Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2021-3-215-225
S. A. Golubkov
The article deals with the attraction of the art of the 20th century to the paradox as a tool for understanding the absurdity of life. Paradox and laughter share their inherent structural ambiguity, pulsating ambivalence. Paradox and laughter are often a platform for the conflict of different logics - ordinary logic and “paralogy” (alogism). Consideration of the typology of objects of ridicule helps to reveal the paradoxical nature of laughter. At the same time, attention is drawn to two types of object: an integral system (institution, professional team, power institutions) and an individual person (in particular, an adventurous hero). It is interesting to study the paradoxical in the very fabric of a comic work. In particular, pleonasm is described as a component of the funny technique. It denotes a paradoxical contradiction between the necessary and the redundant in the description. Paradoxically, the two-dimensional texts associated with the laugh attitude, which are built on the model of the anti-genre, have a conflict-like nature: false panegyrics, anti-idylls, dystopias.
{"title":"ON THE PARADOXICAL NATURE OF LAUGHTER IN THE LITERATURE OF THE XXTH CENTURY","authors":"S. A. Golubkov","doi":"10.37386/2305-4077-2021-3-215-225","DOIUrl":"https://doi.org/10.37386/2305-4077-2021-3-215-225","url":null,"abstract":"The article deals with the attraction of the art of the 20th century to the paradox as a tool for understanding the absurdity of life. Paradox and laughter share their inherent structural ambiguity, pulsating ambivalence. Paradox and laughter are often a platform for the conflict of different logics - ordinary logic and “paralogy” (alogism). Consideration of the typology of objects of ridicule helps to reveal the paradoxical nature of laughter. At the same time, attention is drawn to two types of object: an integral system (institution, professional team, power institutions) and an individual person (in particular, an adventurous hero). It is interesting to study the paradoxical in the very fabric of a comic work. In particular, pleonasm is described as a component of the funny technique. It denotes a paradoxical contradiction between the necessary and the redundant in the description. Paradoxically, the two-dimensional texts associated with the laugh attitude, which are built on the model of the anti-genre, have a conflict-like nature: false panegyrics, anti-idylls, dystopias.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121359456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-1-6-18
L. Trakhtenberg
На фоне традиции жанра басни Н. В. Леонтьева (1766) выделяются своеобразием проблематики, прежде всего социальной. Леонтьев ставит как общие вопросы социального устройства, так и частные - о взаимоотношениях начальников и подчиненных, о поведении, подобающем людям высокого и низкого звания. Убежденный в необходимости монархии, главным достоинством царя Леонтьев считает справедливость. По мнению баснописца, ключевая проблема организации общества - соответствие способностей людей занимаемым ими должностям. Кроме того, басни Леонтьева отличает внимание к теме просвещения и обобщающий подход к пониманию человеческого характера.
{"title":"THE MORAL IN N. V. LEONTIEV’S FABLES: PERSON AND SOCIETY","authors":"L. Trakhtenberg","doi":"10.37386/2305-4077-2022-1-6-18","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-1-6-18","url":null,"abstract":"На фоне традиции жанра басни Н. В. Леонтьева (1766) выделяются своеобразием проблематики, прежде всего социальной. Леонтьев ставит как общие вопросы социального устройства, так и частные - о взаимоотношениях начальников и подчиненных, о поведении, подобающем людям высокого и низкого звания. Убежденный в необходимости монархии, главным достоинством царя Леонтьев считает справедливость. По мнению баснописца, ключевая проблема организации общества - соответствие способностей людей занимаемым ими должностям. Кроме того, басни Леонтьева отличает внимание к теме просвещения и обобщающий подход к пониманию человеческого характера.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122262543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2023-2-18-30
N. Krokhina
The relevance of the work is associated with modern disputes about Russian identity, and the purpose of the analysis of the textbook work is to update those works that emphasize the synthetic nature of Onegin at the level of genre, rhythm, and style. The subject of the study is the unpredictable flow of life in this unusual diary novel and the image of the Author as its central character, his thoughts and feelings. The acid feeling of the insignificance of life and its transience are opposed in the novel by the sacred foundations of being, through rebellious youth, through “holy poetry”, through the legends of dear old times, a person joins the immortal mystery of life. The contrasting ages of the human soul are given in the novel in the images of Lensky and Onegin. Onegin in the novel is the double of the Author, the trial of himself. With the image of Onegin, Pushkin begins the typology of the modern groundless hero-immoralist of the literature of the 19th century. Onegin and Tatyana are polar, like emptiness is polar to fullness. The unpredictability of life is fully manifested in the fate of the main character. It is concluded that the basis of Pushkin’s picture of the world is the biblical scale of comprehension of life.
