Pelevin

В статье психоделическая тема в романе Пелевина «Generation П» рассматривается как стратегия, воссоздающая для читателя элементы психоделического опыта. Гипостазирование визуально воспринимаемых элементов является характерной чертой неопсиходелической прозы Пелевина. Концентрация внимания на отдельной составляющей, невосприятие «картинки» окружающей действительности в ее целостности, невозможность рационального осмысления и иерархического выстраивания организующих «картинку» элементов – эффект, производимый многими психоактивными веществами (ПАВ). Внимание фиксируется на одной из деталей сеттинга, которая как бы вынимается из общей системы. В результате подробного анализа данной текстовой стратегии в романе Пелевина делается вывод, что психоделическая тема у Пелевина продиктована стремлением выйти за привычные логические рамки, освободить интуитивное сознание и открыть внутреннее зрение. Реализуясь на уровне структуры текста, она, в результате, становится ключом – одной из практик расширения сознания и открытия внутреннего зрения.

Мы хотим проверить, возможно ли путём нарративного анализа доказать, что Пелевин пишет один мегатекст, как утверждает, например, Яворник. Нас интересует, насколько Пелевин схематичен в нарративной конструкции своих текстов. Кроме того сборник рассказов П5 вышел на пятнадцать лет позже романа Жизнь насекомых, что позволяет нам сравнить произведения раннего и позднего периода.  При анализе мы используем методы Альгирдаса Жюльена Греймаса, опираясь прежде всего на его концепции актантной схемы в глубине текста и акториализации актантов на поверхности текста.

В статье рассматриваются принципы построения реальности в романе Виктора Пелевина «Шлем ужаса» и Роберта Пирсига «Дзен и искусство ухода за мотоциклом», одним из которых является принцип дополнительности Нильса Бора. Оба автора видят реализацию принципа дополнительности в сознании дзен и оба о нем размышляют. Пирсиг, однако, тематизирует дополнительность и дзен. Пелевин – реализует дополнительность и дзен в тексте на уровне внутренней структуры, в дискурсивной практике героев.

This article is devoted to the work of the leading living Russian prose writer, Viktor Pelevin, in the context of the image and idea of world's end that is so present in his writings. In many of Pelevin's novels, a fictional world that the reader first accepts turns out to be a deliberate creation of this or that demiurge, realistically depicted as spin doctor. Apocalypse is thus rendered in a Gnostic/Buddhist manner. What is specific for Pelevin against a background of the postmodern and cyberpunk genres he continues, is the elaboration of an antiworld symbolic weapon, a formula that counters a world so as to make it perish. The main reason for this motif is the desire to protect/shelter oneself—and the reader—from the violence of language that remains authoritative even in absence of any public authority.

The article is devoted to the analysis of metanarratives in contemporary art. Arguing with J.-F. Lyotard’s famous statement that Postmodern is defined as incredulity towards metanarratives, the author asserts that in the Postmodern age metanarratives have not become a thing of the past, but acquired new features, thus becoming an essential component of postmodern aesthetics. Old metanarratives, which invariably carried ideological implications and thereby lost their relevance, are now replaced with new ones, associated with contemporary problematics and a particularly postmodern reception of the tragic. The author emphasizes the crucial character of a total revision of the axiological bases of modern society, seen as a way of liberating the perception of present problems from the burden of the old, noncurrent approaches, and clearing the way for the new metanarratives, free of the prejudices of the past.
The methodology of the article is based on an interdisciplinary approach. It involves explora-tion of metanarratives, expressed not only in fiction, but also in Willy Decker’s staging of the opera “La Traviata,” shown at the 2005 Salzburger Festspiele. Particular attention is given to the problem of the empty metaphysical center, which itself can be a source of pluralistic metanarration, free from ideology.

