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Деконструкция на романовия образ в първата екранизация на "Възкресение"

Author(s): Konstantina Puneva / Language(s): Bulgarian Publication Year: 0

The report is a study of the first adaptation of the novel Resurrection by Leo Tolstoy. The short film appeared in 1909, when the author was still alive. The text of the study follows the deconstruction of the novel’s character. The report also reviews the issue of the genre elements and approaches of the film director David Griffith to the text of the novel.

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ИВАН ИГНАТИЕВ – КАРНАВАЛНАТА СМЪРТ ИЛИ ТЕАТРАЛИЗАЦИЯ НА ТРАГИЗМА

Author(s): Magdalena Kostova-Panayotova / Language(s): Bulgarian Publication Year: 0

Ivan Ignatiev is undoubtedly mysterious figure among futurists. Poet and publisher, author of prose miniatures, journalist, leader of the "Intuitive Association of Ego-futurism", wrote two books - "About theater" (book articles, feuilletons and poems, 1912) and the poetry collection "Scaffold" (1914).

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НОВЫЕ РАКУРСЫ РЕЦЕПЦИИ ИВАНА БУНИНА В БОЛГАРИИ

Author(s): Tatiana Fed / Language(s): Russian Publication Year: 0

Ivan Bunin is a famous figure for the Bulgarian culture. His masterpieces not only appeared in the Bulgarian language at the beginning of the XX-th century, but also created a new image of the Russian classic writer. The interest to Bunin’s works has been real from the first translations to our days. Such a phenomenon can be explained by the specific Russian soul and mentality, which is transferred by the Russian people all over the world. The article depicts new aspects in Bunin’s reception in Bulgaria. The author presents the materials and documents, published in Margarita Kanazirskaya’s book “After Russia. To the Problem of the Russian Emigration the Bulgaria /1920-1940/”, 2013. A few extracts from Ivanka Vaseva’s article “I. A. Bunin” are translated by the author in Russian. There is a strong bibliography of critical works about Bunin’s creative work.

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Ofiara czy drapieżca? Kobieta-potwór w wybranych powieściach Aleksieja Szołochowa

Author(s): Anna N. Wilk / Language(s): Polish Publication Year: 0

Anna N. Wilk’s chapter delivers an analysis of novels by Alexei Sholokhov (Tyelo and Podval ) as an example of an updated vision of the dark side of femininity. Over the centuries, women have been accused of having magical abilities. Consequently, their physicality have been viewed as arousing both desire and fear of death, or loss of control over one’s life. Different varieties of female monsters survived in cultures aroundthe world as the antithesis of the usual “human” women, such as, for example, demonic lovers or vindictive, malicious ghosts. Despite the development of civilization and social changes leading to the empowerment of women in family, social, and professional life, the aforementioned concerns are still haunting the collective imagination. In Sholokhov’s novels, “women-monsters” focus their attacks on men, exhibiting outrageous brutality and sadism. Wilk’s analysis allows to demonstrate that the fear of the negative femininity is still an actual, timeless trope in popular culture.

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"Анна Каренина. История Вронского" на Карен Шахназаров - граници на киноинтерпретацията

Author(s): Nataliya Nyagolova / Language(s): Bulgarian Publication Year: 0

The article outlines the aesthetic and culturological context of the inception and functioning of the series “Anna Karenina. The History of Vronsky” (2017) by Karen Shakhnazarov. It describes the transformations of the original narrative model of L.N.Tolstoy’s novel and its relation to the structure of the parable (Gabdullina) and the parallel story structure (Nabokov). It also interprets the novel’s narrative assembly with the documentary prose of V. V. Veresaev as a model of presenting Russian history of the end of the XIX – early XX century.

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Aykırı Bir Yazarın Göçmen Oğlu: Vadim Andreyev’in “Bir Yolculuk Hikâyesi”

Author(s): Mehmet Özberk / Language(s): Turkish Publication Year: 0

19. yüzyılın sonu 20. yüzyılın başlarında Rus edebiyatının en çok okunan ve eleştirilen yazarlarının başında gelen aykırı yazar Leonid Nikolayeviç Andreyev (1871-1919) 1917 Şubat Devrimi’ni büyük bir coşkuyla karşılar. Ancak Bolşevik iktidarı onu büyük bir hayal kırıklığına uğratır. Çarlık rejiminde sıkça şahit olduğu insanların ölümü, daha trajik bir hal alarak Bolşevik yönetiminde şiddetli bir biçimde artar. Peterburg’daki evinin karşısında gördüğü darağaçlarında asılan ve kurşuna dizilen insanlar, onun devrim sevincini hemen söndürür. Oldukça hümanist ve duyarlı bir insan olan ve yaşananlara sessiz kalamayan Leonid Andreyev, Ekim Devrimi’nin hemen ardından yazdığı siyasi içerikli makaleler nedeniyle Finlandiya’ya göç etmek zorunda kalır.

