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В поисках пропавших автографов Ф. М. Достоевского (из коллекции А. Ф. Кони)

Author(s): Irina Svyatoslavovna Andrianova / Language(s): Russian Issue: 1/2025

Judicial figure A. F. Koni was a collector of literary relics - manuscripts, books, portraits of prominent personas of the second half of the 19th century, with whom he maintained relations. The owner bequeathed his collection to the Pushkin House, but its documents were dispersed among various archives in Russia, and some of them were lost. The article systematizes and describes F. M. Dostoevsky’s autographs from the A. F. Koni collection, a small number of which have been preserved to date, specifically, a gift inscription on a copy of the “A Writer’s Diary” from 1876, one letter from Dostoevsky to A. F. Koni and one to A. N. Pleshcheyev, and three letters to N. A. Nekrasov. The study suggests versions of their entry into various funds and archives after the death of the collector. Attention is heeded to Dostoevsky’s letters to Nekrasov that were preserved by A. F. Koni, and in whose fate literary critics V. E. Evgeniev-Maksimov and K. I. Chukovsky were involved. Whether A. F. Koni was a manuscript donor for the collection of autographs of artists and scientists collected by A. G. Dostoevskaya cannot be definitively confirmed. However, as their correspondence shows, he promised to supply the widow with books for the Museum of the Memory of F. M. Dostoevsky, as well as to introduce her to the letters of A. P. Bergeman about Marfusha, the girl in whose fate the writer and lawyer took an active part in 1877. The article introduces for the first time into scientific circulation the letters of A. P. Bergeman to A. F. Koni written in January — July 1877. They present unknown information about Marfusha and formulate the foundations of that “active love” by A. P. Bergeman, which Dostoevsky mentioned in a note in his drafts of the “А Writer’s Diary.” There may have been other Dostoevsky manuscripts in A. F. Koni’s collection, most notably the missing letters to Nekrasov. A subsequent search for them in archives and private collections is necessary.

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Майор или генерал-майор? (К биографии петрашевца Николая Момбелли)

Author(s): Inga Mikhaylovna Drobyshevskaya,Boris Nikolaevich Tikhomirov / Language(s): Russian Issue: 1/2025

Nikolai Aleksandrovich Mombelli was one of the members of the Petrashevsky, Durov, and Speshnev circles closest to Dostoevsky in the late 1840s. December 22, 1849 they stood together on the scaffold on the Semenovsky parade ground. The article introduces new documentary data on the military service performed by former Petrashevite Mombelli in the North Caucasus in 1857–1884. An obituary notice about his death in St. Petersburg on December 14, 1891 from the “Novoe Vremya” newspaper was republished, naming Mombelli’s highest rank in his military career — Major General. The author traces the origin of the false information about the time and place of the death of the former Petrashevite (1902, Vladikavkaz), widely presented in dictionary-encyclopedic publications and biographical literature, as well as the erroneous indication that N. A. Mombelli “rose to the rank of Major” in the military sphere. The stages of the former Petrashevite career have been restored according to Mombelli’s 1884 Service Record, discovered by the authors in the Russian State Military Historical Archive (RGVIA), as part of the case “On the Dismissal of Major General Mombeli.” Such 19th century printed sources as collections of the “Highest Orders on Military Ranks,” annual Lists of generals and officers (Majors, Lieutenant Colonels, Colonels) by seniority, and publications in the Russian Invalid newspaper, the official organ of the Ministry of War, are extensively utilized. In the light of new archival and printed sources, the memoirs of N. A. Mombelli and the few biographical studies about the Petrashevite have been critically revised.

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«Самый влиятельный и любительный мой учитель»: Д. В. Аверкиев и Ф. М. Достоевский

