Społeczny pesymizm w prozie Romana Sienczina

Author(s): Katarzyna Roman-Rawska / Language(s): Polish Issue: 25/2015

The paper is an introduction to the problems of the contemporary works of a Russian writer Roman Senchin (born 1971). The author is considered to be a representative of the new realism current and his prose is a paradigmatic example of socially-oriented literature. Due to the sociological perspective, the article exposes social and political aspects of his work, but less attention has been paid to poetics as such. However, the psychological and existential aspect of Senchin’s work was also stressed. Furthermore, an attempt was made to resolve the dilemma, whether in relation to Senchin’s works it is relevant to use such theoretical concepts as politics of literature and politics in the literature.

In memoriam Лиляна Минкова

Author(s): Rumiana Damianova / Language(s): Bulgarian Issue: 32/2016

OD SATIRE, PREKO LAKRDIJE, DO REALISTIČKE KOMEDIJE, TRAGIFARSE I "TUŽNOG KOMADA“ - "ŽENIDBA" NIKOLAJA VASILJEVIČA GOGOLJA NA SARAJEVSKOJ POZORIŠNOJ SCENI

Author(s): Adijata Ibrišimović Šabić / Language(s): Bosnian Issue: 1/2017

This article draws upon my research into a number of concepts underlying Sarajevo theatrical productions based on Nikolai Vasilievich Gogol’s works. Speciϐically, the article is focused on the contrastive analysis of the theatrical and literary critics’ responses to the plays following their theatrical staging, on the one hand, and the literary and theoretical texts addressing the key themes of Gogol’s corresponding works written by both Russian and Bosnian-Herzegovinian critics and theorists, on the other.The research shows that Gogol’s comedies, much like Chekhov’s plays,have in time become independent „matrices“; or scores upon which plays(and interpretations) are produced as variations of the subject. These types of artistic texts not only allow but also invite the reader to act as aco-author for Gogol’s texts constitute true storehouses of multi-layered connotations, drawing a number of political and cultural parallels and communicating complex meanings on the philosophical, metaphysical,and irrational planes. The broad spectrum of receptions of and responses to Gogol’s comedies in Sarajevo ranges from the already established practice of reading his plays as satirical pieces – a practice with its own long „reception history“ in Sarajevo, which even predates the founding of the National Theatre – to examinations of his works as pieces of ridicule and caricature (the description of the „director’s reading“ of The Government Inspector and Marriage by Alexander Vereshchagin), to interpreting Gogol’s pieces as humorous (as was the case in written reviews of Marriage in the 1970s, directed by Vlado Jablan) and finally treating the works as instances of tragifarce and „sadplays“, the characterization ofthe 2007 premiere of Marriage directed by Petar Vechek). These multipleresponses demonstrate inevitable substantial changes occurring in theatrical reception, testifying to the growing importance of theatre directing,i.e. the overall orientation of the theatre towards the „directorial“ theatre, as well as to numerous attempts by Bosnian-Herzegovinian critics tore-examine and revise the customary system of literary (and theatrical)values. This article presents the ways in which Sarajevo theatres have explored the possibilities of communicating the Gogolian „laughter through tears“ formula on stage, concluding that Gogol evidently introduced a number of changes in the comedy genre, founding his own reassessmentof the genre on the understanding of laughter as a critical principle.

НАЧАЛНИТЕ СТИХОВЕ В СЛОВО О ПЪЛKОУ ИГОРЕВѢ. ИГОРѦ СЫНА СВѦТЪСЛАВЛѦ. ВНОУКА ОЛЬГОВА В ПРЕВОДИТЕ НА БЪЛГАРСКИ ЕЗИК

Author(s): Dmitro Gerginov / Language(s): Bulgarian Issue: 1/2024

This article presents a comparison of the opening verses of the famous anonymous work of ancient Russian literature, The Tale of Igor’s Campaign, translated into Bulgarian by four different translators in the course of more than a century: Efrem Karanov (1898), Lyudmil Stoyanov (1954), Kiril Kadiyski (1985), and Krasimir Georgiev (2015). The main goal is to analyze the changes in translation decisions and identify any possible deviations from the source text. Special attention is paid to the strategies employed by the translators to convey the meaning of several challenging passages in the ancient text. The present study considers some issues in the process of translation such as the use of different clause construction: the difference between number in the original text and their number in the translated one; the separation of one sentence into two in the process of translation, as well as the free use of punctuation marks by the translators. What is also analyzed is the problem of title translation from an old Russian language into a language comprehensible to any reader contemporary with the translators. The lack of an original, the impossible dating of the work, the unknown author and other elements of the work gave a certain freedom of the translators to express their own style.

