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Journal articles on the topic 'Artistic and literary history'
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1
Muntian, Antonina. "INVESTIGATION OF AN ARTISTIC IMAGE OF A LITERARY WORK (DONNA TARTT’S NOVEL “A SECRET HISTORY”)." English and American Studies 1, no. 16 (September 7, 2019): 172–79. http://dx.doi.org/10.15421/381924.
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The aim of the article is to research the artistic image of a literary work. In modern linguistics, interest to the study of artistic image is traditionally considered to be one of the conceptual. Modern psycholinguistics and literary studies direct their scientific potential into the realm of individualism and anthropocentrism, thus contributing to further “decoding” of the phenomenon of artistic image. It is the artistic image; its essence that reflects the forms of perception of reality by the author and its specific refraction. Artistic image has a variety of functions – not only purely aesthetic, but also value-semantic, communicative, psycho-emotional, educational, etc. It is also the symbolic aspect of the content of the artistic image that has various forms of manifestation at all levels of its structure: from the level of elementary sign and artistic reception to the level of archetypal, deep meaning of the work as a complex and holistic artistic world. Thus, the process of creating an artistic image is an act of individual dexterity, the desire to embody the aesthetic ideal, “to decode” the universal secrets of the artistic culture of mankind. The artistic image is a connecting link between the real world and its representation, the living “cell.” Artistic image is the projection of the inner world of the author, the realization of the creative “I-concept”, a personalized dimension of being. The basic structure of an artwork can be represented by a scheme: an expressive element – an artistic element – an image. Obviously, the hierarchical structure of the work does not end with this, because the work does not consist directly of images – the latter also forms certain structures and integrity within the scope of the work. Traditionally, such integrity is achieved with the help of the concepts of the plot and composition.
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Romaykina, Yulia S. "On the History of the Literary-Artistic Digests Zemlya (1908-1917)." Vestnik Tomskogo gosudarstvennogo universiteta, no. 439 (February 1, 2019): 66–72. http://dx.doi.org/10.17223/15617793/439/8.
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Ulugov, Abdulla. "Mahmudkhuja Behbudiy – The Symbol Of History." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 274–87. http://dx.doi.org/10.37547/tajssei/volume03issue04-41.
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Mahmudkhuja Behbudiy holds a special place in the history of the Uzbek people as a person who devoted his life to the prosperity of the country. The history of the Uzbek people of the 20th century can not be imagined without its vibrant socio-political, literary and educational activities. He actively participated in the socio-political movements of the period, gained fame as a political figure, self-sacrificing educator, co-founder of the new Uzbek literature, founder of the new school, theater, publisher, newspaper, organizer of magazines, was one of the first to raise the socio-political, spiritual and educational problems of the time in his literary and artistic works. In this article, Mahmudkhuja Behbudy’s “Padarkush” drama and some articles on the social importance of the comments were made.
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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.
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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.
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Paşca, Eugenia Maria. "History and Modernity in Artistic Education from Romania." Review of Artistic Education 18, no. 1 (March 1, 2019): 347–52. http://dx.doi.org/10.2478/rae-2019-0039.
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Abstract The issue of artistic education is not new, it is still concerned and concerned by many specialists. The newities emerged and imposed from time to time in the evolution of culture and education were and are determined by the scientific and artistic achievements, the enrichment of the possibilities of knowledge and valorization of the experiences and achievements, both from the field of artistic didactics, as well as from musical creation and interpretative art. The perspectives, especially in the last half century, aimed at increasing the knowledge of the child’s physical and mental peculiarities, his ability to form audiences, visions and chinestecs, and the fundamental aims pursued by specialists - teachers and researchers - have been and have continued to improve the contributions of music, literature and dance to the aesthetic and ethical education of children, to developing their sensitivity and intelligence, in other words, to the formation and harmonious development of the children’s personality. From the perspective of knowing and preserving the national identity, in the non-formal educational system existing in Romania, there are musical-literarychoreographic circles with folkloric specifics organized in the Children’s Clubs and Palaces. Also, through school curriculum (CDS), there are initiatives by music education teachers to capitalize on music-literary-choreographic folklore through new disciplines, giving pupils the knowledge of local, regional and national traditions.
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Klyushina, Elena V., and Eleonora M. Glinternik. "“La Revue Blanche”: The History of Illustrating." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 127–49. http://dx.doi.org/10.21638/spbu15.2021.108.
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The article reconstructs the illustrating history of “La Revue Blanche”, the leading French literary and artistic magazine of the fin de siècle epoch. Leaving out the analysis of literary content, the authors considers the petite revue through the prism of its most significant artistic achievements. In order to achieve this goal, a rather wide range of graphic artists who collaborated with “La Revue Blanche” at one time or another is outlined, and the conditional genre ranking of engravings published and distributed with the help of the journal is carried out. Based on the data obtained, a periodization of the short history of “La Revue Blanche” illustrating is proposed. The article attaches great importance to the stylistic and iconographic analysis of individual artworks. In the case of the ones by Vuillard, Roussel, and Bonnard, it is possible to put forward new semantic interpretations and emphasize the confessional nature of the prints created by the masters for the design of the journal’s frontispiece. In the article significant attention is given to the history of introducing the practice of publishing graphic literary portraits by Vallotton in “La Revue Blanche”, which at some point are forced to take on the utilitarian function of vignettes. Equally important is the review of the publication history of the independent illustrated supplement “NIB”, which, as is well known, has only had three issues. The authors see in “NIB”, at the same time, an artistic reincarnation of fumiste chatnoiresque satire, clearly close to Toulouse-Lautrec, Valloton and Bonnard, and a graphic revealing of the internal philosophical and aesthetic conflict that existed within the Nabis art group. In addition, the authors also describe the features of the Nathanson brothers’ publishing activity, emphasizing the direct dependence of the content of published products on the owners’ tastes.
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Camus, Albert, Jorge Amado, Alain-Philippe Durand, and Ralph Schoolcraft. "Formative Literary Visions and Prewar Politics." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 918–23. http://dx.doi.org/10.1632/pmla.2009.124.3.918.
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During the launching of the university of São paulo, The 1930s added another distinguished chapter to the storied history of Franco-Brazilian intellectual and artistic collaborations. Starting in 1934 several promising French scholars began teaching at this new academic institution. Among the most prestigious were the cultural anthropologist Claude Lévi-Strauss, the historian Fernand Braudel, the geographer Pierre Monbeig, the classicist Michel Berveiller, and the Portuguese-literatures specialist Pierre Hourcade (Riedinger 443).