Author(s): Elena A. Fedorova / Language(s): Russian Issue: 1/2025

The playwright, publicist and theater critic D. V. Averkiev began his literary career in the journal published by the brothers Mikhail and Fyodor Dostoevsky “Epokha” (1864–1865). The young employee considered F. M. Dostoevsky his principal teacher. On many issues, he shared the beliefs of the editor of the “Epokha,” and Dostoevsky, in turn, gave the publicist the opportunity to express those ideas that he himself did not have the time to embody. The article traces the polemic of Averkiev, which represents the editorial point of view of the “Epokha”, with the opinions of N. I. Kostomarov and D. I. Pisarev on the significance of the Battle of Kulikovo and Prince Dmitry Donskoy in the history of Russia. After the closure of the “Epokha” journal, the relationship between Averkiev and Dostoevsky persisted. The writer praised Averkiev’s comedy about Frol Skabeev, anticipating its theatrical success. The publicist was a guarantor for the groom at the wedding of Dostoevsky and A. G. Snitkina, a witness to the triumph that followed the writer’s speech at the Pushkin celebrations in Moscow, and an administrator at Dostoevsky’s funeral. Averkiev and his wife helped the writer’s widow in the work aimed at preserving his legacy. Averkiev’s artistic work created in the period after Dostoevsky’s death is imbued with a sense of love and deep respect for the memory of the great writer. In 1885–1886 following Dostoevsky, he published a monthly journal, “A Writer’s Diary”, which was doomed to failure and provoked mixed reactions from readers (reviews by S. A. Vengerov, P. M. Tret’yakov, and I. E. Repin are provided). The article analyzes the contents of the correspondence between Averkiev and Dostoevsky in 1877, for the first time Averkiev’s note to Dostoevsky asking for financial assistance dated 1863–1864 was published, and new documents were introduced into scientific circulation. Among them is a draft of a biographical sketch about Dostoevsky written by Averkiev for the second edition of the Complete Works of the writer (1885–1886), and letters from Averkiev to A. G. Dostoevskaya for 1884 and 1891.

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Ф. М. Достоевский и Н. Я. Данилевский: спор о России и Европе

Author(s): Daria D. Buchneva / Language(s): Russian Issue: 1/2025

In April 1867, Dostoevsky left Russia on a voyage. The writer had a hard time coping with his forced stay abroad for several years. His friends and comrades, A. N. Maikov and N. N. Strakhov, helped him cope with the difficulties. They kept in touch with Dostoevsky through correspondence, informing him about the events in Russia, and news related to Russian literature and journalism. The writer responded with enthusiasm to the news of the release of the new journal “Zarya” (1869–1872), published by V. V. Kashpirev and edited by N. N. Strakhov. The trademark of the publication was N. Ya. Danilevsky’s work “Russia and Europe,” which was enthusiastically reviewed by the Zarya staff. Dostoevsky had known Danilevsky since the 1840s from M. V. Petrashevsky’s “Fridays.” The writer enthusiastically accepted the ideas expressed in “Russia and Europe,” but over time he felt alienated from Danilevsky, who, having published a book version of his work, in 1871, practically stopped developing his thoughts and views, refusing polemics and discussions. In a notebook from 1875–1876, Dostoevsky had left a significant note, which the publishers of 83 volumes of Literary Heritage misread. The writer’s inaccurate phrase was widely disseminated in research literature. Dostoevsky criticizes Danilevsky for his inaction. N. N. Strakhov was a fierce defender of the author of “Russia and Europe.” In the late 1880s, he entered into an unproductive polemic with V. S. Solovyov, which ultimately halted the potential development of the ideas set forth by Danilevsky, who was never able to lead the failed party.

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«Священник и дьявол» - рассказ, написанный не Достоевским

Author(s): Valentina Vasilievna Borisova,Li Yue / Language(s): Russian Issue: 1/2025

The article presents a critical analysis of a literary hoax - a text allegedly belonging to F. M. Dostoevsky with more than a century-long distribution history in the form of numerous translations in Japanese and Chinese. “The Priest and the Devil,” attributed to the Russian writer, has never existed in the Russian language. It was created in English by the anarchist Emma Goldman. Its spread in China was facilitated primarily by the mistaken identification of the story with the chapter “At Tikhon’s” from the novel “Demons” due to the similarity of their titles when translated into Chinese. In this language, the singular and plural have no morphological markers, and the same hieroglyphs (without an additional lexeme expressing the parameter of plurality) can refer to either one demon/devil or a group of demons. However, the text of “The Priest and the Devil” does not correspond to Dostoevsky’s artistic style either ideologically, or in terms of literary techniques, or stylistically, and the dialogue between the antagonistic characters is an outright falsification of the ideological confrontation between Christ and the Grand Inquisitor from “The Brothers Karamazov” or Elder Tikhon and Nikolai Stavrogin from the novel “Demons”.