Как Cоломон Pабинович спасал русскую литературу

Author(s): Aleksandr Glotov / Language(s): Ukrainian Issue: 11/2021

Analiza naukowego i metodologicznego podejścia do tworzenia korpusu tekstów literatury obcej w programie nauczania dla wyższych klas szkół średnich na Ukrainie wykazała dominację tradycyjnych metod selekcji dzieł literackich. Większość tekstów należy do kultury eurocentrycznej: francuskiej, niemieckiej, angielskiej, rosyjskiej. Jednocześnie są autorzy, których trudno zaliczyć do jakiejkolwiek literatury narodowej, jeśli porzuci się ogólnie przyjęte kryteria: język, narodowość, państwo. Historia kultury ukraińskiej przeplata się z historią wielu innych narodów Europy, dlatego proponuję stworzyć dla takich autorów specjalną kategorię historyczno-literacką: „Literatura ludów Ukrainy”.

Emrat e përveçëm letrarë dhe problemet e transmetimit të tyre nga gjuha ruse

Author(s): Avni Xhelili / Language(s): Albanian Issue: 02/2024

The article points out the challenges faced when transmitting personal proper and place names from Russian literary works into Albanian. Since Russian uses the Cyrillic alphabet and Albanian uses the Latin one, transmitting proper names from Russian literary works presents not a few difficulties. Despite the strong tradition that has developed over the years, many instances of errors and incorrect translation choices persist. An analysis of Albanian translations of over 30 works by Russian authors in the last 70 years has demonstrated that the difficulties of transmitting Russian proper names into Albanian are due to a variety of causes. Among these causes, several stand out: differences in the phonetic system of these two languages and the different alphabets they use; the absence of a unified system for the transliteration of the anthroponymic and toponymic names; an insufficient set of rules and principles governing the translation of proper names from Russian; the obsolescence of some of the rules of the 1973 Albanian Orthographic Dictionary (Fjalori Drejtshkrimor), along with other factors. A direct result of these factors has been the erroneous translation choices, including the presence of several Albanian variants of Russian anthroponymic or toponymic names, as well as the distortion of Russian names. A significant challenge faced by translators is when transmitting proper names created by the authors themselves. Besides their naming function, these names often carry an extra semantic coloring aimed at achieving characterization. Often the Albanian translators have unified these proper names, but a different approach is required to create names that would convey the extra information they contain. The article provides concrete examples and relevant recommendations. Aside from the aforementioned causes, some deviations, distortions, and inaccuracies have resulted from the translators' lack of professionalism. Translations of Russian literary works have been undertaken not only by experts with philological backgrounds and specialists in the Russian language and literature but also by professionals from other fields (geologists, engineers, military, etc.), who primarily knew spoken Russian. It's only natural that their lack of qualifications has often made it challenging, if not outright impossible, to cope with the linguistic as well as non-linguistic difficulties when transmitting Russian proper names into Albanian. The article aims to propose a more durable solution for the translation of these proper names, benefiting translators and editors of translations of literary works from Russian into Albanian. Additionally, it contributes to furthering the academic discussion on transmitting proper names.

Face à la souffrance de l’enfant. Comprendre le sentiment de scandale, entre littérature et philosophie

Author(s): Aline Lebel / Language(s): French Issue: 33/2024

This article stems from the consensual moral reaction aroused by the suffering child, aiming at enlightening its origins, meaning and scope. For this purpose, our hypothesis is that the analysis of literary works constitutes a valuable tool for philosophy. By studying the legacy of Ivan’s discourse in The Brothers Karamazov, we’d thus like to show how literature may help us to make sense of a certain experience of evil.

