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Genre transformations of the story about the painter in contemporary Uzbek literature
Статья научная
Contemporary Uzbek literature, addressing the perceptions of the present-day reader, is developing new attitudes and techniques of fiction based on the synthesis of the traditions of the Western and Islamic cultural worlds. Uzbek literature has established a new genre, the “ma’rifi novel”, a novel narrative based on a parable of oriental type. A biographical novel about a painter appears to be part of a parable, which depicts the inner world of the artist. The painter can only act as socially active by justifying his or her treatment of himself or herself and others. Thus, the parable serves as a mechanism for mainstreaming the inner life of the hero when it is not embedded in a melodramatic plot, but directly refers to the final moral judgment. While Uzbek literature of the pre-Soviet and Soviet times spoke of the painter as an inspired conductor of the ideal and carrier of progressive ideas, nowadays the mimetic concept of art has been replaced by a constructive one. The artist is portrayed as the maker of the secondary reality and of the universal code of culture, including the moral standard. This allows for a more acute depiction of moral collisions in the artist’s life. This new conception requires both the reinforcement of the features of the parable and the insertion of ekphrasis as a model of the direct effect of the aesthetic program on the comprehension of reality. Ekphrasis permits not just to point to the direct perception of the painting by the artist’s audience represented in the narrative, but to show that the artist’s personal experience corresponds to the social experience of the audience, that is, to show the audience’s readout of the code. The readout of the code as a sum total of the artist’s creative ideas essential to the national culture is accelerated through the use of universal symbols such as Home, Garden, Creation, and History. In general, we can say that the parable turns into a story with a relatively free progression through the mentioning of different works of art. In this case, the works of art become symbols, quite in the vein of intrigue in Western literatures, when the characters’ motivations, their inner monologue and reflections are read through the artificial pictures. The moral choice of the hero then continues the inner monologues of both her/him and her/his audience.
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Heterotopy of the country estate in the poetics of Russian symbolism (part I: Zinaida Hippius)
Статья научная
The article describes the phenomenon of describing a country estate in the literature of Russian modernism as a heterotopy. The estate narrative of Russian literature of the 19th century demonstrates that the most significant events in the hero’s life take place in the noble estate, and consequently, the duration of the action and the plot are maximally compressed, and at the same time extended in time. We should not forget that in fact the noble estate served as a repository of intellectual and cultural memory. After the destruction of the landowner estate in Soviet times, the most important signs of the manor heterotopy are preserved: this is the memory of a geographical place, a memory of the manor topos. The heterotopic model of the Russian estate demonstrated exceptional stability for a long time, having functionally transformed, on the one hand, into a summer residence (dacha); on the other hand, the function of the cultural memory is taken over by the modern museum-estate. The article analyzes the stories of Zinaida Hippius “The Witch”, “Two - One”, “Out of Time”. The manor space of Hippius stories not only creates scenery for the storyline, but also reflects the natural world bursting into the hero’s mind, that conflicts with the rational-conceptual line of urban behavior. Elements of the folklore-mythological narrative characteristic of the aesthetics of Russian symbolism are revealed (the story “The Witch”). At the heart of the semiosphere of the country estate’s world of Hippius stories is the Turgenev’s plot of a summer romance flirt. Contact with the elements of nature is not only a triumph of the irrational and mystical in the hero’s mind, but also signs of his initiation: thus, the story “Two - one” is devoted to the topic of the physiological maturation of the hero, who overcomes the boundary between the memory of the manor paradise of his childhood and growing up. In one of Gippius’ later stories, the world of country estate culture turns into a fantastic and closed world where time flows according to its own laws, and the manor with its old library becomes a repository of the cultural memory of a passing era (“Out of Time”). The semiosphere of the homestead world in Hippius stories demonstrates the hero’s movement to a functionally different space compared to his usual world, where real events can receive a fantastic explanation (“The Witch”), and time flows according to its own laws, turning out to be a frozen capsule of time (“Out of Time”). Actual events occur both in a metaphorical (memory and living memory) and mythological (false synchronization) time section (the stories “Out of Time” and “Two - One”); the movement of historical time itself is extremely slow and completely freezes (“Out of Time”)
