Studia Rossica Posnaniensia <p class="oczasopismie">Czasopismo Studia Rossica Posnaniensia wydawane jest przez Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza w Poznaniu. Ukazuje się od 1970 roku, na przestrzeni lat publikowali w nim badacze zatrudnieni w renomowanych ośrodkach slawistycznych całego świata. Czasopismo jest „wizytówką" Instytutu Filologii Wschodniosłowiańskich UAM. Dotychczas ukazało się 47 tomów. Do roku 2018 czasopismo ukazywało się jako rocznik, od 2019 roku jest publikowane dwa razy w roku.</p> <ul class="oczasopismie"> <li class="show"><a href="">O CZASOPIŚMIE</a></li> <li class="show"><a href="">AKTUALNY NUMER</a></li> <li class="show"><a href="">ARCHIWUM</a></li> </ul> <div class="oczasopismie"><strong>INDEKSOWANE W:</strong> <p>DOAJ, CEEOL, CEJSH, ERIH PLUS, EBSCO, PKP index, Index Copernicus - Journals Master List, PBN - Polska Bibliografia Naukowa, POL-index Polska Baza Cytowań, WorldCat, Google Scholar, Arianta, BazHum;</p> </div> <div class="oczasopismie"><strong>WSKAŹNIKI OCENY CZASOPISMA: </strong> <p><span class="fs-journal-icv-ibox-title ng-binding ng-scope">ICV 2020: <strong>100.00</strong></span><br /><br />MNiSW: <strong>40</strong></p> </div> <div class="oczasopismie"><strong>DOI: </strong><a href="">10.14746/strp</a></div> <div class="oczasopismie"><strong>ISSN: </strong>0081-6884 (print)</div> <div class="oczasopismie"><strong>e-ISSN</strong>: 2720-703X</div> <div class="oczasopismie"> </div> <div class="oczasopismie"><span style="text-decoration: underline;"><strong>Czasopismo nie pobiera opłaty za publikację artykułów (APCs) oraz oferuje natychmiastowy i darmowy dostęp do opublikowanych tekstów na platformie OJS.</strong></span></div> <div class="oczasopismie"> </div> <div class="oczasopismie"><strong>PRACE PUBLIKOWANE W CZASOPIŚMIE DOSTĘPNE SĄ NA LICENCJI CREATIVE COMMONS: </strong><a href=""><strong><img src="" alt="CC_by-nd/4.0" /></strong></a></div> <div class="oczasopismie"><strong><a href="" rel="license">Uznanie autorstwa-Użycie niekomercyjne-Na tych samych warunkach 4.0 Międzynarodowe</a>.</strong></div> <div class="oczasopismie"> <p>Autorzy tekstów przyjętych do publikacji w czasopiśmie „Studia Rossica Posnaniensia” są zobowiązani do wypełnienia, podpisania i odesłania na adres redakcji umowy o udzielenie nieodpłatnej licencji do utworów, z zobowiązaniem do udzielania sublicencji <strong>Creative Commons.</strong><br /><br />Zgodnie z umową, autorzy tekstów opublikowanych w czasopiśmie “Studia Rossica Posnaniensia” udzielają Uniwersytetowi im. Adama Mickiewicza w Poznaniu niewyłącznej i nieodpłatnej licencji oraz zezwalają na użycie sublicencji Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0).<br /><br />Autorzy zachowują prawa do dalszego, swobodnego rozporządzania utworem.<br /><br />Autorzy, którzy wykorzystują w swoim tekście cudze utwory (np. ilustracje, fotografie) proszeni są o dostarczenie do redakcji czasopisma zgody na publikację.</p> <p>Użytkownicy internetu uprawnieni są do korzystania z utworów opublikowanych po 2015 roku “Studia Rossica Posnaniensia” tylko w celach niekomercyjnych, pod następującymi warunkami:</p> <p><a href=""></a></p> <strong>Uniwersytet im. Adama Mickiewicza w Poznaniu zachowuje prawo do czasopisma jako całości (układ, forma graficzna, tytuł, projekt okładki, logo itp.).</strong></div> <div class="oczasopismie"> </div> pl-PL <p><a href="" rel="license"><img src="" alt="Licencja Creative Commons"></a><br>Ten utwór jest dostępny na&nbsp;<a href="" rel="license">licencji Creative Commons Uznanie autorstwa-Użycie niekomercyjne-Na tych samych warunkach 4.0 Międzynarodowe</a>.</p> (prof. UAM dr hab. Beata Waligórska-Olejniczak) (dr Konrad Rachut) Mon, 27 Jun 2022 00:00:00 +0200 OJS 60 Vladimir Tuchkov’s intertextual transgression: Folklore, parody, and social criticism <p>This essay aims at analysing and illustrating a segment of the post-Soviet short fiction of the contemporary Russian writer Vladimir Tuchkov. It specifically discusses his collection of very short stories And he earned many dollars…: New Russian fairy-tales. These short stories exemplify many characteristics of Tuchkov’s oeuvre more generally. The discussion analyses the satirical contents of these miniature fictions, which the author places in the tradition of the Russian classics and of Russian folklore, within the theoretical context of parody, pastiche, intertextuality, and folklore. Tuchkov’s short narratives create a de-familiarised, quasi-mythological space where pre-modern, Soviet, and post-Soviet times converge. This results in the critical, satirical foregrounding of certain continuities in Russian culture, society, and mentality throughout the centuries despite the enormous political and social change, which it has experienced, as much as constituting, like Russia’s traditional fables, a critical and satirical engagement with contemporary social reality in Russia. The contribution examines the specific intertextuality with a satirical folkloristic genre as a literary expression, which reverberates with a post-Soviet readership, given its inherent concern with social structures. It is suggested that the employment of these concepts and literary forms in this combination serves to reinforce their overall effect of creating a hyperbolised, satirical representation of social reality.