Relacje ludzi z drzewami nagrobnymi we wschodniosłowiańskim i polskim folklorze słownym (wybrane przykłady). Perspektywa antropologii więcej-niż-ludzkiej

Author(s): Anna Filipowicz / Language(s): Polish Issue: 17/2024

The motif of the relationship between people and trees, often present in Eastern Slavic folk literature, although discussed many times, still seems to offer undiminished interpretive potential. In the light of contemporary – postcolonial and postsecular – social anthropology, it can be read as a representation of belief practices that implement assumptions close to indigenous approaches to natural reality. This is indicated in particular by the non-anthropocentric attitude to the tree, usu¬ally understood as a personal entity, demonstrating an ability to transform the world analogous to humans, and also having the ability to extend human life in a material, not just symbolic, way. This applies especially to trees growing or planted on graves, widespread in North Russian and Belaru¬sian tradition, and artifacts made from their wood, such as musical instruments. They demonstrate a “resurrection potential” towards the dead, which corresponds to the understanding of continuity between humans and non-humans, characteristic of animistic indigenous cultures, as well as between existence during life and after death.

À LIRE/PROPOSALS FOR READING Review of A Volga Tale1 by Guzel Shamilyevna Yakhina Europa Editions, translation from Russian by Polly Gannon, 2023, 512 p

Author(s): Iulia Nicoleta Rascanu / Language(s): English Issue: 41/2024

The article reviews Guzel Shamilyevna Yakhina’s novel “Deti Moi”.

М. О. Гершензон: Неизвестное письмо 1921 года к Б. Л. Модзалевскому

Author(s): Marina Grigorievna Salman / Language(s): Russian Issue: 11/2024

The article is an annotated publication of a previously unknown letter by Mikhail Gershenzon to Boris Modzalevsky from 1921, accidentally found outside the Modzalevsky archival collection at the Institute of Russian Literature (Pushkin House). This newly found letter allows us to understand correctly the previously published letter from Modzalevsky to Gershenzon. The article also contains a critique of the republication of Gershenzon’s memoir about Leo Tolstoy (1960).

Литературная распря в «Капитанской дочке»: Из материалов для комментария (43)

Author(s): Alexander Ospovat / Language(s): Russian Issue: 11/2024

This article examines a scene in Pushkin’s novel where the protagonist, Pyotr Grinev, shares his poetry, prompting a mocking response from the antagonist, Alexei Shvabrin. The rivalry reflects the literary feud between 18th-century authors Trediakovsky and Sumarokov. The scene’s narrative mode intertwines surface text with allusive layers, causing Grinev’s verses to shift between the semantic fields of the two poets. This interplay undercuts both poetic schools' values. Key to understanding this scene is Pushkin’s unfinished Journey from Moscow to Petersburg, which revises the legacy of Russian eighteenth-century rhymed poetry and prefigures a shift toward blank verse.

«Царскосельские»: Из писем Ю. Л. Сазоновой к Г. П. Струве

Author(s): Konstantin Azadovskii / Language(s): Russian Issue: 11/2024

This article is focused on the publication of the letters of the actress, journalist, ballet critic and theater figure Yulia Sazonova-Slonimskaya (1884-1957), who knew personally all the three participants in the famous “triangle” (Anna Akhmatova – Nikolai Nedobrovo – Boris Anrep). These letters contain a number of details enriching this well-known historical and literary plot with new touches. The letters are addressed to Professor Gleb Struve (1898-1985), an outstanding historian and expert on Russian literature, and are related to the publication of his book The Unpublished Gumilyov (New York, 1952). Among various details deserving of attention is the intention expressed by Sazonova in one of her letters (unfortunately, not realized) to write an article or memoir essay about the Tsarskoe Selo meetings of the Nedobrovos with Akhmatova and Gumilev.

Анна Ахматова в восприятии литовского прозаика, переводчика Юозаса Тининиса

Author(s): Alena-Sofia Ivinskaya / Language(s): Russian Issue: 2/2024

The article examines the historical and cultural context of the study of Akhmatova by the Lithuanian prose writer and translator Juozas Tininis, and discusses the translations of the Russian poet’s poems in it. By the time of its publication in 1967, Tininis’ article on Akhmatova was the first Lithuanian study covering the entire work of the Russian poet. Tininis identified the stages of her creative evolution and thus brought the Lithuanian reader to one of the important features of her poetry: cyclization. A cursory analysis of Tininis’ translations of Akhmatova’s poems indicates that the Lithuanian author chose for translation those poetic fragments that, in his opinion, illustrate the main feature of Akhmatova’s style: laconicism in revealing the complex emotional world of a person.

