sentence and sentence structures. Special attention is paid to the factors which allow passive transformations of sentences. They are classified into internal factors describing the features of the source structure and external factors connected with the cognitive principles of foregrounding, thematical progressions in a connected text and the author’s intentions. The types of transformations studied help to reveal the regularities of coding information from the primary scientifi c text into its summary.

115 Андрей А. Богатырёв (Тверь)
On English Class-room Stylistic Analysis of a Text Fraction from The Blithedale Romance by Nathaniel Hawthorne in Tver (Russia)
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The article deals with the schemata of stylistic investigation of a text fraction from a novel by Hawthorne for the sake of its implied meanings. Th e text is new for Russian students of applied linguistics faculty and the level of diffi culty of such a task is slightly above the students’ present level. So they are given enough time for step by step developing of interpretation schemata and enough time for discussion in a classroom. A most close reading is necessary to uncover the traits of possible dramatis personae of the given text fraction. Th e students are free to use any dictionaries and suchlike resources, but also their own imagination to uncover and individualize the imagery of the society depicted in a most indirect and circuitous way. Yet the most powerful and helpful resource for better achievements in the field of interpretation of a text fraction is Reflectivity taken as the human generic property found in every recipient (Georgy. I. Boguine 1929–2001).
The meaning of the fraction is not to be confined to a sum of explicit information. The author’s implicit text processing program secures to a high extent a coincidence of the meaningful experiencing (‘Erlebnis’) of many student readers of the original piece of narrative.
The piece of a text under study is not easily analyzed in terms of classical tropes and figures of speech. So one needs to apply one’s own reflectivity to all main domains of one’s experience of living and communicating in the world of men, in the world of language and in the world of fiction text.
Focus on stylistic diversity of speaker’s attitudes manifested in the choice of words and phrases used to convey a most homely information on burning kitchen hearth in a text fraction of Hawthorne’s novel allows the students, using lyric polyphony schemata, to uncover a few implicit meanings of the whole book The meanings of sweet dreams, forthcoming aff ection and disillusion are given only in a non-explicative form, they are but being brought forth as confi guring points of reflectivity fixations happening in the three areas of understanding and comprehension activities, each representing one type of the logical space of activity (Wirklichkeit). Firstly one ought to see the possibility of substitution of a word or phrase presented in the text by another expression and try to attribute the one used to a fi ctional personality. So two areas – this one of language and that one of a personal frame are at work together. Then one sees the set of the text fraction towards polyphony of narrative ‘voices’, which is a matter of style, a something that has to do with fiction poetics, a special individuation resource for text processing and meaning formation control. Schemes of interpretation meet, overcome or support and reinforce each other and produce more precise and delicate schemes. Falsely detected or improperly ranged schemes act subversively and lead to errors in interpretation, most ridiculous sometimes.

149 Анна Каминьска (Лодзь)
The ways of expressing emotions with the help of suffixal personal nouns (on the basis of the 17^th century Russian private and official documents)
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The author discusses deappelative personal nouns, characteristic of the linguistic etiquette in the Russian language of 17^th century. The subjects of analysis are both private and official documents, which illustrate the language close to the common parlance. In polite expressions referring to the addressee we mostly find diminutive-hypocoristic forms and other nouns, for example with suffixes -тель and -ец.

139 Maria Wojtak (Lublin)
The religious style of contemporary Polish
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The religious style is showed in the article as an inherently diversed (polymorphous) phenomenon. The author distinguishes two central categories of the style: the biblical style and the cult style. She also indicates functioning of other style varieties in the religious communicative sphere: the homiletic style (the style of homilies), the style of official church documents, the theological style, the style of religious journalism, the style of religious poetry, and the style of texts related to folk piety.
The religious style is therefore apprehended broadly and treated as an open to other styles, dynamic and connected with the cultural background category.
In the religious style of contemporary Polish there coexist traditional elements, which sacralise texts, and some new forms (official, common, or even slang ones) that desacralise utterances.

