Статья: АНТРОПОЦЕНТРИРОВАННЫЕ ПРОСТРАНСТВА В ДАТСКОЙ КОМПОЗИТНОЙ НОМИНАЦИИ И ДАТСКОЙ ГРАММАТИКЕ (2025)

In the article, the structure and key content aspects of the new textbook Economy of Benelux Countries by E. A. Sergeev, PhD in Economics, Associate Professor of the Departments of World Economy and History and Politics of European and American Countries at MGIMO-University, Senior Researcher at the Institute of International Studies (MGIMO), and Zh. N. Komissarova, PhD in Economics, Associate Professor of the Department of World Economy at MGIMO-University. There still exist gaps in Russian research of small European countries and Belgium, the Netherlands, and Luxembourg in particular. The textbook is designed to fill one of these gaps and presents a comprehensive analysis of the three economies, covering topics from real, financial, and foreign economic sectors to social systems and enterprise size structure in the Benelux countries. The textbook is well-grounded with extensive illustrative material — numerous tables and graphs based on national and international statistics, including an original — first in Russian research — Dutch economic history periodization. Another significant advantage is the explanation of theoretical concepts (e. g., “small open economy”) using examples of Belgium, the Netherlands and Luxembourg, which not only familiarizes the reader with the (sub)region’s economy, but also increases their theoretical knowledge. The textbook also includes a thorough description of individual issues of particular relevance to Benelux — e. g., TNCs, demographic and migration is sues, labor market transformation and precarious employment, and regional economic imbalances. The textbook by E. A. Sergeev and Zh. N. Komissarova is thus of great importance for Benelux research and European studies, and is recommended for reading by university students, their teachers, and researchers

«Эпабунт», «эпадунк», «культура эпа» — эти названия можно часто встретить во многих шведских источниках. Об этом явлении неоднократно писали Aftonbladet, Dagens Nyheter, Språktidningen, Expressen и другие шведские издания. Эпадунк неоднократно становился темой обсуждения на шведском телевидении (СВТ) и в сообщениях шведского радио. Изначально проявивший себя как музыкальный жанр, эпадунк стал настолько популярным, что Языковой совет Швеции включил его в новый список слов в 2022 г. Что же такое эпадунк на самом деле и в чем состоит его суть? В настоящее время эпадунк — это не только популярное музыкальное направление, но и целая молодежная культура. Для него свойственна связь со шведской раггарской традицией прошлых поколений, проявляющаяся в уважении к старым автомобилям. Однако в отличие от раггаров, поклонников американской рок-культуры поздних 1950-х гг., представители эпадунка ориентированы на сохранение и продвижение шведской национально-культурной самобытности. Это проявляется в популяризации известных в Швеции еще с начала XX в. эпа-тракторов и особенно подчеркивается в музыке исполнителей жанра эпадунк, характеризующейся включением в тексты музыкальных композиций исконно шведских реалий, которые отражают особенности национальной жизни. При этом большой акцент в эпадунке сделан еще и на свободе самовыражения по наиболее актуальным молодежным проблемам. Способность открыто выражать свои мысли обусловлена тем, что эпадунк — это в первую очередь цифровой феномен, активно развиваемый на стриминговых и общедоступных сервисах. В такой связи эпадунк предстает не только как популярное явление, совмещающее в себе уважение к традициям и популяризацию свободы слова. Это к тому же молодежное течение, для участников которого свойственно выражение своей национально-культурной идентичности через появление и распространение нового эпа-лексикона и продвижение шведских национально-культурных маркеров

The article focuses on three colours among those present in Danish politics: red, blue and purple. While red and blue seem to have a long history, as these political colours have been historically used by socialist and liberal parties, their symbolic meaning in Danish politics over the last thirty years has become more nuanced, due to the fact that they represent something more than mere allegiance to the ideas they stand for. They indicate belonging to the socialist and the liberal bloc that form the two-bloc system, which can be perceived as an attempt to combine some features of a two-party system with the pluralism of a multi-party one. Until the last 2022 Folketing elections almost all parties, regardless of their specific party colours, could be put either on the red, or on the blue scale in election-polls, while the emergence of The Moderates (Moderaterne) led by Lars Løkke Rasmussen, a classical centrist party, has introduced another colour into the mix: purple. The use of political colour and corresponding collocations in Danish media are explored in order to establish, how deeply the red-blue divide has influenced the general understanding of party and government politics. Another goal is to explain the choice of the purple (and not violet) colour, which seems to communicate much more than the aesthetic taste of the party’s leadership. The emergence of new colour collocations in Danish politics and the overall willingness to use them by the Danish-speaking community can be indicative of the long-awaited changes in collective political preferences, not limited to the emergence of the new party. The use of different hues of red and blue also features in the research, as it helps understand the peculiarities of the Danish political life and the aspirations of prospective voters

