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И. А. Бунин-редактор: Об окончательном (каноническом) тексте повести Л.Ф. Зурова "Кадет"

Author(s): Irina Z. Belobrovtseva / Language(s): Russian Issue: 1/2014

The Leeds Russian Archive in the University of Leeds holds an intriguing item: a copy of the first edition of Leonid Zurov’s povest’ (short novel) "Kadet" (1928), partially edited by the writer’s older friend Ivan Bunin. How did Bunin edit the text? What did he alter and why? And what should be seen as the final – the critical– text of the povest’? The article answers these questions and also addresses the question of final authorial intent.

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Do jakich światów zapraszają dzieci kołysanki polskie i rosyjskie

Author(s): Edyta Manasterska-Wiącek / Language(s): Polish Issue: 147/2014

The aim of this article is to discover how Polish and Russian lullabies make children fall asleep. The analysed material was considered with the selection of those parts of lullabies that correspond with certain phases of sleep (before, during and after it). What can the lines of lullabies offer to make children fall asleep? Animals, nature, people, falling asleep are models here, though not always synonymous in the two cultures. Sleep lures with the world of adventure and fantasy. Dawn welcomes you with glitter and shine. In all of these aspects similarities and differences are what the author focuses on. One of the major difference is the lack of references to God and angels in the Russian texts, quite unlike the Polish ones.

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Жанровые тенденции в лирике Анны Ахматовой: к вопросу о традиции

Author(s): Natalya Chaunina / Language(s): Russian Issue: 5/2012

This article considers the key genre trends in Akhmatova’s poetry. The term «dominant installation of the author» (Kighney’s term) is used as the main genre-make criterion. The introspective, formally canonical, functional installations are defined and analysed. The conclusion of the article is that the author's installations, inspired by the needs of time and tradition, and may be embodied in an individual poetic work in the syncretic, differently interpreted genre structures.

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ХУДОЖЕСТВЕННЫЙ СМЫСЛ РОДСТВЕННЫХ ОТНОШЕНИЙ ГЕРОЕВ В РОМАНЕ Ф. М. ДОСТОЕВСКОГО «БРАТЬЯ КАРАМАЗОВЫ»

Author(s): Natalia Aleksandrovna Kladova / Language(s): Russian Issue: 5 (166)/2017

The present article is devoted to the analysis of images of the novel by F. M. Dostoevsky “The Brothers Karamazov” in the aspect of relationships. The article aims to reveal the artistic significance of relationships among characters of the novel. The author investigates, in accordance with the logic of the narrative, these relationships from the perspective of artistic conception. The study reveals their multifaceted semantic completeness. “Disengagement” from the family circle of some characters and disregard to the family ties by the others was noted; in contrast to the existence of Alyosha in the world as his own family. A distorted nature of Karamazov’s family was brought to light. It is further stated that the neglect of the novel’s heroes to the kindred bonds is multiplied by the desecration of the sanctity of the feeling of love: loving relationships are built on false principles and are aimed to fulfill selfish desires; but again in contrast to the true brotherly relationships established between Alyosha and Grushenka. The author comes to a conclusion that the ability or inability of one or another hero to enter into a relationship reflects his or her inner essence, characterizes him or her as an able or unable character of the human whole. The substantial basis of the novel is an idea of the universal kinship of the whole humanity as its original condition. Therefore, human relationships are an important semantic component of the novel’s artistic ideas. The research results presented in the paper suggest that the concept of kinship was filled with unique meanings developed by the creative consciousness of F. M. Dostoyevsky.

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Comment Bouddha a découvert la Révolution Russe

Author(s): Aurora Băgiag / Language(s): French Issue: 1/2014

The novel "The Return of Buddha" (1923) by the Russian writer Vsévolod Ivanov or-chestrates an intertwining of opposing spiritual vectors: on the one hand, the regres-sion of the Mongolian Lama Dava-Dordji, oscillating between the mysterious calls of the East, which led him to bring back a Buddha statue in his country, and the calls of Europe, which made him escape to modern civilization and Bolshevik utopia; on the other hand, the progression of the Russian professor Safonov, who crosses the obsta-cles of science to regain serenity. This interchange of roles is supposed to reestablish the Buddhist equilibrium in a revolutionary universe, where the historical present de-vours the divine representation, while allowing itself to be reinterpreted in the light of the divine teachings.

