scholarly journals J.A.A. Joyce’s type of chronotope in Mikhail Shishkin’s non-fiction “Russian Switzerland”

2021 ◽  
Vol 27 (4) ◽  
pp. 168-173
Author(s):  
Julia N. Myslina
Keyword(s):  
World History ◽  
Russian Literature ◽  
The Novel ◽  
Narrative Strategy ◽  
Artistic Style ◽  
Non Fiction ◽  
The World ◽  
Temporal Structures ◽  
Spatio Temporal ◽  
Present World

The article is devoted to the comparative analysis of the organisation of spatio-temporal structures in the novel “Ulysses” by James Augustine Aloysius Joyce and the literary-historical guide “Russian Switzerland” by Mikhail Shishkin. The general way of permeability of the boundaries of fiction – non-fiction genres and the reflection of this process in the world and Russian literature of the 20th–21st centuries is investigated. It is proved that for Mikhail Shishkin, as well as for J.A.A. Joyce, everyday life becomes an experimental field, where J.A.A. Joyce's deliberately destroyed time is rethought by the modern author into the category of simultaneity, which allows people and events separated by centuries to be viewed at one point in space. J.A.A. Joyce and Milhail Shishkin think of time as a way of organising events and facts as a spatial one, which allows us to present world history as a creative chaos of events, the expansion of which into the genre of non-fiction makes the narrative strategy more multidimensional, rather than as a system of causes and effects. The two authors are brought together not only by a common literary tradition, but also by an autobiographical understanding of emigration, thanks to which Mikhail Shishkin deliberately builds himself as a mediator between cultures, for whom J.A.A. Joyce’s speech techniques are a self-evident core of the artistic style of the new emigre prose.

scholarly journals Rwandan Genocide Conflict Represented in the Novel “Led by Faith”

2020 ◽  
Vol 2 (01) ◽  
pp. 21-30
Author(s):  
Marisa Santi Dewi ◽  
Mundi Rahayu
Keyword(s):  
Social Change ◽  
Descriptive Analysis ◽  
World History ◽  
Conflict Theory ◽  
Power Dynamics ◽  
The Novel ◽  
Rwandan Genocide ◽  
Analysis Techniques ◽  
The Social ◽  
The World

This study discusses the ethnic conflict in the Rwandan genocide in the novel Led by Faith: Rising from The Ashes of Rwandan Genocide written by Immaculée Ilibagiza. The novel is set in Rwanda, the country that was known as the place of the fastest killing in the world history, within 100 days killed more than 800.000 people. This novel is based on the author’s experience in surviving from the Rwandan genocide. Therefore, it is interesting to discuss how the author represented the genocide in the novel. This study applied conflict theory by Dahrendorf which focus on four aspect: Two aspects of society (conflict and consensus), power and authority, the groups involved in the conflict, and conflict and social change. The data are taken from the novel Led by Faith by using descriptive analysis techniques. The study reveals that the conflict between Hutu and Tutsi ethnics was represented as the power dynamics among the authorities. The conflict influenced the social change and social structure of the Rwandan society.

scholarly journals Герменевтические подступы к русской литературе

2018 ◽  
pp. 245-257
Author(s):  
Roman Szubin
Keyword(s):  
Russian Literature ◽  
The Self ◽  
The Other ◽  
The Novel ◽  
The World ◽  
New Space ◽  
Methodological Studies

The article is devoted to the search for a new space in the methodological studies on Russian literature. The author takes as its basis the method of hermeneutics  of words by Vardan Hayrapetyan. Especially the basic categories such as the world man (homo mundi), the Other and its variants: the self (rus. самость), otherness (rus. дру­гость), the alien (rus. чужесть) and two triads, which postulate two types of intellectual situations. In this regard, the author identifies the concept of the hybrid man of the hero of Russian literature in which a small person is a representative of an impersonal collective personality of the world man, home, family, ideas, etc. The author demonstrates the type of a hybrid man on the example of the protagonist of the novel by Vasily Shukshin Stepan Razin.

THE CONCEPT OF CHRONOTOPE IN THE NOVEL “MRS DALLOWAY” BY V. WOOLF

2020 ◽  
Vol XIII (XIII) ◽  
pp. 92-101
Author(s):  
E.Yu. Makarova ◽  
Keyword(s):  
Virginia Woolf ◽  
Social Classes ◽  
The Novel ◽  
Continuous Sampling ◽  
The World ◽  
Spatio Temporal ◽  
Modern Era

This article deals with the concept of chronotope in the text of the novel "Mrs. Dalloway” by Virginia Woolf. Certain characteristics of chronotope exemplifying these concepts were selected and analyzed, the former serving as an integral part of the analysis of works of the modern era. As a result of a continuous sampling and subsequent analysis of the text of the novel, we concluded that despite the contrast of the characters from different social classes, they are united by a single spatio-temporal continuum regulated by the chronotope. Virginia Woolf managed to accurately and truthfully convey the atmosphere of 1923, as she was a direct witness to the events taking place in the country and the world at that time.

