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«ПАМЯТЬ ЖАНРА» И ЕГО МЕТАМОРФОЗЫ В АВТОРСКОЙ СКАЗКЕ A.А. МИЛНА

100%

Невзорова Н.

Acta Neophilologica

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2018

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vol. XX/1

81-93

EN

“GENRE MEMORY” AND ITS METAMORPHOSIS IN A LITERARY TALE BY A.A. MILNEThe nucleus of Milne’s literary tale dilogy (Winnie-the-Pooh and The House at the Pooh Corner) is an archaic folklore-mythological spatio-temporal structure and its specific subject realization that have proved capable of development, metamorphosis, synthesis with other deep structures and have led to the formation of literary genres of a neo-mythological character – literary tale, story and fantasy.In Milne’s tales there is no traditional struggle between Good and Evil, there are practically no “miraculous” objects and magical powers. The action is not based on the confrontation between the two sides, representing different moral principles (as in a traditional fairy tale), but involves the transition of the hero, Christopher Robin, from the world of childhood to the adult world, acquiring a higher social status, the development of abilities and skills of various characters to solve different life problems, first at the level of choice of options from the accumulated empirical experience, and then at the level of abstraction from real specifics to the skills of logical analysis and mastering written speech and the basics of mathematics. This results in the acquisition of a new level of knowledge and the development of a new way of understanding of the world (the creation of the cosmos from chaos).

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Function and Meaning of Double Forms in Gogol’s Stories The Old World Landowners, A Terrible Vengeance and The Nose

87%

Попович Т.

Poznańskie Studia Slawistyczne

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2017

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issue 13

PL

In this study, we are trying to connect the J. Tynjanov’s theory of the constructive principle of the genre with the M.M. Bahtin’s theory of genre memory, through the analysis of Gogol’s stories Old World Landowners materials A Terrible Vengeance and The Nose. This research is primarily focused on the meaning and the function of their double structure. Double structure principle reflects in levels of genre, in levels of the speech, in levels of chronotope, as well as in literary heroes motivation. Doubling reality and characters that are in the narrative world of Gogol is often transmitted using a mirror, a Double, a dream or a vision, showing, in fact, the inconvenience that every man feels when confronted not only with his „I”, but also when he attempts to explain himself through Others, see himself in someone else’s soul. A symbolic expression of this internal state occurs in a similar manner, using similar concepts and ideas, double structures which it is advisable to bind together the idea and its realization.

3

Geneza horroru jako gatunku

84%

Trofymenko A.

Tematy i Konteksty

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2022

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vol. 17

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issue 12

228-239

EN

This article examines the origin of horror as a genre within the clusterof all horror literature genres. The structure of genological-typological evolution of these genres has been analysed. It has been proven that horror, due to its specificity, should be referred to this group of genres which are realized in literature on the basis of genre memory.

PL

W artykule zbadano genezę gatunku horror w klasterze gatunków literatury grozy. Poddano analizie strukturę genetyczno-typologicznej ewolucji gatunku literatury grozy w literaturoznawstwie. Udowodniono, że horror – ze względu na jego specyfikę – odnieść należy do grupy tych gatunków, które realizowane są w literaturze na podstawie pamięci gatunku.

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1 Acta Neophilologica

1 Poznańskie Studia Slawistyczne

1 Tematy i Konteksty

1 Trofymenko A.

1 Невзорова Н.

1 Попович Т.

1 2022

1 2018

1 2017

«ПАМЯТЬ ЖАНРА» И ЕГО МЕТАМОРФОЗЫ В АВТОРСКОЙ СКАЗКЕ A.А. МИЛНА

Function and Meaning of Double Forms in Gogol’s Stories The Old World Landowners, A Terrible Vengeance and The Nose

Geneza horroru jako gatunku