Chekhov’s Protagonists in Contemporary Russian Writers’ Stories Hussein Ali Khudair Bahari

The continuity of Chekov’s text adheres to the existence of his protagonists everywhere and then. The presence of Chekhov's heroes in every place and time is the key to the text's long-term viability. He described various characters, upon whom feelings were shown in different situations, specifically feeling scared among his protagonists. The character of (Belekov) in “The introversive man” who fears everything is different from the protagonist in “Khemech” by the contemporary writer Yuri Buyda. The protagonist’s wife made an unusual reaction against Chekov after her husband's death. She screamed: “I hate your writer Chekov! I hate him! I hate him!”. This reaction was a protest and a denial of the cover idea which had become a literary mode in literary works and daily life as was presented by Chekov in “The Introversive man”. The modern writer V. Bitsokh was able in “The cabinet” to show fear in people’s behavior in the Soviet Union, and so he did show how permanent fear of the protagonists’ environment was a common factor with Chekov’s. As for the female writer G. Shcherbakova in her “The introversive man”, she presented a character of a school headmistress named (Vania) who was dedicated and ambitious. However, she neglected an important aspect of her life, making a family. This was a struggle for her cover in Chekov. Shcherbakova named her story after Chekov’s “The introversive man”, but her protagonist differed from Chekov’s (Varinka) who did not recognize others’ feelings. Here, Chekov’s text gained its controversy and dialogue in a contemporary and modernist way.

«LITTLE MAN» VS «SHITTY MAN»: THE EVOLUTION OF THE TRADITIONAL LITERARY TYPE IN THE STORY BY SASHA FILIPENKO

В статье рассмотрена структура образа главного героя из рассказа современного писателя Саши Филипенко «Дерьмовый человек». Герой Филипенко сопоставлен с «маленьким человеком», традиционным типом русской литературы. «Сюжетное пространство», образуемое типологическими деталями и ходами, входящими в контекст «маленького человека», по-новому звучит в современной реальности. «Маленький человек» эпохи постмодерна разрушает традиционный литературный канон - он ищет выход не в смирении, а в эскапизме. The article examines the structure of the image of the main character from the story of the modern writer Sasha Filipenko «Shitty man». The author compares the hero of the story by Filipenko with the traditional «little man» type of Russian literature. The «plot space», formed by typological details and moves that are included in the context of the «little man», sounds in a new way in modern reality. The «little man» of the postmodern age destroys the traditional literary canon - he seeks a way out not in humility, but in escapism.

CHEKHOV'S RUSSIA AS ARCHETYPE IN MODERN RUSSIAN LITERATURE

The article describes the ways of representing Chekhov's Russia as an archetype that exists at the deepest levels of the cultural consciousness of the Russian person. It was revealed that Chekhov and the images he created are present in the works of modern Russian literature as plots and as precedent phenomena - texts, names, statements and situations. Turning to the plots of A.P. Chekhov, the images he created and the image of the writer himself, modern authors demonstrate a creative treatment with them, often transforming the form and content of artistic phenomena created by the writer. This indicates the strength of these phenomena in the cultural space of a modern Russian speaker and their acquisition of archetype properties. It is concluded that the modern writer acutely feels the need to turn to this archetype to express his creative potential, to establish contact with readers, for a more accurate description of characters, situations, and realities of Russian reality.

NARRATIVE STRUCTURE OF DINA RUBINA'S NOVEL "LEONARDO'S HANDWRITING"

The article is devoted to the analysis of the narrative structure of the novel «Leonardo's Handwriting» by the modern writer Dina Rubina. It examines the basic concepts of narratology (author, narrator, subject of speech, etc.) based on the works of B.O.Korman, V. Schmid. Scientific novelty lies in the analysis and definition of the functions of a complex system of narrative units in the text which is studied. The novel "Leonardo's Handwriting" is characterized by different ways of organizing the narrative space, each of which performs an important function for the perception of the novel. The author of the article classifies the chapters of the novel in terms of their narrative structure, analyzes individual episodes of the novel in which narrators are identified, reveals cases of intersection of narrators in a narrow narrative space and events that are considered from the point of view of different narrators. As a result of the study, it was determined that the narrative structure of Dina Rubina's novel «Leonardo's Handwriting» is complex and polyphonic, which allows performing many functions that are important for a work of art (revealing characters, indicating the concept of the novel, etc.).

SECONDARY TEXTS AS A VARIANT OF THE "TRANSCODING" OF THE CLASSICS

The article is devoted to the study of modern Russian literature, created on the basis of the classics. On the example of the stories "The Lady with the Dog", "Darling", etc., the secondary texts of G. N. Shcherbakova from the collection of short stories "Yashkin's Children" are considered as variants of "recoding" of "Chekhov's texts". The analysis of some texts from the collection is carried out, the methods and techniques of turning modern texts to classical ones are determined. It was revealed that the integral elements of the context of A. P. Chekhov in the work of the modern writer G. N. Shcherbakova's works are intertextual dialogue, an anachronization of intertextual material. Intertextuality is implemented using various techniques and methods: the reproduction of a classical text in a modern situation, a dialogue with the Chekhov text and its characters, an insert story, borrowing titles, plots, and storytelling methods.

