Recreaciones quijotescas y cervantinas en la narrativa
The compilation is dedicated to the poetics of Cervantes and to the transformations of the characters of his books in the prose of other authors worldwide.
The article is dedicated to tracing and analysing the influence that the work of Cervantes had on the poetics of Spanish experimental writer Juan Benet
The chapter juxtaposes Veselovsky’s theory of the persistence of forms with the set of critical practices known as New Historicism, and shows that both approaches exclude the possibility of new forms arising. The chapter suggests that both the oblivion of an old form and the rise of the new result from a fundamental shift in perception that occurs within the order of verbal creativity and does not lend itself to a historical-deterministic explanation.
Historical Poetics, while in many ways an ally of Formalism, finds itself in an uneasy relationship with the empiricist mode of formalist enquiry, inasmuch as the latter is seen as generally inimical to historical contextualization. On the other hand, representatives of both Historical Poetics and of the morphological method have at different points been accused of favoring atomizing analysis over aesthetic appreciation. Ironically, this putative inability to grasp the work of art as a totality is a taint that literary theory inherited from nineteenth-century philology whose mission was precisely to combine historicization with minute attention to details of verbal texture. By emphasizing their shared philological patrimony, the article argues for a reconciliation between the morphological method and Historical Poetics. An energetic theory of literary forms, which detects historical vitality in distinct elements revealed by morphological analysis, has important precedents in Alexander Veselovsky’s theory of motif and Mikhail Bakhtin’s concepts of architectonics and the chronotope.
The book is dedicated to the works of a contemporary Spanish classic Juan Benet. The articles in Spanish and in French made by the researchers from all over the world and by the author's disciples cover his artistic trajectory as the most prominent writer to introduce the esthetics of European modernism and French New Novel to the Spanish literary circles of the 1960s.
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.