scholarly journals THE IMAGE OF ANNA IN THE OPERA “STOLEN HAPPINESS” BY Y. MEYTUS: INTERPRETATIVE ANALYSIS

2021 ◽  
Vol 58 (58) ◽  
pp. 112-129
Author(s):  
Olha Hohaizel
Keyword(s):  
Practical Importance ◽  
Point Of View ◽  
Physical Endurance ◽  
Vocal Performance ◽  
Musical Drama ◽  
Frequent Change ◽  
Historical Aspect ◽  
Main Research ◽  
Vocal Apparatus ◽  
Key Characteristics

The article analyzes the musical material of the two arias of Anna – as the key characteristics of her image in the opera Y. Meytus “Stolen Happiness” (based on the experience of analysis, since the arias are in the work and repertoire of the author of the study). Consideration of the image from the point of view of performance and interpretation of the understanding of the interactions of words and music, the composer logic of emotional experiences, taking into account a complex of components such as the nature of the musical fabric and the historical aspect, is proposed. operas. Statement of the problem. The creativity of Y. Meytus as a composer, who stood at the origins of the formation of the Ukrainian composing school of the twentieth century, is still relevant and, in particular, his rarely performed opera «Stolen Happiness», which in the true opinion of Y. Malyshev, is a «significant contribution» in the development of realistic opera art. There are still an undeserved number of records of this opera, and accordingly a small number of variants of interpretations of images, semantic texts and subtexts, and this work in this sense is of practical importance from the performer’s point of view. Since Anna’s arias are in the work and repertoire of the author of the study, the relevance of this topic is also related to the direct presentation of this music on stage. The purpose of the study –to determine the specificity of the interpretation of the image of Anna from the opera “Stolen Happiness” by Y. Maytus. Analysis of publications on the topic of the study. Regarding the works of Y. Meytus, there are researches and publications by Y. Malyshev, L. Archimovich, I. Mamchur, L. Bas, where the composer’s creativity is covered. There are few sources for the opera «Stolen Happiness», and there is no comprehensive and in-depth interpretative performance analysis.Presentation of the main research material. Widely utilizing the opera-harmonic basis of the features of Western Ukrainian folklore in the opera «Stolen Happiness», Y. Meytus emphasizes the national identity and color of the characters, including the main heroine, by means of the symphonic development of the musical material creates a dramatically and intelligently developed development of the multifaceted and multifaceted. The task of vocal performance is to consciously read the “score of feelings” of the performed character, which is contained primarily in the musical texture, which much and fully conveys the dynamics of character image development. The vocal part, the melody, being a part of harmony, is the condensate, the quintessence of the harmonious thought of the composer, which demands from the performer imagination, intuition, attention, sensory perception, emotional sensitivity. Conclusions of the study. Having performed a performative analysis of the image of Anna in the opera «Stolen Happiness» by Y. Meytus. 1. Because, first and foremost, it is an aria-melodic musical drama, close in style to verisim (the melody in Y. Meytus does not lose the properties of the length and cantilenes) therefore performance requires good long vocal breathing, cantilever, legato, flexibility of voice and timbral equality with simultaneous force of sound in climaxes, long thought of phrases, fullness of each vowel, clear diction, that is, awareness of the relationship between words and music, the smoothness of the language line. Good intonation hearing and good coordination of vocal apparatus are required not only from the point of view of breathing, but also from the point of view of difficult intonational musical language. 2. Performing arias requires from the singer a deep emotional responsiveness, great mental strength and physical endurance, as well as an actor’s understanding of the image-role. This image does not tolerate excessive passion for expressiveness, unnecessary emotions and hysterics, it will penetrate the depth of the tragedy of the heroine. The nuances from pianissimo, not transient to whispering, but voiced, to the filled fortissimo, not transitional to cry. The choice of tempo, especially given their frequent change, should be consistent with the natural sound of the vocal language. 3. The texture of the music material determines the role of the voice. The party is suitable for a solid lyric, lyric-dramatic (spinto) or dramatic soprano, that is, for voice, has the flight to “cut through” the orchestra and be sounded part of its rich texture.

scholarly journals Genre Liederabend in creative practice by J. Kauffmann

2019 ◽  
Vol 55 (55) ◽  
pp. 183-197
Author(s):  
Haosyuan Yan
Keyword(s):  
Point Of View ◽  
Vocal Performance ◽  
Creative Work ◽  
Special Trait ◽  
Main Research ◽  
Metropolitan Opera ◽  
Behavioural Characteristics ◽  
Official Site ◽  
Slow Tempo ◽  
The Voice

