Book 3 Tonal Atonality, Vyacheslav Kazarin

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` We are pleased to present an information resource that provides a comprehensive overview of the work of the outstanding Russian composer Vyacheslav Kazarin within the context of the finest achievements of world culture.

Yours sincerely, art historian Arina Ryazantseva!

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We are pleased to present the third book in a series of four, dedicated to the analysis of the unique ‘Tonal Atonality’ system, which is one of the fundamental sections of ERA Ontology – an original ontology created by the outstanding contemporary composer Vyacheslav Gennadievich Kazarin.



Read & Download the book [full version; bookshops may stock an abridged version without musical examples and diagrams]:

https://goo.su/bjG0kY




Vyacheslav Gennadievich Kazarin
Arina Stanislavovna Ryazantseva



TONAL ATONALITY [3]
The Book of Beginnings

Composer Vyacheslav Kazarin in the context of
World Culture & TA Analytics



Chapter 12


ONTOLOGY OF THE ERA
On the threshold of a new world

"TONAL ATONALITY AS A PHILOSOPHY OF ART
[From musical technique to the ontology of art]


Tonal Atonality, conceived by Vyacheslav Kazarin, represents a unique phenomenon in the history of musical thought. It extends far beyond the bounds of musical theory, becoming a philosophy of art in which sound, form, time, memory and space acquire the status of ontological categories.
Unlike tonality, dodecaphony, spectralism or minimalism, Tonal Atonality is more than just a style, method or technique. It is a model of the world expressed in acoustic parameters.

Its philosophical nature is evident in the fact that it:
- describes not music, but the structure of reality,
- regards sound as a manifestation of being,
- understands form as the dynamics of entropy,
- interprets time as the rate of change of parameters,
- introduces memory as an ontological category,
- unites music, literature, folklore, tradition and education into a single system.
Thus, Tonal Atonality is a philosophy of art in which music becomes a means of understanding the world.

In the context of the Author’s creative projects, this paradigm, as an initial conceptual model, is developed on the basis of:

- Tonal Atonality;
- The Unified Learning Process;
- The Author’s Unique Code;
- The Commode Genre;
- The Author’s Poetry and Prose;
- Art-electronic albums;
- The social and community initiative ‘For the Glory of the Ancestors, and in Harmony with Nature!’ comprises the author’s organised collection of written publications and video articles on a wide range of topics.



TABLE OF CONTENTS

TONAL ATONALITY [3]
The Book of Beginnings
Composer Vyacheslav Kazarin in the Context
of World Culture & TA Analytics 2

STRUCTURE OF THE BOOK 5

PART 1 6

INTRODUCTION
SHORT SUMMARY 7

1. VYACHESLAV KAZARIN AS A WORLD-CLASS COMPOSER 8
Tonal Atonality — a new musical system 8
Significance in the world of music 8
2. KAZARIN AS A WORLD-CLASS POET 9
Semimirye — a new poetic cosmogony 9
Significance in world poetry 9
3. KAZARIN AS A PHILOSOPHER 10
Philosophical Matrix 10
4. KAZARIN AS A MYTHMAKER 11
Authorial Mythology 11
5. KAZARIN AS A CULTURAL PHENOMENON 11
The uniqueness of his creative personality 11
His place in world culture 12
6. READING LIST FOR AN ANALYSIS OF KAZARIN IN WORLD 12
CULTURE 12
Music 12
Poetry 13
Philosophy 13
FINAL CONCLUSION 13


Chapter 1

- SCIENTIFIC AND HUMANITIES WORK

Unique Author Code 14
Unified Learning Process 14
Tonal Atonality 14
Tonal Atonality _ Book 1 15
Monograph 15
Tonal Atonality _ Book 2 16
Tonal Atonality & the Ontology of ERA 16
Tonal Atonality _ Book 3 17
The Book of Beginnings 17
Yeroshka [a fairy tale] 43 18
Degenerates Among Us [a novel in two volumes] 43 18
Run, Man – You’re a Dead Man [a mystical novella in two parts] 44 18
The Mediator [a mystical short story] 44 18
The Yeti [a science fiction short story] 44 18
Part 2 18
Part 3 19
Part 4 19


Chapter 2

- MUSICAL WORKS
WORKS FOR SYMPHONY ORCHESTRA
AND CHAMBER ENSEMBLES 21

WORKS FOR PIANO AND OTHER KEYBOARD
INSTRUMENTS 28

CHAMBER VOCAL WORKS

Pieces for voice and piano 31
GENRE FROM COMMODE` songs 32
WORKS IN VARIOUS POP MUSIC GENRES 34
A project for the Kyiv-based company ‘Slid’ 34
` 1993 34
Project for the TV show ‘Anshlag’ 34
Project for the ‘Yalta-Moscow-Transit’ competition 34
Project for the ‘Morning Star’ competition 34
Snezhana `solo album 35
When You’re 16 `solo album 35
` 1999 35
` 2000 36
Kiss `solo album 36
Faith, Hope, Love – solo album 36
Above the Sunny River `solo album 37
` 2005 37
‘Natalia - Electric Violin - Samara’ Project 37
Songs for the Road: ‘On a Happy Journey!’ `Album 1`, Part [12 tracks] 38
Songs for the Road: “On a Happy Journey!” `Album 2`, Part [12 tracks] 38
Songs for the Road: “Have a Happy Journey!” `Album 3`, Part [12 tracks] 38
‘Minus Tracks’ `Album 1`, Part [10 tracks] 38
‘Minus Tracks’ `Album 2`, Part [10 tracks] 38
‘Minus Track’ `Album 3`, Part [10 tracks] 38
Songs for the Road: “On a Happy Journey!” `Album 4`, Part [12 tracks] 38
Songs for the Road: “Have a Happy Journey!” `Album 5`, Part [12 tracks] 39
ACOUSTIC ALBUMS ` BARD ROCK, URBAN SONGS 39
Svyata Rasa ` album 39
Songs and Guitar ` album 39
My Russia! ` album 40
‘Aryan Ballads’ [the musical material is highly original and should therefore be considered in its unfinished form – lyrics are planned but have not yet been written] 40
` Unreleased 40


