Acta Polono-Ruthenica https://czasopisma.uwm.edu.pl/index.php/apr <p>W czasopiśmie „Acta Polono-Ruthenica” prezentowane są wyniki badań naukowych w zakresie literaturoznawstwa, językoznawstwa, kulturoznawstwa i przekładoznawstwa oraz aktualne problemy badawcze. Czasopismo stanowi platformę wymiany doświadczeń i interdyscyplinarnego dyskursu naukowego polskich i zagranicznych specjalistów z różnych dyscyplin naukowych. Zasadniczy przedmiot refleksji naukowej stanowią polskie i wschodniosłowiańskie powiązania kulturowe, literackie i językowe, ze szczególnym uwzględnieniem literatury białoruskiej, rosyjskiej i ukraińskiej. <a href="https://czasopisma.uwm.edu.pl/index.php/apr/about">(więcej)</a></p> <p>Prace publikowane w czasopiśmie dostępne są na licencji Creative Commons: Uznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych (CC BY-NC-ND).</p> <p> <strong><img src="https://czasopisma.uwm.edu.pl/public/site/images/marzenaswigon/by_nc_nd1.png" alt="Licencja CC" width="88" height="31" /> <img src="https://czasopisma.uwm.edu.pl/public/site/images/marzenaswigon/oa11.png" alt="Ilona OA" width="105" height="40" /></strong></p> Uniwersytet Warmińsko-Mazurski w Olsztynie pl-PL Acta Polono-Ruthenica 1427-549X Czas przełomu i nadziei – percepcja schyłku XX wieku we współczesnej literaturze białoruskiej https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7146 <p><span dir="ltr" style="left: 195.996px; top: 601.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01983);" role="presentation">W artykule omówiony został obraz schyłku XX wieku we współczesnej</span><br role="presentation" /><span dir="ltr" style="left: 99.2127px; top: 621.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.972276);" role="presentation">białoruskiej beletrystyce. Na Białorusi, podobnie jak i w innych państwach Europy Wschod</span><span dir="ltr" style="left: 99.2127px; top: 641.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.981156);" role="presentation">niej i Środkowo-Wschodniej, był to okres intensywnych przemian społeczno-politycznych.</span><br role="presentation" /><span dir="ltr" style="left: 99.2127px; top: 661.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.992882);" role="presentation">Po niemal 30 latach od tych wydarzeń możliwa jest ocena leżących u ich podstaw założeń </span><span dir="ltr" style="left: 99.2127px; top: 681.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03886);" role="presentation">i oczekiwań, które niejednokrotnie nie wytrzymały konfrontacji z trudną rzeczywisto</span><span dir="ltr" style="left: 99.2127px; top: 701.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01747);" role="presentation">ścią tranzycji. Koniec minionego stulecia wielokrotnie powraca w narracji jako z jednej </span><span dir="ltr" style="left: 99.2127px; top: 721.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01204);" role="presentation">strony czas nadziei, z drugiej zaś rozczarowań. Podkreślana jest więc ambiwalentna rola </span><span dir="ltr" style="left: 99.2127px; top: 741.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01334);" role="presentation">tego okresu.</span></p> Katarzyna Drozd Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 59 72 10.31648/apr.7146 Struktury mityczne w narracjach podróżnych Piotra Wajla https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7113 <p><span dir="ltr" style="left: 192.846px; top: 517.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.966586);" role="presentation">Artykuł omawia problematykę wykorzystania struktur mitycznych w esejach</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 537.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00329);" role="presentation">podróżniczych Piotra Wajla (1949–2009). Tezą artykułu jest stwierdzenie, że Wajl używa</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 557.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02969);" role="presentation">tych struktur świadomie. Opowieść mityczna stanowi w jego pisarstwie podróżniczym</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 577.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04056);" role="presentation">formę konceptu eseistycznego, za pomocą którego autor próbuje objaśnić różnorodne</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 597.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01301);" role="presentation">zjawiska kulturowe. Struktury mityczne w narracji Wajla analizowane są na przykładzie</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 617.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0085);" role="presentation">czterech cech opowieści mitycznej: związku narracji z rytuałem, kreacji czasu w esejach</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 637.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.996352);" role="presentation">na podobieństwo czasu mitycznego, wykorzystania przez autora w opisach figury modelu</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 657.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0009);" role="presentation">oraz wyposażenia bohaterów bądź miejsc w określony atrybut. Materiał badawczy stano-</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 677.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00585);" role="presentation">wią utwory</span> <span dir="ltr" style="left: 178.846px; top: 677.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.998228);" role="presentation">Gienij miesta</span> <span dir="ltr" style="left: 271.813px; top: 677.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.982544);" role="presentation">[Гений места] (1999)</span> <span dir="ltr" style="left: 419.563px; top: 677.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0136);" role="presentation">oraz</span> <span dir="ltr" style="left: 452.463px; top: 677.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.972516);" role="presentation">Słowo w puti</span> <span dir="ltr" style="left: 542.596px; top: 677.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.989548);" role="presentation">[Слово в пути]</span> <span dir="ltr" style="left: 649.379px; top: 677.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.926955);" role="presentation">(2010).</span></p> Małgorzata Sylwestrzak Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 73 86 10.31648/apr.7113 Фрагмент национальной языковой картины мира в повести Николая Гоголя Шинель https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7114 <p><span dir="ltr" style="left: 200.713px; top: 464.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.987594);" role="presentation">This article discusses the peculiarities of the linguistic representation of the </span><span dir="ltr" style="left: 99.2125px; top: 484.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01141);" role="presentation">19th century St. Petersburg as understood by the individual author. Through the analysis </span><span dir="ltr" style="left: 99.2125px; top: 504.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04566);" role="presentation">and description of the lexical units of the novel against a wide historical background, </span><span dir="ltr" style="left: 99.2125px; top: 524.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.989389);" role="presentation">it</span> <span dir="ltr" style="left: 113.063px; top: 524.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02586);" role="presentation">is possible to reconstruct the details of the life of the city. Facts of a social, domestic, </span><span dir="ltr" style="left: 99.2125px; top: 544.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00715);" role="presentation">and cultural nature are revealed through a close examination of the writer’s idiosyncratic </span><span dir="ltr" style="left: 99.2125px; top: 564.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.990421);" role="presentation">language, including fixed collocations, jargon words and names created by Gogol himself. </span><span dir="ltr" style="left: 99.2125px; top: 584.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.990608);" role="presentation">The lexeme “shinel” and its various descriptions in accordance with civilian ranks, as well </span><span dir="ltr" style="left: 99.2125px; top: 604.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01616);" role="presentation">as other names contextually related to this uniform, are also examined.