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HYPERFICTION IN RUSSIAN CYBERSPACE (Hypertextova literatura v ruskom kulturnom prostredi)

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Pastekova S.

Slovak Review. A Review of World Literature Research

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2008

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tom 17

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nr 2

113-120

EN

Internet literature (Russian seteratura = set + literatura), following the rapid progress of the internet, has been present in Russia since the 1990s. The term seteratura defines all the written literature (fiction) - the works of the classical, contemporary, or foreign authors - published on the internet. Simultaneously emerging hyperfiction (mostly in the genre of poetry or novel) have become a specific type of the internet literature with an experimental character. These works are typical for their open, nonlinear textual structure, as well as for their anonymous collective authorship. Hypertext genre reached the ambition of an alternative artistic text of postmodern type, implementing the possibility of creative virtual authorship. To the first Russian hypertexts belong the novels by R. Leibov 'Novel' (1995), D. Manin 'The Garden of Divergent Hokkus' (1997), M. Kononenko (alias Mr. Parker) 'Mr. Parker's Loony Bin' (1996) etc. Hypertext is closely related with the phenomenon of virtual persona (Russian 'virtualnoi lichnosti', English also 'virtual identity', 'virtual character'), which has become during the last decade in Russia an official term of the internet culture, and individual literary-scientific category concerning the author and the way of creation (genre). The cultural-historical, aesthetical, but also social and psychological aspects of this phenomenon are analyzed by a contemporary Russian theoretician of cyberspace Eugene Gorny in his works 'Virtualnaya lichnost kak zhanr tvorchestva' (The Virtual Persona as a Creative Genre on the Russian Internet, 2007) and 'Ontologia virtualnoi lichnosti' (Ontology of Virtual Persona, 2007). Gorny centres mostly on the problematics of origin and functioning of the virtual authorship (of character, genre) in cyberspace, as well as on the questions of the relationship of virtual author (character) and his creator also regarding the connections with the traditional forms of art and literature.

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THE LYRICAL AUTOBIOGRAPHY OF I. BUNIN'S 'THE LIFE OF ARSENYEV' IN THE CONTEXT OF THE RUSSIAN AND EUROPEAN MODERNISM (ON THE QUESTION OF GENRE IDENTIFICATION) (Lyricka autobiografia Ivana Bunina 'Arsenievov zivot' v kontexte ruskeho... modernizmu..)

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Pastekova S.

Slovak Review. A Review of World Literature Research

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2008

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tom 17

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nr 1

87-92

EN

The ambiguousness of the genre structure of Bunin's Nobel Prize novel 'The Life of Arsenyev' (1927-1933) is determined by the complexity of its intratextual composition which developed against the background of Russian and West-European modernism as a variant of self-reconstruction and self-representation of the autobiographical subject. Up till now it has remained an open and discussed phenomenon in literary science evoking the creativity of methodological approaches and textual interpretations, which enable the work to be designated as a lyrical-autobiographical confession, phenomenological novel, autobiographical metatext, modern existential autobiography, auto-fiction, auto-reflection, self-identification, as well as 'poema' in prose, fictional autobiography, auto-reminiscence and memoir-novel. The problem of the genre identification of Bunin's text, which is perceived at the boundary between a traditional autobiography and a modern novel, is determined by the central lines of the author's conception of the work. Their basic feature is the ambivalence of the internal text organisation in the sense of: 1.- past – present, 2.- domestic - foreign, 3.- lyrical – epic, 4. - classical - modern, 5.- reality (documentarity) - fiction, which can be analysed in the discourse of the Russian emigrant literature of the first half of the 20th century, when the genre of the artistic autobiography reached a dominant status.

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HISTORICISM AND METHODOLOGICAL PLURALITY: TWO ASPECTS OF STUDYING THE LITERARY PROCESS (Historizmus a metodologicka pluralita: dva aspekty skumania literarneho procesu)

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Pastekova S.

World Literature Studies

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2010

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tom 2 (19)

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nr 4

67-73

EN

The debate on models of the literary history and the need for a new methodological paradigm, which has been pursued in the Euro-American academy since the mid-twentieth century, question the traditional historiographical genres (textbooks, handbooks, academic history); the linear, diachronic, and additive approach to the literary history on the basis of the causal relations between the past and the present (literary process) as well as the purpose of the aesthetic canon as a historically variable category. At present, literary scholars consider a flexible model of non-linear, so-called problem history of literature (nodes, networks), moving across historical periods, uncovering the traces of important literary events (a change of poetics, genre, style, tendency, themes and motives, cultural myths and archetypes, literary canon, and so on) as a more productive approach to the organization of the literary-historical material. One can observe the discussed methodological aspects also in Russia, where the tendency to synthetic scholarship is evident, applying literary-historical, reader-response critical, interdisciplinary, and culturological approaches. Recently a couple of new genre forms of the literary history developed in Russia. Beside the popular genre of academic biography (life history of one author) an unusual genre has appeared: the encyclopaedia of a literary text (history of one literary text), working with the text and the context ('The Onegin Encyclopaedia', 1999-2005; 'The Oblomov Encyclopaedia', in progress). The entries deal with facts, events, and cultural and other contexts, pertaining to the creation of the text, its publication, critical reception, scholarly research, poetics, key notions, and motives. They are a kind of academic commentary in the form of lexicon.