scholarly journals STYLISATION OF ‟HOFFMANN’S COMPLEX” IN THE STORIES BY ALEKSANDR CHAYANOV

2020 ◽  
pp. 159-164
Author(s):  
Vera V Korolyova
Keyword(s):  
20Th Century ◽  
Final Stage ◽  
Russian Literature ◽  
Fin De Siecle ◽  
Early 20Th Century ◽  
Romantic Irony ◽  
Fin De Siècle

The Hoffmann’s layer of intertext in the neo-romantic stories of Aleksandr Chayanov is manifested systematically in the form of «Hoffmann’s complex», which was formed at the turn of the 19th – 20th centuries and it is a part of «Hoffman text of Russian literature». Aleksandr Chayanov’s stories are his own modernist text, which includes not only features of Ernst Theodor Amadeus Hoffmann’s poetics, but also the totality of the subsequent of Hoffmann’s tradition, which was refracted in the works of Russian writers of the late 19th – early 20th century. One of the important aspects of the article is the analysis of individual elements of «Hoffmann complex», which are reflected in Aleksandr Chayanov’s stories (romantic irony and grotesque, psychologism, the problem of violent influence on the personality of another, the problem of echanisation of life and human, symbol images of the mask, doll, automaton, puppet and double, the symbol image of the mirror). Aleksandr Chayanov’s work becomes the final stage in the functioning of «Hoffmann’s complex « in the Fin de siècle and it is characterised by a conscious «play» with Ernst Theodor Amadeus Hoffmann’s style, images and plots, which allows us to talk about stylisation as one of the artistic techniques in Aleksandr Chayanov’s stories.

scholarly journals A Place of Pretense and Escapism: The Coffeehouse in Early 20th Century Budapest Jewish Literature

Religions ◽  
2018 ◽  
Vol 9 (10) ◽  
pp. 320
Author(s):  
Mari Rethelyi
Keyword(s):  
20Th Century ◽  
Urban Space ◽  
Jewish Life ◽  
Fin De Siecle ◽  
Early 20Th Century ◽  
Jewish Literature ◽  
Fin De Siècle ◽  
Jewish Writers

In Budapest, going to the coffeehouiennese Café and Fin-De-Siecle Cultuse was the quintessential urban habit. The coffeehouse, a Judaized urban space, although devoid of any religious overtones, was Jewish in that most of the owners and significant majority of the intellectual clientele were Jewish—secular and non-affiliated—but Jewish. The writers’ Jewishness was not a confessed faith or identity, but a lens on the experience of life that stemmed from their origins, whether they were affiliated with a Jewish institution or not, and whether they identified as Jews or not. The coffeehouse enabled Jews to create and participate in the culture that replaced traditional ethnic and religious affiliations. The new secular urban Jew needed a place to express and practice this new identity, and going to the coffeehouse was an important part of that identity. Hungarian Jewish literature centered in Budapest contains a significant amount of material on the coffeehouse. Literature provided a non-constrained and unfiltered venue for the secular Jewish urban intellectuals to voice freely and directly their opinions on Jewish life at the time. In the article I examine what the Jewish writers of the early 20th century wrote about Budapest’s coffeehouses and how their experience of them is connected to their being Jewish.

scholarly journals CREATIVE WORK OF ANTON CHEKHOV IN THE ASSESSMENT OF DMITRY FILOSOFOV (based on reviews and articles of the 1900s)

2020 ◽  
pp. 156-163
Author(s):  
Nataliya G. Koptelova
Keyword(s):  
20Th Century ◽  
Russian Literature ◽  
Fin De Siecle ◽  
Early 20Th Century ◽  
Creative Work ◽  
Anton Chekhov ◽  
Religious Consciousness ◽  
Critical Method ◽  
Artistic Heritage ◽  
Zinaida Gippius

The article discusses the system of ratings, Anton Chekhov’s creative work, developed in the reviews and articles of Dmitry Filosofov of the 1900s. The features of his critical method, which were realised during this period, are characterised. It is proved that Dmitry Filosofov perceives Anton Chekhov’s work as the artistic peak of Russian literature of the early 20th century and at the same time as a certain limit in its movement. It is noted that using the principle of «in occasion of criticism» in his own way, he refracts the traditions of Vissarion Belinsky, Nikolay Dobrolyubov, Nikolay Chernyshevsky, Apollon Grigoryev. It is argued that the tendency to think in antinomies, manifested in the works of Dmitry Filosofov on Anton Chekhov in the 1900s, connects him with Dmitry Merezhkovsky. An important role in the formation of philosophical assessments of Anton Chekhov’s creative work is played by the antinomies «Chekhov and Chekhovism», «Everyday tragedy and everyday heroism». They perform the function of bonds, connecting reviews and articles of this critic in a kind of «Chekhov» cycle. Dmitry Filosofov was one of the fi rst to use the antinomy «Chekhov and Chekhovism» in his works, which later became a constant in criticising the Fin de Siècle as a whole. Assessments of Anton Chekhov’s artistic heritage, concentrated in reviews and articles by Dmitry Filosofov of the 1900s, are focused on dialogue with statements by contemporaries – Dmitry Merezhkovsky, Zinaida Gippius, Vasily Rozanov. In an indirect form, they broadcast the ideas of building a «new religious consciousness». But at the same time, Dmitry Filosofov not only illustrates other people’s critical concepts, but also opens up new facets of Anton Chekhov’s work.

