Modern Writers Research Articles

Preface

Preface Rebecca L. Harrison (bio) The Eye That Is Language: A Transatlantic View of Eudora Welty by Danièle Pitavy-Souques. Ed. Pearl A. McHaney. Jackson: UP of Mississippi, 2022. 188 pp. $99.00 hardcover, $30.00 paperback. Preface Danièle Pitavy-Souques (1937–2019) requires no introduction in the world of Welty studies. The author of two monographs and numerous essays on Welty, recipient of the Eudora Welty Society's Phoenix Award, and a scholar responsible for organizing countless conferences on this acclaimed author, Pitavy-Souques was herself a visionary who recognized Welty's import and championed Welty's recognition in France. Yet, Pitavy-Souques was more than just the French specialist on Welty's canon. She was Eudora's friend, someone who, as editor Pearl McHaney points out, described her personal journey with Welty's opus as "'the passion' of her life, 'something of the heart, and something of the soul after being first something of the mind'" (vii). The Eye That Is Language: A Transatlantic View of Eudora Welty showcases this more than thirty-year journey and the way Pitavy-Souques changed the trajectory of Welty studies by critically locating this Mississippi author's imaginative axis in the context of global twentieth-century intellectual and artistic developments, thus positioning Welty as a powerful modernist writer outside of the South. It seems only fitting, then, that in reviewing a book centering global insights on Welty's daring vision that the scholars collected in this roundtable themselves represent different geographical and generational perspectives on Pitavy-Souques's collection of work. Jacques Pothier [End Page 161] (France), Stephen M. Fuller (U.S.), and Laura Wilson (U.K.) may differ in their approaches to The Eye That Is Language, but they all underscore one common thread: that Pitavy-Souques's theoretical prowess, on some level, resembles Welty's own. Pothier's sweeping review traces the way she "trains her eye" as a "disciplined" close reader across Welty's canon in the pieces represented in the collection. Thus, for Pothier, The Eye That Is Language "teaches the readers to train [their eyes] on the details of Welty's stories that she identifies as keystones to her modernist constructions," convincing yet a new audience of the artist's global significance. Fuller's review hones in on Pitavy-Souques's keen theoretical knowledge and penchant "for the formalism of narratology" in Welty that often "resists the claim to truth implicit in mimetic narrative strategies." As Fuller details, Pitavy-Souques's work teases out Welty's "uncommon power to challenge and outrage" as one that "flows from her late modernist reinvention of tropes identified with" a powerhouse of influential artists, writers, and philosophers. Finally, Wilson's review harnesses the term "perspective" to reveal what Wilson sees as the collection's most prevalent thread—a focus on "what we might call the language that is eyes: that is to say, moments where Pitavy-Souques shows us how Welty viewed, illustrating the multiple perspectives that she wrote both from and about." Wilson both documents the amount of references to sight in the collection as well as its theoretical import for this critic, one she locates as a "mirror symbol" itself that "offers readers another chance to interrogate Welty's fictional technique, questioning the accuracy of reflected images produced by layers of metal and glass, a surface that only ever provides a virtual image since light rays never actually cross over in a reflection." In toto, this roundtable, much like Pitavy-Souques's work, points to the sophisticated operative modes at play in Welty's canon and the necessity of employing cross-cultural lenses that see language as the chief concern in Welty's world. Pitavy-Souques once said that Welty was "both ahead of her time and in deep 'resonance' with it" (xii). The Eye That Is Language mirrors this sentiment in its revelation of Pitavy-Souques's deep resonance with Welty that was, indeed, ahead of its time. [End Page 162] [End Page 163] Rebecca L. Harrison University of West Georgia Rebecca L. Harrison REBECCA L. HARRISON is Professor of English at the University of West Georgia where she teaches courses in southern women writers, American...

