Slavica Tergestina 23 (2019/II)

В статье рассматривается проблема субъекта высказывания‚ а также изучаются принципы текстопо- рождения в плане прозаического и поэтического языкотворчества на примерах «Мертвых душ»‚ «Носа»‚ «Шинели»‚ «Ревизора». Основной метод анализа – семан- тическая поэтика‚ опирающаяся на теорию дискурса.

In response to recent pluralization of modernism, the author adopts Jameson’s singular modernity to argue that, in the capitalist world-system divided between hegemonic and dependent literary fields, modernism exists only through its particular manifestations. During the 1968 student revolt, Slovenian late modernism – in-between peripheral phenomenon caught in the Cold War antagonism – displays a universal feature of the period: its transformative impulse resulting from “the imaginative proximity of social revolution” (Anderson). Embedded in the global insurgency, Slovenian innovative trends of the 1960s synchronized with western centers of modernity. It brought together critical theory and experimental artistic practice to reshape writing, literary institution, the subject, and society at large.

На первый взгляд Де(кон)струкция Ивана Верча является просто шуткой на тему знаменитого Я вас любил А.С. Пушкина. Общеизвестное сти- хотворение было уже неоднократно предметом интертекстуальных приемов таких поэтов, как Иосиф Бродский, Дмитрий Пригов и Вик- тор Соснора. В отличие от них Верч сохраняет подлинный текст в почти неизменном виде, а лишь превраща- ет пушкинский монолог любовника в диалог двух персонажей: Он и Она (автор пишет роли и добавляет ре- марки), трансформируя тем самым лирический текст в драматическое действие. Одновременно шуточ- ное произведение Верча может рассматриваться как выдержанная в духе (подсказываемого заглавием) деконструкционизма и отличаю- щаяся от традиционных способов прочтения пушкинского текста интерпретация.

Il contributo esamina le tendenze dell’attuale mercato del lavoro con particolare attenzione alla professione del mediatore linguistico. Partendo dal fenomeno inquadrato in letteratura come “soggetto neoliberale” e arrivando al concetto più ampio del “soggetto autorazionalizzante“, si osservano le tracce dei rispettivi sviluppi nel linguaggio attuale e le loro ripercussioni sul mercato del lavoro per chi lavora sulla e con la lingua, analizzate in base ai sondaggi e contemplate dal punto di vista delle loro implicazioni per la formazione.

In a short reflection, we are dealing with the issue of Russian LGBT culture. In understanding literature and LGBT culture in Russia, we come from the ambivalent attitude of the Russians to the Law. From the beginnings of the Russian state, homosexuality was, by law or canon law strictly forbidden. But in reality there was a lost of homosexuality and it was tolerated. We proceed from the assumption: if God’s Word is holy, everything written in fiction is also sacred – the book is the bearer of truth and beauty. There is no room for talk about homosexuality. Apart from smaller, masked homosexual deviations in Lermontov, Gogol, Tolstoy, Dostoyevsky or Chekhov, even writting about homosexuality is considered a sin. Why is this so?

В статье представлена интерпрета- ция повести Карамзина как текста, полемизирующего с антропологией Руссо. Интеллектуальный диалог с идеями Руссо был представлен и в других русских литературных текстах времени, представляющих общую тенденцию русской мысли к формированию собственного пред- ставления о человеке. В этом контек- сте повесть «Моя исповедь» может быть понята как текст, связанный с развитием русской мысли эпохи, с созданием философских параме- тров дискурса идентичности.

Slavica Tergestina was founded in 1987 at the University of Trieste by scholars of the Advanced School of Modern Languages for Interpreters and Translators (SSLMIT – Scuola Superiore di Lingue Moderne per Interpreti e Traduttori). After the introductory volume published in 1987, the journal appeared regularly beginning in 1994. Since then, eighteen volumes have been published, adding up to over 250 articles written by researchers from different countries (mostly Russian, Hungarian, Croatian, Serbian and Italian Slavic scholars). The volumes were reviewed in several scientific publications in Russia, Italy, Poland, Hungary and Slovenia. Some volumes focused on a monographic topic: Наследие Ю.М. Лотмана, 1996; Славянские языки и перевод, 1997; Художественный текст и его гео-культурные стратификации, 2000; Литературоведение XXI века. Письмо – Текст – Культура, 2002, Law & Literature, 2011; The Great Story, 2012; Slavia Islamica, 2013; The Yugoslav Partisan Art, 2016. Most of the articles published so far deal with the cultural realm of the Slavic world from the perspective of modern structuralist, semiotic and cultural methodological approaches, but the Journal Slavica TerGestina remains open to other approaches and methodologies.

Metaphor is not a literary specificity. Metaphoric utterance (or meaning) is a common aspect of any usage of language. But the production of ambiguity reveals very special processes in literature. As (among many others) Roman Jakobson has emphasized ambiguity in verse language is created by “vocalic, grammatical, and semantic counterparts” (Jakobson: Yeats’ “Sorrow of Love” through the Years). Does literary narration and prose language also have specific and unique processes of producing ambiguity? Bakhtin has already elaborated an effective theory of the image in artistic prose on the basis of his well-known concept of polyphony, heteroglossia, and dialogism. In my essay I would like to propose another concept of ambiguity in narrative prose. In prose language narrative discourse and descriptive discourse always interweave. The first one usually refers to a person, the second one is about (material or immaterial) objects. Interweaving discourses attribute a story to the object. In artistic prose the story of the object becomes the narrative counterpart of the story of a person. And in the world of literary text such a narrative parallelism leads to a semantic parallelism – a very special type of ambiguity in prose language.