Rudnev dictionary of culture of the twentieth century. Vadim Rudnev - Dictionary of 20th century culture

All books by the author: Rudnev V. (4)

Rudnev V. Dictionary of 20th century culture

A

Absolute idealism
Avant-garde art
Autocommunication
Acmeism
Accent verse
Analytical psychology
Analytical philosophy
Joke
Atomic fact
Autistic thinking

B

"Endless Dead End"
Unconscious
Binary opposition
Biography
"Pale Fire"

IN

Verificationism
Vers libre
Verlibrization
Virtual realities
"Magic Mountain"
Time

G

Generative linguistics
Generative poetics
Hypertext
Linguistic relativity hypothesis

D

Deconstruction
Depression
Detective
Zen thinking
Dialogue word
Dodecaphony
"Doctor Faustus"
Dolnik
Credibility

Z

"Lock"
"Mirror"
Sign

AND

Altered state of consciousness
Proper name
Individual language
Intertext
Intimization
True

TO

"As if" and "Actually"
Carnivalization
Picture of the world
Movie
Kitsch
Inferiority complex
Conceptualism

L

Linguistics of spoken language
Linguistic apologetics
Language therapy
Logoedization
Logical semantics
Logical positivism

M

Mass culture
"Master and Margarita"
Mathematical logic
Interdisciplinary research
Metalanguage
Myth
Polysemantic Liars
Modalities
Modernism
Motive analysis

N

Neurosis
Neo-mythological consciousness
New teaching about language
New novel
Norm
"Norma/Roman"

ABOUT

OBERIU
"Orpheus"
Defamiliarization

P

Paradigm
Parasemantics
"Pygmalion"
Polymetry
Polyphonic novel
"The Picture of Dorian Grey"
Postmodernism
Poststructuralism

Mindflow
Pragmatism
Pragmatics
The principle of complementarity
Principles of 20th Century Prose
Space
Psychoanalysis
Psychosis

R

Realism
Reality
Rhythm

WITH

Semantics of possible worlds
Semantic primitives
Semiosphere
Semiotics
Serial Thinking
Symbolism
20th century verse system
"Mournful Insensitivity"
Meaning

Dream
Event
Socialist realism
Structural linguistics
Existence
Plot
Surrealism

T

Theater of the Absurd
Text
Text within text
Telephone
Body
Speech act theory
Creative Expression Therapy
Trauma of birth
Transpersonal psychology
"Three Days of the Condor"

F

Phenomenology
Philosophy of fiction
Philosophy of the text
Phonology
Formal school
Functional asymmetry of the cerebral hemispheres
brain

X

"Khazar Dictionary"
Characterology
"The banana fish is good to catch"

Schizophrenia
"School for Fools"
"The Sound and the Fury"

E

Egocentric words
Oedipus complex
Existentialism
Expressionism
Extreme experience

Language game

The twentieth century and the second millennium end with R.H. Replacing each other, the centuries were completely filled with “epochs of change.” It's time for humanity to take stock. A significant sign of this was the appearance of various kinds of “Chronicles...”, “Encyclopedias...”, “Dictionaries...” and other reference and analytical publications on
various areas human activity. The book that you, dear reader, are holding in your hands is from this series. Its author, Vadim Rudnev, a linguist and philosopher, embodied it in the “Dictionary...”
your view of the culture of the twentieth century. "Dictionary..." has compiled articles in the following areas
modern culture philosophy, psychoanalysis, literature, semiotics, poetics and linguistics. Work on the “Dictionary...” was not easy both at the stage of preparing the text and when developing
concept of constructing a book, which, in our deep conviction, should, first of all, be readable and useful as a reference tool. "Dictionary of 20th Century Culture" is intended for a wide range of readers - from a school student preparing to enter
humanitarian university, to students and researchers who will find source study and bibliographic material in the book.

"Dictionary..." by Vadim Rudnev, semiotician, linguist and philosopher, author of the monograph "Morphology of Reality" (1996), translator and compiler of the book " Winnie the Pooh and philosophy
everyday language", which has become an intellectual bestseller, is a unique dictionary - hypertext. The publication contains 140 articles devoted to the most relevant concepts and
texts of twentieth century culture. This publication continues the series of cultural dictionaries-reference books published by the Agraf publishing house.
For a wide range of readers.

