Word Art Research Articles

Шевченкознавчі розвідки Є. Шабліовського: доба та автор

The purpose of the article is to trace the ideological accents of Ye. Shabliovsky's Shevchenko studies as an expression of vulgar sociologism in the context of the laws of the soviet era. The basis of the research methodology is a cultural-historical approach, which provides a vision of the role of the historical context, social environment and political factors, forms an objective coverage of the specifics and regularities of the history of Shevchenko studies. Elements of biographical and psychoanalytical methods complement the portrait of the scientist. Research results. The publication reproduces the issues and main concepts of E. Shabliovskyi's literary studies "Shevchenko and Russian revolutionary democracy" (Kyiv, 1958), "The people and the word of Shevchenko" (Kyiv, 1961), "Patriotic ideas in the works of T. H. Shevchenko" (Kyiv, 1961), "By the ways of unity (Ukrainian literature in its historical development)" (Kyiv, 1965), "Aesthetics of the artistic word (Poetic world of Taras Shevchenko)" (Kyiv, 1976). On the basis of the Shevchenko works of E. Shabliovskyi, the origin and formation of vulgar sociologist is traced, the intentions of which have been preserved in later investigations. Among the actively promoted theses are the connection of T. Shevchenko with the Russian revolutionary democrats, in particular with M. Chernyshevskyi, and the revolutionary-transformative character of T. Shevchenko's humanism. In addition to literary studies, E. Shabliovskyi's activities in the field of Shevchenko studies cover various areas - from participation in research expeditions to editorial and publishing activities (comments and notes; preparation of facsimile editions of T. Shevchenko's manuscript heritage). The specificity of the biography of a soviet scientist, a victim of stalinist repressions, as a natural phenomenon of the stalinist era, is noted.

Роман “Чорна дошка” Наталки Доляк: свідчення злочинів радянської влади проти українців

The Holodomor as a genocide of the Ukrainian people is the object of coverage in the works of writers. The novel “Maria” by Ulas Samchuk, written in 1933 based on the stories of the few eyewitnesses who were lucky, appeared as the first incriminating document of the day. Subsequently, the theme of the Holodomor was revealed by Vasyl Barka in the novel “The Yellow Prince”, Anastasia Lysyvets in the novel “Tell me about a happy life...”, Yuri Bedzik in the novel “Plaster Doll”, Igor Kachurovsky in the poem “Village in the Abyss”, Svitlana Talan in the novel “ Split sky” and others. However, among the works about the crimes of the Soviet authorities against Ukrainians, the novel “Blackboard” by Natalka Dolyak attracts attention, in which artistic fiction is intertwined with documentary accuracy of the reproduction of the terrible events of 1932-1933 in Ukraine. The purpose of our investigation is to show, using the example of Natalka Dolyak’s novel “The Blackboard”, the destructive nature of the Holodomor in Ukraine, which was realized not only in the destruction of the gene pool of the Ukrainian nation, but also in the distortion of the worldview of the generation that mimicked, adopting Soviet ideas in order to survive. Studying the history of the Ukrainian people, in particular its tragic pages, shapes the outlook of young people and prevents the recurrence of terrible events. That is why it is necessary to promote the development of Ukrainian literature, to read and understand the works of Ukrainian writers, who draw attention to the tragic pages of our history by means of the artistic word. The events in the novel take place in three time dimensions: the terrible years 1932-1933, the 80s of the 20th century, and the 2000s. Three generations of the family appear before the reader’s eyes, whose ancestor is Oles Ternovy. The main character went through a difficult path from admiring the ideas of the Soviet government to realizing their criminality. A journalist of a district newspaper, finding himself in his native village during forced collectivization, becomes a witness of genocide. The culmination of the novel is the introduction of the “black board” regime in his native village of Veselovtsi. In order to tell about the terrible crimes, Oles Ternovy notes down the testimonies of his fellow villagers. When the records reach his great-grandson, screenwriter Oleksandr Levkivskyi, the world learns about the nation’s tragedy. Natalka Dolyak’s novel “The Blackboard” depicts with documentary authenticity the terrible pages of the history of Ukraine during the Holodomor, organized by the Moscow authorities with the aim of destroying Ukrainians as a nation. Despite the actions of the Soviet authorities, aimed at concealing the causes and events of the Holodomor of 1932-1933 in Ukraine, thanks to the testimonies of eyewitnesses and incriminating directive documents, we remember those terrible times. An important role in uncovering the truth is played by works of art, including the novel “The Black Board” by Natalka Dolyak. Keywords: documentary, Holodomor, “Blackboard”, Natalka Dolyak, history, genetic code.

