scholarly journals IN GONZO STYLE: TETIANA TROFYMENKO’S LITERARY REVIEWS

2020 ◽  
Vol 9.1 (85.1) ◽  
Author(s):  
Oksana Zelik ◽  
Keyword(s):  
Literary Criticism ◽  
Special Kind ◽  
Literary Work ◽  
Point Of View ◽  
Emotional Expressions ◽  
Analytical Work ◽  
Literary Process ◽  
Characteristic Features ◽  
Gonzo Journalism ◽  
Subjective View

The proposed research is an attempt to analyze gonzo-criticism in the context of the modern Ukrainian literary process. The change of aesthetic orientations in the Ukrainian literary process had significant impact on the role and status of literary criticism. The analysis of gonzo-criticism is based on the example of texts of Tetiana Trofymenko, literary critic, cultural manager, lecturer, participant of various literary and artistic events. She taught at the universities of Kharkiv and Lviv, worked at the Kharkiv Literary Museum. The reviewer cooperated at various times with the magazine “SHO”, the sites “Novynarnia”, “MediaPort”, “ZAXID.NET”, “LitAktsent” etc. The article summarizes the views on gonzo journalism and approaches to its characteristics. The analysis of Tetiana Trofymenko’s reviews is conducted on the stylistic and genre levels taking into account the problem-thematic contexts, features of the presentation of works of art and compositional peculiarities. Gonzo is a special kind of criticism with the dominant subjective view on literature. Its main criteria are impressions and emotions of the critic, this style does not have clearly regulated rules but mainly depends on the author’s personality, his perception and understanding of the artistic work, the vision of text in the context of literary process, the author’s creativity, the ability to present his position vividly and convincingly. The critic conducts a dialogue with the reader, exchanges opinions, reflections and estimations with him. The characteristic features of review are personalized point of view, personal beginning, factuality, reasoned position of the author. The narrative in review is polythematic, because it aims to highlight a variety of facts, usually united by the author’s opinion. The author of the artistic review demonstrates to the reader an analytical work aimed at cognition, understanding, interpretation and evaluation of a literary work. The stylistic features of gonzo-criticism are analyzed in details. The attention is focused on the peculiarities of the presentation of fiction texts through the ironic, subjective view of the critic. The researcher found out that this style of literary criticism manifests in emotional expressions, the use of irony, sarcasm, and the critic offers an unexpected look at the literary work, shocks and provokes the audience.

scholarly journals QUEER CRITICISM AS A POST-MODERNIST APPROACH

2015 ◽  
Vol 1 (1) ◽  
pp. 132
Author(s):  
Hamdi Hameed Yousif
Keyword(s):  
Literary Criticism ◽  
Literary Work ◽  
First Century ◽  
Critical Approach ◽  
The Social ◽  
Late Twentieth ◽  
The Common ◽  
Characteristic Features ◽  
The One ◽  
Late Twentieth Century

One of the post-modernist approaches to literary criticism is the queer criticism which has not been evaluated properly. Queer criticism can refer to any piece of literary criticism that interprets a text from a non-straight perspective. Therefore, it includes both lesbian and gay criticism. The aim of this paper, therefore, is to trace the social and political reasons behind the emergence of Queer criticism in the late twentieth century till it acquired momentum in the twenty-first century. After trying to define the terms related to the Queer criticism, the paper tries to examine the poetics of queer (gay and lesbian) literary works and to point out the main characteristic features of this critical approach by identifying the criteria and the textual evidence by which a literary work is labeled queer. It, also tries to shed light on the common features between queer criticism and feminism, on the one hand, and queer criticism and the deconstructuralist approach on the other hand. The final section of the study is a critique which points out the negative aspects of this approach.

scholarly journals “HOW DO WE WRITE”, OR THE PROBLEM OF LITERARY SELF-CONSCIOUSNESS

2021 ◽  
Vol 14 (2) ◽  
pp. 67-79
Author(s):  
M.A. Chernyak ◽  
◽  
M.A. Sargsyan ◽  
Keyword(s):  
Literary Criticism ◽  
21St Century ◽  
Textual Criticism ◽  
Literary Work ◽  
Turn Of The Century ◽  
Self Reflection ◽  
Aesthetic Taste ◽  
Non Fiction ◽  
Literary Process

