Manifestowanie się nowomowy w tekstach Michaiła Zoszczenki

Author(s): Jarosław Wierzbiński / Language(s): Polish Issue: 35/1996

Статья посвящена проблематике так называемого „дубового языка” („деревянного языка”). Рассматриваются основные его проявления в речевой деятельности зощенковских героев. Послереволюциошшш уклад жизни в России вызвал своеобразные семантические преломления и модификации с политическими акцентами в языковом поведении людей. В условиях тоталитаризма различные слова и выражения стали использоваться упрощенно и извращенно. Основное внимание в работе уделяется случаям превратного интерпретирования смысла слов. В речи зощенковского повествователя они неоднократно функционируют в искаженном виде и не соответствуют той роли, на которую „претендуют”, но такие единицы являются удобным и действенным средством в механизме подтасовки фактов и оценок. Зощенко разоблачает различные порочные явления в языковой действительности и его сатира в отношении спекулирования словом, его семантикой, беспощадна.

Новые святые и антиутопическая агиография

Author(s): Boris Lanin / Language(s): Russian Issue: 161/2017

Тэффи. невыплаканные слезы

Author(s): Nadia Caprioglio / Language(s): Serbian Issue: 162/2017

Диалог с Мастером: семантика эпиграфики одного подъезда

Author(s): Mikhail Krasikov / Language(s): Russian Issue: 163/2017

Sull’immagine letteraria di Santa Ol’ga di Kiev

Author(s): Maria Chiara Ferro / Language(s): Italian Issue: 163/2017

Post-Revolutionary Art in Russia: From Lenin to Stalin

Author(s): Ida Sinkević / Language(s): English Issue: 163/2017

The period after the Bolshevik Revolution in Soviet Russia,from 1917 to 1932, is marked by significant diversity and freedom of artistic expression. Although best known for the creative accomplishments of the protagonists of the avant-garde movement, such as Malevich and Tatlin, the years after the Revolution also fostered other artistic styles that included different versions of Realism, as well as Symbolism, Neo-Cubism and Futurism.Avant-garde artists co-existed and shared creative space with Realists and Social Realists, such as Georgy Alekseev, Boris Kustodiev and Isaak Brodsky. Contrary to a popular belief in the oppressive nature of the Communist regime, the art of the early Soviet period exhibits pluralistic tendencies and reflects an extraordinary creative and exuberant moment in the cultural,social, and artistic climate of the time

«Я ОБОЖАЮ СКВОЗНЯК НОВИЗНЫ…» (философская лирика Юрия Линника 1960-х годов)

Author(s): Yurii Ivanovich Dyuzhev / Language(s): Russian Issue: 1 (178)/2019

The paper analyses the philosophical lyric poetry of Yuri Linnik using two collections of his poems: The Prelude (1966) and The Harmony(1969). It is about the poet’s search for inner harmony, uniting the past and the present, and eventually finding this harmony, inhis own words, “in the North, taken as one of the most complex categories of Russian history, Russian language and Russian nature”.

МЕТАПОЭТИКА ХУДОЖЕСТВЕННЫХ АНТИУТОПИЙ РУБЕЖА ХIХ–ХХ ВЕКОВ

Author(s): Gulchira Talgatovna Garipova,Irina Aleksandrovna Kostyleva / Language(s): Russian Issue: 1 (178)/2019

The article deals with the specific features of creating the anti-utopian fiction metapoetics in the Russian literary process at the turn of the XX century. The article identifies text structures (invariable and variable), which determine the possibility of talking about the metapoetics of anti-utopia and distinguish between the categories of “meta-narration” and “reflection/metareflexion”. The authors describe textual “world-like structures” and codes correlated with the works of Vladimir Odoevsky and Russian symbolists with pronounced anti-utopian meta-narration (Andrei Bely and Dmitry Merezhkovsky), with the invariant genre of “anti-utopian novel”(Yevgeny Zamyatin), and with the reflexive models variants of anti-utopia in the stories of Andrei Platonov. The methodological basis for the analysis of the actual anti-utopian world-modeling constants was the mythopoetic analysis, which reveals the mythological components of the anti-utopian fiction metapoetics in the early ХХ century. The article emphasizes the innovations of the authors’ artistic anti-utopian mythological models in the system of genre and extra-genre coordinates, representing neomifological tendencies.

