The Role of Rhythm and Metre in the Style and Genre Formation in B. Rachmanin’s Prose

The issues of rhythm and metre in prose of 1960-1970s reflect the experiments of young writers not only within the form. The search for new genres and ways of expressing new content are diverse. The article deals with literary works by Boris Leonidovich Rachmanin, the author of poetry collections, stories, screenwriter, who boldly created a new internal form of his works using both possibilities of meter and rhythm in his prose, which was different from the works of his predecessors in the Silver Age or those who worked in the Russian diaspora. The analysis of works A Letter, The Action Takes Place on the Other Planet and others shows the functional potential of special rhythm and melody of prose in the individual style of the writer and also outlines semasiological approaches in the analysis of a literary work in general. Comparison of literary works by B. Rachmanin with the works by A. Bely or I.A. Bunin as his predecessors and Yustinas Martsinkevichus as his contemporary author gives an idea of the tradition Rachmanin inherited and the cultural style of the epoch in which the writer worked.

Epilogue

The Epilogue begins with final reflections on the high realist project concerning pain, the validity and limitations of its critique, the relevant historical context, and the lingering impact of its preferred aesthetic response to suffering—which can seem, ironically, like another form of anesthesia whenever it encourages numbing to and distance from the pain of others. It then offers summary comments on the less myopic, more inclusive and imaginative versions of reality envisioned by Twain, Chesnutt, and another contemporary author, W. E. B. Du Bois. After tracing patterns of sensitizing, insulating, and distancing behavior in our current reactions to seemingly intractable suffering that resonate with the high realist aesthetic, the book concludes by suggesting that the simultaneously politically galvanizing and aesthetically complex response to physical suffering that Part Two proves was available to the responsive imagination during the realist era remains available in our own day.

Fracturismul în câmpul literar românesc

Fracturism proved to be the “spearhead” of the 2000 generation. The first and by far the most radical literary group formed after 1989, this promotion became the cultural expression of a difficult context in the post-revolutionary history of Romania. The aim of this study is to analyze the origin, the function and the effects of the Fracturist ideas proposed by Marius Ianuș and Dumitru Crudu in 1998. Most literary interpretations failed to capture the specificity of this promotion. This is due to the fact that the aesthetic program was never a priority for the Fracturists. It can be emphasized that Fracturism appeared in a specific set of historical, political, social, institutional and cultural circumstances. The present analysis aims to clarify the complex links between the difficult post-communist transition, the crisis of the Romanian literary field and the ostentatious literary expression of the new authors. In this regard, a certain performative dimension of fracturism can be theorized: the poets and prose writers of the new millennium will militate against a distressing social reality by changing the very role of the contemporary author.

The Failed Asabiyya and Cultural Suicide in Michel Houellebecq’s Submission

This article identifies the correspondences that Ibn Khaldun’s concepts of asabiya, mulk and dynasty have in Michel Houellebecq’s 2015 novel Submission. It analyses the work of a contemporary author through the method sketched out by a Muslim scholar of the 14th century, thereby provincializing a European text, and showing the continuities of cultural thought in the Mediterranean. While putting the role of asabiya at the centre, the article deploys Dipesh Chakrabarty’s understanding of provincialization, and Fernand Braudel’s concept of encounters in the Mediterranean. In Submission, Houellebecq describes a France in which a Muslim candidate has become the president. As the perceived source of Western European culture, Mediterranean has become uncanny, and Houellebecq’s novels reflect this uneasy relationship between the continent and the basin. Houellebecq’s narrator reflects how the decline of France and its apparent cultural suicide is due to lack of solidarity between the classes, how White French people are very quick to adopt the ways of the Maghrebi immigrants, and how, ultimately, the Maghrebi immigrants who are now in power will suffer the same loss of vitality as their White French predecessors. These observations comply with the cyclical social behaviour that Ibn Khaldun has mapped out in the Muqaddimah.

Dramaturgy of N. Kurilov in the Yukagir literature system

The article discusses the plays of the contemporary author N. Kurilov, which raise a number of problems characteristic of Yukagir literature. Poor knowledge of northern literature, the lack of full-fledged research based on materials of modern authors confirm the relevance of this work. The purpose of the article is to analyze the features of N. Kurilovs plays to determine their place in the Yukagir drama and to identify literary connections with the works of other Yukaghir authors. In his works N. Kurilov continues the traditions of G. Kurilov a childrens writer and playwright as well as G. Dyachkov whose plays highlighted the social and moral problems of the Yukagirs. N. Kurilov considers these problems from a different angle, which is significantly manifested in the spatio-temporal characteristics and in the selection of folklore material. In addition, the author introduces a number of new questions that have not previously been heard in Yukagir drama, a special place in the works is occupied by children and children's education. The playwright thinks about the causes of the disappearance of the people, the gradual loss of language, traditions and religious beliefs. One of the features of the authors view is the idea that the destruction of an ethnic group occurs among other things through the fault of the Yukagirs themselves who have ceased to preserve their identity. However, the plays express not only bitter regret but also a bright hope for the revival of one of the most ancient Siberian cultures.

