Anna Stepanova
Alfred Nobel University, English Philology and Translation, Faculty Member
The article studies the interpretation of the Faustian theme in the novel “We” by Yevgeny Zamyatin. The confl ict between the Apollonian and Dionysian is considered as a mode of the Faustian theme. The features of its development are... more
The article studies the interpretation of the Faustian theme in the novel “We” by Yevgeny Zamyatin. The confl ict between the Apollonian and Dionysian is considered as a mode of the Faustian theme. The features of its development are analyzed at three levels, they are psychological, spatial and philosophical. The interaction of psychological, spatial and philosophical levels makes it possible to implement a number of ideas in the novel, such as a never-ending revolution, a protest against authoritarianism and the enslavement of man by civilization, the impossibility of changing human nature
Research Interests:
The article reveals the peculiarities of the urban text in Isaac Babel’s Odessa Stories. The image of Odessa is analyzed as a poetological dominant of the cycle. The originality of the artistic image and the text of Odessa is considered... more
The article reveals the peculiarities of the urban text in Isaac Babel’s Odessa Stories. The image of Odessa is analyzed as a poetological dominant of the cycle. The originality of the artistic image and the text of Odessa is considered as the relationship between the semantic setting in the social and cultural focus, the historical image of the city and its perception in the minds of townspeople. Thus, the author focuses on the space locus that serves as a marker of the Odessa text and identifies the city of Odessa (Moldavanka, Peresyp, Privoz), the images of the Odessa landscape in their symbolic interpretation and the image of Odessa man as closely related components of the artistic structure of the cycle and the Odessa text itself. Analysis of the stories distinguishes that the meaning‐forming and structure‐forming functions of the Odessa topoi are subordinated to a single goal – to create and typify the image of Odessa man. What is important is not the city itself as a socio‐cultural organism, but its perception in the urban consciousness. The key fact to reveal the specifics of the Odessa text and the Odessa consciousness is the idea of the decline – the collapse of the communal and tribal consciousness as the decline of the Odessa ethnos realized in the conflict of personal and social principles, the inverse comprehension of Rabelaisian corporality motif, the images of the sunset landscape and in the irony, which discredits as false both the gang life romance and the appearing concept of a new world. The city depicted by I. Babel on the threshold of the 1917 revolution is interpreted as a city at the decline of culture. The writer depicts the end or the decline of old Odessa through the end of Odessa man and the collapse of the Odessa ethnos. Thus, in I. Babel’s Odessa cycle, there is a transformation of the traditional image of sunny Odessa into the image of a city fallen into decline. The features of the image of Odessa man regarded as indications of the declining culture are determined in the article.
Research Interests:
The focus of this article is on the peculiarities of autobiographical memory images representation in the literary piece. The purpose of this work is to research the poetics of autobiographical memory in Ray Bradbury`s novel Dandelion... more
The focus of this article is on the peculiarities of autobiographical memory images representation in
the literary piece. The purpose of this work is to research the poetics of autobiographical memory in Ray
Bradbury`s novel Dandelion Wine. To conduct the research biographical, hermeneutic, historico-literary,
and comparative-historical methods of analysis were applied.
The poetics of autobiographical memory is represented by the set of artistic means used to render the
author`s reminiscences and it combines the work`s autobiographical and autopsychological concepts seen
as sort of eventual autobiographism and psychological autobiographism. The poetics of autobiographical
memory is based on internal psychological kindredness of the author and the hero in the autobiographical
work. In Ray Bradbury`s writing autobiographism of events is frequently superseded by psychological one,
engaging the mechanisms of autobiographical memory at the level of sensory impressions, emotional states, spiritual associations, defining the peculiarity of autobiographical poetics. The retrospective
manner of narrative in the novel reveals two planes of autobiographical memory of the writer, which are
represented by both the biographical plane, which manifests itself as factual data, including the names
of those close or dear to the author, the names of the real places, locations, events and so on, and the
autopsychological plane, used for recreation of the author`s own childhood emotions, which Ray Bradbury
defined as “sense impressions”.
The purposeful work of the writer`s memory aimed at carefully preserving his own impressions with
their subsequent reproduction in the piece can be clearly seen in the vivid expression of the author`s images
of experiences and perceptions, brought back to life in the novel. In Dandelion Wine`s text the sensory
impressions recalled by Bradbury are transformed into the system of metaphoric images demonstrating
the plasticity of representation and visual effect. Each impression acquires its unique plastic image.
