Pamięć o Rosji w prozie Vladimira Nabokova

Author(s): Sylwia Piotrkowicz / Language(s): Polish Issue: 117/2007

The purpose of the article is to examine different ways of presenting the topic of Russia in Vladimir Nabokov’s prose. The article presents Nabokov’s Russian works where Russia is the main topic: Mary, The Defense, Glory, The Gift. The characters are the Russians transferred from the pre-revolutionery epoch. The Russian nature, manners, habits, culture have been captured here by the novelist. Several of the Nabokov’s novels can be treated as the autobiographical ones due to their structure or subject. These novels differ in terms of structure as few of them have more concise structure than the others. At the same time all of them are fi lled with the Russian cordiality and friendliness.

Typowe i niekonwencjonalne kontrasty leksykalne w utworach Michaiła Zoszczenki (uwagi wstępne)

Author(s): Jarosław Wierzbiński / Language(s): Polish Issue: 39/1999

Анализу подвергаются различные антонимические образования в структуре текстов Михаила Зощенко. Одни из них выстраиваются по словарным моделям, другие же создаются нестандартным путем, что предопределяет их большую выразительность. Такую функцию выполняют антонимы, несоотносительные в понятийном плане. Их экспрессивность основывается на контаминации словарных значений полисемичных слов. В стандартных оппозициях антонимические семемы отличаются линейностью связей. В статье рассматриваются также построении оксюморонного характера. Небезынтересным способом антонимизации представляется энантиосемия, которая распространяется и на заглавия ряда текстов. Такие приемы порождают ряд смысловых и стилистических сдвигов, что в значительной мере обеспечивает оригинальность зощенковского слога. Антонимические противопоставления часто осложняются у писателя синонимическими отношениями. Подобного типа наслоения разнообразят оппозиции, оттеняя при этом различные компоненты значении.

Projekcja Ruskiej Prawdy w Niebieskiej księdze Michała Zoszczenki (aspekt lingwistyczny)

Author(s): Jarosław Wierzbiński / Language(s): Polish Issue: 33/1995

Повествование о послереволюционном укладе жизни в Голубой книге Михаила Зощенко скрещивается для контраста с историческими экскурсами, в том числе, но памятникам письменности. В произведете вовлекаются, к примеру, отдельные сообщения, отраженные в Русской Правде. Выдержки из этого древнерусского кодекса регулярно сопровождаются авторскими комментариями. Данный прием контаминации различных по своей природе языковых структур приводит к столкновению разных и к тому же, разобщенных во времени, функциональных стилей. Оформление текста создает смысловые приращения, дополнительные коннотации, порождает ряд семантических и стилистических сдвигов, приводит к особым трансформациям словарных смыслов. В статье прослеживается функционирование такого контактного расположения словесного материала, проводятся наблюдения пад зощенковским словоупотреблением, выявляются смысловые модификации языковых единиц, их терминологическое размежевание и, тем самым, обнаруживаются некоторые особенности индивидуального стиля писателя. Определяется значимость тех лексических единиц в авторских комментариях, которые, с одной стороны, не вписываются в контекст древнерусского кодекса, однако, с другой точки зрения, выступают в роли опорных смысловых и стилистических звеньев текста в целом. Специфика лексем обнаруживается на фоне сопоставления оценочной авторской речи и официального, делового, юридического изложения в Русской Правде.

Из наблюдений над стилем "Тихого Дона" М. Шолохова

Author(s): Jarosław Wierzbiński / Language(s): Russian Issue: 5/1983

Artykuł stanowi próbę interpretacji stylu Cichego Donu M. Szołochowa na podstawie najnowszych prac badaczy radzieckich. Autor uważa, iż naczelną zasadą stylową dzieła jest jego harmonia wewnętrzna, zarówno treści jak i formy. Każdy rozdział powieści zawiera swoiste centrum stylistyczne przejawiające się w narracji dzięki specyficznej formie analizy psychologicznej, występującej u Szołochowa pod postacią mowy pozornie zależnej, której polifonia - stwarza szerokie możliwości w sposobie ukazania bohatera. wśród relacji składających się na spójną całość utworu właśnie ta forma analizy psychologicznej pozwoliła w sposób nowatorski odsłonić nowe związki i zależności rodzącej się rzeczywistości, co w konsekwencji złożyło się na przełamanie konwencji stylistycznej w literaturze radzieckiej i określiło swoistą organizację materiału językowego w Cichym Donie. Specyfika stylu powieści Szołochowa przejawia się również w dygresji lirycznej, w której narrator najbardziej zbliża się do literackiego ekwiwalentu osoby pisarza i wyraża swój emocjonalny stosunek do zdarzeń. Styl Cichego Donu cechuje wszechstronność w ukazaniu świata przedstawionego, jak również nieustanne odniesienie świata ludzkich uczuó do świata przyrody. Poetyka Cichego Donu, rozumiana tutaj jako swoista forma wypowiedzi literackiej kształtująca przede wszystkim styl utworu, pozostaje w ścisłym związku z poetyką ludową, z folklorem dońskich Kozaków, co nadaje powieści szczególny koloryt i ekspresję. Styl Cichego Donu charakteryzuje melodyjność, dowolność w rytmicznej organizacji mowy, lakoniczność, dynamizm, precyzja słowa, co decyduje o wysokim poziomie artystycznym epopei.

