Оппозиция к кинематографу в романе Уиндема Льюиса «Обезьяны Господни»
The paper considers the impact of cinema on the satirical novel «The Apes of God» (1930) by English modernist painter and writer Wyndham Lewis as contextualized by its author’s predominantly negative reception of cinema in his fiction and criticism. Cinema is represented in the novel as an anti-intellectual and anti-aesthetic mass-produced cultural product, whose model serves passively mechanical characters satirized by the author as a model for perceiving and interpreting their lives. Conceived as such, cinema stands in stark contrast with the text of the novel. Detailed metaphorical descriptions of the least significant movements of objects and characters seen from a short distance act as a deliberate literary antithesis to such popular cinema’s devices as slow motion and close-up. Thus, Lewis’s novel is a consistent articulation of its author’s opposition to cinema both on the level of content and of form. Overall, «The Apes of God» stands one of the most representative literary examples of the aversion towards cinema shared by many of the masters of English «high modernism».
This article aims at analyzing objects as signs of filmic aesthetic. Objects acquire several functions in films: Sometimes they are only scene objects or support a particular film style. Some objects are specially chosen to translate the characters’ interior or the directors’s aesthetical or even his ethical commitment with the narrative. In order to understand such functions and commitments this paper analyze objects of Wim Wenders’ films and apply an original systematic, which is based on Peircean semiotics and intermedial studies. This theme involves Cinema and Design, but it also embraces points of view of other disciplines, such as literature studies, history, psychology and sociology.
In chapter deals with Russian poetry in 1916.
The article deals with one storyline of the novel Anna Karenina that stands as the key for the re-search into the significance of Anglomania in the novel. The 1850-1870s in Russian culture is the time of a most intensive formation of the image of the UK as a highly complex combination of real and mythological elements. The novel Anna Karenina, which Tolstoy himself called the novel about modern life, sets forth the fashion for everything ‘English’ in Russian high society in the 1870s with almost documentary precision. The episode the article deals with is Anna Karenina's reading of an English novel. The article looks at different theories of the origin of the novel and suggests a particular novel as the source for the English novel in Anna Karenina. Article argues that the knowledge of the particular English novel contributes not only to the re-search of Anglomania in Anna Karenina and other Tolstoy's works but also gives a significant in-sight into the study of the characters in the novel.
The book is about the mass and modernist poetry in 1913
In the article russian acmeism is considered in he context of the criticism of the 1910s
About readers of Russian modernis and popular magazines, 1900 - 1910
This article aims to analyze the objects as sign in the aesthetic context of the cinema, more specifically in the German film director Wim Wenders´ work. In the movies the objects translate the character´s interior, in a game which rules are based on the ethical-aesthetical commitment with the conceptual of the narrative. Therefore, we developed a specific methodology to make such analyses in the sense of Peircean semiotics and intermedial studies.
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.