"Surrealists would love the Internet": interview with Elena Galtsova. "Surrealists would love the Internet": an interview with Elena Galtsova Research interests and research areas

Elena Galtsova

BENJAMIN AND THE PROBLEM OF "SUMMING UP" CULTURE IN FRENCH SURREALISM

The relationship between French surrealism and the philosophical work of Walter Benjamin is more a question of political and cultural parallelism, of the initial spiritual closeness or, so to speak, spiritual neighborhood, while it is impossible to deny the direct influence. Let us name the most characteristic features of this parallelism: a combination of a revolutionary doctrine, in which cruelty plays an important role, and a romantic dream of the miraculous; interest in primitive forms of culture, common literary idols (Baudelaire, Rimbaud, Lautréamont, etc.), the idea of "profane" or "mundane" illumination, as well as similar mythologies of urban space. Possessing, according to Hannah Arendt's formula, “a rare gift of poetic thought” 406, Benjamin reflected on surrealism, sometimes at a dangerously close distance, sometimes almost completely approaching the point of view of André Breton's group. On the other hand, it is necessary to take into account Benjamin's criticism of surrealism in the "Book of Transitions" for its "mythologism", "impressionism" and "formless philosophies" 407.

In Surrealism: The Last Snapshot of the European Intelligentsia (1929), Benjamin demonstrates the need for a common understanding of the cultural and political realm, citing the French Surrealist movement of the 1920s as an example. This is, of course, a rather complex unity. On the one hand, in order to “appreciate the conquests of surrealism,” Benjamin contrasts them with the dreams of the “well-meaning left-bourgeois intelligentsia,” whose actions are conditioned by a sense of duty “not in relation to the revolution, but to an inherited culture” 408. On the other hand, "surrealism is constantly approaching a communist answer" to the question of the premises of the revolution - an answer expressed in "pessimism along the entire front", in what Pierre Naville called "the organization of pessimism." Recall that Naville stood at the origins of the surrealist movement, but rather quickly fell out with Breton precisely because of differences in the understanding of politics and revolution and became a persona non grata for surrealism. The words about pessimism cited here were a kind of "commonplace" in the reflections of various authors in 1924-1926, including Louis Aragon. As Benjamin wrote,

the organization of pessimism means nothing more than the removal of moral metaphors from the sphere of politics and the recognition of the space of political action as one hundred percent figurative409.

The contemporary French philosopher, translator and publisher of Benjamin, Rainer Roschlitz, especially emphasized this political thought of the German philosopher:

... surrealism showed how the image could fulfill a revolutionary function: showing the accelerated aging of modern forms as a continuous production of archaism, appealing to the true meaning of modernity. Through the ruins of modernization, he shows the urgent need for a revolutionary upheaval410.

Benjamin's attitude to surrealism has been the subject of numerous studies, but we would like to draw attention to one, as it seems to us, ambiguous aspect of this "spiritual neighborhood" - to the forms of the summarizing presentation of ethical and aesthetic principles. Especially when it came to France (especially Paris, Baudelaire), Benjamin was inclined to find some summarizing images embodying synthesis and plurality: images associated with spatial, including architectural, organization - "panoramas", "passages "," World exhibitions "," city "(Paris), etc., as well as" figures "- a flaneur, a junk dealer, a collector, etc. Surrealist group, from the very beginning of its existence declared itself not as a new aesthetic school , but as a kind of global embodiment of the "modern spirit" and "thinking", I was also looking for universal representations, among which one can single out "dream", "city" (par excellence Paris), "passages" (see Louis Aragon "Parisian peasant" ) 411, "book" (of course, dating back to S. Mallarmé), as well as a special case - "dictionary" / "glossary". Already in early surrealism, what could be called "anthological" thinking, that is, the desire to collect under the name of surrealism the phenomena of different cultures - from the famous list of "surrealists" from the first manifesto of 1924 ("Swift is a surrealist in causticism"; "Garden - a surrealist in sadism ", etc.) to numerous anthologies:" Anthology of Black Humor "(1949, 2nd ed. 1950) by A. Breton," Anthology of Sublime Love "(1956) and" Anthology of Myths, Legends and Folk Legends of America ”(1960) B. Pere, etc. Surrealistic dictionaries, in which definitions and examples often appear on an equal footing, are inherently difficult to distinguish from anthologies.

Benjamin catches in surrealism, first of all, the property of producing a stream of images - an inexhaustible multitude, to which the German philosopher applies his summarizing categories.

For Benjamin, it is fundamentally important that this set is directly related to the ethical component of surrealist creativity, being the result of an "disinterested act", "freedom." As an example, Benjamin cites Aragon's Dreamwave, which examines the stage when surrealism “absorbed everything, no matter what it touched. Life was worth living only if the border of sleep and wakefulness was destroyed, as if erased by an iridescent stream of images, ”412 Benjamin wrote. Here surrealism, on the one hand, acted as a universal receptor and, moreover, an accumulator, “absorbing everything, no matter what it touches”; on the other hand, he produced a "stream" - that is, many images.

Criticizing Breton's claim to be scientific ("The achievements of science are much more based on the surreal than on the logical way of thinking" 413), Benjamin calls for "comparing these mind-blowing fantasies with the well-structured utopias of some Scheerbart." At the same time, surrealistic chaos with its unrestrained energy produces more and more new images; in addition, as the development of the surrealist movement showed, this chaos could become politicized, and politicization itself, in turn, is viewed by Benjamin both as an unconscious state and as an awakening of consciousness (we will return to this issue later).

This energetic mechanism can be interpreted through the concepts of "poverty" and "misery". According to Benjamin, Breton in Nadia (1928)

was the first to discover the energy of revolution lurking in "old", in the first steel structures, factory buildings, the earliest photographs, endangered objects, cabinet grand pianos, dresses not worn for five years, places of social gatherings out of fashion. How such things relate to the revolution, no one knows better than these authors. How poverty, moreover, not only social and architectural, but also the poverty of interiors, the poverty of enslaved and enslaved things, turns into revolutionary nihilism, before these clairvoyants and interpreters no one understood415.

This reasoning most obviously echoes the reflections on the junk dealer and garbage in connection with the concept of "modernity" in the book Charles Baudelaire. Poet in the era of mature capitalism ”(1927-1940). Benjamin sees in the actions of the junk dealer an expanded metaphor of poetic creativity:

Junk-dealer or poet - both are busy with garbage; both go about their business alone, at the hour when the man in the street indulges in sleep; even their characteristic movements are similar416.

At the same time, Benjamin emphasizes that the "modern" addiction of surrealists to "old" is characterized by an emphasized lack of interest in history as such (in this sense, for the surrealists there was nothing more distant than the ideas of Marcel Proust in the novel "In Search of Lost Time"). What the surrealists experienced as revolutionary, looking to the future, Benjamin describes with the word "politics":

The "trick" of the surrealists is to replace the historical view of the past with a political view417.

Another image associated with plurality - the genre of panorama, described by him in his work "Paris - the capital of the XIX century", can be considered as an indirect response to the works of his favorite surrealist writer Louis Aragon: "Anise, or Panorama. Novel "(1919) and" The Parisian Peasant "(1926). The panorama takes its origin from the "looking back" gaze of the writer-flaneur, whose strength lies not only in sharpness (analysis), but also in quantitative breadth, the ability to capture as many details as possible in a kaleidoscopic urban (in most cases Parisian) landscape. Paris, as Benjamin wrote, is a "microcosm" 418 and a kind of encyclopedia of the 19th century, presented in the novels of Balzac, Hugo, the works of Baudelaire, etc. Such optics forced the writer to pay attention to certain phenomena, among which passages occupy a special place. The passages are interesting because they are a kind of hybrid space where the street and the interior are combined. And on the other hand, they signify the transition from everyday space to the space of dreams: this feature of them is emphasized with special force in the first part of The Parisian Peasant - The Passage of the Opera; it is about a destroyed passage that has become a symbol of the transition to the magical surreal world.

The idea of connection and transition, characteristic of the passages, is embodied in the story "Nadia". Benjamin writes about her in the aforementioned article on surrealism, combining in one argument theorizing about photography as a new art and an analysis of the function of specific photographs placed in Breton's story, which were supposed to literally represent Parisian and other landscapes - instead of traditional verbal descriptions. In this spirit, Benjamin comments on the performance of the bar at the Teatro Modern, which Breton associates with the image of Arthur Rimbaud - “the salon at the bottom of the lake”:

It is in such places that photographs appear. It transforms the streets, gates, squares of the city into photographs of a photo novel, deprives the century-old architectural monuments of banal certainty, including them with original force into the events depicted, which emphasizes literal quotes with page directions, just like in old tabloid books. All the districts of Paris that he describes are places where the action between the characters revolves like a revolving door419.

This image of whirling comes from Breton's reasoning about books that should be open, like doors to which you do not need to look for keys ("I demand to mention names, I am only interested in books that are wide open, like doors to which you do not need to look for keys" 420 ), while discovering a new idea - the idea of "moving" photography, approaching the cinematic image.

The plurality, associated with the constant productivity and mobility of surrealistic images, is associated in Benjamin with the embodiment of the sacred. Surrealistic images can be interpreted using Benjamin's concept of "aura" (in other translations - "halo") 421; so, even in the first "Manifesto of Surrealism" about the "light" of the image:

That special light, the light of the image, to which we are so deeply receptive, flares up as a result of a kind of accidental convergence of two elements. The entire value of the image depends on the beauty of the spark that we managed to obtain422.

At the same time, the sacred essence of surrealistic images is not at all universal, not necessarily inherent in their counterparts. Reflecting on "Nadia", Benjamin draws attention to the "glass house" in which the autobiographical hero of Breton dreams of living. In this image, which embodies openness, Benjamin sees one of the features of "worldly enlightenment", while not forgetting about the political dominant of surrealism:

Living in a glass house is a revolutionary virtue par excellence. This is also a drug, a kind of moral exhibitionism that we need very much. Discrediting one's own existence is increasingly turning from an aristocratic virtue into the occupation of the successful bourgeoisie. Nadia is a true creative synthesis of the fiction and the documentary in the novel 423.

Here we are talking about one of the incarnations of precisely "worldly enlightenment" as opposed to the traditional sacred, which can be used, among other things, for politically dangerous purposes (see, for example, Benjamin's conclusions about fascism in "A work of art in the era of its technical reproducibility") ... Thus, in the utopias of Paul Scheerbart, in which one can see the prototype of dada and surrealism, but which, according to Benjamin, have excellent alignment, the images of a glass house turn out to be just devoid of an aura: “Glass objects have no aura” 424, for they are devoid of Mystery ... Benjamin writes about a "civilization of glass" which can be contrasted with a culture that has an "aura" 425.

In a curious way, the very basis of surrealistic thinking, "magical art" and the picture of the world - the concept of a dream - turns out to be in Benjamin just part of a new era, devoid of an aura. More precisely, the interaction of dream and reality, as it was said in his article on surrealism, is an inexhaustible source of energy (that is, sacred images that have the most amazing and fantastic forms), but the dream is ultimately based on banality - on what Benjamin calls "Oneiric kitsch".

