Thematische Bibliographien / Fiction in russian

Auswahl der wissenschaftlichen Literatur zum Thema „Fiction in russian“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024
Zuletzt aktualisiert am 31. Juli 2024

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Zeitschriftenartikel zum Thema "Fiction in russian"

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Latov, Yuri. „Paradoxes of the Russian Popadanets` Science Fiction“. Sotsiologicheskie issledovaniya, Nr. 4 (2023): 117–28. http://dx.doi.org/10.31857/s013216250025451-9.

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The author supports proposed by R.N. Abramov interpretation of the Russian science fiction development in the genre of alternative history as a reflection of the mass consciousness dynamics of Russians, but attempts, taking into account bibliometric data, to significantly clarify it. The development of this genre should be seen in the context of the evolving historical mentality of "post-Soviet" Russians, which turned out to be characterized by a commitment to virtual versions of historical events. This finds expression in the mass popularity of not only pseudo-scientific literature on the topics of Russian history (for example, so called “new chronology”), but also frankly fantastic “popadanets`s” alternative history. The perception of many periods of Russian history as a trauma that one would like to get rid of by rewriting or “replaying” real events is, to a large extent, a projection onto the past of the critical attitude of many Russians to the post-Soviet present. The decisive motive in this case is a desire for revenge - to change the results of historical events that were unsuccessful for Russia (first of all, military defeats).
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Sirotin, Sergei. „Russian Science Fiction“. Russian Studies in Literature 47, Nr. 4 (Oktober 2011): 84–101. http://dx.doi.org/10.2753/rsl1061-1975470404.

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Goscilo-Kostin, Helena, und John Mersereau. „Russian Romantic Fiction“. Russian Review 45, Nr. 1 (Januar 1986): 55. http://dx.doi.org/10.2307/129409.

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Rochelson, Meri-Jane. „Russian Nihilists in British Periodicals, 1880–1900“. Victorians Institute Journal 50 (01.11.2023): 159–85. http://dx.doi.org/10.5325/victinstj.50.2023.0159.

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Abstract The late-nineteenth-century Russian nihilist movement was popularized by the portrait of Bazarov in Ivan Turgenev’s Fathers and Sons. But despite Turgenev’s nuanced and poignant portrayal, nihilism became associated with Russian revolutionary activities and especially terrorism. Discussions of the nihilist ethos were not limited to Russia but pervaded print culture in Western Europe. The orientalizing rhetoric of British journalism placed Russia firmly in the Eastern camp, so that it offered both the spectacle of exotic, retrograde monarchy and the equally fascinating or threatening vision of revolution in Europe. Revolutionary activities in Russia became part of the “dynamite theme” in British fiction of the fin de siècle, when terrorism also accompanied anarchist movements in continental Europe and Fenian bombings in support of Irish independence. Additionally, Russians became part of the London population through the immigration of Jews, a movement that increased significantly after around 1880. Russian dissidents themselves were welcomed in Britain after the Extradition Act of 1870. This article surveys a range of periodical writings, both reportage and fiction, in the last two decades of the nineteenth century. Periodical articles and stories reflect the pervasiveness and varied presentation of Russian revolutionary movements and ideas in late Victorian British publications.
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Rogatchevski, Andrei. „Putin in Russian Fiction“. Journal of Communist Studies and Transition Politics 24, Nr. 4 (Dezember 2008): 629–56. http://dx.doi.org/10.1080/13523270802510636.

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Radosz, Joanna. „Осуществление юнгианской идеи русских как интуитивных интровертов в современной литературной фантастике“. Studia Rossica Posnaniensia 47, Nr. 2 (25.12.2022): 77–85. http://dx.doi.org/10.14746/strp.2022.47.2.5.

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The paper aims at investigating the demonstration of Russian intuition in the contemporary Russian speculative fiction. The research thesis is that the Russians, both presented in literature and within the frames of the national character studies, manifest themselves as the intuitive introvert type according to Carl Gustav Jung’s classification. For validating the thesis, as far as the proposed literary works are concerned, one should use the instruments offered by cultural literary criticism along with the support of non-literary disciplines, such as intercultural communication and ethnopsychology. Moreover, one should consider also notes on Russian national character taken by Jung himself as well as studies on the sociocultural aspect of the analysed works. A wide range of methods and perspectives allows deep research of the “feeling – intuitive” Jungian scale as manifested within literary characters representing the Russian element (also called Russianness) in the selected works, which belong to the most significant and/or popular pieces of contemporary speculative fiction in Russia.
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Meiping, Yan. „Overview of Russian science fiction literature after the collapse of the Soviet Union“. OOO "Zhurnal "Voprosy Istorii" 2022, Nr. 10-1 (01.10.2022): 204–11. http://dx.doi.org/10.31166/voprosyistorii202210statyi36.