147 Татьяна В. Радзиевская (Киев)
Factor of Graphics in Contemporary Mass-media Discourse
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The present study deals with some new techniques of forming written utterance or its individual parts in mass-media discourse in Ukraine by non-standart use of graphic means.
The author focuses on methods of combining written entities (graphemes, written words) within a single nomination unit (word or phrase) by the use of oppositions such as “capital letter vs small letter”, “Latin grapheme vs Cyrillic grapheme”, “letter-denoting grapheme vs non-letter-denoting grapheme” etc. She regards substituting a white or comma with other punctuation marks and also redundant use of brackets marking a parethentical phrase as a method of emphasizing important information as well as creating fragmentated syntactic structure. Many graphical techniques of this kind can be interpreted as a result of graphical contraction of a nomination unit generated by traditional orthographical rules. Such instances are to be attributed to the influence of postmodernist stylistics. Th e author argues that such techniques create complex visual images that stimulate non-linear component in the process of text reception.

159 Anna Ginter (Łódz)
К вопросу о теории амальгамов – метафорические конструкции в избранных текстах польских журналов
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Одной из актуальных задач лингвистики можно считать изучение отношений между различными языковыми средствами при порождении и восприятии коммуникативных единиц. Настоящая статья представляет собой попытку анализа процесса интерпретации значения метафорических конструкций, учитывая психологические и социальные аспекты как факторы их адекватного восприятия. Материалом для проведения исследования были выбраны тексты избранных польских журналов во время избирательной кампании в 2005 году. В статье избранные проблемы интерпретации метафоры рассматриваются с точки зрения когнитивной лингвистики и семантики, а особенно теории амальгамов, в контексте результатов исследований выдающихся теоретиков когнитивной грамматики: Марка Тернера, Джайлса Факонера, Лайн Брандт и Пера Брандта.

173 Alicja Jakubowska-Ożóg, Zenon Ożóg (Rzeszów)
On the Style of Farewell Obituaries Dedicated to John Paul II
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The major objective of the present article is to specify what came to be known as “farewell obituary” as a particular type of press discourse intended to inform of the death and to “bid farewell” to the deceased, i.e. express the author’s feelings and attitude triggered by this occurrence. It analyzes farewell obituaries that were published in Polish periodicals after the death of the late Pope of Rome John Paul II.
The main purpose of this paper implies a number of smaller goals: a) to discuss the typology of obituaries; b) to highlight the basic properties of farewell obituary; c) to analyze the ways of designating death in obituaries dedicated to John Paul II; d) to highlight emotionality as the main property of those obituaries; e) to discuss the ways of referring to the addressee of the obituaries under consideration; f) to conduct semantic analysis of linguistic expressions of an axiological character in the texts at issue; g) to highlight pragmatic function of those obotuaries with a particular emphasis on their implementation for political purposes; and h) to specify the function of motto as a structural element of the text type under consideration. Those goals have been realized in appropriate subdivisions of the paper.
The following conclusions, among other things, have been drawn as the result of investigation. Obituaries dedicated to the death of John Paul II are structured in accordance with the governing norms characteristic for contemporary press obituary as a text type. Each of them begins with the “Introductory” which is a textological and genological expression of an emotive character of the discourse and is intended to create the appropriate atmosphere pertaining to that extraordinary situation.
The “Main Body” of the obituary presents the Pope’s death in the spirit of Christian tradition and on the basis of metaphor Death is a journey as: Departure, Setting off on a Pigrimage, Eternal Pilgrimage, Return to Father’s Home, Departure for Father’s Home, etc. Nevertheless, none of the obituaries provides the information concerning the date and place of the burial ceremony, thus emphasising the signifi cance of the occurrence and the importance of the deceased. Th e author’s declared emotional attitude to the deceased is expressed by the metaphors: Orphanage, Loss of leader / teacher / master, etc.
The “Closure” forms the signiture plased at the end of each frame. The signiture specifies the transmissor of the obituary. In those texts which are of a formal character (governmental, political party, etc.) the names and affi liations are presented in the institutionalised order representing the hierarchy as determined by an appropriate ceremony, for instance the diplomatic one.

