卷 25, 编号 2 (2025)

The article examines theoretical and practical aspects of translation studies: the adequacy of poetic texts translation within the language pair “Russian – German” using the example of A. S. Pushkin’s novel Eugene Onegin translation. The paper describes the main difficulties in translating poetic texts: the need for adequate conversion of both the content and the artistic form, the heterogeneity of the source and target languages, as well as the cultural and linguistic space considerations, especially with regard to texts from past eras. The material of the study was the above-noted work of A. S. Pushkin and its translations into German: one of the early translations of the 20th century by Theodor Komischo and the latest translation to date by Viktor Prib. The research distinguishes three groups of vocabulary that cause the greatest difficulties in translating the novel by A. S. Pushkin Eugene Onegin: Slavicisms, Russianisms, markers of the era. A comparison of the provided translations is carried out. In particular, the article analyzes individual examples of Slavicisms translations that function as poeticisms, or are used to create a certain stylistic effect; Russianisms that convey cultural and historical realities and also perform stylistic functions; markers of the era, units and expressions that are associated with a particular chronological period, in this case the Pushkin’s era. The article establishes various ways of translating realias, phenomena and facts of another culture: adaptive translation, approximating translation, dynamic equivalence, pragmatic equivalence, generalization. It also identifies cases of semantic distortion, unexpressed stylistic tonality and lacunarity. The study concludes that it is advisable to use the technique of linguistic and cultural commentary when translating large volumes of poetry.

The article deals with the refusal in English communication from the perspective of pragmalinguistics. In the introduction the author justifies the relevance of the chosen topic, indicates the material and methods and formulates a hypothesis. The object of study is utterances conveying refusal which function as a means of protecting private space. The aim of the research is to reveal the communicative tactics of refusal which provide the protection of private space as well as the linguistic means of their implementation. The scientific novelty of the work lies in the analysis of refusal as a means of privacy protection and specification of its functioning in English communication. In the main part of the article a review of existing research on the topic is given and the key terms of the research such as “communicative distance”, “privacy”, “communicative tactics”, and “refusal” are defined. The author describes types of refusal, the main characteristics and communicative situations in which refusal is realized. As the result of the research, a typology of pramalinguistic pairs has been developed: offer – refusal, invitation – refusal, request – refusal, advice – refusal, information request – refusal. The main tactics of refusal which are common for each pramalinguistic pair were identified. Language means implementing these refusal tactics were revealed. The author concludes that refusal allows to regulate access to private information and set boundaries in communication. The conclusion summarizes the findings, highlights the role of refusal in English communication, and suggests perspectives for further research. The application of the research results includes lectures on general linguistics, specialized courses on pragmalinguistics, specialized courses on discourse analysis and text interpretation, as well as practical courses of English as a foreign language.

The article analyzes the linguistic material obtained as a result of the 2023 “Error free city” contest initiated by philologists of the Ural Federal University. The contest fits into the circle of studies devoted to the interpretation of regional/urban identity as a phenomenon that has a mental and semiotic nature. The local text, whose multidimensional nature is an iconic feature of this object, allows us to address the examination of the visual aspects of the urban environment, the assessment of the ecological component of urban texts of the city. The analysis of the material is based on the concept of speech culture, which has been developed with the invaluable contribution of Saratov linguists. Territorial community acquires behavioral features in the course of its development. The activity of a person in relation to urban texts forms this person as a culturally organized subject and is considered from the perspective of his cultural and communicative activity. The corpus of collected material contains 300 photo-facts, fixing a speech error chronologically and locally. The negative linguistic material obtained as a result of the event allow s the linguist to diagnose the speech competence of a modern urban speaker. When analyzing the collected units, the frequency of a certain type of error was taken into account, as well as the status of the written urban text: a professionally prepared urban text (advertisement, store sign, banner, etc.) or handwritten and printed products (leaflets, price tags, announcements) that fi ll the urban space for a short time and are quickly replaced. Spelling and punctuation errors prevailed in terms of frequency. Violation of stylistic register was noted in advertising texts.