Novels by A.A. Zinoviev as works of a new genre

The article analyzes the novels of A.A. Zinoviev from the perspective of genre specificity and artistic techniques that the author inherits from previous literature. Proximity to the artistic traditions of M.E. Saltykov-Shchedrin and J. Swift’s texts allow us to consider Zinoviev’s texts in the context of world artistic culture, but the peculiarities of the organization of the novel space and the angle of the writer's point of view on social reality indicate that his novels do not fit into the usual genre canons and should be considered as sociological novels. The results obtained expand the traditional understanding of the genre of the novel, describe interesting author’s intentions of the world order, reveal the relationship between the artistic word and sociological statistical data, and give impetus to further research of the creative work of an extraordinary writer.

MƏTNDƏKİ BƏDİİ DİLİN TƏSİRLİ ÇATDIRILMASINDA OXUNUN ROLU

The Role of Reading in The Effective Transmission of Literary Language in Text Summary The artistic nature of literature, resulting from the figurativeness of words, leads to the formation of such a field as the art of words. Taking into account the peculiarities of artistic language in the text when reading, giving life to words, touching the human soul largely depends on the smooth and expressive reading of works. The specificity of the form of existence of the artistic word depends on taking into account the characteristics of the artistic language when reading the fact that it gives endless beauty to works in this area, reflects the artist’s colors in the word, and resembles the human soul. In the process of learning to read texts, one cannot be satisfied with the ability of students to express their opinions in a communicative way. At the same time, the content of the work should not mean only a coherent idea. Because the text may be a story with communication, but it does not evoke any feelings in the other side, it does not excite him. So, in addition to communication, storytelling should include figurative language and expressiveness. Key words: reading text, artistic features of language, artistic expression, imagery, expressive reading

LINGUISTIC AESTHETISM IN NEOREALIST UKRAINIAN FICTION OF THE BEGINNING OF THE XX CENTURY

The purpose of the article is to analyze the linguistic aestheticism of neorealist works of art of the beginning of the ХХ century. Attention is focused on certain tasks: to determine the positions of neorealism in Ukrainian literature; to prove the legality of consideration of linguistic aestheticism in neorealist works; find out the linguistic specificity of neorealism; to reveal the features of neorealist aestheticism in the language of the artistic text. The works of Ukrainian artists and scientists of the ХХ century were chosen as the object of research. The subject of the study is to find out the specifics of the linguistic and aesthetic-worldview foundations of neorealism. The theoretical and methodological principles of the research are based on some concepts and ideas of domestic philologist scientists O. Potebny, O. Biletskyi, L. Bulakhovskyi, D. Chyzhevskyi, I. Franko, Lesya Ukrainka, M. Zerov, M. Kodak, V. Lesyn and O. Pulynets, V. Fashchenko and others. The work uses comparative, descriptive, comparative, and structural research methods. The scientific novelty of the work lies in the fact that, for the first time, attention is drawn to the linguistic aestheticism of neorealist works of Ukrainian authors using the examples of linguistic and stylistic concepts of well-known linguists, literary critics, and artists. The paper offers a review of theoretical explorations and positions of well-known domestic scientists on linguistic aestheticism in neorealist Ukrainian fiction of the beginning of the ХХ century. Based on these considerations, one can turn to the artistic word in the author’s text, which reveals the unique beauty and mystery of human life, movement in the world, the author’s worldview and worldview through the magic of words. The prospects of researching the linguistic aestheticism of neorealist works of art of the beginning of the ХХ century provide an opportunity for the development of scientific horizons and experimental freedom in investigative creativity.

