Bailey roman: Gallery – Bailey Roman Artist

Giant Wall Clock The Bailey Roman Numeral

>>–>The candlesticks in the first few images are the same as on the last few images. If you see where they hit the clocks you can get a better idea of the size variations. 🙂 <–<<

>>–>Clocks over 36″ will have some assembly required so we can ship it. They will come in either two or three panels that are easy to put together. We include easy step by step instructions and all of the hardware needed! <–<<

This listing is for the Bailey Clock WITHOUT a monogram. I just wanted to include all of the stain choices in the pictures! ☺️

>>>Monograms Available Here-
https://www.etsy.com/listing/726972568/giant-wall-clock-the-bailey-monogram?ref=shop_home_active_10&frs=1&crt=1

Handcrafted, oversized wall clock with 3D Cut Out Roman Numerals. Our clocks are assembled with solid Eastern White Pine, you won’t find any plywood hidden on the backing. I design and cut out the numbers on our CNC and then paint them myself as well as assemble the face of the clock. We build everything from scratch & to order in our small shop in Central Wisconsin. We are a two-man shop, so keep in mind the lead time varies on these truly custom pieces.

The wood on it has been sanded until smooth but left with some natural characteristics, such as knots, or different board widths.

Our clocks feature silent ticking, high torque, quartz movements.

>–>>Assembly of the mechanism and hands required-instructions enclosed. Ready to hang with a D-Hook.

>–>>Handmade item, unused.
Note* Item received will have variation from items shown in the photos as every piece of wood is different and offers its own unique characteristics. Each item is made to order.

*If you would like a custom color combination, reach out.

>>>International Orders: Please contact us for an accurate shipping quote.

We are on Instagram @twomoosedesign
https://www. instagram.com/twomoosedesign/
and Facebook at Two Moose Design
https://www.facebook.com/twomoosedesign/

More available here: https://www.twomoosedesign.com

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“Means of Preservation” by Bailey Roman

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How Do You Deal With a Crocodile Smile? 36″ acrylic,ink, chalk pastel on birchwood (219 KB)

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Let’s put a pin in it, 24 x 36, house paint, acrylic, chalk pastel, thumb tacks, dehydrated lemon slices, 4 Real Diaethria clymena “88” Butterflies, sewing pins on mat board on wood. (2.5 MB)

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Pompeii (honeymoon), 3.75x4ft, 2020, Acrylic, chalk pastel, wood (1.2 MB)

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Persephone, 3.75x4ft, 2020, acrylic, chalk pastel, house paint, hand sanitizer on wood (89 KB)

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We’re Screwed, 20x6x19inch,2020, ceramic, glazing, acrylic paint on wood (893 KB)

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What i did to you vs what you did to me, 37. 5 x 40 inch, india ink, ink, chalk pastel, acrylic on paper (1.3 MB)

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I was great you were fake, 24 x 36inch 2019, acrylic, house paint, lemon, lemon squeezer, chalk pastel on wood (1.8 MB)

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Scorpion and the Frog, 24 x 36 inch, 2019, acrylic, chalk pastel, house paint, yarn, red electrical tape, lemon on wood (1.8 MB)

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BFA postcard (229 KB)

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Jar displayed with How Do You Deal.. (230 KB)

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Jar displayed with How Do You Deal.. (41 KB)

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Jar displayed with How Do You Deal.. (424 KB)

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Jar displayed with Let’s put a pin… (303 KB)

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Jar displayed with Pompeii (437 KB)

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Jar displayed with Scorpion and the Frog (573 KB)

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Jar displayed with Persephone (589 KB)

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Jar displayed with We’re Screwed (304 KB)

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Jar displayed with What I did to you. .. (351 KB)

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Jar displayed with You We’re Fake (301 KB)

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Jar displayed by artist statement (578 KB)

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Jar displayed by artist statement (439 KB)

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Jar displayed by artist statement (308 KB)

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Jar displayed by artist statement (746 KB)

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Jar displayed by artist statement (760 KB)

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View of digital exhibition (266 KB)

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View of digital exhibition (281 KB)

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View of digital exhibition (244 KB)

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View of digital exhibition (327 KB)

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Exhibition summary (805 KB)

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Artist statement (2.4 MB)

Lydia Bailey. Roman. by Roberts (Kenneth).: (1948)

Published by Editions de La Paix, Bruxelles, 1948

Soft cover


About this Item

Ensemble de deux volumes brochs de format in 8 de 318 et 288 pp. ; bien complet. Couverture un peu dfrachie; dos uniformment passs. Petit manque au dos du tome II. Bon tat malgr tout, voir photos. Rare premire dition en franais. L’dition originale en anglais date de 1947. L’auteur, spcialiste de romans historiques sur les amriques, voque ici la rvolution Hati qui provoqua l’exode des planteurs franais vers Cuba et les Antilles. Seller Inventory # 12736

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Bibliographic Details

Title: Lydia Bailey. Roman.

Publisher: Editions de La Paix, Bruxelles

Publication Date: 1948

Binding: Soft cover

Edition: 1st Edition

Store Description

Le libraire reoit son bureau uniquement sur rendez-vous. T. +33 0967003476
l’adresse suivante: Daniel Sciardet, 14, avenue de Marmande, “Le Bourg”, 47800
Allemans du Dropt. RCS 347 927 113 Marmande.
France.

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Terms of Sale:

Conditions de vente conforme aux usages dans la librairie ancienne ou
moderne.

Port la charge du client avec envoi obligatoire en colissimo, et colissimo recommand pour les commandes suprieures 40?.
La facturation pourra tre pro forma .Pour les chques venant de l’tranger, un supplment de 13 euro sera demand.
Le libraire reoit son adresse commerciale uniquement sur rendez-vous. RCS 347
927 113 Marmande. F.

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Les frais de port sont calculs sur la base d’un livre = un kilo. Au cas o livres commands seraient particulirement lourds ou imposants, vous serez inform que des frais de transports supplmentaires sont ncessaires.

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The Barnum & Bailey greatest show on earth.

Roman standing races on the Hippodrome track / Strobridge Litho. Co., Cincinnati & New York.

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    No known restrictions on publication.
  • Reproduction Number:

    LC-DIG-ppmsca-54858 (digital file from original)

  • Call Number:

    POS – CIRCUS – Bar. & Bai. 1900, no. 33 (C size) [P&P]

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Bailey Roman — Louisville Visual Art

Drawing, Painting, Sculpture

Josh Jenkins ·

“I understand the rules that have been presented to me, take the previous results into account, then more-or-less throw them out.” – Bailey Roman

Looking at the work of Bailey Roman raises a question: are these faces, with their contorted, lopsided visage, a deliberate deconstruction of conventional beauty? They are certainly distinctive and full of character, personalities that feel pulled from the fringe of society, malformed outcasts demanding our compassion.

Roman juxtaposes self-awareness and subconscious feelings against modern societal standards. “I also tend to take a lot of idioms way more seriously than their original intent; for example, in the past I have used the phrase ‘the lights are on but nobody’s home’ and used it as commentary for society’s various criticisms and standards for intelligence.”

“It’s Only The Second Semester and I’m Already Emotionally Exhausted; Maybe I Should Eat a Burrito” by Bailey Roman, 24x24in, oil on canvas (2017)

“I draw influence from German Expressionism, Post Impressionism, contemporary media and, most importantly, the greats from stop motion puppet fabricators such as Francesca Berlingieri Maxwell and Henry Selick. More recently, I have been stretching the boundaries of what my chosen mediums. I understand the rules that have been presented to me, take the previous results into account, then more-or-less throw them out to see what new two dimensional effects, tactical textures, and interactions the viewer can have with my work.

“In ‘Logan’, I use the polygons as a tool to highlight the first things the viewer would typically notice from the piece. I also take the liberty of using influences from both Pop Art and Golden Age comic book art. I use the two periods and place them into a more contemporary anatomical study.”  

“Anubis, The Dragonfly and the Warrior” by Bailey Roman, 15x7x10in, ceramic and glaze (2017)

Roman is featured in From the Sculptures That Look Like Drawings series at The Tim Faulkner Gallery, and she will be included in Louisville Artisan Guild’s 44th annual exhibit From the Soul of the Artist that will be held at Kore Gallery July 5 through July 30. There will be an Artist Reception July 13th, 6 – 8 pm.

Age: 19
Hometown: Louisville, Kentucky
Education: Ballard High School (honors program graduated 2016) Murray State University (Studio Art major, currently working on my Bachelor of Fine Arts with a minor in art history)
Gallery Representation: The Tim Faulkner Gallery
Social Media: https://www. facebook.com/RamRenard/

“Touch Of Death” by Bailey Roman, 14x14x14in, ceramic, acrylic, plaster (2015), $315 | BUY NOW

“Logan” by Bailey Roman, 22x28in, ceramic and glaze (2016)

“GPF” by Bailey Roman, 9×9.5x11in, ceramic and glaze (2017)

“Day N Night” by Bailey Roman, 11x14in, ink on paper (2017)

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

Are you interested in being on Artebella? Click here to learn more.

