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The article deals with the problem of how government assesses the novels of M. Sholokhov – their creative and institutional destiny. The adaptation of the first two novels of the author to the language and expression of the opera make them popular (mass) art. This is one of the weapons of socrealism – to put literature in the field of popular culture.
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War has left its mark on Colonel B, one of the characters of the short story „After the Ball” written by Leo Tolstoy. But it has changed the life of the protagonist, Ivan Vasilievich, as well.
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The combination of dream and mystery in Turgenev's works appears to reveal accurately and genuinely the psychological nature of the character. This report analyzes the sleep in four mysterious stories of the Russian author. The realization of the inner world of the character becomes a source of mysterious elements and images.
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The interrelation between space and text in this semantic research is represented in the way how the real architectural space has been transformed in literature to form a specific mythopoetic chronotop. The outlined conceptual elements are juxtaposed to Joseph Brodsky's prose, where the specific features of the city as chronotop have been reviewed focusing on the metaphysical images of Leningrad/Petersburg, Venice and New York.
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The article examines the issues of literary mystification and it focuses in particular on the issue of the authorship of the book of poetry „Slogans” by Maria Sudaeva.
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This study deals with the analysis and understanding of the violence phenomenon in contemporary Russian prose in light of the philosophical premise of Hannah Arendt and Slavoj Žižek. Starting from the thesis that violence must be studied as a structure, not as a part of a life process, three current types of violence are noticeable: “symbolical” violence that is embodied in language and forms, objective or systematic violence and subjective violence. Objective violence is continuously produced and thus becomes an integral part of the political and economic world in which we live, losing the characteristics of the construct and imposes itself as natural and necessary. On the other hand, the act of subjective violence is performed by invisible people, people who do not have any vital function in the modern organized world, and use violence in order to fight visibility or functionality that gives meaning to a life in a community of any kind. Our research is based on the Zizek’s assumption that the focus on subjective violence is actually mimicry of essential source of violence, and that subjective violence is the product of hidden but systematic violence. Types of violence and mechanisms of their action are studied on the selected corpus of the contemporary Russian prose (novel Sankya by Zakhar Prilepin and novels “Assassin”, “The Hall of the Singing Caryatids” by Victor Pelevin) which question the boundaries when it comes to onesided and orchestrated understanding and definition of violence in contemporary society. In that sense, our work tries to show the necessity of including philosophical assumptions in the process of understanding, interpretation and evaluation of literary texts.
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The sail has an important place in Russian literature from the XIX and XX centuries, being a literary image, a symbol, a bearer of the author’s message. In the article I have written is being analyzed its history – from its first arrival (1828) in Bestuzhev (Marlinsky)’s poem “Andrey, Knyaz of Pereyaslvl”, followed by Lermontov’s “The Sail”, Bunin’s “Song” (“Pesnya”), Grin’s “Scarlet Sails”, V. Kataev’s “A White Sail Gleams” to the famous “Brigantine”, written by Pavel Kogan. Connected to the water and the air, the sail absorbs the essence of the elements. In this way, it becomes a verbal center for the fictional world of freedom, an illustration of the dream, an expression of yearning for the unfulfillable.
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Bogusław Olszewski’s chapter discusses the influence of Mikhail Bulgakov’s works and writing style on the works of the contemporary Russian author, Victor Pelevin. Even though these two authors are frequently featured in comparative studies, seeking universal sources of literary inspiration in the classics, surrealist and postmodernist prose of Pielevin only remotely reminds the oeuvre of the author of Master and Margaret. Apart from the explicit influence of the Buddhist doctrine or shamanistic vision of the world, closely associated with the use of entheogens, the specific nature of the narrative and storyworld encourages the thesis that Pielevin’s fiction is largely pervaded by magical realism, maintained in the spirit of Carlos Castaneda’s.
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The article deals with the problem of time and its influence on the moral world of the characters in Dostoevsky Pentateuch. It turns out that the age of the hero determines his place in the spiritual scale of values, where the highest value is childhood, and the lowest degree is old age. Dostoevsky believes that it is possible to save man from the defamatory power of chronos. Remembrances and suffering return the child's guise, restoring in the person the "image and likeness" of God.
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Sergey Donatovich Dovlatov creates his own unique genre in which the autobiographical and artistic fiction intertwines. The author uses his own destiny as a literary material. His works are defined by the mass reader as "funny", but in depth they draw a dramatic picture of the everyday absurdities that the intellectual in Soviet Russia faces. The main pathos in them is the self-irony, which helps the lyrical hero not to fall into the ideological traps, to preserve his human dignity and not to relinquish his principles. All but invisible in his home country, Sergey Dovlatov became something of a mythical figure among the Russian diaspora of New York. Those who knew him personally realized they didn’t know him very well. The facts of his biography are all blurred, ambiguous, vague. This should be kept in mind when reading his books. Almost confessionary in form, their content is largely invented. As a great mystifier, he was able to unsettle his surroundings. In the field of gravitation surrounding Dovlatov, reality is distorted and loses its plausibility. The pathos typical of world literature can be seen as a defence of the human being. Every one of us has a scale according to which we weigh the social significance of a person. This scale runs between two generalizing definitions, namely “the great man” and “the small man”. The great small man is an oxymoron, a contradiction in terms, and indeed Dovlatov was something of an oxymoron himself, a huge walking contradiction
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The “The Carriage” was written in 1935. “The Carriage” internal structure is divided into two parts. The first of these two parts describes the town of B where things are terribly boring and there is not a single person on the street.The second part tells a story about the landowner Chertokutsky and the "experience" that happened to him. The plot depicts a small country town recreating the atmosphere and the way of life of the characters in the story. The town is reviving and changes its appearance. This anecdote, as well as other published comic short stories of the writer, reflect the unique humorous culture and image of absurd reality.
