Literary Phenomenon Research Articles

A New Paradigm of Home-Mapping for Literary Cartography

A New Paradigm of Home-Mapping for Literary Cartography

Dystopian Novel as a Literary Phenomenon in XX Century

             "Dystopia", an opposing term to "Utopia," depicts negative tendencies of authoritarian governments and modern technological world. The origin of dystopia is closely related to the events and radical changes taking place in XX century. The first and second world wars, creation of the Soviet Union and eventually, other totalitarian regimes, atomic bombing of Hiroshima and Nagasaki, ecological crisis, violence, genocide, massive deportations of people in Central and East Europe, devastated economics of Europe and the beginning of The Cold War became a fruitful basis for "flourishing" dystopian literature. Anti-Utopian Novel is a literary predecessor to Dystopian Novel, elements of which can be found in Jonathan Swift's, Jules Verne's, Jack London's and Herbert George Wells' novels. While Yevgeny Zamyatin, Aldous Huxley, George Orwell and Ray Bradbury created classic models of Dystopian Novel.

INTELLECTUAL UTOPIA OF YURII SHEREKH

The paper examines the literary-critical views of Yurii Sherekh of the Artistic Ukrainian Movement’s (MUR) period, clarifes his understanding of ‘visnykivstvo’ and ‘Kyiv neoclassicism’ as literary phenomena, the content and significance of the theory of ‘national organic style’, and the idea of antaeism. The worldview and aesthetic positions of Yurii Sherekh are considered in the context of ideological and literary discussions of the late 1940s. The research involved the literary-critical and historical literary studies written by Yurii Sherekh in the postwar period and interpreted their textual connections with the works by Yurii Sherekh himself and by his intellectual associates and opponents. Yurii Sherekh’s idea of the ‘national organic style’ was not only one of the stages of the literary researcher’s worldview evolution, but also a certain result of the development of Ukrainian literary-critical thought in the mid-20th century. This idea grew out of the literary experience of the 1920s and was associated with the process of updating the national artistic tradition and adopting Western Europe literature’s achievements in the 1940s. The approval of the idea of ‘national-organic style’ in the ideological and aesthetic concepts of Yurii Sherekh was accompanied by the rejection of the ‘Vistnyk’s’ and ‘neoclassical’ traditions. The analysis of the main points of Yurii Sherekh’s polemic with Dmytro Dontsov as a symbolic representative of the “Vistnyk’s” ideology and Volodymyr Derzhavyn as the main supporter of the ‘neoclassicism’ theory reveals some inconsistency of Yurii Sherekh’s definitions of neoclassicism. Yurii Sherekh’s idea of antaeism was a certain Ukrainian equivalent of European existentialism, rooted in the history and philosophy of Ukrainian resistance.
 The paradox of Yuri Sherekh’s theory was in combining the desire for modernity with the return to tradition, while the dogmatism of his ‘national organic’ approach to certain phenomena and works somewhat ideologized his assessments and views. There are reasons to tell about the conventionality of Yurii Sherekh’s division of the Ukrainian mid-20th century writers into ‘organists’ and ‘Europeists’, who visualized, on his opinion, two main directions of Ukrainian literature’s development. In fact, the various types of ‘Europeanism’ and ‘organicity’ were inevitably intertwined.

EXPRESSION OF EKPHRASIS GENESIS AND SCIENTIFIC APPROACHES TO IT

This article is a literary phenomenon that reflects the feature of “Visual expression of a visual image in word” - the problem of the genesis of the phenomenon of ekphrasis, the forms of its evolution, the issues of its interpretation in terms of space and time, the various theories and views that have emerged as a result of its study and analysis by researchers and scientists.

Courage in the Poetic Topics Initiated in Islam The Early Islamic Era as an Example

Praise be to God, Lord of the worlds, fulfills his blessings,and rewards more, and peace and blessings be upon our master Muhammad, the illiterate Prophet, and his family and companions. Now, however, the initiation of Islamic poetry is a literary phenomenon whose topics derive from the facts that no one can obscure and deny, as it is more powerful than to obscure and appear to be denied, because the poets have drawn it from the reality in which they live, and the title of our research(intentionally for purposes) The poetry in the early Islamic era was represented in an introduction, five sections and a conclusion. The introduction deals with language and terminology, the first section is devoted tothe poetry of glorification of God, the second to the poetry of belief and call, the third deals with poetry of jihad and Islamic conquests,the forth deals with poetry of conversion into Islam and apology and the fifth is devoted to poetry of apostasy and regret. The conclusion gives a summary of the results of the study..

