Journal articles on the topic 'Imagologie comparative'

Resumo: Este trabalho pretende empreender um estudo das imagens do estrangeiro, focalizado como “o outro”, nas relações entre as vozes e os corpos do romance O esplendor de Portugal, de António Lobo Antunes. Essa análise comparatista propõe conceber uma imagem literária sobre o estrangeiro como elemento cultural que remete à sociedade, uma imagologie que lida com a literarização e a socialização da imagística.Palavras-chave: imagens; o outro; estrangeiro; Imagologie.Abstract: This paper intends to study the images of the foreigner, focused as “the other”, in the relations between the voices and the bodies in the novel O esplendor de Portugal, by António Lobo Antunes. This comparative analysis proposes to conceive a literary image about the foreigner as a cultural element related to society, an imagologie that deals with literarization and socialization of imagistics.Keywords: images; the other; foreigner; Imagologie.

Since the 1970s, children's literature research has developed a number of approaches, from simple ideological criticism to more sophisticated applications of postcolonial theory, to analyse how, and to what end, members of other national, cultural, racial and ethnic groups are represented in texts for children. However, a field of study within comparative literature, imagology, which specifically addresses the cultural construction and literary representation of national characters in literature, has not yet made much impact. This review article will present its origins and methods of investigation as well as sketch areas in children's literature of imagological interest, which have been or are still waiting to be productively addressed, to show what the domain can gain from this approach.

The article examines the conceptual foundations and scientific, sociocultural and philosophical prerequisites of imagology, the field of interdisciplinary research in humanitaristics, the subject of which is the image of the “Other” (foreign country, people, culture, etc.). It is shown that the imagology appeared as a response to the crisis of comparatives of the mid-20th century, with a special role in the formation of its methodology played by the German comparatist scientist H. Dyserinck and his Aachen School. The article analyzes the influence on the formation of the imagology of post-structuralist and constructivist ideological-thematic complex (auto-reference of language, discursive history, construction of social reality, etc.), linguistic and cultural turn in the West in the 1960s. Shown is that, extrapolated to national issues, this set of ideas and approaches has led to a transition from the essentialist concept of the nation to the concept of a nation as an “imaginary community” or an intellectual construct. A fundamental difference in approaches to the study of an image of the “Other” in traditional comparativism and imagology, which arises from a different understanding of the nation, has been distinguished. It is concluded that the imagology studies the image of the “Other” primarily in its manipulative, socio-ideological function, i.e., as an important tool for the formation and transformation of national and cultural identity. The article identifies ideological, socio-political factors that prepared the birth of the imagology and ensured its development in western Humanities (fear of possible recurrences of extreme nationalism and fascism in post-war Europe, the EU project, which set the task of forming a pan-European identity). It is concluded that the imagology, on the one hand, has actualized an important field of scientific research — the study of the image of the “Other”, but, on the other hand, in the broader cultural and historical perspective, marked a departure not only from the traditions of comparativism and historical poetics, but also from the humanist tradition of the European culture, becoming part of a manipulative dominant strategy in the West. To the culture of “incorporation” into a “foreign word” in order to understand it, preserve it and to ensure a genuine dialogue of cultures, the imagology has contrasted the social engineering and the technology of active “designing” a new identity.

The article considers the problems of improving the methodology of science "public administration" related to the use of innovative areas of research, in particular, comparative studies, archetypes and imagology. The research hypothesis is based on the statement of the dynamism of the science of public administration, which is related to the specifics of the post-communist transformation of society and government, globalization and informatization. Thus, the science of public administration can and should develop only if the methodology of scientific research, the use of modern technologies and the achievements of other sciences are constantly updated. Improving research methodology is considered primarily in the light of globalization and informatization. It is claimed that new technologies allow to set and solve complex scientific problems not only in the technical but also in the humanities. The relative availability of sources and literature due to informatization requires an increase in the culture of working with them. The researcher in the field of public administration should master not only theoretical knowledge in the field of his work, but also master the skills and abilities to work with modern technologies, which significantly expands the possibilities of scientific analysis and generalization. A study of the works of Ukrainian and foreign scientists on the methodology of public administration science, as well as publications in the field of comparative studies. The intensification of the use of innovative technologies of scientific research is noted, their essence and directions of application are characterized. Some examples of such studies are given. It is revealed that the methods of comparative studies are actively used in research, which is primarily devoted to the study of foreign experience, comparison of definitions, approaches and mechanisms. Ukraine has developed its own school of archetypes, which accumulates the achievements of various sciences, uses the work of foreign scientists and seeks to expand the methodological field of archetypal research. The possibilities of imagology are still only partially used, but they provide significant additional tools for understanding the image of power.