Воображая Сибирь: картографический мотив в романе А. Иванова Тобол

Author(s): Julija Snežko / Language(s): Russian Issue: 2/2024

The The article considers the role of cartographic motif in the conceptualisation of space in Russian writer Alexei Ivanov’s novel Tobol. The paper reveals the connection of this motif with the main plot lines of the novel, with the structure of the novelistic space, as well as with its ideological component. The study concludes that the map functions both as a tool for traversing space (and thus conquering it), as a means of awakening poetic imagination, and as a crucial element in attempts to imagine Siberia. Drawing on the ideas of American geographer Yi-Fu Tuan, the article shows that the map in the novel is one of the most important elements in the attempt to transform space into place.

Достоевский, племянник писателя

Author(s): Tatyana Viktorovna Panyukova,Madina Rasulovna Kayumova / Language(s): Russian Issue: 1/2025

Andrei Andreevich Dostoevsky, the youngest son of A. M. Dostoevsky, along with his father, widow, son and grandson of the writer, became one of the key figures in preserving the memory of F. M. Dostoevsky. He actively helped Anna Grigorievna in her search, genealogical and publishing work: from 1903 to 1908, he turned out to be the secret keeper of the rough proof of the unpublished chapter “At Tikhon’s” from the novel “Demons.” Later, in 1914–1915, after the publication of N. N. Strakhov’s slanderous letter, he took part in collecting signatures in defense of the memory of the deceased under the protest compiled by A. G. Dostoevskaya. In a letter dated 1909, he informed her about the writer’s autographs being sold by the St. Petersburg bookseller F. G. Shilov (his notes to the clicker M. A. Aleksandrov). After the death of the writer’s widow and son, in Soviet times, being the head of the Dostoevsky family, Andrei Andreevich continued the activities of A. G. Dostoevskaya, adequately accepting the mission that fell to his lot: he actively participated in the large-scale jubilee exhibition dedicated to the life and work of Fyodor Mikhailovich Dostoevsky and timed to his centenary (November 1921), in 1925–1930 he was a curator in the Pushkin House, and became one of the main informants of M. V. Volotskoy, providing rich material on the Dostoevsky family tree, which formed the basis of the book “The Chronicle of the Generations of Dostoevsky” (1933). He published and commented on the memoirs of A. M. Dostoevsky (1930). Having inherited from his father a large family archive, which, in addition to his father’s memoirs and diaries, included family correspondence, i.e., letters from the 1830s, Andrei Andreevich preserved it and transferred it to the Pushkin House (Fund 56). The specifics of his long-term work on the preservation of the heritage of F. M. Dostoevsky’s writings are reflected in his family’s correspondence, which is still poorly understood, and the events of his life are often directly related to the fate of the manuscripts he kept. It is important to systematize the archive of A. A. Dostoevsky and study his biography in detail in order to track the fate of the lost autographs of letters.

Венчание в Симферополе (Ф. Ф. Достоевский и Е. П. Цугаловская)

Author(s): Svetlana Kapustina / Language(s): Russian Issue: 1/2025

Crimea played an important role in the fates of F. M. Dostoevsky’s closest relatives. For almost two years (July 1858 - May 1860), the writer’s brother Andrei Mikhailovich Dostoevsky was on duty on the peninsula (Simferopol, Feodosia, Yalta, Sevastopol, Balaklava). The novelist’s widow, Anna Grigoryevna Dostoevskaya, who died in 1918 in German-occupied Yalta (Hotel “France”) the owner of the dacha on the South Coast. An important milestone in the life of the son of the classic writer Fyodor Fyodorovich Dostoevsky is connected with Simferopol: not only did he realize his dream of his own stud farm, but also got married for the second time. At the first glance, the “Crimean pages” in the biography of Fyodor Fyodorovich Dostoevsky have been thoroughly studied. However, the “Simferopol chronicle” of his life requires revision and clarification. This article proposes corrections to the date and place of the wedding of F. F. Dostoevsky and E. P. Tsugalovskaya. Irrefutable documentary evidence of this event is provided by the corresponding entry in the register of births, marriages and deaths of the Alexander Nevsky Cathedral in Simferopol, which is currently preserved in the State Archives of the Republic of Crimea. An important verification commentary to this entry was the “Simferopol letters” of F. F. Dostoevsky to his mother. The surviving March and May messages of 1903 not only confirmed the wedding date indicated in the metric (April 27, 1903), but also helped to establish an nontrivial place of the sacrament — the house church in the name of St. Andrew the First-Called at the Orphanage of Andrei Yakovlevich Fabre. The juxtaposition of data from the metric record and direct epistolary evidence of F. F. Dostoevsky also made it possible to determine the members of his immediate circle in Simferopol.