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Historical phases of narrative strategies
Статья научная
In any sphere of activity, the difference in strategies is generated, on the one hand, by the difference of initial conditions, and on the other hand, by the difference in potential goals. The purpose of narration is the communicative event of the interaction between consciousnesses, which can be strategically different. As for the initial conditions of narration, it’s determined by the narrative picture of the world, “which provides the scale for determining what constitutes an event” (Yu.M. Lotman). Such pictures of the world are phasic in their genesis: each of them takes shape in narrative practices at a certain stage in the development of human consciousness but can subsequently be actualized in historically later cultural contexts. The paper considers the precedent, imperative, adventurous, and probabilistic pictures of the world, and clarifies the specifics of the narrative points of view they manifest. Narrative strategies are directly expressed in the narrative through the relationship between the points of view of the narrator and the character (the basic perspectives that form a kind of framework of any narrative discourse) in their relation to the reader (the addressee of the narrative). In early narrative texts the diegetic world appears as if seen from one perspective, common to the narrator, the protagonists of the story and the reader. In post-mythological storytelling practices, all events are demonstrated and evaluated from the perspective of the narrator, the provider of an unquestionable system of values. The narrator of the adventure story appears as a private witness to events, allowing for an alternative view of the story being told, thus opening up the possibility of constructing the perspective of the hero in the narrative. Finally, in the novel and post-novel narratives, the narratorial point of view loses its former authority not only in witnessing and evaluating the narrated events, but also in identifying them and, in this respect, is likened to the character’s point of view, which, on the contrary, appears to be dominant.
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Статья научная
Владимир Аристов - поэт русскоязычного метареализма, литературной школы, поиски которой находятся в области поэтической метафизики и усложнения семантики словесного образа. Осмысляя переходный период русской культуры и общества в 80-е годы XX века, он пишет цикл «Реализации», состоящий из трех поэм («Дельфинарий», «Кинорежиссер», «Омега моря») и двух стихотворений («Балтийские отражения» и «Пробуждение»). В поэме «Дельфинарий» поэт выражает поиски «пространства всеобщей родственности» и общего языка, общей телесности. Свою работу в этом ключе В. Аристов обозначает понятием «idem-forma», которое означает и особую технику создания стихотворений, и метод анализа художественных текстов. Данное понятие коррелирует с понятием «метабола», введенным М.Н. Эпштейном для анализа образной структуры и поэтического языка метареализма. В поэтике В. Аристова метабола является одним из элементов idem-form'ы, выражающим отношения синкретизма, синтеза и тождества на тропеическом уровне. Несмотря на то что термин «idem-forma» был предложен поэтом только в начале XXI века, образная структура анализируемой поэмы «Дельфинарий» говорит о том, что творческие поиски в этом русле В. Аристов ведет на протяжении всего литературного пути. Специфическими чертами использования этой техники в поэме является синтез на уровнях хронотопа и фокализации, субъектный неосинкретизм и образы-метаболы, выражающие и пересемантизацию деталей советского быта, и синтез миров - человеческого и природного, телесного и языкового. В данной статье анализируются I и II части поэмы «Дельфинарий».
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Impact potential of political internet-memes: Yu.V. Rozhdestvenskiy's theory of rhetoric
Статья научная
The article examines communicative features of political Internet-memes, their rhetorical nature and considers them as a new genre of political Internet-communication. The research advances the framework of Yuriy V. Rozhdestvenskiy’s theory of rhetoric to apply it to genre specification of Internet-memes with the focus on political communication. The method of rhetorical analysis helps to uncover the manipulative potential of political Internet-memes and views such communication as an integral complex framework from the author’s intention regarding the speech act to the final influence on the target audience. Political Internet-meme is considered through the prism of the following parameters: (1) Ethos (i.e., contextual aspect): a) Status-role characteristics of the parties (the author, the distance, topic relevance), b) Type of communication, c) Theme; (2) Pathos: Intention, (2.1) Pathos - Ethos: a) Type of argumentation, b) Evaluating (evaluative point of view); (3) Logos: (3.1) Ethos - Logos: Author’s image of the genre, (3.2) Pathos - Logos: Textual aspect (topic elaboration, argumentation, style, composition etc.). The research outlines and describes features that characterize the structure of the political Internet meme ethos, pathos and logos as well as their inter-determination, thus making the Internet meme a powerful tool of public opinion management. Being a product of political public relations, political meme becomes a phenomenon of digital mass culture.
