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"Annals of the House of Writers", How do writers live in the Crimea
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Антонин Петрович Ладинский (1895-1961) принадлежит к ≪младшему≫ литературному поколению первой волны русской эмиграции. В литературу Ладинский вошел как поэт, получив достаточно большую для молодого автора известность в эмигрантских кругах. Он печатался во всех ведущих периодических изданиях первой эмиграционной волны, различных географией своих появлений, был корреспондентом парижских ≪Последних новостей≫ П. Милюкова, публиковал путевые заметки, рассказы, рецензии на театральные постановки и кинофильмы. В 1937 г. в Таллинне был опубликован его первый исторический роман ≪XVлегион≫ из истории падения Римской империи, получивший затем в советском издании название ≪В дни Каракаллы≫ (1960). За ним последовал роман ≪Голубь над Понтом≫ (1938) из истории Византии, переработанный затем в Советском Союзе под новым названием ≪Когда пал Херсонес≫ (1959) и открывший трилогию из истории становления Российского государства. Вторая часть трилогии ≪Анна Ярославна - королева Франции≫ была опубликована в 1961 г., а завершающий трилогию роман ≪Последний путь Владимира Мономаха≫ - после смерти А.П. Ладинского в 1966 г. в издательстве ≪Советский писатель≫. О публикации этих романов в Советском Союзе и пойдёт речь в письмах А.П. Ладинского поэтессе Вере Моисеевне Инбер (1890-1972), приведённых в этой статье, как и о его последнем посмертном, до сих пор нигде не опубликованном и раннее неизвестном стихотворении ≪После смерти≫, присланном Вере Инбер литературоведом Полиной Львовной Вайншенкер через год после смерти А.П. Ладинского. Стихотворение датировано 16 мая 1961 г. и было написано за день до инфаркта, после которого А.П. Ладинский больше не смог оправиться. Он умер 4 июня того же года. Предваряя тексты писем и комментарии к ним, приведунекоторые, необходимые на мой взгляд, биографические данные Антонина Петровича Ладинского.
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This paper studies the influence of the publication of the novel Andromeda Nebula (1957) written by Ivan Efremov on the development of Soviet science-fiction literature and particularly of its Future perception. In this novel, Efremov, for the first time, places the events of the story in the far-away future and gives a detailed description of the Future society of the Earth and especially of its inhabitants. The novel’s publication brought about debates on the role and goals of science-fiction literature in the Soviet Union. The paper examines the social and cultural situation in the Soviet Union at the moment of novel’s publication, describes distinctive features of Efremov’s Future World drawn in the novel and attempts to explain a revolutionary effect of Andromeda Nebula on Soviet science-fiction.
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In August 1934, poet and writer Vítězslav Nezval (1900–1958), a leading personality of the Czechoslovak inter-war art avant-garde and also a member of the Communist party, visited Moscow as one of the Western guests invited to the founding congress of the Union of Soviet Writers; one year later, he published a prosaic-essayistic reflection of his visit under the title "The Invisible Moscow" (Neviditelná Moskva. Praha: F. Borový, 1935). The purpose of the present study approached from a semiotic angle is to obtain access to the intentional meaning of this specific testimony concealed behind a factual description of events and environments. The author first outlines a broader socio-political context consisting in an intensive interest of Western left-wing intellectuals in the Soviet Union between the world wars and, on the other hand, in systematic efforts of the Soviet leadership to make use of this potential for their own benefit. Nezval ranked among artists who felt a priori sympathies toward the Soviet social experiment, and they are clearly seen in his text, although he himself declared that his intention was not to provide a testimony about the Soviet “objective reality” which is what media reports or articles do. To understand Nezval’s work, the author believes it must be kept in mind that Nezval, while in the Soviet Union, was looking for, first and foremost, inspiration and connections with poetic and ideological principles he professed. Nezval’s cognitive method is intuition, free of any rational and critical reflections, and his creative principle is imagination, whose incarnation Nezval founds in surrealism. The reality around him serves as a matter for a distillation of experiences occurring in a dream mode. This allows him to overlook or willfully interpret various phenomena related, for example, to the repressive aspect of Stalin’s regime or the onerous everydayness of the Soviet Union’s citizens. The author sees the dominant feature of this dreamlike experience and the line connecting seemingly incompatible segments of reality into all-embracing lyrical intoxication in an erotic principle. Nezval is excited by Moscow as an object of bliss, as a source of sexual arousal. This principle is offered to him as a key enabling an individual to cross the boundary of individualism and blend into the society as a bridge between the eternity of sexual ecstasy and the eternity of the classless Communist society, thus promising the fulfillment of human utopias. The author provides an analysis of the text of "The Invisible Moscow" in support of his conclusions, and links them to some period esthetic and philosophical concepts.