ОБ ОДНОМ ЛИТЕРАТУРНОМ ВЛИЯНИИ: РАССКАЗ «ОТЧЕГО ОН УБИЛ ИХ?» А. А. ШКЛЯРЕВСКОГО И «ЗАПИСКИ ИЗ МЕРТВОГО ДОМА» Ф. М. ДОСТОЕВСКОГО

Author(s): Nataliya Leonidovna Shilova / Language(s): Russian Issue: 1 (178)/2019

Recently, the prose of Alexander Shklyarevsky, a popular Russian fiction writer of the XIX century, has repeatedly attracted the attention of researchers, including those who study literary contacts of Fyodor Dostoevsky. The fact of their personal acquaintance is known, Shklyarevsky’s letters to Dostoevsky were preserved, and an opinion has been held about the impact of Dostoevsky’s Crime and Punishment on Shklyarevsky’s prose. The study of the editorial archive of the Citizen magazine during the period of Dostoevsky’s editorship points to a new source for analyzing this range of issues – Shklyarevsky’s story Why Did He Kill Them?, to which he refers in one of his letters, confessing to being Dostoevsky’s disciple. This criminal story mentions Dostoevsky himself,uses the “Dead House” metaphor twice, and contains semantic and formal parallels with The House of the Dead (i. e., the image of an intelligent criminal, the motif of murder, and the names of the victims of crime). Analyzing Dostoevsky’s intertext in the story Why did he kill them? enables us to clarify the boundaries and the nature of this literary influence. The revealed similarities stress the differences in the authors’ narration strategy, reflecting their different views on the nature of crime. Biographical materials and epistolary documents are used as the nearest context for the research analysis.

«ЛИТЕРАТУРНАЯ РАБЫНЯ: БУДНИ И ПРАЗДНИКИ» НАТАЛЬИ СОРБАТСКОЙ КАК МЕТАРОМАН

Author(s): Marine Amraevna Sargsyan / Language(s): Russian Issue: 1 (178)/2019

The article deals with the novel Literary Slave: Weekdays and Feast Days by a St. Petersburg writer Natalia Sokolovskaya (written under the pen name Natalia Sorbatskaya). This novel is used for examining the modern metafiction phenomenon and its place inthe modern literary process. Literary Slave is metafiction of a special type – it includes the author’s reflection on the modern publishing world, as well as the description of the literary cuisine and creativity mechanisms. The novel’s title, its complex composition,and a plot built on the “literary Matryoshka principle” (a story within a story), enable us to define this work as a meta-novel, which intertwines love, autobiography and production novels and makes a diagnosis for the modern literary process.

FROM TRANSLATION HISTORY OF A. N. NEKRASOV’S WORKS INTO THE AZERBAIJANI LANGUAGE

Author(s): Sevinj Abbas Musayeva / Language(s): English Issue: 1/2019

In the article the popularization and spreading of N. Nekrasov’ s poetry in Azerbaijan is spoken about. Besides, translation of Nekrasov’s works into Azerbaijani is studied also. It’s pointed out, that that these works were translated by most famous Azerbaijani poets and are of great interest from different -poetic, lexical, artistic - aspects

«Про один кошмарный случай я хочу вам рассказать». Городскиe песни-хроники 1920-х годов: к вопросу о типологических границах и социальных контекстах функционирования (пост)фольклорных явлений