Benjamin begins his article Oneiric Kitsch (1927) by recollecting the blue flower of Novalis:

Dreaming no longer opens to azure distances. She turned gray ... Nowadays, dreams are the shortest paths leading to banality. Technology will finally confiscate the external image of things, like banknotes that must be withdrawn from circulation. In a dream, a hand grabs them for the last time, she says goodbye to objects, following their familiar contours. She grabs them by the most worn-out place ... This is the side that has become habitual and adorned with comfortable maxims. The place that a thing conveys to a dream is kich426.

The mechanism of such imagery is manifested in the collection of Paul Eluard and Max Ernst "Repetitions" (1922), where the authors sought to repeat the experience of childhood, when we "grasp the world through banality" 427. But we are talking about a special banality - the one about which the poet Saint-Paul-Roux said: the contours of the banality must be deciphered like a rebus.

As a result, Benjamin draws a dual conclusion from state of the art dreams in literature, combining together sciences (psychoanalysis, ethnology) and terminology associated with the idea of the sacred (totemic tree, power):

Psychoanalysis has long since discovered in such puzzles the schemes on which the work of dreams is based. Surrealists walk with the same confidence, but not through the soul, but through things. They are looking for a totemic tree of things in the forest of primitive history. The tallest, final grimacing face of the totem is a kitsch. This is the last mask of platitude, which we include in dreaming and conversation in order to join the power of the disappeared world of things428.

In essence, Benjamin interprets here what the surrealists called "miraculous" or "magical" in everyday life. Moreover, this "miraculous" could manifest itself in a variety of ways: from bizarre and mysterious objects, works or creatures - to the most commonplace, but seen from a special angle of view (or, as we have already said, with a special "surreal light"). For Benjamin, it is just the most banal things that are available to everyone that are important, because, in his opinion, this brings the world of things and the world of people closer together, making things more human. It is in this sense that he interprets the "furnished man" - one of the images of surrealist art:

What we call art starts at least two meters from the body. But now, thanks to kitsch, the world of things is approaching man; he allows himself to be touched and in the end draws his faces inside a person. The new man carries in himself all the quintessence of ancient forms, and in contact with the environment originating from the second half of the 19th century, in dreams, as well as in the phrases and images of some artists, a creature is formed that could be called a “furnished man”.

Surrealistic dreams as a subject of analysis themselves turn out to be a source of sometimes contradictory interpretations for Benjamin. If the connection with "revolutionary intoxication", primitive totemism, the idea of a productive border between dreams and reality testify to their interpretation in connection with the sacred, then at the end of the article on surrealism Benjamin allows the reader to suspect him of a certain rationalism - here dreams awaken consciousness, and literally:

Now the surrealists are the only ones who have understood their current task. The expressions on their faces, one and all, resemble the dial of an alarm clock ringing incessantly430.

French researcher Jean Leenart drew attention to the fact that the words "dream" ("r? Ve") and "alarm clock" ("r? Veil") are cognate in French, although in German there is no such play on words (this, however , never mind, since Benjamin was fluent in French). It turns out that the alarm clock, awakening the revolutionary consciousness, and the dream, denoting "drunkenness", far from "consciousness", are somehow interconnected. In the finale of Benjamin's article, Leenart sees "an image of a certain formation of rationalistic thinking" 431. Leenart's idea finds its confirmation in the "Book of Transitions", where, unlike the article on surrealism, Benjamin does not apologize for the borderline state between sleep and wakefulness (up to criticism of Aragon, who "stubbornly continues to live in the kingdom of dreams"), but emphasizes the importance of "awakening" :

The point is to find here images that accompany awakening. Although the impressionistic beginning continues to live in Aragon: the "mythology" of this impressionism is responsible for the numerous formless mythologemes of the book, we are talking here about the dissolution of "mythology" in the space of history. Of course, this can only happen due to the awakening of the yet unconscious knowledge of the past432.

In general, Benjamin's interpretation does not contradict the designs of the surrealists, especially when it comes to the era of rapprochement between the Breton group and the French Communist Party in the 1920s, and also if we take into account the commitment of many surrealists to Trotskyism. And the triumph of unconscious tendencies, and demonstrative politicization, and an exuberant abundance of images - all this undoubtedly dominated the surrealism of the 1920s. At the same time, Benjamin's attempts to rationalize surrealism, especially in his article on the oneiric quiche and in his discussion of the alarm clock, are quite symptomatic. But, as it seems to us, he was looking for the rational where it could not be, because for all its political engagement, the Breton group understood the idea of revolution only as a synthesis of culture and politics (if it was about Karl Marx, then only in tandem with Arthur Rimbaud) , and the further development of the surrealist movement, especially in the 1930s, demonstrated the impossibility of transition to the ideas of the proletarian revolution. However, there was another feature in Breton's cultural and political utopia, which was not at all alien to a certain rationality and which passed by Benjamin's attentive gaze.

The fact is that, initially relying on the idea of endless production, Breton practically from the very inception of the surrealist movement thought about a certain systematization, about a "new order" that would be the opposite of the "bourgeois" order. The principle of such an irrational systematization, Breton considered the alphabetical order, in which there is no logic. Even in the era of all-denying Dadaism, Aragon created the poem "Suicide", consisting simply of the alphabet. The alphabet was interpreted as the death of a logical language, which occurred through a kind of return to the "source" - after all, learning to read and write in childhood begins with the alphabet ... 1921 year. The tendency manifested itself in the surrealists' enthusiasm for a variety of dictionaries, among which the Larousse Encyclopedic Dictionary enjoyed the greatest success - both as an object of ridicule (as a bourgeois institution for the popularization of knowledge), but also in a positive sense, too, as evidenced at least by the definition of surrealism in the first Manifesto ( 1924), modeled on Larousse's articles. The surrealists themselves tried to create and create dictionaries: in 1925 Breton dreams of creating a “catalog of surrealist ideas” and a “glossary of the miraculous”, Jacques-André Boisffard publishes the Nomenclature, and Michel Leiris begins publishing the Glossary 433. The most striking gesture in this sense was the gesture of Breton and Paul Eluard: in 1938 they issued the "Brief Dictionary of Surrealism" as a catalog for the International Surrealist Exhibition, held in Paris. Thus, they showed not only the advantages of an arbitrary alphabetical order, but also the similarity of the dictionary to the exhibition itself. The dictionary itself was literally an exhibition of surreal images, ideas and personalities.

It seems to us that Benjamin, as the creator of the philosophical figure of the collector, whose knowledge is similar to the "magic encyclopedia" 434, and an admirer of the French tradition of collecting435, might be interested in this aspect of surrealist activity. Moreover, he drew attention to the abundance of various "junk" in the story "Nadya", to the peculiarities of imagery in dreams (the so-called "oneiric kitsch") and even presented a model for the accumulation of these images, recalling the "furnished man" with drawers for storing objects , in the spirit of S. Dali's paintings. But Benjamin did not notice the revolutionary Breton, the collector and, ultimately, the popularizer of what could be called "surrealistic knowledge", because the presentation in the form of an exhibition or a dictionary opened surrealism to a wide range of viewers and readers, literally allowed "to enlighten" them - not just "surrealistic light", but also the sum of some "knowledge", the storehouse of which was, for example, "A Brief Dictionary of Surrealism", etc.

Whether this neglect on the part of Benjamin was conscious or not remains an open question. Perhaps the collecting and encyclopedic tendency in Surrealism seemed so close and familiar to him that it did not interest him in itself, becoming a subconscious starting point in thinking about other collections and collectors. Perhaps he could not get rid of the clear separation of concepts - "mind-blowing fantasies" (surrealism) and "well-built utopias" (Scheerbart). In any case, Benjamin always believed that surrealism was alien to the rational enlightenment spirit of the 18th century, and therefore the idea of accumulation and, ultimately, positive “summation” of culture cannot be combined with the permanent436 revolutionary destructiveness that so admired him in 1920s surrealism. ...

From the book Critical Mass, 2006, no. 3 the author Critical Mass Magazine

From the book Literary Conversations. Book two ("Link": 1926-1928) the author Adamovich Georgy Viktorovich

< Ю.САЗОНОВА О ФРАНЦУЗСКОМ ТЕАТРЕ. – СТИХИ В «СОВРЕМЕННЫХ ЗАПИСКАХ» >1. The article by Yu. Sazonova in the last issue of Sovremennye Zapiski is very interesting. What is said in this article about the French theater seems to be said for the first time, and surprises with the precision of thought and expression.

From the book Best of the Year III. Russian fantasy, science fiction, mysticism author Galina Maria

Elena Pervushina Panopticon I wake up from the fact that my husband's lips tickle my ear. He whispers: `` Happy holiday, dear! '' His hand dives under the pillow, finds mine and pushes something small and solid under my palm, or rather (I recognize even when I’m asleep) - a small box with

From the book Volume 7. Aesthetics, Literary Criticism the author Lunacharsky Anatoly Vasilievich

The problem of socialist culture * Questions of proletarian culture and socialist culture have been raised repeatedly and solved at random, and often mixed with rather heterogeneous concepts. So, for example, there were witty people who said,

From the author's book

Sergei Zenkin BENJAMIN, BODLER AND MIMESIS The problem of mimesis has long been discussed in studies about Walter Benjamin. Their authors drew attention to the bodily nature of Benjamin's mimetic ability and its transformation in the era of “technical

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Marc Sagnol BODLER, BENIAMIN, BLANCHY (about the book "To Eternity - Through the Stars") Charles Baudelaire is one of the greatest French poets, a great pioneer of unexplored fields, who discovered poetry - while remaining within the framework of the classical or even archaic

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Alexander Taganov BENYAMIN AND PRUST Among the writers to whose work Walter Benjamin constantly turns in his writings, there is a circle of the elite. Among them are Franz Kafka, Charles Baudelaire, Fyodor Dostoevsky. Marseille occupies a special place in this circle of writers.

From the author's book

Jean-Paul Madou WALTER BENJAMIN AT THE COLLEGE OF SOCIOLOGY We have little information about how Benjamin met Georges Bataille and Pierre Klossowski. I subscribe to the point of view of Jean-Michel Palmier, who believes that the relationship between Benjamin

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Larisa Poluboyarinova BODLER, BENJAMIN AND THE POLITICS OF PHOTOGRAPHY The theme of the collection encourages to concentrate subsequent discussions on the relationship between aesthetics and politics. The other three words of the name - "Baudelaire", "Benjamin" and "photography" - are correlated by one fact,

From the author's book

Kirill Postoutenko BALZAC - BODDLER - BENJAMIN: A FLANGE IN THE CAPITALIST CITY488 It has long been noticed that in Walter Benjamin's immense and, probably, fundamentally unfinished "long-term construction" "Passagenwerk", the structure of the text allegorically refers to its theme. Really,

From the author's book

Robert Kahn BENJAMIN - Baudelaire and Proust INTERPRETER Walter Benjamin is destined to become the fateful translator of Baudelaire and Proust. "Parisian paintings", "At the Guermantes", "Under the canopy of girls in bloom" - he was deeply convinced of the power of desire that gushes at the key in these texts.

