Lind timeline RSS

Vera Lind added new article

Sun, 04 Aug 2024 12:10:53 +0300

In 2001, E. I. Nosov, a veteran novelist, was awarded the Solzhenitsyn Literary Prize. In E. I. Nosov's prose, vocabulary, rhythm, and sound recording are all directed to the main image, which is the innermost core of the work, "the image of images," as A. Potebni put it. Let's try to use lexical and stylistic analysis to get into the deep author's idea of the story "Red Wine of Victory". Researchers have already written about the semantics of color in this amazing work ("Russian Speech". 1985. N 3). Indeed, it is impossible not to notice that the war in the story is given dark and gray roles.- page 30 tenki: "gray dugouts", "earthy-gray linen" (here and further italics are ours. - SM ). "We were picked up in the Masurian swamps... This was already the enemy's land. We walked along it only a short distance, through this strange, dreary area, with thickets of stunted heather on sandy hills "(Here and further cit. by: Nosov E. I. And steamboats float away, Moscow, 1975). Although the color is not always specified directly, the overall color is maintained: "It was rumored that in our direction, among these gloomy swamps, Hitler had set up his main headquarters - an underground concrete lair." In the memoirs of the wounded narrator, the harsh colors of war are preserved, but the reducing comparison makes the enemy disgustingly undaunted: "In their short black jackets, like cockroaches, the Germans, quickly moving their hands and feet, climbed on all fours along the steep slope of the lake dune." And as they scrambled "in their insect frenzy", "we hit them with dumps from three hundred meters away, and the shells disappeared without a trace in the thickness of the sand." Let's pay special attention to the fact that at first the narrator does not call anyone around him by name, without singling out himself from among the fighters: everywhere the cathedral we are triumphant. The army has not yet broken up into units, and the popular definition of "gray cattle" involuntaril ... Read more

Vera Lind added new article

Sun, 04 Aug 2024 12:07:55 +0300

Punctuation errors are sometimes caused by the inability to distinguish between simple and complex sentences, as well as complex conjunctive (compound, compound) and non-conjunctive sentences. To accurately determine what offer you are looking for, we offer the following recommendations. How do I determine whether a sentence is simple or complex? You should find out how many predicates there are in the sentence: 1) one predicate is a simple sentence (A young oak stands in the middle of the clearing); 2) two (several) predicates that have the same subject in common - this is a simple sentence with homogeneous predicates (The sun rose and lit up the world. The rain began to lash, then stopped, then fell again in torrents); 3) predicates don't have a single subject in common - it's a complex sentence ( The sun rose and everything melted. The autumn evening came, and it became gloomy and very sad ). How do I determine the type of complex sentence? We need to find out how parts of a complex sentence are combined into a complex one: 1) the parts of the sentence are equal in meaning and are connected by a compositional union - this is a compound sentence (There was a flash of lightning, followed by a clap of thunder. It was getting dark, and the stars were beginning to light up in the sky); 2) one part of the sentence is subordinate to another and is connected with it by a subordinate conjunction or a union word - this is a complex sentence (When the cloud fell, the sun came out. In the life of every person there are cases that are never forgotten); 3) the parts of the sentence are connected in meaning and do not connect with each other by a union - this is a non-union complex sentence. (The birds of the sun are waiting, the birds are singing songs. There was no moon in the sky; it rose late at that time. The forest is cut down - splinters fly. The darkness of the night falls in the field; a cold wind has risen from the waves).

Vera Lind added new article

Sun, 04 Aug 2024 12:06:23 +0300

VI. Previous articles have shown that in the last decade metaphorical models with conceptual vectors of cruelty, aggressiveness and competition, deviations from the natural order of things (war, crime, sports, etc.) have developed. Another group of strong conceptual vectors of the modern Russian political metaphor is the improbability of what is happening, the insincerity of politicians, the excessive carnival of events that are in the center of public attention, the lack of independence of public politicians - the presence of some secret scriptwriters, directors and coaches in the political life of the country (theater, game and sports metaphor). Perhaps the reader felt that the mirror of political metaphor portrays modern Russia in an unnecessarily gloomy light. Unfortunately, this is true. Therefore, the question is quite natural: "What does the metaphorical mirror reflect and does it distort reality too much?" Developing the conceptual model "metaphor - mirror" presented in the title of this series of articles, it should be noted that this huge mirror (an integral metaphorical system of the Russian political language) consists of many small mirrors - specific metaphorical word usage. Each of them reflects the worldview of one person, often metaphorical use of words conveys only the momentary mood of this person. But if such a metaphor is picked up by other people, then such an image becomes a socially significant fact: "My colleague Yuri Yakovlev said: "We were trampled underfoot, all over the world Russia is perceived as the devil knows what country", and then such joy... "(Zh. Alferov). When the phrase "We were trampled..." is pronounced " wide * See: Russian speech. 2001. NN 1, 3, 4; 2002. NN 1, 2. page 42 a well-known in narrow circles" physicist is his private opinion, but when this phrase is remembered and repeated (which means that the image seemed to him accurate and expressive) by a Nobel laureate and at the same time a State Duma deputy, when an interv ... Read more