DREAM MOTIF IN VLADISLAV KHODASEVICH’S POETRY COLLECTION “EUROPEAN NIGHT”

The article describes the semantic content and poetics of the dream motif present in Vladislav Khodasevich’s collection “European Night”, and we form our own concept of “inspiration”. It is shown that the dream leitmotif characterises the psychological state of the lyrical hero associated with the arrival or absence of creative inspiration. The semantics of the motif is implemented antinomically. On the one hand, the dream-inspiration saves the lyrical hero from the mundane routine. On the other hand, ordinary earthly life in some poems appears to the lyrical subject as a dream-obsession. The story of this dream-obsession gets a particularly tragic sound in the context of the collection. The expanded metaphor “European Night” in the author’s incarnation reinforces two intentions – obsession dream and salvation dream are opposed. In the lyrical space of Vladislav Khodasevich’s “European Night”, dream becomes a metaphor for a special borderline state, instilled and even “imposed” from the outside on the creator hero. According to the poet’s artistic philosophy, inspiration, being the result of the mobilisation of all word artist’s abilities, is an “otherworldly” being sent from above, leading to greater creative productivity. The “dream” motif in the contradictory context of the above-mentioned poems of “European Night” indicates the salvation function of inspiration, which allows the creator to get rid of the “earthly dream”, to spiritually “see through” and to lead people.

Історичні матриці сугестивного письма Олекси Стороженка: між естетикою та ідеологією

The article describes the creative productivity of the archaic writing style of O. Storozhenko. His creativity have successfully completed the Gogol era in Ukrainian literature and have become a forerunner of the phenomenon that fully developed in the so-called chimeric prose in the twentieth century. The artistic style of Storozhenko’s writing stood out from the rural prose of that period against the background of practical problems, excessive sociologization and populist pathos of the mid-nineteenth century. Instead, accusations of peasantry, ethnography, local exoticism and trivial biography in the context of modern literary approaches are given to a new reading of this national-aesthetic phenomenon as heterogeneous one, imbued with stylistic innovations, invisible fusion of writing with ideology and aesthetics. Storozhenko moved within the old-fashioned way to an updated artistic word using the chimeric unity of folklore, baroque and romantic traditions.

Literature for children as a source of tolerance education for preschoolers

The article is devoted to the topical aspect of the general problem of upbringing children of preschool age. It is emphasized that tolerance is directly related to the moral development of an individual. The educational potential of Ukrainian children's literature for preschool children is analyzed. The humanistic, competence-based, personally oriented, pedagogical, psychological approach to the education of tolerance in preschoolers is substantiated. The importance of general pedagogical principles, methods and means of educational influence on the personality of preschool children is taken into account, in particular in the education of tolerance. A characteristic of Ukrainian classics' creativity is given in the context of enhancing the tolerance of preschool children. Education of tolerance among preschoolers by means of poetic and prose texts is revealed. An analysis of prose and verse texts for children by Ukrainian poets and writers of the second half of the 20th - beginning of the 21st century is presented. The educational potential of fairy tales, short stories, and poetry is analyzed. The necessity of using the thematic wealth of Ukrainian children's literature for the education of a tolerant person is substantiated. The article proposes to trace the education of tolerance from folklore works to author's literature. Attention is focused on some methodical aspects of conveying the artistic word to the child. The need to involve parents in the process of raising tolerance is emphasized. On the basis of the conducted research, it was proved that children's literature is one of the effective means of forming tolerance in preschool children. It was found that the presence of specific themes, including tolerance, plots, and images in children's books is important, however, usually the plot-image system is not a priority criterion that determines the age category of readers. More important is the criterion of appropriate selection of means of revealing the plot, building an image as a model for the child's identity, and their accessibility for children to understand. The internal contradiction of children's literature is that it has a rather rigidly defined target (age) audience, so the process of creating a work for children is difficult, and this, apparently, formed the basis of the differentiation of the meanings of children's literature and literature for children

Генрогенные ситуации (на примере болтовни)