Conclusion. The poetics of autobiographical memory in the novel Dandelion Wine finds its
expression in the depiction of the writer`s memories about his childhood sensory impressions, feelings
and perceptions. The main principles of the novel`s poetics are the fragmentary narrative; time, split into
a series of moments; the use of stream of consciousness method, actualized through inner monologues of
the hero; expression of reminiscences in visual plastic images, sensory impressions, feelings, associations,
conveyed through metaphorically exquisite lyrical style of narrative, suggesting that Bradbury follows the
tradition and experience of impressionistic aesthetics of Proust, giving to Dandelion Wine the form of
impressionistic novel. The principles of autobiographical poetics applied in the novel, appear as the stylecreating principles of the poetics of impressionistic novel genre in literature.
the literary piece. The purpose of this work is to research the poetics of autobiographical memory in Ray
Bradbury`s novel Dandelion Wine. To conduct the research biographical, hermeneutic, historico-literary,
and comparative-historical methods of analysis were applied.
The poetics of autobiographical memory is represented by the set of artistic means used to render the
author`s reminiscences and it combines the work`s autobiographical and autopsychological concepts seen
as sort of eventual autobiographism and psychological autobiographism. The poetics of autobiographical
memory is based on internal psychological kindredness of the author and the hero in the autobiographical
work. In Ray Bradbury`s writing autobiographism of events is frequently superseded by psychological one,
engaging the mechanisms of autobiographical memory at the level of sensory impressions, emotional states, spiritual associations, defining the peculiarity of autobiographical poetics. The retrospective
manner of narrative in the novel reveals two planes of autobiographical memory of the writer, which are
represented by both the biographical plane, which manifests itself as factual data, including the names
of those close or dear to the author, the names of the real places, locations, events and so on, and the
autopsychological plane, used for recreation of the author`s own childhood emotions, which Ray Bradbury
defined as “sense impressions”.
The purposeful work of the writer`s memory aimed at carefully preserving his own impressions with
their subsequent reproduction in the piece can be clearly seen in the vivid expression of the author`s images
of experiences and perceptions, brought back to life in the novel. In Dandelion Wine`s text the sensory
impressions recalled by Bradbury are transformed into the system of metaphoric images demonstrating
the plasticity of representation and visual effect. Each impression acquires its unique plastic image.
Conclusion. The poetics of autobiographical memory in the novel Dandelion Wine finds its
expression in the depiction of the writer`s memories about his childhood sensory impressions, feelings
and perceptions. The main principles of the novel`s poetics are the fragmentary narrative; time, split into
a series of moments; the use of stream of consciousness method, actualized through inner monologues of
the hero; expression of reminiscences in visual plastic images, sensory impressions, feelings, associations,
conveyed through metaphorically exquisite lyrical style of narrative, suggesting that Bradbury follows the
tradition and experience of impressionistic aesthetics of Proust, giving to Dandelion Wine the form of
impressionistic novel. The principles of autobiographical poetics applied in the novel, appear as the stylecreating principles of the poetics of impressionistic novel genre in literature.
Research Interests:
The article discusses the image of history as a traumatic experience of the past and its visual embodiment in the novel La Reine Margot by Alexandre Dumas and its similarly-titled film by Patrice Chereau. Based on the concepts of... more
The article discusses the image of history as a traumatic experience of the past and its visual embodiment in the novel La Reine Margot by Alexandre Dumas and its similarly-titled film by Patrice Chereau. Based on the concepts of “narrative fetishism” and “work of sorrow” substantiated by Eric Santner, both, the prose and cinema narratives are analyzed in the con- text of historical narrative. The novel by Dumas has the following objects of visualizing the traumatic experience: the distinguished event (Bartholomew’s Night), historical space (Paris, the Louvre), the human body in its life manifestations and the image of Providence (fate). It is noted that the visual aesthetics in Dumas’ novel narrative forms the perception of historical trauma within the framework of “narrative fetishism”, creating a romantic image of history and historical personalities. The key objects of visualization in the film by Chereau are the event of Bartholomew’s Night and the body (in the images of physically and spiritually traumatized characters). Unlike Dumas, who conveyed the memory of the sixteenth century in the light of the romantic nineteenth century, Chereau creates the memory of the twentieth century demon- strating a naturalistic-baroque interpretation of the romantic image of history. The “narrative fetishism” of the novel gives way to the “work of sorrow” stipulated by the experience of historical trauma in the film.