Речевое воплощение художественного времени (на материале русской советской прозы)

Author(s): Inna Czeriuchina / Language(s): Russian Issue: 5/1983

ANDREY BOLKONSKİ VE PİYER BEZUHOV’UN HAYATIN ANLAMINI ARAYIŞININ L. N. TOLSTOY’UN DOĞA ANLAYIŞI BAĞLAMINDA DEĞERLENDİRİLMESİ

Author(s): Nejla Yildirim / Language(s): Turkish Issue: 38/2017

L. N Tolstoy, who is one of the pioneer writers of the 19th century Russian literature, often describes nature in his work “War and Peace”. However, in the mentioned work Tolstoy not only describes nature, but also reflects his thoughts concerning the nature through the description of the nature. In this work, the nature is evaluated in the context of Tolstoy’s sense of nature, that appears during two main characters of the work, Andrei Bolkonsky and Pierre Bezukhov’s search for the meaning of the life. In this direction, first of all, the man-nature relationship, philosophers’ approach to the nature and the development process of the concept of the nature in Russian literature are examined. Afterwards, moving from Tolstoy’s sense of nature, that sees the nature as a living and developing organism, the man as a part of this organism, Andrei and Pierre’s search of the meaning of the life is evaluated. At the end of this work, it comes to the conclusion that the nature appearing in the moments of spiritual, intellectual and moral crisis Andrei and Pierre have experienced while searching for the meaning of the life leads to them, enables them to look at the events from the different point of view by activating their feelings and thoughts and helps them for their spiritual, intellectual and moral developments.

A. S. PUŞKİN’İN “YEVGENİ ONEGİN” ADLI ESERİNDE BİÇİMSEL ÖZELLİKLER

Author(s): Duygu İkisivri / Language(s): Turkish Issue: 38/2017

Aleksandr Sergeyevich Pushkin (1799-1837), who was regarded as the founder of Russian literature, became a writer sensitive to society. He also reflected on his intense interest in Russian language, culture, and the social life of his time. As an output of this, he intended to write a work reflecting the life of the Russian youth. After a few attempts, he wrote his poetic novel, Eugene Onegin, which he described as “my best work” by adding innovations to his creativity. In this study, the features of Eugene Onegin brought to Russian literature were revealed. Through the process of formation of the poetic novel and formal characteristics were revealed differences from the previous Russian poetry. It has been attempted to examine in detail how the Onegin Stanza created in the work was created, its structure, and its contribution to the content. During this process, examples were given both in Russian and in Turkish, taking into consideration the structural differences between Russian and Turkish. Finally, Eugene Onegin is explained through several examples of the use of the Onegin Stanza invented together in Russian poetry.

ПОЧЕТАК ДВОЈНИШТВА У СТВАРАЛАШТВУ Ф. М. ДОСТОЈЕВСКОГ (ПРИПОВИЈЕТКА ДВОЈНИК)

Author(s): Davorka M. Maravić / Language(s): Serbian Issue: 1/2014

Свого вторуго повеств Двопник (Пеmербургска^ nо^ма) Ф. М. Достоевскии опубликовал в 1846-м году. Он считал, что ^то его важное литературное произведение, но всe-тaки бмл недоволен и дваждм питалсл его поправитв (второи pa3 в 1866-м году). В настолшеи работе речв идет o cлoжноcти проблемдтики двоини- чества; o6 отношенилх литературнои критики к ^тоИ повести, кдк и об отношенмх позднеиших исследователеи творчества писателл. В своих работах на повеств обрашагот внимание и философм, посколвку проблему двоиничества (начатуго в насттшем произведении) писателБ позже осмнслит в своих великих романах, уже в размерах ’’всего человеческого бБ1тид”. Достоевскии с точностБГО описал течение болезни главного герол, в св^зи с чем, повестБК) занималисБ и психологи, и психи- атрм. После безуспешнои борБбм с двоиником личностБ главного геро^ разделлетсл и уходит в ’’небмтие”, в повести показано как ’’клиническое безумие’’. ^то cложнoe отношениe глдвного герол к миру, вo вceИ cвоeИ кoмплекcноcти, cтaлo понлтнмм и aктуaлБHБш тoлБкo в XX векe.

