Academic literature on the topic 'Belarusian Aesthetics'

Sinkova L. D. Between text and discourse: Russian literature of the XX-XXI century: history, comparative studies and criticism (lit. - crit. articles, conversations). - Minsk: Parkus plus, 2013. - 296 P. The main characteristics of the Belarusian literature development in the contest of 20th-21th century are demonstrated throughout the review. The key patterns of the poetics progression in Belarusian literature are revealed, alongside with the most noticeable algorithms of the national aesthetics establishment and the specifics of mythopoetic perception. Meaningful characteristics of Belarusian literature during Soviet period are examined particularly, especially the literature about Second World War. The national aspects of literary comprehension of the experience of German-fascist occupation in Belarusian literature during Soviet period are revealed. The important characteristic of the modern Belarusian literature after the Chernobyl disaster that has started in 1986, is emphasized upon.

The article deals with the topic of rethinking the Soviet cultural heritage by means of creative industries. It offers a possible approach to working with manifestations of Soviet cultural practices by means of creative industries as a desire to discover a new aesthetics. The theoretical basis is the concept of aesthetic forms by H. Marcuse, as well as the approach of B. Groys, according to which the Sovietness is understood as a great style. The presented data outlines the possibilities of creative industries in the process of rethinking of the Soviet aesthetic forms on the example in the modern Belarusian urban culture.

The article discusses and identifies the renewal of ideological and semantic content of V. Korotkevich’s creative explorations in the early 1960s as well as an artistic-aesthethic development of his talent during studies in Moscow (1958–1960, 1960–1962). The novelty and significance of the obtained results are manifested in scientific and conceptual understanding of the peculiarities of aesthetics, characteristic to the author’s artistic thinking in “The Legend of the Poor Devil and Satan’s Lawyers” and in the novel “The Rook of Despair”. The author reveals the essence of romantic, realistic and fantastic relationships in an artistic image of reality. Not only does the author define principles of using Biblical contents and images, historical facts and literary processes in various epochs but she also recommends to reread V. Korotkevich’s books and find the writer’s understanding and artistic treatment of a Belarusian. Moreover, the author discusses the functions of intellectual aesthetics in the artistic and typological structure of the image of the impoverished Rogochev nobleman Gervasiy Vylivakha and she outlines the nature of the writer’s creative experiments, which determined the intellectual discourse in the novels “Christ landed in Gorodnya” and “Black Castle Olshansky”.

In the last third of the twentieth century, Russian and Belarusian traditionalist prose activates mythopoetic archetypes, and there is a synthesis with individual elements of romantic, modernist and postmodern aesthetics. The purpose of the article is to identify national features of the appeal of Russian and Belarusian writers of the twentieth century to mythological structures (on the example of novels by V. Shukshin “Viburnum red” and A. Kudravets “Radanitsa”). The results of the study. Mythologism in the works by Russian and Belarusian writers in the last decades of the twentieth century is deeply conscious, reflective in nature, which determines the philosophical, intellectual orientation of their works. Separate mythologemes, reminiscences, allusions are used by writers so that they could be recognized by a reader and contain the “code” of the artistic message. The article reveals the ways V. Shukshin and A. Kudravets address mythological structures, the meaning and functions of the elements of mythopoetics in realistic prose. The author of the article notes that the compositional organization of the novels “Viburnum red” and “Radanitsa” correlates with the gospel parable of the prodigal son, which made it possible to reveal some existential issues that were relevant in the last third of the twentieth century

The article describes peculiar features of aesthetics and poetics of “sadistic verses” in the creative work of modern Austrian poet E. Yandle, Russian author A. Grygoriev and Belarusian masters of artistic word V. Zhybul and V. Burlak. Using the means of grotesque, carnivalization, illogic and black humour the authors show their protest against an excessive normativity and nihilistic pathos to modern reality with its standards, and create a peculiar lyrical hero – a weirdo, an eccentric person who falls into the chain of catastrophes, crashes and accidents.