Key words: traumatic experience, visual aesthetics, image of history, Bartholomew’s Night, “narrative fetishism”, “work of sorrow”
Key words: traumatic experience, visual aesthetics, image of history, Bartholomew’s Night, “narrative fetishism”, “work of sorrow”
Research Interests:
The article investigates the features of embodiment of Mozart and Sa- lieri images as well as and their relationships in the context of reflections on the artistic truth affirmed in the play, which is revealed in fiction, and historical... more
The article investigates the features of embodiment of Mozart and Sa- lieri images as well as and their relationships in the context of reflections on the artistic truth affirmed in the play, which is revealed in fiction, and historical truth meaning. The postmodern form of the classic plot is emphasized. The study of Mozart and Salieri images in the play is supplemented by the analysis of their originality in the screen version.
Keywords: the artistic truth; tragic conflict; “theater in theater”; images of Mo- zart and Salieri; music image.
Keywords: the artistic truth; tragic conflict; “theater in theater”; images of Mo- zart and Salieri; music image.
Research Interests:
The article studies the problem of the Yekaterinoslav urban text formation in Russian literature. The image of the city in the poem by Alexander Pushkin Brothers-Robbers is analysed; the real (historical) image of Yekaterinoslav is... more
The article studies the problem of the Yekaterinoslav urban text formation in Russian literature. The image of the city in the poem by Alexander Pushkin Brothers-Robbers is analysed; the real (historical) image of Yekaterinoslav is considered in correlation with the image depicted in the poem, determined are the functions of romanticist topoi in the creation of the Yekaterinoslav text, while revealed are the peculiar features of the formation of the urban myth within the Yekaterinoslav text itself. The process of shift from the image of a real Yekaterinoslav city to the image of the ideal (non-material) one, from a "physical" image to the "metaphysical" is investigated. There is a process of poeticizing a small city in the work of art, representing the primary stage of forming a myth about the city. After analysing the correlation of the Yekaterinoslav myth with the aesthetic constants of romanticism (the motif of freedom and predatory liberty, images of the noble robber and rebellious character, the motif of rejection, correlation with the utopian tradition) we may conclude that within the poetics of the urban text Alexander Pushkin reinterprets and transforms the traditional categories of romanticist poetics. The author's characterization of the robber character diminishes the romantic ideal, revealing the other, "trivial" nature and interpreting rebellion not as a rejection or desire for freedom, but as a crime. Such a twist in depicting the image of a rebellious character stipulates a different interpretation of the theme of freedom, transforming it into the theme of guilt and punishment. Thus, the motifs of rejection, rebellion and repentance, compositionally uniting the development and understanding of the theme of predatory liberty in the poem, are interpreted in the metaphysical image of the city. Such a function of the city image determines the peculiar narrative structure of the poem at the level of plot, composition and style.
Research Interests:
The article studies the concept of an artist-man as an artistic personality in the philosophical aesthetics introduced by Richard Wagner, based on the idea of the synthesis of the arts, and its transformation in the aesthetics of... more
The article studies the concept of an artist-man as an artistic personality in the philosophical aesthetics introduced by Richard Wagner, based on the idea of the synthesis of the arts, and its transformation in the aesthetics of modernism. The purpose of the research is to analyze the concept of Wagner, provide rationalization for its connection with the Faustian theme and consider its interpretation in the novel Mephisto by Klaus Mann. So, the purpose stipulates the usage of methodological basis of the study including cultural and historical, historical and literary, comparative, philosophical and aesthetic research methods. The Wagnerian image of an artistic person and the idea of the synthesis of the arts gain momentum at the turn of the 19 th and 20 th centuries and get a second wind in the artistic legacy and theoretical works of the famous Russian symbolist poet Alexander Blok, who developed the concept of Wagner. According to Wagner, the idea of the synthesis of the arts resulted in the idea of creating the image of a free person capable of comprehending, renewing and transforming the world, and thus revealed a connection with the Faustian theme, vital during this period. The essence of an artist-man, establish himself in his creativity, is considered in the article in terms of the development of the Dionysian principle as a primitive creative energy, aimed at creating and transforming the world and man with the help of art. Wagner's concept is realized in an invertible way in the novel by Klaus Mann, where the image of an artist-man is identified with the image of Mephistopheles as the embodiment of a destructive principle. The article analyzes the degrading artistic principle on the basis of the image of protagonist. Mann's interpretation of the Wagner concept and the Faustian theme enables to conclude that the modernist literature of the 1930s is accentuated by the idea of the degeneration of the artistic creative Faustian principle, its transformation into the demonic principle. So, the idea of transforming the world, implemented in the state reorganization headed by the totalitarian Nazi government, has got the features of the apocalypse. Key words image of an artist-man; artistry; the Faustian theme; Apollonian and Dionysian; image of Mephistopheles.