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Gilfanova, Gulnara Tavkilevna, Alfiia Revanerovna Valeeva, and Elena Alexandrovna Nikulina. "The German Novel of the 1960-70s: Artistic Conception of History." Revista Amazonia Investiga 9, no. 26 (February 21, 2020): 554–57. http://dx.doi.org/10.34069/ai/2020.26.02.62.
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In the German-language literature of the 1960-70s, novelistic prose emerged, which not only narrated about the German identity but also appealed to international solidarity and the formation of historical worldview. The German novel of the second half of the 20th century, associated with the original artistic conception of the history of a yet divided Germany, was given new meaning in the works of such writers as Johannes Bobrowski, Erwin Strittmatter, Franz Fühmann, and Jurek Becker. Bobrowski’s artistic style laid the foundation for a generation of writers following his original creative legacy. Thus, the goal of the study is to consider the perception and rethinking of Bobrowski’s artistic experience by the writers. This manifested in their interpretation of the “multicultural” writer’s creative method, reliving their childhood years, and introducing the reader to the history of their homeland using new literary devices.
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Vakhnenko, E. E. "Alexey Remizov in the symbolist magazine “Vesy”: to the history of cooperation." Sibirskiy filologicheskiy zhurnal, no. 4 (2020): 76–90. http://dx.doi.org/10.17223/18137083/73/5.
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The paper reveals the history of the relations of Alexey M. Remizov’s and the symbolists’ magazine “Vesy” (1903–1909) in the context of the periodical editorial policy and from the standpoint of the artist’s aesthetic values. The documentary basis of Remizov’s relationship with the magazine’s board can be considered his correspondence with Valery Bryusov, as well as fragments of the epistolary heritage of both a personal nature (letters to his wife Seraphima Remizova-Dovgello) and official correspondence with leading employees of St. Petersburg press. The contacts of the novice writer with Moscow and St. Petersburg symbolists, his gradual entry into the circle of modernist writers contributed to some extent to the formation of his artistic guidelines and poetics of his works in the framework of decadent aesthetics. Invited by Valery Bryusov, Remizov published the reviews of the cultural life in the provinces and in the capital for several years, most often anonymously, in the magazine’s sections “Chronicle,” “On Life,” and “Miscellaneous”. His literary works sent to the editorial board did not pass the censorship and were not accepted for publication because of the hostile attitude of the magazine’s owner S. A. Polyakov. Remizov’s attempts to become a permanent member of the “Vesy” staff for six years did not yield a positive outcome. However, they showed the independence of the author’s position from the editorial policy of the magazine in his choice of artistic priorities and contributed to the formation of the writer’s literary person-ality outside the ideological and aesthetic program of the symbolists.
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Parkes, Ruth. "Dealing with Ghosts: Literary Assertion in Statius' Thebaid." Ramus 39, no. 1 (2010): 14–23. http://dx.doi.org/10.1017/s0048671x00000515.
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Chthonic scenes have often been considered in terms of their metapoetic potential. The very nature of such episodes, in which protagonists typically encounter characters from the literary-mythological past, arguably encourages a kind of artistic self-consciousness. In Currie's words,Anekyiamay be an especially fitting place for a poem to explore self-reflectively its relationship to earlier poetry: to confront its own literary ghosts.This article examines whether the portrayal of ghosts in the necromancy of StatiusThebaidBook 4 can be read as a meditation on the poem's place in the literary tradition. It views the scene as a commentary on the epic's artistic practices, wherein Statius both acknowledges his predecessors, especially Ovid and Seneca, and asserts his own literary contribution through the appearance of the ambushers depicted earlier in the poem. It then argues that Statius validates his place in the canon by enacting the integration of the ambush scene into literary and Theban history.
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Varga, Zoltán. "Rewriting history." European Journal of Life Writing 1 (December 5, 2012): 22–40. http://dx.doi.org/10.5463/ejlw.1.39.
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The paper tries to analyse how the irruption of history was transformed into an artistic and intellectual challenge in the autobiographical works of Sándor Márai. Márai who started to keep his diary in 1943 inspired by his readings of the diaries of André Gide sought to construct an authentic space of presence, safe from historical time and from the discourses of public opinion, in order to devote himself to researching the singularity of his existence and his “lived time”. But the programme of his diary was progressively changed: although Márai had started recording his daily observations and reflections with a similar detachment from public affairs as Gide, during the course of the war, his diary became more and more determined by public discourses. The Hungarian writer shifted his perspective from the individual to the collective, the aphoristic discourse giving way to passionate accusations. His reflection, which earlier belonged to the order of cognition, turned later into the order of ethic, in a mixture of moral reflection, political commitment, expression, and performative verbal action. But the overshadowing of the aesthetic experience of the world during the chaotic years of his intellectual and artistic confusion also had its dangers, namely the incursion of semi-public political and ideological discourses in Márai’s wartime diaries. In the reformulation of his wartime experiences thirty years later – in the Memoir of Hungary – Márai succeeded in finding a new artistic form to represent his past. The complexity of narrative structures and temporal composition, the dramatic and metaphorical correlation of the changing social, national and psychological components of identity represented in the Memoir of Hungary creates a particular literary (aesthetic) effect, which in turn intensifies our reading experience and encourages the reader to go beyond the ideological constructions of official historical writing.
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Moisiienko, Anatolii. "ARTISTIC SYNTHESIS IN CHESS SONNET." Слово і Час, no. 4 (August 3, 2021): 76–96. http://dx.doi.org/10.33608/0236-1477.2021.04.76-96.
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The article focuses on one of the visual types of syncretic poetry — chess poems. Years ago Anatolii Moisiіenko initiated the chess poetry genre in Ukrainian literature; in a number of critical papers, he presented the specifics of construction and functioning of such artistic structures, which are basically characterized by the symbiosis of proper poetry and chess composition. In this article, the author uses Viktor Kapusta’s books of poems “The Checkered Continent” and “Unguaranteed Migrations” to analyze the chess sonnets of the poet who added a new page to the history of Ukrainian visual literary art by proposing a peer-to-peer combination of a strictly structured literary form and a chess problem. The aim is to conceptualize the figurative and compositional relations within the sonnet structure itself, which relies on the artistic palette of the chess game, with its diversity of geometric abstractions, local mise-en-scénes of unpredictable theatrical performances played out on the chess-board by wooden pieces — or on the chessboard of readers’ imagination. Attention is drawn to the transformational peculiarities of the sonnet line, read in a palindromic and pantorhymic way. The pantorhyme is the versificational and compositional basis for the chess sonnet sequence “Castling. A Herbarium of Stars”, which is analyzed here with regard to the transposition of some characteristics to the realm of chess composition. A diagrammed chess problem becomes a specific chess component of a sonnet sequence, where, for example, the variants of the solution (Black’s defensive moves and White’s attacking responses) correspond to the poetic lines making up the fourteen sonnets whereas the problem’s threat, like a principal poem, concentrates all the mentioned chess movements in a single variant.