In memory of my father
Peter Alexandrovich Rudnev

FROM THE AUTHOR

In the novel by the modern Serbian prose writer Milorad Pavic “The Khazar Dictionary” (hereinafter in all articles of our dictionary, if a word or phrase is highlighted in bold, this means that a separate article is devoted to this word or combination of words - with the exception of quotes), so
Well, Pavich’s “Khazar Dictionary” tells the story of how one of the collectors of this mysterious dictionary, Doctor Abu Kabir Muawiya, began to write based on advertisements from newspapers long ago
past years and, most surprisingly, soon began to receive answers in the form of parcels with various things. Gradually these things filled his house so much that he did not know what to do with them. These were, as the author writes, “a huge camel saddle, a woman’s
a dress with bells instead of buttons, an iron cage in which people are kept suspended from the ceiling, two mirrors, one of which was somewhat delayed, and the other was broken,
an old manuscript in a language unknown to him [...]. A year later, the attic room was filled with things, and
Entering it one morning, Dr. Mu'awiya was stunned to realize that everything he had acquired was beginning to add up to something that made sense."
Dr. Muawiyah sent a list of things for computer analysis, and the response that came back stated that all these things were mentioned in the now lost Khazar Dictionary.
Once upon a time one was smart and talented person in the same conversation, he uttered two phrases: “Don’t attach importance to anything” and “Everything has meaning” (about the difference between the concepts meaning and meaning
see the articles sign, meaning and logical semantics). He wanted to say that it is not what people say that matters, but how and why they say it (that is, to rephrase it in terms
semiotics, what is important for human communication is not the semantics, but the pragmatics of the statement).
I will add on my own (although this was invented long ago by the founders of psychoanalysis, Sigmund Freud and Carl Gustav Jung): if a word, by chance association, entails another word (see.
Parasematics is also about this), you should not brush aside the second word - it can help you better understand the meaning of the first word.
At first, the idea of a dictionary seemed impossible and as meaningless as the storage of things in the room of an Arab professor. But, remembering that “nothing should be given importance,” in
while “everything makes sense,” we included in the “Dictionary..” those words and phrases that were understandable and interesting to us.
"Dictionary of 20th Century Culture" is a collection of three types of articles.
The first and most obvious type are articles devoted to specific cultural phenomena of the twentieth century, such as modernism, transpersonal psychology, semiotics, conceptualism, etc.
Articles of the second type are devoted to concepts that existed in culture long before the twentieth century, but it was in it that they acquired special relevance or were seriously rethought.
These are concepts such as dream, text, event, existence, reality, body.
Finally, the third type of articles are small monographs devoted to key, from the point of view of the dictionary author, works of art XX century The very appeal to these works is legitimate, but their choice may seem subjective. Why, for example, are there no articles in the Dictionary...
"Ulysses" or "In Search of Lost Time", but there are articles on "The Portrait of Dorivia Gray" or "Pygmalion"? We dare to note that this subjectivity is imaginary. For the dictionary we chose
those texts that better explained the concept of twentieth-century culture embodied in the dictionary. For example, an article about Oscar Wilde's The Picture of Dorian Gray is included as an illustration.
the most important, in our opinion, theme of delimiting the time of the text and reality as a particular manifestation
fundamental cultural collision of the twentieth century. - a painful search for the boundaries between text and reality. An article about Bernard Shaw's play Pygmalion has been included to illustrate how artistic text ahead philosophical ideas- in his comedy Shaw declared that
greatest importance language plays a role in human life, which soon became the cornerstone of a vast philosophical direction, called analytical philosophy (see also
logical positivism, language game). The most important feature the dictionary is that it
is a hypertext, that is, it is structured so that it can be read in two ways: alphabetically, and from article to article, paying attention to the underlined words and
phrases. The dictionary mainly touches on the following areas of twentieth-century culture: philosophy, psychoanalysis, linguistics, semiotics, poetics, versification and literature. Thus,
it is a dictionary of humanitarian ideas of the twentieth century. The bibliography lists for dictionary entries are intentionally simplified. With rare exceptions, these are articles and books available to citizens
Russia and neighboring states. The dictionary is intended primarily for those who
everything that was interesting and significant in the past century is expensive.
Vadim Rudnev

Glory ( )

From the publisher

The "Dictionary..." contains articles on the following areas of modern culture: philosophy, psychoanalysis, literature, semiotics, poetics and linguistics. Work on the “Dictionary...” was not easy both at the stage of preparing the text and when developing the concept of building a book, which, in our deep conviction, should, first of all, be readable and useful as a reference tool.

"Dictionary of 20th Century Culture" is intended for a wide range of readers - from schoolchildren preparing to enter a humanitarian university, to students and researchers who will find source study and bibliographic material in the book.

"The Dictionary..." by Vadim Rudnev, semiotician, linguist and philosopher, author of the monograph "Morphology of Reality" (1996), translator and compiler of the book "Winnie the Pooh and the Philosophy of Ordinary Language", which became an intellectual bestseller, is a unique hypertext dictionary. The publication contains 140 articles devoted to the most relevant concepts and texts of the culture of the twentieth century. This publication continues the series of cultural dictionaries-reference books published by the Agraf publishing house.

In memory of my father

A year later, the attic room was filled with things, and one morning, upon entering it, Dr. Muawiya was stunned to realize that everything he had acquired was beginning to add up to something that made sense."

Dr. Muawiyah sent a list of things for computer analysis, and the response that came back stated that all these things were mentioned in the now lost Khazar Dictionary.

Once upon a time, one smart and talented person uttered two phrases in the same conversation: “Don’t attach importance to anything” and “Everything has meaning” (for the difference between the concepts of meaning and meaning, see the articles sign, meaning and logical semantics). He wanted to say that it is not what people say that is important, but how and why they say it (that is, to paraphrase this in terms of semiotics, what is important for human communication is not the semantics, but the pragmatics of the utterance).

I will add on my own behalf (although this was invented long ago by the founders of psychoanalysis, Sigmund Freud and Carl Gustav Jung): if a word by chance association entails another word (see also parasemaics about this), you should not brush aside the second word - it can help It’s better to understand the meaning of the first word.

At first, the idea of a dictionary seemed impossible and as meaningless as the storage of things in the room of an Arab professor. But, remembering that “nothing should be given meaning,” while “everything has meaning,” we included in the “Dictionary...” those words and phrases that were understandable and interesting to us.

"Dictionary of 20th Century Culture" is a collection of three types of articles.

The first and most obvious type are articles devoted to specific cultural phenomena of the twentieth century, such as modernism, transpersonal psychology, semiotics, conceptualism, etc.

Articles of the second type are devoted to concepts that existed in culture long before the twentieth century, but it was in it that they acquired special relevance or were seriously rethought. These are concepts such as dream, text, event, existence, reality, body.

