The article deals with the research of Russian and American so called ethnic worlds (cultural backgrounds) in the novel «Bessonitsa» (“Insomnia”) by E.V. Rudashevsky. The other of the novel is a representative of YA literature in modern Russian literature. The relevance of the research is due to the investigating a possible links between American and European cultures in the novel, and the comparison of the American and Russian value systems. The article examines the genetic links between “Insomnia” and new journalism, a popular trend in the US press in the 1970s, as well as American cinema and the work of European writers, artists, and film Directors. Much attention is paid to the generic nature of the novel, the form of the narrative, the problems and images of the characters. The research results make the following conclusions: the idea to describe and compare different ethnic and cultural worlds is characteristic of Rudashevsky’s novel; the depth of Den's inner world disclosure makes the work an important event in modern Russian prose; the poetics of “Insomnia” is largely based on the thematic and aesthetic settings of the American new journalism.
This article analyses the influence of Soviet on the destinies and works of Yevgeny Zamyatin and Andrei Platonov. There were hardly any literary contacts between them, but there is an ideological kinship. Both were critical of the death penalty actually used by the Bolsheviks, of the emergence of the Soviet Party elite in the USSR, of the plight of workers during the Civil War, and of the possibility of utopian social and political projects. Zamyatin and Platonov were persecuted by the Soviet authorities, the leaders of the All-Russian Writers’ Union and the Rappian critics. The writers analyses in detail Zamyatin’s journalistic articles, including Lenin's implicit image, as well as the genesis of some plot motifs, ideas, characters of the anti-utopian novel “We” (1920). The authors delves into Platonov’s literary criticism and examines the comparative typological similarities between Zamyatin’s journalism of the late 1910–20s and Platonov’s “The Innermost Man”, “Chevengur” and “Happy Moscow”.
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