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Poate că ar trebui să încep cu motivarea titlului de mai sus, a cărui formulare ţine să precizeze că autorul nu intenţionează să adopte acel ton pătimaş întâlnit, pe alocuri, în unele din prefeţele sau postfeţele la traducerile postmoderniştilor ruşi, la noi, şi nici să se implice în disputele ideologice ce se duc astăzi în Rusia între partizanii postmodernismului şi critica tradiţionalistă. Simptomatic, în această privinţă, este ceea ce scria, de curând, un ziar moscovit, din relatările căruia reieşea că e imposibil ca un scriitor de orientare postmodernă să primească Premiul „Şolohov” sau „Fiii credincioşi ai Rusiei”, aşa cum este exclus şi ca un „scriitor-patriot” să devină laureat al Premiului Booker. De aceea ne-am propus să investigăm acest fenomen cultural contemporan dintr-o perspectivă mai detaşată, obiectivă, pe cât posibil, expunând propriul nostru punct de vedere.
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Articolul tratează despre imaginile biblice prezente în creaţia celor doi poeţi romantici. Poezia lor are ca fundament credinţa în esenţa divină a lumii şi exprimă valori fundamentale ale moralei creştine. Deşi în lirica lui Tiutcev, elementele păgâne coexistă cu cele religioase, vectorul ei principal este orientat spre divinitate, spre căutarea Creatorului în creaţia Sa. Fet, la rândul său, renumit cântăreţ al naturii, autor al unor miniaturi lirice de mare sensibilitate poetică, scrie sonete închinate Maicii Domnului, prelucrări poetice ale rugăciunilor Ave Maria, Tatăl nostru şi transpune în versuri episodul ispitirii Mântuitorului în pustiu, din Evanghelia după Ioan (cap. 8: 1-11). Prin elegiile sale filosofice, Fet aparţine tradiţiei spiritual-creştine, începută de Puşkin şi Gogol şi continuată de Dostoievski, Soloviov, Ahmatova ş. a.
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Aportul la cunoaşterea de sine a omului şi a umanităţii prin surprinzătoarele descoperiri ontologice dostoievskiene n-a putut fi ocolit sau subestimat de nimeni. Maxim Gorki, perceput, de regulă, într-o postură ideatic ireconciliabilă faţă de autorul faimoaselor romane, scria în 1905: „Tolstoi şi Dostoievski - două dintre cele mai mari genii, ce prin forţa talentului lor au zguduit întreaga lume, au atras asupra Rusiei atenţia uluită a întregii Europe, ei amândoi alăturându-se, ca egali, marilor rânduri de oameni, ale căror nume sunt: Shakespeare, Dante, Cervantes, Rousseau, Goethe”.
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The text is a review of Roman Katsman’s monograph, entitled Vysshaya legkost’sozidaniya. Sleduyushchiye sto let russko-izrail’skoy literatury (Boston–St. Petersburg: Academic Studies Press–BiblioRossica, 2021). This is a continuation of his research included in the previous book, Neulovimaya real’nost’. Sto let russko-izrail’skoy literatury (1920–2020) (Boston–St. Petersburg: Academic Studies Press–BiblioRossica, 2020). Katsman steps back from perceiving Russian-Israeli literature as a part of Russian literature and describing it only in contexts and connections related to Russian culture. The recognition of such literary autonomy requires a separate research method, tools and conceptual apparatus. In his book from 2020, Katsman presents a philosophical and cultural paradigm, which aims to define the perspective of Russian-Israeli literature; in the other monograph, he supplements this paradigm with the myth-creating potential contained in this literature.
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This paper is devoted to orthodox ecclesionyms in Polish, as recorded in official usus. The first section is an analysis of the names of churches and parishes, which include the heortonym The Dormition of the Mother of God. The second part presents their possible use as equivalents in translation from Russian to Polish. The author notes that, along with the onomastic and translation perspectives, it is necessary to take into account linguistic rules of a prescriptive nature, as well as historical, cultural and theological factors.
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The article is focused on Fool’s Night, a play directed by Alexa Visarion at Radu Stanca National Theatre in Sibiu, in 2015. Starting from a theoretical approach of A. P. Chekhov and William Shakespeare’s plays, Alexa Visarion, together with his interlocutors (Constantin Chiriac and Ilie Gheorghe) are emphasizing the importance and the place of this production in the contemporary performing arts landscape. According to the director, Fool’s Night was a project that took many years of meditation research and its success is related to the excellent collaboration with two of the most important actors in Romania – Ilie Gheorghe and Marian Râlea.