Finally, the third type of articles are small monographs devoted to the key, from the point of view of the author of the dictionary, works of art of the 20th century. The very appeal to these works is legitimate, but their choice may seem subjective. Why, for example, in the "Dictionary..." there are no articles "Ulysses" or "In Search of Lost Time", but there are articles "Portrait of Dorivus Gray" or "Pygmalion"? We dare to note that this subjectivity is imaginary. For the dictionary, those texts were selected that better explained the concept of twentieth-century culture embodied in the dictionary. For example, an article about Oscar Wilde’s novel “The Picture of Dorian Gray” is included as an illustration of the most important, in our opinion, theme of delimiting the time of text and reality as a particular manifestation of the fundamental cultural collision of the twentieth century. - a painful search for the boundaries between text and reality.

An article on Bernard Shaw's play Pygmalion was included as an illustration of how literary texts outstrip philosophical ideas - in his comedy, Shaw proclaimed that the most important thing in human life is language, which soon became the cornerstone of a broad philosophical movement called analytic philosophy ( see also logical positivism, language game).

The most important feature of the dictionary is that it is a hypertext, that is, it is structured so that it can be read in two ways: alphabetically, and from article to article, paying attention to the underlined words and phrases.

The dictionary mainly touches on the following areas of culture of the 20th century: philosophy, psychoanalysis, linguistics, semiotics, poetics, versification and literature. Thus, this is a dictionary of humanitarian ideas of the 20th century.

The bibliography lists for dictionary entries are intentionally simplified. With rare exceptions, these are articles and books available to citizens of Russia and neighboring countries.

The dictionary is intended primarily for those who value everything that was interesting and significant in the past century.

Vadim Rudnev

011 Absolute idealism

012 Avant-garde art

014 Autocommunication

016 Acmeism

019 Accent Verse

021 Analytical Psychology

023 Analytical Philosophy

027 Anecdote

029 Atomic fact

031 Autistic thinking

032 "Endless Dead End"

036 Unconscious

038 Binary opposition

040 Biography

043 "Pale Fire"

047 Verificationism

048 Free verse

052 Verlibrization

053 Virtual realities

055 "Magic Mountain"

063 Generative Linguistics

067 Generative poetics

069 Hypertext

073 Linguistic Relativity Hypothesis

077 Depression

079 Detective

081 Zen thinking

084 Dialogue word

Rudnev Vadim

Dictionary of 20th century culture

Vadim Rudnev

Dictionary of 20th century culture

Glory ( [email protected])

From the publisher

In memory of my father

Dr. Muawiyah sent a list of things for computer analysis, and the response that came back stated that all these things were mentioned in the now lost Khazar Dictionary.

"Dictionary of 20th Century Culture" is a collection of three types of articles.

The first and most obvious type are articles devoted to specific cultural phenomena of the twentieth century, such as modernism, transpersonal psychology, semiotics, conceptualism, etc.

The bibliography lists for dictionary entries are intentionally simplified. With rare exceptions, these are articles and books available to citizens of Russia and neighboring countries.

The dictionary is intended primarily for those who value everything that was interesting and significant in the past century.

Vadim Rudnev

011 Absolute idealism

012 Avant-garde art

014 Autocommunication

016 Acmeism

019 Accent Verse

021 Analytical Psychology

023 Analytical Philosophy

027 Anecdote

029 Atomic fact

031 Autistic thinking

032 "Endless Dead End"

036 Unconscious

038 Binary opposition

040 Biography

043 "Pale Fire"

047 Verificationism

048 Free verse

052 Verlibrization

053 Virtual realities

055 "Magic Mountain"

063 Generative Linguistics

067 Generative poetics

069 Hypertext

073 Linguistic Relativity Hypothesis

077 Depression

079 Detective

081 Zen thinking

084 Dialogue word

093 Dolnik

096 Credibility

098 "Castle"

102 "Mirror"

107 Altered state of consciousness

110 Proper name

112 Individual language

113 Intertext

119 Intimization

120 Truth

123 "As if" and "Actually"

Current page: 1 (book has 29 pages in total)

Rudnev Vadim
Dictionary of 20th century culture

Vadim Rudnev

Dictionary of 20th century culture

Glory ( [email protected])

From the publisher

In memory of my father

Dr. Muawiyah sent a list of things for computer analysis, and the response that came back stated that all these things were mentioned in the now lost Khazar Dictionary.

"Dictionary of 20th Century Culture" is a collection of three types of articles.

The first and most obvious type are articles devoted to specific cultural phenomena of the twentieth century, such as modernism, transpersonal psychology, semiotics, conceptualism, etc.

Finally, the third type of articles are small monographs devoted to the key, from the point of view of the dictionary author, works of art of the 20th century. The very appeal to these works is legitimate, but their choice may seem subjective. Why, for example, in the "Dictionary..." there are no articles "Ulysses" or "In Search of Lost Time", but there are articles "Portrait of Dorivus Gray" or "Pygmalion"? We dare to note that this subjectivity is imaginary. For the dictionary, those texts were selected that better explained the concept of twentieth-century culture embodied in the dictionary. For example, an article about Oscar Wilde’s novel “The Picture of Dorian Gray” is included as an illustration of the most important, in our opinion, theme of delimiting the time of text and reality as a particular manifestation of the fundamental cultural collision of the twentieth century. – a painful search for the boundaries between text and reality.

The bibliography lists for dictionary entries are intentionally simplified. With rare exceptions, these are articles and books available to citizens of Russia and neighboring countries.

The dictionary is intended primarily for those who value everything that was interesting and significant in the past century.