Statement of the problem. The interest of modern literary criticism to the problem of literature reflection is carried out mainly on the material of various metatexts, especially vividly represented in the turn of the century. The purpose of the article is to reveal author’s identity and artistic self-reflection in non-fiction texts. In this regard, the collection of articles entitled “How Do We Write”, compiled in 2018 by St. Petersburg writers Pavel Krusanov and Aleksander Etoev, is of particular interest. This book was written in reply to the book “How Do We Write” in 1930. The literary process of the 1920s, like, in many respects, literature of the new 21st century, was a period of renewal of various types and genres of artistic creativity, a period of the birth of new forms. Research results. Comparison of the two books, in which writers from different literary eras reflect on the nature of creativity, on the technology of literary work, on relationships with a reader, gives grounds to talk about the contours of a new textual criticism of the 21st century. Deformation of the canon, destruction of the boundaries of literature and aesthetic taste, and new forms of communication influenced the content and form of texts. Conclusions. With emergence of Internet reality, new sources of textual criticism appeared. The new literary reality dictates its own laws and creates new conditions for the development of publish- ing, writing, and reading relationships. Modern literature, like the literature of past years, reacts to cultural and historical events and to the development of the literary process, reflecting on the creation of the text and on the role of a writer here and now.

scholarly journals GRAPHIC LITERATURE: DEFINITIONS, HISTORY, COMPONENTS

2021 ◽  
pp. 29-37
Author(s):  
Nataliia Belichko ◽  
Nadiia Marchenko
Keyword(s):  
Fine Arts ◽  
Main Idea ◽  
Negative Attitude ◽  
Special Kind ◽  
Basic Structure ◽  
Literary Work ◽  
Point Of View ◽  
Past Century ◽  
Art Form ◽  
History Of

Abstract. The article defines for the first time the concept of graphic literature a special kind of book and magazine graphics, which has become widespread in world art practice over the past century. It emphasizes that graphic literature combines elements of fine arts, literature, and cinema. It reveals the essence of graphic literature in the narrative of history through a sequence of images. It reviews the history of formation and development of this art form in world and Ukrainian art history. It outlines the specific features of graphic literature in certain countries. It gives the names of personalities who influenced its origin and spread around the world. The article is mainly focused on the analysis of the history of graphic literature development in Ukraine. It outlines the contribution of Ukrainian artists of the 20th century to its development. It emphasizes the reasons for the negative attitude to graphic works of literature in Soviet times. It considers in detail the spread of works of graphic literature in Ukraine at the beginning of the 21st century. It names Ukrainian personalities and specialized publishing houses that actively develop modern graphic literature. It outlines the basic structure, some important elements, and technique of graphic works. It emphasizes the similarity of the design of works of graphic and fiction. It reveals the main purpose of graphic literature in the most effective way to convey the main idea of a literary work to the reader and to get him/her interested with the help of visual images. It examines the genre diversity of graphic literature in Ukraine in the last decade. It analyses the dependence of the genres of graphic works on the age restrictions of the readership. It reveals the necessity to further study and analyse such graphic works from the art point of view. Graphic literature combines publications in which the narration is conveyed through hand-drawn and textual images in a certain sequence.

scholarly journals Barthes’s positive theory of the author

2008 ◽  
Vol 36 (1) ◽  
pp. 31-48
Author(s):  
Harri Veivo
Keyword(s):  
Literary Criticism ◽  
Literary Work ◽  
Point Of View ◽  
Roland Barthes ◽  
Late Period ◽  
Positive Theory ◽  
Work Of Art ◽  
Collège De France ◽  
Individual Point ◽  
Literary Work Of Art

While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one can follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism.

scholarly journals The African Novel and the Western Reader. A Case Study

Afrika Focus ◽  
1986 ◽  
Vol 2 (1) ◽  
Author(s):  
Julien Vermeulen
Keyword(s):  
Literary Criticism ◽  
African Literature ◽  
Literary Work ◽  
Point Of View ◽  
African Novel ◽  
Literary Reception

African literature, like any other literature remote in space or time, can be approached in two different ways. We can read it from our own point of view and try to appreciate it with our own literary standards. We can also try to read it as it was experienced and appreciated by its immediate audience, which means by the African public at the time of publication. Reactions given by a group of Dutch-speaking readers on a novel by E. Dongala clearly illustrate that the second approach is hardly achievable, however attractive it may seem. So we have to accept that every reading of an African literary work implies a serious degree of creative treason. KEYWORDS : Literary reception, literary criticism, African literature in French, E. Dongala 

scholarly journals THE RECEPTIVE-AESTHETIC PRINCIPLES OF THE ARTISTIC TRANSLATION IN THE SYSTEM OF COMPARATIVE STUDIES

2019 ◽  
Vol 1 (16) ◽  
pp. 118-124
Author(s):  
O.V. Minenko
Keyword(s):  
National Culture ◽  
Comparative Studies ◽  
Translation Studies ◽  
Literary Work ◽  
Point Of View ◽  
Original Text ◽  
Relative Autonomy ◽  
Creative Person ◽  
Artistic Work ◽  
Characteristic Features