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The article analyzes the current state of Russian science fiction literature. At the same time, the concepts of “science fiction” and “fantasy” are separated, since the latter, in our opinion, plays a dominant role in post-Soviet Russia. The reasons are given for the departure to the periphery of science fiction, which was popular during the Soviet era, which has a correlation with both the changes taking place in the country and the reasons rooted in the very development of Russian literature in the Soviet and post-Soviet periods.
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Malykh, Vyacheslav Sergeevich. „RUSSIAN AND AMERICAN HORROR FICTION AS A GENRE, CREATIVE WRITING AND EDUCATIONAL PHENOMENON: A PROBLEM STATEMENT“. Russian Journal of Multilingualism and Education 11, Nr. 1 (15.12.2019): 63–69. http://dx.doi.org/10.35634/2500-0748-2019-11-63-69.

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Although the genre of horror has gained an extraordinary popularity in contemporary literature, it still raises controversy among specialists. The situation in Russia is especially complicated. Until the beginning of the 20th century, Russian horror fiction used to develop concurrently with the evolution of horror genre in the U.S., but after the revolution of 1917 and until the late 1980s this tradition was interrupted in Russia. Therefore, nowadays the question “What is horror fiction?” is unclear for Russian philologists, the question “How to write horror fiction?” is unclear for Russian writers, and including the horror genre in literature syllabus is regarded by Russian professors and teachers as a forbidden topic. The situation is different in the United States where a long-standing tradition of interpreting the category of the horrible has been created. Modern American scientists, philosophers, writers and educators agree that horror fiction in its best manifestations touches upon essential problems of a human soul. It allows to exert a powerful positive influence on the formation and development of a personality. Throughout the 20th century, the genre of horror was systematically evolving in the U.S., and as of today, it is American horror fiction that sets the standards of the genre all over the world. The aim of this research is to describe horror fiction as a dynamically developing genre from three points of view: 1) through comparative and genre analyzis of horror fiction in the U.S. and Russia; 2) by studying narrative strategies which are used by horror writers in the U.S.; 3) by surveying principles of teaching the horror genre in an American multicultural educational environment. After experiencing decades of oblivion, the genre of horror can revive in Russia thanks to the critical mastering of the U.S. experience, where the genre tradition has never been interrupted. A list of bibliography is attached to help beginner researchers with their study of the subject.
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Podlevskikh Carlström, Malin. „In Prosperous Sweden…“. Mikael: Kääntämisen ja tulkkauksen tutkimuksen aikakauslehti 17, Nr. 1 (17.04.2024): 105–21. http://dx.doi.org/10.61200/mikael.137301.

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Based on a corpus of 203 reviews published in Russian newspapers and periodicals between 2000 and 2021, this article investigates the image of Sweden in the Russian reception of Swedish crime novels. The analysis aims to answer the following research questions: 1) How are Sweden and Swedes described in Russian reviews of Swedish crime fiction in 2000–2021? 2) Is there any indication of the novel reviewed having influenced the critic’s perception of Sweden? Swedish crime fiction is a popular genre in Russia, and constitutes as much as 63% of all translated Swedish prose fiction published in Russia between 2010 and 2021, which makes this a highly relevant inquiry. The thematic analysis of the reviews revealed that previously established positive images of Sweden are often used ironically, in contrast to the gruesome crimes described in the novels. Furthermore, several reviews indicate that the novel reviewed had an impact on the critic’s view on Sweden. Additionally, some reviews display ideological interpretations, indicating that western values are to blame for the situations described in the novels. Based on the analysis, it seems that Swedish crime fiction does impact the image of Sweden in Russia, which might be problematic given the genre's popularity.
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Khazankovich, Yulia G., und Lubov N. Potapova. „Book Culture of Evenkis: Back to the Origins“. Bibliotekovedenie [Russian Journal of Library Science], Nr. 3 (25.05.2009): 45–49. http://dx.doi.org/10.25281/0869-608x-2009-0-3-45-49.