Discourse and symbol in Le Minh Phong’s novel The Path

2020 ◽  
Vol 65 (8) ◽  
pp. 98-108
Author(s):  
Linh Phan Trong Hoang
Keyword(s):  
Modern Society ◽  
The Novel ◽  
Artistic Style ◽  
Study Results ◽  
The World ◽  
Vietnamese Literature ◽  
The Status

Following Mikhail Bakhtin’s poetics, the article approaches Le Minh Phong’s novel The Path from two characteristics including discourse and symbolization. The writer created the coexistence and dialogue between two symbols of awareness and body and used it to present the understanding of people’s lives in modern society. Surrounded by irrational taboos, people fell into the status of losing their voice power. Regaining that lost power, as for the character by Le Minh Phong, is a hopeless path. Hence, the world in the novel exhibited gloom, tearfulness, blood and death, along with the sound of screams, profanity and curses. With the achieved study results, the article contributes to assert Le Minh Phong’s position as a typical artistic style of contemporary Vietnamese literature.

scholarly journals The world-modeling function of Russian-foreign bilingualism in the prose of S. Aflatuni (“Clay letters, floating apples”)

2021 ◽  
Vol 2 (6) ◽  
pp. 300-306
Author(s):  
Alfia I. Smirnova ◽  
Keyword(s):  
Fairy Tale ◽  
The Novel ◽  
Space Images ◽  
Artistic Style ◽  
The Awakening ◽  
Cultural Codes ◽  
Central Asian ◽  
The World ◽  
Mechanism Of Interaction ◽  
World Modeling

The prose of the Central Asian writer Suhbat Aflatuni is analyzed in the article in the context of the concept of transculturation, which is based on the principle of interference in the interaction of different national cultures, when “cultural diversity and universality” become the “heritage” of one person (M. Epstein). To determine the specifics of the image of the world in the novel “Clay Letters, Floating Apples” (2005), the article aims to reveal the mechanism of interaction between different languages and cultural codes and to trace the world-modeling function of Russian-foreign bilingualism. The text of the novel-parable is complexly organized, it intertwines the events of the present and the past, united by the themes of the Teacher and students, the awakening of genetic memory and the acquisition of the lost ancient alphabet, the return to national spiritual origins as the life-giving moisture of life (the motive of the connection of “clay letters” and water as the source of life in the symbolism of the image of “floating apples”). Thanks to the fairy tale form of the narration and the stylized language based on Russian-foreign bilingualism, the effect of interference carried out “at the borders”, in the zone of inter-lingualism, the author manages to create a universal, syncretic image of the world that demonstrates the attachment of the writer's personality to many cultures. The artistic style of the novel resembles a bright ornament of an oriental carpet with cultural codes encrypted in the drawing – as a continuation of ancient national traditions. At the same time, the form of the parable, the mythologized space, images and motives, the special author's optics, which is based on Russian-foreign bilingualism, allow us to talk about the connection between the novel and the traditions of magical realism.

scholarly journals СЕМАНТИКА ВРЕМЕН ГОДА В РОМАНЕ Л. ТОЛСТОГО «ВОСКРЕСЕНИЕ»

2020 ◽  
Vol 18 (4) ◽  
pp. 229-247
Author(s):  
Elena Masolova
Keyword(s):  
Russian Literature ◽  
Land Ownership ◽  
The Novel ◽  
Main Character ◽  
Early Winter ◽  
Christian Realism ◽  
Social Evil ◽  
Old Russian ◽  
God's Word ◽  
The World

