Отражение авторской концепции в языке В. Шукшина

Author(s): Imre Pacsai / Language(s): Russian Issue: 4/2014

The study is based on the language material excerpted from some of V. Shukshin’s works. The detailed research of the material proves the usage of a wide range of components characteristic for the Russian spoken language, which perfectly fits the author’s concept and helps him express specific features of language and illustrate mentality of Russian villagers accurately. It also proves closeness of the non-standard language of Shukshin’s heroes to the dialectic language means known from Russian folklore as well as from works by other writers, representatives of so called Russian “country prose” of 1960s-1970s.

На границе/грани городских локусов. Концепция переходного пространства в романе Ф. М. Достоевского Преступление и наказание

Author(s): Tat’jana Jankovska / Language(s): Russian Issue: 2/2014

The article presents an analysis of the artistic space in the novel Crime and Punishment by F. Dostoevsky. The concept of transitional space and time, that characterize Petersburg topos in Dostoevsky’s text, is connected with permanent man’s search for moral and existential senses and principles. The semantic functions of motifs, connected with staying on a border and crossing the border, reveal the interaction between those motifs and the system of spatial and temporal relations. Spatial images, as the components of a presented world, introduce allegorical and symbolic meanings. They simultaneously fulfil the modeling function on the level of nonspatial terms, that they are correlated. The chain of significant loci, emphasized by Dostoevsky in Petersburg milieu, refers to mythological, folkloristic and biblical sources. The key images: threshold, crossroad, street and bridge, chosen for this analysis, Dostoevsky presents as the places of crisis, catastrophe or as the turning points in a character’s life. They achieve full representation of semantic meaning in the light of Mikhail Bakhtin’ s carnival theory.

Panoptikon ruské literatury. Nad románem Andreje Bitova Puškinův dům

Author(s): Miroslav Olšovský / Language(s): Czech Issue: 1/2017

The article submits the analysis of one of the leading Russian postmodern novels of the 20th century, the Pushkin House by Andrey Bitov. The Russian writer demonstrates the way the Soviet Union constructed its history, on the example of the Institute of the Russian Literature known as Pushkin House, hiding the relics from the life and work of Pushkin, the famous Russian poet. In his novel, Bitov showed the “musealization” of Russian culture and revealed its imperial character. However, Bitov’s book is a unique musem-novel as well.

Ценностная направленность поздних литературно-критических работ П. В. Анненкова и их временной контекст

Author(s): Josef Šaur / Language(s): Russian Issue: 1-3/2018

P. V. Annenkov (1813–1887), a memoirist, editor of the first extensive and scholarly edition of Pushkin’s works, and literary critic, is certainly not a completely forgotten personage of Russian literary life. However, the amount of professional interest in his works does not correspond to the level of significance he enjoyed on the Russian intellectual scene during his lifetime. The most extensive study on Annenkov so far has been written by B. F. Jegorov and D. Offord. However, they research Annenkov’s literary criticisms only up to the beginning of the 1860s. At that time, Annenkov partially gave up principles of aesthetic literary criticism, began to adhere to conservative values, and significantly reduced published work. This paper focuses on Annenkov’s literary critical articles of the 1860s, which have gone almost unnoticed so far. In these articles, Annenkov concentrates on historical themes in literary works of his time. Using these articles, this paper demonstrates the changes in Russian liberal thinking, which can also be observed in the works of other liberally inclined personages of that time (B. N. Chicherin, K. D. Kavelin, V. P. Botkin etc). As a result of changes in Russian society and of foreign policy events, the liberals of that time were more and more influenced by Russian nationalism and they started to adhere to conservative thinking.

Věda a víra v ruské moderně

Author(s): Danuše Kšicová / Language(s): Czech Issue: Sondernr./2018

The leading writers of Russian Modernism had gone through the university education built on the foundations of positivist philosophy which resulted in their effort to transpose a large amount of rational knowledge to the artistic sphere. A characteristic example is the work of two Russian Symbolists Valery Bryusov and Andrei Bely, who applied their exact education successfully in their artistic texts (Bryusov in history, Bely in mathematics and philology). Bely did so in his essays compiled into a book Symbolism (1910) and in experimental Poema about Phones – Glossolalia (1917). Rudolf Steiner’s system of eurythmy was applied by the poet when he studied the relationship of movements used to form the sounds and words expressing the spiritual nature of Man. The study of linguistics was an inspiration for Bely´s poetic creation. A typical example of the interest in history, culminating in Russian literature at the time of modernism, is Valery Bryusov’s esoteric novel Fiery Angel (1907). In the complex web of phantasmagoric scenes, whose interpretation proceeds on the edge of fiction and reality, there are scholarly lines (focusing on the occult literature) incorporated in the novel. Ambivalent position is taken in the novel by the famous scholar Agrippa from Nettesheim. Scientific literature forms an integral part of both the authors´ literary works, and faith becomes a strong source of inspiration for them.