The article deals with genrogenic situations (GgS), i.e. situations marked by speech genres, indicative of the representation of a particular speech genre in a given national culture. The G gS as a cognitive image corresponding to a speech genre in the human mind includes, on the one hand, a set of components of a communication situation, necessary and sufficient for the generation of this genre, and, on the other hand, the memory of the GgS, real or reconstructed (by writers, psychologists), in which this genre was generated and developed. These factors determine the theory and practice of speech genres methodology based on GgS: it, unlike the theory of speech genres in general, has a more distinct applied focus: namely, it is focused on GgS and the compilation of an anthology/encyclopedia of GgS. This technique includes two aspects: firstly, a model according to which GgS are isolated from the speech continuum and systematized (GgS as a model of article structure); secondly, a model according to which speech genres are studied using the material of the GgS and taking into account their characteristics (model of filling the «body» of articles with the material). Much attention is paid to reflection (by communication specialists, word artists, journalists, bloggers) on G gS and genres themselves. The article also considers more general aspects of the GgS, their place in speech genres theory and linguistic pragmatics in general: GgS and the integral description of speech genres, GgS and genre role scenes, G gS and speech genre primary-secondary nature, GgS and the relationship between invariant and prototype approaches to the study of text and genre, GgS and speech genre variantology. As an illustration of the discussed approach the author offers GgS for speech genre boltovnya ‘≈chatter’.

Islamic Pluralism and the Muslim Voice

This article examines the parameters of what constitutes the Muslim voice in the West through analysis of Islamic pluralism and modernity. It uses the voices of Said Nursi and Fazlur Rahman to complement the perspectives of outsider voices, Bernard Lewis and John Esposito, who have impacted the attitudes behind the bias in the West towards Islamic identity and practice. Further, it highlights the examination of Islamic pluralism in the West alongside the consideration of Muslim spoken word artists who use their mediums to express the pain and struggles they have endured. This article bridges academic and societal attitudes towards understanding the perceptions of Islamic pluralism in the West.

MODES OF CORPOREALITY AND SPIRIT IN THE VIRTUAL SPACE OF JANUSZ LEON WIŚNIEWSKI’S 'S TALE «IN SEARCH OF THE MOST IMPORTANT»

The purpose. The article deals with the features of corporeality and spiritual modes in Janusz Leon Wiśniewski’s fairy tale «In search of the most important», which is a synthesis of scientific, philosophical and religious principles. Attention is focused on understanding the concepts of virtual corporeality and virtual space in fiction, parallels between the simulation of the world of the Polish author's fairy tale and the world of the computer game-quest are drawn. The structural features of the fairy tale and the means of characterization of the main characters are determined. Research methods. The research used a system of historical, hermeneutic and structural methods. The author relies on the theoretical-empirical scientific method, uses the methodology of literary cognitivism, which is determined by the specifics of literary research. Research results. The research makes it possible to reveal the features of corporeality in the virtual space, which can be defined as a simulacrum, an artificial construct with an avatar soul. The virtual space itself is imagined as a model of the universe with its special inhabitants. The design of the book, made in the style of net art, complements the visually artistic virtual space and creates the illusion of the reality of virtual bodies. The main character is looking for the meaning of life, the most important thing for her, not in basic reality, but in virtual space, but she understands that the identity she needs is in the real world, where she turns from the thought of a girl into a real girl. Originality of the study consists in an attempt to consider the secondary virtual reality created by the writer in the artistic world, not in the digital one, to trace the peculiarities of its modeling, to investigate the problem of the expressive and pictorial possibilities of the artistic word in combination with the corresponding illustrative material. The practical significance of the article lies in the possibility of using the research results in scientific researches and courses related to the study of Polish literature, the virtualization of space in fiction, the study of modes of physicality in real and virtual spaces.

Anorexia nervosa through the lens of a severe and enduring experience: 'lost in a big world'.

