scholarly journals ARTISTIC FEATURES OF CHALCHIK CHUNIZHEKOV'S PROSE WORKS

Author(s):  
М. С. Дедина

В статье анализируется прозаическое наследие Чалчика Анчиновича Чунижекова, одного из ярких представителей соцреалистической литературы Горного Алтая. Выдвигается гипотеза о том, что профессия журналиста наложила своеобразный отпечаток на творчество писателя - в его очерках присутствуют имена реальных людей, называются факты, цифры, что позволяет говорить о документальной основе прозы Ч. А. Чунижекова. Основное внимание в работе уделено автобиографической повести «Мундузак», ставшей своеобразной рефлексией писателя на факты его собственной биографии. Главный герой повести, с одной стороны, близкий автору, с другой - типичный представитель поколения новой интеллигенции, рожденной советской властью. Доказано, что произведения писателя - это художественное отражение исторической эпохи с опорой на факты, события, истории реальных людей, в том числе и на собственную биографию. The articl analyzes the prosaic heritage of Chalchik Anchinovich Chunizhekov, one of the brilliant representatives of socialist realist literature of Gorny Altai. It is hypothesized that the profession of a journalist left a peculiar imprint on the writer's work, influencing the fact that the basis of his prose is essays, which contain names of real people, facts, figures, which allows us to talk about the documentary basis of his prose. The main attention is paid to autobiographical story "Munduzak" which became a kind of reflection of the writer on the facts of his own biography. The main character of the story, on the one hand, is close to the author, on the other - a typical representative of the generation of new intelligentsia, born by the Soviet government. It is proved that the writer's works are an artistic reflection of a historical epoch based on facts, events and stories of real people, including the writer's own biography.

Author(s):  
М. С. Дедина

В статье анализируется прозаическое наследие Чалчика Анчиновича Чунижекова, одного из ярких представителей соцреалистической литературы Горного Алтая. Выдвигается гипотеза о том, что профессия журналиста наложила своеобразный отпечаток на творчество писателя - в его очерках присутствуют имена реальных людей, называются факты, цифры, что позволяет говорить о документальной основе прозы Ч. А. Чунижекова. Основное внимание в работе уделено автобиографической повести «Мундузак», ставшей своеобразной рефлексией писателя на факты его собственной биографии. Главный герой повести, с одной стороны, близкий автору, с другой - типичный представитель поколения новой интеллигенции, рожденной советской властью. Доказано, что произведения писателя - это художественное отражение исторической эпохи с опорой на факты, события, истории реальных людей, в том числе и на собственную биографию. The articl analyzes the prosaic heritage of Chalchik Anchinovich Chunizhekov, one of the brilliant representatives of socialist realist literature of Gorny Altai. It is hypothesized that the profession of a journalist left a peculiar imprint on the writer's work, influencing the fact that the basis of his prose is essays, which contain names of real people, facts, figures, which allows us to talk about the documentary basis of his prose. The main attention is paid to autobiographical story "Munduzak" which became a kind of reflection of the writer on the facts of his own biography. The main character of the story, on the one hand, is close to the author, on the other - a typical representative of the generation of new intelligentsia, born by the Soviet government. It is proved that the writer's works are an artistic reflection of a historical epoch based on facts, events and stories of real people, including the writer's own biography.


2018 ◽  
Vol 14 (1) ◽  
pp. 101-118
Author(s):  
Milan Orlić

Post-Yugoslav literature and culture came out of the stylistic formations of Yugoslav modernism and postmodernism, in the context of European cultural discourse. Yugoslav literature, which spans the existence of “two” Yugoslavias, the “first” Yugoslavia (1928–1941) and the “second” socialist Yugoslavia (1945–1990), is the foundation of various national literary and cultural paradigms, which shared the same or similar historical, philosophical and aesthetic roots. These were fed, on the one hand, by a phenomenological understanding of the world, language, style and culture, and on the other, by an acceptance of or resistance to the socialist realist aesthetics and ideological values of socialist Yugoslav society. In selected examples of contemporary Serbian prose, the author explores the social context, which has shaped contemporary Serbian literature, focusing on its roots in Serbian and Yugoslav 20th century (post)modernism.


Author(s):  
Isakova Feruza Rakhmanovna ◽  

This article reveals the policy of the Soviet government in relation to Islam in the 1920 of the XX century. This policy was initially dual in nature, that is, on the one hand, the Bolsheviks established strict control in the Muslim regions of Russia, on the other hand, until a certain time Muslims were allowed to follow their traditions and customary norms of life. However, in the second half of the 20 after strengthening its position, the Soviet government began to implement the policy of atheism everywhere in order to finally put an end to religion.


