![О некоторых параллелях в «детском» и «взрослом» творчестве Анны Русс](/api/image/getissuecoverimage?id=picture_2012_34246.jpg)
О некоторых параллелях в «детском» и «взрослом» творчестве Анны Русс
This article is devoted to the features of Anna Russ's poems for children and their compliance to poetics of this genre and parallels with her poems for adults.
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
This article is devoted to the features of Anna Russ's poems for children and their compliance to poetics of this genre and parallels with her poems for adults.
More...
This paper aims at identification of the universal narrative techniques and principles developed by N.V. Gogol to express his views about a little man. On the basis of the narrative strategy, the conceptual core of understanding of a little man by N.V. Gogol has been created. Special techniques and semantic levels of the dialogue with the reader created by the author of the works, in which the above-specified type of character occurs, have been “modeled”. The research is based on such N.V. Gogol’s works as “The Government Inspector” and “Dead Souls”, as well as some individual images from such series as “St. Petersburg Stories”, “Evenings on a Farm Near Dikanka”, and “Mirgorod”. This triune approach (the author’s concept – the narrative strategy – the principles of dialogue with the reader) has allowed to reveal new philosophical and artistic aspects of the image of a little man, to establish their connection with the sharp contrast of “the hidden” and “the visible” in the unfolding of the narrative structures, and to describe the conditions for a sudden displacement of contemplative and ironic position of the reader in terms of intuitive reading of riddles of the soul of the characters. The first part of the paper summarizes the observations of literary scholars over the techniques that shape the effect of hiddenness: the details indirectly characterizing the characters, their relationships with others, portrait features, description of the actions, dreams. It has been concluded that the techniques are focused on the generation of an illusion in the reader that the character is understood from different sides, being built following the principle of mosaicity. The author creates a feeling of a certain “preparation” of the character in the reader, which is similar to a distant observation, leading to the final and comprehensive conclusions.
More...
The key to the enigma of the authorship of V. Nabokov’s novel “Pale Fire” lies in the epigraph to the novel: it formulates the algorism of the “reverse move” which is what organizes the narrative structure of the text. Kinbot is Shade’s black shadow; Shade is the glowing shadow of the Almighty also as of the only author of the novel’s macro text - V. Nabokov.
More...
The folk-utopian legends of Kitež and Belovodie developed in different historical times. The verbal version of legend of Kitež arose in the 13th century, the written version was formed in the second half of the 18th century, but the legend of Belovodie roots back to the turn of the 18th and 19th centuries. Both legends, however, have common cultural genesis as they came into existence among the so-called wanderers or runners sect of Russian Old Believers. These utopian legends are indissolubly linked with national religiousness, which had a second period of blossom in different transformations in Russian culture at the end of 19th-beginning of 20th century. The author attempted to show how motifs and elements of these legends, and realia from the wanderers’ life interlace in the thematical structure of the historical short story of Ivan Zox that has never been studied before from this aspect.
More...
The article deals with Nabokov’s first Russian novel subsequently translated into English. It provides a review concerning early Russian emigré criticism misinterpreting the novel. The chief aim of the article however is to establish a link between traditions of turn-of-the-century Russian Symbolist mainstream and themes incorporated in Nabokov’s prose. Thus the non-existent heroine, Mašenka is discussed as a female type around which the poetry of Aleksandr Blok and Andrei Belyj would crystallyse, i.e. the Holy Sophia, whose coming would signal the coming of the Kingdom of the Holy Ghost, an entire transformation of the world and Humankind envisaged as early as the Age of German Romanticism, as the Birth of Theocracy, prophesied later by Russian religious philosophers first and foremost in the works of Vl. Solov'ev. Several motifs throughout the novel will confirm that Nabokov starts a dialogue with Blok, referring to the image of the Beautiful Lady, which was identified with not only the Virgin Mary, but the Gnostic erotically conceptualized image of Sophia as well. Creating his own microcosm, Nabokov in a letter openly admits his rivalry with the Creator, thus disclosing his credo concerning the art of literature. (NB. nearly the same concept will be echoed in his theoretical works later on.) From this one can conclude Nabokov partially exhibits his kinship to the Russian Religious Symbolists, following their concept of creation termed ‘the theurgical way’. Mašenka, taken as the inevitable feminine principle therefore is deeply rooted in the ideal of spiritual transformation awaiting the hero, Ganin, who consequently gives up nursing hopes for the rebirth of his adolescent love affair, choosing the way of spiritual resurrection in a locus that is associated with Provence in the novel. The Berlin boarding house filled with phantom-like figures embodying recollections of czarist Russia establishes a realistic depiction of the life of the exiled Russians, however memories will prevail, thus leading the reader to interpret the novel rather as a novel about initiation, the sharing of spirituality.
