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Juda je utajio nekoliko dinara, i to se otkrilo zahvaljujući Tomi koji je slučajno vidio koliko je novca bilo dano. Moglo se pretpostaviti da to nije bilo prvi put kako Juda krade, i svi su počeli negodovati. Razgnjevljeni Petar je zgrabio Judu za okovratnik njegove halje i gotovo ga odvukao pred Isusa, i uplašeni, problijedjeli Juda se nije usprotivio. [...]
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Дан је већ био при крају, а њих двоје су још увек ходали и разговарали, не примећујући ни време ни пут. Испред њих, на полеглом брежуљку, тамнио се шумарак и кроз гране дрвећа црвеним и ужареним угљеном засјало је сунце, грејало ваздух, претварајући га читавог у ватрену злаћану прашину. Толико је оно било блиско и моћно, да се све унаоколо изгубило, само је оно остало бојећи пут и равнајући га. Тако је било блиско и тако ужарено је било сунце, да је све уоколо изгледало да је одједном пред њима утихнуло, постало спокојно и јасно, малено и разговетно. [...]
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The idealistic notions concerning the state and humankind, combined with the criticism of the reality of the time, constituted a significant voice in the late-18th-century discussion about a new vision of Russia. In the utopias by Aleksandr Sumarokov, Mikhail Kheraskov, Vasily Lyovshin and Aleksandr Radishchev the shape of the fictional universe was determined by the belief that the harmonious order destroyed by the imperfection of the human nature can be reconstructed. The authors translated the ideas of freedom, brotherhood and equality into the figurative language of literature, comprehensible both for their fellow Freemasons and for other people. In the eyes of the Russian Freemasons the mythical Golden Age embraced not only the past, but also the future. The recovery of the social order would be guaranteed by a spiritual rebirth of the individual.
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The article discusses one of the peculiarities of the Russian seminary versifying – the practice of borrowing from other poems. Based on the materials of printed editions and manuscripts of the Tver Theological Seminary, the author of the article shows that in the second half of the 18th century, when composing occasional poetry, seminarians regularly turned to borrowing from earlier school essays and gives examples of various borrowing methods.
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The article traces the dynamics of use and the role of foreign languages in the Russian literature in the 18th-20th centuries. The main subject of discussion are the factors regulating the attitudes towards foreign languages, ranging from individual to cultural-historical ones. Attention is focused on the changes in the vector of cultural orientation understood as a set of heterogeneous phenomena.
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The article is devoted to a reworking of Pushkin’s novel in verse "Eugene Onegin" that was effected in Lodz in 1896. The work, entitled "Moi dyadya" ["My Uncle"], was penned by one N. G. Kuzmich (which probably was a pseudonym) and published in „Lodzinskiy listok”, a Russian-language newspaper issued in Lodz. The parodic novel is set in Lodz, and its protagonists are: the uncle, Tatiana and Evgeny. The piece offers a reflection of the realities of the industrial Lodz of the 19th century, as well as hints at Pushkin’s famous work.
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The article concerns the problem of poetic translation of Igor Severyanin’s one hundred sonet cycle "Medalions" to polish. A brief review of the poet’s reception in Poland was conducted, taking in consideration his impact on polish futurists. In the course of the work, the difficulties related to the intertextualisation of the text, its saturation with neologisms and neosemantics, combination of innovative and traditional, as well as problems related to the translation of sonnets and the cycle, were also indicated. On the other hand, the possibilities given to the translator by the original text are shown: the similarity of cultures, the use of which contributes to the implementation of a good translation.
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The paper takes up the problem of the genre of Maxim Gorky’s novel/novella "The Life of Matvei Kozhemyakin" (1911). The author of the article finds the discussed work synthetic in terms of genre, indicating features of various genres (annals, saga, autobiography, several varieties of the novel, including historical, social, and family novel) which form in it a harmonious artistic whole. Following the interpretations of Jerzy Lenarczyk, "Ivo Pospíšil" and other scholars, the author of the article puts forward the family saga as the predominating generic component and emphasizes that “the family idea” ("mysl semeinaia") influenced many of Gorky’s works and shaped their generic structure.
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Galina Kuznetsova was a Russian writer, poet and memorialist who belonged to the younger generation of the Russian Emigration (the first wave). Her most famous work is the so-called “Grasse Diary”. Kuznetsova’s place in the literature of the Russian emigration was determined by her liaison with Ivan Bunin. The present paper brings an analysis of certain motifs in Kuznetsova’s poetry (homeland, death, love) precisely in the context of Bunin’s poetry.
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Since his debut in 2004, Zakhar Prilepin has constantly been present on the Russian cultural scene. A literary scholar, journalist, writer, politician and even a military man, he is the author of a set of highly popular and emblematic novels which portray Russia at the turn of the 21st century. The writer has won many significant Russian literary awards and attracted the attention of both literary critics and the general audience. In the paper, a literary portrait of Zakhar Prilepin is sketched and the reasons for the writer’s popularity are investigated.