Сибирские поэтические турне Виктора Сосноры (1960-е гг.)

The article is devoted to the reconstruction of the history of Siberian travels and performances of the poet Victor Sosnora (1936–2019) in 1964–1966. During this short period, the poet had visited Siberia four times. Our study focuses not only on Sosnora’s speech during the 5th Poetry Day at the Novosibirsk Electrotechnical Institute (NSTU), held in the spring of 1966, but also on publications and discussions in the institute newspaper “Energiia” (“Energy”). Materials from other newspapers, published in Novosibirsk, Irkutsk, Omsk are also used (namely, “For Science from Siberia,” “Youth of Siberia,” the “Soviet Siberia,” “East Siberian Truth,” “Young Siberian,” “Soviet Youth,” etc.). In the mid-1960s a certain group of students (E.S. Sсhurygin, Yu.N. Kislyakov), as well as of people of literature (E.G. Rappoport, A.G. Rappoport, E.K. Stewart, I.O. Fonyakov, B.G. Polovnikov), art (N.D. Gritsyuk) and science (A.D. Aleksandrov, V.L. Glebov) was formed in Novosibirsk. It was up to these people to realize the importance of such literary phenomenon as Victor Sosnora. His poetry, which by that moment had entered the period of maturity, had enthusiastic admirers in Siberia. Among them was the critic and literary historian E.G. Rappoport who happened to meet Sosnora in Leningrad earlier than others. It was also up to him to organize his travels to siberian cities and to help him with publications in local press. Extensive empirical materials concerning the reception of Sosnora’s poetry in Siberia at the time of heated discussions between so called “physicists” and “lyricists” has been collected. A special place among these publications is occupied by the article about Sosnorа written by student Evgeny Sсhurygin. This article caused a heated discussion in the press. In its turn, such travels, as well as his involvement in the avant-garde artists of the “first call” (N.N. Aseev, L.Yu. Brik), happened to strengthen in the poet the feeling of himself as a medieval poet-juggler, up to whom it is to subordinate the mighty of this world with the help of his charm and talent. Traces of the Siberian theme are also presented in the poetry and prose of Victor Sosnora.

Konzepte der Interkulturalität in der Germanistik weltweit ed. by Renata Cornejo, Gesine Lenore Schiewer and Manfred Weinberg

Reviewed by: Konzepte der Interkulturalität in der Germanistik weltweit ed. by Renata Cornejo, Gesine Lenore Schiewer and Manfred Weinberg Silja Weber Konzepte der Interkulturalität in der Germanistik weltweit. Edited by Renata Cornejo, Gesine Lenore Schiewer, and Manfred Weinberg. Bielefeld: transcript, 2020. Pp. 432. Paper €50.00. ISBN 978-3-8376-5041-9. There was a time when a collection of articles on intercultural matters in the field of Germanistik would focus narrowly on "migrant literature" and its representation of cultural positioning. This volume, ambitiously including the word "worldwide" in its title and designed to be the first in a series on the topic, is evidence of the richness gained by an arrangement that lives up to Deleuze and Guattari's concept of rhizomatic knowledge structures. German is presented as a "relais language," a conduit with many entrances and exits which provides a loose limitation for relevance, and the collection itself is a relais place where thoughts and methodologies from different disciplines, including linguistics and pedagogy, can meet. The volume is a documentation of papers presented at the conference on Interkulturelle Germanistik in Ústí nad Labem and Prague in 2016. Subsections of the volume reflect topic strands at the conference, and six plenary talks from the six continents on knowledge production and the understanding of German studies in different areas of the world are also included. The three major sections focus on theory, intercultural linguistics/multilingualism, and intercultural literature and film. The latter is the most expansive, taking up over half of the volume, and is further divided into subsections focusing on Chamisso literature, migration and displacement, and identities and their relation to contexts. The focus of individual chapters ranges from close readings of individual works and comparative analysis of works by authors from similar intercultural constellations through broad discussions of intercultural aspects of particular geographical regions or social phenomena. The most striking feature is, perhaps, that the contributions are truly heterogeneous in authorship, methodology, focus, and level of detail, so that, by design, they occasionally appear to dissolve the superficially clear and linear structure of sections and subsections; this intrinsic dissolution of standardized presentation extends even to the interculturally shaped English of the abstracts preceding each article, which I feel is a rare and valuable aspect (in contrast, the language of the articles themselves is standard academic German throughout). While it feels problematic to choose what particular contributions should be mentioned in a review when the volume weaves such a complex web of voices, a few articles can convey a skeletal sense of that web. Paul Michael Lützeler's self-reflective [End Page 192] discussion of language policy and expectations at the GSA and various other German-promoting associations is an incisive and relevant reminder of the different political impacts of English and German in these contexts. Benoît Ellerbach's chapter on the hermeneutics of Schami's work provides a very useful discussion of terms that have been used for intercultural literature over time, as well as changes and inconsistencies in the author's own perspective on his work versus its framing by media and literary analysis. It makes a clear case in favor of letting complexities and inconsistencies reveal themselves and against resorting to reductive universalizing tendencies, whether across authors or across time. Raluca Rădulescu traces a fascinating connection between the poetic responses to experiences of Sprachkrise by Lorca, Benn, and Celan and the corresponding response in the work of José F.A. Oliver, who draws on imagery from both Lorca and Celan but reimagines its meaning. Riham Tahoun investigates how the intertextuality of a given text is developed both through its own discursive practices and its reception, using Navid Kermani's work as a base to show both de-construction (dissolution of culturally shaped semantic networks) and construction (the formation of new constellations of meaning that are both more open and more tolerant of contradictoriness). Based on several recent novels about refugees in Germany such as Jenny Erpenbeck's Gehen, ging, gegangen and Abbas Khider's Ohrfeige, another convincing contribution is Manar Omar's discussion of refugees as a literary phenomenon that places them at the balance point between being world-less and...