Severe and enduring anorexia nervosa (SE-AN), is a serious and persistent illness, despite 'state of the art' treatment. Criteria have been theoretically proposed, but not tested, and may not adequately capture illness complexity, which potentially inhibits treatment refinements. The clinical reality of death as an outcome for some people who experience SE-AN (1 in 20) and broadening access to voluntary assisted dying, further complicates the field, which is undeveloped regarding more fundamental concepts such as nosology, treatment, recovery definitions and alternative conceptualisations of SE-AN. The present paper is in response to this and aims to build upon qualitative literature to enhance phenomenological understandings of fatal SE-AN. A published book, being the legacy of a 32-year-old professional artist offers a rich account of a life lived with AN, for 18years with continuous treatment. A polysemous narrative via the interrelationship between the languages of the artist's words and visual art is translated via interpretative phenomenological analysis (IPA), offering rich insight into the SE-AN experience. The process of analysis induced three superordinate themes (1) Disappearing Self (2) Dialectical Dilemma (3) Death and Dying: Finding Meaning. Two cross cutting themes traversed these themes: (a) Colour and (b) Shifting Hope, where the former produced a visual representation via the 'SE-AN Kaleidoscope'. Collectively the themes produce a concept of SE-AN, grounded in the data and depicted visually through the artist's paintings. The picture of SE-AN revealed in the analysis extends upon conceptualisations of SE-AN, highlighting key processes which are thus far under explored. These factors are implicated in illness persistence eliciting opportunities for further research testing including diagnostic considerations and treatment directions. In SE-AN, distorted body image extends to a global distortion in the perception of self. Additional criteria for the severe and enduring stages of illness related to (1) self and identity processes (2) measures of 'global impoverishment' across life domains are proposed for consideration in the future testing of putative defining features of SE-AN.

Creativity as a Universal Phenomenon of Existence (About Olga Zhukova’s Authorial Conception)

This article is devoted to the issue of creativity, which is perceived by the example of the monograph Tvorchestvo i religioznost' v russkoi kul'ture. Filosofskie issledovaniya [Creativity and Religiosity in Russian Culture. Philosophical Studies] (2022) written by Russian philosopher and cultural scholar Olga Zhukova. Although the philosophical and cultural analysis of the artistic process is carried out in the researcher’s work mainly based on the material of literature, the universal nature of creativity allows the author to discover the parallels between the verbal, philosophical and musical modes of discourse. Since the provisions and ideas expounded in the monograph create the precedent for discussing the current topical theoretical and methodological issues of the art of music, the purpose of the article is determined by constructing a system of argumentation that ensures the legitimacy of the following statement: creativity acts as a phenomenon of existence, determining the self-justification of the artist’s personality, whether he or she is a poet, artist or composer, or a reader, viewer and/or listener (performer). At the same time, the central task of this article is to position music as a spiritual and intellectual type of creativity, the universal forms of which are the knowledge of reality and the creation of an image of meaning, revealed in the structure of an artistic text. Relying on the experience of well-known philosophers, cultural and art historians, word artists and performing musicians, the author expresses the necessity to tune the ear of every artist to the sounding entity, the essence of which is able to be revealed with the most completeness only by music.

Дефекты оптики в лирике В. Набокова французского периода

The paper considers the poems of Vladimir Nabokov from the late 1930s. The lyrics reflect the writer’s experiments with the possibilities of language to convey the subjective experience of the artist. These texts referred to the French period are characterized by objectively “clear” optics. The poems “Oko” (“Oculus”) and “Chto za noch’ s pamyat’yu sluchilos’” (“What happened overnight”) utilize apophatic definitions and interrogative sentences to indicate the possibility of verbalizing the supersensual experience without linguistic constraints. The endeavor to express transcendental sensations through language invokes linguistic creativity and references to other literary works. The aesthetic framework established by Nabokov necessitates a state of reflective silence when perceiving his brilliant poetry, which is distinguished by the verbalization of unrecognized shades, sounds, and odors. Nabokov actualizes the metalinguistics ability of the artistic word to convey the specific sensorial characteristics of poetic inspiration and to possess its own referential memory. The study reveals how Nabokov employs references to his and other works to emphasize the artistic quality of optical aberrations. During the late 1930s, prior to transitioning to English, Nabokov focuses on the sensorial, mnemonic, and language mistakes and neutralizes the boundaries between the discourses, genres, epic, and lyrics. The wide literary context highlights the transgressive and conflict nature of V. Nabokov’s works of the French period. This background encompasses the early poems by Nabokov, works of contemporary émigré poets such as V. Hodasevich, G. Ivanov, G. Adamovich, and classical Russian poetry by A. Pushkin and V. Zhukovsky.

