Translation of the Nominations of Russian Gestures of Agreement and Disagreement into Bulgarian (Based on Material on Head Gestures)

The aim of this article is to identify the peculiarities of translating the nominations of Russian gestures of agreement and disagreement into Bulgarian. The aim necessitates an analysis of gestures from the point of view of: a) their execution and the nature of their nominations, and b) the correctness/incorrectness of translation choices regarding Russian gesture nominations.The study, based on the methods of description and comparison, has led to the following findings: Russian gestures are standard, i.e. agreement has a primary connection with vertical head movement, and disagreement with horizontal head movement. In Bulgarian communication, along with such standard gestures, there are non-standard ones whose meaning does not depend on the vertical or horizontal movement of the head but on the movement of the chin. These differences determine the nature of their nominations: the Russian nominations have primary, permanent connections between agreement and vertical, as well as disagreement and horizontal. Bulgarian nominations, on the other hand, do not have such connections – they are characterized by homonymy, i.e. they denote both standard and non-standard gestures.  Based on these differences, recommendations to translators have been put forward: conduct a careful analysis of the context which determines the meaning of the Russian gesture, and in the absence of an indication of its meaning, be guided by its primary connection, and the Bulgarian translation must necessarily remove the resulting homonymy that allows for the Bulgarian gesture nomination to be interpreted both as agreement and disagreement.  The article relates to the little-explored area of comparative study of non-verbal Russian and Bulgarian means of communication.Цель настоящей статьи заключается в выявлении особенностей перевода русских номинаций жестов согласия и несогласия на болгарский язык. Цель обусловила анализ жестов с точки зрения: а) их исполнения и характера номинаций; б) корректности / некорректности переводческих решений русских жестовых номинаций.  Исследование, основывающееся на методах описания и сопоставления, привело к следующим результатам: русские жесты являются стандартными, т.е. согласие обладает первичной связью с движением головы по вертикали, а несогласие – с движением головы по горизонтали. В болгарском общении наряду с такими стандартными жестами функционируют и нестандартные, значение которых не зависит от вертикального или горизонтального движения головы, а от движения подбородка. Эти различия определяют характер их номинаций: русские номинации обладают первичной и постоянной связью согласие – вертикаль, несогласие – горизонталь; болгарские номинации не обладают такой связью, они характеризуются омонимичностью, т.е. ими обозначаются как стандартные, так и нестандартные жесты.  На базе этих различий сформулированы рекомендации переводчикам: внимательный анализ контекста, определяющего значение русского жеста, а в случае отсутствия в нем указания на значение – руководствоваться его первичной связью; болгарский перевод обязательно должен снимать возникшую омонимию, позволяющую интерпретировать болгарскую жестовую номинацию и как согласие, и как несогласие.  Статья имеет отношение к малоизученной области сопоставительного изучения невербальных русских и болгарских средств общения

Traditions of Russian Tableful: Verbs, Denoting Ritualized Bacchic Actions

The article is devoted to the study of verbs denoting ritualized Bacchic actions. The author continues a series of works devoted to the study of Bacchic action in a broad sense in relation to the national picture of the world and mentality. Verbs obmyt’ and sprysnut’ meaning ‘to celebrate any event’, their compatibility are considered, and also frequency of forms is analyzed. Thus, the most frequent form of the designated verbs is the infinitive in combination with the modal-characterizing word nado . The prescriptiveness of the action, its expectation by community is represented in the introductory constructions kak voditsya , po russkoy traditsii , soglasno vekovym traditsiyam , etc. According to the author, use of verbal nouns obmyv , sprysk shows that the actions-rituals are interpreted as “entities” outside of time and space. Attention is paid to the ritual Church verb prichastitsya . The transition of the verb from the sacred to the profane sphere is noted, which is linked with the change of the axiological component. The profanical interpretation of the action, denoted by the verb prichastitsya , becomes possible with the expansion of its valence properties (in combination with a noun in the instrumental case - prichastitsya russkoy vodochkoy ). The material for the study was the examples of modern artistic and journalistic texts extracted from The National Corpus of the Russian Language

Verb-and-Nominal Phrases with Semantics of Visual Perception: Synchronic and Diachronic Approach

The article deals with the issue of perception representation potential by Russian verbs. The study is focused on stylistically marked verb-and-nominal phrases with the meaning of visual perception (vperit' glaza / vzgljad / vzor; lupit' glaza; pjalit' glaza; taraschit' glaza). The analysis was based on various materials from lexicographic sources that reflect the state of the Russian language in various periods of its evaluation and the data from the National Russian Language Corpus on functioning of verb-and-nominal phrases. The complex approach made it possible to identify collocation potential of the language units under analysis in modern Russian language and to define limitations on their usage in fiction and media styles. Semantic changes in the meaning of verbal constituents define patterns aimed at constructing semantics of perception in a pair with the nouns of perception that represent intense visual ability to perceive. It is concluded that semantic changes are based on correlation between the process of visual perception and another process that is not directly associated with the instance of perceiving, but may be apprehended with the sight conceptualization (during movement in space or physical impact at an object). The results might become the basis for further studies in the field of sensory linguistics