From the author's book

SUMMARY BIBLIOGRAPHY ON THE TOPIC "BODLER & BENJAMIN" Arendt H. Walter Benjamin / Transl. from English B. Dubina // Foreign Literature. 1997. No. 12. Buck-Morse S. Biography of thought. "Passagen-Werk" V. Benjamin // Historical and Philosophical Yearbook. 1990. M., 1991 Benjamin V. Paris - the capital of the XIX century //

The main scientific provisions formulated by the author on the basis of the conducted research:

The specific external presence of the theater in the culture of surrealism (to use the words of M. Corvin, “theater is a ghost ship of surrealism.” Théâtre en France. T. 2. P., 1988. C. 336). The significance of surreal dramaturgy is defined through its projection into subsequent, no longer surreal dramaturgy. Surrealistic drama is, first of all, drama for reading, which was reflected in its publication in the first periodicals of the Breton group.
The surreal "doubling" of the world embodied in the theory of surreality / reality has an implicit and explicit theatricality. This is confirmed by the possibility of her associations with the theories of A. Artaud and R. Vitrac, developed in connection with the Theater Alfred-Jarry.
The idea of anti-individual and collective creativity leads to a kind of theatricalization of everyday life and the creative process itself in Surrealism, which is reflected in surreal transformations, masks, simulations and games.
The main categories of surrealist aesthetics - "dreams", "humor", "beauty" are developed by surrealists using theatrical metaphor, which, in turn, can be both the result of a spontaneous and arbitrary poetic association, and a reference to various sources - from the works of F. Nietzsche and Z. Freud before the works of D.M. Singa.
The search for a new visuality, characteristic of both verbal and fine arts Surrealism, lead, in particular, to the creation of new forms of poetry, which combine the verbal and pictorial principles (which makes the surrealists the forerunners of modern visual poetry), interpreted by the authors themselves as theatricalization or "mise-en-scène" of poetry and visual arts. In turn, this understanding is confirmed by the possibility of applying to this phenomenon the concept of redundancy of the theatrical sign, which is one of the necessary signs of theatricality in the semiological sense of this term.
Outside of certain genres, surrealist drama is distinguished by constant associations with a wide variety of theatrical genres - from commedia dell'arte, Elizabethan drama, melodrama, symbolist drama, to Grand Guignol, tabloid drama, etc. - as well as ritual. These references, expressed both in direct and (more often) in parodic form, ultimately provide a greater degree of stage value to the plays, provoking an initial recognition reaction in the viewer, although later this recognition may turn out to be deceiving.
"Theater of the Word" is the center of attraction for all surrealistic drama, built and functioning more on the principle of poetry than drama. An extreme version of this phenomenon is the literal theatricalization of the word, in its phonetic and graphic aspects.
The thematic continuation of the "theater of the word" is the parodic images of the book in surrealist dramas, reflecting attempts to designate cultural synthesis.
9. Being the embodiment of theatricality in theater par excellence, metatheatrical forms express a special attitude to the problem of existence, in which the influence of the plays of L. Pirandello undoubtedly affects. As a rule, an element that creates symmetrical rigid structures, the metatheater in surrealism is often fundamentally asymmetric, representing an endless jumble of forms, sometimes without any motivation, which underlines its fundamental openness to a different, non-theatrical world.
The "theater of paintings" (dating back to the traditions of 18th century drama) is, at first glance, a paradoxical phenomenon in surrealist drama tending to the "theater of the word". The paradox is explained by the literalism in the presentation of "pictures". But this return to the “theater of the word” is taking place on a new level, approaching the concept of “hieroglyph” by A. Artaud.
The problem of the ratio of "concrete" ("objective") and "abstract" ("non-objective"), which has been one of the global ones for avant-garde culture since the beginning of the twentieth century, is solved in surreal and Dadaist drama in specific representations of the corporeal, which goes beyond the verbal, and at the same time corresponds to the sphere of the word.
The all-embracing mythological consciousness, as well as its "imitation" (the term of Y. Lotman and B. Uspensky), embodied in the artistic system of surrealism, lead to the creation of a "new mythology". Its dramatic implementation is an analogue of the "ritual", which, on the one hand, brings surrealistic searches closer to the theory of A. Artaud, on the other hand, opens up new possibilities in the development of drama and theatrical performances (for example, "theater of the absurd", "happenings", etc. .).

1. Theater experiments of Louis Aragon // Bulletin of Moscow University, series 9, Philology. M., No. 1, 1992. - S. 41-38. - 0.75 pp

2. Semé and tout vent: le surréalisme en dictionnaire // Critique, Paris, N 608-609, 1998. - P. 1027-1039. - 0.75 pp

3. Symbolism in the aesthetic program of André Breton // Art Studies. M., No. 1, 2001. - S. 418-433. - 1 pp.

4. "Le nouveau roman russe" // Critique. Paris, N 644-645, 2001. - P. 73-85. - 0.75 pp

5. Between surrealism and communism: the history of the "Moscow" manuscript of Tristan Tzara "Surrealism and literary crisis" // Voprosy literatury. M., N 6, 2004. - S. 195-209 - 1 pp ..

6. Tranches du réel sur la scène moscovite // Critique. Paris, No. 669-700, 2005. P. 713-726. - 0.75 pp

7. Charisme et déshérence. Du Théâtre d'Art de Moscou à la galaxie Stanislavski // Critique. Paris, n 713, 2006. - P. 815-826. - 0.75 pp

8. Genre originality of French surrealistic drama // Art. 2008, No. 2. - S. 254-281. - 2.5 pp

9. On the question of the theory of beauty in French surrealism // Observatory of culture. 2008, No. 2. - S. 118-124. - 0.75 pp

10. Myths and their theatricalization in the French surrealist drama // Questions of the theater. 2008, No. 3-4. - 2 pp.

11. To the problem of theatricality in the literature of French surrealism: "reincarnation", "masks", "objectification" // Bulletin of Moscow State University, series 9, Philology. M., 2008, No. 6. - 0.5 pp.

12. Concepts of "reality" / "surreality" and theatrical aesthetics of Andre Breton // Bulletin of the Russian State University for the Humanities. M., 2008, No. 9. - S. 207-217. - 1 pp.

13. Theater of words in French surrealism // News of the Russian Academy of Sciences. Series of Literary Studies. M., 2008. No. 6. - 1.75 pp.

Articles on the topic of the thesis

14. "Surrealistic drama by J. Yugne and J. Neve" // Actual problems of linguistics and literary criticism. M., 1994 .-- S. 118-129. - 0.75 pp

15. "Criticism and Clinic" // New Literary Review. 1995, No. 13. - S. 401-403. - 0.25 pp (rec.)

16. "The problem of myth among the French surrealists" // Soros laureates, M., 1996, vol. 3. - pp. 28-36. - 0.75 pp

17. "Surrealism" // Dictionary of cultural studies. XX century. SPb .: Academic project, 1997 (republished in the "Encyclopedia of Culturology" SPb.-M., 1998) - pp. 455-460. - 0.5 pp.

18. Calligraphie du corps dans Nadja de Breton // Genèse textuelle, Identités sexuelles. Paris: Du Lérot, 1997. - P. 75-85. - 0.75 pp

19. Le Desespéranto. Utopie de l'écriture universelle chez Tzara et Breton // Mélusine. No. 17, 1997, Lausanne: l'Age d'Homme. - R. 275-292. - 0.75 pp

20. On the verge of surrealism. Franco-Russian literary meetings: Georges Bataille, Irina Odoevtseva and Georgy Ivanov // Surrealism and avant-garde. M .: GITIS, 1999 .-- S. 105-126. - 1.5 pp

21. Clinical madness and play in the theory of French surrealists // Bulletin of the Faculty of Philology of the Institute of Foreign Languages in St. Petersburg. 1999, No. 1. - S. 32-33. - 0.2 pp

22. Surreal simulations. (On some features of the conceptual creativity of the French surrealists associated with the problems of clinical madness, play and Marxism "// Bulletin of the Faculty of Philology of the Institute of Foreign Languages in St. Petersburg. 1999, No. 2-3. - pp. 68-83. - 0.75 n.p.

23. The policy of "black humor" // Book review "Ex Libris NG". 11.11.1999. - S. 2. - 0.3 pp. (rec.).

24. Chronological sketch of the life of J. Bataille and comments // Georges Bataille. Hatred of poetry. M .: Ladomir, 1999 .-- S. 571-613. - 4 pp.

25. Two versions of the play by Jacques Baron "The Steadfast Travelers". On some semiotic aspects of the surrealist drama manuscript // Languages of manuscripts. SPb: Kanun, 2000 .-- S. 213-231. - 1.2 pp

26. Theater Jean Genet // Jean Genet. Strict supervision. M .: GITIS, 2000.S. 455-472. - 1 pp.

27. Autour d'un inédit “moscovite” de Tristan Tzara. Article et publication du texte de Tzara "Le surréalisme et la crise littéraire" // Mélusine. Lausanne: L'Age d'Homme, No. XXI, 2001. - P. 295-317. - 1.75 pp

28. Les pièces de Paul Claudel en Russie dans les années 1910 et 1920 // Cahiers d'histoire culturelle “Les voyages du théâtre. Russie / France ". Tours, No. 10, 2001. - P. 75-98. - 1.75 pp

29. Fox-trot avec Jean-Paul Sartre: "La P ... respectueuse" et "Nekrassov" en URSS // RITM - Recherches interdisciplinaires sur les Textes modernes, Numéro special: Etudes Sartriennes. No. 8, 2001. - P. 221-252. - 2 pp. (Excerpts from the article published in the article "Nekrassov en U.R.S.S." dans J.-P. Sartre. Théâtre. Paris, Gallimard, bibl. De la Pléïade, 2005, p. 1481-1482)

30. Le jeu du signifiant, ou le théâtre surréaliste à la lettre dans "L'Ephémère" de Vitrac // Surréalisme et pratiques textuelles. P.: Phénix editions, 2002. - P. 31-46. - 0.75.

31. Racine (s) de "L'Impossible". Sur la phénoménologie du non-dit chez Georges Bataille // Regards / mises en scène dans le surréalisme et les avant-gardes. Leuven, France, Peeters, 2002. P. 149-170. - 2 pp.

32. Automatic writing "// Artistic guidelines of foreign literature of the twentieth century. M .: Heritage, 2002 .-- S. 194-219. - 2 pp.

33. Three theatrical experiments by Antonen Artaud // Beginning. No. 5, 2002, Moscow: IMLI RAN. - S. 278-284. - 1 pp.

34. Social contract on violence // Foreign literature. M., 2002, No. 8. - S. 273-276. - 0.3 pp (rec.)

35. Between Futurism and Modernity: Apollinaire's Bilingual Edition // Foreign Literature. M., 2002, No. 11. - S. 259-262. - 0.3 pp (rec.)

36. French surrealism: the project of absolute transgression and the concept of "black humor" // Eves and frontiers. Moscow: IMLI RAN, 2002, vol. 2. - S. 338-349. - 0.8 pp.

37. Philosophy of the "golden age" of French semiotics // Bulletin of Moscow University, series 9, Philology. M., 2002, No. 4. - S. 144-147. - 0.3 pp (rec.)