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OBRAZ UKRAINY DRUGIEJ POŁOWY XIX WIEKU W TWÓRCZOŚCI WŁADIMIRA KOROLENKI

Author(s): Antoni Bortnowski / Language(s): Polish Issue: 5/2017

The life of Vladimir Korolenko and his works were closely connected with Ukraine. The writer, who was born in Zhytomyr and died in Poltava, is primarily known as one of the greatest Russian authors of the second half o f the nineteenth and early twentieth century, and his connections with the homeland are often ignored. V. Korolenko’s works such as The History of My Contemporary, The Mendel Brothers or Without Language illustrate his strong connections with Ukraine and a deep understanding of its specificity.

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НОВЫЕ ЛЮДИ ЗИНАИДЫ ГИППИУС: В ПОЛЕМИКЕ С НИКОЛАЕМ ЧЕРНЫШЕВСКИМ

Author(s): Gulzhan Shashkina / Language(s): Russian Issue: 160/2017

The article considers the first prose collection of short stories of Zinaida Gippius New people (1896), whose name is controversy in relation to the novel by Nicolai Chernyshevsky What is to be done?. Gippius’ New people unlike Chernyshevsky’s revolutionaries and democrats are the people who understood the Beauty and Harmony, but are not able to bring them into your life. This thesis is proved by the example of one short story collection Apple blossom.

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. Женские типы в публицистических и художественных произведениях В.П. Мещерского

Author(s): Yu.B. Avdonina,G.I. Shcherbakova / Language(s): Russian Issue: 3/2017

Female types in the publicistic and fictional works of V.P. Meshchersky (1839–1914), the publisher and editor of the “Grazhdanin” journal and the same-named newspaper, have been analyzed. The influence of romanticist and realistic principles, aesthetic and moral principles has been identified. The role of the conservative ideology supported by V.P. Meshchersky has been determined. The paper discusses the half-forgotten works of the author that were published in the 1870s and have not been reprinted for a long time. These works are “Women of St. Petersburg’s Haut Monde” (1874–1879), “Notes of a High-School Student Who Shot Himself” (1875), “Conventionalist’s Speeches” (1876), “Secrets of Contemporary St. Petersburg” (1876–1877), “Caucasian Travel Diary” (1878), “Petya Skuratov” (1878), etc. As a result of the study, the following types have been singled out in the system of female images: angel women, a loyal friend and faithful helper; noble woman, in particular a socialite longing for being totally worshiped; selfish nihilist forgotten about her natural mission; reclaimed woman who turned to the Christian patriarchal traditions.

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Хикая как литературный жанр (на материале произведений А. Еники 1940–1960-х годов)

Author(s): Venera Rudalevna Amineva / Language(s): Russian Issue: 1/2017

The paper discusses the peculiarities of functioning of hikaya as an art form in A. Eniki’s prose during the 1940s–1960s. The relevance of the research is determined by the uncertainty of the concepts used for designation of works of average and small forms of epics in the Tatar literature of the 20th century. The analysis has been performed in order to identify the genre characteristics of hikaya as the non-canonical genre of Tatar Literature, which is not identical to the non-canonical small epic genres (e.g., stories) in Russian and European literature. Furthermore, it has been established that hikaya is not identical to novella on the one hand and narrative on the other hand. Systemic structural analysis, syn-chronic and diachronic approaches to investigation of the material have been used to achieve the above-stated goal.

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Соотношение «своего» и «чужого» в изображении крымскотатарского мира (на материале рассказа А.И. Куприна «В Крыму (Меджид)»)

