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Number of results: 66
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Abstract

The Old Believers appeared on the Polish territories in 18th century. They are a bilingual community. They use Russian dialect and Polish language, depending on communicative situation. Polish influence on the Old Believers’ dialect increased after two World Wars, when they became separated from their co-religionists in other countries and had more often contacts with Polish neighbours. In Old Believers’ Russian dialect more and more Polish elements are noticable, especially in lexis. In the technical terminology there are a lot of borrowings from Polish language caused above all by the civilization progress. The aim of this article is to analyze the lexis borrowed from Polish language in the field of technics in Russian dialect of the Old Believers of Suwałki-Augustów Region and furthermore confront it with the material gathered in “Słownik gwary staroobrzędowców mieszkających w Polsce” (1980 a.d.). The gathered material was analyzed paying special attention to assimilation to the Russian dialect.
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Abstract

The book The Secondhand Time completes the artistic-documentary cycle of works The Voices of Utopia by S. Aleksievich, a Russian-speaking Belarusian author. Like her other books, it actualizes, in her own words, “the genre of human voices, confessions, testimonies and documents of a human soul”. Unlike Western documentary writers whose works oppose the artistic world by undressing and desacralizing it, S. Aleksievich, by following the traditions of the Russian literature, strives to preserve the sacred in her material, oftentimes introducing the artistic and esthetic elements. The article analyzes the tools that the author uses in her book, such as selecning facts and documents, alternating “voices”, editing them, including other sources in the text, moving from location to locatoin, explicit and implicit depiction of conscience, psychology of interlocutors, accentuating basic elements in monologues and remarks, allusions, reminiscences, etc. The conclusion evaluates artistic value of this work.
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Abstract

The article is devoted to the analysis of the lyrical poetry of Evdokiya Rostopchina, who was considered in the late 1830s – early 1840s as one of the most talented Russian poets. The main object of investigation is her strategy of self-representation. It is shown how Rostopchina builds her individual myth: the poetess treats herself as the heiress, the successor to Pushkin and Lermontov; she creates this myth, relying on the facts of her biography. She creates her own version of the romantic myth about the poet, varying the motives of the lyrics of these authors, as well as of Baratynsky’s poems. In the 1850s, trying to resist the realistic tendencies of the new era, she presents herself as the guardian of a high literary tradition and enters into a conscious confl ict with time, making literary “archaism” her own principle. If earlier she cultivated elegiac poetics, now she turns to satire.
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Abstract

The names of wives in Belarusian Narew dialects were most often formed from the husband’s name using the formatives -iχa, -ča and -ka. These forms were neutral in the past, and the formatives in questions were a maritonymic indicator. During the post-war period, particularly in the nineteen-seventies, a tendency for the gradual disappearance of wives’ names with the formatives -iχa, -ča and -ka was observed. The names of this type now refer almost exclusively to old women. They are used by persons of the oldest generation. In this usage, the names in question retain their maritonymic function and a neutral tinge. The names of wives with the formatives -iχa, -ča and -ka, used to refer to old women by young or middle-aged people, usually have an augmentative-pejorative or jocular- ironic connotation. The names of this type are gradually becoming functionally close to nicknames. What is conducive to the process is without doubt the archaic form of the names in question. The archaization of the traditional names of wives with the formatives -iχa, -ča and -ka is accompanied by the distinct activation, infl uenced by the Polish language, of maritonymic f Keywords: Białystok region, Narewka village and its vicinity, peripheral Belarusian dialects, mari-tonymic forms with the formative -iχa, -ča and -ka, disappearance and change of function Narewka village and its ormatives -ova, -ava, and partly -ina, -yna.
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Abstract

In this article, the analysis has been subjected to discussing the autobiographical novel: The Prologue of Galina Kuznetsova- the representative of the Russian Emigration and the First Wave. This article presents the process of formation of the novel and identifies the impact of the personality and work of Ivan Bunin on its shape. Kuznetsovas novel was presented in a broader context of autobiographical novels of the Russian Emigration.
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Abstract

In the article there are presented the most popular Jewish names selected from the municipal books of Grabowiec and fi les of city Grabowiec XVII and XVIII century. As a result of gathered materials it has been found that Jews adapted their names to the patterns existing on the area of residence. The formant –ko was especially popular. That formant was the most popular in Ukrainian antroponymy: Heszko, Icko, Judko, Lewko. To the most popular names used by Jews as Icko (17), Lewko (11), Marko (5), Moszko (4) the names of the origin of the Bible: Dawid (6), Juda (5), Aron (4), Boruch (3), Hebraic: Jakub (9), Chaim (5), Maier (4), Yiddish: Leyba (6), Zusman (3). can be added. Frequencies complement the variants of the specifi c names.
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Abstract

