European International Journal of Multidisciplinary Research
and Management Studies
87
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TYPE
Original Research
PAGE NO.
108-110
DOI
OPEN ACCESS
SUBMITED
28 March 2025
ACCEPTED
24 April 2025
PUBLISHED
26 May 2025
VOLUME
Vol.05 Issue05 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
National Precedent
Phenomena of Russian
Artistic Discourse
Mamatkulova Kamola
Doctoral student of Termez State University, Termez, Uzbekistan
Abstract:
The article explores national precedent
phenomena as key components of Russian artistic
discourse. These phenomena serve as culturally
marked units that function as carriers of collective
memory and conceptual identity. Drawing on linguistic,
cultural, and discourse analysis, the article outlines the
typology, features, and functions of precedent
phenomena in Russian literature, cinema, and media
art. Special attention is paid to the interaction between
precedent texts, names, and situations with the
sociocultural context of Russian-speaking society.
Keywords:
Linguistic, cultural, and discourse analysis,
the article outlines the typology, features.
Introduction:
In linguistic and cultural studies, the
notion of precedent phenomena (термин В.Н.Телия,
1993) has gained significance as a means of analyzing
the cultural-semantic space of national discourse.
These are linguistic or cultural units
—
names, texts,
statements, situations
—
that are widely recognized
within a particular linguistic and cultural community
and evoke a shared associative background.
Russian artistic discourse
—
which includes literature,
theater, cinema, visual arts, and digital media
—
heavily
relies on precedent phenomena to convey complex
cultural meanings, reinforce ideological narratives, and
establish intertextual connections. This paper focuses
on the specific role of national precedent phenomena
in the construction and perception of meaning within
Russian artistic discourse.
Theoretical Background
Precedent phenomena are defined by several criteria
(Telia, 1993; Krasnykh, 2002):
•
Cultural recognizability within a national
community;
•
Cognitive anchoring in the collective
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and Management Studies
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European International Journal of Multidisciplinary Research and Management Studies
consciousness;
•
Textual or situational origin (e.g., a famous
novel, phrase, historical episode);
•
Frequent usage as condensed semantic
units.
They are typically divided into several types:
•
Precedent texts (e.g., War and Peace by L.N.
Tolstoy);
•
Precedent names (e.g., Pushkin, Lenin,
Natasha Rostova);
•
Precedent statements (“Жить —
Родине
служить”);
•
Precedent situations (e.g., the duel between
Onegin and Lensky).
These elements are interwoven into the artistic
discourse as tools for evoking emotional response,
cultural identification, and ideological resonance.
Functions of Precedent Phenomena in Artistic
Discourse
•
Cognitive and Cultural Function
Precedent phenomena act as markers of cultural
memory. Referencing Pushkin, Dostoevsky, or the Siege
of Leningrad immediately invokes layers of historical
and emotional meaning that are culturally embedded.
These references allow creators and audiences to share
implicit meanings without lengthy explanations.
•
Intertextual Function
Artistic texts often draw on previous works
—
sometimes directly, sometimes ironically. For instance,
postmodern Russian literature frequently reworks
canonical texts (e.g., Ulitskaya’s dialog with Chekhov;
Sorokin’s grotesque echoes of socialist realism). The
use of precedent material establishes intertextual ties
that signal belonging to a broader cultural dialogue.
•
Evaluative and Ideological Function
Precedent phenomena carry evaluative potential. For
example, invoking the “hero of the Soviet Union” figure
or “Pavlik Morozov” immediately positions a character
or situation ideologically. Artistic discourse uses these
cues to align or challenge dominant narratives.
Typology of Precedent Phenomena in Russian Art
o
Literary Precedents
•
Classic texts (Pushkin, Tolstoy, Chekhov) act
as “cultural constants.”
•
Recurring archetypes (e.g., the лишний
человек or the маленький человек) form symbolic
frameworks for understanding modern characters.
o
Historical and Political Precedents
•
Events such as the October Revolution,
WWII, or perestroika function as cultural reference
points.
•
These events are artistically reinterpreted in
films (e.g., Burnt by the Sun, The Cranes Are Flying) and
visual art.
4.3. Mythological and Religious Precedents
•
Russian Orthodoxy, folk tales, and Slavic
mythological motifs are foundational in many works of
Russian visual and performative art.
o
Media and Pop-Culture Precedents
•
Soviet cinema, iconic songs, and slogans
(e.g., “Я шагаю по Москве”) have entered the
precedent sphere due to mass cultural influence.5.
Precedent Phenomena in Contemporary Russian
Discourse
In the 21st century, digital media and new platforms
(social networks, memes, video art) have transformed
the usage and scope of precedent phenomena. Hybrid
forms emerge
—
combining Pushki
n’s texts with digital
remixing, or recontextualizing Soviet slogans in ironic
meme-culture.
This process reflects both the continuity of cultural
memory and the dynamism of artistic reinterpretation.
CONCLUSION
National precedent phenomena function as cognitive-
cultural markers in Russian artistic discourse, serving to
encode shared values, reference cultural archetypes,
and provoke reflection. Their intertextual and
ideological functions make them indispensable tools
for artists, writers, and performers working within or in
dialogue with Russian cultural heritage.
Understanding these phenomena is crucial for scholars
of language, literature, semiotics, and cultural studies,
as it reveals how meaning is constructed, transmitted,
and transformed within the cultural space.
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