scholarly journals Doctors as heroes of our time: On the ‘resuscitation’ of the occupational novel in modern mass literature

2021 ◽  
Vol 21 (4) ◽  
pp. 477-482
Author(s):  
Elena G. Trubetskova ◽  
Keyword(s):  
Mass Literature ◽  
Modern Mass ◽  
Soviet Model

The article proposes an approach to consider modern mass literature portraying doctors in line with the revival of the tradition of the occupational novel. There are traces of similarities with the genre canon at the plot-compositional, figurative and stylistic levels of the text. The differences between contemporary works and the established Soviet model of the genre are also highlighted.

scholarly journals Literary Concept of Dog: Dog’s Death Scenario in American Mass Fiction

2021 ◽  
Vol 22 (4) ◽  
pp. 1116-1125
Author(s):  
N. V. Rabkina ◽  
O. V. Valko
Keyword(s):  
Twentieth Century ◽  
American Literature ◽  
Coming Of Age ◽  
The Other ◽  
Twilight Zone ◽  
Scientific Publications ◽  
The World ◽  
Mass Literature ◽  
Other World ◽  
Modern Mass

The present research featured the dog’s death scenario in twentieth-century American mass fiction based on Robert McCammon’s novels. The authors believe that the popularity of this scenario has its roots in mythology and precedent texts of the linguaculture in question. In global mythology, dogs dwell in the twilight zone between the world of the living and the world of the dead. Modern mass literature preserved this function of the dog as a guide into the other world. As a child extrapolates the episode of their pet’s death, they enter the threshold situation that triggers the awareness of their own death, thus providing access to experience available only at subconscious level. The authors review scientific publications that feature the concept of dog, give classical examples of American literature that shaped the etalon scenario of a dog’s death, and support them with episodes from R. McCammon’s works "Where the Red Fern Grows". Modern mass fiction adopted the etalon scenario of a dog’s death from a story by Wilson Rawls. This scenario presupposes obligatory stages of acceptance and coming-of-age. Any modifications of the etalon scenario result in stagnation or death of the personage.

scholarly journals JOHN FOWLES’ NOVEL “THE COLLECTOR” IN THE PARADIGM OF “DOUBLE CODING”

2021 ◽  
pp. 45-52
Author(s):  
Ilinska N.I.
Keyword(s):  
20Th Century ◽  
Close Reading ◽  
John Fowles ◽  
New Novel ◽  
A Value ◽  
Mass Literature ◽  
Creative Self ◽  
The Masses ◽  
High Literature ◽  
Modern Mass

