scholarly journals Interpretation of P. Komarov’s Creative Work in Literary Criticism of “Dalniy Vostok (Far East)” Magazine (the 1940-1950s)

2020 ◽  
pp. 14-17
Author(s):  
Ol'ga Nikolaevna Aleksandrova-Osokina ◽  
◽  
Jian Huang ◽  
Keyword(s):  
Literary Criticism ◽  
Far East ◽  
Creative Work

MYTH IN SAM SHEPARD’S “THE GOD OF HELL” AND ITS POLITICAL IMPLICATION

2019 ◽  
pp. 32-38
Keyword(s):  
Literary Criticism ◽  
American Culture ◽  
The Political ◽  
Creative Work ◽  
Political Implication ◽  
Major Work ◽  
Sam Shepard ◽  
Long Period ◽  
Political Myth ◽  
The World

The article introduces the creative work of the famous American playwright Sam Shepard, whose works are almost unknown to our Uzbek reader. His plays are well known throughout the world; they influenced the formation of the worldview of readers of different nations and show the peculiarities of American culture. Despite the worldwide fame of Sam Shepard’s works, they are not studied well by literary critics. In America and Europe his works have been studied in details for a long period, and even several monographs in English have been written. However, neither in the Russian speaking, nor in the domestic literary criticism there is yet no major work on Shepard's works. The article also deals with the artistic features of the political myth of the “American dream” in one of the most scandalous plays, “The God of Hell,” dedicated to the protest against the war in Iraq. Thus, this study, which touches upon some issues of Shepard's creative work in connection with his innovative artistic originality, to a certain extent, seeks to fill this gap.

The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein

2018 ◽  
Vol 10 (3) ◽  
pp. 45-54
Author(s):  
Joon Il Song
Keyword(s):  
20Th Century ◽  
Far East ◽  
Historical Context ◽  
Traditional Culture ◽  
Early 20Th Century ◽  
Creative Work ◽  
Eastern Culture ◽  
Chinese Traditional Culture ◽  
The Far East ◽  
Far Eastern

The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.

scholarly journals "We pay no heed to the ideal… We pay heed to trifle and trifle…" The issue of moral and ethical evaluation of Alexander Ostrovsky's works in literary criticism of the second half of the 19th century

2019 ◽  
pp. 95-99
Author(s):  
Yelena N. Belyakova
Keyword(s):  
Literary Criticism ◽  
19Th Century ◽  
Public Life ◽  
Critical Evaluation ◽  
Creative Work ◽  
Ethical Assessment ◽  
Ethical Evaluation ◽  
Literary Process ◽  
The 19Th Century ◽  
The Ideal

In terms of newspaper-magazine reviews of Alexander Ostrovsky's works, published in the 1850s-70s, the problem of artistic text literary-critical evaluation is examined in the article. The author of the article assumes that artistic text evaluation is directly related to ideology and to the main request of time in terms of which, the text receives this assessment. According to Georgiy Fridlender, one of the most important tasks that Russian public life of the second half of the 19th century set for literature was to create an image of a viable and still positive hero. Alexander Ostrovsky in his work was oriented to answers to the most pressing social requests. Nevertheless, his works often did not satisfy his contemporaries, and sometimes insulted their moral feelings. An attempt to trace how the negative moral and ethical assessment of the playwright's creative work was conditioned and the role that newspaper and magazine criticism played in shaping the literary process is undertaken in the article.

scholarly journals Color and form in the works of Konstantin Kuzminykh

2019 ◽  
Author(s):  
Ольга Ивановна Зотова
Keyword(s):  
Contemporary Art ◽  
Russian Federation ◽  
Russian Far East ◽  
Far East ◽  
Creative Work ◽  
The Russian Federation ◽  
Factor Of Influence ◽  
The Russian Far East