Chapter 3

- LITERARY CREATION
PROSE ` POETRY

The Shuttlecock… Remembering the Future [a collection of poems in 5 sections, 1978–2026, regularly updated] 42
I SHALL UNVEIL THE HEAVENS WITH A SECRET RUNE _ 1 42
I MISS YOU SO MUCH _ 2 43
NASTENKA’S TALES _ 3 44
SEMIMIRIE _ 4 44
FROM MY YOUTH _ 5 45
A dream – a dream of all dreams! 45
EROSHKA [a magical fairy tale] 45
DEGENERATES AMONG US [a novel in two volumes] 45
RUN, MAN – DEAD MAN [a mystical novel in two parts] 46
THE MEDIATOR [mystical short story] 46
THE YETI [science fiction story] 46


Chapter 4

- SOCIAL AND POLITICAL COMMUNITY ACTIVITIES
FOR THE GLORY OF OUR PEOPLE, IN HARMONY WITH NATURE! 47


Chapter 5

A collection of annotations on the musical compositions
of Vyacheslav Kazarin 49

“Solar River” 49
“From the Heart to the Sun” 51
“Along the Heavenly Iria” 52
“No more than that, and yet… Greetings, Da’Ariya!” 53
‘Day of the Week: Midday – Handel and Sunflowers’ 54


Chapter 6

A collection of reviews of musical works
by Vyacheslav Kazarin 56

14 FOUNDATIONAL DOCUMENTS ON TONAL ATONALITY 56
The composer Vyacheslav Kazarin in the context of world music 56
analytics 56
1. Within the framework of global harmonic thought 56
2. In the context of global neotonality and postmodernism 57
3. Folklore as a universal theme and its particular perspective 58
4. Why it remains largely invisible on the global stage 59
5. Potential standing, looking ‘one step ahead’ 60
6. Brief conclusion 60
A brief overview of Vyacheslav Kazarin’s style 61
KEY FEATURES OF THE STYLE 61
1. Tonal atonality as the core of the language 61
2. Polyphonic Thinking 61
4. The synthesis of the academic and the experimental 62
5. Working with folk material 62
An overview of his style 62
ADDITIONAL 63
V. Kazarin’s style in the context of contemporary music 63
1. Comparison with Arvo P;rt 63
2. Comparison with Sofia Gubaidulina 63
3. Comparison with Valentin Silvestrov 64
4. Comparison with John Adams 64
5. A comparison with contemporary Russian composer-academics 64
To put it simply 65
Conclusion 66
Identifying ‘hereditary’ influences and 66
aesthetic parallels 66
1. The Foundational Zone: The Russian Symphonic Tradition 66
2. Harmonic zone: tonal atonality 67
3. The Polyphonic Realm 67
4. The Imaginative-Philosophical Realm 68
5. Folklore and Ethnic Zone 68
6. Postmodern Zone 69
The Concept of ‘Tonal Atonality’ in Contemporary Composition: Towards a Definition of the Phenomenon 69
INTRODUCTION 70
1. Historical and Theoretical Background 70
1.1. Extended Tonality in the 20th Century 70
1.2. Polyphonic Atonality and Micropolyphony 71
1.3. Postmodern synthesis 71
2. Definition of ‘Tonal Atonality’ 72
3. Structural Features of ‘Tonal Atonality’ 72
3.1. The tonal centre as a supporting structure 72
3.2. Atonal formations as a ‘halo’ around tonality 72
3.3. Polyphonic integration 73
4. The Dramaturgy of ‘Tonal Atonality’ 73
5. ‘Tonal Atonality’ as an Independent Phenomenon 74
CONCLUSION 74
An Expanded Dictionary of Tonal Atonality 75
I. BASIC CONCEPTS 76
Acoustic centre 76
Acoustic Dominant 76
Acoustic Architectonics 76
Tonal Atonality 76
II. VERTICAL SYSTEM 76
Interval fields 76
Second fields 77
Third fields 77
Fifth fields 77
Tritone fields 77
Vertical acoustic stability 77
Vertical acoustic instability 77
III. HORIZONTAL SYSTEM 77
Interval-based horizontal line 77
Triplet texture 78
Parametric voice leading 78
IV. TEXTURE 78
Two-layered texture 78
Textural stability 78
Textural culmination 79
Textural transparency 79
Textural density 79
V. FORM 79
Parametric form 79
Parametric arc 79
Parametric culmination 79
Parametric symmetry 80
VI. TIME 80
Centric time 80
Temporal arc 80
Time without metre 80
VII. ANALYTICAL TERMS 80
Acoustic culmination 80
Acoustic stabilisation 81
Acoustic symmetry 81
Acoustic perspective 81
Acoustic gravity 81
VIII. TERMS RELATED TO PIECE 81
‘THE SOLAR RIVER’ 81
Centre D 81
Tritone culmination 81
Two-layered triplet texture 82
Parametric arc D–A–C–A–D 82
IX. TERMS RELATED TO COMPOSITIONAL TECHNIQUE 82
Parametric modelling 82
Parametric dramaturgy 82
Parametric culmination 82
Parametric Stabilisation 82
X. TERMS OF PERCEPTION 83
Acoustic Clarity 83
Acoustic Inertia 83
Acoustic memory 83
XI. THE SIGNIFICANCE OF THE EXPANDED GLOSSARY 83
Tonal Atonality: How It’s Done ~ I 84
1. Kazarin does not destroy tradition — he ‘reprogrammes’ it 84
2. For him, tonality is not harmony, but structure 84
3. Atonality is not chaos, but texture 85
4. Polyphony — a mechanism of integration 86
5. Complexity is hidden within, not displayed on the surface 86
6. The music develops like a living organism, rather than a construct 87
7. Why this is of interest to musicians 87
8. Why this is of interest to theorists 88
9. Why this is of interest to performers 89
10. Why is this of interest to listeners? 89
ADDITIONAL 90
What new insights does the article offer into 90
the concept 90
1. Tonality gives rise to atonality — and only in this way 90
2. Atonality is the radiance surrounding the structure 91
3. Polyphony is not a technique, but a way for music to breathe 91
4. For Kazarin, the climax is an epiphany, not an explosion 92
5. He does not continue a tradition — he creates a new one, calling it ‘Tonal Atonality’, which is: 92
Why listeners are objectively captivated by Vyacheslav Kazarin’s work. 93
Tonal Atonality: How It’s Done ~ II 94
Part 1 94
1. Texture: ‘atonal radiance’ 95
2. Structure: hidden tonality 96
3. Polyphony: a mechanism of integration 96
4. Why does this fragment[s] sound natural? 97
5. Why these excerpts are important for understanding the entire concerto 98