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Asonova, Ekaterina, and Olga Bukhina. "Contemporary Literary Tales: History and Politics in Children’s Reading." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 373–86. http://dx.doi.org/10.31860/2304-5817-2021-1-19-373-386.
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This article researches the role of contemporary children’s historical fiction as well as fiction with social and political topics that use the elements of fairytales or fantasy to form historical and political (or civil) views of children. The use of artistic devices typical for fairytales is discussed in the article in a frame of the possibility of making historical information attractive and understandable for a young reader, even in such difficult cases as wars, political repressions, or authoritarian governments. This way the authors of books discussed in the article are able to tell much more about the essence of historical events and/or to create the conditions for understanding of the political organization of the society than if they would stay strictly with the realistic genres. For learning purposes, historical fairytales and fairytales discussing politics allow to meet very complicated educational challenges that satisfy a particular interest in history and/or politics natural for small children and to create the motivation to master the historical material.
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Aitimov, M., and А. Naimanbayev. "ARTISTIC IMAGES OF ALASH FIGURES IN MODERN KAZAKH PROSE." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 193–200. http://dx.doi.org/10.51889/2021-1.1728-7804.32.
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Novels of modern Kazakh prose are the result of creative work in the system of national and world literary processes. The works of modern writers, who are followers of artists who described various periods in the history of the Kazakh people, have a direct impact on the formation and renewal of the historical and national consciousness of the current reader. The article examines the features of the image of historical reality and artistic solutions in modern Kazakh novels, reveals how documentary is combined in them with artistic fiction. The analysis is performed on a material of novels Sabit Dosanov "Kylburau", “Yiyk". The article analyzes how modern Kazakh novels depict human life against the background of nature, how national and ethnographic traditions relate to the realities of time, and other features of the aesthetics of the artistic solution. The authors also note that in these works, writers try to create literary and artistic images of Alash leaders Alikhan Bokeikhanov, Akhmet Baitursynov and other historical figures.
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Collins, Lucy. "Hidden Collections: The Value of Irish Literary Archives." Irish University Review 50, no. 1 (May 2020): 187–97. http://dx.doi.org/10.3366/iur.2020.0445.
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Archives play an important role in preserving literary history, but they also have the potential to change that history, by making the papers of Irish writers, editors, and publishers available, as well as by documenting larger literary and social moments. By facilitating the preservation and arrangement of these materials, archivists support new ways of interpreting and communicating historical and artistic processes to a wide audience. Archives are themselves interesting subjects of study, helping us to understand how national traditions and intellectual priorities evolve. This essay explores the value of Irish literary archives to the contemporary scholar, and considers some of the factors that shape a writer's legacy.
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Sultanmuradov, Agaragim Magomedovich, and Kamilla Bairamalievna Isaeva. "Artistic comprehension of life and creative path of Abusufyan Akayev in the works of Kumyk writers (based on the analysis of the poem “Flame” by Badrutdin Magomedov)." Филология: научные исследования, no. 7 (July 2021): 39–49. http://dx.doi.org/10.7256/2454-0749.2021.7.35990.
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The subject of this research is the artistic comprehension of life and creative path of A. Akayev in the works of Kumyk writers. The object of this research is the poem “Flame” by the prominent Kumyk poet B. Magomedov. The author explores the place and role of A. Akayev in the history of spiritual culture of the Kumyk people and other peoples of Dagestan; evolution of the traditions of artistic comprehension of life and creative path of the outstanding Kumyk writers (including Abusufyan) in the history of Kumyk literature; and the deleterious influence of the consequences of Stalin's repressions on the spiritual life of the people later on. Particular attention is given to the analysis of the problematic and literary peculiarities of the poem. The main conclusions are as follows: 1) the history of Kumyk literature features such figures, whose life and creative path have become the object of not only literary studies, but also the object of their artistic comprehension; 2) over a dozen Kumyk authors dedicated their works to the artistic comprehension life and creative path of A. Akayev, among which B. Magomedov’s poem “Flame” holds a special place.. The author’s contribution to this research consists in introduction into the scientific discourse of one of the best in ideological and artistic aspect compositions of Kumyk literature of the post-Soviet period. The novelty is defined by the fact that this problem has not previously become the subject of special research.
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Szczeglacka-Pawłowska, Ewa. "Wyrafinowany koncept. O miejscu [Królewny Lali] Adama Mickiewicza w historii literatury." Roczniki Humanistyczne 67, no. 1 (July 4, 2019): 95. http://dx.doi.org/10.18290/rh.2019.67.1-7.
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The article attempts to define the place of Adam Mickiewicz’s unfinished work from the last stage of the poet’s artistic life, titled [Królewna Lala] [Princess Lala], in the history of literature, and thus in the history of literary research, and to outline the possible interpretations of the work using the category of Romantic irony and the idea of concept. A fine artistic idea behind [Królewna Lala] consists in using complex contrasts, combining fairy tale with realism, seriousness with comedy, simplicity of language with poetic mastery, dialogue with literary tradition. It is a virtuoso performance of the writer who creates a comic effect that is closer to the poetics of the absurd (pure nonsense) than to pure comedy. The work reveals a new aesthetic quality, unknown to Mickiewicz’s earlier works.
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Sametova, Z., and M. Aitimov. "ARTISTIC HARMONY OF THE POETICS OF HISTORICAL TRUTH." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 267–73. http://dx.doi.org/10.51889/2020-3.1728-7804.40.
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This article States that the classic artistic basis of modern Kazakh prose, which influenced its content and form, were the works of new written realistic literature ( works of Abay, Y. Altynsarina et al.). Images of Kazakh prose created by Shokan, Ibrai, Abai and works written at the subsequent stages of the development of Kazakh literature are national spiritual values. It also examines the literary process of the early twentieth century and the work of individual writers who contributed to the development of the novel genre in Kazakh prose along with examples of world literature. A large number of Kazakh novels created during the period of independence were published in the 90s of the XX century and the beginning of the XXI century. The article examines how the centuries-old history of the Kazakh people, the history of the Kazakh state from ancient times to the present day is depicted in fiction within the framework of the traditional creative process.
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Mendelsohn, Ezra. "On the Need for a Jewish Artistic Canon." IMAGES 1, no. 1 (2007): 22–23. http://dx.doi.org/10.1163/187180007782347647.
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AbstractMendelsohn's contribution raises the issue of a Jewish "artistic canon," paralleling the better-known efforts to establish a Jewish literary canon. Which works of art—painting, photographs, sculptures, buildings—should be included in such a canon? What are the criteria for making such a selection?