{"title":"“EUGENE ONEGIN”: THE RUSSIAN PICTURE OF THE WORLD","authors":"N. Krokhina","doi":"10.37386/2305-4077-2023-2-18-30","DOIUrl":"https://doi.org/10.37386/2305-4077-2023-2-18-30","url":null,"abstract":"The relevance of the work is associated with modern disputes about Russian identity, and the purpose of the analysis of the textbook work is to update those works that emphasize the synthetic nature of Onegin at the level of genre, rhythm, and style. The subject of the study is the unpredictable flow of life in this unusual diary novel and the image of the Author as its central character, his thoughts and feelings. The acid feeling of the insignificance of life and its transience are opposed in the novel by the sacred foundations of being, through rebellious youth, through “holy poetry”, through the legends of dear old times, a person joins the immortal mystery of life. The contrasting ages of the human soul are given in the novel in the images of Lensky and Onegin. Onegin in the novel is the double of the Author, the trial of himself. With the image of Onegin, Pushkin begins the typology of the modern groundless hero-immoralist of the literature of the 19th century. Onegin and Tatyana are polar, like emptiness is polar to fullness. The unpredictability of life is fully manifested in the fate of the main character. It is concluded that the basis of Pushkin’s picture of the world is the biblical scale of comprehension of life.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"124 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116326985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-1-123-133
I. Shestakova
The article traces the historical dynamics of the «Altai feature film text». The author uses the concepts of «geoculture», «geopoetics», «geopolitics», proposed by V. Abashev, D. Zamyatin. The issues of the formation of film production in Siberia, the evolution of the Altai cinema image, the formation of symbolic dominants in feature films made in the 1920s and 1940s are considered. The interrelation of the geocultural paradigm with the political and social events in Russia of this time is shown.
{"title":"ALTAI IN RUSSIAN FEATURE FILMS OF THE 1920s - 1940s","authors":"I. Shestakova","doi":"10.37386/2305-4077-2022-1-123-133","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-1-123-133","url":null,"abstract":"The article traces the historical dynamics of the «Altai feature film text». The author uses the concepts of «geoculture», «geopoetics», «geopolitics», proposed by V. Abashev, D. Zamyatin. The issues of the formation of film production in Siberia, the evolution of the Altai cinema image, the formation of symbolic dominants in feature films made in the 1920s and 1940s are considered. The interrelation of the geocultural paradigm with the political and social events in Russia of this time is shown.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127088774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2023-1-189-207
G. P. Kozubovskaya
The phenomenon of the disease, which has recently become the object of study of many humanities disciplines, is fruitfully investigated in literary studies, including in dissertations. The article examines the validity of the introduction of the term “morbual code”, the content of the concept, approaches to the analysis of works of art with “medical plots”. Attention is drawn to the “problem areas” associated with the understanding of “morbidity”, as well as to the intersections of Russian literature of the XIX and XX-XXI centuries in terms of the formation of a special optics that has become decisive for the poetics of morbidity at the present time.
