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Lermontov's contemporaries were against the judgments about the poet's “amorality” and “lack of religious belief”, who was, in fact, a truly devoted Orthodox Christian. This is reflected in his poetry: four works out of a short list of his poems are entitled The Prayer, in other words, aspire to “raise the heart and mind to God” directly. The article analyzes these poems that present different possibilities of implementation of this devotion. Lermontov is extremely diverse: from an “invoking” prayer and a direct “request” he comes to the revelation of the Holy Mother icon and to the understanding of a special influence of a prayer on a human's soul. Joint review of these prayers forms an idea of a “full cycle” of the Divine's poetical discovery: from a romantic appeal to the Almighty together with perception of the darkness of the chosen way, to ironical “pleading” to the “Heavenly King” to liberate him from the ties of Junkerdom; from a passionate monologue to the Holy Virgin with prayers for the miserable beloved, to understanding of a prayers' special meaning for a Christian, to creation of an overall wide and whole image of a prayer. A prayer without an “invoking” or a “request” is joyful and blessing at the same time; it is intended for a difficult and sad moments of life.
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The article deals with the issue of the three volume anthology containing texts of the Russian poetry for children. Collected by the Saint Petersburg researcher E. O. Putilova, the anthology contains children’s poetry written for a period of four centuries. All periods of the history of poetry writing for children are reflected in the issue. The anthology’s content is structured both chronologically and conceptually. The names of different writers together with some previously unknown literary works are introduced. A new book “A Trip to Childhood or a Book about Children, Poetry for Children, and Poets for Children” written by the poet Michal Yasnov is a natural complement to the published issue.
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The author of this paper makes an attempt to analyse and compare four songs about Moscow which were written in different periods of Soviet Russia. Namely: The Song of Old Coachman (1935), The Song about Moscow from They Met in Moscow (1941), Walking the Streets of Moscow from the film of the same title and Alexandra from Moscow Does not Believe in Tears (1979). The aim of this comparison was to determine the most significant style features that are: aesthetic preferences and poetry typical for epochs which left their stamp on each texts’ poetic form and intentionally directed world outlook, in other words the models of world representing as follows: the early years of victorious Stalinism, its apogee, Khrushchev Thaw and stagnation under Brezhnev. The first model (the first half of the 1930s) is described as semi-conformistic and semi-compromise. It is an attempt to reconcile the acts of human compassion from the period of the New Economic Policy (NEP) with the desire for comfort and other signs of sociological and technical advancement. The second model, created before the war, is pseudo-sacral one and at the same time extremaly utopian. It expresses narcotic socialist dream. For the third, Khrushchev Thaw model, the term neorealistic utopia applies perfectly. It is difficult yet at the same time harmonic attempt to combine mild utopian idealism with the apology of everyday life. Finally, the last, fourth world model representing mentality of the 70s sums up the whole soviet period. It is organic, a little bit fatalistic model which refers to objective rules of nature and traditional values.
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Chekov and Levitan. Points of Convergence in Their Life and Work. Anton Pavlovici Chekov’s life and work are closely related to the names of several representatives of the Russian culture, but one can clearly notice Chekov’s particular affinity to Levitan, the remarkable landscape painter of the time. In this article we make an attempt to show that the relationship of the two artists is reflected in their works, enriching thus both the Russian literature and painting. Chekov and Levitan. Points of Convergence in Their Life and Work. Anton Pavlovici Chekov’s life and work are closely related to the names of several representatives of the Russian culture, but one can clearly notice Chekov’s particular affinity to Levitan, the remarkable landscape painter of the time. In this article we make an attempt to show that the relationship of the two artists is reflected in their works, enriching thus both the Russian literature and painting.
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The process of acquainting French readers with the works written by Anton Chekhov is described in the article. The goal of this research was to determine the extent to which Russian immigrants were involved into the process. An extended period from 1893, when a few works of the writer were translated for the first time, to the 1950s, when the writer’s popularity in France reached its peak, is examined. This article focuses on the 1920–1930s, the time period when Chekhov’s works were actively popularized by the representatives of the so-called first wave emigrants (for them Chekhov’s figure had a special significance). The article analyzes the work The influence of French literature on Russian writers since 1900 (1929) written by an emigrant literary and a theater critic Y. Sazonova. The report was presented at the second meeting of the Franco-Russian Studio where special attention was paid to the works of A. P. Chekhov. Some specific aspects of the author’s biography A Life of Chekhov (1939), which was written by the emi-grant writer Irene Nemirovsky, are also studied in the article. Initially this biography was addressed to the French reader. It has not been previously studied by Russian researchers.