</span></p> Галина Соболева Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 87 100 10.31648/apr.7114 "Wieczór u Kantemira" i "O charakterze Łomonosowa Konstantina Batiuszkowa" oraz ich polski przekład https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7119 <p><span dir="ltr" style="left: 194.379px; top: 573.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.987342);" role="presentation">Artykuł zawiera omówienie aneksów IV i Va do</span> <span dir="ltr" style="left: 522.596px; top: 573.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.980978);" role="presentation">Rysu historycznego litera</span><span dir="ltr" style="left: 99.2125px; top: 593.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.973235);" role="presentation">tury rosyjskiej</span> <span dir="ltr" style="left: 196.179px; top: 593.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.979349);" role="presentation">Nikołaja Grecza, wydanego w przekładzie i opracowaniu Samuela Bogumiła </span><span dir="ltr" style="left: 99.2125px; top: 613.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01291);" role="presentation">Lindego (Warszawa, 1823). Aneksy zawierają szkice Konstantina Batiuszkowa</span> <span dir="ltr" style="left: 639.363px; top: 613.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.988288);" role="presentation">Wieczór </span><span dir="ltr" style="left: 99.2125px; top: 633.364px; font-size: 16.6667px; font-family: serif;" role="presentation">u</span> <span dir="ltr" style="left: 111.663px; top: 633.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0227);" role="presentation">Kantemira</span> <span dir="ltr" style="left: 187.729px; top: 633.364px; font-size: 16.6667px; font-family: serif;" role="presentation">i</span> <span dir="ltr" style="left: 196.479px; top: 633.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01104);" role="presentation">O charakterze Łomonosowa</span><span dir="ltr" style="left: 386.663px; top: 633.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01171);" role="presentation">. Antioch Kantemir (autor satyr klasycystycz</span><span dir="ltr" style="left: 99.2292px; top: 653.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01057);" role="presentation">nych) i Michaił Łomonosow (uczony, poeta, autor ód panegirycznych) są oceniani przez </span><span dir="ltr" style="left: 99.2292px; top: 673.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00964);" role="presentation">Batiuszkowa z perspektywy preromantyzmu. Szkice Batiuszkowa zostały opublikowane </span><span dir="ltr" style="left: 99.2292px; top: 693.364px; font-size: 16.6667px; font-family: serif;" role="presentation">w</span> <span dir="ltr" style="left: 115.929px; top: 693.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.987299);" role="presentation">Naukowej</span> <span dir="ltr" style="left: 188.213px; top: 693.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02384);" role="presentation">księdze literatury rosyjskiej</span> <span dir="ltr" style="left: 381.038px; top: 693.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00724);" role="presentation">Grecza (Sankt-Petersburg, t. 1, 1819). Artykuł </span><span dir="ltr" style="left: 99.2292px; top: 713.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00187);" role="presentation">zawiera omówienie miejsca szkiców Batiuszkowa w strukturze polskiego wydania dzieła </span><span dir="ltr" style="left: 99.2292px; top: 733.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02392);" role="presentation">(rozdziały o Kantemirze, Łomonosowie i Batiuszkowie, przypisy; poprawki tłumacza). </span><span dir="ltr" style="left: 99.2292px; top: 753.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01598);" role="presentation">Kontekst interpretacyjny stanowi</span> <span dir="ltr" style="left: 328.198px; top: 753.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.984893);" role="presentation">Słownik języka polskiego</span> <span dir="ltr" style="left: 501.979px; top: 753.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00638);" role="presentation">Samuela Bogumiła Lindego.</span></p> Magdalena Dąbrowska Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 133 146 10.31648/apr.7119 Przymiotniki radosny i wesoły i ich rosyjskie ekwiwalenty przekładowe https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7120 <p><span dir="ltr" style="left: 195.413px; top: 545.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00666);" role="presentation">Przedmiotem artykułu jest analiza rosyjskich odpowiedników przekłado</span><span dir="ltr" style="left: 99.196px; top: 565.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.983144);" role="presentation">wych wyrazów</span> <span dir="ltr" style="left: 201.479px; top: 565.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.989987);" role="presentation">radosny</span> <span dir="ltr" style="left: 256.963px; top: 565.364px; font-size: 16.6667px; font-family: serif;" role="presentation">i</span> <span dir="ltr" style="left: 264.846px; top: 565.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.945041);" role="presentation">wesoły</span><span dir="ltr" style="left: 308.413px; top: 565.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.970513);" role="presentation">, będących leksykalnymi wykładnikami radości i wesołości. </span><span dir="ltr" style="left: 99.1793px; top: 585.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01838);" role="presentation">Cel pracy to wyodrębnienie poszczególnych znaczeń emotywnych wyrażanych przez te</span><span dir="ltr" style="left: 99.1793px; top: 605.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01697);" role="presentation">leksemy. Znaczenia zostaną zilustrowane przykładami zaczerpniętymi z tekstów współ</span><span dir="ltr" style="left: 99.1793px; top: 625.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01184);" role="presentation">czesnej polskiej prozy i jej tłumaczenia na język rosyjski. Kolejnym zadaniem jest prze</span><span dir="ltr" style="left: 99.1793px; top: 645.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02321);" role="presentation">gląd zastosowanych odpowiedników tych wyrazów i porównanie ich z ekwiwalentami </span><span dir="ltr" style="left: 99.1793px; top: 665.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04105);" role="presentation">zamieszczonymi w słowniku przekładowym. Mimo iż</span> <span dir="ltr" style="left: 480.729px; top: 665.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.06421);" role="presentation">radość</span> <span dir="ltr" style="left: 531.913px; top: 665.364px; font-size: 16.6667px; font-family: serif;" role="presentation">i</span> <span dir="ltr" style="left: 541.429px; top: 665.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.009);" role="presentation">wesołość</span> <span dir="ltr" style="left: 607.979px; top: 665.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04379);" role="presentation">to odmienne </span><span dir="ltr" style="left: 99.196px; top: 685.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0303);" role="presentation">doznania pozytywne, okazuje się, że poddane analizie przymiotniki mogą być w wielu </span><span dir="ltr" style="left: 99.196px; top: 705.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0251);" role="presentation">kontekstach używane wymiennie. Rosyjskie leksemy</span> <span dir="ltr" style="left: 467.979px; top: 705.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.06662);" role="presentation">радостный</span> <span dir="ltr" style="left: 554.429px; top: 705.364px; font-size: 16.6667px; font-family: serif;" role="presentation">i</span> <span dir="ltr" style="left: 563.603px; top: 705.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.971929);" role="presentation">веселый</span> <span dir="ltr" style="left: 625.753px; top: 705.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01665);" role="presentation">występują </span><span dir="ltr" style="left: 99.1793px; top: 725.364px; font-size: 16.6667px; font-family: serif;" role="presentation">w</span> <span dir="ltr" style="left: 115.363px; top: 725.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00848);" role="presentation">słowniku przekładowym jako ekwiwalenty każdego z analizowanych wyrazów. Bada</span><span dir="ltr" style="left: 99.1793px; top: 745.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03584);" role="presentation">nie pokazuje, że przymiotniki</span> <span dir="ltr" style="left: 309.279px; top: 745.