В сборник «A Companion to Soviet Children's Literature and Film», вышедший в 2020 г. под редакцией американской славистки Ольги Ворониной, включены работы интернационального коллектива авторов -исследователей детской литературы, в которых основное внимание уделяется анализу целого спектра произведений -от малоизвестных текстов детской прозы до популярных произведений детской литературы и кинематографа, вошедших в так называемый «детский канон». Авторы статей, представленных в сборнике, видят свою задачу в том, чтобы интерпретировать советскую и позднесоветскую реальность в книгах и фильмах с позиции ребенкаадресата и участника процессов социалистического строительства. Эти темы разрабатываются в первой и второй частях книги. В работах третьей части коллективной монографии особое внимание уделяется наследию и переосмыслению традиций авангарда и возникших на его основе экспериментов в детской литературе и кино.
This study demonstrates how conceptualizations ingrained in our linguistic consciousness help us realize the full semantics that an author com municates to his reader through a “speaking name”; this kind of name, together with the character's behavioral profile create a multidimensional psychological portrait.The examples are taken from Dostoevsky's Crime and Punishment, specifically the “puddle-name” Luzhin. The speaking name of Petr Petrovich Luzhin evokes a number of cognitive conceptualizations that are rooted in human experience, as well as in the history, mythology, and culture of the Russian people and that are in dialogical relationships with the other characters in the novel through their speaking names. The analysis, based on cognitive stylistics and, more specifically, cognitive metaphor theory in the Lakoff tradition, underscores the significance of the cultural water metaphor when applied to the human domain. It also confirms that the “speaking name” is a major device in Dostoevsky's poetics.
“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory and Conceptual Blending Theory that see the roots of the human proclivity for metaphor in somatic embodied experiences. They provide tools and terms useful for theorizing discourses that implement the “water principle” as their modus operandi in approaching various metaphysical issues. They are particularly instrumental within the specific historical-cultural context of Russian Symbolism with its close attention to stirrings of the soul which in many cases are expressed via the “water metaphor.” I look at representations of the conceptual blend fusing human and water ontologies in these “Silver Age” texts: two paintings by V. Borisov-Musatov and two scenes from a film by E. Bauer. The innovative aspect of my work is found in my applying it to interacting art forms, which supports the central stance of Conceptual Metaphor Theory: that metaphor is not just a figure of language, but first and foremost, a figure of thought.
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