Întoarcere la bătălia pentru roman. Teorii despre roman în spațiul cultural românesc interbelic

Even though we might live with the impression that the debates about the (Romanian) novel belong exclusively to the interwar period, in reality they started earlier, somewhere around the second half of the 19th c. Novel theoreticians such as: Radu Ionescu, that, in the preface of the novel Donjuanii din București, inaugurates this type of debates, Titu Maiorescu, the promoter of the „people novel”, or Nicolae Iorga, the critic that started the so-called „battle for the novel”, show us that there was an interest towards this genre in the Romanian cultural space also, a genre that at that moment claimed a hegemonic position. Yet, the First World War will put an abrupt end to these debates related to the Romanian novel, debates that would be reiterated in the interwar period, in another cultural context, of course at another level. Thus, the second part of the article is an attempt to recuperate the atmosphere towards the literary phenomenon after the First world War by focusing on the critical attitudes of the most important cultural voices of the new era, attitudes that vary from hope – generated by the belief that the first major global conflagration regenerated the creative forces of Romanian writers – to doubt – through which, by resorting to a lamentativ tone, critics denounce the absence of real (i.e. artistic) novels from national cultural space.

Миф и европейское поэтическое мышление 1920-1940-х гг. (к уяснению методологической позиции)

The paper attempts to build an integral system of myth and determine its poetic function in the literature of the first half of the 20th century. There are a huge number of approaches to the study of myth as an unconscious symbol, but a myth becomes a literary phenomenon only when it is purposefully used by the author as part of his creative vision. Remythologization or the conscious return of literature to the original sources and archetypes in the work of W.B. Yeats, T.S. Eliot, J. Joyce, and others are part of the poetic innovation of an entire literary era. The article briefly traces the history of remythologization, and the name of T.S. Eliot stands out as the first to state and fix a new attitude to myth (“‛Ulysses’, Order, and Myth”, 1923). Myth, according to Eliot, is not an unconscious “force” of the writer's creative imagination, but is conceived as a poetic category, as a means of recreating the aesthetic orderliness of a work from the chaotic reality. Conscious mythologization is also conditioned by the need to synthesize several heterogeneous creative structures in a single artistic whole. The reader conceives the presence of a myth in a literary work through the association of imagery with extra-textual plots, thereby fulfilling the author's intention. The paper, using the example of Four Quartets by T.S. Eliot and “The Wheel” by W.B. Yeats, shows how the suggestive archetypes and the variety of reader associations contribute to the timeless perception of the text (reading does not last in time, it is extremely generalized, cyclical, integral). All poetic means of remythologization are aimed at such a synchronous perception of the artistic time and space of the work, which acquires a mythologically universal character, becomes an artistic model of the world.

