Интерсемиотические отношения в переводе культурного иного (на примере фильма „Ностальгия” Андрея Тарковского)

The title nostalgia in Andrei Tarkovsky’s film is evoked by the Russian writer’s longing for his family and homeland. It is activated in his contact with another culture, in this case with Italian culture. This paper attempts to provide an analysis of the mechanisms used by the director to make a pr...

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Main Author: Maria Mocarz-Kleindienst
Format: Article
Language:deu
Published: Adam Mickiewicz University in Poznań 2019-08-01
Series:Studia Rossica Posnaniensia
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Online Access:https://pressto.amu.edu.pl/index.php/strp/article/view/19507
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author Maria Mocarz-Kleindienst
author_facet Maria Mocarz-Kleindienst
author_sort Maria Mocarz-Kleindienst
collection DOAJ
description The title nostalgia in Andrei Tarkovsky’s film is evoked by the Russian writer’s longing for his family and homeland. It is activated in his contact with another culture, in this case with Italian culture. This paper attempts to provide an analysis of the mechanisms used by the director to make a projection of this emotional state and to portray it in the film. A number of intersemiotic relations among visual, verbal and sound codes were analysed. The following relations were identified: complementarity, parallelism and contradiction. The provided examples show the significance of the visual code as an indicator of cultural otherness. They also prove the diversity of stylistic devices used for transposing emotional states to the physical world.
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publisher Adam Mickiewicz University in Poznań
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series Studia Rossica Posnaniensia
spelling doaj-art-bb4397c8bd7042fab3beda699b1a00662025-08-20T02:43:32ZdeuAdam Mickiewicz University in PoznańStudia Rossica Posnaniensia0081-68842019-08-0144110.14746/strp.2019.44.1.11Интерсемиотические отношения в переводе культурного иного (на примере фильма „Ностальгия” Андрея Тарковского)Maria Mocarz-Kleindienst0Katolicki Uniwersytet Lubelski Jana Pawła II, Lublin – PolskaThe title nostalgia in Andrei Tarkovsky’s film is evoked by the Russian writer’s longing for his family and homeland. It is activated in his contact with another culture, in this case with Italian culture. This paper attempts to provide an analysis of the mechanisms used by the director to make a projection of this emotional state and to portray it in the film. A number of intersemiotic relations among visual, verbal and sound codes were analysed. The following relations were identified: complementarity, parallelism and contradiction. The provided examples show the significance of the visual code as an indicator of cultural otherness. They also prove the diversity of stylistic devices used for transposing emotional states to the physical world.https://pressto.amu.edu.pl/index.php/strp/article/view/19507linguistic humourneologismslinguistic gamesintertextual references
spellingShingle Maria Mocarz-Kleindienst
Интерсемиотические отношения в переводе культурного иного (на примере фильма „Ностальгия” Андрея Тарковского)
Studia Rossica Posnaniensia
linguistic humour
neologisms
linguistic games
intertextual references
title Интерсемиотические отношения в переводе культурного иного (на примере фильма „Ностальгия” Андрея Тарковского)
title_full Интерсемиотические отношения в переводе культурного иного (на примере фильма „Ностальгия” Андрея Тарковского)
title_fullStr Интерсемиотические отношения в переводе культурного иного (на примере фильма „Ностальгия” Андрея Тарковского)
title_full_unstemmed Интерсемиотические отношения в переводе культурного иного (на примере фильма „Ностальгия” Андрея Тарковского)
title_short Интерсемиотические отношения в переводе культурного иного (на примере фильма „Ностальгия” Андрея Тарковского)
title_sort интерсемиотические отношения в переводе культурного иного на примере фильма ностальгия андрея тарковского
topic linguistic humour
neologisms
linguistic games
intertextual references
url https://pressto.amu.edu.pl/index.php/strp/article/view/19507
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