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The role of battle-field chronotop in the structure of the novels Yellow Cross by A. Struh and The Silent Don by M. Sholokhov is examined through poetics in the comparative aspects; specific features of two authors'humanist positions as their contribution to many-voiced "democratic litterature" about the First World War are characterized on the level of intertextual callings.
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The article treats poetic the creative work of two great poets and emigrants Henrikas Radauskas (1910–1970) and Boris Poplavsky (1903–1935). Radauskas’ creative work is closely related to many known phenomenons of the World Literature and Art in the postwar period. Radauskas like Poplavsky is interested to aesthetics of surrealism at all, he knows the poetry of the Russian emigration, also Poplavsky’s creative work. Both poets in their poems adventurously compares images, various realities. Often incomparable things become close at carnival play. Radauskas ignores law of empiric and prefers a fairy-tale, but Poplavsky – a miracle. For better understanding of parallels and differences of Lithuanian and Russian poets creative work in the article is analysed representation of the time and space. In this relation fundamental attention is paid to angel, Orpheus, the moon, height, abyss and deepness. Orpheus overcomes the time in Radauskas’s creative work and the space in Poplavsky creative work. In the poems of both poets phantasmagoric, surrealistic visions is related to the moon. In the lyric plot of Radauskas uncloses terrestrial and cosmic abyss, which embody the abyss of art too. The motive of abyss refills by the motive of depth and bottom in Poplavsky’s and Radauskas’ creative work. The bottom of Universe is deepest in Poplavsky creative work (29th poem from “The Automatic Poems”). It represents absolute loneliness. The impressive view of bottom opens in Poplavsky’s 166th poem “The Automatic Poems”. Here is represented the carnival, which connect heroes of various period. The parallel for this Poplavsky’s poem is Radauskas’ poem “Čiurlionis”.
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In this article we analyse the peculiarities of chronotope in Laurence Sterne's novel “The Life and Opinions of Tristram Shandy, Gentleman”. Our research is focused on the final stage of the development of the 18th century English novel as considered from the viewpoint of the genre characteristics of the novel under study. We show that Sterne, having created the novel-dialogue and the novel-conversation, on the one hand, continued the European epic tradition, and, on the other hand, was the first who made the game of chronotopes an independent subject of artistic interpretation and understanding.
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In the research we consider that the chronotope is the optimal term for describing the time and space relation as it enables to draw attention to the intrinsic connection between the movements in space within the text and the time. The large scale of internationality in the Nowhere Man allowed the author to picture the country without wistfulness that is typical for the emigrant prose. Idealization of a hometown image is not due to the nostalgy for place but time. The novel is intended for the foreign reader and it represents Sarajevo as a point in space and time that was ideal to spend the adolescence and understand that life has no limits. The chapters dedicated to Sarajevo lack the emotional descriptions, exact details and names of places that the reader cannot relate to because of different experience. The fact that concept of home as one of the mythologems is missing also supports the reasoning behind the title of the novel. Conversely, in his columns for the Dani magazine Aleksandar Hemon treats the chronotope differently. The chronotope of Sarajevo almost does not have the time marks and at the same time the exact places in space are meticulously defined as they are supposed to be meaningful for the audience. This allows the author to show it as timeless and support the mythology connected to the image of the city.
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The interrelations of time and space in literature, or chronotope, as it is called by Bakhtin in his book Questions of Literature and Aesthetics, constitute a fundamental unity reflecting unbreakable bonds between space and time (time as the fourth dimension of space). He defined chronotope as a literary category whose meaning is related to genre, with chronotopes characteristic to each genre and its different configurations of space and time. In literature, the primary category in the chronotope is time. The term is also used in mathematics and it was introduced as part of Einstein's Theory of Relativity. The paper sheds light on the features of chronotope in the theory of narrative.
