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Анна Баркова - в „близкото минало" на руската лагерна литература
The article discusses the poetry and prose of Anna Barkova in the context of poetic century.
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The article discusses the poetry and prose of Anna Barkova in the context of poetic century.
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The article is dedicated to the problem of the publication of the translations of Viktor Astafiev’s stories and novels in Bulgarian. The first Astafiev’s book The Horse with a pink mane appeared in 1968 in the Bulgarian language. Vladimir Georgiev was the first translator. In the seventies were translated a lot of creative works. The author of the article examines the problem of the variety of translations of one text. In the eighties Astafiev’s works are published after publishing in Russia and in excellent translations and Astafiev became one of the well-read Soviet writers.
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Writers of the late Soviet period used stylistic and linguistic innovation to challenge boundaries established by cultural convention and political requirements. It was not until the mid-eighties, the period of glasnost, that such experimental writing could be published in the Soviet Union. Through their subject matter and language usage, these texts broke not only the restrictions set by the Soviet government, but also social and cultural taboos. Perhaps more unexpected for the Soviet reading public was the emergence of experimental women writers such as Lyudmila Petrushevskaya and Tatyana Tolstaya, who, because of their gender, disturbed the public perhaps even more than Yuz Aleshkovsky or Venedikt Yerofeyev. While Petrushevskaya and Tolstaya are distinct in style and voice, they both subvert Soviet and Russian gender stereotypes in their depictions of women as sexual beings or as destructive mothers. More significantly, they depict women as authors of their own complex texts. Another talented experimental woman writer from this period who engages gender stereotypes in order to question and deconstruct them is Nina Sadur. The focus of the present paper is on the experimental techniques that these three writers employ in transgressing both literary and gender expectations.
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This article is devoted to the development of the space of light and darkness in M.A. Bulgakov’s novel «The Master and Margarita». The author explores the different stages and artistic devices of Bulgakov’s work on these images in the context of the creative history of the novel. The article, based on an extensive archival research in the Manuscript Collection of Russian State Library, follows the development of the space of light and darkness through a textual analysis of the whole corpus of manuscripts of this novel.
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The author is concerned with the relationship between Russia and the West through the eyes of the Russian writer F. M. Dostoyevsky. In the 19th century, this issue was crucial for the Russian intellectuals and almost everybody was somehow concerned with it; besides F. M. Dostoyevsky, most notably N. M. Karamzin, A. S. Pushkin and all of the so-called slavophiles and westernists including I. S. Turgenev, N. J. Danilevsky or A. I. Hercen. The paper seeks to analyse and compare the attitudes of F. M. Dostoyevsky towards the so-called West by comparing two works - the essayWinter Notes on Summer Impressions and the multi-genre work Diary of a Writer. The author draws attention to the specific features of Dostoyevskyʼs perception of the West and the terminology used in these works. She accentuates the ambivalence in Dostoyevskyʼs perception of Western civilization, pointing at levels where the writerʼs critical thinking is manifested.
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This report focuses on the works of the modern writer Andrei Astvatsaturov, namely, on the image of Saint Petersburg in his novels. Despite of the fact that Petersburg in literature is well studied topic, there are only few critical works on modern authors’ Petersburg and Astvatsaturov is not an exception. We often see the city with the atmosphere of fear and mystery through the frightened child’s eyes. The most suitable season for Astvatsaturov’s Petersburg is autumn; the insane gaiety is not typical for the city, it is more gloomy than joyful. Its frown can be seen in the feeling of fear, moisture and enclosed spaces. In the whole, Astvatsaturov’s works supplement our vision of Petersburg and Leningrad and make this city even more mysterious.
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Paper deals with comparison of the use of nature depictions in the novels Rudin, Crime and Punishment and Resurrection. All the three novels focus on inner life of characters, especially feelings of a character, his nature and situation in which he occurs. This is done by means of parallelism, contrast or by using the symbolic function of the nature depictions in the text. All the three novels are a part of the psychological realism in Russian literature. Nevertheless, the use of nature depictions differs among them.