The subject of the following article centres around Victor Pelevin’s novels Empire V and Batman Apollo, which focus on portraying a modern society of vampires. The main objective is to present not only how Pelevin creates an alternative universe in his novels, but also to describe various contexts and traditions, that are featured in his literary works. In the introductory part of the text the authoress briefly explains Pelevin’s approach to postmodern literature and analyses his connection with Russian literary tradition, the usage of intertexual references, linguistic games and pop-cultural remarks. The text later confronts Pelevin’s creation of alternative universe with his philosophical insight and proves that Pelevin uses fantasy stories and vampiric themes to emphasize the fact that human existence is confusing and always marked with frightening nothingness.

The subject of the following article, shown on a background of several fields (literary theory, cultural studies, philosophy) centers around Victor Pelevin’s novel “T”. The main objective is not only to analyze it as a model example of postmodern literature (focusing on postmodern common themes, motifs and techniques) but also to de- scribe various contexts and traditions, which are featured in Pelevin’s literary works. The authoress pays special attention to the novel’s intertextuality and metafiction featured in it. On the background of such discourse, using “T” as a reference book, the conclusion of the essay covers the issues stated in Pelevin’s novel, emphasizing the ambivalence of emptiness, that can play both destructive and liberative role.

CONTENIDOS
Editorial
"Una pavorosa fiesta de hojas muertas":El Poema sin héroe de Anna Ajmátova
Laura Daniela Patino Castaño

"Al mar" de Aleksándr Pushkin
Traducción de Anastasia Belousova

"¡Adiós, libre elemento!": Sobre el amor en Marina Tsvietáieva
Tania Ganitsky

Polifonía y cristianismo en Dostoievski: ¿Ámbitos mutuamente excluyentes?
Tomás José Granobles Pacheco

El sujeto en la historia: La narrativa de Ryszard Kapuscinski
Danie/a María Arias Barragán

El soldado y la muerte
Traducción de Daniela Arias y Clara Calindo

Realismo y "simbolismo" en Almas muertas y la pintura flamenca del renacimiento
Santiago Esteban Méndez Parra

Víktor Pelevin: entender la nueva Rusia
Adolfo Guerrero Calderón

Entrevista a Poklonka editores

The article aims to describe the examples of wordplay in the novel S.N.U.F.F. of v. pelevin and analyze the translation of these examples in the polish version of the novel. In the introductory part some theoretical problems concerning wordplay are presented. the main part contains the most interesting examples of wordplay from the novel, the explanation of how the comical effect is obtained and the analysis of the translator's decisions. In the final part the conclusions are presented.

This study examines the novel Generation “П” written by Viktor Olegovich Pelevin  who is one of the leading representatives of the contemporary Russian literature. Pelevin, born and raised during the Soviet era, witnessed closely the havoc that Russia faced after the collapse of the socialist system. The struggle of the Russian society with the challenges of the post-Soviet period and the traumatic psychological effect brought about by the bankruptcy of the socialist ideology, became the main themes of his works. In Generation “П”, written at the end of the nineties when Russia was still in the midst of rapid economic, social and political transformation, wrapped by the Yeltsin administration in promises of a forthcoming better life, the author exposes and examines a byproduct of such sweeping changes towards capitalism - the emergence of a consumer society.  Pelevin depicts a world in which money has unlimited power and masses, manipulated and deprived of free will, are conditioned by television advertisements into mindless consumption. The ambiguous place of intelligentsia in this spectacular transformation of the Russian society, which for decades had been molded according to the socialist values and principles, into a consumer society is illustrated through the experience of the protagonist Vavilen Tatarski - initially a young idealistic poet who ends up working as copywriter. To depict this wicked world, Pelevin relies on techniques that are different from those traditionally used by writers in the genre of dystopia. His exposure of the consumer society is set in a fictional universe in which borders between fantastic world and the reality of post-Soviet Russia are extremely blurred. Pelevin uses intertextuality to bring the mythological heroes of ancient times back to life in the 1990s Moscow. References to mythology, which form the backbone of the work, invite the reader to develop a critical perspective by alienating him or her from the familiar. Beside mythical elements, use of Russian literary texts and English words and expressions together reflect the postmodernist pluralistic and eclectic character of the novel.