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ОБРАЗ ПЫЛАЮЩЕГО ВУЛКАНА В СОЗНАНИИ ОЧЕВИДЦЕВ ПОЖАРА МОСКВЫ 1812 ГОДА

Author(s): Ksenia A. Potashova / Language(s): English,Russian Issue: 3/2017

A deep concentration and attentive listening to menacing historical omens manifested in nature, determine the ideas and feelings of the poets — contemporaries of the Patriotic War of 1812. Two large European volcanoes woken up in 1811—1812 — Vesuvius and Etna — were seen as a terrible presage, a natural harbinger of a historical catastrophe. Appealing to the image of an erupting volcano, poets saw the reason that entailed the sequence of world upheavals, the crush of spiritual values. The clergymen encouraged repentance and an appeal to God’s help. The rage of the erupting volcano was represented by poets as a certain moral lesson — the storming nature forces a person to turn regard on the sky and to think of readiness for death. As a result, the article came to the definition of a religious meaning of the motif of the erupting volcano in Russian poetry at the beginning of the 19th century.

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АНТРОПОНИМЫ И ЕВАНГЕЛЬСКИЙ ТЕКСТ В РАССКАЗАХ ТОЛСТОГО «ЧЕМ ЛЮДИ ЖИВЫ», «ГДЕ ЛЮБОВЬ, ТАМ И БОГ», «МНОГО ЛИ ЧЕЛОВЕКУ ЗЕМЛИ НУЖНО»

Author(s): Elena Masolova / Language(s): English,Russian Issue: 3/2017

In Tolstoy’s stories “What Men Live by” and “Where Love Is, There God Is Also” the choice of the anthroponymic naming formula is predetermined by the relation of characters to the Gospel. Anthroponyms determine the destiny of people, have a prospective function and give hope for the favorable safe final of the story. In the story “Where Love Is, There God Is Also” the narrator uses a proper name when his character is not right; a patronymic has a greater value than a proper name because the patronymic naming formula emphasizes the succession of generations as well as a religious and moral essence laid in the name. Tolstoy’s character absorbs the Word Divine and as a result of it he is transformed. The “neutral” impersonal naming formula is replaced by the anthroponymic naming formula with its Christian semantics obtained in baptizing. Semantics of anthroponyms not always “helps” Tolstoy’s characters. In the story “What Men Live by” the semantics of patronymic Trifonov is “empty”: Trifonov is a poor man who did not help Semyon in a difficult situation, which he himself created in part. In the story “How Much Land Does a Man Need?” greedy and cunning Pachom failed to realize the positive semantics of his personal name and died. Tolstoy’s nameless characters are usually separated from God; the exception is a woman with a child from “What Men Live by” and an old wanderer from “Where Love Is, There God Is Also”. Angel’s speech at the end of the story “What Men Live by” and the description of his ascension correlate with the Gospel text. The forms of inclusion of the Gospel text in Tolstoy’s stories are different. A number of stories are preceded by the evangelical epigraphs that create a parabolic composition. In some stories Tolstoy’s character reads and comprehends the evangelical verses; the Gospel text sounds in his speeches and “subdues” the narrative. All this leads to an increase in the meaning of Tolstoy’s “national stories”, written in the context of Christian literature.

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ЛУНА ГЕФСИМАНСКОГО САДА: И. Е. РЕПИН И А. П. ЧЕХОВ

Author(s): Irina Ruzhitskaya / Language(s): English,Russian Issue: 3/2017

Religious paintings are a specific form of reading the Gospel text. Based on I. E. Repin’s work “Jesus Christ in the Garden of Gethsemane” the author aims at revealing biblical texts as primary sources in the process of visualizing the Gospel events by the artist. The article does a research of the history of the picture, brings to light its compositional and coloristic features. While analyzing sacral reality depicted in the painting a theological dialogue between I. E. Repin and A. P. Chekhov is explored. The author notes the following results. Discussion about the presence of the moon on the night of Gethsemane events reveals the nature of the relationship of these people, their devoutness in life and work. Moreover, the author expresses a new hypothesis. Priest D. V. Rozhdestvensky, who consulted the writer on the question of the presence of the moon in the biblical events, could be a prototype of Ivan Wielkopolska in the story “Student” by A. P. Chekhov. It is concluded that by means of the moonlight I. E. Repin strived to convey a spiritual reality, to express a dramatic character of betrayal and Divine predetermination of Atonement.