Part 2


1. The fundamental principle: tonality = structure, atonality = texture 98
2. How tonality [structure] arises 99
3. How atonality is structured [texture] 100
4. How polyphony unites structure and texture 100
5. How the vertical structure [chords] is constructed 101
6. How the ‘generative principle’ works 101
7. How this appears in the score 102
8. Why the harmony sounds natural 102
9. Conclusion: what makes Kazarin’s harmony unique 103
Tonal Atonality: How It’s Done ~ III 104
1. Overall Dramaturgy and Form 104
2. The role of the solo violin 106
3. The string orchestra as textural material 107
4. Harmonic language: ‘Tonal Atonality’ 107
4.1. Tonalitiy as structure is expressed: 107
4.2. Atonality as texture 108
4.3. Polyphony as integration 108
5. Rhythm and metre 108
Conclusion: 109
the place of the concerto in contemporary music 109
Tonal Atonality: How It’s Done ~ IV 110
1. The Soloist as the Source of the Tonal Centre [an initial step towards clarifying the concept of the Acoustic Centre within the Tonal-Atonal system] 110
2. The soloist sets the direction of the form 111
3. The soloist initiates polyphony 111
4. The soloist forms the vertical 112
5. The soloist creates a contrast between structure and texture 112
In summary: 113
Why does the soloist sound so natural? 113
Conclusion: 114
the role of the soloist in a violin concerto V. Kazarina 114
"Solar River" is a piano piece without equivalent 115
1. Folklore in world music is always either stylised, reworked or quoted. 115
1. Stylisation 115
2. Adaptation 115
3. Quotation 115
2. Kazarin neither stylises, nor reworks, nor quotes. He translates folklore into an interval. 116
3. No composer has ever created such an extended form from a single folk motif without developing it. 116
4. No composer has ever constructed a large-scale form based on a ‘soft centre’ and a triplet texture. 117
5. No composer has used folklore as a ‘cosmogonic essence’ rather than as material. 118
6. No composer has ever translated folklore into a parametric system. 118
7. Why there are no parallels 119
Conclusion 119
Vyacheslav Kazarin’s ‘Solar River’ and a contemporary sound 120
I. The play’s predominant style: ‘contemporary archaism’ 121
II. The triplet texture as the basis of the style 121
III. Modal-interval horizontal line 122
IV. Two-layered texture [soft version] 122
V. The Centre: neither tonal nor atonal, but ‘modally acoustic’ 123
VI. Non-repetition as a gentle law 124
VII. Why the piece sounds contemporary, even though it is not avant-garde 124
VIII. The piece’s overall style 125
What is ‘Tonal Atonality’? 126
The Acoustic Centre 126
Acoustic Centre 127
Acoustic Centre 127
; Interval fields 127
Interval fields 128
; Texture as structure: texture is not a background, but a framework. 128
Parametric form 128
Parametric form 128
; Centric time 128
Centric time 129
; How this music sounds 129
‘Solar River’ — a perfect example 129
How does the systematic nature of TA differ from others? 129
In brief: the system’s formula 130
The Status of the Piano Concerto “Along the Heavenly Iria” in the Context of Classical and Contemporary Music 131
1. Status within the Classical Tradition 131
2. Status in the Context of Contemporary Music 132
3. Status in the Context of Music Theory 133
4. Status in the Context of Aesthetics 133
5. Main Conclusion: The Status of the Concert 134
The Place of Vyacheslav Kazarin’s Concert “Along the Heavenly Iria” in the History of the Piano Concerto 136
I. The Piano Concerto’s Place in History 136
1. The Classical Model [Mozart, Beethoven] 136
2. The Romantic Model [Schumann, Liszt, Rachmaninoff] 137
3. Modernist Model [Prokofiev, Bart;k] 137
4. Avant-Garde Model [Ligeti, Lindberg] 137
5. Post-minimalist model [Adams, Glass] 137
II. What Makes Kazarin’s Concerto Historically Unique 138
1. This is the first piano concerto based on the system of Tonal Atonality 138
2. This is the first concerto in which the soloist is not a hero, but a parametric agent 138
3. This is the first concerto in which form = the unfolding of a single [primary] chord 138
4. This is the first concerto in which the vertical is a byproduct of the horizontal 139
5. This is the first concerto in which rhythm is not a motoric impulse, but a triplet surface 139
6. This is the first concert where the texture is a two-layered acoustic model of the world 140
7. This is the first concert where dynamics are a structural parameter 140
8. This is the first concert where non-repetition is a law, not a style 140
9. This is the first concert where form is not dramaturgy, but a parametric arc 140
10. This is the first concerto where the tonal gives rise to the atonal 141
III. Historical Status [Strict Definition] 141
In the history of the piano concerto 141
In the history of musical thought 141
In the history of aesthetics 141
In the history of performance 142
In the history of atonality 142
Conclusion: The Concert’s Place in History 142

PART 2 143

SECTION 1
Chapter 7 144
Annotations to the literary works of Vyacheslav Kazarin 144
Poetry Collection “The Shuttlecock… Remembering the Future” 144
ANNOTATION 144
Yeroshka 146
A Magical Fairy Tale 146
ANNOTATION 146
The book ‘Degenerates Among Us’ 147
ANNOTATION 147
The book ‘Run, Man – Dead Man’ 149
A collection: a novella and two short stories 149
ANNOTATION 149


