Daria Baryshnikova - Academia.edu (original) (raw)
Papers by Daria Baryshnikova
Exploring the Spatiality of the City across Cultural Texts
Frontiers of Narrative Studies
In the early 1960 s Brion Gysin, while experimenting in various genres and media, “re-invented” t... more In the early 1960 s Brion Gysin, while experimenting in various genres and media, “re-invented” the cut-up technique that first had appeared in the 1910-1920s in Dadaists art practices. The accidental selection of texts’ or visuals’ fragments and the randomness in their combination in cut-ups were aimed to represent multiple experiences occupying the human mind. Methodologically I draw upon “natural” narratology developed by Monika Fludernik, who redefines narrativity in terms of experientiality. Correspondingly, cut-up technique can be regarded as a means of representing human perception and other mental processes (unobservable directly), especially by mapping the simultaneity of external observations and internal reflections that exist in constant relationships between minds and their environments. The paper brings into correlation the enactivist idea of cognition without content, elaborated by Daniel D. Hutto and Eric Myin, with the idea that cut-up narratives in a sense also hav...
International Journal of Cultural Research
In: A. Frischmuth, Th. Hoy, Ch. Färber (Hg.) Erinnerungsraum Osteuropa. Zur Poetik der Migration, Erinnerung und Geschichte in der Slavischen Literatur des 20. und 21. Jahrhunderts. , 2019
The paper explores the specifics of cut-ups as a form and technique. It focuses on narrative str... more The paper explores the specifics of cut-ups as a form and technique. It focuses on narrative strategies for representing consciousness in cut-ups, and discusses the relevance of 'natural' and 'unnatural' narrative approaches as a method for analysis in the case-study of Pavel Ulitin’s prose that combines the features of cut-up- and the stream-of-consciousness method of narration.
Frontiers of Narrative Studies. De Gruyter Online. Vol. 4 Issue s1 , 2018
In the early 1960 s Brion Gysin, while experimenting in various genres and media, "re-invented" t... more In the early 1960 s Brion Gysin, while experimenting in various genres and media, "re-invented" the cut-up technique that first had appeared in the 1910-1920s in Dadaists art practices. The accidental selection of texts' or visuals' fragments and the randomness in their combination in cut-ups were aimed to represent multiple experiences occupying the human mind. Methodologically I draw upon "natural" narratology developed by Monika Fludernik, who redefines narrativity in terms of experientiality. Correspondingly, cut-up technique can be regarded as a means of representing human perception and other mental processes (unobservable directly), especially by mapping the simultaneity of external observations and internal reflections that exist in constant relationships between minds and their environments. The paper brings into correlation the enactivist idea of cognition without content, elaborated by Daniel D. Hutto and Eric Myin, with the idea that cut-up narratives in a sense also have no content. As there are no consistent and coherent story in cut-ups, there could be difficult for the reader to produce a clear mental representation of what is happening in the text. My paper proposes a new reading of texts that initially seem to be uncommunicative.
В книге: Улитин, Павел. Четыре кварка и другие тексты. Москва: Новое Литературное Обозрение , 2018
In: Robert Matthias Erdbeer, Florian Kläger, Klaus Stiertorfer (Hg.) Literarische Form / Literary Form. Theorien – Dynamiken – Kulturen. Beiträge zur literarischen Modellforschung / Theories – Dynamics – Cultures. Perspective on Literary Modelling. , 2018
The paper examines the cut-up works of Dada-poet Tristan Tzara, American writer William S. Burrou... more The paper examines the cut-up works of Dada-poet Tristan Tzara, American writer William S. Burroughs(1914-1997), and Russian writer Pavel Ulitin (1918-1986). It explores the transformations of the cut-up form in different socio-cultural contexts while focusing on interpretations of narrative conceptualization of the writing experience as reflected in the texts of Ulitin and Burroughs. The forms of this narrativization are examined based on the conception of ‘experientiality’ introduced by Monika Fludernik (1996) and the cognitive approach proposed by Alan Palmer (2004). In my comparative case-study I seek to demonstrate how and why the cut-ups form, used as a device as well, conveys the specificity of contemporary writing at its best.
