ГЕНЕЗА ДУМИ ПРО БРИТАНКУ ЮРІЯ ЯНОВСЬКОГО В КОНТЕКСТІ ТРАДИЦІЙ РАДЯНСЬКОЇ ДРАМАТУРГІЇ

The specificity of this article is the consideration not only of the completed text entitled A Duma about Brytanka, but also of the play-forming and creating process, which became possible due to the presence of drafts and draft notes to the work. Therefore, this study is conducted not only in along the lines of literary theory, but also textology. The relevance of the study is that the view from above allows us to comprehend, or even rethink, the play A Duma about Brytanka in the context of the author’s work and also in the context of the Soviet drama landscape in general. Understanding and rethinking the work of predecessors is an important process for comprehending the development of literature as a general process and its development within the national borders. The aim of the study at hand is to determine how the realities of the time and especially the accepted literary trend and historical events influenced the formation of the text of the play. The results of the study show that the original idea of A Duma about Brytanka had much more romantic features, as romanticism as a style of thinking was inherent for Yuri Yanovskyi. However, in the process of creating the play, the author began to rely on the documents that showed the real case of the social republic. The author abandoned the original version and completed the play so that it became much closer to the Soviet canon than to romanticism.

РЕАЛЬНІСТЬ ЯК ВИГАДКА? ПОНЯТТЯ “МЕТАМОДЕРНІЗМ” І “МЕТАМОДЕРН” В СУЧАСНОМУ КУЛЬТУРОЛОГІЧНОМУ І ЛІТЕРАТУРОЗНАВЧОМУ ДИСКУРСІ

At the beginning of the 20th century, postmodernism has depleted its cultural and aesthetic potential, and as most critics agree, it has become a phenomenon of the past. Among the conceptions aimed at comprehending the impact of the new media and digital technologies, together with the trend towards globalization, digimodernism, automoderrnism, altermodernism, performatism, and metamodernism can be listed as the most conspicuous ones. Proceeding from the fact that metamodernism is a theoretically developed and strongly institutionalized conceptualization of both current cultural change and 21st-century fi ction, this paper focuses on its cultural and literary strategies. Primarily, the study aims to analyze the fundamentals of metamodernism elaborated in the works by Timotheus Vermeulen and Robin van den Akker and in metamodernist web manifestoes. To achieve this goal, such notions as a “structure of feeling” and “new sincerity” that refl ect an emerging cultural sensibility, along with the principle of the metamodernist oscillation between modernist and postmodernist modes, are highlighted. The claim that the Metamodern era replaces Postmodernity is also under investigation. In addition, the paper explores the main features of metamodernism in the works by David Foster Wallace, one of the most famous and infl uential US writers of his generation, a talented novelist and essayist. Application of nonlinear, rhizomatic structures at the narrative level, modeling of the reality according to the principle “what if this is true?”, and a combination of the principles of “new sincerity” and post-irony in Wallace’s novel “Infi nite Jest” are considered. The paper concludes that metamodernism as a literary trend of the recent decades suggests new fi ctional patterns of aesthetic innovations, primarily in returning multiple facets of reality into a literary text. Key words: metamodernism, Metamodern, postmodernism, Postmodern, “new sincerity”, “structure of feeling”, Vermeulen and van den Akker, “Notes on Metamodernism”, David Wallace, “Infi nite Jest”.

Rewriting

The chapter surveys all the forms of rewriting in Byzantine literature: copying longer or shorter extracts from an “original” work; drawing on a previous text and adapting it into a new one; providing a new version by reworking an older text in terms of its language, style, and length; and parodying and modifying its literary character. Allegory, periphrasis, epitome, paraphrasis, and metaphrasis denoted different modes by which a given text could be rhetorically elaborated; yet, as terms, they were not used consistently by Byzantine authors. As a literary trend, rewriting had its representatives in the fourth and fifth centuries, but burgeoned in the ninth and tenth centuries, and then again in the Komnenian and Palaiologan eras, when it was characterized by literary experimentation. Compositions deriving from (an) older text(s) were treated with respect in Byzantium, as they were seen as creations that required special literary skills.

Entre romans du terroir et littérature blanche : vers une littérature de territoires ?

This article examines the work of four writers, three men and one woman, to outline the characteristics of a literary trend tentatively labelled littérature de territoires, or “territorial literature”. It then analyzes the authors’ social attributes before discussing the limitations of such an attempt to define a new genre. To achieve its goals, this study limits its consideration to a single novel per author: L’Été circulaire (Circular Summer) by Marion Brunet, En finir avec Eddy Bellegueule (The End of Eddy) by Édouard Louis, Leurs enfants après eux (And their children after them) by Nicolas Mathieu and Rural noir by Benoit Minville. Interviews with the authors and their respective editors supplement the literary analyses proposed herein.

“May the gates to paradise open for us…”: medial semantics in N. S. Gumilyov's poetry

The subject of this research is the medial semantics in the poetry of Nikolay Stepanovich Gumilyov, which is inseparably associated with the pivotal for the poet motif of path, journey, and road. The corpus of N. S. Gumilyov's poems written from 1905 to 1921 serves as the material for this research. A certain constant can be traced in interpretation of medial semantics: even if the author speaks of the gates as a physical object (the gates of a castle or house), the image has a transcendental connotation. The gates are a path to another world, often to paradise; they are not open of everyone and can be seen only by the dedicated. Similar understanding of the gates Gumilyov reflects in his theoretical articles, such as a program manifesto of a new literary trend “The Heritage of Symbolism and Acmeism”. As testified by A. Akhmatova, he sought for the mystical “golden gates”, and intended to discover it while travelling to Africa. Failure in finding it led to the emergence of macabrely interpretation of medial semantics: it can be not only the gates paradise, but also to otherworldliness, behind which are awaiting the terrible torments. As a result, the author determines the constant and variable characteristics of this figurative complex, which is inextricably entwined with the core concept of the path, road, and journey in Gumilyov’s poetry. Medial semantics interacts with a range of thanatological and gnoseological motifs: gates lead to knowledge and reveal to the dedicated and worthful. Entering another world is not the goal of the path; the portal opens in unexpected places, and not everyone can see it.