Author(s): A.T. Ablaeva / Language(s): Russian Issue: 1/2017

The relevance of this research is defined by the chosen imagology approach assuming the embodiment of the image of foreign, comprehension of other culture, mentality by the representative of other nation. The material under analysis is A.I. Kuprin’s poorly studied story “In the Crimea (Majid)” (1909). The purpose of the research is to reveal the specifics of the interaction between “self” and “foreign” in the Crimean Tatars’ world through studying of the originality of composition, system of images, psychological plot, and features of narrative structure. A hypothesis has been suggested in this paper that A.I. Kuprin’s interest in the Crimean Tatars’ world is related to the myth created by the writer about his Tatar ancestors. During the analysis, it has been revealed that A.I. Kuprin paid attention to processes, which are dangerous from the perspective of preservation of the Crimean Tatars’ ethnic identity. A number of the examples proving the ambivalence of the Crimean Tatars’ world in A.I. Kuprin’s work have been provided. The psychological processes taking place in the ethnic consciousness of the Crimean Tatars associated with their interaction with the foreign world of resort guests have been traced. It has been established that images of Tatar conductors connect two worlds – the Crimean Tatar and Russian (resort) ones, “self” and “foreign”. On the basis of the analysis, a number of conclusions have been made: 1. The objective view of the person capable to perceive other culture as their own is reflected in the story and, on the contrary, to see “foreign” as “self”. The author’s position expresses the dialogue of cultures assuming openness to the valuable characteristics of “foreign”. 2. The psychological plot related to the submission of “self” to “foreign”, substitution of “inherited” by “secular” becomes the basis in the story; 3. The process of penetration into the Crimean Tatar’s world laws of staging life, transformation of conduction (historically inherent in the Crimean Tatar ethnos) in a performance is reflected in the work.

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Поэтика литературно-критической эссеистики М. Цветаевой и традиции модернистской критики начала XX века

Author(s): Vyacheslav Nikolayevich Krylov / Language(s): Russian Issue: 1/2017

The paper studies the poetics of Marina Tsvetaeva’s literary essays. It deals with such themes as M. Tsvetaeva’s standpoint in the literary life of the 1910s, her outlook on nature and the criticism objectives, relationship of the critic and the poet, and implementation of theoretical views in critical practice. The study has been performed in order to identify the links between M. Tsvetaeva’s patterns and literary methods and the traditions of Russian modernist criticism of the early 20th century. To achieve the above-said aim, structural, semiotic, and biographical methods have been used along with the elements of linguistic analysis of the literary and critical text. Both M. Tsvetaeva’s essays and her correspondence have served as the sources of information. The paper provides a number of examples to argue about M. Tsvetaeva’s commitment to literary criticism, as well as her negative attitude to formal approach, vulgar and biographical, historical and genetic research methods of literary creativity. Her critical work is associated with the category of respon-sibility that was important for M. Tsvetaeva. Detours on aesthetic themes are typical of the poetics of her essays.

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Колоративы в системе дискурсивных стратегий повествования Л.Н. Толстого (на материале романа «Воскресение»)

Author(s): Elena Masolova / Language(s): Russian Issue: 1/2017

The paper is devoted to identification of color and light naming (coloratives) and narrative discourse strategies in L.N. Tolstoy’s novel “Resurrection”. In the novel, L.N. Tolstoy makes the emphasis on recreation of the color and light palette of the nature. Thus, one of the dominant discourse strategies of this novel is the discourse strategy of landscape painting, which is connected with all discourse strategies, such as discourse mythopoetical strategy, discourse strategy of portrait painting, discourse strategy of plot and compositional development, discourse psychological strategy, discourse social strategy, discourse publicistic strategy, and philosophical and religious discourse strategy. While depicting the nature which acts as a religious and moral substance, all coloratives influence D. Nekhlyudov’s transfiguration and are included in the discourse strategy of plot and compositional development. Anticipating the bad deeds of the protagonist, the nature sends him warning signs. Enjoying the enlightenment of the protagonist, the nature inscribes him in its own harmonious existence.

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Жанровое своеобразие повести И.С. Тургенева «Призраки»

