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The article claims that one of the important means of creating a hero’s speech characteristics of a literary work is the use of recurring idiomatic expressions which can be individual words, compound words as well as entire utterances. In Ilf and Petrov’s two-part novel, the protagonist Ostap Bender’s way of speaking is characterized by a number of these elements. Among them a special category can be classified containing expressions which are not phraseologisms but still have bound, abstract meanings. These expressions have transparent features not only in Ostap’s speech but also in the novels’ texture as a whole, and they can rightly be called winged words, since they have become widespread in literary speech not losing their recognizability as quotations from the two-part novel. These expressions are, for example, знойная женщина; мечта поэта; ключ от квартиры, где деньги лежат; на блюдечке с голубой каемкой; or Рио-де-Жанейро as a form of evaluation.
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In the paper the road chronotope is connected with three years of forced staying of V.G. Korolenko in Yakutia in 1881-1884 and with the writer’s trip to America in 1893. In the story “Makar’s Dream” (1885), as well as in the novel “Without Language” (1895), the time is unidirectional, the events are depicted in logical and chronological sequence but the simultaneous events and actions occurring in different places are not depicted. In “Makar’s Dream” the reader is placed into a fantastic dream area where he has the possibility to watch the character go to inimical taiga first, where even the hares mock him, and then, after Makar’s “faint” readers follow the traveling of his soul to another world. In the American texts of V.G. Korolenko the duality of the country writer’s perception can be seen. From the one hand, America in the novel “Without Language” is presented as a mythological infernal space, the hell, in the plot structure a mythological formula of the “death” and the following “resurrection” of the character is used by the author and the guest house of Mister Bork gets some characteristics of the “antihouse”. From the other hand, in the process the character of the novel Matvey Lozinskiy begins to discern the advantages of America and the exotic foreign land starts to demonstrate its human sides.
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The article analyses modern traditionalism and its main directions (classical traditionalism, neo-traditionalism and new realism). This analysis encompasses the reasons for a returning interest to the realistic principles of writing, and the dialogues between traditionalism and the avant-garde and the cosmos and chaos as key to the development of culture as a whole. It highlights the ways in which current literary studies and criticism reflect the shift of the cultural paradigm and the transition from the poetics of postmodernism to the realistic principles of writing, while preserving elements of postmodern aesthetics. Particular attention is paid to the increasingly controversial direction of “new realism”, which is represented by two key areas: patriotic and naturalistic. The “new realism” authors actively form their own mythology, participating in politics, and trying to reconcile Soviet and anti-Soviet discourses. They search for “avant-gardism in conservatism”, where conservatism is a treasury of Russian classic images, and avant-gardism is the innovations that reflect the current public realia. The article provides a detailed analysis of the literary work of Siberian author Mikhail Tarkovsky. Tarkovsky’s work combines elements of the poetics of “classical traditionalism” and “new realism” to present an original geopolitical project and a cultural character capable of bringing the country to a new level of civilisation.
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In the article of Lesevickiy Aleksey Vladimirovich which is entitled “The image of the future man in the novels of Dostoevskiy F.M.“ Offence and punishment” and “Karamazov’s brothers” the author considers “the model” of the person which formed the Russian writer. Dostoevskiy fatefully predicted the appearance of superman in the west world, some philosophy ideas of Nicshe F. were practiced in national-socialist Germany. Long before the Njunberg’s tribunal Dostoevskiy wrote about nonviability of the study, the base of which was hate towards our dearest.
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Набоков нам је познат као научник, као песник, као прозаиста, као књижевни стваралац – есејиста. Али, ево где га упознајемо и као драматурга. Написао је четири комада. Са једним од њих, Проналазак Валца1 , читалац се упознаје на страницама часописа „Новый мир2*“, три друга, колико ми је познато, угледаће светлост у оним нашим издањима које ми називамо позоришним, тј. која имају непосредну везу с позориштем.
