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In Shadows of the Infinite, we follow the journey of Tom Hanks, an everyman accountant living a comfortable suburban life in Willow Creek. Tom's life is turned upside down when he discovers that he is being pursued by a malevolent cosmic entity, whose intentions remain shrouded in mystery. Fleeing his once-idyllic home, Tom embarks on a wild odyssey across the country, pursued relentlessly by the entity that seems to defy all logic and reason. Along the way, he encounters a colorful cast of characters who aid him in his quest for survival, including an older wise-cracking companion named Polly, a mysterious wanderer named Michael Douglas and Billy McWands, a magician whose mastery of the arcane arts may hold the key to defeating the cosmic entity once and for all. As Tom's journey unfolds, he discovers that the cosmic entity is not merely a figment of his imagination but a tangible force with the power to manipulate reality itself. Desperate to escape its clutches, Tom delves deep into the mysteries of the universe, seeking answers to questions he never thought to ask. With each step of his journey, Tom's understanding of the world is challenged, and he must confront his deepest fears and insecurities in order to overcome the cosmic entity's relentless pursuit. In the end, Tom Hanks will discover that the truest victory is not in escaping the shadows but in finding the light within himself. Shadows of the Infinite explores several overarching themes: Existential Dread, Friendship and The Nature of Reality. The novel explores concepts of perception, illusion, and the interconnectedness of all things, challenging traditional notions of truth and existence.

The Moor is a short surreal experience where you play as yourself, as you wake up in a small cabin in the middle of nowhere.

Who stole the cookies from the cookie jar has the player explore a house at night, searching for a presumed intruder who has stolen their cookies. The multiple endings seek to teach a lesson to the player about maintaining calm in tense situations.

Somnograph is a short story about trying to wake up someone you know by looking through their memories. It uses and interconnected web and adaptive text and endings to change your history with the person, and add new contexts to the memories.

You are at a seemingly normal anime convention in some nondescript nearby city. However you soon find that you can't leave the convention center for some reason. Finding that you are caught in a time loop, you need to figure out the right path of events that will lead you to the true end of the convention and also your escape.

Lorem by Graydon SimonsYou find your self, inexplicably, in a large house during a blizzard. Traversing the house leads to surreal, dreamlike visions which point you toward a final goal. Ending partially unfinished, but the rest of the game is fairly well polished.

Solve the Red King's murder! In this dreamlike fantasy of talking chess pieces and animal-headed nobility, you are known as the greatest detective in the realm. Five suspects within the Court there are: The Queen. The Bishop. The Knight. The Knave. The Jester. A murder mystery. Multiple endings; can be played multiple times.

I believe part of the drive in my writing is an impulse to define poetry. The desire to fully satisfy this curiosity is something I find endlessly interesting, and amusing. In conclusion, I have found that a creative approach is the only authentic response. Therefore, my thesis has come to represent a personal exploration towards this interest. I have used my writing to flesh out what this might mean and always had the ambition these poems would add further mystery to the question. This is the underlying ethos of my work. Here, I attempt to sometimes communicate feeling more than sense, sensation over rational thought – all things I find poetry satisfies in myself. This has encouraged me to use sound and sense in experimental ways, as well as further investigate the spaces created by the imagination in the normal workaday reality of the world. As a result, I discovered a surreal approach comes very naturally to me. However, I strive to create a balance as well as a unique take towards this style. I think poetry should be fun to read, too. Quiet and loud. Abstract and grounded. And I assert that prose poems can be just as poetical as more recognisable forms. Just like the mythical hill worms talked about in ancient folklore, I think poetry should be intangible and mysterious. Funny and profound. This also ties into other themes which encourage my writing: childhood, imagination, love, art, animals, hobbies, our environment, and perhaps an overarching theme of how our individuality interacts within these – what I believe to be – spiritual spheres. And whether individuality as well as the imagination, like poetry, is something that cannot be specified, and is perhaps, moreover, a complex, evolving idea involving our geography and our shared and personal histories.