The article examines the conceptual prerequisites and grounds of the imagological approach to the problem of the truthfulness of the image of the “Another”. It has been proved that the “indifference” of imagologists to this issue, putting it beyond the framework of the imagological research, is due to some basic ideas of post-structuralism: first of all to the idea of non-referential literature. The example of the comparative analysis of the views of two well-known structural scholars Yu.M. Lotman and R. Barthes revealed fundamental differences in their approach to the study of literature, reflecting the watershed between the traditional comparative studies and the imagology. The article shows that the attitude to the issue of truthfulness of the image of the “Another” largely depended on the ideological attitudes of scholars, their aesthetic views, on the way they answered more general questions: what is literature, what are its functions and relationship with reality, is there truth? The philosophical preconditions of ideological and methodological differences between Soviet and French scientists were revealed: Lotman’s orientation to the tradition of Hegelian teleology and dialectic, and Barthes – on the tradition of post-classical philosophy of F. Nietzsche, M. Heidegger, E. Husserl, analytical philosophy. The article explains the various concepts of realism in Yu.M. Lotman’s and R. Barthes’: it shows the historicity of Lotman’s interpretation of realism and the latent “ideology” of Barthes’s position. The consequences of the poststructuralist “turn” in the historical perspective, its ideological background are described. The article is concluded with the connection of imagology as a sphere of humanitarian knowledge with post-structuralism discourse, the ideas and rules of which it extrapolates to the study of the “Another”

Imagology is a branch of comparative literature which explores the image of one nation in the literature of another nation. One Thousand Nights and One Night is among the important books which can show the image of different nations and people such as Indians, Iranians and Arabs. Since the oldest version of the book is in Arabic, it is considered an Arabic literary work though it was translated from a Persian tale in the first place. On this basis the study of the image of Iranians in One Thousand Nights and One Night can be included under the definition of imagology. In this article, first we explain, analyze and study the image of Iranians in the book One Thousand Nights and One Night with respect to 1. anthropology (including entertainments, personification of animals, disapprobation of lies and betrayal of spouses), 2. religious and mythical beliefs (including the belief in daevas and jinnis, magic, fire-worshipping and similar plots), 3. politics (emphasizing the position of vizier and his family in government), 4. economics (emphasizing economic prosperity), then we will compare the collected information with the image of Iranians in credited works and in this way we will identify the similarities and differences of Iranians’ image in One Thousand Nights and One Night and the above-said literary works. Finally we come to this conclusion that the similarities belong to the real image of Iranians in the pre-Islamic days and that differences show the image of post-Islamic Iran which is added through Arabic translation.

Este trabajo tiene como objetivo explorar las relaciones entre ciencia, ficción y mito como marcos cognoscitivos a partir de la tradición de viajes a la Luna en la literatura, así como ubicar qué mitologías han sido usadas en la descripción de la toponimia lunar. A través de un análisis comparativo, se busca explorar las estrategias de verosimilitud en relación con el mundo posible que llamamos realidad. Los escenarios y moradores de la Luna se contrastan desde una perspectiva teórica que abarca teorías de la ficción y de lo fantástico, junto con conceptos clave de la tematología e imagología comparatistas.

Abstract “As every inhabited area, culturally Transylvania can also be conceived of mainly as a symbolic space. Starting from its physical, material reality, our perceptions are made up into a subjective image of the area in question. This is the real Transylvania, or rather, the place in connection with which we formulate our ideas and to which we adjust our deeds. This image may seem so real also because it is equally shared by many, occasionally several millions. If many see things in the same way, we could say, this means that they are so in reality, though most of the time we only share prejudices, clichés and misunderstandings” - Sorin Mitu writes. Comparative imagology examines the formation of these collective ideas as well as the issues of identity and attitude to the Other. As a member of the imagology research group at the Department of Humanities of Sapientia Hungarian University of Transylvania, Miercurea Ciuc, Romania, I translated one chapter of Sorin Mitu’s volume entitled Transilvania mea [My Transylvania]. During the translation process it became obvious to me that if translation is not only linguistic but also cultural transmission, it is especially true for the translation of historical works and that it would be worth examining whether some kind of rapprochement could be detected between the Romanian and Hungarian historical research of the past decades; if yes, whether this is reflected in the mutual translation of the respective works