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03648);" role="presentation">radosny</span> <span dir="ltr" style="left: 368.671px; top: 745.364px; font-size: 16.6667px; font-family: serif;" role="presentation">i</span> <span dir="ltr" style="left: 377.996px; top: 745.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.988528);" role="presentation">wesoły</span> <span dir="ltr" style="left: 429.288px; top: 745.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03097);" role="presentation">mogą wyrażać różne sensy emotywne. </span><span dir="ltr" style="left: 99.1627px; top: 765.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.980782);" role="presentation">Oprócz odpowiedników zawartych w słowniku przekładowym wykorzystywane są też inne </span><span dir="ltr" style="left: 99.1627px; top: 785.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.996774);" role="presentation">jednostki leksykalne, często inne części mowy. Badanie pokazało, że określone znaczenia </span><span dir="ltr" style="left: 99.1627px; top: 805.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01068);" role="presentation">emotywne mogą być wyrażane za pomocą różnych środków.</span></p> Anna Rudyk Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 147 160 10.31648/apr.7120 Алексей Надежкин, Проблема вариативности переводов Библии на примере анализа пс. 2:12 https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7121 <p><span dir="ltr" style="left: 193.879px; top: 697.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02024);" role="presentation">This study is devoted to the problem of the appearance of variants in the </span><span dir="ltr" style="left: 99.196px; top: 717.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02324);" role="presentation">translation of the text of the Holy Scriptures on the example of the analysis of Ps. 2:12. </span><span dir="ltr" style="left: 99.196px; top: 737.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02881);" role="presentation">The aim of the study is to find out the reason for the occurrence of discrepancies in the </span><span dir="ltr" style="left: 99.196px; top: 757.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.05691);" role="presentation">translation of this psalm. The significance of the work lies in identifying the genesis </span><span dir="ltr" style="left: 99.196px; top: 777.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.993137);" role="presentation">of modern Russian translations of Ps. 2:12, as well as the reasons for linguistic difficulties </span><span dir="ltr" style="left: 99.196px; top: 797.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.991018);" role="presentation">that arise when translating the Hebrew and Greek Psalms into other languages. The results </span><span dir="ltr" style="left: 99.196px; top: 817.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.975024);" role="presentation">of the research may be used when translating and commenting on the studied text. The main </span><span dir="ltr" style="left: 99.196px; top: 837.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.994282);" role="presentation">conclusion is that the reason for the appearance of a “dark” place for the modern reader in </span><span dir="ltr" style="left: 99.196px; top: 857.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.992666);" role="presentation">the second psalm – “Accept the punishment, may the Lord not be angry” – stems from the </span><span dir="ltr" style="left: 99.196px; top: 877.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01006);" role="presentation">polysemy of the Greek word “παιδείας”, which can be translated as “education, training, </span><span dir="ltr" style="left: 99.196px; top: 897.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.990868);" role="presentation">culture’ as well as “youth”. The Hebrew translators have interpreted this verse as “worship </span><span dir="ltr" style="left: 99.196px; top: 917.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.983932);" role="presentation">purely”, “worship with purity”, “arm yourself with purity”. Some of the translation options </span><span dir="ltr" style="left: 99.196px; top: 937.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04559);" role="presentation">for this verse are based on the Septuagint, which gives a literal translation into Greek</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 957.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.966019);" role="presentation">of the Hebrew text: “Accept / keep the lesson”. The variety of translation options for Ps.</span><span dir="ltr" style="left: 667.446px; top: 957.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.911924);" role="presentation">2:12</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 977.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.976989);" role="presentation">results from the polysemy in the Hebrew language, superimposed on the borrowed meaning</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 997.062px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.988886);" role="presentation">of the word “bar” from the Chaldean language and on the Greek ambiguity in the recipient</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 1017.06px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00705);" role="presentation">language; later on, the complexity of this verse increased even more due to the literalism</span> <span dir="ltr" style="left: 99.2127px; top: 140.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.003);" role="presentation">of the Church Slavic translation. The value of this research lies in comparing the variants </span><span dir="ltr" style="left: 99.2127px; top: 160.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00861);" role="presentation">of the Russian translations of Ps. 2:12 and clarifying their history.</span></p> Людмила Береснева Алексей Надежкин Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 161 172 10.31648/apr.7121 Нина Орлова, Проектная деятельность в обучении русскому языку как иностранному (культурно-переводческий проект "Кухня народов Северного Кавказа". Из опыта международного сотрудничества ВМУ и ПГУ) https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7124 <p><span dir="ltr" style="left: 193.896px; top: 665.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01153);" role="presentation">This article deals with the project method as one of the universal modern </span><span dir="ltr" style="left: 99.2125px; top: 685.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00155);" role="presentation">teaching technologies in literature classes in the audience of foreigners studying Russian. </span><span dir="ltr" style="left: 99.2125px; top: 705.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02166);" role="presentation">The implementation of the Polish-Russian cultural and translation project “The Cuisine </span><span dir="ltr" style="left: 99.2125px; top: 725.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03785);" role="presentation">of the Peoples of the North Caucasus” is discussed. Using this particular example, the </span><span dir="ltr" style="left: 99.2125px; top: 745.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03205);" role="presentation">goals, sequence of actions, forms and results of the didactic process are described, and </span><span dir="ltr" style="left: 99.2125px; top: 765.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01238);" role="presentation">recommendations are given as regards working with students-philologists.</span></p> Iwona Anna Ndiaye Нина Орлова Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 207 220 10.31648/apr.7124 Вклад архитекторов польского происхождения в становление и раз- витие курортов Кавказских Минеральных Вод (XIX – начало XX века) https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7125 <p><span dir="ltr" style="left: 196.513px; top: 492.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.06679);" role="presentation">Caucasian Mineral Waters (Kavminvody, KMV) is a group of North </span><span dir="ltr" style="left: 99.196px; top: 512.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.09225);" role="presentation">Caucasian balneological resorts of federal significance in the Stavropol Territory. </span><span dir="ltr" style="left: 99.196px; top: 532.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04077);" role="presentation">The CMS region includes the resort cities of Pyatigorsk, Kislovodsk, Zheleznovodsk, </span><span dir="ltr" style="left: 99.196px; top: 552.