Творчество заслуженного художника Российской Федерации, академика Российской академии художеств Константина Кузьминых рассматривается как заметное явление в современном искусстве Дальнего Востока России. Исследуется эволюция авторского видения и выработка характерных приемов, в которых автор делает акцент на цветовых и формальных качествах художественного произведения. Также рассматриваются основные темы в творчестве художника, в числе которых библейские мотивы, этнографические особенности территории как фактор влияния на образный строй произведения, мотивы азиатских культур. The creative work of the Honored artist of the Russian Federation, academician of the Russian Academy of arts Konstantin Kuzminykh is considered as a noticeable phenomenon in the contemporary art of the Russian Far East. The author investigates the evolution of the author's vision and the development of characteristic techniques in which the artist focuses on the color and formal qualities of the artworks. The author also considers the main themes in the artist's work, including biblical motifs, ethnographic features of the territory as a factor of influence on the figurative structure of the work, the motives of Asian cultures.

scholarly journals The creative work of Grigory Gurkin and Vasily Sheshunov as students of Ivan Shishkin

2020 ◽  
pp. 91-104
Author(s):  
O.N. Filippova
Keyword(s):  
Comparative Analysis ◽  
Significant Influence ◽  
Far East ◽  
Art Museum ◽  
Creative Work ◽  
Art Gallery ◽  
Imperial Academy ◽  
First Time ◽  
Professional Artist ◽  
Artistic Manner

The article contains a comparative analysis of the work of two artist-students of I.I. Shishkin: Grigory Gurkin (Altai) and Vasily Sheshunov (Far East). Both painters went through the school of the great Russian landscape painter at the Imperial Academy of Arts in St. Petersburg. Grigory Gurkin became one of the most significant masters of Russian realistic landscape in the first third of the 20th century, the first professional artist of Altai. Vasily Sheshunov had an equally significant influence on the formation of the artistic life of Ussuriisk and the entire Primorye. In the context of the continuity of Ivan Shishkin's art school, the genre-thematic originality, artistic manner, and creative method of these two masters are compared for the first time. The material for the study was the paintings of artists from the collections of the Sukachev Irkutsk Regional Art Museum, the Primorye State Art Gallery, the State Art Museum of the Altai Krai, the Tomsk Regional Art Museum. Статья посвящена сравнительному анализу творчества двух художников-учеников И.И. Шишкина: алтайского — Г.И. Гуркина и дальневосточного — В.Г. Шешунова. Оба живописца прошли школу великого русского художника-пейзажиста в Императорской Академии художеств в Санкт-Петербурге. Григорий Иванович Гуркин стал одним из самых значительных мастеров русского реалистического пейзажа первой трети XX века, первым профессиональным художником Алтая. Василий Григорьевич Шешунов оказал столь же существенное влияние на становление художественной жизни Уссурийска и всего Приморья. В контексте преемственности художественной школы И.И. Шишкина жанрово-тематическое своеобразие, художественная манера, творческий метод этих двух мастеров сравниваются впервые. Материалом для исследования послужили живописные полотна художников из собраний Иркутского областного художественного музея им. В.П. Сукачева, Приморской государственной картинной галереи, Государственного художественного музея Алтайского края, Томского областного художественного музея.

Before Silence: Qin Zhaoyang'

1987 ◽  
Vol 110 ◽  
pp. 231-255
Author(s):  
Vibeke Børdahl
Keyword(s):  
Short Stories ◽  
Literary Criticism ◽  
Creative Work ◽  
Lost Generation ◽  
Chinese Author

The Chinese author, Qin Zhaoyang (b. 1916) belongs to the “lost generation” of writers who were silenced as early as 1957, after the Hundred Flowers Movement. Although he is best known for his literary criticism in the famous article “Xianshizhuyi - guangkuo de daolu” (“Realism - the broad path”), published in Renmin wenxue (People's Literature) in September 1956,1 the most important part of his creative work consists of short stories and novels. During the 1940s and 1950s Qin produced some of his finest stories with a humour and personal tone that are unusual for mainland literature of the period.