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Improvisation as a readerly response in avant-garde poetic practices (group “41°”)
Статья научная
The paper focuses on the poetic activities of “41°” circle (A. Kruchennykh, I. Zdanevich, I. Terent’ev). Communicative interactions between the author and the reader take center stage. Russian Avant-garde communities are considered to mobilize the creativity of a reader, to turn the reader into a co-author (see Ioffe, Bobrinskaya, Feshchenko), and, as a community, “41°” was no exception to the rule. In the community of “41°,” a particular readerly response (W. Iser) becomes prominent and is foregrounded: an active improvisation on the part of the reader. The author casts himself as a pedagogic persona initiating the contact with the reader, yet it does not appear to be the case that he aspires to take on the role of a poetic authority. Rather, the poet invites the reader to engage with the poetic text, so that the latter is able to actively re-write the text, tp re-create it and to use the text as a foundation for improvisation. Improvisation as a readerly response is analyzed in three communicative interactions involving the presence of three types of readers, the readers being the actual reader, the actual reader aspiring to fill in the role of an ideal reader, the implied reader. In all three cases improvisation is projected as a readerly response. The possibility of such a response is closely linked to an emphasis on marginal, epiphenomenal characteristics of the poetic utterance. This implies an emphasis on the look of the word (font choices, letter size, the combination of these parameters in a word), aspects of poetic performance (the way the text is articulated). These characteristics are considered to be particularly expressive, emotionally charged, so that the experience they convey lays the foundation for the improvisation on the part of the reader.
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Instances of the recipients and of the reading
Статья научная
The paper clarifies typology of the implicit reader and the imaginary reader at the present stage of the development of narratology. It is proved that the typology can only be built as process typology, in which the reader builds his or her own way of self-imagination, interacts with the author’s imaginative person and creates his or her own models and strategies of comprehensive reading. Therefore, the role of reader couldn’t be reduced to recognition or implementation of the author’s intentions. It is necessary to observe all the stages of building the reader’s own subjectivity and re-reading of this subjectivity in the literary text as novel. This typology allows constructing a typology of narrator as complex user of different imaginary speeches and narratives and of fiction of his or her own image. The author appropriates not only speech, but also the reader’s experience, while the reader appropriates not only the emotional experience, but also a reflective experience, expressed in the novel narrative composition.
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Статья научная
In the cultural space of post-symbolism the Russian avant-garde had a distinctly receptive character. Outwardly, French painting and poetry were, of course, the main source of movement of cultural values to Russia at the beginning of the 20th century. Openly declaring his connection with Western art, for example, “The Jack of Diamonds” attracted to participate in the exhibition of paintings in February 1912 the French artists: Matisse, Picasso, Van Dongen, Le Fauconnier, Léger, Derain, Friesz and Delaunay. But if you rely on the concept of cultural transfer by Michel Espagne, excluding the notions of “center” and “periphery” the process of cultural transfer did not look like a one-way street. The way of development of the Russian avant-garde at the beginning of the 20th century lay in conditions of “war” both between various participants within the avant-garde movement itself (for example, Larionov and Burliuk brothers), and between their own creative societies and groups (for example, “Jack of Diamonds” and “Donkey’s tail”). Russian avant-garde theories were created mainly on the basis of denial of the traditions and canons of the classics, therefore Larionov’s “rayonism”, built on the objectlessness of painting, practically different from the technique of Futurists’ painting, theoretically did not contradict him, and this explains the artist’s participation in the issues of the “budetlyan” program edition “A Trap for Judges”. The “war” between various avant-garde currents can be viewed as events of endless quarrels between “friends-enemies”, for example, futurists and acmeists. The First World War was not widely reflected in the literature of the Russian avant-garde. There was no so-called “trench” poetry, since almost none of the prominent figures of the Russian literary avant-garde directly participated in the war itself. Among writers, of course, one can call the name of Nikolai Gumilev, but he was not such a war legend as, for example, Guillaume Apollinaire or Ernest Hemingway. The traditional reflection of the Russian avant-gardists is pacifism. For example, the poem “Declaration of War” by Mayakovsky, in which the “victory” was declared “murderer”. However, the peacekeeping orientation of the poet’s activities could change as soon as his civic position changed. By equating the “feather to the bayonet,” Mayakovsky in the poem “The Last Page of the Civil War” glorifies the “red star heroes” walking through the trenches filled with the corpses of dead people. Universal humanism is instantly transformed into a monstrous and ruthless anti-humanism, demonstrating eccentricity and radicalism of the creative subject as a futuristic character of a historical event.