Шкатулка с Зеркалом. Об одном глубинном мотиве А. А. Ахматовой

Author(s): O. A. Sedakova / Language(s): Russian Issue: 1/1984

То, что принято называть поэтическим миром и что в некотором роде само идет в руки искушенному читателю «сложной», «темной», «герметичной» лирики (поскольку такая лирика ни на что другое в сущности не отвлекается), весьма сложно обнаружить в лирике Ахматовой. Поэтический мир - круг лирических констант, лежащий глубже всех конкретных текстов и задающий выбор их тем, композиционных решений и т. п., natura naturans поэта - скрыт именно за «простотой» Ахматовой, за тем, что в ней связывается с «прозаической родословной».

«Темный язык» как метафора революции в лекторской деятельности Андрея Белого 20-х годов

Author(s): Giuseppina Giuliano / Language(s): Russian Issue: 1/2020

The article examines the development of the concept of Andrei Bely on the role of the poet and writer from 1917 to 1925. This concept is analyzed first on the basis of what Bely wrote on this topic in the pamphlet Revolution and Culture (1917), and then on the basis of published texts of papers and lectures on Blok and Pushkin, delivered and read by Bely respectively in 1921 and in 1925. We observe the evolution of his literary criticism in post-October Russia, in emigration in Berlin, and upon returning to Soviet Russia, when he gave the lecture „Pushkin and us“ in Leningrad and in Moscow.

Наталья Викторовна Пак: О неизвестном источнике Жития Никона Радонежского

Author(s): Nadezda Victorovna Pakhomova / Language(s): Russian Issue: 4/2020

The article presents a comparative analysis of three currently known editions of the Life of Nikon of Radonezh and a literary source of this text – Panegyric of Patriarch Euthymius of Tarnovo, written by Gregory Tsamblak. It comes to the conclusion that the Life’s Short edition was the original version and it was written by Pachomius Logothetes, the Special edition is the author’s revision of the Short one, and the Extensive edition was written by an unknown author on the basis of the Short edition. By analogy with the Life of Sergius of Radonezh the Short and Special editions shoud be named the First and the Second Pachomian editions respectively. The research results don’t contradict the dates of the Short edition – the mid 40s of XV century and the Special one – the 50s of XV century, proposed by B. M. Kloss, which seemed to be the most historically-grounded. The second part of the article concerns Pachomius’ auto-paraphrases (author’s repetitions and variations of images and comparisons), dating back to Panegyric of Patriarch Euthymius through the Life of Nikon of Radonezh.

Художественная трансформация идеологии Пьера Тейяр де Шардена в произведениях Анатолия Кима

Author(s): Young-Eun Park / Language(s): Russian Issue: 1/2021

The study explores worldview and artistic reflection of Teilhard de Chardin’s work that influenced the ideas of the third-generation Russian Korean artist Anatoli Kim. The evidence that Anatoli Kim was immersed in the ideas of the French theologian and paleontologist Teilhard de Chardin is revealed not only through the mentioning of his name and writings, but also on a deeper level such as through thematic adaptation in Anatoli Kim’s works. Accordingly, this study observes the aspect of concepts such as “biosphere,” “noosphere,” and “omega point,” which are based on the evolutionary biology of Teilhard, being reflected on the natural philosophy of Anatoli Kim’s works. Such attempts to analyze the aspects of Teilhard’s theories or perspectives being embraced in the worldview of Anatoli Kim and artistically projected in his works can be a significant case study on the convergence of science, theology, and philosophy into cultural art.

Dostoievski şi dimensiunile antieroului

Author(s): Călin-Horia Bârleanu / Language(s): Romanian Issue: 1 (33)/2021

Having a creation based on a Christian pattern, but also integrated into a universal cultural horizon, Dostoevsky was among the first writers to design, in all the psychological senses of the word, the human typology of the antihero. The enormous influence of the Russian writer can be identified in the universal literature, especially in the way in which such an unusual character began to respond, ideologically, to a different need, felt by literature consumers. From the ancient tragedy to the novel and the cinema, the antihero has different masks and, obviously, different forms of manifestation, within the same psychological matrix. Weakness, that sometimes is real or apparent, cowardice and fighting avoidance, along with a specific dimension of the trickster archetype, define the protein figure of the antihero.

