Literary Codes Research Articles

The synthetic nature of N. Lvov’s lyrical works in the focus of the “holiday” concept

This article examines the embodiment features of the dialogue of arts in N. Lvov’s creative heritage (1753-1803) based on the lyrical works of the writer intended for vocal performance (“Winter” (1796), “Duets. To the Music of Zhirdini Printed in London” (1791), “Words to the Finished Music of Seidelman. Duet” (1793), “A Song for Gypsy Dancing” (1789). The research uses the biographical, historical-functional and historical-typological methods. In the course of the study, we found that the synthesis of arts is a semantic and formative element. The writer managed to combine the literary code with the genome of a number of other, sometimes even antonymous, fields of art, which ultimately contributed to the creation of a unique work whose hallmark is eclecticism. Thus, through the active use of the musical art code in his work, N. Lvov managed not only to integrate two areas of art, but also to create a qualitatively new format of musical and literary art with powerful aesthetic potential. A clear example of this is his lyrical work with the concise title “Winter” (1796). In addition, as the analysis showed, the writer managed to organically introduce the festive concept of pagan extraction into the work, in many respects this is due to the genre nature of the text. Realizing the multiplicity of contact points between literature and painting, Lvov sought to develop various mechanisms of rapprochement. For example, he used the tools of fine art when creating the verbal fabric of a poetic text, thanks to which his poetic works acquired a special color and picturesqueness. We can observe this phenomenon in the “Duet. To the Music of Zhirdini Printed in London” (1791) and in “Words to the Finished Music of Seidelman” (1793). Being an innovator, N. Lvov made an attempt to combine various types of art – dynamic (literature) and spatial-temporal (choreography). An example of this kind of experiment is his “A Song for Gypsy Dancing” in whose genome the festive motif characteristic of N. Lvov’s work is traced again.

Girolamo Camerata and the Querelle des Femmes between Discourse and Paradox

In this article, I focus on the rhetoric of the querelle des femmes in the only book by Girolamo Camerata, Trattato dell’honor vero, et del vero dishonore (1567), offering a critical analysis of the chapter entitled “Questione dove si tratta chi più meriti honore o la donna, o l’huomo di M. Girolamo Camerata da Randazzo, Siciliano Dottor dell’Arti” (Question where it is discussed who merits more honour, woman or man, by Girolamo Camerata of Randazo, Sicilian Doctor of Arts). The main aim is to show how Camerata, in line with the prevalent rhetoric of the time and the other authors of the querelle des femmes, relies on androcentric literary codes (rhetoric within the androcentric cultural environment) and socially and culturally prescribed gender roles in order to provide reasons why women should be considered worthier of honour and more perfect than men. His work is an example of how arguments once used in reproach can paradoxically be reversed and serve the opposite aim (e.g., when the humoral theory is invoked to show that women are cold and therefore inferior, and then later to show that they are hot and therefore superior). Similarly, arguments citing bodily weakness as proof of mental inferiority can easily be turned to women’s advantage, connecting the body’s tenderness with greater mental activity.

KODE SASTRA, KODE BAHASA, DAN KODE BUDAYA DALAM CERITA PENDEK “SENYUM KARYAMIN” KARYA AHMAD TOHARI

This article presents the results of research on allusions in a short story entitled “Senyum Karyamin” by Ahmad Tohari. This research analyzes language code, literary code, and cultural code. The approach taken is a textual approach which emphasizes its analysis on the linguistic side of understanding texts. The data source is from Ahmad Tohari’s short story, “Senyum Karyamin”. The results of the analysis of the short story "Senyum Karyamin" found literary codes such as theme, plot, characters, setting, point of view and moral value. The results of the analysis of the language code in "Senyum Karyamin" by Ahmad Tohari found figures of speech, conversion and absorption. The Cultural Code depicted in short story Senyum Karyamin contains a social system and cultural values.