Roman Candles Oil Painting By Joyce Waddell Bailey

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Typological Classification | Ancient Lamps

Typological Classification | Ancient Lamps

  1. Phoenico-Punic Clay Saucer Lamps
      1. Vessberg type 1 cats. 1–2
      2. Deneauve type X cats. 3–4
  2. Greek and Hellenistic Clay Lamps
    1. Wheelmade Lamps
      1. Howland type 22 B cat. 5
      2. Broneer type I cat. 6
      3. Broneer type IV cats. 7–8
      4. Goldman group VIII cat. 9
      5. Howland type 25 A Prime cats. 10–12
      6. Howland type 32 cats. 13–15
      7. Howland type 33 A cat. 16
      8. Howland type 40 A, also called “Cnidian” type cat. 17
      9. Bruneau’s Lampes dites Cnidiennes à entonnoir central group III cat. 18
      10. Pavolini’s biconical Esquiline type cat. 19
      11. Ricci type D cat. 20
      12. Undetermined Hellenistic types cats. 21–27
    2. Moldmade Lamps
      1. “Ephesus lamps” introduction
        1. “Ephesus lamps” with triangular beveled nozzle cats. 28–37
        2. “Ephesus lamps” with round nozzle and flat plate surrounding wick-hole cats. 38–43
      2. Asia Minor Hellenistic lamps with two side-lugs cats. 44–51
      3. Miscellaneous types of Hellenistic lamps cats. 52–69
  3. Roman-Period Clay Lamps
    1. Types from both Western and Eastern Provinces of the Roman Empire
      1. Late Republican Lamps
        1. Dressel type 2 (Warzenlampen) cats. 70–71
        2. Dressel type 3 cats. 72–73
        3. Dressel type 4 (Vogelkopflampe) cat. 74
        4. Bailey type M (i) (late Vogelkopflampe) cat. 75
      2. Augustan and Imperial Lamps introduction
        1. Loeschcke type I
          1. 1.1. Loeschcke type I A = Bailey type A group i cats. 76–84
          2. 1.2. Loeschcke type I B = Bailey type A groups ii, iii, iv introduction
            1. Bailey type A group ii cats. 85–86
            2. Bailey type A group iii cats. 87–117
            3. Bailey type A group iv cat. 118
          3. 1.3. Loeschcke type I B/C cats. 119–29
          4. 1.4. Loeschcke type I C cats. 130–42
        2. Loeschcke type I vars. cats. 143–46 bis
        3. Loeschcke type III cats. 147–60
        4. Loeschcke type IV introduction
            1. Bailey type B group i, early vars. cats. 161–65
            2. Bailey type B group ii cats. 166–207
            3. Bailey type B group iii cats. 208–23
            4. Bailey type B group iv cats. 224–38
            5. Bailey type B group v, with handles cats. 239–42
        5. Loeschcke type V introduction
            1. Lamps without handle cats. 243–47
            2. Lamps with handle cats. 248–65
        6. Deneauve type IV E cat. 266
        7. Deneauve type V E cat. 267
        8. Deneauve type V F var. cat. 268
        9. Deneauve type V G cats. 269–71
        10. Deneauve type VI A cat. 272
        11. Deneauve type VI B cats. 273–74
        12. Bailey type F cat. 275
        13. Loeschcke type VII var. and VI/VII var. cats. 276–77
        14. Loeschcke type VIII introduction
          1. Lamps with round-tipped nozzle
            1. Italic and African lamps
              1. Bussière form D I 3 cats. 278–82
              2. Bussière form D II 1 cats. 283–302
              3. Bussière form D II 2 cats. 303–4
              4. Bussière form D III 1 cats. 305–6
              5. Bussière form D III 2 cats. 307–11
              6. Bussière form D VII cats. 312–14
              7. Bussière form D X 1 cats. 315–16
              8. Bussière form D X 2 cats. 317–22
            2. Eastern lamps
              1. Bussière form D I 1 cat. 323
              2. Bussière form D I 2 cats. 324–25
              3. Bussière form C II/D I 3 cat. 326
              4. Bussière form D I 3 cats. 327–37
              5. Bailey type O group vi cat. 338
              6. Bussière form D II 1 cats. 339–43
              7. Bussière form D III 1 cats. 344–45
              8. Bussière form D III 2 cat. 346
              9. Bussière form D IV cat. 347
              10. Bussière form D X 1 cat. 348
              11. Broneer type XXVII C and D cats. 349–54
              12. Broneer type XXVIII cats. 355–56
          2. Lamps with heart-shaped nozzle
            1. Italic and African lamps
              1. Bussière form D IX cats. 357–59
              2. Bussière form D X 1, vars. a and c cats. 360–74
              3. Bussière form D X 2, var. b cat. 375
              4. Bussière form D X 4, vars. a and b cats. 376–88
              5. Bussière form D X 5 cats. 389–93
              6. Bussière form D X 6 cats. 394–95
              7. Bussière form D X 10 cats. 396–401
            2. Eastern lamps
              1. Bussière form D IX cats. 402–17
              2. Bussière form D X 1 cats. 418–27
              3. Bussière form D X 4, var. a cat. 428
              4. Bussière form D X 5 cat. 429
              5. Bussière form D X 6 cats. 430–32
              6. Bussière form D X 10 cats. 433–34
            3. Single lamps, var. of Loeschcke type VIII cats. 435–40
        15. Loeschcke types IX and X (Firmalampen) introduction
            1. Buchi type IX-a = Loeschcke type IX a cat. 441
            2. Buchi type IX-b = Loeschcke type IX b cats. 442–48
            3. Buchi type X-a = Loeschcke type X cats. 449–50
            4. Buchi type X-b/c = Loeschcke type X cats. 451–54
            5. Buchi tipo X forma corta = Loeschcke type X-Kurzform cats. 455–58
        16. Loeschcke type XI (achtförmige Lampen) cats. 459–60
        17. Loeschcke type XIII (Tiegellampe) cat. 461
        18. Loeschcke type XIV (Tüllenlampe) cat. 462
    2. Types from North African Provinces only
        1. Deneauve type X A cats. 463–71
        2. Near Deneauve type X B cats. 472–473
        3. Bussière type E I 4 cats. 474–76
        4. Ennabli (Raqqada) type 14 cats. 477–81
        5. Ennabli (Raqqada) type 15 cats. 482–84
        6. Ennabli (Raqqada) type 16 cats. 485–86
        7. Atlante type VI (near) cats. 487–89
        8. Atlante type VIII B cats. 490–91
        9. Atlante type X; Hayes type II cats. 492–500
        10. Atlante type X, vars. with funnel handle and one or two nozzles cats. 501–2
        11. Atlante type XI cats. 503–4
        12. Atlante type XIII cat. 505
        13. Atlante type XVI cats. 506–7
    3. Types from Eastern Provinces only
        1. Frog lamps cats. 508–9
        2. Jug lamp cat. 510
        3. “Daroma,” or southern Judean, lamp cat. 511
        4. Syro-Palestinian lamp related to Loeschcke type II cat. 512
        5. Lamp with horseshoe discus and angular nozzle cat. 513
        6. Lamp with heart-shaped discus and angular nozzle cat. 514
        7. Loeschcke type V, or Deneauve type V F, eastern elongated var. cats. 515–17
        8. Lamp with delta-shaped body cat. 518
        9. Lamp with square body, Bailey type I cat. 519
        10. Lamp with hexagonal body cat. 520
        11. Lamp with hexagonal discus and ribbed body cat. 521
        12. Loeschcke type VIII, eastern variants cats. 522–23
        13. Late lamps of Asia Minor types cats. 524–41
        14. Lamp of “Amorium” type cat. 542
        15. Late Syrian lamps cats. 543–47
        16. Late Palestinian circular lamps cats. 548–49
        17. Early Islamic lamps cats. 550–51
    4. Miscellaneous Lamps from Asia Minor cats. 552–57
    5. Multinozzled Lamps cats. 558–68
    6. One-ring Suspension Lamps cats. 569–72
    7. Ring-shaped, or Corona, Lamps cats. 573–76
    8. Fragments of Clay Lamps
      1. Hellenistic fragments of “Ephesus” type lamps cats. 577–78
      2. Roman Republican fragments (Dressel type 2) cat. 579
      3. Roman Imperial fragments of various types cats. 580–81
    9. Terracotta Figurine Lamps
      1. Lampstands/incense-burners cats. 582–85
      2. Plastic lamps cats. 586–609
    10. Terracotta Lanterns cats. 610–11
  4. Metal Lamps introduction
    1. Gold Lamp cat. 612
    2. Silver Lamp cat. 613
    3. Bronze Lamps cats. 614–30
    4. Lead Lamp cat. 631

Fiction Archive


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English writer, active figure in the British “New Wave”.Under various
pseudonyms published books for young people, as well as articles and notes for newspaper and
magazine columns. He wrote many works in the SF genre.

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Born in Birmingham (West Midlands). After graduating from high school in Shropshire was
as a clerk in one of the services of the Department of Defense, an employee of the Australian information
agency, miner. From 1955-57 he served with the Royal Air Force.In 1969 he married Joan
Clark. Lives in Telford (Shropshire).

& nbsp & nbsp & nbsp & nbsp & nbsp & nbsp & nbsp & nbsp
Simultaneously with his work, he was fruitfully engaged in literary creativity, published
many stories (due to the abundance of pseudonyms used and the variety
publications – SF, comics, works for children) – the exact date of his debut is not yet
installed; it is assumed, however, that the first publication took place between 1952 and 1953
bienniumFirst SF publication – short story “Combat’s End” – in 1954
Vargo Statten Science Fiction Magazine.
Since the mid-60s. – a professional writer.

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Bailey writes mostly space operas, interspersed with time travel. BUT
the best novel of the writer, critics consider “The Fall of Chronopolis” , which tells about
autocratic empire, whose flying fortresses move in time and suppress
dissatisfied.We have translated two novels by B. Bailey –
“Heading for a collision” and
“Clothes of Kayan”, and the story
“Underground Travelers”.