We have analyzed the Spanish translation of the pièce by Eduardo De Filippo’s Questi fantasmi (These ghosts, 1945), carried out by Jaime de Armiñán in 1959, and specifically required for the stage under the direction of Fernando Fernán Gómez, which was presented with the title Derecho a fantasma. Since the very title, not literally translated into Spanish, Jaime de Armiñan’s text wants to merge the unknown, the magical, the surreal, the mystery of the pièce, with the idea of a typically familiar boarding house ​ —which was quite common at that time in Spain—. We found out that while the original text was ironically more subtle and poetic —serving as a universal metaphor for the crisis of values in the second half of the twentieth century— the translation lightly alters the aim of the Italian comedy emphasizing the humour, sometimes senselessly, and making a large use of the digressions and compensations techniques. Moreover, the relationship described and analyzed in this translation is between the work by Eduardo De Filippo, Jaime Armiñán’s translation and the drammatic thought of Fernando Fernán Gomez, with their respective poetry that derive from their worldviews, theatre ideas, and time. Even though the translation proves to be considerably affected by the fact of being designed for the adaptation for the stage, the two Spanish authors have had the merit of introducing Eduardo De Filippo’s theatre in Spain, a task which had eventually impacted on their activities., In questo studio ci occupiamo della traduzione in lingua spagnola dell’opera di Eduardo Questi fantasmi (1945), realizzata da Jaime de Armiñán nel 1959 espressamente per la messa in scena ad opera di Fernando Fernán Gómez con il titolo Derecho a fantasma. Già dal titolo, tradotto in spagnolo in modo libero, si vuole fondere lo sconosciuto, il magico, il surreale, il mistero, dell’opera con l’idea di locale familiare —come si diceva una volta delle camere delle pensioni con “uso cucina”—, per trattare in modo umoristico una commedia che serve come metafora universale della crisi dei valori che vive l’uomo del secondo Novecento, anche se ritrae in chiave grottesca la tragedia delle penurie e le disillusioni della Napoli dell’immediato dopoguerra, alla fine degli anni ’40. Il rapporto descritto in questa traduzione è tra la parola di Eduardo, di Jaime di Armiñán e di Fernando Fernán Gómez e le loro poetiche che derivano dalle loro visioni del mondo, del teatro e della vita del loro tempo, e anche dalla loro interpretazione e dalla ricezione di questo testo che propongono al pubblico spagnolo. Gli ultimi due autori sono tra i primi a diffondere l’opera di Eduardo in Spagna e questo esercizio avrà ripercussione nella loro attività.

В статье охарактеризованы уровни художественной структуры визуальной новеллы «Зайчик». Исследуются особенности реализации оппозиции «свое — чужое», выявляются функции образов-медиаторов. Делается вывод о взаимодействии двух планов мирообраза. The report characterizes the composition levels of the visual novel “Bunny”. The author analyzes the realization of the opposition “one’s own — other’s” and reveals the functions of images-mediators. The conclusion is made on how there are interacting two plans of the artistic picture of the world.

Connu plus comme traducteur des po��tes espagnols que comme po��te, ses vers r��v��lent la recherche obsessionnelle de quelque chose qui remplit le �� rien ��, le " vide", qui n'est pas seulement g��ographique mais aussi int��rieur. Impr��gn�� de nombreuses suggestions litt��raires gr��ce �� sa proximit�� avec les protagonistes de la po��sie du XXe si��cle, des herm��tiques aux surr��alistes espagnols, sa po��sie se distingue dans le panorama litt��raire italien par son suggestive approche personnelle., Known more as a translator of Spanish poets than as a poet, his verses reveal the obsessive search for something that fills the "nothing", the "void", which is not only geographical but also interior. Imbued with several literary suggestions thanks to its proximity to the protagonists of 20th century poetry, from the hermetics to the Spanish surrealists, his poetry stands out in the Italian literary panorama for its suggestive personal approach.