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Svendsen, Anna. "C. C. Martindale (1879–1963), the History of Religions, and the Theological Imagination of David Jones (1895–1974)." Journal of Jesuit Studies 8, no. 4 (September 3, 2021): 565–84. http://dx.doi.org/10.1163/22141332-08040003.
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Abstract Although the work of his Jesuit contemporaries Ronald Knox and Martin D’Arcy is perhaps better known today, C. C. [Cyril Charlie] Martindale’s (1879–1963) thinking about “the relationship between paganism and Christianity” in the early twentieth-century theological debates surrounding the field of “History of Religions” would have a profound effect on the unique intersection of theological thinking and artistic form in the work of the British Catholic poet and painter David Jones (1895–1974). Jones’s reading of Martindale’s short story collection The Goddess of Ghosts (1915) in 1919 would help to resolve a “religious crisis” Jones experienced in his exposure to the arguments of the skeptical scholar of “History of Religions,” James Frazer. Martindale’s presentation of his ideas in a literary form not only provided Jones with a hermeneutic (derived from the church fathers) for thinking about the relationship between paganism and Christianity, but also suggested an artistic model for exploring theological ideas with literary language.
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Do, Thi Cam Van. "Inter-genres in contemporary Vietnamese historical novels." Ministry of Science and Technology, Vietnam 63, no. 4 (April 30, 2021): 56–59. http://dx.doi.org/10.31276/vjst.63(4).56-59.
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In the development process and social movements, the literary genres do not exist independently but have interaction with each other. Novels are capable of performing genres interaction because “the novel allows to put into it many different genres, including artistic genres (short stories, lyric poems, epics, speech plays...) and non-artistic genres (literature in daily life, rhetoric, science, religion...)”[1]. Novels with traditional writing style about contemporary Vietnamese history (prominent writers such as Nguyen Xuan Khanh, Vo Thi Hao, Nguyen Mong Giac...), the interaction among literary genres is considered as the most common form. Typical forms of genre interaction in novels with historical themes are the interaction between short stories and novels, poetry and novels... Genre interaction expresses the writer’s sense of creativity and experience in the innovation requirement of literary life practice.
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Feshchenko, V. V. "In the Three-Dimensional Space of Linguistic Theory and Literary Experiment." Critique and Semiotics 39, no. 1 (2021): 78–93. http://dx.doi.org/10.25205/2307-1737-2021-1-78-93.
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Based on Yu. S. Stepanov’s conception of the three paradigms in the history of linguistics, philosophy and art (semantic, syntactic and pragmatic), this study highlights the three phases of the linguo-aesthetic turn in the theory of language and in the artistic language experiment of the 20 th century: formal-semantic, functional-syntactic and actional-pragmatic. Analyzed are the creative linguistic techniques used in experimental literary discourse throughout the 20 th century, predominantly in Russian and Anglo-American literature, and the linguistic procedures corresponding to these techniques, discovered in twentieth century linguistics as a path to new theories of language. The research material testifies to complex and productive interactions between experimental-artistic and scientific-linguistic discourses. The creative linguistic techniques of the literary experiment are consistent with the techniques of language analysis in the linguistic theories of the twentieth century.
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Betancourt, Roland. "Representation as indwelling: Contextualizing Michael Psellos’ empsychos graphe across artistic, liturgical, and literary theory." Byzantine and Modern Greek Studies 44, no. 1 (February 19, 2020): 62–85. http://dx.doi.org/10.1017/byz.2019.24.
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Through terms that articulate the arts as the results of divine possession or inspiration, the writings of Byzantine thinkers repeatedly expressed the manner in which representation was believed to operate as a form of divine indwelling occurring beyond the skill and originality of the artist, writer, or performer. Beyond ideas of naturalism or style, the literary, visual, and performance arts arose through the event of divine participation. The goal of this article is to contextualize the concept of empsychos graphe, as articulated by Michael Psellos, within a longer and broader history of similar concepts across literary, liturgical, and artistic thought.
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Ziolkowski, Eric. "Wach, Religion, and "the Emancipation of Art"." Numen 46, no. 4 (1999): 345–69. http://dx.doi.org/10.1163/1568527991201428.
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AbstractDespite the abundance of lore about Joachim Wach's lifelong passion for literature, music, and other arts, the pertinence of his aesthetic reflections to his formation as historian of religions is often ignored or under-appreciated. Yet his involvement with the Kreis surrounding the poet Stefan George was perhaps one of the chief early factors that led Wach to liken the study of the history of religions to contemplation of literature and the arts. It is even possible that ideas of the literary historian Friedrich Gundolf about the relationship between the artist and the artist's work helped stimulate Wach's early thinking about the relationship between religious experience and the theoretical, practical, and institutional expressions of that experience. Indeed, throughout his own scholarly writings Wach displays an irrepressible tendency toward combining religionswissenschaflich theorizing with aesthetic reflection, and toward encompassing literary, musical, and other artistic examples within the scope of data to be considered by scholars of religion. This article analyzes the development of that tendency in Wach's scholarship, paying special attention finally to his notion of the modern Western "emancipation of art" from religious influence. This notion, while reflecting a general optimism that characterizes his view of the diversifying, developmental course of numerous other religious and cultural phenomena over time, may ultimately be too strong or reductive for describing what has actually occurred over the past several centuries in the relation between artistic and religious phenomena.
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Kujawińska Courtney, Krystyna. "History and Poetry in William Shakespeare’s Lucrece." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 57. http://dx.doi.org/10.14198/raei.2012.25.05.
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This essay demonstrates the interrelationship between the historical source (Livy, Ab Urbe Condita LVIII-LX) and the literary source (Ovid, Fasti, II. 721-852) present in the construction, or rather, in “the artistic scheme,” of Shakespeare’s Rape of Lucrece. The “Argument,” written in prose and the text of the narrative poem reveal Shakespeare’s synchronic engagement with both Clio and Calliope. The synergistic interaction between the two parts proves that Shakespeare either consciously or unconsciously joined the ongoing discussion on the interaction between history and poetry. Falling in line with the sixteenth-century debate on the credibility of historical sources, the reading of Lucrece encourages the reader to judge the so-called authenticity or actuality of past events as depicted in different genres of literary texts. In other words, as a two-part structure Shakespeare’s Lucrece invites the analysis of the relationship between history/historiography and poetry, in which one of the essential elements is the question of the process of interpreting both historical and poetic narrative texts and their use of language, style, form and literary genre.
