scholarly journals FEATURES OF INDUSTRIAL PROSE IN UKRAINIAN SOVIET LITERATURE: THE SHORT STORY “BLAST FURNACES” BY DMYTRO BUZKO

2021 ◽  
pp. 66-81
Author(s):  
Mariia Tkachenko
Keyword(s):  
Short Story ◽  
Transitional Period ◽  
Early Cinema ◽  
Blast Furnaces ◽  
Avant Garde ◽  
Soviet Art ◽  
Political Reality ◽  
Soviet Literature ◽  
Contemporary Reality

The paper highlights the features of ‘industrial’ prose in the Ukrainian Soviet literature of the 1930s clarifying the main formal and semantic characteristics of “industrial” genres, their reception in criticism, and such characteristics of this genre as style, plot, figurative and thematic principles. Based on D. Buzko’s text “Blast Furnaces”, the paper shows the transitional period between the free avant-garde artistic movement in Ukraine of the 1920s and the implementation of socialist realism as the only official style in Soviet art in the 1930s. As a representative of the futurist movement, deeply engaged in the elaboration of early cinema theories, Dmytro Byzko wrote a novel “Holiandiia”, which deconstructed official narratives and topics of the late 1920s. The comparison of the “Blast furnaces” with this novel helps not only to see the mentioned transition but also to notice the divergence of the “Blast furnaces” and more canonical pieces of this genre. Dmytro Buzko’s “Blast furnaces” extremely accurately reflects the expectations from literature at that time: the heroes explain the main stages of work at the metallurgical plant, and by their example, in words and deeds, agitate readers to become conscious builders of socialism. Although a large number of similar techniques, ideas, and even views of the author can be found in “Holiandiia” and “Blast furnaces”, the first novel is a sharp critique of the contemporary reality, while “Blast furnaces” is a text complementary to reality. The analysis of “Blast furnaces” shows the process of the search for an ideal and canonical protagonist as well as an antagonist for the Soviet literature. The last one in this text is represented by the typical for the whole Ukrainian literature covetous farmer who, in a new political reality, plays a role of a small evil ready to harm ordinary workers and socialistic future.

POLIVARIABILITY OF THE BASTARD MOTIF IN THE SHORT STORIES BY GUY DE MAUPASSANT: CHARACTER IN SEARCH OF SELF-IDENTIFICATION

2018 ◽  
pp. 20-27
Author(s):  
Oksana Galchuk
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Social Institutions ◽  
Point Of View ◽  
Guy De Maupassant ◽  
Traditional Values ◽  
The Social ◽  
Role Of It ◽  
Structural Methods

The theme of illegitimacy Guy de Maupassant evolved in his works this article perceives as one of the factors of the author’s concept of a person and the plane of intersection of the most typical motifs of his short stories. The study of the author’s concept of a person through the prism of polivariability of the motif of a bastard is relevant in today’s revision of traditional values, transformation of the usual social institutions and search for identities, etc. The purpose of the study is to give a definition to the existence specifics of the bastard motif in the Maupassant’s short stories by using historical and literary, comparative, structural methods of analysis as dominant. To do this, I analyze the content, variability and the role of this motive in the formation of the Maupassant’s concept of a person, the author’s innovations in its interpretation from the point of view of literary diachrony. Maupassant interprets the bastard motif in the social, psychological and metaphorical-symbolic sense. For the short stories with the presentation of this motif, I suggest the typology based on the role of it in the structure of the work and the ideological and thematic content: the short stories with a motif-fragment, the ones with the bastard’s leitmotif and the group where the bastard motif becomes a central theme. The Maupassant’s interpretation of the bastard motif combines the general tendencies of its existence in the world’s literary tradition and individual reading. The latter is the result of the author’s understanding of the relevant for the era issues: the transformation of the family model, the interest in the theory of heredity, the strengthening of atheistic sentiments, the growth of frustration in the system of traditional social and moral values etc. This study sets the ground for a prospective analysis of the evolution the bastard motif in the short-story collections of different years or a comparative study of the motif in short stories and novels by Maupassant.