Vera Lind added new article

Sun, 04 Aug 2024 12:04:44 +0300

The mischievous, humorous, unfinished poem" Monk " of the Lyceum period (1813) was not published during the poet's lifetime. It describes the confrontation of the monk Pancratius with the" underground sorcerer " Milk. Molok is the French form of the name Moloch. Pushkin learned it from the French translation of Milton's poem Paradise Lost. The frivolous plot of "The Monk" is not difficult. Monk Pankratius is plagued by a demon named Molok: Milk came (that's the devil's name), Pankratia disappeared under the black duckweed. The holy monk was already praying, praying, Sighed, sighed, and the devil was right there. Milk cannot penetrate the monk in any way and finally tempts him with the vision of a"skirt". To get rid of it, Pankratius falls asleep. Milk, however, gives him tempting dreams: Immediately the milk suddenly turned into a fly And flew buzzing around him. Flying, flying, spinning around the room And I sat on my monk's nose. Pankratya again he started to seduce. When Pankratius wakes up, he prays to God and is taught how to defeat the demon. After filling the pitcher with water, he "mumbled over it the words:- page 3 va prayers". When the skirt that disappeared during the day reappeared in the evening, the monk douses it with enchanted water.: And lo, before him with horns and a tail, Like a gray wolf, bristling all over, Like a good horse with a shod hoof, Molok appeared, trembling under the table, Drenched from head to toe in water, Covering yourself with the hem of your epancha, He rolled his eyes like lanterns in the night. "Hurrah! The monk shouted with an evil grin, - Got you, underground wizard. You're mine now, you can't escape, villain. You'll pay for all the pranks with your head. Go to the bottle, I'll seal you up, I'm going to throw her into the well..." So Pankratius gains power over the demon: he intends to drive him forever into a bottle and throw him into a well. Molok admits defeat: "You've won, venerable old man, - So answered smyrnehonko Mo ... Read more

Vera Lind added new article

Sun, 04 Aug 2024 12:01:39 +0300

The official Russian naming formula consists of three components: personal first name, patronymic , and last name. In the West, two or more personal names are common in the official naming model : Johann Sebastian Bach, Jean Baptiste Poklen, Anna Maria Mozart, Erich Maria Remarque, and others. Familiarity with the documents of the distant past makes it clear that almost until the XVIII century, Russians were also referred to by two personal names in a number of cases (The Watch Book of Vologda 1616-1617 / / Vologda: Local History Almanac. Vologda, 1994. Issue 1; The Watch Book of Beloozero in 1616-1617 / / Beloozero: Historical and Literary Almanac. Vologda, 1994. Issue 1; Scribal book of Veliky Ustyug 1626-1627 / / Byst na Ustyuz: Istoriko-kraevedcheskiy sbornik. Vologda, 1993). Usually, the first was a calendar (Christian) personal name, while the second was a non - calendar Russian name, for example: Fetko Bazooka (Vologda), Titko Sorry (Beloozero), Fedko Gushcha (Veliky Ustyug), Vaska Shchapok (Veliky Ustyug), etc. This kind of two-name pattern was also observed in the three-term and four-term naming models, which included a semi-patronymic and sometimes a family name in addition to personal names: page 97 Ivashko Koshkar Ivanov son of Chyurikov, Efrem Tupik Ondreev son of Gorbatoi, etc. (Acts of socio-economic history of North-Eastern Russia at the end of the XIV-beginning of the XVI century. Moscow, 1958. Vol. 2; further-ASVR). Non-calendar personal names were divided into two groups: intra-family and nickname names. The first ones were given to the child immediately after birth. These included Pervushka, Vtoryshka, Tretyak, Zhdan, Vazhny, Shumilko, and others. The nickname was already given to an adult. It indicated some noticeable trait of character, behavior, and appearance of a person called Bestuzhy, Mumble, Gulyayko, Melen, Rosputa, and others. Intra-family names, as well as Christian names, could occupy the first place in the naming model, for example: ... Read more

