“Regarder l’objet avec un œil nu” : le visuel et le verbal dans l’œuvre de Daniil Harms
The articles questions the forms of representation of the visual in Daniil Kharms' works and especially in a series of drawings he made in 1919.
This chapter is focused on the main steps of the history of the literary group OBERIU. The analusis of its place in cultural history of interwar Russia/USSR is outlined. The chapter also contains scetch of the main traits of style and aesthetics of Daniil Kharms and Alexander Vvedenskii, two most prominent representatives of the OBERIU group; the poetics of Nickolai Zabolotskii and Konstantin Vaginov, two other outstanding artists who took part in OBERIU activity are discussed in the separate chapters of this handbook.
The article proposes an intertextual reading of three novels based on a motif of passing through the wall: «La disparition d'Honore Subrac» (1910) by Guillaume Apollinaire, «A gymnast» (1929) by Youri Vladimirov and «Le passe-muraille» (1943) by Marcel Ayme. Each of these texts is analyzed through a prism of two other texts; together, they form a complex structure where the notion of influence seems to be inappropriate. Some texts of Daniil Kharms, typologically close to the novel of Vladimirov, permit to enlarge this intertextual perspective.
This article analyses traces of Sterne’s influences in the novella Rytsar’ (A Knight) by Russian avant-garde writer Daniil Kharms (real name Daniil Yuvatchov, 1905-1942). A good friend of Viktor Shklovsky and other Formalists, Kharms was quite probably familiar with Sterne’s work.
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.