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This article describes the celebratory events held at the state level from 2019 to 2021 dedicated to the centenary of the Vakhtangov Theatre in Moscow. The article also stresses a special role of Yevgeni Vakhangov's home town Vladikavkaz in the history of the formation of the personality of the world famous theatre director and disciple of Konstantin Stanislavski. Vakhtangov was the best person to prove in practice the possibility of using the System in the development of many theatrical forms. Vladikavkaz is also a site where a cultural Centre will be opened in Yevgeni Vakhtangov's reconstructed birth house in fall 2022. The Moscow period of Vakhtangov's life described here emphasizes, on the one hand, the foundation of a drama studio which, by the end of Vakhtangov's life, was transformed into The Third MAT Studio, and finally into the Vakhtangov Theatre. On the other hand, the article maintains the fact that the Vakhtangov Theatre in Moscow emerged from a drama school, which, in turn, is based on the collective work of Vakhtangov and his students during their practical studies and application of Stanislavski's System in the drama studio. The results of that collective work are expressed in Vakhtangov's use of fantastic realism (based on Stanislavski's term of realism) on stage – a phenomenon he discovered while elaborating his unique method of directing. [ABSTRACT FROM AUTHOR]

This article examines Dostoevsky's "fantastic realism," which challenges the explanation of rationalism or empiricism in the need for determinate categories fixed in nature. His use of paintings by Hans Holbein, Claude Lorrain, and Raphael in terms of the sublime and beautiful exemplify an understanding of Holy Saturday and its status between death and resurrection. Julia Kristeva's reading of Dostoevsky's melancholy as exemplifying a religious ideal and William Desmond's metaxological philosophy allows us to propose a terminology that rhymes with Dostoevskian between-ness, a conclusion that does not resolve the space between the beautiful and the sublime but remains open to the confessional enigmatic liminality that is Holy Saturday.

In the novel Crime and Punishment, the shocking description of Raskolnikov’s crime and the mystery of its motivation have inspired a strong tradition of ethically-focused readings. The key to the novel’s emotional effect lies in Dostoevsky’s manipulation of point of view: from inside Raskolnikov’s head the reader sympathizes with the murder and thus is ethically complicit. The current article considers point of view as a key to ontological questions: what is the hero’s grounding in the material world? How does the reader know what actually takes place, and what might simply be a narration of the hero’s fantasies? Asking who sees Raskolnikov on his pathway to and from the murder, this close reading of key scenes calls into question basic assumptions that readers make about the world of the novel, and by extension about the world beyond the novel. Does the abused girl that Raskolnikov sees on the street after receiving his mother’s letter actually exist? Or do his thoughts about his sister’s predicament and about Sonya Marmeladova conjure her up out of thin air? Did Raskolnikov actually overhear a conversation about murdering the pawnbroker in a tavern or did he fantasize the conversation? Not only do the details of these scenes match his inner thoughts and desires; Dostoevsky’s narrator’s careful framing of them reminds the reader of other carefully constructed fictional frames in other works, such as “Peasant Marei”, where the author (with his narrator) moves inward through the deep layers of his psyche until he finds his story there. Absolutely key to this effect is the protagonist’s separation from human community: without grounding in relationship, we find ourselves in a liminal, fantastical world where in a desperate quest for company we create imaginary companions. This process culminates in the materialization of Ivan Karamazov’s devil in The Brothers Karamazov.

The article John Crowley’s “Engine Summer”: A Postmodern Vision of the Processual Construction of Identity analyses the eponymous novel as pivoted around the narrative’s role in constructing both individual and collective identity. Drawing from Mieke Bal’s narrative theory, as well as a number of establi­shed (such as paratextuality) and emerging theoretical concepts (Piotr Kubiński’s emersion), Gancarczyk emphasises the multifacetedness of novelistic references, including the stereotypisation of the Other and top-down control of social relationships. Furthermore, Engine Summer is interpreted he­re as drawing the reader’s attention to the medium itself and to the embodied text which co-creates narrative identity, allowing for its inscription and transmission—an idea literally realised in a postapocalyptic world of the novel. Finally, Gancarczyk shows how Campbell’s concept of monomyth reverberates in Crowley’s narrative, proving pivotal for the overall interpretation, indicating the active role of the medium and narrative subjectivity in constructing the meaning.