In this paper I am concerned with the representation of minds and mental processes in cut-up lite... more In this paper I am concerned with the representation of minds and mental processes in cut-up literature and with the possibilities of narratological research of experimental prose of this kind.
![Research paper thumbnail of Поэтика и художественные стратегии П.П. Улитина в контексте литературы московского концептуализма. 1960-1970е гг. // Пригов и концептуализм. Москва: НЛО, 2014. с 282-287. [The Poetics and the artistic Strategies of Pavel Ulitin within the Context of Moscow Conseptualist Literature in 1960–1970s]](https://attachments.academia-assets.com/38045229/thumbnails/1.jpg)
](![Research paper thumbnail of "Путешествие без Надежды" П.П. Улитина: выход в другую прозу ("Труды РАШ" №13, 2013) [„A Journey Without Hope” by Pavel Ulitun: Exit to an Another Prose]](https://attachments.academia-assets.com/32359064/thumbnails/1.jpg)
](The paper investigates how a “jorney” could be used as a metaphor for the resignifying of space. ... more The paper investigates how a “jorney” could be used as a metaphor for the resignifying of space. Taking into account various spacial aspects of literary texts' analysis I demonstrate how the works by Russian writer Pavel Ulitin (1918-1986) could be characterised and interpreted as an aesthetic reaction not only to the internal literary process and cultural situation in Soviet Russia, but also to the new cultural global state (of postmodernity, defined by Fredric Jameson).
В статье рассматривается, как «путешествие» можно использовать в качестве метафоры переозначивания пространства. С учётом различных типов пространственных отношений, выявляемых в текстах и в их взаимосвязях с действительностью, показывается, как прозу П.П. Улитина (1918–1986) можно интерпретировать как эстетическую реакцию не только на литературный процесс и культурную ситуацию внутри СССР, но и (при помощи концепции Ф. Джеймисона) как реакцию на новое глобальное состояние культуры, формирующееся в 1960-х.
![Research paper thumbnail of "Аммортизация бреда": советский дискурс в психоделическом реализме ("Труды РАШ №11, 2013) [“Ammortization of Ravings”: Soviet Discourse in Psychedelic Realism]](https://attachments.academia-assets.com/32358835/thumbnails/1.jpg)
](This article examines three examples of representation in literature of the Soviet discourse and ... more This article examines three examples of representation in literature of the Soviet discourse and intends to analyze the specific of literary works which could be attributed to the “psychedelic realism” trend in literature (“Kashirskoe Shosse” by A. Monastyrsky (1987), “The Mythogenic Love of Castes” by S. Anufriyev and P. Pepperstein (1999–2002), “Notes on the Tea-Drinking and Earthquakes” by L. Bogdanov (1987). Various aspects of the “historical” experience transform into artistic practice in a different ways. Analyzing the use and interpretations of Soviet discourse in the literature of post- (or later-) Soviet period, I attempt to analyze this relationship, relevant to the type of literary texts, at the same time trying to specify their poetics, problems, aesthetic and thematic characteristics, that could allow to expand the contexts of literary and cultural processes in the 1980–2000s.
В статье на примере репрезентации в литературе советских дискурсивных практик предпринимается попытка анализа специфики произведений, условно связываемых с направлением психоделического реализма» — «Каширское шоссе» А. Монастырского (1987), «Мифогенная любовь каст» С. Ануфриева и П. Пепперштейна (1999–2002), «Заметки о чаепитии и землетрясениях» Л. Богданова (1987). Различные аспекты опыта, укорененного в «историческом», могут по-разному транформироваться в художественных практиках. При помощи анализа проблем отношения, использования и интерпретации советского дискурса в пост- или позднесоветский период выясняется специфика этого отношения, связанная с типом художественных текстов, параллельно уточняется их поэтика, проблематика, эстетические и тематические характеристики, что позволяет расширять контексты литературного и культурного процесса 1980–2000-х гг.