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In this discourse we are going to trace back some of the misterious and suspicious death of some of the russian poets lived and composing in the 19th and 20th centuries. The purpose of this study is to show under what circumstances did the authors died, and how they died. Is someone else involved in their death. To what extent or if they predicted their own death with some part of their poetry.
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The article deals with a key structural component of autobiography based fiction. Images and impressions of childhood are considered both as the initial point of artists' (writers') creativity and their individual creative styles. A special category is needed to describe this phenomenon: the initial event ('pervichnoe sobytie' - Rus.). The category was offered by Dr. Irina Mineralova in early 2010s to state the initial episode in the plot of Russian autobiography based fiction dedicated to childhood. In our paper, we have broadened the mentioned category by understanding the initial event as initial impression which determines the interrelation of artists and the world they are living in and interpreting in their creative writing. Thus, the initial event ('pervichnoe sobytie') is referred to as a corner stone of an artist co-existence (so-bytie - Rus.) with other elements of their environment and even the Universe. The beginning of individual life corresponds to the Genesis through the unique artist's viewpoint. As the genre presupposes, autobiographical novels combine the documentary and fictional, facts of history and real lives with images of creative work. An author is taken as a creative phenomenon whose personality is reflected in the style and manner of their writing. The study is based on a wide range of pieces of classical Russian literature (XIX-XX centuries), from Alexander Herzen and Leo Tolstoy to Ivan Bunin and Ivan Shmelvyov.
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The terms “the world of a piece of fiction”, “literary world”, “world view” in literary criticism and criticism are often used interchangeably, which characterizes the entire set of elements that make up a work of literature. The study of the world of works of literature has its roots in D. S. Likhachev’s works who first spoke of “the inner world of a work of fiction”. To date, in literary criticism there is no definite list of those “elements” that make up the literary view of the world. Thus, according to V. A. Halizev, the world of a piece of fiction includes the psyche of human beings, their consciousness, and makes up both reality “thingish” and “personal” reality. M. L. Gasparov proposed including in the concept “Literary world” a list of events that are reflected in the work of literature, the socalled “catalog of images”. At the same time the term “literary view of the world is relatively new, having come in the literature of linguistics. Thus, the artistic picture of the world” of the writer seems to be a phenomenon that is “narrower” than the literary world. The view of the world of the writer is a set of specific identifiable components that make up the basis of the visual world, while the literary world represents a collection of all the elements that make up a work of literature.
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In the monography “After the end of classics” Rakyovsky argues that Dostoevsky’s Double (“Dvoynik”) and Mandelstam’s Egyptian stamp (“Egipetskaya marka”) discard traditional narrative and put forward the paradigms of splintering, madness, terror. The article highlights the new anthropology in Dostoevsky’s works by the figures of machines, poets and insects (vermin, bug). As an alternative of the poet, Dostoevsky’s plots put in play the figures of (male) novel writing and (female) book editing and managing. All together with the tragic, the author elaborates the category of comic absurd in the margins of folly, nonsense and object.
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The article presents the conception of the Materials to the history of the Russian women writers by Mikhail Makarov (published in the periodical “Damskij zhurnal” 1830, 1833), including the structure (main part and annex), contents of the entries (time frames, sources of the information, mistakes etc.) and the reception in the 19th century (criticism for the mistakes). The interpretive context are the Bibliographical catalogue of the Russian women writers (1826) by Stepan Russov, Biographical dictionary of the Russian women writers (1889) by Nikolai Golitsyn and other texts on the women writers (among others Catherine II) published in the periodical “Damskij zhurnal”.
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The author aims to present the work of Evdokia Nagrodska, a Russian author now fallen into oblivion. To do this, he briefly discusses the literary context of the time and her biography, before analyzing in greater depth her book The Wrath of Dionysus, which was a bestseller in Russia in the early 20th century. He tries, through the analysis of this novel, to rediscover a novelist both despised by the Russian intelligentsia for writing popular literature, and strongly criticized by the former censors for treating themes related to female adultery, homosexuality and lesbianism. By that he is trying to show that Nagrodska is primarily an avant-garde novelist who deals with libertinism far more than pornography and that her freethinking is both sexual and political.
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The paper attempts to create a new model of literary hermeneutics based on the basic principles of quantum mechanics: Heisenberg's un-certainty principle, principle of superposition, collapse of the wave function, principle of complementarity. Through the so-called „quantum hermeneutics“, the possibility of adequately explaining the mysterious nature of artistic reality is explored, as described in „The Double“ of Dostoevsky. In this work, the Russian writer discovers the „formula“, that he will later apply in his last great novels.
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În articol se examinează trăsăturile artistice ale imaginii furtunii din romanul lui Dostoievski «Идиот». Ca bază metodologică au fost folosite teoria simbolului, elaborată de A. Losev și S. Averintsev, ideea paralelismului psihologic în textul literar, investigată de A. Veselovsky și teoria romanului polifonic de M. Bakhtin. Partea practică a articolului este dedicată poeticii și simbolismului peisajului dinaintea furtunii din Sankt Petersburg și particula-rităților descrierii stării interne a prințului Mâșkin.
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