Axiological Aspect of the Novel by N. Musin “There are the Remains of a Batyr”

A comprehensive study of the historical novel by the Bashkir prose writer Nuguman Musin revealed the axiological aspect of the work. The author uses the motifs of the folklore heritage, introducing truly folk features into his work, developing the traditions of national artistic prose, enriching it with new spiritual content based on the Islamic religion. The compositional center of the novel is the image of Aldar Batyr, who embodies the strength of the heroic spirit of the people, inherited from their ancestors. The religiosity of the characters determines their humane attitude to nature, where the forest is designated as a spiritual principle and consolidates moral forces, thus, nature becomes the most important object of testing a person for morality, performing the role of «spiritual substance». Religious relations in the novel are transformed and acquire a new artistic function, opening up the possibility of a long-term vision of the traditions of Islam in an axiological perspective.

Artistic features of discrete structure in german novel

The article deals with the key stages of the formation and development of German fragmentary prose in the 19th–20th centuries. Using the materials from German novels of the 20th century, the authors analyze the artistic devices that motivate the discreteness of the narrative and determine their artistic function – the manifestation and structuring of aesthetic information. Based on the analysis of artistic devices, the aesthetic content of the discrete novel structure is identified which depends on the writers' worldview. The discrete structure has proven to be a universal art form that has shaped the typological features of the modern novel.

Reflections on Metafora and its Artistic Function in a Work of Art

This article discusses the artistic aspects of using a detail in a work of art as a metaphor. Independent observations have been made of the purpose of the art of the "stone" detail used in folklore and written literature. Mainly the comparative analysis of the story "Stone" by the writer Askad Mukhtor and the poem "Blooming Stone" by the poet Shavkat Rahmon is made. Appropriate conclusions are drawn.

The Artistic Function of the Remarque Genre in Karakalpak Comedy

In the given article the problems of artistic and aesthetic functions of the main compositional unit of the comedy genre are investigated. The theoretical side of the problem is analyzed on the example of comedies of Karakalpak playwrights. For the first time in Karakalpak literary criticism, a conclusion has been made about the problem of artistic classification of a remark. The article explores such artistic functions of the remarks as the actions of the hero and the formation of the external compositional structure of the work. The comedies of D.Aytmuratov and M. Nizanov were analyzed on determining the theoretical result of the remark. The problem of internal and external remarks was first implemented into the science of Karakalpak literature. The studied problem is based; theoretical solutions and proposals are given.

THE ARTISTIC FUNCTION OF NARRATIVES IN THE SACRED BOOKS AND RELIGIOUS-HISTORICAL EVENTS IN MODERN PERSIAN NOVELS

Every nation has its own way of life, culture, spiritual and religious values. These values are also reflected in the fiction, which is the product of the artistic thinking of that nation. Since the creation of the Holy Qur'an, the Bible, the Torah, and the Psalms, they have played an important role in the lives of people who believe in a particular religion. One of the main reasons for this is the existence in the holy books of stories didactic in spirit about life and death, good and evil. The writers make effective use of these stories, as well as the exemplary lives of the prophets and religious historical events, in shaping the plot of their works, and in increasing the effectiveness of the ideas they put forward. Considered one of the hearts of ancient civilization, Iran is famous for its heroic spirit and epic traditions that glorify kings. But the twentieth century went down in history as the century in which modern-type novelism flourished in Iran. It was a new century for Iranian novelists to be recognized not only domestically but also globally. The purpose of the study is to shed light on the impact of religious narratives on the art of the work, their ideological and artistic function. The study found that sacred narratives given in the sacred books and the new interpretation of religious-historical figures in the modern Persian novels has significantly impacted on the styles of writers. KEYWORDS: Qur'an, Torah, Bible, Modern Persian Romanism, Style, Abel and Cain, Archetype, Motive, Life of Prophets, Religious Story.

ARTISTIC FUNCTION OF MYTH IS IN KAZAKH PROSE

The use of the myth in modern Kazakh prose in different senses is of interest to the reader. This allows us to determine how the authors' attitudes towards different literary trends are conveyed in the choice of basic myths to reflect the ideas presented in the myth. Using myths, the author enters into a dialogue with several traditions, and secondly, reinterprets a well-known mythological plot, creates his own image, as a result of which the narrative becomes a myth. The protagonist's mythological worldview is characterized by a special perception of time and space. This scientific article analyzes the features of the use of folk myths in Kazakh prose and identifies their artistic function.The prerequisites for renewed interest in myth in Kazakh prose at the end of the 20th century are being clarified. The relationship of mythological traditions and new literary trends in Kazakh prose is considered. The artistic function of myth is determined in the image of real life through mythological models and images.

The structure and meaning of the “estate topos” in the A.N. Tolstoy’s story “Nikita’s Childhood”

The article investigates the structure and artistic function of the “estate topos” in the story of A. Tolstoy “Nikita’s Childhood”. First of all, is considered “The Case of the Samara provincial Council by the insurance Department on the adoption of the fear of the real property owned by the landowner Yakov Mironov and located near the village of Pavlovka (Sosnovka also), Vozdvyzhensky parish of the Nikolaev district of the Samara province” on the basis of which the con- clusion that was sold by the stepfather of the future writer A. Bostrom land owner J. Mironov real estate “near the village of Pavlovka (Sosnovka also)”, depicted by A. Tolstoy in the story “Nikita’s Childhood”. Further, the structure of the estate space in the story is studied and it is concluded that all the components of the estate topos — garden, ponds, cellars, barns, etc. — are in the process of non-stop metamorphoses that set in motion the entire estate as a whole; these metamorphoses constitute the real plot of the story. In conclusion, a fantastic hypothesis of the organization of the “estate topos” in “Nikita’s Childhood” is proposed, which brings this story closer to the works of A. Tolstoy in the genre of fiction and, above all, to the story “Aelita”.

Binding logics in art

The work of art produced in its origins was only much later recognized as such. Similarly, the artistic function of current art objects in the future may become accidental again. In fact, at no time has art ever answered exclusively to aesthetic demands. From these assumptions by Walter Benjamin (1936-1939/1992), we will attempt to apply to art the concepts of “binding” (original of ethology) and of “linking networks” (used in neuroscience) to explain distinctive aspects of image metaphysics, shared by art and religion. From a historical perspective, we will attempt to show the evolution of art in three main binding logics: art as a magical activity (also in relation to index logic); art as mimesis; and art as language. The image, or rather the multiple realities we call “image”, takes each one of these links, in an exchanging or simultaneous way, since image is their heiress. Taking into account the present context of media images hypervisibility, we aim, with this study, to show the importance of art and its mythical-religious ascendance in what concerns media image redefinition.