Statement of the problem. Within the frameworks of interpretology, the performing style appears as the relation of two subjects (the performer and the subject of the music itself, recorded in the text), a meeting of the composing and performing thinking. It is every performance by Jonas Kaufmann, a prominent singer of the present, that becomes this meeting. According to the singer’s words, the «chamber form» invented by him and called Liederabend is the favourite form of his expression. Liederabend always demonstrates the singer’s outstanding acting skills, stage presence, strong voice and impeccable technique. Among the outstanding events there are the performances of G. Mahler’s chamber opuses (romances, «Song of the Earth», «Songs of the Dead Children», R. Strauss; Liederabends in Bamberg, Munich and the Metropolitan Opera with F. Liszt’s songs «Three Sonnets of Petrarch», G. Mahler, A. Dupark (including on Heine’s and Goethe’s verses), R. Wagner (Five Songs on Matilda Wesendonk’s verses), B. Britten (Seven Sonnets by Michelangelo). The singer’s attention to the AustrianGerman repertoire is the special trait of such chamber evenings. Analysis of recent publications on the topic. The main material on J. Kaufmann’s creative work is contained in numerous interviews, official site materials, Thomas Voigt’s book called «Meinen die wirklich mich», nonfiction articles and reviews on the performance of, in particular, Liederabends (T. Belova, T. Yelagin, E. Shapinska, Tim Ashley, and Christie Franke). From the studies of chamber and vocal performance (I. Gersamiya, T. Madysheva, T. Lymareva), the classification of dialogue quality (E. Stepanidina) in chamber music is involved. The systematic approach allows (based on G. Tsypin’s research) to identify the phenomenon of J. Kaufmann’s creativity. The purpose of the study is the formulation of the basic parameters of his performing style based on the analysis of J. Kaufmann’s Liederabends. Presentation of the main research material. In «The Winter Way» the singer resorts to such expressive means as a little exaggerated, chanted diction of the initial phrases («Sleep quietly»), radically contrasting dynamics of opera ff and subtle pp («Flood»), extremely slow tempo and filigree breathing («Inn»), «performance on the verge» of sound and silence («Loneliness», «Grey Hair», «Crow», and «Last Hope»). The centre of the performance concept is «Loneliness» (according to the singer himself). K. Frank sees the performance by Kaufmann as a rich spectrum of emotions; many listeners note the introversion of his expression. Concerning the conceptual dimension of J. Kaufmann’s interpretation of “The Winter Way”, the following facts were noted: the integrity and the construction of the performance form; the conscious avoidance of unnecessary expressiveness, monologue quality (the master connects the songs, creating an extended monologue), and artistry. Conclusions of the study. The analysis of Liederabends made it possible to find the components of J. Kaufmann’s performing style that characterize his individuality. 1. Intellectualism, conceptual design and «cyclicality» of the embodiment. For Liederabends the singer always chooses sophisticated programs, dominated by song cycles, or even the evenings devoted to the creative work of one composer. From the point of view of dramaturgy, the singer combines several songs into a kind of a micro-cycle, which enhances the monologue of the expression (dialogue «I-I»); the performance by the singer of any composition or cycle is always integral and intends for the catharsis. 2. The system of vocal expressive means that allow the singer to simulate different facets of images. Liederabends reflect the main features of J. Kaufmann’s style, which can also be noted in terms of opera interpretations: the economy of the performer, the singer’s commitment to conducting the cantilena, the role of the rhythmic component in the vocal score, the ability to tune his voice in different vocal ensembles, brilliant piano and mezzo voce, the brightness of forte, the filigree diminuendo and more. Kaufmann’s outwardly restrained manner of performance allows conveying the shades of poetic and musical text, reaching the heights peculiar to him as the performer of the tragic roles of the opera repertoire. In the chamber performance, some things sound even more pronounced. This applies to timbre (the singer can choose the desired colour of the voice, in particular, a matte or «steel» hue), the dynamic hue of ppp (sometimes a barely audible sound of the voice in the vocal cycle by F. Schubert gave a sense of boundary between the worlds, which is as if crossed by the lyric hero), diction (the singer speaks words clearly, and sometimes even sings in a recitative manner, in particular F. Schubert’s «Warrant»), and rhythm (he has a specific «acuteness» with certain disturbances of a uniform course, which has a powerful influence on the audience). Analysing the method of J. Kaufmann’s work with the author’s musical material, it is noted that he respectfully treats the text of the performed compositions, never exaggerates with “liberties” (agogic deviations, text notes, and fioritures). In terms of behavioural characteristics, J. Kaufmann’s performance always prevails in masculinity; from the point of view of the dialogue of the vocal and piano parties in J. Kaufmann’s Liederabends, the monologue quality is of great importance. All of the above allows us to identify another feature of Kaufmann’s performing style – his artistry. Due to his unstoppable artistic energy, which is felt by the listeners and visitors of Liederabends, the singer creates vivid, conceptual song evenings that are generally distinguished by the thoughtfulness of interpretations and which will surely be included in the collection of the world chamber performance. The prospect of further study of the topic is related to the study of J. Kaufmann’s performing style from the standpoint of interpretology.