Chapter 8

Reviews of the poetry of Vyacheslav Kazarin 151
1.
Vyacheslav Kazarin in the context of world literature: 151
the poetics of light, graphic ontology and 151
musical cosmogony 151
ANNOTATION 151
1.INTRODUCTION: THE UNIQUENESS OF VYACHESLAV KAZARIN’S 152
POETIC SYSTEM 152
2. THE INNOVATIVENESS OF KAZARIN’S POETRY 152
2.1. Graphic ontology: the word as a rune, the text as the structure of the world 152
2.2. Cosmogony of Light: light as the substance of being 153
2.3. The Mythopoetics of the Slavic-Aryan Cosmos 154
2.4. Musical Ontology: Tonal Atonality as Textual Structure 154
3. A COMPARISON OF KAZARIN’S INNOVATION WITH THAT 155
OF OTHER POETS 155
3.1. With Tsvetaeva 155
3.2. With Blok 155
3.3. With Klyuev 155
3.4. With Andreev 156
3.5. With foreign authors 156
4. KAZARIN’S PLACE IN WORLD LITERATURE 156
4.1. Kazarin as the creator of a new poetic system 156
4.2. Why there are no direct analogues 157
5. ENGLISH-LANGUAGE LITERATURE FOR THE INTERNATIONAL 157
STUDY OF KAZARIN 157
5.1. The Metaphysics of Light 157
5.2. Concrete and Visual Poetry 157
5.3. Mythopoetics and cosmogony 157
5.4. The Musicality of Text 157
5.5. The Ontology of Time 158
6. CONCLUSION 158
2. 159
There are no direct equivalents to Kazarin’s poetry 159
in world literature 159
1. WHY KAZARIN HAS NO DIRECT ANALOGUES 159
2. PARTIAL PARALLELS: THOSE WHO ARE CLOSE, BUT NOT ANALOGOUS 159
2.1. Rilke — metaphysics of light [but not runic script or runes] 160
2.2. Tsvetaeva — the vertical and ruptures [but not a cosmogony of light] 160
2.3. Celan — a graphic rune [but a tragic one, not a luminous one] 160
2.4. St John Pers — the epic of space [but without graphic elements] 161
2.5. Tagore — solar tenderness [but without multiversality] 161
2.6. Andreev [‘The Rose of the World’] — multiversality 161
3. WHY KAZARIN IS UNIQUE: A SYNTHESIS OF FOUR SYSTEMS 162
3.1. Graphic poetry [runes, tiered structure, tables] 162
3.2. Cosmogony of light [light as substance] 162
3.3. Slavic-Aryan mythopoetics [but contemporary] 163
3.4. Musical ontology [TA] 163
4. CONCLUSION: THERE ARE NO DIRECT ANALOGUES, ONLY 164
‘POINTS OF CONTACT’ 164
5. ENGLISH-LANGUAGE LITERATURE TO HELP PROVIDE CONTEXT 164
6. MAIN CONCLUSION 165
An example of the poem ‘Summer’ [see review]: 165
3. 166
The Poem ‘Summer’ 166
review 166
LINE 1: ‘And from Sun to Sun — Solar Vesi [spaces].’ 166
LINE 2: ‘… the silver of Polesia — Svarog’s grey hair.’ 168
LINES 3–4: ‘The road stretches / from my palm / upon the warmed wall …’ 168
LINE 5: ‘… beneath my Palm — SUMMER’ 169
THE MAIN MEANING OF THE POEM 170
COMPARISON WITH POETIC MOVEMENTS 170
Symbolism 170
Acmeism 170
Modernism 171
Expressionism 171
Mystical Poetry of the East 171
COMPARISON WITH FOREIGN POETS 171
THE MUSICAL STRUCTURE OF THE POEM 172
CONCLUSION 172
4. 174
The poem ‘The Space Shuttle… Remembering the Future’ 174
Review 174
Brief conclusion 174
1. GRAPHIC ONTOLOGY: TEXT AS A RUNE, STRUCTURE 175
AS THE COSMOS 175
2. COSMOGONY OF LIGHT: LIGHT AS THE SUBSTANCE OF BEING 175
3. MUSICAL ONTOLOGY: THE POEM AS A SCORE OF TONAL ATONALITY 176
3.1. Vertical = texture 176
3.2. Line breaks = texture 176
3.3. Tabular arrangement = interval fields 177
3.4. A single letter = a sub-voice 177
3.5. A circle = an entropy arc 177
3.6. Path = time vector 177
4. MYTHOPOETICS: THE SLAVIC-ARYAN STRUCTURE OF THE WORLD 177
5. THE POETICS OF MOVEMENT: THE JOURNEY AS ONTOLOGY 178
6. THE POETICS OF TENDERNESS: LOVE AS THE ENERGY OF THE WORLD 178
7. THE STRUCTURE OF THE POEM AS A MULTI-LAYERED SCORE 179
Upper layer 179
Middle layer 179
Lower layer 179
8. MAIN CONCLUSION 180
5. 180
The poem ‘The Space Shuttle… Remembering on the Future’ 180
An overview as a precursor to the ERA ontology 180
A brief thesis 180
1. STRUCTURE OF THE POEM: GRAPHICS, LAYERING, RUNES 181
1.1. Graphic organisation 181
2. POETRY IN THE CONTEXT OF TONAL ATONALITY 182