Vadim Rudnev

011 Absolute idealism

012 Avant-garde art

014 Autocommunication

016 Acmeism

019 Accent Verse

021 Analytical Psychology

023 Analytical Philosophy

027 Anecdote

029 Atomic fact

031 Autistic thinking

032 "Endless Dead End"

036 Unconscious

038 Binary opposition

040 Biography

043 "Pale Fire"

047 Verificationism

048 Free verse

052 Verlibrization

053 Virtual realities

055 "Magic Mountain"

063 Generative Linguistics

067 Generative poetics

069 Hypertext

073 Linguistic Relativity Hypothesis

077 Depression

079 Detective

081 Zen thinking

084 Dialogue word

093 Dolnik

096 Credibility

098 "Castle"

102 "Mirror"

107 Altered state of consciousness

110 Proper name

112 Individual language

113 Intertext

119 Intimization

120 Truth

123 "As if" and "Actually"

126 Carnivalization

127 Picture of the world

136 Inferiority complex

137 Conceptualism

142 Linguistics oral speech

145 Linguistic apologetics

146 Language therapy

148 Logoedization

150 Logical semantics

153 Logical positivism

155 Popular culture

159 "The Master and Margarita"

162 Mathematical logic

164 Interdisciplinary research

167 Metalanguage

172 Polysemantic Liars

174 Modalities

177 Modernism

180 Motive analysis

182 Neurosis

184 Neomythological consciousness

187 New doctrine of language

190 New novel

195 "Norma/Roman"

199 OBERIU

203 "Orpheus"

205 Defamiliarization

207 Paradigm

209 Parasemantics

211 "Pygmalion"

214 Polymetry

215 Polyphonic novel

218 "The Picture of Dorian Gray"

220 Postmodernism

225 Poststructuralism

227 Stream of Consciousness

229 Pragmatism

231 Pragmatics

234 Principle of complementarity

237 Principles of 20th Century Prose

241 Space

245 Psychoanalysis

250 Psychosis

252 Realism

255 Reality

260 Semantics possible worlds

262 Semantic primitives

264 Semiosphere

265 Semiotics

268 Serial Thinking

270 Symbolism

273 System of verse of the XX century

277 "Mournful Insensitivity"

281 Dream

284 Event

286 Socialist realism

288 Structural linguistics

292 Existence

297 Surrealism

303 Theater of the Absurd

308 Text in text

311 Phone

318 Speech Act Theory

320 Therapy creative self-expression

322 Birth Trauma

324 Transpersonal Psychology

328 "Three Days of the Condor"

331 Phenomenology

333 Philosophy of Fiction

335 Philosophy of the text

336 Phonology

339 Formal school

343 Functional asymmetry of the cerebral hemispheres

345 "Khazar Dictionary"

349 Characterology

352 "Banananka fish are good at catching"

355 Schizophrenia

357 "School for Fools"

361 "The Sound and the Fury"

364 Egocentric words

368 Oedipus complex

370 Existentialism

374 Expressionism

376 Extreme Experience

379 Language Game

ABSOLUTE IDEALISM

- a direction in Anglo-Saxon philosophy in the first two decades of the twentieth century. At its core, A. and. went back to Hegelianism, and in this sense it was last direction classical philosophy. But much in A. and. led to such an understanding of the foundations and principles of philosophy that are important for the twentieth century. right up to its last decades, again characterized by a revival of interest in dialectics and Hegel, as opposed to what prevailed in the twentieth century. mathematical logic (see).

First of all, A. and. is interesting for us because it was from him, it was in polemics with him that the philosophers who determined the type of philosophical reflection of the twentieth century were formed. It is precisely based on the representatives of A. and. F. Bradley, J. McTaggart, J. Royce, the creators of analytical philosophy Bertrand Russell and George Edward Moore, as well as their brilliant student Ludwig Wittgenstein, honed their “neopositivist” (as they said in Soviet time) doctrine (see also logical positivism).

One of the main principles of A. and. in its most orthodox version, the philosophy of F. Bradley, said that reality (see) is only the appearance of true reality, which is the unknowable Absolute. What in this doctrine was unacceptable for the twentieth century? Its categorical metaphysicality, that is, the traditional nature of the production philosophical problems. But in the form melted down by logical positivist analysts, this doctrine is one of the most important in the twentieth century. In philosophical concepts oriented semiotically (see semiotics), it was transformed as the idea that reality has a completely symbolic character (see reality) and, therefore, is again imaginary, apparent.

This understanding of reality is also characteristic of the latest philosophical systems(see extended interpretation of the concept virtual realities by Slavoj Zizek). Since it is impossible to determine which reality is genuine and which is imaginary, the whole world appears to be a system of virtual realities: the latter is reflected and modern cinema, in particular the famous cult movie"Blade Runner" ("Blade Runner"), which is analyzed in detail in S. Zizek's book "Existing with Negativity". The main idea of this film (as interpreted by the philosopher) is that the fundamental impossibility for a person to establish whether he is a real person or a “replicant” alien makes a person more humane. It’s as if he’s saying to himself: “Here I am doing this, and what if it turns out that I’m not a human at all! Therefore, I will act in any case like a human and then I will still become a human.”

The second thing is why the 20th century is dear. A. and., is the concept of time (see). It was developed by J. McTaggart and is called static; according to it, it is not time that moves, we move in time, and the illusion of the passage of time arises from a change of observers. This idea greatly influenced J. W. Dunn's philosophy of time (see serial thinking), which in turn had a decisive influence on the work of H. L. Borges - a writer who embodied the very spirit of prose and the ideology of creativity of the twentieth century. (see principles of twentieth-century prose).