Provence has been playing an important role in Russian literature for two hundred years. Numerous Russian artists have visited this French region or settled there for a longer time; enchanted by the beauty of south European nature and mild climate, they depicted it in their poems, stories or travel journals. The list includes, e.g. Semen Nadson, Alexandr Kuprin, Ivan Bunin, Sasha Chyorny, Vladimir Nabokov. Galina Kuznetsova (1900–1976), representative of the first wave of Russian emigration, spent several years in Provence. The poet lived in Grasse on and off from 1927 to 1942. Her stay on the south of France greatly influenced the journal she then wrote (Грасский дневник, 1967), and her only poetry collection published in her lifetime, entitled The Olive Garden (Оливковый сад, 1937). This article covers the Provence threads present in both texts. Kuznetsova depicts in these works the beauty of exotic nature, combining descriptions of landscape with her own emotional states, using solutions characteristic of impressionism.
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Abstract

The subject of the article are lit erary and non-literary allusions in the poem by G. Derzhaw in "To Tsarevich Khlor" entitled. They referred to the political and social events that took place during his lifetime. Some o f the allusions he explained in the Commentaries he wrote to his poems, others explain ed in an ambiguous way.
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Abstract

The authors presented the tendencies in Russian toponomy after the October Revolution, when geographic naming became one of the most important tools of communist propaganda. They showed – following A. Supieranska – three groups of oekokonyms in the 1920s and 30s: 1) those derived from the names of individuals who had achieved renown (e.g. Ленинакан, Ленинск, Лениногорск, Ленинабад, Троцк, Киров), 2) those commemorating phenomena and events linked with the Revolution and the era of Soviet rule (e.g. Комсомольск-на-Амуре, Красногвардейск), 3) those referring to areas of production (e.g. Асбест, Бокситогорск, Магнитогорск, Электросталь). In this context, changes in the naming of towns inhabited by Germans are presented, in particular Marx and Engels, located in the Volga Region. The presentation of the changes is preceeded by a description of the development of the oekonymic system of Volga Germans.
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Abstract

Balmont’s only contribution to Russian Symbolist Drama is discussed in the forthcoming article as an attempt of quitting narcissistic “lyrical solitude”, which parallels Blok’s situation upon staging the play Balaganchik. Motifs of the mythologeme of Narcissus scattered all over Balmont’s poetry and prose, given narcissistic features of his individual character seem to reinforce that a subtle decoding of the myth as a sujet of semiosis, constitutes one of the chief constructive principles of the play. By means of contrasting allusions to the Blue Flower of Novalis Balmont accentuates metamorphosis via dematerialisation and transmutation coded in the myth. The pattern of colour and fl oral imagery juxtaposing the complementary yellow and blue is meant to reveal the harmony of universal correspondences shown through the omnipresent principle of the Eternal Feminine.
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Abstract

Thaddeus Bulgarin (1789–1859) – a writer, critic and publishеr. During his activity hеtried to find his place in the history of both Polish and Russian literature and culture. However, neither Poles nor Russian considered him as their national author, despite the fact he was a very popular figure in the first half of the 19th century. Although Bulgarin’s heritage consists of numerous writings in the field of science-fiction literature, his name cannot be аlsо found among its creators. This article analyses the most significant visions of future by Bulgarin, in particular regarding the development of technology and its impact on human beings. Then it could be said that it was not Julius Verne, but Thaddeus Bulgarin, was the first one toprovide readers with travels to the centre of the Earth.
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Abstract

An aim of this article was to analyze and interpret multifaceted semantic of motives for lying in the novel Women’s Lies by Lyudmila Ulitskaya mainly on the basis of the text’s content as well as related to it preceded annotations, essayistic and journalistic utterances of an actress. We declare that the “laboratory analyze” of women’s lies in its various scenes makes a leading opinion and basic motive of the novel. At the beginning of the conclusion we are concentrating on the author`s definition of lie, so we can later refer to mythological-historical-literary roots. In the context of above mentioned facts, it is interesting that Ulitskaya divides lie on masculine and feminine. Ulitskaya, in her typical way, referring to cultural-religious archetypes and symbols, indicates the roots of masculine lie pertaining even to the Old Testament, as contrary to “pleasant feminine lie”. In this regard, the mythological characters of Odysseus and Penelope are also recognized as representatives. After all, in the content of the analyzed piece are only presented various examples of female lies, and, in our opinion, exposed as an element of the third plane, which unites natural sciences and literature.
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Abstract

The history of “Études de théologie, de philosophie et d’histoire” is connected with the Work of Saints Cyril and Methodius (L’OEuvre des Saints Cyrille et Méthode), which was founded in 1855. The purpose of the Work was prayer as well as refl ection and discussion on the union of the Catholic and Orthodox Church. The founder of the Work, Ivan Gagarin, once Russian Orthodox and from 1842 a Catholic in France, gathered for this purpose a vast library in order to document the history of ecumenism and the ecclesiastical history of the Slavic countries. With time, the Slavonic Library became one of the most abundant book collections on these subjects in Western Europe. Gagarin believed that the West knew too little about the Orthodox Russia, which was an impediment to the union of the Churches. To bring his motherland closer to Western Catholics and to present problems to be faced by those who strove for the unity of the Christian East and West, Gagarin decided to start to publish a magazine “Études de théologie, de philosophie et d’histoire”, for which he needed approval of the superiors of the Jesuit Order. Due to Gagarin’s prolonged negotiations with his superiors, the magazine did not start to be published until 1857. This paper deals with the history of “Études de théologie, de philosophie et d’histoire”.
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