К вопросу о редакторском вмешательстве Ф. М. Достоевского в публикацию проповеди декана Вестминстерского аббатства А.-П. Стенли («Гражданин». 1874. № 2)

Author(s): Alexander Otlivanchik / Language(s): English,Russian Issue: 1/2016

The article is devoted to the problem of attribution of the text "The Sermon said by the Dean of Westminster Abbey in the Anglican church in Saint Petersburg on January 6 (18)" ("Grazhdanin". 1874. №2). The opinion given by Viktorovich V. A. in the complete works of F. M. Dostoevsky in 18 Volumes (Moscow: Voskresenye, 2003-2007) on the attribution of this publication (a brief translation of the sermon with the elements of narration) to Dostoevsky as a co-author is disputed. A comparison of the content of the brief and complete translations of Stanley’s sermon (the latter was published in issue №3 of "Grazhdanin" in 1874) allows us to contest the opinion of V. A. Viktorovich on the biased presentation of Stanley’s text by the editors of "Grazhdanin" in issue №2, due to the minor importance of the fragments of the text omitted in the brief version of the sermon. A lexical-stylistic analysis of the sermon published in issue №2 of the journal shows that the phrases, which do not belong to Stanley, should be ascribed not to the editor of "Grazhdanin" Dostoevsky but to the translator K. P. Pobedonostsev. Thus, the publication "The Sermon of A.-P. Stanley..." released in issue №2 of "Grazhdanin" (1874) belongs to K. P. Pobedonostsev; Dostoevsky’s participation in this compilation as a co-author is not proved. As the editor of the journal Dostoevsky wrote just a two-phrase preface to the short translation of Stanley’s sermon.

Books: Two Stories From a Cosmopolitan Caucasus

Author(s): Rebecca Gould / Language(s): English Issue: 12/20/2016

Post-colonial theory has reshaped the ways we read world literatures, but has yet to make

Kazuo Ishiguro’s The Remains of the Day: Colonial Elements and History in the Field of International Relations

Author(s): Sandra Anđušić / Language(s): English Issue: 5/2016

In this paper we deal with the issue of postcolonialism in the novel The Remains of the Day, by Kazuo Ishiguro. Postcolonialism is transposed to the field of international relations by the events described in the novel. We will observe the relationship between Britain, on the one hand, and France, Germany and the United States on the other, respectively. The fictional events point to the real-life events that surround the fall of the British Empire. This makes The Remains of the Day historical metafiction. The rise of America is also presented, describing its establishment as a neocolonial force. Thus, we shift back and forth in time; Ishiguro introduces three temporal levels – the past, or the time of Darlington’s international conference, the present, or the time after the Second World War, lived by Stevens, and the future, which is presented metaphorically through the events in the novel.

ЕВАНГЕЛЬСКИЙ ТЕКСТ В ИЗОБРАЖЕНИИ ИСТОРИИ КИЕВСКОГО ПРАВЛЕНИЯ XII ВЕКА (ПО МАТЕРИАЛАМ ЛЕТОПИСНОГО СВОДА ИГУМЕНА МОИСЕЯ И НИКОНОВСКОГО СВОДА)

Author(s): Valentina Melnichuk / Language(s): English,Russian Issue: 1/2014

This article studies the Gospel quotations in the description of the history of the 12th century Kievan rule in two compillations of East Slavic chronicles. An important problem concerning the principles of representing historical reality in a literary and historical narration is studied through the example of a 12th century Kiev cronicle (compiled by hegumen Moisei (Moses)), which is interpreted as the author's text. Images of the princes created by the purposeful selection of certain literary means by the author, among which the Gospel quotes and reminiscences play the main role, provided moral accents in the stories about different episodes of almost a century-long history of Russia. It was how hegumen Moisei sought to prove legality of inheritance of the grand prince throne by Rurik Rostislavich, the great-grandson of Vladimir of Monomakh, to whom the chronicle is devoted in general. In the Nikon Chronicle, a massive chronicle compilation of the 16th century, images of the same princes as well as the history of the great Kievan rule are presented differently. In some of the plots the Gospel presentations add some strokes to the images of princes, while leading to the loss of “topical character” typical for the hegumen Moisei's Cronicle. Keywords: the Gospel, quotations, author, Kievan rule in the 12th century, prince images