Some Aspects of Author’s Phraseology of F.M. Dostoevsky

The article is devoted to the authors phraseology of Dostoevsky, which characterizes him as an artist, a native speaker of the Russian language of his time and can distinguish him from other authors. Identification and characterization of the authors phraseological units and authors techniques of their creation on the example of the description of phraseological units to talk about the language creative personality and the features of the idiostyle. The systemic feature of the writers idiostyle when describing phraseology is an extraordinary variety in form, semantic shades and references to precedent texts, as well as a special property of the writers language - universality and originality, which allows you to go beyond the time frame of the writers work. The phraseological units introduced by Dostoevsky in the middle and second half of the XIX century entered the Russian language, they are recognizable and somehow present in the language of the XX and XXI centuries. To become stable expressions, it takes time for a more complete mastering of Dostoevskys texts, reproduction and consolidation of phraseological units in the language. Paradoxically, the unique, multidimensional and inimitable idiostyle of the writer can become an obstacle to entering the language. Moving on from century to century accumulate idioms of the language, and therefore peoples memory. The description of Dostoevskys phraseological units makes it possible to compare both different works of one writer and works of different authors in the synchrony and diachrony of the Russian language

Субъект, объект и инструменты гастрономической деятельности

Словарь включает образные средства русского языка, называющие различные явления окружающего мира по ассоциации со свойствами пищи, субъектами и инструментами гастрономической деятельности. В его составе языковые, речевые и авторские метафоры, устойчивые сравнения, идиомы, пословицы и поговорки, выражающие образы, связанные с явлениями гастрономической сферы

Konfrontační výzkum kategorií barev v ruském a českém jazyce. Kognitivně-kulturní přístup

E. G. Dolgikh Konfrontační výzkum kategorií barev v ruském a českém jazyce. Kognitivně-kulturní přístup Abstrakt Cílem disertace bylo rekonstruovat fragmenty obsahů vybraných kategorií barev (Синий цвет, Голубой цвет, Коричневый цвет, Серый цвет, Розовый цвет, Оранжевый цвет, Фиолетовый цвет, Modrá barva, Hnědá barva, Šedá barva, Růžová barva, Oranžová barva, Fialová barva). Vycházela jsem z jejich základních názvů синий, голубой, коричневый, серый, розовый, оранжевый, фиолетовый v ruštině a modrý, hnědý, šedý, růžový, oranžový, fialový v češtině. Výsledky analýzy mají ukázat specifičnost barevného vidění mluvčích češtiny a ruštiny a zejména vystihnout rozdíly v kategorizaci barev a konceptualizaci jejich obsahů. Výzkum se opíral o kognitivně-kulturní přístup k jazyku, podle něhož se význam slova považuje za celistvý obraz založený na tělesné a smyslové zkušenosti. Práce je tak příkladem lingvokulturologické studie, v níž se jednak zkoumají jazykové jevy, z nichž se dělají lingvistické závěry, jednak se ukazují společensko-kulturní osobitosti vnímání a kategorizace barev v ruském a českém prostředí. Výzkum se zakládá na analýze kolokací vybraných názvů barev v uměleckých a publicistických textech. Vhodným zdrojem větných příkladů se staly elektronické korpusy (Národní korpus ruského jazyka, Český národní...E. G. Dolgikh Comparative study of color categories in Russian and Czech. Cognitive and Cultural Approach Summary The purpose of the study was to describe the contents of the selected categories of colors («Синий цвет», «Голубой цвет», «Коричневый цвет», «Серый цвет», «Розовый цвет», «Оранжевый цвет», «Фиолетовый цвет», «Modrá barva», «Hnědá barva», «Šedá barva», «Růžová barva», «Oranžová barva», «Fialová barva») using the example of their basic terms (синий, голубой, коричневый, серый, розовый, оранжевый, фиолетовый, modrý, hnědý, šedý, růžový, oranžový, fialový) in Russian and Czech, as well as to reveal the specifics of color vision of the world of Czech and Russian speakers by comparing the obtained data. In this study we chose to use the cognitive and cultural approach to the language where, for example, the lexical meaning of the word is viewed as a holistic image, a realized physical and sensual experience. The nature of the study has cultural linguistic tone, because, first of all, it examines the facts of the language and helps in making linguistic conclusions, and, secondly, - the results of the study allow us to make some conclusions about the social and cultural characteristics of Russians and Czechs. The study is based on analysis of contexts where selected color terms are used in the artistic...Ústav slavistických a východoevropských studiíInstitute of Slavonic and East European StudiesFilozofická fakultaFaculty of Art