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03402);" role="presentation">and Yessentuki. By</span> <span dir="ltr" style="left: 236.946px; top: 552.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02723);" role="presentation">the decree of Emperor Alexander I of 1803, their official existence </span><span dir="ltr" style="left: 99.196px; top: 572.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03608);" role="presentation">as a</span> <span dir="ltr" style="left: 130.529px; top: 572.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03586);" role="presentation">resort area began. Representatives of the Polish people began to arrive there from </span><span dir="ltr" style="left: 99.196px; top: 592.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.05267);" role="presentation">the very beginning. They made up a significant proportion of the officers, managers, </span><span dir="ltr" style="left: 99.196px; top: 612.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.05188);" role="presentation">and intellectuals: scientists, doctors, engineers, architects, teachers, and writers. This </span><span dir="ltr" style="left: 99.196px; top: 632.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04132);" role="presentation">article opens a portrait gallery dedicated to the activities of outstanding architects and </span><span dir="ltr" style="left: 99.196px; top: 652.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02309);" role="presentation">civil engineers of Polish origin in Kavminvody, thanks to whose contribution the KMV</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 672.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.990665);" role="presentation">resorts have acquired a</span> <span dir="ltr" style="left: 254.079px; top: 672.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.983557);" role="presentation">worthy appearance and world fame. The results of their work today</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 692.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.977166);" role="presentation">continue to serve as a fundamental basis and a model for further development of the resorts</span></p> Виктор Акопян Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 221 242 10.31648/apr.7125 Участие польских военных чинов в боевых действиях на Север- ном Кавказе в 30-х гг. XIX в. (на примере Тенгинского полка) https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7126 <p><span dir="ltr" style="left: 193.896px; top: 492.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01219);" role="presentation">Among the servicemen of the Separate Caucasian Corps, there were also </span><span dir="ltr" style="left: 99.2127px; top: 512.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00139);" role="presentation">immigrants from Poland. The circumstances of their appearance in the region were differ</span><span dir="ltr" style="left: 99.2127px; top: 532.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01024);" role="presentation">ent. The captured soldiers and officers of the liquidated army of the Kingdom of Poland, </span><span dir="ltr" style="left: 99.2127px; top: 552.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02101);" role="presentation">as</span> <span dir="ltr" style="left: 118.063px; top: 552.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02645);" role="presentation">well as persons distributed according to conscription lists, etc., were sent here. They </span><span dir="ltr" style="left: 99.2127px; top: 572.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.992919);" role="presentation">were sent to different units, but a lot of them were assigned to the Tengin Regiment, which </span><span dir="ltr" style="left: 99.2127px; top: 592.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00862);" role="presentation">was considered the most suitable for reforming the “unreliable ones”. The regiment took </span><span dir="ltr" style="left: 99.2127px; top: 612.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.995303);" role="presentation">an active part in hostilities and was involved in the construction of a chain of fortifications </span><span dir="ltr" style="left: 99.2127px; top: 632.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00616);" role="presentation">on the Black Sea coast of the Caucasus. For this, the participants in the battles, including </span><span dir="ltr" style="left: 99.2127px; top: 652.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00925);" role="presentation">the Poles, were decorated by the command and personally by the emperor.</span></p> Юрий Клычников Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 243 256 10.31648/apr.7126 Поляки на службе русского царя https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7127 <p><span dir="ltr" style="left: 194.413px; top: 408.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03001);" role="presentation">This article deals with Poles who served in the Caucasus in the Russian </span><span dir="ltr" style="left: 99.2127px; top: 428.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.991255);" role="presentation">troops or as civilian officials throughout almost the entire 19th century. Regardless of how </span><span dir="ltr" style="left: 99.2127px; top: 448.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.999158);" role="presentation">the Poles came there, of their own free will, as representatives of ‟economic emigration”, </span><span dir="ltr" style="left: 99.2127px; top: 468.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01483);" role="presentation">or, conversely, as recruits-conscripts or prisoners, they contributed a lot to the economic </span><span dir="ltr" style="left: 99.2127px; top: 488.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.989687);" role="presentation">and socio-cultural development of the land, which has been identified with the roots of the </span><span dir="ltr" style="left: 99.2127px; top: 508.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00867);" role="presentation">European civilization. While studying the biographies of such Poles, it can be noted with </span><span dir="ltr" style="left: 99.2127px; top: 528.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01267);" role="presentation">great confidence that they became a vital part of the life of the Caucasian region, having </span><span dir="ltr" style="left: 99.2127px; top: 548.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04116);" role="presentation">inscribed their names in the annals of local history. It is extremely difficult to identify </span><span dir="ltr" style="left: 99.2127px; top: 568.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01332);" role="presentation">the actual number of Poles who participated in the conquest of the Caucasus, just as it is </span><span dir="ltr" style="left: 99.2127px; top: 588.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.999736);" role="presentation">difficult to say whether these people were aware of their role in this process, but the result </span><span dir="ltr" style="left: 99.2127px; top: 608.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.999645);" role="presentation">is indisputable – the Poles helped Russia to conquer this region, turning it into an integral </span><span dir="ltr" style="left: 99.2127px; top: 628.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01221);" role="presentation">part of the Russian state.</span></p> Сергей Лазарян Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 257 283 10.31648/apr.7127 TOM XXVI/3 https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7339 <p>---------</p> Iwona Anna Ndiaye Prawa autorskie (c) 2021 2021-09-30 2021-09-30 3 XXVI REDAKCJA https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7340 <p>------</p> Iwona Anna Ndiaye Prawa autorskie (c) 2021 2021-09-30 2021-09-30 3 XXVI SPIS TREŚCI https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7341 <p>--------</p> Iwona Anna Ndiaye Prawa autorskie (c) 2021 2021-09-30 2021-09-30 3 XXVI ZASADY DRUKU https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7342 <p>-------</p> Iwona Anna Ndiaye Prawa autorskie (c) 2021 2021-09-30 2021-09-30 3 XXVI Образы-схемы метафор "жизнь – путь", "жизнь – круг", "жизнь – борьба" в русской прозе В.В. Набокова https://czasopisma.uwm.edu.pl/index.php/apr/article/view/5949 <p><span dir="ltr" style="left: 195.613px; top: 492.