DOI: 10.25136/2409-8698.2019.6.31357

Abstract: This article is devoted to examining the work of four renowned modern poets: Anna Alchuk (1955-2008), Marina Tyomkina (1947), Galina Rymbu (1990), and Oksana Vasyakina (1992). Belonging to different generations, these authors still find substantial similarities, which are pointed out in the article. The subject of this research is the gender problematic in the poetry of Alchuk, Tyomkina, Rymbu and Vasyakina, which is discussed in a broader context of the changes taking place within the modern literary process. The novelty of this research consists in the parallel examination of the work of these authors, who were previously looked at in scientific research separately or not at all. In analyzing the gender problematic within the poetic texts of Anna Alchuk, Marina Tyomkina, Galina Rymbu, and Oksana Vasyakina, it was discovered that the younger poets more clearly display the connection between the poetic art and political engagement.

DOI: 10.25136/2409-8698.2022.6.38300

EDN: PCEQBC

Abstract: In this article, the object of research is a novel by Mark Z. Danilevsky's "House of Leaves" in the context of postmodernism. The subject of the study is the phenomenon of the chronotope in the novel by Mark Z. Danilevsky's "House of Leaves". Special attention is paid to the cultural and historical analysis of the postmodern context and the belonging of Roman Danilevsky to it. A general cross-section of the state of the socio-cultural environment from the moment of publication of the work to the present is given. The analysis of the publications of foreign researchers who have already addressed this topic, and the analysis of their views on the spatio-temporal features of Roman Danilevsky is carried out. The characteristic features of the theories of postmodernism that took shape in the postmodern era in their relationship with the novel "The House of Leaves" are singled out and described separately. By means of a comparative analysis addressed to foreign studies in the field of philosophy, as well as to literary and critical works devoted to the "House of Leaves", an indirect conclusion about the categories of space-time in the novel is formulated. The properties of the "House of Leaves" narrative related to these categories are described: layering, intersection and interaction of various narrative levels of the novel. Based on the study of the features of the chronotope "House of Leaves", the dominants are established, according to which the novel can be attributed to the current of postmodernism. The scientific novelty lies in the description of the author's narrative strategy, which led to the creation of the chronotope of the original type. The question of the future of novels based on the chronotope of the type described in the article continues to be debatable.

DOI: 10.7256/2306-1596.2013.3.10184

Abstract: The article is devoted to the two antagonistic movements in modern music, Post-Serialism Modernism and Experimental Post-Modernism. The author of the article describes the scope of concepts 'modern music', music of the 'early modern period' as well as the genesis, formation and development of the concept of universal Serialism and modern discussions on Post-Serialism compositions legitimizing the culture and ideology of IRCAM. Post-Modernistic tendencies are presented in the form of several phenomena: the concept of unlimited aleatory composition, the art of interaction and John Cage's conceptual art, 'new simplicity' of American composers, the subjectivity crisis and the faith in progress, Wolfgang Rihm's 'inclusive composition', Jean Liotard's 'condition of Post-Modernism', followers of the information theory and 'graphic designers' and Karlheinz Stockhausen's 'Charter for the Youth'. The significance of researching the three concepts of musical language is determined by the fact that the tone system is no more a harmonizing principle or a universal code for different esthetics and techniques.  The new intepretation of the theory of music offered by Theodor Adorno, Pierre Boulez and Karlheinz Stockhausen (and others) has changed the art of perception and listening to music and involves the 'free perception' (Helmut Lachenmann's expression). 

DOI: 10.25136/2409-8698.2018.2.26494

Abstract: The subject of a special study of this article is the eschatological character of the texts of one of the prominent representatives of Russian postmodernism Victor Pelevin. The analysis of short prose is carried out from the standpoint of hermeneutics and receptive aesthetics. In the texts of Victor Pelevin there is a sufficiently large number of signs, similar to the mandatory standard of ideas about the end of life, the final fate of a character / image that is on the verge of a transition from a literal existence in the available reality to a new form of existence. For the author, life on the edge is a way to manifest existence in a new turn of perception. This approach to the evaluation of V. Pelevin's prose has not yet been undertaken in contemporary literary criticism. The methodology of the work is based on the criteria of comparative comparative structural analysis, the principles of comparative studies and receptive aesthetics. Particular attention is paid to the methods of organizing artistic space and time, methods of objectifying the lifeline, and verifying the conditional epistemological finale. The urgency of the issue is explained by the fact that the principles of eschatological poetics are the key to understanding the large narrative forms of the specified author. The paper concludes that the aesthetic effect of small prose consists in the constant increment of connotative series, in references to the world classical literature, in the transformation of plot moves, in the epistemological standard of images, in the verification of values. The style of small prose by Victor Pelevin combines the postmodernist rules for the organization of a literary text and the classical eschatological tradition.

DOI: 10.25136/2409-8698.2024.4.70179

EDN: OTFTRF

Abstract: The article examines the features of the concept of the historical novel by Walter Scott on the example of Barry Unsworth's novel "Morality Play". The purpose of this article is to identify the features and principles of the historical method. The great merit of the outstanding Scottish writer Walter Scott (1771-1832) is that he introduced the principle of historicism into literature and wrote a number of brilliant historical novels. In them, readers see a picture of the struggle of contradictory and complex interests of various social groups, parties, and religious sects. His historical novels provided a better understanding of contemporary issues. He combined historical truth with fiction, explaining the validity of such a connection by saying that “the most important human passions in all their manifestations, as well as the sources that feed them, are common to all classes, states, countries and epochs; hence it invariably follows that although this state of society affects opinions, way of thinking and the actions of people, these latter are extremely similar in their very essence. Walter Scott was the founder of the historical novel in its modern sense. In the XIX century, he developed the principles of the historical method, which made it possible to create fascinating novels, freed from excessive archaization of language and at the same time fully conveying the originality and recognizable imprint of the described epoch. In the 19th century, along with the tradition dating back to Walter Scott, another form of aesthetic insight into the past also asserted itself. Real historical characters in such works are optional, although their presence is not excluded. The "hero" for the writer is not a historical event, but an "epoch". The author of such a work creates his own self-sufficient world, achieves credibility not by more or less accurately following historical material, but by the reality of the psychological experience of the characters, the reality (often illusory) of everyday life. The novel "Morality Play" is a historical detective novel by British writer Barry Unsworth, was published in 1995, and was first published in Russian in 2005. The novel is an example of a fruitful combination of two updated genres: new historical fiction and metaphysical detective.