КАТЕГОРІЯ ВІЗУАЛЬНОГО В ЛІТЕРАТУРОЗНАВСТВІ − МІЖДИСЦИПЛІНАРНИЙ АСПЕКТ

The concept of “visuality” describes the image of the channels of perception presented in different forms. The text has visual features, due to the content, but also due to its symbolic, sign system. Philologists have been dwelling on the idea of the “visual” ability of a language, by means of fiction, which singles out the existence of pictorial art forms such as landscape, portrait and sculpture. The great interest in the category of visualization is said to be because of modern types of communication. The aim of this article is to review some aspects of the category of visualization, in its current state and its representation in the art of the modernist’s era. The category of visualization covers a wide range of concepts, such as creolized texts, some semiotic studies, intermedialism, iconic texts, the theory of ekphrasis and hypotyposis. It was established that the “escalation” of the image role has led to the need to highlight the concept of “visuality” within modern linguistics. Visual thinking is interpreted as a kind of non-classical rationality. At the moment, philologists know a wide range of concepts that include the term “visual”. For example: visual culturology, visual political science, visual sociology, visual anthropology, the theory of visual communications. We found out, that the modernist era, puts emphasis on the elusiveness, the mystery, the enigma and on the undeciphered inner, so that the hidden meaning was increased. It was believed that all references suitable for perception by the human eye are codes that hide an eternally existing idea. Such a visual presentation allows the recipient to understand the essence of the work on an intuitive level. Symbolism was an integral part of modernism. For optimal study of visualsm, a hypothetical-deductive method was used to get acquainted with the existing materials at this stage of development. Modernism is a set of artistic trends in the art of the second half of the nineteenth – mid-twentieth century. Its supporters were inclined to believe that life forms in the twentieth century exhausted themselves, and the periods that were considered successful for realism were in fact epochs of decline. The new literary phenomenon of the time was called modernism, and the search for positive ideal images began, in contrast to the destruction of public opinion and the crisis that appeared in the place of past ideas. Modernism has destroyed all ties with traditional aesthetics and the ideals of the past. At the same time, the visual aspect of modernism became a mixture of two oppositions the visual and the written text.

Лев Толстой как певец Российской Империи

The article is devoted to the study of a unique literary phenomenon: the transformation of the subjective anti-state aspirations of the artist into images glorifying the Russian Empire in the work of Leo Tolstoy. The originality of Tolstoy’s poetic principles is largely determined by the unity of his personal religious faith and creative method, psychological in nature. The Russian Empire is considered by the author of the article as the highest expression of the ideals of the Third Rome, opposite to Tolstoy’s, which received their formalization in the organizing formula of S. S. Uvarov “Orthodoxy – Autocracy – Nationality.” It is proved that imperial insights and revolutionary paradoxes in the creative world of Tolstoy form an indissoluble unity, where paradox is always a necessary condition for insight, its tool, its driving force. On the material of the Sevastopol stories, the epic novel “War and Peace”, the novel “Anna Karenina” it is shown how the subjective epic nature of the writer’s works in contact with the material of Russian reality “grows” with objective meanings, acquiring the features of a truly national, imperial epic. Simultaneously with the research article, it is methodological in nature; the principles of a strictly authentic interpretation of Leo Tolstoy’s heritage as a whole are formed in the work.

