Relevant bibliographies by topics / Russian fiction – 20th century

Academic literature on the topic 'Russian fiction – 20th century'

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Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Russian fiction – 20th century"

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Bogoderova, A. A. "Temporary marriage as Russian literary pattern in the 19th – early 20th century." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 92–106. http://dx.doi.org/10.17223/18137083/72/7.

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The paper deals with the subject of temporary marriage between Russian sailors and Japanese women in fictional and non-fictional literature. The literary pattern of temporary marriage includes time limitation of the marriage, the language or/and cultural barrier and the man’s leaving at the end. The time limitation sometimes makes one or both spouses consider this marriage as legal, but “not true.” There are two main variants of the pattern in Russian travel notes of the 19th − early 20th century. The first is the positive one (A. Krasnov, D. Schreider, and N. Bartoshewsky). Both husband and wife are kind-hearted people, their family life is pure and real, although they do not entirely understand each other’s language. The second is the negative one (F. Knorring, D. Armfelt, G. de Vollan, and Vinogradov). Husband and wife are both pragmatic, rational, and cold, with the whole tradition turning into a sort of prostitution and insincere comedy. The plot variants, with one of the spouses being pragmatic, mercantile and cruel, and another loving, faithful, and suffering, are not common. Yuzhakov’s travel notes include such a rare case. The asymmetrical variant was more popular in Western fiction (Madame Butterfly). Russian fiction prefers the positive variant of the pattern. In short stories by D. Persky and M. Volkonsky, the authors transform the motives from Madame Chrysanthème by P. Loti and Madame Butterfly by J. L. Long by showing the Russians as noble people and achieving a happy end wherever possible.
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Shmelkova, Vera V., and Yelena V. Makarova. "Semantic changes of the word “home” in the Russian language of the first decades of the 20th century." Russian Language Studies 20, no. 4 (December 15, 2022): 467–82. http://dx.doi.org/10.22363/2618-8163-2022-20-4-467-482.

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The relevance of the study is determined by the necessity to identify semantic changes of the word “home” in the social consciousness associated with historical, cultural, social, political and economic transformations. This authors describe and analyze the semantic changes of the word “home” in the social consciousness of the Soviet Russia and the Russian diaspora abroad in the first three decades of the 20th century. The purpose of the study is to reveal the semantics of the word “home” in the first three decades of the 20th century through the ana-lysis of fiction texts of that time. For this purpose, a complex methodology for analyzing vocabulary was used, including the descriptive method based on the analysis of dictionary definitions, linguo-stylistic analysis of fiction texts. The research material includes dictionary definitions of the word “home”, represented in the basic explanatory dictionaries of the 19-20th centuries and dictionaries of modern times, fiction and memoir texts. The novelty of the presented data lies in the fact that the analysis of the semantic changes of the word “home” is for the first time carried out in order to compare individual sections of the linguistic picture of the world of Russian speakers in Russia and in emigration against the backdrop of the revolution and in the first post-revolutionary decades. The linguistic reflection of this key concept of Russian linguistic culture at the junction of the two historical eras - pre-revolutionary and post-revolutionary - is socially conditioned and presented as a turning point in fiction and memoirs of the first half of the 20th century. Further study of the semantics of the word “home” is supposed to be connected with the observation of the language of the late 20th - early 21st centuries.
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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, no. 1 (December 15, 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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Khoruzhenko, Tatiana I. "“Martian” Novels in Russian Science Fiction in the Early 20th Century." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 44–56. http://dx.doi.org/10.15826/izv2.2022.24.2.023.