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The author of the present paper deals with character of a letter in works by F. M. Dostoyevsky who is called an autobiographical writer because of a range of autobiographical genres and features in his works. The author focuses her attention on the letter in correspondence as authentic witness of Dostoyevsky’s life. Secondly, she deals with readers’ letters which influenced character of Diary of a Writer, the work moving on the boundary between fiction and non-fiction. Concentrating on fictional works by Dostoyevsky, the author analyses the novel Poor People and short story Novel in Nine Letters, which is an epistolary work in which a fictional letter is considered as witness of a tough life of people living in Petersburg in the 1840s.
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It can be argued that the way a writer treats their characters’ means of self-expression is one of the elements of their style. For example, for Raskoľnikov (Crime and Punishment), Rudin (Rudin) and Nekhlyudov (Ressurrection) these means are monologues, interior monologues and dialogues. This article examines differencies between the authorsʼ approaches to self-expression and their influence on the depth of the characters’ inner worlds.
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The golden age of Russian literature was sealed by the unsurpassed writer of Ukrainian origin Nikolai Vasilievich Gogol, who presented the Ukrainian reality to readers through a vivid landscape of the landscape and everything that made up Ukraine at that time. At the same time, through individual works such as the short story Sorocin Fair (Сорочинская ярмарка) from the collection, the structure of which is followed by elements of the fantasy of Ukrainian folklore, Evenings in a village near Dikanjka (Вечера на хуторе близ Диканьки.), it shows the society inside Ukraine. The story Sorocin Fair was chosen precisely because, like all the others in this collection, it is accompanied by motifs from Ukrainian folklore in which the line of culture and customs of the cheerful and festive Ukrainian people can be traced. The goal, through one’s own perspective, is to explain whether today’s Ukraine is the way Gogol presented it, to make some kind of comparison with former and present Ukraine, and to show what reality is like today compared to Gogol’s time.
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In this article the author examines the oxymorons, which are extracted from prose texts by M. Tsvetaevay. An oxymoron is perceived as a suitably shaped tool. In the poetic prose of M. Tsvetaeva the paradox is displayed using an oxymoron. The article presents the examples of original language and the original individual copyright oxymorons. Analyzed material suggests that an oxymoron as expressive nominative analytical unit is often necessary Tsvetaeva in order to give aphoristically capacious and dialectical at its core the definition. It is noted the structural diversity of oxymorons found in the prose texts of Marina Tsvetaeva.
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The «sleeping beauty» plot is rendered by Charles Perrault as a courtly one. Turning to this fairy plot, the Brothers Grimm find artistic «balance» between the magic and human or everyday motivations of certain actions. V.A. Zhukovsky provides only a cursory rendering of the imagery, but tries to picture his characters as individuals in the context of this fairy-tale plot; at the same time, the poet focuses on artistic investigation of the magic. Against this background, A.S. Pushkin performs remarkable synthesis. He artistically combines folkloric materials with Christian myth and literary works, thus creating conception of love and marriage within the spirit of the national culture.
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in this article the comparative analysis and justification of the main sources of the novel of M.A. Sholokhov "The Quiet Don" is given. The scientific publication of the novel is prepared on the basis of critical comparison of autographs of the work known to his authoritative editions which have appeared during lifetime of the writer. It has allowed with high degree of probability to establish true meaning of many doubtful textual situations and to eliminate a number of the errors, which have entered the novel from his first edition.
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This article is devoted to principles of writer’s work on the character of Ivan Bezdomnyj in context of creative history of M.A. Bulgakov’s novel “The Master and Margaret”. The article is based on the textual researching the whole system of manuscripts of this novel.
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Diary of a Writer written by F. M. Dostoyevsky is a fascinating work that later became an inspiration for Russian writers at the beginning of the 20th century, but not only for them. It is the work in which Dostoyevsky can be seen as a citizen, philosopher, thinker, journalist, prosaist and critic as well. In the present paper I dealt with short stories from Dostoyevsky´s Diary of a Writer trying to point out the specific of fictional world in these short stories and in relation to Dostoyevsky´s poetics.
