Добавил:

ivanov666 Опубликованный материал нарушает ваши авторские права? Сообщите нам.

Вуз:

Башкирский Государственный Аграрный Университет

Предмет:

[НЕСОРТИРОВАННОЕ]

Файл:

Компаративные филологические исследования в XXI веке. Монография-1

.pdf

Скачиваний:

Добавлен:

07.09.2026

Размер:

2 Мб

Скачать

☆

<<< < Предыдущая 1 2 3 4 5 6 78 / 208 9 10 11 12 13 14 15 16 17 18 19 20 > Следующая >>>

 ,      , —     24 12 18.         ,    : «        ,  ,      ,     ,    .    ,   : “   ,    ,     .   ,    .  -13”» [, .23].        —     ,     .

  , ,        ,       ,       : «   ,     .     ,   ,   ,       .  ,   ,    ,   ,     » [, .39].

        ,     .  ,    —  ,         : «  -1  . ,     ,  . ,   » [, .186].

           .        ,   ,     (, ).    

    ,       ,     .  ,    ,     ,       : «    .    ,    . <…>    ,  ,   .   ,» [, .184].

« » «»        .        ,   , — ,      ,  .        ,   : «,   ,  —  .     ». [, .647]

.   ,      ,       .  ,      ,  « »  : “Writers of young adult novels educat[e] their readers through the pains of social and physical metamorphosis while entertaining them in order to oer useful suering that with hope and action emerges into aless painful adulthood” [Totaro, . 136].

     ,    «»  « »   ,     . « »  ,        . «»     , ,    ,     .

.                  . 

       ,         (     ).           ,   : “is would be akey dierence in dystopian ction for young adults, where the emotional catharsis of tragedy is still the product le for the reader based on the incredibly emotive (even if seemingly negative) experience of trauma through violence in literature. While young adult readers are made aware of and learn about the political and social worlds through the texts, they experience these worlds through the feelings of atraumatized protagonist, and this is what they come to know best in reading. In doing so, young readers have positive experiences that help them grow emotionally through exposure to violence. is sets violence in literature apart from the other popular forms of media violence” [Polladian, . 85–86].

,        . ,       -  ,        ,   « » « ». ,        , , ,    .     ,      ,      ,     .

, « »—  ,    - .   «—   »    ;           . « »—     ,    .        .

  « »— -   . —       .     ( ,    , )      —   ,       .   —   ,  ,       .

,       .      , ,    ,  ,      .   ,           - ,    .           ,     .       ,   ,          :    .             .            ,      ,   .

Источники

Коллинз С.  .  . -. .:  , 2016. 896.

Лоури. Л. . .:  , 2020. 200.

Исследования

Игнатова И. В.         (  .  «e Hunger Games»)//   . 2015. 6. .440–451.

Boudinot D. Violence and Fear in Folktales. e Looking Glass: New Perspectives on Children’s Literature. URL: https://dspace.library.uvic.ca/bitstream/ handle/1828/11060/Boudinot_David_LookingGlass_2005.pdf?sequence=1 (accessed 21.02.2023).

Poladian L. Narrating Trauma: the Value of Violence in Young Adult Dystopian Fiction// e Age of Dystopia. Cambridge Scholars Publishing, 2016. P.73–90.

Stahl J. D. Preface. Crosscurrents of Children’s Literature: An Anthology of Texts and Criticism. New York: Oxford UP, 2007. P. XXXV–XLI.

Totar o R. Suering in Utopia: Testing the Limits in Young Adult Novels. Utopian and Dystopian Writing for Children and Young Adults. New York: Routledge, 2003. P.127–138.

2.2. Категория инаковости

ипоэтика двойственности вромане травмы

“I’m just going through aphase right now. Everybody goes through phases and all, don’t they?”      . .  «  », ,   «» -   ,        ,   18-        .    ,    ,  . ,  ,  -          ,      ,  ,  :   ,     ,  ,   . .

   ,  ,   ,  , ,       ,    ,      .   ,      «  N»,      : «,       ,      ,  ,  ,        »7 [Stolarz].    ,     :       «  »    ,      — , ,  8,  ,             ()        (  ).

  . .,   —  отсроченная реакция натравматический стресс (  ,  , ,  .),   психические нарушения

“BeforeI started writing my most recent novel, Jane Anonymous, Iknew Iwanted to aim my camera lens on that period of time, post-trauma, when the threat is removed but the wounds remain, raw and searing, as the individual tries to acclimate back in her safer space”.

   () ,  -10,      «    » (F43.1).          ,    ,       .      ,   ,  ,     ,  , , ,  [ . .,  . .   . «». 2002. 164–173].

   [, .18]. ,         , , ,        (. . , , , ,   ,  ,  ,  ).

     ,

              , ,  ,  ,      . ..   , --  -- (   ,   ).       ,     .       ,        .   ,  ,        ,   .          ,     .

 «  » (“All the Bright Places”) -

 9   -—  .      ,     .   ,     :  

  : “Jennifer Niven is the Emmy Award-win ning #1 New York Times and International bestselling author of eleven books, including YA novels All the Bright Places, Holding up the Universe, Breathless, and Take Me With You When You Go (with David Levithan). Her books have been translated in over 75languages, and All the Bright Places has won literary awards around the world, including the GoodReads Choice Award for Best Young Adult Fiction of 2015. It was named aBest Book of the Year by Time Magazine, NPR, the Guardian, Publisher’s Weekly, YALSA, Barnes & Noble, BuzzFeed, the New York Public Library, and others, and was the #1 Kids’ Indie Next Book for Winter ‘14-’15” [https://www.jenniferniven.com/jenniferniven/Jennifer] (accessed 01.02.2023).

 ,    ,   ,     ,  ,      .

           ,       : — , — , — , —  . .     : «,      ,    .       ,    ,    »10 [].  :   ,    .  ,  ,     : « ,      .  ,  » []. ,  ,      --,        --,             .   ,      , . .      ,   ,,   .

     понимание  :   ,  ,  ,    .  ,    —    —      ,   .  ,         ,   -

      .  -

. .: , 2015. 320.

    --.        : « .  ,      . , ,   .     ,  ,    … —     . —       ,   » [].

    (  )    ,   ,  .  —  :     ,    .    ,  ,         (   ,    ,    ,        ,    ,      )     «» .   -    .   .

   ,    .   -    ,      : «   . ,   .   .   ,   .    .  ,   — .   . . . .  ,      .   ,   ,      .  ,   .     , ,  ,   .   ,    ,         . ,    —    ,     .  , 

   ,   ,       ,   , .       .    ,   .   .   ,    .    ,   , ,   , ,    . , ,  ? . » []11.

   ,  .    : , , …         .   ,  :     ,        ,      .   ,        ,       .      ,         .  ,          ,    .

          ,     ,    : «“  !”—  ,    .   “”        , ,   . — “,      ,    ,

  —    : «   ,         ,   ,     .    .       , ,   » [].

<<< < Предыдущая 1 2 3 4 5 6 78 / 208 9 10 11 12 13 14 15 16 17 18 19 20 > Следующая >>>

Соседние файлы в предмете [НЕСОРТИРОВАННОЕ]