Review of the book: RHETORIC AND THE DIGITAL HUMANITIES Eds. J. Ridolfo, W. Hart-Davidson.. Chicago; L.: University of Chicago Press, 2015. — VIII, 328 p.
The article presents an overview of poetry books published in Russian in 1913.
Gasan Guseinov examines an example of an early anti-globalist “nativist” [pochvennicheskii] reaction to the internationalization of culture, or early multiculturalism. Using the book My Dagestan, translated into Russian by Vladimir Soloukhin, as well as the latter’s own writing, he analyzes the formation of Soviet postcolonial discourse.
Mikhail Velizhev and Timur Atnashev's article is a response to Michael David-Fox's paper concerning the Russian "Modernity" as a problem. Velizhev and Atnashev analyze the concept of "Modernity" in the context of Russian Sonderweg theory.
Dmitriy Bresler’s article examines the genetic dossier of Vaginov’s prose of the 1920s. This dossier contains notes on the margins of the author’s copies of Goat Song and The Works and Days of Svistonov. Vaginov was editing both novels at the same time (May-June of 1929), which resulted not only in improved texts, but also an independent artistic statement on the impermeability of writing and transitivity of fictional borders, i.e. the ambivalent pragmatic potential of literary discourse. Notes left by Vaginov on the margins of his own copies of novels indicate the dual character of the text creator (as narrator and reader at the same time) and point out the self-referential pragmatics of Vaginov’s prose.
The present article is devoted to the phenomenon of speech dissipation (or rather, destruction) in the films of Alexei German (1938—2013). The author considers all German’s films successively to demonstrate the changes of discourse — both regarding film characters and narrative structure. German starts from the traditional way of sound and speech that illustrate a visual event, but then comes to the idea of obstructed speech that hampers a spectator’s perception. An effect of sound chaos becomes a specific feature of German’s personal filming manner, and strongly affects the whole aesthetics of Late Leningrad (Petersburg) Film School.
In the context of the discussion on the relevance of the microhistory today, the author raises questions about the reasons for its reproducibility, its connection and breaks with postmodernism, the social and the creative role in the humanities, as well as about its unsolved and probably generally unsolvable problems.