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In 2015, "Vremya publishing house" issued "A Flute Solo", a book by V. Shenderovich, of multigenre and, according to the author of the article, intermedia nature, since its content peculiarities of a political satire and a tragedy, a farce and a fantasy, on the one hand, and some features of musical pieces, a fugue in particular, on the other hand, have merged here. The text was first published in 2012 in the magazine "Polden. XX vek" ("Noon. XX century"), edited by B. Strugatsky, but then it did not receive any significant reaction. Besides, it was staged in "Another Theatre", where it was defined as a "cabaret show without music or dancing". Only after the publishing house "Vremya" published it in hardback with numerous illustrations, did rapturous readers' responses appear. Critics at the same time kept silent almost unanimously. The author of the article provides a detailed characterization of the plot constructed as a grotesque depiction of the reality, and views the text composition as relating the verbal text to a piece of music. The dominant device of the text composition, as the author sees it, is the so called counterpoint – one and the same theme is carried by different voices from "different spaces", which represent the structure of the modern society. The symbolic value of certain elements, studied within the research, does not allow to agree with the offered by some critics definition of the book as being "desperately hopeless". The text provides a number of intertextual connections of "A Flute Solo" with world classical literature. The author of the article proves that Viktor Shenderovich's work falls within the realms of the world cultural tradition, according to which the image of the flute is used as an instrument with the magical power, whose evaluation is ambivalent. It is either the power of making others aspire to the good or the power of taking revenge for the evil.

In 2015, "Vremya publishing house" issued "A Flute Solo", a book by V. Shenderovich, of multigenre and, according to the author of the article, intermedia nature, since its content peculiarities of a political satire and a tragedy, a farce and a fantasy, on the one hand, and some features of musical pieces, a fugue in particular, on the other hand, have merged here. The text was first published in 2012 in the magazine "Polden. XX vek" ("Noon. XX century"), edited by B. Strugatsky, but then it did not receive any significant reaction. Besides, it was staged in "Another Theatre", where it was defined as a "cabaret show without music or dancing". Only after the publishing house "Vremya" published it in hardback with numerous illustrations, did rapturous readers' responses appear. Critics at the same time kept silent almost unanimously. The author of the article provides a detailed characterization of the plot constructed as a grotesque depiction of the reality, and views the text composition as relating the verbal text to a piece of music. The dominant device of the text composition, as the author sees it, is the so called counterpoint – one and the same theme is carried by different voices from "different spaces", which represent the structure of the modern society. The symbolic value of certain elements, studied within the research, does not allow to agree with the offered by some critics definition of the book as being "desperately hopeless". The text provides a number of intertextual connections of "A Flute Solo" with world classical literature. The author of the article proves that Viktor Shenderovich's work falls within the realms of the world cultural tradition, according to which the image of the flute is used as an instrument with the magical power, whose evaluation is ambivalent. It is either the power of making others aspire to the good or the power of taking revenge for the evil.

In 2015, "Vremya publishing house" issued "A Flute Solo", a book by V. Shenderovich, of multigenre and, according to the author of the article, intermedia nature, since its content peculiarities of a political satire and a tragedy, a farce and a fantasy, on the one hand, and some features of musical pieces, a fugue in particular, on the other hand, have merged here. The text was first published in 2012 in the magazine "Polden. XX vek" ("Noon. XX century"), edited by B. Strugatsky, but then it did not receive any significant reaction. Besides, it was staged in "Another Theatre", where it was defined as a "cabaret show without music or dancing". Only after the publishing house "Vremya" published it in hardback with numerous illustrations, did rapturous readers' responses appear. Critics at the same time kept silent almost unanimously. The author of the article provides a detailed characterization of the plot constructed as a grotesque depiction of the reality, and views the text composition as relating the verbal text to a piece of music. The dominant device of the text composition, as the author sees it, is the so called counterpoint – one and the same theme is carried by different voices from "different spaces", which represent the structure of the modern society. The symbolic value of certain elements, studied within the research, does not allow to agree with the offered by some critics definition of the book as being "desperately hopeless". The text provides a number of intertextual connections of "A Flute Solo" with world classical literature. The author of the article proves that Viktor Shenderovich's work falls within the realms of the world cultural tradition, according to which the image of the flute is used as an instrument with the magical power, whose evaluation is ambivalent. It is either the power of making others aspire to the good or the power of taking revenge for the evil.

