Peculiarities of the activity of public authorities within the framework of the development of e-government system

Cherkun Elena Yur'evna PhD in Philology Associate Professor of the Department of the German and French Languages at Buryat State University 670000, Russia, Respublika Buryatiya oblast', g. Ulan-Ude, ul. Cmolina, 24a, of. 3306 tscherkun@mail.ru Other publications by this author

Nimaeva Erzhena Zoriktoevna Postgraduate student, the department of Translation and Cross-Cultural Communication, Dorji Banzarov Buryat State University 670000, Russia, Respublika Buryatiya oblast', g. Ulan-Ude, ul. Sukhe-Batora, 16, of. 3306 nimaeva.erzhena@mail.ru

The study of the problem of identification originates in psychoanalysis, in which identification is understood as "an unconscious process of imitation of the behavior or certain qualities of the person with whom the individual identifies himself." There are many theories and stories of the genesis of modernity, often competing with each other. But they all agree that the modern world arises as a breakdown of borders ^[6].  The term "identity" was introduced into wide scientific usage thanks to the research of psychologist Eric Erickson in the middle of the twentieth century. By this term, the scientist understood "the process and result of the organization of life experience throughout a person's life, the phase of an individual's development, closely related to his social adaptation" ^{[9, p. 139]}. In the future, the term "identity" became widely used in other sciences with such refinements as "social", "ethnic", "cultural", etc. ^{[12, p. 704]}.  "Some researchers distinguish between such concepts as ethnic and cultural identity, considering the first as "awareness of belonging to a certain ethnic community from the standpoint of genetic, blood kinship, community of territory", and the second as "awareness of belonging to a given (ethnic, national, regional) community based primarily on cultural characteristics of the latter"" ^{[9, pp. 139-141]}. 

According to I. V. Malygina, ethno–cultural identity is "a complex socio-psychological phenomenon, the content of which is both the individual's awareness of community with a local group based on shared culture, and the group's awareness of its unity on the same grounds, the psychological experience of this community, as well as individual and collective forms of its manifestation" ^{[1, p. 466]}. This study will use the definition of the term in question proposed by G. A. Morzavchenkov with additional indication of the psychological nature of the phenomenon: "Ethno–cultural identity is a psychological category, the essence of which consists in the awareness of one's belonging to a particular ethnic community on the basis of the common territory of residence, stable features of culture and language" ^{[9, p. 141]}. The choice of this definition as the initial one was influenced by the reflection of the individual aspect of the object under consideration and the indication of the community of the territory of residence, culture and language as criteria of ethno-cultural identity, which is relevant for this study.

Ethno-cultural identity is further understood as a psychological category, the essence of which consists in the awareness of one's belonging to a certain ethnic community on the basis of a common territory of residence, stable features of culture and language ^{[1; 8; 9]}.

Language, being an ethnocultural phenomenon, reflects all the changes of the ethnos that occur at different stages of its development. The state of the language and its lexical composition allow us to restore the chronicle of changes in the life of the language community and its achievements. The type of communicative behavior is generated by linguistic reality in accordance with lifestyle, culture and accepted social norms of communication. The identity of each culture and mentality of an ethnic group is ensured primarily through language. The socio-cultural adaptation of new generations to the ethno-cultural environment of older ones is due to language. All of the above allows us to consider language as one of the most important channels of ethno-cultural continuity and factors of ethno-cultural identity. It is language that plays the most significant role in the construction of ethno-cultural identity due to its functions of education and preservation of culture ^{[9, pp. 225-227]}.

Consequently, the possession of two native languages (which is often characteristic of people born in an interethnic marriage and/or emigrated) and long-term residence on the territory of countries in which these languages are official, play a significant role in the formation of an ethno-cultural identity of a person, becomes its feature and is expressed as a problem of ethno-cultural self-identification.