</p> Nicolas Dreyer Prawa autorskie (c) 2022 Nicolas Dreyer Sun, 26 Jun 2022 00:00:00 +0200 Komiczno-humorystyczny charakter wypowiedzi w dramatach Olega Bogajewa <p>The aim of this paper is, first of all, to discuss the linguistic sphere in Oleg Bogayev’s comedy works. We would like to pay special attention to the way the characters express themselves. The way Bogayev’s characters create reality is deeply rooted in the spirit of postmodernism, which is reflected primarily in the playwright’s bold experimentation with words, especially in the area of constructed replicas. Language saturated with humour and comical elements can be found in the plays Maria’s field (2004) and Notes of a prosecutor in love (2019). In each of these works, the mode of expression is shaped slightly differently, primarily because of the relationship between the word and the reality presented. They have been constructed according to different genre patterns. The comical and humorous character is most clearly manifested in the former at the linguistic level, while in the latter it is conditioned by the situation. On the one hand, there is humour in Bogayev’s works that can be described as good-natured and comical, directed at human existence and social problems, both as perceived by the author and the characters. On the other hand, there is satirical humour that destabilises the image of the presented world, shattering stereotypes and fixed beliefs. Humour often lurks the tragedy and absurdity of the human world, with all its weaknesses and problems.</p> Agnieszka Juchniewicz Prawa autorskie (c) 2022 Agnieszka Juchniewicz Sun, 26 Jun 2022 00:00:00 +0200 Юмористический тон как маркер авторского взгляда в комедиях Надежды Птушкиной <p>The article considers comic humour as an emotional and semantic component of the statements in two comedies written by Nadezhda Ptushkina: Paying ahead and Come and take away, which can be attributed to popular mass literature. Distinguishing between the manifestations of situational and semantic comedy and humour the article shows how the humorous tone of the character’s remarks changes the overall genre tone of the comedy. Due to the idea of how much the personality does not fit into the narrow framework of the stereotypical perception of the situation of the husband’s withdrawal from the family, the article notes the dramatic and tragic modality of the statements in the plays. At the same time, in all situations and in all manifestations of the relationship between the characters, we feel the author’s view. The author is distinguished by the ability to understand and accept a different opinion to optimistically see the possibility of preserving the family and identity of each person in the process of collisions with other opinions. Despite the author’s rejection the play retains a belief in a certain general harmony of the human soul, which is especially vividly perceived thanks to allusions to Chekhov’s plays. Techniques contribute to the removal of the author’s view and the positions of the characters: dialogue of the deaf, distancing the author’s view and the character’s position, wordplay. All these techniques contribute to overcoming the farcical nature of the conflict and its dramatization.</p> Natalia Maliutina Prawa autorskie (c) 2022 Natalia Maliutina Sun, 26 Jun 2022 00:00:00 +0200 Proza Anny Fein. Rosyjsko-izraelska odsłona humoru żydowskiego <p>Jewish humour with a rich repertoire of forms is an integral part of Jewish culture. The article summarises the typical features of Jewish humour and presents an outline of its history from its beginning at the turn of the 19th to the 20th century in the countries of Central and Eastern Europe, through the times of immigrants to Palestine, from the first Aliyah (1882–1903), until the establishment of the state of Israel in 1948, to the humour of modern Israel. The humour of Anna Fein – one of the important representatives of Russian-Israeli literature – is situated at the intersection of traditional Jewish humour, Israeli humour, and the mentality of a repatriate (the writer left Russia for Israel during the so-called Great Aliyah), creating an interesting Russian-Israeli version of Jewish humour. Fein’s humour fits in with the exemplary tone of archetypal Jewish humour. At the same time, referring not to the emotions, but to the recipient’s intellect, together with the assumption that humour must have pragmatic values, understood as the implementation of a utilitarian function, it brings the recipient closer to the postulates of Henri Bergson’s theory of laughter.