Academic literature on the topic 'Ivatan language'

The pioneer Dominican missionaries were harbingers of the Word and civilization. Evangelization was the drama of the Incarnation in which lives of people were transformed by the preaching of the Word of God and the refashioning of the physical world to sacramentalize the arrival of the Kingdom of God in various forms of reordering and reorganizing of Nature and social life. It took nearly a century (1686-1783), and many precious lives, before Dominicans finally established a permanent foothold in 1783, on the Batanes islands which lie at the northern tip of the Philippine archipelago. In 1798, a 25 year-old youth, newly ordained priest, (probably) an alumnus of the University of Santo Tomas, arrived in Batanes: Fray Padre Nicolas Castaño, OP. He came to stay for 26 years of his life. He was, by all indications of the records and his activities, an assiduous and good learner of the indigenous culture. He picked up the study of the Ivatan language from where his predecessors left it and carried it on, to be passed on the next generation of Dominican missionaries; and seeing the need for handy catechetical tool, he used his knowledge of the language to write a Catechism of Christian Doctrine (whose manuscript he probably used in preaching), and later prepared for printing—which became the first printed Ivatan text. But while he preached the Word, he, in due time, saw the need to announce the majesty of God in Baroque architecture—the preferred art style used by the Tridentine counter reformation to proclaim the gospel to a largely unlettered world. Father Nicolas built what today continues to be the grandest church facade in the Batanes, and which served as the model and inspiration of all the other later Ivatan churches. He built bridges to ensure that the new Christians had no excuse to miss masses and catechetical instruction on Sundays and Holy Days of Obligation. He was concerned about the convenience and efficiency of local government officials. So he built decent government buildings for them near the churches. By getting the Ivatan people to work with him, they learned in turn how to build homes which have remained typhoon-proof to this day. To make social life more efficient in the new lowland settlements, especially Ivana which in his time was the centre of three tribal communities (Ivana, Itbud/Uyugan, and Sabtang), he arranged streets and roads to facilitate the development of better community spirit—for his vision was certainly ecclesial: communitarian.

In this paper we will deal with the presentation of both quantitative and qualitative research by Ivana Zorica, written in German, whose results are very important for the theory of learning and the adoption of languages in general. The author studies the German writing skills and tries to solve how any mistakes can be overcome. Material subjected to analysis makes mistakes from the composition of students who learn the language for years. In addition, we also carried out research at the corpus that presents errors based on the analysis of dictates of elementary school students, where errors at the orthographic level are similarly qualified and analyzed. The hypothesis from which we begin to work is that in the foreign language the presence of unassigned elements from the lower stages of development can be evindicated.

The secret places of the native language is a powerful instrument of the Ukrainian state builder. According to Oleksandr Potebnia, the link between languages and ideas, between languages and the associative ideas as well as the culture of a people generates the striving toward a societal unification according to the feature of national identity. In the 19th century, Ukrainians in the Austrian (since 1867: Austro-Hungarian) and in the Russian Empires felt their closeness not only due to similar living conditions, but first and foremost due to their common native language, the language of their reasoning. They strove for unification while they found themselves in different state formations, as is reflected in literary sources as well as in the language of historical and scholarly sources written by eminent Ukrainian intellectuals. In this article, we attempt to demonstrate that this is also true for Ivan Franko’s texts, and we highlight his role for the process of the unification of all parts of Ukraine. Franko was a leading Ukrainian thinker who worked as a writer, journalist and editor of periodicals. He was also a talented organizer of cultural and educational societies, and he was active in politics. The liberation and the unification of the Ukrainian people was an essential part of his program in all these spheres. His ideas exerted great impact on Galician intellectuals and had a genuine effect on the unification of Ukraine and, particularly, on the «Act zluky» (the «Unification Act») of 22 January 1919.

Ivan Ohiienko made a signifi cant contribution to the formation and development of Ukrainian language Stylistics. His reasoning on certain stylistic issues is recorded in such scientifi c investigations as «The Science of Native Language Duties», «Ukrainian Literary Language History», «Our Literary Language: How to Write and Speak in Literature», «Grammatical and Stylistic Dictionary of Shevchenko’s Language» etc.ºíêàThe purpose of our article is to determine Ivan Ohiienko’s contribution to the development of Ukrainian Language Lexical Stylistics.Among the stylistic concepts, the concepts of lexical stylistics are clearly dis-tinguished. I. Ohiienko payed attention to the stylistic load of synonyms, archaisms, neologisms, dialectisms, terms, borrowed words, vulgarisms, provincialisms, etc.The linguist argued for the need to use archaisms in the artistic style to give the text artistry, a description of a bygone era, the archaic coloring of the speech of the characters, providing teaching pathos and more. I. Ohiienko considered it appropriate to use old slavonic in the confessional style.The stylistic use of «local language» (dialectisms) is limited to the conscious use in the characters’ language, and in works of regional purpose. Unacceptable dialect words in the scientifi c style.I. Ohiienko singled out specifi c features of the use of foreign languages: in the presence of Ukrainian words-equivalents to replace borrowing; to refuse frivolous use of foreign words; do not use tracing words; in journalistic style unknown to the general public to explain other languages. The scientist was fi rmly convinced that the use of foreign words does not contribute not only to Ukrainian language development, but also to spiritual culture development in general.According to I. Ohiienko, synonyms should not only be known, but also felt, in particu-lar, the correct use of stylistic synonyms, which diff er in relation to diff erent functional styles.Thus, I. Ohiienko’s reseaches on the problems of the History Ukrainian literary language development are also important for Stylistics development.