Красота, которая не спасёт мир: западный классический образ женственности и молчание Достоевского

Author(s): Giulia Baselica / Language(s): Russian Issue: 23/2021

Противопоставлениям чувственной и соблазнительной женствен- ности, причиняющей разорения, и чистой и целительной женственности, выра- жающей евангельские ценности и религиозную веру русского народа, выявленные, например, в литературных персонажах, таких как Настасья Филипповна в "Идиоте" и Соня Мармеладова в "Преступлении и наказании", в произведени- ях Достоевского встречается еще одно выражение женской красоты, которое само по себе проблематично. Оно имеет отношение к эстетическому идеалу, задуманному греческой культурой, и смоделированному в статуях Скопаса и Праксителя. В моральном и эстетичном мировоззрении великого писателя обе статуи Венеры Милосской и Венеры Медичи представляются в публицистике и литературных публикациях 1960-х годов повторяющейся ссылкой. Они вводят моральный вопрос, который, по-видимому, не имеет решения: человек в присутствии гармоничной и чувственной красоты (следовательно не адской или демонической, а языческой по своей природе) беззащитен, поскольку он ей не может противопоставить те духовные, евангельские ценности, в которые он верит и которые он понял в конце долгого и мучительного процесса внутреннего очищения. Красота Венеры Милосской и Венеры Медичи (последняя хорошо известна как в западноевропейской, так и в русской культуре XVIII и XIX веков) напо- минает и потому соблазняет естественность человека.

СКАЗКИ ОБ ИСТОРИЧЕСКИХ ЛИЧНОСТЯХ, ЗАПИСАННЫЕ В ФИНЛЯНДИИ

Author(s): Ilona V. Pelgonen / Language(s): Russian Issue: 6/2021

In the first quarter of the XX century, both in Soviet Karelia and on the territory of Finland in the villages of the Ladoga area folklore materials were being actively collected. Fairy tales recorded by Marta Pelkonen in the Salmi community were published by the Literary Society of Finland in 1976 as the collection entitled Satuja ja legendoja. Martta Pelkosen salmilaismuistiinpanoja (Tales and Legends. Salmi Writings of Martta Pelkonen). This collection also contains legends about real historical figures – Tsar Peter the Great and Countess Anna Orlova-Chesmenskaya, particularly about her participation in the construction of the Church of St. Nicholas in Salmi. Both texts have not been previously translated into Russian.

Десять темных мест в поэзии О. Мандельштама: комментарии и расшифровка

Author(s): Vasily Pavlovich Moskvin / Language(s): Russian Issue: 1/2020

A number of solutions are proposed that shed light on the dark and controversial passages in ten poetic texts of the outstanding Russian and Soviet poet O. Mandelstam. The existing interpretations of such passages in modern special literature are critically analyzed. The tactics that implement the characteristic for late Man- delstam “orientation to riddle” (O. Ronen) are identified, the basic functions of this orientation in his poetics are determined. As the analysis has shown, the main of these tactics is a metaphor that is in various ways darkened, and therefore allows for variability of interpretations, or is more or less hermetic, i.e. closed to an exhaustive and unambiguous interpretation. Such “dark” metaphors, the main subject of which does not lend itself to confident explication, the poet called “heraclitic”. The paper provides arguments in favour of the fact that the internal form of the term heraclitic metaphor goes back to the nickname of the early antique Greek philosopher Heraclitus of Ephesus – σκοτεινός ‘dark’. Among the applied by O. Mandelstam methods of darkening of semantic transfers were the most popular, and therefore characteristic for his author’s idiostyle: 1) the lack of context, in particular, the non-closed nature of metaphors of type mentioned above; 2) carefully “hidden”, i.e., as a rule, no more than a one-word, allusive reliance on a precedent text, often little-known, and therefore inaccessible to a wide readership; “disguised” indication of a separate element (or elements) of the actual for the poet everyday or historical consituation, based on which an adequate understanding of the text can be achieved. This means that the interpretation that more or less corresponds to the author’s intention obligatorily involves the use of contextual, consituative, or intertextual analysis of the semantic transfers constructed by the poet, in particular, “heraclitic metaphors”, while the analysis of semantic transfers obligatorily requires the use of transformational analysis. Accordingly, the researcher’s remoteness from the above-mentioned linguistic methods, primarily from experimental, i.e., distributive and transformational analysis, if not de- prives of a clear perspective, then significantly complicates further hermeneutical understanding of the cre- ative heritage of the late Mandelstam, i.e., those texts that were written by him after 1920. The study has shown that the darkness of a number of such texts which sometimes comes close to the sphere of hermeticism has a certain functional justification. “Orientation to riddle”, or, in ancient terminol- ogy, “dark hint” (κάλυμμα, συγκάλυμμα), in the vast majority of cases is used in the poetic texts of O. Man- delstam not as a familiar attribute of the Aesop language (opinion of N. Struve) but for aesthetic purposes, i.e. as a technique that gives the text an emotionally minor, stylistically elevated, often prophetic shade, the character of Enigma.