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„KNIHY MAJÚ SVOJE OSUDY, UŽ KEĎ SA TVORIA…“ DENÍKOVÉ ZÁPISKY MOJE DETI E. M. ŠOLTÉSOVÉ A DOSTOJEVSKÉHO DENÍK SPISOVATELE

Author(s): Lenka Paučová / Language(s): Czech Publication Year: 0

The genre of personal diary belongs to one of the most subjective autobiography genres. The goal of the present study is to examine the autobiography and diaries written by Elena Maróthy-Šoltésová (1855–1939), a Slovak realist writer. Namely, to compare her diary My Children with Dostoyevskyʼs Diary of a Writer. The focus of the study is on the genesis, composition, genre and themes in both diaries. It is hoped that similarities in terms of their genre, compositional individuality, themes and biographical connections between Šoltésová and Dostoyevsky can be discovered.

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Ф. М. ДОСТОЕВСКОГО «ПРЕСТУПЛЕНИЕ И НАКАЗАНИЕ» И ПОВЕСТИ М. ГОРЬКОГО «ТРОЕ»

Author(s): Galina Prokudina / Language(s): Russian Publication Year: 0

This paper compares three of them, a novella by M. Gorky, and Crime and Punishment, a novel by F. M. Dostoevsky, on several levels: similarities and differences between main characters and their fates and secondary characters and their relationship to the main ones. Two crimes that take place in the texts are analyzed in detail. The motives, the act of the crime itself and its consequences are examined. It is hoped that this detailed analysis proves the existence of a typological and genetic relationship between literary works of F. M. Dostoyevsky and M. Gorky.

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ПОЛЬСКИЙ ТЕКСТ РУССКОЙ ЛИТЕРАТУРЫ В ПОЭЗИИ ЕЛЕНЫ ШВАРЦ И СЕРГЕЯ СТРАТАНОВСКОГО: МИФОПОЭТИКА И КУЛЬТУРНЫЕ КОНТЕКСТЫ

Author(s): Kristina Vorontsova / Language(s): Russian Publication Year: 0

The concept of “sverhtext” in Russian literature formed around the image of St. Petersburg; however, the attributes of St. Petersburg text and myth are can be found in other traditional “texts”, for example, in Italian, Crimean and Caucasian. The aim of this paper is to prove the existence of Polish text in Russian literature on the examples of contemporary postmodern poetry of Elena Shvarts and Sergey Stratanovsky. These poets use cultural and literary intertexts for constructing an image of Poland in accordance with laws of mythopoetics. The presence of Polish words in a Russian poem, stereotypes and recognisible symbols of “Polishness” contribute to the formation of a Polish text. On examples of selected lyrical poems, the mechanisms of its genesis and evolution in a postmodern text are examined.

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Způsob využití ekfráze v úvodu Gogolovy povídky Portrét

Author(s): Matěj Kos / Language(s): Czech Publication Year: 0

V úvodu Gogolovy povídky Portrét (1835; česky jako Podobizna 1847), která je často řazena mezi jeho tzv. Petrohradské povídky, můžeme nalézt několik pasáží, které by bylo možné označit jako ekfráze, tedy literární popisy uměleckých děl (blíže k ekfrázi Fedrová – Jedličková 2016). Tato analýza bude věnována právě jim, nejprve se je pokusím krátce uvést a charakterizovat a poté vyvodit obecnější závěry o Gogolově přístupu k ekfrázi.