185 Eлена A. Калашникова (Петрозаводск)
To the research of the comparative stylistics of folklore: functioning of “Slavic antithesis” and “Negative parallelism” in the folklore literature of different nations
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The comparative study of eposes of the separate nations should not be limited to revealing of general motifs, plots, images of epic works. Comparative analysis may be conducted in many directions, including the ones in the stylistics field.
In the process of comparison of arts of oral poetic works of different nations we can recognize the community and difference of stylistic devices of epic monuments. Such a study of oral poetry does not belittle its national originality but, on the contrary, it highlights the uniqueness, specifi c character of stylistic resources of each national folklore. Thus, the comparative analysis of parallel syntactical fi gures of the Russian folk tales with similar constructions in the Finnish runes allows revealing traditional variants of parallelism type and their occurrence in the folklore of both nations. It also allows examining the variability of the parallelism form depending on syntax features of both languages, national tradition, narrative manner of the taleteller.
The subject of the analysis is the events of “psychological parallelism”, Slavic antithesis and “negative parallelism”, that is quite akin to her, in the folk tales and runes.
The use of the device of “psychological parallelism” in the folk tales is especially interesting in the comparison with its use in epic works of different nations. During the comparison we can distinctly notice the national originality of the device. Its functioning in the folklore steps over the bounds of the text and turns into the event of ethnic culture. We seldom discover figurative parallels, metaphorical by its nature in runes, but we notice the presence of a great amount of descriptive correspondences used for depiction of actions, conditions, for conveying of quality characteristics of the subject. In our opinion it is the evidence of “underdevelopment” of the device of “psychological parallelism” in runes, that suggests the relative antiquity of this very device.
Slavic antithesis is absent in folk tales, instead of it we use the similar device – “negative parallelism”. Examples of Slavic antithesis in runes are isolated, but demonstrative. They prove the universality of the device, its occurrence in epic texts of Non-Slavic nations.
The performed comparative analysis proves the effectiveness of the study of folklore poetics and stylistics.

195 Aлла В. Корольова (Киïев)
The Intimizating Ways of Verbalization of the Author’s Evaluation in English – Speaking Literary Discourse
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The article is dedicated to studying of the ways of verbalization of the author’s evaluation in English – speaking literary discourse. Special attention is paid to that ways of its expression that are determined by the situations of intimization of the author’s literary speech. Rational as well as emotional ways of evaluation are considered.
Rational author’s evaluation caused by the situations of intimization is expressed by means of epystemic and axiological modality. Th us, only a few ways of epystemic modality is that of grammatic origin. It can be traced only if those ways – modal words, particles and the intonation are explicit. If the epystemic modality is implicitely expressed, it can be seen only through the interpretation of the cultural sense of the whole literary text. Axiological modality demonstrates the author’s personal view. As for the verbal conceptualization, it can be expressed by means of evaluation in the function of characterization.
Emotional evaluation depends on the author’s functional standing and peculiar expression of their impressions of the text depicted.

207 Milana Radić-Dugonjić (Belgrade)
About the elements of the concept of нада („hope“) in M. Crnyanski’s novel Сеобе („Migrations“) and its translation to Russian
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The subject of the paper is the analysis of the concept of нада („hope“) in M. Crnyanski’s novel Сеобе („Migrations“) and its translation to Russian. Our research shows that the conceptual analysis which we applied to both the text of the original work and the translation can be outstandingly applicable for the valuation of the translation of literary works, as well as for determining which elements from the text of the original work cannot be realized in the translation. This is generally related to the texts of the original work and the translation in Slavic languages, where the units are very similar to each other both formally and semantically, and the differences are discovered only at the cognitive level of their language personalities.

219 Reinhard Ibler (Marburg)
К проблеме соотношения структуры, смысла и истории текста драмы М. Ю. Лермонтова Маскарад
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Второй, в настоящее время считающейся «канонической» редакцией своей драмы Маскарад М. Ю. Лермонтов реагировал на отрицательный отзыв цензуры, которая не разрешила опубликование (не сохранившегося) текста первой редакции. Анализ произведения свидетельствует о стремлении автора, при переработке все же сохранить большую часть первоначальной художественной концепции драмы. Поэтому и опубликование второй редакции было запрещено цензурой.

261 Ece Korkut (Ankara)
Emotional value in language and speech
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Words of a language are categorized not only by their meanings, but also by their value(s). Apart from value in Saussurean terms, it also refers to emotional value regarding the positive or negative eff ects produced by words. Th e term emotionality, originating from medicine, is manifested as euphoria and as disphoria (pleasant – unpleasant). On the one hand, language as such marks words as either positive or negative (depending on the semantic categories and values shared within a society), and on the other speakers ascribe a particular value to words in their speech. Th is results in euphorization (a way of making a sign euphoric even if it is not such in all meanings) and disphorization (the opposite). In any case, euphemism and litotes are popular with some speakers in certain situations for avoiding a possible disphoric effect.
In this article, the issue of emotional value has been discussed on examples taken from the French language, as well as on different statements and speeches.