KUMYK SATIRICAL AND HUMOROUS PROSE OF THE POST-SOVIET PERIOD

2021 ◽  
pp. 33-38
Author(s):  
Malik Alievich Guseynov
Keyword(s):  
Short Story ◽  
Moral Values ◽  
Soviet Period ◽  
Leading Role ◽  
Social Component ◽  
The Social ◽  
Post Soviet Period

The article considers the Kumyk satirical-humorous prose of the last thirty years on the example of the work of its prominent representatives A. Mamaev and G. Konakbiev, highlights its individual trends, content, artistic features. It is noted that in it, with the leading role of small genres, we can see the activation of a short story of an anecdotal form, the weakening of the social component against the background of increased writers’ attention to private phenomena, an appeal to traditional moral values, active operation by such comic means as playing words, transitions from the author's position to the position of characters, dynamic plots, spectacular finals, etc.

Exodus

2021 ◽  
Vol 2 (11) ◽  
pp. 37-51
Author(s):  
Geoffrey Hart ◽  
Keyword(s):  
Short Story ◽  
Jewish People ◽  
Deep Space ◽  
Traditional Foods ◽  
Religious Ceremony ◽  
Time Period ◽  
Archeological Evidence ◽  
Historical Basis ◽  
The Right

What makes a "religious" holiday? Does the combination of ritual, culture, and family custom all merge together to create "religion?" Does it even matter if the historical basis for religious stories are false? In this work of philosophical short story fiction, the spaceship computer AI wakes up a family in deep space hibernation to give them time to prepare for, and celebrate, Passover. There are many situations unique to being in space that must be overcome; determining the right time period when taking into consideration time dilation, not to mention missing ingredients for traditional foods. Also, they are short two people of the requisite ten and ask the computer AI to "convert" and serve the role of two additional Jewish people. Awkwardly, the computer reminds them that some of their traditional stories are not supported by archeological evidence. This all begs important questions about the complicated weaving of history, faith, culture, and family custom in religious ceremony.

The role of the intelligentsia in building a new Kyrgyz society

2021 ◽  
Author(s):  
Indira Bektemirovna Karabaeva
Keyword(s):  
Low Income ◽  
Social Life ◽  
Modern Society ◽  
Transitional Period ◽  
Subsistence Level ◽  
Social Tension ◽  
Large Families ◽  
The Unemployed ◽  
Economics And Politics

In the transitional period of changes in all spheres of social life, the formation of new views and relations in the economy, politics and socio-cultural environment is taking place. The struggle between the new and the old leads to social tension in society. In our opinion, the main reason for the growth of social tension in modern Kyrgyz society is the crisis in the field of economics and politics. To a large extent, the crisis manifests itself in the growth of unemployment and an increase in the population with incomes below the subsistence level, which leads to the marginalization of society and a change in the image, quality and lifestyle. There are so-called "points" of concentration of social tension in modern society. In social terms, these are groups of people of retirement age, youth, the unemployed, public sector workers, the intelligentsia, low-income, large families, etc. The purpose of this article is to show the role of the intelligentsia in building a new Kyrgyz society.

scholarly journals PLOT ELEMENTS AND MOTIVES OF THE NOVEL “CHEVENGUR” IN PLATONOV’S SHORT STORY “POTUDAN RIVER”

2021 ◽  
Vol 26 (1) ◽  
pp. 44-55
Author(s):  
N. Mikhaylovna Malygina ◽  
Keyword(s):  
Short Story ◽  
The Novel ◽  
Love Story ◽  
Planetary Scale ◽  
The Family ◽  
Analytical Review ◽  
Eugene Onegin ◽  
Intertextual Connections ◽  
First Time