La séduction de la fiction by Jean-François Vernay

Reviewed by: La séduction de la fiction by Jean-François Vernay Diana Mistreanu Vernay, Jean-François. La séduction de la fiction. Hermann, 2019. 214pp. Published in Hermann’s prestigious “Savoirs Lettres” book series founded by Michel Foucault, Jean-François Vernay’s latest work is a compelling neurophenomenology of literary fiction. This makes it a valuable contribution to the burgeoning field of cognitive literary studies pioneered in Anglo-Saxon research in the late 1970s, but which French academia, with a few notable exceptions such as Jean-Marie Schaeffer, Pierre-Louis Patoine, Alexandre Gefen, Catherine Grall, or Françoise Lavocat, is still largely reluctant to embrace. The author is a lecturer in Australian studies at the Global Institute in Sydney, and he is a bilingual literary scholar whose recent research explores the complex interface between fiction and human cognition. Vernay’s book starts by restating a narratological cliché: in the words of Paul Valéry, stories accompany humans from the cradle to the tomb, as monsters, pirates, fairies, and other fantastic creatures fascinate children’s minds from the first years of their lives (7). A truism follows this cliché: the origin of any story is the human brain (16), as the author reminds us by underlining the bio-anthropological origins of fiction in pages that cite the works of Umberto Eco and Nancy Huston (the writer who coined the notion of “espèce fabulatrice,” “the tale-teller species” [2008]), and that echo the research of scholars such as Mark Turner (1996) and Jean-Marie Schaeffer (1999). Indeed, oral and written stories are not only created, but also interpreted by human minds, triggering states and emotions that range from extreme boredom to excitement and inviting identification with fictional characters. Nevertheless, the mechanisms of the interaction between the human mind and brain and one of its most sophisticated products, namely fiction, are largely still understudied in the field of literature. Placing fiction under the sign of seduction (8) – which allows us to read between the lines an homage to Roland Barthes, the theorist of the “plaisir du texte” referenced later in the book (85-86) – Vernay defines works of fiction as catalysts of a sensori-affective experience [End Page 151] that engages almost all our senses and arouses emotions (“le vecteur d’une expérience sensori-affective qui sollicite la quasi-totalité de nos sens et suscite des émois” [19]). Characterized by the interdisciplinarity that forms the core of cognitive approaches to fiction, Vernay’s study investigates the literary phenomenon in its complexity, asking not only how fiction seduces us, but also why it sometimes fails to do so. Drawing on state-of-the-art research in cognitive psychology and neuroscience, the book manages to eschew over-simplified or reductionist analyses. Our engagement with and consumption of literary fiction is thus analyzed by discussing marketing strategies and editorial choices, the activity of reading as a solitary pleasure versus a professional obligation, as well as the interplay between society, politics, and educational curricula. The author answers his multi-layered research question in nine different chapters, each of them exploring one facet of the relationship between literature and the human mind. The first chapter, “Émois livresques,” highlights the marketing value of books, as well as their status as objects of consumption, in the capitalistic sense of the word. Books are presented here as the targets of our desire, since in financial terms, the notion of reader, the author reminds us, is a mere euphemism for that of consumer (20-22). As we are entering the era of what Yves Citton, often quoted in this essay, calls “cognitive capitalism,” a system in which society is conceptualized as a set of machines that process information (21), fictional literature, along with the arts, is devalued. To counterbalance this trend, Vernay explains, the book industry has to adopt effective strategies that create a desire for consumption. Thus, this chapter addresses the editorial and marketing techniques designed to attract our attention and trigger our impulse to buy and read. From the smell and color of books to the blurb and the careful mention of literary prizes, no detail is overlooked or considered redundant. After addressing the...

I. A. KRYLOV — THE FABULIST IN THE ASPECT OF SELF-CONSCIOUSNESS

The article deliberately addresses the issue of self-consciousness of I. A. Krylov the fabulist. It identifies the factors that contributed to the concentration of an already mature poet, playwright and prose writer on work in a particular genre, as well as the impulses of his entry into the specifics of the fable and the world genre tradition in the conditions of the formation of an internal request for the status of a national poet and the authority of expressing folk wisdom. The crystallization of the macro-intention of Krylov’s nine books of fables, the identification of the strategy of his book-making is understood as the explication of the dynamics and structuring of the author’s self-awareness, his aesthetic and poetological purposefulness and value success in Russian culture on the transition from the traditionalist to the individual creative paradigm of the development of artistic literature. The meaningful component of the fable is seen as a system of requirements for the arrangement of the peacekeeping apparatus of the master of the word and the possibilities of the national speech tradition to respond organically to the common challenge. Krylov’s subjectivity is seen as a purposeful process of building oneself as a national and competitive global figure into a number of the highest representatives and exponents of the wisdom of mankind. The authors of the article proceed from the fact that the type of self-consciousness of the fabulist pre-establishes the synthesis of nature, society and the individual, striving for a reasonable, orderly and optimistic coexistence, taking into account the genetic experience of universal metaphor and aphorism, genre inclusions of sentimentalism and romanticism. The links in the promotion of Krylov’s individual artistic system are also fixed, in particular his comedic practice, as a prerequisite for the transition to the decisive choice of the form of aesthetic expression. The research methodology is focused on combining elements of cultural, historical-genetic, semiotic, typological approaches to the analysis of literary phenomena with a common frame of achievements of Russian historical poetics.