Belarusian women stand at the forefront of post-election protests. Their participation is seen as unprecedented and is often perceived as a “revolution with a female face.” It did not start as a feminist project, however, but rather as a reaction to mass-scale arrests of male participants during the first days of protests. At the same time, is it possible to characterize female involvement in women's chains of solidarity and then regular Saturday demonstrations as a “feminist project” when one takes into account the usage of traditional feminine images and feminine aesthetics during the protests? On the other hand, even the symbolic subversion of patriarchal stereotypes present on the posters seems to have its limits when violence is inflicted by the representatives of special military forces. This essay will examine the agentic nature of female protests and the ways of expressing dignity in times when a basic sense of security is lacking. I will look at situational individual acts of agency and how these acts characterize female participants of the protests as a group that is aware of its resources and power. The text will be based on the analysis of media discourse and visual materials.

The purpose of the article is to study the artistic features of the lyrics of Maria Konopnicka, analyze the ideological and aesthetic foundations of her creative method and poetic style, as well as scientific understanding of the place and role of this bright representative of Polish positivism literature within the Belarusian cultural and historical paradigm. The introduction substantiates the novelty and relevance of the study of the poetic heritage of M. Konopnicka in the context of Belarusian-Polish literary ties. In the main part, on the example of individual poems, the ways of artistic comprehension by the poetess of a number of aesthetic, philosophical and socio-political ideas that are relevant both among the Polish and Belarusian creative intelligentsia are shown. This fact led to the emergence of literary followers, translators and interpreters of M. Konopnicka’s work, one of which is Yanka Kupala, the first national poet of Belarus. Also, the genuine interest of Belarusians in the Polish writer is explained by common cultural and historical values and traditions, a similar orientation towards representatives of the previous era (Adam Mitskevich, Juliush Slovatsky and some other Polish-Litvinian romantics). In summary, conclusions are formulated about the ideological and aesthetic searches of M. Konopnicka, as well as about the place of her poetry in the system of realism and the context of Belarusian-Polish literary ties.

Сравнительное изучение близкородственных литератур представляется актуальным направлением современной гуманитаристики. Такой ракурс исследования позволяет выявить творческую уникальность произведения, национальную основу и способы литературной рецепции посредством раскрытия литературных и социокультурных связей, формирует открытость сознания к восприятию инонациональных культурных кодов и смыслов. Творческая индивидуальность Виктора Козько сформировалась в белорусском литературном процессе последней трети ХХ в., когда происходит усиление экзистенциальной направленности прозы. Мифопоэтизм белорусской прозы обладает национальной спецификой. Основные стилевые изменения происходят на стыке художественных систем «реализм – модернизм», «реализм – постмодернизм». Возникновение диффузных явлений обусловлено как индивидуально-авторским творческим экспериментом, так и общими стилевыми тенденциями эпохи. Модернистские интенции в белорусской литературе имеют ярко выраженную фольклорно-мифологическую основу, которая обусловила преобладание аутентичных элементов, помогла вербализировать бессознательные категории, сделать их предметом авторской и читательской рефлексии. Мариам Петросян осуществляла работу над романом «Дом, в котором…» на протяжении почти двух десятилетий (1991–2009). Литературный процесс рубежа ХХ–XXI вв., с одной стороны, демонстрирует завершение определенного социокультурного этапа, с другой – свидетельствует о начале нового исторического и культурного цикла. Не случайно аллегорическая природа романа удовлетворяет эстетические и когнитивные потребности времени – создать метонимическое изображение современного социума. Оба прозаика активно используют различные типы вторичной художественной условности. В зависимости от ее доминирующего типа и доминирующего художественного приема можно выделить следующие пути обогащения реалистической эстетики средствами неклассической художественности: актуализация сюрреалистической эстетики; синтез реалистического и фантастического; обращение к фольклорно-мифологическим мотивам, мифологическим способам познания мира. Мифологическая цитация, использованная в романах Мариам Петросян «Дом, в котором…» и Виктора Козько «Хроніка дзетдомаўскага саду» при воплощении образов учителей и воспитанников, топосов дома и сада, неомифологические приемы моделирования реальности позволили писателям создать уникальную пространственно-временную организацию произведений, эксплицировать национальные культурные коды. The comparative study of closely related literatures seems to be a relevant direction in modern humanities. This perspective of the study allows us to identify the creative uniqueness of the work, the national basis and methods of literary reception through the disclosure of literary and sociocultural connections, and forms the openness of consciousness to the perception of foreign cultural codes and meanings. The creative individuality of Viktor Kozko was formed in the Belarusian literary process of the last third of the twentieth century, when there was an increase in the existential orientation of prose. Mythopoeticism is characterized by its rootedness in the universal humanistic constants of national specificity. The main stylistic changes occur at the junction of the artistic systems of realism – modernism, realism – postmodernism. The emergence of diffuse phenomena is due to both the individual author’s creative experiment and the general stylistic trends of the era. Modernist intentions in Belarusian literature have a pronounced folklore and mythological basis, which determined the predominance of authentic elements, helped to verbalize unconscious categories, making them the subject of author and reader reflection. Mariam Petrosyan worked on the novel “The Gray House” for almost two decades (1991–2009). The literary process at the turn of the 20th–21st centuries, on the one hand, demonstrates the completion of a certain sociocultural stage, on the other, it indicates the beginning of a new historical and cultural cycle. It is no coincidence that the allegorical nature of the novel satisfies the aesthetic and cognitive needs of the time – to create a metonymic image of modern society. Both prose writers actively use various types of secondary artistic conventions. Depending on the dominant type of convention and the dominant artistic technique, the following ways of enriching realistic aesthetics with means of non-classical artistry can be distinguished: actualization of surreal aesthetics; synthesis of realistic and fantastic; appeal to folklore and mythological motifs, mythological ways of understanding the world. The methods of mythological quotation used in the novels by Mariam Petrosyan “The Gray House” and Viktor Kozko’s “Chronicle of an orphanage garden” when embodying the images of teachers and students, topoi of the house and garden, neomythological methods of modeling reality allowed the writers to create a unique spatiotemporal organization of works, explicate national cultural codes.