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Studying the history of creation of book culture of Russin Evenkis authors use unknown before archive materials on the history of fiction of the end of 19th – beginning of 20th centuries, analyze features of book publishing of fiction in Evenk and Russian languages.
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Dissertationen zum Thema "Fiction in russian"

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Macphail, David John Duncan. „The anecdote in modern Russian fiction“. Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613943.

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Strazds, Robert. „Contemporary Russian Soviet women's fiction, 1939-1989“. Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60088.

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A number of critics have observed that there is no tradition of women's writing in Russian. The writings of Lydia Chukovskaya, I. Grekova and Tatiana Tolstaya--the principle subjects of the present work--partially contradict this perception, and defy the restrictions imposed by ideological authoritarianism and of gender.
All three writers describe aspects of the Soviet, and human, condition, in unique ways. Lydia Chukovskaya's fiction portrays women, paralyzed by the scope of the Stalinist terror, who attempt to survive with dignity and accept their individual responsibility. I. Grekova writes about single women who maintain their autonomy through a balance between their professional and domestic lives. Tatiana Tolstaya's characters inhabit an atmosphere of lyrical alienation from which there is no exit.
This study examines in detail the work of these writers in the context of other Soviet men and women writers, as well as in the light of Western, feminist thought.
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Mooney, Susan. „Drawing bridges : publicprivate worlds in Russian women's fiction“. Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60561.

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This thesis questions how Russian women's identity is attached to the textual use of public/private spaces in contemporary literature by Russian women writers by drawing from feminist theories. I. Grekova and N. Baranskaia portray female protagonists in their everyday lives, public and private worlds overlapping. While these heroines create stable support systems with other women, male figures enter as interruptive forces in women's lives. Hospital settings in several works by Russian women allow comparisons between women's fictional hospital experiences and those of Muscovite women interviewed. In L. Petrushevskaia's stories, women protagonists' identities are linked to the uncertain quality of locale and the tenuous relationships which transpire in it. Russian women's identity expressed in fiction may change as the self-perceptions of a younger generation of Russian women writers evolve toward a new, gendered concept of self.
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Schönle, Andreas. „Authenticity and fiction in the Russian literary journey, 1790-1840 /“. Cambridge (Mass.) ; London : Harvard university press, 2000. http://catalogue.bnf.fr/ark:/12148/cb37194878g.

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Conliffe, Mark. „Isolation and Russian short fiction, 1877--1890, Garshin, Chekhov and Korolenko“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0004/NQ41128.pdf.

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Marquette, Scarlet Jacquelyn. „Ubi Cogito, Ibi Sum: Paranoid Epistemology in Russian Fiction 1833-1907“. Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11046.

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This dissertation addresses two questions fundamental to Russian nineteenth-century intellectual history: 1) Why does literature about paranoid psychosis figure so centrally in the nineteenth-century canon? and 2) How did the absence of an epistemological tradition of reflexive self-consciousness influence the development of Russian ideas of subjectivity? I propose that the presence of paranoia in Russian fiction extends beyond the medical or psychoanalytic aspects of character traits or themes. I argue that literary representations of paranoia perform fundamental philosophical gestures and function as "epistemological speech acts." Russian narratives of paranoia (e.g., Pushkin, Gogol, Dostoevsky, Chekhov, Garshin, Sologub) constitute a means of exploring the operations of a self-reflexive consciousness, familiar in the West through the Cartesian Cogito. In other words, the theme of paranoia in nineteenth-century Russian fiction actively responds to the regnant philosophical discourse and functions as a praxis for the exploration of philosophical questions. However, this is done in an alternative discourse to the propositional language generally favored in philosophical texts; as a result, the philosophical function of the fictions of paranoia has gone unrecognized, and the genre has been "exiled" from philosophical discourse. I argue that Russian texts of paranoid psychosis should be reconceived as venues for the play of the transcendental ego outside social or communal axes. Paranoia emerges as the Jakobsonian “dominant” within these texts, in that it is paranoia that engages with other narrative components and transforms them. Further, as prose fiction, these texts had the discursive and social capacity to resonate and divagate in ways impossible to philosophical texts. Ultimately, these narratives of paranoia are meta-epistemologies that interrogate their own discursive function and status. They raise critical questions not only about the ways in which we represent truth but about the ontological status of truth itself.
Slavic Languages and Literatures
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Potvin, Allison Leigh. „Bodies in Transition:Physical Transformation in Postmodern Russian Fiction and Visual Culture“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316111770.