Vera Lind added new article

Sun, 04 Aug 2024 12:00:19 +0300

In international practice, it has long been customary for heads of State and their permanent representatives abroad to resort to certain diplomatic acts if necessary. These notes are a kind of written monuments. They were issued in the form of relevant documents. The monuments of Russia's diplomatic relations with foreign powers reflect such documents as the declaration, manifesto, memorial (later memorandum), commemoration, notification, note, ultimatum, protest, demarche, reprisals, embargo, etc. In this article, we will discuss only some of these names. A note from the middle of the XVIII century denotes an official diplomatic document that forms various relations between states (a statement of protest, notification of a fact, etc.). The word note (note) is borrowed from the French language, in which it goes back to the Latin nota "remark, explanation" (N. M. Shansky, Bobrova T. A. Etymological dictionary of the Russian language, Moscow, 1994). In business papers of the XVIII century, there are cases of intermittent use of this gallicismand the corresponding Russian note: "handed to him [the Danish minister] (...) her imp-ago v-va signing a proven note, which announces to him that her imp. b-vo deigns to pay out of its treasury that debt (...) Holstein Privy Councillor (...) and get (...) her imp-ago v-va signing a proven note, previously and thanked (...) for the favor shown to him" (1754) In the monuments of international law of the beginning of the XIX century, the compound designation note verbale was reflected:" I enclose a copy of the note verbale, which is in your case " (Ibid., 1803). The word nota, which has been registered in lexicographic reference books since the 19th century, is still used as an international legal term today. Note here also the homonym note - a musical term (a graphic sign for recording the sound [of a musical work] of a certain height and duration), also borrowed from the French language in the XVIII century, where note < lat. n ... Read more

Vera Lind added new article

Sun, 04 Aug 2024 11:55:02 +0300

Of the three named paronyms, the oldest is the adjective massive. For the first time, this word was officially registered almost two hundred years ago (in 1804) in the New Word interpreter and. Yanovsky. Over the years, the meaning of this adjective has practically not changed, and in its interpretation by modern dictionaries there are, in fact, only stylistic differences. Apart from the particulars, the meaning of this word, along with its lexical connotation, can be formulated as follows:: "Heavy, big; large, heavy (about a person, animal, or some other animal). body parts". The first part of the interpretation of the word massive ("heavy, large") refers to inanimate nouns such as building, structure, structure, cathedral, temple, ship, ferry, tank, gun, car, machine tool, door, gate, furniture, sofa, wardrobe, sideboard, chest of drawers, chair, bed, pedestal, frying pan, inkwell, sole, jewelry, necklace, The second part of the interpretation ("big, heavy") applies to the nouns man, weightlifter, wrestler, figure, body, elephant, bison, bull; head, chest, chin, jaws, arms, legs, paws and some others. Let's illustrate the use of the paronym massive with quotes from modern fiction and periodicals: "I went into the gloomy entrance, walked up to the second floor and stopped at the massive door" (A. Kivinov. Lack of proof); "He (Tvardovsky) was sitting at a large table with massive curbstones..." (V. Lakshin. Tvardovsky in Novy Mir); "They (Scorpio women) like massive jewelry and real jewelry" (Home Hearth. 1999. May); "A massive silver ring glittered on Anton's hand" (P. Dashkova. No one will cry); "The entrance to the restaurant was blocked by a massive figure of a servant in a jacket with gold edging and a uniform cap..." (Yu. Nagibin. Peak of luck); "On one side lay the massive jaw of a wild donkey that lived in those distant times in the vast steppe expanses "(Sat. "Age of Knowledge"). The massive paronym was first mentioned in Ushakov's Dictionary in 1938 (thoug ... Read more

Vera Lind added new article

Sun, 04 Aug 2024 11:51:42 +0300

S. N. Nosov, in his article "Literature and the Game" published in Novy Mir (1992, No. 2), speaking about Tatyana Tolstoy's short story "Sweet Shura", comes to the conclusion that the author in it "is silent about the essence of being" and narrates only " at the level of a secular game, charming ease", cultivating which is contraindicated to think too much about " the damned questions of being, too sad, indignant or even laugh too loudly." According to the critic, the story only " offers an aesthetically charming game." In the editorial afterword, it is noted that T. Tolstoy's story "not only "plays" with us, but also deeply touches". This conclusion seems legitimate. To check the validity of S. No's conclusion- page 35 sova, it is necessary "to see how the verbal text correlates with the chosen subject" (Novy Mir, 1992, No. 2, pp. 236, 237). "Sweet Shura" is written in the first person, the author is replaced by the narrator, for whom it is primarily important to "see and portray" everything. At the same time, the authenticity of the narrative is emphasized ("I myself watched this woman, I communicated with her"). The narrator looks at an old woman she met in the early morning on a Moscow street, peers into the world around her, listens to the heroine's story about herself, and then passes on her impressions to the reader. These impressions are sometimes presented harshly and ironically, and the more ruthlessly Alexandra Ernestovna is described, the more compassion the reader feels for her physical infirmity and lonely old age. Alexandra Ernestovna no longer lives, but lives out her life. Here's a direct indication of her age: "She's ninety years old," I thought. But she was mistaken for six years" (Tolstaya T. N. On the golden porch sat. Moscow, 1987. P. 29; further - only p.). The objects of the heroine's toilet, the realities of her life are described with the help of vocabulary containing the seme "inanimate". So, the ornaments on her hat wooden tap: "The four ... Read more