![Research paper thumbnail of Фауст в литературе: трансформация образа ("Труды РАШ" №10, 2012) [Faust in Literature: Transformations of the Character]](https://attachments.academia-assets.com/32359017/thumbnails/1.jpg)
](The article outlines the major tendencies in the study of Faust, one of the central characters in... more The article outlines the major tendencies in the study of Faust, one of the central characters in European culture. They are mainly thematic studies, concerned in the least with problems of form. First, Faust is analysed as a historical type, these studies are being interested in intertextual relationships and the functioning pf Faustian theme in literature. The second trend examines Faust as a psychological type, the third, as a symbolic figure. In this article, the Faustian theme is treated from the perspective of the story representation, and the use of Faust character as a symbol or metaphor. It demonstrates that, having arisen in the XVIc. Faust character disintegrates, loses its symbolic significance and is being increasingly used as a mere metaphor. In parallel, I consider a transformation of cultural contexts and possible relationships of these processes with a change in form (and essence) of Faustian narratives.
Book Reviews by Daria Baryshnikova
Oбзор работ по "неестественной" нарратологии UNNATURAL NARRATIVES — UNNATURAL NARRATOLOGY/Eds. J... more Oбзор работ по "неестественной" нарратологии
UNNATURAL NARRATIVES — UNNATURAL NARRATOLOGY/Eds. J. Alber, R. Heinze. — Berlin: De Gruyter, 2011. — 273p.— (Linguae &Litterae. Vol. 9).
Fludernik M. HOW NATURAL IS «UNNATURAL NARRATOLOGY», OR WHAT IS UNNATURAL ABOUT UNNATURAL NARRATOLOGY? // Narrative. — 2012. — Vol. 20. №3. — P. 357—370.
Alber J., Iversen S., Nielsen H.S., Richardson B. WHAT IS UNNATURAL ABOUT UNNATURAL NARRATOLOGY?: A RESPONSE TO MONIKA FLUDERNIK//Narrative. — 2012. — Vol. 20. № 3. — P. 371—382.
A POETICS OF UNNATURAL NARRATIVE / Eds. J. Alber, H.S. Nielsen, B. Richardson. — Columbus: Ohio State University Press, 2013. — 234p. — (Theory and Interpretation of Narrative).
В обзоре рассмотрены два сборника статей: CURRENT TRENDS IN NARRATOLOGY/ Ed. G. Olson. — Berlin... more В обзоре рассмотрены два сборника статей:
CURRENT TRENDS IN NARRATOLOGY/ Ed. G. Olson. — Berlin:De Gruyter,2011. — VIII,367p. — (Narratologia. Vol.27).
STRANGE VOICES IN NARRATIVE FICTION/Eds. P.H. Han sen, S. Iversen, H.S. Nielsen, R. Reitan. — Berlin: De Gruyter, 2011. — 268p. — (Narratologia. Vol. 30).посвященные актуальным подходам к исследованию повествования, и монография Currie G. NARRATIVES AND NARRATORS: A PHILO SOPHY OF STORIES. — Oxford: Oxford University Press, 2010. — XX, 243 p., содержащая первую теорию повествования в традиции аналитической философии
Exploring the Spatiality of the City across Cultural Texts
Frontiers of Narrative Studies
In the early 1960 s Brion Gysin, while experimenting in various genres and media, “re-invented” t... more In the early 1960 s Brion Gysin, while experimenting in various genres and media, “re-invented” the cut-up technique that first had appeared in the 1910-1920s in Dadaists art practices. The accidental selection of texts’ or visuals’ fragments and the randomness in their combination in cut-ups were aimed to represent multiple experiences occupying the human mind. Methodologically I draw upon “natural” narratology developed by Monika Fludernik, who redefines narrativity in terms of experientiality. Correspondingly, cut-up technique can be regarded as a means of representing human perception and other mental processes (unobservable directly), especially by mapping the simultaneity of external observations and internal reflections that exist in constant relationships between minds and their environments. The paper brings into correlation the enactivist idea of cognition without content, elaborated by Daniel D. Hutto and Eric Myin, with the idea that cut-up narratives in a sense also hav...
International Journal of Cultural Research
In: A. Frischmuth, Th. Hoy, Ch. Färber (Hg.) Erinnerungsraum Osteuropa. Zur Poetik der Migration, Erinnerung und Geschichte in der Slavischen Literatur des 20. und 21. Jahrhunderts. , 2019
The paper explores the specifics of cut-ups as a form and technique. It focuses on narrative str... more The paper explores the specifics of cut-ups as a form and technique. It focuses on narrative strategies for representing consciousness in cut-ups, and discusses the relevance of 'natural' and 'unnatural' narrative approaches as a method for analysis in the case-study of Pavel Ulitin’s prose that combines the features of cut-up- and the stream-of-consciousness method of narration.