38. Panic through the looking glass of Fernando Arrabal "// Fernando Arrabal. An extraordinary crusade ... M .: Text, 2003. - S. 185-189. - 0.3 pp

39. Aspects of mastering the painting of symbolism in the aesthetics of André Breton: the case of Gustave Moreau // Symbolism in the avant-garde. M .: Science (Scientific Council of the Russian Academy of Sciences "Historical and theoretical problems of art history". Commission for the study of avant-garde art), 2003. - pp. 380-391. - 0.8 pp.

40. Letter and Sacrifice // Beginning, Moscow: IMLI RAN, No. 6, 2003. - P. 25-52. - 2 pp.

41. Philosophical prose and drama of Jean-Paul Sartre // Jean-Paul Sartre. Nausea ... M .: AST, 2003. - S. 5-18. - 1 pp. Comments to this edition - pp. 677-716. - 3.5 pp.

42. Les mythes et la pensée mythique dans la dramaturgie surréaliste: discontinuité et continuité des structures de la représentation théâtrale // Les Mythes des avant-gardes. Clermont-Ferrand: Presses universitaires Blaise Pascal, 2003 .-- P. 331-346. - 1 pp.

43. The ironic classicism of Albert Camus // Albert Camus. Outsider ... M., AST, 2003. - S. 5-16 - 0.75 pp. Comments to the edition - pp. 771-778, 794-795. - 1 pp.

44. La traduction de "L'Annonce" par Olga Sedakova // Bulletin de la Société Paul Claudel. Paul Claudel en Russie. Paris, 2004, No. 174. - P. 58-60. - 0.2 pp (rec.)

45. The theory of "pathological" creativity in the works of P.I. Karpova // Russian theory 1920-1930s. Materials of the 10th Lotman readings. M .: RGGU, 2004 .-- S. 304-310. - 0.8 p. L.

46. 10 articles for the dictionary “Western literary criticism of the XX century. M .: Intrada, 2004. - S. 48-49, 68, 83, 171, 179-180, 216-217, 236, 359, 462. - 2 pp.

47. Laboratory of avant-garde thought: "Critical dictionary" of the journal "Documents" // Vicissitudes of choice ... M .: RIO MGK., 2004. - pp. 60-87. Re-publication on Sat. Ultimate Bataille. SPb .: Publishing house of SPb University, 2006. - P.63-88. - 2 pp.

48. 11 articles for "Dictionnaire Sartre". Paris: Honoré Champion, 2004 .-- P. 68-69, 139, 140-141, 185, 225, 349-350, 372, 383-384, 402-404, 470-471, 501-502, 523 .-- 2 n.p.

49. Les avant-gardes européennes dans la jeune Russie soviétique // Russie France Allemagne Italie. Transferts quadrangulaires du néoclassicisme aux avant-gardes. Paris: Du Lérot, 2005. - P. 179-195 - 1 pp.

50. Parallèles dadaïstes dans les avant-gardes russes // Les Dossiers H. Dada circuit total. Lausanne: l'Age d'homme, 2005. P. 363-372. - 1 pp.

51. Dadaist collage and its parallels in the literary theory of the Russian avant-garde (A. Kruchenykh, I. Terentyev, I. Zdanevich, S. Sharshun) // Russian avant-garde 1910-1920s. Collage problem. M .: Science (Scientific Council of the Russian Academy of Sciences "Historical and theoretical problems of art history". Commission for the study of avant-garde art), 2005. - pp. 274-288. - 1 pp.

52. From Dionysus to Dianus: on some aspects of the perception of Friedrich Nietzsche's aesthetics in the work of Georges Bataille // Art versus literature. France-Russia-Germany at the turn of the XIX-XX centuries. M .: OGI, 2006 .-- S. 386-404. - 1.25 pp

53. "Notes from the Underground" in the Parisian theater of horror Grand-Guignol // From the text to the stage. Russian-French theatrical interactions of the 19th-20th centuries. M .: OGI, 2006 .-- S. 29-47. - 1.25 pp

54. "The Seagull" by Marguerite Duras // From text to scene. Russian-French theatrical interactions of the 19th-20th centuries. M .: OGI, 2006.S. 240-253. - 1 pp.

55. Introduction to the collection “From text to scene. Russian-French theatrical interactions of the 19th-20th centuries ”(jointly with M.-C. Otan-Mathieu). M., OGI, 2006, p. 7-18. - 0.5 pp.

56. Theater of paintings by Roger Vitrac // Theater of the artist. Materials of the laboratory of directors and artists of puppet theaters under the direction of I. Uvarova. M., 2006 .-- S. 47-53. - 0.75 pp

57. Les Voyageurs debout, une pièce oubliée de Jacques Baron // Les Oubliés des avant-gardes. Chambéry: Université de Savoie, 2006 .-- P. 207-220. - 1 pp.

58. Du spleen à la danse. Paris dans La Pension Maubert de Valentin Parnak // RITM - Recherches interdisciplinaires sur les Textes modernes, Numéro special “Paris-Berlin-Moscou. Regards croisés (1918-1939). Université Paris-X, n 35, 2006. - P. 67-84. Parallel publication in German: Vom Spleen zum Tanz. Paris in den unveröffentlichten Erinnerungen von Valentin Parnak La Pension Maubert. // Die Blicke der Anderen. Paris-Berlin-Moskau. Bielefeld, Aesthesis Verlag, 2006. S. 175-194. - 1.25 pp

59. André Breton // Great Russian Encyclopedia. T. 4. M .: Russian encyclopedia. 2006. - P. 198. - 0.2 pp.

60.52 articles for the Encyclopedic Dictionary of Surrealism. M .: IMLI, 2007 .-- S. 45-49, 60-61, 63-64, 71-79, 103-104, 106-108, 127-129, 161-163, 180-184, 209-211, 220-221, 220-221, 251-254, 260-261, 273-274, 276-279, 284-288, 291-293, 295-297, 305-308, 322-325, 327-328, 339- 341, 350-352, 363-364, 369-373, 392-393, 395-409, 411-412, 421-423, 429-430, 433-435, 458-460, 466-470, 480-481, 487-488, 490-503, 524-527, 537-538, 544-545, 553-555. - 12 pp.

61. Introduction to the Encyclopedic Dictionary of Surrealism. M .: IMLI, 2007. (with T.V. Balashova). - S. 5-10 - 0.4 pp.

62. Theater, "dreams" and psychoanalysis in the theory of André Breton, Roger Vitrac and Antonin Artaud // Literature of the twentieth century: results and perspectives of study. Materials of the fifth Andreevsky readings. M .: Econ-Inform, 2007 .-- S. 55-66. - 0.75 pp

63. Humor and its relation to theater in the aesthetics of surrealists, Artaud and Vitrac // Roman collegium. Collection of interdisciplinary scientific papers. Issue 1. St. Petersburg: Publishing house of the St. Petersburg State University of Economics and Finance. 2007 .-- S. 30-44. - 1 pp.

64. The book in French surrealist drama // Theory and mythology of the book. French book in France and Russia. M .: RGGU, 2007 .-- S. 133-151. - 1 pp.

65. Le politique et le théâtre surréaliste // Surréalisme et politique - politique du surréalisme. Avant-garde critical studies, 22. Amsterdam-New York, 2007. - P. 97-106. - 1 pp.

66. Poetry in French surrealist drama (small forms) // Avant-garde and theater of the 1910-1920s. M .: Science (Scientific Council of the Russian Academy of Sciences "Historical and theoretical problems of art history". Commission for the study of the art of the avant-garde), 2008. - P. 662-682 - 1 pp.

67. 4 articles for the Encyclopedic Dictionary of Expressionism. M .: IMLI, 2008 .-- S. 62-66, 131-133, 494-496, 590-594. - 1.5 pp

68. The character crisis in French surrealistic drama // Literature of the twentieth century: results and perspectives of study. Materials of the sixth Andreevsky readings. M .: Econ-Inform, 2008 .-- S. 15-24. - 0.75 pp

Educational-methodical complexes

69. Country Geography. French literature of the twentieth century (jointly with E.D. Murashkintseva). M .: RGGU, 2008 .-- 50 p. - 3 pp.

70. History of world literature. Second half of the twentieth century. M .: RGGU, 2008 .-- 35 p. - 2.1 pp

Management of collective works, collections of scientific articles, special issues of journals

1. A special issue of the French magazine "Critic", enlightened in Russia (with V. Berelovich). Moscou 2001 - Odyssée de la Russie. Critique. P .: Minuit, Janvier-février 2001, N 644-645. 160 p. - 10 pp.

(Review: Dmitrieva E.E. New Literary Review. 2003, No. 3 (55). - pp. 349-361)

2. A special issue of the French magazine dedicated to the Russian-French cultural ties in the field of theater (with M.-C. Otan-Mathieu and E. Henri). Cahiers d'histoire culturelle “Les voyages du théâtre. Russie / France ". Université de Tours, N 10, 2001 .-- 209 p. - 20 pp.

3. The Vicissitudes of Choice: Anthologies and Dictionaries in the Practice of Surrealism and Avant-garde. Surrealism and avant-garde in anthologies and dictionaries (with T.V. Balashova and J. Chenyot-Gendron.) (Under the stamp of IMLI RAS). M .: RIO MGK, 2004 .-- 236 p. - 14.75 pp

4. Encyclopedic Dictionary of Surrealism (editor-in-chief and compiler, together with TV Balashova) M., IMLI, 2007. - 581 p. - 60 pp.

placing and commenting on scientific publications of fiction, which include French drama of the twentieth century.

1. Anthology of French surrealism of the 1920s (compilation, translation, notes with SA Isaev). M .: GITIS, 1994 .-- 391 p. - 24.5 pp (Review: Zenkin S.N. New Literary Review. 1995, No. 12. P. 403-404)

2. Jean-Paul Sartre. Nausea. Stories. Plays. Words. (compilation, preface, notes). M .: AST - NF "Pushkin Library", series "Golden fund of world classics". 2003 .-- 717 p. - 45 pp

3 Albert Camus Outsider. Plague Fall. The myth of Sisyphus. Plays. From notebooks (compilation, preface, notes (in co-authors), translation (in co-authors)). M .: AST - NF "Pushkin Library", series "Golden fund of world classics". 2003 .-- 811 p. - 51 pp.

Elena Dmitrievna Galtsova was born in Moscow, in 1988 she graduated from the Romance-Germanic Department of the Faculty of Philology of the Moscow State University. M.V. Lomonosov (theme of thesis: "Poetics of" Contemplations "by Victor Hugo"); in 1991 - postgraduate study at the Department of History of Foreign Literatures of the Philological Faculty of Moscow State University. M.V. Lomonosov; In 1993 she defended her Ph.D. thesis at Moscow State University on the topic "French surrealistic drama of the 1920s" under the scientific supervision of L.G. Andreeva; in 2008 she defended her doctoral dissertation at IMLI RAS on the topic "Theatricality in the artistic system of French surrealism", specialty 10.01.03 - Literature of the peoples of foreign countries.

