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EN
Using the Nobel Prize as a prism through which to view the life and literature of a difficult-to-define artist, this article argues that Dylan’s output is one in which life and literature become, and have always been, indistinguishable. It is the life which has made the literature, through years lived in a particular niche of 1960s counter-cultural history; the lyrics gave voice to a man who was never at ease in the formalities of interview. For a supposed spokesman of a generation Dylan spoke very little except through his songs. So too in the more difficult-to-define later decades, little of his life was spoken of except through song, and some samplings of autobiography. Detailing the historically distinctive features of the Nobel Prize, the article shows how Bob Dylan has, through life and literature, broken down the boundaries between the literary and the popular. The article’s title is drawn, of course, from a famous line in Bob Dylan’s era-defining “Like a Rolling Stone,” one which Martin Scorsese used to title a full-length documentary on the life of Bob Dylan. Dylan here occupies the borderlands where art imitates life, and life imitates art. I argue, contrary to critical consensus, that there is a direction home. In Dylan’s lifetime of existentially staring death (political death, the death of romance) in the face, there is some glimpse of home. It is that glimpse which gives the poet’s lyrical output its endurance as literature.
EN
The article studies the contents of fi ve letters written by Zinaida Gippius in 1926–1932 to three persons: Nina Berberova, Vladislav Khodasevich and Alexandr Amfi teatrov. All the interlocutors, including Ivan Bunin, represent the fi rst wave of the Russian emigration. In her letters to the acquaintances Gippius shares remarks about Bunin as a man and an artist. With typical for her irony and arrogance, she refers to the works of her competitor revealing negative features of her character. Gippius letters also portray mechanisms of the social and cultural life of Russian emigrants originating from the older generation of writers.
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
Svetlana Alexievich, a Belarusian writer and journalist, an author of many books and theatrical plays, Nobel Laureate in Literature, deals in her writings with subjects connected with events in the USSR as well as the place and role of “a small human being” in the history of these events. Alexievich’s books discuss the themes of World War II, the war in Afghanistan, the Chernobyl disaster and so on. The author selects difficult themes in the centre of which is found the human being. In a lifethreatening situation the behaviour of man is, in Alexievich’s opinion, most true. The thematic oppositions: life-death, joy-sadness, Afghanistanmotherland, war-peace, truth-untruth enable the writer to show the changes that are taking place in the life and psyche of a person. The book Boys in Zinc is a presentation of talks with Russian soldiers who came back from the war in Afghanistan and the mothers of the soldiers who died there. The writer depicts the Afghan War as an amoral event both for the USSR and the Afghan nation. The brutal experiences in the front line, the undermined mental and physical health make up the core of the book. The naturalistic depiction of truth, fear of death, inner struggles of the heroes, the soldiers’ and their mothers’ dreams of meeting each other, all this is portrayed by Alexievich in a convincing and unique way in Boys in Zinc.
FR
Le numéro contient uniquement les résumés en anglais.
RU
Том содержит аннотаций на английском языке.
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