Nella città moderna di molte opere di Luigi Pirandello tutto sembra dipanarsi in un’apparente verosimiglianza naturalistica; eppure, tutto rinvia a un “oltre”, alle linee spezzate di una realtà urbana diversa da quella vera, a una città metafisica e fantastica, il cui senso, come un messaggio a chiave, rimane oscuro e analogico. La grande metropoli, con le prime macchine-mostri per produrre film ed enormi profitti, le spettrali stanze sotterranee degli stabilimenti cinematografici, il sudicio ospizio di mendicità, squallido come un sottosuolo dostoevskiano, appare sospesa in una dimensione onirica. Nel buio notturno, le sue vie e le sue piazze deserte sembrano immerse in uno stupore attonito, come se dovessero rivelare un inquietante segreto, mentre, in dissonanza totale con la loro surreale immobilità, le acque del Tevere nel loro moto incessante allegoricamente epifanizzano non solo l’ininterrotto flusso vitale, ma anche il vuoto “Nulla”, di ascendenza leopardiana, l’assenza di una realtà rassicurante., In the modern city of many works by Luigi Pirandello everything seems visible and unraveled in an apparent naturalistic verisimilitude; yet, everything refers to a “beyond”, to the broken lines of an urban reality different from the real one, to a metaphysical and fantastic city, whose meaning, like a key message, remains obscure and analogical. The great metropolis, with the first monster-machines to produce films and huge profits, the ghostly underground rooms of the film establishments, the filthy hospice of begging, as dingy as a dostoevskian subsoil, appears suspended in a dreamlike dimension. In the dark night, its streets and its deserted squares seem to be immersed in astonished stupor, as if they reveal a disturbing secret, while, in total dissonance with their surreal immobility, the waters of the Tiber in their incessant motion allegorically epiphanize not only the uninterrupted flow of life, but also the void “Nothing”, of Leopardi’s ancestry, the abstance of a reassuring reality.

[ES] Este trabajo de final de grado se centra exclusivamente en la realización de una serie de dibujos cuya finalidad es plasmar y expresar, desde la introspección y la intimidad que supone reflejarnos, una serie de autorretratos ubicados dentro de un paisaje surreal. Dichos autorretratos, buscan transmitir a través de los distintos elementos compositivos en cuestión de su finalidad y se forman a través del uso de la técnica de la trama. El proyecto se divide en tres autorretratos: El corazón, primera obra que florece de los sentimientos del amor y la inmadurez. La segunda, El cuerpo y el alma, punto de encuentro y de fusión entre los diferentes valores de la primera y la última obra. Y en último lugar, La muerte, inspirada en el miedo y lo que supone la aceptación y la confrontación de ello. El resultado del proyecto, es el encuentro entre la experiencia personal y la acción de crear, ubicándonos y haciéndonos entender que la introspección y el arte son en muchos aspectos una terapia para esclarecer, aceptar y expulsar con la tinta todo aquello que a veces nos asola., [EN] These project focuses on the realize about three drawing whose objective is capture and express trough the surreal self-portrait from de inside an the privacy. This self-portraits look for transmit trough the different compositions and element according with the purpose and the technique. The project is divided into three self-portrait: the first artwork is The heart and talks about de feelings and the immaturity. The second artwork is The body and the soul, the meeting point between the first and the third self-portrait. And finally, The dead, inspired in the fears, the acceptance and the confrontation about it. The project result is the meeting between the personal experience and the act of create, making us understand that introspection and art are in many ways a therapy to clarify, accept and expel with the ink everything that affects us.

Moving from the Philippines to the United States at a young age to live with a father, with whom you have had limited contact, and meeting a stepmom and stepbrother for the first time provides unique challenges. Socializing and “fitting in” with peers is especially difficult and overwhelming. The youth author highlights how overcoming these obstacles is facilitated through hard work and the support of personal relationships.

