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1.4. Sotsiokulturnye the factors causing features of functioning slavjanizmov in poetry Vjazemsky

At Vjazemsky, as practically at all on mentality Russian, but European formed aristocracy of those years, as a matter of fact, two native lands - two, conditionally speaking, «cultural fatherland» and two native languages.

The European erudition and the French language as means of daily dialogue in the social environment. A different sort the European, mainly French ideological and language influences. «Salonno-literary styles of society on the basis of mixture of Russian with French» [Vinogradov 1982: 164] - here that diskursivnaja environment, in which

It is mainly shipped Vjazemsky in the first period of the life and creativity.

But also in Russian as native too it appears «two fatherlands» - wordly (sekuljarnaja) and tserkovno-religious (sacral) elements. TSerkovnoslavjanizmy in their specific values there live in «cultural unconscious» [Esaulov 2011] Russia along with the western influences and despite them. Today the revival problem of "cultural memory» - through «understanding revival» semantics slavjanizmov as «one more principle of understanding of the art text» [Esaulov 2011: 11], along with such principle traditional for a philological science, as historical (understanding in a context of time of creation) is actual.

In works on history of the Russian literary language, leaving during the Soviet time, primary attention addressed on the phenomena
sekuljarizatsii slavjanizmov, - not on the facts of their use in traditional is sacral-religious values and senses. Modern perusal Vjazemsky - through previous tradition prelaying to its time, that is, on M.M.Bakhtin's expression is necessary, perusal in frameworks of "big time» as «product cannot live in the next centuries if it has not incorporated somehow and the last centuries» is necessary; in the course of the «a posthumous life» great products «are enriched by the new values, new senses; these products as though outgrow what they were during an epoch of the creation» [Bakhtin 1986: 350].

The first period of creativity Vjazemsky - "Golden Age" of Russian poetry. Prepotent lines of this epoch as successors and continuers of a century of Education, with humanistic sekuljarnym passion separating from religious discourses, were successfully formulated by V.V. Bondarenko: «to the Vigorous, young and talented epoch was a lack of time to look at the sky and the more so in depth of - it has measured the person by friendship, talent and culture. About a shower then spoke much and beautifully, but whether often looked in it?.» [Bondarenko 2014: 221].

Mental component as the causing basis of the given mood and "dushestroenija", and also features of word usage, under A.V.Suhareva's formulation, - consists in «.mentalnosti Russian elite, i.e. The mentalities, potentially attributing to itself the right to be responsible for destiny of the country and ability it to change. . Carriers of elite consciousness since XVII century have been subject to influence of the West European values even in a life (O.V.Kljuchevsky) and had corresponding representations about formation, criteria of mind and nonsense, the purposes of development of a society and so forth, that is inherent also in modern intelligency» [Suharev 2017: 225-226].

In a context of history of Russian literary language boundary XVIII-XIX of centuries and first third XIX century - the period of its formation in a modern kind,
- The formation which has practically come to the end in creativity of Pushkin which only further development has followed.

Evolution of a poetic diction Vjazemsky is obviously possible for comprehending as «stretched in time» evolution of language of Pushkin and consequently, and as a whole as reflexion of the main line of formation of a modern Russian literary language, compare V.V. Vinogradova's conclusion about Pushkin: «So, having begun the literary way struggle against tserkovno-book tradition Pushkin then not only has justified a historical role tserkovnoslavjanizmov, but recognised their vital value for the subsequent development of the literature. Having acted on a literary field as"Frenchman"as the European, Pushkin has soon understood ideological narrowness and art"provincialism"of styles of Russian Europeans.

The problem of synthesis of national and European elements has led the poet to working out of "treasures of a live word”. In the national-household popular speech of noble family which have been not infected with "the French illness”, and in demotic language which boiling sources ”national poetry and monuments of Old Russian writing adjoined and“ muddy, but, Pushkin has seen a structural basis of Russian national-literary language. Synthesis of these three basic language categories - Church Slavonic, European and national-Russian - according to Pushkin should lean against representation about language of "a good society” (i.e. About language burzhuaznoyodvorjanskoj intelligency) as about ideal norm of literary expression »[Vinogradov 1935: 454]. Lines of this« ideal norm

Literary expression »are well looked through in poetic idiolekte Vjazemsky.

First third XIX centuries - the period of active formation of the Russian literary language focused first of all on sekuljarnye discourses in opposition tserkovno-religious. The most obvious signs of "new style» - clearing from superfluous "slavjanshchiny" (Church Slavonic words and expressions), active loans from
French and democratisation of language at the expense of use narodnoyorazgovornyh words and expressions. These language features in the world outlook relation had something in common with orientation to the western culture, with political freethinking and religious freethinking which in the Soviet state atheism was interpreted even as "bogoborchestvo".