Title Museality as a Trend in the World Literature of the Last Fifty Years

The aim of this study is to define the concept of the title museality, the selection and analysis of relevant works of the world literature both separately and as a unified group of narratives, and determining the existence of a separate literary trend. Research methodology. The author uses analysis, synthesis, abstraction, concretization and generalization of scientific sources and literary texts with features of title museality. Results. The main characteristic evidence of the concept of “title museality” is determined and a group of literary narratives is identified. These features correspond to: “The Heritage” by Siegfried Lenz (Germany), “Outside the Dog Museum” by Jonathan Carroll (USA), “The Night at the Museum” by Milan Trenc (Croatia), “Behind the Scenes at the Museum” by Kate Atkinson (Great Britain), “The Museum of Innocence” by Orhan Pamuk (Turkey), “The Museum of Abandoned Secrets” by Oksana Zabuzhko (Ukraine) and “Museum of Thieves” by Lian Tanner (Australia). We considered and analyzed the museological features of each of these texts of the novel form, belonging to the seven national literatures of the world. The general and distinctive features of the considered works are revealed and their museological properties are established as a unified group of narratives. It is argued that the title museality is a trend in world literature of the last fifty years and this trend is steadily growing. Novelty. An attempt is made to formulate a new museal­literary concept, to highlight and analyze the relevant literary works as a unified group of narratives and identify a certain trend in world literature. The practical significance. The key results of this study can be used for further research of other literary works with signs of the title museum that is reviewed, and also other national literatures of the world. They also can be used in studying of museological aspects of the literary studies or literary aspects of the museology.

Unlimited Freedom and illusion (On the basis of the plays “The Guardian” and “The Dwarfs” by H.Pinter)

The English playwright Harold Pinter's plays "The Guardian" and "The Dwarfs" chosen from his drama are addressed to. The "chaotic world" observed in the plot of the plays is analyzed and the conclusion that the heroes are born of conflict in their relationships is defended. The object of research is to take into account the difference between the consciousness and reality. Issues such as conflicts of mind, aimlessness, phobias, the virtual world, lack of communication, psychological disorders of the personality are examined. As in Pinter's works, you can see the features of realism, romanticism, modernism, postmodernism, symbolism, surrealism, absurdism in the drama of Elchin, Kamal Abdulla and Firuz Mustafa. It is important to compare the Azerbaijani and English drama, which does not fit into the framework of any literary trend and is relevant as it lags behind time, in terms of plot, motives and artistic features. Key words: dramaturgy, fears and phobias, fantasy, loneliness and aggression,“madness”

Liberature or Literature in the Electric Age

The article proposes a media-oriented approach to liberature, a literary trend born in Poland at the end of the 20th century which aims at reconsidering the physical body of the book as an integral part of the literary work. The idea of liberature is not only a contemporary literary programme, but it has also helped in redefining phenomena from the past hitherto considered to be marginal. The thesis of the article is that this corporeal turn is directly connected with what Marshall McLuhan has called the electric age – a time in which electrical media have put an end to print culture and consequently to the predominance of sight over other senses, to standardisation, specialisation, and linear thinking in favour of a new audio-tactile sensibility. Liberature, if considered from this point of view, turns out to be not a form of resistance of old print culture in a digital world, but the natural consequence of a change of paradigm we can trace also in other fields such as physics and linguistics where the concept of embodiment has occupied a central position for several decades. Hence, far from being a curiosity at the periphery of contemporary literature, it ought to be considered as an important expression of present times.

Mahometan/Muslim: The Chronotope of the Oriental Tale

This chapter argues that we read the literary trend for the oriental tale that overtook England in the early part of the eighteenth century as one that extended beyond the metropolis. An essential element of the oriental tale, whether Antoine Galland and Grub Street’s Arabian Nights’ Entertainments or Francois de la Croix’s Turkish Tales, is the chronotope of the Mahometan—the imagined counterpart of the Ottoman or Mughal Muslim kings—a that figure defies Enlightenment modalities of ancient time and geographic origin. A ubiquitous figure in the English oriental tale, the Mahometan is constructed as a homeless potentate, a traveling merchant, an itinerant dervish, and a wanderer.

Barrel Organ and Organ- Grinder in Russian Fiction of the 1840s

In the 1840s, barrel organ and organ grinders became a core part of the city’s folk entertainment culture as mentioned in essayistic and memoir literature. However, the references are scarce and there are no detailed descriptions existing. To study this phenomenon of folk culture, the author turns to fictional texts: Dead Souls by N.V. Gogol, “Shtoss” by M. Yu. Lermontov, “Katerina-Hurdy-Gurdy” by I.P. Myatlev, and “Savvushka” by I.T. Kokorev. The article analyzes the chain of ideas that each of these authors associates with the barrel organ and organ-grinders. In general, these views correlate with the views reflected in non-literary sources. I.T. Kokorev develops the story of the street artist in the most detailed way which may be explained by his interests in essay writing, closeness to the so-called “natural school” (a 19 th century literary trend), and personal experience.