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논문검색은 역시 페이퍼서치

러시아어문학연구논집검색

Russian Language and Literature


  • - 주제 : 어문학분야 > 노어노문
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1229-1188
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 70권 0호 (2020)
6,500
초록보기
This paper is devoted to study A. Vampilov’s play Duck Hunting: Its event and situation are analyzed and the reasons for the ambiguity and diversity of interpretation will be identified. The main motifs of Bampilov's play Duck Hunting are duck hunting and death (suicide). Duck hunting is the single purpose of the protagonist Zilov and the title of the play that expresses the subject matter of the work. After several twists and turns, Zilov decides to start the duck hunting that however does not occur in plays: Zilov does not cross the border between the everyday - and hunting space, and the motif of duck hunting does not develop into an event. In the play the motif of death (suicide) is placed throughout the play. However, in the end of the play Zilov gives up suicide: he can't cross the line between life and death, and there is no event ‘death (suicide)’ in the play Duck Hunting. While there is no event in the play Duck Hunting, the focus of the situation realized by the visions and recollections of Zilov stands out. The play Duck Hunting belongs to the ‘plotless’ text, in which not event but the focus of the situation is dominant; the focus of the psychological situation of Zilov becomes the main theme of the play. The absence of the event not only provides a difficulty in interpreting the meaning of the duck hunting, but also enable diversity of interpretation. In particular, the ambiguity of Zilov’s action demonstrated in the ending of the play strengthens the ambiguity of the meaning of duck hunting, but at the same time enhances the diversity of interpretation, what furthermore resulted in confining the interpreted meanings to the category of possibility.

슬라브어 비교급 형태의 통시적 발달

권경준
5,800
초록보기
This paper reconstructs the prehistory of the Slavic primary comparative, which inherited the Proto-Indoeuropean counterpart. I crucially assume that the extended Proto-Slavic comparative suffix -ějьš- could not have existed without the existence of the Slavic inchoative ě-verb. On this assumption, I argue that the Proto-Slavic comparative might have interacted with each other for their formal resemblance. On a phoneme-by-phoneme analysis, the second element j is argued to have an indexical function, pointing to the adjectival (comparative) concept, to form a syllable with ь. The syllable composition jь stands in front/back (acute/compact) relation with vъ in past active participle. A gradable concept in comparative, not alone the property concept inherent in the corresponding adjectives, is assumed here to be approximated with the change-of-state sense in the past active participle. That is, two grammatical categories can be subsumed under a single term, namely, scalarity.
6,800
초록보기
This study is to examine how Turkic languages and cultures influenced Russian language and culture based on Russian monetary terms. As the unique currency began to be cast in Russian society at the end of the 14th century, new monetary terms also appeared. It is noteworthy that these new terms were mainly Turkic-based borrowed words. Both Denga and Altyn, the currency names representing the time, were Turkism. Considering the fact that most of the currency names of the previous era were Russian native, it can be seen that the influence of Turkic languages and cultures on Russian society was great. It is also necessary to pay attention to the origin of the representative currency terms Ruble and Kopeika in modern Russian society. They have been regarded as a Russian words without any doubt, but there are a lot of reasons and grounds to regard both words as Turkism. 'Russian words hypothesis' reveals insufficientness in many aspects, so it does not seem necessary to accept it without filtering. Considering that most of the economic terms that refer to taxes and money were Turkic borrowed words at the time, Ruble and Kopeika are also likely to be Turkic. Thus, it can be seen that through currency-related Russian Turkism the influence of Turkic languages and cultures after the Mongol Empire's invasion penetrates deep into Russian daily life and leaves a clear trace in language.
6,700
초록보기
Данная статья посвещена проблеме русского пространственного предлога с в сочетании с генетивом, прототипическим понятием которого является ≪источник≫. С точки зрения когнитивной лингвистики пространственное значение предлога с и его метафорическое расширение можно разделить в основном на четыре типа разновидностей: исходная точка перемещения, неотделимая связь между источником и не-источником, временной координат возникновения события, психическое и физическое состояние как причина возникновения события. При рассмотрении семантического расширения конструкций с предлогом с основное внимание было по возможности обращено на отличия данной конструкции от синонимических или подобных ей, т.е. конструкций с предлогами из, от и т.д. Метафорическое расширение прототипического значения предлога с позволяет обогащать языковые выражения о разнообразных действительностях человека.
6,900
초록보기
Drama is a very unusual form of literary genre that is created on stage. Poetry and novels, and other literary genres, can be studied sufficiently by linguistic text analysis. However, drama can be interpreted in a wide and complete form when analyzing not only the language text but also the 'performance text'. K. Elam argued that Theater must have two texts studied: one is play text produced for the performance and the other is the performance text generated from the performance. Therefore, the study of the stage of drama is an inevitable work that must be performed. Therefore, in this paper, we select one play text and study how 'language text' as a literary genre is transformed into 'stage text' in an art genre. To do this, we selected В.Rozov's play "The People Who Live Forever" in 1956. We will look at what stage was staged in the theater of “Sobremennik” in 1956 under the direction of Yefremov. Also, in this paper, the play “The People Who Live Forever” is another art genre. We will also consider how it was expanded to “video text” in the 1957 film “The Cranes are Flying” directed by Kalatozov. In other words, this paper is a study that comprehensively considers how one play text became a stage and a commercial film.
1