А. В. Голубков. Прециозность и галантная традиция во французской салонной литературе XVII века. Монография
The monograph deals with a subject that is rarely covered by Russian philologists: préciosité and the gallant tradition of 17th c. French culture. The author singles out the French and Russian approaches to interpreting preciousness, noting their differences and the fact that Russian scholars are lagging behind the French on the subject of salon literature. A. V. Golubkov rejects the principle of ‘neutrality’ towards the subject of the study, which is evident from his context-based use of psychoanalytical tools, including the term ‘frigidity’ to describe the social genesis of the gallant tradition and the habitus of préciosité. In his examination of the sources of these French cultural phenomena (‘academy’, ‘préciosité’, ‘gallantry’, and ‘salon’) the author shows their association with types of creative activity, Baroque and Classicism, and oral and written practices of salon culture, and portrays linguistic and genre-specific experiments of the précieuses. He stresses their preference of the salon literary genres over rhetorical skills, identifies elements of dialogue-based poetics, and reveals the principal indicators of a new language art.
F. Werfel about G. Verdi (based on the composition «Verdi. Novel of the opera») (by Zusman V. G., Zusman N. D.). In this paper the cultural opposition «Verdi - Wagner» is discussed. The opposition is described by the Austrian writer Franz Werfel in his «Verdi. Novel of the opera». Werfel compares the artistic world and the personality of the Italian composer Giuseppe Verdi with the German composer Richard Wagner. The author comes to conclusion, that the principle of melody, the power of an individual human voice expressed in the music of Verdi are much more important than the combined force of the instruments in the orchestra of Wagner.
The book is devoted to analyzing the oeuvre of Jan Vermeer in the context of Delft School development and the epoque of Baroque art. The author focuses on Vermeer's style which evolved due to traditions of genre painting adopted in the Netherlands, however, its unique features bring genre painting to the level of symbolic generalization. The first 9 chapters of this research are displaying various aspects of Vermeer's art, and the 10th chapter reflects on how the principles of the "Delft Sphinx" resonate with contemporary art.
The book is devoted to one of the most prominent American writers, Norman Mailer who had a vivid imagination. He was one of those authors who visualized themselves as well as their works, and on the contrary novelized their country and reality. N. Mailer was a very public person. He revealed his publicity being a novelist, essayist, journalist, playwright, screenwriter, actor and even a film director. Besides one may find lots of his radio and TV interviews. This is one more aspect of his literary work, because his unique feature is a correlation between the art of writing and the media. America is Mailer’s beloved subject. More over his America is an Individual. It is a lifelike image created with all its complexities by means of speculating on real facts and people. In this sense there is another interesting trait of Mailer’s work: through the period analyzed in the book he coped with both fiction and non-fiction. In doing so the writer dramatized the best and the worst of American life by connecting the life of his characters to the life of the nation. And his characters are preeminently illustrious Americans, the symbols of this country. Chronological order of publications is replaced by aspects: history, mythology, imagination. This is the study of Mailer’s combination of fiction and non-fiction, fact and document, history and reality, visualization and novelization by studying his books: Harlot’s Ghost, Oswald’s Tale. An American Mystery, The Ancient Evenings, The Gospel According to the Son, Tough Guys Don’t Dance, The Castle in the Forest
The present study simultaneously belongs to literary studies and to social history, including the history of culture and of political ideas. Indeed it concerns attitudes about the tsar in Russia during various periods of Russian history, and the linguistic - and more generally speaking, semiotic - means in which these attitudes were manifested. Obviously, this is connected to the history of political views. It is demonstrated how differing attitides toward the tsar correlate with various stages of Russian political and cultural history; how diverse aspects of Russian cultural life converged around this question; and how in different periods the very same texts could be interpreted as having very different content, relating to the interests of the particular time.
The political preconditions for the sacralization of the monarch in Russia were twofold. On the one hand, this was the transference onto the tsar of Moscow the functions of the Byzantine basileius, that could be realized both in the conception of Moscow as the Third Rome, which was contrasted to Byzantium, and in the later Byzantanization of the Russian state and ecclesiastical life (beginning in the reign of Aleksei Mikhailovich). On the other hand, this was the tsar’s assimilation of the functions of head of the church (beginning with the reign of Peter I). The very combination of these two essentially contradictory tendencies only became possible in the conditions of Baroque culture, insofar as texts that were authoritative for cultural consciousness could be reconceptualized in any direction within a Baroque framework.
The article deals with the problem of the author as the subject of consciousness expressed through the text in its entirety. Special emphasis is laid on modality revealed in the author’s evaluation of events, characters and the world in general.
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.