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This article presents an attempt to consider the formation of the “Martian” text in Russian literature during the Silver Age. The author studies three novels about trips to Mars (On Another Planet by P. Infantiev, On a Neighboring Planet by V. Kryzhanovskaya, Red Star by A. Bogdanov) published in Russia from 1901 to 1908. The aim of the study is to identify the main stable elements of the structure that appeared in all the three novels. The author employs methods of comparative historical analysis. All the three novels are compared with each other and placed into the context of the mystical, utopian, and scientific searches of the epoch. The author identifies common elements of the structure of the narrative in the three texts (the composition consists of three parts: description of life on Earth — flight to Mars — return) and plot (interaction between earthlings and Martians, the idea of Martians as older comrades, a love story of a Martian and an earthling). It was also possible to trace the correlation of the three novels with the utopias of place and time and find out the influence of life-creating strategies that were popular in the Silver Age. The article examines the influence of the “Martian” text which emerged at the beginning of the century on Soviet science fiction starting with A. Tolstoy’s Aelita and ending with the novels of 1960s–1980s. As a result, the author concludes that the “Martian” text of the early twentieth century laid down the main questions about interaction with the inhabitants of other planets, the possibility of colonization, and the price that one must pay for the contact with other worlds. Soviet science fiction searched for answers to them.
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Moiseev, Petr A. "Russian Detective Studies in the First Half of the 20th Century." Studia Litterarum 7, no. 1 (2022): 40–69. http://dx.doi.org/10.22455/2500-4247-2022-7-1-40-69.

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The article examines the works of Russian literary critics of the first half of the 20th century, such as K. Chukovsky, V. Bryusov, V. Shklovsky, E. Lann, N. Berkovsky, E. Vinaver, S. Eisenstein. The author considers Shklovsky’s article “The Novella of Mysteries,” notes its advantages and disadvantages (in particular, indicates the absence of definition of mystery, which is the central concept in the article, as well as Shklovsky’s mixing of the genres of detective story, Gothic novel, sensational novel, etc.). The author indicates advantages of Berkovsky’s note “About the Soviet detective fiction,” in which the example of the novel by A. Tolstoy “Hyperboloid of the engineer Garin” indicates what what is not typical for detective story. The author demonstrates how Eisenstein created a comprehensive and elaborate theory of the detective genre; in particular the understanding of the famous director of the genre specifics (almost complete impossibility of connection between detective genre and “serious” content) and his reference to the detective story as an example of the need for the artist to “always know the station to which you hold the way.” The article is the first detailed analysis of the works of Russian researchers of detective fiction.
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Yudina, Natalia. "Terminology of kinship relations in the Russian language discourse of the 21st century." Przegląd Wschodnioeuropejski 8, no. 2 (November 1, 2018): 255–61. http://dx.doi.org/10.31648/pw.3584.

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The paper reveals the peculiarities of the functioning of kinship relations terminology in Russian language discourse of the 21st century. The review of subject-oriented scientific literature and discourse use of relationship terms in fiction and mass media of the 20th – 21st century makes it possible to distinguish several tendencies in the functioning of relationship nominations in the Modern Russian language. They are characterized by interdisciplinary and synergetic features and demonstrate the unity of genealogical, mental, social, cultural and linguistic processes and principles typical for a modern Russian society.
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Klafkowski, Piotr. "Citizen of the universe. Konstantin Tsiolkovsky’s cosmic philosophy and science fiction." Studia Rossica Gedanensia, no. 4 (December 30, 2017): 335–60. http://dx.doi.org/10.26881/srg.2017.4.21.

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The paper discusses Konstantin Tsiolkovsky’s philosophy as it can be reconstructed from his writings of two kinds, the academic papers and the works generally, though not always correctly, classified as science fiction. It is stressed that Tsiolkovsky belongs to the large school of Russian philosophers known as the Cosmists, and he is placed within the group of 20th century academic-minded Cosmists. The first part of the paper reconstructs Tsiolkovsky’s cosmic philosophy on the basis of his philosophical works, which amount to half of his published works. The second part of the paper discusses all the works by Tsiolkovsky available in English under the science fiction label. The paper also contains comparisons of Tsiolkovsky’s views with the philosophicalreligious system propagated by Nicholas and Helena Roerich, known as Agni Yoga, and its ancient Indian roots. It is also mentioned that Tsiolkovsky played an important role in the development of the early Russian, or more properly Soviet, science fiction movies. The paper stresses that Tsiolkovsky always based his writings on solid scientific foundations, so that the label “science fiction” does not always apply to them.
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Malykh, Viacheslav Sergeyevich. "HYBRID SPECULATIVE FICTION AS A GENRE PHENOMENON IN MODERN LITERATURE OF THE U.S. AND RUSSIA." Russian Journal of Multilingualism and Education 14 (December 28, 2022): 79–85. http://dx.doi.org/10.35634/2500-0748-2022-14-79-85.