Research Interests:
In article the problem of a film adaptation of a literary work in a context of a cultural transfer theory is investigated. On a material of the Soviet film adaptation of A. Conan Doyle’s story The Hound of the Baskervilles is analyzed... more
In article the problem of a film adaptation of a literary work in a context of a cultural transfer theory is investigated. On a material of the Soviet film adaptation of A. Conan Doyle’s story The Hound of the Baskervilles is analyzed process direct and inversive as- signments of other culture elements, which result becomes introduction in use of con- cepts “Russian Sherlock Holmes”, “Russian England”. The strategy of game realized in game behaviour of characters, has allowed the Soviet director to pass the parodical-ironic tone, inherent in the Victorian epoch. Created by the Soviet director in The Hound of the Baskervilles an image of Russian England and the Russian Englishmen-heroes who have taken roots in Russian national cultural ground, the initial English culture has apprehended as own, durably identifying Konan Doyle`s characters with Russian actors – V. Livanov, V. Solomin, N. Mikhalkov, etc.
The specifics of the Faustian consciousness in the Modernism period is investigated in the article. Identifies the key characteristics of the Faustian culture in line with the concept of O. Spengler and ways of Faustian consciousness... more
The specifics of the Faustian consciousness in the Modernism period is investigated in the article. Identifies the key characteristics of the Faustian culture in line with the concept of O. Spengler and ways of Faustian consciousness forming. Analyzes the conditions of crisis Faustian culture in the 20th century and Faustian consciousness in general.
Статья посвящена исследованию процесса развития художественного образа города в литературе переходных эпох. Выделяются эстетические слагаемые образа города как субъекта переходного процесса. Анализируется специфика эстетического... more
Статья посвящена исследованию процесса развития художественного образа города в литературе переходных эпох. Выделяются эстетические слагаемые образа города как субъекта переходного процесса. Анализируется специфика эстетического восприятия города в разные эпохи и взаимоотношения эстетического и художественного в структуре образа.
Статья посвящена исследованию «перехода» как культурного феномена рубежа ХІХ-ХХ веков. Определяются стадии перехода в культуре и литературе, его эстетические основы и субъекты.
Статья посвящена исследованию периода 1920–1930-х годов как социокультурной и эстетической целостности, наполненной собственным неповторимым смыслом, позволяющим идентифицировать это двадцатилетие как эпоху. В анализ включены... more
Статья посвящена исследованию периода 1920–1930-х годов как социокультурной и эстетической целостности, наполненной собственным неповторимым смыслом, позволяющим идентифицировать это двадцатилетие как эпоху. В анализ включены исторические, социально-политические и культурные события, предопределившие специфику развития литературного процесса этого периода. Особое внимание уделено своеобразию эстетики модернизма, формирующему содержание литературной эпохи 1920–1930-х.
The article studies such cultural phenomenon as madness in its romantic (Edgar Poe) and expressionistic (Ivan Shmelyov) interpretation. Refl ecting upon the philosophical concept introduced by Michel Foucault the author analyzes how... more
The article studies such cultural phenomenon as madness in its romantic (Edgar Poe) and expressionistic (Ivan Shmelyov) interpretation. Refl ecting upon the philosophical concept introduced by Michel Foucault the author analyzes how visual-plastic and verbal experience of interpreting madness in terms of literature is realized. Verbal and literary peculiarities of creating an aesthetic image of madness within the romantic canon in Poe's story is compared to the specifi c features of verbal and visual images created in the style of expressionism by Shmelyov. Techniques of literary image visualization, revealing the specific nature of interaction between different forms of literature, art, cinema peculiar to the first third of the twentieth century, are studied in the process of transition from the aesthetics of story to the aesthetics of presentation.
В статье исследуется вопрос о соотношении эстетического сознания и действительности. Анализируется процесс взаимодействия эстетического и художественного сознания в эпоху романтизма. Обосновывается тезис о том, что в ХІХ в. эстетическое... more
В статье исследуется вопрос о соотношении эстетического сознания и действительности. Анализируется процесс взаимодействия эстетического и художественного сознания в эпоху романтизма. Обосновывается тезис о том, что в ХІХ в. эстетическое сознание как совокупность эстетических взглядов эпохи формируется в литературе, создавая предпосылки для трансформации романтизма в особое мироощущение. Осмысливается влияние литературно-эстетических процессов эпохи романтизма на формирование модернистской эстетики.