{"title":"CHOLERA MORBUS, MORBUALITY, MORBUALNY CODE","authors":"G. P. Kozubovskaya","doi":"10.37386/2305-4077-2023-1-189-207","DOIUrl":"https://doi.org/10.37386/2305-4077-2023-1-189-207","url":null,"abstract":"The phenomenon of the disease, which has recently become the object of study of many humanities disciplines, is fruitfully investigated in literary studies, including in dissertations. The article examines the validity of the introduction of the term “morbual code”, the content of the concept, approaches to the analysis of works of art with “medical plots”. Attention is drawn to the “problem areas” associated with the understanding of “morbidity”, as well as to the intersections of Russian literature of the XIX and XX-XXI centuries in terms of the formation of a special optics that has become decisive for the poetics of morbidity at the present time.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127803346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-1-110-122
D. V. Koblenkova
The article analyzes the transformation of images in the fairy tale novel by C. Collodi “Pinocchio. The Story of a Wooden Doll” in the works of A. Tolstoy and in the film by A. Ptushko “The Golden Key” (1939). Possible reasons for the authors’ appeal to the European literary fairy tale and the methods of secondary conventionality in the context of political repressions of the 1930s are considered. The cinematography of this period, characterized by increased symbolization and work with archetypal structures, is viewed through the interaction of different trends in the the pre-war Soviet art: from modernism and neo-romanticism to socialist realism and Stalinist neoclassicism.
{"title":"FROM THE NOVEL “PINOCCHIO” BY CARLO COLLODI TO THE FILM “THE GOLDEN KEY” (1939) BY ALEXEY TOLSTOY AND ALEXANDER PTUSHKO: THE PROBLEM OF POLITICAL ALLUSIONS","authors":"D. V. Koblenkova","doi":"10.37386/2305-4077-2022-1-110-122","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-1-110-122","url":null,"abstract":"The article analyzes the transformation of images in the fairy tale novel by C. Collodi “Pinocchio. The Story of a Wooden Doll” in the works of A. Tolstoy and in the film by A. Ptushko “The Golden Key” (1939). Possible reasons for the authors’ appeal to the European literary fairy tale and the methods of secondary conventionality in the context of political repressions of the 1930s are considered. The cinematography of this period, characterized by increased symbolization and work with archetypal structures, is viewed through the interaction of different trends in the the pre-war Soviet art: from modernism and neo-romanticism to socialist realism and Stalinist neoclassicism.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"229 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128975153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-2-187-195
M. Voronets, N. Shpilnaya
The paper is dedicated to the analysis of speech formulas «Разве?» и «Неужели?» which could be acted as separate response cues. The use of both formulas allows the intentions of maintaining a conversation to be realized, however, the choice of a specific cue should be determined by the different pragmatic meanings. To determine these meanings we have analyzed relevant contexts, selected from the National Corpus of the Russian Language.
{"title":"Aspects of the functioning of the response cues “Разве?” and “Неужели?”","authors":"M. Voronets, N. Shpilnaya","doi":"10.37386/2305-4077-2022-2-187-195","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-2-187-195","url":null,"abstract":"The paper is dedicated to the analysis of speech formulas «Разве?» и «Неужели?» which could be acted as separate response cues. The use of both formulas allows the intentions of maintaining a conversation to be realized, however, the choice of a specific cue should be determined by the different pragmatic meanings. To determine these meanings we have analyzed relevant contexts, selected from the National Corpus of the Russian Language.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129086715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-4-116-131
E. D. Trukhan
The article examines the dialogue of words and painting in the works of Kuzbass authors – writer L.A. Nikonova and naive artist I. Selivanov. Theoretical issues of perception of painting, problems of intersection of pictorial and verbal creativity, etc. are revealed in connection with the analysis of metatext, with an emphasis on L.A. Nikonova’s understanding of the image of I.E. Selivanov as an artist close to her in spirit.
