Authors:
Yu.G. Khazankovich
( 17 downloads)
Abstract
The essay bears on Mikhail Bakhtin’s idea of chronotope as “the gate” to “the sphere
of meanings.” Without this methodological tool, it would be difficult to understand a
national literature that is archetypal at its core. Fiction of the indigenous peoples of the
North — Mansi, Khanty, Nenets, Evens, Evenks, Yukaghirs, Nivkhs, Chukchi, Nanais,
etc. — is unique due to its specific chronotope that makes it strikingly different from the
Russian literature that had nurtured the former. Systematic approach allows reveal the
specificity of fictional time and space and the specific ways chronotope functions in the
prosaic works of the North. The chronotopic aspect of the Northern fiction draws from
the peculiar understanding of art and life and the national worldview of the Northern
author. Most of the fictional characters are subject to the laws of their “own” space and
measure everything with the measure of nature and race. Owing to this fact, the analysis
of fictional time and space helps us understand the “obscure” characters that represent
the national consciousness and trace hitherto unstudied chronotope formations of the
Northern literature such as: chronotope of the nomad, chronotope of man and woman,
chronotope of the road, chronotope of the fishery and hunting, chronotope of the elderly
person, etc. The essay eventually demonstrates that mythology forms the basis of the
literatures of small ethnic groups.
Keywords: literature of small ethnic groups of the North, culture of the peoples of the North, Nivkh literature, Mansi literature, Khanty literature, fictional time and space, chronotope, novel, story
Authors:
A.T. Sibgatullina
( 14 downloads)
Abstract
This article analyzes the search for the national and confessional identity of Tatar
and Turkish writers at the turn of the 19th and 20th centuries and identifies similarities
and differences in their understanding of Westernization and modernization. The compatibility of the Muslim East with the Christian West became an acute problem for the
ummah that realized the need for progressive changes in the society. Tatar and Turkish
literature openly criticized one-sidedness and infatuation with external signs of Westernization and borrowing of the European way of life that was called lafranga, which was
opposed to the traditional way of life laturca. In literature, this confrontation was reflected in the conflict between the “old” and the “new” generations. Describing the achievements of the Western culture, writers had to take into account the realities, morals and
values of their society, the role of religion and traditions, the ethics and obligations of
men and women in everyday life. Therefore, the authors of novels and stories created
images, events and spaces that reflected the ethics and values of their society, where
relations between men and women had a very different format than in the West. Incompleteness of modernization process and only partial “Europeanisation” of the Muslim
society gave rise to a special type of people who found themselves between two fires —
between the Eastern and Western cultural values — and who eventually became neither
a European nor an Asian.
Keywords: identity, Tatar literature, Turkish literature, East, West, lafranga, laturca
Authors:
N.Yu. Kharitonova
( 17 downloads)
Abstract
No Abstract
Keywords: INTERNATIONAL CONFERENCE, CIVIL WAR IN SPAIN, EIGHTY YEARS SINCE
Authors:
T.V. Kudryavtseva
( 20 downloads)
Abstract
The article discusses dynamic interaction among artistic communities (trends,
movements, etc.) exploring the specificity of literary space in Germany at the turn of the
19th and 20th centuries. This is a comparative study that develops a historical and contextual
approach and pays special attention to the panoramic overview of the literary process
shaped by philosophical and aesthetic ideas of modernism. The essay exposes complex
mechanisms of interaction of various artistic schools and trends, and traces transformation
of the old and emergence of the new generic and stylistic, constructs against the background
of permanently turbulent, typological, and etymological shifts of the transition era.
Keywords: German literature, modernism, trend, style, transformation
Authors:
T.N. Krasavchenko
( 17 downloads)
Abstract
It seems that T.S. Eliot (1888–1965) and Ted Hughes (1930–1998) are poets of
different individual talents and epochs. Hughes, a poet of the second half of the 20th
century, concentrated on the conflict between Nature and the human being destroying
Nature and thus preparing the end of the humanity. T.S. Eliot was a poet of urban
civilization, a reformer of the Anglophone modernist poetry. In his days, the “poetry
of Nature” rooted in the pastoral poetry of the 17th–18th centuries and in Romanticism,
existed but only at the margins of mainstream poetic trends. Nevertheless, one can find it
even in Eliot’s poetry, particularly in his Landscapes — poems written at the beginning of
the 1930s. Also, both Eliot and Hughes were modernists. Eliot standing at the beginning
of modernism, Hughes at its end; though the latter lived in the time of postmodernism,
he was not a postmodernist himself since he was not engaged in the deconstruction
and fragmentation of the “world model.” Like Eliot, he was a poet with integral
Weltanschauung and a bright individual talent. Like Eliot, he was a traditionalist, though
Eliot being an American was a “conscious traditionalist,” while Hughes, an Englishman,
was most likely a “born” traditionalist: instead of deconstructing tradition, he was
bearing on it. His “great tradition” included Shakespeare, Blake, Coleridge, Kipling,
Graves, and Dylan Thomas. Both Eliot and Hughes are poets of eschatological trend and
mythologists. However, one will not find Eliot among the authorities enlisted by Hughes
in his “great tradition.” In the time of Hughes, Eliot was rejected due to the regular
change of mainstreams trends. British poetry in the second half of the 20th century is
“tired” of urban poetry, of “Nature denial,” so it comes back to its track, and the motives
that existed in Eliot’s poetry only in the background are now brought to the forefront.
Keywords: British poetry, modernism, T.S. Eliot, Ted Hughes, mainstream, traditionalism, postmodernism
