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Interview taken by Emilian galaicu Păun to the Romanian writer Simona popescu.
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The article focuses on the issue of cultural space of a literary work in academic research of Dmytro Chyzhevsky (1894–1977), an outstanding Slavist and philosopher. Scientific heritage of Dmytro Chyzhevsky permits to consider him as a philosopher of culture. He interpreted and studied different aspects of culture along the other Russian and European scholars of the first half of the 20th century (E. Cassirer, N. Berdyaev, F.Stepun, M.Bakhtin). In their address to philosophy of culture, European intellectuals manifested a reaction to the cultural crisis in the first half of the twentieth century. In the article, the author analyses Chyzhevsky’s transition from problems of literary criticism and formalistic analysis of a literary work to the philosophy of culture on the basis of his two works devoted to Fedor Dostoevsky. For Russian religious philosophers of that period, Dostoevsky became the subject of religious discussion related to Christian ideology, while for Chyzhevsky the literary works of Dostoevsky confirmed ideas of prominent German philosophers, such as Friedrich Nietzsche, Martin Heidegger, and Karl Jaspers.
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The paper depicts a topos of Russia-home in Alexander Solzhenitsyn’s novel cycle the ‘Red Wheel’. The author defines metaphoric pictures named as a home, an empty house, a house without an owner. The metaphors allows to indicate additional motifs connected with titular topos: a good host, a woman as a wife and mother and a fake host. The analyses show that Solzhenitsyn’s metaphors of Russia-home reflect writer’s conception of the revolutionary process in the history of Russia and his thoughts about citizen responsibility and patriotism.
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The motive of “a-Russian-at-a-rendez-vous” and his type of hero is entrenched in the creative memory of Russian literature and culture as an initially complicated socially and literary phenomenon by its very nature. Transformations of this motive in the national literature and cultural process often lead to paradoxical results and require new research methods. This determines the relevance and productivity of the extrapolation and adaptation of the theory ideas of Russian formalism, Siberian school (E. Romodanovskaya, V. Tupa, I. Silantev) and S. Bocharov, U. Bibler. The motive of “a-Russian-at-a-rendez-vous” for the Russian pre-revolutionary intelligentsia becomes the symbol indecision, irresponsibility, internal confusion, weakness, selfishness, insecurity, and the doom to be spiritual wanderers (D. Ovsyaniko-Kulikovsky). These heroes are torn, thirsty and live with high ideas, ideals, and the remaining speculative, projectors and senseless projects. The stories of Panteleimon Romanov Vision and Without bird cherry have been written and published in the mid–1920s. In these stories, there is a paradox and collision of national identity, its cultural, ideological, psychological, moral and ethical, value constants and the emerging Soviet ideology, everyday life. This collisions most brightly, sharply and boldly are appearing through “inner life and history” the motive of “a-Russian-at-a-rendez-vous”. The essence this collisions can articulate so. Literary heroes different in their ideological convictions, character and worldviews equally turn out to be internally dependent on meanings and mental orientations set by the literary and social the motive of “a-Russian-at-a-rendez-vous”. The value, semantic, psychological, socio-cultural, moral and moral features and properties of this motive, generated by the national consciousness, formed and fed by the creative and cultural memory of the verbal and cultural process, are stronger than the ideological and historical specifics of any era. The stories of P. Romanov turn out to be yet another proof that the motive of “a-Russian-at-a-rendez-vous” is both a constant of the national literary and cultural tradition, and part of the social national mythology, manifested through a work of art.
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The article traces the emergence and functioning of the term “female” poetry in Belarusian literary criticism, examines the current state of this problem related to the adoption of gender theory and the understanding of Belarusian female lyrics through the prism of gender issues. An analysis is also made of the peculiarities of the female worldview in the works of outstanding Belarusian poetesses of the second half of the 20th century. The study outlines the prospects for the development of the ”female” issue related to the need for a comprehensive analysis of the works, taking into account all the personality characteristics of the author, which cannot be limited only by gender or gender.