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The object of the study is the novel of student Vyach. Ivanova E. A. Millior "Sword and word. Memories of Dion, Hipponic's son, the inhabitant of Thebes”. Work on the novel was conducted from the mid-1960s to the end of the author's life in 1978. The first edition carried out in Izhevsk in 2017. The objective of the study is to describe the genre of the work. The results of the study: in the shell of the memoir text (memoirs of Dion), the author concludes genre models developed by European literature, since ancient times. As a result, the life of Dion is presented as an adventurous story, placed within the framework of a sophistic novel, a novel of trial, a novel of upbringing, a psychological novel, a novel-utopia, a philosophical novel. The interaction of these genre models is aimed at ensuring that the history of the ancient man's life is presented as a universal way for mankind to gain freedom and happiness.
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In the article the genre of "Tales of Italy" of M. Gorky is analyzed in comparison with the other fair tales by M. Gorky and in the context of literary and esthetic searches of silver age. Unlike other fairy tales by writers of silver age in "Tales of Italy" there was nothing fantastic. Gorky's attempt to represent Italy as an ideal world, the country where different miracles are possible, is shown. The concept of "fairy tale" and "miracle" in Gorky’s works is comprehended: for the writer the fairy tale is an object of image: fairy tale of the life, its ideal contents.
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This study is devoted to the formation of the linguistic picture of the world. The works of art belonging to prominent authors constitute the national picture of the world as well as the artistic picture of the world as part of the national one. The study is based on the plot of the «American» novel «Okay» by B.A. Pilnyak, which considerably influenced the image of America (an informal name of country) in the Russian literature of the XXth century. The aim of the study is to describe the structure and the content of the artistic concept «America». The use of the descriptive method, the contents analysis, the component analysis and the methods of statistical and comparative studies allows to identify the main types of information. The understanding of the artistic concept «America» and the results of its linguistic representation are relevant for the contrastive studies of the national and the artistic pictures of the world.
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There is an attempt to analyze the cultural codes of the city and country space within the framework of the linguistic picture of the world of the Russian people in this research. The interaction of the modern resident of the capital with the surrounding urban environment and the structure of this interaction seems to be an actual, but almost undeveloped topic, in connection with which the novel "Text", published in 2017 and describing the events of the second decade of the 21st century, was selected for analysis. Description of urban landscapes, elements of space in their relationship with the heroes of the novel reflect and interpret the realities of modern culture, creating a certain code system. Deciphering cultural codes and restoring the associated cultural contexts seems to be the most urgent task of linguoculturology. Using the method of continuous sampling, language units containing cultural codes were identified from the text, their semantics and functions were identified in the context of the novel, and their linguocultural significance in the formation of the reader's worldview and attitude to the linguistic picture of the world as a whole.
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The author concentrates his attention on Pushkinisms, which function nowadays as linguistic units, that serve as a means of evaluation of a large amount of events today. This confirms the well-known quote of A. Grigoryev: "Pushkin is our all". Pushkinisms get reevaluated in any communicational situation in the form of the most authoritative assertions. The above-mentioned attitude of the nation towards A.S. Pushkin and his literary heritage is based on the specifics of Russian culture and namely the literature-centrism and deep esteem for the literature itself. These characteristics of Russian culture can be traced centuries into the past and often find their embodiment in Russian proverbs. This role of Russian literature in Russian spiritual life shows itself in the natural trust of the Russians towards Russian writers, the fact proof of which can be found in the daily press, where evaluation of individual events, people as well as other facts can be found. In this article the author shows the literature centrism and Pushkin centrism of Russian culture based on the analyses of concrete texts that deal with a wide range of present-day events. Special attention is focused on the presentday political context dominated by the theme of the confrontation of Russia and the West. We have come to conclusion that Pushkinisms can in fact be used to evaluate all and any affairs and occurrences today be they a matter of everyday life, as well as of social, culture or political character. The article concentrates on political as well as polemic context where the Pushkinisms take up new specific evaluative power. The above-mentioned ethno-cultural position of Pushkinisms gets more objective in relation to associative terms where many base Russian lexemes tend to be directly connected with the work of the great Russian writer.
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