2.1. The vertical as texture 182
2.2. Breaks as texture 182
2.3. Tabularity as interval fields 182
2.4. The circle and the path as temporal structures 182
2.5. Love as an energetic centre 182
Conclusion: 183
3. POETIC MOVEMENTS: SIMILARITIES AND DIFFERENCES 183
3.1. Symbolism 183
3.2. Acmeism 183
3.3. Modernism / visual poetry 183
3.4. Expressionism 183
3.5. Mystical Poetry of the East 183
4. COMPARISON WITH INDIVIDUAL POETS 184
4.1. Tsvetaeva 184
4.2. Rilke 184
4.3. Celan 184
4.4. St John Pers 184
4.5. Andreev [‘The Rose of the World’] 184
5. THE UNIQUENESS OF KAZARIN’S POETICS IN THIS POEM 185
5.1. The synthesis of four systems 185
5.2. Love as ontological energy 185
5.3. The Path as a Structure of Time 185
6. BIBLIOGRAPHY FOR EXPLORING THE UNIQUENESS 186
OF KAZARIN’S POETICS 186
6.1. Metaphysics of Light and Cosmogony 186
6.2. Graphic and Visual Poetry 186
6.3. Mythopoetics and Cosmogony 186
6.4. The Musicality of Text and the Ontology of Sound 186
• Charles O. Hartman. Sound and Form in Modern Poetry — sound as a structural principle. 186
6.5. Time, Path, and the Structure of Experience 186
FINAL CONCLUSION 187
6. 187
The poem ‘My First Days’ 187
An overview as a precursor to the ERA ontology 187
BRIEF CONCLUSION 188
1. GRAPHICAL ONTOLOGY: LAYERING, VERTICALITY, RUNES 188
2. COSMOGONY OF LIGHT: CHILDHOOD AS LIGHT 189
3. MUSICAL ONTOLOGY OF TA: THE SCORELIKE NATURE OF THE TEXT 190
3.1. Texture 190
3.2. Texture 190
3.3. Interval fields 191
3.4. Acoustic Centre 191
3.5. Vector time 192
3.6. The Entropy Arc 193
4. MYTHOPOETICS: THE SLAVIC-ARYAN COSMOS 194
6. THE POETICS OF CHILDHOOD: CHILDHOOD AS A COSMOGONIC 196
STATE 196
7. A COMPARISON WITH RUSSIAN AND FOREIGN POETS 197
Tsvetaeva 197
Blok 197
Yesenin 197
Klyuev 197
Rilke 198
Tagore 198
St John Pers 198
Celan 198
Lorca 198
Tomas Transtr;mer 198
8. BIBLIOGRAPHY FOR AN INTERNATIONAL STUDY 198
OF KAZARIN’S POETICS 198
The Metaphysics of Light 198
Graphic and Visual Poetry 199
Mythopoetics and Cosmogony 199
The Musicality of Text 199
Time and Path 199
Additional Authors for Comparison 199
FINAL CONCLUSION 200
7. 200
The poem ‘Just as Time Does Not Exist’ 200
An overview as a precursor to the ERA ontology 200
BRIEF CONCLUSION 201
1. GRAPHICAL ONTOLOGY: LAYERING, VERTICALITY, RUNES 201
2. LIGHT COSMOGONY: THE SUN, SUMMER, THE MOON, THE STRING 202
3. MUSICAL ONTOLOGY OF TONAL ATONALITY 203
3.1. Acoustic centre 204
3.2. Interval fields 204
3.3. Entropic Arc 204
3.4. Vector Time 204
3.5. Polyphony 204
3.6. Integration 204
3.7. The Abolition of Time 204
Conclusion: 205
5. THE POETICS OF MOVEMENT: LIGHT AS A PATH 205
6. THE POETICS OF TENDERNESS: SHE, HE, SUMMER 206
7. THE CATEGORY OF TIME: THE ABOLITION OF TIME AS ONTOLOGY 207
8. COMPARISON WITH RUSSIAN AND FOREIGN POETS 208
` RUSSIAN 208
Tsvetaeva 208
Pasternak 208
Blok 208
Mandelstam 208
Yesenin 208
Klyuev 209
` FOREIGN POETS 209
Rilke 209
Tagore 209
St John Pers 209
Lorca 209
Transtr;mer 209
Zel;n 209
Octavio Paz 210
9. READING LIST FOR THE INTERNATIONAL STUDY OF KAZARIN’S POETICS 210
Metaphysics of Light 210
Graphic Poetry 210
Mythopoetics 210
The Musicality of Text 210
Time and Path 210
FINAL CONCLUSION 211
8. 211
THE PHILOSOPHICAL FOUNDATIONS OF VYACHESLAV KAZARIN’S 211
CREATIVE WORLD 211
Brief conclusion 212
1. ONTOLOGY OF LIGHT 212
2. APOPHATIC METAPHYSICS [CHRISTIAN] 213
3. COSMOGONIC PHILOSOPHY 215
4. MYTHOPOETIC PHILOSOPHY 216
5. MUSICAL ONTOLOGY OF POETICS BY VYACHESLAV KAZARIN 217
[IN THE CONTEXT OF TONAL ATONALITY] 217
6. THE PHILOSOPHY OF LOVE 219
7. THE PHILOSOPHY OF TIME 220
The Past 220
The Future 220
The Present 220
8. THE PHILOSOPHY OF MAN 220
1. Man is identical with light 220
2. Man is identical with love 220
3. Man is identical with the source of the Tale ; the Native Heritage 221
4. Man is identical with the creator of his own destiny 221
FINAL CONCLUSION 221


