В настоящей статье рассматриваются сходство и различие семантических процессов, происходящих при восприятии прецедентных поэтических заглавий – пушкинских строк и имен шекспировских героев (Гамлет, Офелия) в стихотворениях других поэтов и в текстах русскоязычных версий гламурных журналов, посвященных модным тенденциям.
У даній статті розглядаються схожість і відмінність семантичних процесів, які відбуваються при сприйнятті прецедентних поетичних заголовків – пушкінських рядків та імен шекспірівських героїв (Гамлет, Офелія) у віршах інших поетів і в текстах російськомовних версій гламурних журналів, присвячених модним тенденціям.
In this article we consider the semantic processes that take place in the perception of precedent poetic titles – Pushkin's lines and names of Shakespeare's heroes (Hamlet, Ophelia) in the poems of other poets and in the texts of Russian-language versions of glamorous magazines devoted to fashion trends. While there is a similarity of the semantic processes occurring between the title and the text in the poetic and mass-media discourses, there are certain differences: 1. The poet himself chooses a precedent title for his poem. A precedent heading to the glamorous text is often chosen by Headliner. 2. The title and poem refer to one discourse. The headline and glamor text refer to different discourses. 3. The poet interprets an episode of the original in accordance with his plan, the journalist sets out a completely different story. 4. The precedent title is closely related to the poetic text. It is addressed to the reader for the purpose of poetic communication, as a result of which the whole complex system of cultural associations, rapprochement and opposition associated with a literary work emerges. The precedent headline in mass media discourse is rather weakly connected with the glamorous text. It addresses the reader with the aim of involving him/her in a language game based on the difficulty of unraveling the reasons for the appearance of this quote as a heading to particular text
