2023 Issue №1

The poetry of Veniamin Blazhenny (the Blessed) can be seen as a vivid example of the translation of the typological properties of the language of mysticism in late 20th century poetry. The artistic nature of the work of the Blessed during this time did not receive a fundamental analysis. The soul, a key concept of Blazhenny’s poetry, reveals undoubted similarities with the conceptualization of the soul and the idea of metempsychosis in Jewish and Judeo-­Christian mysticism. This study focuses on grammatical elements, and in particular the system of pronouns and negative poetics, the way the subject is constructed and the strategy of anti-discursiveness. The key word and concept of Blazhenny’s poetry is the Soul which reveals an undoubted similarity with the conceptualization of the soul and the idea of metempsychosis in Jewish and Jewish-­Christian mysticism.

The article is devoted to the analysis of the research done on Solzhenitsyn’s literary works in China from 1979 to 2021 on the basis of data from the China National Knowledge Infrastructure (CNKI). The article highlights three stages in the process of publishing and perceiving the writer’s works, studies the opinions of various researchers about the artistic value of the writer’s work, and analyzes the specific features of the development of research about his works. Chinese researchers consider the literary heritage of the writer to be a complex phenomenon that consists of his artistic works and political beliefs. As a result of the analysis, it can be seen that Solzhenitsyn attracts more attention from readers and researchers. Their interest in the literary works of the writer has not disappeared for 42 years. Writer Solzhenitsyn is a more attractive figure in Chinese research works.

This research focuses on the linguistic and cultural specifics of the concept «unity in diversity» in P. B. Shelley’s poem “Love’s philosophy”. The study reflects the expert linguistic interest to the national cultural and individual author’s specificity in interpreting philosophical concepts in literature, which have a meaning-­forming function within the space-time continuum of literary works. The aim of this research is to study the linguistic and cultural specifics of the concept «unity in diversity», as well as to identify its pragmatic function in the artistic space of P. B. Shelley’s works.

The novelty of this research lies in the use of an anthropocentric approach to the study of linguistic material, in which the verbal representations of the concept «unity in diversity» are viewed through the prism of the inner world of the lyrical hero. The interdisciplinary approach to the analysis of lexical units brings together linguistic cultural studies, literary criticism, psycholinguistics and philosophy.

The theoretical principles underlying this study are presented in the works of linguists involved in the analysis of concepts (in particular, philosophical and emotional ones) in the linguo-­cultural and anthropocentric paradigms. The analysis relies on the method of continuous sampling, the method of conceptual frame analysis, the method of semantic-­cognitive analysis, the descriptive method, as well as the contextual and interpretive methods.

Having studied the verbal content of frame structures representing the concept of «unity in diversity» within the framework of the individual author’s concept sphere, the author made a conclusion about the special semantic function of the analyzed concept , which represents the cognitive dominant of the poem «Love’s philosophy».

The article analyzes the main features of the category of pity in the texts of two inklings — C. S. Lewis and J. R. R. Tolkien in the context of the ethical binary opposition of “good and evil”. This binary opposition is not randomly chosen: Lewis wrote “The Great Divorce” in order to refute the famous artistic idea of William Blake about a fruitful union or the marriage of Heaven and Hell, which personifies the creative mixture of good and evil, and as a result, the blurring of the boundaries of the main ethical categories, manifested in the moral relativism of man of the twentieth (and, perhaps, the twenty-­first) centuries. The genre of the text “The Lord of the Rings” by Tolkien can be defined as an epic fantasy dedicated to the eternal struggle of good and evil. The confrontation between the two members of the ethical binary opposition of interest to us is at the center of Tolkien’s narrative. In both Lewis’s text and Tolkien’s work, good and evil are not relative categories inherent in the consciousness of the perceiving person, but existential categories of the world order. This binary opposition is, according to Lewis’s thought, “the key to understanding the universe”. The method of comparative analysis makes it possible to reveal the unity and at the same time minor differences in the representation of the category of pity in the work of the two inklings. From the point of view of correlation with the basic ethical binary opposition, the category of pity in the texts of Lewis and Tolkien is analyzed. Different meanings (models) of pity are considered, the main features of realisation of this category in the texts of “The Lord of the Rings” and “The Great Divorce” are described.