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The aim of this research is to conduct a hermeneutic and aesthetic analysis of Borche Panov’s lyrical poem, titled “Michelangelo” (Panov, 2014). The hermeneutic analysis in this context has no theological backing and is not a sum of methodological procedures intended to unravel the unique and the only possible meaning of the text. On the contrary, the analysis is done in the light of the theories of Heidegger, Gadamer and Bakhtin. The analysis is, in fact, aimed at disclosing several likely interpretations of the poem from the perspective of the phenomenology of human existence, perceived through language, and directed towards elucidating the chronotope of the human being, i.e. the chronotope of the light. Given that the title and the content of the poem make an explicit reference to the famed Renaissance poet, Michelangelo, the aim is to determine the way in which that extra-textual connection is established, or in other words, to inspect how the language in the lyrical poem functions and makes the interpretation possible.
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The article summarizes the data about compound words with the first component ин- ‘one’ in the Slavonic literature up to the fifteenth century. The sources used are both texts from the Old Bulgarian time (including those preserved in later copies) and later medieval translations. The systemized material is analyzed from the perspective of the type of works in which the lexemes are attested, the chronology of their appearance and their presence in the manuscript tradition. The research confirms the existence of 30 lexemes of the type, which belong to 15 word-formation nests. They are found in written sources of various genres but their distribution is not uniform and many of them are hapaxes. No data are obtained on the regional distribution of this type of words but it is confirmed that, as a whole, the compound words with ин-, meaning ‘one,’ belong to the archaic lexical layer. Their place was gradually occupied by other two-root models (mostly with йедин-). The morpheme ин- ‘one’ completely lost its derivational ability and remained attested only in copies of early texts. Among the three relict uses in translations of the post-Old Bulgarian time – инодушьно; иночендъ and инорогъ – only the latter appears more than once and in more than one work and its longevity is to be explained with the fact that it is known from the Bible.
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The article starts with the observation that Sigmund Freud’s teaching is based on the experience gained in the treatment in psychiatric clinics but has become a comprehensive theory seeking to explain the secret manifestations of the spirit. For the first time it has shed light on a series of mysterious mental facts and has made it possible to penetrate into the depths of the unconscious. Psychoanalysis has an experimental basis and is a precise psychological method. It helps establish the spiritual structure composed of the conscious and unconscious and the preconscious in between. Psychic life is governed by two basic principles – pleasure and reality. Artistic creativity largely reflects the struggle between reality and drives as well as its consequences in the unconscious. The reason for psychoanalyzing artistic works as well as the poet's soul, is the fact that aesthetically valuable works are created almost unconsciously. The motives of the work and the poet's characters manifest his inclinations in a disguised form. Therefore the psychoanalysis of a specific work includes not only the analysis of it alone, but also of its author at definite periods of his development. Special attention among the unconscious human complexes has been given to the Oedipus complex which has inspired many authors. His influence on the work of several Bulgarian poets has been analyzed including Hristo Botev, Ivan Vazov, Pencho Slaveykov, Dimcho Debelyanov and Peyo Yavorov
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Abstract: The novel by Czech exile and underground author Jan Pelc is one of the most infamous novels of the 1980s. The book presents a particular model of underground subculture and focuses on a group of youths who do not fit to mass society or totalitarianism. Decadent, overthrown and fully removed from social conventions, these youths live according to their own rules. They live in permanent danger to their lives. This is where the main question comes in: is this the common Czech underground, or is this literary image just a possibility? This novel evokes ambivalent comments.