The paper presents a review of the main issues and methods of studying modern French literature and comparative studies. The authors outline the diferences between European approaches, now taken with focus rather on all-European common principles than cultural distinctions, and American tendencies that reflect the priority of feminist and post-colonial methods of comparative studies. Attention is paid to the French peculiarities concerning the replacement of the term ‘influence’ by ‘intertextuality’, and to the role of intermedial and interdisciplinary comparative studies. Among the outlined concepts and issues are research ethics in comparative studies; non-essential writers and genres (F. Lavokat); relation of comparative studies to the concepts of European and world literature (A. Tomiche); the role and place of comparative studies in literature and culture (F. Toudoire-Surlapierre), accuracy and universality of defining the discipline (B. Franco), the study of links between literature and art (G. Steiner). Attention is also paid to the discussions on the concept of ‘world literature’ (in particular to the views of P. Kazanova) that concern the term ‘world literature’ as it is interpreted by American researchers and ‘European literature’ used by French ones. Other issues are the concept of ‘cultural transfer’; the content of hermeneutic practice in comparison; the role of analysis and ‘defamiliarization’ (introduced by V. Shklovsky); comparison as an object of criticism, a tool of analytics, and methodological necessity; the transversality as the coexistence of diferent comparative methods. The comparative approach has been shown as ontological and culturological vision, a special method of research with a basis in comparison and opposition of the interconnected systems covering translation studies, mythology, imagology, geocriticism, post-colonial and gender studies, research of cultural transfer specified as multicomparativism.

The article explores the image of the steppe on the material of the literary parallel: the poem of the polish poet G. Zelinsky «Kirgiz» and the story of G. Grebenshchikov «Batyrbek`s Khanate». The named works repeatedly became the subject of scientific observation by polish, russian and domestic researchers. Moreover, the focus was mainly on ethnographic commentary. The originality of the comparison undertaken within the framework of the article — the image of the steppe — but in the testing of a new perspective. Describing the phenomenon of the interaction of the artistic worlds, the authors of the article apply modern comparative approaches, shifting the emphasis from highlighting patterns in creating the image of the steppe to interpreting the origins of this process in the historical and literary perspective. The transition to the methods of comparative imagology allows you to track the formation of the image from its inception and existence up to historical projection on the modern country brand of Kazakhstan as the great steppe country. Imagological methodology authentically conveys the deep sources of parallel historical and literary processes over a long time. Textological illustrations in accordance with the scientific version of the authors prove the mental nature of the image of the steppe. The result of scientific observations is the conclusion about the productivity of new comparative approaches in the study of literary analogies

Partiendo de la pregunta sobre lo que puede interesar al públicolatinoamericano de la cosmovisión ofrecida por una mujer italiana del siglo XX, hacemos una presentación comparativa entre dos descripciones poéticas de dos personajes centrales: uno del antiguo pueblo mejicano y otro de un pueblo que llamaremos “chiariano”. A partir de la imagología comparada, y los autoimagotipos, nos adentraremos en una descripción de la poesía del Méjico antiguo sobre la figura del sabio (León Portilla: 1983) y la del santo que Chiara Lubich ofrece en su primera publicación (Lubich: 1969/ 2020). Luego, intentaremos comprender de alguna manera qué es lo que atrae a los lectores latinoamericanos de la escritora italiana, qué es lo que permitió su difusión también en este continente. Ciertas definiciones de Opera aperta (Eco: 1962) podrán contribuir a diseñar un posible recorrido de recepción

Abstract The paper explores possibilities of a more intensive use of comparative literature within literary education in which the adoration of national literature prevails together with the abstraction of the concept of world literature. This means putting more emphasis on area and comparative approaches. Emphasising comparative literature may bring in a search and respect for otherness, since it is not connected to any national language and literature, to any concrete tradition and culture, but refers to their variability, with the aim of explaining the contact with the other, which can be close as well as different. More effort should be put especially on the attempt to point to the interconnectedness and mutual influencing. The so-called educational, didactically applied comparatistics is a field of comparative literary studies aimed at overcoming binary, ethnolinguistic opposition of “the national” and “the worldly” in education, and, as far as literary education is concerned, it could become a new methodological stimulus. As a methodological basis of this educational comparative studies is being used the hermeneutic understanding of otherness, though not the interculturally remote one, but a close otherness which exists, for example, in the intertextuality of a particular work emerging within the framework of the “neighbourhood” of common Central European area. What is meant here is, first of all, the so-called innovated imagology, concentrated on the interpretation of images by means of which verbal text renders foreign countries and nations. The overall meaning of imagological impulses can also be seen on the weakening of the opposition of the traditional categories of “national” and “world”, as well as in the overcoming of the ideas of some cultures being more developed at the expense of other ones. Applying the area and comparative approach, educational comparative studies may facilitate the dialogue of literature as art also with other spheres, and have integrating as well as didactic function, or develop the feeling of mutuality and the ability to “compare”, not only in linguistic and ethnic circumstances, but in the value-contextual ones as well.