Marked Feat of Allusions in Roman Mikhailov’s Fairy Tales Collection «The Berries»

Artistic experiments are characteristic of the latest Russian literature. The experiment allows not only to create the effect of a dialogue with the classics, but also to build a new model for assessing reality. The poetic world traditionally has two highways of balance: this is time and an artistic space. The poetics of postmodernism is focused on the creation of the new within the framework of the transformation of the existing. Aesthetic experience processed by postmodern authors has signs of allusions, reminiscences, quotations, open hints. Roman Mikhailov's prose is a unique example of playing with literary codes, cultural and historical stereotypes. This happens both at the level of form and at the boundary level of content. The new literary reality of assessing the present in the mode of fairy-tale narrative is being implemented in R. Mikhailovs collection The Berries (2019). Lately reseachers have been finding little interest in the collection, there are hadly any works found in the public domain that would concern the analysis of language, style, author's manner of narration, compositional framework, genre variations. Thus, the study in line with the assessment of the typology and poetics of Roman Mikhailov's fairy tales appears to be relevant. The methodological content of this work correlates with the one of a receptive and hermeneutic nature. Labeling of allusions in the collection The Berries is carried out for the purpose of visual differentiation of meanings. The scope of postmodern writers meanings expands to rhizome. Consequently, the text stops being only a formal plane, but becomes a paradigmatic sign system. The collection of fairy tales The Berries contains texts of different years. However, they form a single artistic world with related plots. The literary experiment of R. Mikhailov's fairy tales focuses on the texts by Sh. Perrault, F.M. Dostoevsky, N.A. Nekrasov, I.S. Turgenev, N.S. Leskov, A.P. Chekhov; N. Pogodin's screenplay; V. Suteev's cartoon plots; V.S. Vysotsky's song structure. The range of allusions in this case is wide, while the integrity of the cycle remains impeccable. This material can be used in studies on the poetics of the latest Russian prose, as well as in the invastigations focused on Roman Mikhailovs works.

Listy Tomasza Zana z więzienia. Czy w izolacji można pisać rozdziałki?

The article attempts to investigate in what way Tomasz Zan’s works changed as a result of author’s experience of isolation while being imprisoned. Rozdziałki, a genre original to the author, develop parallelly with Zan’s biography. They reflected the feeling of loneliness and other circumstances of his time in prison by measures such as the poetics of dreams and imagination, the use of a specific literary codes and elements of grotesque. The analysis of Zan’s works written in prison leads to the conclusion that the author’s attitude towards literature evolved during his life, and especially as a result of his imprisonment.

The Cultural Identity of the Characters in the Film Scenario Ngeri-Ngeri Sedap by Bene Dion Rajagukguk

Clash and cultural identity fighting in film scenarios Ngeri-Ngeri Sedap karya Bene Dion Rajagukguk is a phenomenon of a very perfect cultural identity conflict. Cultural identity can affect social relations between characters. For this reason, it is very important to know the cultural identity of each character. Cultural identity can be known through semiotic studies. By knowing the language code, literary code, and cultural code we can find out the cultural identity of the character. This research uses Teeuw's semiotic theory. The data collection method used is the first level of semiotics reading. The results of this study are the language code used by the characters in the film scenario Ngeri-Ngeri Sedap karya Bene Dion Rajagukguk using Indonesian, but its use is mixed with the term Batak. The literary code is found from the facts of the story namely elements of characters and characterizations, plot, and background. Cultural code can be seen in cultural elements such as traditional ceremonies sulang-sulang pahoppu, tor-tor dance and ulos, Batak special songs, and special food mie gomak. From these codes can be seen the social relationships of the characters in accordance with the theory of social relations between individuals, and social relations between individuals and groups. This research is expected to be able to motivate the community to protect the culture they have but do not close themselves to the times. Keywords: identity; cultural; semiotic; scenario; figure

Функции на емотивния код в две книги на кръга „Мисъл“ – „Сън за щастие“ и „Идилии“

The article discusses some theoretical aspects of emotive meaning in the process of interpretation of the literary text. Emotive analysis is part of the basic structural analysis of the work and aims at functionally assisting, directing and clarifying its additional nuances and meanings. Finding the key to emotive codes and their dynamic interaction with other literary codes in the discussed work is a pre-requisite for the completion of the in-depth analysis of the text. The members of the „Misal” circle were particularly attentive to the ways in which emotion played an important role in the accomplishment of literary works. The study explores how the emotional tonality and the emotive code of „soft melancholy” play a key role in two works by the circle members – Dream of Happiness by Pencho Slaveykov and Idyllic Romances by Petko Todorov. The emotive code offers a new perspective of interpretation, exposing the inner tension within the form/content dichotomy of the text, in effect decoding its psychological meaning.

