Tom Stoppard and postmodernism (based on «rosencrantz and guildenstern are dead»)

У статті розглянуто та проаналізовано ті риси п’єси «Розенкранц та Гільденстерн мертві», які вказують на те, що це зразок постмодерністичної літератури. Серед них пародія, структура твору «п’єса в п’єсі», двозначність, інтертекстуальність, плюралізм, бінарна опозиція та мінімалізм. (The article deals with analysis of those features of the play «Rosencrantz and Guildenstern are Dead» which prove that it is an example of postmodern literature. Among them there are parody, the structure «play within the play», ambiguity, intertextuality, pluralism, binary opposition, minimalism.

Діалог у п'єсі Тома Стопарда «Розенкранц та Гільденстерн мертві» (Dialogue in Tom Stoppard’s «Rosencrantz and Guildenstern are Dead»)

У статті розглянуто та проаналізовано лінгвістичні і структурні особливості діалогу у п’єсі Тома Стоппарда «Розенкранц та Гільденстерн мертві». Виокремлено такі риси діалогу, як: повтор, кліше, абзаци з елементами мюзик-холу, штучна мова, гра слів і вербальні натяки. Виявлено структурну схожість аналізованої п’єси із п’єсою Семюеля Беккета «В Очікування Годо». (The article deals with analysis of linguistic and structural peculiarities of dialogue in «Rosencrantz and Guildenstern Are Dead» by Tom Stoppard. Such features of dialogue as repetition, clichés, music-hall passages, ready-made language, play of words and verbal byplay have been singled out. It has been discovered that the play under study is structurally close to the play «Waiting for Godot» by Samuel Beckett. Some of the music-hall exchanges in «Rosencrantz and Guildenstern Are Dead» seem to be direct parallels to those in «Waiting for Godot». In the play under analysis the music-hall talk consists of ready-made stock sentences. There are passages where the order of the lines is not the only possible one, but could be changed without affecting the «intelligibility» of the dialogue. In such passages the sentences have become almost interchangeable building blocks and speech merely a game. One more peculiarity concerns the cohesive relations within music-hall passages. The bulk of the passage forms one logical and associative entity. There is a tendency in «Rosencrantz and Guildenstern Are Dead» towards considerable logical and associative cohesion within music-hall passages. Stoppard strives for smooth transitions from one scene to the next, providing associative and logical links between topical units. The associative and logical links can, however, be somewhat artificial, contrived through verbal trickery.

THE PHENOMENON OF SILENCE IN S. BECKETT’S PLAYS. (Феномен мовчання в п'єсах С. Беккета)

У статті розглянуто та проаналізовано феномен мовчання у п’єсах С. Беккета. Виявлено, що мовчання актуалізоване у досліджуваних творах як на рівні структури п’єс, так і лексично. Мовчання представлене як авторською ремаркою «пауза» або «тиша», так і дієсловами та похідними іменниками, що позначають розумові процеси. Частіше за все мовчання є більш інформативно змістовним, ніж вчинки персонажів. (The article deals with analysis of the phenomenon of silence presented in S. Beckett’s plays. It is discovered that silence is actualized at both structural and lexical levels of the plays under study. Silence is shown with the help of author’s remark «pause» or «silence» as well as verbs and derivative nouns denoting mental processes. Silence is often.) more informative than personages’ actions

Структурні та лінгвістичні особливості п’єси «Everyman» (Structural and linguistic peculiarities of the play «everyman»)

У статті розглянуто та проаналізовано структурні і лінгвістичні особливості середньовічної п’єси мораліте «Everyman»крізь призму цінностей епохи Середніх віків. У центрі п’єси – християнська доктрина про грішність та спасіння людини. П’єсі притаманна структура зростання-спадання, що стосується самої дії п’єси, семантичного наповнення прологу і епілогу, рими та римування. П’єсі властиві також мовна економія та урочиста і позбавлена емоційності мова. (The article deals with analysis of structural and linguistic peculiarities of medieval morality play «Everyman» through values, beliefs, mentality and socio-cultural attitudes of such epoch as the Middle Ages. The play focuses on Christian doctrine of human sinfulness and salvation which became the central notions of this era. The typical feature of this drama is two-part structure – descent-ascent pattern which is obvious in dramatic action, semantic content of prologue and epilogue, rhyme scheme. Through the two-part structure the pattern deepens the importance of the doctrine and evokes the inevitable emotional tension. Solemn, serious and non-emotional but at the same time economic language is inherent of the drama «Everyman». Every idea or thought is expressed in as little words as possible and repeated only once in the flow of the speech. The most prevalent use of structure can be found in the rapidly successive rhyming verses shared between characters involved in dialogue. The distribution of rhymes throughout dialogue provides insight to the pace and flow of the scene. The use of punctuation is unusual. The heavy use of commas breaking up the first half of thoughts elevates tension and creates a sense of building up and up until a reader comes to a certain point. The structure and the language of the play fulfil a didactic function to make a reader think and learn a lesson.