Members of a literary circle "Arzamas", including Pushkin and Vjazemsky, are stars of "Golden Age" of Russian poetry, supporters of a Karamzin direction in the literature and «new style» in language. In relation to their poetic idiolektam there is a representation: «the Question on a Church Slavonic heritage in a new literary language has been removed, thus, by process of the formation which have followed a way obmirshchvlenija from the middle of XVIII century» [Alexeys 2013: 358]. This opinion associates with ostensibly having at "arzamatsev" total character an exception of traditional Christian making poetic semantics, with use slavjanizmov in especially sekuljarnyh values, and in lingvomentalnom the relation - with ostensibly full bezreligioznostju, reaching atheism.

The specified extreme measure of the estimations caused by specificity of the Soviet period of domestic history, in modern conditions requires the essential updating which being, in our opinion, is reduced to the following.

"Obmirshchenie", sekuljarizatsija language - a problem which basically cannot be solved quickly. It not to force boyars to shave a beard and to change clothes in the European dress: two-three decades - also it is ready, new household habits at social tops were generated. In a basis sekuljarizatsii language - world outlook, and then and together with them lingvomentalnye, sotsiokulturnye, individually-personal

Transformations, only after that - usage change diskursivnyh an expert. In this context as experts of already Post-Soviet period of our history fairly mark, «. The modern language should,
Serving secular literature to serve finally to problems sekuljarizatsii Rigid, church culture breaking off with traditions, or softer, assuming course and preservation of deep and intimate communications of Church and departed from it obmirshchvlennoj literatures »[Buharkin 1999: 96].

Russian literary language has gone, as is known, on a Karamzin way "rigid" sekuljarizatsii. However it did not carry and could not carry especially radical character. So far as «an orthodox component», by estimations of modern researchers (see, for example: [Mishlanov 2014; Shishkov 2007]), takes an essential place in lingvokulturnom space even modern Russian, despite decades of the state atheistic persecutions especially it is fair to start XIX century when "non-Christian" and nevotserkovlennyh Russian, including the most Europeanized, it was not simple. As show modern researches, the orthodox discourse took a considerable place in creativity, for example, Century And. Zhukovsky [Ajzikova 2008], the close friend Vjazemsky throughout many decades, and notebooks Vjazemsky during Soviet time have been published only till 1848 [Vjazemsky 1963], - that is until from which in its notebooks there is a set of is sacral-religious themes, including connected with pilgrimage in sacred places in 1850. Other question, that the is sacral-religious public and art discourse which is based on tserkovnoslavjanizmah, marginalizirovalsja, appeared outside of not only «salonno-literary styles of society» (V.V. Vinogradov), but generally and outside of the main lines of literary process.

Thus, obmirshchenie and sekuljarizatsiju language, including with reference to the different periods of creativity Vjazemsky, it is not necessary to interpret maintenances of printing products, everyday dialogue as full leaving from Russian mentality of a religious component.

"Platitude" of modern philological Russian philology - the "compromise" fact of "book and colloquial language elements» [Uspensky 1994: 140], that is elements "old", based on Church Slavonic knizhnosti, and the "new", social tops guided by "salonno-literary" language, evolving under the influence of the European culture and the French language. In lingvomentalnom the relation at "arzamastsev", including at Vjazemsky, prepotent there were "salonnoyoliteraturnaja" elements, but at all as unique.

The relation Vjazemsky to Christianity in first third of its creative life, in our opinion, is successfully formulated in I.E.prochoral's generalisation: «As a whole attitude Vjazemsky these years -

Attitude of the person of the rationalistic warehouse absorbing and producing in a much bigger measure liberally-educational ideas, than religious-church. In constant doubts Vjazemsky concerning the validity and vitality of Christian doctrines, certain law of spiritual searches of the conceiving person of first quarter ХІХ of a century first of all is, of course, shown. But looks through in them, especially in an early youth, and a tribute to a then fashion on freethinking, and sometimes and some kind of youthful bravado, even shocking »[Prokhorov 2005: 135-136].

In the statement, that P.A.Vjazemsky (1792-1878) - the poet of "Pushkin time" (variants: «a Pushkin circle», «a Pushkin galaxy»), it is as though put outside the brackets, first, that Vjazemsky essentially is more senior Pushkin and in the beginning of a creative way in relation to it the senior companion, secondly, that for the period of Pushkin's life was necessary only the first period of creativity Vjazemsky. After Pushkin's death at Vjazemsky - two more periods of a creative life.

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A source: Borodina Ekaterina Jurevna. SLAVJANIZMY In the POETIC DICTION of the Item And. The VJAZEMSKY. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Tver — 2019. 2019

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