БИБЛЕЙСКИЕ ЦИТАТЫ В СКАЗАНИИ ИНОКА ИННОКЕНТИЯ О СМЕРТИ ПАФНУТИЯ БОРОВСКОГО И ИХ ФУНКЦИИ

Author(s): Mariya Kuzmina / Language(s): English,Russian Issue: 1/2014

The article concerns the realization of famous paradigm Imitatio Christi, comparing the lives and acts of saints with those of Christ in ancient russian hagiography in general and in the Legend describing the death of Pafnutiy of Borovsk in particular. Traditionally injected in the narration by biblical quotations and reminiscences, the paradigm equalizes the days preceding the decease of Pafnutiy with premortal sufferings of Christ. Thus, Pafnuty is surrounded with negligent discipes, which are not able, as well as the apostles in the Gethsemane garden, to bear the high level of prayful effort the ascetic experiences. Pafnutiy stays silent, when monks address to him, as well as Christ, when Pilate asks Him. Innokentiy, the hagiographer of the saint utilizes quotations without the attribution as well as the compositional quotations. Consequently the impression of stenography in the description of last days of Pafnutiy is to be illusory, and the text of the “Legend” is constructed with sophisticated laws of hagiographical poetics.

СКАЗКА А. ПУШКИНА «О ПОПЕ И О РАБОТНИКЕ ЕГО БАЛДЕ»

Author(s): Evgeniy Neyolov / Language(s): English,Russian Issue: 1/2014

The Tale about the Priest and his Worker Balda seems the most simple of all the Pushkin's fairy tales. However, this is a very specific simplicity, which can be called ̒’the simplicity of complexity᾿. The story contains different levels, which are not apparent immediately. Traditionally, The Tale of Baldahas been interpreted as an acute socio-political satire; another approach refers to the peculiarities of folk tales poetics and its literary transformation, determined by the difficulties of combining the folk fairy-tale function of the character with the nature of a literary tale hero. Both of these approaches raise a number of questions, the main of which is why the Priest was punished, after all. The third interpretation, which is presented in the second part of the article and considers Pushkin's fairy tale in the Christian context, allows us to reveal the deeper connotations of Pushkin's intention, giving the opportunity to comment differently some parts of the text, usually overlooked by researchers that are focused only on a “superficial layer” of the meaning of the text.

Сравнительный анализ проповеди А.-П. Стенли и перевода К. П. Победоносцева: разночтения и комментарии

Author(s): / Language(s): English,Russian Issue: 1/2016

Л. Н. Толстой и Н. Н. Страховъ въ Оптиной пустыни

Author(s): / Language(s): English,Russian Issue: 1/2016

ГОГОЛЕВСКИЙ ХРИСТИАНСКИЙ ИМЕНОСЛОВ: О ФОРМЕ И СЕМАНТИКЕ ЛИЧНЫХ ИМЕН В РАННЕЙ ПРОЗЕ ПИСАТЕЛЯ

Author(s): Vladimir Denisov / Language(s): English,Russian Issue: 1/2014

Modern readers often do not know or do not understand literal and connotative meanings of personal names (anthroponyms) in Russian classical literature, which reflect the culture of that time and play an important role in the books' stylistic harmony: these names provided certain framework for the writers and readers who knew at least some elementary Latin and Greek, as well as some basic ancient Slavic mythology. Thus, one of the ways to provide correct philological commentary on a text can be to define the semantics of personal names and its correlation with the characteristics of the heroes, with the ideological and artistic aspects of the text. And analyzing the structure of the artistic image, you need to consider the importance of the various forms of personal names, as well as their possible external and internal dialogism. We characterize onims in the early works of Gogol devoted to Little Russia: A Chapter of the Historical novel, Two chapters of Little Russia's Story, the first book Evenings on a Farm near Dikanka (1831). It is based on the interpretation of common Slavic names in their Ukrainian and Russian versions generally accepted at the time, as well as the list of Names Given at Baptism from Gogol's The Book of Bits and Pieces (1827-1831). Given analysis leads to the conclusion that choosing a certain Christian name for his hero, Gogol took into account the phonetic and semantic structure of the onims and its direct and connotative meanings, their contradictions, semantic links, and less often - their popularity, belonging to a particular caste, and paronymic harmonies.