Author(s): Mikhail Lurie / Language(s): Russian Issue: 164/2018

Статья посвящена песням о локальных инцидентах, или песням-хроникам, которые в 1920-х — начале 1930-х годах сочиняли и исполняли уличные певцы в городах Советской России. Эти городские баллады повествовали, как правило, о реальных городских происшествиях, информация о которых часто заимствовалась из газет. Основные черты этой группы песен, отличающие их от других уличных баллад, — презумпция достоверности, исключительный драматизм инцидента и фокус повествования на одном событии. Продуктивность этой жанровой модели, созданной авторами уличных песен, обеспечивалась прежде всего экономическим фактором: песни-хроники имели большой успех у публики. Большинство песен-хроник в своем бытовании не вышли за пределы программ уличных певцов, но некоторые из них распространились за пределами больших городов и закрепились в крестьянском фольклоре. Помимо конкретных песен, в деревне с 1940-х годах получила распространение и сама практика сочинения песен по мотивам локальных трагических инцидентов. В отличие от больших городов, где спрос на песни-хроники создавался предложением, в деревенском социуме они включались в практики коллективного переживания и коммеморации, что и обусловило продуктивное функционирование жанра в новых формах и в новых контекстах.

Књижевно наслеђе Максима Горког

Author(s): Ljiljana Bajić / Language(s): Serbian Issue: 164/2018

Фјодор Михаиловић Достојевски (1821-1881) на страницама часописа Руски архив (1928–1937)

Author(s): Bojana Sabo / Language(s): Serbian Issue: 164/2018

В данной работе рассматривается восприятие Федора Михайловича Достоевского и его творчества в белградском журнале Руски архив. Тексты, опубликованные в упомянутом периодическом издании и посвященные Достоевскому написаны постоянными сотрудниками журнала (М. Слонимом, И. Лапшиным, Е. Ляцким, А. Ремизовым, П. Митропаном и М. Шварцом). Несмотря на разные подходы и методологии, статьи, посвященные Достоевскому в основном рассматривают его философскую мысль даже когда предметом исследования являются произведения художественной литературы.

RELIGIOUS SYMBOLS IN THE POETRY OF ANNA AKHMATOVA

Author(s): Maria Macarskaia / Language(s): English Issue: 2/2018

The culture of the Silver Age in Russia is represented by a pleiad of novelists and poets, among whom Anna Akhmatova is a central figure. At that time, the Orthodox religion had an important influence on Russian poetry, with the poet being a prophet, according to Akhmatova. Terms in the religious lexicon, such as God, the divine, prayer, angel, Christ, sin and paradise, colour her entire body of work from beginning to end. This iconic poetry reflects the Slavic soul so well, on the borderline of nature, legend and mystical reference.

За завесой бытия. К вопросу о природе смеха в рассказах Исаака Бабеля

Author(s): Roman Katsman / Language(s): Russian Issue: 2/2019

The article reconsiders the problem of the character of I. Babel’s laughter and leads to the conclusion about its complex dynamic nature. Particularly, its belonging to the carnival culture is being questioned. On the basis of a few texts the transition is observed from the carnival consciousness to the historical tragic bewilderment and to the possibilistic thinking.

КОНЦЕПТ «СЕМЬЯ» В СМЫСЛОВОЙ СТРУКТУРЕ И ПОЭТИКЕ РОМАНА Ф. М. ДОСТОЕВСКОГО «ПРЕСТУПЛЕНИЕ И НАКАЗАНИЕ»

Author(s): Ekaterina Aleksandrovna Golovacheva,Olga Viktorovna Sedelnikova / Language(s): Russian Issue: 3/2020

The article deals with the concept of family and its function in the poetics of Fyodor Dostoevsky’s novel Crime and Punishment. The authors analyze the fragments of the novel where this concept of family is objectified through lexemes comprising the nucleus of its nominal field as well as through the author’s elements which expand this concept. The analysis reveals both individual author’s characteristics of the concept of family and its attributes traditional for the Russian linguistic picture of the world (unity, mercy, decency). Investigating the city environment and living conditions after the reforms, Dostoevsky focuses on the moral and social aspects of family relations, therefore, such attributes as illness, poverty, destruction, unhappiness, slavery, and disease play an important role in the enrichment of the concept’s axiological content. Actualization of these attributes enables Dostoevsky to portray the tragedy of the Russian family decay and the extent of this tendency. Differentiation and simultaneous actualization of several mutually exclusive attributes in the novel suggest that the author strove to show not only the breakdown of the society but also ways out of the crisis. It can be concluded that the concept of family is one of the crucial meaning-making concepts of Crime and Punishment, revealed on several important levels of the text poetics (genre, composition, plot, and the system of characters).

