«Остранение» российских реалий в англоязычных юридических текстах
Leo Tolstoy’s infection theory of What Is Art? (1899) is explored in the article as an early stage of today’s reflection on enactive reading and the reader’s embodied mind in cognitive literary studies. A comparative treatment is given to Tolstoy’s Kholstomer (Strider, 1886) as the perfect sample of the defamiliarization technique (priyom ostraneniia) (Shklovsky 1917) and William H. Gass’s “Don’t Even Try, Sam” (2004) and “Soliloquy for a Chair” (2012). The purpose of this study is to determine how animal or object narrators may affect the empathetic affordance of conventionally realist and (post)modernist texts. Do the habitual placement of the diegetic narrator into the center of narrative and the resultant configuration of secondary characters impair readerly sensitivity, when they are maintained from a horse’s, piano’s, or chair’s stance? What does a surface glance at some differences between authorial approaches propose for an answer to this question? How can “unnatural narration” enrich our notions of heroism and centrality?
This article is an attempt to make a comparison between two models of social and creative behaviour based on the same principle of "estrangement". V. Shklovskii and T. Wolfe are presented as two "avant-garde spokespersons" representing the Russian Formalism and the American New Journalism (the article opens with the explanation of why it is possible to regard those as similar, though unconnected, forms of cultural production — Formalism included the so-called "Literature of Fact" a parallel to which can be found in the New Journalism). Both authors created notorious styles of writing and "posing" — annd both used scandal as a means. we are trying to analyze two scandalous "gestures" — Shklovskii's performance at a public discussion (Formalists vs. Marxists, 1927) and Wolfe's provocative article aimed against the "New Yorker" (1965). We are also trying to show how they sustained their styles through "aesthetics of the routine".
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.