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04376);" role="presentation">The article presents an analysis of the Russian-language prose by V.V. </span><span dir="ltr" style="left: 99.2127px; top: 512.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02437);" role="presentation">Nabokov, written during the years of emigration, in Berlin, namely, the stories</span> <span dir="ltr" style="left: 638.113px; top: 512.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.99034);" role="presentation">A Guide </span><span dir="ltr" style="left: 99.2127px; top: 532.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.983472);" role="presentation">to Berlin, The Circle</span> <span dir="ltr" style="left: 237.996px; top: 532.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.998407);" role="presentation">and</span> <span dir="ltr" style="left: 265.788px; top: 532.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.997621);" role="presentation">Tyrants</span> <span dir="ltr" style="left: 318.896px; top: 532.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00011);" role="presentation">Destroyed.</span> <span dir="ltr" style="left: 395.204px; top: 532.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.977058);" role="presentation">The identification of the key image of</span> <span dir="ltr" style="left: 645.763px; top: 532.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.983614);" role="presentation">the text </span><span dir="ltr" style="left: 99.196px; top: 552.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00973);" role="presentation">and its schematization are justified by the position of V.V. Nabokov: “I think in</span> <span dir="ltr" style="left: 636.213px; top: 552.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.991126);" role="presentation">images”.</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 572.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.08657);" role="presentation">The image underlying the texts under study is revealed through associative series </span><span dir="ltr" style="left: 99.196px; top: 592.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.992779);" role="presentation">(directions of association), which make it possible to define a key textual metaphor – “life </span><span dir="ltr" style="left: 99.196px; top: 612.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0126);" role="presentation">is a way”, which in turn includes such metaphors as “life is a circle”, “life is a fighting”.</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 632.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.07352);" role="presentation">The conditions of the game text complicate the decoding process, require a special </span><span dir="ltr" style="left: 99.196px; top: 652.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00849);" role="presentation">reader (for V.V. Nabokov, this is a “re-reader”), a deep analysis of the language material.</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 672.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.959884);" role="presentation">The author’s proposed method of constructing a matrix model of an idioset allows identifying </span><span dir="ltr" style="left: 99.196px; top: 692.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.988068);" role="presentation">encoded textual meanings. The non-standard linguistic personality of the writer presents us</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 712.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.983074);" role="presentation">with special ways of conceptualizing the world. Schematization of the complex philosophy </span><span dir="ltr" style="left: 99.196px; top: 732.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.05403);" role="presentation">of life allows large amounts of information to be “packed” into an atom of meaning.</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 752.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.999647);" role="presentation">The reference to precedent texts of different cultures and epochs confirms the universality </span><span dir="ltr" style="left: 99.196px; top: 772.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.970233);" role="presentation">of the information accumulated in the image. The revealed images are presented graphically,</span><br role="presentation" /><span dir="ltr" style="left: 99.196px; top: 792.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.988309);" role="presentation">conclusions are drawn about the philosophy of life of V.V. Nabokov: the idea of the duality </span><span dir="ltr" style="left: 99.196px; top: 812.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.973179);" role="presentation">of being, the opposition of material and spiritual, philistine and poetic, the philosophy of</span><span dir="ltr" style="left: 674.313px; top: 812.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.989853);" role="presentation">the </span><span dir="ltr" style="left: 99.196px; top: 832.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02889);" role="presentation">infinity of life processes, repetition and flow. The image becomes a place of maximum </span><span dir="ltr" style="left: 99.196px; top: 852.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01439);" role="presentation">concentration of textual meaning.</span></p> Gayane Maltseva Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 11 28 10.31648/apr.5949 Пространство и время в повести Александра Солженицына Адлиг Швенкиттен https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7112 <p><span dir="ltr" style="left: 193.946px; top: 484.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01907);" role="presentation">Many literary works of Alexandr Solzhenitsyn have an autobiographical</span><br role="presentation" /><span dir="ltr" style="left: 99.2127px; top: 504.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02908);" role="presentation">basis. Allenstein (present-day Olsztyn) is one of the important points in Solzhenitsyn’s </span><span dir="ltr" style="left: 99.2127px; top: 524.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01006);" role="presentation">personal life which led to the Nobel Prize and worldwide fame for the writer. Allenstein </span><span dir="ltr" style="left: 99.2127px; top: 544.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.986384);" role="presentation">becomes one of crucial spatial points that organize the plot of Solzhenitsyn’s military story</span><br role="presentation" /><span dir="ltr" style="left: 99.2127px; top: 564.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.991069);" role="presentation">Adlig Schwenkitten</span><span dir="ltr" style="left: 230.996px; top: 564.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02702);" role="presentation">. This work has a very characteristic subtitle, “A Tale of 24 Hours”.</span><br role="presentation" /><span dir="ltr" style="left: 99.2127px; top: 584.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00282);" role="presentation">The subtitle indicates the time of the story. The header contains information about spatial </span><span dir="ltr" style="left: 99.2127px; top: 604.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02467);" role="presentation">(geographic) coordinates. This is a narrow local area in East Prussia. The forward units </span><span dir="ltr" style="left: 99.2127px; top: 624.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.07321);" role="presentation">of heavy artillery troops move here, while the infantry and rear services remain far</span><br role="presentation" /><span dir="ltr" style="left: 99.2127px; top: 644.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04454);" role="presentation">behind. The chronotope of the story is set in an extremely specific way already in the </span><span dir="ltr" style="left: 99.2127px; top: 664.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02789);" role="presentation">title itself: the title defines the spatial coordinates, and the subtitle defines the temporal </span><span dir="ltr" style="left: 99.2127px; top: 684.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01146);" role="presentation">coordinates. In artistic terms, these are the moments that characterize the plot specificity </span><span dir="ltr" style="left: 99.2127px; top: 704.