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“ZERO-POSITION” AS A MEANS OF AUTHOR`S CONSCIOUSNESS EXPRESSION IN M. UGAROV`S PLAY “MASQUERADE MASQUERADE”

Annotation

The way of author’s consciousness manifestation in contemporary drama is studied. The material is the play “Masquerade Masquerade” by M. Ugarov as a fact of modern literary process. The relevance of the work is about not only low investigation of this literary text, but also about description of the genre remake. The play is considered in the context of changing in the communicative relationship author-text-reader in the structure of a literary text. Based on the analysis of metatextual parts of the play (presents at different text levels: contexture, intertextuality communication, subjective outline), “zero-position” device as sort of deconstruction is described. This device fixing to change the way the author’s presence in the text which is typical for remake genre. Special focus is made on analysis of the structure “the text in the text” which is built on the “heraldic” principle and fixation the M. Ugarov’s personal ethical and aesthetic views. The upshot is that, “zero-position” device defines the poetics of the play and enables to describe the author’s policy of updating the pretext as identification. And a dupliсate as architectonic principle (in the text’s title) summarizes the author’s intentional setting to the game.

Keywords

deconstruction; updating the classics; metatext; “zero-position”; remake

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UDC

821.161.1.09

Pages

62-67

References

1. Ugarov M. «Maskarad Maskarad» [Masquerade Masquerade]. Teatr. (In Russian). Available at: http://oteatre.info/maskarad-maska-rad-mi-haila-ugarova/ (accessed 20.08.2016). 2. Ilin I.P. Poststrukturalizm. Dekonstruktivizm. Postmodernizm [Poststructuralism. Deconstructivism. Postmodernism]. Moscow, Intrada Publ., 1996. (In Russian). 3. Solntseva A. Reformator na vse vremena [Reformer for all times]. Teatr., 2012, no. 8. (In Russian). Available at: http://oteatre.info/re-formator-na-vse-vremena/ (accessed 23.08.2016). 4. Bolotyan I. «Dok» i «Dogma»: teoriya i praktika [“Doc” and “Dogma”: theory and practice]. Teatr., 2015, no. 19, pp. 130-137. (In Russian). 5. Yampolskiy M. Pamyat' Tiresiya. Intertekstual'nost' i kinematograf [The Memory of Tiresias. Intertextuality and Cinematography]. Moscow, Russian Institute for Cultural Research “Kul'tura” Publ., 1993. (In Russian). 6. Ugarov M. Tochka nerazreshimosti: interv'yu s K. Shavlovskim [Point of unsolvability: interview with K. Shavlovskiy]. Seans – Séance, 2006, no. 29/30. (In Russian). Available at: http://seance.ru/n/29-30/perekryostok-no-vaya-drama/tochka-nerazreshimosti/ (accessed 23.08.2016). 7. Lotman M.Yu. Tekst v tekste [Text in the text]. Lotman M.Yu. Ob iskusstve [On Art]. St. Petersburg, Iskusstvo-SPB Publ., 2005, pp. 423-436. (In Russian). 8. Dubin B. Klassika, posle i ryadom: sotsio-logicheskie ocherki o literature i kul'ture [Classic, After and Alongside: Sociological Essays on Literature and Culture]. Moscow, Novoe literaturnoe obozrenie Publ., 2010. (In Russian). 9. Vertikali i gorizontali [Vertical and horizontal]. Seans – Séance. (In Russian). Available at: http://seance.ru/blog/stol-novaya-drama/ (accessed 23.08.2016). 10. Ugarov M. Dokumental'nyy teatr – mezhdu «fikshn» i «non-fikshn» [Documentary theatre – between “fiction” and “non-fiction”]. (In Russian). Available at: https://www.youtube.com/ watch?v=Xtftnym95EY (accessed 19.08.2016). 11. Ugarov M. «Dramaturgi, kak karasi, tol'ko v chistoy vode vodyatsya»: interv'yu s M. Nikityuk [“Playwrights, like carp, only in pure water they are found”: interview with M. Nikityuk]. (In Russian). Available at: http://teatre.com.ua/modern/myxayl_ugarov_dramaturgy_kak_karasy_tolko_v_chystoj/ (accessed 21.08.2016). 12. Usovskaya E.A. Postmodernizm [Postmodernism]. Minsk, Tetrasistems Publ., 2006.

Received

2016-10-21

Section of issue

Studies of literature

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