76 research outputs found
ΠΠ±ΡΠ°Π· Π²ΠΎΡΡΠΎΡΠ½ΠΎΠΉ ΠΆΠ΅Π½ΡΠΈΠ½Ρ Π² ΠΏΠΎΡΠΌΠ΅ Π.Π‘. ΠΡΡΠΊΠΈΠ½Π° Β«ΠΠ°Ρ ΡΠΈΡΠ°ΡΠ°ΠΉΡΠΊΠΈΠΉ ΡΠΎΠ½ΡΠ°Π½Β» (Π² ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ΅ ΠΏΡΠΎΡΠΈΠ²ΠΎΠΏΠΎΡΡΠ°Π²Π»Π΅Π½ΠΈΠΉ Β«ΠΠΎΡΡΠΎΠΊ β ΠΠ°ΠΏΠ°Π΄Β»)
Π ΡΡΠ°ΡΡΠ΅ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΡΠ΅ΡΡΡ ΠΎΠ±ΡΠ°Π· Π²ΠΎΡΡΠΎΡΠ½ΠΎΠΉ ΠΆΠ΅Π½ΡΠΈΠ½Ρ Π² ΠΏΠΎΡΠΌΠ΅ Π.Π‘. ΠΡΡΠΊΠΈΠ½Π° Β«ΠΠ°Ρ
ΡΠΈΡΠ°ΡΠ°ΠΉΡΠΊΠΈΠΉ ΡΠΎΠ½ΡΠ°Π½Β» Π² ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ΅ ΠΏΡΠΎΡΠΈΠ²ΠΎΠΏΠΎΡΡΠ°Π²Π»Π΅Π½ΠΈΠΉ Β«ΠΠΎΡΡΠΎΠΊ β ΠΠ°ΠΏΠ°Π΄Β».
ΠΠΈΠ±Π»ΠΈΠΎΠ³Ρ. β 3 Π½Π°Π·Π²
APPROPRIATION AS A STRATEGY OF INTERSEMIOTIC "TRANSLATION"
Aim. To study approbation as a strategy of intersemiotic translation, evaluation of transformations and polymodal means of transmitting a conceptual picture of the world reflected in the original text - Pushkin’s fairy tale poem “Ruslan and Lyudmila”. The center of research issues is an analysis of the boundaries of permissible transformations of intersemiotic translation.Methodology. The material is the verbal text of A.S. Pushkin's fairy tale poem “Ruslan and Lyudmila” and polymodal implementations of different years: the films “Ruslan and Lyudmila” of 1914, 1938 and 1972 and the animated film “Ruslan and Lyudmila: Reloading” of 2018. The total volume of the empirical base is 4 hours 50 minutes of screen time. The work applies general scientific methods of observation of factual material, analysis, synthesis, generalization and abstraction, as well as quantitative analysis, description and linguistic methods of discursive, stylistic and comparative analysis.Results. Comparison of the monomodal verbal text of the original “Ruslan and Lyudmila” by A.S. Pushkin with the polymodal audio-video-verbal text “Ruslan and Lyudmila: Reloading” in 2018 reveals distortion and alienation as the main strategies of “adaptation based on…”. Differences in the character composition, storyline, speech and behavioral stereotypes of characters, substitution of the author’s text, distortion of the author’s pragmatic task were found.Research implications. The conducted research reveals the fundamental impossibility of identifying appropriation as a result of intersemiotic “translation”, being an experience of another form of intercultural communication approaching a linguistic and cultural war. The devaluation of the author and the deformation of the original text allow us to formulate the thesis about the unacceptability of appropriation in intersemiotic translation as the destruction of the original text and linguistic and cultural identification, violation of authenticity and ethics of translation aimed at discrediting cultural heritage.</html