245 Larisa Razdobudko-Čović (Novi Sad)
Cultural and national-communicative stereotypes on examples of the russian-serbian comparative designs
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In the present research attempt the comparative analysis of comparisons in the Serbian and Russian languages, their various syntactic and structurally-semantics models which are refl ection of an originality of compared cultures, customs, no less than mentality of people has been undertaken. On the basis of lead psychelanguages experiment – the test of association сравненительных designs – concurrences and distinctions in a language picture of the world of carriers of Russian and Serbian languages with cultural and communicative aspects have been presented.

261 Violetta Machnicka (Siedlce)
The Analysis of Selected Lexical Archaisms Borrowed from Greek or Latin, Recorded in Chronicles by Boleslaw Prus
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The present paper aims at presenting a group of lexical archaisms selected from a collection of causerie publicism of one of the most signifi cant Polish writers – Aleksander Glowacki (pseudonym: Boleslaw Prus). Chronicles of the author of Pharao were writen in 1874–1911, mainly in Warsaw, and, consequently, they present Polish language from before a hundred years. Th e material analysed in the article demonstrates only a small part of all the lexical archaisms in Prus’ publicism. In four groups, there have been included 50 loan-words borrowed indirectly from Latin or Greek, now being perceived as archaisms or stylistic archaisms. In conclusion, it has been stressed that learning classical languages makes it much easier to use lexical borrowings (so many in different linguistic and scientific fields) in a proper way.

271 Iwona Dojka (Kraków)
Lexik der Hiphopsubkultur in Polen
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In diesem Artikel wurde der Wortschatz von Soziolekt der Hip-Hop-Kultur in Polen besprochen. Er hat seine eigene Struktur, die aus der Allgemeinlexik, Umgangslexik und eigentümlichen Wörtern besteht. Die Schöpfer der Hip-Hop-Lieder schaff en selbst Neologismen oder übernehmen englische Wörter, weil die ganze Kultur aus den Vereinigten Staaten von Amerika stammt. Sie benutzen auch die Gauner- und Schülersprache. Die Lexik von Soziolekt der polnischen Hip-Hop-Kultur teilt sich in drei Hauptgebiete: das Schaff en der Musik, der Texte und Graffiti; der Drogenkonsum und das Leben in der Gruppe. In berufl ichem, musikalischem Wortschatz dominieren Lehnwörter und Lehnübersetzungen. Die Benennungen des Narkotikums sind verständlich nur für beschränkten Kreis der jungen Menschen. Dieses Phänomen wird vom Tabu verursacht.

279 Alena Jaklová (České Budějovice)
The Czech language in Czech-American periodicals in the USA and its development
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The paper explores characteristic features of written Czech used in Czech-American periodicals published in the USA. Th ese periodicals have been published continually since 1860 to this day, however both their function and their language have undergone substantial changes. In the 1860s, these periodicals constituted a forum for social and ethnic communication in the native language transcending the limits of the separate Czech immigrant communities, provided a source of information about the new social, political, and territorial context, and, at the same time, served as a tool facilitating orientation in the new circumstances. Over the years, Czech has been losing its communicative function in these periodicals and has been increasingly replaced by English. In addition, in the English-speaking context it has been profoundly affected at the level of phonology, morphology, syntax, and lexicology. The changes are treated in the present paper both from the diachronic and synchronic perspective.

287 Андрей А. Котов (Петрозаводск)
On pragmatic analysis of Avvacum’s Hagiography. Usage of the predicative adjectives
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The article deals with specific features of using predicative adjectives in one of the most interesting monument of Russian literature of 17^th century, Avvacum’s Hagiography.
The author applies pragmatic description of the text including pragmatics of sender and addressee, epistemic attitudes of the writer, connected with the cultural and social features of the epoch.
The author gives a detailed consideration of the specifi c features of using full predicative adjectives in landscape sketching of Avvacum’s Hagiography.
As a result the author draws the conclusion not only about the role of the stylistic devices of these forms in the text but also pays special attention to the realization of the aims pursued by the writer of the text – archpriest Avvacum.