Aliases B. Bailey
  • Peter F. Woods – 10 artworks
  • Alan Aumbry – 1 artwork
  • John Diamond – 1 artwork
  • Michael Barrington / et al. with Michael Moorcock – 1 piece
Bibliography
Awards and titles
Creativity of the author
  • 1980 – Andy Darlington.Knight Without Limit: An Overview of the Work of Barrington Bayley // Arena 10
  • 1981 – Mike Ashley. The Writings of Barrington J. Bayley
  • Bayley Barrinton D (John) (1937) / Ow. Gakov // Encyclopedia of Fantasy: Who’s Who. – Minsk: IKO “Galaxy”, 1995 – p.120
  • Barrington Bailey (1937-2008) // Sergei Negrash. Castles in the Air: A Guide to the Classics of Foreign Science Fiction.- SPb .: North-West, 2017 – p. 17

Vitaly Karatsupa


Designed by Vitaley Karatsupa,
Copyright © 2001
Partial or complete reprint or other use of site materials is allowed
only with the permission of the author.
Reference to the source is required.

George Bailey. Self-portrait: Novel of my life

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256 From a letter to Colin Bailey 13 May 1964

256 From a letter to Colin Bailey 13 May 1964

A story about Tolkien’s unfinished work “New Shadow”.(See also No. 338).
I did start a story about 100 years after the Overthrow of [Mordor], but it turned out to be too dark and onerous.

5. George

5. George
George Harrison is the only Beatles who grew up in a large and close-knit family. He is the youngest of the four Beatles and the youngest of four children of Harold and Louise Harrison.George was born on February 25, 1943 at 12 Arnold Grove, Wavertree, Liverpool. Mrs.

33. George

33. George
George settled in a long, one-story, brightly colored “bungalow” in Escher. The Bungalow sits on a private property owned by the National Trust, on an estate that looks like two peas in a pod that surrounds John and Ringo’s homes.Through the gate,

George Bailey

George Bailey
Unfortunately, I have not preserved the letter to the director of Svoboda, which I have already mentioned, George Bailey, and I also had a collision with him. Once Maksimov called me from Paris and asked if I wanted to enter the state of “Svoboda”, to head the department of culture.

GERSHWIN GEORGE

GERSHWIN GEORGE
(genus.in 1898 – d. in 1937)

Outstanding American composer and pianist, the largest representative of symphonic jazz.
This composer had the great honor to do in American music what, back in the 19th century. carried out by Glinka in Russia, Moniuszko

SOROS GEORGE

SOROS GEORGE
(born in 1930)

American financier. Benefactor. Founder of a network of charitable foundations in the countries of the former USSR, Eastern Europe and South Africa.Doctor of the New School of Research, University of Oxford. Has an honorary title of fighter for

George

George
I found George to be the most carefree and friendly of the Beatles. When we first met, he smiled a lot and was a good listener, the least self-indulgent of the four, showing a genuine interest in whatever he had to say to other people.B

George Cukor

George Cukor
“No business tonight, Joanna, I’m going to George’s. You know: George Cukor, filmmaker. ”He was my friend. I came to Hollywood just a few years after him. He arrived in 1929. And he took me to star in the “Divorce Bill”: as Sidney,

GEORGE

GEORGE
George Washington is eleven years old.He is an angular, lanky boy with white freckled skin and reddish hair. As a child, he was forced to wear a corset so that his shoulders were turned back and his chest was thrust forward, giving him a noble posture.

[Robert Louis Stevenson and Thomas Bailey Aldrich [64]]

[Robert Louis Stevenson and Thomas Bailey Aldrich [64]]
It was on a bench in Washington Square Park that I spent the longest time with Stevenson.That trip, which lasted an hour or more, was very pleasant and friendly. We came together from his house, where I went to pay respects

25. George Soros

25. George Soros

(born 1930)
One of the most influential financiers in the history of mankind, billionaire, investor, writer, philosopher, whose fortune is currently estimated at $ 20 billion

THE PHILOSOPHER WHO BECAME A FINANCIALIST
The name of George Soros is well known

George Harrison

George Harrison
one.Wonderwall Music (1968) 2. Electronic Sounds (1969) 3. All Things Must Pass (3 L.P.) (1970) 4. The Concert For Bangla Desh (3 L.P.) (1972) 5. Living In The Material World (1973) 6. Dark Horse (1974) 7. Extra Texture (Read All About It) (1975) 8. The Best Of George Harrison (1976) 9. Thirty Three And? (1976) 10. George Harrison (1979) 11. Somewhere in England (1981) 12. Gone Troppo (1983

George W. Bush Sr.

George W. Bush (Sr.)
On one of my first visits to America, my student friend Viktor Israelian, who worked in New York in our mission to the UN, offered to introduce me to the American ambassador to this organization, George W. Bush.Its headquarters were in one of

Shrimpton Jean

Jean Rosemary Shrimpton (Jean Rosemary Shrimpton) – English model.

Jean Shrimpton is an outstanding supermodel of the sixties. In 2012, Time magazine named Shrimpton as one of the 100 Fashion Icons of All Time, calling her “the epitome of swinging 60s London.”

Jean Shrimpton was born in 1942 in England in Buckinghamshire. She grew up on a farm and was educated at a convent school in Slough.

At the age of 17, Jean went to London to pursue the profession of a secretary. A beautiful student of Langham Secretarial College, who began to earn money in commercials, was noticed by director Cy Endfield ( Cy Endfield), convinced her to go to study at Lucie Clayton Charm Academy’s school of models ( Lucie Clayton Charm Academy).

In 1960, while filming for a cornflake commercial, in one of the filming studios, Jean met with photographer David Bailey (David Bailey). Despite the fact that David’s wife was expecting a child at that time, the young people began an affair that was widely discussed in the world of fashion .

Bailey, successfully pursuing a career in the field of fashion photography, began to actively promote his beloved. Jean’s photographs began to appear periodically in magazines mod .David Bailey has agreed with British Vogue that will model in his assigned New York photo shoot Shrimpton.

In 1962, Bailey captures his famous American series, where the rising model Jean Shrimpton showcases fashionable looks on the streets of New York. In New York, Jean meets American Vogue editor Diana Vreeland (Diana Vreeland) , who claims that she is simply fascinated by the British model.

British Vogue enthusiastically hosts David Bailey’s photo shoot with Jean Shrimpton . Journalists write that: “Bailey and Shrimpton in New York broke the stereotypes of modeling, turned the world upside down. Fashion is no longer static and studio staged. ”

Jean Shrimpton was dazzlingly good indeed. She had beautiful thick hair, incredibly long eyelashes, snow-white skin, piercing blue eyes, beautifully contoured lips and a beautiful figure.She was noticed wherever she went.

Despite the attractiveness due to the surname in the world of fashion she was nicknamed shrimp (from the English shrimp – shrimp), naturally, Jin herself did not like this nickname terribly.

Shrimpton’s career developed successfully. She became one of the most demanded and highly paid world models of the 1960s, the best photographers and fashion designers of that time worked with her, Shrimpton’s photos constantly appeared on the pages of the most popular fashion magazines .

The enormous interest that generated by Jean Shrimpton helped popularize some of the things that the leading fashion designers of the decade propelled to the top of fashion Olympus. For example, in 1965 in Australia, Jean appeared in the famous Melbourne Cup in horse racing ( Melbourne Cup Carnival – the most famous National holiday in Australia, as well as the most famous world horse races) in a frivolous white mini dress from the young fashion designer Colin Rolfe (Colin Rolfe) , the hem of which was ten centimeters above the knees.In addition, she did not have a hat, gloves and stockings, which was regarded in secular society as unheard of insolence. The media reacted very violently to this behavior of the British model , which, however, only strengthened its own popularity and contributed to the popularity of the mini.

The development of the mini theme was continued by the legendary Mary Quant (Mary Quant), and Shrimpton, as well as another star of the 60s model business Twiggy (Twiggy), became the conductors of her design ideas for Quant.

During one of the photoshoots for the cosmetic campaign Revlon (Revlon) Shrimpton posed in a white lace dress from Bill Blass brand (Bill Blass). Just minutes after the posters were displayed in Revlon stores, the company received calls from women asking where to buy the same dress.

Having conquered the fashion world by the age of 25, Jean Shrimpton began to feel the need to expand the boundaries of her activities.She starred in the 1967 film “Privilege”, directed by Peter Watkins , . But the film was not a success and was received very coldly by critics.

After breaking up with David Bailey, Shrimpton had a romantic relationship with actor Terence Stamp and actor, poet and playwright Heathcote Williams .

At the age of thirty with a little years, Shrimpton, disillusioned with his profession, decides to leave the modeling business.In 1975 she moved to Cornwall and opened an antique shop there. There she also meets her future husband Michael Cox (Michael Cox) . In 1979, they had a son, Thaddeus (Thaddeus), and the family expanded the business by purchasing a hotel in the city of Penzance, which it still operates today.

In recent years, Shrimpton has escaped the public eye. In 2011, in an interview with the Guardian magazine, she explained her decision to leave the fashion industry as follows: “There are a lot of dark, worried people in the world of fashion .This world puts incredible pressure on them, which leads to very negative consequences, fashion simply burns people. Only the most sober and practical survive. ”

Shrimpton admitted that she never really strove to become a popular model, everything happened by chance, in addition, she simply does not tolerate publicity and even published her autobiography only because she did not have enough money to renovate the hotel’s roof.

In 1990, the BBC released a film entitled We’ll Take Manhattan (We’ll Take Manhattan) about Jean Shrimpton and David Bailey.When reporters asked Shrimpton herself what she thought about this, the supermodel said that she was absolutely not interested in it.

