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The purpose of article is to consider musical interpretations of A.S. Pushkin «Do not sing, a beauty with me» through the prism of the receptive approach, revealing the specifics of the implementation of this poem in selected romances of composers of the ХІХ and ХХ centuries. Methodology. The basis of this study is the system-semiological method; аlso, comparative, analytical and genre-nominative approaches are used in the work. The scientific novelty of the study is determined by the inadequate elaboration of the receptive approach in the musicological literature, and also by the attempt to present the poem by A.S. Pushkin «Do not sing, beauty with me» as an open work for composer interpretations, revealing its semantic mobility. Conclusions. Pushkin’s poem «Do not sing, a beauty with me» is an implicitly constructed text containing a conditional (final) meaning for a new reception event. This allows us to talk about the embodiment of the principles of the so-called creative or productive reception, the result of which is the emergence of a new composition. This reception clearly and convincingly reflects the dialogic nature of art, which is based on the principle of potential co-creation.
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This article is an attempt to determine whether the successful film Snake Spring, directed by Nikolai Lebedev, can be considered the first slasher of Russian production. Slasher, as a subgenre of horror films, is not a typical phenomenon in Russian cinematography (or even more so Soviet), and its roots should be sought primarily in American culture and filmography.In this text, the author, first of all, focuses on the slasher as such, presents his distinguishing features and lists the most important pictures of the world’s cinematography representing this par-ticular subgenre.
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This publication describes the preliminary results of graphical analysis carried out basing on the materials of Dostoevsky's workbooks of the first half of the 1860s, namely his "second" and "third" notebooks as well as one of his workbooks composed along with the previous ones (The Manuscripts Department of the Russian State Library. Funds 93.I.2.7, 93.I.2.8; The Russian State Archive of Literature and Arts. Fund 212.1.3). Via concrete examples it is shown how a new database on Dostoevsky's writing can become an effective tool of the analysis of "difficult readings" in the writer’s autographs. The article considers the possibility of using two methods of representing the texts of Dostoevsky's notebooks in the graphic analysis of a particular group of records in these notebooks related to calculations and publishing activities of Dostoevsky. A comprehensive study of this little-studied group of records belonging to several notebooks kept at the same time allowed revealing some common features. The intermediate results of graphical analysis of the figures appeared in Dostoevsky's manuscripts are presented in the form of a table, complementing a similar hand lettering table compiled last year.
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Comparative studies devoted to the work of Taras Shevchenko and Mikhail Lermontov began in the 1920s. However, there are still many unresolved problems in this area. An attempt at a comparative psychological-biographical analysis makes it possible to identify the exclusive spiritual kinship of the two poets.
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The article is dedicated to the study of the addressing as a communicative artistic phenomenon in the poetic works of I. A. Bunin, the revealing of genre, thematic and stylistic features of the addressing. In his poetry Bunin keeps on following the classical tradition and the preservation of the addressed poems in their genre certainty provided that the “timeless addressing” dominates. The addressing is found in a title complex and the genre of works. In the works of Bunin the Epitaph and Epithalamius maintain a genre shaping function of the addressed genres. The most modified forms are related to the genres of dedications and Epistles. The tendency to the cyclization inherent to the epoch leads to the appearance in Bunin’s poetry of “hidden” personalized cycles (Nadson, Balmont). However, the name of an addressee is the basic and unique unifying principle: the poems-dedication hardly contain citations, allusions or other signs of the addressee. So, the removal of dedications deprives the poem of any distinctive marks of an addressed genre. The most frequent addressed genres are those grouped by the theme of memory and the paradigm of “the death of the poet”, transformed by Bunin into the concept of “tomb / tomb of the poet” as a legendary figure. The special genre of an epithaphical friendly message appears that represent the panegyrical type of the addressing and allows the poet to comprehend the category of “ancestor memory”. The dialogization of the text often has the character of “auto-addressing”. The least represented is an ironic addressing aimed at debates with the modernist aesthetics dominant in poetry. Bunin contributed to the development of new artistic communicative strategies that were formed in the poetry of the twentieth century.
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The sophianic theme, inherent to the Russian religious and philosophical thought of the late 19th — first third of the 20th century, is for the first time envisaged in the article in its relation to the artistic and philosophical creativity of Valerian Nikolayevich Muravyov (1885–1930). In the philosophical mystery “Sofia and the Centaur” (1921–1925) Muravyov brings together two lines of the sofiological theme — theological and artistic ones. Sophia appears in the pages of the mystery as an ideal image of the world and man, and at the same time her image is associated with the theme of the meaning of love, with the ethics of the transformed Eros. It is shown how the key scene of the mystery, the prayer to Sofia of all nature and all mankind followed by the common goal of transformation of the world, evolves into other artistic plans of Muravyov, and is reflected in the sketches of the fairy tale “The Captive Kingdom” (1925) and in the unpublished novel “The Island Buyan” (1926–1928). In the light of the Sofia plot the drama of the philosopher “Adviser for Death” (1927–1928) is considered. The autobiographical origins of the sophiology of Muravyov are revealed.
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The article studies the dialogue with Dostoevsky developing in Dombrovskaya’s christian metanovel “The way is open… Chekhov. Spiritual wanderings of Timofei the Deacon”. It is shown that the dialogue is of an extensive, systematic and multidimensional character. It is carried on at all the levels of the artistic system of the novel: an author’s message, method, genre, plot, characters system — and allows gaining a hermeneutic experience. In a dialogical correlation of Chekhov and Dostoevsky it is disclosed that both writers have in common the adherence to the evangelic spirit that helps them to be theologically precise/ accurate while judging and making emphases. However, while Dostoevsky interested primarily in the problem of destruction of the religious consciousness and testing the man on the way of freedom without God, disproves the principles and meanings of the Christian doctrine, Chekhov’s spiritual realism that highlights the “movement of an essential layer” in the terms of the everyday life of the man “emanates silence, lives off an inner word”. Besides, Chekhov as a child of his time feels better the danger of Pharisaism. The dialogue with Dostoevsky is carried on not only in philological sketches of the main hero, but is reflected in the destinies of the novel’s characters, in understanding of the spiritual conditions of modern Russia. The article, based on the reasoning of E. R. Dombrovskaya, for the first time asserts that Chekhov’s concept of the beauty is also interpreted both as the extension of a famous Dostoevsky’s principle and as its enrichment with new inner meanings.
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