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M*ost: объединяя языки и культуры
Рецензия
Рецензия на сборник статей, вышедший по итогам первой конференции молодых славистов m*OST 2009 (Австрия). В сборнике представлены статьи по лингвистике, литературоведению, истории и культуре России, Польши, Чехии, Украины. Языки статей - русский, немецкий, чешский, польский.
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Статья научная
In the history of culture, translation can not only adapt the values of a foreign culture or develop the potential of its own culture, but also substantiate a new cultural program, carrying out reassembly of culture on new grounds. Contrasting the foreignisation and domestication is not enough if the translation aims to change the very mode of cultural production and the very justification of culture, declaring the metaphysical motive as the main thing for the existence of a local culture. I prove that the shift cannot occur declaratively, but requires a hidden change in the functions of translation as a form of cultural consciousness, which acts outward in the form of slips, misunderstandings or misspeaks. At the same time, the cultural enthusiasm behind this translation does not make it possible to understand these reservations as simple inaccuracies or flaws, but only as necessary for self-justifying culture as a closed system, as nodes for building such closure. Such translations cannot be reduced to expressing the intellectual content of an epoch, but they represent the only way to translate those intellectual tasks that determine further discussions of the epoch. The example of one of the lines in the development of Russian philosophical idealism, associated with enhanced translation and interpretation of the summits of ancient philosophy, and the long-term consequences of its cultural program, proves the validity of the proposed translation research. It is proposed to conditionally call such a translation “metaphysical”, taking in mind its programmatic role for the formulation of a new philosophical perspective, not confined to the arguments in the original and translation.
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Mise en abyme as a representation of trauma (“The white hotel” by D. M. Thomas)
Статья научная
The article refers to the problem of representing traumatic experience by means of mise en abyme narrative figure. A methodology for this study was formed at the intersection of rhetorical narratology, cognitive narratology, trauma studies and literary theory. Mise en abyme, specially known as a device creating the self-reflexivity in text, gets new functional impulse in the postmodernist fiction. In particularly, authors resort to the mise en abyme in order to represent individual and collective trauma in narrative. For what purposes this figure is used in the postmodern literary discourse? In which way postmodern narrative practices involve and interpret the historical context of the 20th century? In this article, we develop the assumption that there exist several special models of mise en abyme, one of which aims to reflect the trauma in narrative. Some relevant characteristics of this model are described and illustrated on the example of “The White Hotel” by D.M. Thomas (1981), they are compositional structure; semantic relations; intermedial and modal realization of the mise en abyme.