MILLSTONE OF HEART: FROM OBSERVATIONS ON HRYHORII SKOVORODA’S METAPHORS

Hryhoriy Skovoroda’s poems are the optimal form of discursive embodiment of ethical-religious and artistic concepts due to the capacity and ambiguity of their figurative language. The connotative space of the image of the stone in the collection “The Garden of Divine Songs” testifies to this. The stone is usually an attribute of death, despair, and hopelessness in the traditional Ukrainian culture. Several invariants of this image are found in Skovoroda’s poems. These are mountains, rock (petra, cephas), diamond (‘adamant’), and flint. The rocky peaks of the mountains are involved in Skovoroda’s literary world as the foundation of spiritual ascent. The motive of escape from dangers that await the traveler on the sea of life is associated with the pier invincible to the destructive action of waves. In the semiotic system of “The Garden” the stone symbolizes the manifestation of transcendent values in the world of human relationships, which can be a reliable basis for protection from life’s cataclysms and the creation of new values. The steadfastness of the stone as a reliable foundation of life does not prevent the motives of movement and change to be included in the connotational paradigm. The author’s semiotics expands through allusions to stories about the dream of King Nebuchadnezzar, interpreted by the prophet Daniel, about giving Jonah’s son Simon of Bethsaida a new name — Peter, being the evangelist’s translation of the Aramaic kēp̄ā ‘stone’, ‘rock’; the Gospel parable of a house built on stone; the use of the opening verse of the second chapter of the Book of Habakkuk for the epigraph to song 14. Finally, Christ himself is revealed in the image of a stone. Brought together in the antinomic world of Baroque metaphors and allegories of the “The Garden”, stone and fire stimulate the expansion of the associative boundaries of the receptive strategy of the reader, open to artistic search. The chain of invariants of the image of stone is introduced into the connotative orbit of the heart as a meeting place of man and God, transient and transcendent. The coming of God into the inner world of man, his heart, is metaphorically described as striking fire with a flint and a stone or grinding grain into flour by a millstone. Thus, the image of the stone becomes one of the most capacious elements of the literary code of the collection and its structural factors.

Language, Literature, and Cultural Codes in the Puya Ke Puya Novel by Faisal Oddang: A Study of Semiotics

This study aims to examine the form of language code, literary code, cultural code in the novel Puya Ke Puya by Faisal Oddang as teaching materials for prose fiction literature study programs in universities. The research method used is descriptive qualitative research. Data collection techniques are documentation with reading and listening techniques, and recording techniques. Data analysis was carried out through several stages, namely data identification, data classification, description, and drawing conclusions. The results showed that the language codes used in the Puya Ke Puya novel were the use of regional languages in the form of greetings, kinship elements, everyday vocabulary and the use of foreign languages, literary codes depicted in words with connotations and figurative meanings, cultural codes in the novels concerned the system. The culture that exists among the Toraja people such as social organization systems, living equipment systems and technology, and religious systems.

“In un placete de La Mancha of which nombre no quiero remembrearme”: Don Quijote en spanglish y los desafíos de la traducción bilingüe

Spanglish, the mixing of Spanish and English in oral and written communi-cation, has an increasing importance as a literary code. Challenged by derogatory comments on the poor aesthetic possibilities of Spanglish, Mexican American scholar Ilan Stavans translated the first chapter of Cervantes’ Don Quijote into a mixed language made of English, Spanish and hybrid words. The result provoked the hilarity of many readers, but also the indignation of Castilian purists who opposed the invasion of their mother tongue by a foreign language and the desecration of the most out- standing monument of the Hispanic Culture, while American Chicanos criticized the quality of the translation, arguing that Stavans ’ Spanglish fails to reflect accurately the reality of bilingual speech in daily life. In my paper I propose some reflections about this controversy and I try to analyse Stavans’ intentions and strategies in this translation of a canonical classical text into a non-normative and highly stigmatized variety of spoken language. As it is directed to a bilingual audience, this translation loses its principal raison d’être, that is to make the text understandable for foreign readers, but it fulfils other functions.