THE METADIALOGUE CONCEPT IN ITS LINGUISTIC ASPECT

2019 ◽  
Vol 29 (5) ◽  
pp. 721-726
Author(s):  
Yu.V. Kupriyanova ◽  
I.M. Vasilyanova
Keyword(s):  
Subject Matter ◽  
Dynamic Structure ◽  
Point Of View ◽  
Semantic Relations ◽  
Human Cognition ◽  
Main Research ◽  
Key Points ◽  
Research Findings ◽  
The Subject ◽  
Linguistic Aspect

The article summarizes the key points in the development of the metadialogue phenomenon from a linguistic point of view. Some stages of the development of this concept and the difficulties associated with its structuring are covered. The main research findings of modern foreign and domestic experts on its study are considered. Some characteristics of the subject of the research from the standpoint of various pragmatic installations are given. On the basis of the dynamic structure of the metadialogue development, certain principles of semantic relations connected with the dialectical nature of human cognition are presented. Excursion into the history and evolution of the concept is presented. Several types of formulation of the subject matter are given. In accordance with the goal of speech exposure, internal problems of the development of metadialogue are highlighted and the critical points related to solving these problems are described. The rules of metadialogue flow are explained at the level of steps, the success/failure of which directly affects the final result of communication. The prospects of development of the concept research in accordance with various types of discourse are indicated.

scholarly journals On Kaufmann's theory of the impact of the pianoforte hammer

1920 ◽  
Vol 97 (682) ◽  
pp. 99-110 ◽  
Keyword(s):  
Initial Conditions ◽  
Practical Importance ◽  
Prima Facie ◽  
Point Of View ◽  
Infinite Length ◽  
Modes Of Vibration ◽  
Rigorous Treatment ◽  
The Subject ◽  
Set Up ◽  
The Impact

The theory of the vibrations of the pianoforte string put forward by Kaufmann in a well-known paper has figured prominently in recent discussions on the acoustics of this instrument. It proceeds on lines radically different from those adopted by Helmholtz in his classical treatment of the subject. While recognising that the elasticity of the pianoforte hammer is not a negligible factor, Kaufmann set out to simplify the mathematical analysis by ignoring its effect altogether, and treating the hammer as a particle possessing only inertia without spring. The motion of the string following the impact of the hammer is found from the initial conditions and from the functional solutions of the equation of wave-propagation on the string. On this basis he gave a rigorous treatment of two cases: (1) a particle impinging on a stretched string of infinite length, and (2) a particle impinging on the centre of a finite string, neither of which cases is of much interest from an acoustical point of view. The case of practical importance treated by him is that in which a particle impinges on the string near one end. For this case, he gave only an approximate theory from which the duration of contact, the motion of the point struck, and the form of the vibration-curves for various points of the string could be found. There can be no doubt of the importance of Kaufmann’s work, and it naturally becomes necessary to extend and revise his theory in various directions. In several respects, the theory awaits fuller development, especially as regards the harmonic analysis of the modes of vibration set up by impact, and the detailed discussion of the influence of the elasticity of the hammer and of varying velocities of impact. Apart from these points, the question arises whether the approximate method used by Kaufmann is sufficiently accurate for practical purposes, and whether it may be regarded as applicable when, as in the pianoforte, the point struck is distant one-eighth or one-ninth of the length of the string from one end. Kaufmann’s treatment is practically based on the assumption that the part of the string between the end and the point struck remains straight as long as the hammer and string remain in contact. Primâ facie , it is clear that this assumption would introduce error when the part of the string under reference is an appreciable fraction of the whole. For the effect of the impact would obviously be to excite the vibrations of this portion of the string, which continue so long as the hammer is in contact, and would also influence the mode of vibration of the string as a whole when the hammer loses contact. A mathematical theory which is not subject to this error, and which is applicable for any position of the striking point, thus seems called for.

