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1–4 июля 2013 года при поддержке Института литературы имени Тараса Шевченко Национальной академии наук Украины на базе Нежинского государственного университе- та имени Николая Гоголя состоялся ІІІ Международный научный семинар из серии «Studia Sovietica». Тема этого семинара — «Хронология советской культуры: константы и транс- формации».
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The article analyzes Lomonosov’s theory of the three styles. It also considers the basic developmental stages and the correlation of Russisms and Slavisms in the Old Russian period. The study involves extensive factual material collected from a variety of historical sources. The research matches Russisms with archaisms and proves that the opposition between the concrete-common and the abstract-high vocabulary is not genetically determined. The paper traces the history of the three-part system of the stylistic fund of the Russian literary language.
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The article deals with the problem of critical perception of religious and philosophical views of L.N. Tolstoy by Orthodox Church. The analysis is focused on a critical speech by A.F. Gusev, professor of Kazan Theological Academy, dedicated to Tolstoy’s attitude towards church rituals. It is considered how the critic understands and estimates the teaching of Tolstoy, which found expression in his religious and philosophical works, particularly in “A Confession” (“Ispoved”). A conclusion is made that Gusev in his polemics with Tolstoy uses a logically well-knit system of arguments. He refers to the Gospel, historical examples, scientific and court practice data. Thus, his attempt to discuss the problem of Orthodox cult and church ritualism should be recognized as successful.
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The article considers quantitative methods potentials (methods of corpus linguistics) in studying of biographical texts. On the base of autobiographical texts key words and interpretative method «the semiotic square» of A. J. Greimas the author describes the features of men's and women's life scenarios. The given express-analysis allows revealing the peculiarities of autobiography construction by men and women, and shows the dependence of individual histories on cultural scenarios.
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The image of traveller created by I.A. Goncharov in his book of essays “The Frigate Pallada” (1855–1857) has been considered for the first time as a phenomenon of artistic genealogy of the similar image in M.M. Prishvin’s travel essays (1909–1914). This article is focused on the philosophical and aesthetic perception of the world typical of both travelling artists, their creative motivation for travelling and attention towards pictures of nature, which are always associated with the feeling of homeland. An assumption about the similarity of the artistic natures of M.M. Prishvin and I.A. Goncharov and the consonance of their creative thinking is made. This expands the idea of the origin of Prishvin’s world-view and allows us to feel its originality.
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The paper addresses the process of theatricalization of Russian reality in different historical periods. It retraces the influence of political situation on the nature of theatrical dialogue with the audience and specifies its forms in the periods from 1917 to the 1930s and from the 1950s up to now. The authors come to the conclusion that the blurring of borders between the stage and the audience served different goals in different periods: it helped to release the internal energy of the masses at one time and became the means of its oppression at another time, but finally it led to democratization and a person’s acquisition of internal freedom.
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The paper establishes types of dialogical relations between G. Tukai and N.A. Nekrasov’s works belonging to the genres of invective, message, and memorial lyrics. The conclusion is made that similarities in form and functions (organizational principles of the subject sphere, genre and stylistic features) do not stem from the same sources and nature. The principles of artistic generalization in Tukai’s lyrics are different from those used by N.A. Nekrasov. The individual and typical, singular and unified are located at the same level and stand in the relations of compliance and coincidence. The poetics of N.A. Nekrasov’s lyrical works is connected with the hierarchy of artistic content aspects at different levels. The subject structures of Tukai’s lyrics are distinguished by the features of personality development in the Tatar literature of this period, as well as the logic of meaning formation, which is characteristic of this type of culture.
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The paper discusses the dialogue between the literary works of M.Yu. Lermontov and Tatar poets of the early 20th century (Sh.M. Babich and Dardemend). The study is based on the proposition that the East and its culture did not only constitute the topic covered quite well by M.Yu. Lermontov, since there were foundations associated with the Eastern aesthetics and culture in the very structure of his consciousness. It was this relationship between M.Yu. Lermontov and the most important concepts of the Eastern culture that led to the interliterary dialogue, which is analyzed in this paper in terms of the motive of wandering and path.
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The paper compares the development of the winter theme in G.R. Derzhavin’s ode “Birth of a North Crowned Lad” and N.A. Lvov’s poem “Russian 1791. Winter”. Based on the analysis of imaginative and ideological structures of both works, the conclusion is made about their antagonistic nature. The mask character of N.A. Lvov’s poem is proved and opposed to the stylistically integral works by G.R. Derzhavin. The literary mask is considered as the main artistic principle used by N.A. Lvov.
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This paper describes style peculiarities distinguishing M.M. Kheraskov’s portrayal of women, which is so characteristic of his artistic descriptions. Based on the specificities and functions of literary portrayal in modern philology, features uniting verbal representations with visual images, in particular with the pictorial allegories typical for the cultural epoch of the 18th century and their “clichés”, are revealed. Another feature of М.М. Kheraskov’s style, which appears in his prosaic portrayals, consists, as a rule, in the unique functioning of every, especially detailed, description of women.