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ЭВОЛЮЦИЯ СЛОВООБРАЗОВАТЕЛЬНОГО ПОЛЯ КОНЦЕПТА «ГНЕВ» В РУССКОМ ЛИТЕРАТУРНОМ ЯЗЫКЕ

Author(s): Irina V. VOTYAKOVA / Language(s): Russian Publication Year: 0

The word-formation field is a structured system of the categorical derivational values that reflect cognitive characteristics of the concept. Two microfields are distinguished in the structure of the wordformation field of the emotional concept ‘anger’ [gnev]. They are an ‘Action’ microfield and an ‘Attribute’ one. This is due to the significance of its cognitive characteristics associated with expression of its movement as well as its nature. Other microfields, which are typical for the structure of the word-formative field of this emotional concept, have not received proper derivational development. In general, we can observe a significant reduction in its derivatives. In our opinion, this is due, on the one hand, to the universalization tendency and to some simplification in perception of the emotional state which comes down to a semantic triad: ‘to experience an emotion or a state’ – ‘to bring someone to the given emotion or state’- ‘to get oneself into the given emotion or state’. In modern Russian the most common derivatives have a more generalized meaning by co-opting the semantics of the obsolete derivatives. On the other hand, the decrease in the number of the words used in speech can be ascribed to the development of a complex interaction with synonyms that are members of other families of words.

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ЖЕНСКИЕ ОБРАЗЫ В ПРОЗЕ В.Ф. ОДОЕВСКОГО И СИМВОЛИСТОВ: К ВОПРОСУ О ПРЕЕМСТВЕННОСТИ

Author(s): Galina Zavgorodnyaya,Alexey M. Zavgorodnii / Language(s): Russian Publication Year: 0

The paper is aimed at revealing stylistic continuity between romanticism and symbolism in Russian literature by doing a case study. The works of a prominent representative of Russian romanticism, theorist and innovator V.F. Odoevsky as well as the prose of symbolist writers serve as material for analysis. Images of women and the specificity of their depiction by the above mentioned authors are selected as a research object. The research has shown that although the symbolists did not proclaim V.F. Odoevsky their literary precursor and his name did not emerge in symbolist manifestos and theoretical works (as in case of F. Tyutchev and A. Fet), it is from his conceptually thematic and stylistic trials that one can draw “straight lines” to symbolist experiments clearly illustrating the continuity between two literary directions and confirming the important role of V.F. Odoevsky in the Russian literary process. The analysis of some prose works by V.F. Odoevsky allowed to reveal, for instance, the following recurrent (with some variations) female types: woman possessing arcane knowledge or/and magic powers; woman having dual nature – human and mystical; woman from the picture coming alive. The noted images, depicted highly originally, demonstrate, however, the indubitable influence of Hermeticism (including alchemical symbolism), Schelling’s philosophy and the work of German romanticists. The resemblance between female images in the prose of V.F. Odoevsky and the most frequently encountered ones in the symbolism becomes apparent when making a comparative analysis. It is revealing that semantic accumulations of the images at the beginning of the XX century are carried out in general in line with the directions traced by romanticists and, in the first place, by V.F. Odoevsky – an appeal to mythology, Hermeticism, theosophy in a broad sense; an aspiration to embody artistically the idea of synthesis of arts, religion and philosophy.

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ЛЕКСИКО-СЕМАНТИЧЕСКАЯ РЕАЛИЗАЦИЯ КЛЮЧЕВЫХ ОБРАЗОВ-СИМВОЛОВ ПРИРОДНОГО ПРОСТРАНСТВА В ТВОРЧЕСТВЕ В. СОЛОВЬЕВА И О. БРЖЕЗИНЫ

Author(s): Simona Koryčánková / Language(s): Russian Publication Year: 0

Author of the article analyzes the poetic image of nature in Vladimir Solovyov´s and Otokar Březina poetry. The intensity of light and its rays play an important role in the semantics of lexemes and determination of significance of poetic images of the poets. The author of the article aims to reveal the specifics expression of the V. Solovyov's and O. Březina´s authorial style.

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ЯЗЫКОВОЕ ПРЕДСТАВЛЕНИЕ ПЕРЦЕПТИВНОГО ОБРАЗА ГРОЗА В ПОЭТИЧЕСКОМ ТВОРЧЕСТВЕ Б.Л. ПАСТЕРНАКА

Author(s): Larisa Borisovna Kryukova,Anna Vladimirovna Khiznichenko / Language(s): Russian Publication Year: 0

