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    Tytuł:
    Реализация субъективно-оценочной модальности через автосемантию отрезков текст
    Realization of subjectively-estimated modality through auto semantic pieces of the text
    Autorzy:
    Микадзе, Манана
    Powiązania:
    https://bibliotekanauki.pl/articles/1897133.pdf
    Data publikacji:
    2018-12-30
    Wydawca:
    Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
    Tematy:
    fragmenty autosemantyczne
    opowiadania
    menologium
    dialog
    modalność
    auto semantic pieces
    short stories
    menology
    dialogue
    modality
    Opis:
    Autosemantyczne części opowiadania są fragmentami stosunkowo niezależnymi od całości tekstu lub jego wycinka. W przebiegu historii opisanej w tekście niezależne autosemantyczne części pełnią funkcję pauzy, dają wytchnienie. Odwracają uwagę czytelnika od linii narracji, sprowadzając każde wydarzenie do filozoficznych uogólnień. Opowiadanie W. Saroyana pt. „Chłopiec na lotnym trapezie“ zawiera co najmniej kilka autosemantycznych fragmentów, które wyrażają różne osądy i opinie autora, tytuły dzieł literackich jak i nazwiska autorów czy nazwy własne. W opowiadaniu pt. „Śmiech“ modalność subiektywno-oceniająca jest również wyrażona poprzez różne rodzaje autosemantycznych fragmentów tekstu. Służą one jako wzmacniacze modalnego charakteru opowiadania, oddając bezpośrednio stan emocjonalny autora. Tytuł opowiadania „Sztruksowe spodnie“ jest także odniesieniem do autosemantycznego elementu: hiszpańskie spodnie ze względu na swoje kolory, zastosowane w modzie, utożsamiane są z dobrym, podniosłym nastrojem. Reasumując, autosemantyczne fragmenty tekstu definiują szczegółowo jego synsemantyczne elementy i są wyjątkową formą przedstawienia punktu widzenia autora wyrażonego w opowiadaniu.
    Auto semantic pieces are fragments, rather free in auto semantic are frelation to the maintenance of the text or its part. In progress of the text auto semantic separate pieces serves as though as a pause, a respite. It disconnects attention of the reader from a line of a narration, lifting any event on a level philosophical generalizations. In W. Saroyan’s story „The Daring Young Man on the Flying Trapeze” there is a set of the auto semantic fragments expressing various author’s estimations: It is m author’s deviations, both names of literary works, and names of writers, and fragments of other products. The subjective-modal evaluations of the author in the story “Of laugher” are expressed also through different types of auto-semantic fragments. This auto-semantic fragment serves as the modal amplifier, transmitting the emotional state of the author and first hands. The name of work “Corduroy Of pants” also in relation is the auto-semantic element: Spanish trousers are noted for by the special feature of fashion, colors, applications, they are associated with a good, elevated mood. Generalizing author’s thought, auto-semantic fragments define concretely the sin-semantic fragments of text and serve as the unique form of the fastening of author’s position.
    Źródło:
    Linguodidactica; 2018, 22; 115-124
    1731-6332
    Pojawia się w:
    Linguodidactica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Лингвистический анализ грузинского перевода повести Н.В. Гоголя Тарас Бульба
    Linguistic analysis of the Georgian translation novel N. Gogol Taras Bulba
    Autorzy:
    Микадзе, Манана
    Powiązania:
    https://bibliotekanauki.pl/articles/950959.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
    Tematy:
    грузинский перевод
    Гоголь
    Тарас Бульба
    литературный анализ
    рассказ Гоголя
    герой рассказа "Тарас Бульба"
    язык писателя
    Opis:
    Translation, as the act of interlinguistic and cross-cultural communication, is of greatest social importance. This kind of importance has always been in the centre of attention. A lot of different ideas have been expressed in recently published special researches. For some researches the most important point while doing a translation is a good knowledge of literature, for some, on the other hand linguistic methods seem to be valuable. G. Gachechiladze claims that the most important factor of translation is aesthetic values of the original text. We consider both of them are of vital importance. Though they are closely linked with each other they can also be separated. We might face some difficulties while rendering the text from one language into another. Georgian translation in its own way is an original due to its structure and some specific features. The translator should manage to maintain the natural structure of the language and this can only be achieved by preserving the specific grammatical characteristics of the language which seems to be quite difficult. The translator should take into consideration the fact that the language of fiction is based on literary language and when translating it is very important to try to find the emotional equivalents in the target language. "Taras Bulba" by N. Gogol is deservedly considered to be a masterpiece. This short story is the best example of interconnection between the human life and some psychological moments. The reader is under the book’s impression for a long time and that means that it is a valuable work of art. The translator deeply feels the original version of this book and shows his good taste in literature. The translator is not impossible always to have all the readymade materials, phrases and terms, no matter how rich and well-developed the target language is. But it should be mentioned to the translator’s credit that in the translated text the translator uses the natural forms to characterized to the Georgian language. Every translation enriches not only the culture but also the language itself. That’s why in recent years a great attention is drawn to the stylistic analysis of the literary translation. A lot of research works have been dedicated to this matter. That’s the aim of research as well. We consider the translation of "Taras Bulba" to be one of the best translation works ever made and its analysis has confirmed the complexity involved in carrying out this work. In the translation the brilliant knowledge and the adequate use of the expressive festures of the original language are vividly shown.