“I don’t want to view my life through the prism of the past. Of course, I know that the BBC made this film, but I prefer not to look back. ”

Jean Shrimpton is considered one of the most beautiful models in the world. She is called “It Girl” – a term that has become a kind of title, which is worn mainly by representatives of show business, cinema and society, they are also called “famous because they are famous.”In addition, the titles that were awarded to Jean Shrimpton by the press – “The Face” (Face) , and “The Face of the ’60s” (Face of the 60s), “Model of the Year” according to the magazine “Glamor” ( “Glamor”) for July 1963

Latest uploaded files – Bailey Barrington

Latest uploaded files – Bailey Barrington – All for the student

Fantastic novel.- Translated by K. Staszewski. – Illustrations by A. Filippov. – Amber: Vitalion, 2017 .– 274 p .: ill. – (Foreign science fiction). Admiral of the Navy of the Empire of Man Archer is preparing to celebrate his twenty-first birthday by collecting the accumulated debts from the kleptocrats of the provincial planet. How not to sympathize with the poor fellow, in whose submission …

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B.M .: Vitalion, 2014 (fact. Issue 2019). – 304 p .: ill. – (Foreign science fiction “World” (successors)). Storybook. Internal illustrations by D. Kuznetsova. Race with chids (story, translation by K.Stashevsky) The Lord’s Cannon (story, translated by K. Stashevsky) A ship floating in the ocean of space (story, translated by Z. Bobyr) Underground travelers (story, translated by K. Stashevsky) …

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Fantastic novel.- Translated by K. Staszewski. – Amber: Vitalion, 2017 .– 272 p .: ill. – (Foreign science fiction). Admiral of the Navy of the Empire of Man Archer is preparing to celebrate his twenty-first birthday by collecting the accumulated debts from the kleptocrats of the provincial planet. How not to sympathize with the poor fellow, in whose submission there are more animals than people …

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Storybook. – Amber: Vitalion, 2014 .– 304 p. – (Foreign science fiction). – ISBN 0-85031-313-9. Barrington J. Bayley was born on April 9, 1937 in Birmingham, UK.Educated in Shropshire; was a clerk, printing worker, miner, reporter. At eighteen he joined the Royal Air Force. In fiction Barrington Bailey …

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Storybook.- Amber: Vitalion, 2014 .– 304 p. – (Foreign science fiction). – ISBN 0-85031-313-9. Barrington J. Bayley was born on April 9, 1937 in Birmingham, UK. Educated in Shropshire; was a clerk, printing worker, miner, reporter. At eighteen he joined the Royal Air Force. In fiction Barrington Bailey …

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Moscow: AST, 2002 .– 414 p. – ISBN 5-17-012748-0. Life on Earth exists only within the “waves of time”. Isn’t that why the ruins, which the scientist-archeologist investigates, become not older, but younger ?! Isn’t that why the expedition on the time machine goes not to the past, but to the Future? There, where on Earth two waves of time, unprecedented in strength, go towards each other, and live…

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Moscow: AST, 2002 .– 430 p. – ISBN 5-17-012738-3. Before you – the fascinating adventures of an unlucky professional gambler who foolishly got involved in the Great Game, started by the “godfathers” of the “Great Wheel” – the galactic mafia, where human criminals and “strangers” criminals equally coexist.The Great Wheel (translation by A. Sumin, O. Kolesnikov) Kayan’s clothes …

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Fantastic novel.- Translated by K. Staszewski. – Illustrations by A. Filippov. – Amber: Vitalion, 2017 .– 272 p .: ill. – (Foreign science fiction). Admiral of the Navy of the Empire of Man Archer is preparing to celebrate his twenty-first birthday by collecting the accumulated debts from the kleptocrats of the provincial planet. How not to sympathize with the poor fellow, in whose submission …

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Moscow: AST, 2003 .– 510 p. – (Coordinates of miracles). The novels of Barrington Bailey are vivid examples of real, classic science fiction … … A new evil is falling on the galactic empire of earthlings, torn apart by civil war – a giant semi-intelligent Spot, “engulfing” all new planets … … Why the great civilization of “alien” -strills separated the Milky Way inhabited by people from…

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Samizdat, 2017.- 256 p. A crippled semi-human being, a cyborgized commander and the only inhabitant of his own ship, unable to exist without constant sensory communication with artificial intelligence substrates … An eccentric and collector known throughout the Galaxy, who ordered this captain to deliver a unique alien artifact from a fugitive planet … …

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Samizdat, 2017 .– 256 p. A crippled semi-human being, a cyborgized commander and the only inhabitant of his own ship, unable to exist without constant sensory communication with artificial intelligence substrates … An eccentric and collector known throughout the Galaxy, who ordered this captain to deliver a unique alien artifact from a fugitive planet ……

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M .: Piramida, 2017 .– 256 p. A crippled semi-human being, a cyborgized commander and the only inhabitant of his own ship, unable to exist without constant sensory communication with artificial intelligence substrates … An eccentric and collector known throughout the Galaxy, who ordered this captain to deliver a unique alien artifact from a fugitive planet ……

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Barrington Bailey – The Fall of Chronopolis read online

Barrington Bailey

Fall of Chronopolis

A booming blow rang out, and the ships of the Third Chronoflot materialized over the windswept plain.Fifty warships, the brainchild of the great Chronopolis shipyard and the pride of the Empire, lined up on the damp savannah soil as if the city had grown out of the wilderness. The impression was intensified by the rows of square windows on the sides of the ships, brightly lit from within and clearly visible in the twilight. The first large drops of rain fell heavily on the ground; the weather was frowning, low clouds were quickly running across the sky. The storm was approaching.

Half an hour passed. In the side of the flagship, the hatch cover was thrown back, turning into an inclined ladder, and three descended to the ground.Ahead were two stern-looking men in maroon military uniforms, with stripes on the chest and on the sleeves and badges on their caps. The third followed, trembling all over and cringing, staring at the ground and only occasionally casting haunted glances around.

They stopped at a hillock a hundred yards from the nearest ship. Admiral Haight looked back, and his heart was filled with pride. The structure of the ships was like long office boxes in the rectangular lines of the city, but each ship had a lancet shape to move through time, and therefore the floors of the ships-buildings went in steps – high stern and low bow.The Admiral was reminded of this by other, ancient ships: sailing ships-galleons, which once – long before the border of the Empire in the past – plowed the earth’s seas.

“It’s good in the fresh air,” the admiral said quietly. – Inside the strat I start to suffer from claustrophobia

– Yes, sir.

Colonel Anamander has always hated this part of the procedure. Usually he had to supervise the cleaning of the corpse, and today he was relieved of this work only because the admiral wanted to walk.

The yawing wind brought the low hum of the nearby ships of time to my ears. So the engines hummed, keeping the ships in orthogonal time. Sometimes this even hum was interrupted by other, louder, clanging sounds. The fleet mechanics were doing repairs, for which they had to stop.

How deserted here, thought Colonel Anamander. For stops on this site of history, ships of time chose remote, uninhabited areas. The variability of time is a serious thing.

The courier looked up at the admiral with empty eyes and said in a slow and deaf voice:

– Can I die now?

Hight nodded with a look of disdain and detachment.

“You have done your duty,” he replied in an official tone.

Execution-suicide of couriers was simple. It used the vagus nerve through which the brain can tell the heart to stop. This nerve, pointed at the heart like a pistol with a trigger, explains all deaths from fright, grief or despair, as well as from the suggestion of a shaman or sorcerer.At the last briefing, the courier was taught how to deliberately give a command to this nerve and, after completing the task, execute the order for self-destruction – the order is actually superfluous. Now the courier closed his eyes and mentally uttered the key word that had been suggested to him under hypnosis. The spasm distorted his egg, he folded in half, sucked in air with a wheeze, I fell to the ground like a limp doll.

Anamander stepped aside out of respect for death.

– An unusual honor has been given to this courier, sir.Few have delivered messages of such importance to us.

– That’s right.

Admiral Hight continued to survey his fleet.

– A test awaits us, Colonel. It looks like the attack is starting on a broad front – maybe even a real invasion. Now the fate of the Empire depends on you and me.

“It’s strange that such a guy had a chance to take part in such events,” Colonel Anamander said thoughtfully, nodding towards the corpse. – For some reason I always feel sorry for them.

“No regrets,” said Hite. – These people are all criminals. Sentenced murderers and the like. May they say thank you that they are honored to serve the Empire one last time.

– I wonder what they have to go through that they are so eager to die?

Hight laughed without a hint of amusement:

– On this score, I can say one thing: there is only one way to find out about this, and, as you yourself understand, it is difficult to recommend.Several times I tried to ask the couriers, but they did not say anything meaningful. They seem to be deprived of the gift of articulate speech – to some extent. You know, Colonel, in relation to these couriers my position is, one might say, special. Until I utter a phrase that frees the courier from the hypnotic prohibition, he cannot pronounce the key word and turn on the vagus nerve. And if I ever … I must confess, I was often tempted to leave one of them alive and see what happened to him.Maybe he would come to his senses and be able to tell something interesting. However, an order is an order,

They have been sentenced, but there must be another reason for this procedure.

Most likely. Have you ever seen a strat with the naked eye, Colonel?

Colonel Anamander flinched in surprise:

– No, sir.

And I – yes. Not long enough to ruin your sanity with a quick glance. Many years ago. I was standing on the bridge when our main engine stopped working for a moment, because of … but that’s not the point.It is important that I saw the stratum, or almost saw it. And to this day I cannot tell you or myself what I saw.

– Strat is said to leave an imprint on a person

– Yes, Colonel. But don’t ask me which one.

Hight gasped for air, then shivered slightly. Raindrops all around fell more and more often.

– Let’s go back inside. Otherwise we’ll get wet through.

They returned to the ladder, climbed it and hid inside the flagship. After another half hour, the fleet disappeared with the same booming sound as it had appeared.And almost immediately thunder rumbled, torrential torrents fell on the savannah, sweeping over the body of a courier who died six centuries from his homeland.