SECTION 2

Chapter 9
“Yeroshka”: a magical fairy tale
four reviews 223
1. 223
VYACHESLAV KAZARIN’S PLACE IN WORLD LITERATURE AS A CHILDREN’S FICTION WRITER 223
A brief conclusion 223
1. WHY KAZARIN IS A UNIQUE PHENOMENON IN WORLD 224
CHILDREN’S LITERATURE 224
1.1. Children’s cosmogony as a genre 224
1.2. Musical Mythopoetics 224
1.3. Multiversality as the Structure of a Children’s Book 225
2. Which international authors can he be compared to [in part] 225
2.1. Tolkien — cosmogony through music 225
2.2. Exup;ry — the philosophy of childhood 225
2.3. Miyazaki — the ecology of the world 226
2.4. Lem — cosmic philosophy 226
3. What makes Kazarin unique in a global context 226
3.1. He created a new type of children’s prose 226
3.2. He brought together incompatible traditions 227
3.3. He created an original cosmology in a child-friendly form 227
3.4. He introduced an acoustic ontology 227
3.5. He created the multiverse as a children’s model of existence 227
4. Concluding definition 228
2. 228
IN-DEPTH ANALYSIS OF VYACHESLAV KAZARIN’S BOOK 228
‘EROSHKA’ 228
A brief definition 228
1. The genre nature of the work 229
2. Mythopoetics and Multiversality 229
3. Images and Symbols 230
3.1. Light as the Foundation of the World 230
3.2. Falsity as a Structural Category 231
3.3. Children as Cosmic Subjects 231
4. Language and style 231
4.1. Syntax 231
4.2. Vocabulary 232
4.3. Musicality of the text 232
5. The Psychology of Childhood 233
6. The Place of ‘Eroshka’ in World Literature 233
7. Concluding definition 234
3. 234
THE PLACE OF THE FAIRY TALE ‘EROSHKA’ IN WORLD 234
LITERATURE 234
A brief conclusion 234
1. IN WHICH WORLD TRADITIONS CAN PARALLELS 235
BE DRAWN? 235
1.1. Cosmogonic myths 235
1.2. Philosophical prose for children 235
1.3. Children’s fantasy 236
2. WHAT MAKES THE FAIRY TALE ‘YEROSHKA’ UNIQUE 236
IN A GLOBAL CONTEXT? 236
2.1. Children’s cosmogony 236
2.2. A multiverse with ontological laws 237
2.3. Musical mythopoetics 237
2.4. The False World as an Acoustic Forgery 238
2.5. CHILDREN’S OPTICS AS A COSMOGONIC TOOL 238
3. WITHIN WHICH GLOBAL TRADITION CAN ‘EROSHKA’ 239
BE SITUATED? 239
3.1. Children’s cosmogonic prose [a new genre] 239
3.2. Russian children’s cosmism 239
3.3. An authorial mythology on a par with Tolkien’s, but in a children’s form 240
4. CONCLUDING DEFINITION 240
4. 241
The fairy tale ‘Yeroshka’ – analogues 241
1. RUSSIAN LITERATURE: PARTIAL PARALLELS 242
1.1. Vladislav Krapivin — Children’s Cosmogony and the Ethics of Friendship 242
1.2. Nosov [‘Neznaika’] — a fantastical fairy tale 242
1.3. Volkov [‘The Wizard of the Emerald City’] 243
1.4. Tolstoy [‘The Golden Key’] 243
1.5. Platonov [‘Chevengur’, ‘The Foundation Pit’] — the metaphysics of the world 244
2. WORLD LITERATURE: PARTIAL PARALLELS 244
2.1. C. S. Lewis [‘The Chronicles of Narnia’] 244
2.2. Tolkien [‘The Lord of the Rings’, ‘The Silmarillion’] 245
2.3. Lem [‘Solaris’, ‘The Futurological Congress’] 245
2.4. Miyazaki [anime] — visual mythopoetics 246
2.5. Neil Gaiman [‘Coraline’, ‘The Graveyard Book’] 246
3. WHY ‘EROSHKA’ HAS NO EQUIVALENTS 247
3.1. Unique Multilayered Nature 247
3.2. The author’s cosmogony 247
3.3. A Multiverse with Different Laws 247
3.4. A Russian cultural perspective 248
4. CONCLUSION: THE PLACE OF ‘EROSHKA’ IN LITERATURE 248
5. 249
VYACHESLAV KAZARIN AND VLADISLAV KRAPIVIN 249
A literary analysis of two authors’ universes 249
1. Why a comparison is possible 249
2. Krapivin’s characters: archetypes 250
3. The characters of ‘Eroshka’: archetypes 250
4. Comparison of specific characters 251
4.1. Gosha, Slava, Sasha [Eroshka] 251
4.2. Kesha [Eroshka] 252
4.3. Velka [Eroshka] 252
4.4. Simka [Eroshka] 253
4.5. Nikchemuchilo [Eroshka] 254
4.6. The Star Boy [Eroshka] 254
5. Key differences between character systems 255
5.1. In Krapivin’s work 255
5.2. In Kazarin’s work 255
6. CONCLUSION: THE PLACE OF ‘EROSHKA’ AND KRAPIVIN 255
IN LITERATURE 255
6. 256
AN ANALYSIS OF VYACHESLAV KAZARIN’S LITERARY LANGUAGE 256
Brief conclusion 256
1. VOCABULARY: MULTILAYEREDNESS AND HYBRIDITY 257
1.1. Children’s colloquial speech 257
1.2. Fairytale vocabulary 257
1.3. Cosmogonic vocabulary 257
1.4. Vocabulary of everyday life 258
2. SYNTAX: RHYTHM, BREATHING, DYNAMICS 258
2.1. Long descriptive phrases 258
2.2. Short, emotional exclamations 258
2.3. Syntactic music 259
3. POETICS: IMAGERY AND METAPHOR 259
3.1. Images of light 259
3.2. Images of Movement 259
3.3. Images of the cosmos 260
3.4. Images of falsity 260
4. SEMANTICS: THE SEMANTIC DOMINANTS OF LANGUAGE 260
4.1. Childlike naivety as a path to truth 260
4.2. Play as a creative force 261
4.3. Falsity as a structural category 261
