title: Wajda’s Dostoevsky and Foucault’s heterotopia
metadata.name: dc.contributor.author
metadata.value: Bugaeva, Lyubov D.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2023-02-07T19:23:47Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2023-02-07T19:23:47Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2022-09
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Bugaeva L. D. Wajda’s Dostoevsky and Foucault’s heterotopia. Vestnik of Saint Petersburg University. Language and Literature. 2022, 19 (3): 515–532. https://doi.org/10.21638/spbu09.2022.307 (In Russian)
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu09.2022.307
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/39055
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: National paradigms in cinematography are increasingly giving way to a transnational paradigm:
  cinema is becoming polylocal. Polylocality first means locations not tied to one particular
  country and an international cast and crew. It also corresponds to the merging of two or
  more multicultural spaces interacting in the process of filmmaking that results in creating a
  kind of master space, which is more than their sum. Such understanding is based on the Henri
  Lefebvre’s definition of space as a product where the mental and the cultural, the social and the
  historical, are interconnected. Polylocality, as a rule, takes place in film adaptations of literary
  works made in a tradition different from the culture of the literary source and distant from it
  in time and/or in space. Examples include Nastazja (1994) by Polish director Andrzej Wajda
  that creates a special kind of cinematic space, to which the notion of polylocality applies to
  a greater extent than to many other screen adaptations. The paper attempts to outline this
  special space in the context of Michel Foucault’s ideas about heterotopia as a special location,
  illusory and real, open and closed, permeable and sealed, where the order of things is different.
  The author concludes that Wajda in Nastazja created a cinematic heterotopia, the structure of
  which includes heterochrony, crisis heterotopia, death-resurrection heterotopia, and cultural
  heterotopia.
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 19; Issue 3
metadata.lang: -
metadata.name: dc.subject
metadata.value: Feodor Dostoevsky
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Andrzej Wajda
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: polylocality
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: heterotopia
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: intertextuality
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Wajda’s Dostoevsky and Foucault’s heterotopia
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 14890-Текст статьи-49494-1-10-20221206.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/39055/1/14890-%d0%a2%d0%b5%d0%ba%d1%81%d1%82%20%d1%81%d1%82%d0%b0%d1%82%d1%8c%d0%b8-49494-1-10-20221206.pdf
resources.format: Adobe PDF
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