STYLISTICS OF THE LITERARY WORD: THE RESULTS OF SCIENTIFIC ANALYSES AND NEW RESEARCH FINDINGS

The study and systematization of the history of science lay the found ation for generating new ideas. Knowledge of the scientific past opens pathways to understanding the present, allowing for further differentiation and in-depth analysis of the challenges in the field. In Kazakh linguistics, the stylistics of literary language has primarily been examined in relation to the development of the Kazakh literary language, the differentiation of functional styles, the role of expressive means in prose, and the distinctive language and style of individual writers.The article systematizes the main conclusions in the study of the language and style of the prose genre in World linguistics, Turkology and Kazakh linguistics. The relevance and importance of studying the objects and methods of artistic word Stylistics in combination with aspects of anthropospecific linguistics, linguocretism of the writer, communicative stylistics and word culture are substantiated.The main idea and purpose of the study is, firstly, to systematize in the form of a review the main conclusions about the problems of general Stylistics, including artistic word Stylistics. Artistic Stylistics in the Kazakh language was considered in the aspects of the characteristics of the development of the Kazakh literary language, the differentiation of functional styles, the function of means of expression in the prose genre, the language and style of individual writers.At the present stage, the problems of the culture of the word are deepened, while it is important to determine the communicative quality of the word, the communicative target, along with the correct, appropriate use of the word. Analysis, interpretation, evaluation of Kazakh art using the methods of these branches of science makes a theoretical and practical contribution to the development of general Stylistics, including Kazakh linguostilistics.

ІСТОРИЧНІ ПРОТОТИПИ У ТВОРАХ УКРАЇНСЬКИХ ТА ПОЛЬСЬКИХ ПИСЬМЕННИКІВ ДРУГОЇ ПОЛОВИНИ ХІХ СТОЛІТТЯ

The article analyzes the Polish-Ukrainian literary and cultural relations of the nineteenth century, in particular, the interaction of Polish and Ukrainian literatures through the prism of the image and concept of Ukraine as an important cultural crossroads. In particular, the author examines G. Grabowicz’s thesis, based on the ideas of Ivan Franko and other researchers, about the role of Ukraine as a central “transition zone” between Polish and Ukrainian cultures. It highlights the achievements of contemporary Ukrainian comparative scholars who have overcome outdated stereotypes about Ukrainian identity, narrowed to the Cossack theme, and focus on new literary images and themes. The changes in the thematic and genre construction of the literature of both countries are analyzed, in particular, the transition from romanticism to positivism, which is reflected in the works of such authors as H. Sienkewicz and M. Starytskyi. Particular attention is paid to J. I. Kraszewski as a key figure in Polish-Ukrainian literary relations. His creative career, from the early influences of Byronism and Mickiewicz’s aesthetics to his later socio-political and historical works, is considered. In particular, the author analyzes how ideological and cultural changes in society influenced his work, including the periods of conservatism and democracy. The article discusses the biographical circumstances that influenced his work and emphasizes the importance of further research on his literary heritage for understanding the cultural and literary ties between Poland and Ukraine. The considered contacts between representatives of the artistic word of different nationalities, in this case, representatives of Ukrainian and Polish literature of the nineteenth century, who worked in the field of historical prose, created, in fact, a unique phenomenon of mutual influences, not only of an artistic, but above all of a socio-political nature. The main sources of the study are novels, short stories and novellas that highlight historical prototypes in the works of Ukrainian and Polish writers of the second half of the nineteenth century. Thus, the article is a relevant study that allows us to better understand the role of literature in shaping social consciousness in the history of Ukraine and Poland.

Literatura w kręgu wpływu hezychazmu: Wałaam w prozie Nikołaja Leskowa i Iwana Szmielowa

Literature in the Circle of Influence of Hesychasm: Valaam in Prose of Nikolai Leskov and Ivan Shmielyov The prose of a prominent literary representative of the “first wave” of Russian emigration after the 1917 revolution Ivan Shmielyov and selected texts by Nikolai Leskov were used as the material for the study. The émigré author represents the neorealistic trend in the prose of the early 20th century, referring to the classics of 19th century Russian literature. The traumatic experiences of the revolution and the civil war became for him, as for the entire generation of Russian émigrés, a turning point in reevaluating their worldview, leading to a religious revival. Consequently, the author became a continuator of the Orthodox tradition in literature, whose exponent was N. Leskov. Despite the differences between the discourses of patristics and belles-lettres, the hypothesis stipulated in the title of the article that the considered word artist - both in terms of worldview and literature - was under the influence of hesychasm (elderhood), is confirmed.