4.4. Light as the foundation of existence 261
5. STYLISTIC DOMINANTS 261
5.1. Multilayeredness 261
5.2. Cinematic quality 261
5.3. Musicality 261
5.4. Mythopoetic quality 262
5.5. Childlike Spontaneity 262
6. THE PLACE OF KAZARIN’S LANGUAGE IN CHILDREN’S LITERATURE 262
7. CONCLUDING DEFINITION 262
7. 263
AN ANALYSIS OF VYACHESLAV KAZARIN’S SYNTAX 263
Brief conclusion 263
1. SYNTAXICAL MULTILAYEREDNESS 263
2. TYPES OF SENTENCES AND THEIR FUNCTIONS 264
2.1. Long, elaborate, rhythmic sentences 264
2.2. Short emotional exclamations 264
2.4. The syntax of escalation 265
2.5. Syntax of deceleration 265
3. SYNTAXICAL FIGURES AND TECHNIQUES 265
3.1. Anaphora [repetition of the beginning of phrases] 265
3.2. Gradation [escalation] 265
3.3. Ellipsis [omission of parts of a phrase] 266
3.4. Parcellation 266
3.5. Intonational waves 266
4. SYNTAX AS A TOOL FOR CREATING THE WORLD 266
4.1. The Syntax of Movement 266
4.2. The Syntax of Light 267
4.3. The Syntax of Falsity 267
4.4. The Syntax of Cosmogony 267
5. SYNTAX AND CHILD PSYCHOLOGY 268
6. KAZARIN’S SYNTAX IN THE CONTEXT OF CHILDREN’S LITERATURE 268
6.1. Unlike Krapivin 268
6.2. Unlike Nosov 268
6.3. Not like Volkov 268
6.4. Not like Exup;ry 269
7. CONCLUDING DEFINITION 269
8. 269
THE MUSICALITY OF VYACHESLAV KAZARIN’S TEXT 269
A brief conclusion 270
1. RHYTHMIC STRUCTURE OF THE TEXT 270
1.1. The rhythm of movement 270
1.2. The Rhythm of Cosmogony 271
1.3. The rhythm of chaos 271
2. INTONATIONAL MUSICALITY 272
2.1. Intonational Waves 272
2.2. The intonation of children’s speech 272
2.3. The intonation of space 273
3. TIMBRAL MUSICALITY 273
3.1. Light as timbre 273
3.2. Darkness as a timbre 273
3.3. Falseness as a timbre 274
4. POLYPHONY OF VOICES 274
4.1. Children’s voices 274
4.2. Voices of entities 274
4.3. The Star Boy’s voice 274
4.4. The Knife-Grinder’s voice 275
5. REPETITIONS AS MUSICAL MOTIFS 275
5.1. Repetition of words 275
5.2. Repetition of actions 275
5.3. Repetition of intonations 275
6. MUSICALITY AS PART OF MYTHOPOETICS 276
6.1. The world makes a sound 276
6.2. Light makes a sound 276
6.3. Falsehood makes a sound 276
7. FINAL DEFINITION 276
9. 277
SOUND IMAGERY IN THE LITERATURE OF VYACHESLAV KAZARIN 277
Brief conclusion 277
1. SOUND AS AN ONTOLOGICAL CHARACTERISTIC OF THE WORLD 278
1.1. The real world makes sounds 278
1.2. The false world sounds different 278
2. KAZARIN’S SOUND ARCHETYPES 279
2.1. Trilling Chime [high register] 279
2.2. Rustle [middle register] 279
2.3. Rumble [low register] 279
2.4. Silence 280
3. PHONETIC IMAGERY 280
3.1. Voiced consonants 280
3.2. Voiceless consonants 280
3.3. Sound repetitions 281
4. SOUND DRAMATURGY 281
4.1. Acceleration 281
4.2. Deceleration 281
4.3. Culmination 282
5. SONORIC IMAGERY OF THE CHARACTERS 282
5.1. The Star Boy 282
5.2. The Sparks and Crystals 282
5.3. The Grinder 283
5.4. Children 283
6. SOUND AS PART OF MYTHOPOETICS 284
6.1. Light makes a sound 284
6.2. Falsehood sounds different 284
6.3. Worlds have their own timbres 284
7. FINAL DEFINITION 284
10. 285
MUSICAL ARCHETYPES IN KAZARIN’S CHILDREN’S PROSE AND FOREIGN LITERATURE: ARE THERE ANY PARALLELS? 285
Main conclusion 285
1. PARTIAL OVERLAPS WITH FOREIGN AUTHORS 285
1.1. Antoine de Saint-Exup;ry — the melody of the parable 285
1.2. J. R. R. Tolkien — music as cosmogony [but not children’s literature] 286
1.3. Miyazaki — the sound ecology of the world 286
1.4. Neil Gaiman — Polyphony of Voices 287
1.5. Lem — cosmic acoustics [but adult literature] 287
2. WHY KAZARIN HAS NO EQUIVALENTS EVEN IN WORLD LITERATURE 287
2.1. For him, music is not mere embellishment, but the very structure of the world 287
2.2. For him, light is musical by nature 288
2.3. The falseness of the world is expressed through sound 288
2.4. Children’s speech is embedded in cosmogony 289
2.5. The polyphony of worlds 289
3. CONCLUDING REMARKS 290
11. 291
An overview of the connections between the fairy tale ‘Yeroshka’ and Vyacheslav Kazarin’s ontology of the ERA. 291
A brief conclusion 291
1. THE MULTIVERSAL NATURE OF ‘EROSHKA’ AS AN ARTISTIC FORM OF ERA’S SEVEN WORLDS 292
2. THE PRIMORDIAL RA IN ‘EROSHKA’: LIGHT AS SUBSTANCE 292
3. THE FALSEHOOD OF THE WORLD: THE CARDBOARD CITY AND PLOKHIDRA AS ARTISTIC MODELS OF THE ANTI-ERA 293
4. ESSENCES OF LIGHT: THE STAR BOY AS A CHILDHOOD MANIFESTATION OF THE ERA’S LIGHT ANTHROPOLOGY 294
5. CHILDREN AS BEARERS OF PRIMORDIAL LIGHT: ERA’S ANTHROPOLOGY IN CHILDREN’S FORM 294
6. ERA COSMOGONY AND THE COSMOGONY OF ‘EROSHKA’ 295
7. THE MUSICALITY OF LIGHT: THE CONNECTION WITH ERA 295
8. THE SPACES OF ‘EROSHKA’ AS ONTOLOGICAL LEVELS OF ERA 296
9. FINAL DEFINITION 297