Author(s): K.V. Polyakova,M.V. Kurylyova / Language(s): Russian Issue: 1/2017

This paper is devoted to the analysis of specifics of the author’s genre definition of “fantasia” in I.S. Turgenev’s story “Ghosts” in the context of traditions of the European romantic literature. The functions of the genre construct “fantasia” in romanticist literature as a whole and in I.S. Turgenev’s work in particular have been defined. The importance to define “fantasia” in the artistic consciousness of the Russian writer has been considered. The correlation of the subtitle with different levels of the artistic structure of the text has been established. Firstly, the typological and specific features of “fantasia” as an additional characteristic of author’s genre in the works of such romanticist writers as W.H. Wackenroder, E.T.A Hoffmann, and A. Bertrand have been investigated. It has been proved that “fantasia”, both in the European and Russian tradition, is oriented toward graphic or/and musical artifacts of the world culture, contain reminiscences, hidden references to the works of art from other eras and nations, thereby mobilizing the cultural memory of the reader. Therefore, philosophical ideas of the meaning of life, purpose of history, learning the universal laws of life, comprehension of the beauty become the internal subject of “fantasia”. The main subject of “fantasia” is the idea of a balance between life and art: art in life and life in art. The results of the study have led to the conclusion that I.S. Turgenev’s genre definition of “fantasia” helped the Russian realist writer to focus his contemporary reader on a deeper perception of the literary work, which failed to comply with the esthetic regulations of the era and did not correspond to the common understanding of I.S. Turgenev’s method and style, but at the same time expressed ideas and experiences which were significant for the author. The quasi-genre “fantasia” is used by I.S. Turgenev for specifying the subjective nature of reflection of the reality, emphasizing the conditional nature of images and situations that are rather generated by the power of imagination of the story teller than existing as the objective reality, the bright lyrical element in the artistic fabric of the epic narration.

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Поэт, поэзия и творческий дар в художественном мире Марины Цветаевой

Author(s): M.V. Tsvetkova / Language(s): Russian Issue: 1/2017

The aim of this paper is to examine Marina Tsvetaeva’s view of poet, poetry, and creativity. The novelty of the approach to the subject rests on singling out the key symbolic images and motifs which constitute the representation of the theme in question via “close reading” of M. Tsvetaeva’s work and describing their functioning as a system. The approach allows to discover the specifics of interpretation of creativity by the poetess. The motif of an artist as a chosen one turns out to be the key one. The gift of creativity is related in M. Tsvetaeva’s poetic universe with personified images of natural forces, Insomnia, Genius, Angel and Demon, which all manifest an ambivalence of the creative process and depict it as an “obsession”. The traditional images of lyre, Muse, gift of singing acquire non-trivial connotations in M. Tsvetaeva’s work. The motifs associated with the idea of creativity show that M. Tsvetaeva considers the poetic gift as an ability of “clear hearing” and “dreaming”, “fatal blessing” and “mysterious heat” (a simultaneous metaphor for the creative act and passion). The poet is viewed in M. Tsvetaeva’s artistic world as follows: heathen and warlock, seducer and seduced, sinner and saint, and also martyr doomed to drudge and rejected by the philistine crowd.

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Функции «театрального» сюжета в фантастическом водевиле М.А. Булгакова «Иван Васильевич»

Author(s): M.A. Shelenok / Language(s): Russian Issue: 1/2017

This paper conceptualizes an important literary problem: the transformation of the vaudeville genre in the Russian drama of 1920–1930. The relevance and novelty of the research are due to identification of the role of the “theater” plot, which is typical of the classic vaudeville, in the structure of the play “Ivan Vasilievich” by M.A. Bulgakov (this aspect has not been taken into consideration in the works of the Bulgakov scholars). The study aims is to reveal the specifics of the “theatrical” plot and its functions in M.A. Bulgakov’s work. Based on the results of the study, the following conclusions have been made. The traditional plot about the actress is subordinate in the storyline of the play “Ivan Vasil’evich” and develops as a parody. The ironically interpreted plot twists of “theatrical” vaudeville and love collisions make fantastic action of the play more typical if common life and psychologically deeper, and the image of the time machine’s inventor becomes less schematic. M.A. Bulgakov creates a new version of the genre, in which he mocks the classic vaudeville tricks, plot moves, and characters. The behavior of characters is theatrized, but in different ways. Thus, there is the author’s irony towards the characters that are carried away with their own playing (the actress Zinaida and the director Yakin), who are opposed to George Miloslavsky, a rogue, whose acting looks more natural, elegant, and gives an ironic assessment of the Soviet reality of the 1930s.

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Влияние житийной традиции на образ детства в прозе Юрия Казакова (на материале рассказа «Никишкины тайны»)

Author(s): N.G. Mahinina,Marina Mikhailovna Sidorova / Language(s): Russian Issue: 1/2017

