Фарс, комедия, трагикомедия. Очерки по исторической поэтике драматических жанров
For many years the playwright Nikolai Erdman and his remarkable impact on Russian theater and drama have been almost forgotten. In the 1990s, however, his drama began attracting critics' attention. Now, as a result, Erdman is viewed as one of the prominent Russian playwrights of the first half of the twentieth century. Although recently Erdman became an important object of research, the innovations of his drama have never been analyzed as specific phenomena. This article is focused on poetics of two main Erdman's plays: “The Warrant” and “The Suicide.” By analyzing the time and space, as well as the plot, dialogue, and characters, the main innovatory elements of these plays are analyzed. According to this analysis, Erdman's dialogue appears to be the playwright's most significant discovery which impacted not only his own drama but the whole Russian theater of the twentieth century as well.
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.