Slavic languages as a whole are famous for the widespread use of diminutive forms and the variety of emotive-expressive nuances that diminutives can convey. During the age of the Bulgarian Renaissance (18th - 19th century) the use of diminutives was a characteristic feature of the language, whereas after that period their use in the literary language decreased significantly. Due to the fact that Ivan Vazov wrote his historical novel in 1889-1890, the text abounds in diminutive forms, which is characteristic for Bulgarian writers of that period. The paper studies the word-formative patterns of diminutive words excerpted from Ivan Vazov's novel "Under the Yoke" and their rendering in the Russian translation of the novel. An analysis of the formation and function of diminutives in the two languages is suggested. Considering the closeness of the studied languages, an attempt is made to investigate the specifics of diminutive words in Bulgarian and Russian, as well as the reasons for their omission in the Russian translation, if any. As both Bulgarian and Russian are rich in diminutive forms, the paper analyses the differences in the use of diminutives in these languages. The method of philological analysis has been used in collecting and analyzing the corpus of excerptions.

U radu se razmatra upotreba određenih vezničkih jedinica u jeziku Ivana Mažuranića. Posebna pažnja biće usmjerena na načine upotrebe, a takođe i na razlike u upotrebi datih vezničkih jedinica u odnosu na savremenu jezičku normu.

The article «Borrowings in Ivan Ohіienko’s scientifi c heritage» by Teiana Bilousova analyses the ways and reasons for borrowing linguistic units from other languages, their adaptation in the recipient language, and approaches to their selec-tion and fi xation in dictionaries. Being one of the natural ways of enrichment of all the languages, borrowings become an object of study of diff erent native and foreign researches, among which Ivan Ohіienko’s works are of great interest. Highly estimating the Ukrainian language as a rich, fl exible and developed one, caring about the establishment of its unifi ed literary standard, the scientist didn’t reject the presence of diff erent borrowings and accepted both, those which came from ancient times (Latin, Greek, and Slavic etc.), and those ones penetrating into the lan-guage at the present time. The most numerous in the Ukrainian language he consid-ered Russian and Polish borrowings. He always urged to their objective evaluation and denied their senseless exclusion from the language by the linguistic purism.Still he resisted the penetration into the language of barbarisms, clichés, foreign word combinations and phraseological units. At the same time he advocated historical and ter-minological dictionaries supporting the language uniqueness. Using historical and chrono-logical analyses he developed the methodological criteria for defi ning the sources of bor-rowings and their adaptational characteristics in the recipient language. He also found out the factors and reasons of borrowing, and the most frequently borrowed elements. The theoretical ideas of Ivan Ohіienko found its practical realization. The article provides the analysis of his «Dictionary of substandard words», illustrating on the numerous examples the author’s approaches to the order, commentaries, graphic and accentual representation of borrowings, and their combinability with other words at the level of phrases and word combinations. The conclusion gives the linguist’s remarks and propositions as for the further linguistic studies in this fi eld.

