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The article makes an attempt to analyze the writing strategy of one of the leading representa- tive of the contemporary literary process: the dramatist, actor, film and theatre director Ivan Vyrypaev (based on his monodrama July and drama Genesis 2). The text of the Bible has been part of literary discourses for centuries. It also appears in the works of Ivan Vyrypaev: as reminiscences and paraphrases, or as the principles of Semitic rhetoric in the plays (re- flected in poetic parallelism, parataxis, etc.). This method is not only a sign of the author’s formal researches, but also imposes the principles of ‘involved reading’ on the audience. This kind of subjective and even subversive reading of the Bible seems to be part of contemporary culture, which seeks to re-explore the metaphysics of the modern world through intuitive exploration of religious experience. In the works of Vyrypaev, the Bible is a cultural concept deeply rooted in the realities of everyday life. Thus, Vyrypaev plays a game with tradition, which oscillates between the categories of privacy and versatility in the attempts to rediscov- er humanity in the modern world.
słowa kluczowe w j. polskim:
Iwan Wyrypajew, współczesny dramat rosyjski, Biblia w dramacie, zwrot postsekularny, "Nowa Drama" Rosja, retoryka semicka, dramat Lipiec, Księga Rodzaju 2, Żywoty świętych, Hiob, Żona Lota, menippea
liczba arkuszy wydawniczych:
0,7
wydział: instytut / zakład / katedra:
Wydział Filologiczny : Instytut Filologii Wschodniosłowiańskiej