Artistic Originality Research Articles

MYTH IN SAM SHEPARD’S “THE GOD OF HELL” AND ITS POLITICAL IMPLICATION

The article introduces the creative work of the famous American playwright Sam Shepard, whose works are almost unknown to our Uzbek reader. His plays are well known throughout the world; they influenced the formation of the worldview of readers of different nations and show the peculiarities of American culture. Despite the worldwide fame of Sam Shepard’s works, they are not studied well by literary critics. In America and Europe his works have been studied in details for a long period, and even several monographs in English have been written. However, neither in the Russian speaking, nor in the domestic literary criticism there is yet no major work on Shepard's works. The article also deals with the artistic features of the political myth of the “American dream” in one of the most scandalous plays, “The God of Hell,” dedicated to the protest against the war in Iraq. Thus, this study, which touches upon some issues of Shepard's creative work in connection with his innovative artistic originality, to a certain extent, seeks to fill this gap.

ХУДОЖЕСТВЕННОЕ СВОЕОБРАЗИЕ ДЕТСКОЙ ПОЭЗИИ ДЖАМИНАТ КЕРИМОВОЙ

The article deals with poems for children of preschool and school age of the famous modern Kumyk poetess Dzhaminat Kerimova. The author studies the artistic originality of the poetic texts and gives their comparative analysis. The focus is on the thematic range, figurative structure and poetics of the works. In the course of the study, it is revealed that children’s lyrics by Dzh. Kerimova are diverse in subject and intonation. There is deep penetration into the wonderful world of childhood and the presentation of a lively and direct children’s view on the surrounding reality in the poetic texts. The poems are original, full of national colour. It is ascertained that the poetess’s lyric maxims are profound, they reflect edification, didacticism.

ОБРАЗ МАРИИ: МИФОЛОГЕМА И МИФОНИМ «ДЕВЫ МАРИИ» В ТВОРЧЕСТВЕ ЭНН ЭНРАЙТ (НА ПРИМЕРЕ РАССКАЗА «МАЛЕНЬКАЯ СТАТУЭТКА ДЕВЫ МАРИИ»)

The article is devoted to analysing the artistic originality of the story “The Portable Virgin” by the modern Irish English-speaking authoress Anne Enright. The paper focuses on studying the mythologeme and mythonym of “Holy Mary”, which are realized implycitly and explicitly in the story. The author identifies the means to represent Mary-wife’s and Mary-mistress’s image and discovers the ways to actualize the mythologeme and mythonym of “Holy Mary”. The writer’s specific techniques contribute to the deconstruction of the Saintess’s traditional image and the formation of another, cardinally new, image in the Irish national worldview.

Об особенностях функционирования предметной детали в произведениях И.А. Бунина

We investigate the role of subject detail in the I.A. Bunin’s artistic worldview on the material of prose. Problem of an artistic subject in the poetics of the writer is revealed on the example of functioning of such thing as a suitcase. The purpose of the study is to describe some artistic principles of I.A. Bunin’s poetics and analyze the role of artistic subject in the work system. From this position, we consider the most representative texts (“The Story of a Suitcase”, “The Gentleman from San Francisco”, “Mitya’s Love”, “Heinrich”, “The Mad Artist”). We reveal the characterological functions of the portrait detail, designed to show status of the hero. This detail also inherent plot-forming functions, which are an essential feature of a subject in which the world of things is animated. We note the special sensory properties of the detail (color, olfactory, sound, tactile) as a way of psychological characteristics of the hero and a reflection of the writer’s artistic originality.

A collection of ivan bunin “selected poems” (1929): the author's concept and artistic originality

The article presents a structural-compositional, stylistic and semantic analysis of the final author's collection of poems by I. A. Bunin “Selected poems&8j1;, published in 1929 (Paris). The article briefly touches upon the critical reception of the collection and its place in the literary life of the Russian Diaspora. The pivoting themes (Russia, God, life, death, memory, culture, history, creativity, time, etc.), motifs and images (earth and sky, sea, stars, deer, empty house, etc.), characteristic of this book are investigated. Opening and closing works of the collection are analyzed. The ways in which the author’s point of view informs the book are also considered: we consider his departure from subjectivism and confessionalism and insistence on creation of objective, omniscient “I”. On the basis of the number of characteristic poetic features (metric, lexical similarity, citation and allusion) the article argues that the poetry of E.A. Baratynsky and, in particular, his collection of “Twilight”, impacted the structure, composition, and style of the “Selected poems” by Bunin. Hence, Bunin’s collection is not just a selection of disparate poems, but a complex artistic whole, which grew out of intra- and intertextual links between poetic pieces. The resulting text has its internal plot, its own agenda and closure, which might be considered as a poetic analogue of Bunin's collection of short stories “Dark Alleys”. The purpose of the new book was Bunin's desire to express his mature philosophical and aesthetic views on the world and art, and through a comprehensive inquiry into modern and olden ways of human life to give answers to eternal ontological questions, setting them into poetic form.

