В статье научно обоснованы особенности авангардного искусства, которое направлено на поиск синестезийной общности художественных языков и трансформацию эстетической реальности. Выявлены основные черты экспериментальной деятельности композиторов русского авангарда Михаила Матюшина и Александра Мосолова. Доказано, что доминантой их творчества является создание новой модели искусства, которое объединяет все типы воздействия на человека и возвращающего полноту восприятия и познания действительности.
EN
The article scientifically substantiates the features of avant-garde art that is aimed at finding synesthesian community of art languages and aesthetic transformation of reality. It identifies the main features of the Russian avant-garde composers Mikhail Matyushin’s and Alexander Mosolov’s experimental creativity. It is proved that the dominant feature of their work is the creation of a new model of art that brings together all types of human exposure and returns the fullness of perception and cognition.
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
The originality of Raymond Federman’s La Voix dans le Cabinet de Débarras resides in both its graphic form, close to some artistic projects, and its narrative content, which engenders and motivates the former, thus revealing the deep sense of literary devices, which only appear to be purely formal experiments. Exploring the traumaexperienced during the Second World War, the text delves into the issue that the writer’s whole literary oeuvre obsessively returns to: the impotence of language in the face of a complex and dramatic reality. The aim of this article is to analyse the narrative mechanism, which rejects the conventional transmission of a story in favour of discursive strategies exploiting the materiality of text. The extensive semantic correlation of these two aspects creates a double drama, resulting from the actually experienced tragedy and an inability to verbalise it. Referring to the theory of an artistic text and philosophical reflections on the Holocaust, this article seeks to demonstrate that La Voix dans le Cabinet de Débarras embodies Federman’s search for new forms of expression of trauma in a literary text.
FR
Le numéro contient uniquement les résumés en anglais.
PL
Tom zawiera abstrakty tylko w języku angielskim.
RU
Том не содержит аннотаций на английской языке.
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