Speaking about the speech of the writer, the bearer and creator of the national culture of speech, we note that it is built according to the stylistic norms of the modern national literary language, the rules and laws of its development ^{[4, p. 40]}. The style of a prose work, representing the principle of integrity and unity of the linguistic organization of the work ^[5], is primarily associated with the concept of the "image of the author", its artistic and speech structure ^{[2; 13]}.

The subject of speech in a work of fiction is the "image of the author". In poetics and stylistics there is no unambiguous definition of the category "the image of the author". The word "author" in a work of fiction can be used in three meanings, organically related to each other:

1) the "author" as a real person, the creator of the work;

2) the "author" as a subject represented in the work itself along with its other characters, as one of the actors;

3) the "author" as a creative subject inherent in this work, designated by the work itself – the artistic personality of the writer ^{[2, p. 243]}.

       At the same time, one should not separate an artistic work from the personality of its creator. From the point of view of stylistics, the "image of the author" highlights the internal and external sides. From the inside, the "image of the author" appears as a "certain point of view", which creates the unity of the writer's own moral attitude to the subject. From the outside, the "image of the author" is connected with the issues of the use of language in a literary work. In accordance with this, the "image of the author" reflects the way of individualization of the content and the way of individualization of the verbal-speech structure of the work of art ^[2]. The term "style of an artistic work (Stil der Belletristik)", also known as "literary style" is widely used in the field of literary communication. The style of a work of art draws attention to the textual structures of the work and is formed by the personality of the author and his free choice of stylistic means. The stylistic means selected by the author, regarding both vocabulary and syntax, are very diverse. To achieve aesthetic impact, the author has many semantic, syntactic and typographic stylistic possibilities. This style is a special use of the language and should not be put on a par with other functional styles. The specificity of the style of fiction is based on the possibility of using elements characteristic of all other styles and sources ^{[15, p.12]}.

Next, we turn to the peculiarities of the ethnocultural identity of the writer O. Ruge, the analysis of which seems relevant for this study.       German writer, director and translator Eugen Ruge was born in 1954 in the village of Sosva, Sverdlovsk region. The writer's father Wolfgang Ruge was born in 1917 in Berlin. Wolfgang Ruge was a German historian of the GDR. His family fled to the Soviet Union in 1933 after the Nazis came to power, after a German raid he was sent by the Soviet authorities as a forced laborer to a GULAG penal camp in the Northern Urals. The writer's mother is a Russian girl, there is no available information about her name and profession. In 1956, O. Ruge's family left the USSR and began life in East Berlin ^[16].

Speaking about his ethno-cultural identity, the writer notes: "I look at Russia from a rather specific perspective. Russian Russian is my mother, part of my identity is Russian… My Russian is not perfect, but I have preserved my children's vocabulary."^[3]

O. Ruge emigrated from the USSR to the GDR at the age of 2. In accordance with the stages of development of the child 's ethnic characteristics , Zh . Piaget, the future writer at the time of emigration could not have a process of acquiring knowledge about his ethnic and cultural affiliation. Russian Russian. We believe that at the age of 7-9 years, at the age of acquiring the first fragmentary knowledge of his own ethno–cultural identity and subsequent distinct self–identification, the future writer, being the child of an interethnic marriage in which the father is German and the mother is Russian, living in the GDR and speaking German and Russian, had grounds for "attributing" himself to to a greater extent to the German ethnic group and to a lesser extent to the Russian one) ^[10]. The considered feature of O. Ruge's ethno-cultural identity is illustrated using Diagram 1.

The diagram shows that during the period of the formation of ethno–cultural identity, O. Ruge had a large degree of grounds for "attributing" himself to the German ethnic group, since the values of the rows reflecting the criterion of "nationality of parents" are equal (father is German, mother is Russian), and the values of the rows reflecting the criteria of "territory of residence" and "language" the categories of "German ethnic group" exceed the values of the series of the category of "Russian ethnic group" (the writer has lived in the GDR most of his life since the age of 2).

