Accents and Paradoxes of Modern Philology

TYPES AND FUNCTIONS OF SOUND WRITING IN LYRICAL POEMS BY RAINER MARIA RILKE

Liliia BEZUGLA — 2022-12-26

The article deals with the types and functions of sound in the lyrical poetry of Rainer Maria Rilke. The features of his poetry, dedication to the art of sounding words are emphasized. It
is noted that the types of sound writing and its functions are important for linguistics in Rilke's poetry. The definition of sound writing as a poetic means is given, the difference between the concepts of Lautmalerei and Klangmalerei is clarified. The attention is focused on the fact that Rilke's poetry is characterized by the purity of rhyme, except for unevenly stressed rhymes, which combine a strong ending (with the main emphasis on the last syllable) with a weak one (when the last syllable forms a suffix or another part of the phrase containing only a secondary emphasis). Various criteria by which types of sound writing can be distinguished are outlined. It is noted that according to the criterion of a repeating element in Rilke's poetry, the most important types of sound are presented: assonance, alliteration, internal rhyme and paronomasia. The aesthetic and iconic function of a poetic work is considered. The analysis of the iconic function highlights its three subtypes: suggestive, onomatopoeic and sound semantic. The term "function" is used in the sense of "task". Each of the functions is investigated in the article and illustrated with examples of Rilke's poems. It is found out that the figures of sound in Rilke's poems are characterized by placement in the initial syllable, but can have other positions in the word; vowel length is not taken into account; vowel equivalence is atypical for alliteration; metathesis and uneven consonance are not excluded; both convergence and divergence of phonetic figures occur within the poem, stanza and in the whole text; phonetic figures are tied to syntactic structures. It is emphasized that the creative and effective sound description in the poetry of Rainer Maria Rilke is a significant contribution to the euphony of the text and the expression of its content. As a result, it is proved that Rilke is rightly called the king of sound in poetry

PECULIARITIES OF TRANSLATION OF EXOTICISMS OF THE NOVEL THE PROSPECTOR BY JEAN-MARIE GUSTAVE LE CLÉZIO INTO UKRAINIAN

Hanna BOHACHENKO — 2022-12-26

The article is devoted to the analysis of the peculiarities of translation of exoticisms as a characteristic feature of the French writer Jean-Marie Gustave Le Clézio into Ukrainian. The features of the writer's style, the problem of translation of his novels are outlined. The historical context of the novel is considered as a basis for high-quality translation. The basis for the analysis is the translation of one of Le Clézio's novels "The Prospector" by Halyna Chernienko. The two major translation strategies, domestication and foreignization, are also considered in the article. The expediency of the strategy chosen by the translator is substantiated. The article offers an analysis of translation challenges faced by the translator. These ones are divided into four groups: phonetic, lexical, grammatical and stylistic challenges. In particular, it concerns proper names, lexical and grammatical features of the French language, word play and foreign inclusions (English, Creole, Latin ones). The choice of technique or method of translation is explained and analyzed on separate examples. For an in depth analysis of translation of exoticisms in the novel, the method of continuous sampling is applied. In particular, eighty units are extracted, which are divided into the following groups: geographical exoticisms (geographical objects and endemics) and ethnographic exoticisms (household and labor objects, ethnic objects and people
related to labour). Geographical exoticisms account for approximately 70 percent of the exoticisms. For the translation of endemics, regular and occasional equivalence, transcoding (transliteration and transcription), calque, contextual substitution, hyponymic, hyperonymic translation and reformulation are used. The author of the article offers his own translation options for some endemics. The methods of transcoding and/or calque are used to translate toponyms. Ethnographic exoticisms account for approximately 30 percent of exoticisms. They are divided into household and labor items (units translated using the methods of transcoding, calque, contextual substitution and descriptive method), ethnic objects and people related to labor (units translated using transcoding and lexical approximation method).