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Ликвидация книжного дела Достоевских

Author(s): Valentina Nikolayevna Stepchenkova / Language(s): Russian Issue: 4/2024

A. G. Dostoevskaya planned to publish her husband’s works until the end of her life and hoped to transfer the book business to her children. This is evidenced by the entries in her testamentary notebook of 1902–1911, which contains detailed instructions on publishing issues for the heirs. In 1904–1906, on the 25th anniversary of her husband’s death, Anna Grigoryevna printed the sixth (jubilee) and seventh (cheaper) editions of the Complete works of Dostoevsky. However, the release of these books, the pinnacle in her publishing practice, coincided with tragic events in Russian history — the Russo-Japanese War and the First Russian Revolution, as a result of which A. G. Dostoevskaya had to end her 38-year publishing career. Based on unpublished archival materials of the publisher (notebooks, notebooks and correspondence), the article analyzes a set of reasons that contributed to this decision. At the beginning of the 20th century, A. G. Dostoevskaya and the writer’s children found themselves deeply in debt for a number of reasons: due to their lack of working capital after a deal with the publisher of the “Niva” journal A. F. Marx in 1894–1896, the rise in price of paper and printing works, a change in reader interest from collections of works to political pamphlet publications and a decline in sales in the book market. The situation was aggravated by the discussion in the government regarding a reduction in the period of ownership of literary property by the heirs of famous authors, the deteriorating health of the publisher and the categorical demands of her daughter to sell literary rights and stop book-related activities. The rights to publish Dostoevsky’s works were sold in 1910 to the Enlightenment Association. Another stage of the traditional history of the great writer’s legacy has begun, but without the participation of his family.

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Роман «Бесы» Ф. М. Достоевского: история текста и вопрос об авторской пунктуации

Author(s): Natalia Aleksandrovna Tarasova / Language(s): Russian Issue: 1/2025

The article is a continuation of the textual study of the draft autograph of the F. M. Dostoevsky’s novel “Demons.” It examines the role that a coherent draft text of a novel plays in establishing the main text of a work. The draft autograph was usually followed by final and typeset manuscripts; based on the latter, the first printed publication of the work was created. The novel “Demons” is not represented by final manuscripts: they have not been preserved. During Dostoevsky’s lifetime, it was published twice — in 1871–1872 in the “Russkiy Vestnik” (“Russian Bulletin”) journal and in a separate (book) edition in 1873. In a case of this sort (the absence of final handwritten sources) the draft coherent text is of particular importance because it partially (and sometimes significantly) coincides with the final one and allows uncreative changes (distortions) that have arisen during the preparation of the work for publication. The specified manuscript is considered as a source of information about the author’s punctuation. In many cases, the draft reveals the reasons for a particular punctuation form of the text and shows the nature of the changes made by the author in the process of further developing the novel’s idea. There are cases when a draft manuscript contains certain discrepancies with the lifetime editions that raise the question of the degree of authorization of changes to the text in print. A comparison of sources reveals numerous examples confirming that punctuation is important for interpreting the semantic context of notes. In connection with the study of a draft autograph containing information about the author’s punctuation, both about its individual features and the situational choice of punctuation marks in a particular context, the article examines the problem of the author’s punctuation in theoretical and practical aspects, as well as the principles of reproducing the punctuation of sources in the preparation of Dostoevsky’s texts for print. The changes in the text of the lifetime editions of the novel “Demons” in the publication of the first academic Complete Works of Dostoevsky are analyzed in detail, using, when necessary and possible, these handwritten sources.

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Как звали станционного смотрителя Вырина в книге «Повести Белкина», которую читал Макар Девушкин?

Author(s): Boris Nikolaevich Tikhomirov / Language(s): Russian Issue: 3/2024

An article by S. B. Fedotova “Samson or Simeon? (on the name of the stationmaster in Pushkin’s story),” which served as the reason for this publication, was published in No. 2 of the Russkaya Literatura journal for 2024. This article examines the paradoxical variability of the name of the title character (Simeon/Samson) in the story “The Stationmaster” in the 1830s editions and analyzed the reasons for this circumstance. The noted textual incident acquires special significance due to the fact that Pushkin’s work is read by the hero of Dostoevsky’s novel “Poor Folk” (1846) Makar Devushkin, speaking in his correspondence with Varenka Dobroselova about the caretaker Vyrin as an authentic image of himself. Devushkin repeatedly refers to Pushkin’s character as Samson Vyrin. Commentators of “Poor Folk” have long established that the hero of “Poor Folk” reads “The Stationmaster” in the first separate edition of 1831, where, however, as it turned out, the character’s name is Simeon. This contradiction is analyzed in the article in the light of the creative history of Dostoevsky’s first novel.

