name
Yurchenko Ol'ga Olegovna
Scholastic degree
•
Academic rank
associated professor
Honorary rank
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Organization, job position
• Buryat State University
заведующий кафедрой филологии и методики преподавания
Research interests
история и поэтика русской литературы ХХ века, феномен прозы поэтов Серебряного века, традиции и новаторство драматургии второй половины ХХ века
Web site url
—
Current rating (overall rating of articles)
0
TOP5 co-authors
Articles count: 2
Сформировать список работ, опубликованных в Научном журнале КубГАУ
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AUTOBIOGRAPHICAL PROSE OF BORIS PASTERNAK: THE PROBLEM OF THE AUTHOR’S IDENTIFICATION
10.00.00 Philological sciences
Description
The article deals with the problem of author identification in the early autobiographical prose of Boris Pasternak. In his early autobiography "Safe Conduct" the poet searches for artistic and personal self-identification. Unlike the traditional genre of autobiography, "Safe Conduct" is based not on memory of real facts but on sensual feelings from them. It means that autobiographical prose created by the poet reduces the real biographical facts, filling gaps with emotions and feelings. This feature coupled with fragmentariness of narrative fragmentation tends “challenge to biographism”. Indulging in memories, searching for artistic self-identification the poet defines his own identity. Search for himself Pasternak associates with biography of "other" people, who have played a great role in formation of his personality. “Safe Conduct” is tractate on someone else's creative genius. Meanwhile the author puts himself aside and takes a reset position towards “other” talents. These relationships have a repeated temper. Firstly, the author admires someone’s talent, coming closer to it, and then breaks up with it, and finds his own way. The final goal of self-identification is poetry; the author closes to it through philosophy and music, overcomes their attractiveness and leaves them. The fundamental feature of Pasternak’s poetry and biography is the necessity to identify and understand himself through "alien", "other" things
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IRONIC DISCOURSE IN "NOTEBOOKS" BY A. VAMPILOV
10.00.00 Philological sciences
Description
The article analyzes "Notebooks" by one of the most prominent playwrights of the 20th century Aleksandr Vampilov. "Notebooks" are considered as an example of ironic discourse in this genre. The study of irony nature in Vampilov’s “Notebooks” reveals the patterns of ironic discourse, which manifest themselves in the ironic light of serious domestic, moral, and professional problems. We perceive it today as intellectual and moral impetus, a special mood allowing us to survive, as self-protection of the individual from the pressure of reality. The irony in Vampilov’s "Notebooks" is achieved by the desire of getting away from the stereotypes of consciousness, obsolete dogmas. The irony "disallows" the eternal oppositions "new—old", "temporary—eternal", "subjective—objective", "art— life". The ironic game with terms, cliché expressions, denoting compromised political and ideological phenomena, with the concept of a name; the ironic interpretation of moon image as a leitmotif in Vampilov’s work reflect dominant ironic pathos of notebooks. The analysis of “Notebooks” by A. Vampilov allows us to understand the irony not only as a consequence of painful antinomicity, personal spiritual contradictions inherent to the artist of that time, but as a way of world vision: the ability to overcome the deadlock of crisis period, and aspiration of the creative personality to the desired integrity
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