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Review of: Alexandra Smith - Il’ia Kukulin. Mashiny zashumevshego vremeni: Kak sovetskii montazh stal metodom neofitsial’noi kul’tury. Moscow: Novoe literaturnoe obozrenie, 2015. 535 pp. ISBN 978-5-4448-0245-8.
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The article discusses several poems by Ivan Bunin which use Iranian mythology. It is shown that Iranian culture and particularly its mythological images clearly fit into the stratum of eastern images and the whole artistic philosophy of the poet.
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The article considers the idea of the conflict between man and fate, and describes the nature of the tragic as the most important aesthetic category in O’Neill’s main dramas. The work is focused on the problem of fate and the evolution of this concept. In O’Neill’s early plays, it transforms from inscrutable behind-life forces to an internal entity associated with subconsciousness, family connections and genes. In his late plays, fate is represented by society hostile to man. However, O’Neill believes that fate can never defeat human spirit.
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This paper addresses one of the most famous and disputable novels of the leading contemporary American author Paul Auster. Our aim is to reveal various forms of the author’s presence in the novel and to describe the aesthetic results of these multiple embodiments. We demonstrates how, using all major strategies of postmodernism, the author actually parodies it creating a metatext, which enables us to speak of a new stage of the development of postmodern fiction.
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The image of traveller created by I.A. Goncharov in his book of essays “The Frigate Pallada” (1855–1857) has been considered for the first time as a phenomenon of artistic genealogy of the similar image in M.M. Prishvin’s travel essays (1909–1914). This article is focused on the philosophical and aesthetic perception of the world typical of both travelling artists, their creative motivation for travelling and attention towards pictures of nature, which are always associated with the feeling of homeland. An assumption about the similarity of the artistic natures of M.M. Prishvin and I.A. Goncharov and the consonance of their creative thinking is made. This expands the idea of the origin of Prishvin’s world-view and allows us to feel its originality.
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Post-antički čovjek zna možda samo za jedan duševni ustroj u kojem svoj unutarnji svijet u punoj veličini i posvemašnjoj čistoći postavlja u odnos prema cjelini prirode, kozmosa, naime bol. Sentimentalni čovjek, kako ga imenuje Schiller, može ostvariti približno čist i velik, što znači približno naivan osjećaj sebe samog samo po visoku cijenu da svoje cijelo unutarnje biće organizira kao jedinstvo odvojeno od prirode.
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The paper establishes types of dialogical relations between G. Tukai and N.A. Nekrasov’s works belonging to the genres of invective, message, and memorial lyrics. The conclusion is made that similarities in form and functions (organizational principles of the subject sphere, genre and stylistic features) do not stem from the same sources and nature. The principles of artistic generalization in Tukai’s lyrics are different from those used by N.A. Nekrasov. The individual and typical, singular and unified are located at the same level and stand in the relations of compliance and coincidence. The poetics of N.A. Nekrasov’s lyrical works is connected with the hierarchy of artistic content aspects at different levels. The subject structures of Tukai’s lyrics are distinguished by the features of personality development in the Tatar literature of this period, as well as the logic of meaning formation, which is characteristic of this type of culture.
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The paper discusses the dialogue between the literary works of M.Yu. Lermontov and Tatar poets of the early 20th century (Sh.M. Babich and Dardemend). The study is based on the proposition that the East and its culture did not only constitute the topic covered quite well by M.Yu. Lermontov, since there were foundations associated with the Eastern aesthetics and culture in the very structure of his consciousness. It was this relationship between M.Yu. Lermontov and the most important concepts of the Eastern culture that led to the interliterary dialogue, which is analyzed in this paper in terms of the motive of wandering and path.
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The paper compares the development of the winter theme in G.R. Derzhavin’s ode “Birth of a North Crowned Lad” and N.A. Lvov’s poem “Russian 1791. Winter”. Based on the analysis of imaginative and ideological structures of both works, the conclusion is made about their antagonistic nature. The mask character of N.A. Lvov’s poem is proved and opposed to the stylistically integral works by G.R. Derzhavin. The literary mask is considered as the main artistic principle used by N.A. Lvov.
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This paper considers the influence of modern technologies and the Internet on V. Pelevin’s novel “Love for Three Tsukerbrins”. The problematic and thematic field, composition and plot, stylistic characteristics are analyzed from the perspective of their involvement in the modern computer discourse. The type of intertextual links, system of images, and language peculiarities of the novel are studied. Their specificity enables the conclusion that information technologies do not only serve as the subject of artistic description, but also turn out to be the factor influencing the poetics of the novel. In addition, it is revealed that the modern types of Internet communications determine the author’s narrative strategy and the reader’s reception.