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Siuta, Halyna М., Iryna M. Ivanenko, Zoriana R. Dubravska, Liudmyla M. Mialkovska, and Olha R. Senkovych. "Dynamics of stylistic norms in the artistic discourse of the xx century." LAPLAGE EM REVISTA 7, Extra-A (April 22, 2021): 26–37. http://dx.doi.org/10.24115/s2446-622020217extra-a773p.26-37.
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Ukrainian literary language is a complex communicative system, synchronous-diachronic section of which is informative regarding the state of development of national consciousness, intellectual level of society, and in a broader sense – concerning inscribing of the language in the history of national and world culture. This article is devoted to tracing the temporal and conceptual dynamics of the stylistic norm in the work of Ukrainian writers of the 20th century. The methodological basis for the study was made by such methods as comparison and analysis of literary works of Ukrainian writers of the XX century. As a result of the study, the authors concluded that the linguistic norm is a cognitive reference point for the scientific parameterization of the style norm of artistic discourse. The authors also emphasize that the dynamism of the stylistic artistic norm lies in the ability of the poetic language to respond to the development of artistic and linguistic consciousness, thinking of both the author and the reader in various manifestations.
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Dmitriev, Pavel V. "“The Captain Doesn’t Count Alone…”: M. Kuzmin and “The Sailors of Marseilles”..." Literary Fact, no. 19 (2021): 163–80. http://dx.doi.org/10.22455/2541-8297-2021-19-163-180.
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The paper is dedicated to the history of a short-lived Petrograd literary group “The Sailors of Marseilles” (spring-autumn, 1917) united around M. Kuzmin. Despite its ambitious plans announced in the press, and self-positioning as a literary and artistic society, the creative output of the group was quite modest. The degree of commitment within the group remains unclear – to what extent the members of the Second Workshop of poets were involved in the new literary project? The paper brings out certain coincidences and similarities in the texts of the poets – regular members of the group, highlights their connections with other artistic communities. A special attention is paid to the name of the group – “The Sailors of Marseilles”, and a new hypothesis about its origin is put forward. The paper comprises the first publication of a fragment of Marseillaise translated by M. Kuzmin in 1921.
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BALAYAN, Zinaida. "Literary, Methodological Paradigms: The Theme of Artsakh in the Works by Raffi and Muratsan." WISDOM 18, no. 2 (June 25, 2021): 176–87. http://dx.doi.org/10.24234/wisdom.v18i2.522.
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In its internal divisions, literature is a science based on the complete principles of literary theory, philosophy, history, and analysis of the literary-artistic original (stylistics and contention), which in depth is unable to fully integrate the content of the subject.
That is why it is necessary to divide the components that are part of the subject, each of which in its turn forms an independent field of inquiry with its proposed method and methodology.
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Tighe, Carl. "The Polish Writing Profession: 1944–56." Contemporary European History 5, no. 1 (March 1996): 71–101. http://dx.doi.org/10.1017/s0960777300003647.
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Citizens of the Polish People's Republic have a right to enjoy cultural achievements and to participate creatively in the development of their national culture …. The Polish People's Republic is concerned for the all-round development of scholarship, literature, and the arts, and surrounds with particular care the creative intelligentsia and those engaged in scientific, educational, literary and artistic work.The Constitution of the Polish People's Republic, 1952.
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Coon, Lynda. "Collecting the Desert in the Carolingian West." Church History and Religious Culture 86, no. 1 (2006): 135–62. http://dx.doi.org/10.1163/187124106778787042.
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AbstractThe Egyptian desert summoned for its early medieval progeny memories of a past age of superhuman askêsis that posed a challenge to Carolingian attempts at Benedictine hegemony. In response, the architects of ninth-century monastic reform labored to present their votaries with a carefully controlled memory of the Egyptian past, and they did so through a propagandistic aesthetic of literary, visual, and ritual "bricolage." Jaś Elsner defines this aesthetic of bricolage as an artistic form based on symbolic ownership of the past through the display of ancient spolia on contemporary monuments (e.g., the sculptured reliefs collected from past, imperial regimes and exhibited as spolia on the Arch of Constantine) or the layering of present-day texts with past literary forms (e.g., Christian typological exegesis of Hebrew Scripture). Similarly, for the Carolingians, who also ventured into the artistic realm of bricolage, collecting, embodying, and displaying were methods of exerting control over the past.
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Garcés García, María del Pilar. "El espíritu olímpico en Occidente desde sus orígenes en Grecia y los Juegos Olímpicos de Tokio (1964-2021)." Revista de Filología de la Universidad de La Laguna, no. 43 (2021): 137–51. http://dx.doi.org/10.25145/j.refiull.2021.43.07.
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Given the importance that sport has acquired in today’s society and the futuristic relevance that the Olympic Games in Tokyo in 2021 have achieved, this study proposes to focus on sport and the Olympics as a literary and artistic phenomenon in Japan, analyzing the main connotations of the Japanese imaginary, in contrast to the West. The presentation of the historical-literary layout in relation to the theme of sport and the Olympics throughout the history of literature supposes the verification of the enormous amount of archetypes that can be found in the 21st century. All this highlights, at least qualitatively, the importance of sport as a literary, mythological and artistic subject between 1964 and 2020, period on which we will try to focus our critical and analytical vision, highlighting the main literary skills used to immortalize this world event, ritualized since the Greco-Latin era. We will also carry out an analysis of the literary and philosophical meaning of the Olympics and of the Olympic athlete as a character in Western antiquity and of the Olympics and the athlete in Japanese antiquity, rescuing the ritual and literary evolution until the current century
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Feshchenko, V. V. "From the History of Cognitive Linguistic Approaches in Russian and Western- European Poetics." Critique and Semiotics 37, no. 2 (2019): 128–35. http://dx.doi.org/10.25205/2307-1737-2019-2-128-135.
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The article provides an overview of some recent works on cognitive poetics. Of particular interest are studies close to linguistic problematic of cognition in literary texts. A separate analysis tackles the case from the history of Russian thought about language and poetry – the theory of artistic (poetic) concepts by the Russian philosopher S. А. Askoldov. The paper also considers conceptions of Western-European linguists that emerged at the peak of the “cognitive turn” in the 1970s: theories of T. van Dijk and J. Lakoff – M. Turner, as well as criticism of these works by the Israeli literary critic R. Tsur; the approaches of P. Stockwell (author of the theory of deictic shifts), the Sheffield School of Text Worlds Analysis (J. Gavins, A. Gibbons), and M. Freeman (applications of cognitive linguistics to the study of literary text).
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Parente, James A. "The Seventeenth-Century Literary Text: Aesthetic Problems and Perspectives." Central European History 18, no. 1 (March 1985): 48–69. http://dx.doi.org/10.1017/s0008938900016903.
