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Title of the article: |
TERM-ASSOCIATION-IMAGE IN RUSSIAN AND POLISH BY THE EXAMPLE OF CHOREOGRAPHIC ART |
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Author(s): |
Vitalii V. Emelianenkov |
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Information about the author/authors |
Vitalii V. Emelianenkov — Postgraduate Student, Maria Curie-Sklodowska University, Maria Curie-Sklodowska Sq., 5, 20-031 Lublin, Poland. |
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Section |
Philological sciences |
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Year |
2022 |
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Volume |
Vol. 65 |
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Pages |
pp. 247–255 |
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Received |
September 14, 2020 |
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Approved after reviewing |
April 20, 2021 |
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Date of publication |
September 28, 2022 |
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DOI: |
https://doi.org/10.37816/2073-9567-2022-65-247-255 |
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Index UDK |
811 |
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Index BBK |
81-3+85.32 |
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Abstract |
There is an opinion found across the scientific literature that the term is something consciously regulated by a person, but as practice shows, this is not always the case. A choreographic terminological system may serve as a vivid example of this phenomenon. The present study focuses on choreographic terms in Russian and Polish aiming to conduct a comparative analysis with the subsequent identification of common and distinctive features of manifestation of the influence of associative-creative thinking on the terminological system. The collected terms were divided into three conditional groups: the first group included terms and concepts common to the Russian language with the same Slavic base, the terms that are unique only to a present language made into the second, while the third group contained terms that exist in Russian, but are absent in Polish. As the present study shows, choreographic art and its terminological system are inextricably linked, and since the secret meaning is hidden in its terms, what kind of associations will be found behind them, will determine the actual art of dance. At the same time, the author points out that the lack of clear terms for certain movements entails a low level of choreographic mastery. |
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Keywords |
term, choreography, thinking, association. |
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References |
1 Vaganova A. Osnovy klassicheskogo tantsa [The Basics of Classical Dance]. Moscow, Leningrad, Iskusstvo Publ., 1963. 180 p. (In Russian) 2 Genev-Pukhaleva I. Terminologiiata na Evropeiskiia S"iuz. S"postavka na b"lgarskata, gr"tskata, polskata i angliiskata terminologiia na pravoto na okolnata sreda [Terminology of European Union. Matching of Bulgarian, Greece, Polish and English Law Terminology of Environment]. Katowice, Wydawnictwo Uniwersytetu Śląskiego, 2015. 229 p. (In Bulgarian) 3 Danilenko V. Russkaia terminologiia: Opyt lingvisticheskogo analiza [Russian Terminology. Experience of Linguistic Analysis]. Moscow, Nauka Publ., 1977. 248 p. (In Russian) 4 Oboimina E. Maiia Plisetskaia. Boginia russkogo baleta [Maya Plisetskaya. Goddess of Russian Ballet]. Moscow, Algoritm Publ., 2017. 304 p. (In Russian) 5 Serebrennikov N. Podderzhka v duetnom tantse [Support in a Duet Dance]. Leningrad, Iskusstvo Publ., 1969. 135 p. (In Russian) 6 Iakovitska V. O nekotorykh osobennostiakh professional'nogo baletnogo slovoupotrebleniia v sovremennom russkom iazyke [About some Features of Professional Ballet Word Usage in Modern Russian Language]. Studia Rossica Posnaniensia, 1978, vol. 10, pp. 35–41. Available at: https://bazhum.pl/bib/article/340840/ (Accessed 30 August 2022). (In Russian) 7 Jakowicka W. Baletnaia leksika v russkom i pol'skom iazykakh [Ballet Lexicon in Russian and Polish]. Poznań, UAM Publ., 1981. 163 p. (In Polish) |
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