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In a given article the issue of Remembrance – recollection in reference to identity, in that particular case, of several women, reveals an obvious author’s attempt to define a wide range of matters of ontological, axiological and epistemological, cultural and philosophical nature. At the same time the selection of characters is not accidental. These are primarily unique heroines, artists, human beings of the world of ideas. Preservation of memory about them, in the case of Ulitskaya, consists in enumerating such components of their biography, character traits etc. which make them unique in the context of the whole epoch actually shaping their character. Thus, Ulitskaya’s intention to incorporate all the constituents of their spiritual and physical life into immortalisation has proved to be successful.
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The present article is devoted to Ivan Vyrypayev’s dramaturgy, which raises religious issues and develops the threads of spiritual exploration. The aim of our work is to trace religious motifs and to indicate the manner of presentation of a sacral, spiritual context in works that seem to be far from manifesting the faith. This aim also leads to an attempt to reconstruct the concept of God and man in the dramas of Vyrypayev. The works of the Russian playwright, which are a specific record of cultural, social and religious transformations, provoke a reflection on the way of experiencing transcendence by modern man suspended between atheism and institutionalized religiosity. The tasks of the article are motivated by the presence in the world of numerous religious symbols, references to various spiritual traditions, the use of literary genres and images of biblical provenance, etc. The subject of these analyses are the selected dramas by Ivan Vyrypayev, Genesis No. 2, Oxygen and The Drunk Ones.
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This paper presents the current ecological situation in Siberia. The Zone of Submersion becomes the continuation of Valentin Rasputin’s Farewell to Matyora, transformation of its problems (using other artistic terms) into the future, at the beginning of the twenty-first century. Senchin depicts how villages are being submerged and writes about the displacement of population inhabiting flood plains on a macro scale. Senchin’s novel is a kind of document on the flooding zone and the construction of Boguczanska hydroelectric power plant on the Angara River. The author draws his reader’s attention to the fact that although the progress of civilization gives man new possibilities, he faces unprecedented choices and difficulties. Due to the displacement people lose their homes and lands, cultural monuments disappear under water. Thus, social issues are inseparably linked to the problem of ecology.
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Color is one of the artistic means, by which text can be perceived as an artistic whole. The aim of this paper is to analyze the names of colors used to describe human space in Way to nowhere by Alexander Grin. The color nominations refer to description of human external appearance and clothing. They are expressed by one-word names (красный, белый), names derived from them (покраснеть, почернеть) and compound words (черноволосый, черноусый). In order to define the human color space, the author used 137 lexemes, which belong to serval color fields: красный, белый, черный, серый, желтый, синий and зеленый. Undoubtedly, all of them express national and individual priorities.
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The Old Believer’s in Poland live in three regions: Augustów, Suwałki and the Mazurian Lakeside. In one of them (the Augustow region) there are people, who have developed their own system of transcription of the Russian dialect to create their memorable texts. Nowadays it is the only literature in the Old Believers’ community. This specific kind of poetry is a very important source of knowledge about history, culture and traditions minority group. Because of the specific self-made system of transcripion and themes related to the local community, the poems uniqe. Moreover, they are also interesting because of their thematic diversity, containing many popular folk topics. One of them is the theme of youth. The concept of “youth” evokes many associations among the representatives of the older generation. The local poets writing about the past rely on their own observations and present only its positive aspects.
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The author of the study outlines the concept of nursery rhyme, which is seen as a significant element of musical mother tongue and an important means of communication in the cultural area of music. She analyses nursery rhymes in terms of folk culture, defines the notion of musical mother tongue and emphasises the common features of music and language. Her own empirical research with its implications for the educational reality is briefly outlined and the results of the research focused on the use of nursery rhyme highlighting its significance for music education in primary school are presented.
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This paper considers teaching British canonical texts such as William Shakespeare’s tragedy Othello, the Moor of Venice in multicultural settings. The author discusses her experiences with teaching Shakespearean drama to a group of undergraduate students who are not essentially interested in Western texts. Making connections to the students’ immediate lives proves to be essential in drawing the students into a more active learning environment that brings Shakespearean texts closer to home. By localizing Shakespeare’s text, the students were able to find literary value that resonates with their own lived experiences. The classroom thus becomes a place of safety and finding one’s voice both inside and outside the classroom.