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The article is devoted to theoretical exploration of modern hybrid speculative fiction. This term comprises a huge body of creative works which are written at the intersection of genres related to speculative prose. On the one hand, hybrid speculative fiction is rooted in post-modern epoch, on the other hand, it returns to the principles of hybrid genre genesis, which flourished at the beginning of the 20th century. The tendency to genre eclecticism is a common feature of a great number of modern creative works and seems to be an efficient way out of conceptual crisis emerged in speculative fiction at the close of the 20th century, that is why the future development of speculative fiction is expected to be closely connected with the expansion of hybrid genre forms. The overall goal of the article is to scientifically comprehend hybrid genres in modern speculative fiction of the United States and Russia. The investigation of hybrid speculative fiction as a genre and cultural phenomenon leads to setting three goals. Firstly, it is necessary to determine genre taxonomy of such genres of traditional speculative fiction as science fiction, fantasy, and horror. Secondly, it is necessary to investigate genre-forming models, which underlie modern hybrid works. Thirdly, it is important to understand common features of the works of hybrid speculative fiction. The study of the genre interaction in modern speculative fiction is based on the descriptive and functional methods. The comparison of Russian and American works involves the use of comparative, typological and cultural-historical methods. Using the genre blocks common for both literary criticism, readers’ expectations and publishing practice, it is possible to identify such genre-forming models of hybrid speculative fiction, as: science fiction+fantasy; science fiction+horror; fantasy+historical novel; fantasy+postmodernist novel. It is also possible to sum up such common features of the works of hybrid speculative fiction, as: irrational world outlook; distortion of the very structural basis of traditional science fiction; shift of sociocultural model of world outlook; polyphonic principle of narration and potentially an endless unravelling of the plot without a pronounced climax; postclassical narrative model; the complexity of storyline. To conclude, modern hybrid speculative fiction can be treated as a separate literary and sociocultural phenomenon in the literature of the U.S. and Russia. It destroys inner canons of traditional science fiction, it is deeply influenced by post-modern cultural paradigm, and could be described as a significant cultural movement, which is aligned with demands and values of modern society.
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Korshunkov, V. A., and S. M. Ledrov. "FUR ANIMALS: CAT PELTS EXTRACTION AND PROCESSING IN 19TH AND EARLY 20TH CENTURY RUSSIA." Вестник Пермского университета. История 63, no. 4 (2023): 29–39. http://dx.doi.org/10.17072/2219-3111-2023-4-29-39.

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There were huge reserves of raw materials for the fur and leather industry in the territory of Russian Empire. The climate of Northern Russia and Siberia has also contributed to the development of this industry. The demand for its products has long been great among the population of Russia and abroad: “Russian fur” was exported to European countries and China. In addition to wild animals, domestic animal skins were also mined, collected, and processed. Harvesting and processing of cat pelts was common in the past. In the 19th and early 20th centuries, cats were caught, killed and processed precisely because of their fur. The paper presents a comprehensive analysis of previously undis-closed archival documents, statistical data, ethnographic materials, and descriptions of this business in journalism and fiction. The authors discuss the reasons for the emergence and development of the cat pelts processing business, as well as the extent of its spreading. The terminology used to refer to cat skinning and to the fur industry is analyzed. The main regions for harvesting and processing the raw materials in the European part of Russia, primarily Simbirsk, Nizhny Novgorod and Vyatka provinces, are identified, and the technology for cat pelts processing is described, along with the places where the ready-made cat pelts were sold. The authors clarify the export potential of such goods, particularly in Russia’s trade with China. The Nizhny Novgorod fair, where peltry (including cat fur) was being exhibited and sold, is given particular attention. The paper notes that due to its high demand, this business con-tinued to develop during the Soviet period, lasting until approximately the mid-20th century. The paper uses an an-thropological approach (and specifically a zooanthropological approach) to study the economic history and history of daily life. Attention is drawn to the changing attitudes towards domestic animals (in particular, cats) in Russia throughout the 20th century, from their pragmatic and utilitarian perception to their status as family pets in modern culture and society.
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Repina, Anastasija S. "Folk Adaptation of the Sentimental Romance by M. V. Zubova “I`m Going to the Desert." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 181–89. http://dx.doi.org/10.37816/2073-9567-2023-68-181-189.