The relevance of the article is determined by the researcher of the semantic poetics of Platonov’s story “Potudan River”. We carry out an analytical review of the lifetime criticism and articles of modern researchers about the story, on the basis of which we formulate the purpose of the study, due to the need for a new approach to the interpretation of the work and the identification of the principles of its poetics. The novelty of the article is determined by the identification of the multilayered symbolism of the title of the story, which allows to establish the insufficiency of the conclusions that the content of the “Potudan River” is limited to the family theme. At the level of micropoetics we reveal symbolic details that connect the content of the story with the motive of love for the distant, medical and construction subjects and revealing the planetary scale of the author’s thinking. For the first time, it was established that Platonov’s story “Potudan River” was written based on part of the plot of the novel “Chevengur” – the love story of Alexander Dvanov and Sonya Mandrova. We show that the heroes of the story “Potudan River” Nikita Firsov, Lyuba Kuznetsova and Nikita’s father are doubles of the characters in the novel “Chevengur” by Sasha Dvanov, Sonya Mandrova, and Zakhar Pavlovich. The connection of the image of Lyuba with the archetype of the bride is considered. The paper reveals for the first time the intertextual connections of the story “Potudan River” with the poem “The Bronze Horseman” and the novel in verse “Eugene Onegin” by A. Pushkin, in the texts of which the writer found material for modeling the ordinary fate of the hero. Multi-level connections of the content of the story “Potudan River” with Platonov’s artistic world, which is a complete metatext, are found, which opens up new opportunities for determining the role of the editing technique and the principles of returning to the plots and motives of the works of the 1920s, as well as their transformation in the writer’s work of the 1930s.

scholarly journals Notes on the nature of avant-garde and constructivism

2020 ◽  
pp. 106-119
Author(s):  
Vadim Markovich Rozin
Keyword(s):  
Comparative Analysis ◽  
Avant Garde ◽  
Analysis Methods ◽  
Figurative Art ◽  
The Family ◽  
Methods Of Reconstruction ◽  
Applied Arts

Based on the materials of the family of architects Zimonenko-Feierstein, this article examines the peculiarities of avant-garde and constructivism. Roman Feierstein and Lyubov Zimonenko graduated the Moscow University of Arctitecture and were taught by pedagogues – the representative of avant-garde and constructivism. To understand the nature of avant-garde and constructivism, the author characterizes the goals and tasks solved by these trends and concepts, as well as analyzes the works of Roman Feierstein and Lyubov Zimonenko. It is demonstrated that constructivists create artistic reality, juxtaposing and simultaneously combining various processes and contents, sending over consciousness of a spectator to a particular reality. This pattern is inherent not only to figurative art, but also literature. The article employs situational and comparative analysis, methods of reconstruction of the works of applied arts and generalization. As a result, the author was able to reveal certain peculiarities of avant-garde and constructivism as an approach and activity, as well as underline that avant-garde and constructivism as approaches also suggest conceptualism. The role of conceptualism consists in outlining and explaining of reality, created by an artist for their audience.

scholarly journals TÃO FELIZES, NUNCA FOMOS: LITERATURA E CINEMA EM TEMPOS DE AUTORITARISMO

2009 ◽  
Vol 2 (27) ◽  
Author(s):  
João Manuel Dos Santos Cunha
Keyword(s):  
Short Story ◽  
Military Dictatorship ◽  
The Arts

RESUMO: O texto examina a tradução intersemiótica operada pelo cineastamurilo Salles para o conto de João Gilberto Noll “Alguma coisa urgentemente” (1980), denominada Nunca fomos tão felizes (1984), considerando o contexto da ditadura civil-militar brasileira (1964- 1985), período em que as duas narrativas foram criadas. Reflete, ainda, sobre o fato de que as representações literária e fílmica, em conjunto ou separadamente, podem ser lidas como “lugares de memória” (lieux de mémoire, conceito proposto por Pierre Nora, 1991): textos que, ao cumpriremoofício de lembrar, revelam o possível papel das artes como sendo o de traduzir em discurso fatos que resistem à apreensão até mesmo pelo enunciado explicativo e relativizante da história. PALAVRAS-CHAVE: literatura e cinema, literatura e autoritarismo, tradução intersemiótica, transtextualidade. ABSTRACT: This article examines the intersemiotic translation of a short story by João Gilberto Noll (“Alguma coisa urgentemente”, 1980) into a film by murilo Salles (Nunca fomos tão felizes, 1984), considering the context of the civil and military dictatorship in Brazil (1964-1985), when the story was written and the film made. It also reflects on the fact that the literary and the filmic representations, seen both together and separately, may be read as lieux de mémoire (according to a concept proposed by Pierre Nora, 1991). Those are texts that, as they perform the task of remembering, may be seen as a comment on the possible role of the arts in translating into discourse facts that resist understanding, even by the explanatory and relativizing enunciation of history. KEYWORDS: literature and cinema, literature and authoritarianism, intersemiotic translation, transtextuality.