ИСПОВЕДЬ И ПОКАЯНИЕ В РОМАНЕ Ф. М. ДОСТОЕВСКОГО «БРАТЬЯ КАРАМАЗОВЫ»

Author(s): Denis Vasiljev / Language(s): English,Russian Issue: 1/2014

Dostoyevsky, confession, repentance, the idea of common guilt and responsibilityThe article deals with the meaning of a penitential confession in Fyodor Dostoyevsky's novel The Brothers Karamazov. It is noted that the penitential confession in the novel exempts from the burden of guilt, allowing the confessor to get rid of spiritual sufferings through the compassion of the person who accepts the confession and shares the guilt with the sinner. It is emphasized that repentance is inseparably linked with overcoming the sense of shame before public exposure and self-obsession with one's reputation. The attention is paid to mutual confessions in the novel after which the heroes step on the path towards transformation. It is concluded that penitential confessions of heroes result in their revival and spiritual renewal, as each of them is given a chance to endure spiritual revolution, to overcome the "hell" and to confirm the validity of Zosima's idea about common guilt and responsibility.

ДНЕВНИКИ А. М. ДОСТОЕВСКОГО: ПРОБЛЕМА ЖАНРА

Author(s): Klavdiya Sizyukhina / Language(s): English,Russian Issue: 1/2014

he article analyzes the key genre characteristics of A. M. Dostoyevsky's diaries: the context, the image type, the stylistic originality. Though the diaries have their own art history, they are also the literary part of the similar memoir document «Memories». The age of the diarist plays an important role in the comprehension process of the diary text functionality. A. M. Dostoyevsky began writing his diaries at the end of his life. Probably the disease of his wife invoked the writing activity. Dostoyevsky made his diary writings in a strictly chronological order. The writer just once was to interrupt the chronological order of his writings because of his wife's death. Dostoyevsky suspended writing his diaries for almost two years. The first time Dostoyevsky initiated himself into the similar form of diary writing was his regular epistolary correspondence with the sister V. M. Dostoyevskaya. That time the writer had been was in St. Petersburg and described his everyday impressions in letters. The topics of A. M. Dostoyevsky's diaries refer to family and domestic questions. Along with the domestic topic, art materials of the diaries include a wide range of the historical portraits and the descriptions of the meaningful epochal personalities and events. The travel writings and the dates to be comprehended in the spirit of the Christian calendar occupy an important place in A. M. Dostoyevsky's diaries. These art components sacralize the chronotope and the art style of the diaries. The stylistic experiments of the diaries are highly various: dreams, poetic improvisations, official work documents, drawings, plans.

ОБРАЗЫ СТАРООБРЯДЦЕВ В ДИЛОГИИ П. И. МЕЛЬНИКОВА-ПЕЧЕРСКОГО «В ЛЕСАХ» И «НА ГОРАХ»

