GENESIS OF THE «WOMAN’S» WAR IN CREATIVITY OF SVETLANA ALEXIEVICH (BASED ON THE MATERIAL OF THE NOVELS «THE UNWOMANLY FACE OF WAR» AND «ZINKY BOYS»)

The article examines the features of a fiction-documentary comprehension of the German-Soviet and Soviet-Afghan wars in the novels of Svetlana Alexievich «The unwomanly face of war» and «Zinky Boys». It occurs through the perception of a woman as a direct participant in the war, a mother, wife, whose war took away the most expensive – son, husband, father. The presence of archetypal images to combine separate chapters is common in both novels. In both her novels, S. Alexievich gave the archetypal image of a woman-keeper of modern sound, individual features, convincing the reader that this image is always relevant because each talented artist revealed not only its original meaning, but also created something new that was close to the man of each century.

NOVEL BURUNG KAYU KARYA NIDUPARAS ERLANG: REPRESENTASI BUDAYA MASYARAKAT TRADISIONAL SUKU MENTAWAI YANG TERKOYAK (Burung Kayu Novel by Niduparas Erlang: Culture Representation of Mentawai Traditional Community Thought)

Penelitian ini bertujuan untuk mendeskripsikan budaya masyarakat tradisional Suku Mentawai yang terkoyak dalam novel Burung Kayu karya Niduparas Erlang. Teori yang digunakan dalam penelitian ini adalah paradigma antropologi sastra khususnya unsur-unsur kebudayaan beserta ciri-cirinya seperti tradisi, citra primodial, citra arketipe, aspek-aspek kearifan lokal dengan fungsi dan kedudukannya masing-masing. Pengumpulan data dilakukan dengan teknik kepustakaan. Metode yang digunakan untuk analisis data adalah deskriptif analisis, yakni mendeskripsikan fakta-fakta kemudian disusul analisis. Dari hasil analisis diketahui bahwa: (1) masyarakat tradisional Suku Mentawai yang tinggal di hulu masih menjalankan tradisi-tradisi warisan leluhur mereka; (2) masyarakat Suku Mentawai mengalami konflik batin ketika tinggal di barasi; (3) masyarakat Suku Mentawai kembali ke uma setelah bernegosiasi dengan budaya modern; dan (4) masyarakat Suku Mentawai kembali ke barasi dengan konsep baru. Dengan demikian disimpulkan bahwa masyarakat tradisional Suku Mentawai yang memiliki tradisi sangat kuat itu dapat bernegosiasi dengan budaya modern sehingga bisa menjalani kehidupannya yang selaras dengan jiwanya dan alamnya. This study aims to describe the traditional culture of the Mentawai Tribe which was torn apart in the novel Burung Kayu by Niduparas Erlang. The theory used in this research is the paradigm of literary anthropology, especially the elements of culture and their characteristics such as tradition, primodial images, archetypal images, aspects of local wisdom with their respective functions and positions. Data collection is done by library technique. The method used for data analysis is descriptive analysis, which is to describe the facts and then followed by analysis. From the results of the analysis, it is known that: (1) the traditional Mentawai people who live upstream still carry out their ancestral traditions; (2) the Mentawai people experience an inner conflict when living in barasi; (3) the Mentawai people return to uma after negotiating with modern culture; and (4) the Mentawai people returned to barasi with a new concept. Thus, it is concluded that the traditional Mentawai people have very strong traditions that can negotiate with modern culture so that they can live their lives in harmony with their souls and nature.

FINNISH AMERICAN IDENTITY AND STRATEGIES FOR ITS DETERMINATION IN FINNISH AMERICAN CONTEMPORARY LITERATURE

The article focuses on one of the pressing problems of modern humanitarian knowledge - the problem of self-identification of hybrid cultures, in particular, the culture of the Finnish Americans. The ethnic diversity of the United States leads to a constant intersection of various cultures, giving rise to the uniqueness of contemporary American literary life. National, cultural, personal identity associated with the revision of the traditions that were assimilated in their diaspora acts as the main problem of multiculturalism - the ideology of plurality and diversity. Self-identification strategies may include the definition of one's religious, ethnic, gender determination. Very often, the community's collective trauma and collective memory of the historical past can act as a strategy. The main strategies of ethnic and cultural self-identification of Finnish American literature are represented by the collective memory, collective trauma, “Finnishness”, and the national Finnish epic “Kalevala”, which is used as a source of archetypal images and poetic imagination. Basing on a number of works by Finnish American writers of the second half of the 20 and 21 centuries in different genres (science fiction, historical novel, short stories), the article examines the creative application of the Finnish epic “Kalevala”, integrated into the experience of American existence as one of the main strategies for self-identification of its own culture, which is built on the dialogical interaction of the Anglo-Saxon and Finnish cultures. The article actualizes the problems of the interrelations of the two cultures, the transformation of archetypal images, the reflection of collective memory in the works of contemporary Finnish American writers.