Narrative Devices of Metamodernism

Theorists of metamodernism have written a large number of scientific articles on metamodernism, but these articles only clarify the existence and meaning of metamodernism. It is important to reflect some of the narrative techniques used in literature, and this would contribute to a deeper acquaintance with metamodernism. The purpose of the study is to propose, analyze and reflect the narrative techniques of metamodernism, to enable the reader to better understand metamodernist practices in modern novels. Each era has its own storytelling techniques, and this article will introduce six of the main storytelling techniques used in metamodern novels. Six techniques: hesitation, thinking "as if", man, paradox, breaking boundaries within globalism and metanarrative. The object of the study is the analysis of the narrative techniques of metamodernism. In the article the author used analytical, descriptive and comparative methods. The author analyzes six narrative techniques, listing the reasons for their use. The author describes their use in the text using examples from the works of modern writers. It is also necessary to compare the metamodern narrative techniques with the narrative techniques of previous eras. The practical significance of the application in applying the results in the courses of modern Russian literature, theory and history of Russian and foreign literature. The novelty of the study lies in the reflection of six narrative techniques of metamodernism, which can help the reader to better understand metamodernism as a worldview. As a result, it is proved that metamodernism has its own unique narrative techniques that distinguish it from its predecessors. The six narrative techniques are an important fact proving that metamodernism exists and appears in literature and beyond.

Romantic objects, Victorian collections: Scribal relics and the authorial body

AbstractOver the course of the nineteenth century, literary manuscripts came to be seen as tangible evidence of the creative process and as a key to the personality of the author. The material traces of writing were understood to outlive their creators and promise to resurrect the authorial body through the magic of the relic. This article reconstructs how authorial script gradually transformed into a collectible object pursued as a memento and a commodity. Letters, drafts, and fair copies by major modern writers found their way into the collections of British aristocrats and American industrialists at the same time that hunting for literary autographs diversified into a middle‐class pursuit. Surveying recent scholarship on nineteenth‐century collecting and material culture, the essay offers a condensed cultural history of the literary manuscript as a collectible and draws attention to how collectors and collecting feature in fictional texts of the period. It focuses on the artefactual mobility and custodial afterlives of Romantic papers in Victorian literature and culture, exploring a form of collecting which crossed boundaries between periods and national literary traditions.

Някои наблюдения за стила на Флобер върху откъс от романа ,,Мадам Бовари“

The article presents a linguistic and stylistic analysis of an excerpt from “Madame Bovary”, a novel written by Gustave Flaubert. The present analysis is of a part of chapter VII which is included in IXth class compulsory study of the school subject Literature. Some observations of the perfect style of the author are made by analyzing the illusions of Emma Bovary. Artistic details and mini-dialogues that prove Flaubert's ingeniously composed language and grace of phrase are interpreted. The new narrative technique, the detailed accuracy, the ringing practiced and thought-out speech and the remarkable skill of the utterance create his image as a presentable and modern writer.

Permission to Wonder: The Palimpsestic Interplay of H.D. & Freud

The modernist writer H.D. was Freud’s analysand in 1933 and 1934 and friend until his death in 1939. This article examines letters, biographies, memoirs, and archival material to trace the interplay between H.D.’s palimpsestic poetics in Trilogy (1973) and Freud’s writing of his last book, Moses and Monotheism (1939) – a work that he was composing throughout the duration of his friendship with the poet. In this book, Freud situates Jewish history as a survival narrative centred on the figure of Moses. Known as one of his most ‘literary’ texts, Moses and Monotheism retraces the life of Moses in a multi-layered narrative that shares in the palimpsestic impulses of H.D.’s writing. This article argues that Freud draws from the revisionist strategies so central to H.D.’s worldview and writerly ethos in order to place creativity and resilience at the heart of Moses and Monotheism.

Preface: Shakespeare and Milton

Preface: Shakespeare and Milton

Elegy for Hedgehog

"Elegy for Hedgehog." The Keats-Shelley Review, 37(1), p. 79 Additional informationNotes on contributorsGemma RiceGemma Rice is a writer from Oxfordshire. She is currently a student in her second year at sixth form and is hoping to continue studying English Literature at university. She likes to write poems about the everyday, the human experience and tenderness, with a penchant for modernist writers, contemporary American poets, and postmodernist fiction. When she’s not writing, Gemma can usually be found curled up on the sofa watching films with her cat, Millie.

