"Toward a Typology of the Baroque in Russian Literature of the XVII—Early XVIII Centuries"

Viktor Zhivov’s 2007 article, here translated into English for the first time, attempts to describe the specific nature of the Baroque in Russia. According to Zhivov, Russian Baroque culture arose via transplantation and was not the result of organic cultural development. Because of their cardinal differences, the language of Western Baroque and that of traditional Russian culture represent polar opposites in many ways. Hence the transplantation of even the most insignificant element results in its radical transformation, highlighting the peculiarities of the process of reception. The article outlines the principles that governed this process. It argues that it was the external features of the Baroque style that were borrowed, while its deeper orientation on polysemy, which defined the Baroque worldview in the West, was not. The assimilation of Western literature was eclectic and replaced rhetorical ambivalence with the rhetoric of didacticism. It took what could be synthesized with traditional culture most easily, at the same time as the more content-oriented features and those specific to European Baroque were rejected. If in Western Europe the Baroque posed riddles for the reader, in Russia authors on the “European" trajectory assisted the reader by providing solutions. The Baroque in Russia was primarily a phenomenon of Western influence, so that its unique features took second place in the process of forming a new cultural paradigm as a whole. “Baroque” elements acquired a completely new pedagogical function, becoming carriers of the new ideology that was being introduced. The Baroque became a servitor of power, whose aim was the political reeducation of society.

LINGUOPOETIC PARAMETERS OF PANEGYRIC “EVODIIA” BY G. BUTOVYCH

The article is devoted to the linguopoetic analysis of the ancient text of the Baroque period, in particular the panegyric “Evodiia” by G. Butovych, which is considered both the external design of the text, and the internal linguistic elements, caused by synthesis of the Baroque author’s thinking and sociocultural guidelines of the first half of the XVII century. The sociocultural circumstances of the creation of the “Evodiia” are revealed. The external, ornamental design of the Baroque monument is described, so such aesthetic elements of the panegyric as the graphic decoration of the text by the author and the inclusion of various actual Baroque elements (acrostic, heraldic verse, visual poem etc.) and internal language units, in particular stylistic figures and tropes, creating aesthetic effect are investigated. Linguopoetic parameters of “Evodiia” by G. Butovych, represented by architectonics and stylistically marked linguistic units, reveal the specifics of the panegyric as the original genre of the Baroque Period and testify to the peculiarities of the old Ukrainian literary language expressive means of the first half of the XVII century.

Chinese Wallpaper

In England modern taste was more often expressed by decorators than by architects. Thus interior decoration is the context in which new trends in art are absorbed and understood. A difficult concept which is visually expressed (this includes cubism, abstraction, and surrealism) can be and, if it is genuinely expressive of the moment, will be, reinterpreted as fashion and decor. The interface between interior decoration and fine art is further complicated between the wars by the number of artists who worked as designers. Women who needed to earn money tended to practise the applied and decorative arts, out of genuine affinity, or realism, or a combination of both. Undiluted modernism was very rare in England. Smart style was eclectic: baroque elements (e.g. Venetian mirrors, blackamoor torchères) were put together with eighteenth-century furniture and modern pictures.

Espelho barroco: nação e narrativa em Sempreviva, de Antônio Callado

<p>Este trabalho se propõe a analisar o romance Sempreviva, da<br />autoria de Antônio Callado, a partir dos procedimentos de<br />extração barroca característicos de sua narrativa. O barroco,<br />tal como caracterizado por Sarduy, Lezama Lima e Carpentier,<br />e tal como utilizado por Callado enquanto metáfora construtiva<br />de seu romance, deixa entrever a possibilidade de uma leitura<br />da história nacional a partir de seus vazios. As relações entre<br />história e literatura revelam-se então a partir de uma<br />compreensão da ficção como uma possível estratégia de leitura<br />da história.</p><p>This works aims at analysing Antônio Callado’s Sempreviva,<br />from the viewpoint of the baroque elements which characterize<br />its narrative. The baroque style, defined by Sarduy, Lezama<br />Lima and Carpentier, among others, as well as used by Callado<br />in the process of constructing his novel, helps the novelist in<br />his task of constructing a new approach to the matters of<br />national identity and natinal history. Yet, the relationship<br />between history and literature reveals itself as a strategy for<br />reading the oficial history.</p>