The purpose of the article is to trace the creative dialogue between elite and mass literature in J.Fowles’ novel “The Collector” as a factor in creating genre modifications in the game field of postmodern literature.Methods. The complex methodology is used in the article. Structural-semantic, intertextual methods, mythopoetic approach, methods of close reading are used for the interpretation and analysis of works of art and essays by J.Fowles.Results. The article examines the strategies of the relationship between the mass and elite in J.Fowles’ novel “The Collector” (1963), which gained special development in the literature of the 20th century and was called “double coding”. Some aspects of J. Fowles’ creative self-identification are traced. The categories “double coding”, “genre polyphony”, and the socio-cultural concept of “success” are considered. It is revealed that the principle of “double coding” is genre-modeling at all levels of the structure of the work, its productivity in the plot-compositional organization of the novel, artistic embodiment of the external and internal themes is clarified. The interrelation of problems, plot and linguistic-stylistic components of the work is considered. It is proved that the author unfolds the model of human relations in an internal topic. In a complex set of problems, the author emphasizes the confrontation between “The Few and the Masses” (J.Fowles), which is manifested in a conflict between the “man of the masses” – Frederick Clegg and the intellectual and spiritual personality of the artist Miranda Gray. The confrontation takes place on a value-mental level, in a situation where two people choose between light and darkness, reason and intellectual limitations, beauty and utilitarianism, freedom and imprisonment, ugly pleasure from power and the injustice of the victim, nobility and meanness. The correlation between traditional genres of high literature and modern mass in the creation of new novel modifications is revealed.Conclusions. In J.Fowles’ postmodernist novel “The Collector”, the principle of “double coding” is one of those that models the genre, participates in text creation, and corresponds to the author’s communicative and receptive strategies. The study of the work in the paradigm of “double coding” proves that such a synthesis contributes to the intellectualization of mass literature, which loses its one-dimensionality, and adds readability to experimental literature by returning it to the plot, intrigue, methods of interest of the recipient. The author combines the objectivity of a traditional novel with the subjectivity of a new 20th century novel.Key words: elite and mass literature, external and internal theme, genre, parable, polygenre. Мета статті – простежити творчий діалог між елітарною й масовою літературами у романі Дж.Фаулза «Колекціонер» як фактор творення жанрових модифікацій у ігровому полі літератури постмодернізму. Методи. У роботі використано комплексну методологію. Для інтерпретації та аналізу художніх творів і есеїстики Дж.Фаулза застосовано структурно-семантичний, інтертекстуальний методи, міфопоетичний підхід, методики «пильного читання» (close reading). Результати. У статті досліджено стратегії співвідношення масового й елітарного в романі Дж.Фаулза «Колекціонер» (1963), що набули особливого розвитку в літературі ХХ століття й одержали назву «подвійне кодування». Простежено деякі аспекти творчої самоідентифікації Дж.Фаулза. Розглянуто категорії «подвійне кодування», «жанрова поліфонія», соціокуль-турне поняття «успіх». Виявлено, що принцип «подвійного кодування» є жанромоделюючим на усіх рівнях структури твору, з’ясовано його продуктивність у сюжетно-композиційній організації роману, художньому втіленні теми зовнішньої та теми внутрішньої. Розглянуто взаємозв'язок проблематики, сюжетних і мовно-стильових компонентів твору. Доведено, що у темі внутрішній автором розгортається модель людських взаємин. Ускладному комплексі проблем автор акцентує протистояння «Небагатьох та Маси» (Дж.Фаулз), що оприявнено у конфлікті «людини маси» – Фредеріка Клегга та інтелектуально-духовної особистості художниці Міранди Грей. Протистояння відбувається на ціннісно-ментальному рівні, уситуації вибору двох людей між світлом та пітьмою, розумом та інтелектуальною обмеженістю, красою й утилітаризмом, свободою та ув’язненням, потворним задоволенням від влади і безправ'ям жертви, шляхетністю та ницістю. Виявлена кореляція між традиційними жанрами високої літератури та сучасної масової у створенні нових романних модифікацій. Висновки. У постмодерністському романі Дж.Фаулза «Колекціонер» принцип «подвійного кодування» є одним із тих, що моделює жанр, бере участь у текстотворенні, відповідає комунікативно-рецептивним стратегіям автора. Дослідження твору в парадигмі «подвійного кодування» доводить, що саме такий синтез сприяє інтелектуалізації масової літератури, яка втрачає свою одно-вимірність, та додає читабельності літературі експериментальній завдяки поверненню їй сюжетності, інтриги, прийомів зацікавлення реципієнта. Автор поєднує властиву традиційному роману об’єктивність зі суб’єктивністю нового роману ХХ сторіччя. Ключові слова: елітарна і масова література, тема зовнішня і внутрішня, жанр, притча, поліжанровість.

Formation of historical memory as a strategy of modern mass literature

2021 ◽  
pp. 31-38
Author(s):  
Mariya A. Chernyak ◽  
Keyword(s):  
Historical Memory ◽  
Historical Consciousness ◽  
Historical Novels ◽  
Urgent Problem ◽  
The Past ◽  
Mass Literature ◽  
New Strategy ◽  
Detective Stories ◽  
Modern Mass ◽  
Representing History