Depression, a Major Theme of Modern Literature as the Culmination Point of the Degradation of Human Feelings Found in Victorian Literature

This study aims to show how life is portrayed in the Victorian Age through Victorian literature and its effects on modern literature. The paper represents depression, considered to be the central theme of modern literature, also found available in modern society where degradation of human feelings found in Victorian society and literature that acted as the catalysts of depression. To make this paper more acceptable, a comparison of Victorian and modern writers' writing styles and techniques is shown. To show the writing styles of Victorian and modern novels, Victorian novels have been described as having grotesque elements. In contrast, modern novels use a 'stream of consciousness.' Victorian poetry uses dramatic monologue, whereas modern poetry uses 'interior monologue.' Another comparison is held, keeping in mind the spiritual conditions of humans in the two periods. In the Victorian Age, people remained far away from spirituality; on the other hand, in modern society, people have an attempt to clutch the spiritual senses. Finally, this paper talks about how Victorian literature primarily reflects depression that comes from the breakdown of romantic spirits and disillusionment, followed by the rise of materialistic achievements during industrialization, which results in the cry of a departed and disinterested human soul prevailing in modern literature.

З. Н. Гиппиус и О. Миртов (Ольга Негрескул): литературно-гендерные параллели

In 1893, a story Apple Trees Are in Bloom by Z.N. Gippius was published in the journal Nashe vremya (Our Time). In 1911, a novel by O. Mirtov (pseudonym of the writer Olga Emmanuilovna Negreskul-Rosenfeld) under the same title Apple Trees Are in Bloom was published in the leading literary and political journal Russkaya Mysl’ (Russian Thought), edited by P.B. Struve. A close friend of the Merezhkovsky’s family, D.V. Philosophov in his 1914 essay The Feast Trunk pointed out the similarity of titles, reflecting on the secondary nature of literary and philosophical findings of Negreskul. An analysis of the Gippius’ story of 1893 and Mirtov’s novel of 1911 in the context of philosophical and gender ideas of the turn of the century makes it possible to speak of some literary parallels, both genetic and typological, characteristic of two female authors’ work, one of whom wrote under her own name, and the other worked under a pseudonym. The commonality of the plot arc of the two works, the similarity of philosophical and aesthetic statements, made in the spirit of modernist artistic quest, the proximity of the Negreskul to the symbolist picture of the world, as evidenced by her first literary experiments, make it possible to identify a common artistic concept of the formation of worldview and artistic motives in the work of two modernist writers.