Taking into account the factual material, research methods, and tasks, the authors trace the evolution/changes in Georgian comparative studies. It is notable that typological approaches, along with contact-genetic ones, are now actively used. These changes become firmly established due to the studies of iconic figures and periods, which attract the special attention of the scholars. Eurocentric concepts give place to other ones that have their basis in the study of the national literature and include philosophical, anthropological, psychological, and religious factors in the field of research. A lot of attention has been given to the principles of selecting literary texts for translation. The field of Georgian comparative studies has been remarkably changed/updated in the late 20th — early 21st centuries. Along with historians of literature, the theorists, critics, translators, and specialists in European and Oriental languages have been involved, which affected the level of comparative studies. Among the raised issues are reception, imagology, typology of anti-colonial narratives, genre transformations, postmodern discourse, etc. The character of Georgian-Ukrainian comparative studies changed drastically: it is obvious in the approaches/assessments of literary translation and in all connecting issues in general. Comparative studies came as close as possible to the theory of literature, which let the researchers (R. Khvedelidze, N. Naskidashvili, S. Chkhatarashvili, I. Mchedeladze) update the methodology and intensify their work on the diff erent levels of research, regardless of the presence/absence of contexts. The present surge in Georgian comparative studies started in the 2010s. It is connected to the organization of effective specialized research centers. Of great interest are the comparative studies aiming to show the history of Georgian literature as an individual version of the world literature (I. Ratiani), to identify the features of the Georgian literary canon based on the three main literary models (Middle Ages, Romanticism, post-Soviet), with a focus on the combination of ‘canonical’ and ‘non-canonical’ in innovative writing.

This paper presents a philological and imagological analysis of the mutual contradictions of two types of characters in the corpus of Mediterranean literature. The highlander and the seasider, one brutal and the other imbedded in the hetero-conception of the other, belong to standard Mediterranean literary types, namely archetypes, from myths to the present. Literature on the Mediterranean and about the Mediterranean is abundant with typified descriptions of the highlander being a tough guy, violent, and the seasider as cunning, envious or a serial seducer. The imagology of these types and their mutual opposition is the topic of this philological analysis. The paper focuses on a comparative analysis of this imagotype/stereotype existing throughout the Mediterranean and transmitted from one literature to another throughout the centuries. The aim of the work is to review and summarize the literature concerning the archetypes of the highlander and the seasider in order to have a better understanding of the patterns of imagotypes and archetypes in the collective imaginary represented by Mediterranean literature.

Aim. The aim of the research is the comparative study of literary cat characters in Children’s Literature texts in Greek and Spanish and their instructive function in the transmission of social stereotypes. Methods. The research subscribes to the field of Literary Animal Studies based on the theory of Children’s Literature (Lukens, 1999) and through the intercultural perspective of Comparative Children’s Literature (O’Sullivan, 2005). Published children’s books from Greece, Spain and Spanish-speaking America were compared using textual analysis methods of Imagology (Beller & Leersen, 2007). Stereotyped variants were identified and organized in categories related to name, physical appearance, gender, behavior, and function of literary cat characters. Results. After examining a corpus of 37 books, 23 in Greek and 17 in Spanish (Argentina, Chile, Colombia, Mexico, Spain), textual analysis findings were compared, organized, and classified by language, country and readers’ age groups to locate that literary cat characters are usually pets or feral, and they remain consistently stereotyped as anthropomorphic and subversive. Cats with seven lives and magical powers are common perceptions, dominating in both cultural contexts, stereotypes extended to strong superstitions about black cats. Conclusions. In Children's Literature texts, cats are linguistically, literally, and socially defined literary constructs, can have usually human-like features, intercultural influences, and are potentially shaped by intertextual relations. They serve also as a narrative motif for the transmission of social values about non-human animals and the textual familiarization of nonadult readers with society’s cultural stereotypes.