Author(s): Liubov Alekseeva / Language(s): English,Russian Issue: 1/2014

The article examines an archetype of the righteous person in the Pavel Melnikov-Pechersky's dilogy through the example of Old Believers images which form the main part of the text. Through the example of righteousness as a subject the interconnection Melnikov-Pechersky's dilogy with Old Russian literature traditions, focused on Christian values, is shown. Russian literature of the 19th century, which kept these traditions addressing to the subject of righteousness, created heroes of a new type. These are secular people, imperfect and a bit sinful, but holding onto the ideals of Old Russia. Such righteous persons being the ambodiment of different virtues are portrayed in Melnikov-Pechersky's dilogy. The article draws some typological parallels with Old Russian literature and identifies several types of righteous heroes in the dilogy – certain types of righteous women and spiritual wanderers. As a result, on the basis of the analysis of Old Believers' images it can be concluded that the main criterion of righteousness for Pavel Melnikov-Pechersky is not belonging of the hero to the Old Belief or to the dominating church but his/her Christian attitude and following evangelical precepts. That is why Melnikov-Pechersky does not present the righteous Old Believers as active spokesmen of the Old Belief ideology.

БИБЛЕЙСКИЕ МЕТАФОРЫ В ПИСЬМАХ ЛЬВА ОПТИНСКОГО

Author(s): Svetlana Olegovna Zakharchenko / Language(s): English,Russian Issue: 1/2014

This article presents the first analysis of tropes in the letters of the first Elder Lev (Nagolkin) of Optina Pustyn Monastery (Opta’s hermitage) - i. e. proverbs, allusions, allegories periphrasis and metaphors. Elder Lev most frequently used such tropes as “the storm of temptations”, “the heart field”, “happy harvest”, “rags of the passions”, “the marriage of the soul”, “verbal sheep”, “soldier of Christ”, “spiritual milk”, “the mind's wolf”, “a log of pride”. One special thing about these tropes is that they blend together several biblical quotations and the Gospel images. Both simple and extended metaphors are used, and all the metaphors in the letters of St. Lev of Optina have a special function: they actualize biblical events, describe symbolically the inner world of a person and show the way to the salvation of the soul. It is typical of the Elder to use his own unique tropes, which are very different from the traditional poetic images of the Russian literature of the 19th century.

ГЕРОЙ-ПРОПОВЕДНИК В ТВОРЧЕСТВЕ Л. Н. ТОЛСТОГО И ДЖ. ЭЛИОТ

Author(s): Irina Gnyusova / Language(s): English,Russian Issue: 1/2014

The article analyzes characters of clergymen and the process of creating a specific type of a preacher in Leo Tolstoy's creative works. The researcher tries to prove that this process was strongly influenced by Tolstoy's close attention to the preacher characters in George Eliot's works. This can be proved by Tolstoy's letters, diary and notes in the books from the writer's personal library. The main features of Tolstoy's preacher character are demonstrated by the example of Prince Nekhlyudov (Resurrection). Proclaiming evangelical truth, he is not a member of any confession; he does not promulgate his views, but he proves his case by his actions and his way of life. He rejects earthly comfort and goods and voluntarily becomes integrated into people's life. Having walked his way of repentance of former sins, he cultivates the ability to forgive and have mercy. George Eliot also accents these features in the key characters of her books, analyzed in this article (Janet's repentance, Adam Bede and Felix Holt, the Radical). Eliot's version of preaching becomes a certain guide for Tolstoy in the process of shaping a new type of character in his late works.

ВЕТХОЗАВЕТНЫЕ ПРОРОЧЕСТВА И ЭСХАТОЛОГИЧЕСКИЕ ОБРАЗЫ НОВОГО ЗАВЕТА В ЛИРИКЕ С. А. ЕСЕНИНА 1918–1919 ГГ.