</p> Mirosława Michalska-Suchanek Prawa autorskie (c) 2022 Mirosława Michalska-Suchanek Sun, 26 Jun 2022 00:00:00 +0200 „Русский” юмор в контексте направлений юмористической коммуникации: причины гелотофобии как социального явления <p>The article is an attempt to answer the question whether there is a cultural specificity of humour not in form and content, but in the context of pragmatics. Discussing humour from the point of view of its orientation to the addressee, we can distinguish three main options described by the Russian philosopher V. S. Solovyov in connection with humour, these are relations to the highest, to the equal, and to the lowest. Considering that such a simplified scheme exhausts all possible vectors of constructing a message according to the method of interpretation of the addressee (as higher, as lower, as equal), such a seemingly simple classification, however, determines not only the narrative position, but also the content and form of the message, as well as sets other restrictions. The scheme of relations (vectors) rooted in culture and reproduced by it determines not only how a humorous message is constructed, but also in many respects the readiness of the addressee for an adequate reaction in the form of laughter, and whether the author of the humorous message expects this reaction. Thus, one of the tasks of the article is an attempt to explain the specifics of the (unsuccessful) humorous interaction between the carriers of subjects and objects of power. Russian culture is the focus of the article, which is based on Russian sources.</p> Sergey Troitskiy Prawa autorskie (c) 2022 Sergey Troitskiy Sun, 26 Jun 2022 00:00:00 +0200 „…читая в ногу души прекрасные порывы”: смех аутсайдера и русский ХХ век в Неизвестных письмах Олега Юрьева <p>The paper deals with the specifics of outsiders’ laughter in the book Unknown letters (Неизвестные письма/Unbekannte Briefe, Russian 2014, German 2017) by a Russian-German writer Oleg Yuryev. In particular, it analyzes how Russian cultural and historical traumas of the 20th century were reinterpreted in the book from the perspective of an ironical outsider. In doing so, it focuses on a fictional letter by the writer Leonid Dobychin, which is contextualized with fictional letters of Jakob Michael Reinhold Lenz and Ivan Pryzhov, representing previous historical and cultural periods. Yuryev’s ironic reflections on the Russian historical reality and literary scene of the 20th century manifest themselves at different levels, from the positioning of outsiders’ laughter in relation to the official and marginal hierarchies of the literary canon to the postmodernist play with the traditions of literary classics. In addition, the paper addresses the inter- and/or transcultural aspect of outsiders’ laughter in Yuryev’s book.</p> Ievgeniia Voloshchuk Prawa autorskie (c) 2022 Ievgeniia Voloshchuk Sun, 26 Jun 2022 00:00:00 +0200 Абсурдизация действительности в сатирической пьесе Увидеть Солсбери Виктора Шендеровича <p>In 2018, the story of the unsuccessful poisoning of the Skripals by Russian special services shocked the world, and the further appearance of “Petrov” and “Boshirov” in an interview with Margarita Simonyan with completely implausible explanations led to the emergence of many memes and humorous works. The satirical play by Viktor Shenderovich To see Salisbury (2019) can be considered as one of the most significant reactions created by Russian-speaking society to the lies of the state. It is successfully performed abroad and, of course, has no chance of being staged in Russia. The author asks the question: what if everything that Petrov and Boshirov told in a scripted interview on the air of on Russia Today is true, and they are not unsuccessful spies, but a couple of gay lovers who are interested in Gothic cathedrals and the Charter of Liberties? Reflections on their own blurry unstable identity led the characters to an existential crisis in the spirit of the Theatre of the Absurd. This paper analyses how the absurdity of reality in the play serves to create a comic effect. Shenderovich grounds his satire based on direct citation of the precedent text of the interview, known a priori to every Russian-speaking recipient, on the intertexts of the Russian linguistic culture, fills the gaps of perception with paradoxes, and answers the questions asked by the audience after the RT broadcast (Why do the passport numbers differ by one digit? Why do the characters know Simonyan’s personal phone number? etc.).