Using insights from comparative imagology the image of Vilnius in Joseph Arthur Gobineau’s novel The Pleiades (1874) has been analysed in the paper. Presumably, the name of Vilnius was first mentioned by Olympe Chodzko, his Parisian acquaintance, in her short story, its scene is laid in Vilnius. The way Vilnius is imaged depends on context. Where Vilnius is compared to the privileged Saint-Honoré quarter in Paris a tinge of phobia arises unavoidably because Vilnius in no way is comparable to Paris. Likewise is imaged Vilnius by Sophie Tonska, Marquis Candeuil’s sweetheart. Marquis Candeuil selected Vilnius for his residence from seven possible cities accidentally, by drawing lots. That attitude of the protagonist can be related to idiocracy. Where the author writes about Vilnius in the St. Petersburg-Warsaw railroad construction context his philia can be felt. Vilnius is imaged not only in this context, but also through Marquis Candeuil’s thoughts pertaining to the essential problems raised in the novel. Finally, all that reveals that the image of Vilnius in the novel, at first glance so unintentional, actually pertains to the whole system of the novel.

The following paper for the first time in Samara regional studies deals with the study of significance of Kuibyshev in the public opinion of the USSR allies. Having become a reserved capital, Kuibyshev ceased to be just one of the regional centers in the Soviet Union, it turned into a city known and significant all over the world. This paper uses many unique US documents on Kuibyshev during the war. On their basis the authors analyze formation and perception of the image of the reserved capital in American society. To study the history of Kuibyshev as a second capital at such an angle is important for imagology, study of local lore and comparative studies. The conducted research showed how the image of Kuibyshev was made in the conditions of the Second World War, how its perception changed. The paper also uses the data of the US special services that makes it possible to understand what place Kuibyshev was given at that time by representatives of the intelligence community of America. The study of Kuibyshev image in the assessments of the American special services opens a possibility for researchers to get acquainted with their work from a new perspective. The paper draws conclusions about the influence of certain journalists on the formation of Kuibyshev image. The conclusions drawn in this paper, as well as the introduction of new documents into circulation, will allow us to deepen and expand this topic in the future.

The relevance of this article is due to the fact that in recent decades Ulas Samchuk is rapidly returning to the Ukrainian literary discourse. In view of the European integration policy of the Ukrainian State, more and more attention is paid to the methods of cultural imperialism, imagology, comparative studies, Occidental philosophy, etc., which we used in this text. In our study, considerable attention is also paid to the influence of Western culture and politics on the formation of the national idea of the Ukrainian nation – the formation of the Ukrainian Conciliar Independent State. We learned that a significant role in the development of the ethnopsychological charisma of the Hutsuls was played by Ukrainians from exile, who during the interwar period inhabited Czechoslovakia, Poland, France and the United States, and with the beginning of events began to return home. The novel-report «Sun from the West» (1949) provides invaluable material on the basis of which we can trace in a clear chronological sequence the change of worldview paradigm of Ukrainians from silent observers to active, fully conscious citizens who set the task of forming a political nation. its integration into the Western world. Nevertheless, Ulas Samchuk draws the reader's attention to the fact that the Ukrainian people have not yet been able to become a nation, given the events in Carpathian Ukraine. He lacked the will to fight, national dignity and self-awareness, education, spirituality and culture. That is why many European grandees did not seriously assess the ambitions of the young Ukrainian state to claim independence and did not allow the Ukrainian Government to defend its positions on an equal footing. The main reason for such a political crisis was, in fact, the lack of a well-supplied army that could protect its borders. Further research should be devoted to the memoirs and diaries of Ulas Samchuk, in which he continues to reflect on the place and role of Ukraine in building a new world order in the context of the conflict of Western and Eastern civilizations.

Review: Aleksandra Niewiara, Imagologia – pamięć zbiorowa – umysł i kultura, Wydawnictwo Uniwersytetu Śląskiego, Katowice 2019, 320 pp.This paper is a review of Aleksandra Niewiara’s monograph Imagologia – pamięć zbiorowa – umysł i kultura [Imagology – Collective Memory – Mind and Culture]. The volume investigates the nature of collective conceptions of nations in terms of ethnolinguistic imagology. It consists of a theoretical part (“Concepts of Nations in the Light of Cognitive Studies on Culture”), an analytical part (examining verbal and visual data) and a comparative part, which discusses ways of constructing ideas about nations as cultural conceptualisations: networks of concepts present in the minds of members of a community (and therefore also representatives of a culture). Concepts of nations have thus far been considered a static and fragmentary category. The reviewed monograph shows this category as an element of the network of culture, which reflects the basic image schemas and – like any part of culture – changes over time. Rec.: Aleksandra Niewiara, Imagologia – pamięć zbiorowa – umysł i kultura, Wydawnictwo Uniwersytetu Śląskiego, Katowice 2019, 320 ss.Niniejszy artykuł stanowi recenzję monografii poświęconej polskim wyobrażeniom o narodach w ujęciu imagologii etnolingwistycznej. Praca składa się z trzech części: teoretycznej (Wyobrażenia o narodach w świetle kognitywnych badań kultury), analitycznej (danych werbalnych i wizualnych) oraz badawczej w formie dyskusji nad sposobem konstruowania wyobrażeń o narodach jako konceptualizacji kulturowych w postaci sieci pojęć obecnych w umysłach pojedynczych osób wybranej grupy społecznej – reprezentantów danej kultury. Kategoria wyobrażeń o narodach, uważana dotąd za specyficzną ze względu na statyczny i wycinkowy sposób konceptualizacji, przedstawiona została jako jeden z elementów sieci kultury, odwzorowujący podstawowe schematy wyobrażeniowe i podlegający – jak cała kultura – zmianom na osi czasu.