POSTMODERNIST CONCEPTIONS OF TEXT AND WRITING IN CREATIVE WORKS BY MARGUERITE DURAS

Zhanna KUSHCHENKO — 2022-12-26

This article is dedicated to the analysis of literature quests to find new expressive capabilities of the word in author’s speaking of the French writer of the XX century Marguerite Duras.
Creative activity of Duras is considered in the context of postmodern concepts of R. Barthes, M. Foucault, J. Derrida which cast aside logocentric cultural tradition of modernism epoch.
In her search for new expressive capabilities of language and writing the female writer encounters difficulties which she herself calls serious drawbacks, bearing in mind the complexity of overcoming inconsistency between the act of speaking and the expressed sense. After all, experience of the world and existence of human in it is absolutely unique, whereas language refers to abstract categories. Thereby, metaphysic dissociation of the human and the world occurs, as this connection may be implemented only indirectly. As a result, language proves to be incapable of expressing reality directly. Text setting of fiction books by Duras reflects the concept of feminine writing which connects literature quests of
the female writer with the problems of the feminist theory, the objective whereof is justification of full-fledged rights and equivalence of the existence of various cultures and practices, including alternative ones to the dominating masculine discourse, feminine way of life in the world, feminine thinking, feminine writing. As a woman-author M. Duras comes forward as the creator of her own system of meanings, where principles of dissociation and multi-dimensionality are postulated instead of hierarchy. Having elaborated her peculiar style of writing, Marguerite Duras managed to reach those boundaries where dissociation between language and reality is overcome. Using existing lexical means and stylistic approaches, while shifting accents and deconstructing them, Duras has reached high creative excellence in her quests for new expressive capabilities of the language and the writing. Her texts create space where the essence is not grasped, but created instead, and due to this they are born in the process of their apprehension, active co-creation where the reader acts as co-author

MEXICAN EXPERIENCES OF B. TRAVEN: THE POSSIBILITY OF IMAGOLOGICAL READING

Olga MANDRYKO — 2022-12-26

The article presents the historical-literary analysis of The Cotton-Pickers (Die Baumwollpflücker), the first novel by the German writer B. Traven, who spent most of his intellectual life living and writing (in German) in Mexico, where he died, and focused his main works on the life of the native people of the state of Chiapas. The Cotton-Pickers did not emphasize the issue of the native population, whose representatives only appear episodically in the text, and described the experience of the author-narrator who recently arrived in Mexico in his search for work. Until today, this novel has been analyzed mainly as an autobiographical text and from a sociological perspective, highlighting the author's leftist attitude. However, it has not been taken into account how B. Traven is creating, throughout the narrative, a cultural image of the country that enchanted him throughout his life. The social and cultural aspects of the Mexican Revolution, those that attracted the author who, at the same time, does not stop being critical about the current state of things, are highlighted too. In this way, an imagological perspective is proposed in the reception of the work. Likewise, despite the fact that B. Traven's researchers always underlined his leftist orientation (anarchist in nature) in the reception of this revolution, few were those who valued the emphasis he placed on the role of the native population in the revolutionary
process. Meanwhile, B. Traven described the role and destiny of the Indians in the revolution earlier than Mexican-born writers did it. It was he who wrote the first novels in Mexico that
presented the Indians as active participants in the revolutionary processes. And it was also he who placed special emphasis on the autochthonous component as the spiritual core of the Mexican nation and on its role in the hopeful future of the country.