Hamlet in T.S Eliot’s Interpretation

T.S. Eliot’s critical essays have great importance in the process of creating the writer’s literary works and, in general, in establishing the characteristics of modernist writing techniques. In addition, Eliot’s theoretical works written in different years show the change in his way of thinking and make it possible to perceive his approaches differently. On the one hand, we can consider that his criticism of specific writers and individual literary works is extremely unfair and subjective. However, we must notice that the negative evaluations and opinions he deserved pushed him to propose new approaches to the discussed issues with endless interpretations. As Eliot wrote in another new essay dedicated to Shakespeare in 1927, It is better to change your way of being wrong than be the same way wrong. The 1919 essay "Hamlet and His Problem" is an example of such inappropriate criticism. In fact, the new term ‘objective corelative’ makes it more attractive than the approach itself. It should be noticed that by accusing Shakespeare of expressing subjective emotions and declaring Hamlet a failure, he doesn’t stop discussing the play and interpreting it in his literary works. In a way, the essays of the following years and his practical usage of Hamlet explain the reasons for his attitudes. We should seek these reasons in the form of expressing ‘horrible’ accepted by the Modernist writers. Along with the explanation of the play and Shakespeare’s attempt, the terms established in Eliot’s literary works should be considered. His theory doesn’t remain an impractical theory; Eliot uses it in the writing process. When we are looking for the reasons for the criticism directed at "Hamlet", the following terms must be named: ‘Objective Correlative’, ‘Poetic Meditation’, and ‘Self-dramatization of a Hero’. After many attempts, in the essay "Shakespeare and the Stoicism of Seneca," Eliot identifies Hamlet’s different level of consciousness, personality and the existence of different philosophical viewpoints. By connecting Shakespeare's characters with Senecan drama, identifying Machiavelli and Montaigne’s opinions, and considering Elizabethan drama itself, Eliot frees Hamlet from the accusation of expressing Shakespeare’s pains and comes to ‘the Theory of Impersonality’. The paper discusses "Selected Essays" written by T.S. Eliot. The essays from different years highlight various interpretations of criticism directed at the play "Hamlet". To outline the practicality of Eliot’s literary theory, the paper analyses the usage of Hamlet as a character and the purpose of allusions in the writer’s literary works. The main analysis is devoted to "A Love Song of J. Alfred Prufrock". Also, the episodes of "Burbank", and "The Waste Land" are discussed. Professor T. Kobakhidze has played a major role in Eliot’s literary works research process in Georgian reality. His monograph "T.S. Eliot and the Aesthetics of High Modernism" is used to identify the purpose of Eliot’s allusions taken from the play Hamlet according to modernist writing techniques. In addition, the paper summarizes the specific subjective reasons for Shakespeare’s criticism at an earlier stage of Eliot’s career.

Some Theoretical and Methodological Problems of Text Interpretation

The phenomenon of the text reaches back to the beginning of the world itself: God created the world with words, the text spoken by God brought it from non-existence into existence. When God spoke the first words, the first text to Adam, that was the first time man interpreted text. The goal of biblical hermeneutics is to correctly understand the truth stated in the text of the Bible, whereas literary hermeneutics tries to convincingly interpret the artistic text with various relative methods and criteria such as text-, author-, reader-, and context-oriented approaches. All these approaches to interpreting a literary text are valuable, and when combined with each other, they are likely to yield better results. Today’s modernity clearly prefers the context-, or more precisely, the modern-context-oriented method, even when dealing with a text that is centuries old. This turns out to be more of a commentary on modernity than a real interpretation of the artistic text. The understanding of an artistic text of any era is more or less always influenced by the reader’s worldview and his/her contemporary time. In the book dedicated to T. S. Eliot’s work, Temur Kobakhidze (2015, p. 10) notes that the modern interpretation of Shakespeare’s work is very different from the perception of Shakespeare’s time. The same Eliot (1998, pp. 57-58) calls Shakespeare’s Hamlet an artistic failure because, in his opinion, Hamlet’s emotion exceeds the events around him. Temur Kobakhidze (2004, p. 41) ascribes Eliot’s position to the peculiarity of his aesthetic vision as a modernist writer, for whom the integrity and high pathos of the Renaissance humanist worldview was unacceptable. Therefore, Hamlet’s tragic feelings seem exaggerated to Eliot. More or less, every reader measures the world, evaluates events, understands texts by the standards of his/her life and professional activity. For example, Sigmund Freud (1992, pp. 367-368) sees the Oedipus complex in Hamlet. Harold Bloom (1994, p. 376), however, believes that Hamlet does not have the Oedipus complex, but Freud has the Hamlet complex. In a book devoted to the interpretation of Shakespeare’s Hamlet, Harold Bloom (2009, p. 10) suggests that Hamlet as a character is perhaps a representation of the beginning of meaning, its invention, and its inexhaustibility. Hamlet’s well-known relativistic view that “there is nothing either good or bad but thinking makes it so” (Shakespeare, 2003, p. 141) is perhaps particularly well suited to the subjective and relative phenomenon of interpreting a literary text. The possibility of real interpretation of a text is completely questioned by the Literature of the Absurd, for which the meaning of human existence is incomprehensible, the world is inexplicable, words and texts are ambiguous. Samuel Beckett’s Waiting for Godot is one of the most striking examples in this regard. The play offers many possibilities of conflicting interpretations, which may indicate its high artistic value, but in the end, any attempt to understand it leads to nowhere, and if we still think that it leads to somewhere, Beckett would undoubtedly have told us: I didn’t mean that. The suitability of the methodological approaches selected for the interpretation of a particular text is highly dependent on careful consideration of the specifics of the field to which this text belongs. Thus, one of the main goals of modern hermeneutics – to develop a common hermeneutic methodology for all types of texts – is devoid of common sense. Not only written but also oral discourse can be understood as a text. Oral literature consists exactly of oral artistic texts. But a text may be neither written nor oral. Such a text is a person’s thoughts, an interior monologue, a stream of consciousness, which also finds its reflection in fiction. Unlike written and oral texts, interior text can be interpreted only by its author, if he/she observes his/her own thoughts. And the all-seeing God knows perfectly all the thoughts of all of His living creatures, even before they are thought. Globalist narratives and discourse exert a great propagandistic pressure on human consciousness and worldview, including the content and form of contemporary literary texts, as well as their interpretation. However, interpretation is a responsibility before the Supreme Creator, even the interpretation of an artistic text, and even more so, of the Holy Scriptures – the divine text.