Text in Turkish ; Abstract: Turkish and English Includes bibliographical references (leaves 105-108) xii, 109 leaves Sinemanın ilk zamanlarında film jenerikleri olarak karşımıza çıkan hareketli grafikler günümüzde çeşitlilik kazanmıştır. Bu çeşitlilik teknolojiyle bağlantılı olarak farklı mecralarda karşımıza çıkmaktadır. Bu mecralardan birisi de hareketli afişlerin sunulacağı ekranlar olmuştur. Henüz yeni bir iletişim aracı olan hareketli afişler ilk örneklerini sosyal medya, web siteleri ve dijital sokak tabelalarında göstermeye başlamıştır. Kapalı ve açık alanlarda kullanılan sanatsal veya ticari amaçlarla tasarlanan film afişleri filmin kavramsal içeriğiyle alakalı olmalıdır. Bu tez çalışmasında filmlerin kavramsal ve görsel açıdan sürreal olanı nasıl temsil ettiği incelenmiş olup psikedelik stil ile ilişkisi araştırılmıştır. Sürreal sinema ile psikedelik stil arasında benzer görsel anlatımlar olduğu saptanmıştır. Hareketli grafikler psikedelik açıdan incelenmiş olup sürreal filmler metafor ve imgeler aracılığıyla hareketli afiş olarak tasarlanmıştır. Hareketli afişlerde tasarım unsurlarına değinerek bu alanda örnek alışmalar tasarlamak amaçlanmıştır. Starting as movie trailers, motion graphic has enlargened its variety until today. This variety can come in different medium forms, depending on technological developments. Screens are one such for mediums that are mentioned. Being just a fresh visual communication, motion posters, its very roots started appearing on social media, web sites and digital outdoor screens. Regardless of being created for commercial or artistic purposes, indoor or outdoor movie posters must be related to movies themselves in conceptual ways. This thesis project is aimed to research how movies represented in surreal style, both visually and conceptually and their connections with psychedelic style. It is determined that there are similar visual expressions between both movements. Their ways of expressions with symbols and imagery is put out. Motion graphic was examined in psychedelic perception and surreal movies were designed as motion posters thanks metaphors and imagery. With the touch of design elements, samples are created in this field as the purpose of this research. GİRİŞ SÜRREAL SİNEMADA PSİKEDELİK STİL Sürreal Sinema Akımı Psikedelik Stil Sürreal Sinema ve Psikedelik Stil Arasındaki İlişki SÜRREAL SİNEMA VE HAREKETLİ GRAFİKLER Film Jenerikleri Sürreallizm ve Görsel Efektler (Etkiler) Hareketli Afişler Hareketli Afişte Görsel Tasarım Unsurları HAREKETLİ GRAFİKLERDE PSİKEDELİK STİL HAREKETLİ AFİŞ TASARIM UYGULAMALARI VE ANALİZİ 2001: A Space Odyssey Enter The Void Brazil The FALL Zardoz SONUÇ