Colonel Anamander felt calmer from the even hum of the time engine under his feet. The ships accelerated and went into the past, obliquely crossing the time axis of the planet on their way to a given point in space and time: the continent of the Americas, the Fifth Node.

Cutting through the temporal substrate – stratum, in chronauts’ slang – the ships emitted beta rays.Electromagnetic waves do not propagate in the stratum and therefore cannot be used for communication. Beta rays helped out at short distances – beams of relativistic electrons with a speed less than light. They reached not far away, but the ships of time, marching in formation, could keep in touch and observe the near horizon.

End of introductory excerpt

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“Evil is in the eye of the beholder”: what is known about the scandal with the agency advertisement Valentino

Michael Bailey-Gates

A few days ago, a new photo from the campaign dedicated to the Roman Stud bag from the new collection appeared on the Instagram account of the Valentino brand.This is a self-portrait of 28-year-old photographer Michael Bailey-Gates posing nude, and it has sparked a battle over this photo in the comments.

Michael Bailey-Gates

While many fans of the brand have appreciated the message of the new campaign that erases gender lines, others have resented it. Some netizens called it “disrespect for women” and also decided that “the picture just makes no sense.”

No thanks, this has nothing to do with creative freedom!

I wanted a handbag like this.Now I don’t want to!

Is this a man or a woman? Do we need to guess?

– Critics reacted in the comments.

Other users have expressed their disagreement with this reaction, calling it “sending us back to the Middle Ages.” And some admired the beauty of the model, comparing Michael to the young Johnny Depp.

Johnny Depp in his youth

However, the controversy in the comments reached such intensity that the creative director of the brand, 54-year-old Pierpaolo Piccioli, decided to comment on the publication of this photo himself.

Pierpaolo Piccioli

After we posted this photo, many people reacted with aggression and hatred. My job is to convey my vision of beauty in accordance with the times in which we live, and beauty and who we consider to be beautiful is a reflection of our own values. We are witnessing a big, huge shift in human history.

All consciousness movements are guided by the same idea: evolution is possible if equality is possible, if inclusiveness is possible, if human rights and freedom of expression are protected.Hate is not an expression, hate is a reaction to fear, and fear can easily turn into violence. We must confront all forms of violence, hatred, discrimination and racism, and I am proud to be able to use my voice and my work to do this, now and forever. This is a self-portrait of a young handsome man, and evil is in the eyes of the beholder, and not in his naked body,

– written by the designer.

Michael Bailey-Gates with girlfriend

Michael himself remained silent until recently, but yesterday he also published a post in which he expressed his attitude to the situation.

I appreciate the support for this photo and the discussion it has generated. I would appreciate it if the same attention was paid to the horrific transgender youth bills that are being proposed and passed in the United States. As Kimberly Drew writes, “I don’t care what ‘gender fashion’ is when transgender youth are denied medical care and the entire industry does nothing to help.”

– posted by the photographer on his Instagram.

It is worth noting that in his work, Bailey-Gates also often refers to this topic and has previously published self-portraits in a similar style.

It is noteworthy that this style was not new for Valentino either. Back in March of this year, a photo appeared on the brand’s Instagram (its author was Michael), which showed the model Karim Turk. That photo also drew controversy in the comments.

Michael Bailey-Gates is a graduate of the Rhode Island School of Fine Arts. He has been honored with the Robert Mapplethorpe Foundation and the New York Photo Award.

Irony in the neo-Victorian novel by A.S. Bayette “Possess” Full text of scientific article in the specialty “Linguistics and Literary Studies”

13. Zhukov V. P., Zhukov V. A. Op.cit. P. 185.

14. Alefirenko N. F., Semenenko N. N. Op.cit. P. 70.

15. Fedorov A. I. Frazeologicheskij slovar ‘russkogo literaturnogoyazyka [Phraseological dictionary of Russian literary language]. M. Astrel: AST. 2008. P.8.

16. Frazeologicheskij slovar ‘russkogo yazyka – Phraseological dictionary of Russian language / ed. by A. I. Molotkov. M. AST: Astrel. 2001; Fedorov A. I. Frazeologicheskij slovar ‘russkogo literaturnogo yazyka [Phraseological dictionary of Russian literary language]. M. Astrel: AST. 2008; Zhukov V. P. Slovar ‘russkih poslovic i pogovorok [Dictionary of Russian proverbs and sayings]. M. Rus. lang. 2002; Zimin V. I. Slovar ‘tezaurus russkih poslovic, pogovorok i metkih vyrazhenij [Dictionary of thesaurus of Russian proverbs, sayings and apt expressions].M. ASTPRESS KNIGA. 2008.

17. Frazeologicheskij slovar ‘russkih govorov Nizhnej Pechory: v 2 t. – Phraseological dictionary of Russian dialects of the Lower Pechora: in 2 vol. / comp. N. A. Stavshina. SPb. Nauka. 2008; Slovar ‘russkih govorov Nizovoj Pechory: v 2 t. – Dictionary of Russian dialects of Lower Pechora: in 2 volumes / under the editorship of L. A. Ivashko. SPb. Philol. Dep. of St. Petersburg State University. 2003.

18.Shansky N. M., Bobrova T. A. SHkol’nyj ehtimologicheskij slovar ‘russkogo yazyka: Proiskhozhdenie slov [School etymological dictionary of the Russian language: the origin of the words]. Ed. 4nd, ster. M. Drofa. 2001. P. 84.

19. Mokienko V. M. Op. cit. P. 34.

20. Alefirenko N. F., Semenenko N. N. Op. cit. P. 67.

21. Kobozeva I.M. Lingvisticheskaya semantika [Linguistic semantics]. Ed. 5nd, rev. and add. M. Book house “LIBROKOM”. 2012. Pp. 110-111.

22. Apresyan Yu. D. Izbrannye trudy [Selected works. Vol. I. Lexical semantics]. Ed. 2nd, rev. and add. M. School “Languages ​​of Russian culture”, Publ. firm “Vostochnaya Literatura” RAS. 1995. Pp. 168-175.

23. Mokienko V. M. Op. cit. Pp. 13-17.

24.Birikh A. K., Mokienko V. M., Stepanova L.I. Russkaya frazeologiya: istoriko ehtimologicheskij slovar ‘[Russian phraseology: a historical etymological dictionary]. M. Astrel: AST: Khranitel. 2007. P. 750.

25. Mokienko V. M. Zagadki russkoj frazeologii [Mystery of the Russian phraseology]. Ed. 2nd. SPb .: “Avalon”, “ABC-klassica”. 2007. Pp. 62-64.

26. Birikh A. K., Mokienko V. M., Stepanova L.I. Op. cit. P. 750.

27. Shansky N. M., Bobrova T. A. Op. cit. P. 231.

28. Ibid. P. 222.

29. Chernykh P. J. Istoriko-ehtimologicheskij slovar ‘sovremennogo russkogo yazyka [Historical and etymological dictionary of modern Russian language: in 2 vol.] Vol. I. M. Rus. yaz. Media. 2007.P. 617.

30. Birikh A. K., Mokienko. M., Stepanova L. I. Op. cit. P. 525.

31. Ibid. P. 508.

32. Melerowicz A. M., Mokienko V. M. Frazeologizmy v russkoj rechi: slovar ‘: ok. 1000 edinic [Idioms in the Russian language: the dictionary: approx. 1000 units]. Ed. 2nd, ster. M. Russian dictionaries: Astrel: AST 2005. Pp. 472-474.

33. Birikh A. K., Mokienko. M., Stepanova L. I. Op. cit. P. 586.

UDC 821.111.09

M. A. Shushpanova

Irony in the neo-Victorian novel “Possess” by A. S. Bayette

A. S. Bayette, in the neo-Victorian novel Possess, uses irony to denounce twentieth-century mores and characters.The object of the author’s satire is modern literary theories and their adherents, whose desire to make a scientific discovery at any cost develops into a morbid obsession with the object of study. The writer creates caricatured, tragicomic images of philologists, who rely in their work on false ideas about the Victorian writers Randolph Holube and Christabel La Motte. In the chapters on the 19th century, there is no mockery of the author: Victorians know how to feel and love. This is comprehended by the main characters of the modern level of narration, Roland Mitchell and Maud Bailey, who came close to the clues of the last century and discovered the basic values ​​of life – love and creativity.Ironically depicted at the beginning of the novel as representatives of academic circles, in the finale they become spiritually closer to the noble and lofty natures of the 19th century.

In the neo-Victorian novel “Possession” A. S. Byatt uses irony for accusation of customs and characters of the XX century. Modern literary theories and their adherents is the object of author’s satire. The aspiration of academics at any cost to make a discovery develops into painful obsession object of studying.The writer creates ludicrous, tragicomic images of philologists which rely in the work on false ideas about Victorian writers, Randolph Ash and

© Shushpanova M.A., 2016 82

Christabel LaMotte. In chapters about the XIX century there is no author’s a sneer because Victorians are able to feel and love. It is comprehended by the main heroes of modern level of a narration, Roland Michell and Maud Bailey.They closely came nearer to solutions of last century and opened for themselves the main vital values ​​- love and creativity. At the beginning of the novel they are ironically represented as representatives of the academic circles, but in the final they become spiritually closer to noble and sublime natures of the XIX century.

Keywords: “Possess”, A. S. Bayette, Victorianism, neo-Victorian novel, irony, satire, parody.

Keywords: Possession, A.S. Byatt, Victorianism, neo-Victorian novel, irony, satire, parody.