The article analyzes the peculiarities of the language style of the outstanding Ukrainian scientist, Professor Ivan Ohiienko. Ivan Ohiienko is known to have made a great contribution to the development of the stylistics of the Ukrainian language.An important contribution to the normalization of the stylistics of the Ukrainian lan-guage is «Ukrainian Stylistic Dictionary: A Textbook for the Study of Literary Language» by Ivan Ohiienko. The dictionary contains a number of stylistic instructions, materials for historical understanding of spelling and literary variants of grammatical forms.It is an established fact that many normative words suggested by Ivan Ohiienko were accepted by modern stylistics. The scientist considered purity, uniqueness, correctness, cla-rity of form, richness of forms, and color to be the main features of any literary language. Ivan Ohiienko’s magazine «Ridna Mova» came to be considered as a fi nd for studying the author’s style. At the same time, the analysis of the material of his scien-tifi c achievements allows modern linguists to solve current linguistic issues.It is concluded that Ivan Ohiienko’s language style is relatively autologous and at the same time expressive. Ivan Ohiienko’s language is characterized by considerable refl ec-tions laden with emotional expressiveness, which manifests itself in emotionally-colored appeals and pleas, digressions, rhetorical questions, and exclamatory intonations.Our research shows that the emotionality and expressiveness of Ivan Ohiienko’s language are enhanced due to the use of syntactic means of expression: apiopesis, and grammatical parallelism.Attention is drawn to the fact that Ivan Ohiienko’s language style is characte-rized by expressiveness, which produces a pragmatic eff ect on the reader. The author infl uences the development of events in the text; shows a negative or positive attitude, raises questions of life truths and thus aff ects the understanding, awareness of the problem by the reader. Figurative components in I. Ohiienko’s texts are used to infl u-ence the emotional sphere of the addressee, they inform, persuade, and encourage

I den här uppsatsen undersöks Herr Ivan, en av de tre Eufemiavisorna, med syfte att utröna vilka lexikala skillnader det finns i arvorden mellan de tre svenska och två danska handskrifterna av romanen som finns bevarade från 1400-talet, kallade A–C resp. E–F. Det excerperade materialet består av de arvord som enligt Erik Noreens kritiska utgåva avviker i E–F i förhållande till A–C, med morfologiska och ortofonologiska skillnader borträknade. Vissa gränsfall diskuteras dock. Undersökningen tar upp ett axplock av de utbyten som bedömts som mest relevanta i fråga om mängd, ändringsfrekvens och sammanfall med det nutida ordförrådet i båda språken. Orden i materialet delas upp i ordklasser, och både antalet belägg och lexem har räknats. Materialet visar ingen stor skillnad mellan språken, men det finns dock tendenser till att de danska handskrifternas ordförråd ligger närmare det nutida än vad de svenska gör.

- Öffentlichkeit und Angst. Affirmationsdrang und Mut - Interpretatorische Vereinnahmung des Textes - Passive Weltlosigkeit und aktive Weltflucht - Heimischwerden in der Nationalliteratur - Pragmatik des Ästhetischen - "Urteilsspruch" - Legitimierung des halbwüchsigen Rauschens als literarischer Sprache: Die Politik der Literatur

- Einleitung - Das Lager schreiben - Zwischen Hungerengeln und Fischgräten - Authentische Erinnerungstexte – Solženicyn, Šalamov, Ginzburg, Herling- Grudziński - Nicht-authentische Erinnerungstexte – Amis und Müller - Fazit - Literaturverzeichnis - Zur Autorin

Ce travail porte sur la langue parlée d'Ivan Smelev (1873-1950), grand écrivain russe du début du XXe siècle, comme élément fondamental dans sa création de l'image d'une Russie perdue. Notre analyse se base sur l'étude du diptyque que constituent L'Année du Seigneur (Leto Gospodne) et Le Pèlerinage (Bogomol'e). Pour cela, notre étude s'est avant tout focalisée sur le traitement de la forme orale dans les études modernes ainsi que sa place dans la littérature. Il nous a paru important de déterminer les dominantes principales de l'oeuvre de l'écrivain. Puis il a été procédé à l'analyse des procédés phonostylistiques, morphosyntaxiques, lexicaux et paradigmatiques mis en place par l'écrivain dans le processus d'oralisation de l'écrit ; à la détermination de la corrélation entre les facteurs linguistiques et extralinguistiques, notamment en ce qui concerne les manifestations principales de la mentalité russe dans les occurrences de notre corpus
Ivan Smelev (1873-1950) is a well-known writer from the beginning of the XXe century. This research project is based on his devices of the imitation of oral language as a basic element in the general image of a Russia lost forever. Our analysis is based on the study of this Russian émigré writer's diptych, The Year of the Lord (1927-48) and The Pilgrimage (1931), written in France. For this purpose our study was first focused on the treatment of the oral form of language in modern studies as well as the definition of its place in the literature. It is important to emphasize the main dominants of the writer's work. Then an analysis of phonostylistical, morphosyntaxical, lexical et paradigmatic devices used by the writer was made and also the correlations between linguistic and extralinguistic factors, especially concerning the main manifestations of the Russian mentality in the circumstances of our corpus were pointed out