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Hanke, Birgit. „Discourse analysis of topic in first-person English, German and Russian fiction“. Thesis, University of Exeter, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421642.

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Kulikova, Yulia A. 1985. „Contribution of the Brothers Strugatsky to the Genre of Russian Science Fiction“. Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11525.

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viii, 62 p.
Arkady and Boris Strugatsky are the most prolific Soviet science fiction writers, who focused, above all, on the social themes and with satire discussed the political and social agendas in the Soviet society. This thesis explores the contribution of the Brothers Strugatsky to the genre of Russian science fiction and looks into the main themes of their most famous novels. At the beginning, I present a short overview of the history of Russian science fiction. Further on, I explore the Brothers Strugatsky's role in the development of science fiction in the Soviet Union and single out the two phases of their literary career: utopian and anti-utopian. Furthermore, I examine the Strugatskys' most prominent novels and their main themes: human nature and Soviet bureaucracy. Finally, I analyze to what extent the Strugatskys' novels fit into the Soviet reality and how they shape the genre of science fiction in Russia.
Committee in charge: Susanna Lim, Chair; Yelaina Kripkov, Member; Katya Hokanson, Member
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Keys, R. J. „The reluctant modernist : Andrei Belyi and the development of Russian fiction, 1902-1914“. Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234976.

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Bücher zum Thema "Fiction in russian"

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Guy, Daniels, Hrsg. Russian comic fiction. New York: Schocken Books, 1986.

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1945-, Goscilo Helena, Hrsg. Russian and Polish women's fiction. Knoxville: University of Tennessee Press, 1985.

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1966-, Borenstein Eliot, Hrsg. Russian postmodernist fiction: Dialogue with chaos. Armonk, NY: M.E.Sharpe, 1999.

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Ḥasan, Dāwūd, ʻIzz al-Dīn Manṣūrah, Khalili Yazan und Khasavov Arslan 1988-, Hrsg. Fiction: Contemporary Arabic and Russian pursuits. Beirut, Lebanon: Solidere, 2013.

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1938-, Chukhont︠s︡ev Oleg, Hrsg. Dissonant voices: The new Russian fiction. London: Harvill, 1991.

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Kristina, Rotkirch, Ljunggren Anna und Rougle Charles 1946-, Hrsg. Contemporary Russian fiction: A short list. Moscow: Glas, 2008.

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Bethea, David M. The shape of apocalypsein modern Russian fiction. Princeton, N.J: Princeton University Press, 1991.

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Kalotay, Daphne. Russian winter. London: Arrow, 2011.

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Compton, Stoney. Russian Amerika. Riverdale NY: Baen, 2009.

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Mikhail, Iossel, und Parker Jeff 1974-, Hrsg. Rasskazy: New fiction from a new Russia. Portland, Or: Tin House Books, 2009.

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Buchteile zum Thema "Fiction in russian"

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Rampton, David. „Early Russian Fiction“. In Vladimir Nabokov, 11–24. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137292025_2.

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Rampton, David. „Russian Fiction: 1929–31“. In Vladimir Nabokov, 25–55. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137292025_3.

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Herdman, John. „The Russian Double“. In The Double in Nineteenth-Century Fiction, 99–126. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1057/9780230371637_7.

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Rubins, Maria. „Art Deco Fiction: Literary Reflections on the Seventh Art“. In Russian Montparnasse, 121–44. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137508010_9.

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Trigos, Ludmilla A. „Centennial Representations in Fiction and Film“. In The Decembrist Myth in Russian Culture, 95–118. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230104716_5.

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Goscilo, Helena. „Inscribing the Female Body in Women’s Fiction Stigmata and Stimulation“. In Late and Post-Soviet Russian Literature, herausgegeben von Mark Lipovetsky und Lisa Wakamiya, 43–50. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618112231-005.

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Finkelstein, Miriam. „Soviet Colonialism Reloaded: Encounters Between Russians and East Central Europeans in Contemporary Literature“. In East Central Europe Between the Colonial and the Postcolonial in the Twentieth Century, 231–53. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-17487-2_10.

