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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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The aim of the following article is to consider expressions such as “identity” and “uniformization” which are often used in Russian philosophy as well as in contemporary Russian fiction. Two well-known novels translated into Polish language: “Medea and her Children” by Ludmyla Ulitzkha and “Duchless. A Story about Unreal Man” by Sergiey Minayev were chosen as examples. The first of them takesplace in the 1970’s, whereas the second one is set in the present day. In both cases identity is considered in the context of human relationships and the attitude to other people and at the same time to culture and tradition. Identity is usually based on certain determinants. These are: faith in God, the respect for different confessions, proximity to the nature, care for preservation of heritage including memory about the past and native language. Medea follows this hierarchy of values in her life. The identity of an anonymous hero of Minayev’s book was destroyed by globalizing processes, uniformization, boredom and by addiction to the Internet.
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This article aims to present an overview of the concept of ‘dostoevshchina’ in the Kingdom of Serbs, Croats, and Slovenes / Yugoslavia, as well as to point out the similarities and differences in the perception of this concept in Soviet Russia and the Russian diaspora, respectively. The article attempts to clarify the status of this concept in the Balkans, and analyse the book Dostoevsky and Dostoevshchina by philosopher and missionary Grigory Spiridonovich Petrov. Studying the disputes about Dostoevsky from magazines worldwide, and those from “Russia Abroad”, helps the researcher understand the issues that both Soviet Russia and the Russian diaspora faced at the time and dealt with by relying on the ideas from Dostoevsky’s opus.
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In these notes (see also the previous volume of Slavica Revalensia), Prof. Alexander Ospovat of UCLA identifies the sources of several segments of Alexander Pushkin’s novel _The Captain’s Daughter_, uncovers themes and events silently implied in the text (e. g., the protagonist’s sexual amusements, the money system in 18th-century Russia, a bath ritual in the Russian countryside, etc.), and reconstructs hidden meanings of individual episodes.
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This pioneering article-length study of Ivan Krylov’s last fable “Vel’mozha” (“Grand Seigneur”) addresses the text’s central character (there are serious reasons to assume that the grand seigneur represents Chancelor Viktor Kotchubey), and examines the fable’s pragmatics, involved allusions, and genre. It also puts forth a likely new date of the “Grand Seigneur’s” composition — 1834.
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This article concerns the likely source of an erotic image from Valery Bryusov’s hoax poem collection Stikhi Nelli (Nelli’s Poems). It shows that the image of an octopus copulating with a woman in the culmination of the poem “Nochnoi ropot” (“Night Murmur”), is related to Japanese erotic engravings (shunga), and originates from Hokusai’s woodblock print “The Dream of the Fisherman’s Wife” (1814). Thus, the source established supports the idea that shunga inspired European modernist poetry in its search for a new erotic language.
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The article analyzes one of the aspects of the mythological layer of Bulgakov’s works — the system of motifs related to the image of St. Nicholas — Russia’s most venerated saint. Out of two incarnations of Nikolai Ugodnik, Bulgakov is primarily interested in Nikola Zimnii: there are virtually no allusions to Nikola Veshnii (Summer) in his prose (this is also true for the writings taking place in summer: “The Fatal Eggs,” Flight, The White Guard, etc.). References to St. Nicholas intertwine with allusions to two Russian Emperors, Nicholas I and Nicholas II (see: “The Khan Fire,” Alexander Pushkin, Batum, etc). As St. Nicholas is venerated as a patron saint of sea travelers, it is not surprising that in Bulgakov’s works the connotations revealed are supplemented by water motifs — with water appearing in various aggregate states (in the form of snow, for example).
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This article, completed during Dr. Polina Poberezkina’s stay in Estonia, examines several accounts of Anna Akhmatova’s last years and the poet’s funeral. It is centered around some letters of Lev Ahrens to Grigory Petnikov from the Central State Archive-Museum of Literature and Arts (Kyiv, Ukraine) supplemented by letters from Anna Garf and Natalia Briukhanenko to the same addressee.
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This is a yet another installment in the series of Roman Timenchik’s annotations to Anna Akhmatova’s _Notebooks_ (see also four previous volumes of Slavica Revalensia — from 2018 to 2021). This particular installment examines Akhmatova’s appreciation of John Keats: the poet she mentioned in _Notebooks_ as the source of the epigraph to the cycle “Shipovnik tsvetet” (“The Rosehip Blossoms”), and also a poet she read extensively while learning English in Tashkent. The article proves that this learning experience left echoes in several of Akhmatova’s poems of the corresponding period, and also examines Akhmatova’s interest and appreciation of Keats vis-à-vis the background of the British poet’s reception by some of her contemporaries.
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This is a prefaced publication of Juri Lotman’s brief note “Lenin in Mayakovsky’s Poems and Eisenstein’s Art,” which he wrote for his student in the Spring of 1970, and softly encouraged to publish under her name in Materialy XXV nauchnoi konferentsii molodykh filologov (Proceedings of 25th Junior Scholar Conference).
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