The article deals with the peculiarities of the modern Finnish detective novels compared to Scandinavian noir. Among the distinctive features of Scandinavian detective novels one can name psychologicalism, the special role of the Nordic landscape, the aestheticisation of violence, mystical atmosphere and the image of the protagonist, who is usually a non-ideal policeman. On the material of 10 novels by Finnish authors (Leena Lehtolainen and Elina Backman) and 9 novels by Swedish authors (Lisa Marklund and Camilla Läckberg) a comparative analysis is carried out in order to identify the characteristic features of the Finnish detective novel. L. Lehtolainen is one of the writers who pioneered the modern Finnish detective novels, with her first novel written in 1993. Her works have been translated into 29 languages. E. Backman started writing in 2020, her novels have been translated into 15 languages and translation rights have been sold to 17 countries. Their works convey the problems and values of Finnish society not only to Finnish but also to foreign readers. L. Marklund and C. Läckberg published their debut novels at the turn of the 20th and 21st centuries, and their works are also popular in different countries and well known in Finland. The analysis revealed common characteristics of Swedish and Finnish detective novels, e. g. a combination of analytical and action-packed plot, reference to typical problems of the welfare state. The peculiarities of Finnish detective novels include the significant role of teams in professional environment, which demonstrates the level of trust in the police in society; the absence of problematisation of gender roles in society, which proves the possibility of real equality of women; the description of nature not as a background landscape, which illustrates the special attitude of Finns to nature; the desire of writers to acquaint the reader with the Finnish way of life

This paper examines the representation of the “other” culture in 19 th-century travelogues, using the examples of Robert Watt’s Traveller’s account Letters from Russia (1867) and Bayard Taylor’s Northern Travel: Summer and Winter Pictures of Sweden, Denmark and Lapland (1857). The traditions of travelling and their reflection in both travelogues are presented, including the popularity of routes to Russia and Northern Europe. The cultural background of the travelogue genre of the mid-19th century is identified, as well as the characteristic features of travelogues, among which is the traveller’s perception of the “other” culture in comparison with his own culture or previously perceived ones. The subject of this study is the individual narrative strategies used by the authors to achieve the goal of conveying their own perception of the “other” world to the reader. A comparative analysis of the narrative structure and dialogicality of the authors’ narrative is made, including the representation of the “other” culture through the traditional documentary structure of travelogues; the static and dynamic nature of the narrative is revealed, the intention is the pinnacle of the journey. The consideration of the “other” culture analyses stereotypes specific to the regions of the narrative, the debunking or confirmation of pre-existing knowledge; the relationship between the cultural and natural features of the regions. The narrators’ immersion in the “other” culture and the narration of their own experiences and feelings during the journey are described. The inevitability of dialogue between “other” and “own” culture, their rapprochement or estrangement is the basis of the travelogue genre

This article deals with the problem of an author’s national identification if this author fits in two different literary traditions. West-Icelandic literature is a specific phenomenon that belongs to both Icelandic and American or Canadian literatures. The early Icelandic immigrants in North America (Stephan Stephansson, Gestur Pálsson, Torfhildur Þorsteinsdóttir, Jóhann Magnús Bjarnason) created the strong literary tradition in the native language, which was considered a part of the Icelandic writing culture. The descendants of the first generation of Icelandic immigrants (Páll Bjarnasson, Laura Gudman Salverson) wrote their books mostly in the English language but kept the connection to Icelandic poetry and prose and discussed actual Icelandic community problems. These authors generally had double self-identification as Icelanders and Americans. They did not lose their national identity in an alien cultural environment. The new stage of the development of West-Icelandic literature started when the young generation of Icelandic immigrants came to the USA and Canada in the second half of the 20th century. Kristjana Gunnars is one of the writers who was born in Iceland but in Canada started to write in English. Her first books, One-Eyed Moon Maps (1980) and Settlement Poems (1980, 1981), focused on problems of immigration and self-identification, but in the 1990s she left these themes and wrote primary novels and poetry not in touch with Icelandic topics. That was Gunnars’ way to the world literature. Nevertheless, she is identified by readers as an Icelandic author and classified by literary scholars as a Canadian-Icelandic writer because the works are considered a continuation of Icelandic rich lyrical and narrative tradition