    Źródło:
    Studia Wschodniosłowiańskie; 2015, 15; 375-382
    1642-557X
    Pojawia się w:
    Studia Wschodniosłowiańskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Литературные аллюзии и языковые параллели у Николоза Бараташвили и Адама Мицкевича (стихотворение Мерани и поэма Фарис)
    Literary allusions and linguistic parallels by Nikoloz Baratashvili and Adam Mitskevich (poem Merani and poem Faris)
    Autorzy:
    Микадзе, Манана
    Powiązania:
    https://bibliotekanauki.pl/articles/2032755.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
    Tematy:
    Мицкевич
    Бараташвили
    Фарис
    Мерани
    Mitskevich
    Baratashvili
    Faris
    Merani
    Opis:
    “Of the Georgian romantics, the greatest poet and the greatest philosopher is Nikoloz Baratashvili” – these words of Professor Giorgi Dzhibladze best express the genius of Nikoloz Baratashvili, who at the age of 26 ended his turbulent and tragic life, having failed to fulfill his dreams because of the physical trauma, unable to embody her great love in reality, although Ekaterina Chavchavadze-Dadiani (the object of his unrequited love) saved his poetry from oblivion: it was she who gave the great Georgian writer Ilya Chavchavadze Baratashvili’s manuscript, thanks to which she actually returned the great poet’s Georgian literature to this time, unfortunately, is almost forgotten. In our opinion, Nikoloz Baratashvili could get acquainted with Faris by Adam Mitskevich through Russian translation. This circumstance led some scholars (Iona Meunargia, Kit Abashidze) to believe that the Georgian Merani was allegedly created under a certain influence of the poem of the Polish poet. Such a view of this issue, in our opinion, is devoid of a real foundation, primarily due to the fact that these two works in their artistic form show a very distant, almost insignificant similarity, while the ideological relationship is indisputable. The poetic spirit of Mitskevich was undoubtedly close to Nikoloz Baratashvili. A. Mitskevich dedicated his poem to the Polish scientist Vaclav Razhevsky, who suffered the same fate as the hero of the poem. V. Razhevsky conducted scientific research in Arabia, where he died. Mickiewicz paints a heroic image of a rider who is not afraid of anything; Baratashvili, on the other hand, describes the despair of his rider, who is in a state when nothing in the world matters to him and who prefers death to life, but meaningful death, sacrificed to descendants. The genius of the author of Merani is manifested precisely in the fact that in the harsh, gloomy atmosphere of his time, he still managed to discern that a person in the future will still win, that the time will come and justice will triumph: there will be a holiday on his street. N. Baratashvili was able to unite reason and faith, and in their selfless, titanic confrontation with blind fate, he saw the highest meaning and justification of human existence. Merani for all Georgian poetry is the same crown as The Knight in the Panther’s Skin by Shota Rustaveli. If classic epic thinking found its fullest reflection in Rustaveli’s poem, Merani is a brilliant example of lyrical self-expression characteristic of romantic poetry.
    Źródło:
    Studia Wschodniosłowiańskie; 2020, 20; 63-72
    1642-557X
    Pojawia się w:
    Studia Wschodniosłowiańskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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