More...
This paper discusses the distribution of narrative time, the absence of anachronisms and the uniform pace of anisochronisms: the interchange of isochronous dialogues, summaries of events and reflective pauses in the rhythm of one chapter - one day. Nabokov’s novel relativises both space (illogical mazes and passages, distorted mirrors, the corrosion of the material world) and time (after his death, the character continues his life in another, parallel time). The visual imagery of the text (and the scene oriented narrative time) draws this novel towards the dramatic genre.
More...
Оног страшног дана, када се десила светска неправда и на Голготи, међу разбојницима био разапет Исус Христос – тога дана, од самог јутра, јерусалимског трговца Бен-Товита несносно је заболео зуб. Све је почело још претходне вечери: прво је осетио тиштање и благо пробадање у вилици са десне стране, а један зуб, последњи пре умњака, као да се мало померио и, приликом додиривања језиком, осећао би слаб бол. После јела, ипак, бол би потпуно утихнуо, па је Бен-Товит сасвим заборавио на њега и умирио се – тог дана је успешно трампио свог старог магарца за младог и јаког, био је врло весео и није придавао значај злокобним знацима. [...]
More...
Novel written by Anton Pavlovič Čehov: Zadaća za ljetni raspust učenice Nadenke N.
More...
The creative heritage of Yakov Polonsky foreruns the Russian modernism on the whole and symbolism in particular in terms of both the worldview and the features of poetics. Vladimir Solovyov explained this connection by pointing to the romantic vein in the personality of the poet and to his striving for the ideal. Polonsky was the forerunner of the Russian symbolism in that he affirmed the ideal in the forms of real life. The convergence between his work and the programme of the young symbolists consisted in the absolute reliance on the image as a “symbol of the religious reality” (Aram Asoyan). The lyrical cycles by Polonsky and Blok that are discussed show a dramatic disunity of a community of people who have lost spiritual values of life. The result of this loss is suffering and death (the motive of Retribution). The moment of the highest tension in the development of the lyric plot in Polonsky’s work is the loneliness of the protagonist in the absolute darkness and emptiness of a lifeless space of a mystery. Blok shows the loneliness of his protagonist in the antithesis between the motionless “perfect order” of an ordinary life and the spontaneous movement of reminiscences, of anticipation and of thoughts, all born from dreams. Polonsky’s "Dreams" close with the Transfiguration achieved through obtaining a mysterious book. Blok’s cycle, in turn, ends with a sentence of suffering in the afterlife for the apostate. The analysis of the plot and motives in the two cycles makes it possible to ascertain their affinity on the level of the symbolic functioning of the motif complex of the apocalyptic plot.
More...
Широко известно, что важным моментом для рождения движения русского формализма оказалась критика учения Александра Потебни, которое служило одним из теоретических оснований русского символизма.
More...
The marginalia of readers are an indispensable attribute of book culture. They reflect a critical attitude to the main text, not only to someone else’s, but often to their own. Analysis of marginalia is important for the study of the biography of historical figures and writers: their marginal notes, critical judgments, polemics, comments and additions reveal their identity as readers. Marginalia in a personal handwritten text have a special status. The main part of Dostoevsky’s creative process is a sheet, a page, sometimes a center spread.
More...
In the archive of Shmelev’s documents are kept the materials of two versions of the story “The Small Shelf” (1909). Their comparative analysis allows disclosing the genesis of the artistic structure of the writing. The first draft is structured around the characters of a teenage boy and his boss, an old man obsessed with the hunger for power. The old man is striving to subject the boy spiritually and possess him like a thing. This is the core of the psychological conflict of the work. The character of the old man has the features of the image of the Baron in A. S. Pushkin’s tragedy “The Miserly Knight”. The motif of the “power of gold” is transformed into the “power of knowledge” in the story. The idea of the first edition to show a spiritual crisis of a contemporary obsessed with aspiration for knowledge and power was not implemented in the final edition of the work. In the second edition the author showed the idea of the story through the affirmation of a transformative power of knowledge.
