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1 | The author of the article believes that both aristocracy and Soviet regime is exposed to carnival judgement in Nikolay Erdman’s comedy “Mandate”, while everyday, so-called “petty-bourgeois”, life is carnivally affirmed. However, the carnival character of the epoch reflected in the play interferes in Erdman’s civic stand, which leads to the transformation of the carnival side from the Renaissance grotesque to romantic one. Keywords: Erdman N. R., «Mandate», carnivalization, transformation, of grotesque | 1376 | ||||
2 | In the clause we consider N. Erdman`s interludes to Shakespeare’s play “Two Gentlemen of Verona” in comparison with the original scenes. In particular, we argue that the carnival nature of the laughter of Shakespeare’s interludes gives way to humorous pathos of Erdman`s scenes. Keywords: Erdman Nikolai, interludes, Shakespeare William, “Two Gentlemen of Verona”, a comic, humor, carnival laughter, the language of carnival forms and symbols | 1143 | ||||
3 | The article focuses on the peculiarities of carnivalized consciousness as manifested in N. Erdman’s “The Mandate”, V. Mayakovsky’s “The Bedbug” and M. Bulgakov ‘s “Zoyka’s Apartment” . In particular, it is stated that carnivalization has a structuring role and serves as the approval of the ordinary, the so-called middle-class life in Erdman’s play. In Mayakovsky’s play carnival images have a subordinate role and satirically mock petty bourgeoisie. Finally, in Bulgakov’s play carnivalization is expressed less vividly and connected with the figure of a buffoon, or artistic hero. Keywords: National drama, 20th century, N. Erdman, V. Mayakovsky, M. Bulgakov, carnivalization, carnivalized consciousness, M. Bakhtin | 1207 |