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• Gender and Space in Literature and Cinema (Bogomil Rainov’s Roads to Nowhere and Metodi Andonov’s A White Room)

  Natalya Nyagolova

  Views:

  93

  The article discusses the structural link between the gender model and the fictional space in Bogomil Rainov’s short story Roads to Nowhere (1966) and its film adaptation—Metodi Andovov’s A White Room (1968). The transformations of the original text are traced via several semantic oppositions (masculine-feminine, rational-emotional, order-chaos) and the influence of two aesthetic paradigms—noir and the existentialist “new wave”. These transformations are interpreted in the socio-cultural context of the Bulgarian “thaw” with its quest for the marginal, regional, personal alternatives within the socialist system.

• Women's Prose: Past, Present and Future

  Olga Novikova

  Views:

  142

  The very expression "women's prose" in Russian literary discourse is debatable, since even many female writers refuse to identify themselves as such. A woman writer has all the rights of a writer, but she also has the additional right to self-identify as a representative of "women's prose". Women's prose requires a double research point of view: looking at it as an integral part of fiction and identifying the specific features of works created by women writers.    During the period of perestroika (the second half of the 1980s), women's activity in Russian prose became more active, and L. Petrushevskaya and T. Tolstaya came to the forefront of literary life. An important milestone in the awareness of the specifics of women's prose was the series "Women's Handwriting" by the publishing house "Vagrius". A characteristic trend in the development of modern Russian women's prose is the democratization of the artistic thinking and language, the attraction of high prose tothe mainstream, to mass nature and the feeling of accessibility. In this regard, the article examines the prose of V. Tokareva, O. Slavnikova, D. Rubina, M. Stepnova, N. Abgaryan, G. Yakhina and others.

• Figures of the Young Actress in the Dramatic Art of A.N. Ostrovsky and A.P. Chekhov

  Ildikó Regéczi

  Views:

  133

  The present study focuses on the turning point in drama history between the artistic concept of A.N. Ostrovsky, the founder of modern Russian theater, and that of A.P. Chekhov, who transformed the former approach in the matter of just a few decades. I propose that an analysis of Ostrovsky’s Talents and Admirers (1881) and Chekhov’s The Seagull (1896) can reveal the borderline that divides the dramatic formations belonging to these two separate periods. The analysis concentrates on the transformation of a specific motive, the portrayal and the dramatization of the chances of destiny available for the figure of the young actress. I presume that the dramaturgical features surfacing through the exploration of this portrayal will outline the differences in the approach and in the poetic means used by the outstanding representatives of these successive periods in drama history. Thus, I am not seeking intertextual instances in the narrow sense of the term. Rather, I am after a thematic and motive-based congeniality and its saturation with a new meaning, coming from the functional shift that establishes a connection between the texts of the pieces by Chekhov and Ostrovsky. This approach to intertextuality in the broader sense of the term, which is not primarily present in references at the textual level but is rather based on, for example, thematic congruity, can play an important part also in the assessment concerning functional history, in exploring reception-related peculiarities and, consequently, in the validation of the historical aspect.