scholarly journals “Merde Alors!”

2020 ◽  
Vol 3 (3) ◽  
pp. 358-383
Author(s):  
Lorenzo Bernini
Keyword(s):  
Prime Minister ◽  
Judith Butler ◽  
Recent History ◽  
Close Reading ◽  
Umberto Eco ◽  
Avant Garde ◽  
Deputy Prime Minister

AbstractIn recent history, Italy has repeatedly emerged as a successful laboratory for political experiments. After WWI, Fascism was invented there by Mussolini, and it quickly spread across Europe. In the 1990s, Berlusconi anticipated Trump's entrepreneurial populism. Today, there is a risk that Italy will once again perform the role of a political avant-garde: that it will export to Europe a sovereign populism of a new kind that is nonetheless in continuity with disquieting features of the worst past. The essay performs a close reading of the programmatic speech that Minister of Home Affairs and Deputy Prime Minister of Italy Matteo Salvini delivered in July 2018 at the thirty-second annual gathering of the Lega party. Its aim is to detect the presence in it of the politics of abjection (Judith Butler), a “Fascist archetype” (Umberto Eco) that affects both racialized and non-heterosexual people.

Symons at the Seaside

2018 ◽  
pp. 242-255
Author(s):  
Nick Freeman
Keyword(s):  
Short Story ◽  
Avant Garde ◽  
The North ◽  
Story Writer

The poet, critic and short story writer Arthur Symons (1865–1945) was an inveterate traveller who wrote frequently about the Channel and the North Cornish coasts in poetry and prose. During the 1890s and 1900s, he was at the forefront of the pre-modernist avant-garde, and was an important conduit for the dissemination of decadent and impressionist art in England. As a landscape writer, he blended the quasi-Impressionist methods of painters such as Whistler with the decadent’s concern with the privileged subjectivity of the artist. This chapter examines the implications of such practices for his treatment of Cornwall, Sussex and Dieppe – including in neglected later writings such as ‘Sea Magic’ (1920).

‘Satyre upon a Saxaphone’: Fitzgerald and Music

2019 ◽  
pp. 85-113
Author(s):  
Jade Broughton Adams
Keyword(s):  
African American ◽  
Popular Culture ◽  
Short Story ◽  
Short Fiction ◽  
Musical Culture ◽  
Tin Pan Alley ◽  
Popular Songs ◽  
Popular Magazine

This chapter demonstrates how Fitzgerald invokes music in his short fiction, which heavily features jazz. Fitzgerald shows how white artists such as the Castles and Irving Berlin often profited from the appropriation of African American musical culture such as jazz and blues. Fitzgerald’s explorations of Tin Pan Alley’s output demonstrate that a more malleable treatment of established formulae can yield valuable results. This book draws parallels between Irving Berlin’s subversion of tired Tin Pan Alley formulae, and Fitzgerald’s own manipulations of the popular magazine short story genre. In his later use of music, Fitzgerald explores the limitations of language, the role of the artist in society, and questions the value of popular culture itself. He satirises the conventions of popular songs, and subtly parodies short story conventions (particularly romantic short story conventions). Fitzgerald identifies with the songwriter, whose role is to provoke emotion and forge an intimacy with the consumer, much like the commercial short storyist. By positioning Fitzgerald’s thematic and character repetitions and concessions to the magazine format as deliberate rather than desperate, this chapter suggests that his self-parody is a conscious aesthetic decision in the process of exploring the identity of the authentic literary craftsman, dancer, or musician.

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