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Seventeenth-century literature in the Holy Roman Empire has rarely been discussed in general cultural histories about the European Baroque. The dramatic achievements of Shakespeare, Calderon, and Corneille, the inimitable poetry of the Metaphysicals and Marino and the mischievous adventures of the Spanish picaro have long overshadowed the literary accomplishments of the German Baroque. Even today many scholars are still content to dismiss the German seventeenth century as derivative while, in the opposite camp, loyal Germanists currently defend its uniqueness. As is generally known, literary developments in the Empire were slowed by a number of unfortunate circumstances. Geographical, confessional, and linguistic disunity strongly contributed to the parochialism of German Baroque letters. Local literary societies were widely scattered throughout the Empire from Silesia to the Rhine and communication between them was greatly hampered. The lack of a main cultural center similar to the artistic hubs of Paris or London further isolated the writers from each other. In addition, confessional differences not only segregated Catholic and Protestant poets, but also resulted in the simultaneous development of a Batoque Latin and German literature.
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Petrova, G. V. "MODERNIST MANIFESTO MAGAZINE AND ITS READERS (CONCERNING THE HISTORY OF AESTHETIC COMMUNICATION IN RUSSIA)." Russkaya literatura 2 (2021): 14–25. http://dx.doi.org/10.31860/0131-6095-2021-2-14-25.
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The article deals with the specifi cs of the manifesto magazine as a new type of the literary and artistic periodical and of the aesthetic communication, which was carried out between the modernist magazines and their readers. The article examines obscure publications in the periodicals of the late 19 th — early 20th centuries and materials from the editorial portfolio of the journal Vesy, by the most part concentrated in the personal archives of the editor and publisher S. A. Polyakov.
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Ryan, James Emmett. "Sentimental Catechism: Archbishop James Gibbons, Mass-Print Culture, and American Literary History." Religion and American Culture: A Journal of Interpretation 7, no. 1 (1997): 81–119. http://dx.doi.org/10.1525/rac.1997.7.1.03a00040.
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Building on an ample foundation of (often feminist) revisionary literary scholarship, which over the last decade has fostered a substantial reexamination of “sentimental” texts created by late eighteenth- and early nineteenth-century American novelists, recent studies of sentimentality in nineteenth-century American culture have continued to expose its political import, social complications, gender paradoxes, and racial construction. Once dismissed as shallow tearjerkers, American sentimental novels, which often drew on the example of British fictional models from Samuel Richardson'sPamela(1740) andClarissa(1747-1748) to Charles Dickens'sA Christmas Carol(1843) andLittle Dorrit(1857-1858), have recently been recognized as “the most radical popular form available to middle-class culture.” By now, Leslie Fiedler's despair in the face of the alleged artistic impoverishments of these books has been abandoned by many critics, who, bypassing or modifying Fiedler's aesthetic imperatives, now prefer to ask pointed questions about the “cultural work” that these books have performed within American society.
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Nikolaev, Nikolay, and Marina Bezrukova. "A PICTURE OF THE WORLD IN THE SPIRITUAL ODES BY MIKHAIL LOMONOSOV." Проблемы исторической поэтики 19, no. 2 (May 2021): 33–55. http://dx.doi.org/10.15393/j9.art.2021.8822.
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The research is based on the analysis of Mikhail Lomonosov’s poetic works, which he himself designated as the general genre of ‘Spiritual Odes.’ In the beginning of the work, the authors reveal the differences in the interpretation of the “benefits of sciences” by the great Russian poet and scientist and his European predecessors (Francis Bacon, René Descartes). The originality of Lomonosov’s response to this question becomes evident when compared with the prior assessments that had emerged in the Russian literary discourse. All these differences are explained by the conceptually new solutions offered by Mikhail Lomonosov in the world modeling process. A detailed analysis of his spiritual odes from the viewpoint of the spatial organization of their artistic world indicates the emergence of a completely new subjective position, which is absent in the works of both his literary predecessors and contemporaries (Vassiliy Trediakovskiy, Alexander Sumarokov). This is the position of a scientist, the emergence of which leads to significant adjustments to the artistic description of the spatial positions of God and man (an ordinary “mortal”). This results in a radical change of the artistic view of the world itself, presented in Mikhail Lomonosov's spiritual odes. This event is considered to be one of the most important in the Russian literary history of the 18th century.
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Steinberg, Samuel. "“Tlatelolco me bautizó”: Literary Renewal and the Neoliberal Transition." Mexican Studies/Estudios Mexicanos 28, no. 2 (2012): 265–86. http://dx.doi.org/10.1525/msem.2012.28.2.265.
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This essay takes as its starting point the relative lack of a contender to the “novel of ′68” in Mexico. I argue that Jorge Volpi's 2003 El fin de la locura constitutes the final writing of such a novel, to appear some 35 years after the original events of that year. The double “renewal” pursued by this work is explored both as an intended restoration of the literary to a place of social privilege after a period of decline, and also as a conservative restoration of order following the revolutionary sequences of the 20th century. However, I argue, the novel cannot finally commit to artistic renewal without also confirming the “madness” of the century; the literary renewal pursued in Volpi's text thus becomes the very political renewal that the author seeks to avoid.
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Memetova, L. A. "Literary and artistic process on the pages of "Alem-i Subyan" ("Children's World")." Язык и текст 6, no. 1 (2019): 22–28. http://dx.doi.org/10.17759/langt.2019060103.
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In the recent decades, interest in the Crimean-Tatar periodicals of the late XIX and first half of the XX centuries has been intensified in the domestic scientific community, as to chronicles that have captured the literary background of the pre-war period. The modern researches in this area are the result of the consolidation of scientific forces to fill in the gaps in the historiography of Crimean Tatar philological thought. The purpose of the article is to review and analyze the literary and artistic process on the pages of the first specialized periodical for children in the Crimean Tatar language - the journal Alem-i Subyan ("Children's World"). The work analyzes original and translated creations published in various issues of the publication, assigns the individual works, defines the role of Alem-i Subyan ("Children's World"), which served as a platform for the presentation of the writers works' in the development of Crimean Tatar children's literature, and in general, in the evolution of the Crimean Tatar aesthetic thought early XX century. The implemented research contributes to the formation of the new knowledge in the history of the Crimean Tatar literature and in the development of the ethnic journalism.
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MIDDLETON, STUART. "RAYMOND WILLIAMS'S “STRUCTURE OF FEELING” AND THE PROBLEM OF DEMOCRATIC VALUES IN BRITAIN, 1938–1961." Modern Intellectual History 17, no. 4 (February 4, 2019): 1133–61. http://dx.doi.org/10.1017/s1479244318000537.