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Итальянский вопрос в «Иностранных событиях» еженедельника «Гражданин»: Ф. М. Достоевский о политике Ватикана

Author(s): Irina Vladimirovna Dergacheva / Language(s): Russian Issue: 3/2024

The article provides an analysis of texts by F. M. Dostoevsky, in which he as editor and author of the “Foreign Events” column in the weekly “The Citizen” analyzed desperate attempts of the Roman pontiff Pius 9th to regain the secular power in the young Italian kingdom, which he had lost in 1870. The writer’s complex attitude towards Italian Old Catholics is considered against the background of their dialogue with the Holy Synod and the coverage of the Correspondence of the Prior of the Roman Embassy Church Archimandrite Alexander with Metropolitan Isador, the first Metropolitan of the Holy Synod. On the one hand, Dostoevsky appreciates the old Catholics’ intention to pass into the jurisdiction of the Orthodox Church, on the other hand, he sympathizes with the persecuted Catholic clerics. Describing their attempts to restore the secular power of Pius 9th, Dostoevsky links their actions with the pontiff’s claim to world domination, about whose danger he warns as emphatically in the weekly as in his works, comparing his attack to the Apocalypse, and his very identity with the Antichrist. According to the writer, France’s support for the politics and the papal throne of Pius 9th holds a threat of a military clash between France and Germany.

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Уроки пушкинистики в эдиционной практике А. Г. Достоевской

Author(s): Valentina Nikolayevna Stepchenkova / Language(s): Russian Issue: 3/2024

A. S Pushkin had a great influence on the development of Russian culture in the 19th century, including book publishing. Pushkin’s motifs and images have repeatedly appeared in the works of F. M. Dostoevsky. The last year of the writer’s life was marked by the triumphant “Pushkin’s Speech,” which turned the overall idea of Russian literature upside down. A. G. Dostoevskaya, who began an active bibliographic and publishing life after the death of her husband, followed the tradition of Pushkin’s publications in it. By the time the Complete Works of F. M. Dostoevsky were published, Pushkin studies had already actively solved textual problems, thereby facilitating subsequent researchers and publishers to work on compiling collections of works and bibliographies of writers. Systematizing her husband’s collected materials, A. G. Dostoevskaya focused on the bibliographic index of Pushkin’s works “Puschkiniana,” compiled by V. I. Mezhov. This is evidenced by the notes she made in her notebooks. The main consultant to the writer’s widow, who for several years had been independently preparing the first bibliography of Dostoevsky for publication, was P. A. Efremov, bibliographer, Pushkin scholar and editor of the Complete Works of A. S. Pushkin. In the poet’s anniversary year of 1899, A. G. Dostoevskaya published Dostoevsky’s Pushkin’s Speech in a separate edition, calling it “Pushkin” and thereby contributing to the celebration of the founder of Russian literature. Pushkin’s work played a significant role not only in Dostoevsky’s biography and literary legacy, but also in the bibliographic and traditional activities of the writer’s wife.

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«Слово о великом художнике» Ф. М. Достоевском: начало литературного пути юриста А. Ф. Кони

Author(s): Irina Svyatoslavovna Andrianova,Daria A. Buteneva / Language(s): Russian Issue: 3/2024