In 2015, "Vremya publishing house" issued "A Flute Solo", a book by V. Shenderovich, of multigenre and, according to the author of the article, intermedia nature, since its content peculiarities of a political satire and a tragedy, a farce and a fantasy, on the one hand, and some features of musical pieces, a fugue in particular, on the other hand, have merged here. The text was first published in 2012 in the magazine "Polden. XX vek" ("Noon. XX century"), edited by B. Strugatsky, but then it did not receive any significant reaction. Besides, it was staged in "Another Theatre", where it was defined as a "cabaret show without music or dancing". Only after the publishing house "Vremya" published it in hardback with numerous illustrations, did rapturous readers' responses appear. Critics at the same time kept silent almost unanimously. The author of the article provides a detailed characterization of the plot constructed as a grotesque depiction of the reality, and views the text composition as relating the verbal text to a piece of music. The dominant device of the text composition, as the author sees it, is the so called counterpoint – one and the same theme is carried by different voices from "different spaces", which represent the structure of the modern society. The symbolic value of certain elements, studied within the research, does not allow to agree with the offered by some critics definition of the book as being "desperately hopeless". The text provides a number of intertextual connections of "A Flute Solo" with world classical literature. The author of the article proves that Viktor Shenderovich's work falls within the realms of the world cultural tradition, according to which the image of the flute is used as an instrument with the magical power, whose evaluation is ambivalent. It is either the power of making others aspire to the good or the power of taking revenge for the evil.

In 2015, Vremya Publishing House issuedA Flute Solo, a book byV. Shenderovich, amultigenreand, according to the author of the article, intermedial work, since the peculiarities of the content of a political satire and a tragedy, a farce and a fantasy on the one hand and some features of musical pieces, a fugue in particular, on the other hand, have merged there. The author provides a detailed characterization of the plot, constructed as a grotesque depiction of the reality, the composition as relating a verbal text to a piece of music, and the symbolic value of certain elements, allowing not to agree to the definition of the book as being "desperately hopeless". ; В 2012 г. в журнале «Полдень. XXI век», редактируемом Б.Стругацким, появилась повесть В.Шендеровича «Соло на флейте». Произведение не получило широкой огласки, и только когда издательство «Время» выпустило эту книгу в твердом переплете с иллюстрациями, на литературных форумах появились восхищенные отзывы читателей, но критики практически оставили без внимания это многожанровое и, по мнению автора статьи, интермедиальное произведение. В нем слились воедино содержательные особенности политической сатиры и трагедии, фарса и фэнтези, с одной стороны, а с другой– некоторые черты музыкальных произведений, в частности, фуги. Автор подробно характеризует сюжет, построенный как гротескное изображение действительности, композицию как соотносящую вербальный текст с музыкальным произведением и символику отдельных элементов, позволяющую не до конца согласиться с определением этой книги, данной одним из критиков, как «отчаянно безнадежной». Kontrapunktas kaip stiliaus ir turinio raiškos priemonė intermedialaus žanro kūrinyje (Viktoras Šenderovičius. "Solo fleitai") Pirmą kartą Viktoro Šenderovičiaus apysaka "Solo fleitai" buvo išspausdinta žurnale 2012 metais. Tačiau puikūs literatūrinių forumų atsiliepimai apie šį kūrinį pasirodė tik tada, kai jis buvo išleistas atskira iliustruota knyga kietais viršeliais. Tiesa, straipsnio autorės nuomone, kritikai deramai neįvertino intermedialių ir daugiažanrių šio kūrinio savybių. Jo turinyje, viena vertus, susilieja politinės satyros, tragedijos, farso, "fantasy" žanro bruožai, kita vertus, akivaizdūs ir kai kurių muzikos žanrų, pavyzdžiui, fugos elementai. Autorė išsamiai analizuoja kūrinio siužetą, groteskiškai atvaizduojantį tikrovę, kompoziciją, atskleidžiančią žodinio ir muzikinio tekstų jungtį, atskirų apysakos simbolių prasmę, kurie neleidžia visiškai sutikti su tais kritikais, kurie šią Šenderovičiaus knygą pavadino "beviltiška".

