Implicit Bilingualism in the Prose of Fazil Iskander

The study examines the peculiarities of the manifestation of Fazil Iskander’s bilingualism in the works “Sandro of Chegem”, “Childhood of Chik” and “Sofichka”. They were chosen as the main research material because they represent the most complete “Abkhazian” metatext of the writer: the action takes place in Abkhazia, the subject of the image is often not only folk types of character, but also the traditional way of life, folk customs and rituals. Such immersion in the cultural context cannot do without language switching, which provides the effect of authenticity. The relevance of such research is dictated not only by the relentless interest of modern humanities in the phenomenon of poly- and bilingualism, but also by the need to attribute the work of the Russian writer of Iranian-Abkhaz origin: simultaneously with the popularity of his works and the reader’s interest in them, there is a shortage of scientific understanding of Iskander’s creative heritage. The purpose of our research is the peculiarities of the mechanisms of bilingualism in the work of Fazil Iskander. His bilingualism, due to the fact of his birth in the national republic and upbringing in a Russian-speaking environment, was reflected in the linguistic features of the works he created. These features include calcified speech formulas and etiquette phrases, the specifics of nominology (in particular, the nicknames that the writer uses), the traditions of Abkhazian oral eloquence. All these ways help Iskander to fill the novel and the cycles of stories with a poetic attitude to the depicted idyll of folk life, on the other hand, solves a lot of pragmatic writing tasks. The result of this article can be considered the definition of the peculiarities of Fazil Iskander’s bilingualism, which manifests itself at various levels - phonetic, word-formation, syntactic, as well as in orientation to the traditions of the Abkhaz oral narrative, the features of traditional eloquence

Художественный русскоязычный текст как посредник двух языков и двух культур

En el artículo se analiza el texto literario en lengua rusa como un nuevo tipo de comunicación en la literatura del s. XX, como sistema capaz de reflejar la mentalidad del medio sociocultural. En una situación de un ambiente rusohablante, el escritor parece realizar dos funciones pues, por un lado, parte de la conciencia nacional, mientras, por otro, parace que reinterpreta los hechos y los fenómenos para que su descripción satisfaga la percepción del lector ruso, sin perder por esto su orintación nacional. Este proceso de la forma literaria se personifica en el fenómeno cultural y en el estilo de la exposición.In the article the Russian literary text is analyzed as a new kind of communication in the literature of the XX century, like a system able to show the mentality of the sociocultural atmosphere. In conditions of a Russian speaking atmosphere, the writer seems to fulfi  ll two functions since, from one side, he goes out from the national conciousness, while, from the other, he reinterpretes facts and fenomena in order to his decription to satisfy the Russian reader’s perception without losing his national orientation. This process of the literary form has its personifi  cation in the cultural fenomena and in the style of the exposition

Russian Zoophonic Verbs Modifications\u27 Domain. Peculiarity of Synthesis

The article examines capabilities of Russian zoophonic verbs (those describing sounds produced by animals) to create semantic modifications. Using the appending inventory of zoophonic verbal modifications from novel sources, previously unused in lexicographic practices, the open (infinite) nature of semantic modifications\u27 domain, its composition and the fluidity of its lacuna zones are shown. The structure of zoophonic verbal modifications is examined; verbal modifiers, non-typical for this lexical-semantic group of verbs, are inventoried. The obstacles to successful production of semantically modified derivatives during different stages of synthesis are classified by several criteria: denotative, semantic, and distributive. The research findings demonstrate the peculiarities of Russian zoophonic verbs\u27 behavior as well as map out their modification capabilities during the process of synthesis

Frazeologismy s komponenty - somatismy v ruštině a češtině

Předmětem této práce jsou somatické frazeologické jednotky s komponenty «hlava» a «srdce». V rámci každé skupiny s jednotlivými komponenty se analyzují jednotlivé frazeologismy z hlediska sématického a strukturního. Dále se vysvětluje případná etymologie frazeologismů, sleduje se jejich fungování v ruských kontextech. Porovnání ruských a českých frazeologismů pomáhá stanovit shody a odlišnosti ve frazeologických fondech obou jazyků.The object of the work are phraseological units with somatic components «head» and «heart». Phraseological units of each group are analyzed by a semantic and structural perspective. An etymologic explanation is introduced and then phraseological units are illustrated within a Russian context. The foundations of the Russian and Czech languages are deduced by exploration of the differences and similarities of the phraselogical units.Institute of East European StudiesÚstav východoevropských studiíFilozofická fakultaFaculty of Art

Сонечки в новейшей русской прозе: к проблеме художественной трансформации мифологемы софийности

SONEČKOS NAUJAUSIOJE RUSŲ PROZOJE: SOFIJOS MITOLOGEMOS MENINĖ TRANSFORMACIJA Natalija Kovtun Santrauka L. Ulickajos apysakoje „Sonečka“ primenama ne viena kultūros tradicija, atgyja antikos, judaizmo, rusų klasikos siužetai, tačiau pagrindinis struktūrą formuojantis motyvas yra Sofija – pasaulio siela. Mistinis mokymas, amžinąjį moteriškumą laikantis svarbiausia figūra būties harmonijos paieškų kelyje, šiuolaikinei rašytojai įdomus ir savo dėmesiu soci­alinės lyties problematikai. Apysakoje remiamasi svarbiausiais gnosticizmo mitais, kurie sudarė vadi­namosios sofiologijos pagrindą, ignoruojant jų mis­tinį turinį. Pagrindiniame apysakos siužete žaidžiama Pi­gmaliono „kompleksu“, išplėtotu V. Solovjovo po­ezijoje bei filosofijoje. Apysakos poetika pagrįsta kultūrinių praeities mitų veidrodiniu atspindėjimu, parodijavimu, priešingybių suartinimu bei tradicinių vertybių sistemos sukeistinimu, tačiau ja siekiama ne tik ironiškai permąstyti senus motyvus, bet ir sukurti naują meninį kodą. Vienu iš esminių visatos dėsnių vadinamas žaidimo dėsnis, o personažų sistema apy­sakoje grindžiama jų santykiu su žaidimo/kūrybos vertybe, todėl vienas veikėjas tampa režisieriumi/demiurgu, o kiti – veikėjais/marionetėmis