A. and. stood at the turn of the century, like a two-faced Janus looking in opposite directions. Now almost no one reads or reprints these philosophers, except historians of philosophy. But let us be grateful to them for the fact that they “awakened” Russell and Wittgenstein, and in this sense, it is from them that the philosophy and cultural ideology of the twentieth century should be counted.

Bradly F. Appearance and Reality. L., 1966.

Zizek S. Existence with negativity // Art magazine, 1966. – No. 9.

AVANTGARDE ART.

In system aesthetic values culture of the twentieth century, focused on an innovative understanding of how to write and live, it is necessary to distinguish between two opposing principles - modernism (see) and A. and. Unlike modernist art, which focuses on innovation in the field of form and content (syntax and semantics - see semiotics), A. and. First of all, it builds systems of innovative values in the field of pragmatics (see). An avant-garde artist cannot, like a modernist, lock himself in an office and write on a desk; the very meaning of it aesthetic position– in an active and aggressive influence on the public. Produce shock, scandal, outrageousness - without this A. and. impossible.

Here is what the Russian philologist and semiotician M.I. Shapir writes about this, who substantiated the pragmatic concept of A.I.: “[...] in avant-garde art, pragmatics reaches foreground. The main thing becomes the effectiveness of art - it is designed to amaze, stir up, provoke an active reaction in a person from the outside. In this case, it is desirable that the reaction be immediate, instantaneous, excluding a long and concentrated perception of aesthetic form and content. It is necessary that the reaction has time to arise and take hold before their deep comprehension, so that, to the extent possible, it interferes with this comprehension and makes it as difficult as possible. Misunderstanding, complete or partial, organically enters into the avant-garde artist’s plan and transforms the addressee from a subject of perception into an object, into an aesthetic thing admired by its creator-artist" (here and below in quotations, emphasis belongs to M. I. Shapir. V. R.) .

And further: “The most significant thing in the avant-garde is its unusualness, its catchiness. But this is least of all the unusualness of form and content: they are important only insofar as the “why” affects the “what” and “how.” The avant-garde is, first of all, an unusual pragmatic task , unusual behavior of subject and object. The avant-garde did not create a new poetics and does not have its own poetics; but it created its own new rhetoric: a non-classical, “non-Aristotelian” system of means of influencing the reader, viewer or listener. These means are based on the violation of “pragmatic rules” : in the avant-garde, the subject and object of creativity continually cease to fulfill their direct purpose.If classical rhetoric is the use of aesthetic techniques for extra-aesthetic purposes, then new rhetoric is the creation of quasi-aesthetic objects and quasi-aesthetic situations. Extreme points The view of the phenomenon is as follows: either a non-aesthetic object appears in an aesthetic function (for example, Marcel Duchamp installed a urinal on a pedestal instead of a sculpture), or an aesthetic object appears in a non-aesthetic function (for example, Dmitry Aleksandrovich Prigov buries hundreds of his poems in paper “coffins”). That is why non-existent (virtual) aesthetic objects are effective, because the entire emphasis is placed on extra-aesthetic influence: the very absence of art amazes and stuns the public (such, for example, is “The Poem of the End” by Vasilisk Gnedov, the entire text of which consists of a title and a blank page ). It’s all about skillfully organizing everyday life: just put on a carrot instead of a tie or draw a dog on your cheek.”

Speaking about the art of the twentieth century, one should clearly distinguish, whenever possible, the phenomena of modernism and art. Thus, it is clear that the most obvious directions of A. and. XX century are futurism, surrealism, dadism. The most obvious directions of modernism are post-impressionism, symbolism, and acmeism. But, even speaking about OBERIU, it is difficult to unambiguously determine whether this movement belongs to modernism or to A. and. It was one of the most complex aesthetic phenomena of the twentieth century. Relatively speaking, of the two leaders of the Oberiuts, the joker and the miracle worker Daniil Kharms gravitated towards A. and., and the poet-philosopher, the authority of nonsense" Alexander Vvedensky - towards modernism. In general, it is characteristic that when the Oberiuts organized an evening in their Radix theater, they did not have a scandal, for which they were reproached by going out to stage, experienced "scandalist" Viktor Borisovich Shklovsky. Apparently, in the 1930s, a certain convergence emerged between A.I. and modernism, which later, after the war, clearly manifested itself in the art of postmodernism, in which both modernism and A.I. play their role (see conceptualism).

From the point of view of characterology (see), the typical modernist and the typical avant-garde artist were completely different characterological radicals. Here are the typical modernists: the lean, long Joyce, the effeminate Proust; small, thin, as if forever frightened, Franz Kafka; long, thin Shostakovich and Prokofiev; dry little Igor Stravinsky. All these are autistic schizoids (see autistic thinking), closed in their aesthetic world. It is impossible to imagine them shocking the public in the square or on the stage. They don’t even have external data for this.

And here are the avant-garde artists. Aggressive, with a thunderous voice, athlete Mayakovsky, also athletically built, Luis Buñuel, who “ate the dog” in various kinds of scandals (also, however, a complex figure - in his youth an ardent avant-garde artist, in old age - a representative of refined postmodernism); narcissistic to the point of paranoia and at the same time calculating his every step, Salvador Dali. For each of these characters, two characteristics constitute their avant-garde essence - aggressiveness and authoritarianism. How else can you carry out your difficult task of actively influencing the public? These are the properties of epileptoids and polyphonic mosaics (see characterology).

Shapir M. What is avant-garde? // Daugava. 1990. – No. 3.

