![Преоткриване: Супрасълски сборник, старобългарски паметник от Х век/ Rediscovery: Bulgarian Codex Suprasliensis of 10th Century](/api/image/getissuecoverimage?id=picture_2012_27081.jpg)
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The article deals with an episode in the history of Soviet folkloristic, namely a prohibition of certain genres of folklore. In 1920s there occurs a boom of recording modern urban folklore, but in 1930s the recorded texts were destroyed or concealed in restricted folklore storage of large research institutions. Based on archival materials the article draws conclusions of the reasons for recording unfavorable (criminal, heroic, political) texts and the reasons for placing them into the restricted storage (“spetskhran”). The article is appended with published documents stored in Petersburg archives.
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This paper tackles the so called “rhyme transfer”, which is a phenomenon, specific to translations of Russian rhymed poetry into Bulgarian. Different means of transferring the rhymes from the original poetic text to the translated text are discussed. Special attention is paid to the problemsof retaining the type of the verse endings and the phonetic exactness of rhymes.
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The articles aims at comparing the ways of expressing sadness, regret and nostalgia in two Russian translations of the Polish Romantic epic poem Pan Tadeusz by Adam Mickiewicz, authored by Zuzanna Mar and Światosław Świacki. A particular attention is drawn to two among the numerous Russian equivalents – ТОСКА and УМИЛЕНИЕ, since these are regarded as unique linguocultural concepts and considered untranslatable. The collected quotations have been collected and are presented in tables, which facilitates the demonstration of the varying translation solutions in the contexts under discussion, as well as capture certain permanent ways of speaking about sadness and nostalgia within the Russian linguistic picture of the world. Also discussed are selected issues of Mickiewicz reception formerly and recently as well as the question of emancipation of translations into full-fledged, independent literary texts which enter the cultural circulation.
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Review of: Efim Etkind: Russische Lyrik von der Oktoberrevolution bis zur Gegenwart. Versuch einer Darstellung. München 1984, Beck’sche Schwarze Reihe Band 283, 270 Seiten, öS 192.40/DM 24.- Jürgen Fuchs: Fassonschnitt. Rowohlt, Reinbek 1984, 384 Seiten Arthur Koestler: Als Zeuge der Zeit. Die Abenteuer meines Lebens. Scherz Verlag, Bern und München 1983, 448 Seiten Hendrik Bussiek: Die real existierende DDR. Neue Notizen aus der unbekannten deutschen Republik. Fischer 4246, Frankfurt 1984, 270 Seiten, öS 84.20/DM 10.80 V. Sima/V. Wakounig/P. Wieser (Hg.): Slowenische Jahrbücher 1985, Drava Verlag, Klagenfurt/Celovec 1984, 203 Seiten Lois Fisher-Ruge: Alltag in Moskau, Econ Verlag, Düsseldorf und Wien 1984, 239 Seiten Erich Loest: Der vierte Zensor. Vom Enstehen und Sterben eines Romans in der DDR. Edition Deutschland Archiv. Verlag Wissenschaft und Politik, Köln 1984, 96 Seiten Melanie Tatur: Arbeitssituation und Arbeiterschaft in Polen 1970-1980, Campus Verlag, Frankfurt 1983, 121 Seiten, öS 218.40/DM 28.- Raissa Orlowa-Kopelew: Die Türen öffnen sich langsam. Mit einem Vorwort von Carola Stern. Albrecht Knaus Verlag, Hamburg 1984, 220 Seiten, öS 218.40/DM 28.- D. Riekert/I. Scherer/W. Schröter/I. Thunecke: Das KOR. Vom Komitee zur Verteidigung der Arbeiter zum Komitee zur sozialen Selbstverteidigung, Tübingen 1984, 105 Seiten, öS 78.-/DM 10.-
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Book-Review: Camelia Dinu (ed.), Simbolismul în literaturile slave, Pro Universitaria, București, 2020, 264 p., ISBN: 978-606-26-1233-7 (Roxana-Alexandra Alionte)
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Book-Review: Camelia Dinu (ed.), Simbolismul în literaturile slave, Pro Universitaria, București, 2020, 264 p., ISBN: 978-606-26-1233-7 (Mara Ionescu)
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Since the 1970s, a period marked by a massive aliyah1 of Soviet Jews to Israel, Russian-Israelis have created a distinct literary culture characterized by hybridity and translingualism. While most texts in this corpus are in Russian, they do not fall neatly into the categories of Russian metropolitan literature or literature of the global Russian diaspora. In their thematic repertoire, the range of human experience they reflect, and specific vocabulary they also claim affiliation within Israeli literature. Even those writers from the former Soviet Union who made a linguistic shift away from Russian continue to navigate between literary traditions; their Hebrew has inherited cognitive models and interpretive approaches characteristic of Russian culture, and they project a view of reality that is essentially dualistic or "contrapuntal" (in E. Said's terms1 2). Such works as Boris Zaidman's novels Split Tongue and Hemingway and the Dead-Bird Rain, Alona Kimhi's books Victor and Masha, Weeping Suzanne, and I, Anastasia, or the original Hebrew poetry of Šivan Beskin represent an "accented," cross-pollinated version of Hebrew. This writing in-between the two tongues estranges both languages and at the same time establishes a dialogue between them and the cultural traditions they represent.