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Max Blecher, a canon of interwar modernity

Author(s): Nicoleta Hristu (Hurmuzache) / Language(s): Romanian Issue: 2/2016

This article aims to trace out the diagram of the insight into Max Blecher’s work, an atypical author and a marginal figure of tragic experience, who succeeds in imposing himself on the Romanian literature through his peculiar and problematic writing, subsequently integrating himself in the canon of the interwar modernity. From the perspective of the critical receptiveness in the diachronic and synchronic sense, there will be highlighted several temporal sequences between 1934 and 2015, in which Blecher’s work is subjected to the value and typological criterion, and there will be made both just, enthusiastic appreciations, and subjective, sometimes controversial and blameable ones. The analytical process will also emphasise the clichés of the author’s receptiveness and the underlying elements that give Blecher’s work two distinct directions: on the one hand, the psychological analysis, the experimental and confessional literature and on the other, the metaphysics through the elements of the absurd, oneiric visionariness and ontological crisis. Thus, the delayed canonisation of this author explains itself through the syncope in the evolution of receptiveness and the arguments that place this author in a totally different cultural context: psychologism, expressionism, surrealism, existentialism.

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Nowe doświadczenie wojny. This War of Mine

Author(s): Miłosz Piotrowiak / Language(s): Polish Issue: 1 (9)/2017

The article undertakes a polemological reflection which is not limited to historiography and philosophy of history, being an attempt at reaching multidimensional and non-standard vision of war. It may seem that studying a computer simulation of people’s lives during the war conflict is far from what a literary scholar should be doing. Nevertheless, This War of Mine redefines the notion of computer games and of classically defined agon. The interactive production of Warsaw 11 bit studios becomes a pretext for studying the ways in which new media refer to literature. The unique experience of war depicted by This War of Mine draws from literary testimonies but at the same time it captures more than literature could ever do. Is the “word in play” the missing link of Bachtin’s equation?

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The Modern and Postmodern Form of Chinese Theatre since 1949

Author(s): Pengling Hu / Language(s): English Issue: 5/2016

Chinese theatre can be divided into modern and postmodern forms since 1949. The modern form of Chinese modern theatre is undoubtedly influenced by Western realism and modernism, which takes the script and the literature as the centre, and introduces the theory of modernism. It is represented by plays such as Tea House and Sang Shu Ping Chronicle. The postmodern form of Chinese modern theatre is influenced by the Western postmodern drama and Chinese opera: it is represented by three directors, namely Lin Zhaohua, Mou Sen and Meng Jinghui.

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Mihail Sebastian and the Theatre of Literature

Author(s): Tiberius Vasiniuc / Language(s): English Issue: 5/2016

This study aims to examine the relationship between Mihail Sebastian’s literary works and his autobiographical writings. Even though his life was influenced by several watershed events of the twentieth century, this particular author defended both his moral integrity and his cultural options. Sebastian’s diaristic writings are thus relevant to each and every one of us and demand to be re-assessed through our own individual lenses. Keeping a journal, the confessing self is definitively committed to writing “to the moment”. This type of discourse has all the makings of analytical drama, from which the “protagonist”, in the purest sense of the word, is never absent.

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Obraz człowieka w Biblii. Elementy antropologii biblijnej

Author(s): Piotr Nyk / Language(s): English,Polish Issue: 1/2017

Biblical anthropology presents a monistic image of the human being, in which a human is a spiritual and physical unity. However, a more detailed study reveals some difficulties. The most typical example is the popular understanding of the term “soul.” Its exact meaning corresponds closely to the biblical Hebrew term of rûaḥ (spirit) or nišmat ḥajjîm (breath of life). The Hebrew noun nepeš, which is often translated as “soul,” appears actually more complex. Its meaning includes also the following modern terms: throat, life, person, human. The present study draws attention to the historical development of some Hebrew and Greek terms as well as ideas of biblical anthropology and eschatology, e.g. “soul,” “person,” “human” (nepeš, psychē), “body” (bāśar, sarks, sōma), “spirit” (rûaḥ), “heart” (lēb/lēbāb), the idea of the “afterlife” and the “spiritual body” after resurrection.