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The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.
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Dissertations / Theses on the topic "Russian fiction – 20th century"

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Elbaum, Henry. "Rhetoric and fiction : interaction of verbal genres in the Soviet literature of the twenties and thirties." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75698.

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Soviet literature of the twenties and thirties is examined in the present study in its relationship to other verbal genres, primarily, the speeches of Party leaders, newspaper rhetoric and political posters. The first four chapters of the dissertation focus on such topics as the reception of Marxist-Leninist discourse by peasants and workers as well as its representation in fiction; the refraction of official discursive formulas in characters' speech and the dialogization of Party rhetoric; the integration of political documents into fiction and their structural function. Particular attention is paid to the way the contamination of Party rhetoric by substandard language and its contextual defamiliarization lead, depending on the overall authorial intention, either to a parodic subversion of official cliches or to the internalization of didactic discourse and the enhancement of its communicative effectiveness.
The theme of industrialization is examined in the last two chapters of the thesis in its dialectic interaction with various Neo-Rousseauist conceptions, which either reflect the authors' own ambivalence about socialist construction, or constitute a rhetorical device used in order to reinforce dialogically industrialist ideology.
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Dreyer, Nicolas D. "'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1917.

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The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.
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Goggin, Joyce. "The big deal, card games in 20th-century fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/NQ35594.pdf.

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Allen, Claire. "Beyond postmodernism : London fiction at the millenium." Thesis, University of Northampton, 2010. http://nectar.northampton.ac.uk/8845/.

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Milstead, Mary. "Quiet Little Animals." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1620.

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Quiet Little Animals is a novel set in early-1940s Spain. The story begins with a young couple, Carmen and Ernesto, who are expecting their first child. Carmen gives birth to their daughter Isadora in a Catholic hospital, but when she wakes up after the birth, she's told that the baby has died. However, the truth is that the baby was kidnapped by the nun Sor Eugenia, who decided that she would provide the baby with a better life by sending her away to be adopted by a more "proper" family - and a young religious woman named Ava finally gets the baby she's been trying for years to have, her little Maria. The story follows the four main point-of-view characters - Carmen, Ernesto, Sor Eugenia and Ava - as their lives move past that moment when Isadora/Maria was taken from one family and given to another. In addition to the four main points of view, there are also a number of chapters that are told in the form of fairy tales. The use of multiple points of view to tell one story allows each of the characters to have a known stake in the outcome of the narrative, and is a major stylistic interest of the piece. The central themes of the book are motherhood, grief, birth and death. It also asks questions about the creation of family, fate, and the aftermath of civil war.
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Rampton, Vanessa. "Conceptions of freedom in Russian liberal theory, 1900 to 1914." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607937.

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Harris, Katharine. "The neo-historical aesthetic : mediations of historical narrative in post-postmodern fiction." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/76623/.

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Sabatini, Sandra. "Making babies, representations of the infant in 20th century Canadian fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60564.pdf.

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Greenidge, Ruqqiya Lydia. "After the end : post-apocalyptic fiction in the long 20th century." Thesis, Aberystwyth University, 2018. http://hdl.handle.net/2160/b6574289-a5f3-41c3-b666-04e8e51f5250.