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The text reveals the criteria for axiologisation of Dostoevsky’s work in the Bulgarian literary press from the 1920s and 1930s (ideological, instrumental, ethical, pragmatic / patriotic, aesthetic) by tracing its readings from the viewpoint of the “Russian soul“, the “Slavic idea“, and universal ideas. The texts of Bulgarian literary critics reveal the evolution of the reception of Dostoevsky’s work – from the idea of ts being foreign to Bulgarian mentality, to the transformation of his ideas into “one’s own“.
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Review of: MICHEL ESPAGNE, L’ambre et le fossile. Transferts germano-russes dans les sciences humaines, XIXe–XXe siècles, Paris 2014, Armand Colin, 296 s., ISBN 978-2-200-29519-6.
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The article is devoted to impersonal sentences with form of the genitive case in the language of Old Russian Northwestern monuments. A total of 204 sentences were analyzed, of which only 5 do not contain negation. As a result, the semantics of predicates in constructions of this type are described, statistics concerning the peculiarities of the use of forms of moods and tenses is presented. The use of the lexeme нѣтъ (acting in the function ‘there is no’ in the present tense) and its variants in impersonal constructions are analyzed. It is revealed that constructions without negation function in two types – dialectal northwestern construction with the verb быти and constructions with full-valued verbs.
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Review of: Camelia Dinu (ed.), Simbolismul în literaturile slave, București, Pro Universitaria, 2020, 263p., ISBN 978-606-26-1233-7
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The image of the Byzantine Empire in the mid-fifth century and the perception of its rulers in the Old Rus’ writing was formed on the basis of the Orthodox Slavonic translations created in the Balkans of the works of three Byzantine historians: John Malalas (sixth century), George the Monk called Hamartolos (ninth century), and Constantine Manasses (twelfth century). The use of their accounts by the authors of chronicles, even in the second half of the 16th century, testifies to the exceptional longevity of Byzantine hi-storiography and the peculiar timelessness of the works of the aforementioned historians. It should be noted, however, that Pulcheria, Theodosius II, Athenais-Eudocia and Marcian did not only attract the attention of Old Rus’ historiographers as persons with real influen-ce on the course of events in the past. Orthodox Slavs of the late Middle Ages viewed the mid-fifth century primarily as the era of the great disputes over the nature of Christ, culmi-nating in the convening of the ecumenical councils of Ephesus (431) and Chalcedon (451). Some of the emperors and empresses involved in the theological controversies of their time were venerated as saints in the realm of Slavia Orthodoxa. Analysis of the Old Rus’ chronicles from the 14th-16th centuries allows us to assume that hagiography influenced the creation of the images of such figures in historiography. In order to reconstruct the overall image of Pulcheria and Athenais-Eudokia in Old Rus’ literature, it would therefore be necessary to examine the hagiographic texts dedicated to them.
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Defining the unconscious in a Husserlian manner as that which appears through reproductive acts of consciousness, this article attempts to investigate how Vladimir Nabokov tackles this theme in Pnin both as a stylist and as a storyteller. Nabokov understands literature as the art of language that imposes lived experiences on readers, and he achieves literary representations of the unconscious in Pnin by juxtaposing experiences containing tacit expectations that are incongruent with one another. Tracking the scenes where Pnin performs reproductive acts throughout the novel, it is found that the unconscious functions as a thematic pattern in Pnin and mirrors the protagonist’s progress in his quixotic war against cruelty and callousness in the world.
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This unconventional dictionary, having over 100 entries, is the first attempt ever to list dogs that belonged to Russian turn-of-the-century and 20th-century writers (for example, Alexander Blok, Anton Chekhov, Vladimir Mayakovsky, Maximilian Voloshin, etc.).
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The article is an attempt to find, in Soviet poetry exemplified by poetry for children, reminiscences and allusions to classical or modernist poetry. Thus, Marshak’s typically Soviet propagandist poem “Nash gerb” (“Our Coat of Arms”) is traced back to Cherubina de Gabriac's poem of the same title. Children’s verse by Marshak, as well as some lyrical and satirical poetry, comprise the main material of the paper. Some examples of Marshak’s influence on posterior Russian poetry are analyzed.
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This article is an introduction to the close reading of Victor Pelevin’s novel Journey to Eleusis (2023) as a paradigmatical example of the Russian dystopian literature from the beginning of the 21th century. Journey to Eleusis is the final part of a trilogy whose previous installments include the collection of short novels Transhumanism Inc. (2021) that set the dystopian universe, and the sequel KGBT+ (2022) taking place already in the wartime sociopolitical reality. I argue that starting with Vladimir Sorokin’s Blue Lard (1999) the contemporary Russian dystopia intertwines idiosyncratically futurism and archaism into a retro-dystopian frame, which I discern in Pelevin’s trilogy. As I view it, this specific dystopian blend aims at the representation of a history of the present of the Putin era with its neo-totalitarian version of the Russian imperial concept of the “Third Rome” which is crucial to Journey to Eleusis.
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