2021 Issue №3

The article addresses the problem of creating an adapted film work based on an original literary text. The focus on the issue of adaptation of a literary text for further film production is motivated by the fact that this problem does not find sufficient reflection in modern research and linguistic-wise it does not have an integrated approach. The issue of film adaptation within the scope of linguistic analysis is regarded as not widely studied or understood, howev­er, it seems to be promising for the research that can be taken systematically.

Film dialogue is seen as the key concept in this article. It is defined as a complete and organized formation in the structure of a film work that has clearly defined functions. Contrastive approach allows to consider the adapted film dialogue in comparison with its original literary dialogue and to identify a number of transformations that take place in the process of its adaptation for a film. Undertaken linguistic analysis can serve as the basis for further study of the actual language material in the context of film adaptation as a linguistic problem.

The article analyzes the features of the allusions functioning in German spiritual lyrics in the tales by Clemens Brentano. The author's strategy of in­troducing allusions to the texts previously published in the collection The Boy's Magic Horn is considered, as well as the principle of double coding, in which the allusion refers simultaneously to the elements of spiritual lyrics and to the Bible or famous prayers, which increases the likelihood of recognizing an allusive meaning. Various ways of forming allusive space in the Rhine fairy tales are revealed: an allusive allegorization of a fairy-tale space; secular­ization of spiritual lyrics in a fairy-tale space; creation of a network of inter­textual relations; an increment of the original meaning to an allusive basis. There are cases of carnival parodying of spiritual lyrics in The Tale of the Tai­lor Seven-in-One-Blow. The key, meaning-forming value of allusions to spir­itual lyrics in two Italian fairy tales is revealed, which contributes to the transfer of Italian plots to German culture.

The author analyzes a well-known work by Ryleev in axiological aspect using historiographical sources and presents a new interpretation of its ideo­logical structure. The article reveals a number of important details that differ the duma’s plot from the original historical source. Focusing on the antithesis between true and false values the research examines the oppositions freedom — captivity and life — honour. A careful examination of the protagonist’s im­age shows that his idealization was meant by the poet: the character is de­picted as a real hero led by the Biblical values and willing to sacrifice his life for the sake of his motherland.