The paper focuses on the functioning of the hagiographic tradition in the works of Yu. Kazakov, a Russian writer of the second half of the 20th century. In the review of the available studies, an active interest in the reception of Old Russian literature during the 20th century has been emphasized, which must be related to its specificity: canonicity, on the one hand, and diversity, on the other one. The reason for Yu. Kazakov’s appeal to the hagiographic tradition has been associated with his “hidden” religiosity and interest in the problem of national character. The nature and forms of influence of the hagiographic tradition in Yu. Kazakov’s short stories, which are primarily associated with the embodiment of the childhood image, have been revealed. The material for study is the writer’s early short story “Nikishkа’s Secrets”, which is correlated at different levels with the Life of Sergius of Radonezh written by Epiphanius the Wise. Similarities have been revealed in both external and spiritual characteristics between Yu. Kazakov’s character and the hagiographical prototype. The writer, based on the important problem of life universality, equality of all living creatures, introduces the motif of mystery of “silent soul” of the nature, which the child seeks to understand. The conclusion has been made about the complex nature of the functioning of the hagiographic tradition in Yu. Kazakov’s short story. The focus on the hagiographic canon represents an attempt to prove the eligibility of the consciousness type based on faith in the harmonious existence within the God’s plan. However, there is an internal debate with this type of consciousness.

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Документальность как художественный приём (на материале российской прозы 2010-х годов)

Author(s): N.G. Prokhorova / Language(s): Russian Issue: 1/2017

The relevance of this study is determined by the fact that documentary elements have become a sign of modern culture, both elite and mass. The subject under consideration is the genre of epistolary novel, which has intensely developed recently in modern literature. The purpose of the study is to identify the forms of documentary elements, as well as the nature of treatment of the document in the works by contemporary Russian authors. The paper examines the novels characterized by different aesthetic and genre specifics (“The Light and the Dark” by M. Shishkin, “Return to Egypt” by V. Sharov, and “Jacob’s Ladder” by L. Ulitskaya), which have become the noticeable phenomena in the Russian literature of the 2010s. The novelty of the research is defined by the literary material and the chosen aspect of study.

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Хронотипический образ границы в романе О.А. Славниковой «Стрекоза, увеличенная до размеров собаки»

Author(s): Galina Aleksandrovna Frolova / Language(s): Russian Issue: 1/2017

The paper reveals the specifics of functioning of the chronotopic image of the border in the novel “Dragonfly Enlarged to the Size of a Dog” by O.A. Slavnikova. The relevance of the study is determined by the fact that Olga Slavnikova is one of the key figures in the contemporary literary process. Her work has been the focus of such critics and literary scholars as E. Ermolin, S. Belyakov, V. Lipnevich, E. Elagina, and A. Nemzer. Besides, it was the publication of the novel “Dragonfly Enlarged to the Size of a Dog” struck in the Booker shortlist in 1997 that brought the writer to success. Nevertheless, this work continues to be under-researched in the aspect of the space-time organization, which defines the novelty of our study. The study has been performed in order to establish the basic meanings of the image of the border in the novel “Dragonfly Enlarged to the Size of a Dog” by O.A. Slavnikova. The paper presents a number of examples illustrating the functioning of the category of border, chronotope threshold, archetype journey, as well as their connection. On the basis of the research, the following conclusions have been made. The image of the border in the novel “Dragonfly Enlarged to the Size of a Dog” by O.A. Slavnikova is semantically polysemous. The author gives it not only the spatial meaning, but also the emotionally valuable and existential ones, because any overcoming of the borders for O.A. Slavnikova’s characters is associated with psychological discomfort and entails their emotional transformation. Furthermore, one of the characters (Katerina Ivanovna) aims to destroy or overcome the internal and external borders, while the other one (Sofia Andreevna), on the contrary, wants to build and strengthen them. The image of the border is directly connected with the chronotope threshold in the novel.

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Historii recepcji apoftegmatów Bieniasza Budnego w Rosji ciąg dalszy

Author(s): Iwona Rzepnikowska / Language(s): Polish Issue: 3/2017

Recenzja książki:Eliza Małek, „Собрание 4291 древних российских пословиц” и „Апофегматы” Беняша Будного (Из истории русской паремиологии), Wydawnictwo Nowy Świat, Warszawa 2016, ss. 62.

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ДИФЕРЕНЦІАЦІЯ Я-АВТОРА ТА ОБРАЗУ АВТОРА В РОСІЙСЬКІЙ ПРОЗІ ОСТАННЬОЇ ТРЕТИНИ ХХ СТ.

Author(s): I. Kuzawa / Language(s): English,Ukrainian Issue: 3/2015

The article is devoted to the characteristic I-author at the writings the Russian literature, problem of correlation character author and I-author.

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