Mass Media Workers in Russian Literature of the Early 20th Century

2021 ◽  
pp. 298-314
Author(s):  
Maria V. Mikhailova ◽  
◽  
Anastasia V. Nazarova ◽  
Keyword(s):  
Mass Media ◽  
20Th Century ◽  
Russian Literature ◽  
Professional Life ◽  
Forced Labor ◽  
Early 20Th Century ◽  
The Press ◽  
Public Consciousness ◽  
The Cost ◽  
Central Characters

The study analyzes the images of journalists in the works of Russian writers of the late 19th and early 20th centuries, the realities of their professional life and the place they occupied in pre-revolutionary society also. Although members of the press most often act as secondary characters in the prose and drama of M. Gorky, A.I. Kuprin, E.N. Chirikov and other authors, their actions have a significant impact on the development of the plot and the fate of the central characters. The “power” of the press over public consciousness is often evaluated negatively, but the journalist’s figure can be described in tragic tones in terms of how it is perceived by these writers. The journalist is shown as a person who bears all the hardships of forced labor, depends on money and bears the cost of a bohemian lifestyle.

scholarly journals THE EVOLUTION OF CINEMATOGRAPHY IN RUSSIAN LITERATURE OF THE 1920S

2019 ◽  
Vol 8 (4) ◽  
Author(s):  
Valentina A. Nikolaeva ◽  
Natalia L. Fesyanova ◽  
Olga N. Goryacheva
Keyword(s):  
20Th Century ◽  
Russian Literature ◽  
Early 20Th Century ◽  
Time And Space ◽  
Cultural Process ◽  
The Third ◽  
Main Emphasis ◽  
Close Relationship

This paper concerns the issue of the interaction of literature and cinematography in the cultural process of the 1920s. The main emphasis is placedon the phenomenon of literary cinematography, which became widespread in the third decade of the 20th century. The content of the concept of “cinematographic literature”is defined, its significant characteristics are singled out (special compositional-syntactic organization of the work, representation of the situation of observation, the use of cinema techniques) and the development of cinematography in the work of poets and writers of the period is studied. Inthecourseof the analysis of thetexts, specific techniques and cinematographic functions characteristic of this decade were singledout. Experimenting with artistic time and space, the authors attach an innovative character to the works, develop new ways of constructing the plot. In addition, cinematography makes it possible to add the text documentary and agitationality. The study revealed a close relationship between the development of cinematography in the literature and the general tendencies of the cultural process of the early 20th century.

Voluntad de crear. Nietzsche o el arte contra la estética

1970 ◽  
Author(s):  
Luis Puelles Romero
Keyword(s):  
20Th Century ◽  
Fin De Siecle ◽  
Fin De Siècle ◽  
Aesthetic Modernity ◽  
Siglo Xx

RESUMENEn el siglo XX ha sido el de constitución del mito Nietzsche. Entre los diversos factores que han intervenido en este proceso, destaca la caracterización de su filosofía según los modos del esteticismo del fin-del-siglo. Este trabajo analiza la dudosa pertinencia de esta adscripción partiendo de la observación de que lo que prima en la obra del alemán no es en primera instancia una filosofía estética sino más bien una teoría de la creación, una ética de la poiesis. Con este fin, se ensaya la ubicación de Nietzsche en el trayecto de la modernidad estética y se atiende a sus posiciones valorándolas en el marco general de una crítica de la cultura.PALABRAS CLAVEESTÉTICA-ESTETICISMO-POIESIS-MODERNIDADABSTRACTThe 20th century has created the myth of Nietzsche. Among the different factors intervening in this process, we can underline the characterization of his philosophy along the modes os fin-de-siècle aestheticism. This paper examines the doubtful atribution of this characterization. It argues that Nietzsche´s work should be defined in terms of a theory of creation, an ethics of poiesis, instead of a philosophy of aesthetics. Accordingly, I sitúate Nietzsche in the trajectory of aesthetic modernity and assess his work within a general critique of culture.KEYWORDSAESTHETICS-AESTHETICISM-POIESIS-MODERNITY

The Fragmentary Condition of Aesthetics at the Turn of 21st Century

2021 ◽  
pp. 151-172
Author(s):  
Kamil Lipiński
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
21St Century ◽  
Fin De Siecle ◽  
Cultural Education ◽  
Conceptual Foundation ◽  
Fin De Siècle ◽  
Critical Aesthetics ◽  
Point Of Departure

The ‘fragmentary condition’ relates to Jena Romanticism as the point of departure to discuss how the idea of the fragment moves from classical, literary studies to contemporary art and becomes part of a broader interpretation of the 20th century fin de siècle aesthetics. The article builds on Jean-Luc Nancy’s and Philippe Lacoue-Labarthe’s theoretical insights into Jena Romanticism in order to examine the unification of all genres separated from poetry to touch poetry, philosophy, rhetoric through the anecdotal and witty articulation, as well as ars combinatoria. For Romantics, the basic imperative was to educate, form their existence, that is, Bildung, in Hegelian terms, cultural education, formation, development. This literary foundation is defined by Jean-Luc Nancy as a fragmentary existence which he identifies with the fraction, fractal essence, inherent separation, disengaging. Nancy was intent on examining the emergence of various contemporary works expressing their essence in terms of breaks, incompleteness, and an autonomous role of the fragment. This classical conceptual foundation provides these key conceptual and methodological perspectives and allows for discussing the implications of the critical aesthetics of the fin de siècle for the practices of fraction, ex-peau-sition, spacing, and division in the contemporary research in art.

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