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Review of: Adrijana Vidić, Ruska ženska autobiografija: osobno i javno. Zagreb: Hrvatska sveučilišna naklada/Zavod za znanost o književnosti Filozofskoga fakulteta u Zagrebu, 2016.
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Theatre plays by Ivan Vyrypayev, Russia’s foremost and most influential contemporary playwright, are frequently staged not only in Russia, but also abroad, several plays have even been written on demand of European theatres. Vyrypayev is a very special and in many ways antipodal author. On the one hand, he bases himself upon the Russian cultural tradition, while engaging in a critically tuned dialogue with it. He introduces new staging techniques and new themes to theatre production, which respond in a very sensitive way to the current state of European civilisation and to the situation of man in the world affected by the crisis of values. Slovak theatre became first aware of his work in the early 21st century. Since 2004, up until now, his plays Sny [Dreams], Iyul [July], Pyanye [The Drunks], Ilyuzii [Illusions], Letniye osy kusayut nas dazhe v noyabre [Summer Wasps Bite Us Even in November], Nevynosimo dolgiye obyatiya [Unbearably Long Embraces] have been staged in Slovakia. Initially, it was the Slovak independent theatre expressing its interest in Vyrypayev’s texts, but very quickly, mainstream theatres followed suit. They have crossed generational barriers, and in the staging of his plays, the actors of young and oldest generations deliver remarkable performances. In a country in the heart of Europe, the poetics of an author who creates on the borderline between the East and the West, has resonated markedly well with the audiences. The theme of the relationship between Slovak theatre and Ivan Vyrypayev’s dramatic work remains open, whereby the presented study records and reflects on the current situation.
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The article focuses on the peculiarities of specific cultural elements transfer in the English translations of F.M. Dostoevsky’s novel The Gambler. The aim of the research is to define the completeness of the concept of pride transfer in the translations by C. J. Hogarth (1915), C. C. Garnett (1917), J. Coulson (1966), J. Kentish (1991) and H. Aplin (2006), and to estimate the effect of the elicited transformations on the idea of the novel. The method of studying the translations is based on the concept analysis of the text. On the ground of the semantic asymmetry of the studied concept in the national worldviews of the Russians and the Englishmen, it is hypothesized that the transfer of many features of the concept in translation may cause difficulties and require numerous compensations. One of the key episodes, representing the concept of pride in the character of Madame Tarasevitcheva (the Grandmother) and being important for understanding both her personality and personalities of the other characters, as well as for studying the concept functions in the novel, was chosen as the material for the study. Translation analysis elicits the facts of full reproduction of some significant features of the concept and transformations of the others. It is concluded that reduction of some concept features distorts the character of the Grandmother and the sense of the novel. The largest number of translation losses was identified in C. J. Hogarth’s version, while C. C. Garnett and J. Coulson handled the original text more delicately, and J. Kentish and H. Aplin reached the maximum level of equivalence in their translations.
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The article deals with the means of expressing the grammatical meaning in hypotactic conditional constructions of the modern Russian language using A. N. Ostrovsky’s latest period work Snegurochka. The authors set the problem of analyzing subordinate conjunctions, which are genetically asynchronical in origin and differ in the extent of integrity of the meaning they express, in the aspect of literary/colloquial opposition. The drama of the romantic play-tale engaged for the research allows to display specific traits of Russian literary syntax in the post-Pushkin period in anticipation of new literature tendencies: increasing domination of the monosemantic conjunction yesli with its neutral stylistic nature, and at the same time quite frequent implementation of the syncretic conjunctions with salient colloquial connotations koli, kaby, kogda, at the time being archaic for the codified literary language. All these conjunctions are included in the list of a thousand of the most frequent words of A. N. Ostrovsky’s works having a respective rank and frequency index, with the conjunctions yesli and koli having the highest indices. The authors come to the conclusion that Snegurochka shows almost the complete set of lexical and grammatical devices – i. e., the conjunctions of conditional subordinate clauses employed by A. N. Ostrovsky in his numerous plays characters’ speech both as a book type characteristic of codified literary speech and the colloquial one with the bias to literary language inclining towards antiquity and vulgar tongue. The latter are usually syncretic conjunctions. All these factors contribute to the efficient accomplishment of the artistic tasks set by the playwright and serve as a yardstick for measuring the degree of development of the hypotactic means of the Russian literary language in the first decades of the post-Pushkin era.