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In Western art still life is a very popular subject. Objects as flowers, plants, books, jewellery, weapons can be found in many paintings. Numerous artworks of still life are also a presentation of food in different aspects, from dead animals, meat, raw vegetables to sophisticated dishes and pastries. Jacopo de’Barbari, Pieter Claesz, Jan Davidszoon de Heem or Francisco José de Goya y Lucientes are only a few examples of painters who presented still life with food. Food and eating are natural needs for people all around the world. Is meat also a popular subject of still life in Asian art? Is meat the main theme or just a part of scenes or events from everyday life, history painting or landscape art? In this article the attitude towards meat in Asian still life art will be presented in Indian and Japanese art.
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René Magritte was a Belgian surrealist painter. It is often said that it is impossible to analyze and interpret works of surrealists, because they are an illustration of realms, such as dreams and hallucinations, which cannot be seen for nobody except the artist. Even if we agree with this thesis the situation is different with Magritte and that is what I will show in the text. I am going to describe two of Magritte’s paintings: The Pleasure from 1927 and The Famine from 1948. Both these painting relate to eating or rather devouring living beings. To analyze both of this paintings, I’m going to try to show cultural context related to them in reference to religion and mythology. An important point of my analysis will be reference to the concept of meatiness. For that I’m going to use of the text by Jolanta Brach‑Czaina, The Metaphysics of meat. However, the analysis will only be an excuse to try and answer the question: is the act of eating meat only an ordinary activity or maybe something more?
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„Jedź i kradnij, co możesz” – według Fryderyka Járosyego do tego sprowadzała się praca nad programem rewiowym nadwiślańskich twórców epoki dwudziestolecia. „Dyrektor artystyczny jedzie do Paryża, odwiedza z miną bogatego Anglika wszystkie music -halle i bucha wszystko, co nie jest przykute łańcuchami albo wmurowane w ściany. Potem wraca do Warszawy i zmienia obiekty kradzione przy pomocy członków swej bandy w taki sposób, że trudno je poznać” (Kałużyński,2013,300). Ciekawa strategia, która jednak nie odbiegała zbytnio od zwyczajów panujących w ówczesnym show -businessie. Florenz Ziegfeld, twórca słynnych amerykańskich Ziegfeld Follies, regularnie odwiedzał Londyn, podpatrując tamtejsze rozwiązania i podkradając nieco uboższym krewnym gwiazdy, Londyn kopiował rozwiązania berlińskie, zapożyczone zresztą czasem z tak odległych estetyk jak japoński teatr kabuki, a wszyscy demokratycznie zżynali z Folies Bergère, rewii paryskiej, która, należy dodać, również powstała jako amalgamat popularnych widowisk rodzimych i angielskiego music -hallu (Bailey, 2014, 137-139). Pod tym względem wcześnie dobiliśmy zatem do standardów światowych, dołączając do uprawianego w pierwszej połowie qq wieku bez większych skrupułów intelektualnego rabunku, który szczęśliwie i o wiele bardziej elegancko możemy dzisiaj nazwać transferem kulturowym i objąć pogłębioną reveksją badawczą.
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Blue (1993), the last film by Derek Jarman, had been released only four months before the director’s death, caused by AIDS‑related diseases. It is a very unique kind of private confession. At the end of his life, Derek Jarman was getting blind and in some moment the only that he could see was blue (a kind of blue nothing). His last movie reproduces this experience and at the same time makes viewers to feel reality in the similar way, because the only thing that we see is a blue screen. So, on the other hand, Blue is a very interesting project from the theoretical point of view. It is not a typical documentary; it is not even a typical movie. In my thesis I try to analyze Blue from few different perspectives: as an unique audiovisual project, a manifest of artistic freedom and independence and as a deeply poignant confession of a dying man.
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The aim of this article is analyze and reflection on an illusory sense of participation among viewers Sherlock Holmes series. Today boundaries are cover between network users and producers, consumption and participation, professionalism and amateurism. The article presents the results of the analysis which indicate, that the purpose of the film industry, is to invite viewers to explore the rich world presented in the film, which turned out to be “too big” for a full‑length movie or episode or even season series. Today, image of the film are mosaic, and require social replenishment and dialogue. It is used in an ingenious way by film producers. At the same time the viewers thinks that they have control, and they participate in process of creating a movie. The recipient has the feeling that is an integral part of the community watching movies and series. Producers of the series Sherlock Holmes, who in the third season presented possible solutions to the further Sherlock fate, proposed by fans, made a bow to the viewer, but at the same time they strengthened his sense of participation. In this article I assert thesis that the film industry trying to strengthen the viewer sense of participation in the process of creating a movie (series) mislead the public, cheating them. Spectator, despite the multiplicity of communication channels and tools, has no effect on the shape of a movie or the series, but only serves as a barometer for the producers and the marketing department.
