Linguistic component of the term A.M. Yevlakhov surrealism as a distinction

Astashchenko Elena V.

The article analyzes the linguistic component of A.M. Evlakhov's term irrealism as an invariant of all definitions used by the scientist to the concept of creativity, especially in the art of contemporaries. The system of partially coinciding and very voluminous concepts reflecting the "style of the epoch", similar for all arts modernism, symbolism, neo-Romanticism, decadence had been actively forming in the European, American and Russian humanities the last three decades of the XIX—XX centuries. Each country endowed these terms with its own specifics, but retained an undoubted commonality of meanings. If we correlate the art form of the beginning of the XX century with the most frequent term defining its style, then it will be impressionism for painting (although I.V. Koretskaya, L.G. Andreev, L.V. Usenko convincingly demonstrate that the term also applies to the literature of that period); it will be modern for architecture; art Nouveau (art nouveau), later art Deco (art déco) for arts and crafts, expressionism for cinema (although Klaus-Jurgen Sembach begins his fundamental study of decorative arts and crafts art nouveau with a convincing comparison of the dynamism and proteism of mass art — cinema and decor. Evlakhov proposed as a distinctive feature of modern art in general and especially verbal a term containing a component which meaning is grammatical — the subjunctive mood. He had been developing his hypothesis on extensive empirical literary material, drawing parallels with other types of art, whole his life.

Keywords:Evlakhov, Romanticism, Modern, Modernism, Decadence, Symbolism, Irrealism, structures of irreal comparison, subjunctive mood