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The article analyzes three poetic, spiritual, and historical works of Semyon Bobrov (one of the poorly researched authors of the turn of the XIX century), devoted to the motif of the Tsar’s murder on March 11, 1801: “The voice of the resurrected Olga crying out to her son Svyatoslav”, “Night” and “Gala morning”. Historiosophical questions, as well as the basic historiosophemes and mythemes used by the author are considered. Bobrov is one of few poets of the specified period who ventured to write about the tragic March events, of which the majority was even afraid to think. Bobrov created a triptych about the murdered Emperor Paul I; his works are distinguished by the fact that they combine historiosophemes, traditional for high genres, for example, the All-Merciful Providence patronizing Russia, with the tragic unmerciful realities of Russian history. Bobrov was able to do so by introducing Creative Spirit into his texts. Bobrov’s holistic historiosophical concept enriched the literature of the beginning of the XIX century with the poetics of the “terrible” and “mysterious”.
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The article offers a case of studying Pushkin’s theme in the poetry of the Silver Age. The research material is the material of the modern Dictionary of the Language of the Twentieth-Century Russian Poetry, mainly the dictionary entries for the proper name Pushkin and its derivatives (Pushkinsky, Pushkinist, etc.). The novelty of the work is determined by the choice of a “dictionary-based” approach to the topic, which enables us to identify the features of the perception of creativity, fate, and the image of Pushkin itself by the authors of the Silver Age, based on the analysis of contexts and metalanguage markers. Dictionary materials show that Pushkin’s image is manifested in the use of the national poet’s name in a strong position of the text title, as well as in the repeated displaying of Pushkin’s lines as an epigraph, which sets both the thematic perspective and the emotional tonality of the work. According to the actual text fragments reflected in the Dictionary, it is clear that Pushkin is interesting for poets of the new century in different states – as a young talented poet, as a man, who survived an exile, and, among others, as an acknowledged classic, who inspires creativity (see the verses of Annensky, Akhmatova, Blok, Yesenin, etc.). Dictionary entries pinpoint the diverse associativity in the perception of Pushkin by individual poets (Tsvetaeva, Khlebnikov), the comparison of his name and his image with objects and concepts of different nature. Among the words derived from the name Pushkin, there can be distinguished frequent common language adjective Pushkinsky and Khlebnikov’s neologism Pushkinoty. While the first one demonstrates the compatibility in poetic use, which characterizes the image of the poet in different ways (Pushkin’s revolt, Pushkin’s sadness, Pushkin’s sense of proportion, etc.), the second one reveals the word-forming and aesthetic potential of the proper name, which is symbolic for Russian culture.
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The article analyzes the lyric poetry of Ivan Kozlov, a little-known poet of the Pushkin’s era. It is proved that the poetic world, created by the blind poet, is full of visible images, which are in constant motion. The main attention in the article is focused on the study (both in terms of frequency and meaning) of one of the iconic images in Kozlov’s poetry – the image of water elements. The author studies how the traditional characteristics of this image are reconsidered in the works of the poet. It is shown that for the poet the sea is both rest and storm, and that this image is not unequivocally connected with the horizon line or the vertical line. It is proved that his descriptions of water elements almost always contain a repetitive, rhythmic movement, which is transmitted through the image of a wave. That is why the main attention in the article is focused on the identification of specific properties of the wave image in Kozlov’s lyrics. As a result of the research it was established that the image of a wave in Kozlov’s lyrics is both an expressive detail of a landscape and a symbol of life; besides, the image of a wave for the Russian romantic poet is a heart of the universe, its rhythm, and the visual display of the heartbeat of the world. As a result of the research it was proved that in the image of a wave there are real physical properties of this natural object, as well as metaphorical, symbolical, allegorical, and mythological elements. The rhythm of a wave pictured by Kozlov conveys the pulsation of life: either tensely frightening or calming. And the very changes in the characteristic of the wave indicate the changes in the worldview of the romantic poet.