</p> Kristina Vorontsova Prawa autorskie (c) 2022 Kristina Vorontsova Sun, 26 Jun 2022 00:00:00 +0200 Карикатура и пропаганда: образ современной Украины в изображении пророссийских СМИ (2014–2018) <p>The information policy of the official Russian and pro-Russian online media regarding the so-called Ukrainian crisis contributes to the formation of the image of a new “ideological enemy” in public consciousness. With the help of traditional techniques of political propaganda, persistent clichés, and vivid visual images, modern Russian cartoonists influence the emotional perception of the situation by the public and perpetuate new myths about Ukraine. This article examines how the formation and dissemination of the image of the “enemy” occurs through its representation in the genre of modern political caricature. Caricatures reflecting the attitude of Russian artists to the political and economic situation in the neighboring country, to the bilateral conflict, as well as to attempts to resolve it by influential world political actors are analyzed using examples of specific authors and the plots of their caricatures.</p> Daria Khrushcheva Prawa autorskie (c) 2022 Daria Khrushcheva Mon, 27 Jun 2022 00:00:00 +0200 Жизнефрения Всеволода Некрасова <p>This study focuses on the translation of Vsevolod Nekrasov’s poetry into Czech. However, it also considers the more general question of whether it is possible to transpose poetry full of delicate humour, hidden allusions, codes and ciphers into another language in such a way that the reader would not be deprived of the aesthetic impression of the original. Nekrasov’s creative and playful poetry poses, at the same time, serious questions and contains hidden messages that should not be ignored by the translator either. The study also points out and demonstrates, using particular examples, that in the process of translation the translator must take the responsibility for the interpretation of the text and must “determine” it to certain extent. This subjective prism then becomes an indispensable part of the reception of translation in the target language area. Specifically, in case of Nekrasov’s poetry, the translator must, besides usual difficulties, face also other challenges, such as the translation of neologisms or uncommon realia, which form the basic elements of his verses.</p> Jana Kitzlerová Prawa autorskie (c) 2022 Jana Kitzlerová Mon, 27 Jun 2022 00:00:00 +0200 О интерсемиотической передаче комического в аудиодескрипции к советским кинокомедиям <p>Audio description (AD) is an additional soundtrack in a film containing concise, verbal information about what is happening on the screen. The language of the AD should be appropriate to the genre of the film lexically and stylistically. This means that the language of AD in film comedies should contain some verbal ‘signals’ of the comic as an aesthetic category. The author of the presented research has attempted to analyse lexical and stylistic means of conveying situational comic and character comic as the two main types of comic, apart from the verbal one expressed directly in the characters’ speech. The material for the research included the following Soviet film comedies: We are from jazz (directed by K. Shakhnazarov, 1983), Autumn marathon (directed by G. Daneliya, 1979), and The twelve chairs (directed by L. Gaidai, 1971). The analysis proved that the verbal track of the AD reflects the most important peripeteia of the characters, and together with them the features of the characters (appearance, character traits), the manner of their behaviour. The set of llinguistic and stylistic means is determined by the type of the comedy.</p> Maria Mocarz-Kleindienst Prawa autorskie (c) 2022 Maria Mocarz-Kleindienst Mon, 27 Jun 2022 00:00:00 +0200 Интерсемиотический и прагмасемантический анализ цикла мемов „Дворец для Путина” <p>The article is devoted to the analysis of the pragmatics and semiotics in the productive comic genre of digital communication – the political meme. The empirical material consists of actual internet heterogeneous texts, created after the publication of Alexei Navalny’s film “Palace for Putin”. The comic content is viewed as a way of defusing the public tension of the sanctioned protest, an instrument for interpreting and discussing current social reality, as well as a method of demonizing a political subject “them”. The research assumes multimodality of the media environment and its products. It considers verbal, iconic and metagraphic ways of realizing the pragmatic intentions of the participants in the communication process. The author examines the initial situation (proto situation) that caused a communicative reaction of the internet users in the form of memes, analyzes the essence of a political meme as a heterogeneous text. The article describes the structural organization of memes, the syntactic and semantic relations of the verbal and iconic parts, as well as the use of intertextuality to concisely and expressively transmit new meanings.