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02935);" role="presentation">of the story. The writer transforms the events of his life with the help of artistic means.</span><br role="presentation" /><span dir="ltr" style="left: 99.2127px; top: 724.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04945);" role="presentation">This transformation becomes a landmark phenomenon in literature. Behind the usual </span><span dir="ltr" style="left: 99.2127px; top: 744.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03171);" role="presentation">details, you can see the whole artistic universe, which, as the writer said, is connected </span><span dir="ltr" style="left: 99.2127px; top: 764.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01192);" role="presentation">“with the fundamental principles of human existence”.</span></p> Елена Павеелева Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 29 40 10.31648/apr.7112 Мотив воды в творчестве Марины Цветаевой https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7110 <p><span dir="ltr" style="left: 194.479px; top: 436.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02947);" role="presentation">This article is devoted to the analysis of the motif of water in the works </span><span dir="ltr" style="left: 99.2125px; top: 456.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.06009);" role="presentation">of Marina Tsvetaeva. The main goal is to trace how the concrete and simple lexeme </span><span dir="ltr" style="left: 99.2125px; top: 476.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02936);" role="presentation">“water” participates in the meaning-generating poetic process, and to prove the special</span><br role="presentation" /><span dir="ltr" style="left: 99.2125px; top: 496.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03486);" role="presentation">significance of this motif as an important sign of her creative thinking, worldview and </span><span dir="ltr" style="left: 99.2125px; top: 516.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01105);" role="presentation">creative personality in general. The article uses extensive material (about 630 examples) </span><span dir="ltr" style="left: 99.2125px; top: 536.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03781);" role="presentation">taken from poetic and prose texts to consider the main meanings of the motif of water </span><span dir="ltr" style="left: 99.2125px; top: 556.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01484);" role="presentation">and its functional features in the individual author’s viewpoint. Water, without losing its</span><br role="presentation" /><span dir="ltr" style="left: 99.2125px; top: 576.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00128);" role="presentation">natural concreteness, becomes one of the important tools for metaphorizing the processes </span><span dir="ltr" style="left: 99.2125px; top: 596.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00517);" role="presentation">and phenomena of not only the physical, but also the spiritual world of the poet.</span></p> Елена Янчук Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 41 57 10.31648/apr.7110 Витоки i розбудова теорiï психоакцентуацiï в схiднослов’янському мовознавствi: фрагментарний огляд (кінець ХХ – початок ХХІ ст.) https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7117 <p><span dir="ltr" style="left: 195.513px; top: 775.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04252);" role="presentation">This article tracks briefly the history of the development of psychoac - </span><span dir="ltr" style="left: 99.196px; top: 795.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04821);" role="presentation">centuation theory, which was transferred from the subject of study in medicine to the </span><span dir="ltr" style="left: 99.196px; top: 815.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03379);" role="presentation">linguistic field. It outlines aspects of studies of this problem in the modern East Slavic </span><span dir="ltr" style="left: 99.196px; top: 835.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.997849);" role="presentation">psycholinguistics (namely, linquo-stylistic, linguo-conceptual, communicative, pedagogi</span><span dir="ltr" style="left: 99.196px; top: 855.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.982653);" role="presentation">cal, and methodological). An application of the methodology of psychoaccentuation makes </span><span dir="ltr" style="left: 99.196px; top: 875.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04524);" role="presentation">it possible to identify the principal traits of personality without any evidence of norm </span><span dir="ltr" style="left: 99.196px; top: 895.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03713);" role="presentation">breach, mental disorders encoded in the communication, artistic language, personality </span><span dir="ltr" style="left: 99.196px; top: 915.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01158);" role="presentation">discourse and genres of speech. The article discusses psychiatrist K. Leongard’s pioneer </span><span dir="ltr" style="left: 99.196px; top: 935.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02533);" role="presentation">research on the clinical traits of accentuated personalities and the nature of accentuated </span><span dir="ltr" style="left: 99.196px; top: 955.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.97966);" role="presentation">personalities in the fiction text. His ideas were further developed by doctor A. Lychko, who </span><span dir="ltr" style="left: 99.196px; top: 975.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00863);" role="presentation">laid the groundwork for the study of accentuation in the field of linguistics. Although the </span><span dir="ltr" style="left: 99.196px; top: 995.957px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01235);" role="presentation">theory was sufficiently grounded and substantiated Leongard’s ideas were not embraced </span><span dir="ltr" style="left: 99.196px; top: 1015.96px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01968);" role="presentation">by East Slavic linguistics immediately: the Soviet era limited the functional capabilities</span> <span dir="ltr" style="left: 99.2127px; top: 140.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03574);" role="presentation">of psycholinguistics as a science. Late 20th and early 21st century marked an increase </span><span dir="ltr" style="left: 99.2127px; top: 160.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.997268);" role="presentation">in psycholinguistic research, but it was focused mainly on artistic texts (discourse) as well </span><span dir="ltr" style="left: 99.2127px; top: 180.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01658);" role="presentation">as communicative and pedagogical activities, while Leongard’s ideas drew the attention</span><br role="presentation" /><span dir="ltr" style="left: 99.2127px; top: 200.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.997672);" role="presentation">of linguists. The present study offers a classification of texts based on the theory of accen</span><span dir="ltr" style="left: 99.2127px; top: 220.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00478);" role="presentation">tuation developed by V.</span> <span dir="ltr" style="left: 262.029px; top: 220.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0034);" role="presentation">Belianin. It highlights the evolution of the main ideas of psycho</span><span dir="ltr" style="left: 99.2127px; top: 240.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00431);" role="presentation">accentuation and aspectual studies of artistic texts (phrase field theory) and the relevance </span><span dir="ltr" style="left: 99.2127px; top: 260.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.984895);" role="presentation">of this theory for the development of conceptual linguistics, communicative linguistics and </span><span dir="ltr" style="left: 99.2127px; top: 280.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.999103);" role="presentation">methodology of teaching foreign languages as promoted in the works of Russian scholars </span><span dir="ltr" style="left: 99.2127px; top: 300.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01304);" role="presentation">(T.</span> <span dir="ltr" style="left: 122.679px; top: 300.