Статья посвящена одной из главных тем философии и искусства Серебряного века — отношению к христианству. Для символизма образ Христа представал как один из многих божественных имён-символов, хотя и первым в их ряду. Особенно это касается прозы и поэзии Андрея Белого. В творчестве Александра Блока этот образ-символ изменялся по мере духовного роста поэта. В поэтическом мире зрелого Николая Гумилёва Христос занимал безусловно центральное место. The article is devoted to one of the main themes of the philosophy and art of the Silver Age — the attitude towards Christianity. For symbolism, the image of Christ appeared as one of many divine names-symbols, although it was the first in their series. This is especially true for the prose and poetry of Andrei Bely. In the works of Alexander Blok, this image-symbol changed as the poet's spiritual growth progressed. In the poetic world of the mature Nikolai Gumilyov, Christ undoubtedly held a central place.
предмет исследования – отображение в кинодиалоге отношений и проявлений эмоциональности (психологической категории) языково-речевыми средствами – эмотивами. «Лингвистика эмоций» разнородна и разнопланова, поэтому для адекватного и полного восприятия необходимо понимание как механизмов ее порождения, так и способов экспликации в ситуации общения. Специфика рассматриваемых диалогических блоков – самоорганизующихся объектов – предопределяет стратегию их изучения и трактования в синергетической, междисциплинарной парадигме. В частности, в художественном языке кинодискурса эмоционально-стилистическая содержательность речевых блоков обусловлена эффективностью их конструкционной организации. Видение особой значимости структурных параметров в генерировании эмотивно-коммуникативных смыслов приводит к необходимости рассмотрения дискурсивного комплекса в ракурсе пропорции «золотого сечения», универсального критерия гармонии. Золотая пропорция, или ее историческое название «божественная пропорция», понимается как универсальный закон художественной формы, которая может быть исследована на основе математических принципов. На линию золотого сечения приходятся определяющий момент речевого блока, кульминация, смысловой перелом. В этой связи акцентуацию приобретают находящиеся в спектре «золотого сечения» эмотивные элементы, семантико-когнитивная интерпретация которых становится существенной для углубленного декодирования содержания и определения транслатологической тактики при локализации кинопроизведения в принимающей культуре. the subject of the study is the lingua-stylistic and cognitive reflection of emotionality (a psychological category) in film dialogue. ‘The linguistics of emotions’ is heterogeneous and multifaceted; therefore, for an adequate and comprehensive understanding, it is necessary to know both its generating mechanisms and the ways of explication in communicative situations. The specificity of the considered dialogue blocks – self-organizing units – predetermines the strategy of their study and interpretation within a synergetic, interdisciplinary paradigm. The emotional-stylistic content of the artistic film discourse is determined, in particular, by the effectiveness of its structural organization. To perceive special significance of structural parameters in generating emotive communicative meanings it can be cogent to consider the discursive complex from the perspective of the ‘golden ratio’ proportion, a universal criterion of harmony. The golden proportion, or its historical name ‘divine proportion’, is recognized as a universal law of artistic form, which can be construed on the basis of mathematical principles. The discursive elements, such as the defining moment of a speech unit, the climax, the semantic turning point are likely to be located within the ‘golden ratio’ spectrum. Their semantic-stylistic and pragmatic features can be essential for in-depth decoding of the content and choosing the appropriate means of translation when localizing a film in the host culture.