Appearance in the 60s. XX century. neo-Victorian novels, the first examples of which are “The French Lieutenant’s Woman” by J. Fowles and “Antoinette” by J. Rees, became natural for postmodernism, which often turns to the traditions and values ​​of past eras with the aim of rejecting them.

As noted by Yu. S. Skorokhodko, this genre is “a modification of the historiographic metaroman” [1].The concept of “historiography” means the convergence of history and literature. In the neo-Victorian novel, this synthesis is expressed in the following idea: the historian cannot claim complete objectivity of understanding and truthfulness of the image of England in the 19th century, therefore nothing prevents the writer from expressing his version of the events that happened once, and it may be closer to the truth than already existing.

Some authors, including J. Fowles, “rewrote” the history of England in order to show that they are not looking for ideals in Victorianism.Others, however, used the dialogical connection between the nineteenth century and modernity in order to reveal the ideological and spiritual inconsistency of the latter. Among the writers of this group is A.S.Bayette, whose neo-Victorian novel Possess was published in 1990.

Researchers dealing with various aspects of A.S.Bayette’s work agree that in this work she revises the main ways of postmodern knowledge of the world and that, first of all, changes the character of irony, the object of which is the 20th century.

English-speaking philologists have considered some issues related to the specifics of the rethinking of irony in the novel by A. Bayette “Possess”. So, A. Bertholdi notes that the object of the writer’s irony is contemporary literary critics: ) appropriation) ”[2]. The point is that the scientific interests of novelist philologists are limited to the study of the personal lives of Victorian poets, but not their work.Moreover, the fanatical desire at any cost to find out intimate details about the fate of R. Holub and C. La Motte, the obsession with their biographies become the raison d’être for Mortimer and Leonora, “biographical predators”. A. Bertholdi also draws attention to the fact that the author does not stop playing a postmodern game with his heroes even at the end of the novel: “<...> Bayette uses another traditional feature of romanticism and creates a“ happy ending ”for modern heroes, but again , ironically, she plays with them: the reader, convinced that the end of the story has come, is overly surprised by the “Postscript” of the writer “[3].

The American researcher D. Birrer, who studies the links between literary criticism and literature itself, considers the novel Possess as metacritical and justifies the use of irony here: “. strategies (for example, the obvious influence of French feminism on Leonora Stern) have been both praised and condemned by scientists around the world…>. But while Byatt’s satire seems murderous, the concept of Hutcheon’s parody suggests that it isn’t necessarily negative; rather, parody creates space for critical reflection ”[4].

Presented in an ironic light, the direction of feminism interested also K. Franken. He notes that “the satire in Leonora Stern’s portrait is actually directed at <...> feminist literary criticism of a very specific type: in characterizing Leonora’s writings, the narrator ridicules the ideas of Lucy Irigare, a French philosopher concerned with gender issues <...>. Everyone can find in the novel the most obvious example of a satirical approach to Leonora in her analysis of la Motte’s poem The Fairy Melusine. Leonora’s reading of the work of la Motte contains direct references to Irigare’s “This is not a lonely sex” and therefore can be considered as a form of pastiche “[5]. K. Franken expresses the idea that in

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AS Bayette seems to be fighting a writer who “feels that he is threatened by poststructuralism and feminism, and a critic who recognizes the relevance of modern literary theories” [6].The author “constructs feminist literary criticism in the form of a monolithic block in order to defend the idea of ​​the writer as a person, which should be original, in contrast to literary theorists,“ like parrots ”repeating each other” [7]. This writer’s intention is served by the reception of oppositions necessary for the construction of the narrative. K. Franken cites as examples the following opposites, which A. Bayette operates with: these are the differences “between the poets of the 19th century and modern scientists; between the greedy and curious Victorian male imagination and the critical mind of the 20th century, inspired by other ways of thinking, such as deconstructivism and feminism ”[8].

M. Polvinen also emphasizes that the writer’s irony is directed at representatives of the modern scientific community and satire is one of the engines of the story: “In Possession, Bayette mercilessly parodies those literary theorists who see language and literature as systems that refer to each other, and” unhindered curiosity “to” things besides literature “<...> feeds the plot of the novel” [9].

On the reasons for the disapproval of modern literary criticism A.Byette writes: “Contemporary criticism is strong and imposes its own narratives and priorities on literary writing, which it uses as raw material, source, or starting point. <...> Or it can vigorously play with the words of the writer, insert its own puns ”[10]. Such concern of the writer, as A. Williamson notes, proves that “in Possession the figures of Leonora Stern, Fergus Wolff and James Aspids, the main goals of A. Bayette’s satire, are an extremely serious warning of danger” [11].

In Russian literary criticism, in which the novel “Possess” has not yet been comprehensively studied, there are only isolated mentions of A. Bayette’s irony. Thus, O. A. Tolstykh, who proves that the manner of dialogue between the writer and the previous generation is reconstructive, writes: “The novels of Byette are by no means a“ reproach to the Victorian era ”(J. Fowles), they do not try to question the value of the Victorian novel and rewrite it from irony inherent in postmodernists ”[12].Ya. S. Grebenchuk, referring to the works of foreign researchers, asserts that “a certain amount of irony is also present in the image of the Victorian age, since Bayette only imitates, tries to recreate it <...>. But even if this is a parody, then without ridicule ”[13]. AS Stovba emphasizes that the novel “uses irony, playing with tradition, parody, intertextuality, metatextuality in order to reveal the contradictions underlying the Victorian mentality, to create a new reading of the era” [14], and by no means to devalue England nineteenth century in the eyes of contemporaries.NA Antonova, exploring the influence of the philosophy of G. Vico on the work of A. S. Bayette, concludes: “The English writer believes that modern scientists – people of the” age of irony “- should get rid of their inherent reflection, abandon the mental assimilation of reality and through fantasy to penetrate into the memory of the past ”[15].

In most of the works devoted to the novel Possess, literary scholars, therefore, do not dwell on the problem of the use of irony by the writer, but only note the presence of satire in the text.However, the fact that A. Bayette modifies the nature of irony within the framework of a postmodernist work and, contrary to the attitudes of this trend, places the modern era in place of the object of ridicule, is of particular interest. This approach of the writer to the comprehension of history is especially clear evidence of the fact that at the turn of the XX-XXI centuries, various modifications of the postmodern novel arose.

Speaking about the updated in the XX century. the concept of history, we note that W.Eco: “since the past cannot be destroyed <...>, it needs to be rethought, ironically, without naivety” [16]. This is how the concept of play was introduced – one of the most important in postmodern philosophy: “. In the system of postmodernism, one can participate in a game without even understanding it <...>. This is the distinctive feature <...> of ironic creativity ”[17]. Play gives rise to the principle of irony, parody in modern culture – a principle that changes over time.

Irony “is an expression of ridicule through allegory”, it is “blasphemy and contradiction under the guise of approval and consent” [18].According to M. A. Mozheiko, irony is “ridicule <...> of a certain reality”, “a test of this reality for strength” [19]. Postmodernists interpreted the concept of irony in their own way, putting a historically defined past in place of “a certain reality”. Realized in various forms (parody, hyperbole, paradox, etc.), irony allows modern writers to come closer to understanding reality, at the same time renouncing it. An “ironic statement” is “like a little game of naming an object, a game of names” [20].84

In the last decade of the XX century. we observe a change in this object in postmodern literature, which is reflected, in particular, in the novel by A.S.Bayette, whose action develops in two eras – Victorian and modern.

The main characters of the nineteenth century are poets invented by the writer, who have their prototypes: Randolph Holly – Robert Browning, Christabel la Motte – Emily Dickinson and Christina Rossetti.Despite the fact that the fictional characters are similar in appearance, in the manner of writing and themes of works with real authors, parody characters, if we mean ironic copying by this, you cannot name them. Fantasizing about the Victorian story of love and creativity, A. Bayette rather admires the poets created by her, they become the meaning of life for the researchers of the late XX century depicted in the novel, to whom the writer treats ironically.

Professor Aspids, who has been preparing Holly’s Complete Works for twenty-seven years, notes that the professional completely absorbs the personal in the person: “… all thoughts are about other people’s thoughts, all works are for the sake of other people’s works ”[21]. Significantly, Ac-pids compares himself to a naturalist who delves into “eruptions of an owl’s stomach, trying to restore the appearance of a dead shrew or blind snake” [22]. Here A. Bayette uses one of the forms of irony – paradox. It would seem that Aspids, despite his fanaticism and immense dedication to his work, should be perceived as a scientist with a capital letter. Instead, however, the author of Possess is deliberately belittling it, comparing literary studies to dismembering an owl and digging in its entrails.

In the matter of the relationship between the researcher and the object of knowledge, Holly looks much more attractive than Aspids. The poet is engaged in the study of the surrounding nature, while the style of his scientific research is very different from the methods of Aspids. He is interested in the essence of the universe, and in letters to his wife, along with impressions from observations of living organisms, there are historical excursions and philosophical reflections. In these messages there is no mockery of the author of the novel: “We, my dear, the Faustian generation: we all strive to know such that a person may not be able to know” [23].Next to the Victorian writer, Aspids takes on grotesque outlines and a demonic halo. The writer compares him to Nidhogg, a “slate-scaled reptile”, “biting into” the work of R. Holly, who is endowed with the features of the World Tree archetype.

