DOI: 10.7256/2454-0749.2024.1.69488

EDN: QYUFFQ

Abstract: The subject of the study is stylistic and genre techniques that go beyond literary traditions. The object of the research is the early works of Alessandro Baricco, the novels "Silk" and "Sea-Ocean", the scenario-monologue "1900: the legend of the pianist", the novel – scenario "Smith & Wesson" ("Smith & Wesson"), the novel "City". The research is going to show individual features and artistic techniques that allow achieving the greatest imagery, to identify innovative features of Alessandro Baricco's poetics. Baricco's literary narrative is completed by elements imitating acoustic and visual effects, which allows the reader to build suggestive images in mind, intense with visual and sound effects. This article research two types of works by Alessandro Baricco: those that were originally written not only for reading, but also for staging in the theater; and those where elements of theatricality and cinematography are implicitly inscribed in the text. The scientific novelty of the work is due to show various aspects related to the individuality of the author's thinking. The works of Alessandro Baricco are characterized by syncretism. The writer weaves elements from the theater and cinema into the narrative canvas, which makes his prose highly suggestive. It is also possible to talk about two author's strategies: a detailed description of the visual and sound accompaniment of the action, or half-hints aimed at the gradual recognition of interwoven theatrical and cinematic techniques, hints that help the reader understand what is happening. The results of the study can serve to expand interest to the work of Alessandro Baricco and further research his literature works as a whole with the diverse activities of Baricco in the world of culture.

Keywords: scenario, cinematography, flashback, suggestive prose, Italian literature, postmodernism, Alessandro Baricco, syncretism, theatricality, hidden theatricality

DOI: 10.7256/2454-0749.2020.4.30226

Abstract: Cognitive linguistics is the advancing branch of philology due to the proven correlation between the development language and human’s mind. The article analyzes the concept of “solitude” on the example novel by Canadian writer Yann Martel “The High Mountains of Portugal”. The object of this research is the concept “solitude”. The subject is the linguistic explication of the concept of “solitude” realized on the lexical and textual levels. Emphasis is made on characteristic features of the novel confirming that it refers to the literature of postmodernism. The author lists distinctive characteristics of the concept, analyzes the definition of “frame” with variety of subtypes, and “semantic field” as the largest semantic paradigm emerging by association with one or another phenomena. The concept of “solitude” is viewed from the perspective of philosophy, pedagogy and psychology. The scientific novelty consists in the analysis of insufficiently studied literary work of postmodernism (written in 2016) through the lens of cognitive linguistics. The term “concept” is considered in the context of multiplicity of its characteristics and approaches; definitions given by the scholars of various times and schools are provided. A conclusion is made on the discursive and emotional-evaluative components of the concept at hand. The author established the lexical and notional frames in the specific novel.

Keywords: interdisciplinary research, cognitive linguistics, loneliness, semantic field, frame, concept, postmodernism, Canadian literature, English literature, psychology of states

DOI: 10.7256/2454-0749.2023.5.39691

EDN: CTNBGK

Abstract: The work of Venedikt Yerofeyev has been adequately studied and interpreted, however, there are still a number of texts that have not been practically studied in the mass of critical sources. One of the precedent constructs, an original and self-sufficient work is "My Little Leniniana" (1988). Therefore, the expediency of studying this text is motivated, in demand and relevant. The article attempts a holistic perception of "My little Leniniana" Veins. Erofeev from the standpoint of identifying a precedent construct in this work. The citation character, in our opinion, speaks of the author's desire not only to formally combine the text nominations from the writings, letters, diaries of V.I. Lenin, but to achieve the effect of immanent objectification of a new meaning. The main subject of the analysis of the work is the design features of "My little Leniniana" Veins. Erofeev, deciphering the mechanism of artistic writing, evaluation of the semantic facets of the work. The precedent text of the Ven. Erofeev becomes a point of concretization of the main cultural and historical dogmas, while the dynamics of semantic constants is mobile with the passage of historical time. The novelty of the work lies in the fact that "My Little Leniniana" by Venedikt Erofeev is considered as a precedent text formed from quotation constructs, however, having other semantic facets different from the original source. The simulation of the game, the simulation of spatial and temporal landmarks, the simulation of a reliable truth under the influence of what someone has already said levels the image of the author, he becomes a textural scriptwriter, creating a kind of palimpsest. The subjective organization of the Erofeev palimpsest is structured in such a way that the transition from a temporal beginning, a spatial point, a quotation following the "author" is carried out to stronger and immanent propositions. Venedikt Yerofeyev prophetically outlined in his "Little Leniniana" the contours of the changes of the late twentieth century on the textured, precedent material of the late XIX – early XX century.

Keywords: reader, interpretation, receptive criticism, poetics, intertext, discourse, small prose, precedent text, Venedikt Erofeev, scriptwriter

Abstract: Based on the studies of the history of Russian culture during the 19th — 20th centuries the author describes twists and turns in a struggle ‘for’ and ‘against’ Pushkin including apologies of Pushkin by Ap. Grigoriev (‘Our Everything’) and Dostoevsky (talking about Pushkin), Mayakovski (‘Anniversary’) and Tsvetaeva (‘My Pushkin’) as well as odious examples of overturn of Pushkin as a ‘faked authority’. Significant place is given to the problem of modern — modernistic and post-modernistic- interpretation of Pushkin’s creative work and image (Pushkin as a text of Russian culture of the 20th century). The author of the article raises quite a number of problems, - related both to theory and history and caused by the depreciation of the value of cultural phenomena due to the Russian revolution and a break of Russian culture into ‘pre-revolutionary’ and ‘after revolutionary’, ‘immigrants’ ad soviet, official and oppositional. Among these problems there are ‘death of the author’, absence of a hero’, the ‘idea of disturbed truth’, cultural falsifications of the 20th century, playing with history, ‘double translation’… This is where I. Kondakov sees the roots of formation of the Russian post-modernism.

Keywords: philology, modernism, post-modernism, “death of the author”, culture, revolution, apology, hard times, history, messianism.