Theme of madness in a short story "The System of Doctor Tarr and Professor Fether" by Edgar Allan Poe and in a similarly-named film by Claude Chabrol. The article considers the theme of madness as a cultural phenomenon in its romantic... more
Theme of madness in a short story "The System of Doctor Tarr and Professor Fether" by Edgar Allan Poe and in a similarly-named film by Claude Chabrol. The article considers the theme of madness as a cultural phenomenon in its romantic (Edgar Poe) and postmodern (Claude Chabrol) film interpretation. The study is based on the cultural and philosophical concept of madness grounded by Michel Foucault. The historical existence of madness phenomenon has two types of its perception distinguished, 'cosmic', which is the tragic madness of the world, and 'critical', which is peculiar to human consciousness and behavior, generating the ironic understanding. According to the philosopher, the cosmic and critical cultural experience of madness is embodied in visually plastic (pictorial) and verbal (literary) forms respectively. The verbal and literary specifics of creating an aesthetic image of madness within the romantic canon in Edgar Allan Poe's story is compared with the peculiarities of the visual-sound plastic form of the images in Claude Chabrol's film, created in the style of surrealism. In Poe's story madness appears as a local phenomenon, a state of human consciousness determining the way of thinking and the specifics of behavior. The main way how the writer creates the characters includes their behavioral characteristics and speech. In Chabrol's film interpretation the theme of madness unfolds gradually, being embodied in visual images, the pace of the film, the changing intraframe composition, the specific movement in the frame, the speed and rhythm of cutting, the color and sound of the film. Within the postmodernism aesthetics the director, inserting surrealistic Buñuel's intertext, using the techniques of playing with the audience and varying interpretations of the end, focuses on the cosmic experience of madness, transforming Poe's romantic-ironic interpretation into a understanding the "tragic madness of the world".
В настоящем пособии представлены материалы, необходимые при подготовке к практическим занятиям по истории зарубежной литературы ХІХ века (эпоха романтизма). Издание адресовано студентам, аспирантам, преподавателям филологических... more
В настоящем пособии представлены материалы, необходимые при подготовке к практическим занятиям по истории зарубежной литературы ХІХ века (эпоха романтизма).
Издание адресовано студентам, аспирантам, преподавателям филологических факультетов высших учебных заведений, а также широкому кругу читателей, интересующихся историей зарубежной литературы эпохи романтизма.
Издание адресовано студентам, аспирантам, преподавателям филологических факультетов высших учебных заведений, а также широкому кругу читателей, интересующихся историей зарубежной литературы эпохи романтизма.
In the article it is considered neoromantic and symbolist an aesthetic canon of courteous knightly poetry reconsideration. In E. Rostand’s play Princess the Dream (revive Rudel) and are interpreted in Ch. Baudelaire’s and A. Blok’s... more
In the article it is considered neoromantic and symbolist an aesthetic canon of courteous knightly poetry reconsideration. In E. Rostand’s play Princess the Dream (revive Rudel) and are interpreted in Ch. Baudelaire’s and A. Blok’s symbolist experiences. The philosophical aspect of images of unknown woman, love, dream, reverie, an expanse unity understanding in A. Blok’s drama The Rose and the Cross, generalizing and Rostand’s aesthetic experience and transforming their symbolist and neoromantic concept in an creative life aesthetics which center is the image of the person-artist is analyzed.
Key words: neo-romanticism, symbolism, poetry of troubadours, images of dream, an ex- panse, a reverie, beautiful unknown woman, creative life aesthetics, an image of the person-artist
Key words: neo-romanticism, symbolism, poetry of troubadours, images of dream, an ex- panse, a reverie, beautiful unknown woman, creative life aesthetics, an image of the person-artist
Статья посвящена исследованию стратегий визуальности как типов видения, в которых воплощена специфика зримости образа, его наглядности и прозревания смысла, а также своеобразия воплощения стратегий визуальности в литературе и... more
Статья посвящена исследованию стратегий визуальности как типов видения, в которых воплощена специфика зримости образа, его наглядности и прозревания смысла, а также своеобразия воплощения стратегий визуальности в литературе и кинематографе. Материалом для исследования является повесть И.С. Шмелева «Человек из ресторана» (1911 г.) и ее одноименная киноверсия Я.А. Протазанова (1927 г.).