ОБРАЗ НАЦИОНАЛЬНОЙ ГЕРОИНИ В ТРАДИЦИОННОЙ ТАТАРСКОЙ ЛИТЕРАТУРЕ И РОМАНЕ Г. ЯХИНОЙ «ЗУЛЕЙХА ОТКРЫВАЕТ ГЛАЗА»

The article is devoted to the study of the evolution of women’s images in traditional Tatar literature and in the novel «Zuleikha Opens her Eyes» by G. Yakhina. In this context, differences and similarities in the images of national heroines are revealed, it is concluded that the image of Zuleikha is created by a modern writer, on the one hand, in accordance with the tradition of depicting a woman in Tatar literature, on the other hand, G. Yakhina is clearly moving away from gender, moral-religious and social stereotypes of the embodiment of the image of a Muslim woman.

АНТИНОМИИ РУССКОЙ ТРАДИЦИОННОЙ КУЛЬТУРЫ В ПОЭТИЧЕСКОЙ КНИГЕ Д. МИЗГУЛИНА «ПО КРОМКЕ БЫТИЯ»

The object of the article is antinomy in Russian artistic culture, which manifested itself in the main oppositions: “up” and “down”, “male” and “female”, “living” and “dead”. The subject of the research is the variations of the fundamental principles with ambivalent semantics in modern poetry. The material for the article is a new poetic book by the modern writer D. Mizgulin "Along the Edge of Being". At the center of cultural-philosophical and onto-hermeneutical analysis is the interaction of the phenomenal and the noumenal, the rational and the metaphysical in poetry. Much attention is paid to the problem of the metaphysics of creativity, its apophatic side in the Russian cosmo-psycho-logos, which is of great importance for understanding the ontological issues of writers' creativity. The research methodology is reduced to a holistic hermeneutic analysis aimed at highlighting the cultural potential of this poetic book, studying the axiological and ontological value of antinomies in modern verbal culture. Much attention is paid to the comparison of poems within the book, the analysis of its structure, as well as the national topic, without talking about which it is impossible to perceive Russian literature in a holistic way. The results of the work may be of interest to literary historians, who include literature in the space of a large dialogue of cultures, and can also be used in teaching courses in cultural studies and Russian philosophy.