The article is devoted to the urgent problem of the formation of historical memory in different texts of Russian mass literature (B. Akunin, A. Chiz, D. Miropolsky and others).An analysis of the “Artifact-Detective” series gives reason to make sure that the consequence of changes in the authors’ historical consciousness has become the formation of a new strategy for representing history, focused on modeling of historical process. Modern retro detective stories and historical novels represent a variety of artistic versions of historical events. They are aimed at the formation of a new historical consciousness that’s why they are distinguished by clear discursiveness and a sort of provocativeness. National histories in these works are integrated into the “global”, and the main source of ideas about the past are myths, legends and fictional assumptions. Nostalgia for the past, interest in redrawing history is a peculiar way of avoiding the present: the lack of understanding of the present in modern literature is obvious. The processes of creating new historical myths in the mass historical consciousness make works of mass literature especially significant for identifying certain sociocultural trends.

scholarly journals Ways of constructing the past in V. Pikul’s novel “The Favorite”

2020 ◽  
pp. 10-24
Author(s):  
Taiana Ivanovna Akimova
Keyword(s):  
The Novel ◽  
Historical Material ◽  
Xviii Century ◽  
The Past ◽  
Mass Literature ◽  
Romantic Novel ◽  
Historical Comparative ◽  
Modern Mass ◽  
Structural Methods ◽  
First Time

The subject of this article is the key methods of constructing the past applied by Valentin Pikul in chronological novel “The Favorite”: theatricality technique, actualization of male and female beginnings of the main characters, adventurous beginning that includes special chronotope, creation of mystical atmosphere, introduction of the motifs of meeting and partings, and “modernization” of history – the approach of parallel description of the plot of the XVIII century as a storyline of the time of a reader. The goal is to demonstrate the origin of techniques within the depths of Pukil’s writing methods that are in demand by modern cinematography and brought to life in multiple TV series; and how the enlightening content of historical compositions of the XVIII century, particularly the “Memoirs of Catherine the Great” are replaced by the entertaining presentation. The use of cultural-historical, comparative-historical, and structural methods allow determining the main semantic bonds of the novel and genesis of these phenomena, as well as draw parallels with the indicated realias in the modern mass literature. In the course of comprehensive analysis of the novel “The Favorite”, the conclusion is made on the intentional fictionalization of the historical material by V. Pikul: externally –  through convergence of the novel with theatrical staging via using compositional techniques; and internally –  through the techniques of mass literature writing, creation of adventurous chronotope, diminishment of the heroic beginning of historical characters to the behavioral level of typical characters of the romantic novel, introduction of the element of scandal, mystery and adventure. For the first time, the novel is examined through the prism of the time of its creation – the era of post-Perestroika, and the tradition the author leans upon: country-style and “youth” prose. The acquired conclusions directly relate to the modern situation, work of screenwriters on historical material, which was significantly simplified for the mass literature audience.

scholarly journals Metaphoric Interpretation of Communicative Values in Today’s Flash Fiction

2021 ◽  
Vol 23 (4) ◽  
pp. 283-296
Author(s):  
Natalia A. Kupina ◽  
Keyword(s):  
Russian Literature ◽  
Russian Language ◽  
General Idea ◽  
Literary Texts ◽  
Flash Fiction ◽  
The Road ◽  
Mass Literature ◽  
Modern Mass ◽  
The Russian Language ◽  
Metaphorical Interpretation

Referring to literary texts, this article considers the possibilities of systematisation and interpretation of the values of Russian culture. For specialised analysis, the author chooses flash fiction by Denis Dragunsky, Mikhail Shishkin, and novel prose by Pavel Krusanov, Alexey Slapovsky, Alexey Salnikov, and Maria Stepanova. The purpose of the research, which is carried out within the field of axiological stylistics, is to identify relevant communicative values with the help of the latest Russian prose. A brief outline of the politicisation and depoliticisation of the Russian language and basic values of culture provides a general idea about the basic values on the time scale of the twentieth and twenty-firstcenturies. The coordination of stylistic and linguacultural methods of analysis identified a strategy of word-centrism, which is common for the authors chosen and finds its expression in the formation of an open supra-textual lexical paradigm. Each component of the paradigmatic row nominates a communicative value and at the same time acts as an object of the author’s metaphorical interpretation. The verdict on the “dead” language of the totalitarian era and the “stillborn” language of modern mass literature, full of viruses of vulgarity, profit, and consumerism, is accompanied by the construction of a detailed metaphor of the road, which makes it possible to put forward a socially significant task of linguo-axiological construction. Based on metaphorical diagnostics of speech existence, there are distinguished numerous axiological constants, i.e. a living language and a living word. Not “the only true” word, but a word charged with emotional energy should become an instrument of linguo-axiological construction, which is to be carried out on the basis of creative use of language as a system of possibilities. The ethnotype of a real Russian writer is formed, which is contrasted with the linguacultural type of a successful word seller. The Russian writer, who selflessly serves the Russian language, is to pave the way to a living language by creating texts, which would continue the traditions of classical Russian literature as an imperishable national value.