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Языковая временная семантика в лингвистических исследованиях последних лет рассматривается как широкая сфера языковых/речевых отношений различных категорий (грамматических, функционально-семантических, текстовых), т.е. как область пересечения, иногда концентрации аспектуального, собственно темпорального, таксисного и другого аналогичного содержания, где центральное место принадлежит глагольной единице, потенциальные функциональные возможности которой и определяют указанные грамматические отношения (А. В. Бондарко, Дурст-Андерсен П. В., Эслон П., Пихлак А., Падучева Е. В).
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Research of identity politics is an important topic. Meaning of a such research increases when identity politics is controlled by specific ideologies. Identity politics of Soviet Union was aimed on forming and shaping of a new type of person – Homo Sovieticus. The most important group for manipulations were children. Literature was one of the ways of such influence, therefore, the information given to a child was carefully controlled and defined by ideology. Studying the children’s books of Soviet period may give us some valuable information about the methods and topics of influence used for forming and shaping the Soviet Identity. Comparing the different editions of the same book gives us the most interesting information. In this paper we are comparing two editions of the L. Lagin’s “Old man Khottabych”. The goal of the research is to underline differences between the original (1938) and the edited version (1955) of the book, to highlight the topics and the methods of influence. We used narrative analysis as a method of research and structuralism as a framework. The importance of the study is defined by the essence of identity politics – forming and shaping identity is a crucial part of any society. As a result of the research we can define two major groups of differences – characters (types of pioneers; Soviet civilians; image of enemy) and plot (life in Soviet Union; attitude towards past and religion; international relationships). In this article we discuss only first group of differences – differences about characters.
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Rusist je uvijek, na neki način, ruski imperijalist. To jest usvaja, svjesno ili nesvjesno, kao samorazumljivo, stajalište ruskog kulturnog imperijalizma, rođen s carstvom kojem je temelj postavio Petar Veliki, a najviše se razvilo tijekom devetnaestog stoljeća. Rusist poznaje Gogolja, a njegova djela na ukrajinskom jeziku svrstava u mladenačko razdoblje ili u pučku književnost, djelo Taras Buljba u razred pomalo kičastih lokalnih epopeja. Ševčenka poznaje zahvaljujući Prijevodima jer se Ševčenko, za razliku od Gogolja, odlučio za ukrajinski jezik, A protiv ruskog (iako je njegov Dnevnik iz razdoblja od 1857. do 1858. Godine priređen, za njega samog, na ruskom što ukazuje na to da je izbor ukrajinskog za pisanje poezije, za divnu zbirku pjesama Kobzar, dobrovoljan izbor). Rusist se mogao, kao Pierre Pascal 1911. godine, iskrcati u Odessi, diviti Richelieuvim stubama, nazvanim po osnivaču grada, šetati po veličanstvenom manastirkom kompleksu Kijevo-pečerske lavre, diviti katedrali svete Sofije u Kijevu prije nego Posjeti istoimenu u Velikom Novgorodu, a čak se aputiti i u Nižin da vidi Gogoljev Bezborodko Licej, ili u Černigov te tamo slušati slavuje – na svome se putu neće (prije 1991. godine) istinski susresti s duhom ukrajinskog naroda. Pjesme da, i on zna da pjesme stvaraju Ukrajinca, pisanki ili pisanice – ali jezik, kultura, Izvršena renesansa dvadesetih godina prošlog stoljeća, Ukrajinska Narodna Republika iz razdoblja od 1917. do 1920. godine, povijest narodnog pokreta – kako bi ih mogao poznavati? Studirao sam u Moskvi, posjetio Kijev, još kao student, u vrijeme kada Ukrajina nije, ili nije više, bila ukrajinska.