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Using literature in English language training provides a large number of advantages for learners such as developing their reading skills, contributing to better understanding of the foreign language, and providing an authentic model of language use. Combining reading with practice tests developed on the basis of the plotline,vocabulary, and grammar exhibited in each story can produce numerous benefits for foreign language learners and it is an effective tool for consolidating knowledge and developing skills to use the foreign language in different situations.The Language Trainer series published by Koala Press implements the idea of combining literary texts with tests designed to consolidate the learners’ knowledge of the specific vocabulary and grammar used in them. Anumber of books have already been published in this series, among which is O. HENRY (ABRIDGED). SHORT STORIES AND SIX TESTS. It is intended for anyone learning English who wants to improve their knowledge and skills in English.Using literature in English language training provides a large number of advantages for learners such as developing their reading skills, contributing to better understanding of the foreign language, and providing an authentic model of language use. Combining reading with practice tests developed on the basis of the plotline,vocabulary, and grammar exhibited in each story can produce numerous benefits for foreign language learners and it is an effective tool for consolidating knowledge and developing skills to use the foreign language in different situations.The Language Trainer series published by Koala Press implements the idea of combining literary texts with tests designed to consolidate the learners’ knowledge of the specific vocabulary and grammar used in them. A number of books have already been published in this series, among which is O. HENRY (ABRIDGED). SHORT STORIES AND SIX TESTS. It is intended for anyone learning English who wants to improve their knowledge and skills in English.
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The research presents the creative world in the stories of Elin Pelin. The period of his development as a writer is tracked. The characters are presented with their positive and negative features. Described are the dialogue, which is a distinctive feature of the author’s stories, the role of the landscapes without which the development of the action is unthinkable, and the atmosphere in the Bulgarian village.
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Before the contemporary music teacher stands a difficult task to train and educate young people in dynamic times, which requires him steady theoretical and practical musical training. Good knowledge and worke with highly artistic samples of music offered in the curriculum is a precondition for the formation of aesthetic taste in young people and people with regard to the art of music
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The article aims to analyze one of the basic elements of reading competence, namely reading with comprehension of students from the 11th grade based on an excerpt from the novel “Bel Ami” by Guy de Maupassant. We outline the theoretical concepts which determine the idea of communicative competence, functional literacy, reading literacy, active reader. We present a practical analysis of the first three tasks from a test focused on verifying the basic knowledge of literature. Following our observations we reach a conclusion on the specific capability of the literary text to be converted into a training “lab” for building competencies in Bulgarian language and literature education.
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Dostoyevsky proposed a new conception of Man in the world literature. Critics have described such psychological discoveries of the writer as irrationalism, dualism, and underground. Many aspects of his Christian anthropology remained beyond the attention of the researchers. In his conception of Man there are such essential concepts as the common pseudo-human (obshchechelovek) and the panhuman (vsechelovek). The common pseudo-human is a special type of a Russian man that appeared after the reforms of Peter the Great. Unlike the British, the Germans, the French, who maintain their nationality, the Russian “common pseudo-human” strives to be anyone but Russian. Being a common pseudo-human is to be an abstract European without roots and soil. Vsechelovek is a rare word in the Russian language. Nikolai Danilevsky used this word with a capital letter to call Christ (1869). Dostoyevsky used the word pan-human without capitalization to denote a perfect Christian. It expressed the inner sense of his Pushkin Memorial speech. It was Dostoyevsky who introduced the word panhuman in Russian literature and philosophy. Konstantin Leontiev did not understand the meaning of this word. He represented “the terrible, in his opinion, pan-human” as a common pseudo-human, European, liberal, and cosmopolitan. This mistaken substitution (obshchechelovek instead of vsechelovek) is typical for Russian literary and philosophical criticism of the 20th century. For Dostoevsky, each person carries the image of God. The verbs obrazit' (to restore the image) and obozhit' (to divinize) imply the restoration of the image of God and thereby the humanization of a person. To be Russian is to become pan-human (vsechelovek), Christian. Dostoyevsky’s hero carries all possible completeness of the Creator and the Creation.
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The article considers an artistic detail as the most important structure-forming element of the poetics of one of the early literary works of P. I. Melnikov-Pechersky by the example of his story “Grisha” (1861). The fact that the basic principles of literary creativity of Melnikov-Pechersky were developed under the influence of his long-term office activity connected with studying of Old Belief and its history, and substantially under the influence of V. Dahl, is noted in the article. Certain examples from the story show that the artistic detail in the text of Melnikov-Pechersky based on authentic Old Belief materials has a special substantial meaning and carries a semantic distinguishing function. The author of article emphasises the priority of cultural and household details in Melnikov-Pechersky’s story. The article demonstrates that lack of the detailed, enlarged descriptions of Old Belief life is compensated in the story by precisely chosen artistic details giving an idea of the subject (phenomenon or image) in general. Moreover, it is remarkable for Melnikov-Pechersky's story that the clear characteristic of the whole (subject, phenomenon or image) gives a chance to restore, taking into consideration the knowledge we have, lots of details of the described subject.
