Сommenting on “Notes of Larionov”, Mikhail Shishkin defined his own authorial role in it as follows: «A novel is a means of finding the way to that very primordial love. The author for the characters is similar to God». One can extrapolate this by saying that the author is not only and not as much God to the fictional characters as a ps…[Read more]

Сommenting on “Notes of Larionov”, Mikhail Shishkin defined his own authorial role in it as follows: «A novel is a means of finding the way to that very primordial love. The author for the characters is similar to God». One can extrapolate this by saying that the author is not only and not as much God to the fictional characters as a ps…[Read more]

The long-term creative collaboration between Kira Muratova and Renata Litvinova began with the film “Uvlechen’ya” (“Pastimes”, 1994), in which Litvinova took part both as an actress and a screenwriter. Since then, Litvinova has become one of the most striking personifications of Muratova’s ornamental film style, which brings about a specific re…[Read more]

The long-term creative collaboration between Kira Muratova and Renata Litvinova began with the film “Uvlechen’ya” (“Pastimes”, 1994), in which Litvinova took part both as an actress and a screenwriter. Since then, Litvinova has become one of the most striking personifications of Muratova’s ornamental film style, which brings about a specific re…[Read more]

The article focuses on aspects of gesture in Mikhail Shishkin’s novel “Taking Izmail” (“Vziatie Izmaila”, 1999). The concept of gesture is frequently evoked in search of an alternative to speaking and rational meaning, since gesture, as a figure of muteness by itself, signals the nonsensical in the text and its production problematising the very p…[Read more]

The article focuses on aspects of gesture in Mikhail Shishkin’s novel “Taking Izmail” (“Vziatie Izmaila”, 1999). The concept of gesture is frequently evoked in search of an alternative to speaking and rational meaning, since gesture, as a figure of muteness by itself, signals the nonsensical in the text and its production problematising the very p…[Read more]

“‘The Underlying Gesture’. Towards the Notion of Gesture in Jean d’Udine and Sergei Eisenstein”. In: Rossella Catanese, Francesca Scotto Lavina, Valentina Valente (eds.), From Sensation to Synaesthesia in Film and New Media. Cambridge Scholars Publishing 2019, 102-115.

Editorial Article to the special issue “Mise en geste. Studies of Gesture in Cinema” (ed. by Ana Hedberg Olenina and Irina Schulzki) in journal “Apparatus. Film, Media and Digital Cultures in Central and Eastern Europe” 5 (2017). 1. Gesture as a Figure of Speech. About this Issue 2. Liberated Gestures: Theories of Bodily Statements beyond the…[Read more]

In: Hajo Diekmanshenke, Stefan Neuhaus and Uta Schaffers (eds.): Das Komische in der Kultur. Dynamiken der Vermittlung: Koblenzer Studien zur Germanistik. Marburg: Tectum-Verlag 2015, 413-429.

In: Hajo Diekmanshenke, Stefan Neuhaus and Uta Schaffers (eds.): Das Komische in der Kultur. Dynamiken der Vermittlung: Koblenzer Studien zur Germanistik. Marburg: Tectum-Verlag 2015, 413-429.

In: Hajo Diekmanshenke, Stefan Neuhaus and Uta Schaffers (eds.): Das Komische in der Kultur. Dynamiken der Vermittlung: Koblenzer Studien zur Germanistik. Marburg: Tectum-Verlag 2015, 413-429.