ДМИТРО ЧИЖЕВСЬКИЙ ЯК ІСТОРИК НАЦІОНАЛЬНОГО ЛІТОПИСАННЯ

The article is devoted to the study of D.Chyzhevsky’s contribution to the analysis of the artistic filling of ancient chronicles through the use of the stylistic method of analysis. An important conclusion is the assertion of the national chronicles of the eleventh and thirteenth centuries that their authors are highly educated, good connoisseurs of the Bible, ancient, Byzantine literatures, works by Homer, Joseph Flavius, George Hamartol, Joan Malalai, the Byzantine chronograph, Alexandria, especially popular in the princely environment, and the images of Alexander of Macedon, Darius, reproduced in it, as well as the image of Hercules, were close and exemplary for our princes. As for the brief history of national writing, D.Chyzhevsky, analyzing the historical and aesthetic canvas of the chronicles of the eleventh and eighteenth centuries, adequately and convincingly characterized the artistic value and originality of memorials, revealed the crucial importance in their creation of the high erudition available to the authors, the thorough knowledge of the history of Ukrainian and foreign, in particular of ancient, literatures; emphasized in the chroniclers the literary ability, heroic and patriotic abilities, national centrism and moral and religious nobility, attachment to traditions, a part of the literary and chronicles, which contributed to the writing of majestic epic paintings addressed to the depicted and described heroes of works. The historian of literature has convincingly proved that such a long-term development of the genre of the chronicles (XI-XVIII centuries) was facilitated by the content-artistic perfection of «The Tale of the Past Years», the talent of its founders, Nikon, Nestor, Sylvester, whose own work, the idea of unity of Russia in the struggle against internal and external enemies, which remained urgent throughout all subsequent centuries, and a significant conservatism of the genre, focused on the upbringing of historical generic, national, cultural memories, laid the solid foundations for the development of our entire national first literature which convincingly demonstrate chronicles, historical fiction themes XIX-XXI centuries. The own «History of Ukrainian Literature», the level and conclusions of the analysis of the chronicles D.Chyzhevsky scientifically reasonably developed the principle of national centrist, founded in his medieval works by M.Maksymovych and confirmed by the formation and development of our literary thought. In them, the doctrine proved that in the analysis of ancient writing, chronicles must use a stylistic approach to express their artistic, their aesthetic nature and value. The new thought of the scientist was his noteworthy that the chronicles have signs of the classical direction, characteristic of the works of the elite princely-Sarmatian and Cossack-Kozar tribes.

Художественное своеобразие произведений Рената Хариса для детей

Художественное своеобразие произведений Рената Хариса для детей

ФИЛЬМ «ЗАВЕЩАНИЕ ДОКТОРА МАБУЗЕ» (1933) КАК ИТОГОВОЕ ПРОИЗВЕДЕНИЕ НЕМЕЦКОГО ПЕРИОДА ТВОРЧЕСТВА РЕЖИССЁРА ФРИЦА ЛАНГА

The article analyses the artistic originality of Fritz Lang’s movie “The Testament of Dr. Mabuse” in correlation with his early works. The paper concludes that just in this movie the author, formally staying in tune with the German expressionism techniques, abandons the models of world perception typical of this artistic trend and realizes in the realistic detective genre. The researcher justifies the denial of the traditional conception of the movie as an allegory aimed to denounce National Socialism policy.