Rudnev V. Modernist and avant-garde personality as a cultural and psychological phenomenon // Russian avant-garde in the circle European culture. – M., 1993.

CAR COMMUNICATION

(cf. individual language) is a concept analyzed in detail within the framework of semiotic cultural studies by Yu. M. Lotman. In ordinary communication, communication occurs in the I – Other channel. In A. it occurs in the I – I channel. Here we are primarily interested in the case when the transfer of information from I to I is not accompanied by a gap in time (that is, this is not a knot tied to memory). The message to oneself is already known information occurs in all cases where the rank of communication, so to speak, rises. For example, a young poet reads his poem published in a magazine. The text remains the same, but when translated into another system of graphic signs that has a higher degree of authority in a given culture, the message takes on additional significance.

In the I-I system, the information carrier remains the same, and the message in the process of communication acquires new meaning. In the I-I channel, a qualitative transformation of information occurs, which as a result can lead to a transformation of the consciousness of the I itself. By transmitting information to himself, the addressee internally rebuilds his essence, since the essence of a person can be interpreted as an individual set of significant codes for communication, and this set is in the process A. changes. Wed. cited by Yu.M. Lotman gives an example from “Eugene Onegin”:

So what? His eyes read

But my thoughts were far away;

Dreams, desires, sorrows

They pressed deep into the soul.

It's between the printed lines

Read with spiritual eyes

Other lines. He's in them

Was completely deep.

One of the main signs of A., according to Lotman, is the reduction of words of the language, their tendency to turn into signs of words. An example of A. of this type is a declaration of love between Konstantin Levin and Kitty (who are in in this case can be considered almost as one consciousness) in “Anna Karenina” by L.N. Tolstoy:

“Here,” he said, and wrote the initial letters: k, v, m, o: e, i, m, b, z, l, e, n, i, t? These letters meant: “when you answered me: this can’t be, did that mean never or then?” [...]

“I understand,” she said, blushing.

-What word is this? - he said, pointing to n, which meant the word never.

“This word means never [...].”

V. A., as Yu. M. Lotman writes, " we're talking about about the increase in information, its transformation, reformulation. Moreover, not new messages are introduced, but new codes, and the receiver and transmitter are combined into one person. In the process of such autocommunication, the personality itself is reshaped, which is associated with a very wide range of cultural functions– from necessary for a person in a certain type of culture, the feeling of one’s separate existence before self-knowledge and autopsychotherapy” (see altered states of consciousness).

As a compromise between communication and art, between meaning and rhythm, Yu. M. Lotman considers two-channel poetic language, which superimposes a rhythmic code of an autocommunicative nature on the content code (see also the verse system).

Lotman Yu.M. Autocommunication: “I” and “Other” as addressees

Lotmam Yu.M. Inside thinking worlds: Human. Text. Semiosphere. Story. – M., 1996.

(ancient Greek akme – highest degree heyday, maturity) direction of Russian modernism, formed in the 1910s. and in its poetic attitudes, starting from its teacher, Russian symbolism. The Acmeists who were part of the association “The Workshop of Poets” (Anna Akhmatova, Nikolai Gumilev, Osip Mandelstam, Mikhail Kuzmin, Sergei Gorodetsky) were “overcoming symbolism,” as the critic and philologist, future academician V. M. Zhirmunsky called them in an article of the same name. A. contrasted the transcendental two-worldness of the Symbolists with the world of simple everyday feelings and everyday spiritual manifestations. Therefore, the Acmeists also called themselves “Adamists,” imagining themselves as the first man Adam, “a naked man on bare earth.” Akhmatova wrote:

I don't need odic armies

And the charm of elegiac undertakings.

For me, everything should be out of place in poetry,

Not like with people.

If only you knew what kind of rubbish

Poems grow without shame,

How yellow dandelion at the fence,

Like burdocks and quinoa.

But A.’s simplicity from the very beginning was not that healthy sanguine simplicity that happens to village people. It was an exquisite and certainly autistic (see autistic consciousness, characterology) simplicity of the outer cover of the verse, behind which lay the depths of intense cultural searches.

Akhmatova again;

My chest was so helplessly cold,

But my steps were easy

I'm on right hand put it on

Left hand glove

An erroneous gesture, an “erroneous action,” to use Freud’s psychoanalytic terminology from his book “The Psychopathology of Everyday Life,” which had already been published in Russia, conveys a powerful inner experience. We can roughly say that all of Akhmatova’s early poetry is “the psychopathology of everyday life”:

I've lost my mind, oh strange boy,

Wednesday at three o'clock!

Pricked my ring finger

A wasp ringing for me.

I accidentally pressed her

And it seemed she died

But the end of the poisoned sting

It was sharper than a spindle.

Salvation from habitually unhappy love in one piece of creativity. Perhaps, best poems A. are poems about poems, which researcher A. Roman Timenchik called auto-meta-description:

When I wait for her to come at night,

Life seems to hang by a thread.

What honors, what youth, what freedom

In front of a lovely guest with a pipe in her hand.

And then she came in. Throwing back the covers,

She looked at me carefully.

I tell her: “Did you dictate to Dante?

The pages of Hell?" Answers: "I."

Initially, the great Russian poet of the 20th century was faithful to the restrained, “clarified” (that is, proclaiming clarity) poetics of A. Mandelstam. Already the first poem of his famous “Stone” speaks of this:

The sound is cautious and dull

The fruit that fell from the tree

Among the incessant chant

Deep forest silence...

The laconicism of this poem makes researchers remember the poetics Japanese haiku(tercet), belonging to the Zen tradition (see Zen thinking), is an external colorlessness, behind which lies an intense inner experience:

On a bare branch

Raven sits alone...