</p> Żanna Sładkiewicz Prawa autorskie (c) 2022 Żanna Sładkiewicz Mon, 27 Jun 2022 00:00:00 +0200 Wykorzystanie postaci Stirlitza w rosyjskich memach internetowych <p>The article is devoted to the characteristics of Russian-language internet memes that use or allude to the character of Stierlitz, the legendary intelligence agent created by the writer Yulian Semyonov and adapted for the screen in the TV series Seventeen moments of spring, directed by Tatyana Lioznova. The analysis focuses not only on the memes directly referring to the series and jokes about Stierlitz, but also on examples using associations related to the character and the film (in the textual and/or iconic layer) to humorously illustrate phenomena occurring in contemporary Russia. The first group of memes can be seen as the continuation of the Stierlitz jokes still popular in Russia, while the second group includes memes whose main characters are contemporary Russian political activists and politicians (e.g. Vladimir Putin and Alexei Navalny), as well as those referring to current events in the country and the world (e.g. the coronavirus pandemic and the introduction of the Russian vaccine). In both cases, punchlines from jokes or precedent statements combined with an iconic layer are used to create comic effects.</p> Marcin Trendowicz Prawa autorskie (c) 2022 Marcin Trendowicz Mon, 27 Jun 2022 00:00:00 +0200 Черномырдинки и техника комического у Михаила Зощенко <p>This article considers the sphere of linguistic humour, specifically the linguistic structure of the so-called ‘chernomyrdinki’. Chernomyrdinki are written fixations of spontaneous oral statements by Viktor S. Chernomyrdin, a Soviet and post-Soviet statesman (1938–2010), which have become aphorisms. Chernomyrdinki are regularly reproduced and have not lost their popularity. Chernomyrdinki are, for the most part, Chernomyrdin’s spontaneous reactions to typical questions from journalists. The task of this study is to show that the not fully conscious, spontaneous statements by V. Chernomyrdin and the speech of Mikhail Zoshchenko’s heroes, deliberately constructed by the author in the course of the creative process, have much in common in their techniques of the comic and are at times identical. This study is based on the classification of “humour” in the speech of the heroes of M. Zoshchenko, developed by Mikhail Kreps.</p> Anna Weigl Prawa autorskie (c) 2022 Anna Weigl Mon, 27 Jun 2022 00:00:00 +0200 „Вторая” жизнь советских комедий в интернет-мемах периода пандемии <p>Nowadays, it is hard to imagine internet culture without memes. To achieve a humorous effect, meme creators use various means, displaying unprecedented creativity. They often draw inspiration from cult Soviet comedies by Leonid Gaidai, Georgiy Daneliya, Vladimir Menshov, Eldar Ryazanov, Aleksandr Sery and other famous directors. This article is devoted to the analysis of iintertextual connections in Russian internet memes related to the current COVID-19 pandemic. The intertextual references can be in the form of a frame from a Soviet comedy, a movie catchphrase, or both at the same time. Catchphrases can be used in the analysed internet memes in their original version, or they can undergo various modifications, such as the replacement of some components and/or the extension of phrase composition. The fact of making use of a specific movie scene or catchphrase by meme creators proves that Soviet comedy is still deeply rooted in Russian culture. Soviet comedies begin to “live a new life” in internet memes.</p> Gabriela Wilk Prawa autorskie (c) 2022 Gabriela Wilk Mon, 27 Jun 2022 00:00:00 +0200 Introduction Elisa Kriza, Michael Düring, Beata Waligórska-Olejniczak Prawa autorskie (c) 2022 Elisa Kriza, Michael Düring, Beata Waligórska-Olejniczak Sun, 26 Jun 2022 00:00:00 +0200 Введение Elisa Kriza, Michael Düring, Beata Waligórska-Olejniczak; Konrad Rachut Prawa autorskie (c) 2022 Elisa Kriza, Michael Düring, Beata Waligórska-Olejniczak; Konrad Rachut Sun, 26 Jun 2022 00:00:00 +0200