Достоевский, Аполлон Григорьев, Бахтин

Author(s): Sergei Shul'ts / Language(s): Russian Issue: 1/2020

Apollon Grigoriev and Bakhtin touched upon quite different issues of Dostoevsky’s work but the correlation between their works is obvious at the level of their metalogic, their philosophy, and their cultural-philosophical foundations. Grigoriev, together with Dostoevsky, was at the origins of “pochvennichestvo” (a grassroots movement), although Grigoriev’s comments on Dostoevsky’s work are episodic and rather injective. Grigoriev basically denied Dostoevsky that his art corresponded to the “truth of life”. But even the first version of Bakhtin’s book about Dostoevsky was not apologetic. Grigoriev and Bakhtin realize their philosophy through aesthetics (philosophy of art). Art, according to Grigoriev, has its origins in life itself, and life through art realizes itself and understands itself; therefore the critic is also an “artist”. Bakhtin also proceeds from the principle of correlation between art and life, deriving from this his concept of “creative chronotope”. Grigoriev, Bakhtin, and Dostoevsky deal with the ontology of art as well as the art of ontology. The art of ontology implies the broadest aestheticization of life: its movement into the horizon of art. This attitude is pre-modern and modern. In the genesis of the concept of “organic criticism”, the lessons of Kant as the author of three philosophical “Critics” could be echoed. Kant’s ideas were also significant for Dostoevsky and Bakhtin. Grigoriev might have been interested in the philosophical dimension that Kant gave to the concept of “criticism”. Therefore, “organic criticism” refers primarily to philosophy, raising a voluminous list of issues that exceed the aesthetic ones themselves. According to Bakhtin, Dostoevsky’s polyphony consists in the fact that the author acts as a “medium”, “passing” various ideas through himself (“voices” of characters, different “points of view”, etc.). The author- medium “conducts” “through himself” and “out of myself” a lot of different ideas without the essential rejection of any of them. The “author-medium” tries to speak on behalf of life but also even “instead of life”, which leads to a logical and semantic substitution of “the world” – “an image of the world”. Essential rejection does not at all mean that the author has no formal rejection, i.e. just stated. Essential non-rejection, however, means much more than any formal rejection. Life, historical being in this case turns out to be practically “chaos” for Dostoevsky. In the development of Bakhtin’s ideas, it follows that, when introducing carnivalization into his artistic world, Dostoevsky affirms a “link” of sensitivity / physiology. The origins of this “link” are in the sentimentalism of the 18th century. This “link” finds a religious projection in the phenomenon of “yurodstvo” (foolishness). Therefore, Bakhtin’s final interpretation of Dostoevsky (1963) is driven by the pathos of the “justification” of the writer, whose integrity of the artistic world is mainly realized through the religious “image of the world” (aft er all, the “image of the world” and not the “world” itself).

(Прото-)гипертекстуальность двойного финала в повести Л. Толстого «Дьявол»

