Atlas Anna.Defamiliarization in re-interpretation of culturally central texts
The paper focuses on the potential of defamiliarization in the re-interpretation of culturally central texts. The perspective of the estranged narrator in the framing structure ruins readers' automatized perception of the embedded story.
ChemodurovaZinaida.Ludic strategies of constructing biographical narratives in the 20th-21st centuries
The recent decades have witnessed an increased interest among text linguists and narratologists in Biographical Narrative (BN), which is accounted for by a transformation of the status and functions of the biographer/narrator. If earlier BN was viewed and presented as a life story chronicled by an unbiased biographer trying to reconstruct the past events and resorting massively to fact-based materials, in the 20th century biography is treated as “a type of language games”, according to Vadim Rudnev [lib.ru/CULTURE/RUDNEW/slowar.txt]. Thus BIO+GRAPHY is transformed into BIO+FICTION. Various ludic strategies used for constructing BN tip the balance of fact and fiction in favour of fantasy turning biographic narratives into the playful montage of autobiographic and biographic discourses. As the reality/fiction correlation is often treated as one of the central issues of 20th century philosophy and literature, the Biographic Narratives, created by modernist and postmodernist authors, might have biographers who “construct” lives of their characters commenting on the impossibility of truthful representation of the biography and using reflexive play (V. Woolf, V. Nabokov). On the other hand, such BN might expose biographers as ludic masks, demonstrating postmodern principles of plurality and contradiction practised in narrative world construction (J. Barnes, J. Cootzee).
Golovacheva Irina. Transatlantic migration: British Bohemians in the US in the 1930-40s
Shortly before WW II, several British authors and artists, including Aldous Huxley, Christopher Isherwood, W.H. Auden, Benjamin Britten, among others, left for the United States. Despite their common pacifist views, the feelings of these self-exiles changed depending on their individual fates in the U.S. The composer Britten and his collaborator and partner, the tenor Peter Pears, preferred to return home in 1942. Others – like Huxley and Isherwood for whom immigration was a part of a personal quest –stayed to meet the American challenge. Until the end of his days, Huxley lived in Southern California, a mecca for European exiles. Immigration and even the attempt to obtain a U.S. citizenship did not, however, make him an American man of letters. Christopher Isherwood admitted that after leaving England he separated himself from his home-country. For nearly a decade after their emigration, British critics kept repeating that America was ruining their literary gift. Yet, in the long the literary fruit of both writers dispelled the common belief that their muse had deserted them.
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Ignatov Kirill. Intertextual references in Roger McGough’s poetry
The intertextual reference is understood as a direct mentioning of or an implicit allusion to the objects, processes or events of the extra-textual reality of a literary work. This approach to intertextuality stems from Osip Mandelstam’s ‘keyboard of references’ for individual authors. Understood as such, intertextuality shows the author’s reliance on precedent texts in order to create imagery, present artistic content, and achieve aesthetic affect. Intertextual references can be used to characterise the style an author, movement, or literary trend. An important indicator of style can be not only the way references are made or the functions they perform, but also their referents. Those can be classified into geographical names, literary reminiscences, historical facts, political names and events, social phenomena, objects of culture and science, cultural realia. The talk presents the results of a comprehensive analysis of more than 450 poems written of Roger McGough between 1967 and 2002.
Korobova Diana. The Victorian novel and The Voyage Out, Night and Day by V. Woolf
The report is focused on the analysis of two V. Woolf’s early novels and their comparison with the Victorian novel. The Voyage Out is traditionally considered to be cutting-edge when compared with the Victorian novel. In contrast to it, Night and Day is numbered by researchers and critics among fictional texts which belong to the tradition of the Victorian novel. The report is designed to elicit fictional elements that will allow us to attribute these novels to the Victorian tradition or to prove these works to be innovative. While the research was being conducted, the following conclusions were made: 1) the typical Victorian characters were interpreted in an original way in the early Woolf’s novel, as a result, the plot twists became unprecedented (compared with the Victorian tradition) as well as finals of the works; 2) the symbols, borrowed from the Victorian novel are placed on new (compared with the Victorian tradition) level (in character’s unconscious); 3) the communication issue started becoming independent from other topics.
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Koroleva Svetlana. ‘Holy Russia’ in British literature and culture in 1900 – 1920: ways of interpreting the concept
‘Holy Russia’ is a significant concept of Russian culture. It has been actively interpreted in Russian poetry, prose and essays since the beginning of the 19th century. Among these literary and journalistic images, as well as among different scholars’ interpretations of the concept there can be defined a dominant type: ‘Holy Russia’ in Russian culture is, primarily, a value ideal and a model of man’s spiritual and physical being. Received from Russian sources, ‘Holy Russia’ is conceptualized in British culture at the beginning of the 20th century as a complex of interpretations of the ‘Russian idea’ and of the Russian national character. Crossing cultural borders implied significant changes in the content of the concept. Its reception in British culture is caused by a certain ‘oncoming flow’ – a positive interest in Russian culture as a special type of spirituality. This context influences the images of ‘Holy Russia’ in essays by Steven Graham, Bernard Pears and Maurice Baring. It can be traced in their attempts to find a general spiritual basis for Russian and British cultures. The concept’s interpretations in Edward Garnett’s essays and in H.G. Wells’s prose reveal another context – the long-forming tradition of the British myth of Russia. In line with this tradition the concept ‘Holy Russia’ in Garnett’s and Wells’s texts acquires, among others, the meaning of Russia’s aggressive foreign policy.
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