2018 ◽  
Vol 23 (1) ◽  
pp. 11-28
Author(s):  
Amelie Bendheim

AbstractStarting from the deficiencies of current approaches regarding the description of the hero in medieval narratives, this article aims to functionalise exorbitance (unmâze) as a new category of literary history. Unlike the conceptual and binary typing of the protagonist as ‘hero’ resp. ‘knight’, this category promotes a flexible model that operates relationally and hence enables gradual differentiations between the texts.Examples of medieval (heroic) epic (‘Nibelungenlied’) and (chivalric) romance (‘Flore und Blanscheflur’, ‘Wigalois’) will show the narrative treatment and stylisation of the exorbitant hero. The focus will be on the varying assessments of his acts: If the epic hero is able to defy social norms and current laws (cf. Siegfried’s courtship, Hagen’s murdering of Siegfried) without being penalised, the exorbitance in the romance falls within the scope of ‘ratio’. Thus, exorbitance is on the one hand confined and ‘assessed’, on the other hand excessive acts are rigorously sanctioned and inhibited. Referring to the current manifestations of exorbitance in the socio-political context, the concept of exorbitance emerges as an unchanged productive pattern. Its socio-political relevance encourages a literary-historical, epoch-spanning use of this concept, whose scope is a re-assessment of the history of literature as the history of exorbitance.


2005 ◽  
Vol 39 (1) ◽  
pp. 73-82
Author(s):  
Maria Grazia Di Paolo

This study explores the intra-textual and inter-textual connections existing between Pietro del Morrone, elected Pope Celestino V, the protagonist of Silone's L'avventura d'un povero cristiano and Pietro Spina, the author's main character of Vino e pane, Ed egli si nascose, and Il seme sotto la neve. Both characters undertake parallel journeys, but whereas Pietro Spina's voyage is essentially secular in nature, Pietro del Morrone's is essentially mystical. With a political revolutionist on the one hand and a religious leader on the the other, Silone, by reinterpreting history, shows us a dual pattern of behavioral tenet.


2013 ◽  
Vol 28 (70) ◽  
Author(s):  
Louise Brix Jacobsen ◽  
Henrik Skov Nielsen ◽  
Rikke Andersen Kraglund

Louise Brix Jacobsen, Rikke Andersen Kraglund & Henrik Skov Nielsen: “Selfsacrifice. On Right and Reasonableness among Foes and Friends, and on Judging the Living and the Dead in Max Kestner’s film I am Fiction”In 2011, the performance artist Thomas Skade-Rasmussen Strøbech lost a lawsuit against his former friend and collaborator Helge Bille Nielsen and the publishing house of Gyldendal. This led to a debate about copyright, freedom of expression, identity, and the line between fiction and reality. In 2008, Nielsen or Das Beckwerk published the novel The Sovereign where Strøbech – seemingly without his knowledge and apparently against his will – is the main character. About a year after losing the lawsuit Strøbech and film director Max Kestner gives his version of the events before, during, and after the trial in the film I am Fiction (Identitetstyveriet). This article analyzes I am fiction in order to show how the film on the one hand outlines Strøbech’s version of the events as a story about a victim but on the other hand undermines this version with humor and irony and points towards an artistic collaboration between alleged victim and villain.


2017 ◽  
Vol 57 (3) ◽  
pp. 264-272
Author(s):  
Donald MacLean

ABSTRACT Research on dynamic capabilities explores how businesses change enables enterprises to remain competitive. However, theory on dynamic capabilities still struggles to capture novelty, the essence of change. This study argues that a full understanding of strategic change requires us to sharpen our focus on real people and experiences; in turn, we must incorporate other faculties, which almost always operate alongside our logical ones, into our theory. We must pay more attention to the "non-rational" sides of ourselves-including, but not limited to, our imaginations, intuitions, attractions, biographies, preferences, and aesthetic faculties and capabilities. We argue that all such faculties, on the one hand, are central to our abilities to comprehend and cope with complexity and, on the other hand, foster novel understandings, potential responses, and social creativity. This study introduces the possibility of an alternative form of inquiry that highlights the role of poetic faculties in strategic behavior and change.