«ОРНАМЕНТ ОТТЕНКОВ»: О СИМВОЛИКЕ ЦВЕТА В РОМАНЕ АНДРЕЯ БЕЛОГО «МОСКВА»

Author(s): Natalia Gennadievna Sharapenkova / Language(s): Russian Issue: 3/2020

This paper presents one of the ways to interpret a poorly studied novel Moscow (1926–1932) by Andrei Bely through the symbolism of colors in the descriptions of the city and the images of two antagonistic characters. Three colors wereanalyzed: yellow, red, and golden, as well as their individual shades and modifications created by the author (leopard and ash-yellow), which, together with other shades (black, grey, etc.), make up a consistent color ornament for the whole novel. Decoding (interpreting) the use of colors in the novel enabled to reveal its genesis through references tothe writer’s correspondence and memoirs. Connections were built with the early works of Andrei Bely, written during his Symbolist period, and a deeper level of the novel was explored. A general conclusion was made concerning the specific individual style of the writer, where the color and other text categories are characterized by increased signification and semioticity. The author suggested one of the ways for a new “reading” or interpretation of one of the most complicated works of fiction of the XX century. In the future, it could help trace the creative evolution of the writer and incorporate this novel into the literary landscape of the Russian culture of the XX century.

Из Именного указателя к «Записным книжкам» Ахматовой

Author(s): Roman Timenchik / Language(s): Russian Issue: 6/2019

This article is yet another installment in the series of Roman Timenchik’s annotations to Anna Akhmatova’s Notebooks (see also the previous volume of Slavica Revalensia). This particular installment concerns the following persons mentioned in Akhmatova’s notes: Natan Al’tman, Lev Bruni, Du Fu (杜甫), Boris Grigor’ev, Aleksei Kepov, Fausto Malcovati, Pyotr Miturich, Alexander Morozov, Vissarion Sayanov (Makhnin), Grigori Sergeyev, Marietta Shaginyan, Nobori Shōmu (昇曙夢), Tinatin Taneyeva (née ჯორჯაძე [Dzhordzhadze]), Boris Tishchenko, and Pyotr Zheleznov. It also includes an entry on the Biblical Holofernes, and the hypostasis of the destructive spirit in Zoroastrianism – Ahriman.

Набоков и советская литература («Приглашение на казнь»)

Author(s): Alexander Dolinin / Language(s): Russian Issue: 6/2019

This article explores a multifaceted dialogue with the Soviet Literature in Vladimir Nabokov’s writings of the 1920s and 1930s, especially in the Russian original of Invitation to a Beheading (1935–36). As the draft of the novel shows, Nabokov initially thought of alluding to the nascent cult of heroic aviators in Stalin’s USSR and to the odious collective work of Soviet writers, headed by Maxim Gorky, glorifying the use of forced prison labor during the construction of Belomorkanal. Though Nabokov eventually rejected the idea, he continued his polemic against the Soviet literature by taking issue with Yuri Tynianov’s historical novel Kiukhlia (1925) about Wilhelm Küchelbecker. While Tynianov portrayed the latter’s imprisonment and exile as a spiritual death, Nabokov allowed his imprisoned protagonist to develop his creative imagination and poetic vision when awaiting his execution in solitary confinement. The article argues that the historic Küchelbeker resembled Nabokov’s “poet in prison” more closely than Tynianov’s one-sided representation.