Ivan Vladislavić’s fiction shows a preoccupation with the South African past in terms of both time and space and with the influence of ideology on the interpretation of the past and of cultural artefacts such as cityscapes, buildings, monuments, photographs, and fine art within the South African context. No study has yet considered Vladislavić’s entire oeuvre in terms of the interaction between time and space and their particular manifestation in concrete cultural expressions that generate meaning that can only be recognized over time and within the limits of different perspectives. In order to situate his work within such a paradigm, this thesis discusses various theories on the representation of time and space and their application and argues that Vladislavić represents concrete reality and abstract ideas about the past and ideologies in an interrelated manner, in order to illuminate the ways in which concrete reality influences perceptions of the past and its associated ideologies, but also how past and ideology, in turn, influence how concrete reality is perceived. His fiction can thus be described as exploring the complex dynamic between concrete and abstract. Perspective plays an important role in his fiction in terms of both his representation of concrete (city and artefacts) and abstract reality (past and ideology). Characters’ perspectives come into play as they negotiate, create and interpret concrete and abstract reality, and in the light of how they ‘see’ the world, their identities are shaped. Vladislavić shows that perspective is inevitably blurred with ideological prejudice. He does so, in such a way, that a reader is often led to reconsider her/his own way of perceiving both concrete and abstract. Cultural artefacts, in particular, mediate perceptions of time and of place; they are (in)formed by ideology and also have singular signifying possibilities and limitations. By drawing attention to his own expression in language, by creating seemingly random lists, or focusing on the multiple meanings of a word in a playful manner, Vladislavić shows that, like artefacts, language too is a medium for mediation that is subject to and formative of ideology.
Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2012.