ПОРТРЕТ РОМАНТИЧЕСКОГО ГЕРОЯ В РАССКАЗЕ С. СЮРЮН-ООЛА «НЕОКОНЧЕННАЯ ИСТОРИЯ»

The article deals with the peculiarities of the creation of the romantic portrait of the main heroine in S. Syurun-ool’s tale “The Unfinished Story”. The artistic originality of the writer’s narration in this work is the opposition of the appearance and the inner world of two heroines (Kara-kys and Minchimaa). The author endows his heroine Kara-kys with such romantic qualities as dreaminess, sublimity of feelings. The abundance of gestures, outer and inner monologues in the work represent the internal changes of the heroine and express the feelings experienced by her: confusion, excitement, embarrassment and so on. The mystical scene about spilt milk, which is typical of romantics, in the tale shows S. Syurun-ool’s innovation.

DEVELOPMENT OF VOTKINSK CITY-PLANT PRIOR TO 1917

The paper is relevant due to changes in the city-plant Votkinsk situated in the Urals. These changes condition a loss of architectural and artistic originality of the city. The purpose of the paper is to reveal its town-planning features. For the first time, the stages of its urban development are identified empirically on the basis of the complex analysis results on the historical and architectural heritage of Votkinsk. The research results can be used for the formation of the concept concerning the properties conservation of Votkinsk.

Волжский травелог XIX века: идейно-художественное своеобразие и проблемы изучения

Волжский травелог XIX века: идейно-художественное своеобразие и проблемы изучения

The artistic originality of N. A. Lvov’s comic operas

У статті аналізується жанр комічної опери в художній спадщині М. О. Львова; визначається жанрова специфіка комічної опери драматурга, яка проявляється в активному використанні ним народної мови, у спадкуванні та трансформації традиції європейської, зокрема, французької комедії XVIII століття, в синтетичній природі комічної опери російського автора, інноваційний характер якої полягає також у привнесенні М. О. Львовим на російський ґрунт, сцену і в літературу практично не представленої в російській культурі художньої практики рококо, в чому з найбільшою силою оприявнився вплив на драматурга європейського культурно-літературного досвіду.

ХУДОЖНЯ ДИНАМІКА ПРОБЛЕМИ ВИБОРУ В ТРАГЕДІЇ ЄЛИСЕЯ КАРПЕНКА «В ДОЛИНІ СЛІЗ»

The article investigates the genre features of the work of Elysey Karpenko “In the Valley of Tears” in relation to the problem of the play. In particular, artistic methods and means of expressing and understanding the moral and ethical problems of tragedy can be traced; the level of dramatic action intensity and dramatic conflict, which causes the playwright’s appeal to the genre of tragedy. The research is aimed at studying the interaction of the characters, which leads to the definition, formation and deployment of the conflict in literary work, which is implemented in the personal and social plane. The article looks at the worldviews of characters that lead to a tragic conflict resolution. The drama of Yelysei Karpenko represents an important segment of Ukrainian drama. The author pays attention to the artistic study of the problems of personal, social self-determination, focusing on the moral aspect. Modernist thinking of Elysey Karpenko contributes to the visualization of dramatic tension in plays. The maximum intensity of the dramatic action is presented in the tragedy “In the Valley of Tears”, which is devoted to the artistic comprehension of the key problems for the playwright. The purpose of the study is to determine the content structure of the tragedy of Yelisey Karpenko “In the valley of tears”. The research is aimed at determining the genre features of the work of Elysey Karpenko “In the valley of tears”; elucidation of artistic principles that determine the author’s appeal to the genre of tragedy; definition of the artistic originality the process of the characters’ choice, due to personal intentions, moral values and social circumstances. Conflict of the play «In the valley of tears» is based on the opposition of illusions and real life. An important role in the dramatic conflict is played by the social component, which leads to the deformation of the psychology of the characters. The playwriter points out the ambiguity of the problem, since the characters do not use their education for any constructive purposes; they just seek the attributes of the mortal life.

“They don’t even know how to copy”

This article explores the prevalence of concerns over artistic originality in Albania’s postsocialist art world. Based on anthropological fieldwork, it discusses how Albanian artists discipline each other’s work, particularly by noting its lack of originality in relationship to well-known Western artists but also their own. Emphasizing the social and organizational role of such concerns, I analyze them in light of various factors that have become salient after Albania’s transition from postsocialism to a market economy, including the loss of a system of authority following the liberalization of art production from state support and oversight and the failure to develop a stable one since 1991. The discourse on originality expresses Albanian artists’ perceived marginal status in the transnational art world and market and is deployed to transcend this status.