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AbstractThe chapter analyses reciprocal representations of current and former citizens from the Soviet Union and post-Soviet Russia and different Eastern and East Central European states in order to demonstrate how contemporary writers from the Czech Republic, Poland, Russia, and Slovenia reflect upon relationships between representatives of the aforementioned states when they share the same space, namely Berlin. The underlying assumption is that anywhere they go in the West, migrants encounter highly heterogeneous societies that consist, to a considerable degree, of other migrants. The question central to this chapter is therefore what happens when former nationals of the Soviet Union, the colonising power, and individuals from the formerly colonised East Central- and Eastern European states meet outside their respective home countries, years after the fall of the Iron Curtain? It will demonstrate that Russian-German fiction about Berlin frequently engages in a re-colonisation of the city space by Soviet-Russian migrants. Writers from East Central-, Eastern-, and South-eastern Europe react to these Russian neo-colonial aspirations and, in the sense of a postcolonial “writing back,” deny Russian claims to authority and exclusivity. Finally, texts about Berlin by writers from non-European countries emphasise the utopian potential of these encounters to create a whole new Central cum Eastern–Europe.
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Bellows, Amanda Brickell. „Popular Historical Fiction“. In American Slavery and Russian Serfdom in the Post-Emancipation Imagination, 44–71. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655543.003.0003.

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During the post-emancipation era in Russia and the United States, authors created nostalgic historical fiction that romanticized Russian serfdom and American slavery. This chapter compares the short stories of white, Southern authors Thomas Nelson Page and Joel Chandler Harris with the mass-oriented historical fiction of Russian aristocrats Grigorii Danilevskii, Vsevolod Solov’ev, Evgenii Salias, and Evgenii Opochinin. In their literature, these privileged authors created narratives targeting middle-class readers that deliberately misrepresented the histories of slavery and serfdom during a period characterized by the acquisition of critical new rights by peasants and African Americans.
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„CHAPTER SIX. Meta-utopian Consciousness“. In Russian Experimental Fiction, 122–42. Princeton University Press, 1993. http://dx.doi.org/10.1515/9781400863532.122.

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„CHAPTER SEVEN. Making Meta-utopia Accessible: Zinoviev's The Radiant Future“. In Russian Experimental Fiction, 145–61. Princeton University Press, 1993. http://dx.doi.org/10.1515/9781400863532.145.

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Konferenzberichte zum Thema "Fiction in russian"

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Kunilovskaya, Maria, Ekaterina Lapshinova-Koltunski und Ruslan Mitkov. „Fiction in Russian Translation: A Translationese Study“. In International Conference Recent Advances in Natural Language Processing. INCOMA Ltd. Shoumen, BULGARIA, 2021. http://dx.doi.org/10.26615/978-954-452-072-4_084.

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Semenova, Sofiia Novikovna, und Vasilii Alekseevich Grigorev. „Different Types of Suffixes in Fiction Text“. In All-Russian scientific and practical conference with international participation. Publishing house Sreda, 2022. http://dx.doi.org/10.31483/r-100989.

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Bozieva, Naima Borisovna. „Flash Fiction in the Work of Kabardian Writer B. Mazikhov“. In All-Russian Scientific Conference with International Participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-97755.

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Kovtun, Elena. „Scientific Works of S.V. Nikolsky and Modern Domestic Science Fiction Studies“. In Russian Bohemian Studies Yesterday and Today. Institute of Slavic Studies, Russian Academy of Sciences, 2022. http://dx.doi.org/10.31168/7576-0479-4.9.

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Naumova, Anastasia V. „MICROTOPONYMS AND PROPER NAMES IN TRANSLATIONS OF FICTION LITERATURE: TRANSLATION KILLERS OR CHANCE FOR EXPERIMENTS?“ In Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063583.

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The article discusses the problem of microtoponyms and some proper nouns when translating fiction works from the Norwegian to the Russian language. It is noted that commonly used transliteration, as well as transcription of microtoponyms, does not seem to be the most effective solution for the translated fiction text and might be affect readers’ perception of it. As a waiver of the rule, it is analysed a number of translation solutions in novel by contemporary Norwegian fiction writer Tomas Espedal Against Art. It is also brought up translation issues of proper nouns when the translation of the proper noun might be essential for text understanding, used with effect or is substantial for the plot. As an example of a successful translation solution, it is provided Russian translation of children’s graphic novel by Vilde Kamfjord On the detour home.
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Pak, S. M. „Explication Of Russian Reality In Works Of Translingual Fiction In English“. In AmurCon 2020: International Scientific Conference. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.06.03.93.

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Dmitriyev, Alexey. „The Welfare of Each and Everyone in Russian Legal Theory“. In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-24.