Питање експресионистичког наслеђа у поетички вишеслојној савременој српској поезији остало је занемарено у нашој књижевној науци, иако је у питању један од њених највиталнијих традицијских токова. Отуда се отвара значајно поље истраживања бројних интертекстуалних веза и утицаја експресионистичке традиције у поезији најистакнутијих српских песника друге половине XX века (М. Павловић, С. Раичковић, И. В. Лалић, Б. Петровић, Љ. Симовић, А. Ристовић, Д. Смиљанић, Н. Тадић). Утицај експресионистичке поетике у њиховој поезији није био директан и очит, него дубоко и спонтано уткан у њихову самосвојну песничку визију, што ове песнике и чини већ признатим, савременим „класицима” наше поезије. Експресионистичка традиција активирана је у њиховој поезији на стваралачки нов, креативан начин, у постмодернистичком кључу и садејству са другим, често опречним традицијским токовима (од неосимболизма и неонадреализма, до дубинских наслага усменог и средњовековног наслеђа), што је стварало неочекиване интертекстуалне спојеве и нов песнички квалитет.На интертекстуалном и компаратистичком плану, уочавају се бројне духовно-поетичке сродности наших савремених песника са најзначајнијим експресионистичким ауторима у нашем и европском књижевном контексту (М. Црњански, Растко Петровић, Д. Васиљев, Г. Бен, Г. Тракл, Г. Хајм, Е. Ласкер-Шилер).И поред свих специфичности и разлика индивидуалних поетика ових песника, утврдили смо да у њиховој поезији долази до реактуализације готово свих експресионистичких топоса (топоса града, смрти, рата, апокалипсе, „живих мртваца”, космоса/хаоса, дисоцијације и подвојености субјекта, као и топоса божанско/сатанско). Проблематизујући ове експресионистичке топосе у новим књижевно-историјским и цивилизацијским околностима, наши савремени песници отварају бројна питања духовног, личног и колективног идентитета и опстанка човека на крају другог миленијума. Такође, у њиховом песништву издвојили смо низ кључних експресионистичких стилско-реторичких и обликовних поступака, међу којима је на првом месту поступак гротеске и дисторзије, симултаности, црног хумора, колажа и монтаже, дисоцијативног низања слика, одуховљења и апстраховања материје, као и поступак интертекстуалности и цитатности. Утицај експресионистичке поетике огледа се и на формалном плану, у смислу деструкције и деканонизације традиционалних родољубивих и религиозних жанрова, као и усмених, фолклорних облика басми, бајалица, ругалица, гатки. Долази до жанровских померања и преплитања различитих језичко-формалних модела, од традиционалних, класичних облика (најчешће сонета), до слободног стиха и модерног, неоавангардног поигравања језиком и формом песме, односно песме у прози (прозаиде).Истраживање експресионистичког наслеђа показује да су се из поетичке раслојености српског и европског експресионизма развиле и различите неоекспресионистичке струје нашег савременог песништва: критичка, (Љ. Симовић, Б. Петровић, делимично М. Павловић), неосуматраистичка (С. Раичковић), метафизичка (А. Ристовић, Д. Смиљанић), нихилистичка (Н. Тадић), религиозна (једним слојем свог песништва Иван В. Лалић и Новица Тадић).Експресионизам је тако у трајно наслеђе нашој савременој поезији оставио дух критичког преиспитивања свих досадашњих духовних, културних, књижевних, историјских тековина, „певање кризе”, расапа вредности и визију „сумрака човечанства”, намећући се као исходиште даљих, постмодернистичких трагања и преиспитивања граница и моћи певања.
Pitanje ekspresionističkog nasleđa u poetički višeslojnoj savremenoj srpskoj poeziji ostalo je zanemareno u našoj književnoj nauci, iako je u pitanju jedan od njenih najvitalnijih tradicijskih tokova. Otuda se otvara značajno polje istraživanja brojnih intertekstualnih veza i uticaja ekspresionističke tradicije u poeziji najistaknutijih srpskih pesnika druge polovine XX veka (M. Pavlović, S. Raičković, I. V. Lalić, B. Petrović, LJ. Simović, A. Ristović, D. Smiljanić, N. Tadić). Uticaj ekspresionističke poetike u njihovoj poeziji nije bio direktan i očit, nego duboko i spontano utkan u njihovu samosvojnu pesničku viziju, što ove pesnike i čini već priznatim, savremenim „klasicima” naše poezije. Ekspresionistička tradicija aktivirana je u njihovoj poeziji na stvaralački nov, kreativan način, u postmodernističkom ključu i sadejstvu sa drugim, često oprečnim tradicijskim tokovima (od neosimbolizma i neonadrealizma, do dubinskih naslaga usmenog i srednjovekovnog nasleđa), što je stvaralo neočekivane intertekstualne spojeve i nov pesnički kvalitet.Na intertekstualnom i komparatističkom planu, uočavaju se brojne duhovno-poetičke srodnosti naših savremenih pesnika sa najznačajnijim ekspresionističkim autorima u našem i evropskom književnom kontekstu (M. Crnjanski, Rastko Petrović, D. Vasiljev, G. Ben, G. Trakl, G. Hajm, E. Lasker-Šiler).I pored svih specifičnosti i razlika individualnih poetika ovih pesnika, utvrdili smo da u njihovoj poeziji dolazi do reaktualizacije gotovo svih ekspresionističkih toposa (toposa grada, smrti, rata, apokalipse, „živih mrtvaca”, kosmosa/haosa, disocijacije i podvojenosti subjekta, kao i toposa božansko/satansko). Problematizujući ove ekspresionističke topose u novim književno-istorijskim i civilizacijskim okolnostima, naši savremeni pesnici otvaraju brojna pitanja duhovnog, ličnog i kolektivnog identiteta i opstanka čoveka na kraju drugog milenijuma. Takođe, u njihovom pesništvu izdvojili smo niz ključnih ekspresionističkih stilsko-retoričkih i oblikovnih postupaka, među kojima je na prvom mestu postupak groteske i distorzije, simultanosti, crnog humora, kolaža i montaže, disocijativnog nizanja slika, oduhovljenja i apstrahovanja materije, kao i postupak intertekstualnosti i citatnosti. Uticaj ekspresionističke poetike ogleda se i na formalnom planu, u smislu destrukcije i dekanonizacije tradicionalnih rodoljubivih i religioznih žanrova, kao i usmenih, folklornih oblika basmi, bajalica, rugalica, gatki. Dolazi do žanrovskih pomeranja i preplitanja različitih jezičko-formalnih modela, od tradicionalnih, klasičnih oblika (najčešće soneta), do slobodnog stiha i modernog, neoavangardnog poigravanja jezikom i formom pesme, odnosno pesme u prozi (prozaide).Istraživanje ekspresionističkog nasleđa pokazuje da su se iz poetičke raslojenosti srpskog i evropskog ekspresionizma razvile i različite neoekspresionističke struje našeg savremenog pesništva: kritička, (LJ. Simović, B. Petrović, delimično M. Pavlović), neosumatraistička (S. Raičković), metafizička (A. Ristović, D. Smiljanić), nihilistička (N. Tadić), religiozna (jednim slojem svog pesništva Ivan V. Lalić i Novica Tadić).Ekspresionizam je tako u trajno nasleđe našoj savremenoj poeziji ostavio duh kritičkog preispitivanja svih dosadašnjih duhovnih, kulturnih, književnih, istorijskih tekovina, „pevanje krize”, rasapa vrednosti i viziju „sumraka čovečanstva”, namećući se kao ishodište daljih, postmodernističkih traganja i preispitivanja granica i moći pevanja.
The question of expressionist heritage in poetic multilayer contemporary Serbian poetry has been neglected in our literary science, although it is one of its most vital traditional trends. A significant field of research of numerous intertextual ties and influence of expressionist tradition in the poetry of the most prominent Serbian poets of the second half of XX century (M. Pavlović, S. Raičković, Ivan V. Lalić, B. Petrović, Lj. Simović, A. Ristović, D. Smiljanić, N. Tadić) is therefore revealed. The influence of expressionist poetics in their poetry was not direct and obvious, but deeply and spontaneously interlaced in their unique poetic vision, which makes these poets already recognised, contemporary „classics” of our poetry. The expressionist tradition was activated in their poetry in a new inventive and creative fashion, in postmodernism clue, and in interaction with the other, often opponent traditional trends (from neosymbolism and neosurrealism, to deep layers of oral and medieval heritage), which has created unexpected intertextual bonds and new poetic quality.At the intertextual and comparative level, a numerous spiritual and poetic similarities of our contemporary poets with the most significant expressionist authors in our and European literary context can be observed (M. Crnjanski, Rastko Petrović, D. Vasiljev, G. Benn, G. Trakl, G. Heym, E. Lasker-Schüler).Besides all specificities and differences in individual poetics of these poets, we have identified the reactualisation of almost all expressionist toposes in their poetry (toposes of city, death, war, apocalypse, „living deadˮ, cosmos/chaos, dissociative and divided subject, and divine/satan topos). By problematising these expressionist toposes in new literary-historic and civilisation circumstances, our contemporary poets open numerous questions of spiritual, personal and collective identity and survival of a man at the end of second millennium. Furthermore, we have detected a range of key expressionist stylistic-rhetorical and structural procedures, among others primarily the procedures of grotesque and distortion, simultaneity, black humour, collage and montage, dissociative sequence of images, spiritualising and abstracting matter, and the procedure of intertextuality and citationality.The influence of expressionist poetry is also reflected on a formal plan, in terms of destruction and decanonization of traditional patriotic and religious genres, as well as oral, folk forms of chants, incantations, mocking poems, tales. There has been genres shifting and interlacing of different language and formal models, from traditional, classical forms (most4often sonnets), to free verse and modern, neoavant-garde play with the language and the form of a poem or a prose poem.The research of expressionist heritage shows that different neoexpressionist currents of our contemporary poetry have developed from the poetic diversity of Serbian and Europe expressionism: critical (Lj. Simović, B. Petrović, partially M. Pavlović), neosumatraistic (S. Raičković), metaphysical (A. Ristović, D. Smiljanić), nihilistic (N. Tadić), religious (in a layer of their poetry Ivan V. Lalić and Novica Tadić).The expressionism has thus left a spirit of critical questioning of all present spiritual, cultural, literal, historic inheritance, „singing the crisis”, destruction of values and vision of „dusk of mankindˮ as a permanent heritage in our contemporary poetry, placing itself as an outcome of further postmodern searches and questioning of limits and power of poetry.