The Earliest Tool-makers

Antiquity ◽  
1956 ◽  
Vol 30 (117) ◽  
pp. 4-8 ◽  
Author(s):  
Kenneth Oakley
Keyword(s):  
Practical Importance ◽  
Point Of View ◽  
Fossil Remains

Man has been defined in many ways, as the talking animal, the religious animal, and so on, but the most satisfactory definition from the scientific point of view is probably Man the Tool-maker. One might ask, why bother to define man, considering his uniqueness and self-evident characteristics? But from the standpoint of students of evolution, particularly those concerned with the interpretation of fossil remains of early man and his possible ancestors, to define man is of practical importance.

BASIN CONFIGURATION OF A SIX-DIMENSIONAL MODEL OF AN ELECTRIC POWER SYSTEM

2002 ◽  
Vol 12 (06) ◽  
pp. 1333-1356 ◽  
Author(s):  
YOSHISUKE UEDA ◽  
HIROYUKI AMANO ◽  
RALPH H. ABRAHAM ◽  
H. BRUCE STEWART
Keyword(s):  
Power Systems ◽  
Power System ◽  
Initial Conditions ◽  
Electrical Power ◽  
Practical Importance ◽  
Intervention Strategy ◽  
Basins Of Attraction ◽  
Electric Power System ◽  
Point Of View ◽  
Electrical Power System

As part of an ongoing project on the stability of massively complex electrical power systems, we discuss the global geometric structure of contacts among the basins of attraction of a six-dimensional dynamical system. This system represents a simple model of an electrical power system involving three machines and an infinite bus. Apart from the possible occurrence of attractors representing pathological states, the contacts between the basins have a practical importance, from the point of view of the operation of a real electrical power system. With the aid of a global map of basins, one could hope to design an intervention strategy to boot the power system back into its normal state. Our method involves taking two-dimensional sections of the six-dimensional state space, and then determining the basins directly by numerical simulation from a dense grid of initial conditions. The relations among all the basins are given for a specific numerical example, that is, choosing particular values for the parameters in our model.

scholarly journals Economic and geographical studies at the Pacific Geographical Institute

2021 ◽  
pp. 6-20
Author(s):  
П.Я. БАКЛАНОВ ◽  
А.В. МОШКОВ
Keyword(s):  
Production Systems ◽  
Practical Importance ◽  
Research Work ◽  
Far East ◽  
Laboratory Staff ◽  
Main Research ◽  
Geographical Research ◽  
Research Activities ◽  
The Far East ◽  
The Pacific