293 Ivo Pospišil (Brno)
The Russian Novel in the Lines of Force of Romanticims
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The author of the present article deals with the relation between Romantic stylistics and poetics and the novel in Russia. At the very beginning he comments upon the etymology of the words “Romanticism” and “roman” and manifests the “eternal” presence of Romantic creative principles in the Russian novel and prose works in general which is partly due also to strong religious character of Russian culture and to the absence of reformation in the European sense of the word. Alexander Pushkin has been selected as a good example of the mixed poetic character of the Russian novel between Neoclassicism, Romanticism and realism which is also present in Pushkin’s conception of literature as seen in his remarks going back to the 1820s. The vision of early Jena Romanticism mentioned in the works of German theorists themselves as well as in Jurij Mann’s work on Russian Romanticism and in Brno philosopher Břetislav Horyna’s treatise on early German Romanticism manifests the influence of Jena early Romanticism (die deutsche Romantik), the role of which should not be diminished, on Slavonic literatures in general and on Russian literature in particular.

303 Goran Maksimović (Niš)
Narrative comic by Petar Kočić
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The narrative humour by Petar Kočić has been analyzing at the model from stories cyclus about Simeon Đak (“Zulum Simeona Đaka”, “Istiniti Zulum Simeuna Đaka”, “Mejdan Simeuna Đaka”, “Iz starostavne knjige Simeuna Đaka”, “Rakijo, majko!”), and also in the comical stories: “Tajna nevolja Smaje subaše”, “Moji poznanici”, “Ilica Odalica i Lazica Vucalica”. The point was on characteristics comical composition, comical character, comical situations, comical languages, artistical value of stories and Kočić’s humoristics nature laughter.

317 Бранимир Човић (Нови Сад)
La composition de «Anna Karenine» dans la fonction de l’ interprétation principale
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résumé