This article deals with understanding the aesthetics of French classicism, which not only assumes compliance with norms, but also establishes “freedom” as the leading aesthetic component of the text. The first part of the study demonstrates the deformed logic of perceiving classical aesthetics in Russian philological science, which largely followed the French ideological attitudes developed during the 19th century. The French conceptualization of the term “classicism” took place in the context of nationalist propaganda, which imposed ideas about the national art of the “l’âge d’or” as a timeless norm. In American literary criticism, however, since the middle of the 20th century a strategy for the perception of classicism as an aesthetic compromise has been established, expressed in a complex combination of scientific and secular trends. In the process of analyzing the classical treatises created in the 1670s (“Les entretiens d’Ariste et d’Eugène” by Dominique Bouhours, 1671; “L’art poétique” by Nicolas Boileau-Despréaux, 1674; “Les réflexions sur la poétique de ce temps et sur les ouvrages des poètes anciens et modernes” by René Rapin, 1674; “Traité du poëme épique” by René Le Bossu, 1675; etc.) we show that not only the prescriptions of “vraisemblance”, “bienséance” and three unities, but also the aesthetic strategies of the “inexpressible” (le je-ne-sais-quoi) and super-natural gift (innate talent) were developed as necessity for creativity. Considerable attention was paid to the reflections about the image of the “miraculous” in literary texts, which turns out to be an important element of the text decoration as well as the popularization of the category of the “sublime” largely related to the assimilation of the treatise “On the Sublime” by pseudo-Longinus and its translation by the Boileau brothers. The conclusion shows that Boileau introduces an important rule “not always follow the rules” to resolve possible disputes, and this rule is the “freedom” of the French classicism.

This study aims to determine the role of animal symbolism in producing comic effect in the satires of medieval Germany. The following satires were taken for this study: “The ship of fools” (“Das narren schyff “ 15th century) by Sebastian Brant, “A deceived husband” (“Der verkêrte wirt“ 13th century) by Herrand von Wildonie and “Priest Amis” (“Der pfaffe Ameis“ 13th century) by Der Stricker. The analysis allows to note that in these pieces the images of the animals are a significant element of the plot and composition structure. The medieval German authors most frequently use the images of the “hund“ (dog), “esel“ (donkey), “han“ (rooster), “vishe“ (fish) and “affe“ (monkey). People of Middle Ages tended to assume that animals were inferior to people, could be thought to occasionally even have relationships with the Devil, therefore, animal symbolism in poetics helped to create allegory and picture people’s sins. Lexemes that denote animals in the analyzed satires contain a wide range of associations which reflects not only traditions of folk culture, but also those of church and religion. It is explained by the fact that the worldview of a medeival person was based on the combination of Christianity and folk culture. It is no accident that the lexemes that name the majority of the animals represented in this study, acquired a figurative (metaphorical) and symbolic meanings on top of their literal meaning. The results of the lexical and stylistic analysis showed that there are two main ways of creating comic effect by using animal symbolism in the works of the medieval German authors. Lexemes that denote animals can be used as components of stylistic devices (comparison, playing upon a phraseological unit) which is a complementary tool and emphasizes the comic effect created on the level of the plot. At the same time, lexemes denoting animals can be used as components of composition (dramatic irony). In this instance the animal image takes part in creating the comic effect within the whole text.

The article analyzes of the image of princess Sophia in historical novels The Throne and the Monastery (1878) by P. Polezhaev, The Tsar Maiden (1878) by Vs. Solovyov, For Whose Sins? The Great Schism (1878) and Tsar Peter and Ruler Sophia (1880) by D. Mordovtsev, On the Height and in the Dale: Princess Sophia (1879) by E. Karnovich. The peculiarity of these works lies in the fact that they were created at approximately the same time, were based on the same historical sources, had a similar plot and diff er mostly in terms of interpretation of the events and characters depicted. The mentioned circumstances allow us to consider these novels as an indicator of changes in public attitudes towards the historical personality of princess Sophia. In the middle of the 18th – first half of the 19th century princess Sophia repeatedly became the heroine of literary works, but acted mainly as a negative secondary character. The article states that the image of the princess in the novels in question acquires the features of an extraordinary personality (her education and reading range are described); the princess becomes the central character; the essence of the conflict in the works shifts from the theme of usurpation of power to the moral question of the price of maintaining it. The result of rethinking of princess Sophia’a story is a clarification of Peter’s myth. In addition, two social issues relevant for the second half of the 19th century are associated with the image of the princess: women’s emancipation and understanding of the religious schism of the 17th century.