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This article focuses on the “traces“ of Chekhov’s legacy available in contemporary Hungarian poetry. There are four contemporary Transylvanian poets in the center of our attention, including Csaba Lászlóffy (1939–2015), László Király (1943–), Ferenc András Kovács (1959–) and Edgár László Varga (1985–), whose individual lyrical texts are in an intertextual relationship with the works of Anton Pavlovich Chekhov. The dialogue between the poems written by these Hungarian poets in Romania and the dramatic plays created by Chekhov is most often implemented in the form of mystification or a mask lyric. However, getting in contact with the textual domain of Chekhov also contributes to the process of establishing a dialogue between the Transylvanian poets listed above. Thus, the classic Russian tradition becomes a kind of “common language“ for these poets, whose poetic realms address one another through the references to the motifs, characters and topics of the Russian writer and playwright.
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The creative principles and techniques of Anton Chekhov have proved attractive to modern writers. Many late-20th-century authors, e.g. Tendryakov or Sasha Sokolov, used the naiveté and naturalness of a child’s mind when depicting contradictions and controversial issues. A connection with Chekhov is evident in the development of the theme of a mental institution, its doctors and patients (Makanin, Pelevin). Also the Chekhovian principle of refusal to categorically judge the words and deeds of the characters gains fundamental importance (Dovlatov). It is from Chekhov that modern writers have learnt to present serious psychological issues and world-view questions through commonplace imagery.
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Contemporary Russian drama enters into a dialogue with literary tradition and in particular with the dramatic one. The works of the classics of modernism, including Anton Chekhov, very often become actualized in recent dramatic texts. For instance, "Tanya-Tanya" by Olga Mukhina refers to the artistic features of Chekhov’s ‘major plays’ and thus, in Natalya Fateyeva’s theoretical framework and terminology, Chekhov becomes a pre-text for Mukhina’s text. The general purpose of the paper is an intertextual analysis and interpretation of the latter play.
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The article underlines the possibility of Ukrainian satirical literature history. In general, literature uses different comic forms, such as burlesque, satire, humor, or irony. But we can speak about a particularly satirical work of literature, if an author elaborates mocking as the main purpose of a text. Besides, any comic form that develops in a work of literature makes clear the connection of writing with cultural and national identities, and this way the history of satire would be simultaneously the history of a community values in a certain epoch. The author of the article also stresses the particular role of burlesque, as a comic form that differs from satire, but exists in unison to it. Burlesque provokes a carnival festive laughter, which is pointed in all directions, while satire is precisely directed onto its particular object. According to M. Bakhtin theory of folk festive culture, an author of a burlesque piece does not remain outside of his laughter, while a satirist mocks, but remains serious himself. On the other hand, if burlesque unfolds as a stylistic lowering, it could lead to satire and often becomes a tool for it. Ukrainian literature encloses visible tradition of burlesque in parallel to the satirical one. Finally, it is concluded that Ukrainian history of burlesque and satirical literature is possible as integrated comic forms inside the model of national literature.
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In Prayer-book No. 954 of the "Sts Cyril and Methodius'" National Library of the 17th century, Bulgarian redaction, is found a service for the consecration of a bishop, a metropolitan or a patriarch, followed by a Metropolitan's prayer on entering the city. The analysis of the words in the text, and the contents of the codex show that these two texts appeared among the Southern Slavs between the early 13th and mid-14th century. The service could be used in a church which was ruled by a patriarch, and such were the Bulgarian Church (after 1235) and the Serbian (after 1346). The service had as an archetype a text from the Byzantine Euchologion, whereas the Prayer is not known in aGreek copy. The copies of the Service and the Prayer according to Prayer-book No. 954 are published in the article.
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The article studies Slavonic text of the Blessings of the Waters on the Eve of the Epiphany in slavonic euchologiums 1lth–15th centuries. The Slavonic tradition may be subdivided into four redactions. The first redaction is found in the Euchologium Sinaiticum and two serbian euchologiums of the 13th and 14th centuries. The article describes the oldest liturgical elements of this redactions and their history in Slavonic traditions. The serbian euchologium Q.n.I.24 containing fragments of the oldest slavonic text is published for the first time.