Anatoly Koni was not only a judicial, state, public and scientific figure, a teacher, but also a writer who left his memoirs of figures of Russian culture and deserved the recognition of his contemporaries. They nominated him for the Nobel Prize in Literature, elected him a member of the jury of the Pushkin Prize in Literature, an honorary academician of the Imperial Academy of Sciences in the category of fine literature, an honorary member of the Pushkin Lyceum Society and a freelance employee of the Pushkin House. The article pays special attention to the beginning of the literary activity of lawyer Anatoly Koni. The reason this talented judicial speaker tried his hand at writing was the sudden death of Fyodor Dostoevsky. These two outstanding contemporaries were linked by a friendship that lasted from 1873 until the writer’s death. They met at court sessions at the trials of Vera Zasulich and Ekaterina Kornilova, made a joint trip to the colony of juvenile lawbreakers, and in the late 1870s lived nearby and had the opportunity to visit each other. The lawyer’s literary career began in 1881, with a speech about Dostoevsky as a criminologist, which later became a repeatedly reprinted essay. The article examines the autograph of the speech, preserved thanks to the writer’s widow Anna Dostoevskaya, and reveals the main features of Kony’s artistic skill, reflected in his subsequent creative works: the influence of his legal profession on literary work, his preference for an impassioned style and didactic pathos, the use of figurative means of expression, and biblical allusions. Koni constantly reworked, supplemented and repeatedly republished his memoirs about Dostoevsky, but they were generally structured into three original essays included in his collected works: “Fyodor Mikhailovich Dostoevsky,” “F. M. Dostoevsky,” “More About Dostoevsky.” These texts analyze the work of the author of “Crime and Punishment” from a legal professional’s point of view, and also note the characteristic features of the writer and the person — “a model and a great teacher.” It was in the essay on Dostoevsky that Kony’s talent of an inspired writer was discovered, but Anatoly Fedorovich himself also played an important role in Dostoevsky’s life and work, honestly revealing to the writer the contradictory features of the Russian justice system and being an example of an excellent lawyer. The study uses a wide range of archival and memoir sources: the autograph of the speech of Anatoly Koni about Dostoevsky, his memoirs, the lawyer’s correspondence with members of the Dostoevsky family, notebooks and memoirs of Anna Dostoevskaya.

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Симфоническая личность. Заметки о профессоре В. А. Годлевском и его творчестве

Author(s): Elena Vladimirovna Berezina,Vasily Lvovich Chernoperov / Language(s): Russian Issue: 3/2024

The validity of the popular expression “a talented person is talented in everything” has been repeatedly confirmed by the Russian intelligentsia. Another striking example is the biography of Vladimir Aleksandrovich Godlevskiy, Doctor of Technical Sciences, Professor of the Department of Fundamental Physics and Nanotechnology at Ivanovo State University, to whom the presented article is dedicated. Its authors pay attention not only to the achievements of V. A. Godlevskiy in science, educational, methodological and teaching work, but also to his contribution to the art of music and poetry. The article creates an image of a multifaceted, talented “symphonic” personality, which is of interest not only from the point of view of the professor’s biography, but for intellectual studies in general. Indeed, using the example of V. A. Godlevskiy and his poems, we can observe certain processes in the development of the Russian intellectual community and its mentality in the XXI century.

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Эсхатологическая парадигма в рассказе В. Ф. Одоевского «Насмешка мертвеца»

Author(s): Mugyeom Kim / Language(s): Russian Issue: 3/2024

This article examines “The Dead Man’s Mocking” (1834), one of the inserted stories from V. F. Odoevsky’s novel “Russian Nights” (1844). The ethical and aesthetic aspects of this story are analyzed from the viewpoint of the eschatological paradigm. It demonstrates that thanks to this paradigm, driven by the author’s religious worldview, which permeates all his works and predetermines the author’s special attitude to philosophical and social topics, the ethical and aesthetic aspects also acquire a religious meaning. The absence of love in the heroine, named Lisa by the author and “diametrically” compared with Karamzin’s heroine with the same name, is associated with her loss of religious faith, which emphasizes the impossibility of her resurrection within the framework of the eschatological paradigm. The composition of the “Fourth Night” from “Russian Nights,” to which “The Dead Man’s Mocking” belongs, reflects the spiritual crisis of the story’s fictional author and its overcoming, which leads to a rethinking of the role of romantic irony in the context of the eschatological paradigm. Taking into account the historiosophical and religious context, which develops in the novel through the dialogues of four friends led by Faust, the plot of this parable warns the reader against forgetting the humanistic and religious values inherent in the Russian people from time immemorial, against being carried away by European rationality, self-interest and from adherence to the essential and useful. The apocalyptic flood scene described in the short story serves the same purpose. Thus, attention to the eschatological paradigm helps to interpret both the poetics of V. F. Odoevsky’s story and its teleology.