Moderne Ikonen

2009 ◽  
Vol 54 (2) ◽  
pp. 123-143
Author(s):  
Bernadette Collenberg-Plotnikov
Keyword(s):  
Mass Culture ◽  
Visual Experience ◽  
Modern Art ◽  
The Other ◽  
Recent Discussion ◽  
Christian Church ◽  
Other Hand ◽  
The Absolute ◽  
Modern Mass

›Ikonen‹ sind heute nicht mehr nur die Ikonen der christlichen Kirche, sondern vor allem die Ikonen der modernen Massenkultur. Beide Arten von Ikonen werden in der neueren Kunstreflexion aufgegriffen: Kunst gilt entweder, verstanden als Erbin der religiösen Ikone, als Phänomen, das Absolutes in singulärer Weise anschaulich er- fahrbar macht. Oder aber die Kunst gilt umgekehrt lediglich als Klasse in der Welt der säkularen Ikonen. Demgegenüber wird im Beitrag erstens die These vertretenwerden, daß die neuere Kunst sowohl Aspekte transzendenter als auch immanenter Ikonen umfaßt. Zugleich ist es aber, so die zweite These, für unser Kunstverständnis charakteristisch, ein theoretisches Kontrastverhältnis zwischen Kunst und Ikone an- zunehmen. Dieses gründet auf einer spezifischen Reflexivität der Kunst, durch die sie sich von der Ikone beiderlei Art kategorial unterscheidet. Today, the word ›icon‹ usually no longer refers to the icons of the Christian church, but to the icons of the modern mass-culture. Both sorts of icons play a key-role in the recent discussion about art: Either art is supposed to be a descendant of the religious icon, a phenomenon that gives us a singular visual experience of the Absolute. On the other hand, art is supposed to be just one class among others in the wide world of the secular icons. In contrast to these two positions this essay contends that modern art comprehends aspects of transcendent as well as of immanent icons. Furthermore, it argues that at the same time it is characteristic for our notion of art to suppose a contrast between art and icon. This contrast is based on a specific reflectivity of art, which marks a categorical difference between art and both sorts of icons.

Trial by Jury as “Mockery of Justice”: Party Contention, Courtroom Corruption, and the Ironic Judicial Legacy of Antimasonry

2016 ◽  
Vol 34 (1) ◽  
pp. 155-198
Author(s):  
Elizabeth Bussiere
Keyword(s):  
Political Culture ◽  
Early Republic ◽  
Democratic Politics ◽  
Third Party ◽  
Party Organization ◽  
Party Organizations ◽  
Political Landscape ◽  
The Social ◽  
Modern Mass ◽  
True Mass

Sweeping across the social and political landscape of the northeastern United States during the late 1820s and early 1830s, the Antimasonic Party has earned a modest immortality as the first “third” party in American history. In pamphlets, speeches, sermons, protests, and other venues, Antimasons lambasted the fraternal order of Freemasonry as undemocratic, inegalitarian, and un-Christian, reviling it as a threat to the moral order and civic health of the Early Republic. Because they believed that the fraternal organization largely controlled all levels of government, antebellum Antimasons first created a social movement and then an independent political party. Even before the full emergence of modern mass democratic politics, Antimasons demonstrated the benefits of party organization, open national nominating conventions, and party platforms. Scholars with otherwise different perspectives on the “party period” tend to agree that Antimasonry had an important impact on what became the first true mass party organizations—the Jacksonian Democrats and the Whigs—and helped push the political culture in a more egalitarian and populist direction.

Sign in / Sign up

Export Citation Format

Share Document