Author(s): Feliks Shteinbuk / Language(s): Russian Issue: 2/2020

The story The Devil by L. Tolstoy has traditionally been interpreted by the Russian literary scholars in two contexts. They either see the writer’s personal experience or they interpret it as a religiously motivated moral and ethical warning that it is vital for a man to resist the devil’s temptations. At least, I have not managed to find any other different approaches to interpret L. Tolstoy’s story in the open sources. The aim of this paper is to analyze and interpret the story The Devil by L. Tolstoy by means of the structural-semantic and structural-functional methods, taking into consideration such a rare artistic phenomenon as the double end, the existing fact of which has not received any professional evaluation and appropriate interpretation in literary studies. Due to the suggested approach, the conclusions are made that the double end of the story under analysis could not happen by chance. First, telling the story of Yevgeny Irtenev, the author turns to an obvious device of withholding, hence the real reason, the hero’s irresistible lust for Stepanida, which drives the main character to act, is demonized and transmitted to the female protagonist obtaining a mystic character. Second, comparing the story The Devil with the novel The Story of O by P. Réage, one can see another double end linked with sexual problematics but with the difference that in the novel by the French writer, this problematics is not concealed but, on the contrary, exhibited. Third, the non-randomness of the double end is affirmed by the fact that, demonizing the lust which overtook the protagonist of the story, L. Tolstoy like P. Réage frees this lust from necessity or determination. Due to the fact that the story happened to have two ends, the sexually motivated Irtenev’s story acquires at least ambivalent, ambiguous, or, in the terms of poetics, non-linear character which, by definition, tends to hypertextuality in case the latter is understood as “a form of brunching or responding text” (T. Nelson). Abiding by the suggested approach, the story by L. Tolstoy can be interpreted as an experimental literary work where breaking the traditional composition structure of the text, on the one hand, is determined by tabooed, i.e. sexual, problematics, which made the author resort to demonization of the latter. On the other hand, the writer opted for the artistic non-linear, alternative end of the story told. The story happened to be potentially hypertextual which, taking into consideration historical technological circumstances, should be identified rather as a proto-hypertextual one. Thus, the original genius of L. Tolstoy foresaw the virtual future of fiction with the proto-hypertextuality phenomenon in the story The Devil.

Александар Блок (1870–1921) и поема „Дванаес т“ (1918)

Author(s): Radmilo N. Marojević / Language(s): Montenegrine Issue: 9/2021

Прах и промах. А. Белый и В. Набоков: полигенетизм, параллель, пародия

Author(s): Zsuzsa Hetényi / Language(s): Russian Issue: 1/2021

The paper focuses on the endings of two novels by two authors, The Silver Dove by A. Bely (1909) and Despair by V. Nabokov (1934) to reveal how the latter responds to the tradition of Symbolism and its emblematic author-theorist. The influence of A. Bely on V. Nabokov is considered in the paper as a multidimensional phenomenon, not only as following in the footsteps of the accepted heritage or its denial. Rather, it is the student’s attention to the master of the poetic form, giving rise to stylistic parallels, on the one hand, and on the other hand, it is the attitude to the literary predecessor being overcome, expressed in complex transformations. The finest genre of the second type of attitude is parody (ambivalent in its nature), parody, concerning here both ideological and philosophical criticism.

Стихи о море в русской романтической лирике

Author(s): Mihály Péter / Language(s): Russian Issue: 1/2021

The paper presents a selection of poems about the sea, written by Russian lyric poets in the 19th century. The descriptive aspect in the poems is imbued by the emotional experience and actual mood of the authors. At the same time, the changing sight of the sea, the abundance of its luminous tints and sounding modulations are shown with high poetic mastery suggesting a certain parallel between the dynamism of the sea and the alternating states of the human mind. Parts of the texts indicate the authors’ disposition to transcendence.

Роль прототипов нет и без в формировании и экспликации понятия «отсутствие» в русской поэзии

Author(s): Olena Oleksandrivna Skorobogatova,Olga Vyacheslavivna Radchuk / Language(s): Russian Issue: 1/2021

The object of the study is the notion “absence” referring to the basic abstract notions that play a significant role in the conceptual system of any language and are of social and cultural significance. The subject of the research includes poetic contexts in which this notion is represented. Poetic texts have not been chosen by random since it is in them that the reflection of the perception of “absence” reveals the cognitive potential of personalities who individually select and use verbal means that convey this notion. The study of the mechanisms of the formation and representation of the notion “absence” in a poetic text is carried out taking into account the principle of anthropocentrism as a fundamental one in cognitive linguistics. Linguocognitive analysis based on the theory of prototypical description of lexico-grammatical phenomena makes it possible to identify a wide range of representation of the notion “absence” in poetic discourse.

Автобиографические исповеди в литературе. Претексты. Тексты. Контексты

Author(s): Ágnes Dukkon / Language(s): Russian Issue: 1/2021

Луцевич Л. Ф. Автобиографические исповеди в литературе. Претексты. Тексты. Контексты. Москва: «Наука», 2020. 502 с.