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The paper considers the image of Napoleon in N.M. Karamzin and G.R. Derzhavin’s works. N.M. Karamzin, who dedicated a sufficient number of publications to Napoleon in his literary and political journal “The Messenger of Europe” (1802 – 1803), was interested in the psychological nature of Bonaparte and admired his various talents, thereby showing a sentimentalist attitude towards the individual personality. N.M. Karamzin depicted Napoleon as a sentimentalist character with pathos and reflection. On the contrary, G.R. Derzhavin foretold the collapse of Napoleon in some of his works long before 1812, using apocalyptic symbols and literary conventionality. During the Patriotic War, N.M. Karamzin became virtually closer to G.R. Derzhavin and expressed his hatred towards the usurper through the stylistics of classicism, mostly elaborated at those times, in order to embody the civil topics.
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The paper analyzes new interpretations of the transition period in Russian literature of the late 17th and early 18th centuries. Special attention is given to the point of view expressed by A.I. Ivanitskii, who describes the above-said period using the term baroque classicism. The concepts of other researchers (O.M. Buranok, A.G. Gokina, and P.A. Efimova), who defined it as pre-classicism, are also considered. It is concluded that baroque classicism is characterized by the following main features: typical classical images acquire a new meaning; rational-state procedure is performed in the form of a game. The main feature of baroque is transitivity. Thus, the principles of rationalism and game are at the basis of baroque classicism.
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The paper is devoted to the problem of family in M.Yu. Lermontov’s poem “The Song about Tsar Ivan Vasilyevich, the Young Oprichnik, and the Daring Merchant Kalashnikov”. The most authoritative scientific concepts are considered. The moral and ethical content of the work is evaluated. The figurative and narrative features of the poem are explored in relation to their conformity or discrepancy with those of the Old Russian literature. The subjects of comparative analysis are literary works representing the Old Russian literature (“The Tale of Igor’s Campaign” and “The Tale of Peter and Fevronia of Murom”) and A.S. Pushkin’s novel “The Captain’s Daughter”. It is concluded that the realities of the 14th century depicted in the poem serve mainly as a historical background expressing the worldview, which was alien to the culture of the Ancient Rus’.
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The purpose of this paper is to consider the genre of drinking songs in N.M. Yazykov’s works. The comparative analysis of drinking songs created by this poet and in the earlier works by G.R. Derzhavin and D.V. Davydov makes it possible to find similar themes and trace their development. Patriotic motifs prevailing in the works of all these poets are expressed in different ways. G.R. Derzhavin poeticizes the native customs, describing in details the national way of life. D.V. Davydov’s lyrical character is a brave soldier fighting for the motherland and considering the feast as a continuation of the battle. In N.M. Yazykov’s early works, the feast of students symbolizes their ability to think and speak freely. In his later poems, it turns into the readiness to fight for motherland, in terms of ideological fight rather than real battle.
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The study object of this paper is M.V. Sabashnikova’s first published poetic cycle “The Forest Pipe”. The complex analysis of poems included in the cycle makes it possible to get an understanding of M.V. Sabashnikova’s poetic world during the period of 1906–1907. As a result of the study, individual peculiarities and typical features of the epoch reflected in M.V. Sabashnikova’s poetic manner are revealed.
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This paper considers the influence of modern technologies and the Internet on V. Pelevin’s novel “Love for Three Tsukerbrins”. The problematic and thematic field, composition and plot, stylistic characteristics are analyzed from the perspective of their involvement in the modern computer discourse. The type of intertextual links, system of images, and language peculiarities of the novel are studied. Their specificity enables the conclusion that information technologies do not only serve as the subject of artistic description, but also turn out to be the factor influencing the poetics of the novel. In addition, it is revealed that the modern types of Internet communications determine the author’s narrative strategy and the reader’s reception.
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The paper discusses the specificity and mechanism of construction of the Russian myth in the Slavic fantasy at the turn of the 20th and 21st centuries. The sociopolitical context provoking actualization of the Russian myth is analyzed. The variants of its presentation and simulation peculiarities are described. The Russian myth is constructed based on three main lines. First, the system of traditional national identificators is reconsidered in the Slavic fantasy. Secondly, a new pantheon of national heroes is formed, thereby invoking the narratives of Oleg and Vladimir. Thirdly, the process of national reidentification based on the revision of national auto- and heterostereotypes is widely represented.
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The purpose of this paper is to disclose one of the components of “Bulgakov’s text” as a literary phenomenon. The study of this phenomenon (along with “Pushkin’s”, “Gogol’s”, and other texts) seems to be quite appropriate, as it is among the important problems of modern humanities (intertext phenomenon). The paper uses comparative and typological methods of investigation of M. Bulgakov’s “Heart of a Dog” (pretext) and A. Zhitinskii’s “Grandson of Dr. Bormental” (sequel). This allows to reveal the palimpsestic nature of A. Zhitinskii’s story, as well as to identify the sociocultural plan and game strategy of world modeling in the literary work. The novelty of the research lies in the identification of structural-semantic peculiarities of A. Zhitinskii’s story in the aspect of the intertextual Bulgakov’s “code”. As the result of the study, it was concluded that annihilation of the sustainable conceptual blocks, which transforms the essence of external and internal attributes of the everyday-existential dominants in relation to the new temporal context, is present in the sequel under study.
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The paper considers the poem “The Tsyganovs” by D. Samoilov (1920–1990), one of the most prominent Russian poets of the late 20th century. The work is studied in the historical and cultural contexts. Using the historical-literary and intertextual methods of analysis, the original sources of the poem are revealed. This provides an opportunity to understand the artistic intention and accept the root sense of the poem.
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