http://hdl.handle.net/11089/8894 2026-04-05T09:21:57Z 2026-04-05T09:21:57Z Sadzińska, Ewa Szymańska, Aleksandra http://hdl.handle.net/11089/11126 2021-07-27T16:17:01Z 2014-01-01T00:00:00Z

Международная научная конференция „Русская литература XVIII–XXI вв. Диалог идей и эстетических концепций” Sadzińska, Ewa; Szymańska, Aleksandra

2014-01-01T00:00:00Z Polak, Andrzej http://hdl.handle.net/11089/11125 2018-02-01T11:19:33Z 2014-01-01T00:00:00Z

Cовременная русская социальная фантастика (2017 Ольги Славниковой) Polak, Andrzej In the first part of the article the author presents phenomena characteristic of current Russian social fiction, focusing on genres such as alternative history, futuro-historical fiction and alternative futurology. In the Russian literature of the last two decades, futurological forecasts draw attention. As part of social-political projects, they offer an alternative to the real history of Russia in the 20th century. The second part of the paper discusses the novel 2017 by Olga Slavnikova, considered one of the most interesting examples of alternative futurology.

2014-01-01T00:00:00Z Mięsowska, Lidia http://hdl.handle.net/11089/11124 2018-02-01T11:19:23Z 2014-01-01T00:00:00Z

Диалог с абсурдом. Заметки о драматургии Михаила Волохова Mięsowska, Lidia The article presents an attempt to describe the oeuvre of the Russian and French playwright and theatre theoretician Mikhail Volokhov in the context of his relation to the Russian theatre of the absurd of the 1920s as well as to the 1950s western model of theatre of the absurd, represented by Samuel Beckett and Eugène Ionesco. The author also discusses Volokhov’s dramatic works in reference to the philosophy of existentialism.

2014-01-01T00:00:00Z Журчева, Ольга http://hdl.handle.net/11089/11110 2018-02-01T11:19:23Z 2014-01-01T00:00:00Z

Формы выражения авторского сознания в новейшей русской драме Журчева, Ольга The article is devoted to the problem of authorial intention in contemporary Russian drama. Firstly, major theoretical approaches to the ‘problem of the author’ in drama are identified. It is then demonstrated how cultural paradigms change in an artistic consciousness and how, as a consequence, the most important structural components of drama – conflict, character, genre – become discredited and deconstructed. There follows an overview of specific examples of such transformations of these generic features of drama. It is argued in the paper that such transformations result from the activation of the author’s consciousness and are a manifestation of the author’s intentions regarding the modern picture of the world.

2014-01-01T00:00:00Z