Współczesna komparatystyka oddala się od swojej ścisłej, przedmiotowej i metodologicznej definicji, stając się bardziej intelektualną refleksją, która jest interdyscyplinarnie powiązana poprzez aspekt porównawczy. Do najbardziej znaczących współcześnie inicjatyw w tym względzie należą badania międzykulturowe oraz tzw. imagologia. Podczas gdy komparatystyka studiuje dialog pomiędzy kulturami za pośrednictwem badania „inności”, imagologia poprzez obraz „swojego” i „cudzego” zajmuje się tematami i motywami „innych” w tekstach literackich, wykorzystując do tego obrazy ludzi bliskich i obcych. Te obrazy w większości powstają w fomie stereotypu lub mitu, za którymi stoją konkretne grupy społeczne i etniczne. Obie metody, które wykorzystują emocjonalne doświadczenia w literackiej komunikacji, mogą przyczynić się do dialogu między narodami (np. stosunki czesko-niemieckie albo słowacko-węgierskie).

In the pre-globalization era, when communication between nations was difficult and infrequent, and direct (experiential) or indirect (textual-descriptive) knowledge was scant, images of ‘foreign countries’ were frequently constructions based on inadequate information. As a result, fictional descriptions and images were the primary source for people to gain some knowledge of other nations. However, beginning with the great voyages of discovery of the fifteenth and sixteenth centuries, we began to step into an age of globalization, which generated the diversification of ‘source texts’ in this regard. Today, the emergence of new media has accelerated and proliferated such diversity. These new media texts now play a dominant role in forming the image of other countries, to some degree replacing traditional fictional texts. The basic presuppositions of comparative literature imagology have changed accordingly. Starting from the core concept of ‘images’, this paper discusses why it is necessary to integrate imagology, with ‘semiotic images’ as core concept, and ‘communications research’.

Par une analyse comparative et imagologique, cet article examine la vision de l’Orient, plutôt imaginaire que documentaire, des écrivains romantiques tels Chateaubriand, Lamartine, Nerval, Gautier et d’un réaliste malgré lui – Flaubert. Le but de cet article sera alors de relever et souligner les différences ainsi que les nuances dans les images créées par ces grands auteurs et voyageurs de l’époque qui nous ont laissé des récits de voyage extraordinaires. Ceci dit, nous nous proposons de montrer diverses images référentes comme celles des Balkans, de la Grèce, de l’Égypte et de la Palestine où les réflexions différentes de nos écrivains voyageurs se croisent. Nous allons finir par la constatation qu’il y a toujours une idée civilisatrice omniprésente à l’Orient que nos auteurs mettent en valeur.

