The Rock-Cut Room on the Acropolis at Golemo Gradište, Konjuh: Date and Purpose

The anonymous city at the site of Golemo Gradište at the village of Konjuh, R. Macedonia, belongs to the period of Late Antiquity; the evidence indicates that it was founded in the 5th century. The lower town on the northern terrace was reconstructed, probably during the second quarter of the 6th century, but the inhabitants abandoned it, for the most part, later in that century and fled for refuge to the acropolis, where a settlement continued to exist into the early 7th century. Earlier material, beginning with the Late Neolithic and continuing sporadically through Bronze Age to Hellenistic, has been documented at the site; a Roman settlement may have been located nearby but not at Golemo Gradište itself, and there is evidence for Byzantine and Turkish occupation. Despite this overall understanding of the chronology of occupation at the site, one of its most attractive features has remained a mystery, uncertain in date and purpose. [excerpt

Коннотативные смыслы концепта "память" (на материале текстов И.А. Бунина и А.И. Куприна)

Анализируется коннотативно-смысловое пространство концепта "память" в текстах Бунина и Куприна, которое выступает как репрезентант русской культуры и формирует оценочные, ассоциативно-образные и эмотивные компоненты текст

Языковые средства выражения понятия «ужас»

LINGUISTIC MEANS OF EXPRESSION OF HORROR IN THE WORKS OF N. GOGOL AND G. DE MAUPASSANT / Лебедева Инна Геннадьевна, кандидат филологических наук, доцент (Полоцкий государственный университет). Lebedeva Inna Gennad'evna, kandidat filologicheskih nauk, docent (Polockij gosudarstvennyj universitet)На примере художественных произведений Н.В. Гоголя и Ги де Мопассана рассматривается видение авторами «ужасного», выделяются сходство и различия, отмечаются тематические группы и отдельные семы регулярно присутствующие в описаниях «ужасного». Исследуются наиболее распространенные стилистические фигуры, участвующие в создании атмосферы «ужасного». Доказывается, что для «заражения» читателя своим чувством ужаса авторы используют метафоры, избегая точного названия предмета; персонификации, заставляя страх отрываться от личности и жить самостоятельной жизнью; а также повторения, искусственно удерживая негатив в нашем воображении. Делается вывод, что использование других стилистических приемов, а также насыщенность ими текста индивидуальны. = The content of each linguistic sign represents the fusion of social and individual components. On one side we see the historical links between the material meaning of an object or event and ideal representation in the collective mind. On the other side there is always an individual who adds his own vision to the collective representation. We examine the vision of horror in works of N. Gogol and G. de Maupassant. There are common and differences. Thematic groups and semes that always accompany the expression of horror are disengaged. The most frequent stylistic figures who take an active part in the representation of the horror are analyzed. We prove that the contamination of the reader with the feeling of fear is always going the same way: the authors avoid naming things in their own names, they rush to the metaphors; they separate the personage and fear, fear is now independent, it has its own life through personifications; more negative emotions are very entrenched in our memory through the regular repetitions. The use and the amount in the text of other stylistic means represent individual variation

„Свештеничка од Марвинци” или „впрегната сопруга”? За семиотиката на железнодобните псалии од кругот на „македонските бронзи”

The main reason for this study are the bronze objects found on the body of a woman (supposedly a “priestess”) from an Iron Age grave (VII century BC) from Marvinci in the Republic of Macedonia. There has also been a bronze statue recently presented in a public space in Skopje, as a contemporary art interpretation of this archeological finding. The main focus of this article is a semiotic analysis of arch-shaped bronze elements from this grave. Based on the form of similar finds from Europe they are defined as cheek-pieces i.e. elements of the reins for horse riding, but in Macedonia they have been used in another function – as female jewelry or as handles of a specific ritual implement. The study suggests overcoming of these contradictions through the following semiotic relations: a girl/mare + equipment for riding = a harnessed mare/wife, i.e. the use of these objects as symbols of a “wild woman” who is transferred from the sphere of “natural” to the sphere of “cultural” through the act of marriage, becoming a “tamed/a domesticated wife”. Within the same relationship the following paradigm is proposed (husband = ruler: wife = subject). Several facts are stated in the argumentation of this relationship: the mythological and ritual traditions based on ancient written sources; a ritual tradition of Slavic and Balkan folklore; a Slavic and ancient Greek lexeme with the meaning husband and wife whose etymology is based on the meaning of harnessed. This semiotic relation offers a possible key for the interpretation of the twenty bronze statues of horsemen placed in the last three years in the capital of the Republic of Macedonia, as part of the project “Skopje 2014”.The main reason for this study are the bronze objects found on the body of a woman (supposedly a “priestess”) from an Iron Age grave (VII century BC) from Marvinci in the Republic of Macedonia. There has also been a bronze statue recently presented in a public space in Skopje, as a contemporary art interpretation of this archeological finding. The main focus of this article is a semiotic analysis of arch-shaped bronze elements from this grave. Based on the form of similar finds from Europe they are defined as cheek-pieces i.e. elements of the reins for horse riding, but in Macedonia they have been used in another function – as female jewelry or as handles of a specific ritual implement. The study suggests overcoming of these contradictions through the following semiotic relations: a girl/mare + equipment for riding = a harnessed mare/wife, i.e. the use of these objects as symbols of a “wild woman” who is transferred from the sphere of “natural” to the sphere of “cultural” through the act of marriage, becoming a “tamed/a domesticated wife”. Within the same relationship the following paradigm is proposed (husband = ruler: wife = subject). Several facts are stated in the argumentation of this relationship: the mythological and ritual traditions based on ancient written sources; a ritual tradition of Slavic and Balkan folklore; a Slavic and ancient Greek lexeme with the meaning husband and wife whose etymology is based on the meaning of harnessed. This semiotic relation offers a possible key for the interpretation of the twenty bronze statues of horsemen placed in the last three years in the capital of the Republic of Macedonia, as part of the project “Skopje 2014”