Sait Faik, Cumhuriyet sonrası Türk hikâyeciliğinin modern anlamda ilk örneklerini veren yazarlarımızdandır. Farklı bir üslupla ve yeni hikâye teknikleriyle kendinden öncekileri tekrar etmeden eserlerini yazmış ve Türk hikâyeciliğinin en özgün yazarlarından biri olmayı başarmıştır. Ayrıca hem çağdaşlarının hem de kendinden sonra gelen modernist yeni neslin öncüsü olmuştur. Sait Faik’in eserleri Türk edebiyatında yeni ve özgün bir hikâye yazmak isteyen her yazarın ilk durağıdır. O, sadece farklı üslup ve hikâye teknikleriyle değil, hikâye kişilerini ele alışı bakımından da çığır açıcıdır. İşte onun başarısının esas sırrı yakından gözlemleme şansı bulduğu bu insanları eserlerinde anlatmasındadır. Özellikle Tanzimat’la beraber edebî eserlerde görülmeye başlayan, orta sınıf yahut orta sınıfın altındaki insanları -küçük insanları- herhangi bir sanatsal ekolün, ideolojinin yahut dinî bir düşüncenin boyunduruğuna sokmadan gerçek cepheleriyle ve samimiyetle eserlerinde işleyen ilk yazarımız Sait Faik’tir diyebiliriz. Biz bu çalışmamızda, Sait Faik’in, eserlerinde kullandığı hikâye kişilerini ve anlatıcılarını kendi mizacından hareketle kurguladığını ve tüm bu kâğıttan varlıkların bir şekilde yazardan izler taşıdığını muharririn hayatından ve eserlerinden örnekler vererek anlattık. Sait Faik’in birçok mizaç özellikleri içinden ondaki yalnızlık duygusunun özellikle hayatının gidişatında ve eserlerinin yaratımında başat rol oynadığını yazarın hayatından aktarılan anekdotlardan, kendi yazdığı yazılardan, onunla yapılan röportajlardan ve eserlerinden hareketle ispatladık. Ve bu yalnızlık duygusunun ve bu duygunun sebeplerinin yazarın küçük insanlarındaki ve hikâye anlatıcılarındaki yansımalarını gösterdik. Sait Faik belongs to the group of Turkish writers who presented the primary examples of Turkish storytelling genre in the modern sense in post-Republic era. He achieved to be one of the most authentic writers of the genre with his distinctive style. He penned his works by applying the latest techniques of storytelling without repeating and rewriting what had been written by his predecessors. Besides, he became the precursor both for his contemporaries and for the modernist generation that rose after him. Sait Faik’s works are the first pieces to be visited by any writer who wishes to produce a fresh and genuine piece of story in Turkish literary tradition. He is a ground-breaking persona not only because of his authentic style or storytelling techniques but also because of the way he portrayed his story characters. Secret to his success lies in his narratives of commoners whom he had the chance to observe closely. Eventhough it became a rising tendency especially with the Tanzimat era, it would be correct to say that Sait Faik became the first Turkish writer who produced pieces about middle class and lower middle class people –the commoners- in a realistic and sincere approach without restraining his perspective and narratives by any artistic ecole, ideology or religious thought. In this work, we tried to describe the facts that Sait Faik builds his story characters and narrators depending on his own character and all these fiction personas carry traces from writer’s personal nature. To achieve this end we provided various examples from writer’s biography and works. Besides, we tried to prove that particularly the sense of loneliness, out of many characteristics of his, had a primary impact on the writer’s course of life and the creation of his works. To support this claim, we took the advantage of a reader varying from anecdotes on his life, his personal writings, interviews he gave and his literary works. We tried to conclude it by presenting reflections of writer’s sense of loneliness and the causes of this sense on to his commoners and story narrators.

The intentionality of consciousness in the antiwar novels by Barbyusa, Remarque and Gonchar is investigated in the article. The mastery of each of the artists in the reconstruction of the inner world of the characters under the influence of the bloody events of the war is found. The authors’ differences of natural interpretation of feelings are outlined. The particular attention is paid to the problem of the relationship of the «dialectics of the soul» and the «dialectics of the behavior»:the functions of the author`s diversions, the internal monologues, the correspondences and the dreams. The incomprehensible and accidental details are investigated in the fates of the soldiers. It is proved that the principles of narrative in the analyzed antiwar novels are connected not only with a number of the events, but also with a sense of the characters, with the peculiarities of perception of the military reality and the reaction to it,it’s a psychological drama. Besides, the peculiarities of the arrhythmias of the scene time and in this regard - the originality of the structure of the novel., Статья посвящена исследованию интенциональности сознания в антивоенных романах А. Барбюса, Э. Ремарка и О. Гончара. Исследовано мастерство каждого из писателей в отображении внутреннего мира персонажей под влиянием кровопролитных событий войны. Определены особенности авторов в интерпретации чувств персонажей., Стаття присвячена дослідженню інтенціональності свідомості в антивоєнних романах А. Барбюса, Е. Ремарка й О. Гончара. З’ясовано майстерність кожного з митців у відтворенні внутрішнього світу персонажів під впливом кровопролитних подій війни. Окреслено відмінності авторів природної інтерпретації почуттів.