The Traditions of the Past in the Contemporary Pottery of Japan

The article presents the data on the contemporary Japanese art of pottery, collected by the author in June 2015. The study area is Shimane Prefecture on the West coast of the island of Honshu. The study objects are pot tery workshops and their production. The article consi ders the aspects of social organization, technical level and technological cycle of pottery, the stylistic features of ceramics production, and its role in daily life. The author discovers that there are many conservative traits, remaining in the organizational fi eld of pottery and its technological processes, which were typical for the ceramics industry of Japan in the 19th — fi rst half of the 20th century. The technical and technological methods and principles of ceramics production, developed over the centuries, determine its external features and artistic originality. The usage of modern technical equipment for pottery molding and fi ring does not change the pottery’s general trend of keeping the traditions. The pottery production of Shimane is mostly represented by iwá mi-yá ki style. Its main distinc tive feature is its specifi c decoration with colorful glazes. At the same time, there are some other styles in Shimane — for instance, hagi style. The pottery workshops offer both traditional forms and products of the European type. Currently, the most popular categories of ceramic production are tableware, including those for the tea ceremony, as well as interior and exterior design objects.

Fretted Lines: Di-versification in Augusta Webster's Dramatic Monologues

Fretted Lines:Di-versification in Augusta Webster's Dramatic Monologues Herbert F. Tucker (bio) It seems as if the resistance, so to speak, offered to the plastic despotism of the artist by characteristics accepted, not made, called forth a subtler and a stronger skill than if he had worked with the limitlessness of free invention.1 I'll find it for you on a whitewashed wallWhere the slow shadows only change so muchAs shows the street has different darknessesAt noontime and at twilight.2 —Augusta Webster Nothing seems more to have gratified the modernism of Vita Sackville-West, in the course of a briskly condescending 1920s retrospect of Victorian women's poetry, than to drop Augusta Webster's dramatic poetry into the dustbin of intellectual history: "these blank-verse pieces . . . she probably regarded as vehicles for expressing her sociological opinions rather than as poetry."3 The remark of course is not really about Webster's intentions but about Sackville-West's opinion that the verse lies beneath notice. In this paper all that I have to say arises from the opposite opinion: that Webster's dramatic verse rewards the most careful attention we can muster. But first let me engage Sackville-West's imputation that the poet's chief allegiance was "sociological." I do so because most of the literary criticism Webster's long-neglected work has attracted within the last academic generation in effect endorses the sociological premise. It reads her writing for the ideas that are expressed there about socially embedded ideologies—principally of gender—as these were institutionally enforced and personally enacted in a British Victorian context. In pursuit of this quarry, our scholarship on Webster is seldom detained much longer than Sackville-West was by the artistic medium of expression. We now have [End Page 105] much better accounts than we did of the poet's life and career, discerning investigations of her feminism, and thoughtful calibration, at a generic level, of the prose and verse kinds she practiced. What remains regrettably scarce is analysis, even appreciation, of her poetry as such.4 Victorian reviewers knew better. Whether they commended or chastised Webster's versecraft, they made a point of discussing it; and the contradictory reactions they posted suggest that it may have proved particularly resistant to description within received Victorian categories. Whereas for one 1860s reviewer "Mrs. Webster's blank verse has none of the sustained music, the organic rhythm, which is necessary to make blank verse endurable," another found it if anything sustained to a fault, complaining about "the too great monotony of the verse, . . . the sameness, the lack of spring and impulse."5 This defect struck a successor as still unaddressed in the 1870 collection Portraits: "Mrs. Webster's verse, though always smooth and mellifluous, seems to us sometimes wanting in spontaneity." 6 But that same year, another critic suspected instead that she "composes too rapidly; many of the lines appear to run too easily" and want "concentration."7 The concentrated spontaneity these reviews jointly demand seems a tall order; yet it describes pretty well the result this poet obtained, with remarkable freshness of invention, in the books to which her critics were responding and to whose formal qualities their criticisms bore authentic if splintered witness. As a more acute contemporary reader of Portraits put the case, no doubt with an eye to the blinkered journalistic competition, "Her simplicity is likely to repel the multitude, whose taste has been vitiated by false imagery and sham sentiment. And this simplicity is combined with a subtlety of thought, feeling, and observation which demand that attention which only real lovers of poetry are apt to bestow."8 Subtle simplicity, concentrated spontaneity: getting at the characteristics that these oxymora name, and appreciating the artistic originality and cultivation that produced them, will require more attention to form than Webster's latter-day admirers have been accustomed to pay. Webster is not only an accomplished prosodist but is furthermore, within the metrical tradition certifying that accomplishment, an exquisite innovator in the resources of blank verse. We can more clearly apprehend the innovation, understated and elusive as it is, after a look at how thoroughly she mastered...