The article is devoted to the revealing of the seasons semantics in Tolstoy’s novel “Resurrection”. Having examined the events happening to the characters of Tolstoy’s novel during 15 years of their life we came to the conclusion that in the “Resurrection” the depicted seasons are associated with reconstruction of humanity’s steady movement towards God. The description of spring at the beginning of the novel is a parable-like prologue that affirms the idea of mankind’s future spiritual resurrection. In spring, 29 year-old Nekhlyudov decided to redeem himself in front of Maslova. When the main character recollected the spring of his youth, he realized social ill-being and the need to find the lost harmony with the world thus, he abdicated from his right to the land ownership. Student Nekhlyudov saw in summer nature a source of inspiration; in summer, escorting prisoners to hard labor, the character understood the roots of social evil, and prisoner Maslova returned to her original pure self. The spiritual spring of Nekhlyudov takes place in a calendar spring, and his spiritual resurrection happened in autumn; Maslova’s spiritual spring coincides with a calendar summer. The character comes to the adoption of Christianity in fall reading the Gospel. In the finale of the novel, early winter “rushes” the earth’s renewal; Nekhlyudov’s enlightenment is predetermined by changes in nature and by the indisputable rightness of God’s Word which had been revealed to him. In the “Resurrection”, the seasons become the markers of being and gain the ontological significance. Spring symbolizes future moral enlightenment of the mankind; summer is a symbol of life; fall “strengthens” Nekhlyudov’s religious searches, “convincing” him to build life according to God’s covenants; winter is a cleansing preparatory period that precedes the spiritual resurrection of people. The epic character by Tosltoy emerges due to the correlation of natural calendar with the semantics of seasons developed in Old Russian literature. The novel “Resurrection” is an artistic work of Christian realism that continues the tradition of Old Russian literature.

scholarly journals Dialogue of arts in the novel “The Artist is Unknown” by V. Kaverin

Litera ◽  
2020 ◽  
pp. 42-50
Author(s):  
Natal'ya Zinov'evna Kol'tsova ◽  
Liu Miaowen
Keyword(s):  
Russian Literature ◽  
Fundamental Principle ◽  
Focus Of Attention ◽  
The Novel ◽  
Russian Culture ◽  
Literary Style ◽  
Narrative Perspective ◽  
Special Place ◽  
The World ◽  
Literary Techniques

Prose about the artist is fairly popular in the world and Russian culture, but the novel “The Artist is Unknown” by V. Kaverin holds a special place within the Russian literature, and the title itself is precedent for the philologists – it is mentioned each time when it comes to genre of the novel about artist. Kaverin not only creates a vivid image of the artist-painter, but also restores his manner via literary style. The pictorial beginning is prevalent in the text; however, orientation towards other types of art, namely sculpture and theatre, are also noticeable sculpture and theater, which is reflected in the character sphere and in the composition itself. In the novel “The Artist is Unknown”, theater and painting are deeply intertwined – and not only scenes of the play engage painting, but also the authorial “painting” involves theatrical aesthetics. However, namely the art of painting, is in the center of Kaverin’s attention, while the ekphrasis technique becomes the fundamental principle for arranging artistic material. It should be noted that the focus of attention of the audience falls onto imaginary ekphrasis, description of the image that exists only in the author's imagination, which allows revealing the features of Kaverin's original idiostyle that correlates certain literary techniques with the painter's technique (the author thinks in the categories of color, painting, texture, and perspective). In such way, painting becomes a metalanguage, the way of understanding the laws of art as such, and thus, the laws of literature, including such categories as narrative perspective and composition. The boundary between genres of the novel about artist and the novel about the novel in Kaverin's text is quite lucid: the fate of the artist is inseparable from the fate of his creation, and the questions of skill, purpose and designation of works comprise the very essence of conflicts of the novel.

scholarly journals Ivan Bunin’s Attraction: The Formation of a Creative Personality

2020 ◽  
Vol 22 (4 (202)) ◽  
pp. 224-237
Author(s):  
Natalia V. Prashcheruk ◽  
Keyword(s):  
Russian Literature ◽  
Main Character ◽  
Narrative Strategy ◽  
Psychological Attributes ◽  
Literary Sources ◽  
The World ◽  
Unique Identity ◽  
Main Plot ◽  
The One ◽  
Love Triangle

This article examines Ivan Bunin’s early work Attraction (1897), whose complete version was first published in 2019. The author demonstrates that the story features a number of attributes related to the portrayal of characters, plot organisation, chronotope, narration, and intertextuality, all of which help compare the young writer’s style with his later works, understand the patterns of his style’s evolution, and trace the genesis of Bunin’s original artistic philosophy and writing manner. The first chapter is a classical exposition and not only is it an example of well-learned lessons of Russian literature, but it also unveils the author’s creative search. It is characterised by compositional completeness, contains a prequel of the main story and a description of the main character, and sets the main plot lines. The first chapter is already indicative of the writer’s style / narrative strategy, which unites lyrical and epic aspects on the one hand and has features of a unique identity on the other. From there on, the writer builds his narrative based on the “manor text” of Russian literature, focuses his attention on the most important features of the text (such as the motif of silence), complementing them with new tonal and semantic shades, and an emphasised and even excessive substantivity of description. The characters’ psychological attributes are original too. Their system and order are akin to the traditional love triangle pattern complicated, however, by depicting the lead character surrounded by female characters, which, aside from the “manor text”, connects this story with Natalie. A wide variety of literary sources as well as the inaccuracy of citation show the future writer’s tendency to “rewriting” quotes, which was to become an important factor of conceptualisation of the author’s thought in Bunin’s creative work. The analysis of the story also shows that the aspiring writer felt free and organically fit the world of Russian literature.