Эдиционные задачи публикации переписки Ф. М. Достоевского: проблема источников

Author(s): Lyubov V. Alekseeva / Language(s): Russian Issue: 4/2024

The researchers of F. M. Dostoevsky’s epistolary heritage recognize the historical value of correspondence as a reliable source that helps build a genuine biography of the writer. Dostoevsky’s letters are not only a biographical source, especially since the writer did not keep a diary and did not leave memoirs, but also a part of the writer’s literary heritage. The tradition of publishing Dostoevsky’s letters has a long, 140-year history. Since the 1880s different types of letter publications have been implemented: individual publications, as part of collections and complete works, and in scientific articles. Currently, the researchers have published and commented on all known Dostoevsky’s letters preserved in autographs. Over time, scientists also realized the value of letters from correspondents addressed to the writer. Commented publications of individual letters, thematic groups and epistolary cycles of correspondence appeared. The researchers faced the task of systematizing all letters and preparing a commented publication of a unified set of Dostoevsky’s correspondence. In Russian editional practice, a tradition has developed of publishing the correspondence of the 19th-century classics, an example is the correspondence of A. S. Pushkin, which has been reprinted more than once. Despite the experience with this kind of publication, the epistolary heritage of such an outstanding 19th-century classic as Dostoevsky has not been published in the form of a complete set of correspondence, including letters from correspondents. Its preparation poses various many questions for researchers. The article identifies the editional tasks that arise in the process of publishing correspondence, and proposes possible ways to solve them. The work on the publication of Dostoevsky’s entire creative heritage in the language of the 19th century is carried out as part of the publication of his Complete Works in the author’s spelling and punctuation. In part, these tasks were implemented through electronic publication of letters from Dostoevsky and his correspondents on the website of Petrozavodsk State University Philolog.ru. At the moment, it contains most of the letters, which are verified by handwritten autographs. In the future, a scientifically commented set of correspondence is slated for publication. Electronic publication allows to offer a variable and multi-level representation of Dostoevsky’s epistolary, thereby solving many editional problems.

Адресные записи А. Г. Достоевской конца 1870-х - начала 1880-х гг.

Author(s): Boris Nikolaevich Tikhomirov,Irina Svyatoslavovna Andrianova / Language(s): Russian Issue: 4/2024

The publication introduces into scientific circulation 233 address entries made by the hand of Anna Dostoevskaya in her notebook, which is stored in the Manuscript Department of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences (F. 100, No. 30707), and dated 1877–1882. The address records are provided in chronological order and internally split into two blocks: 1877–1880 and 1881–1882. The first block includes the addresses recorded during Dostoevsky’s lifetime, and this part of the publication can be considered a kind of family address book, since it contains a significant number of addresses of people from the writer’s entourage. The address records included in the second block were made after Dostoevsky’s death, however, many of them reflect the widow’s activities to perpetuate his memory and promote the writer’s creative legacy. These include the addresses of Orest Miller, who worked on the first posthumous biography of Dostoevsky in 1881–1883, the sculptor L. Bernstam, who casted the death mask of the deceased, the A. Morand bronze foundry, where the mask and bust of the writer were cast, etc. The abstract accompanying each address entry includes a local history commentary and biographical information. Based on the reference literature of the 1870s — 1880s, the full form of historical addresses, which were mostly recorded by Anna Dostoevskay a in an abbreviated form is restored, and modern addresses are also placed on the current maps of St. Petersburg and Moscow (taking into account the renaming of streets and the renumbering of buildings). The biographical part of the annotations includes brief information about the addressees, accompanied by links to printed and archival sources. The abstract also contains detailed information (including archival ciphers) about the surviving correspondence of these persons with the writer and his wife.