ДУЕЛИСТИЧКИ АСПЕКТИ САМООБРАЧУНА-ИСПОВЕСТИ ЧОВЕКА ИЗ ПОДЗЕМЉА Ф. М. ДОСТОЈЕВСКОГ

Author(s): Snežana Kalinić / Language(s): Serbian Issue: 1/2014

The paper analyzes Underground Man’s confessional rhetoric and emphasizes his failure to demonstrate his bravery in various duels he undertakes with his own weaknesses and vices, with Jean-Jacques Rousseau and with the imaginary readers of his writings. The first part of the essay shows how the Underground Man attempts to use his confession not for confessing his sins in order to gain absolution, but for defending his honor in order to restore his wounded pride. The second part of the essay is focused on the Underground Man’s attempt to exceed and surpass Rousseau’s confessional triumph. The third part of the paper analyzes the provocative tones of Underground Man’s cynical (pseudo)dialogue with his imaginary readers and his inability to bring his confession to an end. The paper concludes that Dostoevsky is using Underground Man’s futile and self-destructive secular confessions in order to praise the beneficial influence of sacral confessions. In addition, the paper points to the centrality of the Notes from Underground in Dostoevsky’s oeuvre by emphasizing the complete concord between its content and its form, which is unparalleled in his other writings.

БЛЕДА ВАТРА – ЗВЕЗДАНИ КЉУЧЕВИ КОБАЛТАНЕ

Author(s): Ljiljana M. Ćuk / Language(s): Serbian Issue: 2/2013

The text outlines the argument for deciphering Nabokov’s Pale Fire, whose interpreters have not as yet found definitive answers to many of this novel’s motif nebulae. The basic supposition is based on an allusion offered by Nabokov himself edging the reader on to Kobaltana. Kinbote’s keys, which wind the rustic mechanism from Shade’s basement, unlock the mysterious doors of the narrative, leading one to the Wordsmith College observatory from where a diegetic relationship between four main characters may clearly be seen.

ГЛЕДАТИ АРЛЕКИНЕ ВЛАДИМИРА НАБОКОВА: УСПОМЕНЕ У ОГЛЕДАЛУ

Author(s): Ljiljana M. Ćuk / Language(s): Serbian Issue: 2/2012

Events in the novel are given in a retrospective by the main character-narrator, with a twofold refraction of time, simultaneously synchronous and diachronous, from both the inside and the outside. The facts from the past and present are valued from positions of the future, as the writer’s parodied representative narrates far from youthful passion. This is also the reason why the summaries appear in places where pauses and isochronisms are to be expected in storytelling. The narrator stages them in places which distort the true biography. By its treatment of narrative time, Harlequins is completely different from all previous, and gives the impression of the light, buoyant and cruelly superior, mature style of Nabokov.

Назначение поэта: «исповедальность» лирики Блока vs. «стихи-предметы» Рильке

Author(s): Mária Gyöngyösi / Language(s): Russian Issue: 1/2018

The paper surveys the types of personal (‘confessional’) poetry and thing-poetry within the oeuvres of Blok and Rilke, respectively and compared to each other. Investigations have shown contact points in this underresearched domain, and also isolated a considerable number of poems in the cycle Verses about the Beautiful Lady, distinct from the atmosphere of mysticism and expectations, which contain a great amount of realia and impressionistic depictions. Furthermore, Rilke’s quasi-objective poetry (in Neue Gedichte) cannot be termed as ‘objective’.

«Приезжий из столицы, или Суматоха в уездном городе» и «Ревизор»

Author(s): Viktória Lebovics / Language(s): Russian Issue: 1/2018

The Ukrainian writer and playwright Hryhory Kvitka-Osnovyanenko wrote his satirical drama The Visitor from the Capital or Turmoil in a District Town in 1827 but it was published only in 1840, while Nikolai Gogol’s play The Government Inspector was brought out in 1835. The topic of the incognito traveller, a false government inspector whom the threatened town officials attempt to suborn in different ways, circulated in the imperial Russian society at that time. The possible influence of Kvitka’s play on the famous The Government Inspector is a question which has excited the imagination of literary critics since the middle of 19th century although they have treated it quite differently. The range of opinions varies from the complete rejection of the possibility to suspect plagiarism, irrespective of the fact that Gogol himself denied he was familiar with his Ukrainian fellow writer’s play. An overview of opinions and articles devoted to the question is presented in the paper.

ЗАЧЕМ ИЗУЧАТЬ ФОЛЬКЛОРИЗМ ТВОРЧЕСТВА С.А. ЕСЕНИНА? ЗАМЕТАФОРИЧЕСКАЯ ДАЛЬ

Author(s): Marianna Galieva / Language(s): Russian Issue: 15/2015

The article raises the question, on the theoretical side, on the functioning of the folk tradition in the poetics by S.A. Esenin. On the one hand, this problem is sufficiently studied, on the other hand, the researchers identified mainly secondary facts folklorism in the poet. For a different view on this issue is needed to develop a different methodology and theoretical apparatus. Please refer to the inner shape of folklorism, folklore and myth, standing behind a metaphor. Esenin's early work is associated not only with folklorism and ethnographism open type, but also implicitly with the poetics of Russian fairy tales, with its installation on the ideal of "a kingdom."