U ovom doktorskom radu polazi se od interpretacije devet drama Lade Kaštelan, Ivana Vidića i Mate Matišića kojima je zajedničko: a) bave se obiteljskim i ideološkim temama; b) imaju elemente nadnaravnog; c) imaju elemente ironije i humora. Na taj način u odnosu sistem-pojedinac pronađena je zajednička točka koja povezuje inače raznovrsnu poetiku ovih autora. Budući da obiteljske i ideološke tematsko-motivske svjetove možemo promatrati i kao pojedinačne društvene sisteme, interpretaciji odabranog korpusa prišli smo vodeći se teorijom sistema Niklasa Luhmanna koja podrazumijeva da svaki sistem ima specifične norme, komunikacijske kodove, kao i društvene uloge. Likove u dramama stoga promatramo u odnosu na to kojem društvenom sistemu pripadaju, koje uloge preuzimaju i kako s obzirom na to oblikuju svoje ponašanje. U obzir uzimamo i otklone od norme te sagledamo što se događa s likovima kada je struktura sistema dovedena u pitanje. U skladu s time rad je podijeljen u tri dijela: intimno, irealno i ironijsko. Intimno opisuje obiteljski sistem i obiteljske uloge, kao i područje zazornosti koje pojedini likovi zauzimaju. Irealno pripada području nesvjesnog, a simboli i fantazije koje iz toga proizlaze vezani su uz naslijeđene i naučene obrasce koje pojedinac u sebi nosi. Treći dio pokazuje na koji se način putem ironije problematiziraju i dovode u pitanje čvrste norme i obrasci, kao i uloge koje nastaju u pojedinim sistemima. Ulazeći sve dublje u analizu odabranih drama Lade Kaštelan, Ivana Vidića i Mate Matišića možemo vidjeti kako prikazani društveni sistemi dobrim dijelom funkcioniraju po principu nasljeđivanja – obiteljski sistemi po principu biološkog nasljeđivanja, ideološki na temelju nasljeđivanja tradicije (koja također može biti utemeljena u obitelji). Likovi su u dramama produkt nasljeđa, ono je u njih upisano i neizbježno prisutno neovisno o tome prihvaćaju li ga ili djeluju subverzivno u odnosu na njega. Pojedinac se stoga svrstava u pojedine sisteme upravo na temelju specifičnog nasljednog niza, bilo da je, dakle, riječ o ideološkom ili obiteljskom. Cijeli proces nasljeđivanja pri tome se odvija na dubokoj nesvjesnoj razini, pa možemo reći da je izvor nasljeđa upravo u čovjekovom nesvjesnom dijelu psihe, irealnom. In this paper we discuss about nine plays of Lada Kastelan, Ivan Vidic and Mate Matisic. A common in dramas are themes about family, ideology and relationship between individual and social system, as well as use of elements of irony, humor and surreal, Our interpretation is based on Niklas Luhmann system theory in which he claims that every system (as family and ideological) has his norms, communication codes and social roles. Characters in dramas are part of such systems, they are taking specific social roles and act accordingly. We are also dealing with characters that do not follow standards. This paper is diveded into three parts: intimate, surreal, ironic; in which we discuss about family social system, unconscious, symbols and fantasies, irony in social roles, inheritance and other themes.