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This thesis seeks to discuss and analyse the taxonomy of post-apocalyptic fiction in the 20th and 21st century, while at the same time detail why the subgenre is distinctive and attractive for writers. The thesis delves into both the cultural and historical backgrounds of both the novels discussed and the authors, to give each taxonomic category a factual base and context. The overall end result of this thesis is an evolutionary survey of the post-apocalyptic subgenre of both form and content.
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Gardam, Sarah Christine. "THE PATHOS OF TEMPORALITY IN MID-20TH CENTURY ASIAN AMERICAN FICTION." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/487648.

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English
Ph.D.
Lack of understanding regarding the role that temporality-pathos plays in Asian American literature leads scholars to misread many textual passages as deviations from the implied authors’ political critiques. This dissertation invites scholars to recognize temporality-focused passages in Younghill Kang’s East Goes West, Carlos Bulosan’s America is in the Heart, and John Okada’s No-No Boy, as part of a pathos formula developed by avant-garde Asian American writers to resist systemic alienations experienced by Asian Americans by diagnosing and treating America’s empathy gap. I find that each of pathae examined – the pathos of finitude, the pathos of idealism, and the pathos of confusion – appears in each of the major primary texts discussed, and that these pathae not only invite similitude-based empathy from a wide readership, but also prompt, via multiple methods, the expansion of empathy. First, the authors use these pathae diagnostically: the pathos of finitude makes visible American imperialism’s destruction of prior ways of life; the pathos of idealism exposes the falsity of the futures promised by liberalism; and the pathos of confusion counters the destructive nationalisms that fractured the era. Second, the authors use these temporality pathae to identify the instrumentalist reasoning underlying these capitalist ideologies and to show how they stunt American empathy. Third, the authors deploy formal and thematic complexities that cultivate empathy-generating faculties of mind and cultivate alternative forms of reasoning.
Temple University--Theses
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Books on the topic "Russian fiction – 20th century"

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V, Bobrishcheva S., ed. Opasnosti svobody vooruzhenii͡a︡: Proza molodykh. Novosibirsk: Novosibirskoe knizhnoe izd-vo, 1992.

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K, Shcheglov I͡U︡, ed. Mir avtora i struktura teksta: Statʹi o russkoĭ literature. Tenafly, N.J., U.S.A: Ėrmitazh, 1986.

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I, Reĭtblat A., ed. Lubochnai͡a︡ kniga. Moskva: Khudozh. lit-ra, 1990.

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Quaker US/USSR Committee. Soviet/American Joint Editorial Board., ed. The Human experience: Contemporary American and Soviet fiction and poetry. Santa Barbara, CA: Joshua Odell Editions/Capra Press, 1989.

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Pelevin, Viktor Olegovich. A werewolf problem in central Russia: And other stories. London: Harbord, 1998.

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Pasternak, Boris Leonidovich. Poems 1955-1959 ; An essay in autobiography. London: Collins Harvill, 1990.

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Nabokov, Vladimir Vladimirovich. Speak, memory. New York: Knopf, 1994.

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Nabokov, Vladimir Vladimirovich. Speak, memory: An autobiography revisited. New York: Alfred A. Knopf, 1999.

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Nabokov, Vladimir Vladimirovich. Drugie berega. Moskva: Izd-vo "Knizhnai͡a︡ palata", 1989.

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Fedunina, O. V. Poėtika sna: (russkiĭ roman pervoĭ treti XX v. v kontekste tradit︠s︡ii) : Monografii︠a︡ = The poetics of a Dream : (the Russian novel of the 1st third of the 20th century in the context of tradition) : Monograph. Moskva: Intrada, 2013.

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Book chapters on the topic "Russian fiction – 20th century"

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Harland, Richard. "20th-Century Russian Theory." In Literary Theory From Plato to Barthes, 146–65. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27673-8_8.

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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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Roberts, Adam. "The Early 20th Century, 2: The Pulps." In The History of Science Fiction, 253–85. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_10.

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Dowthwaite, James. "‘End Fact. Try Fiction’." In Ezra Pound and 20th-Century Theories of Language, 27–65. New York, NY : Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429292316-2.