ОГЛЯД СТАНОВЛЕННЯ Й РОЗВИТКУ КИТАЙСЬКОМОВНОЇ ЛІТЕРАТУРИ В ТАЇЛАНДІ

The Thai-Chinese literature represents more than century-old experience of Chinese immigrants in Thailand recorded in literary works. It is the embodiment of life's vocations, dreams and thoughts of Chinese immigrants, as well as an important symbol of the struggle for Chinese cultural identity. In modern Thailand, the native language of ethnic Chinese is Thai. For the Thai population, Chinese is the second foreign language to learn while English is the first. In the realities of the lack of permanent cultural ties and a stable language environment, Chinese-language writings in Thailand are unique and special in their subject matter and issues. Given the fact that studies of Overseas Chinese literature of the twentieth and twenty-first centuries in the world are mostly focused on literary works in North America, the study of Chinese-language literature in Southeast Asia, in particular Thai-Chinese literature, receives less attention. The oeuvre and achievements of this literature have not yet received a proper deep and detailed scientific understanding and assessment of the aesthetic features and uniqueness of this literary phenomenon. And this is the reason why the study of modern Thai-Chinese literature is of great importance. This paper is of an overview character and is devoted to the formation and development of Thai Chinese-language literature from the early twentieth century to the present. Particular attention has been paid to the challenges and obstacles that have accompanied the development of Chinese-language writing in Thailand throughout history. Readers are also invited to get acquainted with the Ukrainian translation of the short story by the Thai writer of Chinese origin Nian Lamei "Girl with a floral garland".

Блоковские мотивы в поэме «Бесплодная земля» Т. С. Элиота

One of the notable trends in contemporary T. S. Eliot studies is the comparative study of Eliot’s works from various perspectives (influence, interaction, typology, contexts, etc.). The methodological principles of this research are determined by the orientation of comparative studies toward the typological study of literary phenomena. The paper deals with the parallels between two most important poetic texts of the 20th century: The Twelve by A. A. Blok (1918) and The Waste Land by T. S. Eliot (1922). The texts under study belong to the same cultural period and are united by similar artistic principles and vision of the world. The purpose of this paper is to reveal the points of intersection of two poetic universes in one research space. Both poets were the witnesses of colossal civilization collapses: the Great War and the Russian Revolution. Both poets had a ‘sense of history’, which made it possible for them to foresee and depict the Decline of Europe in poetic form, to convey the ‘noise of time’ in all its polyphony of meanings and rhythms. The authors of both poems went similar aesthetic trajectories, which can be designated as the way ‘from symbolism to modernism’. Both Blok and Eliot were poets-playwrights, creators of their own theories of poetic drama, hence the dramatic plot and many colorful characters in The Twelve and The Waste Land. In their post-war poems, both poets created the language of the modern city, using its rhythms, experimented with poetic form. The paper reveals and analyzes a number of similar motifs in The Twelve and The Waste Land: an apocalyptic vision of modernity, West and East, Eros and Thanatos.

Острова в океане: путешествие слова между русской и американской поэтическими традициями (Международная конференция “American and Russian Poetries. Links and Circulations”, Université de Toulouse, 2–5 июня 2021 г.)

The article provides an overview of the conference “American and Russian Poetries. Links and Circulations”. The conference was held at the University of Toulouse from June 2 to June 5, 2021, virtually and was organized by Americanists, professors at the University of Toulouse, D. Rumeau and C. Gheerardyn. The conference attracted scholars from the USA, France, Israel, Russia (including scholars from Lomonosov Moscow State University Lomonosov, the Institute of Linguistics of the Russian Academy of Sciences, etc.). During the conference, a number of papers touched upon the issues of reception and “transfer” between poetic cultures. These papers would concern not so much a passive “transfer” of a literary phenomenon from one culture to another, but rather an active process of transferring, or transcoding the phenomenon through an intertext already existing in another culture. Apart from topics related to issues of reception and metamorphoses of cultural translation, during the conference, the contrast between Russian and American poetic traditions was questioned as a contrast between the tradition of “expression”, psychologism, and the tradition of “description”, a formal experiment. This opposition was coined by the Imagist poet J. Cournos, a Russian émigré, also known as Ioan Grigor’yevich Korshun. A number of speakers disputed the rigid division of Kurnos, drawing attention to (1) the similarity of conceptual schemes for comprehending experience in the poems of Russian and American poets, (2) a formal experiment in Russian futurism and the development of a theoretical vocabulary for describing form in Russian formalism, (3) the influence of Russian futurism on the American neo-avant-garde. The influence of Russian futurism and Russian formalism on American poetry was traced on the example of the Language School phenomenon.