The article attempts to reveal the main receptive-aesthetic principles of artistic translation from the point of view of comparative studies. The analysis of the views of the researchers D.Nalyviayko, V.Izer, G.Yaus as to proposed subject is presented. Characteristic features of the artistic translation in the system of comparative studies are highlighted and described. On the basis of the research it was established that the perception of the artistic work is determined on the basis of the work of understanding the original text, that is, as a result of the dialogue between the text and the translator; as a manifestation of the hidden meaning that passes through the translation consciousness. Each new translation of the work acquires a relative autonomy; it carries something unique in its own right, created by the translator-writer. The creative person of the translator inevitably influences the translated work, which is perceived by the reader through the prism of his person. During the translation of a literary work belonging to a certain national culture and created by appropriate means of the linguistic and stylistic systems, one can reflect the phenomena inherent in the national artistic consciousness. The article describes the content of the concept of "perception", which is dynamic, since the perception continues until new translations, new translation studies appear. As each artwork is a holistic ideological and creative structure in which individual parts interact organically and form an inseparable unity, all elements of this structure are open to the reader, and in the process of cognition are realized in different ways in his mind.

scholarly journals ON DRAMA POETICS AND MORE… THE HISTORIOGRAPHIC REVIEW OF SCIENTIFIC ACTIVITY OF PROFESSOR VALENTINA YE. GOLOVCHINER

2020 ◽  
pp. 206-227
Author(s):  
Оксана Николаевна Юрченкова
Keyword(s):  
Literary Criticism ◽  
Scientific Activity ◽  
Scientific Heritage ◽  
Specific Direction ◽  
Russian Literary ◽  
Literary Process ◽  
History Of ◽  
Scientific Context ◽  
Characteristic Features ◽  
First Time

Введение. Статья приурочена к 75-летнему юбилею профессора В. Е. Головчинер и посвящена анализу ее научной деятельности. Цель статьи – определить этапы и направления научно-педагогической деятельности ученого. Материалы и методы. Материалом исследования послужили научные труды (статьи, доклады, монографии) В. Е. Головчинер и ее учеников. Систематизация и описание результатов научной работы ученого осуществлялись в сопоставлении с ведущими концепциями отечественной филологии. Результаты и обсуждение. Впервые научное наследие В. Е. Головчинер рассмотрено как целостное явление; выявлены принципы, которыми руководствовался ученый в разные периоды научной деятельности; выделены ключевые идеи ее работ: 1) формирование эпической драмы как специфического направления в отечественном литературном процессе ХХ в., обусловленного культурно-историческими обстоятельствами и имеющего две типологические разновидности – метафорическую и метонимическую – с характерными чертами поэтики; 2) специфика художественного произведения во многом обусловлена родовыми чертами, поскольку каждый род литературы имеет свои выразительные возможности; 3) закономерная смена жанровой парадигмы в эпоху неклассической поэтики приводит к тому, что канонические жанры уступают место авторским моделям творчества, выступающим в качестве нового способа завершения художественного целого. Теоретическая значимость исследования: научное наследие В. Е. Головчинер введено в историко-научный контекст; освещены основные направления ее исследований; проанализирован эвристический потенциал теоретических положений и кратко охарактеризованы тезисы основных работ. Практическая значимость исследования: выводы и результаты исследования могут быть использованы при составлении рабочих программ филологических дисциплин, разработке учебных материалов, пособий по истории отечественного литературоведения. Заключение. Научные разработки профессора В. Е. Головчинер не только являются концептуальными в отдельных вопросах теории литературы, открывают интересные историко-литературные факты, но и отражают общие тенденции филологической науки, развивают достижения томской школы литературоведения, изучающей отечественную драму. Introduction. The article is devoted to the 75th anniversary of professor V. Ye. Golovchiner. Aim and objectives. The aim of the article is to determine the stages and directions of scientific and pedagogical activity of Professor V. Golovchiner. Material and methods. The research material (articles, reports, monographs) by V. E. Golovchiner and her students served as the material for the study. The systematization and description of the results of scientific activity was carried out in comparison with the leading concepts of Russian philology. Results and discussion. For the first time, her scientific heritage is examined as a whole; the principles are revealed by which the scientist was guided during the different periods of her scientific activity; the key ideas of her papers are selected: 1. the formation of an epic drama as a specific direction in Russian literary process of the 20th century caused by cultural-historical conditions and having two typological versions – metaphorical and metonymical – with characteristic features of poetics; 2. the specifics of an artwork is in many respects caused by ancestral features as each literary genre has its own expressive possibilities; 3. the natural change of a genre paradigm during the era of nonclassical poetics leads to that the initial genres give way to the author’s models of creativity which represent a new way to end of an artistic whole. The theoretical relevance of the research: V. Ye. Golovchiner’s scientific heritage is introduced into the historical scientific context; the directions of her scientific activity are studied; the heuristic potential of theoretical positions is analyzed and theses of the main papers are shortly characterized. The practical relevance of the research: the conclusions and results of the research can be used to develop work programs of subjects in different areas of philology, to develop the teaching materials, guide books on the history of Russian literary criticism. Conclusion. The author of the paper comes to conclusions that the scientific developments of the professor are not only conceptual in certain questions of the theory of literature, open interesting historical literary facts but also reflect general trends of a philology science, develop the achievements of Tomsk school of literary criticism studying Russian drama.

