Abstract
The article is devoted to the poetics of the television series Penny Dreadful (2014-2016, written by John Logan) as one of the original examples of contemporary neo-Victorian culture. Its eclectic intertext is reconstructed, including references to the sensational culture of the Victorian era (Penny Dreadfuls, Grand Guignol), the seminal texts (“Frankenstein”, “Portrait of Dorian Gray”, “Dracula”, etc.), biographies of individual historical fi gures (John Clare), contemporary neo-Victorian novels, fi lms and TV series. Th e artistic innovation of the creators of the series is revealed both at the level of textual self-refl ection and creative adaptation; and at the level of its Baroque poetics, which proves to be close to twenty-fi rst century sensitivity with its characteristic problematization of deviance, alterity, monstrosity, as well as the transgression of moral, physical, religious and cultural boundaries. Th e following neo-Baroque strategies are distinguished: theatrical tropes, and various embodiments of the idea of Th eatrum Mundi, ecstatic mood and dramatization, visual excess, images of the labyrinth, reduplication, intentional eclecticism.
Highlights
The article is devoted to the poetics of the television series Penny Dreadful
which proves to be close to twenty-first century sensitivity with its characteristic problematization
Как и многие другие неовикторианские тексты, “Penny Dreadful” переписывает прошлое, чтобы огласить наиболее острые проблемы настоящего, при этом именно его необарочная поэтика позволяет создать правдивую иллюзию проникновения в «уникальную» суть каждого из нас
Summary
Статья посвящена поэтике телесериала “Penny Dreadful” (2014–2016) как одного из оригинальных образцов современной неовикторианской культуры. Лоскутная техника сшивания разнородных источников в “Penny Dreadful” характерна для современной неовикторианской литературы, которая, как правило, использует сюжеты поздневикторианских канонических текстов Стокера, Уайльда, Стивенсона, а также заимствует элементы сенсационной фантастики, включая знаменитый текст Мэри Шелли. Таких как “Ripper Street” (2012–2016), “Whitechapel” (2009–2013) и “Dracula” (2014), “Penny Dreadful” – не единственное телешоу, которое эксплуатирует интерес зрителей к картинам преступности викторианской эпохи.
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