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Neo-возвышенное: современные толкования классической эстетики
Статья научная
В статье говорится о возможности применения категории возвышенного в гуманитарных исследованиях. Сначала представлены наиболее важные особенности классических теорий возвышенного: античной (Псевдо-Лонгина) и предромантических (Э. Берка и И. Канта). Основная часть статьи содержит характеристику новейших концепций: technical sublime, Urban sublime, theological sublime, postmodern sublime. Выбор и обсуждение этих концепций были направлены на то, чтобы показать их генетическую связь с актуальными темами мировых гуманитарных наук: проблемой опыта, историческим повествованием и постсекулярной мыслью. Эта информация позволила объяснить феномен возрождения интереса к эстетической категории, сформировавшей европейскую эстетику и культуру XVIII столетия. Однако основная цель статьи - представить, каким образом происходила модификация традиционных теорий возвышенного, каким образом были вписаны в них элементы внеэстетического содержания, как можно их использовать для изучения связи культуры и искусства с общественной и идеологической сферой. Поэтому из technical sublime, которое, согласно Д.Э. Наю, характеризует американскую культуру, были извлечены только универсальные качества, связанные с Urban sublime, чтобы показать, что с помощью этого инструмента можно описывать, например, московское метро. В свою очередь, концепция theological sublime, в соответствии с ее генезисом, представлена как часть декларативно-идеологических действий консервативного think tank, именуемого Radical Orthodoxy, противопоставляется ее свободной спекуляции, предлагаемой Жаном Франсуа Лиотаром в рамках postmodern sublime.
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Nostalgia as a source of myth-making in Ayn Rand's novel “Atlas shrugged”
Статья научная
The recent social and political situation in the USA has caused a noticeable rise in interest in Ayn Rand, the Russian-born American writer. She has become especially popular among neoconservatives of president Trump’s time due to the problems she raises, like market economy and government controls. But such popularity results also from the techniques Rand uses to render her vision and assessment of these problems, i.e. her ideology. The most evident among them is her masterful, literarily expressive, myth-making. Rand’s kind of myth-making is a manifestation of popular literature; therefore, the current article regards Rand’s major novel Atlas Shrugged as its sample, which due to its nature lets Rand realize her purpose - to bring her ideology home to a considerable number of readers. Atlas Shrugged reflects Rand’s assessment of the state of things in the US on her arrival after being driven out of Soviet Russia by a hatred of communism. Finding the reality different from the cherished vision of the USA from Soviet Russia, she sets out on creating two diametrically opposite myths - a critical one about the current reality under President Roosevelt and a nostalgic-idyllic one about the “Golden Age” of American history, thus constructing a major popular mythologeme of the struggle of good against evil. As methodology for the analysis Retrotopia by Z. Bauman and Mythologies by R. Barthes have been taken. In his work, Z. Bauman presents a new vision of nostalgia - as utopia directed backwards to the past, which turns it into “retrotopia”. R. Barthes discloses the techniques of creating popular myths resulting in “the ideological abuse”. So, the works help to show how Rand creates her myths about the present and the past of the USA by removing certain historical facts from their real-life contexts, and how these deformed images meet the nation’s longing for an idyllic life. It is remarkable that a certain similarity that can be traced between Rand’s nostalgia for an idyllic free-market America and the historical narrative underlying President Trump’s slogan “Make America Great Again” allows regarding the Rand phenomenon in the context of the present-day political situation in the USA.
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Origins and development of a “Pygmalion and Galatea” motif in writings of Tanizaki Jun’ichiro
Статья научная
The main goal of the article is to define the genesis of the motif constantly appearing in the writings of Tanizaki Jun’ichirō and referred to as “Pygmalion and Galatea” motif. Using the comparative and historical-biographical methods of literature studies it is possible to detect whether this motif has actual connection to “Pygmalion” myth and the works of O. Wilde and B. Shaw influenced by that myth. An influence of the classic Japanese literature’s motif reminiscent of “Pygmalion and Galatea” one was also observed in the writings of Tanizaki. The modification of the motif is attributed to the “Return to Japan” - period in life of the writer, when he was disenchanted by the results of westernization and modernization of Japan. The images of “rebellious Galatea” (“The Tattooer”, “Naomi”) was created when Tanizaki was deeply interested in Western literature. The archetype of “obedient Galatea” (“Some Prefer Nettles”) appeared when the writer turned his attention to Japanese tradition. The motif of “Pygmalion and Galatea” is used in Tanizaki’s writings continuously, transforms along with the writer’s cultural and literary preferences of the moment and helps to intensify the main conflicts in his works such as West and Japan, tradition and modernity, art and artist.