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The article analyzes the connection of the disputes about Byzantium in Russian culture between the 1840s and the1870s and the conceptual vision of Konstantin Leontiev, set forth in his programmatic work Byzantism and Slavdom (1875). The purpose of the work is to identify the problem of understanding the Byzantine heritage in Russian culture, as well as to study the degree of influence of individual authors on the formation of Konstantin Leontiev’s views. The research direction determines the choice of the historical and literary method. Relevance of the work is confirmed by scholars’ attention to Leontiev’s works and his concept of “byzantism”. The study focuses on the analysis of cultural context of byzantizm. The article notes the actualization of the byzantism concept by Konstantin Leontiev in the 1870s. The similarities and differences between Aleksey Khomyakov’s and Konstantin Leontiev’s positions in the issue of Byzantine influence are considered, and the opinions of Granovsky, Herzen, and Aksakov aregiven. The conclusion is made that Leontiev’s position is closer to that expressed by the camp of the Westernizers,and not to that of his allies – the Slavophiles. Leontiev, by proceeding from the current philosophical and cultural tradition, delves into the process of understanding the Byzantine heritage and forms a new original content for the “byzantism” concept.
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The relevance of the following article lies in the fact that Chingiz Aitmatov’s novel The Scaffold has never been studied before from the perspective of cognitive linguistics. For the first time the author carried out a comparative analysis of the verbal and non-verbal means of representing the concept of fear in the gospels of Matthew, Mark, Luke and John,as well as in evangelic episodes in Aitmatov’s novel The Scaffold. On the basis of the existing studies in the field of cognitive linguistics around concepts in general and the concept of fear in particular, an attempt was made to study the above-mentioned concept in Aitmatov’s literary discourse. Using component-based and structural analysis, as well as comparative data from linguistic and encyclopedic dictionaries, the structure of the concept of fear was identified and described: the nuclear and near-nuclear zones are represented by the nominate fear and its synonyms, such as angst,panic, alarm, and horror. The peripheral and near-peripheral zones of the concept are verbalized using quasi-synonyms, such as passion, timidity, fear, trill, horror, and cowardice, as well as metaphors and epithets, respectively. The analysis of textual fragments revealed that linguistic means explicating the nuclear and near-nuclear zones of the concept of fear in the compared sources actually coincide, while when describing the peripheral and near-peripheral zones, significant differences were found in the use of linguistic means in the compared sources.
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Fyodor Mikhailovich Dostoevsky represents in terms of value one of the highest peaks of Russian Christian literature. His works present images, typologies, directions of thought and interpretation, in different contexts of existence of a nation grafted on the values of the Orthodox faith and Tradition. In this study we try to use the confessional elements of the existentialist thinking of the great Russian literature. Starting from the presentation of his life and works, we come to discover the Christian essence of his message. This, almost every time encrypted by types and symbols, represents in fact a valuable confession and apology of the orthodox meaning of existence. In contrast and for a better understanding, the great Dostoevsky also speaks of a telluric existence, passionate, deprived of the freedom of faith in God. In this respect, we have resorted to an apologetic analysis on the idea of freedom in “The Legend of the Great Inquisitor”, a masterful chapter from Dostoevsky’s masterpiece “The Karamazov Brothers”.
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»Suvremena ruska poezija nije pala s neba, već bijaše nagovještena cjelokupnom pjesniškom prošlošću naše zemlje« — pisao je Mandeljštam 1923. god.
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