ABSTRACT Тhis article discusses the mythopoetic aspects of Aleksei Fedorchenko’s Angels of Revolution. In the film, the new avant-garde forms of art and life meet with the filmmaker’s wish to design a new language for the representation of the revolution. The plot displays a tragic conflict of archaic Khanty myths and rituals with avant-gardist innovation, a duel between the Goddess of the Revolution and the mythical Goddess of the Khanty. Eventually, this interaction blurs the distinction between two conflicting discursive formations. In this plot, the heroine Polina Schneider appears both sacrilegious and sacrosanct: she is the leader of the avant-garde artists attempting to bring a revolutionary change to Khanty’s traditional lifestyle and culture and, at the same time, she turns into the reincarnation of the Khanty goddess. Without dissociating the Soviet avant-garde from Bolshevik ideology and practice, the film nevertheless reinstates the significance of the avant-garde as a new mythology for the modern age.

中文翻译：

---

两位女神的神话

摘要：他的文章讨论了阿列克谢·费多尔琴科 (Aleksei Fedorchenko) 的《革命天使》(Angels of Revolution) 的神话方面。在影片中，新的前卫艺术和生活形式与电影人设计一种新语言来表现革命的愿望相契合。剧情展示了古老的汉特神话和仪式与前卫创新的悲剧冲突，革命女神与神话中的汉特女神之间的决斗。最终，这种相互作用模糊了两种相互冲突的话语形式之间的区别。在这个情节中，女主人公波琳娜·施奈德既是亵渎神灵又是神圣不可侵犯的：她是前卫艺术家的领袖，试图对汉特的传统生活方式和文化进行革命性的改变，同时她也变成了汉特人的转世。汉特女神。