Тhe image of Turandot that has almost the greatest number of interpretations in a variety of genres, particularly, in opera, ushered in the masterpiece of G. Puccini. Still, rather little-known remain over ten of her opera forerunners among which a special place belongs to the opera of the king of verismo – the well-known violin virtuoso, composer, social-cultural figure, professor of Milano conservatoire Antonio Bazzini, in whose class G. Puccini was a student. His only opera ―Turanda‖ of 1867 became the subject of the study in this article whose objective is to outline the imagologeme of the cruel princess character in the interpretation of A. Bazzini. Using the imagologic methodologies oriented toward all-round outlining of the Other – particularly in the context of the oriental themes, the author proceeds from the comparative analysis that gives ground for determination of the common and distinctive traits in the interpretation of the heroine character in the context of the Italian and general European cultural paradigm. Created almost 100 years after Carlo Gozzi’s fiaba and 50 years before G. Puccini’s ―Turandot‖ A. Bazzini finds new unexpected dimensions of the work on such theme in the opera genre. Departing from the elements of commedia dell’arte that are the cornerstones in Gozzi’s favola, Bazzini, though staying in the sphere of the fairytale plot defines the genre of his opera as the ―Asian fantasy‖, gravitating despite the decorative-harem and state-imperial image of the Orient to the principles of the lyrical opera French models and looking at the lyrical drama of V. Bellini. The main lady character is the type of the femme fatale, who in the course of unwinding of the dramatic action acquires some sentimental traits, reinvents herself from the princess-killer to the loving lady. Bazzini’s eclecticism was manifested in the departure from the Chinese content and extension of the geocultural boundaries: the action takes place in Persia (Turandot’s ancestral homeland, whose combined prototype image is described in the poem of Nizami ―Seven Beauties‖), Prince Calaf becomes the Indian Prince Nadir, preserving the role of the lyrical-dramatic hero. Bazzinin refuses from the masks and instead brings in the new bright character – magician Ormut who represents the evil forces, for he is hopelessly in love with Turandot, inspires her to killings with the aid of sorcery. The exalted mystical-orgiastic scene of worshipping Ahriman is one of the best in the presentation of the spectacular-theatrical exotica. And though over a dozen of composers-romanticists attempted to adapt the character of Turandot, the heroine found her optimal embodiment in the aura of the high verism, one of the steps on the way to which can be regarded ―Turanda‖ of A. Bazzini.

This paper deals with the fact that Matoš spent nearly half of his creative life in exile, in numerous, often anxious encounters with the new life conditions in foreign countries and cultures, encounters with nuances of “different” in literatures and cultures from which Matoš derived his knowledge and experience. Regarding the fact that Matoš often wrote observing and percieving the other with the eyes of an “eternal stranger”, emigrant and newcomer, flâneur and traveler, we decided to apply the imagological approach to the aspects of Matoš’s interaction with French, Italian and Serbian cultures, respectively. We were determined to conduct this research from the perspective of comparative imagology, dealing with the delicate “consequences” of the Matoš’s life abroad, primarily in the context of aforementioned cultures that determined him artistically and intellectually. Accordingly, in order to investigate these important aspects of Matoš’s character and work thoroughly (primarily his travelogues and feuilletons), we applied adequate theoretical and critical apparatus in an effort to point out the basic features of his travelogue poetics, or in a broader sense poetics of traveling.

The image of an Englishman in Russian literature of the nineteenth century is one of the key ones. Russian writers studied the Russian man and tried to model the future of the Russian world in relation with England and the British. The object of this article study was the works by A.S. Khomyakov, I.A. Goncharov, I.S. Turgenev and L.N. Tolstoy. The relevance of the topic is conditioned by the contemporary problems of the dialogue of cultures, the issues of Russian-English imagology, as well as the literary ways of understanding the “foreign”. The purpose of the study is to identify the features of the English world reception in the works of writers of the XIXth century. The methodological basis of the study was the synthesis of traditional approaches (historical-literary, systemic-typological, comparative-historical) with the use of new research practices (“friend or foe” in the framework of mythopoetics, imagology, postcolonial theories). The methodological principles of these areas were used depending on the specific material and objectives. The poetry and journalism by A.S. Khomyakov reveal the statement of past and present successes of the British, their leading role. At the same time, the writer predicted the imminent fall of England; Russia should take its place in the global world. The "Frigate Pallas" by I.A. Goncharov portrayed all the strong and weak, positive and negative moments in the English merchant and in the British national lifestyle. This was done in order to learn a certain “lesson” for Russian life, to outline the prospects for its possible development. For I.S. Turgenev's English world was the reality with which the Russian man needed to relate himself and his future. L.N. Tolstoy's attitude to civilization was negative, and the British were associated with civilization in the 19th century. The images of England and its inhabitants, the English, by each of these writers were perceived in the context of correlation with Russian life. Except L.N. Tolstoy, all of them, to one degree or another, considered it possible and even necessary to introduce English values into Russian cultural and historical soil.