КАЛЫБЕК БАЙЖИГИТОВДУН АЛГАЧКЫ СЫНЧЫЛЫК ИШМЕРДҮҮЛҮГҮ

2020 ◽  
pp. 27-30
Author(s):  
Бакытбек Болгомбаев
Keyword(s):  
Literary Criticism ◽  
Point Of View ◽  
Direct Impact ◽  
Personal Opinion ◽  
Literary Process ◽  
Critical Activity

Макалада К.Байжигитовдун алгачкы адабий-сын пикирлерине таянып, сынчылык ишмердүүлүгүнүн башталышы, ага себеп болгон объективдүү жана субъективдүү жагдайлар каралат. Негизги проблема ка- тары адабиятчынын адабий сынга келиши, бул багыттагы ишмердүүлүгүнүн пайда болушу менен автордун жеке чыгармачылыгына тикелей таасирин тийгизген адабий процесстин ролу кепке тартылат. Анын алгачкы сындарында орун алган автордук ойдун жаралышы, өздүк пикирден маданий-эстетикалык жана социалдык-инсандык көз карашка өсүп чыгуу себептери да талдоодон өтөт. Анда адабиятчынын сынчылык ишмердүүлүгүнүн калып- тануусу көркөм-адабий процесстеги жалпы кызыкчылыктар менен айкалышып, ал мезгилде жүрүп жаткан тенденциялардын кучагында болгону да белгиленет. Анын жаш сынчынын көз карашын калыптандырууда ойногон ролу К.Байжигитовдун алгачкы сындарына баа берүү менен жүргүзүлөт. Основываясь на первоначальной литературной критике К. Байжигитова статья рассматривает начало деятельности критика, объективные и субъективные факторы, которые к ней привели. Роль ли- тературного процесса, оказывающего непосредственное влияние на личное творчество автора с его приходом в критическую деятельность и началом его работ в этой сфере, рассматривается как основная проблема. Также анализируются истоки мысли автора в его ранних критических работах, и причины его перехода от личного мнения к культурно-эстетической и социально-личностной точке зрения. Отмечается, что формирование критической деятельности литератора сочеталось с общими интересами литературного процесса и тенденциями тех времен. Его роль в формировании взглядов молодого критика осуществляется оцениванием первоначальных критик К. Байжигитова. Based on the initial literary criticism of K. Baizhigitov, the article examines the beginning of the critic's activity, the objective and subjective factors that led to it. The role of the literary process, which has a direct impact on the personal creativity of the author with his arrival in critical activity and the beginning of his work in this area, is considered as the main problem. It also analyzes the origins of the author's thought in his early critical works, andthe reasons for his transition from personal opinion to cultural-aesthetic and social-personal point of view. It is noted that the formation of the critical activity of a writer was combined with the general interests of the literary process and the tendencies of those times. Its role in shaping the views of the young critic is carried out by evaluating the initial criticisms of K. Baizhigitov.

scholarly journals The state of researches of modern Russian female prose in Сhina

2020 ◽  
Vol 25 (2) ◽  
pp. 277-286
Author(s):  
Jing Ruge ◽  
Irina V. Monisova
Keyword(s):  
Literary Criticism ◽  
Point Of View ◽  
Russian Society ◽  
Current State ◽  
Soviet Literature ◽  
Russian Literary ◽  
Literary Process ◽  
Artistic Styles ◽  
State Of Research ◽  
First Time

In the 80s and 90s of the 20th century, womens literature in Russia began to rapidly develop and become recognized as a special phenomenon - for the first time after the last turn of the epoch: Soviet literature was rarely considered in Russian literary criticism from a gender point of view. The creativity of modern women writers became a vivid phenomenon in the context of the Russian literary process, revealed a unique female view of many socio-psychological problems, and in its own way reflected the historical turning point experienced by Russian society. In China, traditionally sensitive to Russian culture, the growth of female literature in Russia was noted almost immediately, and Chinese scientists have so far achieved considerable results in studying the specifics of themes, plots, typology of heroes, artistic styles, and the language of Russian female literature. This article is aimed at summarizing the current state of research on the work of Russian writers in China. It presents both generalizing works and materials devoted to individual writers personalities (L. Petrushevskaya, T. Tolstaya, L. Ulitskaya).

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

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