Mythology in Modern Literature: An Exploration of Myths and Legends in Sylvia Plath’s Poetry

Mythology has become an intrinsic part of literature for the symbolic, structural and functional values it imparts to a text. Although the use of myths and legends in literature has been transformed contextually over the different literary periods, modern writers extensively reappropriated and used them to portray the complexity of the theme and narrative structure of a text. They illustrated the contemporary fragmented reality and individual experience through myths. By incorporating myths in a text, modern writers sometimes created fictionalized and artificial myths of their own. American poet Sylvia Plath made personalized use of myths and legends in her poetry. The paper shows how she, as a confessional poet, amalgamates her personal anxiety and distress with characters and symbols from diverse mythological sources such as the story of Medusa, Medea, Persephone, Electra etc. Apart from classical myths, she incorporated European folktales, Norse and Arthurian myths. Her extensive use of myths portrays the condition of women and the role of patriarchy from a feminist perspective. It also illustrates her attitude toward her father and mother, her distress, agony and suicidal attempts and sometimes expresses her views on life and the contemporary world. Like many modern poets, she turned away from the traditional and orthodox poetic practice and rechanneled her individual crises into poetry which is full of mythological symbols and images.

Gadda: interpreti a confronto ed. by Federica G. Pedriali

Reviewed by: Gadda: interpreti a confronto ed. by Federica G. Pedriali Luca Mazzocchi Gadda: interpreti a confronto. Ed. by Federica G. Pedriali. (Quaderni della Rassegna, 178) Florence: Cesati. 2020. 257 pp. €30. ISBN 978-88-7667-868-4. This volume is a collection of eleven essays by established Gadda scholars. Born from a sense of unease about issues that still arise in rereading Gadda today, the book addresses the following questions: now that the process of his canonization is complete, who is Gadda? And what does Gadda offer to us, in the face of his impressively large body of work, disarranged and rearranged within multiple contexts? In tackling these questions, the collection rejects the image of Gadda as an 'unexportable' classic of Italian literature, and this intention is evident in the decision to assemble contributions in four languages by scholars from all over Europe (two essays are in English, one is in German and one in French; the remainder are in Italian). In the opening essay, Federica G. Pedriali points to a crucial paradox: although he is 'notorious for having compromised the integrity of practically all his texts, thus also appearing to have sacrificed, or lost, or never really had […] a clear authorial intention' (p. 13), Gadda is 'not at all vanishing in, or vanquished by his texts' (ibid.). What we witness, Pedriali notes, 'is, rather, an authorship with authority, and exploiting the gravity of thought to precipitate, literally, the ultimate continuity of the discontinuous book: the one maximising gaps, to stop all gaps' (ibid.). These preliminary considerations are followed by two comparative studies. In the first, by Federico Bertoni ('Il romanzo moltiplicato: Gadda nel Novecento'), Gadda's work resonates with Svevo, Proust, Musil, Woolf, and Joyce, modernist writers sharing a notion of reality as irreducible to any explanatory attempt by literature. In the following essay ('La lingua del sì e quelle del no'), Gabriele Frasca dwells on the affinity between Gadda, Nabokov, and Beckett, with particular regard to their search for a 'post-traumatic language' (p. 68), and lays emphasis on the continuity between their works and that of Joyce. Taking into account several non-narrative writings where Gadda deals with the nature and meaning of art and literature, Giuseppe Stellardi ("'In nome di quale poetica"? L'antipoetica di Gadda') brings into focus the impossibility for Gadda of articulating a poetics, and understands this impossibility, along the lines that emerge in the essay by Bertoni, as a consequence of Gadda's gradual realization of the irreducibility of reality to a literary rationalization. As Giuseppe Bonifacino explains in 'Dalla polarità alla deformazione: il realismo "noumenico" di Gadda', Gadda has a polar notion of reality, meaning that reality works, for him, as a polarity of semblance and noumenon. As the polar and secret reverse of the semblance, [End Page 145] as the altera facies of the phenomenon, the noumenon is yet one with it. Gadda's realism can therefore be defined as 'noumenal', inasmuch as it essentially disfigures and deforms reality as it appears to us. Literature can know things only in denying their form, and the only truth that it can access is in the representation itself: Gadda's noumenal realism does not look for 'una verità riposta oltre la forma: bensì giacente tutta e sola in quella relazione oppositiva che produce la rappresentazione in quanto conflitto deformatore' (p. 120); in other words, 'la conoscenza avviene nella rappresentazione' (ibid.). Reflecting on what appears to be the end of the critical primacy of some interpretative paradigms provided by Gianfranco Contini, Cristina Savettieri ('Il senso di Gadda per il romanzo') calls for the necessity of resetting the image of Gadda that has long dominated the critical scenery by embracing a full understanding of Gadda as a narrator, a novelist in all respects. Moving along this path, Alberto Godioli ('"Un romantico preso a calci dal destino": Gadda and the Nineteenth Century Novel') recognizes 'Gadda's debts' (p. 138) to the classics of nineteenth-century European realism, from Stendhal, Balzac, and Dickens, to Dostoevsky and Flaubert, 'with particular attention to how Gadda builds on such models in order to achieve his own, modernist take on both sides of the polarity—a ludicrous...