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Пушкинский код в эпистолярной мистификации И. С. Тургенева

Author(s): Gennady Karpenko / Language(s): Russian Issue: 3/2024

In the article, the letter of I. S. Turgenev to P. V. Annenkov dated October 14 (old style), 1853, is for the first time considered as a “cryptographic text,” as a kind of response to Annenkov’s completion of preparations for the publication of Pushkin’s biography and writings. Although Pushkin’s name is not mentioned in the letter itself, “Pushkin’s presence” is encoded in different ways: in the initial “prosaic” part of the letter - in the form of associatively concealed hints about Pushkin’s work and the facts of the poet’s biography, and in the second part, in the Easter poem, it receives its explicit designation by an intertextual reference: “The past has opened up before me.” In the article, the Easter poem is analyzed not from the point of view of the problem of its authorship, which has not been completely solved, but as a manifestation of Turgenev’s artistic consciousness. The writer uses cryptographic hints to evaluate Annenkov’s contribution to the salvation of Pushkin’s name, “among other names doomed to oblivion” (as he will recall in a speech about Pushkin in 1880), in the categories of Paschal, “great and joyful news,” in the light of which the event of the Resurrection of Christ becomes an “emblem” of Pushkin’s fate, and the image of the poet is perceived as the image of the Resurrected.

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Поэтика сказки М. Е. Салтыкова-Щедрина «Путем-дорогою»

Author(s): Marina A. Alyakrinskaya / Language(s): Russian Issue: 3/2024

The fairy tale “Putem-dorogoyu” by M. E. Saltykov-Shchedrin is traditionally regarded to be an “accident” in the cycle of “Fairy Tales,” and is interpreted as a social story in terms of genre and thematically - as an invariant of the fairy tale “The Voron-Chelobitchik.” The author of the article believes that “Putem-dorogoyu” is an original work with its own problematics, which is not classified as “a story of everyday life” already by virtue of the author’s designation of the genre, namely, “conversation” (dialog). The dialog genre presupposes the fusion of philosophical and literary discourses; “conventionally schematic” type of interlocutor characters who often represent a certain ideological contrast. The heroes of “Putem-dorogoyu” Ivan Bodrov and Fyodor Golubkin personify opposite types of national consciousness, which is manifested in the semantics of their names, which have a stable system of connotations in the Russian anthroponymicon; the names largely determine their mode of behavior. In addition, the heroes’ dialog is projected onto mythological and fairy-tale plots about the dispute between Truth and Lie (Krivda), which allows to consider the problem of the search for Truth in the context of deep national-cultural attitudes and stereotypes; the struggle of the Christian world against the “non-Christian” world; to qualify the readiness of one of the heroes (Fyodor) to fight against the hostile society as readiness for Christian heroism and, hence, martyrdom. The poetics of the fairy tale, formed at the junction of philosophical dialog, magic-tale motifs (serpent-fighting, the way-road) and folk mythological symbolism, leads the reader to a complex of philosophical and historical reflections regarding Russia’s fate. The author’s concept of “Putem-dorogoyu” relates to the problem of violence, “blood” in history: the fairy tale can be regarded as the writer’s forecast of the upcoming historical upheavals.

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Футурология космизма в свете научной фантастики: опыт В. Муравьева и А. Горского

Author(s): Anastasia G. Gacheva / Language(s): Russian Issue: 3/2024

The article is the first part of the study of the features of philosophical and artistic futurology in Russian cosmism of the 1920s - 1930s. The key principles of the approach to the topic of the future in the religious/philosophical and natural/scientific branches of Russian cosmism are revealed: a projective worldview, the unity of futurology and anthropology, the will to idealism, designing the future as a perfect world order, unity of purpose and means, the personal principle of the relationship betweennature and man, the idea of the need to improve the external world, and human nature. The article demonstrates how these principles manifest themselves in the artistic and philosophical experiments of A. K. Gorsky and V. N. Muravyov in the 1920s and 1930s. It investigates the role of the science fiction element in their texts, in which, on the one hand, an integral image of the future is presented as the basis of mankind’s collective activity, and on the other hand, it offers a critique of “fractional ideals” in history, and flawed versions of the future. It demonstrates how the introduction of science fiction plots and motifs contributes to the test of futurological ideals for strength.

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«Там, за гранию…»: образ будущего и поэтический идеал в творчестве С. А. Есенина 1910-х гг.