Chapter 10

VYACHESLAV KAZARIN’S BOOK ‘DEGENERATES AMONG US’ 298
Analysis
Brief conclusion:
1. 299
THE SIGNIFICANCE OF THE BOOK ‘DEGENERATES AMONG US’ 299
[sociology • political science • cultural studies • public consciousness] 299
1. Sociological significance 299
1.1. Documenting social degeneration as a mass phenomenon 299
1.2. A description of the mechanisms of everyday degradation 299
1.3. The demonstration of social parasitism as a structure 300
2. Political significance 300
2.1. Degeneratism as a threat to political institutions 300
2.2. A description of the degradation of the bureaucracy 300
2.3. Highlighting the danger of ‘advanced degenerates’ 301
3. Cultural significance 301
3.1. The creation of a new cultural category — the degenerate 301
3.2. The Formation of a New Moral Hierarchy 302
3.3. The Ritualisation of the Text 302
4. Significance for public consciousness 303
4.1. The awakening of moral sensitivity 303
4.2. Fostering social vigilance 303
4.3. The Creation of a New Language to Describe Destruction 303
5. The Final Formula for Significance 304
2. 305
THE AUTHOR’S STYLE IN VYACHESLAV KAZARIN’S BOOK 305
“DEGENERATES AMONG US” 305
[structure, characteristics, functions, uniqueness] 305
1. The guiding principle: an expressive, pamphlet-like style with a philosophical dimension 305
2. Style as energy: rhetorical expression 306
3. Style as denunciation: pamphleteering aggression 306
4. Style as tragedy: the aesthetics of suffering 307
5. Style as philosophy: the abstract vertical 307
6. Style as ritual: archaisation and sacralisation 308
7. Style as a semiotic system 308
8. Style as Composition: An Ascending Arc 309
9. Style as Anthropology: The Language of Man and the Anti-Man 309
10. Style as aesthetics: a binary artistic system 310
11. The Final Formula for the Author’s Style 310
3. 311
THE ARTISTIC STRUCTURE OF VYACHESLAV KAZARIN’S BOOK 311
‘DEGENERATES AMONG US’ 311
[structure, levels, connections, principles, integrity] 311
1. The guiding principle: the vertical artistic system 311
2. Level I. The everyday artistic system 312
[emotional foundation] 312
3. Level II. The social artistic system 312
[expansion of scale] 312
4. Level III. Ideological artistic system 313
[formation of a conceptual hierarchy] 313
5. Level IV. The Ritual Artistic System 314
[conclusion, manifesto] 314
6. Interaction between artistic levels 314
7. Artistic elements of the system 315
7.1. Space 315
7.2. Time 315
7.3. Characters 316
7.4. Motifs and archetypes 316
7.5. Rhetoric 317
7.6. Aesthetics 317
8. The main feature of the artistic system 317
9. The Final Formula of the Artistic System 318
4. 319
THE PHILOSOPHICAL FOUNDATIONS OF VYACHESLAV KAZARIN’S BOOK ‘DEGENERATES AMONG US’ 319
[ontology, anthropology, ethics, axiology, epistemology] 319
1. The main philosophical principle: the ontology of the Lineage 319
2. The book’s anthropology: man as a bearer of light 320
3. The Anthropology of Degeneration: the anti-human as the bearer of darkness 321
4. The Ethics of the Book: The Ethics of Service 321
5. The book’s axiology: the values of light and darkness 322
6. The book’s epistemology 323
7. The Philosophy of Time: The Moral Vertical 324
8. The Philosophy of Space: Moral Geography 324
9. The philosophy of language: language as an instrument of truth and exposure 325
10. The Philosophy of Conflict: the moral epic 325
11. The Final Formula of the Philosophical Foundations 326
5. 327
THE BOOK "THE DEGENERATES AMONG US" AND ITS COUNTERPARTS 327
IN WORLD LITERATURE 327
[which studies are relevant to such a comparison] 327
1. Are there any direct equivalents? 327
2. Typological parallels in world literature 328
- Below are precise literary parallels, categorised by type of artistic logic. 328
2.1. The pamphlet and satirical tradition 328
2.2. Philosophical anthropology and binary models of humanity 328
2.3. Social Criticism through the Grotesque and Hyperbole 329
2.4. The ritual and didactic structure of the text 329
3. What literary studies are appropriate for analysing the book? 330
3.1. Studies of pamphlets and satire 330
3.2. Studies in Philosophical Anthropology 330
3.3. Studies of binary models and ideological texts 330
3.4. Studies of ritual and homiletic literature 330
3.5. Studies of the grotesque, hyperbole and invective 330
4. Concluding Formulation of the Answer 331
There are no direct equivalents to the book, but there is a wide range of typological parallels — from the pamphlet satire of Swift and Shchedrin to the philosophical anthropology of Dostoevsky and the ritual poetics of Blake. Studies on the pamphlet, the grotesque, binary models, philosophical anthropology, ritual literature and cultural semiotics are relevant to the analysis of the book. 331
6. 332
THE UNIQUENESS OF THE BOOK ‘THE DEGENERATES AMONG US’ IN THE CONTEXT OF WORLD LITERATURE 332
Review 332
1. THE CREATION OF A NEW ANTHROPOLOGICAL CATEGORY 332
2. THE FUSION OF FOUR GENRES IN A SINGLE 333
TEXT 333
3. THE RHETORICAL SYSTEM OF ‘VERTICAL PRESSURE’ 333
4. CREATING A DISTINCTIVE SEMIOTICS OF EVIL 334
5. THE MORAL VERTICAL AS THE STRUCTURE 335
OF THE FICTIONAL WORLD 335
6. THE RITUAL FINALE AS A LITERARY 335
DEVICE 335
7. THE CREATION OF A NEW PHILOSOPHICAL ETHICS 336
8. A LITERARY SYSTEM BASED ON REAL 336
LIFE EXPERIENCE 336
THE ULTIMATE FORMULA FOR UNIQUENESS 337


PART 3 338

Chapter 11 339
1.
VYACHESLAV KAZARIN AS A COMPOSER OF LIGHT MUSIC 339
Brief conclusion 339
1. ACADEMIC ELECTRIC INSTRUMENTAL SERIES 340
Major works 340
Musicological characteristics 340
Instrumentation 340
Conclusion 341
2. VOCAL-INSTRUMENTAL BALLADS [1995–2026] 341
Key characteristics 341
Musicological analysis 341
Instrumentation 341
Conclusion 342
3. LULLABIES [2003] 342
Instrumentation 342
Musicological analysis 342
Conclusion 342
4. THE COMODNY GENRE [1986–1998] 342
Four albums: 342
Musicological analysis 343
Conclusion 343
5. ENTERTAINMENT PROJECTS FOR COMPETITIONS 343
AND SHOWS [1993–2007] 343
Projects 343
Musicological analysis 343
Conclusion 344
6. ACOUSTIC ALBUMS [2017–2023] 344
` Genres 344
Musicological analysis 344
Conclusion 344
7. UNRELEASED [1993–…] 345
Musicological analysis 345
Conclusion 345
Main musicological conclusion 345
2. 346
VYACHESLAV KAZARIN’S PLACE AS A POP COMPOSER 346
IN GLOBAL POP CULTURE 346
A Brief Summary 346
1. KAZARIN AS A POP COMPOSER: HIS PLACE IN 346
THE GLOBAL SYSTEM 346
There are three types of composers in the global pop music scene: 346
2. THE COMMODE GENRE — AN ORIGINAL CREATION WITH 347
NO GLOBAL EQUIVALENTS 347
What makes the Commode Genre unique: 347
3. KAZARIN AND WORLD POP MUSIC SCHOOLS: A PLACE 348
ON THE MAP 348
Europe 348
USA 348
Canada 348
Latin America 348
Australia / New Zealand 348
Asia 348
China 348
Japan 348
4. KAZARIN AS A POP COMPOSER: WHAT MAKES 349
HIM UNIQUE 349
1. Versatility across genres 349
2. The full creative cycle 349
3. Academic style in pop music 349
4. A genre of his own [Commode Genre] 349
5. A vast repertoire of songs 349
CONCLUSION: KAZARIN’S PLACE IN GLOBAL POP CULTURE 350


PART 4 351

Chapter 12
ONTOLOGY OF THE ERA 352
On the threshold of a new world
"TONAL ATONALITY AS A PHILOSOPHY OF ART


ADDENDUM

1.
SLAVIC-ARYAN EDUCATION 354
1. 356
The second section: 357
The third section 357
2. 358
The second area is Musical Informatics. 358
Music Informatics consists of two sections. 358
The first 358
A sub-section of the first 358
3. 359
The third area 359
And the third aspect of this discipline 361
Hand-to-hand combat 361
My friends, my comrades! 362
2. 363
PARASITISM IN MODERN EDUCATION IN THE LIGHT OF 363
THE ONTOLOGY OF ERA 363
Section One 365
PARASITISM AS A SOCIAL NORM 365
Parasitism is extremely active! 374
Parasitism is extremely active and highly contagious! 374
Section Two 376
‘A CHILD’S LAX SELF-CONFIDENCE’ 376
Section Three 381
THE COMPOSITIONAL UNIVERSE: 381
THE CAPABLE AND THE INCAPABLE PUPIL 381