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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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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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Aurelia Kotkiewicz’s article is devoted to the tragic story of Carola Neher’s life. Carola Neher was an extraordinary German actress and a close associate of Bertolt Brecht. In the 1930s, she escaped from the Nazi regime to the Soviet Union, there to become one of the victims of the Great Terror. The fate of Carola Neher was the inspiration for an exhibition put up by the International Memorial Society in 2017 called “Carola Neher’s Theater of Life” and for the theatrical spectacle Memoria, staged by the Меyerhold Center in Moscow and directed by Anastasia Patlai.
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Nikolai V. Gogol was Ukrainian, as was the poet Taras Shevchenko. He was born on March 31. 1809 in Soročinci in a Ukrainian family. He wrote his works in the Ukrainian language, and later in the Russian language, because Ukraine was part of the Imperial Russia at that time. His Ukrainian origin was always important for Gogol. He is included, along with the poet Shevchenko, in the group of "Ukrainian geniuses", who were a bridge between Ukrainian and Russian culture. He became famous for his stories from Ukrainian life, which were imbued with "romanticism without a break", and fantastic motifs with an abundance of folklore decor. "May Night" is one of several short stories from the first phase of the Ukrainian cycle of Gogol's work, in which the supernatural element is present in the most immediate way.
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The article of Prof. Vera Mil’china (RSUH / ИВГИ РГГУ, RANEPA / ШАГИ РАНХиГС) is based on Nikolai Turgenev’s unpublished correspondence, and explores an unknown episode from a Decembrist’s life story: his attempt to marry a daughter of a British squire. Turgenev’s letters show that this plan was one of the reasons why he reconsidered returning to Russia, where he had received in absentia a death penalty (later changed to a life-long hard labor term). In the beginning of 1830, Turgenev made the decision to return to Russia to affect a retrial that would allow him to overturn his conviction for high treason. However, none of this came to fruition: Turgenev did not marry Harriet Lovell and did not return to Russia. The article was written in the framework (and with the generous support) of the RANEPA (ШАГИ РАНХиГС) academic research program.
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This article is a close reading of a passage from _The Music Teacher_ by Aleksey Remizov mentioning “the musician Nabokov,” who changes his Paris apartments so often that letters to him fail to reach their addressee. Although the most likely person this passage seems to be hinting at is Nicolas Nabokov, a composer, it should rather be seen as a tongue-in-cheek attack against the composer’s cousin, Vladimir Nabokov — a writer who was at odds with Remizov. Remizov [justkui ütleb, et] person changing apartments too often, does not exist — he is nothing (and this is something Remizov would not have said about Nicolas Nabokov).
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In this article, we make an attempt to bring together our previous work on the “American years” of A. Vetlugin (Vladimir Ryndziun, 1897—1953), one of the most successful bilingual lesser-known writers of his generation. We republish his essay “Only Five Short Blocks,” which originally appeared in 1941 in the Reader’s Digest magazine under nom de plume “Frederick van Ryn,” and also provide the annotated translation of the original text. This allows us to reconstruct some obscure facts of A. Vetlugin’s life story, and to give an example of his peculiar style that had won him unconditional popularity in Russian émigré press, and later in American journalism, once “Frederick Van Ryn” became a recognized writer for some authoritative magazines and newspapers.
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The article is based on a series of memoirs dedicated to a pre-revolutionary St. Petersburg socialite baroness Varvara Uexküll von Gyllenband (e.g., those of Ekaterina Letkova-Sultanova and Tatiana Shchepkina-Kupernik). It also specifies the date of a sculptor Prince Sergei Ukhtomsky’s (1886—1921) arrest, and makes public a previously unknown letter from Korney Chukovsky concerning the living conditions of Uexküll von Gyllenband in 1921.
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This is the first publication in toto of a forgotten memoir “My Ordeals in 1918” by baroness Varvara Uexküll von Gyllenband’s. Originally written in 1919, three years prior to her fleeing Petrograd, the memoir tells the story of her three-week detention by the Bolshevik secret police (the Cheka) in 1918.
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This paper proposes a new approach to the concept of psychopoetics, i.e., the psychological aspect of poetic manifestation based on the relationship between the psyche and the world. This approach identifies an allegorical relation between the cosmos and the soul, which goes back to Freud’s idea that the soul treats impressions from the outside as differences from a symbolic relation between the universe and the psyche. This method was developed by Jung in order to look for correspondences between the inside of the human being and the context. Symbolical psychopoetics is exemplified with Vera Pavlova’s 2018 anthology of poetry and prose Proverochnoe slovo (Control Word). The anthology consists of poetry and short prose writing, which in different ways imagine the relation between the soul and the world.
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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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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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