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The article is dedicated to the problems of establishing the redactions of the rites of betrothal and marriage in the oldest preserved Slavonic manuscripts and of reconstructing the history of their development. The article contains an overview of studies on the rites of betrothal and marriage in the Greek manuscript sources, a list of the oldest Slavonic manuscripts available (there are 11 Slavonic manuscripts of the rites of betrothal and marriage pre-dating the 15th century; the oldest of them is dated to the turn of the 13-14th centuries), and a thorough analysis of their contents. The main results of the study may be summarized as follows. The oldest Slavonic redactions of the rites of betrothal and marriage are based on the Constantinopolitan redaction of these rites, which emerged at the turn of the 10-11th centuries. In the oldest Slavonic sources this redaction is never given in its "pure" form, but displays some peculiarities. The presence of these peculiarities points out that the oldest Slavonic tradition mirrors the liturgical practice of some Byzantine ecclesiastical center, with a liturgical practice which slightly differed from that of Constantinople (probably, Thessaloniki). Not later than in the first third of the 14th century the oldest Slavonic redaction of the rites of betrothal and marriage was supplemented by new euchological material and a service of readings; most probably, this was done by Athonite Bulgarian and Serbian men of letters in the 13th century. In the first half of the 14th century the service of readings was transferred from the beginning of the rite of marriage to its middle part. In the second half of the 14th century a completely new translation of the rites of betrothal and marriage was made by Metropolian Cyprian of Moscow; later on in the Russian manuscript tradition this translation was combined with the earlier redactions.
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The article considers the concept of reason in the essay “Piesek przydroýny” (1998) written by the Nobel Prize winner Czesùaw Milosz from the postructuralist perspective of deanthropologisation and decentration of the subject. The strategy of the text analysis used is deconstruction. Milosz speaks about the destruction of the ego cogito in anthropology. He accepts the Nietschean idea of the metaphoricity of the truth, of the impossibility to perceive the truth by reason and individually. Yet, he does not accept nihilism attributing it to the sphere of mass culture. The author of the article comes to the following conclusion: Milosz acknowledges that the man of the 20th century is dependent on Cartesian cogito. The thinker himself, however, in “Piesek przydroýny” is closer to St. Augustine than to Descartes.
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This paper applies quantitative and empirical methods, developed for analyzing linguistic phenomena, to the highly polysemous Bulgarian prefix ZA-, which has almost completely lost its spatial meaning. It aims to determine the prototype of ZA-, which is its central meaning, and to find motivation for relating the other senses to the systematic network. In this study we look at the interplay between frequency and salience and describe the major paths in which the meaning of ZA- develops from the oldest attested meaning of the cognate preposition ZA (Behind) to the extension into the domain of grammatical aspect (Ingressiveness).
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The article deals with the question of transformation of the numeral system in the Polish immigrant dialect spoken in two villages in Western Siberia: Znamenka (Bogradsky District of the Republic of Khakassia) and Alexandrovka (Krasnoturansky District of Krasnoyarsk Krai). The roots of the given immigrant dialect go back to Masurian group of Masovian dialect. The comparison of material in question to Mazurian dialect in Poland shows such innovations as the Russian syntax model of compound ordinal numerals, the development of paucal forms of nouns, the expression of personality by independent use of numerals. The original numerals for ‘40’ and ‘90’, that do not have Russian cognates, were replaced by borrowings. These phenomena are closely connected to general trend of language attrition in the immigrant community.
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This paper focuses on comparative structures at different linguistic levels (adverbs, nominals, prepositional phrases, syntagma and dependent clauses). These structures can be taught at different levels of education within the curriculum of Serbian as a foreign language. With this paper we strive to answer the questions of whether these constructions are taught and in what manner this is done. Our corpora consist of Serbian university textbooks (from the universities of Novi Sad and Belgrade) specifically designed for foreign language classrooms. We will summarize what the content of these textbooks is and give suggestions for the beginner level of teaching.
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Зоја Карановић. Вуков речник и српска култура. Књига о заборављеним световима. Београд: Вукова задужбина – Пожега: Издавачка радионица Свитак, 2019, 211 стр.
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