Author(s): Mariya Solov'eva / Language(s): English,Russian Issue: 1/2014

The article discusses the features of the poetics of Yesenin lyrics of 1918–1919. Poems of this period form a single metatekst about the end of the time, and the coming of the Day of Judgment. The research shows that the disclosure of eschatology theme by the poet exhibits characteristic features of the artistic world of S. A. Yesenin. The most important source of Yesenin's poetic imagery is the experience of Orthodox worship gained by him in childhood and adolescence. Liturgical foundations of Yesenin's artistic thinking implemented in different planes of the content of poetics throughout the career of the poet. In the "little poems" and poems of 1918–1919 the structure and symbolism of the liturgical text is presented. Yesenin uses quotes and paraphrases hymns and texts of Scripture; liturgical symbols and actions of church utensils, iconographic images are reflected in his poetry. The content and the relationship of poetic images and symbols, the interplay of these images are in compliance with the poetics of liturgical texts. A complex semiotic structure of worship is reflected in the poetry in the form of correlations of the New Testament and the Old Testament prophecies, combined with various biblical images and motifs. A theme of Old Testament prophecy is reproduced in liturgical discourse. In the development of eschatological themes the characters of prophets also form an additional scope of meanings associated with the spirit of the revolutionary events: the prophets becomes representatives of the common people, the spokesmen of the national spiritual experience. The poetic text had borne the additional connotations with biblical stories on the ministry of the prophets.

ИКОНОПИСНАЯ ЦВЕТОПИСЬ В БИБЛЕЙСКИХ ПОЭМАХ С. А. ЕСЕНИНА

Author(s): Natalya V. Mikhalenko / Language(s): English,Russian Issue: 1/2014

The Biblical poems by Sergei Yesenin are full of pathos of theurgic reforms and creation of a new world. All components of these poems (images, spatial-temporal organization, colour symbolics) stressed the importance of ongoing changes. The colours in small poems not only correspond to normal natural colours, but also bear a symbolic meaning, drawing the reader to the iconographic mysticism. The colourful preferences correspond to the tradition (of the Old or New Testaments, iconography or liturgy, as well as scenic tradition), which Yesenin follows in his poetry. Creating images of cosmic transformation, the poet turns to the traditional icon colour combinations and reinterprets the Old and New Testaments images. It puts the cases of prophet Sergei Yesenin in line with the acts of the biblical prophets. All poems in their colour scheme are consistent with iconographic tradition. In these poems three basic colours are used which repeat the colours of thematically close icons. So, The Coming is coloristically associated with the icon of the Nativity, The Transfiguration corresponds to the eponymous icon of Christ. The colours show the relationship and the parallelism of the processes occurring in earthly and heavenly worlds. It emphasizes the unity of the poetic world, the engagement of the Earth and the Heaven in the conversion process. The consideration of Yesenin’s revolutionary epic in line with biblical and iconographic symbolism allows analyzing in a more detailed and deep way originality of poetic recreation of the World and enables to reveal philosophical and esoteric content of the works.

КОНЦЕПТ «ИСТИНА» В РОМАНЕ М. А. БУЛГАКОВА «МАСТЕР И МАРГАРИТА»

Author(s): Anastasiya Korneenko / Language(s): English,Russian Issue: 1/2014

The subject of our study was the concept of “truth” in Bulgakov's novel Master and Margarita. S. Stepanov gave the definition of a concept. The concept is like a clot of culture in human consciousness; that is the manner in which culture becomes a part of the mental world of a man. And, on the other hand, the concept is a way for a man as an ordinary, normal person, not a “creator of cultural values” to be included in the culture, and in some cases, to affects it. In the analysis of the concept of “truth” we start from its cultural-and-etymological understanding of the word “truth”. The aim of the study was to conduct a comparative analysis of the three editions of the novel and to find out what semantic meanings Bulgakov deals with in a particular case and how it affects the transformation of the idea of the novel from edition to edition. Three editions of the novel were the material for the research: the first is “Engineer Hoof” (1930–1932), the second is Grand Chancellor (1932–1934) and the final version of “The Master and Margarita”. In these three editions Yeshua involves everyone who he is talking to in the dialogue. In the editions Engineer Hoof and Grand Chancellor M. A. Bulgakov uses the concept of “truth” in scientific-philosophical and sacred meanings (plans). In the final text Yeshua appears as a philosopher who is in search of the truth.