More...
The article describes a number of methodological problems in the study of Dostoevsky’s biographical narrative and his receptive tradition as a whole: the subjectivity of traditional research approaches, the receptive conflict between the biographical myth and negative “doubles” of the writer, the contradictions of mass and individual perception. The author, in search of the most common elements of Dostoevsky’s biographical narrative, turns to prerevolutionary encyclopaedic articles about the writer. It is presumed that the genre itself, in which the biographical narrative exists here, excludes subjective distortions of the image, represents Dostoevsky in the most generalized, “common” version. This image of Dostoevsky is emphasized literary-centered, at the same time grotesquely simplified and equipped with a parodying double.
More...
The manuscript of Ippolit Terentyev “My Indispensable Explication”, referred to as an “article” or a “notebook” in Dostoevsky’s novel, is traditionally seen as a confession in literary studies. Meanwhile, the genre and narrative structure of Ippolit’s manuscript is not homogeneous, but multilayer. The conjugacy of various discursive strategies of justifications of the “last conviction” of the ideological self-destroyer in the text, from the viewpoint of the logic of the conscious (thesis) and subconscious and “true live” (antithesis), enlarges genre limits of the confessional word. The idea of the human right to commit suicide appears in the manuscript in the form of the number of conclusions in the narration that rather resembles a philosophical and publicistic discourse, the convincing and fervent emotional manner of which refers us to the genre of a preaching text.
More...
The motif of the “fateful inheritance” in the novel “The Idiot” by F. M. Dostoevsky is discussed in the article from three viewpoints: first, its facts related to the Moscow world of the Kumanin family, many members of which became prototypes of the characters of the novel are commented; second, the “Kumanin’s trace” is evidentiated in its plot. The real commentary is accompanied with the analysis of a mythopoetic model of the inheritance motif implementation. Its attributes are the “bundle” in the hands of Knyaz Myshkin (Knyaz is a historical Slavic title, used both as a royal and noble title in different times of history and different ancient Slavic lands) and the “case” (“letter”), which are “mysteriously” interlinked. A chain connection between these details in the novel reflects a consistent plot development of the motif of the fatal inheritance, elaborated in accordance with a cumulative logic of the solution to a folkloric riddle.
More...
The publication is an experience of composing a Saint Petersburg guide-book by Dostoevsky as a Petrashevsky circle member. All the addresses of the Northern capital more or less significant for the Dostoevsky’s biography as the member of the Petrashevsky’s socialist circle, get described in a systematic manner. Besides, the life events of the writer related to this or that address get published. All the data are provided with documentary, memoir and epistolary sources. Each article is dedicated to a particular address, accompanied with the respective bibliography. The materials in the guide-book are put in a chronological order if possible: from the Wolf baker’s shop where in May, 1846 Dostoevsky got acquainted with Petrashevsky, up to the Semyonovsky parade ground where in December, 1849 the false execution over the Petrashevsky’s circle members was held and the route of escorting of the writer from the Peter and Paul Fortress to Siberia on Christmas Eve. Along with the historic addresses given in accordance with the documents of the 1840s the actual addresses of Dostoevsky’s places of staying get indicated as well.
More...
The genesis of the mythologization of the biography and creative heritage of A.S. Pushkin has been discussed. Social imagery is the area of synthesis in the public consciousness of literary reputation and literary myth. The stages of its formation in the lifetime criticism and memoirs of A.S. Pushkin’s circle have been considered. It has been emphasized that the creativity and personality of the poet became for the first time of interest at the early stage of his development: the first attempt to form the literary reputation of the poet influenced not only the vector of subsequent analysis of his works, but also the trajectory of his creative work. With the active participation of the writer, his literary reputation merged with the literary myth about him. The paper shows how this construct developed as a result of the conceptual integration of the temporal experience into the spatial-visual images, semantic frames and narratives.
More...