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Malarstwo w poetyce Du Fu 杜甫

Author(s): Anna Izabella Król / Language(s): Polish Issue: 9/2017

The various elements of poetry-painting analogy applied to Du Fu’s poetry reflect critical differentiation rather than a community of thought. None of them have reference to the original context in which the notion of “in poetry is painting” has meaning.In his poetry, Du Fu tested boundaries of poetry and widened the horizon of poetry in pursuit of what he termed as the highest meanings of beauty beyond words and images, creating a critical synthesis of poetry.

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Poetyckie inskrypcje na obrazach dynastii Qing

Author(s): Anna Izabella Król / Language(s): Polish Issue: 9/2017

The name of the poetic inscriptions on the Chinese paintings refers to those poems that describe or criticize images, but are necessarily part of the picture, that is, were written on them. However, along with the practice of inscribing poems, the inscriptions have adopted double meaning, referring to those and other poems that were physically included in the images, even if they did not depict or criticize the image, or if at a distant way they referred to the subject of the original image as The other border art genre proves extremely important in the study of Chinese poetry and painting, and presents various textual patterns of poetry-painting relations.

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Кризис виктимной парадигмы (случай новейшей русско-израильской литературы)

Author(s): Roman Kacman / Language(s): Russian Issue: 27/2017

The article describes a victimological paradigm in modern Russian-Israeli literature. The proposed opposition present in the two notions i.e. victim–victimizer is based on Eric Gans’s generative anthropology. The dynamics and possibilities of new form of victimological paradigm are analysed on the basis of chosen literary works in new Russian-Israeli literature.

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Трансформация еврейской темы в русской литературе

Author(s): Eleonora Szafrańska / Language(s): Russian Issue: 27/2017

The article deals, dash-like, with the development of Jewish subject matter in Russian literature: from taboo to self-reflection because of belonging to Jewry, from euphemisms of XIX and XX centuries to the open and proud declaration made by the conceptual Jew, Arkan Kariv, in his XXI century prose. Exemplified in fragments of writings by Dina Rubina, Friedrich Gorenstein, Valentin Rasputin, Alexandr Melikhov and Jury Karabchievsky, some facets of Jewish theme are discussed. In Kariv’s novels Interpreter and Once in Bishkek, a Jew — outsider, pariah, and self-reflecting intellectual — turns into a brutal leader named Martyn Zilber. A special subtlety of this novels’ structure is given by the fact of palimpsest: the reader understands that behind the Kariv’s writings is the novel by his father, Jury Karabchievsky, as much as behind Martyn Zilber’s father stands Alexandr Zilber, the hero of Karabchievsky’s novel.

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„Cnotliwa” Żydówka Zuzanna. O empatii w opowiadaniu Antoniego Czechowa Grzęzawisko

Author(s): Witold Kowalczyk / Language(s): Polish Issue: 27/2017

This article examines Anton Chekhov’s short story (Quag)mire (Тина, 1886), which gave rise to a great deal of controversy among contemporaneous critics and authors. Some of their commentaries were pejorative, in spite of the fact that Chekhov himself regarded the story as successful. Since the critics frequently referred to the reader’s thoughts and feelings, the article proposes to analyse the story by virtue of cognitively-inspired literary methodology, with emphasis laid on (cognitive) empathy. Particularly useful is also the Deictic Shift Theory, which involves the reader’s engagement in the tracing of “relocated” deictic centres, as well as the Conceptual Metaphor Theory. Accordingly, Kowalczyk argues, debauchery is a mire can be considered the story’s central conceptual metaphor, while the story’s title, Тина (Tina), literally a (quag)mire, provides a key to its interpretation. In the story, told by the third-person narrator, the reader empathically identifies her/himself with Alexandr Sokolsky, a Russian officer, as if “entering” the deictic field created “around” him. Together with the protagonist, the reader — via a sequence of consecutive deictic shifts — is empathetically familiarized with Susanna, a Russified Jewish woman. Through several actions and utterances, Susanna attempts to question the negative stereotype of a Jew, commonplace in Russia, but fails. Arguably, the reader’s evoking the biblical story of the genuinely virtuous Susanna, implied in Chekhov’s text, entails her/his negative perception of Chekhov’s fictional female. This cultural undercurrent may be deemed responsible for the story’s unfavourable reception by Jewish readers, who interpreted Тина (Tina) in terms of a literary attack on their society. In light of the cognitive-literary approach delineated above, Chekhov’s story in question indeed proves to be anti-semitic.