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Roberts, Adam. "The Early 20th Century, 1: High Modernist SF." In The History of Science Fiction, 227–52. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_9.

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Roberts, Adam. "Late 20th Century SF: Multimedia, Visual SF and Others." In The History of Science Fiction, 463–78. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_15.

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Corwin, Jay. "Honor killing in 20th-Century Latin American Fiction." In The Routledge Handbook of Violence in Latin American Literature, 115–22. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780367520069-9.

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Bazayev, Inessa, and Christopher Segall. "Introduction." In Analytical Approaches to 20th-Century Russian Music, 1–10. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-1.

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Zavlunov, Daniil. "Alexander Mosolov’s Piano Sonata No. 1 and Its Synthetic Modernism." In Analytical Approaches to 20th-Century Russian Music, 132–54. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-10.

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Móricz, Klára. "The Rebirth of Melody in Lourié’s Post-Neoclassical Concerto da camera." In Analytical Approaches to 20th-Century Russian Music, 155–72. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-11.

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Conference papers on the topic "Russian fiction – 20th century"

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Vasileva, Irina. "ABOUT THE BOUNDARY MARKERS OF THE TRANSITION PERIODS: LYRICAL DIGRESSIONS IN THE FICTION BY ANTON CHEKHOV." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.03.

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Anton Chekhov is generally acknowledged as a writer who symbolizes a transition period, marks the end of the Classical Russian literature of the 19th century and establishes the basics of the poetics of the 20th century. Scholars are traditionally focused on Chekhov’s innovations but not on the connections with the previous tradition. This contribution makes an attempt to reassess the aspect of Chekhov’s poetics which could be called historical “form’s thinking” (in Alexander Mikhailov’s terminology). I mean the features of tradition which result from historical dynamics of culture and are beyond individual principles of artistic consciousness. In the culture prior to the New Age, topos was a form which included both principles and ways of thinking. In this research I analyze lyrical digressions in the Russian fiction of the 19th century which correlate with topoi on the basis of their constitution. The strategy of lyrical digressions rests on the movement between two poles of the being: historical and eternal, individual and universal, etc. Before Chekhov, this movement was strictly hierarchical. In Chekhov’s lyrical digressions one can easily notice a shift of semantic coordinates when the concrete and the situational becomes valuable. However, the poles themselves (individual and universal) and the movement between them remain invariable. It is possible to claim that Chekhov’s poetics although discovers the boundaries of semantic dynamics of the lyrical digressions (as a constant form) is not aware of any other principle of thinking. This fact distinguishes Chekhov from his younger contemporaries and makes him the writer of the classical 19th century. Refs 20.
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Podkovalnikova, Anna. "Russian Fiction in the First Decade of the XXI Century: Confession of the Professional." In 3rd International Conference on Social Science, Humanities and Education. Acavent, 2020. http://dx.doi.org/10.33422/3rd.icshe.2020.03.04.

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Podkovalnikova, Anna. "Russian Fiction in the First Decade of the XXI Century: Confession of the Professional." In 3rd International Conference on Social Science, Humanities and Education. Acavent, 2020. http://dx.doi.org/10.33422/3rd.icshe.2020.03.04.

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Titova, Elena. "FACTUROLOGY IN THE RUSSIAN MUSICOLOGY OF THE 20TH CENTURY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s26.040.

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Zhou, Dian. "THE HISTORY OF THE RUSSIAN ETCHING OF THE 20th CENTURY." In VI Международная научно-практическая конференция "Искусствознание и педагогика. Диалектика взаимосвязи и взаимодействия". Общество с ограниченной ответственностью «Книжный дом», 2018. http://dx.doi.org/10.25807/pbh.978-5-94777-431-3.134.138.

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Shakhova, V. E. "ROBINSON IMAGE IN RUSSIAN POETIC DISCOURSE OF THE 20TH CENTURY." In Proceedings of the IX (XXIII) International Scientific and Practical Conference of Young Scientists. TSU Press, 2022. http://dx.doi.org/10.17223/978-5-907572-04-1-2022-80.