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This article traces a history of the literary critic and theorist Raymond Williams’s idea of the “structure of feeling”, the formation of which is situated within debates about the place of artistic and moral values in democratic politics during the 1940s and 1950s. It demonstrates that the “structure of feeling” was intended to circumvent an equation of collective normative legislation with totalitarianism in the early cultural Cold War, by conceiving the definition of values as a process upon which all individuals in a society were always, necessarily, engaged. In articulating this quasi-democratic account of the production of artistic and moral standards, Williams also sought to escape the various theories of “minority culture” that dominated literary and cultural criticism in mid-century Britain. However, his concept of the “structure of feeling” required him to maintain a privileged role for artistic and intellectual arbiters, which constrained his vision of a properly democratic culture. In conclusion, the article argues that the problem of “democratic values” that Williams addressed in his work of the 1950s was a major factor in the marginalization or exclusion of moral criticism from political argument in Britain after 1945, and suggests that this passage of intellectual history may therefore be of considerable importance to contemporary debates about the lineages and reform of, in a broad sense, neoliberal political economy.
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Quinn, Iain. "British Music and Literary Context - Artistic Connections in the Long Nineteenth Century." Journal of Victorian Culture 18, no. 1 (March 2013): 170–72. http://dx.doi.org/10.1080/13555502.2013.774238.
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GANZHA, Anhelina. "RECEPTION OF THE HERITAGE OF M. T. RYLSKYI IN THE SCIENTIFIC COLLECTION “CULTURE OF THE WORD”." Culture of the Word, no. 92 (2020): 166–76. http://dx.doi.org/10.37919/0201-419x-2020.92.14.
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For many decades, Maxim Rylskyi’s artistic texts and scientific achievements have attracted linguistic researchers. This thesis is vividly illustrated by the more than half a century history of publications on the heritage of the poet-academician in the scientific collection “Culture of the word” of the Institute of Ukrainian Language of NASU. Since the foundation of the mentioned edition (1967), its readers are being able to constantly get acquainted with Rylskyi’s works of about history of Ukrainian literary language, lingual stylistics, practice of artistic translation, lexicography, and also with scientific research of linguists about the multifaceted idiostyle of the writer. The diachronic reception of publications about the scientist and poet in the collection “Culture of the Word” reveals a kind of creative and philosophical discussion by the scientific and artistic generations of the Soviet era, the post-Soviet era and the beginning of the 21st century. Although the immutable “classicism” (in the broadest sense) of M.T. Rylskyi’s legacy lifts it above time, yet the relentless evolution of scientific paradigms and artistic visions of the new era leads to new theoretical reflections on the writer’s works.
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Alexandrova-Osokina, O. N. "Issues of Geopoetics in Modern Literary Criticism." Nauchnyi dialog, no. 5 (May 30, 2020): 216–41. http://dx.doi.org/10.24224/2227-1295-2020-5-216-241.
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The results of the study and systematization of literary research on the problems of geopoetics as a direction in Russian literary criticism are presented in this review article. The relevance of the study is seen in the need to comprehend and systematize the accumulated literary experience in the field of the geopoetic paradigm of literary research. The scope of work identified in the research process is an indicator of a growing scientific interest in the aforementioned problems. In the study of the material, it was shown that the theoretical component of the work is the study of the nature of the geopoetic image, which is understood as the artistic image of the geographical space as a natural, historical-cultural and value-semantic unity. The works representing geopoetic regional models (“texts”) of Russian literature: northern, Crimean, Altai, Ural, Far Eastern, sacred are identified and substantively characterized in the article. The analyzed material allowed us to present a generalized artistic structure of the geopoetic model of the region, including mythopoetic images, natural history and historical-cultural realities, historical aspects of the formation of geopoetic representations, folklore and literary texts. The study represents geopoetic research as a systematic scientific direction uniting scientists from different regions of Russia and having formed within its borders a methodology and scientific tools for identifying and analyzing the geopoetic content of Russian literature. The systematization of the material presented in this article will help create a clear picture of the theoretical and historical-scientific development of the problem.
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Prazniak, Roxann. "Ilkhanid Buddhism: Traces of a Passage in Eurasian History." Comparative Studies in Society and History 56, no. 3 (July 2014): 650–80. http://dx.doi.org/10.1017/s0010417514000280.
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AbstractBuddhism contributed to the culture and politics of thirteenth-century Eurasian intellectual exchange, depositing literary, artistic, and architectural traces subsequently eclipsed by layers of Islamic and Eurocentric history. Within extensive cross-continental networks of diplomatic and commercial activity, Ilkhanid Buddhism and the Buddhist revival of which it was a part drew serious attention among contemporary travelers, scholars, and statesmen including Ibn Taymiyah, Roger Bacon, and Rashid al-Din. This article argues that awareness of a Buddhist scholarly and political elite in the Muslim heartland, with its center at Tabriz, generated a historically significant Eurasian Buddhist discourse during a critical passage in the turn to modernity.
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Ziolkowski, Eric. "Religion and Literature: History and Method." Brill Research Perspectives in Religion and the Arts 3, no. 1 (December 12, 2019): 1–112. http://dx.doi.org/10.1163/24688878-12340007.
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Abstract Religion and literature is the study of interrelationships between religious or theological traditions and literary traditions, both oral and written, with special attention to religious or theological underpinnings of, influences upon, and reflections in, individual “texts” (oral and written) or authors’ oeuvres. This overview considers the origins and history of, and methods employed in, that scholarly enterprise, focusing upon the dual construals of “literature” in religious studies (as a body of sacred writings and as writing valued for artistic merit); the problematics of defining “religion”; the transformation of theology and literature as a “field” (pioneered by Nathan A. Scott Jr. et al.) to religion and literature; the affiliated fields of myth criticism, and of biblical reception; and the institutionalization, globalization, and future of the study of religion and literature.
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Aitimov, M., and G. Karimova. "FEATURES OF HISTORICAL TRUTH AND ARTISTIC SOLUTIONS IN MODERN KAZAKH NOVELS." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 335–43. http://dx.doi.org/10.51889/2020-2.1728-7804.51.
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The article examines and systematizes the artistic features of the images of Abay and one of his students Abdrakhman and Alash Alikhan Bokeikhanov (author's narration, dialogue, monologue, characterization, portrait, etc.) in the novel-Hamsa by writer Ramazan Toktarov "Abaydyn zhumbagi" (Abay's Riddle). Novels of modern Kazakh prose are the result of creative work in the system of national and world literary processes. The works of modern writers, who are followers of artists who described various periods in the history of the Kazakh people, have a direct impact on the formation and renewal of the historical and national consciousness of the current reader. The subject of special consideration is the features of the image of historical truth and artistic solution in the novel-Hamsa by Ramazan Toktarov "Abaydyn zhumbagi" (the Abay Riddle). The article also analyzes the artistic solution of the continuity of motives of realism and romanticism (realistic character and artistic fiction ) in modern Kazakh novels.