scholarly journals Searching Identity Beyond Generic Boundaries in V.S. Naipaul's The Enigma of Arrival and A Way in the World

2020 ◽  
Vol V (I) ◽  
pp. 221-228
Author(s):  
Ahmad Naeem ◽  
Muhammad Ayub Jajja
Keyword(s):  
Personal Experience ◽  
Cultural Tradition ◽  
The Novel ◽  
Literary Works ◽  
Literary Genres ◽  
Non Fiction ◽  
The World

This paper aims to explore that the purpose of V.S. Naipaul in synthesizing different features of autobiography, fiction, history, journalism, essay and memoir in The Enigma of Arrival and A Way in the World is the quest for his socio-cultural and aesthetic identities as a man and a writer. Naipaul acts as a historian, explorer, author, character, narrator and traveler, and changes the novel form in both these books to create a discourse which is placed in the uncertain spaces between fiction and non-fiction. Both the novels are hybrid creations in which Naipaul goes beyond generic boundaries to demonstrate the difficulties in identifying himself within a political, literary, and cultural tradition. This paper also analyzes that the fusion of multiple literary genres in both the novels is meant to describe Naipaul's persistent struggle to make his own world, to become a writer and to convert his personal experience into literary works.

scholarly journals NARRATIVE STRATEGIES IN L. ULITSKAYA ’S NOVEL THE KUKOTSKY ENIGMA

2020 ◽  
Vol 11 (3) ◽  
pp. 65-75
Author(s):  
I.S. Bukal ◽  
Keyword(s):  
Short Stories ◽  
Research Methodology ◽  
Research Result ◽  
The Novel ◽  
Narrative Strategies ◽  
Problem Statement ◽  
Narrative Strategy ◽  
The World ◽  
The Subject ◽  
Points Of View

Problem statement and goal. Lyudmila Ulitskaya is one of the most widely read contemporary Russian authors. L. Ulitskaya’s works are popular not only in Russia, but also in other countries. They arouse genuine research interest both among literary critics and linguists. Currently, there are more than two dozen dissertations, many review chapters in monographs, as well as scientific articles devoted to the analysis of such works of the author as novellas Sonechka, The Funeral Party, Women’s Lies; collections of short stories Poor Relatives, Girls, Gift not made with hands; novels Sincerely your Shurik, Medea and Her Children, Daniel Stein, Interpreter, The Big Green Tent. L. Ulitskaya’s novel The Kukotsky Enigma remains the least studied text of the author. In this article, the content of this novel is analyzed for narratology. The researcher reflects on one of the topical literary problems: the influence of narrative strategies on the reception of the author’s text. The research was based on the works by V. Tyupa, Yu. Lotman, N. Leiderman, and M. Lipovetsky. The research methodology is based on historical-cultural and structural-typological approaches. The subject of the research is the specifics of the implementation of narrative strategies in L. Ulitskaya’s novel The Kukotsky Enigma. Research result. Based on the analysis of L. Ulitskaya’s novel The Kukotsky Enigma, it is shown how the narrative strategy of the work affects its potential reception. Based on the concept by V. Tyupa, who defined the narrative strategy as a set of three equivalent bases (the narrative picture of the world, the narrative modality, and the narrative intrigue), the researcher identifies the changes that the narrative strategy undergoes in the course of the plot development, notes how these changes affect the poetics of the novel and its axiological content. Conclusion. The narrative strategy by which the narrative of the novel in question is organized can be defined as “the strategy of breaking the horizon of readers’ expectations”. Multiple changes in the narrative instance fill the work with a variety of points of view, creates a sense of ghostly, ephemeral events, and encourages the reader to independently search for the truth. The content of the novel is not directly dependent on the chronology of events. Fragments of the story are arranged inversely, segmentally, so that their juxtaposition contributes to the fullest understanding of the content. The narratives presented in the novel actualize the “ontological intrigue”, based on the representation of individual mythopoetic models and revealing the plot of comprehension of truth and purpose.

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