“Time Meant Nothing”: A New Reading of Pietro di Donato's Three Circles of Light beyond Autobiography and Stereotypes

“Time Meant Nothing”: A New Reading of Pietro di Donato's <i>Three Circles of Light</i> beyond Autobiography and Stereotypes

Динамика автобиографизма в американском модернистском романе: от Г. Миллера до Дж. Керуака

The study is devoted to the evolution of autobiographism in the American modernist novelof the 1930s–1950s. The article briefly describes the genre features of literary autobiographies and discusses the problem of ambiguous interpretation of the term ‘autobiographism’ in contemporary literary criticism. The study is based on Naum Leiderman’s theory of genre constructed on the idea that any genre is a certain combination of its structural units, i.e., ‘genre carriers’, these primarily including subject-oriented, spatial-temporal, and speech organization. Autobiographism, considered in the article as a principle of the author’s portrayal of his own life in a work of fiction, manifests itself precisely in the genre carriers, transforming them in a certain way. Following this, we define the autobiographical novel as a genre variety possessing the following features: the author aims to portray his life in dynamics of his personal relationships with the exte-rior world; the author’s life experience serves as the material; the leading principle of depiction is autobio-graphism. Based on a comparativeanalysis of the features of autobiographism in modernist novels, the paper traces the tendency, typical of modernist writers in the 1930s–50s, to abandon the ideas of elitism and text-centricity of the 1920s literature, and shows their increasing interestin their own writer’s individuality as well as the ways of expressing it in a literary work. The autobiographical novel, ideologically oriented to-ward the representation of the author’s ‘I’, became a genre in which this trend found expression through the complication of the forms of autobiographism, reflecting the structural, stylistic, and ideological features of modernist autobiographies. The material under research are the autobiographical novels Tropic of Cancerby Henry Miller and On the Roadby Jack Kerouac.

«Женская генеалогия» и «память» в прозе Н. Абгарян: к вопросу о гендерной нарратологии

Аddresses and analyzes the work of the modern writer N. Abgaryan in terms of the gender-specific features of the artistic representation of the issue of memory, for instance, the actualization of the category of femininity and its aesthetic potential in the texts of the author. The undertaken analysis of narrative mechanisms, plot-compositional and pictorial features of three major works revealed the dominant role of the representation of the female genealogical connection not only in the production of the artistic construct of memory, but also in the formation of the artistic concept of the author's works. The study shows how the emphasis on building a female pedigree, a related transgenerational connection at different levels of the text determines the narrative structure of the narrative act, which in the context of studies of the relationship between the categories of memory, narrative and gender / gender allows us to judge gender specificity of the creativity of both given author and women's writing as a whole. In addition, the inclusion of perspective of the representation of women's psycho-emotional and mental experience in the feminist theoretical discourse presented in the texts makes it possible to speak about the manifestation of the aesthetic potential of women's experience in the work of N. Abgaryan.