 Even in childhood, a person feels the need to feel part of some kind of community, part of "we". Ethnic community has a special stability in time, because it is impossible to "exclude" a person from an ethnic group. In the process of socialization and inculturation, society "attributes" a child to a certain ethnic group. As a result, most people do not face the problem of choice, while members of minority groups and children from interethnic marriages in the process of ethno-cultural identification, except for the criterion of attribution (who society perceives them to be) a significant role is also played by the criterion of internal choice (who they realize themselves to be) ^{[1, pp. 466-469]}.

The peculiarity of O. Ruge's ethno-cultural identity, which consists in its multiplicity due to birth in an interethnic marriage and emigration from the USSR to the GDR, is reflected in the theme and problems of the novel "In Zeiten des abnehmenden Lichts" ("Days of Waning Light"): the theme of relations between historical events of the country, the life of a private person and family, the problems of "fathers and children", the search for their own path, the problem of memory and love for the Motherland. The composition of O. Ruge's novel "In Zeiten des abnehmenden Lichts" represents the private stories of representatives of four generations of one East German family from 1952 to 2001.  

Thus, the consideration of the features of the author's ethno-cultural identity in the aspect of its formation shows that O. Ruge experienced difficulties in ethnocultural self-identification, having grounds for "attributing" himself to both Russian and German ethnic groups, which also indicates the plurality of his identity. O. Ruge had more grounds for "attributing" himself to the German than to the Russian ethnic group. Let's consider further how this similarity and difference are reflected in the writer's artistic speech.

The features of the writer's style are considered in accordance with the structure of the writer's style at three levels: objective-psychological, subjective-psychological and linguistic.

The basis of the objective psychological level consists of such psychological features as the type of thinking and the type of imagination. These features are directly related to the design of the content, as they are associated with certain qualities of thought and the nature of depiction. In accordance with this, two types of writers are traditionally distinguished: the visual (visual) type and the auditory (acoustic) type type ^[14]. The peculiarity of the analyzed work is the variety of perceptions, along with visual and auditory perceptions, they also affect impressions, which are based on smells and skin sensations, which is reflected in the vocabulary. It should be noted that the particularly vivid abundance of auditory images in O. Ruge's novel makes it possible to attribute the writer to the auditory (acoustic) type ^{[11, p. 92]}.

In order to identify the features of subject depiction and determine the type of writer in accordance with this, we will present examples of images of objects caused by different types of perception. Let's start with an analysis of the most vivid visual images presented in the novel.

Nadezhda Ivanovna, the grandmother of the main character Alexander, who lived most of her life in the Ural village of Slava, lives after moving to the GDR with her daughter Irina and her German husband Kurt.

Example 1: October, 1989, the "days of waning light" came, which became the leitmotif of the whole work, because that's what the novel is called – "In Zeiten des abnehmenden Lichts" (dosl. "In times of waning light"), "Days of waning light". Nadezhda Ivanovna looks out of the window and feeling the sunlight, seeing the birches "shining with yellow light", thinks about Glory, that potatoes were planted in the village at that time: "Drau?en war es sehr hell, als sie aufsah, so hell, dass es wehtat. Die Birken leuchteten gelb, ein warmer Herbst dieses Jahr, gut f?r die Ernte, dachte Nadjeshda Iwanowna. In Slawa wurden jetzt die Kartoffeln gemacht, die ersten Feuer rauchten schon, das Kartoffelkraut brannte, und wenn erst mal das Kartoffelkraut brannte, dann war sie gekommen, unwiderruflich: die Zeit des abnehmenden Lichts“. In this example, the depicted object is light, the power of which is emphasized: 1) by combining the epithet "hell" ("bright, bright") with the adverb "sehr" ("very") in the function of amplifying the meaning, 2) by repeating "sehr hell" ("very bright"), "so hell" ("so bright") in combination with the subordinate clause "... dass es wehtat" ("what hurt").