Vera Lind added new article

Sun, 04 Aug 2024 11:49:44 +0300

Gogol liked to repeat that his images would not be alive if every reader did not feel that they were taken "from the same body that we are from." This property of Gogol's images - a certain recognizability, closeness to the soul of each of us - was already noted by the writer's contemporaries. "Aren't all of us after our youth, one way or another, leading one of the lives of Gogol's heroes? - Herzen reflected in his diary in July 1842. "One of us remains with Manilov's dull reverie, the other - rages a la Nosdreff, the third - Plyushkin...". "Each of us," Belinsky wrote in the article "Answer to the Moskvityanin", " no matter how good a person he may be, if he delves into himself with the impartiality with which he delves into others,- then it will certainly find in itself, to a greater or lesser extent, many of the elements of many of Gogol's heroes" (Belinsky V. G. Sobr. soch.: In 12 vols. Moscow, 1982. Vol. 8. p. 312; further - only volume and page). In Orthodox asceticism, there is a concept of the presence of any sin in a person; if he turns to his soul, he will see everything... and in the midst of everything, something predominant. It is generally accepted that the defining feature of Gogol's types is vulgarity. But what is vulgarity? In the old, original meaning, now lost, vulgar - ordinary, ordinary, unremarkable. At the beginning of the sixth chapter of Dead Souls, Gogol uses this word in exactly this sense. The author says that earlier, in the years of his youth, he happened to drive up to some new place and it presented itself to him with its " not vulgar appearance." According to the writer himself, the main feature of his talent was defined by Pushkin: "He always told me that no writer has ever had this gift to expose the vulgarity of life so vividly, to be able to outline the vulgarity of a vulgar person in such force that all the little things that escape the eyes would flash large in everyone's eyes" (Gogol N. V. Sobr. soch.: In 9 vols. Moscow, 1994 ... Read more

Vera Lind added new article

Sun, 04 Aug 2024 11:48:17 +0300

Pushkin is an unsurpassed master of literary jokes, practical jokes, puns, epigrams, and parodies. Wordplay, all kinds of hoaxes were the environment in which the literary tastes of the Pushkin era were formed. "And now a whole system of parody is being formed, from which the friendly literary society (Arzamas. - V. D.), which played quite a significant role in the formation of Russian literature " (Marchenko N. Signs of the sweet Old Times. Morals and life of the Pushkin era, Moscow, 2000, p. 248). Pushkin's literary workshop offers a wide variety of techniques and means for creating the comic: from subtle irony, parody and auto-parody to sword-slashing political satire (see: Gasparov Jr., Smirin V. M. "Eugene Onegin" and "The House in Kolomna": parody and auto-parody in Pushkin // Tynyanov collection: The Second Tynyanov Readings. Riga, 1986, pp. 254-264). Pushkin's talent as a satirist was especially clearly manifested in numerous epigrams and parodies, in fairy tales, in the "History of the village of Goryukhin". Important style-forming means are humor, satire, and irony in the novel "Eugene Onegin". The dominant place of irony in the stylistic unity of "Eugene Onegin" has already attracted the attention of researchers (see: Lotman Yu. M. In the School of the Poetic word. Pushkin. Lermontov. Gogol, Moscow, 1988, p. 64). To create the effect of irony, the poet uses all sorts of inconsistencies, inconsistencies. So, describing Lensky, Pushkin emphasizes the discrepancy between the poet's young age and his feigned disappointment: "He sang the faded color of life at almost the age of eighteen." page 7 In the characterization of the "shrewd" plagiarist Monsieur Triquet ("The poet is modest, though great") the concessional conjunction "at least" speaks of the vain pretensions of this dilettante, of his pomposity. Martin Zadeki's fortune-telling book, the interpreter of dreams, which is popular among county young ladies, is grandiosely named: "this is a deep creation." ... Read more