Введение. В современном историко-фантастическом романе «The Senility of Vladimir P» воссоздается типичный образ «маленького человека» и конструируется узнаваемый западным реципиентом миф о России, представляющий собой многослойную систему стереотипов. Цель – охарактеризовать стереотипный образ русского «маленького человека» в современном британском романе и определить, какую функцию он играет в метамифе о России как иной среде. Материал и методы. В качестве основной выбрана методология компаративистики, в частности имагологии, междисциплинарная природа которой позволяет изучать образ «Иного» в общественном, культурном и литературном сознании другой страны, в частности Великобритании, на интертекстуальном, контекстуальном и непосредственно текстовом уровнях, используя понятие стереотипов (по Й. Леерссену), на материале романа М. Хонига «Слабоумие Владимира П.». Результаты и обсуждение. Под скандальным заголовком автор предлагает нам повествование о жизни в России через призму темы «маленького человека». Главный герой – Николай Шереметьев не склонен к рефлексии, не видит мерзостей жизни до момента возникновения ситуации утраты: ареста племянника. С этого момента повествование набирает обороты, меняется его характер: действительность приобретает все больше гротескных черт, а читатель становится свидетелем болезненной трансформации Шереметьева, «маленького человека», последнего честного человека в России, который идет на сделку с совестью и начинает действовать в рамках англо-саксонской традиции. Образ «другого» подается Хонигом именно с перспективы англосаксонской традиции, деятельностной, в которой на самом деле выписаны и все остальные персонажи: русские только по антуражу и соответствующие западному стереотипу, но при этом зараженные западным индивидуализмом. Персонажи романа классифицированы по типам в зависимости от модели поведения и протипа. Заключение. М. Хониг выстраивает гротескный, абсурдистский образ России середины XXI в. Персонажи-этнотипы действуют в условных ситуациях, не претендуя на психологизм изображения и раскрытие характеров, потому что должны создать максимально полную, всеохватную картину российской действительности, отразить русские национальные черты такими, какими они вписаны в привычный для британцев миф о России. Этнотип граждан России середины XXI в. Хониг конструирует из: 1) традиционного для русской литературы образа маленького человека (Николай Шереметьев) и его окружения; 2) медийного образа российских чиновников высшего эшелона власти, сформированного преимущественно западными СМИ и российскими либеральными СМИ; 3) утрированного и схематичного образа типичного русского, фигурировавшего в западном кино конца ХХ в. Перед нами конфликт не только разных жизненных установок, но противопоставление русского и английского (шире – англо-саксонского) миров на культурно-цивилизационном уровне. Роман Хонига – пример вторичной актуализации, когда сконструированный под воздействием медиа художественный текст начинает восприниматься в качестве образца non-fiction, становясь своеобразным симулякром реальности.Introduction. In the modern novel “The Senility of Vladimir P” a typical image of a “small man” is created and the myth of Russia as a multi-layered system of stereotypes recognizable by the Western recipient is constructed. The purpose of the study is to characterize the stereotypical image of the Russian “small man” in the modern British novel and to determine its functions in the meta-myth of Russia. Material and methods. The methodology of comparative studies, in particular, imagology is used as its the interdisciplinary nature allows one to study the image of the “Other” in the social, cultural and literary consciousness of another country at intertextual, contextual and textual levels upon the concept of stereotypes (according to J. Leerssen). “The Senility of Vladimir P” by M. Honig is a material for research. Results and discussion. Under a scandalous headline, the author offers us a story about life in Russia through the prism of the theme of “small man”. The main character, Nikolay Sheremetyev, is not inclined to reflection until the situation of loss appears and his beloved nephew is arrested. From this moment on, the narrative is gaining momentum, the main character is changing: reality acquires more and more grotesque features, and reader witnesses painful transformation of Sheremetyev, the “small man”, the last honest person in Russia, who makes a deal with his conscience and begins to act within the framework of English-Saxon tradition. The image of the “Other” is presented by Honig precisely from the perspective of the Anglo-Saxon tradition in which all the other characters are actually written out: Russians only by entourage and consistent with the Western stereotype, but infected with Western individualism. The characters of the novel are classified by type depending on the model of behavior and prototype. Conclusion. M. Honig builds a grotesque, absurd image of Russia in the middle of the XXI century. Ethnotype characters act in conditional situations without author pretending to psychologize the image and reveal characters, because they must create the most complete, comprehensive picture of Russian reality, reflect Russian national features as they fit into the British myth of Russia that is familiar to the British. Honig constructs the ethnotype of Russian citizens of the mid-XXIst century from 1) the image of a small man (Nikolai Sheremetyev), traditional for Russian literature; 2) the media image of Russian elite formed mainly by Western media and Russian liberal media; 3) an exaggerated and schematic image of a typical Russian, featured in Western cinema of the late twentieth century. Before us there is a conflict not only of different attitudes, but the opposition of the Russian and English (more broadly Anglo- Saxon) worlds at the cultural and civilizational level. Honig’s novel is an example of secondary actualization, when a fiction text constructed under the influence of the media begins to be perceived as a non-fiction model, becoming a kind of simulacrum of reality.