Frontiers of Narrative Studies. De Gruyter Online. Vol. 4 Issue s1 , 2018
In the early 1960 s Brion Gysin, while experimenting in various genres and media, "re-invented" t... more In the early 1960 s Brion Gysin, while experimenting in various genres and media, "re-invented" the cut-up technique that first had appeared in the 1910-1920s in Dadaists art practices. The accidental selection of texts' or visuals' fragments and the randomness in their combination in cut-ups were aimed to represent multiple experiences occupying the human mind. Methodologically I draw upon "natural" narratology developed by Monika Fludernik, who redefines narrativity in terms of experientiality. Correspondingly, cut-up technique can be regarded as a means of representing human perception and other mental processes (unobservable directly), especially by mapping the simultaneity of external observations and internal reflections that exist in constant relationships between minds and their environments. The paper brings into correlation the enactivist idea of cognition without content, elaborated by Daniel D. Hutto and Eric Myin, with the idea that cut-up narratives in a sense also have no content. As there are no consistent and coherent story in cut-ups, there could be difficult for the reader to produce a clear mental representation of what is happening in the text. My paper proposes a new reading of texts that initially seem to be uncommunicative.
В книге: Улитин, Павел. Четыре кварка и другие тексты. Москва: Новое Литературное Обозрение , 2018
In: Robert Matthias Erdbeer, Florian Kläger, Klaus Stiertorfer (Hg.) Literarische Form / Literary Form. Theorien – Dynamiken – Kulturen. Beiträge zur literarischen Modellforschung / Theories – Dynamics – Cultures. Perspective on Literary Modelling. , 2018
The paper examines the cut-up works of Dada-poet Tristan Tzara, American writer William S. Burrou... more The paper examines the cut-up works of Dada-poet Tristan Tzara, American writer William S. Burroughs(1914-1997), and Russian writer Pavel Ulitin (1918-1986). It explores the transformations of the cut-up form in different socio-cultural contexts while focusing on interpretations of narrative conceptualization of the writing experience as reflected in the texts of Ulitin and Burroughs. The forms of this narrativization are examined based on the conception of ‘experientiality’ introduced by Monika Fludernik (1996) and the cognitive approach proposed by Alan Palmer (2004). In my comparative case-study I seek to demonstrate how and why the cut-ups form, used as a device as well, conveys the specificity of contemporary writing at its best.
In this paper I am concerned with the representation of minds and mental processes in cut-up lite... more In this paper I am concerned with the representation of minds and mental processes in cut-up literature and with the possibilities of narratological research of experimental prose of this kind.
The paper investigates how a “jorney” could be used as a metaphor for the resignifying of space. ... more The paper investigates how a “jorney” could be used as a metaphor for the resignifying of space. Taking into account various spacial aspects of literary texts' analysis I demonstrate how the works by Russian writer Pavel Ulitin (1918-1986) could be characterised and interpreted as an aesthetic reaction not only to the internal literary process and cultural situation in Soviet Russia, but also to the new cultural global state (of postmodernity, defined by Fredric Jameson).
В статье рассматривается, как «путешествие» можно использовать в качестве метафоры переозначивания пространства. С учётом различных типов пространственных отношений, выявляемых в текстах и в их взаимосвязях с действительностью, показывается, как прозу П.П. Улитина (1918–1986) можно интерпретировать как эстетическую реакцию не только на литературный процесс и культурную ситуацию внутри СССР, но и (при помощи концепции Ф. Джеймисона) как реакцию на новое глобальное состояние культуры, формирующееся в 1960-х.