Статья посвящена изучению истории первых переводов произведений шведского писателя Августа Стриндберга (1849–1912) на русский язык. Первые подтвержденные нами переводы относятся к 1890 и 1892 гг. В 1890 г. опубликован один рассказ, двумя годами позднее вышли переводы еще трех произведений. Начиная с 1892 г. количество публикаций растет, на данный момент нами зафиксировано существование более 40 переводов, выполненных в промежутке между 1890 и 1908 гг., когда начинается издание первого полного собрания сочинений Стриндберга. Переводы были выполнены преимущественно со шведского языка целым рядом известных переводчиков того времени — Ю. Балтрушайтисом, А. и П. Ганзенами, С. Городецким, М. Лучицкой, В. М. Саблиным, В. Фирсовым и др. Большинство текстов были опубликованы в периодических изданиях («Русское богатство», «Русский вестник», «Киевлянин», «Северные сборники» издательства «Шиповник» и др.), однако авторами статьи был обнаружен и выпуск собрания сочинений, полностью посвященный Стриндбергу. Кроме того, тексты писателя фигурируют в сборниках, включавших в себя произведения как скандинавских писателей, так и других видных авторов той эпохи. Наибольшей популярностью среди издателей пользуется рассказ Samvetskval (букв. «Угрызения совести», 1884), переведенный на русский язык минимум шесть раз с разными заглавиями — «Мучения совести», «Терзания совести», «Угрызения совести», «Укоры совести». Опубликованные переводы требуют дальнейшего текстологического анализа и комментария. Отдельный интерес вызывают отклики на творчество Стриндберга, написанные разными категориями читателей, им также уделяется внимание в статье

Ondanks de snelle ontwikkeling van de taalwetenschap beïnvloeden taaltheorieën traditioneel slechts oppervlakkig tussenwerpsels als eenheden waarop de basiswetten van de taal praktisch niet van toepassing zijn. Een van de centrale kwesties bij het begrijpen van de klasse van tussenwerpsels is de omvang van deze klasse, evenals de lijst met groepen die erin zijn opgenomen. Als onderdeel van een brede benadering van de klasse van interjectieve woorden omvatten emotionele kreten ook componenten die vanuit de religieuze sfeer in de klasse van tussenwerpsels zijn terechtgekomen en oorspronkelijk werden gebruikt om een hoger wezen aan te duiden. Talrijke eufemiseerde formaties uit stammen met betekenis god in de Nederlandse taal vertegenwoordigen een aanzienlijke groep woordenschat die een alomvattende taalkundige beschrijving vereist, evenals een begrip van de bijzonderheden van het religieuze en sociale leven in Nederland door de geschiedenis heen. Sinds het midden van de 17e eeuw geeft het Nederlandse taalmateriaal rijke productiviteit aan tussenwerpsels die de componenten God ‘God’ en Jezus ‘Jezus’ bevatten of daaruit zijn gevormd door verschillende soorten transformaties. De geschiedenis van het verschijnen van de geanalyseerde tussenwerpsels in de Nederlandse taal kan worden onderverdeeld in 3 fasen: 1) tot de 17e eeuw; 2) 17 e eeuw — 1ste helft 20ste eeuw; 3) 2de de helft 20ste eeuw. De volgende problemen worden ter discussie gesteld in verband met de groep tussenwerpsels die wordt behandeld: identificatie van prototypische vormen en betekenissen voor een bepaalde set, variabiliteit van de spelling van kleine letters / hoofdletters van de woorden God ‘God’ en Jezus ‘Jezus’ in de samenstelling van tussenwerpsels, ontwikkeling van eufemistisch gebruik. De beschrijving van de mechanismen voor het verschijnen van bijwoordelijke betekenissen met de bijwoordeljke componenten verdient speciale aandacht, wat het onderwerp is van een afzonderlijk overzicht dat buiten dit artikel valt. De prototypische betekenissen en vormen van de betreffende tussenwerpselgroep vertegenwoordigen de kern van een bepaalde lexicaal-semantische groep. Er worden talloze mechanismen van eufymisatie beschreven aan de hand van het voorbeeld van deze groep woorden, die de betekenis op verschillende manieren “verduisteren” op het niveau van fonetiek, grafische afbeeldingen, maar ook door het gebruik van geleende woordenschat. Alle behandelde verbuigingsmethoden zijn ondergeschikt aan het hoofddoel — om het taboe op het gebruik van een eenheid die is ontleend aan de sfeer van religie voor gebruik in het dagelijks spraakgebruik weg te nemen. Wijst op de eigenaardigheden van het gebruik van de geanalyseerde vormen in de noordelijke en zuidelijke varianten van de Nederlandse taal

