The article considers two large stage directions from Yaroslava Pulinovich's play "That Very Day". Each of them is organized in such a way that it contains a list of events that, when converted into theatrical text, must happen on stage. Analysis of those remarks allows seeing some aspects of the creating of an event in modern drama and the meanings generated through such kind of stage directions.
The review considers the monograph "Criminal bestiary: beast – text – genre" by O.V. Fedunina, in which, through the prism of philological systematization and interpretation in a genre key, cases of the appearance in criminal literature of various hypostases and functions of representatives of the animal world are considered and comprehended.
This article considers the context created by three of Anton Chekhov's stories ("A Drama," "Ionych," and "Sleepy"). This contextualization is based on the resonances between the texts that reveal the author's attitude towards women's artistic creation and the situation of a murder caused by the desire to sleep. Analysis shows that the contexts formed by Chekhov's separate texts, the parallels between which can be seen over different parameters, give depth to meanings that in the texts taken separately are not always perceptible.
This review considers the collective monograph "Memory as History and Imagination". It demonstrates the book significance both in terms of theoretically going deeper into understanding the functioning of the memory category in art, and in concrete-analytical terms.
The book under review is Inkarnatsiya smysla literaturnogo proizvedeniya by Yu.V. Podkovyrin. The book is an important contribution to the theory and history of literature, inasmuch as it for the first time analyses a whole series of heterogeneous artistic texts on the basis of the category of incarnation. The author thereby develops a special methodology of interpretation that one may call the analysis of the aesthetic incarnation of meaning
The article compares two songs from the second half of the twentieth century describing similar events. They are "The song about an Old House in New Arbat Street" (music by Mikael Tariverdiev, words by Vladimir Vysotsky and sung by Vladimir Vysotsky) and "The Little House" (music by Igor Korneliuk, words by Regina Lisits, sung by Igor Korneliuk). The analysis covers such elements as the storyline, the system of points of view, and the motive structure; the similarities and differences are traced between the two songs. That follows with a conclusion on the specific generic nature of those elements, which are realized in the text as epic, but at the same time acquire a lyrical status. Particular attention is given to the way in which in both songs the lyrical theme supersedes the epic storyline. That is to say, the epic plot loses its dominance, becoming rather the pretext for the emergence of the lyrical theme. In both texts the epic generic element is reduced and the lyrical one accentuated.
The review considers the book by S.A. Kibalnik "From the history of detective literature in Russia: the case of Chekhov". The author demonstrates the importance of the book both for philological comprehension of Chekhov's legacy and for deepening the understanding the ways in which literary detective fiction is developed
The article considers the context created by two of Anton Chekhov's works – the story "The Bride" and the comedy "The Cherry Orchard". The basis for contextualization are the resonances between the texts (both: purely textual and at the level of artistic techniques), which contribute to the explication of the author's worldview. Analysis shows that the contexts formed by Chekhov's separate texts, the parallels between which can be seen over different parameters, give depth to meanings that in the texts taken separately are not always perceptible
The review considers the book "Anton Chekhov's 'The Seagull'. Poetics. Problematics. Literary and Theatrical Context" by A.G. Golovacheva. It states that the monograph represents a complete work on the study of Chekhov's "The Seagull"; the points outlined by the author provide a perspective for future research of the Chekhov's play
The article discusses Egor Letov's song "Society 'Memory' " that was perceived by many listeners as a real embodiment of the author's ideas; also, it is substantiated that such a reception is contradicted with the very text structure which is organized as a role-playing lyric, as the author intended.
By the example of a segment from Alexei Oleinikov's play The Bread Factory ("Khlebzavod") the article illustrates the way in which the subcultural fictional world in the literary text is constructed through the deconstruction of physical reality.
The review considers the book "Progressive Rock: Heroes and Destinies. Part 2: From Soviet Art Rock to Russian Progressive Rock" by E.A. Savitskaya. It is substantiated that the work may be called a milestone on the way of the deeper understanding of the musical genre featured in the title of the book and that the work is of the utmost importance for both the history of Russian music and the theory of culture.
The article deals with references to the work of Boris Grebenshchikov in the "Dreams Swimmer" by Lev Naumov "The swimmer of dreams" (2021). The common denominator of the system of these references is the aesthetic character of the hero's understanding of himself in the world and the world in relation to himself, which, if not directly leads the hero to the idea of his own chosenness, then at least is a symptom of the emergence of this idea. As a result, the system of references to the songs of "Aquarium" in Naumov's novel makes it possible to interpret the character's worldview as a worldview based on the aesthetic concept of understanding reality. The example of the appeal of a modern Russian novel to the "word of rock" considered in the article allows us to make sure that such an inclusion contributes to the disclosure of the specifics of the character's worldview, and the analysis of this appeal brings one closer to a deeper understanding of the text.
The article considers some of the song performances presented as a part of two theatrical productions on Moscow stage: Moscow's Ermolova Theater musical performance of Dream Orchestra. Brass and stage production Boris hosted by Museum of Moscow. As it is illustrated, some of the songs in each of the stage productions are combined in a way that forms a sort of cycles. However, it is a kind of cyclization which is essentially characterized by oxymoronic nature. Namely the elements of the cyclization find themselves in confrontation with each other. Meanwhile, the paradox is that the oxymoricity highly intensifies the cyclization, for it takes part in creating a complete unity and it even works as a necessary conjunction for the cycle forming. As to meaning forming, the characteristic of artistic creation such as the oxymoricity of cyclization may work as a bright and effective way of representation on stage the versatility of human perception of reality, the complexity of human nature in its actual manifestations; also, it may help to aesthetically comprehend the difficult time, the time of transition, the time that generates abnormal life phenomena, and the time produced by the aberrant phenomena
