Неизвестная пьеса Оскара Уайльда о России и российском терроре
Contemporary theory examines a literary text as a dynamic reading program. It is heterogeneous; strong and weak areas differentiate themselves; there are segments with higher or lower degrees of conventionality. When applied to narrative texts, the idea of “functional immersion” can be used for the analysis of such a structure, denoting moments when the reader should “get involved” in the plot and “empathize” with the characters, even fictional ones. Some approaches that allow for the elicitation of such “immersion” — primarily approaches of narrative framing (visual, genre, intertextual)—are shown using the example of Oscar Wilde’s novel Portrait of Dorian Gray (1890). The heterogeneity of this text is due to a visual image’s (a painting’s) introduction into the story, where it is featured as an actant. Visuality and literary narrative are two different cultural languages, and one of them (literary) deforms the other (visual). The picture of Dorian Gray is almost invisible as a painted image, but the reader’s attention is drawn to its external, non-image-related elements of art, but as a document that incriminates the prota - gonist. It migrates to the outside world and changes within itself, serving not as the embodiment of an ideal prototype, but as a fluid, ambiguous simulac - rum, similar to and object and a dead body that has become part of a theoretically endless number of objects collected by the novel’s protagonist.
The paper is focused on Vsevolod Meyerhold’s film “Picture of Dorian Gray”, a screen version of Oscar Wilde’s novel released in 1915. This famous film is considered to be lost, yet one can learn of it using various sources: a film script, a list of intertitres and other documents held in RGALI, a libretto, stills published in the press, film reviews and memoirs. These sources can help to reconstruct film structure. Historical context of the film will also be discussed. Meyerhold seems to have used many translations of Oscar Wilde’s novel and some theatrical adaptations of Oscar Wilde in Russia before 1915. It is argued that Basil Hallward for Meyerhold was an autobiographical character as well as Lord Henry played by Meyerhold himself. Thus Meyerhold’s approach to the novel is similar to that of Oscar Wilde’s: the writer called himself a prototype of all three main characters. “Picture of Dorian Gray” (1915) may be considered to be the portrait of its author, theatre and film director Vsevolod Meyerhold.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.