“The economies of repetition”: The market, the artistic, and the genocidal in Ivan Vladislavić’s “Curiouser”

As a fictional response to a series of artworks by the Johannesburg artist, Joachim Schönfeldt, Ivan Vladislavić’s The Exploded View had unconventional origins. Though Vladislavić maintains that the links between Schönfeldt’s images and his own text are understated, certain motifs are obviously common to both. Moreover, if authenticity is one of Schönfeldt’s central themes, this is no less true of The Exploded View — and particularly of the story “Curiouser”, which features another (fictional) Johannesburg artist, Simeon Majara. The latter’s multi-media pieces not only raise uncomfortable questions about artistic originality and integrity, but also self-reflexively interrogate artistic representations of atrocity and the public’s consumption of such images. Intriguingly, however, while the fictional Majara’s installation on the Rwandan genocide, the “Nyanza Shrouds”, bears little relation to Schönfeldt’s work, it does implicitly set up a “conversation” with the Chilean artist Alfredo Jaar’s Rwanda Project (indeed, the similarity between Jaar and Majara’s names suggests a deliberately teasing cross-reference). In this article, I discuss the ways in which “Curiouser” engages with “the anxiety of influence” and the art world’s implicatedness in commodity capitalism. I also explore what Majara terms “the economies of repetition” in his own praxis, and his musings on the uncanny nexus between surplus and iteration in both genocidal and artistic contexts.

What does translation know?

ABSTRACTThis essay introduces Christian Hawkey’s Ventrakl (2010) into the tradition of ‘experimental translation’ – translations that deliberately and severely depart from their source texts, opening up the question of what counts as a translation in the first place. I argue that Ventrakl, which stages a long encounter and ‘collaboration’ with the early twentieth-century Austrian poet Georg Trakl, enriches our understanding of the relationship between translation and contemporary experimental poetic practice through a method that I term ‘radical contextualization’. By strenuously foregrounding the processes of learning and composition that go into its vanguardist attempt at an encounter with history, Ventrakl also foregrounds the question of the ethics of learning, particularly as it affects the relationship between artistic originality and historical reliance on pre-codified modes of communication and authority. I read Ventrakl in light of both translation theory (especially the possibilities opened up by Benjamin’s famous formulations in ‘Die Aufgabe des Übersetzers’) and theories of vanguardism and political efficacy in order to point out how important a poetics of translation, particularly one combined with the demystifying properties of contextualisation, can be for a more generalised theory of avant-garde poetic practice.

The Fairy Way of Writing: Shakespeare to Tolkien

The Fairy Way of Writing: Shakespeare to Tolkien

CHERKESSK MOTIVES IN THE WORKS OF TURKISH PROSE WRITER O. SEYFEDDIN

This article discusses the impact of the Adyghe (Circassian) people's motives in the works of talented Turkish writer, a descendant of the Circassian Muhajirs Omer Seyfeddin. The author establishes the laws of interaction of literary traditions, including the Turkish and Circassian. In the work from a different perspective is an attempt to analyze the works of wri ter, reveals that the creative individuality O. Seyfeddin related to the character and psychology of the Circassian ethnic group, which has developed its vision of the world, the mentality, a special look at the environment, the people, without which it is impossible to understand fully the artistic originality of the writer. Attention to issues such as ethno-cultural identity of the author, the language of art which was the Turkish Diaspora literature place in the history and current state of the Adyghe (Adygea, Kabardian, Circassian) literatures. The article concludes that the writer's creative diversity of approaches to the problems of historicism and psychology, on the role of a bright creative personality in the artistic evolution of consciousness, place the test pieces in the current state of the Circassian art literature. Results of the analysis of works of O. Seyfeddin can be used in the development of private matters of national literature; they will greatly facilitate the search path to the researchers.