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From the very beginning opera underwent transformations, keeping up with the changing world. The seemingly homogeneous form developed into different subgenres, tailored to the needs of their specific audiences. The notion of an opera soloist evolved together with the form. In this way a soloist transformed from a castrato with an angelic voice, singing both male and female parts, to a rock man performing a rock -opera. The development of technology and the marriage of opera with popular music established a new face of an opera singer.
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For some time, including TV, one gets the impression that it was dominated serials paradokuments. Examples of such programs are: „Difficult Cases”, „Memoirs of the holiday”, „Why Me?“ „Whose fault?”, „Betrayal”, „The day that changed my life”. Currently popular is the production of „The Contender“ television broadcast by TVN. Among the television stations, that give parase -riale documentary, leads the Polsat: Monday only suited up six series quasi. This is because that the way of presenting reality and the conditions of play of the vicissitudes, in which their characters are involved clearly is constructed so that it was getting to a mass audience in a fairly wide age group. In this article I will try to answer the question: What is the phenomenon of quasi serials popularity, whether they are a response to the needs of modern audiences? Who is the present participant of TV culture and what is expected of television? To what extent paradokumentalny series meets the expectations of a modern audience, and by what procedures implements (apparent or real?) mission advisor, comforter, therapist and psychologist?
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The paper is devoted to new phenomena in the Tatar poetry at the turn of the 21st century, in particular, to the works of L. Gibadullina, a young poetess who is in search for new artistic methods and ways of development of the national literature. The principles of structuring, as well as the features associated with the content and form of her works, are revealed. The analysis of particular texts shows that illusiveness, alliterativity, skillful playing with the known image-bearing symbols and even with phrases, philosophisity, and allegory are specific characteristics of L. Gibadullina’s works. Flickering of many images in her poems is achieved through the occurrence and disappearance of meanings, feelings, and experiences. The latter ones are often not related to each other. As a result, an illusory view of the world appears. This feeling is reinforced by the skillful selection of words and phrases that indicate well-known images, motifs and ideas. The intertextual relationship often refers to the Tatar mythology, folklore, folk song. An attempt is made to identify the sources of such references. The conclusion is made that flickering of several motifs and absence of any key for identification of the dominant motif produce the effect of “text in the text”. Multivariate playing with contexts transforms L. Gibadullina’s poems into intellectually complicated postmodern works.
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The paper deals with the genetic relation of N.M. Karamzin’s early prose (“Walk”, “Village”, and “Night”) to descriptive poem traditions, such as in J. Thompson’s “The Seasons”, a retelling translation in the form of prose created by the Russian writer not long before the above-stated works. The genre nature of N.M. Karamzin’s “short prose” is considered in the paper as an actualization of the model of “passage” (fragment), which became popular later in the literature of romanticism. The specificity of N.M. Karamzin’s passages is the synthesis of psychological intensity, emotional and subjective origins, and deep natural philosophical thoughts dominated by the idea of reflection of the whole in the particular, as well as the large in the small. This determined the philosophical and aesthetic specifics of passage as a genre in the artistic system of sentimentalism.
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The paper is devoted to identification of the specifics of genre originality of A. Bely’s literary and critical portraits. The study is based on the literary portraits created by the critic during the period of 1903–1910 and assembled by him in the books of articles, “Green Meadow” (1905) and “Arabesques” (1911). Some of them were earlier published in newspapers and magazines, but these literary portraits acquire another interpretation in the context of the entire book and microcycles. Additional materials for creation of the typology of A. Bely’s literary and critical portraits are the critical works of V. Bryusov, V. Rozanov, and D. Merezhkovskii about N.V. Gogol. They allow to reveal particular aesthetic and critical views of A. Bely on the writer’s personality, symbolism, and literature as a whole. Furthermore, studies related to thoughts on the contemporary literary processes and reflecting the trends of the epoch are used. The analysis of the literary portraits created by the critic demonstrated that they are influenced by both trends of the epoch (lyricization of prose, impressionism, modernization of genres) and A. Bely’s critical views. We have identified the following kinds of literary portraits: reviewing portrait, jubilee portrait, obituary portrait, silhouette portrait, impressionistic sketch of creative work. As noted, various genre forms are synthesized in some articles of the symbolist: the portrait incorporates elements of review, essay, silhouette, feuilleton, etc.
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