An Archetypal Reading of the Mythic Representations in Seamus Heaney's Selected Poems

Archetypes reveal the shared roles among universal societies. This archetype may create a shared imaginary which is defined by many stereotypes that have not separated themselves from the traditional, biological, religious and mythical framework. In the same way, archetypal criticism represents that body of many stereotypes including plot structure, symbols, character type, themes that occur in mythology, religion, and stories across cultures and time periods. Heaney poetry has rested on a wide range of mythic patterns and archetypal images, particularly the image of the scapegoat/sacrificial victim and earth goddess. His archetypal images have been identified with the contemporary issues in his country. Therefore, this paper explores the underlying archetypal pattern that Heaney implies in some selected poems. These poems target the mythological heritage of his homeland which he either celebrates or criticized. His poems exhibit the poet's unconscious attachment to the universal archetypes which set social phenomena.

A MODERN CITY. LIVING REALITIES OF HISTORY

The article is devoted to the reality of the modern historical city in the totality of the actual values of the valuable heritage, traces of the past, mental codes, archetypal images and the memory of civilization. The place of history in today’s socio-cultural fi eld and in the professional context is not clearly defi ned. Together with the understanding of the need to preserve the heritage, traces and memory of the past, there are global trends that mediate the features of the glocal in architecture. However, even this compromise cannot fully demonstrate the complexity of the historical city viability. According to the author, it is necessary to search for reasons that sometimes appear outside the material reality, but address directly to the spiritual world and mental space of a person, which is the main purpose of the article. The emphasis is placed on the artistic dimension of environmental realities, which allows us to determine the living connections of history and modernity on the basis of the author’s concept of artc integration. The article is illustrated by some results of cooperation between the Nizhny Novgorod State University of Architecture and Civil Engineering and the Polytechnic University of Milan (Politecnico di Milano) in the fi eld of reconstruction and renovation of historically valuable territories and author’s photographs.

Off the Wall with Shchedryk

This paper examines how music and juxtapositions can ground a story in a longer history where the potential of images and cutting points become a dialectics of point, counter-point, and fusion in a revisitation of archetypal images and as a co-authorship of reception. A visual dialogue evolves in the film Shchedryk (2014) through a remediation of scenes from Sergei Eisenstein’s Battleship Potemkin (1925), Alexander Dovzhenko‘s Earth (1930) and Norman McLaren’s experimental film Synchromy (1971). People who do not have recourse to the dominant culture are through recipient-co-authorship able to replay things in more sophisticated ways. Judith Butler’s idea of the performative and of subjects re-performing an injury (Butler 1993) can be introduced to the multi-screen experience. Foregrounding the wounding aspect as visual images is about ‘bad pleasure’ (O’Brien & Julien 2005). If realness is a standard by which we judge any performance, what makes it effective is its ability to compel beliefs and embody and reiterate norms (Butler, 387). Image Credit: Frame from Shechedryk, directed by Kalli Paakspuu

IMAGES OF ELEMENTS IN THE CYCLE OF L. GORALIK ABOUT VENISANA

Введение. Раскрывается специфика архетипических образов земли, воды, воздуха в цикле Л. Горалик о Венисане, что способствует более глубокому осмыслению основных тенденций развития современной русско-язычной прозы. Цель – выявить своеобразие архетипических образов в цикле Л. Горалик о Венисане. Материал и методы. Теоретической базой исследования послужили труды отечественных структуралистов, мифологов. Материал исследования – цикл Л. Горалик о Венисане. Результаты и обсуждение. Проведенный анализ позволил выявить характерные особенности архетипических образов в цикле Л. Горалик. Образы воды, земли и воздуха противопоставлены образу камня. Если камень символизирует стабильность, защищенность, надежность, то вода, а также земля и воздух – неупорядоченную стихию свободы, несущую как освобождение от замкнутого и упорядоченного мира, так и ощущение страха, неизвестности, хаоса. Отсюда следует, что образы стихий амбивалентны по своей природе: с одной стороны, олицетворяют жажду освобождения, кроме того, символизируют воскрешение, рождение, обретение смысла своего существования, с другой стороны, рождают чувство незащищенности, опасности. Благодаря архетипическим образам в произведении проявляется глубинный, внутренний смысловой пласт. Если на событийном уровне трилогия прочитывается как история о противостоянии личности и социума, то на глубин ном – о пути противоречивого становления героини, обнаруживающей в себе потаенные, непонятные ей самой желания и страхи, которые она пытается побороть либо, наоборот, реализовать. Заключение. В цикле о Венисане Л. Горалик рисует неблагополучный и депрессивный мир, который пытается изменить главная героиня. Параллельно разворачивается сюжет поиска самости, внутренней гармонии, отражающиеся в архетипических образах камня, воды, земли, воздуха. Героиня стремится вырваться за рамки привычного существования и переживает чувство свободы, одновременно пугающей и манящей. Обретенная свобода не дает желаемого удовлетворения, в результате чего она ищет спасения в привычном, структурированном пространстве. Сюжет нового рождения (посредством проникновения в природную стихию) циклически повторяется в каждой из частей цикла с различными вариациями. Introduction. The article reveals the specifics of the archetypal images of earth, water, and air in L. Goralik’s trilogy about Venisana, which, in our opinion, contributes to a deeper understanding of the main trends in the development of modern Russian-language prose. The purpose of the work: to reveal the originality of archetypal images in L. Goralik’s cycle about Venisana. Material and methods. The theoretical basis of the research was the works of Russian structuralists and mythologists. The research material is L. Goralik’s trilogy about Venisana. Results and discussion. The analysis made it possible to identify the characteristic features of archetypal images in the L. Goralik trilogy. The images of stone, earth, water, air reveal their symbolic nature, reflecting the inner movement of the heroine in search of finding the meaning of her existence, at the same time, revealing the deep desire of the individual to change a destructive, unstable society. Conclusion. The author is involved in a postmodern game with the text, plays with meanings, so that the plot that unites the trilogy into a whole can be interpreted as 1) the story of the heroine’s growing up; 2) transformation of the fairy-tale plot of the journey to the afterlife; 3) the struggle of the conscious/unconscious. The text of the trilogy is a step-by-step analysis of the spiritual life of the main character, trying to find her place in a destructive society and her own family, burdened with an analysis of her own frustrations and, first of all, the drama of birth. The heroine is bound by the laws of the stone, unfree world, trying to escape into the space of freedom, relive the euphoria of birth, which ends in disaster – the newfound freedom discourages with its alienation and emptiness. The scenario with some variations is repeated several times throughout all three stories included in the cycle. The lack of freedom associated with the world of the city (stone), depending on the situation, turns out to be hostile (at the beginning of the quest), and desirable at the end. The return to the usual way of life is again replaced by the desire for freedom and leads to the next round of transformation.

