English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The article considers the system of creative concordances of Russian gulag poets and representatives of Chinese «fog poetry». The creative work of poets is analysed in the context of typologically similar trends in the Russian and Chinese literary process – the Russian literature of the gulag and the Chinese literature «wounds and scars», «the fate of poets are considered as an example of the complex opposition of the personality to the totalitarian system. When comparing the works of the «fog poets» and the poets of the gulag, a lot of motifs and figurative calls significant for the artistic world of poets are revealed: images of a butterfly of revenge, shadow, a portrait leading to horror, a motif for identifying historical memory, a motif for the absence of guilty, a destroyed youth, the inseparability of the fate of man from the fate of the homeland, a motif for suffering for the good and faith in the future, a representation of poetry as a way of survival and overcoming evil, a motif for resistance to nature, a steady and decisive movement forward, a motif for bodily destruction, voices from under stone, patience. After studying a number of common ideas and motifs, the authors of the article  conclude that the creative work of «fog poets» and gulag poets is not only a way to survive in harsh conditions of imprisonment and exile, but also a historically  significant phenomenon, because it reflects the nature of the era in which poets were forced to write and exist. This body of texts is considered as a material for studying the status of the poetry word as an aesthetic means capable of giving historical and artistic evidence of the Soviet and Chinese reality of the 20th century.

“HOUSE LIKE A SHADOW”, “BUTTERFLY OF REVENGE” AND A “DEAD PORTRAIT”: MOTIF CONCORDANCE IN RUSSIAN GULAG POETRY AND CHINESE “FOG POETRY”