Obraz kobiety w twórczości Anandy Devi

Ananda Devi, an accomplished modern writer from Mauritius, creates texts that are difficult to classify according to their style and genre. The author is reluctant to accept the treatment of her writings as feminist, particularly Western European feminist, they are surely closer to postcolonial feminism and eco-feminism. Nevertheless, the status of women, their rights and tolerance for otherness are the key elements of Devi’s artistic expression. Her characters rebel against the patriarchal society, they endeavour to discover their own place and identity, which frequently means regaining control over their bodies in the first stage of the transformation. Devi’s female characters live close to nature, where they find comfort, some of them go through a regress to the world of animals and plants.

For Fear of “Drifting Unconsciously”: Marlow Goes to a Wedding

The chapter tests the relation between the novel’s titular theme, its handling of plot, and its commercial appeal. The emphasis on chance serves Conrad’s attempt to performatively resist the pervasiveness of determinism in nineteenth-century thought. At the same time, a set of motifs that serve as counter-indications to contingency offer coherence and the familiar. The ambivalent treatment of chance is read as an indication of Conrad’s oscillation between two different artistic commitments and the philosophical paradigms that generate them. What is at stake is not only the nature of the audience he chooses to address and the authorial responsibilities that such a choice dictates, but the very question of his artistic legacy. The method with which chance is to be treated in the novel will determine if Conrad is a “modern” writer or a panderer to public opinion; whether he chooses an art of Becoming or of Being.

A Contrastive Analysis of Interpersonal Function Between the Chinese and English Versions of The Sight of Father’s Back

As a reminiscent prose, The Sight of Father’s Back was written by the modern writer, Zhu Ziqing, in 1925. A wave of warm current floods a large body of readers since this essay describes, in earnest, love of father. This research performs a contrastive analysis of interpersonal function between the Chinese and English versions of The Sight of Father’s Back in terms of mood, modality, and evaluation meanings. We find that mood and evaluation meanings display parallel distribution. Declarative and exclamatory moods occur most frequently in both the Chinese and English versions, whereas interrogative mood is at a premium. Besides, various evaluative adjectives and adverbs are used in both versions. However, modality shows remarkable discrepancies. The English version tends to adopt modal verbs with median-and-low value, while most median-and-high value modal verbs are presented in the Chinese version. In our view, the exercise of median-and-high value modal verbs reflects the thoughts more directly. While the selection of median-and-low value modal verbs might be concerned with the need for politeness. Besides, diverse choices of modal verbs are incident to various modal meanings along with research purposes.

Brother Singulars

Chapter 2 explores Stein’s use of Arnold’s Hebraism in her first fictions to signal the Jewish morality of her middle-class characters. In 1903, Stein wrote the novella Q.E.D. and the brief first draft of her novel The Making of Americans. In both works, she presents ill-fated romances between ethically-Jewish and more aesthetically-inclined characters. In Q.E.D., she allusively depicts the Jewish identity of her protagonist Adele, who finds herself in a love affair with the aptly named Helen. Adele’s frequent lamentations have biblical roots in texts attributed to the prophet Jeremiah. Stein closes the novella with her characters in a romantic stalemate, but her romance fusing Arnoldian Hebraism and Hellenism as an ideal of Jewish culture had just begun. The affianced couple in the first draft of The Making of Americans espouses Stein’s Arnoldian fusion. The novel’s paterfamilial voice of Hebraism dismisses as “modern” the Hellenic inclinations towards the arts by the young heroine and her fiancé. Similar to Eliot, Woolf, and Joyce, Stein, in her revising of Arnold, imagines the modern writer, her Brother Singular, as one of a plurality of individuals whose typologically Jewish cultural ideals combine the ethical traditions of the Hebrew with the intellectually liberating creativity of the Hellene.

CONCEPT OF THE AUTHOR’S PERSONALITY WITHIN THE FRAMEWORK OF THE IMAGE SYSTEM AND NARRATIVE STRATEGIES OF THE MODERN WRITER (ON THE EXAMPLE OF LUDMILA ULITSKAYA’S PROSE)

The purpose of the article: The purpose of the article is to identify the peculiarities of the concept of the personality of the author within the framework of the system of images and narrative strategies of the writer (on the example of the prose of Lyudmila Ulitskaya).Materials and methods: The leading approach to the study of this problem is the analysis of key problem issues of the history course.Results of the research: Based on the analysis conducted by the author, it is noted that the personality of the author in the works of Ulitskaya manifests itself both in the form of a biographical personality and in the form of the expression of the author’s perception of the world, and the author does not enter into polemics with her characters and does not give an assessment of either their character or their actions. Applications: This research can be used for the universities, teachers, and students. Novelty/Originality: In this research, the model of the concept of the author’s personality within the framework of the imaging system and narrative strategies of the modern writer (on the example of Ludmila Ulitskaya’s prose) is presented in a comprehensive and complete manner.