Mythopoetic Worldview of Bunin: Linguistic and Literary and Cultural Analysis Aspects

The results of the analysis of semantic groups of mythonyms of the poetic heritage of I. A. Bunin as means of explication of various historical-informational and cultural-symbolic worldview meanings are presented in the article. The relevance of the work is due to the interest of literary onomastics in identifying units of the onomastic code of artistic and aesthetic systems of various domestic and foreign writers. The novelty of the work is associated with the inclusion of lexical units with different ratios of the nominated image and denotation into the Bunin mythonymicon, with the synthesis of linguistic and literary-cultural approaches in characterizing each of the selected lexical units. The twelve described semantic groups of mythological names are organized in the form of a field with a core and peripheral parts. For each group, the features of contextual use are noted. The authors come to the conclusion that in the Bunin picture of the world, mythonyms of various semantics perform text-forming and meaning-forming functions. They not only represent archetypal images (Fire, Bottom, Feminine, Garden, etc.), axiological oppositions (light — darkness, good — evil, etc.), key ideas, themes and motives (the idea of being still, themes of love, death, motives of temptation, resurrection, dreams, etc.), historiosophical concepts (moral choice and fortitude), but also participate in the creation of an individual author’s myth.

ARCHETYPAL IMAGES REFLECTED IN DRACULA NOVEL BY BRAM STOKER

This research discusses archetypal in the novel Dracula written by Stoker. The purpose of this research is to find out some archetypal images in the novel. Some of the problems that exist today are readers who do not know the meaning of archetypal images contained in a novel. The data used in this study were taken from the novel Dracula written by Stoker. In this research, the researcher applies Carl Jung's theory. This study uses descriptive qualitative research, in qualitative research the key concepts, ideas, and processes studied are part of the central phenomenon. The result of this research is that the novel Dracula has many archetypal images contained in it. The archetypes in Dracula are: sun, color, the archetype women, and wise old man. Based on the results of this study, the researcher concludes that there are several archetypes in Dracula's novel that are used to convey implied meanings through the symbols used.

The Appearance and Resonance of Apocalyptic Archetypes in Contemporary Disaster Films

The COVID-19 pandemic has roused the apocalyptic fear that was foreseen in religious prophecies. This research will focus on the post-9/11 and pre-COVID-19 disaster films, in an attempt to understand the representation and pre-presentation of the collective disaster psychology. Aligned with Jungian film studies, this essay regards films as a convergence of generations’ collective unconscious. It aims to construe the ways that apocalyptic archetypes appear and are elaborated in contemporary films, in hope of recognizing the new apocalyptic aesthetics formed in the interval between the two disastrous events. Consistent with the meaning in classic doomsday narratives—the revelation of Christianity, the cycle of Buddhism, the purification in Mesoamerican myths, etc.—the archetypes in these films are found to have carried a dual connotation of destruction and rebirth. Through empirical cinematographic style, these archetypal images are revealed in an immersive way. Disaster films from this time place emphasis on death itself, fiercely protesting against the stagnation of life, and in turn triggering a transcendental transformation of the psyche. Unlike those in the late 1990s, viewing the doomsday crisis through the lens of spectacularity, disaster in these films is seen as a state of body and mind, and death a thought-provoking life experience.