title: Communication Model “Self — The Other” in the Theater of Eugene Grishkovets
metadata.name: dc.contributor.author
metadata.value: Ai, Jing
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2018-01-29T09:30:53Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2018-01-29T09:30:53Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2017-12
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Ai Jing. Communication Model “Self — The Other” in the Theater of Eugene Grishkovets. Vestnik SPbSU. Language and Literature, 2017, vol. 14, issue 4, pp. 525–532.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu09.2017.402
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/8966
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: This article focuses on the semiotic system of the theater of Grishkovets. The special attention is given
  to the communication model “Self — The other”. With two paradigms “Self — The body — The other”
  and “Self like body — for The other” in the theatrical text of Grishkovets, the author underlines that
  paradigm “Self — The other” is performed mainly in the presence of the storyteller — mono-hero —
  Grishkovets and the image “The other” on the stage. In the first paradigm “Self — The body — The
  other” the author analyses different types of the characters and relationships between these characters, considers that the model “Self — The body — The other” serves as a demonstration of strained relations of the characters between their inner and outer worlds. The second paradigm “Self like body — for The other” focuses on the crucial question of the deprivation of the self-identification of the heroes. The author gives the characteristics of the “Self” and “The other”, believes that the “Self” is served as the beyond-household and beyond-existential element, which belongs to the category of the present time and the future time. “The other” symbolizes the way the past experience is destructed, which represents the past time of the hero. In the end, the author concludes that the communication model “Self-The other” has a semiotic character of the stage embodiment, including the difference of the temporary parameter in one space: past-present-future. Refs 13.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Language and Literature;Volume 14; Issue 4
metadata.lang: -
metadata.name: dc.subject
metadata.value: theatrical sign
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: semiotic system
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: communication model “Self — The other”
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Self — The body — The other
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Self like body — for The other
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: temporary space
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Communication Model “Self — The Other” in the Theater of Eugene Grishkovets
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 02-Ai Jing.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/8966/1/02-Ai%20Jing.pdf
resources.format: Adobe PDF
resources.size: 673,41 kB