Works at IMLI RAS since January 1994: from 1994 to 2014. in the position of a senior researcher, from 2014 to 2019 - as a leading researcher, since 2019 - as a chief researcher in the department of literatures of Europe and America of modern times. Since 2019, she has been the head of the Scientific Laboratory "Rossica: Russian Literature in the World Cultural Context"

His scientific life, E.D. Galtsova combines with teaching at universities. She worked at the Russian Academy of Theater Arts - GITIS from 1988 to 1993, then, in 1993-2003. part-time - at the Military University (formerly VIII), the French University College (Moscow), the Moscow Institute of Humanities and Economics (Moscow), etc. In 2004 she worked as a visiting professor at the University of Clermont-Ferrand named after. Blaise Pascal (France), Department of Slavic Studies, in 2008 - at the Jules Verne Picardy University (France), Department of Comparative Studies. From 2004 to the present time. teaches at the Department of Comparative History of Literatures of the Russian State University for the Humanities (RSUH): in 2004-2009. in the position of associate professor, from 2009 to the present - as a professor. From 2014 to the present time. - Professor of the Department of History of Foreign Literature, Faculty of Philology, Moscow State University. M.V. Lomonosov.

Member of the dissertation councils of the IMLI RAS D.002.209.01 and the philological faculty of Moscow State University. M.V. Lomonosov Moscow State University. 10.10.

Research interests: French and Francophone literature and theater of the 19th-21st centuries, cultural ties between Russia and Europe, reception of "Notes from the Underground" by F.M. Dostoevsky in Europe and America, history of ideas, theory of literature, comparative studies, cultural transfer, genetic criticism, autobiographical writing, interactions between different kinds arts in literature, anthropological interpretations of literature and theater.

Author of over 200 scientific publications published in Russia, France, Germany, Italy, Holland: articles, reviews, scientific apparatus for publications by French authors; as well as the author of teaching aids and programs. Translator of fiction (A. Camus, J. Bataille, A. Breton, L. Aragon, R. Crevel, R. Vitrac, M. Duras, M. Leiris, D.-J. Gabilis, F. Sollers, J. Starobinsky , T. Tzara, etc.), scientific and journalistic texts from French, English and Italian.

Participation in scientific societies, associations and commissions:

Member of the Commission on Literature and Intellectual Culture of France of the Scientific Council "History of World Culture" of the Russian Academy of Sciences;

Member of the international editorial board of the magazine "Critique" (France);

Associate researcher at the Center for Franco-Russian Studies in Moscow (CERF)

Member of the Scientific Society "Surrealism Studies" of the National Center for Scientific Research of France and the University of Paris-3.

Associate Research Fellow at the Center for the Comparative Study of Literature and Poetics, University Paris-10, Nanterre.

Organizer / co-organizer of international scientific conferences (information for the last 10 years)

France – Russie: Intellectuels, pouvoir et littérature aux XVIIIe, XIXe et XXe siècles. Colloque international. Paris, Sorbonne, 25-27 novembre 2010.

Traduire, écrire, éditer: France-Russie. Rencontres-débat, colloque international. Amiens, 2-3 décembre 2010.

International Conference "Napoleonic Wars on the Mental Maps of Europe: Historical Consciousness and Literary Myths" Russian State University for the Humanities, September 22-23, 2011.

International conference "Interactions between the cultures of the Western countries (Europe, America) and the Soviet Union in the 1920s-1930s." IMLI RAN, September 14, 2012.

International conference "Le Rapport à l'étranger dans la littérature et les arts soviétiques". 10 novembre 2012. ARIAS-CNRS, Paris

International conference “La fabrique du soviétique dans les arts et la culture. Le rapport à l'étranger ". 24-25 octobre 2013, ARIAS-CNRS, INHA, Paris

International conference “Publishing Policy of the USSR and Foreign Writers in the 1920s-1960s. Europe, America ". IMLI RAN. July 8, 2014.

International conference “Literature as autonomy: intellectuals and ideology in the 20th century. (Russia and the West) ”IMLI RAS jointly with the Center for Franco-Russian Studies in Moscow. September 10-11, 2015.

International symposium "Napoleonic myths in world culture: epistemology, axiology, representations in literature, historiography, art", 3-5 October 2016, IMLI RAS

100 times Dada. International scientific conference. November 10-12, 2016, State Museum. V.V. Mayakovsky, State Institute of Art Studies, IMLI RAS. (the conference venue is the Avant-garde Center at the Jewish Museum and Tolerance Center, State Institute of Art History.

International conferences and round tables "Overcoming national and political boundaries ... Cultural synergy of Russia and France" at the Russian Spiritual and Cultural Orthodox Center in Paris, September-October 2017.

Concepts of artistic creation at the International Congress of Writers in Defense of Culture (Paris, 1935). Scientific conference with international participation. IMLI RAN, 28 May 2018

International Scientific Conference "Turgenev Days in Brussels: Russian Writers Abroad" Turgenev. Brussels, Russian Center for Science and Culture (Belgium) - Bougival (France), 4 - 8 July 2018

Russian-French conference "Paul Claudel and Russia. To the 150th anniversary of the birth of the French writer". IMLI RAN - CFRI, October 15-16, 2018.

International conference "Turgenev in intercultural communication". RSUH, November 21-22, 2018

International conference "Guillaume Apollinaire and the culture of the" new spirit ". On the occasion of the 100th anniversary of the publication of the collection “Calligrams” ”. December 24, 2018. IMLI them. A.M. Gorky RAS

Grant project management:

Head of the publishing grant RGNF 05-04-16142 d - "Encyclopedic Dictionary of Surrealism", 2005

Head of the research grant RGNF-NTSNI of France 11-24-17001 a / Fra - ETRANSOV PICS N 6027 - “Attitude to foreign culture in Soviet literature, art and theory of 1917-1941. "- 2011-2013.

Head of the publishing grant of the Russian Foundation for Humanities No. 15-04-16159 d: publication of the collective monograph “Comprehension of the West. Foreign culture in Soviet literature, art and theory. 1917-1941 Research and archival materials ”. 2015

Head of the research grant of the Russian Humanitarian Science Foundation “Foreign writers and the USSR: unpublished materials of the 1920s-1960s. Culture and Ideology "(14-04-00557 a) - 2014-2016.

Head of the RFBR research grant No. 18-012-90044 Dostoevsky "Notes from the Underground" F.M. Dostoevsky and the problem of the "underground man" in the culture of Europe and America of the late XIX - early XXI centuries. "

Selected bibliography of scientific works and translations (spelling of the first and last name in publications: E. Galtsova, Elena Galtsova, E. D. Galtsova, Elena Galtsova, Léna Galtsova, Galʹcova Elena Dmitrievna)

Monographs:

Surrealism and theater. On the theatrical aesthetics of French surrealism. Moscow, Russian State University for the Humanities (with the stamp of IMLI and the Scientific Council of the Russian Academy of Sciences "History of World Culture"), 2012, 546 p., 29.3 pp.

The work of André Breton as an encyclopedia of surrealism. Moscow, IMLI RAN, 2019, 22 pp. (in the press)

Scientific leadership (and co-leadership) of collective works, special issues of scientific journals:

Anthology of French Surrealism of the 1920s. (with S.A. Isaev). M., GITIS, 1994, 391 p.

Moscou 2001 - Odyssée de la Russie. Critique, P., Janvier-fevrier 2001, No. 644-645, 160 p. (with V. Berelovich)

Cahiers d'histoire culturelle “Les voyages du theater. Russie / France ". Universite de Tours, N 10, 2001, 209 p. second edition - No. 22, 2009 (with M.-C. Otan-Mathieu and E. Henri)

The Vicissitudes of Choice: Anthologies and Dictionaries in the Practice of Surrealism and the Avant-garde. Surrealism and avant-garde in anthologies and dictionaries. M., RIO MGK, 2004, 236 p. (with T.V. Balashova and J. Chenyot-Gendron.)

From text to scene. Russian-French theatrical interactions of the 19th-20th centuries. Moscow, OGI, 2006.319 p. (With M.-C. Otan-Mathieu)

Encyclopedic Dictionary of Surrealism. (with T.V. Balashova). M., IMLI, 2007.581 p.

Textual criticism and genetic criticism: general problems and theoretical perspectives. Moscow, IMLI RAN, 2008.267 p. (editor-in-chief)

Resp. ed. materials of the international conference "Anthropological approach to the study of drama and performing arts // New Russian humanitarian studies, ser. Culturology, No. 4, 2009. http://www.nrgumis.ru

Napoleonic Wars on the Mental Maps of Europe: Historical Consciousness and Literary Myths. M., RGGU-Klyuch S, 2011. Ed.-comp. N.M. Velikaya, E.D. Galtsova, 640 p.

- “Attitude to foreign culture in Soviet literature, art and theory. 1917-1941 " Special section of the journal. Compiled by and ed. New Russian humanitarian studies. Ser. Literary criticism - N 7, 2012 (6 pp.); N 8, 2013 (14 pp.). http://www.nrgumis.ru (Compilation and editing)

Publishing policy of the USSR and foreign writers in the 1920s-1960s. Europe, America. Selection of scientific articles (6 pp.). Compilation and editing // New Russian humanitarian studies, Ser. Literary criticism. No. 9, 2014, http://www.nrgumis.ru

Western writers and the USSR in the 1920s-1960s: culture, ideology, power. Special section of the journal (10 pp.). New Russian Humanitarian Studies, Ser. Literary criticism. No. 10, 2015, http://www.nrgumis.ru. Compilation and editing.

Comprehension of the West. Foreign culture in Soviet literature, art and theory. 1917-1941 (collective monograph). Moscow, IMLI RAN, 2015. 871 s. (54.5 pp. L). Resp. ed.

Scientific publication of archival materials

Tristan Tzara. Surrealism and Literary Crisis. Moscow, IMLI RAN, 2016 (preface, translation, comments by E.D. Galtsova). 96 s. (6 pp.)

Paul Claudel, Ivan Aksenov. Tiara of the Century (published by O. N. Kuptsova, V. P. Nechaev and E. D. Galtsova). Comments by E.D. Galtsova // “Comprehension of the West. Foreign culture in Soviet literature, art and theory. 1917-1941. Research and archival materials ”. Moscow, IMLI RAN, 2015.S. 437-520.5 pp.

- "From the correspondence of Jean-Paul Sartre" (letters of Jean-Paul Sartre from the Russian archives, materials on the reception of Sartre in the USSR in the 1950s-1960s. / Dialogue of writers. M., IMLI RAS, 2002, pp. 488-521 ...

4. Articles (selected):

- “Theatrical experiments of Louis Aragon”. / Bulletin of Moscow University, series 9, Philology, M., No. 1, 1992, p. 41-38.

- "The surrealistic dramaturgy of J. Hugne and J. Neve". / Actual problems of linguistics and literary criticism. M., 1994, p. 118-129.

- "Criticism and Clinic". / New literary review. 1995, No. 13, p. 401-403.

- "The problem of myth among the French surrealists." / Soros laureates, M., 1996, vol. 3, p. 28-36.

- “Calligraphie du corps dans Nadja de Breton” / “Genèse textuelle, Identités sexuelles”, paris, Du Lérot, 1997, pp. 75-85.

- “Le Desespéranto. Utopie de l'écriture universelle chez Tzara et Breton "/" Mélusine ", No. 17, 1997, Lausanne, l'Age d'Homme, p. 275-292.