The image of 'the Jew' in nineteenth-century Russian literary texts is traditionally viewed as a paradigm of anti-Semitic discourse. Critics have typically accentuated the presence and continuity of negative stereotypes of the Jews. Yet anti-Semitic discourse is not the only approach to the representation of the Jews in Russian literature. This study explores the manifold nature of the portrayal of 'the Jew' in the works of three Russian writers of the highest calibre: Gogol, Dostoevsky and Turgenev. Literature at the time was highly politicized and a writer was expected to examine the issues of the day from an ideological stance. This meant that a writer's fictional representation of 'the Jew' was treated by many as an illustration of Jews' qualities in real life. After the partitions of Poland in the eighteenth century, Russia acquired a large Jewish population. These new Jewish subjects were confined to the Pale of Settlement, which restricted their rights of residence in Russia proper. That in itself meant that the majority of Jews were invisible to Russian society. Writers mainly used Western literary patterns in describing 'the Jew'. Nevertheless, in using traditional mythic stereotypes of the Jews they not only applied the familiar framework of Western authors but also created images based on specifically Russian culture. Moreover, at different periods of the century 'the Jew' was endowed with traits uncharacteristic of previous myths. The writers' constructions of 'the Jew' thus became complex and flexible. In order to investigate the complex constructions of 'the Jew' the following matters are discussed: (1) the depiction of 'the Jew' by these three writers in conjunction with their understanding of their own identity, events occurring during their lifetime, and stereotypical frames of reference for the Jews; (2) the degree of controversy in their representations; (3) their use of the image of 'the Jew' to define the essential qualities of the Russian.

During the 19th century, nationalism was generally connected to ideas of democratisation and the contestation of power and status quo. In Russia, there was an ongoing struggle between Official Nationalism, aimed at preserving the empire, and cultural nationalism. This essay is an inquiry into the differences and similarities between how the 19th century Slavophiles and contemporary Russian national democrats, exemplified by Aleksei Naval’nyi, view the Russian nation. The focus is on how the Russian nation is defined, how the two nationalist visions relate to competing views of the Russian nation, and how the idea of a Russian nation is used as part of a vision for social and political change. The essay finds that although “the Other” against which the Russian nation is defined differs in the two historical cases, the use of nationalism to frame an opposition against the regime and to advocate social and political change is persistent across time. However, because of its excluding tendencies, in the cases studied here cultural nationalism is found to be wanting as a basis on which to build a democratic form of government.