Autumn evening!

So it is with Mandelstam in the above poem. It seems that this is just a household sketch. In fact, we are talking about an apple that fell from the tree of the knowledge of good and evil, that is, about the beginning of history, the beginning of the world (which is why the poem is the first in the collection). At the same time, this can be Newton’s apple, the apple of discovery, that is, again, the beginning. The image of silence plays a very important role - it refers to Tyutchev and the poetics of Russian romanticism with its cult of the inexpressibility of feelings in words.

The second poem of “The Stone” also refers to Tyutchev. Strings

Oh, my prophetic sadness,

Oh my quiet freedom

echo Tyutchev’s lines:

O my prophetic soul!

O heart full of anxiety!

Gradually, the poetics of A., especially its two main representatives, Akhmatova and Mandelstam, became extremely complex. The biggest and famous work Akhmatova’s “Poem without a Hero” is built like a box with a double bottom; the riddles of this text are still being solved by many commentators.

The same thing happened with Mandelstam: the excess of cultural information and the peculiarity of the poet’s talent made his mature poetry the most complex in the twentieth century, so complex that sometimes researchers in separate work they analyzed not the whole poem, but only one line of it. We will finish our essay about A with the same analysis. We will talk about a line from the poem “Swallow” (1920):

An empty boat floats in a dry river.

G. S. Pomerantz believes that this line should be understood as deliberately absurd, in the spirit of a Zen koan. It seems to us that, on the contrary, it is overloaded with meaning (see). Firstly, the word “shuttle” appears in Mandelstam two more times, and both times in the meaning of a part of a loom (“The shuttle scurries, the spindle hums”). For Mandelstam, the contextual meanings of words are extremely important, as proven by the research of the school of Professor K. F. Taranovsky, who specialized in the study of the poetics of A.

The shuttle thus moves across the river and is crossed across the river. Where is he going? This suggests the context of the poem itself:

I forgot what I wanted to say.

The blind swallow will return to the palace of shadows.

The “Chamber of Shadows” is the kingdom of shadows, the kingdom of the dead of Hades. Charon's empty, dead boat (shuttle) floats to the "hall of shadows" on dry river of the dead Styx. This is an ancient interpretation.

There may be an eastern interpretation: emptiness is one of the most important concepts in the philosophy of Tao. The Tao is empty because it is the container of everything, Lao Tzu wrote in the Tao Te Ching. Chuang Tzu said: “Where can I find a person who has forgotten all the words to talk to?” Hence, the oblivion of the word can be considered not as something tragic, but as a break with European tradition speaking and falling to the eastern, as well as traditional romantic concept silence.

A psychoanalytic interpretation is also possible. Then the oblivion of the word will be associated with poetic impotence, and the empty canoe in a dry river with the phallus and (unsuccessful) sexual intercourse. The context of the poem also confirms this interpretation. The visit of a living person to the kingdom of the dead, which is undoubtedly spoken of in this poem, can be associated with the mythological death and resurrection in the spirit of the agrarian cycle as a quest for fertility (see myth), which in a subtle sense can be interpreted as the quest of Orpheus (the first poet ) for the lost Eurydice into the kingdom of shadows. I think that in this poem, in the understanding of this line, all three interpretations work simultaneously.

Taranovsky K. Essays on Mandelstam. – The Haage, 1976.

Toddes E.A. Mandelsham and Tyutchev. Lisse, 1972.

Timenchik R.D. Akhmatova’s auto-meta-description // Russian literature, 1979. 1 – 2.

Rudnev V. Mandelstam and Wittgenstein // Third modernization, 1990.– No. 11.

ACCENT VERSE

(either purely tonic or stressed verse) – poetic meter(see system of verse), the freest on the scale of metrical varieties, or meters. You. the lines must be equal in number of stresses, and it does not matter how many syllables are between the stresses. Thus, A. s. - this is the limit of emancipation of verse along the line of the meter. No wonder A. s. also called Mayakovsky's verse. Here is an example of a 4-beat A. s. from the poem "Vladimir Ilyich Lenin".

1. Army of proletarians, stand tall!

2. Long live the revolution, joyful and speedy!

3. This is the only great war

4. Of all that history has known.

And here is the metrical diagram of this quatrain:

(the “-” sign indicates stressed syllables in a line, the number indicates the number of unstressed syllables).

It’s as if everything is correct: each line has four stresses, and between the stresses there are as many unstressed syllables as you like. But, firstly, not as many as you like, but from one to five, and secondly, the last line is generally quite regulated and can be a line of a 4-stressed dolnik (see), where there should be one or two syllables between stresses. Let's conduct such an experiment. Let's take some famous text, written with a 4-beat dol, and let's try to substitute this line there. For example:

The girl sang in the church choir

About all those who are tired in a foreign land,

About all the ships that went to sea,

Of all that history has known.

Well, except for the rhyme, everything is fine. The diagram confirms this:

This is the first problem of A.'s identity. In order for it to be perceived as an A.S., a sufficient number of large (more than three syllables) interstress intervals, and thus long words, of which there are not many proletarians in the Russian language, is necessary, revolution, joyful, unique, fair. Average length words in Russian have three syllables. It turns out that A. s. - this is not freedom, but an artificial bias in verse, an obligation to fill the intervals between beats with rare long literary words. However, all avant-garde art is always a truly artificial phenomenon, committing violence against the language that is unlucky enough to encounter it.