This article examines three examples of representation in literature of the Soviet discourse and ... more This article examines three examples of representation in literature of the Soviet discourse and intends to analyze the specific of literary works which could be attributed to the “psychedelic realism” trend in literature (“Kashirskoe Shosse” by A. Monastyrsky (1987), “The Mythogenic Love of Castes” by S. Anufriyev and P. Pepperstein (1999–2002), “Notes on the Tea-Drinking and Earthquakes” by L. Bogdanov (1987). Various aspects of the “historical” experience transform into artistic practice in a different ways. Analyzing the use and interpretations of Soviet discourse in the literature of post- (or later-) Soviet period, I attempt to analyze this relationship, relevant to the type of literary texts, at the same time trying to specify their poetics, problems, aesthetic and thematic characteristics, that could allow to expand the contexts of literary and cultural processes in the 1980–2000s.
В статье на примере репрезентации в литературе советских дискурсивных практик предпринимается попытка анализа специфики произведений, условно связываемых с направлением психоделического реализма» — «Каширское шоссе» А. Монастырского (1987), «Мифогенная любовь каст» С. Ануфриева и П. Пепперштейна (1999–2002), «Заметки о чаепитии и землетрясениях» Л. Богданова (1987). Различные аспекты опыта, укорененного в «историческом», могут по-разному транформироваться в художественных практиках. При помощи анализа проблем отношения, использования и интерпретации советского дискурса в пост- или позднесоветский период выясняется специфика этого отношения, связанная с типом художественных текстов, параллельно уточняется их поэтика, проблематика, эстетические и тематические характеристики, что позволяет расширять контексты литературного и культурного процесса 1980–2000-х гг.
The article outlines the major tendencies in the study of Faust, one of the central characters in... more The article outlines the major tendencies in the study of Faust, one of the central characters in European culture. They are mainly thematic studies, concerned in the least with problems of form. First, Faust is analysed as a historical type, these studies are being interested in intertextual relationships and the functioning pf Faustian theme in literature. The second trend examines Faust as a psychological type, the third, as a symbolic figure. In this article, the Faustian theme is treated from the perspective of the story representation, and the use of Faust character as a symbol or metaphor. It demonstrates that, having arisen in the XVIc. Faust character disintegrates, loses its symbolic significance and is being increasingly used as a mere metaphor. In parallel, I consider a transformation of cultural contexts and possible relationships of these processes with a change in form (and essence) of Faustian narratives.
Oбзор работ по "неестественной" нарратологии UNNATURAL NARRATIVES — UNNATURAL NARRATOLOGY/Eds. J... more Oбзор работ по "неестественной" нарратологии
UNNATURAL NARRATIVES — UNNATURAL NARRATOLOGY/Eds. J. Alber, R. Heinze. — Berlin: De Gruyter, 2011. — 273p.— (Linguae &Litterae. Vol. 9).
Fludernik M. HOW NATURAL IS «UNNATURAL NARRATOLOGY», OR WHAT IS UNNATURAL ABOUT UNNATURAL NARRATOLOGY? // Narrative. — 2012. — Vol. 20. №3. — P. 357—370.
Alber J., Iversen S., Nielsen H.S., Richardson B. WHAT IS UNNATURAL ABOUT UNNATURAL NARRATOLOGY?: A RESPONSE TO MONIKA FLUDERNIK//Narrative. — 2012. — Vol. 20. № 3. — P. 371—382.
A POETICS OF UNNATURAL NARRATIVE / Eds. J. Alber, H.S. Nielsen, B. Richardson. — Columbus: Ohio State University Press, 2013. — 234p. — (Theory and Interpretation of Narrative).
В обзоре рассмотрены два сборника статей: CURRENT TRENDS IN NARRATOLOGY/ Ed. G. Olson. — Berlin... more В обзоре рассмотрены два сборника статей:
CURRENT TRENDS IN NARRATOLOGY/ Ed. G. Olson. — Berlin:De Gruyter,2011. — VIII,367p. — (Narratologia. Vol.27).
STRANGE VOICES IN NARRATIVE FICTION/Eds. P.H. Han sen, S. Iversen, H.S. Nielsen, R. Reitan. — Berlin: De Gruyter, 2011. — 268p. — (Narratologia. Vol. 30).посвященные актуальным подходам к исследованию повествования, и монография Currie G. NARRATIVES AND NARRATORS: A PHILO SOPHY OF STORIES. — Oxford: Oxford University Press, 2010. — XX, 243 p., содержащая первую теорию повествования в традиции аналитической философии