Futabatei Shimei was the first significant translator from Russian into Japanese. In his two debut translations, Ivan Turgenev’s ‘The Tryst’ (‘Aibiki’) and ‘A Chance Encounter’ (‘Meguriai’), both published in 1888, he reproduced the preterite by employing ‘-ta’ verb endings. In 1914, Nakamura Hakuyō published a translation of Fedor Dostoevsky’s Crime and Punishment, in which he meticulously reproduced almost all the third-person pronouns using ‘kare (he)’ and ‘kanojo (she)’. Natsume Soseki, in later works such as Grass on the Wayside (Michikusa, 1915) and Light and Darkness (Meian, 1916), masterfully employed both the preterite (‘-ta’ verb endings) and third-person pronouns, duplicating their use in European languages. However, neither ‘-ta’ verb endings nor third-person pronouns were widely adopted in the modern Japanese novel. The use of ‘-ta’ verb endings expressing the past tense, and of the Japanese third-person pronouns kare and kanojo, temporarily became the norm in translations, but recently the frequency of third-person pronouns has started to decline rapidly. This chapter examines how past tense forms and third-person pronouns have been used in translations from Russian into Japanese; and studies the impact of translations from Russian on the Japanese literary language.

Reflection on the issue of reception of Russian literature amongst the reading public in India reminds us that India has always been a multiconfessional, multi-ethnic and multilingual country. From Kashmir in the North to Kerala in the South, India can be characterised by a rich tradition of highly developed multiple literary cultures. Translational activity has been an essential corollary of this diversity. This essay attempts to investigate the translation and reception of Russian literature in post-colonial India. It discusses the engagement of the Indian intelligentsia with Russian literature through translation, which developed in post-independent India, riding on the high tide of nationalist fervour promoting ideas of an egalitarian society. Translations of Russian writers like Lev Tolstoy, Ivan Turgenev, Fedor Dostoevsky, Anton Chekhov and Maksim Gorky and others enjoyed great popularity in post-colonial India. I examine Marathi-, Malayalam-, and Hindi-language texts. These works are considered by-products of translational activity, which is also a journey, a mediation and a carnival of cultural mutualities.

The article discusses Ivan Vazov (1850–1921), the father of Bulgarian literature, poet, novelist, playwright, one of the creators of the modern Bulgarian literary language. He was the chief creative figure of the Bulgarian national revival era and the several subsequent decades, the creator of the first Bulgarian novel Under the Yoke, one of the pillars of Bulgarian national theatre. Vazov became a chronicler of his era, making it possible to study the history of Bulgaria through his work. During the life of the writer, Bulgaria managed to throw off the five-century Ottoman yoke following the Russo-Turkish war of 1877–78. This made him a russophile, for which he was persecuted by the Bulgarian authorities, who soon after the liberation of the country took a pro-Western position. Vazov’s work belongs not only to Bulgarian literature, but also to world literature. His works have been translated into 52 foreign languages.

Bearing on several plays by contemporary representatives of the “New Drama,” Ivan Vyrypaev, Yevgeny Grishkovets, and the Presnyakov brothers, the essay analyzes the phenomenon of the border and its image in modern Russian drama. The texts are discussed at different levels: the meaning of the province and the center or the main city, dramatic stories, social issues, portrayal of characters, their communication and identity issues. Features of language, dramatic techniques and functions are examined under the category of the “border”. Despite the fact that each of these authors represents a special drama poetics and uses different drama registers and languages, they are united in their opposing to traditional theater: they negate the latter by confronting its simplification. The characters are shown in evolution, in overcoming various boundaries, stereotypes are sometimes ridiculed, and one of the most important tasks is the emotional involvement of the audience.

Determining the place of scientific development and assessing its prospects involves an analysis of the formation of its immediate theoretical foundations. In the case when the object of study of psycholinguistic science is the development of bilingual speech and language ability, the researcher deals with the formation of a single complex system with interdependent parts and elements. The development of this object occurs as a systemic genesis, which means that the concentration of research interest on certain aspects of the development of speech and language, for example, on the development of only a second language (SL), cannot be fully justified, and bilingual ability is considered in the context of general speech and language development. In the history of psychology, the ability of a person to master the word, in the broadest sense of this ability, has been the subject of studies that have become classic. In the work of L.S. Vygotsky «Thinking and Speech», questions of the social nature of speech and questions of speech-thinking relations were especially singled out [Van der Veer, 2011]. Interpretation of speech through means of communication, its understanding from the standpoint of the teachings of Ivan Pavlov as the second signal system [Pavlov, 1983] was given by first applied behavior analytics such as Edward Chace Tolman. ...