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Baranov, A. N., and D. O. Dobrovol’skij. "STYLE DYNAMICS OF THE RUSSIAN WRITTEN SPEECH OF THE 19TH CENTURY: A CORPUS STUDY." In International Conference on Computational Linguistics and Intellectual Technologies "Dialogue". Russian State University for the Humanities, 2020. http://dx.doi.org/10.28995/2075-7182-2020-19-48-61.

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The starting point of the present paper is the hypothesis that the distribution of discursive words characterizes the trends in the development of the writing style of the 19th century. The paper presents and discusses the results of an experiment based on the data of the Russian National Corpus on the frequency of using discursive words with the semantics of epistemic modality, such as konechno, razumeetsya (both roughly meaning ‘of course’), po-vidimomu ‘apparently’, kak kazhetsya, kazalos’ by (both ≈ ‘it would seem’), naverno ≈ ‘as it were’, veroyatno ‘probably’, pozhaluy ≈ ‘maybe’, deystvitel’no ‘really’, etc. We show that the frequency of this group of expressions increases in the second half of the 19th century. A similar trend is also observed for some syntactic constructions with the same semantics: (ya) dumayu, chto… ‘(I) think that...’; (ya) schitayu, chto… ‘(I) believe that...’; (mne) kazhetsya, chto… ‘it seems to me that’. The revealed regularity is considered as a discursive practice in changing the style of fiction, which consisted in expanding the modus part of the utterance as compared to the earlier period. The discursive practice of expanding the modus was inherent only to a group of innovative writers (first of all, F. M. Dostoevsky, M. E. SaltykovShchedrin, L. N. Tolstoy, I. A. Goncharov, A. F. Pisemsky, P. I. MelnikovPechersky, N. S. Leskov, and I. S. Turgenev), who, however, due to their talent, social significance, and the number of published texts, had a significant impact on the language of fiction. The task of studying the dynamics of artistic style is to identify and describe a set of discursive practices that establish written discourse as such.
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"EVOLUTION RUSSIA'S RIGHT TO VOTE AT THE BEGINNING OF THE 20TH CENTURY." In Russian science: actual researches and developments. Samara State University of Economics, 2019. http://dx.doi.org/10.46554/russian.science-2019.10-2-344/347.

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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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Ratner, Faina L. "Russian Scientists’ Contribution In Early 20th Century Towards Inclusive Education Development." In 3rd International Forum on Teacher Education. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.08.02.78.

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Reports on the topic "Russian fiction – 20th century"

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Korolev, Sergei Viktorovich. RUSSIAN PHILOSOPHY OF LAW IN EXILE (first half of the 20th century) The concept of Eurasianism and axiology of law. DOI СODE, 2023. http://dx.doi.org/10.18411/doicode-2023.126.

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TITOVA, E. HISTORIOGRAPHIC REVIEW ON THE TOPIC OF THE STUDY OF MIGRATION PROCESSES IN THE RUSSIAN FAR EAST AT THE BEGINNING OF THE XXI CENTURY. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2077-1770-2021-13-4-2-34-53.

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The article provides an overview of scientific research on the study of migration processes in the Far Eastern regions. The problems of migration, the state mechanism for regulating migration issues, and the peculiarities of interethnic interactions are very topical topics not only at the regional, but also at the national level. In the Russian Federation, studies on these topics have appeared relatively recently. Due to the fact that at the end of the 20th century there was a surge in the ethnic self-awareness of the peoples of the country, together with the intensification of socio-economic transformation processes, there are sharp, often radical, changes in the field of interethnic interactions, in particular, the growth of armed interethnic conflicts, an increase in migration outflows or inflows. etc. Modern scientific research in the field of migration processes is practice-oriented, that is, they are aimed at the implementation of narrow applied problems, there is also an increase in the accumulation of an updated extensive theoretical and methodological base. In particular, studies, for example, concerning the topic of interethnic interactions, are directly related to the topic of ethnic tolerance, which has also become very popular and in demand in the last decade for specialists from various scientific fields - psychologists, ethnographers, lawyers, etc.
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