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This article reconstructs the life path of a refugee from Russia, a representative of the younger generation of post-revolutionary emigration, K. D. Pomerantsev. On the basis of previously unintroduced documents from the archives of the Center for the Study of Eastern European Countries at the University of Bremen, some facts of his biography have been clarified. K. D. Pomerantsev received his secondary education at an English boarding school for boys in Buyukdere in Constantinople. Thanks to an American scholarship from the “Committee for Assistance in the Education of Russian Youth in Exile”, he entered the university in Paris, but could not finish it. In his younger years, he became interested in the anthroposophical teachings of the German philosopher R. Steiner, which influenced his worldview and ideological line in poetic work. He participated in the National Organization of Russian Explorers, but for unknown reasons, left the association, creating his own organization from among the intelligence officers. This fact aggravated relations with the head of NORR P. Bogdanovich. During World War II, he managed to leave Paris and take part in the resistance movement. In the post-war years, acquaintance and communication in the circle of the intelligentsia of the Russian emigration contributed to the manifestation of his poetic talent. His works were published by such publications as: “New Journal”, “Renaissance”, “Bridges”, “Experiments”, “Continent”, “Russian Thought”, “New Russian Word”. He spoke about meetings with talented people who influenced both his fate and his work in his book “Through Death”. Russian readers are gradually getting acquainted with the works of K. Pomerantsev, in many ways, thanks to a friend and popularizer of his work A. Radashkevich. In 2018, he published the collection “Justification of Defeat”, which included published and unpublished works, the book “Through Death”, a number of other materials by Pomerantsev and about Pomerantsev.
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The article analyzes some of the changes in the northern Russian manuscript literature of the Peter the Great’s epoch compared with the Old Russian period. The materials for the study were the handwritten books from the Karelian collection of the Pushkin House, Old Believers’ literature, and hagiographic works. The relevance of the research is due to the close attention of modern philological science to the processes of literature transformation in socalled “transitional epochs”. One of the distinctive and significant phenomena of the northern Russian literature of this period is the literary school of the Vyg Old Believers’ Community, which assimilated the traditions of the Old Russian written literature and the Baroque style. The hagiographic works of the Peter the Great’s epoch are characterized by increased documentary accuracy and active absorption of folklore elements. A new phenomenon in the hagiography of that time was the transcription of some saints’ lives or their fragments in verse (verse editions). The analysis of the handwritten books of the XVIII century from the Karelian collection of the Pushkin House indicates that their content was limited mainly to Old Russian “soulful” texts, as secular fiction works had not yet been introduced to local readers. The article also focuses on the Alphabet of 1717, compiled in the Paleostrovsky Monastery and encouraging young readers to study.
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Reviews of: Jaan Kross ja David Samoilov. Mu sõbra avatud akna all. Tallinn: David Samoilovi Eesti Ühing, Tallinna Ülikool, 2015. 75 lk. Давид Самойлов и Яан Кросс. В окно моего друга. Таллинн: Общество Давида Самойлова в Эстонии, Таллинский университет, 2015. 81 стр. David Samoilovi Pärnu. Teejuht. Luuletusi. Tallinn: Avenarius, 2015. 87 lk. Пярну Давида Самойлова. Путеводитель. Стихи. Таллинн: Авенариус, 2015. 81 стр. Loone Ots. Birkenruh’ episood ja teisi näidendeid. Tallinn: Eesti Keele Sihtasutus, 2016. 358 lk. See sinine sirjendav kaugus. Bernard Kangro ridade vahel tuhlates. Kangro luulest inspireeritud raamat, joonistused, heliplaat ja film. Koostaja Urmas Bereczki. Tallinn: Kirjastus Lepalind, 2016. 227 lk + CD (luuletusi esitavad autor ja Harriet Toompere) + DVD „Kesksuvetants. Etüüdid Bernard Kangro luuletustele” (režissöör Gabriel Dettre). Nancy Huston. Loomispäevik. Loomingu Raamatukogu 2016, nr 21–24. Tlk Leena Tomasberg. 240 lk.
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In the first half of the 1960s, the works of Alexander Solzhenitsyn were frequently published in Yugoslavia, and the writer himself was talked about very positively in public and in official correspondence. The focus was on the work One Day in the Life of Ivan Denisovich. The publication of the said work was approved in the USSR, so there were no problems in relations with Yugoslavia in that field. With the fall of Khrushchev, Solzhenitsyn’s position in the USSR deteriorated. Through the “Solzhenitsyn case”, SFR Yugoslavia showed independence and freedom of the press in its relations with the USSR. Solzhenitsyn’s works were printed and talked about positively, until the publication of The Gulag Archipelago. The publication of Solzhenitsyn’s works and positive articles about him in the Yugoslav press provoked significant protests from the Soviets, especially in the late 1960s and early 1970s. In the talks between Yugoslav and Soviet diplomats, the Yugoslav side responded very cautiously, saying that they were unaware of certain information and that the press was allegedly independent. After the publication of The Gulag Archipelago and his emigration, Solzhenitsyn was criticized in the Yugoslav press and ceased to be a stumbling block in Yugoslav-Soviet relations. Yugoslav official institutions stopped mentioning him or his works in the official documents. The Gulag Archipelago was published in SFR Yugoslavia only in 1988.
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