THE STRUCTURE OF THE “YAKUTIA” CONCEPT IN THE WRITINGS OF V.G. KOROLENKO

Author(s): Oxana Ivanova / Language(s): English Issue: 09/2013

The structure of the “Yakutia” concept based on the material of Korolenko’s short stories “Sokolinets” (“The Falconer”), “Moroz” (“Frost”), “At-Davan”, “Ogon’ki” (“Lights”), “Posledniy luch” (“The Last Ray”), “Gosudarevy yamshchiki” (“Sovereign’s coachmen”),“Feodaly” (“Feudal Lords”) is determined using the methods of the key words analyses. The results of the research verify the hypothesis that Yakutia is depicted as the country of cold, winter and night in the writer’s works.

THE NOVEL “SPRING TIME” BY N.E. MORDINOV: TEXTUAL CATEGORIES OF THE TITLE, STRUCTURE PECULIARITY OF THE SECOND EDITION

Author(s): Sargylana Yegorova / Language(s): English Issue: 09/2013

In this article considering actual and interesting problem (in theoretic plane) on a material of the classic novel of yakut literature. This is a new word to yakut literature that investigation of the questions of composition epical word on the basis revealing elements of paratext and analysis of more strong position s of artistic chapter s and parts (minichapters). In this plane special interest attracts a comparative comparison of two wording of the novel “Summer time”.

ДВОЙНОЕ БЫТИЕ В РУССКОЙ ПРОЗЕ ВЛАДИМИРА НАБОКОВА

Author(s): Darya Pohorielova / Language(s): Russian Issue: 08/2013

The article covers such aspect of Vladimir Nabokov’s Russian prose as dual being. Dualism of being is outlined by the writer through attempts to get into the secret of consciousness, experiments with representation of two realities, observation of the hero on the border between two worlds. It leads to affirmation dominant concept of dual-world, defining the “pattern of being,” which is being found on the fringe of two eternities, in all Nabokov’s texts. The attempt of looking through a slit between those two eternities and discovering patterns of being is given to the chosen heroes of Nabokov whose creative consciousness is aimed at regularizing chaos and defining time connections.

Н. Н. Калитиной, к 50-летнему юбилею

Author(s): Kirill Borisovich Vinogradov / Language(s): Russian Issue: 25/2016

Poem by: K. B. Vinogradov ‒ To N. N. Kalitina’s 50th anniversary

Загонетка: Гогољ

Author(s): Aleksandra M. Ugrenović / Language(s): Serbian Issue: 163/2017

BETWEEN LITERATURE AND RELIGION: SILVER AGE IDEAS APPLIED TO MODERNITY – POETIC OUTLOOK AS A TYPE OF RELIGIOSITY?

Author(s): Olga Tabachnikova / Language(s): English Issue: 1/2018

Traditionally, the role of literature in Russia has been disproportionally large, because literature there served as ‘the only podium from which the nation can speak about its pain’.1 Russian literary discourse thus absorbed almost all other discourses, including those of philosophy and religion. A merger of religious philosophy with literature came to be particularly visible during the Russian Silver Age, with its new religious search and change of cultural paradigm. Lev Shestov, a religious-philosophical thinker of the time, conventionally viewed as an irrationalist and a precursor of Sartrean existentialism, assigned a common religious experience to almost every hero of his philosophical-literary essays, including Russian classical writers and Western philosophers.2 This experience, which Shestov regarded as invariably traumatic, leads – via catharsis – to a re-evaluation of values and ultimately to faith, and results in great artistic and philosophical revelations. Despite the problematic nature of such a treatment, it can nevertheless be methodologically useful because of the perception of literary production as growing from an essentially religious root. In this paper, we suggest applying this to major Russian poets of modernity, most notably to Joseph Brodsky, to see if poetic outlook is indeed akin to religious sensibility. On the other hand, Freudian theories that deem artistic inspiration to be a sublimation of libido can be linked to the ideas of another religious-philosophical thinker of the Silver Age – Vasilii Rozanov – who placed human sexuality next to divinity. At the same time, another thinker of that epoch – Boris Vysheslavtsev – argued for the animosity of the Freudian approach to Russian cultural consciousness, and especially to categories of love, artistic creativity and religion. The aim of this paper is to study the interplay between religious and poetic outlooks through the prism of these conflicting opinions in the framework of the correlation between religion and culture in the Russian context.