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The present study explores the ways of utilizing literature in political dispute, as defined by Bakhtin’s concept of speech genres exploited in secondary genres. The material includes Turgenev’s and Dostoyevsky’s novels and Yevgeny Chirikov’s family chronicle. The writers in question present politics in the anthropological sense of the term: as man’s relation to his social reality. The author attempts to determine which literary works were viewed as politically motivated and what functions they fulfilled in political disputes. The analysis reveals the following: literary works often served as a pretext to start a dispute, and in the dispute itself – as a means of defining the protagonists’ cultural and generational identity and values, as a rhetorical trick, as a source of social concepts and behaviours, as a catalyst for a revolutionary paradigm and, finally, as a means of discriminating against political opponents. On these grounds, the author is inclined to argue that Russian literature of the 19th century constituted a strong social communication component and provided ideological material for political discourse.
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Art Phenomenology of the Image of Life and Another Life in the Novel of L. Ulitskaja “The Incident of Kukotskij”. The main purpose of the article is to analyse the notions of «being» and «nonbeing» in the context of the artistic reality in the novel by Ludmila Ulitskaya. The article is devoted to the problem of artistic peculiarities of motif of dream in the novel ''Kukotskiy's case'' by Ludmila Ulitskaya. The motif of dream has got a lot of meanings due to mythological and poetical images: door, window, sand, river, sky, bridge and so on. These artistic images have got plenty of connotations which help the author of the novel to join the work of art with the context of world's culture and literature. Description of characters' dreams allows L. Ulitskaya to link different episodes of the text in a special way and to make the structure of space and time in the novel more interesting and complex. Art Phenomenology of the Image of Life and Another Life in the Novel of L. Ulitskaja “The Incident of Kukotskij”. The main purpose of the article is to analyse the notions of «being» and «nonbeing» in the context of the artistic reality in the novel by Ludmila Ulitskaya. The article is devoted to the problem of artistic peculiarities of motif of dream in the novel ''Kukotskiy's case'' by Ludmila Ulitskaya. The motif of dream has got a lot of meanings due to mythological and poetical images: door, window, sand, river, sky, bridge and so on. These artistic images have got plenty of connotations which help the author of the novel to join the work of art with the context of world's culture and literature. Description of characters' dreams allows L. Ulitskaya to link different episodes of the text in a special way and to make the structure of space and time in the novel more interesting and complex.
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The article analyzes the genre model of the story the subject of artistic exploration in which advocates biography or facts biography famous writers. In the center of such works is the image of real people (writers) in the imaginary circumstances, which allows the author to reveal the mystery of the writer. An example of such forms are stories of “Friends” Y. Olesha, “Jingle Breguet” Y. Kazakova. Yuri Olesha recreated scene of the Lyceum period of Pushkin's life. Y. Kazakov tried to unravel the mystery of the fateful day in the life of Mikhail Lermontov. The nature of the works of these authors distinguish the variety genre layers: a novel, short story, lyrical and philosophical, artistic and biographical, literary – which are presented in a syncretic type of connection within a small narrative forms.Features of the study of biography in the framework of artistic-biographical story based on several factors:- the cause of these works is the interest of the writers to the personalities of Lermontov (Yuri Kazakov) and Pushkin (Yuri Olesha);- the connection of the facts of biography with fiction and conjecture;- in the center of the story – one fact from the biography of the writer, due to the volume of small form;- the nature of the character is revealed in situations that define the essence of his personality;- the narrative is dominated by “point of view” of one subject;- the structure of the finale of the story, inherent to semantic incompleteness and diversity.
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