The peculiarities of “magic realism” in E. Nekrasova’s novel “Kalechina-Malechina”

The subject of this research is the novel by the contemporary author Evgenia Nekrasova “Kalechina-Malechina”. The novel contains the elements of fantasy and mysticism, which can either have purely rational, materialistic explanation or irrational – surrealistic. Therefore, the composition is viewed through the prism of synthesis of the elements of magical, irrational and familiar everyday reality. Such approach allows attributing the novel to “magic realism”, which is interpreted not as a school or direction, but a literary method used by multiple authors of various national literatures. The key characteristics of the methods as follows: system of the two worlds, binary chronotope, duplicity, and mythological implication. The complex methodological approach includes intertextual analysis and mythopoetic commentary. The conducted analysis allowed determining the peculiarities of structuring artistic world in the novel; principles of creating chronotope and conflicts between individual and the society; principles of narrative structure; and motifs. The novel by E. Nekrasova “Kalechina-Malechina” represents an example of the literary method of magic realism, which manifests on the level of system of the two worlds and development of the chronotope. Narrative structure is built on the synthesis of child’s worldview of the heroine and the author’s vision, which leads to an ambivalent perception of the world. The article provides a detailed overview of the storyline, which main theme is the initiation of the main heroine into the adult life assisted by a magical helper – Kikimora.

Contemporary art in the development of a gifted child’s art-aesthetic thesaurus

The authors substantiate the expediency of referring to the forms and artistic means of contemporary art as integrating mechanisms of the semantic space common to adult authors and children who are passionate about creativity. According to the most important understanding of childhood in the thesaurus approach according to Val.A. Lukov, the preserved past in its correlation with the peculiarities of the childrens subculture, the idea of matching the spontaneous creative actions of the child and the well-thought-out creative method of modern authors who seek to show the creative process itself is justified. The contradiction between the fundamental difference of the adults and children thinking models disappears when the child in the game acts on behalf of the Contemporary Author, showing his talent as actions to structure the fruitful disorder of an unfamiliar educational environment. The thesaurus helps to discover new meanings an accumulated body of knowledge about the world and how it is reflected in art products, sufficient for orientation in this environment. Taking into account the complex effects of the digital age on the child from the real and virtual subspaces, the presence in his thesaurus of contemporary art concepts, embodied in words, visual and musical images, it will contribute to a bright, obvious manifestation of giftedness at the age of 67 years.

More than Language and Literature

This article investigates the interdisciplinary connections between language and literature in the Indian postcolonial context. I argue that a linguistic approach to contemporary Indian English fiction is useful to unpack complex cultural, social and identitarian questions. As a case study, I analyse some of the short stories from The Adivasi Will Not Dance (2017) by Hansda Sowvendra Shekhar, a contemporary author from a marginalised ethnic group of rural India. My methodology benefits from postcolonial studies, sociolinguistics and critical stylistics, to show how Shekhar reshapes the canon by foregrounding Indian English, borrowings from the Santhali language and registers of specialised discourse.

Debates acerca das apropriações da ética kantiana

Este artigo procura colocar em foco a interpretação de John Rawls (1921-2002) acerca da ética de Immanuel Kant (1724-1804). Sendo Rawls, talvez, o autor contemporâneo que mais ecos encontrou lançando uma teoria política original que reclama para si uma herança kantiana, faz-se de grande importância esclarecer os pontos centrais de sua apropriação e os questionamentos levantados por outros comentadores de Kant que possuem leituras conflitantes do filósofo de Königsberg. Assim, tratarei, em primeiro lugar, do forte formalismo que Rawls atribui a Kant, derivado, em grande parte, de seu foco na primeira formulação do imperativo categórico em detrimento das demais. Em seguida, abordarei a consequência particular que o professor de Harvard extrai daí e que batiza de construtivismo ético: além de o imperativo categórico se constituir num procedimento vazio de teste das máximas particulares, esse procedimento verdadeiramente cria os princípios morais a partir da razão. Anteriormente à atividade racional, inexistem fatos morais. Por fim, trarei um brevíssimo resumo das críticas dirigidas por outros autores a essa caracterização construtivista do pensamento moral kantiano, buscando apresentar os argumentos dos que preferem enquadrar Kant como um realista em moral. Debates surrounding appropriations of Kantian ethics: doubts about John Rawls' constructivism Abstract: This article seeks to throw light on John Rawls’s (1921-2002) interpretation of Immanuel Kant’s (1724-1804) ethics. Being Rawls, perhaps, the contemporary author that has found more repercussion proposing a political theory which claims a kantian inheritance, it’s greatly important to clarify the central points of his appropriation and the questionings arisen by others Kant’s commentators which have conflicting views about the German philosopher. Therefore, first of all, I will consider the Strong formalism that Rawls attributesto Kant, derived mainly of his focus on the categorical imperative’s first formulacion, to the detriment of the others. Then, I willl talk about the particular consequence the Harvard’s professor draws from that, which he baptizes ethical constructivism: not only the categorical imperative is simply an empty procedure to test the particular maxims, but also this procedure truly creates the moral principles from reason alone. Previous to the racional activity, there is no moral facts. Finally, I will bring a brief summary of the critics made by other authors to that constructivist caracterization of the kantian moral thought, trying to introduce the arguments of those who prefer to classify Kant as a moral realist.

“L’antica gioia per la vita”. Stile, motivi e varianti nelle Poesie di Giulio Di Fonzo

This essay examines the poetry of contemporary author Giulio Di Fonzo in depth for the first time, analysing the central and recurrent themes of his poetic work, material symbols such as water, light, and air, and highlighting the style and variants of Poesie.