Sunlight is an allegory of human life in the analyzed novel: being born, a person begins his life like the rising sun, in old age a person's life is approaching the end like the sunset, the light of which decreases with him. As the sun sets and rises again, the waning light in the work awakens in the reader not only a feeling of sadness, but also hope.

In general, visual images carry a strong expressive load in combination with reinforcing particles and, being at the same time a means of visual expressiveness, perform not only the function of a "visual" image of an object, but also a means of depicting the emotional state of the characters.

In general, visual images in the novel do not differ in noticeable diversity, which in no way detracts from their significance and stylistic load ^{[11, p. 94]}.

Let's turn to the consideration of the most interesting auditory images in the work of O. Ruge.

Example 2: Nadezhda Ivanovna perceives the German speech heard at the anniversary of Wilhelm's daughter's father-in-law as "the usual stream of cracking, guttural sounds": "Die Deutschen redeten viel, das war ja nichts Neues, alles Studierte, die hatten sich viel zu erz?hlen, f?r Nadjeshda Iwanowna war es nichts als der ?bliche Schwall schnarrender, kehliger Laute."The subject of the image is German speech in the perception of a Russian elderly woman, for whom the alienness of a non-native language is emphasized by the author by combining the metonymy "Schwall" ("stream") with an epithet expressed by the definition in the genitive case (das Genitivattribut) "schnarrender, kehliger Laute" ("cracking, guttural sounds"), in which the expressive-the epithets "?blich" and "kehlig" perform the pictorial function.

It should be noted the wide variety of vivid auditory images created with the help of verbs (for example: schrillte (shrill rang) das Telefon; das Parkett unter seinen Fen knarrte (creaked); Irina h?rte ihn scharren (rattled) und klappern (rattled), etc.) throughout the novel, which are a distinctive element of the description system in this work of the writer.

Let's analyze the images based on the perception of reality through the organs of smell and touch. Let us turn to the consideration of examples 3-6.

Example 3: Meeting for the first time after separation from his father, Alexander remarks: “Es war der Geruch des Alters... Kurt roch auch gewaschen und z?hnegeputzt." In this example, the subject of the image is the smell, for which the author uses: 1) the definition in the genitive case (das Genitivattribut) of "des Alters" ("the smell of old age") and epithets expressed by the passive participles "gewaschen" ("washed"), "z?hnegeputzt" ("brushed" meaning "the smell of toothpaste"). The considered expressive means help the reader to "relive" the moment of this meeting in the same way as Alexander, as their hero experienced: the ellipsis at the end of the first sentence creates the effect of understatement, for the hero the old age of his father is an inevitable phenomenon that does not surprise him. In addition, the reader involuntarily thinks from the first pages of the work about its title.

Example 4: Kurt, after saying goodbye after a difficult meeting with his son Alexander, decides to return home by taxi: "Es war ein Wolga, ein breites Gef?hrt mit weichen Sitzen, das, wie alle Russenautos, nach Russenauto roch – ein Geruch, der ihn immer ein bisschen an Moskau erinnerte: Schon die alten Pobeda-Taxen hatten so gerochen.“ In this sentence, the author draws attention to the preserved memories of Moscow, which were caused by the smell of the Volga, using: Russian Russian cars, smelled like a Russian car"), 2) predicative definition (das pr?dikative Attribut) "... ein Geruch, der ihn immer ein bisschen an Moskau erinnerte ..." ("... the smell that always reminded him of Moscow"), 1) comparison "wie alle Russenautos, nach Russenauto roch" ("like all Russian cars, smelled like a Russian car"), 2) predicative definition (das pr?dikative Attribut) "... ein Geruch, der ihn immer ein bisschen an Moskau erinnerte..." ("... the smell that always reminded him of Moscow"), 3) comparisons "die alten Pobeda-Taxen hatten so gerochen" ("old taxis " Victory"smelled the same"). In our opinion, depicting this situation, the author hints at Kurt's subconscious sense of guilt in front of Alexander, because in the conversation his son reproached him that he and his mother did not allow him to live the way he wanted. Kurt feels a distance from his son, which has already happened during his business trips to Moscow.