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The prerequisite for the study was the spread of views in the academic literature that the category of public welfare, without accounting for concretising factors, was a void abstraction, and that in Russia, public welfare was seen as the dominant principle over the individual. The main purpose of the study is to analyse the content of the term ‘the welfare of each and everyone’ in Russian legal theory. The author uses the methods of conceptual history and intellectual history to analyse the concept of ‘the welfare of each and everyone’ in the works of pre-revolutionary authors and the relationship between the concepts of ‘the welfare of each and everyone’ and ‘the common good’. The author determined that: ‘public welfare’ can be classified as fiction, purpose, method, interest and balance, depending on the context of use and semantic scope. The term ‘the welfare of each and every one’ became theoretically meaningful (as an objective, method, and interest), and was enshrined in law in Russian Empire in the XVIII -early XX centuries. The term was understood as achieving the common good, preserving the good of everyone and the reduction of public harm. Twentyfirst century Russian legal theory uses the related notion of ‘public welfare’, understood as a fiction, a goal, a method, an interest, a balance. The main findings of the study suggest that today the ‘public welfare’ is reduced to bringing benefits to anyone and everyone (D. I. Dedov), which is close to the historical understanding of ‘the welfare of each and every one’. The public welfare theory incorporates progressive elements such as the veil of ignorance, the win-win principle, and shapes institutions, resources, practices and formulates the issue of the emergence of a new generation of human rights.
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Kasymbekova, Anara. „THE VARIABILITY TRANSLATION OF REALITIES(ON THE MATERIAL "MYSTERIOUS AFFAIR AT STYLES" INTO RUSSIAN AND GERMAN LANGUAGES)“. In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.15.

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We investigate the translation methods of realities in fiction. The analysis includes 3 translations of A. Christie's novel "Mysterious Affair at Styles" into Russian and German. Comparison of the original and the translations reveals different frequency and different success of the translation task.
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Kulieva, Solmaz. „Эволюция любви и ее жанровый репертуар как предмет речи (на основе интерпретации произведений русской художественной литературы 19 века)“. In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.15.

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The article presents an overview of the evolution of love as a communicative phenomenon, semantics of such concepts as love, love, passion; it is concluded that the stages of love communication have a special genre content and a typical set of situations. The analysis of genres and situations of human communication in its development is based on the interpretation of works of fiction. The article also substantiates the relevance of studying this phenomenon with students of Philology at University speech studies.
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Kushida, Maria. „Образ писателя-художника как коммуникативный феномен“. In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.16.

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The article analyzes the illustrative work of Russian writers of the first quarter of the 19th century. Special attention is paid to the definition of the term "writer-artist", as well as to techniques for creating the image of a writer-Illustrator in a work of fiction. In conclusion, we draw a conclusion about the relationship between literature and painting (on the example of interpreting the creativity of word masters who create illustrations for their works), as well as about the unique communicative nature of the image of the writer-artist.
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Berichte der Organisationen zum Thema "Fiction in russian"

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Tabinska, Iryna, und Yaroslav Tabinskyi. Феномен «смислу поміж фактами» у друкованому виданні Reporters: взаємодія тексту та фотоілюстрації. Ivan Franko National University of Lviv, März 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11728.

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The article states that with the development of new journalism, the author’s ability to characterize a phenomenon and identify a trend acquires special value. Representatives of Ukrainian new journalism, which is a relatively new genre, are already gradually implementing these tasks. They compose entire books from their reports, offering the reader a condensed version of versatile observations about a certain country, situation, or phenomenon. In contrast to ordinary reportage, fiction is a synthetic genre, in which it is not reported, but told. The authors of the article research Reporters which is the first magazine of new journalism in Ukraine. Their main task is to explain the phenomenon of “meaning between facts”. According to the authors, this phenomenon is simple and unique at the same time, because through people’s stories you can find depths that relate to historical, cultural and geopolitical life. The article analyzes the interaction of text and images, shows how to find meaningful messages in actual data using specific examples. The study singled out accents that relate to the interaction of text and images. Quite often, photography reproduces reality and helps the reader to paint reality in his imagination. Textual forms delve into the plot through human history and detail. In four printed issues of the magazine, the authors of the study analyzed the stories that are particularly relevant today. First of all, this concerns Russian aggression and the insubordination of Ukrainians. Key words: new journalism, non-fiction, text, images, dialog, photojournalism.
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