“THE INTERNAL FORM OF THE VERSE” AND THE INNER WORD: OSIP MANDELSTAM’S CONVERSATION ABOUT DANTE IN THE PSYCHOLINGUISTIC PERSPECTIVE

The object of the study is Mandelstam’s article Conversation about Dante, considered in a psycholinguistic perspective. The article puts forward a hypothesis that the problem of the genesis of a poetic text in Mandelstam’s metapoetics has its ontological justification in the idea of inner word. Such a connection can be explained by the fact that the literary text is considered by Mandelstam in its genetic dimension — from the standpoint of the generation of literary speech. Mandelstam’s focus on the genetic aspect of the birth of a word leads to regular intersections of the poet’s searches with the psychological concepts of inner speech. So, firstly, the inner image of the verse, which, according to Mandelstam, stands at the beginning of the poetic text, is typologically related to the inner word. Both phenomena are correlated with pre-text / pre-speech stage, have a double representation as image and the word, and are primarily manifested in the articulatorysyntactic code. Secondly, the principles of unfolding turn out to be common to the inner word and the artistic word, taken in its genetic aspect. Just as the “clot of personal meanings” (Vygotsky) in its deployment moves from the primary ‘synsemantic’ stage to verbal differentiation, so the “compositional clot” (Mandelstam), initially arising as a single semantic impulse, unfolds in the level space of the language. Thirdly, both the inner word and the artistic integrity postulated by Mandelstam exist in a special spatial modus, which is characterized by semantic simultaneity and the absolute dominance of semantics over syntax. Fourthly, the finished speech product is understood by Mandelstam both as a result and as a process, which, on the one hand, leads to the aesthetics of a draft, and on the other hand, matches Mandelstam’s ideas with the concepts of inner speech, where the remnants of the primary semantic syntax are found.

‘You think you know, but you have no idea’: on anger, critical pedagogy and the dilemmas of being a teaching artist

ABSTRACT What constitutes ‘teacher identity’ and ‘artist identity’ have received considerable scholarly attention but there has been little exploration of how these identities intersect in the practice of ‘teaching artists’. This article argues that paying close attention to that practice, as well as the artist’s own perspectives and reflections on it, produces important insights into this intersection, including where it becomes both productive and problematic. Drawing on portraiture methodology, it analyses how the Marshallese spoken word artist, Kathy Jetñil-Kijiner, structures and delivers workshops in order to develop the critical consciousness of participants. Drawing on Webb Keane’s discussion of consciousness-raising and ‘ethical feeling’ in the feminist movement of the 1960s, as well as insights derived from Sara Ahmed’s reconceptualisation of the ‘feminisit killjoy’, the central role that the emotion of anger plays in her approach is explored. The article goes on to share some of Jetñil-Kijiner’s own reflections on the workshops, their outcomes, and her complex positionality as a Marshallese artist engaged in de-colonial work within a neo-colonial context. In conclusion, some broader questions about the artist/teacher intersection, the transferability of critical pedagogical approaches, and the challenges of teaching through emotion are raised.

К вопросу о своеобразии оценок поведения героев в современной русской прозе (на материале рассказов В. Пьецуха «Я и перестройка» и Ю. Коваля «Чайник»)

On the basis of two stories that have not been the subject of a special scientific study until now, the essence of non-traditional Russian prose is revealed. The article focuses all attention on such a trend that has spun off from this literature as the “ironic avant-garde”. In the 21st century, it becomes a panacea for the work of many Russian word artists, whose names are given in the work. The essence of this trend in the presented article is that, in general and in general, the realistic picture of the facts and events described by the author is invariably presented in a mockingly ironic light. The two compared stories parody the slogan of the general happiness of people, provided by the authorities of society with the help of the ideology of social equality, fraternity and even redistribution of material wealth among them. In reality, in the story of V. Pietsukh, the institution of the family, love and marriage is debunked (the key phrase from the lips of the hero sounds like this: “we are going through a period of an antediluvian form of family and marriage”); Y. Koval’s dream of a talented artist to break out into the people, but living below the poverty line, is being thrown off the pedestal (almost according to Dostoevsky). In both stories, thus, the difficult, or rather, hopeless life of a balabol and hard worker with collapsed hopes for the improvement of society is shown.