In 2015, Vremya Publishing House issued A Flute Solo, a book by V. Shenderovich, a multigenre and, according to the author of the article, intermedial work, since the peculiarities of the content of a political satire and a tragedy, a farce and a fantasy on the one hand and some features of musical pieces, a fugue in particular, on the other hand, have merged there. The author provides a detailed characterization of the plot, constructed as a grotesque depiction of the reality, the composition as relating a verbal text to a piece of music, and the symbolic value of certain elements, allowing not to agree to the definition of the book as being "desperately hopeless".

In 2015, Vremya Publishing House issued A Flute Solo, a book by V. Shenderovich, a multigenre and, according to the author of the article, intermedial work, since the peculiarities of the content of a political satire and a tragedy, a farce and a fantasy on the one hand and some features of musical pieces, a fugue in particular, on the other hand, have merged there. The author provides a detailed characterization of the plot, constructed as a grotesque depiction of the reality, the composition as relating a verbal text to a piece of music, and the symbolic value of certain elements, allowing not to agree to the definition of the book as being "desperately hopeless".

In 2015, Vremya Publishing House issued A Flute Solo, a book by V. Shenderovich, a multigenre and, according to the author of the article, intermedial work, since the peculiarities of the content of a political satire and a tragedy, a farce and a fantasy on the one hand and some features of musical pieces, a fugue in particular, on the other hand, have merged there. The author provides a detailed characterization of the plot, constructed as a grotesque depiction of the reality, the composition as relating a verbal text to a piece of music, and the symbolic value of certain elements, allowing not to agree to the definition of the book as being "desperately hopeless".

In 2015, Vremya Publishing House issued A Flute Solo, a book by V. Shenderovich, a multigenre and, according to the author of the article, intermedial work, since the peculiarities of the content of a political satire and a tragedy, a farce and a fantasy on the one hand and some features of musical pieces, a fugue in particular, on the other hand, have merged there. The author provides a detailed characterization of the plot, constructed as a grotesque depiction of the reality, the composition as relating a verbal text to a piece of music, and the symbolic value of certain elements, allowing not to agree to the definition of the book as being "desperately hopeless".

The article focuses on the Russian epos as well asRussian fairy tales: the images that are frequentlythere tend to be projected on the contemporarypolitical discourse. The author assumes that theanalysis of the folklore stories might allow definingthe archetypes, which in a certain manner affectthe contemporary political thought in Russia. Theauthor demonstrates the way in which the nationalcultural archetypes relate to the common culturalones (Greek myths), on the one hand, and, on theother hand, contain their specific national modification. Thus, the Hero Archetype in Russian eposappears to be nationally marked (its Russiannessis particularly stressed) as well as the image of anenemy, filling in the Shadow Archetype. Russian'bogatyr' is traditionally on a state service andremains faithful to his grand duke, notwithstandingthe injustice of the latter. The characters of fairytales wage "preventive wars" in which they becomethe winners. The contemporary Russian politicaldiscourse inherits, to a certain extent, the value aswell as the worldview aspects of the Russian epos. ; В статье рассматриваются русский эпос и русские сказки, повторяющиеся в нихобразы проецируются на современный политический дискурс. Автор полагает, чтоанализ фольклорных произведений позволяет выявить архетипы, которые определеннымобразом влияют на современное политическое мышление России. Автор показывает,как национальные архетипы соотносятся с общекультурными (греческие мифы), содной стороны, а с другой – имеют национальную модификацию. Так, архетип Героя нарусской почве оказывается национально маркированным (обязательно отмечается его«русскость»), как и образ врага, заполняющий архетип Тени. Русский богатырь несет,как правило, государственную службу и остается верен князю, несмотря на неспра-ведливость последнего. Сказочные герои ведут «превентивные войны», благодаря чемустановятся победителями. Современный российский политический дискурс наследует.в известной степени ценностные и мировоззренческие аспекты русского эпоса.