ΠΠ²ΡΠΎΡΡΠΊΠ°Ρ ΠΌΠ΅ΡΠ°ΡΠΎΡΠ°: ΡΡΡΠ΄Π½ΠΎΡΡΠΈ ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄Π°
ΠΡΠ°ΡΠΊΠΈΠΉ Π°Π½Π°Π»ΠΈΠ· ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄Π° ΠΌΠ΅ΡΠ°ΡΠΎΡ Π½Π° ΠΌΠ°ΡΠ΅ΡΠΈΠ°Π»Π΅ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ ΠΠ΄Π³Π°ΡΠ° ΠΠΎ "ΠΠΈΠ³Π΅ΠΉΡ
Ensaios de Anna AkhmΓ‘tova sobre βO conto do galo de ouroβ de PΓΊchkin: entre a vida e a arte
AkhmΓ‘tova escreveu β e reescreveu β diversos ensaios sobre PΓΊchkin durante sua vida. Dois de seus textos mais completos e que mostram uma outra faceta da poeta sΓ£o sobre o βconto do galo de ouroβ do autor. Este artigo tem como objetivo mostrar de que maneira o referido conto de PΓΊchkin pode nΓ£o apenas ser considerado autobiogrΓ‘fico, mas tambΓ©m um instrumento usado pela poeta para fazer uma comparação com suas prΓ³prias vida e trajetΓ³ria pela literatura.Akhmatova wrote β and rewrote β several essays on Pushkin during her lifetime. Two of her most complete texts which show another facet of theΒ her are on Pushkinβs "Tale of the Golden Cockerel". This article aims to show how this tale can not only be considered autobiographical, but also a tool used by AkhmΓ‘tova to make a comparison with her own life and career in literature
ΠΠΎΠ½ΠΎΡΠΎΠΏ Π² ΠΆΠΈΠ·Π½ΠΈ ΠΈ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅ Π.Π. ΠΠ°ΡΠΊΠΎΠ²ΡΠΊΠΎΠ³ΠΎ
ΠΠΈΠ·Π½Ρ ΠΈ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²ΠΎ Π. ΠΠ°ΡΠΊΠΎΠ²ΡΠΊΠΎΠ³ΠΎ - ΠΎΠ΄Π½ΠΎΠΉ ΠΈΠ· ΡΡΡΠ°ΠΉΡΠΈΡ
ΠΏΠΎΡΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΠΈΠ³ΡΡ ΡΡΡΡΠΊΠΎΠΉ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ XX Π²Π΅ΠΊΠ° - ΠΈ ΡΠ΅Π³ΠΎΠ΄Π½Ρ ΠΏΡΠΈΠ²Π»Π΅ΠΊΠ°Π΅Ρ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ ΡΠΈΡΠΎΠΊΠΎΠ³ΠΎ ΠΊΡΡΠ³Π° Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠΎΠ²Π΅Π΄ΠΎΠ², ΠΊΡΠΈΡΠΈΠΊΠΎΠ², ΠΏΠ΅Π΄Π°Π³ΠΎΠ³ΠΎΠ²-ΡΠΈΠ»ΠΎΠ»ΠΎΠ³ΠΎΠ². ΠΡΠΎΠ±ΠΎΠ΅ ΠΌΠ΅ΡΡΠΎ Π² Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ½ΠΎΠΌ Π½Π°ΡΠ»Π΅Π΄ΠΈΠΈ ΠΏΠΈΡΠ°ΡΠ΅Π»Ρ Π·Π°Π½ΠΈΠΌΠ°Π΅Ρ ΡΠΊΡΠ°ΠΈΠ½ΡΠΊΠ°Ρ ΡΠ΅ΠΌΠ°.
ΠΡΠΈ ΡΠΈΡΠΈΡΠΎΠ²Π°Π½ΠΈΠΈ Π΄ΠΎΠΊΡΠΌΠ΅Π½ΡΠ°, ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΠΉΡΠ΅ ΡΡΡΠ»ΠΊΡ http://essuir.sumdu.edu.ua/handle/123456789/3285
ΠΠΎΡΠ΅ Π² ΡΠΊΠ°Π·ΠΊΠ°Ρ Π.Π‘. ΠΡΡΠΊΠΈΠ½Π°
ΠΠ½ΠΎΠ³ΠΈΠ΅ ΠΏΠΎΡΡΡ ΠΎΠ±ΡΠ°ΡΠ°Π»ΠΈΡΡ ΠΊ ΠΎΠ±ΡΠ°Π·Ρ ΠΌΠΎΡΡ Π² ΡΠ²ΠΎΠΈΡ
ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡΡ
. ΠΠ΄Π½ΠΈΠΌΠΈ
ΠΈΠ· ΠΏΠ΅ΡΠ²ΡΡ
ΠΌΠΎΡΠ΅ Π²ΠΎΡΠΏΠ΅Π»ΠΈ Π°Π½ΡΠΈΡΠ½ΡΠ΅ Π°Π²ΡΠΎΡΡ. Π‘ΡΠΈΡ
ΠΎΡΠ²ΠΎΡΠ½ΡΠΉ ΡΠ°Π·ΠΌΠ΅Ρ Π³Π΅ΠΊΠ·Π°ΠΌΠ΅ΡΡ, ΠΏΡΠΈΡΠ΅Π΄ΡΠΈΠΉ ΠΈΠ· ΠΡΠ΅Π²Π½Π΅ΠΉ ΠΡΠ΅ΡΠΈΠΈ, Π½Π΅ΠΊΠΎΡΠΎΡΡΠ΅ ΡΡΠ΅Π½ΡΠ΅ Π°ΡΡΠΎΡΠΈΠΈΡΡΡΡ Ρ ΡΡΠΌΠΎΠΌ Π½Π°Π±Π΅Π³Π°ΡΡΠΈΡ
Π²ΠΎΠ»Π½.
ΠΡΠΈ ΡΠΈΡΠΈΡΠΎΠ²Π°Π½ΠΈΠΈ Π΄ΠΎΠΊΡΠΌΠ΅Π½ΡΠ°, ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΠΉΡΠ΅ ΡΡΡΠ»ΠΊΡ http://essuir.sumdu.edu.ua/handle/123456789/3284
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