In his letters sent to his wife during a trip to Yorkshire, Holly appears as a seeker of truth about the surrounding reality, an observant and thoughtful explorer of life. However, Mortimer Sobrail, a modern scientist in the novel, describes his journey in such a way that the thought of the good aspirations of the poet is destroyed in the mind of the reader: “he busily cut the tentacles of the hydra into pieces and <...> forcibly implanted polyps into them ”[24]; “Faced with what can be roughly considered a typical” midlife crisis “” [25]. So-braille’s subjectivism in judgments and the obvious influence on him (as well as on many of his contemporaries) of Freud’s teachings do not allow us to speak of any competence of Mortimer as a literary critic. A. Bayette comments on Sobrail’s work as follows: “From all this writing, Maud intuitively deduced something terrible about Sobrail’s own imagination. Sobrail <...> did not allow the “subject of the story” to grow an inch taller than him, Sobrail “[26].In order to write the book “The Great Ventriloquist”, which is a biography of R. Holub, Mortimer took a trip to those places visited by the poet himself. A. Bayette, sarcastically calling Sobrail’s final composition “scribble”, nullifies all his works.

E. V. Zbrozhek notes that in the XIX century. “Great importance was attached to material values, the possession of things” [27]. A. Bayette, describing the Victorian era, focuses on the romantic line, and if he introduces the motive of obsession, then in the context of either the love affair of poets (passion as a desire to possess each other), or the relationship of the scientist to the object of research (Holly and his thirst for natural sciences ).At the modern level of narration, the motive of the possession of things is constantly repeated. And here it is Sobrail who becomes the bearer of the idea of ​​obsession with the material. The hero’s urge to acquire personal belongings of the Victorian poet often goes to extremes. While traveling in the footsteps of the writer, Mortimer experiences constant discomfort, but this does not stop him: “. Drank a disgusting taste of warm dark beer, ate indigestible stewed lamb neck, chewed, choking, a ragout from offal” [28] The Gatherer realizes that Randolph has taken possession of his thoughts and life: “.felt that he himself was nobody ”[29]. As a person, Sobrail has long been dead, even his car resembles “a kind of fast hearse” [30].

Loss of individuality becomes a personal tragedy for Beatrice Puhover. If others remembered her, then by all means comparing with something: “Mortimer Sobrail <...> she is

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introduced herself as Carroll’s White Sheep <...>. Aspids in their hearts compared her to a fat spider, whitening in the dark ”[31]. A. Bayette describes Puhover not without irony: “in her kennel with Ellen Holly’s papers, she felt the living weight of her breasts, covered in woolen warmth, rubbing against the edge of the table” [32]. However, Beatrice studies Ellen’s personal correspondence and diaries only because of her carefully hidden sympathy for Holly. He seems to her as a knight, who bewitchingly speaks of love to his lady of the heart. Puhover understands that in the world around her there is no one to hear such confessions from: modernity is too different from the Victorian era.Therefore, she completely immerses herself in the past, studying the life of people of the nineteenth century.

In the image of Leonora Stern, A. Bayette embodied feminist ideas and American extravagance to the extreme. The attitude of the writer to feminism, which is trying to explain everything with the help of physiology, is obvious: “The entire human language – in all its diversity – is reduced to the female language” [33]. The titles of the chapters in the book of the American literary critic are also noteworthy: “From the Grotto of Venus to the Barren Wasteland,” Women’s landscapes, virgin waters, impenetrable surfaces “[34].Stern’s works are full of unambiguous definitions that have little to do with philology: “non-genital imagery”, “undifferentiated eroticism”, “erogenous zone”.

Leonora spent many years studying the work of La Motte, who feminists considered a woman of non-traditional sexual orientation, and analyzed her works in this context. But, ironically, the victims of which were all the researchers in the novel, during the philological investigation it turned out that La Motte was in a sensual and poetic relationship with a man.

E. V. Zbrozhek, examining Victorianism in the context of modern culture, notes that “at this time, it was in Great Britain that the feminist movement was born, and the female way of life became one of the most acute problems of that era” [35]. The Desire of Women in the 19th Century (in the novel – Christabel and Blanche) to live and create, not allowing external circumstances to interfere, turns in the next generation into an obsession with gender equality.And this even affects science, for example, Stern’s literary studies develop into banal and false biographies of the poetesses of the last century.

If in the image of Leonora A. Bayette exposes the inconsistency of feminist views, then Fergus Wolff in the novel is a parody of deconstructivist theorists. “Child of the sixties” [36], he is engaged in literature, explaining everything with the help of “textuality and sexuality” [37]. This is also indicated by the titles of his works – such as “” Sexually active castrate: the ego-phallocentric structure of the hermaphroditic characters of Balzac “” [38].Bailey during his romance with Wolff was not easy, because he often began to behave too defiantly: “. He quoted Freud early in the morning. “The analysis is finite and endless”, got up very early. He will get up and start prancing around the apartment – naked – and shouting long quotes ”[39].

The object of A. Bayette’s irony is not only literary scholars, but also modern aristocrats – in the person of, for example, George Bailey, a relative of Christabel, who is said to be “unsociable” [40], “his speech was reminiscent of abrupt barking” [41] …The writer is ironic in relation to her character because he has lost the inner connection with relatives, he lacks deference not only to his contemporaries, but also to his ancestors: he speaks of Christabel as a “blissful storyteller” [42]. La Motte’s personal correspondence is for him only material value, but not cultural. Therefore, at the first meeting with him in the soul of Roland, a man far from aristocratic origin, “a deaf class enmity stirred: on the whole appearance of Sir George lay the imprint of his caste, brought to a caricature” [43].

Depicted otherwise in the novel by Maud and Roland. From the first pages of the novel, Mitchell appears as a modest and not too gifted researcher who, due to lack of money, has to live in poor conditions: “After a while they noticed damp spots on the ceiling in the kitchen and in the bathroom. Roland touched them with his finger, sniffed it and caught the distinct smell of cat urine ”[44]. And all this takes place in a house of “Victorian times” [45]: a comical detail about a ceiling fouled by cats leads to the tragic conclusion that there is no connection between the past and the present.

If Roland becomes a victim of life’s circumstances, then Maud – those views of which she herself is. Her attitude to work is shown in a tragicomic way: “Mod responded to any threat to peace of mind by starting to work even more clearly. To grab – to systematize – to understand ”[46]. 86

But Mitchell and Bailey only outwardly belong to the 20th century.Working on the letters of the Victorians, spiritually they become close to their era. Maud reconsiders his views and departs from feminist ideas: “sometimes I regret that I did not go into geology” [47]. The researcher suddenly reveals all the imperfection of his contemporaries: “I remembered Leonora’s frenzy, Fergus’s mockery, the whole direction and pathos of XX century literary criticism” [48]. Maud also refers to the nineteenth century because for her, unlike Sir George Bailey, the connection of times has been preserved.She knows the history of her family well and appreciates her ancestors, does not part with the brooch, which she calls her family property. In addition, at the end of the novel, it is revealed that Christabel is a relative of Bailey, and their external similarity immediately becomes understandable.

Roland turns out to be close to the Victorian era when he suddenly finds a poetic gift in himself: “. Words came from an unknown well in the soul; those lists that he put on paper just now have turned into poems ”[49].Yesterday’s researcher becomes a creator himself, the evolution of the hero takes place in the spirit of an upbringing novel.

Roland and Maud conclude: the present generation is unhealthy, it has lost the sense of the connection of times and puts transient values ​​at the head. E. V. Zbrozhek notes that in the XIX century. “The word“ love ”was completely taboo” [50]. According to A. Bayette, this attitude was repeated in the next century. Its heroes speak about reality with sadness and irony: “We never say the word“ Love ”- in the very concept we seem to have a certain dubious ideological structure” [51].

The game between the writer, the heroes and the reader, existing at the level of comparing the past and the present, is also manifested in the last chapter of the novel “Postscript”. The story of Holly’s meeting with her daughter, told here, remains unknown to both literary scholars and Christabel. A. Bayette holds the idea that the past cannot be fully comprehended, one can only approach the objective truth. The irony in the novel’s finale is not obvious, but, nevertheless, it is obvious: history is incomprehensible, no matter what scientific theories are applied to it.

Thus, in the novel To Possess, A. S. Bayette does not use irony to overthrow the previous era and appears not as a representative of the 20th century, but rather as a “postmodern Victorian”. The literary heroes in the novel are caricatured characters whose lives are closely intertwined with the objects of their study. However, all researchers are victims of the irony of fate: their literary works are based on false ideas about the 19th century, and therefore have no value.Conflicting relationships between scientists are contrasted with the Victorian world, where mutual respect and friendliness reigned. A. S. Bayette is nostalgic for the past century and looks with concern at the present. The writer sees the way out of the current crisis in the creation of a humane and attentive society to the surrounding space. Thus, Roland and Maud, whose history develops parallel to the line of the 19th century poets, go through the path of evolution. And he, paradoxically, does not lead from the present to the future, but from the present to the past.It is the Victorian era that becomes for them, as well as for A. Bayette herself, the standard of human relations, where love and creativity are more important than everything else.

Notes

1. Skorokhodko Yu. S. Features of the development of the English neo-Victorian novel || Questions of Russian literature: interuniversity. scientific. Sat. Simferopol, 2012.S. 198.

2.Bertoldi A. “Literary Critics Make Natural Detectives”? Intertextuality and Intratextuality in A. S. Byatt’s Possession: corso di Laurea in Lingue e Letterature Straniere. Padova, 2011I2012. P. 114.

3. Ibid. P. 23.

4. Birrer D. A. Metacritical fictions: post-war literature meets academic culture: a dissertation submitted in partial fulfillment of the requirements for the degree of doctor of philosophy.Washington, 2001. P. 3b.

