Автор в эпоху смерти автора: Юлия Кристева в поисках Михаила Бахтина
The article focuses on Julia Kristeva (1941), who «discovered» Mikhail Bakhtin
(1895–1975) for the French public, and review her reading of Bakhtin’s works
(«Bakhtine, le mot, le dialogue et le roman», 1967; «Une poétique ruinée», 1970).
It has attempted to review the history of Bakhtin’s receiving in France according
to the sociocultural context of 1960-s — 1980-s, in which it began and continued.
The article elaborates on the concepts of narratology which has of late become extremely influental in humanitarian disciplines. In Virginia Woolf's novel "To the Lighthouse" the incorporated narrative levels are shown to be isomorphic in terms of their dialogic relations. Communication between the characters is similar to communication between narrator and narratee (as seen in the composition structure of the novel) and between implicit author and implicit reader. The dialogue in the novel relies on the word pronounced and heard. In the aspect of composition it is represented by compositional parts simultaneously taking place. When this kind of dialogue fails as miscommunication, it is replaced with onthological unity behind the physical word and directorientation towards the listener/reader. The article's innovation is analysing the novel of modernism in the light of Bakhtin's theory of dialogue.
The book review evaluates the collective work of 12 scholars which retrace and blueprint new trends in the current phenomenology, especially оn the junction between German-Austrian and Russian-Slavic cultural and intellectual areas.
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.