L a science de la littérature russe et serbe ainsi que la critique dans ces deux pays ont étudié plus de cent ans la structure complexe du roman qui avait était rédigé à plusieurs reprises par son auteur, Léon Tolstoi. Dans les six rédactions ont été transformées les lignes de sujet, et, la dernière version a gardé deux lignes principales, et plusieurs accessoires. Et ce qui est important à dire, c’est que chacune de ces rédactions a laissé sa trace à la sémantique de la pensée «La vengeance est la mienne et je vais la faire» de l’apotre Paul, est c’est une des raisons que ce roman, dans certains endroits, possède quelques contraires. C’est pour cela que la critique a surtout étudié les segments moins compliqués de la structure romanesque, en examinant le rapport entre la sémantique de la pensée et le destin tragique de l’héroine Anna, et non le texte entier du roman. Cet éloignement du centre intentionnel de la composition sur un ségment, important, il le faut avoué, a pu donné une solution globale, pas comme le résultat des recherches approfondies, mais surtout comme le résultat des recherches plus ou moins intuitives.
Dans le présent exposé nous avons donné une nouvelle solution de ces questions, en s’appuyant sur les résultats des chercheurs russes et serbes. Cette solution est basée sur une analyse approfondie, sémantique, stylistique et structurale du texte, y compris toutes les rédactions de ce roman.
Dans la phase préliminaire nous avons actualisé toutes ces questions: tout d‘abord, nous avons présenté toutes les vues de la critique russe et serbe, avec notre critique de ces critiques. Notre critique, incomplète comme toutes les critiques, nous montre toute la complexité des relations entre la composition de la structure épique et de l’idée principale, et aussi les problèmes concernant la solution de ces questions. Ensuite, nous donnons une vue tout à fait nouvelle, basée sur une analyse approfondie.
1. La composition du roman avec deux lignes principales – avec Levine et Anna – est décrite avec une précision mathématique. Et si nous suivons avec cette même précision mathématique les intentions principales de l’auteur pendant que nous suivons le sort de ces deux héros du roman, nous pouvons conclure qu’elles nous posent plusieurs questions éthiques sur la vie et la mort, sur la vie et sur notre rapport envers le Dieu. Mais elles sons diff érentes: La voie d’Anna mène de la foi vers l’athéisme, et celle de Levin dans le sens contraire.
2. Sur les pages du roman la ligne d’Anna mène dans le sens contraire que celle de Levine: l’amour envers l’homme et le Dieu se transforme en égoisme et athéisme, avec de longues phases de la misanthropie et de l’indiff érence envers la vie – tedeum vitae – et de l’idée de quitter volontièrement ce monde, ce qui est suivi de la perte successive de l’équilibre de son esprit, et tout se termine par une crise absolue des nerfs. Bien qu’ elle fût religieuse, Anna n’ a pas cherché le salut dans la religion, parce que cela signifi erait qu’elle serait obligée de quitter, d’après le dogme chrétien, son amour envers Vronski. Elle n’a pas pu faire cela et c’est là qu’il faut chercher sa tragédie.
3. La ligne de sujet de Konstantin Léon est une ligne tortueuse qui pendant quinze ans n’accepte pas le Dieu, mais tout en voulant se joindre à une grande majorité de Russes religieux (99 pour cent – sa femme était aussi croyante et « tous ses meilleurs amis l’étaient aussi » en méditant sur les objectifs de la vie, suivie des encouragements et découragements). Bien qu’il fût un homme sain de corps et qu’il fût fi dèle à sa famille, il avait souvent des crises de nerfs et des idées sombres. Il pensait souvent à un suicide. La tragédie a trouvé ici sa occasion propice.
4. Les tragédies ne sont pas dignes aux âmes des personnes médiocres. Ce n’est pas par hasard que ce rôle particulier appartient à Anna et Léon qui portent les sujets principaux et qui sont liés non seulement par un lien formel, mais aussi par le contenu intérieur: tous les deux sont d’une nature complexe, ils possèdent les vertus exceptionnelles, et c’est pour cela qu’ils ont des sentiments sublimes concernant la mort. Ils sont lettré, intélligents, ils sont les auteurs de deux livres, et dès leur première rencontre, ils se comprennent bien. Et cette rencontre qui est décrite dans les trois chapitres (IX–X) de la VIIe, avant-dernière partie du roman, appartient au sommet de la belle littérarure. A partir de ce moment, la crise de leurs âmes devient de plus en plus forte, avec les idées concernant le suicide, et le roman va vers son issue, pour Anna, une issue tragique, pour Léon, heureuse.
5. Léon est rongé de nombreuses doutes, il est souvent contradictoire, dans ses pensés et dans son comportement, et c’est pour cela qu’il est malheureux. Il y a plusieurs raisons pour cela: d’abord il n’arrive pas à reformer ses biens, mais il n’arrive pas aussi à se libérer de son égoïsme et de soin individualité. Dans l’entretien avec son frère Sergej Ivanovitch Koznichev, il répète à plusieurs reprises que le bonheur personnel est le moteur de toutes les activités humaines, «mais dans ce dialogue il a subit une défaite», dit l’auteur.
Toutes ses pensées concernant la vie et la mort, le Dieu et la vérité, l’obsédaient tellement qu’il ne voyait pas la solution. Il pensait à se suicider, et c’est pour cela qu’il ne portait plus son fusil et sa corde. La décision de vivre et aussi la décision de continuer avec la recherche concernants les dilemmes diffi ciles qui vont aff ablir le mal et l’injustice de ce monde. Et, selon l’auteur, la solution est trouvée dans la philosophie d’un paysan russe. En pendant le battage à la campagne, en parlant avec le paysant Fjodor, il trouve enfi n la solution. Le sens de la vie d’un homme ne se trouve pas seulement dans l’intérêt personnel, mais dans la foi, la vérité et le bien.

329 Сергій Єрмоленко (Київ)
Poetic subject and category of personality: meaning and manifestation of the 1^st person in poetic language
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The author applies his theory of personal presupposition reversal to the analysis of semantic and formal peculiarities of the 1^st person as used in poetic discourse with its performative character of relation between artistic sign and intentional object. He argues that, besides its ‘prototypical’ locutionary use when this category represents poetic, or text-internal, subject as speaker, the 1^st person can also represent him/her as subject of feelings, perception, and bodily states and actions, icluding communicative ones, without turning this representation into text-internal monologue (i.e. speech event), and poetic subject into speaking subject. Instances of the latter kind are accounted for by the author as such in which communicative-pragmatic presuppositions stipulating the use of the 1^st person and characterizing its usual referent are turned by means of personal presupposition reversal into semantic features proper selectively actualized by context, these features being able to co-occur with the feature “person speaking” and observer’s position to co-exist with speaker’s position.