The article deals with the study of the narrative aspect of the cycle of stories by A. Slapovsky Foggy Alleys. The author uses narratological method of analysis developed by the Russian and foreign specialists in literature. The research is aimed at studing different types of narrators in A. Slapovsky’s cycle. The typology is based on the binary opposition: there are non-diegetic and diegetic narrators in the cycle. The non-diegetic narrator of A. Slapovsky’s stories is characterized by implicitness, by the focus on the character’s point of view. The non-diegetic narrator produces the character’s type of narration, prevailing in the realistic prose of the 20th century. The type of diegetic narrator is presented in different ways: as a narrator-observer, as a narrator-repeater, as a mask of the author-creator, as a storyteller. The first three types are united by the theme of creativity. The subject of the narration introduces himself as a writer, takes the position of an observer or repeats the character’s story. The mask of the author-creator is the fictional double of a biographical writer and the result of the postmodern game of A. Slapovsky with the border between the text and extra-text reality. The narrative experiment of the writer is the tale, the imitation of someone else’s speech. A. Slapovsky copies the principle of “verbatim” based on the word-for-word retelling of a documentary story. The storyteller is a narrator, who differs from the author-creator in the level of culture and intelligence, age, nationality and gender. The subject of the tale in many stories of the cycle is a female character. Narrators of different types enable A. Slapovsky to structure the polyplot “caravan of stories“ of Foggy Alleys and to implement the author’s artistic concept of love.

Media sphere is viewed as a space in which the culture of the information society is formed, assisted by mass media, as a sphere of competition, whose participants aim at winning the favor of the audience. The article focuses on subject-subject and subject-object relationships in the media environment, in which governing bodies, business organizations, mass media, information channels, individuals, following their own interests and taking into account public needs, moods and mores, change roles in order to achieve goals, can perform simultaneously different roles in subject-object and subject-subject relationships. The media move from performing one role to implementing another one according to the editorial content strategy, due to involving in interaction, or excluding from it, subjects and objects of politics, economics, culture, and social relations. In their relationships with different participants of interactions in media sphere, mass media can simultaneously function as subjects or intermediaries in delivering information, as objects under the influence of the subjects of politics or economics, keen on holding information campaigns of high intensity, anticipated and estimated interpretation of events and processes. As objects, mass media satisfy the interest of the audience in sensations, scandals, celebrities’ private lives. Subjects of the media sphere are characterized on the following grounds. From the point of view of activity spheres we can distinguish subjects of politics, economics, culture, social relations; from the point of view of legal regulation of activities in media sphere there are subjects operating legally or using shadowy forms of spreading information. From the point of view of temporal manifestations of activity, subjects of long-term or short-term actions function in media sphere. Subjects of the media sphere are given qualitative characteristics upon considering the degree of their involvement in communication processes and the intensity of interactions.

Modern higher philological education is related to the level of readiness for philological knowledge acquisition by ex-schoolchildren and philology students’ preparation for future professional activity. Students need to develop professional communication skills, learn to think, speak and write in the language of modern science, employ professional terminology, understand the concept of philological tools when working with fiction. Meanwhile, the paradigm of linear perception of objects widely-accepted in school education, encumbers philologists’ professional development. Novice philologists’ self-image is clearly visible through their answers in questionnaires conducted among second-year students regarding the first year of study within the framework of the academic program “Philology” (profi e “Russian Philology”). The answers allow us to understand how and when young students begin to realize their belonging to the “philological corporation”, take pride in their future degree, which is perceived by most as a sign of professional identity. Our study has shown that philology students consider familiarization with scientific publications to be the most important stage of mastering philological competencies. Working with scientific texts allowes them to sense the scale of philological science and experience the works of the leading scientists as well. Students assign the main role in their philological development to professors, in whose work they value the ability to overstep the boundaries of their academic subject and use the materials from related areas of science as an argument. Philologists’ development is associated with acquiring and expanding terminology, as well as with reconsidering it. At the same time, not only very specific philological definitions turn out to have unfamiliar connotations for students, but also general philological or even general scientific concepts have become new for students. Philology students’ reflection on their professional development begins during the first days of study and is perceived as slow, painstaking and thorough work where students and professors are united by a common goal