New musical and theatrical genres that demonstrate post-non-classical musical thinking are considered. The most common are happening, performance and instrumental theater. Genres are considered differently by V. Petrov, M. Pereverzeva, Yu. Gnirenko and M. Katunyan, but, however, without disclosing their ontology and logical basis. The main distinguishing features of the new stage forms are the openness of the structure, the creative function of the performers and temporal unlimitedness, which indicates the rhizome and rhizome thinking of the composers. It is proposed to consider the new musical and theatrical realities as non-linear, in particular dissipative, based on a non-linear type of determinism – self-determinism. On its basis, a rational construct is established in the form of self-organization (performer), or performing will, which provide the musical material with the quality of integrity. Alternative musical theater is another form of new musical stage genres that have emerged in the post-non-classical era, or in the post-modern era. It is presented by alternative opera and alternative ballet, which establish the aesthetics of consonance, antimimesis and display (instead of experience), as well as the multivariant implementation of the musical and theatrical concept (concert, theater stage, etc.). The works of the American composer D. Cage, the Russian composer V. Martynov, the Belarusian composers V. Kuznetsov, L. Simakovich, A. Korotkina were selected as analytical material.

The article is a comparative analysis of phraseologisms of biblical origin in the Belarusian and Ukrainian languages. The impact of the Bible as a memorial to the world culture and a source of aphorisms and idioms is underlined. The general description of phraseological units, their use in the Belarusian and Ukrainian languages, as well as the features of phraseologism as a linguistic unit are covered.The article evaluates the classification of biblical phraseological units and analyzes the role of these units in the world of phraseologies. National language is an important part of the spiritual culture of every nation. And its units, such as phraseologisms, have long been a powerful means of knowing life, they truly reflect the thoughts, aspirations and hopes of the people, contribute to the cultivation of aesthetic tastes and ideals. It is they who have absorbed all the vital wisdom of the Belarussian and Ukrainian peoples, have been able to reflect their worldview in the smallest detail and are still widely used both in speech and in literature.

The study is devoted to the review of Belarusian literary critical publications and the identification of the main approaches to the critical understanding of the literary process. The program provisions and features of the existence of state and private periodicals, their language policy and representation on the Internet are considered. The fundamental difference between the two main approaches to aesthetic understanding of reality is described.