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• «Chekhov’s Stage Set»: «The Cherry Orchard» in the Russian Poetry of the 20th – Early 21st Century

  8 p.

  Marina Larionova

  Nadezhda Tropkina

  Views:

  201

  Chekhov’s text is one of the most significant constituents of the Russian poetry of the 20th – early 21st centuries. The one most frequently alluded to is the play by Chekhov – «The Cherry Orchard». The play written at the break of historical epochs turns out to be in tunes with the times of another turning-point. This fact conditions the allusion to the Chekhov’s text in a poem «The Young Poetry» by V. Kornilov. The main feature of the crucial time period in the poem is the category of freedom, unexpectedly granted during the historical turn and change. The key theme, which determines the historiosophical sense of the text, is a quotation from «The Cherry Orchard», a dialogue between Gaev and Fiers. I. Kabysh perceives the Chekhov’s play both mythopoetically and symbolically in such poems as «How Niveous-White Everything Is in Russia Today! » and «The Snow Started to Fall Without Delays». She introduces a different time into the text, models the reality after the events described in «The Cherry Orchard» and interpreted by the author of the poem in the lower clef (as in «crumbled estate»). The loss of the Garden, its disintegration, the loss of entity, is a gradual, step by step, process – into dachas, then into dust; that is the way the motif of vanishing space and culture appears.

• “Step by Step” in Camp Prose: Aleksandr Solzhenitsyn’s ”One day in the Life of Ivan Denisovich” and Imre Kertesz’s “Fatelessness”

  Angelika Molnár

  Views:

  114

  The paper is devoted to the disclosure of the concrete and abstract images of "step(ping) " and the reinvention of related other meanings (concepts like ’path’, ’fate’and ’happiness’)in the novel by A.I. Solzhenitsyn "One Day in the Life of Ivan Denisovich" and in the novel by Imre Kertesz "Fatelessness". In order to identify the similarities and differences concerning these fundamental text-forming components in these outstanding works of camp prose, it is necessary to turn to the study of trophes, i.e. creating new meanings on the basis of the combination of incompatible things and images. This allows us to approach the author's picture of the world in both cases.

• The Audience of Art: Myth and Reality

  13 p.

  Alexandr Ushkarev

  Views:

  147

  Interest in the audience arose while art became public and since then it has not weaken, rather it has become more and more special. For more than a century the audience of art has been the subject of systematic scientific research. Why then is the problem of the relationship between art and its audience becoming once again a topical issue? The consequences of the civilizational shifts in the last decade have clearly shown: the things that have for a long time been considered true suddenly turn out to be illusive or banal in the changing world. In the modern market paradigm of the artistic culture development, the problem of the relationship between art and its audience acquires a new sound. A theater, a museum or a concert organization needs not the social and cultural portrait of the spectator, but an understanding of the causes and characteristics of its consumer behavior in the wider context of cultural life. And the first step to overcome the communication barriers between art and its potential consumers should be the abandonment of stereotypes and outdated research approaches.