10. Магический реализм в творчестве с. Рашди.

Salman Rushdie, (1947) known as Mallun Rushdie in Islamic world, is a novelist andessayist and author of Midnight's Children (1981), which won the Booker Prize, and this later won the "Booker of Bookers". Rushdie was born in India, but lives in England.

Salman Rushdie is well-known for writing stories which use "magic realism", which is similar to surrealism. This means that things in his stories happen which may be magic or impossible, such as falling from an aeroplane and floating down as gently as paper^[1]. He often writes about India, and his stories often are set in different parts of the world.

Magic realism or magical realism is a genre where magic elements are a natural part in an otherwise mundane, realistic environment.^[1] Although it is most commonly used as a literary genre, magic realism also applies to film and the visual arts.

One example of magic realism occurs when a character in the story continues to be alive beyond the normal length of life and this is subtly depicted by the character being present throughout many generations. On the surface the story has no clear magical attributes and everything is conveyed in a real setting, but such a character breaks the rules of our real world. The author may give precise details of the real world such as the date of birth of a reference character and the army recruitment age, but such facts help to define an age for the fantastic character of the story that would turn out to be an abnormal occurrence like someone living for two hundred years.

11. Философские романы а. Мердок.

Dame Iris Murdoch DBE (15 July 1919 – 8 February 1999) was an Irish-born British author and philosopher, best known for her novels about good and evil, sexual relationships, morality, and the power of the unconscious. noted for her psychological novels that contain philosophical and comic elements.

Murdoch’s novels typically have convoluted plots in which innumerable characters representing different philosophical positions undergo kaleidoscopic changes in their relations with each other. Realistic observations of 20th-century life among middle-class professionals are interwoven with extraordinary incidents that partake of the macabre, the grotesque, and the wildly comic. The novels illustrate Murdoch’s conviction that although human beings think they are free to exercise rational control over their lives and behaviour, they are actually at the mercy of the unconscious mind, the determining effects of society at large, and other, more inhuman, forces. In addition to producing novels, Murdoch wrote plays, verse, and works of philosophy and literary criticism.

The Black Prince is Iris Murdoch's 15th novel, first published in 1973. The name of the novel alludes mainly to Hamlet.

Plot summary

The Black Prince is remarkable for the structure of its narrative, consisting of a central story bookended by forewords and post-scripts by characters within it. It largely consists of the description of a period in the later life of the main character, ageing London author Bradley Pearson, during which time he falls in love with the daughter of a friend and literary rival, Arnold Baffin. For years Bradley has had a tense but strong relationship with Arnold, regarding himself as having 'discovered' the younger writer. The tension is ostensibly over Bradley's distaste for Arnold's lack of proper literary credentials, though later the other characters claim this to be a matter of jealousy or the product of an Oedipus complex. Their closeness is made apparent from the start of the book, however, as Arnold telephones Bradley, worried that he has killed his wife, Rachel, in a domestic row. Bradley attends with another character, Francis Marloe, in tow.

Bradley then starts to get trapped in a growing dynamic of family, friends, and associates who collectively seem to thwart his attempts at achieving the isolation he feels necessary to create his 'masterpiece'.

During this time he falls in love with the Baffins' young daughter, Julian. Despite a private vow never to confess or seek to realise this love, he promptly blurts it out to Francis, thereafter abandoning self-control, embarking on a brief, intense affair, stealing Julian to a rented sea-side cottage, neglecting pressing needs at home. During his absence his depressed sister, Priscilla, commits suicide. While Bradley postpones returning, Arnold arrives, enraged, to collect his daughter, though leaves, apparently, without her, with a promise that she will return home the next day. Yet Julian vanishes in the night, in Bradley's mind (at least), is taken off and hidden against her will. The final action of the main section takes place at the Baffins' residence, where Bradley attends an incident parallel to the opening one: Rachel appears to have struck Arnold with a poker, killing him. Bradley's arrest, trial, and conviction for Arnold's murder are briefly described, bringing to a close Bradley's telling of the events.

12. Драматургия 2 пол. 20 века: С.Беккет, Г. Пинтер.