343 Оксана Н. Самусенко (Киев)
Mythopoetical picture of the world and the peculiarity of its representation in the visual art of cartoon
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The work deals with the study of mythopoetical picture of the world in the literary texts and TV texts and focuses on analyzing of the image of “deer” as the fragment of Slavonic mythopoetical picture of the world.
The first part of this article is dedicated to the systematization of theoretical researches into mythopoetical picture of the world as the component of language picture of the world.
Meanings of the image of “deer” were formulated in the way of outlining the characteristics that were extracted from culturological encyclopedias, mythological dictionaries, dictionaries of symbols and theoretical works on the theme. Verbal and nonverbal extensional-intentional variation of the image was investigated and the peculiarity of functioning in literary texts and in TV texts which are addressed to children was analysed.
The investigation showed that mythopoetical senses presented in literary texts are preserved in their TV versions and they have the specifi cation of representation in visual art of cartoon. In cartoon’s TV texts the image of “bear” instead of the image of “deer” was represented.
The idea that the objectivization of mythopoetical senses in TV texts are based on the visual images has been further developed.
Key words: mythopoetical picture of the world, mythological meanings, extensionalintentional variation of the image, verbal and visual hypostasis, symbol, literary text, TV text, cartoon.

357 Павел С. Глушаков (Рига)
Historische Romanistik S. Minzlows: Poetik des elletristischen Genres
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zusammenfassung

Historische Romanistik von Sergej Rudolfowitsch Minzlow (1870–1933) ist eine bis heute nicht erforschte Erscheinung, obwohl poetische Prinzipien dieses Schrift stellers, die sich in seinen historischen Romanen beobachten lassen, eine interessante Erscheinung in der Literatur des russischen Auslands darstellen. Eine Textanalyse der wichtigsten Romane dieses Schrift stellers lässt die Methoden der s. g. „alten“ russischen historischen Romanistik besser zu verstehen, weil Minzlow ein merkwürdiger Vertreter dieser Stilrichtung war.
In dem vorliegenden Artikel wird Poetik der historischen Romane Minzlows В грозу, Волки, Гусарский монастырь, Огненный путь und Лесная быль analysiert.
Ethik der Welt in den Romanen Minzlows wird vom Pathos der Entdeckung einer neuen Wirklichkeit und von der Toleranz zu dieser Wirklichkeit determiniert.
Historische Belletristik Minzlows ist auf die „alte“ historiografi sche, die „karamsinischtoltojsche“ Schule orientiert. Laut „neuen und progressiven“ Tendenzen ist die Geschichte von den sozial-ökonomischen Gesetzmäßigungen determiniert, was für Minzlow keine Bedeutung hat, weil er sich als Schrift steller in der alten Tradition aufgewachsen ist. Persönlichkeit und Zufall als etwas Wunderbares und Mythisches sind im Zentrum der Aufmerksamkeit. Sein Held ist aber kein Mensch der Vergangenheit, sondern ein Mensch in den gegebenen Umständen. Sogar episodische in seinen Romanen hervorragende Persönlichkeiten (Litauische Fürsten, Peter der Große, Boris Godunow u. a.) haben nur die Funktion eines Mechanismus: Mit Hilfe dieser Persönlichkeiten wird der Mensch durch Schicksalsschläge geprüft, sein subjektiver Wille ist beiseite geschoben. In der historischen Prosa Minzlows gibt es kaum innere Monologe, philosophisches Nachdenken und sogar ideologische Streite der Helden. Die Handlung wird als eine Verwirklichung des im Voraus Bestimmten verstanden, wobei das Irrationale, das Überirdische von großer Bedeutung ist. Historische Stilisiertheit und historische Psychologie interessieren den Belletristen auch nicht. Für Minzlow gibt es keinen Menschen der Epoche, es gibt nur einen „ewigen Menschen“.

373 Anna Radzik (Kraków)
Verbo-nominale Kollokationen in „Buddenbrooks“ Thoman Manns und ihre synthetischen Äquivalente in der polniscjen und russischen Übersetzung
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zusammenfassung