Example 5: Charlotte, Alexander's grandmother, goes up every day to a room located on the top floor of a house, the smell of dust and roof beams of which on hot days evokes childhood memories associated with punishment: "Wo es an hei?en Tagen nach Staub und Dachbalken roch-ein Geruch, der sie auf dem?tigende Weise an den Geruch in der Kammer erinnerte, in die ihre Mutter sie zur Strafe einzusperren pflegte.“ In the sentence under consideration, the subject of the image is the smell in the room, the meaning of which is revealed by the author using: 1) prepositional definition (das pr?positionale Attribut) "nach Staub und Dachbalken roch" ("smelled of dust and roof beams"), 2) predicative definition (das pr?dikative Attribut) "... ein Geruch, der sie auf dem?tigende Weise an den Geruch in der Kammer erinnerte, in die ihre Mutter sie zur Strafe einzusperren pflegte" (a smell that humiliatingly reminded her of the smell of the room in which her mother, punishing, locked her). Thus, the author evokes in the reader a feeling of pity for the heroine, who, in the only room in which she can relax, be alone, she remembers bitter memories from childhood.

Example 6: Alexander, traveling in Mexico in 2011, in the country to which his grandmother Charlotte and grandfather Wilhelm fled and returned to Germany after several years of living in it, feels the heat and various smells: "Es ist schw?l und hei?, und auf dem Kurs durch die schmalen Stra?en wehen durch das offene Fenster verschiedene Ger?che herein: Frittier?l, Abwasser, der Duft aus offenstehenden Friseurl?den, Autoabgase, frischgebackene Tortillas, und an einer Stelle...riecht es tats?chlich nach dem Nitratd?nder aus Omis Wintergarten.“This example, illustrating Mexican streets, combines perceptions based on both the sense of touch and the sense of smell. The author uses: 1) the epithets "schw?l" ("stuffy, sultry"), "hei?" ("hot"), 2) the means of stylistic syntax enumeration with asyndetic compositional connection, asyndetic enumeration of nouns creates in this example the effect of such saturation of sensations that causes fatigue: "... verschiedene Ger?che herein: Frittier?l, Abwasser, der Duft aus offenstehenden Friseurl?den, Autoabgase, frischgebackene Tortillas..." (smells "...different smells: vegetable oil for deep frying, sewage, the smell of open hairdressers, car exhaust gases, freshly baked tortillas...").  Such a combination of means in the subject depiction helps the author to convey more descriptive information, which contributes to the creation of a more holistic picture of what is depicted in the reader's mind. 

The previously analyzed examples of subject figurativeness are illustrated using Diagram 2.

Thus, the analysis of examples of subject figurativeness in O. Ruge's novel "In Zeiten des abnehmenden Lichts" allows us to conclude that the feature of this work is the multifaceted nature of concrete imagery: in addition to bright visual and auditory images, which are considered to be traditionally dominant in literature as a whole, the author creates no less vivid images, based on which are the smells and tactile sensations. It is important to note that sensations based on the perception of smells are conveyed in the novel using a variety of rhetorical means and play a significant role in depicting fragments from childhood, when describing the author's memories.

The plurality of the ethnocultural identity of the writer O. Ruge is characterized by the identity of the individual to two ethnic groups. This is reflected in the peculiarities of the style of his work, in the peculiarities of the subject figurativeness of the work of art under study. The degree of the desire of an author with multiple identity to consider a particular national culture in a work of art depends on the difference in the grounds for "attributing" himself to a particular ethnic group during the formation of his ethno-cultural identity: the lack of grounds for realizing his belonging to one of the two ethnic groups increases the likelihood of a more multilateral artistic consideration the national culture of this ethnic group.