Author(s):  
Grzegorz Mazur

Brest Treaties of the Central States with Russia and Ukraine as a Prelude to the Treaty of Versailles In his article, the author discusses the reasons for the conclusion of peace treaties by the Central Powers with the Ukraine and Russia in February and March 1918. The article analyses the war goals of the Central Powers, especially Germany, and Austria-Hungary. It also depicts the situation of Russia and the Central Powers in the years 1917-1918. Furthermore, it describes the reasons that led individual countries to the Brest negotiating table, and presents the goals that these countries tried to achieve as the result of peace talks. An extensive part of the article constitutes a description of talks with the government of the Ukrainian People's Republic, a description of the peace agreement concluded with the Ukraine on February 9, 1918 and its significance. It led to far-reaching consequences as it resulted in breaking the concept of the so-called the Austro-Polish solution and in the decisive turn of Poles against the Habsburg monarchy and the Ukrainians. On the other hand, Austria-Hungary failed to obtain supplies, grain and raw materials granted by this agreement. The Ukraine was to supply 1 million tons of grain and a number of other resources. It was not viable as the country did not possess them. Nevertheless, it was the first international treaty to which the Ukraine was a signatory, and hence its great importance. It constituted international recognition of the Ukraine. A month later, on March 3, 1918, a peace treaty was signed with Soviet Russia. That was a confirmation of Russia's defeat in World War I. The country was unable to continue the war and had to sign it. The Soviet government signed a peace treaty knowing that they would break it at the first opportunity and did so immediately after the surrender of Germany on November 11, 1918. The author of the article presented the content of this treaty, the subsequent Soviet-German agreements of 1918 and their consequences - including details of the agreements with Turkey, as a result of which, on the one hand, Turkey tried to become the proverbial "regional power" in the Caucasus, and on the other, German troops entered Georgia. Autor w swoim artykule omawia przyczyny zawarcia przez państwa centralne w lutym i marcu 1918 r. traktatów pokojowych z Ukrainą i Rosją. Artykuł omawia cele wojenne państw centralnych, a zwłaszcza Niemiec, oraz Austro-Węgier, zaś w latach 1917-1918 ich sytuację oraz sytuację Rosji. Charakteryzuje przyczyny, które doprowadziły poszczególne państwa do stołu rokowań w Brześciu, a także przedstawia cele, jakie państwa te usiłowały osiągnąć w wyniku rozmów pokojowych. Obszerną część artykułu stanowi opis rozmów z rządem Ukraińskiej Republiki Ludowej, charakterystyka zawartego z Ukrainą 9 II 1918 r. układu pokojowego i jego znaczenie. Miał on ogromne następstwa, bowiem w jego wyniku doszło do zerwania koncepcji tzw. rozwiązania austro-polskiego i zdecydowanego obrócenia się Polaków przeciwko monarchii habsburskiej i Ukraińcom. Z drugiej strony Austro-Węgrom nie udało się uzyskać z tej strony zaopatrzenia, zboża i surowców; układ przewidywał, iż Ukraina dostarczył 1 mln ton zboża i szereg innych surowców. Nie mogła się z tego wywiązać, bo ich nie posiadała. Niemniej jednak był to pierwszy traktat międzynarodowy, którego sygnatariuszem była Ukraina, i stąd jego ogromne znaczenie, stanowił bowiem międzynarodowe uznanie Ukrainy. W miesiąc później, 3 III 1918 r., został podpisany układ pokojowy z Rosją Radziecką, który stanowił potwierdzenie klęski Rosji w I wojnie światowej, lecz ta nie była w stanie prowadzić dalej wojny i musiała go podpisać. Rząd radziecki podpisywał traktat pokojowy ze świadomością, że przy pierwszej nadarzającej się okazji zerwie go i uczynił to zaraz po kapitulacji Niemiec 11 XI 1918 r. Autor artykułu przedstawił treść tego układu, następne po nim układy radziecko-niemieckie z 1918 r., oraz jego konsekwencje, w tym szczegóły układów z Turcją, w wyniku których z jednej strony Turcja usiłowała stać się przysłowiowym „mocarstwem regionalnym” na Kaukazie, a z drugiej weszły do Gruzji wojska niemieckie.


2019 ◽  
Vol 2 (XX) ◽  
pp. 53-60
Author(s):  
Daria Słupianek-Tajnert

This article is an attempt at recreating the portrait of a “Chernobyl Man” created by Svetlana Alexievich in Chernobyl Prayer. The “Chernobyl Man” is a certain psychological type whose psychological portrait is drawn based on their entanglement in the current social and political realities. On the one hand, the “Chernobyl Man” is a typical representative of a homo sovieticus – an individual displaying boundless devotion to the state. On the other hand, this type of man through their relationship with the world is living proof of the spiritual disintegration of the Soviet empire.


Authorship ◽  
2015 ◽  
Vol 4 (1) ◽  
Author(s):  
Jodi L. Wyett

This essay argues that Charlotte Lennox’s The Female Quixote or, The Adventures of Arabella (1752) served as a fulcrum in eighteenth-century literary history by providing a figuration of the female quixote for subsequent women novelists who were keen to court absorbed readers on the one hand while countering stereotypes about women's critical failings on the other. The figure of the female quixote proves to be a significant mark of literary professionalism by reifying the spectre of the professional writer’s need for absorbed readers and dramatizing the occasion by which the woman writer demonstrates her own authority, paradoxically allowing both woman novel reader and woman novel writer to lay claim to intellectual authority. Ultimately, the main character Arabella's fictional model potentially echoes more actual eighteenth-century women’s experiences than her adventures at first suggest: the female quixote emerges as less a social outcast or a freak than a figure for women’s commonality, especially their intellectual and ethical ambitions in a world inimical to their interests.


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