- “Semé a tout vent: le surréalisme en dictionnaire” / Critique, Paris, N 608-609, 1998, pp. 1027-1039.

- "Misunderstandings (the first canonization of Sartre in the USSR)". / Literary pantheon. M., Heritage, 1999, p. 291-314.

- “On the verge of surrealism. Franco-Russian literary meetings: Georges Bataille, Irina Odoevtseva and Georgy Ivanov. " / Surrealism and avant-garde. M., GITIS, 1999, p. 105-126.

- “Surreal simulations. (On some features of the conceptual creativity of the French surrealists associated with the problems of clinical madness, play and Marxism. ”/ Bulletin of the Faculty of Philology of the Institute of Foreign Languages in St. Petersburg, No. 2-3, 1999, St. Petersburg., Pp. 68-83.

Comments and a chronological sketch of the life of J. Bataille. / Georges Bataille. Hatred of poetry. Moscow, Ladomir, 1999, p. 571-613.

- “Two versions of the play by Jacques Baron“ The Persistent Travelers ”. On some semiotic aspects of the surrealist drama manuscript. " / Languages of manuscripts. SPb, Kanun, 2000, p. 213-231.

- "Teatro Jean Genet". / Jean Genet. Strict supervision. M., GITIS, 2000, p. 455-472.

- "Symbolism in the aesthetic program of André Breton." / Art History, M., No. 1, 2001, p. 418-433.

- “Autour d'un inédit“ moscovite ”de Tristan Tzara”, accompagné de la publication du texte de Tzara “Le surréalisme et la crise litteraire”. / Mélusine, Lausanne, L'Age d'Homme, No. XXI, 2001, p. 295-317.

- "Le nouveau roman russe" / Critique, N 644-645, 2001, p. 73-85.

- “Les pièces de Paul Claudel en Russie dans les années 1910 et 1920” / Cahiers d'histoire culturelle “Les voyages du théâtre. Russie / France ". Tours, No. 10, 2001, p. 75-98.

- "Fox-trot avec Jean-Paul Sartre:" La p ... respectueuse "et" Nekrassov "en URSS" / RITM - Recherches interdisciplinaires sur les Textes modernes, Numéro spécial: Etudes Sartriennes, 8, 2001, p. 221-252. Excerpts from the article were published in the article “Nekrassov en U.R.S.S. "Dans J.- p. Sartre. Théâtre. Paris, Gallimard, bibl. de la Pléïade, 2005, p. 1481-1482.

- "Le jeu du signifiant, ou le théâtre surréaliste à la lettre dans" L'Ephémère "de Vitrac" / Surréalisme et pratiques textuelles, 2002, p. 31-46.

- "Racine (s) de" L'Impossible ". Sur la phénoménologie du non-dit chez Georges Bataille / Regards / mises en scène dans le surréalisme et les avant-gardes. Leuven, France, Peeters, 2002, pp. 149-170.

- "Automatic letter". / Artistic landmarks of foreign literature of the twentieth century. M., Heritage, 2002, p. 194-219.

- "From the correspondence of Jean-Paul Sartre." / Dialogue of writers. M., Heritage, 2002, p. 488-521.

- "French surrealism: a project of absolute transgression and the concept of" black humor ". / Eves and frontiers. Moscow, IMLI RAN, 2002, vol. 2, p. 338-349.

- "Aspects of mastering the painting of symbolism in the aesthetics of André Breton: the case of Gustave Moreau." / Symbolism at the forefront. M., Nauka, 2003, p. 380-391.

- "Letter and Sacrifice". / Beginning, M., No. 6, 2003, p. 25-52.

- "In search of a new language." / Antoine de Saint-Exupery. Southern postal ... M., AST, 2003, p. 5-16. Comments to this edition - p. 875-894.

- "Philosophical Prose and Drama of Jean-Paul Sartre". / Jean-Paul Sartre. Nausea ... M., AST, 2003, p. 5-18. Comments to this edition - p. 677-716.

- "Les mythes et la pensée mythique dans la dramaturgie surréaliste: discontinuité et continuité des structures de la représentation théâtrale." / Les Mythes des avant-gardes. Clermont-Ferrand, presses universitaires Blaise pascal, 2003, p. 331-346.

The ironic classicism of Albert Camus. / Albert Camus. An outsider ... M., AST, 2003, p. 5-16. Comments to the edition p. 771-778, 794-795.

The theory of "pathological" creativity in the works of P.I. Karpov. / Russian theory 1920-1930s. Materials of the 10th Lotman readings. M., RGGU, 2004, p. 304-310.

Laboratory of avant-garde thought: "Critical Dictionary" of the "Documents" magazine. / The vicissitudes of choice ... M., RIO MGK., 2004, p. 60-87. Re-publication on Sat. Ultimate Bataille. SPb., Publishing house of SPb University, 2006. p.63-88.

11 articles for Dictionnaire Sartre. Paris, Honoré Champion, 2004, pp. 68-69, 139, 140-141, 185, 225, 349-350, 372, 383-384, 402-404, 470-471, 501-502, 523. (including an article about F.M.Dostoevsky)

Between surrealism and communism: the history of the "Moscow" manuscript of Tristan Tzara "Surrealism and the literary crisis." // Questions of literature. M., N 6, 2004, p. 195-209.

Dostoevsky in the autobiographical works and correspondence of Paul Claudel. // Obsessions. On the history of the "Russian idea" in French literature of the twentieth century. M., Science, 2005, pp. 76-113.

Les avant-gardes européennes dans la jeune Russie soviétique. // Russie France Allemagne Italie. Transferts quadrangulaires du néoclassicisme aux avant-gardes. paris, Du Lérot, 2005, p .. 179-195

Parallèles dadaïstes dans les avant-gardes russes // Les Dossiers H. Dada circuit total. Lausanne, l'Age d'homme, 2005, p. 363-372.

Tranches du réel sur la scène moscovite. // Critique, paris, Minuit, août-septembre 2005, p. 713-726.

From Dionysus to Dianus: on some aspects of the perception of Friedrich Nietzsche's aesthetics in the work of Georges Bataille. // Art versus literature. France-Russia-Germany at the turn of the XIX-XX centuries. M., OGI, 2006, p. 386-404.

- "Notes from the Underground" in the Parisian theater of horror Grand-Guignol. // From text to scene. Russian-French theatrical interactions of the 19th-20th centuries. M., OGI, 2006, p. 29-47.

- "The Seagull" by Marguerite Duras. // From text to scene. Russian-French theatrical interactions of the 19th-20th centuries. M., OGI, 2006, pp. 240-253.

Theater of paintings by Roger Vitrac. // Theater of the artist. Materials of the laboratory of directors and artists of puppet theaters under the direction of I. Uvarova. M., 2006, p. 47-53.

Les Voyageurs debout, une pièce oubliée de Jacques Baron // Les Oubliés des avant-gardes. Chambéry, Université de Savoie, 2006. p. 207-220.

Du spleen à la danse. paris dans La pension Maubert de Valentin Parnak. // RITM - Recherches interdisciplinaires sur les Textes modernes, Numéro special “paris-Berlin-Moscou. Regards croisés (1918-1939). Université paris-X, n 35, 2006. p. 67-84. Parallel publication in German: Vom Spleen zum Tanz. paris in den unveröffentlichten Erinnerungenvon Valentin Parnak La pension Maubert. // Die Blicke der Anderen. paris-Berlin-Moskau. Bielefeld, Aesthesis Verlag, 2006. S. 175-194.

Charisme et déshérence. Du Théâtre d'Art de Moscou à la galaxie Stanislavski. // Critique. Paris, n 713, 2006, p. 815-826.

André Breton. // Great Russian Encyclopedia. T. 4.M., Russian encyclopedia. 2006, p. 198.

52 articles for the Encyclopedic Dictionary of Surrealism. M., IMLI, 2007.S. 45-49, 60-61, 63-64, 71-79, 103-104, 106-108, 127-129, 161-163, 180-184, 209-211, 220 -221, 220-221, 251-254, 260-261, 273-274, 276-279, 284-288, 291-293, 295-297, 305-308, 322-325, 327-328, 339-341 , 350-352, 363-364, 369-373, 392-393, 395-402, 411-412, 421-423, 429-430, 433-435, 458-460, 466-470, 480-481, 487 -488, 490-503, 524-527, 537-538, 544-545, 553-555. - 12 pp.

An introduction to the Encyclopedic Dictionary of Surrealism. M., IMLI, 2007.S. 5-10, joint venture. With T.V. Balashova

Theater, "dreams" and psychoanalysis in the theory of André Breton, Roger Vitrac and Antonin Artaud. // Literature of the XX century: results and perspectives of study. Materials of the fifth Andreevsky readings. Moscow, Econ-Inform, 2007.S. 55-66.

Humor and its relation to theater in the aesthetics of the surrealists, Artaud and Vitrac // Roman Collegium. Collection of interdisciplinary scientific papers. Issue 1. St. Petersburg, Publishing House of the St. Petersburg State University of Economics and Finance. 2007.S. 30-44.

Book in French surrealist drama // "Theory and mythology of the book. French book in France and Russia". M., RGGU, 2007. 133-151.

Métamorphoses de paris chez un émigré russe // Le voyage à paris. RITM, No. 37, 2007. P. 79-91.

Le politique et le théâtre surréaliste // Surréalisme et politique - politique du surréalisme. Avant-garde critical studies, 22. Amsterdam-New York, 2007. p. 97-106.

Poetry in French surrealist drama (small forms) // Avant-garde and theater 1910-1920s. M., Science, (Scientific Council of the Russian Academy of Sciences "Historical and theoretical problems of art history". Commission for the study of avant-garde art), 2008. P. 662-682.

4 articles for the Encyclopedic Dictionary of Expressionism. M., IMLI, 2008.S. 62-66, 131-133, 494-496, 590-594.

Genre originality of French surrealistic drama. // Art Studies, 2008, No. 2.S. 254-281.

On the question of the theory of beauty in French surrealism. // Observatory of Culture, 2008, No. 2. P. 118-124.

Character crisis in French surrealistic drama // Literature of the XX century: results and perspectives of study. Materials of the sixth Andreevsky readings. M .: Econ-Inform, 2008 .-- S. 15-24.

Concepts of "reality" / "surreality" and theatrical aesthetics of André Breton // Bulletin of the Russian State University for the Humanities. M., 2008, No. 9. - S. 207-217.

- “Im Automobil durch Europa” und Georgij Ivanov prosa der 1930er Jahre: Zur Genese des modernen Schreibens in prisma der Gattung Skizze. // FlüchtigeBlicke. Relectürenrussischer Reisetexte. Bielefeld, Aesthesis Verlag, Band 3, 2009. - S. 329-346.

On the question of visual and verbal principles in surrealism. // Faces of time. Moscow, Moscow State University, 2009. p. 298-308.

Les avatars du pirandellisme dans la dramaturgie surréaliste des années 1920 // Dazwischen. Reisen-Metropolen-Avantgarden. Bielefeld, Aesthesis Verlag, Band 8, 2009 .-- S. 453-464.