scholarly journals «THOUGHTS ON UNIVERSAL HISTORY» BY ALEKSEY KHOMYAKOV IN THE SPIRITUAL AND CULTURAL CONTEXT OF THE SERBIAN TRADITION

2020 ◽  
pp. 109-117
Author(s):  
Yelena A. Osipova
Keyword(s):  
Literary Criticism ◽  
Cultural Context ◽  
Literary Tradition ◽  
Creative Work ◽  
Main Subject ◽  
Historical Knowledge ◽  
Human Race ◽  
Universal History ◽  
National Tradition ◽  
Artistic Vision

The article considers the work of the Russian Slavophil thinker Aleksey Khomyakov (1804-1860) «Semiramis, or Thoughts on Universal History». Despite the fact that in recent years there have been many works in the fi eld of literary criticism devoted to this work of the philosopher, it still remains unraveled in full. However, much in the worldview and creative work of Aleksey Khomyakov and Slavophil philosophers are revealed in a new light as a result of the ideological and thematic correlation of «Semiramis» with the broad historical and spiritual and cultural context of the Serbian national tradition (on the example of the philosophical works of Bishop Nikolaj Velimirović, Archimandrite Justin (Popović), poet Jovan Dučić and other authors). What is the main subject of Aleksey Khomyakov’s study in «Semiramis», is history and ways of development of the whole human race. The vector of basic refl ections of the philosopher, who focused his attention on the fate of Europe and Slavics as its integral and essential constituent, can be seen against this background. The consonance and «intersection» of the thinker’s reasoning with the Serbian cultural and literary tradition makes it possible to draw a conclusion about the unity of the Orthodox Slavic identity of Russians and Serbs - despite all the unique cultural and historical features of the nations. Realisation of this fact becomes possible due to the scale of themes stated by Aleksey Khomyakov in his work, as well as due to the organic connection of the author’s deep historical knowledge and artistic vision.

scholarly journals INTERTEXTUALITY IN THE POETIC LANGUAGE OF MAXYM RYLSKYI

2020 ◽  
pp. 114-122
Author(s):  
Alyona PALASH
Keyword(s):  
Literary Criticism ◽  
Theoretical Basis ◽  
Main Part ◽  
Empty Space ◽  
Literary Text ◽  
Creative Work ◽  
Topical Issue ◽  
Definition Of ◽  
The Individual

Problem’s setting. The problem of interpretation and research of the term “intertextuality” today is a topical issue of philosophy, literary criticism, linguistics, modern Ukrainian linguistic poetics, and stylistics of the text. That is, no text can be created in an empty space, it must have an intertextual relationship with other works or texts. Analysis of recent studies. The theoretical basis for the study formed works in the field of modern linguistics, in particular, Robert de Bogrand, Alexander Veselovsky, Olga Vorobyova, Wolfgang Dressler, Alexander Potebnya considered “intertextuality” as a textual category; Yuri Lotman, Vladimir Lukin – as a prerequisite for textuality; Lyudmyla Babenko, Suren Zolyan, Larysa Omelchenko, Natalia Fateeva – as means of its implementation in specific texts. Objective of the research. The purpose of the work is to analyze the external and internal connections of the literary text of Maksym Rylsky and the means of their realization in the explicitly intertextual process of the text’s existence. The main part. The article studies the peculiarities of the artistic embodiment of intertextuality in the poems of Maxim Rylsky; the definition of intertext in a broad and narrow sense is traced; the classification of the intertextuality of Jennet is singled out. The focus is on the separation of language units, intertextual components in the language of Maxim Rylsky; examples and quotations, allusions, titles, epigraphs, hints, genre connection of texts, references to the pretext in the artist’s creative work are given and analyzed. Conclusions. Research and analysis of the intertextuality of the artist’s poetics show that in a new way the comprehension and depiction of quotations, allusions, epigraphs, titles, hints, paraphrases become differential features of the individual author’s style.

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