Статья посвящена исследованию культурно-эстетического феномена «века джаза» и его отражения в романе Р. Олдингтона «Смерть героя» (1929) и в картине О. Дикса «Большой город» (1928). Анализируются культурные смыслы «века джаза» в... more
Статья посвящена исследованию культурно-эстетического феномена «века джаза» и его отражения в романе Р. Олдингтона «Смерть героя» (1929) и в картине О. Дикса «Большой город» (1928). Анализируются культурные смыслы «века джаза» в музыкальном, историческом и философском преломлении. Автор прослеживает процесс «присвоения» эстетических качеств джазовой музыки литературой и живописью, порождающий новые формы – джазовый роман, музыкальная метафора, джазовый стиль экспрессионизма. В культурном отношении исследуется связь века джаза с Первой мировой войной и потерянным поколением, что служит отправной точкой в сравнительном анализе романа Р. Олдингтона и полотна О. Дикса.
Ключевые слова: джаз, век джаза, традиция, дионисийское начало, модернизм, потерянное поколение, традиция, синтез словесного, изобразительного и музыкального образов.
Ключевые слова: джаз, век джаза, традиция, дионисийское начало, модернизм, потерянное поколение, традиция, синтез словесного, изобразительного и музыкального образов.
В статье исследуется художественное своеобразие произведения В. Бого- молова в контексте традиций военной и пасторально-идиллической прозы. Анализируются реминисценции античного пасторального романа Лонга «Дафнис и Хлоя», а также образов... more
В статье исследуется художественное своеобразие произведения В. Бого- молова в контексте традиций военной и пасторально-идиллической прозы. Анализируются реминисценции античного пасторального романа Лонга «Дафнис и Хлоя», а также образов и элементов сюжета картины С. Ботти- челли «Весна» в повести «Зося». Осмысливается процесс ремифологизации пасторально-идиллического мифа В. Богомоловым сквозь призму античных философских представлений о гармонии лука и лиры как единстве Вражды и Мира (Гераклит) и гармонии сфер (Пифагор, Платон). Обосновывается специфика пасторального героя повести как «существа любящего», согласно концепции М. Шелера, и одновременно как воина-защитника идиллии.
В статье исследуется повествовательный характер живописи английского художника Уилья-ма Хогарта (1697–1764). Анализируется специфика литературного способа изображения, слагаемые эстетики творчества художника, предполагающие вплетение... more
В статье исследуется повествовательный характер живописи английского художника Уилья-ма Хогарта (1697–1764). Анализируется специфика литературного способа изображения, слагаемые эстетики творчества художника, предполагающие вплетение поэтики литературного в живописное изображение. Определяется влияние художественно-эстетических поисков У. Хогарта на развитие литературного процесса в Англии. Основным объектом исследования является серия картин художника «Модный брак» (1745). Творческий метод Хогарта осмысливается в аспекте синтеза традиций живописи эпохи Просвещения, рококо и просветительского реализма.
Литературоведческое прочтение живописных произведений художника обнаруживает ряд литературных приемов, с помощью которых создаются образы живописные: прием говорящего имени; жесты, мимика, позы – все, что органично связывает у Хогарта живописный портрет и литературный, психологический.
Литературоведческое прочтение живописных произведений художника обнаруживает ряд литературных приемов, с помощью которых создаются образы живописные: прием говорящего имени; жесты, мимика, позы – все, что органично связывает у Хогарта живописный портрет и литературный, психологический.
Монография посвящена исследованию актуальной современной научной проблемы взаимодействия философии и художественной литературы. Впервые рассматриваются сущность и роль знаковой работы ХХ века – «Закат Европы» Освальда Шпенглера в... more
Монография посвящена исследованию актуальной современной научной проблемы взаимодействия философии и художественной литературы. Впервые рассматриваются сущность и роль знаковой работы ХХ века – «Закат Европы» Освальда Шпенглера в становлении и развитии литературного процесса 1920–1930-х гг. Автор анализирует формы и способы художественно-эстетического преломления концептов фаустовской культуры (закатность, фаустовский тип личности, город, идея вечного познания и преображения мира) в поэтологии произведений западноевропейской, американской, русской и украинской литератур. В монографии воссоздан образ фаустовской культуры и своеобразие ее бытования в культурном и художественном сознании разных эпох – от Возрождения до модернизма.
Издание рассчитано на филологов – научных работников, преподавателей литературы, аспирантов, студентов, и широкий круг читателей, интересующихся проблемами литературы ХХ века.
Издание рассчитано на филологов – научных работников, преподавателей литературы, аспирантов, студентов, и широкий круг читателей, интересующихся проблемами литературы ХХ века.