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Poetics of chaos overcoming (Eluard's experience)
Статья научная
The poetic practices of avant-garde are considered in the article for the first time as a crisis of discursiveness. During the analysis of this process, the author comes to the some general conclusions. Avant-garde art was a historical consequence of a deep mental crisis of culture. As it took place in the 18th century, the radical crisis of normative-rhetorical consciousness was marked not only by the dying of classicism, but also by the Great French Revolution, the Napoleonic Wars and the rise of romanticism in art. This “avant-garde” of the epoch of that time laid the foundations of the egocentric mentality as a culture of I-consciousness. The turn of the 19th - 20th centuries was marked by the same radical crisis of this individualistic mentality. Of all the kinds of human activity, art reacts most sensitively and sharply to mental crises. The avant-garde “explosion” of the 19th century traditions in painting leads to the rejection of figurativeness. However, as the creative experience of abstract expressionism and, in particular, Guy de Montlaur shows, this opens up other, non-classical ways and possibilities of visual aesthetic activity. In literature, the declaration of war against the aesthetic traditions of the word art leads to the destruction of discoursivity. Many futuristic opuses, texts of “Dada”, “automatic writing” by the surrealists lose the properties of discourse. Surrealism is one of the most significant phenomena of the catastrophic self-consciousness crisis and the personal identity based on it. The article shows one of the ways to overcome this crisis by the example of Paul Eluard's poetry.
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Possible impact of the labor theory of Karl B"ucher on Russian formalism
Статья научная
Intellectual History of Russian formalism bypasses party provocative forhis time theory of Karl Wilhelm Bücher. Justifying work as the artistic form of torture,Bücher unwittingly paved the way for formalists to talk about automation and de-au-tomatization. But in Bücher’s system labor was not an enterprise, but only a prerequisitefor the enterprise, while the Russian translation of the bookWork and Rhythm(1899)turned the labor to initiative to enterprise. The border between symbolism and formal-ism is not in relation to the transcendental, but in how art belongs to the enterprise:the formalist aesthetics afraid of automatization, which occurred in Symbolists work.Therefore, “device” (rus: priem) as pathetic gesture necessarily required to combatthis false pragmatism, as tool of struggle served an anesthetization of Bücher’s theses.Rhythmic work became a model for aesthetic perception.
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Pro et contra: "Пушкинская речь" И. Шмелева и "Стихи к Пушкину" М. Цветаевой
Статья научная
Статья посвящена сравнительному анализу «Пушкинской речи» Ивана Шмелева и цикла «Стихи к Пушкину» Марины Цветаевой. В дискуссионном разрезе эти тексты сопоставляются впервые, чем и определяется актуальность и новизна исследовательского подхода. Цель исследования - проследить смысловые и образные переклички указанных текстов в дискуссионном ракурсе, не упуская из виду идеологический контекст эмигрантской культурной диаспоры. Обращение к компаративистскому методу позволило рассмотреть тексты Цветаевой и Шмелева как бы в «двойной оптике». Выдвигается мысль о том, что смысловая энергия этих текстов направлена как на личность и творчество Пушкина, так и на самих авторов как на архетипических реципиентов, моделирующих образ Пушкина не только как данность, но и как некий паттерн восприятия современников и потомков. Обосновывается гипотеза о внутренней связи цветаевского цикла с «Пушкинской речью» Шмелева, явившегося своего рода потаенным спором со Шмелевым и его духовными соратниками. Выявление ряда адресных подтекстов позволяет утверждать, что цветаевские стихи о Пушкине, интегрируя в себе ключевые поэтологические идеи и коммуникативно-полемические тактики поэтессы, стали косвенным, имплицитным (и, возможно, подсознательным) ответом на речь Ивана Шмелева и подобные ему выступления в честь пушкинского юбилея (И. Ильина, П. Струве, Г. Федотова, С. Франка, о. С. Булгакова и др.). Показывается, что «Стихи к Пушкину» Цветаевой и «Пушкинская речь» Шмелева концентрируют в себе диаметрально противоположные концепции Пушкина как национального поэта. Оба текста формируют модель посмертного, юбилейного образа Пушкина, задают координаты его восприятия. В цветаевском цикле культивируются образ Пушкина как абсолютно свободной личности; в то же время для поэтессы принципиально важна «мускулатура» пушкинского письма, ибо стихотворство для нее - результат тяжелейшего труда, а не вдохновения. У Шмелева же ни о какой беспредельной свободе речи не идет, напротив, пушкинская Муза «послушна» «велению Божию». Отсюда проистекает идея о боговдохновенной природе стихов Пушкина, его мистическом взаимодействии с высшими силами. В итоге доказывается, что каждый из анализируемых авторов обратился к разработке русского национального типа поэта, конституируемого на основе своих собственных поэтологических представлений. В то же время в статье показано, что эти авторские концепции Пушкина включены в неотрадиционалистскую (религиозно-мистическую) и модернистско-авангардистскую культурные парадигмы. Перспективы исследования связаны с дальнейшим изучением восприятия творчества Пушкина потомками - собратьями по перу, исследованием закономерностей формирования его посмертной репутации и мифологизации в зависимости от социокультурных установок и философских запросов времени.
