i'm looking at batnikov. natalya usha, musician, lead singer of the group melnitsa, and we are discussing the argentine writer jorgelu and suborchis and his image of the world as a library, hello natasha. please tell me, this is how she is associated with the chilavis group melnitsa, probably still. eh, with some fantasy games, maybe with the lord of the rings , bio wulf, irish sagas, then suddenly you choose the theme of borhis and it seems that this is unexpected. yes, but if you know you well , you are a candidate of human sciences, a linguist and, in general, the worlds of borhis. they contain all possible plots and please tell us what you have in common with this writer. why do you love him? i'll tell you, yes, i'll tell you why. i chose this particular writer for our meeting, you know, if if i had chosen some kind of scandinavian or celtic studies, i would have spoken here as a professional on this topic. i would include a lecturer like natalya andreevna, a professor at the department. and now we’ll tal

i'm looking at batnikov.is chernyshov, deputy chairman of the state duma, we are discussing vladimir gilyarovsky’s book moscow and muscovites. it seems to me that it is not in vain that this social portrait of moscow is being built from the bottom to the top. yes but i i still feel criticism of tsarist russia that there are no social elevators there, that everyone turns a blind eye to these ulcers. let's just say that the city in the form of this is a trick. yes, very picturesque, but nevertheless really dangerous criminal areas, and he says that only the political will of soviet power, that he describes the beginning of the 20th century, too, that is, already under soviet power, for example, this neglinka is being rebuilt. yes, this, which was clogged all the time not with frequencies, but only a certain political will, uh, well, the government, that means, made it possible to decide some of these problems are both social and city problems. eh, what do you think? he glorified the soviet regime sincerely in t

i am aglaya na batnikov, director and writer. today my guests are children's writer sofya remix and writer ivan shepnyagov. we will discuss the work of the leading classic dragoon in children's literature. nosov dragunsky, one might say, became the founders of the children's genre realistic prose, what is their innovation. actually, probably, it’s precisely that this is the world of realistic childhood. it was created among the first by these writers, and dragunsky has a lot of humor on his nose, something that , oddly enough, is lacking in children's literature. although it would seem for children. it's generally supposed to be all fun, but unfortunately it's usually fantasy. usually these are some kind of fairy tales of the history of countries and travel adventures, there is always something magical, and in realistic stories and targonsky and nosov had something like that. what the children themselves see there, say, some kind of hat that has come to life, or there is a firefly that glows like a magic piece of something magica

i'm looking at batnikov. my guest is natalya usha , musician, lead singer of the melnitsa group, candidate of philological sciences. we are talking about jorge borgis natasha, but as for borgis’s personal life, i was very touched by the story of ulrik e from the book of sand from the collection the book of sand, where he meets a woman. they spend only one night together. eh, there is also an obvious allusion to mythology. there the hero's name is sigurty. yes, that is, it refers to scandinavian mythology and the heroine’s name is ulrika, but this looks from one side. just like people who met in a hotel, they spent the night together until the morning forever. we separated. yes, this bathroom here stan a and but borhis represents such failures in some other world, as if this meeting was very important. and it seems very romantic to me. there they also play a role in mirrors . well it looks now. we say, now we still couldn’t resist. curtains because that's exactly what his heroes are - a siegfritt dash sigurd -

i'm agla and batnikov.e makes him look at just herself, from a completely different level, what you ’re talking about, this is initiation, this is a meeting, there is initiation, that is, it is a kind of ananka, you know, which is through a tiny death, because initiation is always a small death. because he, well, of course, he is a native culture, and he, yes, yes, yes, yes, and he, these are precisely the indu-european mythological clichés , feels very subtly, maybe not even always consciously, of course, because it just mine, you know, when i see this king’s sacrifice, this very woman, fate, i think, good, how nice, miquerido, let’s talk about him personal life, he was, one might say, lonely all his life, that is, there are some women there, i see dedication to women in different stories, different women, that is, there were women, they inspired, but basically, yes, he lived his life rather with his family , there with his mother, especially since he became blind, but at the end of his life, after the dea

i'm aglaya on batnikov.lish and writers, screenwriter andrei rubanov. we will discuss lolita nabokova, why is this innovative scandalous novel and why did he make nabokov a world star? nastya, please tell me, is nabokov an american writer, as he called himself, or a russian writer? this is a difficult question and in fact at oxford, where i taught for a long time, he fell between these chairs because in the english department they said that it was american writers, in russian they said that it was an english writer. in general , they practically don’t teach it, because they don’t understand it, no matter how they can’t figure it out. yes, yes, but in fact he is both, because, of course, the first part of his life and career he a in russian and only after he moved to america he began to write, or rather, no, he is in europe wrote one novel called true life, but then all his remaining novels were written in english and, of course, they are very a lot, especially in lolita. i think we ’ll talk about this, but i