Author(s): Svetlana A. Seregina / Language(s): Russian Issue: 3/2024

The article is devoted to the analysis of the artistic content and the evolution of the poetic ideal in the works of S. A. Yesenin of the 1910s: the subject of the study is both the poet’s lyrical works and his narrative and philosophical prose (the article “Native Word”), as well as biblical poems. The peculiarity of the literary and philosophical toponym “Rus” in Yesenin’s works as an ethical ideal and a symbol of a special national historical path, which is part of “God’s Providence,” is revealed. The polemical unity of toponym “Rus” with the idyllic image of the indefinitely beautiful “there,” which Yesenin drew from the literature of romanticism, along with the mythologeme of the poet’s fateful path, is demonstrated. A conclusion is made about the influence of Symbolist aesthetics on Yesenin’s understanding of art as a visionary experience that allows him to comprehend supersensual reality. By means of comparative analysis of A. A. Blok’s articles “Gogol’s Child” and Yesenin’s “Native Word,” the hypothesis that N. V. Gogol’s image of Russia was perceived by Yesenin in symbolist transcription is substantiated. The poem “Inonia” is considered as a transformation of Russia’s poetic ideal in the context of Yesenin’s religious and philosophical aspirations.

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Поведенческая антинорма в современной художественной речи (на примере прозы писателей-миллениалов)

Author(s): Lyudmila Aleksandrovna Bushuyeva / Language(s): Russian Issue: 5/2024

This study considers words used to describe human actions in the prose of Russian millennial writers, who emerged as a separate generation due to the Pushkin Prize, an annual Russian literary award established to honor young writers for literary excellence. These writers have only recently come into the focus of research, thus making it timely and relevant to explore their works and activities. The results obtained show that investigating contemporary literary texts is essential for understanding how both people and culture have changed in the new millennium: human beings are shaped by the actions they take, and their capacity for action is determined by self-reflection, responsibility, and the pursuit of accepted social values. Among all the identified human actions, those with the highest communicative value in the millennial prose were singled out, and the common verbal means used to express them were analyzed. From the analysis, the most pressing ethical issues and the weakest spots of social morality in our times continuously addressed by millennial writers were distinguished.

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Прагмасемантика метатекстуальности в автобиографическом дискурсе

Author(s): E. D. Goryacheva / Language(s): Russian Issue: 5/2024

This article explores the pragmasemantic features of metatextuality in the discourse of autobiographical narrative. Autobiographical discourse is inherently subjective and expressed through various modalities. Subjectivity is an ontological property of thinking, inevitably manifested in language. Here, metatextuality was defined as a unity of explicit metatextual elements and metapoetic meanings, given that the writer, producing autobiographical discourse, impregnates it with their personal perception of the creative process and aesthetic principles. The methods used include inductive-deductive reasoning, comparison and contrast, semantic analysis, and philological interpretation. Based on the analysis of Yury Olesha’s autobiographical book “Not a Day without a Line”, the main verbalizers of metatextuality (introductory words and phrases; inserted constructions; gradational comparisons and expanded metaphors; lexemes zhizn’ (life), pisat’ (write), and isskustvo (art), as well as their word-forming derivatives; precedent onyms; stylization of metapoetic fragments as monologues) were identified. The results obtained show that the pragmasemantic potential of metatextuality is determined by its alignment with the metapoetics of the writer’s autobiographical discourse as a form of personal, existential discourse.

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Идиолект героя эпистолярного романа в зеркале оценочной лексики: проблемы перевода

Author(s): N. A. Bonadyk / Language(s): Russian Issue: 5/2024

This article outlines the challenges of translating the evaluative vocabulary from the letters of Makar Devushkin, one of the main characters of M.F. Dostoevsky’s epistolary novel “Poor Folk”, into Japanese. Evaluative connotations are rarely spanned by dictionaries and can be acquired even by neutral words in specific contexts, thus being difficult to render accurately, as confirmed here by a detailed linguistic analysis of the idiolect of Makar Devushkin in comparison to that of Varvara Dobroselova, another main character of the novel. The writing style of Makar Devushkin was found to be marked by poetic and vernacular expressions, creative language use, clerk slang, stylistic inconsistencies, as well as numerous speech errors, clarifications, and interjections. The key strategies for translating Makar Devushkin’s idiolect into Japanese without losing his evaluative voice were identified: finding a contextual equivalent, omission, and literal translation. The factors determining the choice of the translation strategies were revealed. The findings show that contextual translation is the best option to convey the meaning of Makar Devushkin’s words used in non-standard contexts, altering their meanings in ways that must be guessed from the context. Omission is applied when pleonasms appear in Makar Devushkin’s speech. Literal translation is appropriate when the original expressions are likely to be understood intuitively, at least to some extent, by readers.

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