В статье приводится характеристика основных этапов развития экономико-географических исследований в Тихоокеанском институте географии с момента его организации. Выделено 5 этапов и представлены наиболее важные результаты экономико-географических исследований, полученных в лаборатории территориально-хозяйственных структур за 50 лет. Научные направления исследований определялись общими задачами, решаемыми Тихоокеанским институтом географии, в первую очередь это комплексные прогнозно-географические исследования разномасштабных геосистем Дальнего Востока России в контактной зоне «суша–океан». В основу выделения этапов исследований положены изменения тем научно-исследовательской работы лаборатории. Основным направлением в течение большого периода времени было изучение разноранговых территориально-хозяйственных структур Дальнего Востока, географических, в т.ч. природно-ресурсных, и геополитических факторов их развития. Изложены основные результаты, полученные сотрудниками лаборатории на разных этапах, в т.ч. теоретических и методологических исследований географического пространства и разноранговых пространственных систем, географических и геополитических факторов формирования разноранговых территориально-хозяйственных структур, в том числе трансграничных и аква-территориальных, разработки предложений для Программ устойчивого развития регионов, методов исследования производственно-природных отношений в локальных и районных территориально-производственных системах, оценки территориальных сочетаний природных ресурсов, изучения особенностей трансформации территориально-отраслевых структур, районирования территории и прибрежной акватории Дальнего Востока и т.д. Отдельные экономико-географические исследования имеют и большое практическое значение. В первую очередь, это разработанные в лаборатории предложения для Стратегий и Программ социально-экономического развития Дальнего Востока, Приморского края, агломерации Владивостока и других территорий. The article describes the main stages in the development of economic - geographical research at the Pacific Institute of Geography (now Pacific Geographical Institute) since its organization. The authors identified five such stages and presented the most important results of economic and geographical research accomplished in their laboratory of spatial-economic structures for 50 years. Scientific directions of these researches were determined by the general tasks solved by the Pacific Geographical Institute, in first turn, comprehensive forecasting and geographical research of different-scale geosystems of the Far East of Russia in the ‘land-ocean’ contact zone. The selection of the research stages was based on changes in the topics of the laboratory’s research work. For a long time its main topic was in the studies of multi-ranked territorial and economic structures of the Far East, and geographical factors of their development including natural resource and geopolitical ones. The main research activities of the laboratory staff at different stages included theoretical and methodological studies of geographic space and different-ranked spatial systems; geographical and geopolitical factors in the formation of multi-ranked territorial and economic structures, including transboundary and aqua-territorial ones; working out of proposals to the state programs of the sustainable development of regions; methods of researching the productive-natural relations in local and regional territorial-production systems; assessing the territorial combinations of natural resources; studying the features of the transformation of territorial and sectoral structures; zoning the territory and coastal waters of the Far East, etc. Separate economic and geographical studies are also of great practical importance. In first turn, there are proposals developed in the laboratory for strategies and programs of the socio-economic development of the Far East, Primorsky Kray, Vladivostok agglomeration and other territories.

scholarly journals Get a Room! How Writing Groups Aid the Development of Junior Academics’ Writing Practice and Writer Identity

2020 ◽  
Vol 10 (1) ◽  
pp. 59-74
Author(s):  
Jenny Mattsson ◽  
Emma-Karin Brandin ◽  
Ann-Kristin Hult
Keyword(s):  
Doctoral Students ◽  
Academic Writing ◽  
Structured Interview ◽  
Writing Groups ◽  
Writer Identity ◽  
Main Research ◽  
Writing Group ◽  
Key Characteristics ◽  
The University ◽  
Writing Practice

The present study revisits writing retreat participants who have spontaneously formed writing groups before or after attending a retreat hosted by the Unit for Academic Language at the University of Gothenburg, Sweden. All in all, 11 doctoral students and 1 post doc were interviewed using a semi-structured interview model. The answers were thematically analysed based on Murray’s (2014) concept of coherence in writing groups as well as parts of Aitchison and Lee’s (2006) key characteristics of writing groups. The two main research questions posed concern (i) whether the informants have changed their writing practice and/or the way they think and feel about writing since joining a writing group, and (ii) whether possible changes have aided the development of their identity as academic writers. Results show that the informants have indeed changed central aspects of their writing practice and that this in turn has positively influenced how they now think and feel about writing. This has to some extent contributed to the informants’ development of their writer identity; however, the present study also sheds light on the fact that more needs to be done at departmental levels across the university to make academic writing visible.

scholarly journals Contemporary culture of parenting: Pedagogical implications

2020 ◽  
Vol 52 (1) ◽  
pp. 7-39
Author(s):  
Biljana Bodroski-Spariosu ◽  
Mirjana Senic-Ruzic
Keyword(s):  
Scientific Literature ◽  
Point Of View ◽  
Social Structures ◽  
Early Age ◽  
Contemporary Culture ◽  
Raising Children ◽  
Ethical Frameworks ◽  
Parent Child Interactions ◽  
Key Characteristics ◽  
Scientific Endeavour

The possibility of improving parenting practice in raising children became a very popular topic in the scientific literature during the last few decades. The focus is on raising children at an early age and the problem is thematised primarily from the psy discourse point of view. Within this framework, a modern parenting culture is established, which reduces family upbringing to dyadic parent-child interactions outside the context of social structures and values. The aim of this paper is a critical analysis of the pedagogical implications of contemporary parenting culture, considering two key characteristics. The first refers to the conceptualisation of parenting as a depersonalised individual competence. Raising children is understood as an individual competence of achieving predefined outcomes of child development, which neglects the complexity of education both as an intergenerational and as a personal relationship. Another characteristic is the scientification of parenting in the sense of referring to the evidence of empirical scientific research and relying on the so-called parental determinism model. Raising children is becoming a scientific endeavour, and parenting is the most important ?profession? that shapes the future of the child and society. Neglecting the socio-historical dimension of education in terms of structural and ethical frameworks, articulated by the context and the goal of upbringing, makes the pedagogical voice irrelevant in the contemporary culture of parenting.