The article focuses on the Russian epos as well as Russian fairy tales: the images that are frequently there tend to be projected on the contemporary political discourse. The author assumes that the analysis of the folklore stories might allow defining the archetypes, which in a certain manner affect the contemporary political thought in Russia. The author demonstrates the way in which the national cultural archetypes relate to the common cultural ones (Greek myths), on the one hand, and, on the other hand, contain their specific national modification. Thus, the Hero Archetype in Russian epos appears to be nationally marked (its Russianness is particularly stressed) as well as the image of an enemy, filling in the Shadow Archetype. Russian 'bogatyr' is traditionally on a state service and remains faithful to his grand duke, notwithstanding the injustice of the latter. The characters of fairy tales wage "preventive wars" in which they become the winners. The contemporary Russian political discourse inherits, to a certain extent, the value as well as the worldview aspects of the Russian epos.

The article focuses on the Russian epos as well as Russian fairy tales: the images that are frequently there tend to be projected on the contemporary political discourse. The author assumes that the analysis of the folklore stories might allow defining the archetypes, which in a certain manner affect the contemporary political thought in Russia. The author demonstrates the way in which the national cultural archetypes relate to the common cultural ones (Greek myths), on the one hand, and, on the other hand, contain their specific national modification. Thus, the Hero Archetype in Russian epos appears to be nationally marked (its Russianness is particularly stressed) as well as the image of an enemy, filling in the Shadow Archetype. Russian 'bogatyr' is traditionally on a state service and remains faithful to his grand duke, notwithstanding the injustice of the latter. The characters of fairy tales wage "preventive wars" in which they become the winners. The contemporary Russian political discourse inherits, to a certain extent, the value as well as the worldview aspects of the Russian epos.

The article focuses on the Russian epos as well as Russian fairy tales: the images that are frequently there tend to be projected on the contemporary political discourse. The author assumes that the analysis of the folklore stories might allow defining the archetypes, which in a certain manner affect the contemporary political thought in Russia. The author demonstrates the way in which the national cultural archetypes relate to the common cultural ones (Greek myths), on the one hand, and, on the other hand, contain their specific national modification. Thus, the Hero Archetype in Russian epos appears to be nationally marked (its Russianness is particularly stressed) as well as the image of an enemy, filling in the Shadow Archetype. Russian 'bogatyr' is traditionally on a state service and remains faithful to his grand duke, notwithstanding the injustice of the latter. The characters of fairy tales wage "preventive wars" in which they become the winners. The contemporary Russian political discourse inherits, to a certain extent, the value as well as the worldview aspects of the Russian epos.

The article focuses on the Russian epos as well as Russian fairy tales: the images that are frequently there tend to be projected on the contemporary political discourse. The author assumes that the analysis of the folklore stories might allow defining the archetypes, which in a certain manner affect the contemporary political thought in Russia. The author demonstrates the way in which the national cultural archetypes relate to the common cultural ones (Greek myths), on the one hand, and, on the other hand, contain their specific national modification. Thus, the Hero Archetype in Russian epos appears to be nationally marked (its Russianness is particularly stressed) as well as the image of an enemy, filling in the Shadow Archetype. Russian 'bogatyr' is traditionally on a state service and remains faithful to his grand duke, notwithstanding the injustice of the latter. The characters of fairy tales wage "preventive wars" in which they become the winners. The contemporary Russian political discourse inherits, to a certain extent, the value as well as the worldview aspects of the Russian epos.