2015.3

This article investigates the problematics of Chinese “neorealism” (xin xieshizhuyi) through a case study of Wang Anyi’s novels and short stories. Wang Anyi’s fiction is both representative of neorealism and symptomatic of its problematics. Though her work is not limited by neorealist discourse, it demonstrates, to a certain extent, all basic features of neorealist literary aesthetics, such as depicting decidedly unheroic urbane mundane life, lowering the emphasize on historical influence and social controversy, and accentuating instead human existence ‘as it is’, openly discussing the topics of human biology and body, and using specific literary techniques to transmit individual feelings and perception of life.

Turkish community is imprescriptible part of the modern German society. As a result it has inevitable influence on the all aspects of social life, including literature. The formation of the literature of Turkish community interest to which highly increases recently started in the mid of 1960s and beginning of 1970s. The first works by Turkish authors represented life of so-called “guest-workers” in Germany, their main problems and hopes. The aim of our article is to represent the main features of the first period of the development of the Turkish-German literature.

The paper examines how contemporary Chinese avant-garde poets structure their oeuvre regarding the perception of language based on the presence of several different modes of forming a poetic text. The existence of two distinguishable artistic paradigms (“minjian” and “intellectual”) not only sets the formal criteria for differentiation of the poetic space, but also enriches the content of the experiments, linking them with the Chinese autochthonous tradition, “new literature” tradition dating roughly from the beginning of the 20th century and Western models of language appropriation.

The article is devoted to the analysis of Turkish absurd drama presented in the play of the Turkish absurd «classic» Sabahattin Kudret Aksal. In the frameworks of this theme the comparison between language peculiarities of Turkish and European absurd drama is conducted.

The article investigates a debut novel by Meir Shalev, a famous Israeli prosaist. Proceeding from the discurs-analysis it is proved that the national history concept in Shalev’s “Russian novel” (1988) is based at the post-modernist understanding of the world in which discourses deconstruction of ideological (Zionism) and religion (Judaism) had the determining meaning. The methods of the discursive codes and practices (“double coding principle” and others) play-mode re-coding give rise to the parody-laughing effect in the novel.

The paper shortly describes the main periods of the history of Kashmir starting from the times of antiquity and till the beginning of the 21st century. In parallel with this changes in sociolinguistic status of the Kashmiri language are analyzed. The latter was in the past and nowadays still remains the main means of oral communication for the majority of the population of the state, but the field of its functions has turned to be considerably reduced. Urdu declared as the only official language of Jammu and Kashmir, has ousted Kashmiri from practically all the spheres of writing, printing and electronic communication, including administrative activity, management, education and mass media. Thus Kashmiri, being historically the major language of the country, characterized by ancient and rather well developed literary tradition, by now has got transformed into a language of minority which may be qualified as an “endangered” one. In case the contemporary state of things remains preserved also in future, Kashmiri may simply disappear from the linguistic map of Hindustan.

The paper provides a translation with commentary of the “Chaoqi pian” chapter from Wang Chong’s (I A.D.) “Lunheng” made by the author.