Статья рассматривает этапы становления киноискусства в России, которые нашли отражение в культурном ландшафте страны, определяя ее национальный характер и уникальные черты. В статье раскрывается концепция продвижения кинопродукции, основанная на комплексном анализе маркетинговых факторов, влияющих на потребительский выбор и стимулирование зрительской аудитории. Авторы представили механизмы взаимосвязи популяризации российского кинематографа и его известных представителей с условиями формирования эффективных трансляторов уникального творческого наследии народов Российской Федерации. Особое внимание в данной статье уделено анализу содержательных аспектов и жанрово-тематических приоритетов государственной поддержки кинопроизводства, а также возможным факторам, определяющим данные приоритеты. Также раскрываются вопросы необходимости применения межкультурного сотрудничества,учет разнообразия взглядов и ведения диалога с кинематографом других культур для обогащения и укрепления кинематографических связей профессионалов индустрии разных стран. Проведенное авторами исследование позволит получить представление о ключевых векторах развития отечественного кинематографа в ближайшей перспективе и оценить, как государственная политика в сфере кино отвечает современным социокультурным запросам общества. Кроме того, рассмотрены механизмы принятия управленческих решений по созданию стабильного конкурентного преимущества российской киноиндустрии на основе сохранения и распространения традиционных ценностей российской культуры. Данное исследование позволяет глубже понять логику и контекст формирования государственной кинематографической политики в Российской Федерации. The article examines cinematography development stages in Russia, which found reflection in the cultural landscape of the country, defining its national character and unique features. The article reveals the concept of film products promotion based on a comprehensive analysis of marketing factors influencing consumer choice and stimulating the audience. The authors present mechanisms of interconnection between popularization of Russian cinema with its famous representatives and conditions for the formation of effective transmitters of the unique creative heritage of the peoples of the Russian Federation. Particular attention in this article is paid to the analysis of the substantive aspects and genre-thematic priorities of the state film production support as well as to possible factors determining these priorities. The article highlights the need for intercultural cooperation, given the diversity of view points and necessity in the dialogue with cinematographers from other cultures to enrich and strengthen cinematic ties between industry professionals from different countries. The research conducted by the authors will give us an idea of key vectors of the development of Russian cinema in the near future and assess how the state policy in the film industry meets the modern socio-cultural requirements of the society. In addition the study touches upon management decision making mechanisms aimed at creating sustainable competitive advantages of the Russian film industry based on preservation and dissemination of traditional values of the Russian culture. This study promotes for a deeper understanding of the logic and context of the formation of state cinematographic policy in the Russian Federation.
The relevance of the study is explained by the insufficient knowledge of the current state of research on the language of politics in a comparative perspective in synchronous and intercultural aspects. The purpose of the article is to conduct a review and comparative analysis of researches on the language of politics written by domestic and foreign linguists during the last two decades. The research is based on publications in leading academic journals and catalogs of scientific publishing houses. Particular attention is paid to the examination of topics and methods of analyzing the language of politics. Comparison of the current state of domestic and foreign political linguistics has made it possible to identify general patterns in the development of political linguistics. Thus, researchers respect the paradigmatic principles of modern linguistics, have a profound understanding of the research material, the unit of analysis, the nomination of the object of study, the significance of the cognitive approach, and the popular methods of linguistic / interdisciplinary analysis of political discourse. There are overlaps between thematic areas. To nominate the object of research, various concepts are used, the most common of which is currently «political discourse». A comparative analysis of Russian and foreign publications on the language of politics revealed differences in the elaboration of political linguistics. It was found that there are distinctions in the choice of the type of political text and research topic, the main approach to the study of political discourse, key analytical concepts, determination of the thematic boundaries of the research, (co)authorship, mission of scientific activity and the interpretation of the language of politics. In addition, the review of foreign experience in conducting linguistic research helped to discover the reasons for the obstacles in establishing scientific dialogue, the positive experience of Russian and foreign political linguists, and also to outline prospects for the joint study of political discourse.
Despite numerous studies of socialist realism, the initial unscientific nature of this concept and the vagueness of its boundaries cast doubt on the very use of the term "socialist realism" nowadays. The purpose of the study is to objectively examine the degree of study of this problem and clarify the concept of "socialist realism" at the current stage of study. The scientific novelty of the work lies in the fact that in order to clarify the concept "socialist realism", it proposes a value-based method of systematization based on the research of modern literature. It involves the classification of works on the basis of the ideological attitudes conveyed in them. The application of this method of systematization to socialist realism in the article is based on an analysis of its ideological nature, as well as modern scientific and critical reception of socialist realism. As a result of the research, it has been established that the value system of socialist realism literature at different stages of its development can be characterized as socialist humanism. However, in order to understand a particular work in the socio-cultural context of a particular era, it is necessary to take into account how the work correlated with Socialist realism in its assessment by the author himself, as well as critics and literary critics. Combining value-based and nominal approaches to the systematization of the work of socialist realist writers allows us to give it an axiological assessment free from ideological cliches.