The analysis of linguistic means of verbalization of a perceptual image thunderstorm in B.L. Pasternak’s poetic works is presented in the article. Primary focus is on text production potentialities of the studied perceptual units and author's individual features of the poet’s imagery. In the context of the offered research the perceptual imagery is considered as a subordinate concept in relation to a verbal imagery. The bases for separating of perceptual units is their ability "to create" a perceptual imagery (the esthetic basis) and "to mark" a perception proposition in the text (a proposition as linguistic model of a situation) (the semantic basis). Study material is original poems written by B.L. Pasternak in which contexts with semantics of thunderstorm were revealed by the continuous sampling method. In the course of work methods of the semantic and contextual analysis, elements of the linguistic and stylistic analysis of the literary text were also used. The image of a thunderstorm belongs to the brightest and significant perceptual images which are found in B.L. Pasternak's poetry – there are also nightingale, lilac, candle, kiss, etc. – and it is a complex image, along with such as rain, city, garden, tears, sobbing, etc. In the course of verbalization of a perceptual image of a thunderstorm such expressive means as metaphors, embodiments, comparisons are used

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«ЕСЛИ НЕ БУДЕТЕ КАК ДЕТИ…»: НРАВСТВЕННЫЙ ОБРАЗЕЦ ЖИЗНИ ЧЕЛОВЕКА В ТВОРЧЕСКОМ СОЗНАНИИ РУССКИХ ПИСАТЕЛЕЙ

Author(s): Nina Alekseevna Dvoryashina / Language(s): Russian Publication Year: 0

Judgment and treatment by the Russian writers of an evangelical order of Christ are presented in the article: "… if don't address and you won't be as children, you won't enter the Kingdom of Heaven". Many people reflected over a question: what does it mean "to be as children". Their private answers noted a way of comprehension of the general truth the Russian national consciousness. In N. Fedorov's works being a child – the following to the blameless nature of the child conducting to family relations of all people. In V. Zenkovsky's understanding childishness – the embodiment of the original spiritual life keeping communications with the Father Nebesny. L. Tolstoy saw in an evangelical appeal refusal of any violence, innocence the evil, ability to forgiveness and life at God's will. For F. Dostoyevsky childishness – the measure of moral solvency of the person, that saving beginning which grants him a possibility of redemption promotes his spiritual regeneration. In F. Sologub's creativity childishness in a man is the embodiment of innocence, joyful and fresh acceptance of the world, spiritual dominant, which defines all his subsequent course of life. The loss of these properties of soul inevitably conducts to an evil celebration. Z. Gippius perceived this property of the personality as sincere mobility as existence in her of "the sacred law" – conscience. S. Durylin appreciated at "great eternally children's beginning" show of Divine light with its inviolable purity, truthfulness, joy. Judgments of the Russian word artists confirm unconditional recognition of childishness as a moral sample for organization by the person of the life as criterion for evaluation of her spiritual solvency.

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ЧИТАТЬ ГОРОД. СОВРЕМЕННАЯ ПОЭЗИЯ В ПУБЛИЧНОМ ПРОСТРАНСТВE

Author(s): Jana Kostincová / Language(s): Russian Publication Year: 0

Significant segment of contemporary Russian poetry is no more limited to print page, some texts are presented on new interfaces, in virtual space, some create an integral part of urban landscape. The paper will consider different forms of poetry intervention into urban space, that explore and apply the approaches and practices of the 20th century avant-gardes, as well as situationist dérive and the use of contemporary digital technologies. It will focus on activities of St Petersburg group Laboratoria Poeticheskogo Aktionizma (The Laboratory of Poetic Actionism), their projects will be discussed and interpreted within the context of transmedia art and literature. The aim is to present the type of contemporary literature that struggles to break stereotypes of contemporary city life, enter into a dialogue with cultural memory using poetic utterance and placing it in city space.

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СИНТЕЗ ИСКУССТВ В РУССКОЙ ЛИТЕРАТУРЕ 1990-х —2010-х гг.

Author(s): Irina Mineralova / Language(s): Russian Publication Year: 0

The phenomenon of “Synthesis of arts” being productive in Europe during the Romantic period bore completely unexpected fruit at the turn of XXth century. As a rule of thumb, periods of crisis and changes are destructive on different levels and “crave” (Vyach. Ivanov) for synthesis. The turn of XXIth age is not an exception. This article defines specific causes and conditions for calling synthesis into life (fictional, interliterary, particularly synthesis of genres, and, furthermore, convergence of journalism, philosophy, sociology and philology). In this sense the synthesis of music and fictional literature is extremely graphic, it can be seen in works of old masters of prose and popular poets who represents “author’s song” (Russian contemporary folk music) or rockmusicians and rock-poets. Also of a great importance are the new flash fiction and poetry of modern age answering on the questions of today. The synthesis of philosophy, sociology, journalism and pictorial art is the most graphic in artistic heritage of Alexander Zinoviev, who has no match in today’s generation. The study of “synthesis of arts” phenomenon and its use in individual style of contemporary authors is not only interesting, but also fresh and meaningful. This will be shown in the analysis of particular literary works of contemporary authors. The synthesis in contemporary Russian culture differs from what it was in the first third of XXth century. The change of “exchanging” and “storing” information format leads to the fictional product that often comes out to be a surrogate pleasing the lowest tastes, without any aesthetic value. The question of value is often about creating “reputation” determining commercial worth of the product and not about artistic evaluation.