Purpose of the study: The purpose of the study is to identify the originality and ideological functional status of the ethnomental component in the works of F. Dostoevsky. Methods: The work integrates a complex of modern approaches and methods, mainly focusing on the ideas and principles of the traditional, cultural and historical method, which demonstrates the general cultural, sociological, and psychological aspects of the study of Dostoevsky's literary heritage. The typological method has contributed to the literary clarification of the ethnomental components in fiction and journalism of the writer. The narratological approach is used to analyze the narrative structure of Dostoevsky's works, the correlation of the writer's and other people's speech, to identify various points of views on the problem, and to establish the ambiguity of the writer's position. The contextual analysis allowed analyzing the images of characters, first, within the local context and, second, within the macrocontext, which includes other literary sources, appropriate comparisons and build a verification model of the study. Main results: The analysis of the writer's life, his philosophy of life, sacrifices, social ambivalence, predisposition to reflection, etc. suggests the presence of certain mental foundations. The main ideas, attitudes, spiritual discoveries of the artistic worlds created by the writer are determined by the ethnomental basis of his worldview. This makes it possible to determine and understand the originality and uniqueness of Dostoevsky in the context of Russian literature. Application of the study: The conclusions of the study can serve as the basis for an accurate idea of the correlation of the writer's worldview and his work. The materials and conclusions of the study can be used in university courses on the history of Russian literature, in special courses and special seminars on the works of Dostoevsky, for term papers, graduation papers, and dissertations. The scientific novelty of the study lies in the fact that the ethnic component in the ideological and artistic system of Dostoevsky who was a Pochvennik writer (i. e. belonged to the Pochvennichestvo movement) was first considered in the context and through the prism of both the life experience of the writer himself and the general anthropological orientation of the writer as well as his understanding of human nature. This study provides not only the opportunity to analyze the ethnic identity of Russian literature but also to trace the influence of the ethnic mentality of Dostoevsky on his worldview embodied in his fiction. [ABSTRACT FROM AUTHOR]

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This essay introduces two experimental Russian writers, Sigizmund Krzhizhanovskii (1887–1950) from the Soviet era and Vladimir Sharov (1952–2018) from the post-Soviet period, through their depictions of the Revolution and Civil War. Both attempt to 'estrange' this horrific period by drawing on unusual sensory input – smells, for example, or textures and densities – thus allowing the reader to bypass the brute political event in favour of its 'feel'. The analysed texts include an olfactory history of the revolutionary years inspired by the composer Alexander Skriabin from Sharov's 1993 novel Before & During, and a dream-sequence involving a toad in Krzhizhanovskii's fantastic parable from 1931, 'Bridge over the Styx'. The resulting narratives are, of course, still moral and political tales, but grounded more universally. [ABSTRACT FROM AUTHOR]

The article presents critical analysis of Fyodor Dostoevsky's "fantastic" realism concept, and gives reasons for defining Dostoevsky’s artistic method as Christian realism.

Copyright of Czytanie Literatury is the property of Czytanie Literatury and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The film has always reflected the culture of the era based on reality and imagination. The visual effect in the film has mainly played a role of expressing the reality more realistically or recognizing the virtual as reality. This study examines the meaning and the effect of fantasy realism through Oasis of Lee Chang-dong. Fantastic realism has separated the reality from the imaginary space by using a dual meaning tool that affects the time and space in the film and reflects the human desire and desire to see. It was also reproduced in the real world through the medium of pigeons. In addition, it separates visualized space from non-visualized space in film narrative structure, separation of real and unreal space, segregation of consciousness and unconscious space, and separation of reality and reality space into power structure. With the development of technology, the image of the yellow image comes closer to us like reality, which will express the space of unconsciousness that we could not think of. [ABSTRACT FROM AUTHOR]

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Group for the Study and Research of Parapsychology (GERP) (Groupe d'Etudes el de Recherche en Parapsychologie) was originally composed of psychology undergraduates who, in the context of the period after May 1968, tried to bring into the curriculum a course of parapsychology at the University of Paris X Nanterre. Their failure transformed the group into an association of young researchers with much solidarity, criticizing foreign models and developing a theory-oriented parapsychological cross-disciplinary research in the 1970s and 1980s. The works of François Favre and Pierre Janin, two influential members of GERP, are reviewed as examples. A short presentation is offered of some of their theories. GERP although dormant has not been dissolved, thus this history reveals a recent but underestimated period of French parapsychology and the lineaments of an original research to be deepened. [ABSTRACT FROM AUTHOR]

In The Haunting, The Changeover, and The Tricksters , Margaret Mahy fuses supernatural iconography of witchcraft and magic with images of ordinary and domestic adolescence. This article argues that Mahy's “fantastic realism” illuminates aspects of female teenage experience through a blend of myth, fairy tale, folklore, and history, as well as conventional representations of adolescent development and archetypes of young adult literature. The heroines are ordinary witches who find freedom, empowerment, and sexual knowledge in their magical identities but who also remain firmly positioned as schoolgirls, daughters, and sisters. Although possibilities of excess or black magic are implied by the author's use of witches, such implications are contained by frameworks of real and domestic ordinary life, and this article concludes that witchcraft is a motif that Mahy manipulates in order to describe growing pains, developing sexuality, and an intriguing form of female power. [ABSTRACT FROM AUTHOR]