Interactive and multimedia methods are the future, already developing in teaching and learning modules in Medicine. It happens and has to happen because: 1) It improves tools for the teacher in preparing and showing the bulk of materials on which students must study and learn; it enables interactivity with learners both in formative pathway and in final assessment. 2) It improves attention, interest and involvement of students and learners, and acts as a guideline to progressive broadening in researches, studies, considerations, and information exchanges among different learners. 3) The rapid progress in application of technology, WEB area and sources researches allows such a deepening and widening interactivity that before was never possible to imagine. It is the same thing also in CME, sometimes so dry, and dropped from above, while the new methodology may/must get rid of negative and boring features, often not useful in producing particular improvements in knowledge and quality. The Professional Doctor needs to feel a protagonist part in situation to be investigated, where interaction with all what media tools can offer may produce an “educative” improvement, much faster, effective and pleasant/rewarding.

The art, which has the power of to transform real by esthetizing, opens a door to metaphoric and fantastic different worlds in literary texts. In a fabulous world, man who is met in an extraordinary adventure is tested by supernatural powers in a fantastic world which is nested by real and magical things. In the object of to reach spiritual integrity, this adventure is presented in an explicit world of the symbolic language to clarify the spiritual structure and images in both literary and holy texts. In this work we try to interpret functionality of the surreal in narratives with samples. Gerçeği estetize ederek farklı görünümler içinde dönüştürme gücüne sahip olan sanat, edebî metinlerde de okuyucuya, mecaz ve fantastikle farklı âlemlerin kapılarını açar. Masalsı bir dünyada, alışılmışın dışında bir serüvenle karşımıza çıkan insan, gerçekle büyülü olanın iç içe geçtiği fantastik bir dünyada doğaüstü güçlerin sınamasından geçer. Ruhsal bütünlüğe ulaşma yolunda gerçekleştirilen bu maceranın gerek edebî gerekse kutsal metinlerdeki görüntüleri, ruhsal yapıyı aydınlatmak için simge dilinin kapalı anlam dünyasıyla birlikte sunulur. Bu çalışmada, gerçeküstünün, fantastik anlatılardaki işlevi örneklerden hareketle yorumlanmaya çalışılacaktır.

В статье описывается «воображаемый мир героя» как явление поэтики эпического произведения в его взаимосвязи с эстетическими принципами неклассической литературы ХХ в. Субъективное восприятие реальности и границы личных воспоминаний наиболее важная эстетическая и жизненная проблема, которая интересует эпическую литературу в течение ХХ в. Для обозначения реальности, созданной воображением персонажа (сны, галлюцинации, грезы, мечты, мираж, воспоминания и т.д.), мы предлагаем использовать понятие «воображаемый мир героя». Воображаемый мир героя особый тип «хронотопа» («мира в мире») и своего рода фокализация, которая определяет кругозор героя. Актуальность воображаемого мира героя в «неклассической» литературе ХХ в. обусловлена повышенной рефлексивностью «неклассического» искусства с его желанием не только отображать действительность, но и наблюдать процесс собственного становления., The article gives the description of the “imaginary world of a character” as a phenomenon of epic poetic in its relationships with aesthetic principles of a non-classical literature of the 20 th century. Subjective perception of reality and the limitations of individual memories are the most important aesthetic and life problem which is interesting to epic literature in the twenty century. To denote of reality created by imagination of a character (dreams, hallucinations, daydreams, reveries, a mirage, memories etc.), we propose to use a concept of “imaginary world of a character”. The imaginary world of a character is the special type of a “chronotope” (“world within a world”) and kind of a focalization that determines a characters horizon. The relevance of the imaginary world of a character in “non-classical” literature of the 20 th century is caused by increased reflexivity of “non-classical” art by its desire not so much to reflect the reality but to track the process of its own becoming.

The Transformer Station is a full-length collection of poetry that explores the points at which the surreal, empathy, and salvation meet. Master of Fine Arts