The Trilogy of Mindfulness, the Human Side of Organizations and Creative Thinking in Kazuo Ishiguro’s The Remains of the Day

The goal of this study is to analyze through Drake’s model of the human side of organizational principles, The Remains of the Day by Kazuo Ishiguro. The novel will be analyzed using Barthes’s literary codes which originate from Taoism and Zen philosophy as sources of creative thinking. Ishiguro novels foreground the behavioral and classi- cal organizations, hence welcome a comprehensive study between literature and social sciences. The role of humanistic organizations in providing a better chance of growth both for the organization and its human compartments has exceeded the boundaries of social sciences and management, as behavioral approach of leading organizations has become a major development in honoring personal identity. Michael Drafke has deter- mined the kind of proper interaction between decision-makers and subordinates in field researches. These theories of the human side of organizations are mostly for behavioral management, a short coming in the literature have been addressed. The epistemology and ontology of the behavioral approach have been to the benefit of decision-makers and subordinates. In The Remains of the Day, the dominant organizational implications are classical. The core claim of this study is that it informs a blending of behavioral and classical approaches to be implemented between decision-makers and subordinates who are unequal educationally and characteristically as a pragmatic strategy. This study concludes that an appropriate blending of these two approaches can have pragmatic re- sults to pave the way for implementing a full behavioral approach that is able to establish an equilibrium between humanity and organization. Introduction:Organizations have to be reformed in order to fulfil the most important re- quirements of humanity for the sake of empowerment of the human side of organizations. The gradual change from classical view of organizational decision making to behavioral cooperation for the same goal has been in this direction. Ishiguro’s novel is written in an expanded humanistic tradition to demonstrate a new approach towards Drafke’s orga- nizational principles.

Multilingualism as a Literary Code in Cameroon Anglophone Literature: A Study of TahProtus’s The Immortal Seed and Bole Butake’s Lake God

Multilingualism as a Literary Code in Cameroon Anglophone Literature: A Study of TahProtus’s The Immortal Seed and Bole Butake’s Lake God

Signos vitales. Procreación e imagen en la narrativa áurea by Enrique García Santo-Tomás