Camus A. // Great Russian Encyclopedia. T. 12. M. Scientific publishing house "Great Russian Encyclopedia, 2008. P. 661. - 0.2 pp.

On the genesis of the concept of "theatricality" in France: from Wagner to theatrical semiotics // Literature of the XX century. Results and perspectives of the study. Seventh Andreev's Readings. M., Econ-Inform, 2009.S. 25-35. - 0.75 pp

Transposition of Z. Freud's psychoanalysis in the theatrical aesthetics of the French surrealists (A. Breton, R. Vitrac, A. Arto) // European context of Russian formalism (to the problem of aesthetic intersections: France, Germany, Italy, Russia). Moscow, IMLI RAN, 2009.S. 235-251. - 1 pp.

Le Théâtre de la parole: remarques sur la “poésie” au théâtre chez Novarina à partir d'Artaud et de Vitrac // Frédérik Detue, Olivier Dubouclez (dir.), Valère Novarina: Le langage en scène, Caen, Lettres modernes Mines coll. Écritures contemporaines, vol. 11, 2009, p. 47-64.

Exil et écriture d'avant-garde: "Les parigots" d'Iliazd // Dans le dehors du monde. Exils d'écrivains et d'artistes au XXe siècle. Paris, presses Sorbonne Nouvelle, 2010. p. 39-52. - 1 pp.

Essays "Around Europe by car" in the genesis of the fictional prose of Georgy Ivanov in the 1930s // Cursory glances. A new reading of Russian travelogues of the first third of the twentieth century. M. NLO, 2010.S. 271-285 - 1 pp.

Surrealism: from the aesthetics of rupture to the "summation" of culture // Avant-garde in the culture of the twentieth century. Theory, history, poetics. Moscow, IMLI RAN, 2010.Vol. 1, pp. 471-529. - 4 pp.

French vector of the avant-garde // Avant-garde in the culture of the twentieth century. Theory, history, poetics. Moscow, IMLI RAN, 2010.Vol. 2, pp. 208-272 - 4.3 pp.

From Narrative to Theatrical Play of Horrors: "The System of Doctor Smol and Professor Perrault" arranged for Grand-Guignol // Scientific reports of the Faculty of Philology of Moscow State University, vol. 6, M., Moscow State University, 2010.S. 138-142. - 0.4 pp

The concept of "new spirit" and the development of avant-garde movements in the literature of pre-war France (1910s) // French accent in world culture: to the 60th anniversary of A.N. Taganova: collective monograph. Ivanovo: IvGU, 2010.S. 66-76. - 0.5 pp.

Red and / or black? Aesthetic aspects of violence in the understanding of the surrealists // New literary review, 2010, No. 104. - 1 pp.

Sacrifice of the subject of writing in the literary works of Georges Bataille // Cult as a phenomenon of the literary process: author, text, reader. Resp. ed. A.P. Urakova, M.F. Nadyarnykh. Moscow: IMLI RAN, 2011.S. 106-120. - 1.5 sheets.

Dostoevsky in France: "The Underground Spirit" // Ibid. S. 161-178. - 1.5 sheets

Formation of the aesthetics of French surrealism and the problem of culture // European destinies of the concept of culture. (Russia, Germany, France, the English-speaking world). Moscow, IMLI RAN, 2011, pp. 167-184. - 1 sheet

Lettrism, Great Russian Encyclopedia, Volume 17.M., 2010. with. 352.

Napoleon in the first person: futuristic identifications (Igor Severyanin and Vladimir Mayakovsky) // “Napoleonic wars on mental maps of Europe: historical consciousness and literary myths). M., RSUH-Franco-Russian Center for the Humanities and Social Sciences-Klyuch C, 2011. p. 345-361 - 0.75 pp

The book by P.I. Karpova "Creativity of the mentally ill and its influence on the development of science, art and technology" (1926) in a European cultural context. Materials for research // New Russian humanitarian studies, 2011.http: //www.nrgumis.ru

Aspirations linguistiques chez André Breton. De l'universalisme et la multiplisité langagières à la création des dictionnaires surréalistes. // Plurilinguisme et Avant-Gardes, Bruxelles, Peter Lang, 2011, p. 459-466 - 1 sheet

Objets non identifiés: la dramaturgie française contemporaine en Russie // Critique, November 2011, = 0.3 sheets

Le travail de la sincérité dans les écritures martiales // Luzi Ch. Le mentir-vrai dans la littérature de guerre. Colonna édition, Alata, Corse. 2011. p. 3-13.

Tristan Tzar's concept of "abstraction" and its embodiment in plays

"The first heavenly adventure of Mr. Antipirin", "The second heavenly adventure of Mr. Antipirin" and "Gas-powered heart" // Non-objectiveness and abstraction. Ed. G.F. Kovalenko. M., Science, 2011

Images de Napoléon chez les futuristes russes: déformations du mythe et recherches de "l'homme du futur" (Khlebnikov, Severianine, Maïakovski) // Attentes et sens autour de la présence du mythe de Napoléon aujourd'hui. Sous la direction de J.-D. poli. Editions alain

Piazzola, Ajaccio, 2012. p. 349-366. 1 pp

Michaud Henri // Great Russian Encyclopedia. Moscow, Scientific Publishing House "Great Russian Encyclopedia", 2012. T. 20. S. 518.

Modiano Patrick // Great Russian Encyclopedia. M., Scientific Publishing House "Great Russian Encyclopedia", 2012. T. 20. P. 589

Modern Western modernist writers and the problem of developing a new epic in the Literary Critic magazine in 1933-1935: Dos Passos, Joyce, Proust, Jules Romain (to the question) // New Russian Humanitarian Research - electronic journal. 2012, No. 7.http: //www.nrgumis.ru

Georges Bataille en Russie. De la révolution sexuelle à l'invasion sacrificielle // Critique, 2012, N 788-789, janvier-février. p. 138-151.

Lа réception de l'œuvre de Flaubert en URSS dans les années 1920 et 1930.http: //halshs.archives-ouvertes.fr/docs/00/75/95/26/PDF/PICS_ETRANSOV_10nov_2012_HAL.pdf

From the description of paintings in the story "Nadia" to "poetry-things": a variant of the transformation of ekphrasis in surrealism // "Inexpressibly expressible": ekphrasis and problems of representation of the visual in a literary text. M., UFO, 2013, pp. 199-209. 1 pp ISBN 978-5-444-800071-3, circulation 1,000 - RSCI.

Georges Bataille en Russie. De la révolution sexuelle à l’invasion sacrficielle // Critique. Paris, éditions de Minuit. 2013, No. 788-789, janvier-février. P. 138-151 - 0.75 pp. ISSN 0011-1600 ISBN 978.2.7073.2203.6.

On the translation of "French character into Russian letters": Flaubert motives in the works of F.M. Dostoevsky. // Russia and the French-speaking world in the dialogue of arts: literature, painting, theater, cinema. Russian Institute of Culturology, Moscow Regional State science Library them. N.K. Krupskaya, Korolev, 2013. p. 46-56 (reprinted with corrections: On the translation of "French character into Russian letters." Flaubert motives in the work of Dostoevsky. // French Collegium. Issue 6. French passages by FM Dostoevsky. St. Petersburg, St. Petersburg, 2014, p. 98- 109).

War in the novel by Georges Bataille "Abbot S." // Literature and War. Twentieth century. Collection of articles in honor of the 90th anniversary of L.G. Andreeva. M., Max-Press. 2013.S. 209-220, 1 sheet.

- "La récеption de l'oeuvre de Michel Tournier en Russie" // Michel Tournier. La réception d'une œuvre en France et à l'étranger. Presses Universitaires de Rennes, 2013; p. 195-214.

L'invention du roman en zaoum? Sur Quatre romans phonétiques d'Alexeï Kroutchenykh // Cahiers de Narratologie, no. 24, 2013.

http://narratologie.revues.org/6711.24 | 2013 (release name: Avant-gardes et littérature narrative Sous la direction de Barbara Meazzi et Isabelle Krzywkowski)

On two directions in the study of the work of Marcel Proust in the works of Boris Griftsov // Literature of the XX - XXI centuries: results and prospects of study. Materials of the Eleventh Andreev Readings / Edited by N.T. Pakhsaryan. - M .: Econ, 2013 .-- S. 17-26. - Electronic version - http://morebo.ru/tema/segodnja/item/1378326143332#sthash.Fils4Gkh.dpuf

Proust and the Russian (Soviet) theory of the novel of the 1920s-1930s // Russia and France in the 18th-20th centuries. Lotman readings. Ser. "Monumenta Humanitatis. Readings IVGI - IVKA - TsTSF" Russian State University for the Humanities, Institute of Higher Humanitarian Research named after E.M. Meletinsky, Institute of Oriental Cultures, Center for Typology and Semiotics of Folklore. M. RGGU 2013 448 s. (ISBN: 978-5-7281-1573-1 / 9785728115731).

A smile of despair // Camus A. Rebellious man, M., AST, 2014 p. 469-508

Surrealism // Foreign literature of the twentieth century, 2nd ed., Trans. and add. Under the arm. V.M. Tolmachev. T. 1. The first half of the twentieth century. Textbook for Academic Bachelor's Degree. M., Urayt, 2014. ISBN 978-5-9916-3443-4. S. 92-106

Mallarmé and the joyful beauty of everyday life // Bulletin of the Orthodox St. Tikhon University of the Humanities. Series "Philology", issue 2 (37). 2014.S. 85-91 (Speaker: Barbara Bohac. Jouir partout ainsi qu'il sied. Mallarmé et l'esthétique du quotidien. P .: Classiques Garnier, 2013)

Transgression, sacred and kitsch in the interpretation of surrealism by Walter Benjamin // K / t Problems of cultural borderlands. In memory of V. B. Zemskova M. IMLI RAN M. 2014.S. 432-441.

Around the publication of short stories by Franz Ellens in the 1930s in the USSR. Materials for research // New Russian humanitarian studies, 2014, No. 9

Discussions sur Joyce et Proust dans la revue Literatourny kritik.Textes, prétextes et sous-textes // L'étranger dans la litterature et les arts soviétiques. Lille, Presses universitaires du Septentrion, 2014. P. 63-74. 0.75 pp

- "Controversa" as a principle of comparison? (theory of the novel by Boris Griftsov) // Comparatively about comparative literary criticism. Moscow, IMLI RAN, 2014.S. 100-109. - ISBN 978-5-9208-0448-8. - 0.7 pp

Georges Bataille in the controversy around the "Rebellious Man": from criticism of the "morality of misfortune" to intellectual solidarity with the "rebellion" of Albert Camus "// Bulletin of the University of the Russian Academy of Education. No. 3 (76), 2015.S. 20-26 (0.5 sheets)

Des formes organiques à l'abstraction dans l'œuvre d'Elena Gouro. Plaidoyer discret pour le "genre féminin" chez une futuriste russe // Le Troisième sexe des Avant-gardes. Paris, Classiques Garnier, 2015 - 1 pp.

Benjamin and the problem of “summing up” culture in French surrealism // Charles Baudelaire and Walter Benjamin: Politics and Aesthetics. M., UFO, 2015.1 pp.