5. Franken Ch. A. S. Byatt: art, authorship, creativity. New York: Palgrave Macmillan, 2001. Pp. 89-90.

6. Ibid. P. 91.

7. Ibid.

8. Ibid.

9. Polvinen M. Habitable worlds and literary voices: A.S. Byatt’s “Possession” as self-conscious realism [Electronic resource] II The Electronic Journal of the Department of English at the University of Helsinki. 2004. Vol. 3.URL: http: IIblogs.helsinki.fiIhes-engIvolumesIvolume-3-special-issue-on-literary-studiesIhabitable-worlds-and- literary-voices-as-byatts-possession-as-self-conscious-realism-merja- polvinen, free.

10. Byatt A. S. On histories and stories: selected essays.London: Chatto & Windus, 2000. P. 45.

11. Williamson A. “The dead man touch’d me from the past”: reading as mourning, mourning as reading in A. S. Byatt’s “The Conjugial Angel” II Neo-victorian studies. Swansea, 2008. Vol. 1: 1. P. 132.

12. Tolstykh O. A. English postmodern novel of the late XX century and Victorian literature: intertextual dialogue (based on the novels of A.S. Bayette and D. Lodge): author. dis. … Cand. philol. sciences. Ekaterinburg, 2008.S. 13.

13. Grebenchuk Ya. S. The problem of the “philological novel” in English literature (“Flaubert’s Parrot” by J. Barnes, “Chatterton” by P. Ackroyd, “Obsession” by A. Bayette): dis. … Cand. philol. sciences. Voronezh, 2008.S. 66-67.

14. Stovba AS Genre originality and traditions of the development of the English postmodern novel by Ph.D.XX – n. XXI century. // Bulletin of Kharkov State University. 2013. No. 1048. Ser .: Philology. Issue 67. URL: http://dspace.univer.kharkov.Ua/bitstream/123456789/8523/2/Stovba20A.pdf, free.

15. Antonova NA Polystylistics of the novel by AS Bayette “Possession”: author. dis. … Cand. philol. sciences. Voronezh, 2008.S. 18.

16. Eco U. Notes on the margins of the “Name of the Rose” / per. with ital.E. Kostyukovich. SPb .: Symposium, 2007.S. 77.

17. Ibid. P. 78.

18. Shpagin PI Irony // Brief literary encyclopedia. URL: http://feb-web.ru/feb/kle/ kle-abc / default.asp, free.

19. Mozheiko MA Irony // The latest philosophical dictionary. URL: http://www.philosophi-terms.ru/ word / 8F, free.

20.Rymar N. T. Irony and mimesis: to the problem of the artistic language of the XX century // Irony and parody: interuniversity. Sat. scientific. articles. Samara, 2004.S. 4.

21. Bayette A. Possess / trans. from English V. K. Lanchikova, D. V. Psurtseva. M .: Geleos, 2004.S. 42.

22. Ibid. P. 43.

23. Ibid. S. 273.

24.In the same place. S. 314.

25. Ibid. S. 315.

26. Ibid. S. 316.

27. Zbrozhek EV Victorianism in the context of modern culture // Bulletin of the Ural State University. 2005. No. 35. P. 33.

28. Bayette A. Decree. Op. P. 137.

29.In the same place. P. 126.

30. Ibid. S. 125.

31. Ibid. S. 143.

32. Ibid. P. 148.

33. Ibid. P. 320.

34. Ibid. S. 306.

35. Zbrozhek E.V. Decree.Op. S. 40.

36. Bayette A. Decree. Op. P. 46.

37. Ibid. P. 49.

38. Ibid. P. 77.

39. Ibid. S. 343-344.

40. Ibid. S. 75.

41.In the same place. P. 97.

42. Ibid. S. 102.

43. Ibid. S. 97-98.

44. Ibid. P. 31.

45. Ibid. S. 18.

46. Ibid. P. 170.

47. Ibid. P. 281.

48. Ibid.

49. Ibid. S. 593.

50. Zbrozhek E. V. Decree. Op. S. 42.

51. Bayette A. Decree. Op. S. 338.

Notes

1. Skorokhod’ko, Yu. S. Osobennosti razvitiya angliyskogo neoviktorianskogo romana [Features of development of the English neo-Victorian novel] // Voprosy russkoy literatury [Questions of Russian literature].Simferopol ‘, 2012. P. 198.

2. Bertoldi, A. “Literary Critics Make Natural Detectives”? Intertextuality and Intratextuality in A. S. Byatt’s Possession: corso di Laurea in Lingue e Letterature Straniere. Padova, 2011/2012. P. 114.

3. Ibid. P. 23.

4. Birrer, D. A. Metacritical fictions: post-war literature meets academic culture: a dissertation submitted in partial fulfillment of the requirements for the degree of doctor of philosophy.Washington, 2001. P. 36.

5. Franken, Ch. A. S. Byatt: art, authorship, creativity. New York: Palgrave Macmillan, 2001. Pp. 89-90.

6. Ibid. P. 91.

7. Ibid.

8. Ibid.

9. Polvinen, M. Habitable worlds and literary voices: A.S. Byatt’s “Possession” as self-conscious realism [Electronic resource] // The Electronic Journal of the Department of English at the University of Helsinki. 2004.

Volume 3. URL: http://blogs.helsinki.fi/hes-eng/volumes/volume-3-special-issue-on-literary-studies/habitable-worlds- and-literary-voices-as-byatts- possession-as-self-conscious-realism-merja-polvinen, free.

10. Byatt, A.S. On histories and stories: selected essays. London: Chatto & Windus, 2000. P. 45.

11. Williamson, A. “The dead man touch’d me from the past”: reading as mourning, mourning as reading in A. S. Byatt’s “The Conjugial Angel” // Neo-victorian studies. Swansea, 2008. Volume 1: 1. P. 132.

12. Tolstykh, O. A. Angliyskiy postmodernistskiy roman kontsa XX veka i viktorianskaya literatura: intertekstual’nyy dialog (na materiale romanov A.S. Bayett i D. Lodzha) [English postmodernist novel of the end of the XX century and Victorian literature: intertextual dialogue (on the material of novels by A. S. Byatt and by D. Lodge)]: avtoref. diss. … kand. filol. nauk. Ekaterinburg, 2008. P. 13.

13. Grebenchuk, Ya. S. Problema “filologicheskogo romana” v angliyskoy literature (“Popugay Flobera” Dzh. Barnsa, “Chatterton” P. Akroyda, “Oderzhimost ‘” A. Bayett) [The problem of philological novel in English literature (“Flaubert’s Parrot” by J …Barnes, “Chatterton” by P. Ackroyd, “Possession” by A. Byatt)]: dis. … kand. filol. nauk. Voronezh, 2008. Pp. 66-67.

14. Stovba, A. S. Zhanrovoe svoeobrazie i traditsii razvitiya angliyskogo postmodernistskogo romana k. XX -n. XXI v. [Genre specific and main tendencies of the English postmodernist novel of the XX-XXI century] [Electronic resource] // Vestnik Khar’kovskogo gosudarstvennogo universiteta [Bulletin of the Kharkov State University].2013. No. 1048. Ser .: Philology. Vol. 67. URL: http://dspace.univer.kharkov.ua/bitstream/123456789/8523/2/ Stovba% 20A.% 20A.pdf, free.

15. Antonova, N. A. Polistilistika romana A. S. Bayett “Obladanie” [The polystylistics of the A. S. Byatt’s novel “Possession”]: avtoref. diss. … kand. filol. nauk. Voronezh, 2008. P. 18.

16. Eko, U. Zametki na polyakh “Imeni rozy” [Postscript to “The Name of the rose”] / per.s ital. E. Kostyukovich. Saint Petersburg: Simpozium, 2007. P. 77.

17. Ibid. P. 78.

18. Shpagin, P. I. Ironiya [Irony] [Electronic resource] // Kratkaya literaturnaya entsiklopediya [Short literary encyclopedia]. URL: http://feb-web.ru/feb/kle/kle-abc/default.asp, free.

19. Mozheyko, M. A. Ironiya [Irony] [Electronic resource] // Noveyshiy filosofskiy slovar ‘[The latest philosophical dictionary].URL: http://www.philosophi-terms.ru free.

20. Rymar ‘, N. T. Ironiya i mimezis: k probleme khudozhestvennogo yazyka XX veka [Irony and mimesis: to a problem of art language of the XX century] // Ironiya i parodiya [Irony and parody]. Samara, 2004. P. 4.

21. Bayett, A. Obladat ‘[Possession] / per. s angl. V. K. Lanchikova, D. V. Psurtseva. Moscow: Geleos, 2004. P. 42.

22.Ibid. P. 43.

23. Ibid. P. 273.

24. Ibid. P. 314.

25. Ibid. P. 315.

26. Ibid. P. 316.

27. Zbrozhek, E. V. Viktorianstvo v kontekste kul’tury sovremennosti [Victorianism in the context of the culture of contemporaneity] // Izvestiya Ural’skogo gosudarstvennogo universiteta [The News of the Ural State University].2005. No. 35. P. 33.

28. Bayett, A. Op. cit. P. 137.

29. Ibid. P. 126.

30. Ibid. P. 125.

31. Ibid. P. 143.

32. Ibid. P. 148.

33.Ibid. P. 320.

34. Ibid. P. 306.

35. Zbrozhek, E. V. Op. cit. P. 40.

36. Bayett, A. Op. cit. P. 46.

37. Ibid. P. 49.

38. Ibid. P. 77.

39.Ibid. Pp. 343-344.

40. Ibid. P. 75.

41. Ibid. P. 97.

42. Ibid. P. 102.

43. Ibid. Pp. 97-98.

44. Ibid. P. 31.

45. Ibid. P. 18.

46.Ibid. P. 170.

47. Ibid. P. 281.

48. Ibid.

49. Ibid. P. 593.

50. Zbrozhek, E. V. Op. cit. P. 42.

51. Bayett, A. Op. cit. P. 338.

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