Reviewed by: Signos vitales. Procreación e imagen en la narrativa áurea by Enrique García Santo-Tomás Xabier Granja Ibarreche García Santo-Tomás, Enrique. Signos vitales. Procreación e imagen en la narrativa áurea. Iberoamericana–Vervuert, 2020. 364 pp. ISBN: 978-3-96869-077-3. This monograph explores representations of childbirth and medical practices such as delivery, midwifery, and breastfeeding through the lens of social and literary codes in Spanish early modernity. Enrique García Santo-Tomás engages with scientific discourses framed by medieval and Renaissance expectations of comportment, [End Page 214] the honor code, as well as life and death. The book is structured around three sections that connect the figure of the midwife and changing gendered practices in the medical field throughout Spain's history. Specifically, regarding obstetrics, this volume explores the staging of birth in theatrical plays, as well as representations of midwives, nascency, breast milk, and gender dynamics in literary works by Miguel de Cervantes, Alonso Jerónimo de Salas Barbadillo, and Francisco Santos. The first section, "Contextos (1500–1586)", follows a historical thread about how the traditionally female dominated field of obstetrics gradually shifted towards men's control. Fueled by commonplace suspicions regarding women's sexual weaknesses and potential corruption by witchery, increasingly complex medical jargon arose to limit communication to male medical professionals. This slowly displaced women, who commonly lacked academic education, from the obstetric practices they had hitherto been performing. García Santo-Tomás connects this shift with discourses about the powers imbued in mothers' milk, the Council of Trent's prohibitions on nudity that affected artistic representations of lactating mothers, and considerations of societal status and the ideas of honor (and dishonor) they entailed. This gendered division pushed the Spanish crown to require midwifes to obtain licenses, which were issued by male doctors, thus further aggravating misogynistic interactions between these men and women. This contextual opening leads to García Santo-Tomás's interpretation of a reciprocal infusion between medicine and theology where "la teología se 'medicalizó' al tiempo que la medicina se teologizó" (81); as well as of the inquisitorial repression faced by the increasing number of medical manuals. The nation, as argued in this volume, progressed towards definitive regulations that were royally decreed in 1750 by Ferdinand VI and embodied a flourishing intersection between political ideals and biological discourses. The second section, "Intervenciones (1580–1670)", is centered around connections between eroticism and medical care, especially as they pertain to theatrical representations. García Santo-Tomás explores the potential erotic approaches to Renaissance treatises on anatomy, which by necessity often covered the bodily needs of a woman in labor. Paired with the mystery surrounding fertility and women's connections to witchery, the fascination with reproductive acts gave way to a conception of midwives as a feminine counter ideal within a complex relationship involving theatricality, sexuality and medicine. Men's curiosity regarding childbirth, viewed at times as a form of invasive contemplation, also lead to the rise of a "metáfora del embarazo masculino" (160), which served authors to present their works as a form of literary parturition made possible by intellectual conception. This section also explores incest as a crime and sin, returning to the Council of Trent to contextualize the norms that specified, among other details, degrees of tolerance in marriages between cousins. García SantoTomás examines representations of incest through their coeval early modern perception as a lower rank offense, similar to adultery and estupro in gravity but not as damnable as sodomy or bestiality. After engaging in this discussion through the lens of endogamy, the author closes this segment by evaluating the usefulness of transgression and taboos as vehicles to both reflect on social forms and ignite narrative drives. The third section, "Imágenes (1613–1698)", analyzes three specific works in detail: Cervantes's La señora Cornelia, Salas Barbadillo's Don Diego de noche, and Santos's [End Page 215] La tarasca de parto en el mesón del infierno. García Santo-Tomás approaches Cervantes's novela ejemplar through the transformative potential of maternity as a novelization of medical care as a transnational phenomenon (227...

Compilation of stories “On Both Sides” by Dewi Lestari: belles-lettres as the foundation of literary unity

This article examines the modern Indonesian women's prose. The object of this research is novelistics of the prominent Indonesian writer Dewi Lestari and the compilation of stories “On Both Sides” (Rectoverso; 2013). The collection demonstrates the features common to popular women's literature, as well as to meaningful, socially biased women's prose of Indonesia of the XXI century, known as “sastra wangi”. The subject of this analysis is the correlation of characteristics inherent to the two aforementioned phenomena in the stories by Dewi Lestari; while the goal consist in finding the beginning that allows the writer to blend different literary codes. The research is based on descriptive and comparative methods. Neither in Indonesia nor outside it, the women's prose “sastra wangi” has not been considered as a holistic literary phenomenon due to diversity of the discourses applied therein. The scientific novelty and relevance of this study are defined by the attempt to analyze sastra wangi based in on the works of the prominent contemporary Indonesian writer. It is revealed that literary unity of the texts of stories of Dewi Lestari imparts belletristic character on her writing, which allows combining the fields of classic and popular literature. This fact is important for understanding the artistic peculiarities of contemporary Indonesian women's prose sastra wangi as a whole.

НИЖЕГОРОДСКИЙ ТЕКСТ И ЕГО СОЗДАТЕЛИ

Defining the cultural and literary code of the Nizhny Novgorod land is an important philological task, and the Nizhny Novgorod text has become an object of literary reflection. The search for spiritual meaning, the analysis of aesthetic systems in the phenomenon of the Nizhny Novgorod text, its creators are discussed in this review of scientific articles.