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The article discusses the work of one of the most outstanding and original representatives of the “New Drama”, the playwright Yuri Klavdiev (born in 1974). At the most recent stage of his creative work, the author shows interest in canonical genres, in particular, he refers to the medieval genre of the “miracle play”. His drama Pobedonosets [The Victorious One] (2015) is based on the artistic principles and poetics of the genre. The article analyzes the play taking into account the characteristics of the miracle, indicating the influence of the genre on the structure and main idea of the play, as well as on the perception of the work by the reader/viewer.
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The article is devoted to the analysis of the historical parable Lunin, or the Death of Jacques, Recorded in the Presence of the Master by Edvard Radzinsky. Proceeding from the genre paradigm of the parable, Radzinsky builds the conflict of the play with the use of the threshold situation, with the main character awaiting execution. While expecting death, Lunin recalls his whole life, therefore the whole action of the play is concentrated in the real and in the mental time and space. Although in reality Lunin is alone in the prison cell, in his imagination he is surrounded by many people whom he has met in the course of his life. This plot paradox creates the illusion of the protagonist’s memories becoming visualised and of the public character of his death.
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The article is devoted to the issue of montage as a plot-forming technique actively used in modern drama. The possibilities of montage are considered on the basis of the last plays by Vadim Levanov. Levanov is one of the most famous representatives of the modern Russian drama of the turn of the 21st century, and his work reflected all the variety of ideological and artistic explorations in contemporary drama. The dramatic diptych "The Life of the Holy Blessed Xenia of St. Petersburg" and "The Most Possibly Authentic and Plausible Biography of the Bloody Lady Darya Saltykova, a Moscow Hereditary Noblewoman" as well as "A Play about Cows" undoubtedly were Levanov’s programmatic works which reflected his philosophical queries. The article shows how the use of the montage technique allowed the playwright to express his attitude towards the eternal opposition of good and evil.
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The paper is concerned with the documentary novel by Svetlana Alexievich which describes one of the biggest technological humanitarian disasters of the 20th century: the catastrophic accident at the Chernobyl Nuclear Power Plant. The attention is focused on the portraiture of the soviet man – of the heroes of the event, who survived the catastrophe but have been left without any help from the institutions and people they had relied on: the government and the country. The book provides the testimony of the witnesses: in this polyphonic form Alexievich lets them speak for themselves. The victims of the disaster have paid the highest price: they have lost everything – their lives, their relatives and hopes for the future.
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The article investigates references to Shakespeare in the works of Viktor Shklovsky, an outstanding representative of the Russian formalism. The author of the paper analyses literary studies by Shklovsky in which Shakespeare’s texts are interpreted. In his early works (dating to the 1920s–1930s) Shklovsky referred to Shakespeare to justify the new terminology of the Russian formalism, while his later works were devoted to the study of Shakespeare’s texts.
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Rock poetry has been attracting scholarly attention in Russia since the late 20th century. As a phenomenon of world culture, it dates back to the 1960s; in the Russian cultural sphere, however, its beginnings are usually associated with the turn of the 21st century. The aim of the present paper is to decipher and interpret the cultural codes used by Ilya Kormiltsev in his texts (mostly known as lyrics of the songs performed by the band Nautilus Pompilius). This is done on basis of the poem "Kogti" ["Claws"].
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The purpose of this article is to investigate the diary genre as used in Evgeny Vodolazkin’s novel "The Aviator". The author of the paper attempts to describe and emphasize the innovativeness of Vodolazkin’s approach, as compared with the main classic features interpreted in the light of Elena Bogdanova’s article entitled ‘Language features of the diary genre’ (2008) which brings a classification thereof.
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The article explores Olga Sedakova’s reflection on the theme of freedom, expressed in her essayistic texts. The intertextual method of text analysis is used. The essayist interprets the meaning and value of freedom in human life relying on someone else’s word. In the analyzed essays there appear intertextual references to other texts of the Russian culture (Pushkin, Blok, Mandelshtam, Maria Petrovykh, Pasternak, Brodsky, Dmitry Prigov, Sergei Averintsev) and of the European tradition (Dante, Shakespeare, Goethe, Eluard, Schweitzer). A particular source on the basis of which Sedakova philosophizes is the Holy Scripture. She perceives the issue of freedom primarily in the poetic, moral (as the human condition) and eschatological perspective.
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The article analyzes salient aspects of Guzel Yakhina’s novel "Zuleikha (Zuleikha opens her eyes)" and its critical reception. First of all, the author discusses the connections of the artistic world of the novel with the Russian literary tradition with respect to the image of “the natural man”. Particular attention is paid to the treatment of the “eternal themes” of love, motherhood, faith, the formation of personality as well as to the originality with which the author approaches the topic of the mass repression of the 1930s. The predominating opinions of critics and reviewers are interpreted, and an attempt is made to indicate the reasons for the novel’s popularity with the readers.
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The article deals with the combination of classical and innovative artistic techniques in the play "Duma" by Anna Kashina. Playing with the dramaturgical tradition on different levels is described and it is shown to embrace the system of characters, the content of the stage directions (the insertion of video projections, moving the action to auditorium) and also the composition of the play. Kashina’s play is discussed by the author as a work whose poetics is determined by the aesthetics of modern visual media as well as by the literary tradition.
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