Dostoevsky and Flaubert: on the question of borders comparative analysis creativity // Die Frau mit Eigenschaften. On the occasion of the 80th birthday of Nina Sergeevna Pavlova. M., RGGU, 2015, p. 279-297. 1 pp

Introduction // “Comprehension of the West. Foreign culture in Soviet literature, art and theory. 1917-1941. Research and archival materials ”. Moscow, IMLI RAN, 2015.S. 11-20.

Paul Claudel Theater in Russia (1910-1920s) // “Comprehension of the West. Foreign culture in Soviet literature, art and theory. 1917-1941. Research and archival materials ”. Moscow, IMLI RAN, 2015, pp. 363-436.

Western modernist writers in the Literary Critic magazine. Proust, Joyce, Dos Passos // Comprehension of the West. Foreign culture in Soviet literature, art and theory. 1917-1941. Research and archival materials ”. Moscow, IMLI RAN, 2015.S. 669-686.

Russian culture and France: "Notebooks of Albert Camus" // Russian literature in the mirrors of world culture: reception, translations, interpretations. Moscow, IMLI RAN, 2015.2, 5 pp.

- "Notes on the margins of the history of one hostility." The role of the Baden meeting with Turgenev in the summer of 1867 in Dostoevsky's discovery of Flaubert's work "// To Turgenev in Baden-Baden. Collection of materials of scientific conferences 2013-2014. M., 2016. - S. 223-232 - 1 p.p. - ISBN circulation 500

- "... À CELA S'AJOUTAIT L'APPUI DE LA RÉSISTANCE": UN THÈME DE TROP DANS L'ABBÉ C. DE GEORGES BATAILLE? // Écrire la guerre écrire le conflit. Lille, Collection UL3, 2016. - p. 259-269 - 1 pp. - I.S.B.N. 978-2-84467-141-7 Draw 500

M.V. Veselovskaya and her correspondence with French-speaking writers of Belgium in the history of Russian-Belgian cultural ties at the beginning of the 20th century (Rodenbach, Verhaarn, Ellens) // Siberian-French dialogue and literary development of Siberia in the 17th-20th centuries. M., IMLI RAN, 2016 .-- p. 419-428. - 1 pp. - circulation 300 - ISBN 938-5-9208-0488-4

- "Tiara of the Century" by Claudel-Aksenov as a heroic tragedy about the consequences of the French Revolution, or about the encounter between Claudel and Rolland in the Soviet theater of the early 1920s // Literature and Ideology. Twentieth century. M .: Max press, 2016 .-- p. 111-132 - 1 pp. - circulation 200. ISBN 938-5-317-05287-4

Seven manifestations of Tristan Tzara - a philosopher, anti-philosopher and aa anti-philosopher // Tzara T. 7 manifestos of dada. M., State Museum of V.V. Mayakovsky. S. 4-45. - 1 pp.

Tristan Tzara and his lecture "Surrealism and the Literary Crisis" (1946) // Tzara T. Surrealism and the Literary Crisis. M., IMLI, 2016.S. 7-49. 3 pp

Andreev Leonid Grigorievich // Russian literary critics of the twentieth century: Biobibliographic dictionary. T. I: A – L. M .; SPb .: Nestor-History, 2017.S. 51-53. - 0.75 pp

Oscar Wilde in the work of Albert Camus: mirrors of aestheticism and the sacrifice of "Faith" // Noscere est comparare. Comparative studies in the context of historical poetics. For the anniversary of Igor Shaitanov. M., Russian State University for the Humanities, 2017.S. 166-186 1.5 pp.

Poetic groups and movements in France at the turn of the XIX-XX centuries: problems of historiography, theory and poetics // "The gap and connection of times. Problems of studying literature at the turn of the XIX-XX centuries". Resp. ed. A.F. Kofman, M.F. Nadyarnykh. Moscow, IMLI RAN, 2017, pp. 88-141 - 4 pp.

The concepts of "mоderne" and "modernité" in France in the second half of the XIX - early XX centuries // "The gap and connection of times. Problems of studying literature at the turn of the XIX - XX centuries" ". Ed. A. F. Kofman, M.F. Nadyarnykh. M., IMLI RAN, 2017, pp. 675-694.

Dostoevski // Dictionnaire Flaubert. 2017, Paris, Honoré Champion / Classiques Champion. 479-482

Réception en Russie // Dictionnaire Flaubert. 2017, Paris, Honoré Champion / Classiques Champion 1310-1316

Transpositions "révolutionnaires" du drame catholique: autour de la tragédie "La Tiare du siècle" de Paul Claudel // Littératures croisées. La langue de l'autre. Fragments d'un polylogue franco-russe (XXe-XXIe siècles). Martina Stemberger / Lioudmila Chvedova (dir.), Nancy, PUN-Éditions Universitaires de Lorraine, 2018. R 117-138. 1 pp

What is Surreal Revolution? (about some aspects of the Breton concept) // Literature and revolution. Twentieth century / Ed. O.Yu. Panova, I. Yu. Popova, V.M. Tolmachev. - M .: Litfakt, 2018 .-- Issue 4.- 544 p. (Scientific series "Literature. Twentieth century".) Literature and revolution. S. 419-435 1 pp.

Between "Russian fashion", cultural stereotypes and "realism-love": I.S. Turgenev in the book by E.-M. de Vogue "Russian Novel" // Bulletin of Moscow State University, ser. 9, Philology. No. 6. C 189-202. 0.75 pp ISSN 0130-0075

Rêves et misères d'une mise en scène de la "religion de la souffrance": "L'Esprit souterrain de F. DostoPievski et de H. - R. Lenormand au Grand-Guignol (1912) // Zbornik Matice Srpske for Slavic studies - Zbornik Matice Srpske za Slavistiku-Matica Srpska Journal of Slavic Studies, No. 94, 2018. with. 79-94. 1 pp

Médiations et émotions: le processus de la construction d "un dialogue entre les cultures belge et russe dans les lettres de Franz Hellens a Maria Vesselovskaïa (1912-1927) // Svetlana Cecovic, Hubert Roland, Laurent Béghin (dir.), Réception, transferts, images.Phénomènes de circulation littéraire entre la Belgique, la France et la Russie (1870-1940), Louvain-la-Neuve, Presses Universitaires de Louvain, 2018. P. 75-94.1, 5 pp.

The problem of the sacred in the thoughts of E.-M. de Vogue about Turgenev // I.S. Turgenev: text and context. Collective monograph, ed. A.A. Karpov. SPb .: Skriptorium, 2018.5 p.p.

Ernest Miller Hemingway // Literature. Grade 11. Tutorial. Advanced level. In 2 parts. Part 2. GEF. ed. Korovina V.I. M., Enlightenment. 2017/2018. S. 335-341

Claudel - a reader of Dostoevsky // Russian classics between East and West: religious and philosophical meanings. SPb: Publishing house of the Russian State Agricultural Academy, 2018.S. 112-134. 1.5 pp

Scientific commentary:

Anthology of French Surrealism. 20s. M., GITIS, 1994. (with S.A. Isaev)

Bataille J. Hatred of poetry. M., Ladomir, 1999.

Nancy J.-L. Corpus. M., Ad Marginem. 1999.

Sartre J.-P. Nausea (a collection of selected works of art). M., AST, 2003.

Bataille J. The Damned Part. M., Ladomir, 2006.

T. Tzara. 7 Dada manifestos. M., State Museum of V.V. Mayakovsky, 2016

Translations from French:

Germaine de Stael. About literature (excerpts). / Literature of the XIX century. Anthology. M., Higher School, 1990, p. 20-23, 28-33.

Anthology of French Surrealism. 1920s, comp. together with S.A. Isaev (translations by E. Galtsova - Andre Breton "Nadia", "One day there will be", A. Breton and Philippe Soupot "Magnetic fields", Louis Aragon "Shadow of the inventor", "Defense of infinity. Irene", Rene Crevel "Spirit against reason ", Michel Leiris" The Adventurous Life of J.-A. Rimbaud "," Metaphor ", as well as texts by Antonin Artaud, Roger Vitrac, Benjamin Pere, Georges Ribemont-Dessin, Paul Eluard, Max Ernst, Giorgio de Chirico, etc.). M., GITIS, 1994.

Letters and articles of the French Saint-Simonists from the archives of the former Institute of Marx-Engels-Lenin. / New literary review. No. 13, 1995, p. 294-314.

Gerard Genette. Works on poetics (translation of 11 articles). / M., Publishing house im. Sabashnikovs. 1998, vol. 1, 2.

Annie Ubersfeld. Paul Claudel. / Paul Claudel. Midday section. M., GITIS, 1998, pp. 5-24.

Georges Bataille. Hatred of poetry (translation of the stories "Impossible", "Abbot S.", "Julie", "Madame Edward", "Divinus Deus"). M., Ladomir, 1999.

Jean-Luc Nancy. Corpus. (with E. Petrovskaya). M., Ad Marguinem, 1999. (translation and commentary).

Jacqueline Chignot-Gendron. “The concept of a poetic subject in the works of surrealists and avant-garde artists. Methodological problems ”. / Surrealism and avant-garde. M., GITIS, 1999, p. 9-21.

Michelle Comte. The manuscript, the first edition, the "canonical" edition, carried out with the consent of the author - what to believe? ("Nausea" by Sartre). / Genetic criticism in France. M., OGI, 1999, p. 275-282.

Michelle Surya. From the biography of J. Bataille. / Foreign literature. M., 2000, no. 4, p. 164-177.

Annie Ubersfeld. Arian Mnushkin and the Theater of the Sun. / Academic notebooks, M., no. 7, 2001, p. 103-114.

Antonin Artaud. Three articles dedicated to the theater. / Start. M., no. 5, 2002, p. 285-293.

Albert Camus. From notebooks. Notebooks N VII -IX (1951-1959). /BUT. Camus. Outsider. M., AST, 2003, p. 716-768.

Marguerite Duras. Second music (translation of the plays "Square", "How will it be Shagiyski?", "Yes, maybe." M., GITIS, 2004.

Geiro Regis. Preface to the book. Ilya Zdanevich. Letters to Morgan Phillips Price. M., Gileya, 2005. 5-18.

Bataille Georges. Erotica. // Bataille J. The damned part. M., Ladomir, 2006.S. 491-705.

Tests from Tel Quel: Revolution here and now (p. 124-125), Philip Sollers "Program" (p. 84-89), "The Great Method" (p. 126-133), "RB" (p. 218-228) // Base. The Advanced Art of Our Time, 2011, no. 2.

A. Breton, F. Soupot. Magnetic fields (new translation version). M., Ravager, 2012. (published together with V. Klimov's novel "Free food at train stations")

Starobinsky J. The Lesson of Nostalgia. Invention of the disease // Starobinsky J. Ink of melancholy. M., UFO, 2016, p. 247-270.

Tzara T. Surrealism and literary crisis. Moscow, IMLI RAN, 2016, p. 49-65. 0.75 pp

Camus A. Notebooks (1951-1959). // Albert Camus. Rebellious man. The fall. Exile and Kingdom. Notebooks (1951-1959). S. 509-733. Per. and notes by E.D. Galtsova.

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