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The purpose of the current paper is to analyse, in parallel, the works of two American brothers, William and Henry James, who influenced the psychological and literarystandards of the twentieth century. William theorised the concept of consciousness andcoined the term “stream of consciousness”; Henry pictured it in his novels by imitating thestream of consciousness of his characters. The wide variety of Thematic Progression and lexical repetition throughout the latter’s novel, The Ambassadors, is accompanied by numerous literary devices which attempt to reconstruct the movements of thought and the psychological processes related to it. In this regard, the paper aims to analyse HenryJames’s skilful use of the Theme and Rheme pattern in The Ambassadors, which seemsintended to increase the complexity of the narrative thread, as well as the lexical repetition present throughout the novel, accompanied by numerous literary devices which, in turn,attempt to reconstruct the movements of thought and the psychological processes related to it.
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Space is of utmost importance in Ursula K. Le Guin’s fantasy and science fiction works, in which it often functions as a metaphor for the mind. The heterotopic spaces in the novellaThe Word for World Is Forest (one of the works in her Hainish cycle) and in the novelVoices (book II of the Annals of the Western Shore series) serve as loci of resistance:otherworlds mirroring the consciousness of entire cultures fighting for survival. This paper analyzes the way in which two drastically different forms of resistance, violent and peaceful, unfold in the mindspaces of their respective cultures.
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During the times of the USSR, only four of its states managed to publish complete works of Shakespeare in their local languages. The first edition to include 37 plays of the Great Bard appeared in Russian SFSR in 1937 – 1945. Among other Soviet nations, Estonia was the first to publish the complete works of Shakespeare in its native language (its seven volumes were released from 1957 to 1975); in the 70s Georgia followed. The Ukrainians were the last to join the “elite” club, with their six-volume edition published from 1984 to 1986. The publication was a remarkable feat of a team of translators, editors and literary scholars and is widely regarded as a cornerstone of the Ukrainian Shakespeareana. The paper focuses on the history of the multi-volume editions of Shakespeare in Ukrainian, showing the wide cultural and political context that led to the appearance of the complete works of the Bard in the Ukrainian SSR. The author shows the directions of critical re-evaluation of this edition that in the independent Ukraine has acquired the critical immunity which resulted in the shift of this set to the periphery of readers and literati’s interest. The reconsiderations of the translations and critical apparatus of the complete Ukrainian Shakespeare would intensify the creation of new Ukrainian versions of Shakespeare’s plays and undermine the well-established image of the Bard as an antiquated and pretentious playwright.
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The present paper carries out a contrastive analysis between the paternal and filial images that form the main parent-child relationship depicted in Julia Kavanagh’s Rachel Gray in order to invalidate the assumption that Victorian realist writers sought to hold a mirror to reality even in the cases when their novels were founded on fact. This analysis will show that there is a significant divergence between the literary and socio-historical constructs of the family roles of mid-Victorian working classes, in spite of the fact that some of the elements used in the creation of fictional characters were borrowed from real-life experiences. Moreover, the article will indicate that the paternal figure it deals with deviates from its prototypical counterpart by approximating one of the most powerful stereotypes revolving around working-class Victorian men, namely the stereotype of the absent father.
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Among the many frameworks of interpretation that Margaret Atwood’s dystopia (or ustopia, as she calls it) The Handmaid’s Tale allows, a particularly challenging one is its reading in/as palimpsest. Choosing not to favour an attempt at hierarchizing the narrative construction and the fabula contained in Offred’s spoken tale – transcribed from audiocassettes two centuries after the deployment of the Christian fundamentalist coup d’état that turned the United States into a horrifying inferno for women –, and also leaving on the sidelines the seductive, yet rather facile feminist evaluation that the novel invites, this paper focuses on metafiction and the rewriting of “herstory”, in an analysis of the ‘Historical Notes’ that conclude the novel, going backwards rather than forwards in tracing its art and politics.
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Adapting full-length novels, short stories or novellas to movies has become a very frequent endeavour. Filmmakers choose (potentially) iconic literary works and adapt them for the screen so that they become accessible to very large audiences, which is to be quite expected in the digital era. This study aims to take a look at the symbiotic relationship between books and movies.
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