«Живая литература фактов»: Л. Гинзбург и Б. Бухштаб спорят о «Лирическом отступлении» Н. Асеева
An editor's preface to the journal chapter entitled 'To watch and to do. Russian Formalism: a metapoetics and the metatheory'
The chapter of the classbook published within the study program of Ural Federal University in Yekaterinburg tells about the ways of Viktor Shklovsky - a founder of the formalist school in Russian Literary Theory, an extravagant writer and essayist, who was on the forefront of the Soviet literature in the 1920s.
In this work, observations on the narrative organiza- tion of the text of Viktor Shklovksy’s epistolary novel Zoo, or Stories Not About Love (1923). The preva- lence of terms related to sight is revealed and com- mented upon, from which a preliminary conclusion is drawn that over the course of his short stay in Berlin, Shklovsky was fascinated by phenomena of visuality, which prepared him for his entry into film work upon his return to Soviet Russia.
The monograph explores the aesthetics of Russian formalism: energy intuitions, the theory of internal and external forms of the word, the theory of everyday literary life, the theory of literary evolution as a mimetic process. The literary theory of Formalists is placed in an interdisciplinary context, in particular, correlated with the ideas of French sociology (Durkheim, Tarde). The book also contains an article about the autobiographical prose of one of the leaders of the formal school - Viktor Shklovsky.
The present article contains a brief analysis of the early writings of Viktor Shklovsky - his short stories in futurist magazine "Spring"(Vesna) and especially to his prose poem "Saturnine Fate"(1914). Shklovsky's references to Symbolist aesthetics as well as traces of influence by Maxim Gorky and Leonid Andreyev are also considered.
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.