Name
Yurchenko Ol'ga Olegovna
Scholastic degree
•
Academic rank
associated professor
Honorary rank
—
Organization, job position
Buryat State University
Web site url
—
Articles count: 2
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
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