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ПОЭМА А. БЛОКА «ДВЕНАДЦАТЬ» В КОНТЕКСТЕ ХУДОЖЕСТВЕННО-ЭСТЕТИЧЕСКИХ ИСКАНИЙ РУССКОГО КИНОАВАНГАРДА

Author(s): Nina Osipova / Language(s): Russian Publication Year: 0

Russian symbolists ignored and rejected early Russian film experience. Nevertheless, it is the symbolism that formed semiotic codes defining further artistic and aesthetic development of Russian film avant-guard in 1920s. The article is devoted to the film poetics of «The Twelve» which was later followed by Vertov’s experiments in documentary films («A Man with a Camera», «The Donbass Symphony»). Block’s levels of artistic world perception influenced the poetics of «The Twelve» as a system of iconic and iconographic film codes: the synthesis of corporality and convention, the principles of film montage poetics, change of planes and perspective, simultaneous space, colour, light and sound codes, and the synthesis of «film-eye» and «radio-eye».

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ВОПЛОЩЕНИЕ ПЕДАГОГИЧЕСКИХ КОНЦЕПЦИЙ Л. Н. ТОЛСТОГО В ХУДОЖЕСТВЕННОЙ ЛИТЕРАТУРЕ И В КОНТЕКСТЕ РАССКАЗОВ КАЗАХСКОГО ПЕДАГОГА И. АЛТЫНСАРИНА

Author(s): Dinara Tolbayeva / Language(s): Russian Publication Year: 0

The article is devoted to the influence of conceptual aspects of Leo Tolstoy’s work (flash fiction and stories, in relation to which he was an editor) on the works of Ybyrai Altynsarin, classic of Kazakh literature and author of Kyrgyz Chrestomathy and Welcome Guide to Teaching Russian. The article compares the views of the writers and educators on the pedagogical process, reflected in unfolding the character of a teacher-mentor, in development of the motive of labor as an instrument of moral education, and in forming a specific direction – literature for and about children.

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СЮЖЕТ ПЕРЕСЕЛЕНИЯ НА ЗЕМЛЮ В ЛИТЕРАТУРЕ ПЕРВОЙ ВОЛНЫ РУССКОЙ ЭМИГРАЦИИ

Author(s): Marina Albertovna Khatyamova / Language(s): Russian Publication Year: 0

The White émigrés writers were concerned with mission to conserve the national culture saw a tragedy of their generation in being isolated from their native land. One of the ways to arrange their Dasein was a Nativist idea of redemption through being closer to land. Mikhail Osorgin and Nina Berberova pertained to different generations of the émigré writers and gave their own variants of the in his cycles of short stories titled Memoirs from a Vegetable Garden and Dweller’s Letters, included in Incidents in the Green World collection (1938), and in his novella A Free Mason (1937), Osorgin, creates his ontological utopia of living in a small cabin. Moreover, he implements it in a life-as-a-work-of-art approach, by moving to a real cabin in Sainte-Geneviève-des-Bois, near Paris and tending to his vegetable plot and garden together with his wife. Existence of both the author and his character, Yegor Tetekhin, comply with the masonic ideal: an eccentric gardener and bibliophile arranges his spiritual existence close to nature, a “cultural home” as an alternative to foreign and destructive forces of civilization. Nina Berberova’s novel The Last Ones and the First Ones (1929), addresses life of ordinary Russians in France, their arrangements for the here-and-now life on land as an opposition to a utopia of return to Russia. The author creates her own myth of saving the unnoticed generation of the Russian emigration and then follows it herself: she moves to the countryside and starts a farmstead. Similarly, Berberova’s characters save themselves from meaninglessness of existence by absorbing themselves in collective agricultural work somewhere in Provence. Family values and domestication of alien space allow the émigrés to gain “aerial roots”, which the author understands in a spiritual way: keeping distinctive internal national identity will allow reconstructing their cultural motherland in the alien land.

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