TRANSFRONTALITY OF LITERARY IMAGES: EXTRAPOLATION OF THE ITALIAN PUPPET HERO PULCINELLA

Yulia TYMOFIEIEVA — 2022-12-26

The article concerns one of the most important characters of national Italian puppet theatre, the marionette Pulcinella, and its influence on the images of folk heroes of puppet and drama theaters, street performances and literary works in European countries. National invariants of this character in the theaters and literatures of Western and Central Europe from the time of the appearance of this character to the beginning of the twentieth century are highlighted. Due to the expansion of economic and political ties, from the beginning of the 17th century, Pulcinella, together with itinerant artists and puppeteers, begins its transition to most European national folk theaters and literature. Depending on the geography of the country, its national character traits and national stereotypes, Pulcinella changes his image, his name, his behavior, and language. However, what is the most important, each national
puppet retains both external and internal features of their original predecessor, Pulcinella. Examples provided in the article prove that most of the national invariants of Pulcinella
possess his main character trait, that is, a fight against injustice and fierce criticism of authorities. Such characters as the English Punch, the Dutch Pickelgering, the French
Polychenelle and Guignol, the German and Austrian Hanswurth, the Spanish and Portuguese Don Cristobal, the Czech Kaszparek and the German Kasperle invariably pursue two main goals: to protect the wronged and to defeat the evil In each of the countries, the characters created on the prototype of Pulcinella, were warmly accepted by
the public and became very popular, especially with common people. At the same time, they differed from the original with their national coloring; they became the mouthpiece of
national character traits, national ethnic stereotypes. The article seconds the opinion of many literary scholars that the origins the marionette character of Pulcinella can be traced to the Italian folk theater hero of Maccus, mainly because Pulcinella adopts the features of that ancient character's appearance, such as an irregularly shaped head, a large hump on his back, a hooked nose, a large belly and lively shrewd eyes. With small changes and variations, these features of appearance are received not only by Pulcinella, but also by the numerous national invariants of this character in Europe. However, all these national invariants also preserve the typical traits of Pulcinella's character, such as cockiness, cunning, thirst for justice and victory in an argument. In the 19th century, the Pulcinella marionette ‘returns’ to Italy and transforms into the wooden puppet Pinocchio. Carlo Collodi’s novel becomes so popular that it is translated in many countries of the world, and the new characters modelled on Pinocchio, acquire national features, such as Zeppel Kern by the German writer Otto Julius Birbaum. This begins a new round of Pulcinella's influence on the world culture.

JEWISH ASSOL’S WEDDING PLAN, OR ESHET HAIAL BREAKS THE WALLS: AN EXCELLENT WOMAN IN RAMA BURSHTEIN’S LAAVOR AT HA-KIR

Boris ZISELMAN — 2022-12-26

The article is devoted to American Israeli haredi director Rama Burshtein’s second film Laavor et ha-Kir (הקיר את לעבור,' to break through the wall', Ivrit; in the US: The Wedding
Plan, 2016). The first part of the article (dealing with the conscious part of the author’s mind) is an attempt to reveal and explain the most important biblical and rabbinic sources that the film is based upon. Burshtein's protagonist, Michal, is an Orthodox Jewish yerushalmi spinster in her thirties that desperately wants to get married. She is an active, brave and resourceful lady of faith that represents the best Jewish values. Michal is obviously the chossid חיל אשת) woman of valour, Prov. 31:10), but, for some strange reason, God does
not send her a husband. The excellent wife goes far to get bread (Prov. 31:14), and, likewise, Michal goes as far as her religion allows her (a matchmaker, a healer, Ukraine) to get a great
husband, even if it requires a miracle. “A great miracle was here” in the 2d century B.C.E. for the Macabean rebels and Michal expects a (relatively) small one to happen for her at the same place at the same time 22 centuries later. What she needs to do is to make sure that she has done her part of the job and that she is 100 per cent ready. The second part of the article follows G. K. Chesterton’s advice to the critics not to spend much time dealing with the conscious part of the author’s mind (”which the author himself can express”) but to deal with the subconscious part of the author’s mind and say about the author “the very things that would have made him jump out of his boots.” So, as Ashkenazim came out not only from Egypt, but also from Poland / Ukraine (S. Freud, P. Wexler, М. Dorfman), the critics suggest that in 2016 the Burshteins (cf. burshtyn and bursztyn, amber, in Ukrainian and Polish) staged the modern Jewish version of Scarlet Sails, the Christian feieria composed by the ethnic Pole Aleksandr Grinevski а hundred years earlier. Michal is today’s dati Israeli Assol’. Even if Rama Burshtein is not familiar with A. S. Grin, the argument still stands: the Spirit blows where she wants to make sure that between the true artists of any time there is an unconscious community (T. S. Eliot).