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04592);" role="presentation">Inkina, V.</span> <span dir="ltr" style="left: 195.179px; top: 300.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02138);" role="presentation">Lialina, T.</span> <span dir="ltr" style="left: 269.863px; top: 300.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00198);" role="presentation">Prokofiev, O.</span> <span dir="ltr" style="left: 363.779px; top: 300.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02);" role="presentation">Gurianichev, I.</span> <span dir="ltr" style="left: 469.663px; top: 300.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02052);" role="presentation">Mazyrka). In addition, the article </span><span dir="ltr" style="left: 99.2127px; top: 320.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.985487);" role="presentation">examines the research by Ukrainian linguists, who were mostly preoccupied with the actu</span><span dir="ltr" style="left: 99.2127px; top: 340.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.966915);" role="presentation">alization of linguistic and generic aspects of psychoaccentuation (Ya.</span><span dir="ltr" style="left: 544.046px; top: 340.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.97567);" role="presentation">Bondarenko, V,</span> <span dir="ltr" style="left: 648.063px; top: 340.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.9396);" role="presentation">Papish) </span><span dir="ltr" style="left: 99.2127px; top: 360.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02611);" role="presentation">as well as the potential of text research in the psycholinquistic field, making references </span><span dir="ltr" style="left: 99.2127px; top: 380.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.997037);" role="presentation">to the work conducted by Byelorussian scholars (V.</span> <span dir="ltr" style="left: 444.863px; top: 380.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.984256);" role="presentation">Maslova, O.</span> <span dir="ltr" style="left: 529.313px; top: 380.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.989148);" role="presentation">Ulanovych). The novelty </span><span dir="ltr" style="left: 99.2127px; top: 400.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.998732);" role="presentation">of the article is that it for the first time synthesizes scholars’ views on the implementation </span><span dir="ltr" style="left: 99.2127px; top: 420.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.988789);" role="presentation">of the theory of accentuation, while confirming the relevance of the accentuation approach </span><span dir="ltr" style="left: 99.2127px; top: 440.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00175);" role="presentation">in analysing linguistic facts. Based on the generalized results, a conclusion is made about </span><span dir="ltr" style="left: 99.2127px; top: 460.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00415);" role="presentation">the dynamic character of the issue under discussion and the possibility of further in-depth </span><span dir="ltr" style="left: 99.2127px; top: 480.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01403);" role="presentation">research and implementation in the new interpretive linguistics fields.</span></p> Віталія Папіш Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-06-30 2021-06-30 3 XXVI 101 118 10.31648/apr.7117 Забавная история из жизни животных как рече- вой жанр интернет-коммуникации https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7118 <p><span dir="ltr" style="left: 192.563px; top: 573.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.985913);" role="presentation">The authors of the article analyze selected texts of Internet communication, </span><span dir="ltr" style="left: 99.2293px; top: 593.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.05999);" role="presentation">identify the speech genre of a funny story from the life of animals, identify its typo</span><span dir="ltr" style="left: 99.2293px; top: 613.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00055);" role="presentation">logical parameters in accordance with a concept developed by Mikhail Bakhtin, show the </span><span dir="ltr" style="left: 99.2293px; top: 633.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00701);" role="presentation">stylistic originality of the ironically written and spoken presentation of the plot, compare </span><span dir="ltr" style="left: 99.2293px; top: 653.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00416);" role="presentation">the specified genre of Internet communication with the related non-media genre of funny </span><span dir="ltr" style="left: 99.2293px; top: 673.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03162);" role="presentation">stories, and demonstrate the similarities and differences between the compared genres. </span><span dir="ltr" style="left: 99.2293px; top: 693.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.997709);" role="presentation">The authors note that the genre of a funny story from the life of animals reveals its belon</span><span dir="ltr" style="left: 99.2293px; top: 713.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.994162);" role="presentation">ging to the Internet communication environment with such properties as the attractiveness </span><span dir="ltr" style="left: 99.2293px; top: 733.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.999877);" role="presentation">of the emotiogenic situation underlying its plot, hypertextual connection within the frame </span><span dir="ltr" style="left: 99.2293px; top: 753.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01479);" role="presentation">of entertainment sites, forums, and channels of the source text with other narrative texts </span><span dir="ltr" style="left: 99.2293px; top: 773.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.977585);" role="presentation">of the same genre as well as with reactive replicas-comments, where an abbreviated version </span><span dir="ltr" style="left: 99.2293px; top: 793.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02635);" role="presentation">of this genre is implemented and from whose totality a polylogue is formed as a reflec</span><span dir="ltr" style="left: 99.2293px; top: 813.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02932);" role="presentation">tion of the interactivity of Internet communication. The authors state the kinship of the </span><span dir="ltr" style="left: 99.2293px; top: 833.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02309);" role="presentation">compared genres and pay attention to the prospects of studying the specifics of Internet </span><span dir="ltr" style="left: 99.2293px; top: 853.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04223);" role="presentation">genres against the background of their non-media counterparts. The research material </span><span dir="ltr" style="left: 99.2293px; top: 873.123px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01303);" role="presentation">consists of 40 Internet texts.</span></p> Ольга Хорохордина Xiaotang Zheng Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 119 130 10.31648/apr.7118 Wacława Aleksandra Maciejowskiego spojrzenie na Rosję i Słowiańszczyznę a jego izolacja w społeczeństwie polskim w latach 50. i 60. XIX wieku https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7122 <p><span dir="ltr" style="left: 202.546px; top: 573.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.969776);" role="presentation">Historyk prawa, slawista Wacław Aleksander Maciejowski (1792–1883) był </span><span dir="ltr" style="left: 99.2127px; top: 593.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00309);" role="presentation">znaną postacią XIX-wiecznego polskiego i europejskiego życia naukowego. Tezy, opinie </span><span dir="ltr" style="left: 99.2127px; top: 613.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.961285);" role="presentation">zawarte w jego pracach slawistycznych wywołały znaczny oddźwięk w świecie słowiańskim, </span><span dir="ltr" style="left: 99.2127px; top: 633.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0035);" role="presentation">w tym i wśród Polaków. W gronie tych ostatnich znaleźli się liczni adwersarze uczonego, </span><span dir="ltr" style="left: 99.2127px; top: 653.