Gibbons-Hawking radiation of gravitons in the Poincare and static patches of de Sitter spacetime

We discuss the quantization of linearized gravity in the background de Sitter spacetime using a gauge-invariant formalism to write the perturbed gravitational field in the static patch. This field is quantized after fixing the gauge completely. The response rate of this field to monochromatic multipole sources is then computed in the thermal equilibrium state with the well known Gibbons-Hawking temperature. We compare this response rate with the one obtained in the Bunch-Davies-like vacuum state defined in the Poincar\'e patch. These response rates are found to be the same as expected. This agreement serves as a verification of the infrared finite graviton two-point function in the static patch of de Sitter spacetime found previously.Comment: 10 pages, no figures. Accepted for publication in Physical Review

Gravitational waves emitted by a particle rotating around a Schwarzschild black hole : A semiclassical approach

We analyze the gravitational radiation emitted from a particle in circular motion around a Schwarzschild black hole using the framework of quantum eld theory in curved spacetime at tree level. The gravitational perturbations are written in a gauge-invariant formalism for spherically symmetric spacetimes. We discuss the results, comparing them to the radiation emitted by a particle when it is assumed to be orbiting a massive object due to a Newtonian force in at spacetime

Graviton two-point function in 3+1 static de Sitter spacetime

In [R. P. Bernar, L. C. B. Crispino and A. Higuchi, Phys. Rev. D 90 (2014) 024045.] we investigated gravitational perturbations in the background of de Sitter spacetime in arbitrary dimensions. More specifically, we used a gauge-invariant formalism to describe the perturbations inside the cosmological horizon, i.e. in the static patch of de Sitter spacetime. After a gauge-fixed quantization procedure, the two-point function in the Bunch–Davies-like vacuum state was shown to be infrared finite and invariant under time-translation. In this work, we give details of the calculations to obtain the graviton two-point function in 3 + 1 dimensions. </jats:p

Testing the pecking order theory of Capital structure: Kazakhstan Experience

The aim of this work is to test whether publicly available companies from Kazakhstan follow the pecking order theory of capital structure in their financial decisions. We defined the importance of the financial leverage ratio as a key coefficient demonstrating financial stability of the company. The financial reports of the biggest companies were used to identify the independent variables which become the determinants of capital structure choice. Results of econometric analysis partially confirmed the predicted hypotheses of the relationship between leverage ratio and determinants. Overall, the outcomes of this work assist financial managers in terms of financial risk management and strategical decision making in defining the capital structure of the firm

АЛЮЗІЯ У П’ЄСАХ С. БЕККЕТА «ЧЕКАЮЧИ НА ГОДО» ТА «КІНЕЦЬ ГРИ»

This article deals with allusion used by Samuel Beckett in his early plays “Waiting for Godot” and “Endgame”. As the main reader of Beckett’s plays is an intellectual reader, the central stylistic device is an allusion relying on the reader’s profound knowledge of the Bible. The structure of the allusion can be various – from a word or a short phrase to a whole sentence or a passage. Very often Beckettian allusion contains stylistic devices among which are rhetorical questions, parallel constructions, detachment, epithet, metaphor and different graphical means. The function of these stylistic devices is to add expressiveness or colouring, emphasize certain idea, give the author’s vision of the problem or reflect his attitude. Except for quotations and characters from the Bible, the texts of the plays are filled with biblical lexicon. The playwright uses not only explicit allusions, when the very name or quote from the Bible is given in the text in its original or slightly modified form, but also implicit allusions, when the reader should take a hint as the idea is given in indirect way. Both plays focus on core Christian values and concepts like sincere repentance, mercy, compassion, hope, salvation, predestination, punishment and sinfulness.У статті розглянуто використання С. Беккетом алюзії у своїх ранніх п’єсах «Чекаючи на Годо» та «Кінець Гри». Оскільки основним читачем беккетівських п’єс є читач-інтелектуал, центральним стилістичним прийомом є алюзія, яка розрахована на обізнаності читача у Біблії. У п’єсах, які аналізуються у статті, домінує біблійна алюзія – як експліцитна, так і імпліцитна. Структура алюзії є різноманітною – від одного слова чи короткої фрази до цілого речення. Часто у складі алюзії присутні стилістичні прийоми – риторичне запитання, паралельні конструкції, відокремлення, епітет, морфологічний повтор, метафора та різноманітні графічні засоби. Окрім цитат та образів з Біблії, тексти дуже широко наповнені біблійною лексикою