{"title":"THE NAIVE ARTIST IVAN SELIVANOV IN THE POETRY AND PROSE OF LYUBOV NIKONOVA","authors":"E. D. Trukhan","doi":"10.37386/2305-4077-2022-4-116-131","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-4-116-131","url":null,"abstract":"The article examines the dialogue of words and painting in the works of Kuzbass authors – writer L.A. Nikonova and naive artist I. Selivanov. Theoretical issues of perception of painting, problems of intersection of pictorial and verbal creativity, etc. are revealed in connection with the analysis of metatext, with an emphasis on L.A. Nikonova’s understanding of the image of I.E. Selivanov as an artist close to her in spirit.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127308974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2022-1-98-109
A. I. Kulyapin, E. A. Khudenko, T. Bogumil
The article is devoted to the semiotics and poetics of artistic geography of V. M. Shukshin. The comprehension of toposes in Shukshin’s texts is based on the archetypal division of space into “one’s own” (positive) and “someone else’s” (dangerous, profane). The space of Altai, endowed with signs of paradise, is the most semiotically loaded. Shukshin refers both the Urals and the Far East to the Siberian topos, scaling his own “map” of a man and being. The capitals - Moscow and Leningrad - are interpreted by Shukshin as a place of conquest and the realization of the hero’s dreams of freedom. Though, for those Shukshin’s characters who have not severed ties with their native land, the village, it is a place of spiritual hard labor and death. The ideal artistic topos is timed by Shukshin to medieval Russia and is embodied in such centers of the Russian world as Tambov, Kaluga, Voronezh and Vologda. The study of Shukshin’s geopoetics, his mythogeography allows us to reconstruct the specifics of the author’s image of the world.
{"title":"ARTISTIC GEOGRAPHY OF V. M. SHUKSHIN","authors":"A. I. Kulyapin, E. A. Khudenko, T. Bogumil","doi":"10.37386/2305-4077-2022-1-98-109","DOIUrl":"https://doi.org/10.37386/2305-4077-2022-1-98-109","url":null,"abstract":"The article is devoted to the semiotics and poetics of artistic geography of V. M. Shukshin. The comprehension of toposes in Shukshin’s texts is based on the archetypal division of space into “one’s own” (positive) and “someone else’s” (dangerous, profane). The space of Altai, endowed with signs of paradise, is the most semiotically loaded. Shukshin refers both the Urals and the Far East to the Siberian topos, scaling his own “map” of a man and being. The capitals - Moscow and Leningrad - are interpreted by Shukshin as a place of conquest and the realization of the hero’s dreams of freedom. Though, for those Shukshin’s characters who have not severed ties with their native land, the village, it is a place of spiritual hard labor and death. The ideal artistic topos is timed by Shukshin to medieval Russia and is embodied in such centers of the Russian world as Tambov, Kaluga, Voronezh and Vologda. The study of Shukshin’s geopoetics, his mythogeography allows us to reconstruct the specifics of the author’s image of the world.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133792320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.37386/2305-4077-2021-2-21-33
V. Voropaev
The article deals with the similarity of Gogol’ and Pushkin’s ideas about Russian statehood. Such similarity, according to the author, is quite natural and logical for the Russian Orthodox consciousness. These ideas are based on the gospel truths, the idea of autocracy and the Christian attitude to the people. The two Russian writers understood the necessity and vitality of the principles of Orthodoxy, Autocracy and Nationality for the Russian state.
{"title":"Gogol and Pushkin on faith and the russian state","authors":"V. Voropaev","doi":"10.37386/2305-4077-2021-2-21-33","DOIUrl":"https://doi.org/10.37386/2305-4077-2021-2-21-33","url":null,"abstract":"The article deals with the similarity of Gogol’ and Pushkin’s ideas about Russian statehood. Such similarity, according to the author, is quite natural and logical for the Russian Orthodox consciousness. These ideas are based on the gospel truths, the idea of autocracy and the Christian attitude to the people. The two Russian writers understood the necessity and vitality of the principles of Orthodoxy, Autocracy and Nationality for the Russian state.","PeriodicalId":187515,"journal":{"name":"Culture and Text","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116988464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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