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Z recepcji rosyjskiej literatury postmodernistycznej w Polsce (na przykładzie twórczości Władimira Sorokina, Wiktora Jerofiejewa i Wiktora Pielewina)

100%
Szymczak G.
Acta Polono-Ruthenica
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2015
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issue 20
135-144
EN
The article is devoted to particular issues of reception of Russian postmodern literature in Poland on examples of works by Vladimir Sorokin, Viktor Yerofeyev and Viktor Pelevin. The article discusses the successive stages of reception of prose and essays by these three writers. The aim of the paper is to define also literary and non-literary reasons for the popularity of the postmodernists in Poland.
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Образы постнациональной действительности в прозе Владимира Сорокина и Виктора Пелевина

100%
Jaworski M.
Heteroglossia. Studia Kulturoznawczo-Filologiczne
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2019
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issue 9
59-66
EN
The paper aims at analyzing the importance of national identity in the selected works by Vladimir Sorokin and Viktor Pelevin. Both writers place significant emphasis on presenting the possible consequences of the present social changes. Pelevin predicts the unification of the world’s biggest countries into a homogenous structure based on people’s recognition. On the other hand, Sorokin forecasts the division of the present states into smaller structures, which will need to (re)construct their own identity. The interpretation is complemented with relevant ideas of Hegel and Fukuyama.
3
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The Dyadic Narration (Second-person Narration) in the Short Story The Ontology of Childhood by Viktor Pelevin

86%
Ochniak M.
Slavia Orientalis
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2022
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vol. LXXI
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issue 3
4
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Языковое своеобразие российских и британских произведений постмодернизма (на примере романов Джулиана Барнса Предчувствие конца и Виктора Пелевина Generation “П”)

72%
Кирпичникова А.
Studia Wschodniosłowiańskie
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2019
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vol. 19
89-99
EN
The article is devoted to the linguistic singularity of the novels The Sense of an Ending by Julian Barnes and Generation “P” by Viktor Pelevin. It deals with some linguistic means, which allow us to characterize these novels as a bright examples of postmodernism. Firstly, the idea about the impossibility of new style invention and the necessity of different styles combination. The novels is full of different jargon words, idioms and even scientific terms which are used all together creating unique style. It is important that in postmodernism literature good or bad words or styles do not exist; they are all equal. Secondly, the idea of game. There are two levels of representing this idea: the mix of styles and the loss of figurativeness by phraseological units. Moreover, the novels are full of references to other stories and poems and in this case, we can speak about “rewriting” as a common method of postmodernism. Postmodern writers create new work through the stealing of images and texts from an earlier period and appropriated in a present context, say scientists.
5
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Scriptor ludens: strategia twórcza Wiktora Pielewina

58%
Ochniak M.
Przegląd Rusycystyczny
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2022
|
issue 4
174-189
RU
Статья посвящена оценке отношения современного русского писателя Виктора Пелевина к читателям и литературной среде в контексте тезисов, выдвигаемых Йоханом Хёйзингой в его книге Homo ludens (Человек играющий). Голландский исследователь указывает в своей публикации, что „игра в культуре предстоит как некая заданная величина, предшествующая самой культуре, сопровождающая и пронизывающая ее от истоков”. В свою очередь Пелевин, скрываясь от читателей и тщательно разделяя личную жизнь и профессиональную деятельность, ведет своеобразную игру с читателями и критиками его творчества, которую я охарактеризовала вынесенным в название статьи понятием „scriptor ludens”.
PL
Artykuł jest poświęcony ocenie postawy współczesnego rosyjskiego pisarza Wiktora Pielewina wobec czytelników i świata literackiego w kontekście tez stawianych przez Johana Huizingę w jego książce Homo ludens. Holenderski badacz wskazuje w swej publikacji, że „zabawa jest wielkością daną kulturze, egzystującą przed samą kulturą, towarzyszącą jej i przenikającą ją od samego początku”. Natomiast Pielewin skrywając własną osobę przed odbiorcami i skrzętnie oddzielając życie prywatne od zawodowego, prowadzi – w moim przekonaniu – swoistą grę z czytelnikami i krytykami jego twórczości, którą scharakteryzowałam zawartym w tytule określeniem „scriptor ludens”.
EN
The aim of this article is to assess the attitude of the contemporary Russian writer Viktor Pelevin towards readers and literary world in the context of the theses put forward by Johan Huizinga in his book Homo ludens. As the Dutch researcher points out in his paper, „Play is a culture's attribute, which precedes, accompanies, and penetrates it from the very beginning”. Pelevin, on the other hand, by concealing himself from readers and meticulously separating his personal and professional life, engages - in my opinion - in a peculiar game with his readers and critics, which I described by the expression used in the title: „scriptor ludens”.
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