Проблемы литератур Дальнего Востока

5. Literatures of Far East & South East Asia: Past and Present Issues of Far Eastern Literatures: Materials of the 11th International Scientific Conference. June 27–29, 2024 77 Mirgorodova Anastasiia  1 (IWL RAS), nac.mir@yandex.ru The Opposition of Literature Types in Thailand in the Middle of 20th Century Nowadays, it is common among Thai literary scholars to base the periodization of Thai literature of the 20th century on the prevailing literary trends in the particular periods of time. The emergence of realistic works in the 1930s and 1940s marked the incipience of a new turn in the history of Thai literature, which continued throughout the beginning of the 1950s. “Progressivist” writers criticised classical Thai opuses and created works to reveal topical social problems. “Traditionalist” writers sought to show the importance of patriotism and traditional Thai values. In this way, their prose differed from the love stories that were popular and loved by Thai readers. In the following period of the late 1950s and early 1960s, social realist writers were forced to suspend their activities because of the government harassment. This time was marked by the flourishing of “art for art's sake” (sinlapa phua sinlapa) literature. Fiction was not aimed at fighting against social injustice, but was “fantasy-like” and adventurous. There was also the excess of commercial literature with simplified language and content, which could hold the interest of the mass reader. Some researchers believe that during this period “intellectual” literature practically disappeared, giving way to so-called “soap operas” with simple and vulgar plots. Thus, the history of Thai literature in the mid-20th century shows the opposition of several literary types: “progressive” literature aimed at demonstrating social problems, “traditionalist” elitist literature promotingThai traditional values, literature based on the Thai classics, and “mass” literature designed to entertain readers. The research was made with the financial support of the Russian Science Foundation (project No. 23–28–00110). Keywords: Thai literature, prose, realism, mass literature, “art for art's sake”. Petrova Mariia (SPbSU), mariap2001@mail.ru Historical Dilogy by G. Ayurzana The creative range of the famous Mongolian writer G. Ayuurzana (born 1970) is quite wide. He entered literature as a poet, translator, and publicist, but later turned to the novel genre. G. Ayuurzana is the author of the postmodern trilogy “Mirage” (2003), “ADebt of Ten Dreams” (2005), “Born of Echoes” (2007), as well as realistic novels “The Legend of the Shaman” (2010), “Shugden” (2012) ), “White, Black, Red” (2014), “Ripple” (2015), “Formula of the Soul” (2019) and the fantasy novel “Their Shadow is Longer thanOur Thoughts” (2021). In them, the author touches on important sociocultural problems of modern society. Historical duology, includ- ing the novels “Secrets of the Sacred Khangai” (2017) and “We’ll Meet Yesterday. Monologue of a Dead Man" (2020) stands out from the crowd. Here G. Ayuurzana, resorting to the method of magical realism, combines the everyday and everyday with the fantastic and magical, where the surrounding reality is determined by the mythopoetic consciousness of the characters. Magic, magical, mystery, mysterious are some of the key con- cepts of the dilogy. The author's source material is the life story of the last ruling prince (zasagta) named Purev gun of one of the khoshuns in the territory of the present Bayankhongor aimag in the central and southwestern part of Mongolia. Ayuurzana himself is a native of this aimag. It is known that the author’s great-grandmother served with Purev guna, and his grandmother often listened to the unsurpassed playing of zasagta on the folk musical instrument yatag. The plots of the novels “Secrets of the Sacred Khangai” and “We’ll Meet Yesterday. Monologue of a Dead Man" unfolds at a turning point in Mongolian history — at the turn of the 19th and 20th centuries. The dilogy refracts tendencies of “storytelling” and subjectivization of history, and a massive amount of factual material is reconstructed through existence in the minds of the characters. Keywords: G. Ayurzana, history, Mongolia, historical novel, dilogy. 1 Acknowledgements: The research was made with the financial support of the Russian Science Foundation (project No. 23–28–00110).