scholarly journals The Republic of Mordovia: historical description of image background

2019 ◽  
Vol 11 (2) ◽  
pp. 168-182 ◽  
Author(s):  
Dmitry G. Desyaev ◽  
Irina G. Napalkova
Keyword(s):  
Systems Approach ◽  
Geographical Location ◽  
The State ◽  
Focus Group Study ◽  
Negative Stereotypes ◽  
Historical Aspect ◽  
Main Research ◽  
Natural Zones ◽  
Positive Image ◽  
The Republic

Introduction. The formation of the territorial image of the region popularize and present the territory in a positive light. The conditions available in the Republic of Mordovia for creating a successful image, especially historical-cultural and natural zones, allow creating a recognizable and attractive image of the Republic not only for the residents of Russia, but also abroad. primarily in the countries of the Finno-Ugric world, with which -cultural factor for interaction and cooperation. Building the image to a large extent is based on the historical aspect of the image background, which is inseparable from the rich Finno-Ugric culture and geographical diversity of the territory, while historical and cultural objects contribute to creating the attractive image of the region. History plays a fundamental role in creating a recognizable image, without it, it is impossible to build a meaningful view of the republic. Materials and Methods. The main research approaches were the historical-evolutionary method, the hermeneutic and axiological paradigms, the systems approach, and the elements of the theory of dependence on previous development. Among the applied methods the authors used a focus-group study, a case study, and an expert survey. The materials of the survey «Republic of Mordovia: problems and prospects for the formation of the image of the region» were employed. Results and Discussion. Mordovia has a long history, when Mordovian territorial units joined vast family of peoples living in Russia. The attainment of statehood by Mordovia in the 20th century was a significant step in preserving the distinctive culture and eventful memory of the region. Rich tourist and recreational potential, geographical location, natural resources, natural and water objects protected by the state, myths and legends, important historical events, preserved cultural and historical objects, folk traditions and customs have not lost their originality and can be a significant basis for the formation and promotion of a positive image of the Republic of Mordovia and can help to level existing negative stereotypes about the region as “territories of prisons and camps”, “provinces with a low standard of living, culture and education”, etc. Conclusion. The existing image background of Mordovia can become the basis of a unique positive image of the region, turning it into a well-known and popular brand. Adequate building of a regional image by each of the subjects of Russia, in turn, will help create a positive view of the state itself in the international arena.

scholarly journals The system of points of view in Vasily Shukshin's short stories

2021 ◽  
Vol 27 (3) ◽  
pp. 148-154
Author(s):  
Natalia A. Guz ◽  
Yulia G. Babicheva
Keyword(s):  
Short Stories ◽  
Scientific Understanding ◽  
Point Of View ◽  
The Other ◽  
Frequent Change ◽  
History Of ◽  
Points Of View ◽  
First Time

The purpose of the work is to explore the point of view in Vasily Shukshin's short stories in its systematic and diverse manifestation. Topicality is provided by the exceptional significance of this category in narratology. The study of the point of view based on the material of short stories by Vasily Shukshin has been conducted for the first time. The article briefly traces the history of scientific understanding of the category of point of view in foreign and Russian philology and notes the variety of approaches and definitions in the formulation of the concept. The authors use the classification of Boris Uspenskij for analysis and consider the point of view in Vasily Shukshin's short stories in psychological, ideological (evaluative), spatial-temporal and phraseological terms. The positions of Boris Korman, Yuri Lotman, Wolf Schmid and Franz Karl Stanzel also take into account. The authors note the features of Vasily Shukshin's narration that affect the expression of the point of view in the text. Vasily Shukshin's short stories are characterised by a dynamic and frequent change of points of view, which indicates the technique of “montageˮ and similarities in this regard with cinematic techniques. The conclusions generalise the variety of ways and forms of expression of the point of view in the studied artistic material. The point of view in the considered stories is characterised by variability in the correlation of subjects of speech and subjects of consciousness, alternation of external and internal points of view, mutual transitions from one to the other, text interference and other hybrid phenomena.

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