The monograph examines the irrealistic traditions in Russian prose of the first third of the XX century. Irrealism as a semantic and style-forming principle of artistic “belles-lettres” (as opposed to documentary, artless) at the beginning of the XX century was mentioned in criticism, including by A. A. Blok, N. N. Rusov, N. F. Berner, and it was first designated as a term and justified theoretically in philosophical and philological studies by A. M. Evlakhov. The extreme individualization of a purely artistic, rather than a creative process as a whole, suggests the search for irrealistic features of unpopular works (drafts, manuscripts, unfinished, unpublished, misunderstood texts) or second-rate writers (A. N. Bezhetsky (Maslov), S. P. Bobrov, K. Bolshakov, A. S. Voznesensky (Brodsky), A. A. Galunov, V. V. Hoffman, M. L. Hoffman, S. I. Gusev-Orenburgsky, A. F. Damanskaya, A. M. Evlakhov, V. Evtihiev, V. A. Zhukovskaya, A. K. Zakrzhevsky, V. A. Carrick, B. A. Koiransky, E. Kurlov, V. Lensky and N. Muravyov (Adbamovich brothers), N. I. Manaseina, O. Norwegian (Kartozhinsky), M. I. Pantyukhov, N. I. Petrovskaya, M. L. Premirov, M. A. Pozharova, A. D. Radlova, N. N. Rusov, B. A. Sadovsky, V. V. Sipovsky, Y. L. Slezkin, A. M. Fedorov, M. Khodyreva, AnChebotarevskaya, F. I. Chernova, G. I. Chulkova), because the flip side of non-demand, external distancing from public life was freedom. Despite the motley picture of the literary process of the Silver Age, this monograph attempts to systematize it (according to the criterion fashionable at that time, which deserved the attention of P. N. Sakulin, A. P. Skaftymov, etc., — irrealism), as well as, according to the Doctor of Philology, academician of the Independent Academy of Aesthetics and Free Arts B. F. Egorov, there is a “solid theoretical foundation and fresh, new material”.
The paper attempts to build a system of functions of the Russian subjunctive mood and irreal comparison constructions. The purpose of the article is to analyze the multi - level text modality (from an application of a modality-based semantic grammar to an aesthetic). The distinction between objective and subjective modality allows to identify their contextual features. There wasn’t an irreal modality in old Russian texts. But number of irreal signs had been rising since the aesthetic, art role of written language enhanced. Meanwhile the objective unreal modality of fairy tales was created by the subjunctive mood in Russian folklore. The unreal modality had reached its apotheosis in modern style fin de siècle. The irreal comparison constructions also were widespread, especially that came from the future tense form. But there were also Russian rare "imperfect" relicts. Subsequently, grammar constructions typical of art Nouveau, similar to the European "future in the past", creating an alternate reality, replaced by the imperative mood second person, with the illocutionary act of calling for change to the existing reality in the early avant-garde and by the imperative mood third-person with a particle of "pust’" in the mid-twentieth century, with the word "puskay", that gave its peculiar connotation and that was used not only as a formative particle, but also as a modal particle, resonant with a non-equivalent particle «avos’».
This article analyzes ideological and literary connections of Stefan Heym with Russian and Soviet authors and links those connections to some particular features of the reception of Heym’s novels in the USSR and Russia.
Nikolai Rusov and Vera Zhukovskaya, despite their talents and education, seemed doomed to margins of life and literature (Rusov illegitimate descendant of princes family Urusov, and Zhukovskaya, alias Mikulina-Podrevsky, in her youth, represented under the uncle’s name, Nikolai Egorovich Zhukovsky was the famous “father” of the Russian aviation, and then, perhaps, secretly became his daughter-in-law). DOI: 10.22455/978-5-9208-0627-7-92-103 93 On the one hand, it is this shaky position of the authors that makes their “estate” texts unsteady, irreal. But, on the other hand, it is the Art Nouveau style, which dominated at the beginning of the XX century, precisely during the period of Rusov and Zhukovskaya’s creativity, being dispelled in art in general, including hitherto unshakable architecture, everyday in the existential, and sometimes in the illusory. The native estate loses its former reliability, but takes on a dreaming dimension, where it is possible to merge water and fire, night and morning, western and eastern, holy and demonic. In this image of the estate, one cannot fail to see the main signs of the neo-Russian style, which was one of the reflections of the modern.
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