NOMINATIONS OF THE PARTS OF THE DAY IN THE ASPECT OF THE LEXICO-SEMANTIC AND ASSOCIATIVE FIELD «TIME» IN THE I. ROZDOBUDKO’ STORY «ARSEN»

In the paper we analyze the lexical-semantic group «parts of a day» and the structure of a similar associative field of temporality based on the material of I. Rozdobudko's story «Arsen». The importance of studying the language of the works of modern Ukrainian writers is to track the peculiarities of the development of the modern Ukrainian language, its forms and means of expression, especially considering that artistic texts for children and teenagers, like the analyzed novel, are the most vivid representatives of modern perception and reading of the language as a living system. The difference between the concepts of lexical-semantic group (LSG) and thematic group (TG) was clarified, which made it possible to more specifically analyze the semantics of the analyzed examples. The lexical-semantic group «Parts of the day» is conditionally divided into microfields «night», «morning», «day», «evening». Each of the analyzed microfields is expressed within the lexical-semantic and associative fields, which caused the need to distinguish the concepts of «lexical-semantic field» and «associative field». The research was conducted by collecting and analyzing linguistic material, as well as analyzing available scientific sources. The semantics of temporal nominations (time names) to denote parts of the day in the story «Arsen» is unambiguous and does not compare with the semantics of the life cycle, as in folk-poetic texts. That is, we are observing a new way of highlighting time semantics, the figurative expression of which only emphasizes the main meaning, without providing semantic connotations. In the semantic structure of the lexical-semantic field «time», we distinguish thematic groups of the vocabulary, which include words from different parts of the language to denote a common concept, and lexical-semantic groups that combine full-meaning words of the same part of the language. According to the structure of the lexical-semantic group «parts of the day», which is based on the day/day in the meaning of the day, we distinguish the following microfields: «night», «morning», «day», «evening» as its components. Each of the analyzed microfields is characterized by figurative semantics, aesthetics, and sensuality characteristic of artistic language, but devoid of sentimentalism, which is characteristic of modern artistic prose. The associative field is expressed by two signs: color and light, which prevails, and taste (related to the names of meals). The results of the study testify to the clear construction of the lexical-semantic system of the language, its division into groups and microfields according to the semantic principle, which makes it possible to trace intergroup and even interfield connections, since no language unit can exist separately from others. It was found that the intensity of light and color is the main semantic criterion by which the associative field «time» should be classified using the example of parts of the day. We see the prospects for further scientific research in the study of the concepts of the lexical-semantic and associative fields based on the material of the works of modern writers in order to fix and preserve the psycholinguistic aspect of language in the modern historical era.

VOCATIVE FUNCTIONS OF DIMINUTIVES IN ENGLISH PROSE LITERATURE FOR CHILDREN

The current article deals with English diminutives from the perspective of Speech Act Theory formulated by J. Searle and supplemented by other scholars (e.g. D. Wunderlich). In the focus of the research are the diminutive-related vocative speech acts which are used in addressing the participants of speech situations and contribute to establishing the addressee. In the arrangement of relations and interactions between participants of communication, there have been found only two components: the addresser and the addressee. The empirical material for the study is based on popular works by modern writers of English prose literature for children such as A. Ahlberg, R. Dahl, E. Nesbit, J. Wilson. The choice of the target texts results from their antropocentricity and childcenteredness. Vocative speech acts perform two communicative functions: a) calls are aimed at catching the addressee’s attention; b) addresses are aimed at maintaining or emphasizing the contact between speaker and addressee. Among the diminutives used in vocative functions there have been found first names, family names, terms of kinship and descriptors. First-names diminutive forms are most recurrent in the vocative speech acts. It results from the fact that the addressee in juvenile prose literature is a child. Most of the first names in the diminutive form are used to express a positive attitude to the addressee. There has been found only one example of a family-name diminutive in the vocative function, whose purpose is to express a negative attitude to the addressee. Besides, diminutives in the vocative function complement other speech acts such as directives, commissives and representatives. Diminutive vocatives either intensify or weaken the illocution of the speech act they complement, and express positive or negative attitude to the addressee.