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.975838);" role="presentation">krytykujący preferowany przezeń sposób postrzegania Rosji i Słowiańszczyzny. W artykule </span><span dir="ltr" style="left: 99.2127px; top: 673.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.989782);" role="presentation">przybliżono podłoże i uwarunkowania izolacji Maciejowskiego w społeczeństwie polskim </span><span dir="ltr" style="left: 99.2127px; top: 693.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04565);" role="presentation">w latach 50. i 60. XIX wieku, ściśle związane z jego poglądami zawartymi w drugim </span><span dir="ltr" style="left: 99.2127px; top: 713.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02044);" role="presentation">wydaniu</span> <span dir="ltr" style="left: 162.113px; top: 713.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01739);" role="presentation">Historii prawodawstw słowiańskich</span> <span dir="ltr" style="left: 409.513px; top: 713.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01322);" role="presentation">oraz w</span> <span dir="ltr" style="left: 459.479px; top: 713.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00125);" role="presentation">Piśmiennictwie polskim od czasów </span><span dir="ltr" style="left: 99.2127px; top: 733.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.997482);" role="presentation">najdawniejszych aż do roku 1830</span><span dir="ltr" style="left: 320.379px; top: 733.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00106);" role="presentation">. Uczony jawił się wówczas jako słowianofil-rusofil, nie </span><span dir="ltr" style="left: 99.2127px; top: 753.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03487);" role="presentation">będąc jednak panslawistą. W wymienionych dziełach Maciejowskiego nie spotyka się </span><span dir="ltr" style="left: 99.2127px; top: 773.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.978943);" role="presentation">akcentów panslawistycznych. Dominuje w nich idea ogólnosłowiańska, która nie może być </span><span dir="ltr" style="left: 99.2127px; top: 793.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.995981);" role="presentation">utożsamiana z panslawizmem. Znaczna część współczesnych slawiście rodaków zarówno </span><span dir="ltr" style="left: 99.2127px; top: 813.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.9936);" role="presentation">w kraju, jak i na emigracji traktowała fakt uwypuklenia znaczenia wspólnoty słowiańskiej </span><span dir="ltr" style="left: 99.2127px; top: 833.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.988599);" role="presentation">w połączeniu z jego ugodową postawą wobec władz rosyjskich w Królestwie Polskim jako </span><span dir="ltr" style="left: 99.2127px; top: 853.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.991533);" role="presentation">wymowny wyraz panslawizmu i swoistej zdrady narodowej. Stała na stanowisku, że spoj</span><span dir="ltr" style="left: 99.2127px; top: 873.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01111);" role="presentation">rzenie uczonego na Rosję i Słowiańszczyznę jest następstwem przyzwolenia na związek </span><span dir="ltr" style="left: 99.2127px; top: 893.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.03326);" role="presentation">państw słowiańskich, kierowany przez absolutystycznie rządzoną monarchię rosyjską. </span><span dir="ltr" style="left: 99.2127px; top: 913.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.964414);" role="presentation">W pracach historyka prawa nie pojawiła się teza potwierdzająca zarzuty adwersarzy o</span><span dir="ltr" style="left: 651.363px; top: 913.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.970732);" role="presentation">akcen</span><span dir="ltr" style="left: 99.196px; top: 933.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02294);" role="presentation">towaniu przez niego przewodnictwa Rosji w świecie słowiańskim i pragnieniu ścisłego </span><span dir="ltr" style="left: 99.196px; top: 953.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.999405);" role="presentation">związania z nią Polski w ramach jednej rodziny słowiańskiej. Maciejowski opowiadał się </span><span dir="ltr" style="left: 99.196px; top: 973.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.02629);" role="presentation">za równouprawnieniem obydwu krajów słowiańskich: Polski i Rosji w Słowiańszczyź</span><span dir="ltr" style="left: 99.196px; top: 993.364px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01971);" role="presentation">nie, co nie było równoznaczne ze zgodą na wyrzeczenie się aspiracji narodowych przez </span><span dir="ltr" style="left: 99.196px; top: 1013.36px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04619);" role="presentation">Polaków. Lata 50. i 60. XIX w. to okres, w którym uczony próbował własną postawą</span> <span dir="ltr" style="left: 99.2127px; top: 140.789px; font-size: 16.6667px; font-family: serif;" role="presentation">i</span> <span dir="ltr" style="left: 107.696px; top: 140.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00534);" role="presentation">różnymi deklaracjami przełamać izolację i zmienić swój niekorzystny wizerunek domi</span><span dir="ltr" style="left: 99.196px; top: 160.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.992441);" role="presentation">nujący w</span> <span dir="ltr" style="left: 163.263px; top: 160.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01137);" role="presentation">społeczeństwie polskim. Jego naznaczone dobrymi intencjami działania w tym </span><span dir="ltr" style="left: 99.196px; top: 180.789px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00642);" role="presentation">zakresie nie były wynikiem politycznego wyrachowania ani troski o korzyści finansowe.</span></p> Piotr Koprowski Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 173 188 10.31648/apr.7122 Агрессивность и ассертивность в межкультурной коммуника- ции: от чёрной к белой риторике https://czasopisma.uwm.edu.pl/index.php/apr/article/view/7123 <p><span dir="ltr" style="left: 194.113px; top: 464.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0236);" role="presentation">This article presents the author’s interpretation of a new approach to the </span><span dir="ltr" style="left: 99.2127px; top: 484.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.990932);" role="presentation">study of cross-cultural communication problems based on similarities of different cultures, </span><span dir="ltr" style="left: 99.2127px; top: 504.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.974497);" role="presentation">whose representatives are partners in cross-cultural dialogue. From a humanistic standpoint, </span><span dir="ltr" style="left: 99.2127px; top: 524.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.04738);" role="presentation">it is argued that there is an urgent need to change the paradigm of professional cross</span><span dir="ltr" style="left: 99.2127px; top: 544.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.998012);" role="presentation">cultural communication from black rhetoric to white cross-cultural dialogue – a transition </span><span dir="ltr" style="left: 99.2127px; top: 564.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.0037);" role="presentation">which can be implemented especially through the assertive behavior of its participants as </span><span dir="ltr" style="left: 99.2127px; top: 584.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01204);" role="presentation">an alternative to aggressive behavior. The main reasons for the insufficient effectiveness </span><span dir="ltr" style="left: 99.2127px; top: 604.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(0.971549);" role="presentation">of</span> <span dir="ltr" style="left: 116.563px; top: 604.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.00606);" role="presentation">cross-cultural dialogue with representatives of Russian culture are analyzed, including </span><span dir="ltr" style="left: 99.2127px; top: 624.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01894);" role="presentation">the historically conditioned unfriendly attitude of the world community towards Russia </span><span dir="ltr" style="left: 99.2127px; top: 644.018px; font-size: 16.6667px; font-family: serif; transform: scaleX(1.01627);" role="presentation">and foreign participants’ militant ethnocentrism</span>.</p> Николай Барышников Prawa autorskie (c) 2021 Acta Polono-Ruthenica 2021-09-30 2021-09-30 3 XXVI 189 206 10.31648/apr.7123