We present the author's typology of intersemiotic transformations during the intralinguistic film adaptation of literature adaptation of a work of literature empirically based on the play by M. A. Bulgakov "Ivan Vasilievich" and the film "Ivan Vasilievich changes his profession." Comparative analysis reveals the transformation of various components of the content (realities, external and personal characteristics of characters, genre features) and various degrees (transformation and deformation).

The paper aims to study and compare English translations of Ivan Bunin's novella “The Gentleman from San Francisco” (1915). Analysis is based on translations of different time periods: D.G. Lawrence and S.S. Kotelyansky (1917), A. Yarmolinsky (1918), B. Guerney (1923), T. Seltzer (1925), and D. Richards (1987). The works of I. Bunin have always had an appeal to translators, who tried to rise to the challenge of capturing Bunin’s idiosyncrasy in the English language.

The article analyzes the perception of Japan in the middle of the 19th century through the eyes of the Russian writer Ivan Goncharov. As secretary of Yevfimiy Putyatin’s mission (who concluded the first Russian-Japanese treaty in 1855), he kept travel notes, which later turned into a famous essay about a trip to Japan. The study is based on a rare edition of “Russians in Japan”, published in 1855, a few years before the appearance of the famous book “Frigate Pallada”. Goncharov’s notes marked the beginning of a new stage of awareness about Japan in the Russian Empire. His impressions added new colors to the portrayal of the country of Rising Sun, which Russians already knew from notes about the captivity of Vasily Golovnin (1816) and the three-volume work of the famous German Japanologist Philipp Franz von Siebold (1854). The valuable edition of Goncharov’s notes from the Library of the Faculty of Asian and African Studies of St. Petersburg State University (with an inscription from the author to Putyatin) differs from the text in the “Frigate Pallada” that was subjected to severe revision. Unlike this later version, this one, in many ways, resembles the unredacted travel notes made by Gonncharov during the Putyatin’s mission. Also, Iosif Goshkevich, who mastered the Japanese language during his stay in the country, accompanied Yevfimiy Putyatin as an interpreter. “Russian-Japanese Dictionary” (in fact, it is a Japanese-Russian dictionary) was published by him in collaboration with Tachibana Kosai in 1857. Two copies of this dictionary are available in the faculty’s Library (with autographs). One was a gift from Nicholas of Japan, and another - from the faculty teacher Kurono Yoshibumi. The authors aim to familiarize the general public with these rarities of the Library, which date back to the time of the conclusion of the first treaty between Russia and Japan and are directly related to the beginning of Russia’s in-depth acquaintance with Japan.

The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

The article reveals and characterizes the methodological features of teaching the discipline «Intellectual and Psychological Foundations of Mass Media Functioning» on the third year of the Faculty of Journalism at Ivan Franko National University of Lviv. The focus is on the principles, functions, and standards of journalistic creativity during the full-scale war of the Russian Federation against Ukraine. As the Russian genocidal, terrorist, and ecocidal war has posed acute challenges to the education and upbringing of student youth. A young person is called not only to acquire knowledge but to receive them simultaneously with comprehensive national, civic, and moral-spiritual upbringing. Teaching and educating students, the future journalists, on Ukrainian-centric, nation-building principles ensure a sense of unity between current socio-political processes and historical past, and open an intellectual window to Ukraine’s future. The teaching of the course ‘Intellectual-Psychological Foundations of Mass Media Functioning’ (lectures and practical classes, creative written assignments) is grounded in the philosophy of national education and upbringing, aimed at shaping a citizen-patriot and a knight, as only such a citizen is capable of selfless service to their own people, heroic struggle for freedom, and the united Ukrainian national state. The article presents student creative works, the aim of which is to develop historical national memory in students, promote the ideals of spiritual unity and integrity of Ukrainian identity, nurture the life-sustaining values of the Ukrainian language and culture, perpetuate the symbols of statehood, and strengthen the moral dignity and greatness of Ukrainian heroism. A methodology for assessing students’ pedagogical-professional competence and the fairness of teachers who deliver lectures and conduct practical classes has been summarized. The survey questions allow students to express their attitudes towards the content, methods, and forms of the educational process, which involves the application of experience from European and American countries, but the main emphasis is on the application of Ukrainian ethnopedagogy. Its defining ideas are democracy, populism, and patriotism, enriched with a distinct nation-building potential, which instills among students a unique culture of genuine Ukrainian history, the Ukrainian language and literature, national culture, and high journalistic professionalism. Key words: educator, student, journalism, education, patriotism, competence, national consciousness, Russian-Ukrainian war, professionalism.