Rudnev Vadim

Dictionary of 20th century culture

Vadim Rudnev

Dictionary of 20th century culture

From the publisher

In memory of my father

Dr. Muawiyah sent a list of things for computer analysis, and the response that came back stated that all these things were mentioned in the now lost Khazar Dictionary.

"Dictionary of 20th Century Culture" is a collection of three types of articles.

The first and most obvious type are articles devoted to specific cultural phenomena of the twentieth century, such as modernism, transpersonal psychology, semiotics, conceptualism, etc.

Rudnev dictionary of culture of the twentieth century. Vadim Rudnev - Dictionary of 20th century culture

Rudnev V. Dictionary of 20th century culture

A

Absolute idealism Avant-garde art Autocommunication Acmeism Accent verse Analytical psychology Analytical philosophy Joke Atomic fact Autistic thinking

B

"Endless Dead End" Unconscious Binary opposition Biography "Pale Fire"

IN

Verificationism Vers libre Verlibrization Virtual realities "Magic Mountain" Time

G

Generative linguistics Generative poetics Hypertext Linguistic relativity hypothesis

D

Deconstruction Depression Detective Zen thinking Dialogue word Dodecaphony "Doctor Faustus" Dolnik Credibility

Z

"Lock" "Mirror" Sign

AND

Altered state of consciousness Proper name Individual language Intertext Intimization True

TO

"As if" and "Actually" Carnivalization Picture of the world Movie Kitsch Inferiority complex Conceptualism

L

Linguistics of spoken language Linguistic apologetics Language therapy Logoedization Logical semantics Logical positivism

M

Mass culture "Master and Margarita" Mathematical logic Interdisciplinary research Metalanguage Myth Polysemantic Liars Modalities Modernism Motive analysis

N

Neurosis Neo-mythological consciousness New teaching about language New novel Norm "Norma/Roman"

ABOUT

OBERIU "Orpheus" Defamiliarization

P

Paradigm Parasemantics "Pygmalion" Polymetry Polyphonic novel "The Picture of Dorian Grey" Postmodernism Poststructuralism

Mindflow Pragmatism Pragmatics The principle of complementarity Principles of 20th Century Prose Space Psychoanalysis Psychosis

R

Realism Reality Rhythm

WITH

Semantics of possible worlds Semantic primitives Semiosphere Semiotics Serial Thinking Symbolism 20th century verse system "Mournful Insensitivity" Meaning

Dream Event Socialist realism Structural linguistics Existence Plot Surrealism

T

Theater of the Absurd Text Text within text Telephone Body Speech act theory Creative Expression Therapy Trauma of birth Transpersonal psychology "Three Days of the Condor"

F

Phenomenology Philosophy of fiction Philosophy of the text Phonology Formal school Functional asymmetry of the cerebral hemispheres brain

X

"Khazar Dictionary" Characterology "The banana fish is good to catch"

Schizophrenia "School for Fools" "The Sound and the Fury"

E

Egocentric words Oedipus complex Existentialism Expressionism Extreme experience

Language game

FROM THE AUTHOR

Rudnev Vadim Dictionary of 20th century culture

Absolute idealism
Avant-garde art
Autocommunication
Acmeism
Accent verse
Analytical psychology
Analytical philosophy
Joke
Atomic fact
Autistic thinking

"Endless Dead End"
Unconscious
Binary opposition
Biography
"Pale Fire"

Verificationism
Vers libre
Verlibrization
Virtual realities
"Magic Mountain"
Time

Generative linguistics
Generative poetics
Hypertext
Linguistic relativity hypothesis

Deconstruction
Depression
Detective
Zen thinking
Dialogue word
Dodecaphony
"Doctor Faustus"
Dolnik
Credibility

"Lock"
"Mirror"
Sign

Altered state of consciousness
Proper name
Individual language
Intertext
Intimization
True

"As if" and "Actually"
Carnivalization
Picture of the world
Movie
Kitsch
Inferiority complex
Conceptualism

Linguistics of spoken language
Linguistic apologetics
Language therapy
Logoedization
Logical semantics
Logical positivism

Mass culture
"Master and Margarita"
Mathematical logic
Interdisciplinary research
Metalanguage
Myth
Polysemantic Liars
Modalities
Modernism
Motive analysis

Neurosis
Neo-mythological consciousness
New teaching about language
New novel
Norm
"Norma/Roman"

OBERIU
"Orpheus"
Defamiliarization

Paradigm
Parasemantics
"Pygmalion"
Polymetry
Polyphonic novel
"The Picture of Dorian Grey"
Postmodernism
Poststructuralism

Mindflow
Pragmatism
Pragmatics
The principle of complementarity
Principles of 20th Century Prose
Space
Psychoanalysis
Psychosis

Realism
Reality
Rhythm

Semantics of possible worlds
Semantic primitives
Semiosphere
Semiotics
Serial Thinking
Symbolism
20th century verse system
"Mournful Insensitivity"
Meaning

Dream
Event
Socialist realism
Structural linguistics
Existence
Plot
Surrealism

Theater of the Absurd
Text
Text within text
Telephone
Body
Speech act theory
Creative Expression Therapy
Trauma of birth
Transpersonal psychology
"Three Days of the Condor"

Phenomenology
Philosophy of fiction
Philosophy of the text
Phonology
Formal school
Functional asymmetry of the cerebral hemispheres
brain

"Khazar Dictionary"
Characterology
"The banana fish is good to catch"

Schizophrenia
"School for Fools"
"The Sound and the Fury"

Egocentric words
Oedipus complex
Existentialism
Expressionism
Extreme experience

Rudnev Vadim
Dictionary of 20th century culture