Кто памятник воздвиг поэту? Пушкинский конкурс в обзорах «Гражданина» (1872–1874)

Author(s): Olga Vladimirovna Zakharova / Language(s): Russian Issue: 4/2024

In his reflections on death, A. S. Pushkin did not appreciate man-made monuments and copper idols, he was inspired by the idea of a “non-man-made” monument that would be eternal, resurrecting time and time again in every reader’s soul. The first man-made monument to Pushkin was the well-known tombstone monument in the necropolis of the Svyatogorsk Monastery (1841). In the 1850s and 1860s, there were constant public pleas to erect a national monument to the poet in Russia. In the course of the discussion, the site near the Holy Monastery in Moscow was chosen for the moment. The veneration of the poet’s memory and the discussion of the projects of his monument were reflected in the pages of the weekly “The Citizen,” edited by F. Dostoevsky. In April 1873, two reviews of the first exhibition of Pushkin monument models were published in the weekly. 15 projects were submitted for the competition. The authors of the published articles presented a critical analysis of all the projects, noting their advantages and disadvantages. Critics were ruthless towards unsuccessful projects. They didn’t like boilerplate solutions. The models received a generally negative assessment. The review of the second exhibition of Pushkin’s monument projects, which was published in the 19th issue of The Citizen in 1874, ended with the same verdict. Both contests were actually a no-choice choice. It was only in the third competition in 1875 that the winner — A. Opekushin’s monument to Pushkin was determined, and it subsequently was opened on June 6, 1880. Reviews of models and their criticism constituted an important portion of the Pushkin-themed content of the weekly “The Citizen.” They not only characterized the media aspect of Pushkin’s reception in Russia, but also had great political and social significance. The citizens of Russia and the readers of “Citizen” collected people’s money for the construction of the monument. During the unveiling of the monument, ideas were expressed that still determine the future of Russia. The opinions of the authors of the articles and editors of The Citizen V. Meshchersky and F. Dostoevsky raised the status of polemics and ultimately contributed to the triumph of the Pushkin Holiday in 1880. This is how the concept of the holiday as a historical event and the concept of Pushkin as a poet, prophet and “vsechelovek” (“panhuman”) developed.

Художественная критика в «Гражданине» Достоевского 1873 г.

Author(s): Daria D. Buchneva / Language(s): Russian Issue: 3/2024

Dostoevsky’s interest in art is undeniable. Painting, music, and theater were reflected in his works of art. Dostoevsky’s wife, Anna Grigorievna, regularly mentioned in her memoirs the couple’s visits to museums and galleries during their stay in Europe. Certain works of art had a strong impact on the writer. Such an effect was produced on Dostoevsky by Hans Holbein the Younger’s painting “The Dead Christ.” In “Grazhdanin” of 1873, when the writer served as the editor of the publication, notes and articles appeared devoted to reviews of exhibitions, paintings, and photographs from the Hermitage collection. The authors published in “Grazhdanin” — A. N. Maikov, V. P. Meshchersky, and I. Yu. Nekrasov — addressed painting in their publications. Dostoevsky devoted the ninth chapter of “The Writer’s Diary” to the St. Petersburg exhibition, prepared for display in Vienna. He was interested in issues related to the misunderstanding of Russian art by other cultures. Art criticism in the weekly “Grazhdanin” took various forms. The authors of “Grazhdanin” published both general reviews and topical articles. Expressing paintings and photo reproductions through words is a difficult task even for experienced art critics with specialized art history training. A. N. Maikov acted as a scrupulous reviewer, noticing small but vital details in understanding a painting. The critic turned to the historical context to expand the image. In their examination of the latest events in Moscow and St. Petersburg, I. Yu. Nekrasov and V. P. Meshchersky respectively focused on art news. In Dostoevsky’s verbal description, paintings came to life and became dynamic. Writers were often unconcerned with the image details; they sought to convey strong and vivid artistic impressions in words.