This article explores the representation of mental disorders in Norwegian podcasts. The study aims to analyze the linguistic strategies used by podcast participants — including hosts, experts, and people with lived experience — to construct the image of illness and to identify approaches to destigmatizing mental disorders within these podcasts. The research is based on the analysis of spoken texts from projects such as Hverdagspsyken (‘Psychology of Everyday Life’) and Noia (‘Noia’). The findings reveal that mental health podcasts contribute to shaping a constructive image of illness, presenting it as a complex yet manageable condition that can be treated and reevaluated in a positive light. This approach seeks to reduce stigma and integrate mental health into everyday discourse, fostering a more inclusive society where individuals feel valued and accepted. Persons with lived experience, alongside other podcast participants, actively challenge entrenched stereotypes. By sharing their personal experiences, they often use artistic devices to create a more tangible and relatable depiction of disorder for an empathetic audience. Moreover, they present the disorder not only as a source of suffering but also as a catalyst for personal growth, which helps diminish feelings of hopelessness and cultivates a more optimistic view of mental health conditions. The podcast format lends itself to informal, conversational discussions of mental health issues, which, despite remaining partially taboo in society, are addressed with openness and authenticity. This creates an immersive listening experience for the listeners. Even in the absence of editorial censorship, hosts and experts consistently use politically correct language, reflecting the distinctive features of Norwegian public discourse.

French cuisine is famous all over the world, and French dishes are cooked and served everywhere, including Norway. Along with the dishes, their names have been borrowed, undergoing spelling, phonetic and semantic changes. Since French names of dishes and products have been penetrating into European languages for several centuries, many of them are not perceived as borrowed by the speakers of these languages. The article examines the place of French loanwords in Norwegian culinary discourse: the use of such vocabulary in home cooking and its functioning in cafés and restaurants. Purist sentiments have always been quite strong in Norway, which is explained by the history of the country and the Norwegian language. This fact also manifests itself in relation to the culinary vocabulary, which contains a significant number of borrowings mainly from the French language. A comparison of borrowings of this kind found in Norwegian with borrowings into the Russian culinary lexicon, which has experienced the exceptionally strong French influence, demonstrates that both in quantity and composition these lexical-semantic groups in the two languages are comparable. The English translations of Norwegian words in the paper show that often the same French lexemes were borrowed into English, too. As for the composition of Norwegian culinary designations of French origin, these are nouns (mainly names of products and dishes) and verbs (designations of food processing methods). French substantive borrowings have entered everyday Norwegian long ago and firmly, and the finely developed French terminology of food processing is widely used in the professional discourse of chefs. Cafés and restaurants are visited to satisfy hunger in a festive atmosphere, an element of which is the French names of dishes. The desire of purists to eliminate French loanwords from the Norwegian culinary vocabulary is hardly realisable. In the field of cookery, however, the translator’s false friends are revealed.

Irina Kuprijanova, professor emerita ved Institut for Udenlandsk Litteraturhistorie, en af landets førende eksperter i dansk litteratur, var gået bort i en alder af 95 den 28. december 2024. Irina Kuprijanova gjorde en betydelig indsats for at introducere både de kendte og mindre kendte navne for den russiske læser. De fleste af de bøger, der er udgivet i oversættelse fra dansk til russisk, har Irina på den ene eller anden måde beskæftiget sig med. Hun har skrevet forord og kommentarer til mange oversættelser fra dansk og hun er forfatter til mange artikler om dansk litteratur. Med det imponerende omfang af publikationer havde hun stor betydning som formidler om Danmark — encyklopædisk, kulturelt, videnskabeligt og litterært. Formidling gik begge veje og ud over formidling af viden om dansk og skandinavisk litteratur til russerne også omfattede formidling af russisk litteratur til danskere. Indtil 1981 arbejdede Irina på Nordisk Institut. Derefter fik hun ansættelse ved Institut for Udenlandsk Litteraturhistorie, men fortsatte også med at undervise ved sit gamle institut: hun holdt forelæsninger, underviste i dansk og vejledte ph. d.-studerende. Som leder af Institut for Udenlandsk Litteraturhistorie holdt Irina forelæsninger om den vesteuropæiske litteraturhistorie for studerende fra forskellige institutter