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• Singularity of Novel Discourse in Dostoevsky's The Idiot

  Géza Horváth

  Views:

  201

  The article examines Dostoevsky's novel discourse as a singular unity in the novel The Idiot. This discourse is dominated by the principle of indeterminacy, and the category of subjectivity is closely connected with the novel model of singularity. The aim of the article is to understand the principles of discursive unity organization in the novel on the level of its basic metaphors. These basic metaphors are "point" and "line".

• From Gregory of Nyssa to Boris Akunin and Eugene Vodolazkin – and beyond : “the language, which I spake and fram’d”: Linguistic Presence: Collection of Academic Papers in Honour of Arpad Kovacs’s 80th Jubilee. Edited by A. Molnár and M. Hoványi. Budapest, ELTE Eötvös József Collegium, 2024, pp. 416. ISBN: 978-615-5897-67-2

  Márk Murányi

  Views:

  187

  This review discusses the Festschrift published in honour of Professor Árpád Kovács’s 80th birthday. Professor Kovács is an eminent Hungarian scholar whose research on Russian Literature (mainly on Dostoevsky’s oeuvre) and innovations in literary theory are well-known, respected and followed by the Slavic studies specialists throughout the world. The volume consists of 30 papers written by Professor Kovács’s friends, colleagues and admirers. In the high standard and innovative approach of each paper, the volume is undoubtedly worthy of Professor Kovács’s legacy and represents the unique approach to literary texts which he established during his career.

• Gender and Space in Literature and Cinema (Bogomil Rainov’s Roads to Nowhere and Metodi Andonov’s A White Room)

  Natalya Nyagolova

  Views:

  261

  The article discusses the structural link between the gender model and the fictional space in Bogomil Rainov’s short story Roads to Nowhere (1966) and its film adaptation—Metodi Andovov’s A White Room (1968). The transformations of the original text are traced via several semantic oppositions (masculine-feminine, rational-emotional, order-chaos) and the influence of two aesthetic paradigms—noir and the existentialist “new wave”. These transformations are interpreted in the socio-cultural context of the Bulgarian “thaw” with its quest for the marginal, regional, personal alternatives within the socialist system.

• Georgy Adamovich ‘The Beginning of the Story’, ‘From a Clogged Notebook’ - about the Turgenev’s Subtext

  11 p.

  Ludmila Sproge

  Views:

  302

  The discourse of ‘Ich-Erzählung’ creates visibility, or an autobiographical narrative,
  where the author narrates the more famous classical texts on the theme of ‘love as strong as
  death’. The narration of stories is based on the principle of the repeatability of individual
  thematic units built on similarities and contrasts. The text that is being created does not translate into an autonomous story about Maria Leopoldovna, but it exposes the technique of reminiscence poetics. Quotes and auto-quotes form or create a peculiar language of the major art,
  where the names of Turgenev and Tolstoy are markers of the story. Turgenev’s subtext is
  connected with the way meaning is constructed in the story, which is told about love that has
  never come true but is remembered all one’s my life.

• Slovak Verbs of Aquamotion (in Contrast with Other Slavic Languages)

  17 p.

  Kaname Okano

  Views:

  348

  This paper studies the semantics and distribution of Slovak verbs with the meaning of aquamotion in contrast with other contemporary Slavic languages. As pointed out in previous studies in lexical typology, the lexicalization pattern of the semantic field of aquamotion differs in many languages of the world and there are subtle but significant differences even between closely-related languages such as Slavic. As far as the Slovak language is concerned, there still does not exist a detailed study of aquamotion verbs and their lexicalization patterns. This paper applies the theoretical framework of lexical typology and analyses the lexicalization patterns of the following three semantic zones: the semantic zone of swimming and flowing (plávať, plaviťsa), the semantic zone of liquid motion (tiecť, prúdiť, liaťsa), and the semantic zone of diving and immersing (ponáraťsa, potápaťsa, topiťsa). This paper aims to reveal which semantic parameters are relevant for the lexicalization of the semantic field in question, and to demonstrate the distribution of the Slovak verbs describing aquamotion. In addition to that, our analysis deals with some contrastive aspects to point out similarities and differences between Slovak and other Slavic languages such as Russian, Polish, Serbian and Vojvodina Ruthenian.