Artistic communication is a multistep process. Readers’ conversance with Der Steppenwolf, a novel by H. Hesse, realizes at two communication levels. The first one is represented by the surface existentialist world view. The second level is situated deeper. It should include Hesse’s reception of works by F.M. Dostoyevsky, with whom the German writer begins a dialogue. It is obvious that Hesse is much affected by Dostoyevsky’s style in the field of a plot formation, the type of a hero, various techniques and even language peculiarities. Considering of this layer gives an opportunity to notice a conceptual difference among subjects and motives that are at first glance similar. Hence, the effect of original shift and diffraction, or “reflectivity”, arises. The phenomenon forms other communicative strategies and highlights different key points in Der Steppenwolf. The “reflective” subjects are the theme of friendship and contention, venereal passions, play, art and life sense as a whole.
The article focuses on the subject/thematic peculiarities of the Donbass poets’poems included in the collectives of civil lyrics, which were published on the territoriesof the unrecognized Republics in the period from 2014 to 2016. Theformal and meaningful markers of the forming Donbass poetic text have beendiscovered. Donbass lexicode (mine, coal, waste banks, steppe etc.) and regionaltoponymy (the names of the cities, districts and streets) are referred to the formermarker, while the motive complexes connected with the “city”, “country/remote area”, “destruction” concepts are ascribed to the latter one.Having appeared at a time of acute ideological confrontation, Donbass poetry acquiresthe character of a mental, poetic and historical document, it becomes anevidence of time and destinies break-up, and, at the same time, of the formationof a new territorial and ideological community – “my Donbass”.
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