СОФИЙНАЯ «ОМОУСИЯ» П. А. ФЛОРЕНСКОГО

Author(s): Yaroslav Sarychev / Language(s): English,Russian Issue: 1/2014

The analysis of the book The Pillar and Assertion of the Truth (1914) and the sophiological doctrine presented in the article and related to the approaches of certain Russian sophiologists shows the general problematic character of the attempts of Orthodox substantiation of the ide-as of Sophia and at the same time the originality of Pavel Florensky's position. The thinker could not overcome sophiological aporia and the complex of religious-modernistic ideology; however Florensky proved the conception of Sophianess universe, formalistic in its essence, but symbolic in appearance, based on the author's theory of antinomic cognition and the misinterpreted principle of trinity. As a result, Sophia turned out to be isomorphic to Holy Trinity and simultaneously to the creative world. The paradigm of Florensky's thinking, apart from its gnostic basis, shows a certain deviation to the direction of postmodernist (in the broader sense) consciousness, which is why the philosopher is in demand in modern human environment.

«СТАРИННЫЙ ТРИПТИХ» С. Н. ДУРЫЛИНА И «ПОЧЕМУ ТАК СЛУЧИЛОСЬ» И. С. ШМЕЛЕВА: ПОЭТИКА ХРИСТИАНСКОГО РЕАЛИЗМА

Author(s): Evgeniya Korshunova / Language(s): English,Russian Issue: 1/2014

emigre writers of the first half of the 20th century. They were brought together not only by common religious values, but also by their tragic destiny. That is why we believe the comparison of their artistic principles – through the example of Durylin's Ancient Triptych (1919–1923) and Shmelyov's How did it all happen? (1944) to be very productive, especially considering that no serious comparative analyze of these works has been done before. The comparison of two texts clearly shows that their problematic and poetics are quite closely connected. Both writers depict the final period of life of outwardly successful, but spiritually devastated personalities (professor of ancient history and general Patrikiy Patrikiyevich Drevlyaninov). Durylin and Shmelyov tried to help their heroes to overcome the spiritual deadlock, senselessness of existence and their personal obsessions (for the professor it is the idea of scientiic labour corrupting the society, for the general it is gambling). Both the professor and the general travel their road of purification, their 'way of the Cross', their Golgotha and their Resurrection. Durylin directly connects his character's road with the liturgical cycle, because 'fighting with the devil' takes place during the Great Lent, while the grandfather sees his life-changing dream on the eve of Easter and the Passion Week. The hero's pilgrimage to Easter forms the plot of this story, actualizing the importance of Easter archetype for Russian literature. The methods used by both authors to free their characters from spiritual emptiness (introduction of a 'spirit character' as a reference to the devil from Dostoyevsky's novel The Karamazov Brothers) are also similar. Stylistic features of Durylin's and Shmelyov's poetics – plotlessness, prevailing of metaphysical problematic, Easter archetype and intertextual references to classical literature – are also related. All these facts enable us to classify the works of Sergey Durylin and Ivan Shmelyov among those of Christian realism, distinguished by its own artistic principles and world view.

РЕДУКЦИЯ ЕВАНГЕЛЬСКИХ «СЮЖЕТОВ» В СОВРЕМЕННОЙ ПРАВОСЛАВНОЙ БЕЛЛЕТРИСТИКЕ

Author(s): Marina Krаsnyakova / Language(s): English,Russian Issue: 1/2014

The article analyzes the works of contemporary authors, representing a particular artistic direction – Orthodox fiction developed in the Russian literature for the last decades, the interpretation of biblical motifs in a literary text. Evangelical plots and motifs are demanded in modern fiction, they determine a special structure of narration. The storyline built on the basis of autobiographical material in works of authors-priests mainly keeps the initial parabolic structure most closely resembling the primary source. Devine Providence is comprehended as execution of a request and a prayer of the person who is initially trust the Meanings contained in Gospel. In the works of secular authors the situation of illusion, showing the state of soulless modern society become emblematic. A parabolic story still requires the author's interpretation, based on the desire of a modern writer to expose moral pathos of the work. There appears a keynote of a miraculous effect of Devine Providence on human destiny. Analytical materials for the article were A. Vladimirov’s book From height of bird's flight, stories Feast by M. Yakovlev and Fishers of men by V. Krupin.