The plays of Harold Pinter and Samuel Beckett contributed much to their time in their use of staging and language. Their plays are focused more on the language that is use, or not used in Pinter's case, than on the plot itself. Each playwright incorporates a different style in the performance of his work as well as in the speech of his characters. Pinter tends to primarily use a pause between lines or thoughts while Beckett uses much more repetition in his work.

In Pinter's The Homecoming, he tries to portray the play as realistic. He claims that "what goes on in my plays is realistic, but what I'm doing is not realism" (Burkman 1971: 3). Much of what goes on in the play seems realistic - including the dialogue. However,  "The drama of Harold Pinter evolves in an atmosphere of mystery. While the surfaces of life are realistically detailed, the patterns below the surface are as obscure as the motives of the characters, the pause as prominent and suggestive as the dialogue. Despite the vivid naturalism of his characters' conversations, they behave very often more like figures in a dream than people with whom one can easily identify, at least on superficial levels" (Burkman 1971: 3).

Pinter's primary technique in dialogue is the "pause." He uses this pause between almost every line throughout The Homecoming. The pause "heightens the effect of noncommunication…" while repetitions and lack of logic of ordinary conversation that are omitted from realist plays give it a "distinctive combination of the banal and the strange" (Burkman 1971: 5). There are scenes throughout the play that exemplify this argument, such as:

Teddy: I've…just come back for a few days.  Lenny: Oh yes? Have you?  Pause.  Teddy: How's the old man?  Lenny: He's in the pink.  Pause.  Teddy: I've been keeping well.  Lenny: Oh, have you? Pause. Staying the night then are you?  Teddy: Yes. (Pinter 1991: 38)

In this short scene, one can see the awkwardness that the pause creates in a conversation. Pinter does not specify what goes on during these pauses and leaves it up to the director and actors to effectively communicate to the audience the awkward situation at hand.

It seems that as the play progresses the absurdity of it becomes more apparent. The conversation between Max and Lenny in the opening seems very realistic. Yet, it does have its moments of going off track whenever a pause appears in the script. It seems that every few lines or so the characters change the topic of conversation as well as their attitudes. Toward the final curtain the absurdity is clearer with Ruth having her sexual power over the men as well as their "business" proposal to her.

Beckett's Endgame is much more obvious in its absurdity than The Homecoming. His style can be described as a drama "of the nonspecific" (Murphy 1994: 43). The absurdity of the play stems from its stage setup as well as its dialogue and plot (or lack thereof). Like Pinter, Beckett uses a lot of pauses - although not nearly as much as Pinter does - between lines and repetition of lines, phrases, and questions.

The play opens with repetitive questions followed by Nagg's repetition. Beckett believed that "No language is so sophisticated as English. It is abstracted to death" (Eliopulos 1975: 58). There is also the ever-present dialogue without meaning or response. "The characters can speak to each other without communicating anything, for the experience has become incommunicable" (Eliopulos 1975: 53).

Much of the absurdity can be found in the characters themselves, even before they speak. Hamm is first seen sitting in an armchair, covered by a cloth on stage. There are also Hamm's parents, Nagg and Nell, who are introduced to the audience by coming out of garbage bins. More absurdity can be found in the actually setting of the play. Beckett does not specify what year, day, time, or place in which the play is occurring. There are references to there being no world outside; but then why are the characters still alive and where does their food come from if Hamm can't walk and Clov never leaves?

The audience is left to wonder what sort of world it is in which these characters are living. Nothing in the dialogue elaborates on what is occurring in the play; no questions about the setting or the characters are answered. The same conversations reappear throughout the duration, such as Hamm and Clov arguing about leaving the house. Every few pages in the text Clov states, "I'll leave you" in the middle of a conversation and Hamm will usually ignore it and continue with whatever he has been saying.

Beckett and Pinter both belong to an absurdist style of theatre however much their styles differ one another. Pinter's absurdity in The Homecoming is much more subtle and limited than that of Beckett's Endgame. Both playwrights focus primarily on the absurdity of language and communication - if that is what you can call it - than on the plot at hand.

Each play leaves much to the directors' and actors' discretion as to how to interpret the dialogue; do the playwrights themselves even know what goes on during the pauses and repetitions? Even with all the complications of the performance and interpretation, Beckett and Pinter have left an impact on modern theatre (more so in Europe than anywhere else). Their techniques and use of language can be seen in many more modern plays and playwrights.