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Telles, Helyom Viana, and Lynn Alves. "Narrative, history, and fiction: history games as boundary works." Comunicação e Sociedade 27 (June 29, 2015): 319–33. http://dx.doi.org/10.17231/comsoc.27(2015).2104.
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This work arises from the reflections generated by a post-doctoral study that investigates how history games can contribute to the production and dissemination of representations, pictures, and imaginaries of the past. We understand history games to be digital electronic games whose structure contains narratives or simulations of historical elements (Neves, 2010). The term notion of “border works” is used by Glezer and Albieri (2009) to discuss the role of literary and artistic works that, standing outside the historiographical field and having a fictional character, are forms of the dissemination of historical knowledge and approximation with the past. We want to show how, under the impact of the linguistic turn, the boundaries between history and fiction have been blurred. Authors such as White (1995) and Veyne (2008) found both a convergence with and identification between historical narrative and literary narrative that interrogates the epistemological status of history as a science. These critiques result in an appreciation of fictional works as both knowledge and the dissemination of historical knowledge of the past. We then examine the elements of the audiovisual narratives of electronic games (Calleja, 2013; Frasca, 1999; Jull, 2001; Murray, 2003; Zagalo, 2009) in an attempt to understand their specificity. Next, we investigate the place of the narrative and historical simulations of electronic games in contemporary culture (Fogu, 2009). Finally, we discuss how historical knowledge is appropriated and represented by history games (Arruda, 2009; Kusiak, 2002) and analyze their impact on the production of a historical consciousness or an imaginary about the past.
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Balash, Aleksandra N. "Literary museums: new discussions." Issues of Museology 11, no. 2 (2020): 157–67. http://dx.doi.org/10.21638/11701/spbu27.2020.202.
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The author of the article reviews the proceedings of a scientific conference held in 2018 by the Association of Literary Museums at the Union of Museums of Russia (with the participation of the V. I. Dahl State Museum of History of Russian literature). The conference proceedings are considered as an important step made by Russian Literary museums toward defining the venues for their further development, as well as an attempt to coordinate intellectual contributions by the employees involved in practical museum work and museum researchers. The author stresses the unanimity of the proceeding’s contributors in their approach to the history of literary museums, to the determination of the specific features of their fund’s collections and the principles of their acquisition. Going beyond traditional museographic descriptions is analyzed in the discussion of methods and forms of a museum’s interpretation of the biography and work of the writer, presentation of the author’s texts by means of museum expositions and in museum educational programs. It is important to raise the question of the role of museums in the dynamics of the modern literary process and artistic culture. The author analyzes the concepts of literary heritage, both its material and intangible parts, which the contributors to the proceedings regard as a resource for further development and exploration of new formats for presentation and intercommunication with the museum audience. It is shown that overcoming the local institutional experience is a necessary stage in the development of literary museums. The Association of Literary museums can play a positive role in such development, in particular, by coordinating research.
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Kravets, Anastasia S. "Andrey Platonov and Literary Moscow: the History of Influences and Reflections: Book review of: Malygina, N.M. (2018). Andrey Platonov and Literary Moscow: Monograph. Moscow, Saint Petersburg, Nestor-Istorija Publ." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 321–24. http://dx.doi.org/10.22363/2312-9220-2021-26-2-321-324.
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The review gives the analysis of a new biographical study on Andrey Platonov and the Moscow literary environment. The monograph by N.M. Malygina restores the phenomena of literary Moscow in 1920-1940-s, it also gives an idea of the place the writer took and the role he played among professionals. As well it illustrates the relationship and influence of authors and critics on each other. For the first time the artistic world and the writers strategy of Andrei Platonov are compared with the world and the strategy of B.L. Pasternak.
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Zhetibay, R. "THE IMAGE OF A WOMAN IN ZH.NAZHIMEDENOV'S STORY «АЗАМАТ АУЫЛЫ» AND «ӘЙЕЛДЕР»." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 230–36. http://dx.doi.org/10.51889/2020-4.1728-7804.48.
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This article analyzes in detail the stories of Zhumeken Nazhimedenov "Azamat auyly" and"Ayelder". The author analyzes the stories from the point of view of the author's concept, from the point of view of the artistic structure. The article analyzes the image of a" woman " created by artistic means. The article also examines the manifestations of elements of modernism in the modern literary process. The article contains links to the 6th volume of Zhumken Nazhimedenov's works and to the works of K. Zhanuzakova " introduction to literary studies» The significance of the article lies in the analysis of the artistic structure of Zhumeken's stories, which were not analyzed in the prose of past eras. We identified ways to create a female image by comparing the advantages and disadvantages of the history of that period. Everyone knows that W. Nazhimedenov built a virgin land in poetry, and his prose works moved away from the literary arena. From this point of view, in our article we have made every effort to show the power of the author in a prose work and emphasize the skill in creating a female image. At the end of the article, we showed the unity of the image of the lyrical hero and the hero in prose, the specifics of the author's method of description, and the originality of language use.
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Novoseltseva, A. V. "A novel study: history and modernity." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 2 (May 18, 2019): 200–208. http://dx.doi.org/10.29235/2524-2369-2019-64-2-200-208.
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There is the necessity in the contemporary science of literature for development of the intra-genre novel typology to systematize the knowledge of certain novel texts and determine the aesthetic possibilities of the modern novel. Traditionally the genre novel typology is considered in social-historical way and based on its content characteristics. Representatives of formalistic approach suppose the genre as a system of methods; they emphasize the artistic uniqueness of new novel form, which determines the specificity of the plot development and theme disclosure in a novel. G. N. Pospelov associates the interpretation of characters with the plot-composition peculiarities, M. M. Bakhtin formulates the idea of dialogue, defines the monologic and polyphonic novels. Bakhtin’s novel theory is developed by N. A. Verderevskaya, focusing on the image structure of protagonist. A. Ya. Esalnek considers the genre of a novel in close interconnection between the method and style of the author. N. S. Leites carries on the tradition of formalistic approach, and according to the type of plot formation, singles out a novel of direct and indirect reflection. N. D. Tamarchenko retraces the novel evolution through its aesthetic potential in the works of famous authors. The classifications developed in Western European literary criticism (the Anglo-American school of “neo criticism”, the German school of “interpretation”) are distinguished with dualism or variability. They focus on the structural organization, the artistic relationship between the author and narrator, author and character.