Im Artikel werden die synthetischen Äquivalente der verbo-nominalen Kollokationen aus dem Roman Buddenbrooks Thoman Manns in der polnischen Übersetzung des Romans von Ewa Librowiczowa und der russischen von Natalia Man untersucht. Man stellt die Struktur der analytischen Formen dar und charakterisiert den verbalen und nominalen Teil dieser Übersetzungseinheit. Im weiteren werden die semantischen und funktionalen Beziehungen der Kollokationen zu den entsprechenden Vollverben besprochen, wobei man die Synonymie der synthetischen Formen der Übersetzung berücksichtigt. Die Analyse betrifft die einzelnen Szenen im Roman, in denen eine besondere stilistische und organisierende Rolle den verbo-nominalen Kollokationen zukommt. Die Kollokationen werden in den nach den Funktionsverben geordneten Reihen und mit den polnischen und russischen Äquivalenten präsentiert. Die Häufi gkeit der synthetischen Äquivalenz in beiden Übersetzungen führt zur Schlussfolgerung über den eher sprachtypologischen als stilistischen Hintergrund dieser Erscheinung.

385 Michal Křístek (Brno)
Jungmann’s “Slovesnost” (Verbal Art) today – possibilities of new research
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This contribution is focused on Slovesnost by Josef Jungmann, an important scholarly work that originated in the early stages of the period usually referred to as the Czech Revival. One of the main tasks in the first half of the 19^th century was to re-establish Czech language in positions from which it had to recede in the previous centuries – this task also included the necessity to create a new terminology for various fi elds of science. Slovesnost as the first modern Czech work on style and stylistics (issued for the first time in 1820; its revised and enlarged edition appeared in 1845 and 1846) had a considerable infuence on other approaches to the issues of style not only throughout the 19^th century, but also later – modern Czech works on style and stylistics still regard Jungmann’s work as a valuable source of inspiration. The present article tries to summarize the general background concerning Slovesnost and to indicate three main areas for research in this particular topic, namely: 1) to compare Jungmann’s theory of style as it is presented in the two editions of Slovesnost with the present-day Czech theories of style, 2) to summarize and compare at least the most important previous observations concerning this topic, 3) to prepare, after 160 years, a new edition of Slovesnost, including detailed theoretical commentaries and explanatory notes.

Book Reviews • download article (1,4MB)

389 Milana Radić-Dugonjić (Beograd)
Milosav Ž Čarkić: Stilistika stiha. Međunarodno udruženje „Stil“, Beograd – Institut za srpski jezik SANU, Beograd, 2006. str. 287. – ISBN 86-82873-13-3

392 Mirjana Gočanin (Beograd)
Майданова Л. М. [и др.]: Слово и ключевые смыслы в современных медиа-текстах. Урал. гос. ун-т, фак. журналистики. Ред.-сост. Л. М. Майданова – Екатеринбург: Изд-во Урал. Ун-та, 2004, 231с.

395 Ružica Bajić (Beograd)
Л. В. Савельева: Основы палеорусистики. Петрозаводск, 2004, стр. 163. – ISBN 5–98774–004–5

398 Jovan Ajduković (Beograd)
Lelija Sočanac, Orsolya Žagar Szentesi, Dragica Dragičević, Ljuba Dabo-Denegri, Antica Menac, Anja Nikolić-Hoyt: Hrvatski jezik u dodiru s europskim jezicima. Prilagodba posuđenica. Nakladni Zavod Globus, Zagreb, 2005: 255.

402 Jovan Ajduković (Beograd)
Балканская русистика: веб портал Факултета словенских филологија Софијског универзитета.

405 Ružica Bajić (Beograd)
М. П. Котюрова: Культура научной речи. Текст и его редактирование. – Перм, 2005, стр. 125. – ISBN 5-89919-042-6

409 Тадеуш Боруцкий (Краков)
Вера Васильевна Бабайцева: Избранное. 1955–2005: Сборник научных и научно-методических статей / Под ред. проф. К. Э. Штайн. Москва — Ставрополь: Изд-во СГУ, 2005. — 520 с.

411 Владимир И. Коньков (Санкт-Петербург)
Дускаева Р. Л.: Диалогическая природа газетных речевых жанров. Пермь: Изд-во Перм. ун-та, 2004. – 276 с.

414 Tetjana W. Radsijewska (Kiеw)
Svitlana Ivanenko: Textpolyphonie aus psychologisch fundierter kommunikativ-pragmatischer Sicht. Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien: Peter Lang, 2005. 308 S. ISBN 3-631-54619-X

Current Issues • download article (580KB)

417 Дејан Раковић (Београд)
Никола Тесла – разумевање природе креативности
Поводом 150 година од Теслиног рођења

Notes on Contributors

427

Instruction to Authors

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