The Literary Code of Vincent van Gogh

The Literary Code of Vincent van Gogh Christa DiMarco (bio) Vincent’s Books: Van Gogh and the Writers Who Inspired Him Mariella Guzzoni University of Chicago Press https://press.uchicago.edu/ucp/books/book/chicago/V/bo51205258.html224 Pages; Print, $25.00 Vincent van Gogh’s reading practice is as legendary as his paintings. While he devoted his days to his canvases, at night he would “light the lamp and go on reading.” In his letters (of which we have over 800), he devoted many passages to discussing literature from Shakespeare to popular periodicals and modern novels. Reading Honoré de Balzac, Charles Dickens, Harriet Beecher Stowe, and Émile Zola as well as French historical studies by Jules Michelet, cultural criticism by Thomas Carlyle, and studying printed illustrations by Frédéric Montenard, Hubert von Herkomer, and George Cruikshank laid the thematic and stylistic foundation for his art. Van Gogh, for example, noted that he sympathized with Madame François and Florent, two working-class characters who attempt to navigate bourgeois Paris in Zola’s Le Ventre de Paris (1873). Prints that depicted those who lived on the economic or geographic margins likewise captured his attention. In a letter to the artist Anthon van Rappard, Van Gogh shared one of his important artistic influences: The Graphic, a British illustrated publication from which he saved prints to “form a kind of Bible for an artist, in which he reads now and again to get into a mood.” Among the many prints he mentioned, Van Gogh compared George John Pinwell’s The Sisters “to the full song of the nightingale on a spring night” and regularly touted the quality and the impact of the prints he came across. Both the novels he read and the prints he cherished conveyed the dignity of a humble life amid inescapable societal difficulties, a central theme he explored in the imagery of his short, ten-year painting career. Despite the fluency between the written word and painting, we seldom recognize the literary imprint that permeates Van Gogh’s oeuvre. Even art historians pay relatively scant attention to the fundamentally interdisciplinary nature of his artistic approach. Cursory references to Van Gogh’s reading habits abound in biographical accounts and exhibition catalogs, and just two scholarly explorations come to mind: Judy Sund’s 1992 True to Temperament: Van Gogh and French Naturalist Literature and Wouter van der Veen’s 2009 Vincent van Gogh: A Literary Mind. Given that Van Gogh mentioned over two-hundred authors in his letters and read in Dutch, English, French, and German, surely there is more to explore. Mariella Guzzoni’s Vincent’s Books: Van Gogh and the Writers Who Inspired Him offers newfound connections between Van Gogh’s paintings and his insatiable literary curiosity that will be of interest to Van Gogh enthusiasts and bibliophiles. Finding a worthwhile approach to Van Gogh’s large body of work — over 800 paintings and 1000 works on paper — requires a method as innovative as the paintings themselves. Guzzoni uses the extensive collection of the Van Gogh Museum in Amsterdam as well as her own collection of the editions Van Gogh read and discussed in his letters. She leads readers chronologically through Van Gogh’s works without becoming entangled in the myriad facts of the painter’s biography, a temptation few authors navigate well. Instead, she explores specific references and stops to rest on telling exchanges between text and art that the book’s engaging layout complements. Vincent’s Books is a beautiful publication that pays homage to the art of the book. It is carefully structured, poignantly designed, and includes full-color matte reproductions of journal pages and book covers. Reproductions of the editions Van Gogh read appear throughout and Guzzoni also includes pictures of the books open to the passages she discusses so you can view the print in its original publication. These pictures appear alongside Van Gogh’s paintings, drawings, or letters and are often accompanied by germane quotations. Readers can pause on passages dedicated to reflecting on the interplay between text and image, an experience akin to spending time with a rare edition in an archive...