The meeting of a Russian with Europe in the travel writings of Peter the Great’s era (A.A.Matveev)

The paper revises the traditional view at the travel writings of the era of Peter the Great. They are usually considered as naive works, and content of these works as identical to the biographies of it’s authors. The method of historical and linguistic research of V.M.Zhivov on the language of Russian writing is applied to the material of travelogues. The main purpose is to account for the pragmatics of the utterance in travel literature as in a phenomenon synthesizing heterogeneous features in principle and in the transitional Peter’s Era in particular. The paper is focused on the notes of the diplomat A.A.Matveev, compiled by him for himself as a result of his journey from the Hague to Paris (1705–1706). The narrative technique in Matveev’s text is examined (descriptions of the monuments of the French capital and the inscriptions to them in Latin), and it is shown that we should not reduce the function of Matveev’s work to purely diplomatic tasks of his actual journey. The descriptions recorded in Matveev’s text were politically charged: the author not only collected samples of inscriptions, but also demonstrated a new way for Russia to glorify the reigning monarch. This peculiar collection of Matveev is also considered in the context of cultural phenomena that were relevant at the beginning of the 18th century: private and court collections of rarities, embossing of commemorative medals, etc. The conclusion is made that borrowed elements change their function in the travelogue. In the historical and literary perspective, we must bring such works as Matveev’s notes out of the zone of marginal literary phenomena. In general, this allows us to see the key trends of the transitional period of the history of Russian literature. It is more appropriate to consider these processes not to state the Western European origin of individual elements of culture, but to analyze their pragmatics associated with the demarcation from the old Russian culture.

Cultural Criticism and Terminology "The Balconies of the North Sea" as a Model

This research aims to dissolve the engagement between the term cultural criticism and the term cultural studies and culture criticism, by applying it to a fictional text, "The Balconies of the North Sea", and to define the epistemic boundaries for each term separately. It tracks its paths and changes in the monetary field. Highlighting the status of cultural criticism, "which is one of the most prominent literary phenomena and the most thorny topic produced by the currents of postmodern criticism.

文學傳統과 唐詩의 創新

The emergence of any kind of literary phenomenon will be faced with the choice of society and the choice of literature. The synergy of the two choices can form a new friendship in literature. As far as the selection process of literature is concerned, the objects of choice include the innovation where literature provides the possibility space, and the chosen subject transforms this virtual space into a realistic path. The latter always plays a leading role. The innovative performance of Tang poetry surpassed that of Song, Yuan, Ming, and Qing poetry, and the poetry of High and Middle Tang was excellent. The poems of the early and late Tang Dynasty all reflect the result of this selection and optimization.

The Phenomenon of the Ukrainian Volunteer Movement and Its Significance in Latest History, Politics, and Culture of Ukraine

The article reviews the participation of people from the Ukrainian volunteer movement in the political processes in Ukraine and in the development of Ukrainian culture in the second half of the 2010s – early 2020s. It explores the influence on the staffing of the deputy corps, as well as the participation in the creation of the extra-parliamentary political agenda, the impact on the formation of state institutions (including the establishment of the Ministry of Veteran Affairs of Ukraine); involvement of volunteers in art and music, literary activity (including the creation of a separate literary phenomenon – volunteer literature), participation in the organization of new centers of cultural life of the country (clubs, hubs, etc.).It clarifies the nature and scope of voluntary influence on Ukrainian politics and culture of this time, and, based on the nature and scope of this impact, determines the role of Ukrainian dobrobats in the national history of this period. The research methodology involves the application of the principles of historicism, the integrity of the study of historical sources and objectivity, the use of methods of description, analysis and synthesis, classification and systematization. The scientific novelty is due to the lack of scientific research on this topic, because to date, academic research on the volunteer movement has concerned only the role of dobrobats in hostilities in eastern Ukraine and the nature of their interaction with law enforcement agencies and state institutions. The prospects for further research is that by determining the level of influence of people from Ukrainian dobrobats on politics and culture in Ukraine it is possible to determine the role of volunteers in the national history of the period in general. A review of the nature and extent of the influence of the Ukrainian volunteer movement on political processes in Ukraine and the formation of national culture gives grounds to talk about the diversity and multi-vector nature of such influence, which makes it appropriate to compare the influence of volunteers on modern national history with the influence of the Cossacks.