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Статья научная
Written in 1968, the sci-fi novel by the American author Philip K. Dick “Do Androids Dream of Electric Sheep?” still retains the interest of the wide reading audience. The paper aims at elaborating upon the reasons for this lasting public enthusiasm which is claimed to relate not only to extremely successful film-versions of the book, but, even more so, to the highly topical message of the novel. In his antiutopian text, Philip K. Dick manages to put into focus the whole range of issues curraently associated with posthumanism. These are environmental problems caused by human activities, interplanet colonization escalating the conflicts of inclusion / exclusion, human / animal relations overlapping with the hybridization of natural and artificial, critical problems of future technological posthumanism manifesting themselves in highly problematic distinction between the humans and androids and in questioning the ontoethical status of the humans. Philip K. Dick explores philosophical and social underpinnings of the catastrophic future which lies in wait for humanity and seems to strongly adhere to such humanistic values as empathy (the main touchstone to differentiate between humans and androids), self-reflection (the predominant feature of the protagonist Rick Deckard), search for identity and for meaning as the principal vectors of the human life, mercy for the mentally handicapped. Philip K. Dick’s book can be viewed as one of the earliest caveats of the emerging trend to reconsider humanness in the sociocultural context of rapidly developing technology, various environmental threats, all kinds of hybridization and their ethical repercussions - and as such can be seen as truly prognostic, the most valuable part of it to be found in its ethical and social awareness and highly conscious refusal to suggest any final answer: essentially, the titled question seems eristically unanswerable
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Sermones utriusque linguae: отзвуки англо-латинской диглоссии в древнеанглийской поэзии
Статья научная
В статье рассматривается влияние латинской книжности на по-этическое искусство англосаксов на фоне языковых контактов в Англии конца VI - начала XI вв. Делается попытка показать, что позднеантичная христианская литература не только обогатила древнеанглийскую поэзию новыми темами, но могла затронуть саму словесную ткань рассказа. В отрывке из поэмы «Елена», из-вестном как Молитва Иуды, почти дословно воспроизводится Серафимская песнь, входящая в состав восточного и западного богослужения, хотя роли серафимов и херувимов распределены иначе, чем в Библии, а в описании серафима обнаруживаются следы германо-скандинавской мифологии. Расширение латинского текста парафразах церковных молитв (Gloria I и Gloria II) за счет объяснения христиан-ских терминов посредством германской героико-эпической фразеологии ведет к обогащению поэтической фразеологии и расцвету религиозно-поэтического твор-чества. Вместе с тем, смешение языков концовке поэмы «Феникс» трактуется как признак перехода от англо-латинской диглоссии к англо-латинскому билингвизму церковной среде, и вместе с тем как признак упадка исконной поэтической тра-диции, его превращение в игру и предмет для учебных упражнений. Тем не ме-нее, автор приходит к выводу, что рано сложившийся обычай усвоения sermones utriusque linguae содействовал дальнейшему плодотворному взаимодействию ис-конной поэтической традиции с романскими литературами в эпоху «аллитерационного возрождения» английской поэзии XIV в.
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