The Key Features and Periodization of Socialist Realism in the Literary Context

The article deals with the research on various aspects of socialist realism from the perspective of belles-lettres. It analyzes the essence and key features of this phenomenon, makes a generalization of approaches to the periodization of socialist realism. In the research, we used historical-typological and sociological methods for the analysis of historical documents and criticism in order to clarify the party policy in the field of literature. The psychoanalytic method was used to study the means of the writer adaptation to the Soviet dictatorship. Anthropological and intertextual methods were used to clarify the peculiarities of the national culture and the literary codes of socialist realism. The method of reconstruction allowed us to depict the picture of the past with the help of archival documents, epistolary, memoirs, etc. It is found out that the formation of socialist realism resulted from the mixture of culture and state party dictatorship in literature and art. Socialist realism provided political manipulation of the mass consciousness and performed the regulatory function for social communication. It is proved that the theory of socialist realism was based on such categories as ideiinist (ideology), klasovist (class content), and partiinist (party-mindedness). At the same time, such categories as creative imagination, fantasy, and fiction were denied. When creating literary texts, writers used ready-made templates, clichés, and stereotypes affecting our perception. The authors of the article analyzed the influence of socialist realism on the cultural preferences of that time’s citizens. The article graphically accumulates the main approaches to the periodization of socialist realism. We analyze the research of H. Gunter, Yu. Boriev, V. Klymchuk, V. Tiupa, and characterize each period. It is revealed that the literature of socialist realism was interpreted on the behavioral (attitude to the state policy) and creative (themes, style, images) levels. In the article, the authors characterize the key features of socialist realism in the context of the structural-stylistic, worldview-universal, figurative (characterological) directions.

‘Ghosts from other planets’: plurality of worlds, afterlife and satire in Emanuel Swedenborg’s De Telluribus in mundo nostro solari (1758)

ABSTRACT In 1758 in London, Swedish natural philosopher and mystic theologian Emanuel Swedenborg published De Telluribus in Mundo nostro Solari (Earths in our solar system), a treatise on the plurality of worlds and life on other planets. During the seventeenth and eighteenth centuries, these topics formed a heterogenous literary genre which encompassed theology, astronomy, philosophy and satire. In De Telluribus, Swedenborg made detailed claims of communication with extraterrestrial spirits in the afterlife, through which he sought to spread his theology to new audiences. The paper will explore the role of De Telluribus in Swedenborg's career, explain its content and analyse its polarized reception. It will show that De Telluribus combined for the first time the literary codes of two popular genres during the period, namely those concerning the plurality of worlds and the dialogues of the dead. By doing so, the paper revises current scholarly understanding of Swedenborg by showcasing him as a versatile yet ill-fated recombiner of literary genres. More broadly, the paper will shed light upon previously unnoticed eighteenth-century literary interactions along with a wider overview on the reception of themes such as the plurality of worlds, mysticism and satire in Scandinavia and Germany.

ABOUT THE MEANING OF THEATRE “THE MASTER AND MARGARITA”

The article deals with the semantic field of the theater in "The master and Margarita", which extends to all novel chronotopes and can be structured as a two-level one. Considering different cases of theatricalization of space and different signs of theatricality in the novel, the authors correlate the real theater (theatre as a historical reality ) and the literary theater (the art of acting ) and actualize the confrontation of literature and historical reality in "The Master and Margarita". The text of the novel is considered as a model of counterculture, from the standpoint of which the author chooses those literary codes from which his own model of theatrical behavior is built. At the same time, special attention is paid to the actualization of the metaphor "theater - court" and the semantics of exposure, and the novel itself is an act of vengeance of the author and the implementation of his inner freedom. As an example of such an artistic concept of the relationship between art and life, the film "Once upon a time... in Hollywood" by Tarantino is considered.

THE MEANING OF INTERTEXTUALITY OF “THE MASTER AND MARGARITA”

The article deals with the meaning of intertextual reading of "The Master and Margarita". The text of the novel is considered as a model of counterculture, from the standpoint of which the author chooses those literary codes from which his own model of literary behavior is built. These dominant codes are manifested in the course of decoding as a result of correlation of intertextual borrowings. This takes into account not only external borrowings, but also the relationship within the novel and the relationship of the novel with other Bulgakov’s texts. Special attention is paid to such signs of borrowing as a suit and money. As the keys to the novel, "The Inspector General", "The Covetous Knight" and "The Count of Monte Cristo" are updated, and the novel itself represents the act of retaliation of the author and the implementation of his inner freedom. Besides, the novel affirms the priority of genuine art over reality.