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Żydzi i kwestia żydowska w prozie niefikcjonalnej Zinaidy Gippius

Author(s): Iwona Krycka-Michnowska / Language(s): Polish Issue: 27/2017

In this paper the views of Zinaida Gippius on the status, place and role of the Jews in history, expressed in the diaries, journalistic writing and essays were analysed. A reading of these texts leads to the conclusion that the writer had an ambivalent attitude to the Jews. On the one hand, her position, especially soon after the Bolshevik revolution, corresponding to negative stereotypes, but on the other hand overcome it. The journalistic writing and Gippius’ diaries comes belief in the need for reconciliation and in the possibility of achieving it. The hope for a harmonious coexistence of people connects Gippius with religious movements in Russia, the revival of the Orthodox Church and the opening of the Jews to Christianity.

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Rachela Bojmwoł. Szkic do portretu

Author(s): Marian Kisiel / Language(s): Polish Issue: 27/2017

The paper delineates the history of Rachel Boymvol — a poetess, and an author of aphorisms, fables both for children and adults, and a compendium concerning Yiddish idiomatics. Her life — from the fascination with communism in the 1930s to facing persecutions in 1940s and 1950s, and emigration to Israel in 1971 — is one of the many fates of Russian writers of Jewish descent. Previously a noteworthy fabulist, published in millions of volumes, this later forgotten author is slowly regaining her place within Russian literature after 2000.

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Poszukiwanie tożsamości. Na przykładzie wiersza Inny Lisnianskiej „Развалилось то, что долго длилось…”

Author(s): Franciszek Apanowicz / Language(s): Polish Issue: 27/2017

The article is an attempt of the semantic interpretation of the poem of Inna Lisnianska “Развалилось то, что долго длилось…”. It concerns the role of the Jewish Question in identity formation of the lyrical subject. I was preceded by a rough outline of the Jewish issue in Russian literature. The interpretation demonstrates that the drama of the tumble indicated in the title is opposed by the “elf” of the lyrical subject. That self was formed by the unity of blood, the unity of both cultures and both religions. It was formed by her cry — with all the blood (“всей своей кровью”), where Christian and Jewish elements merge.

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„Między synagogą i kosmodromem Bajkonur”. O powieści Diny Rubiny Oto idzie Mesjasz!

Author(s): Mirosława Michalska-Suchanek / Language(s): Polish Issue: 27/2017

Rubina looks at the unpredictable and difficult every-day reality of “Russian Israel” in the 90s from the perspective of Jewish tradition, culture and religion. She creates an image full of equal amounts of both comedy, irony and even grotesque and philosophical and religious thoughts. The novel develops the idea of the destiny of the Jewish people and the unity of Jews with their own land. The novel’s characters are not looking for their own identity — they know very well who they are and where they belong. The background of the novel are descriptions of the regional political and religious conflicts as well as realities (including geographical and topographical) of Israel and faithfully reproduced cultural climate.

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Dialog kultur we współczesnym kinie izraelskim. Klara cudotwórczyni Ariego Folmana i Oriego Sivana oraz Cyrk Palestyna Eyala Halfona

Author(s): Beata Waligórska-Olejniczak / Language(s): Polish Issue: 27/2017

The character of Russian-Jewish immigrant constitutes undoubtedly one of the major figures in Israeli cinema. The aim of the studies is to focus on two contemporary Israeli films, i.e. Saint Clara (Clara Hakedosha, 1996) by Ari Folman and Ori Sivan and Circus Palestine (Kirkas Palestina, 1998) by Eyal Halfon from the point of view of intercultural relationships. The selected texts of culture seem to show both Russian and Jewish culture as dynamic and ambiguous phenomena, which are characterised by a number of paradoxes, polar stereotypes and prejudices. At the same time, however, the cultures turn out to be similar to each other in their continuous inner conflict between striving for freedom and the need of self-restraint.

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Sprawa rosyjska w literaturze polskiej w Izraelu. Rekonesans

Author(s): Sławomir Jacek Żurek / Language(s): Polish Issue: 27/2017

The Russian problem in Polish literature in Israel is first of all concerned with experiences of the writers. The Soviet Russia was on the one hand a place of torment and torture, but on the other it was a chance for may Polish Jews (significant Polish-Israeli writers) to survive. According to the author the writers were either ideological communists, camp prisoners or refugees. The time they spent in the Soviet Union was an inspiration for their literary works, and Russia — paradoxically — was a source of great fascination.

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L’unique Occidental, Prix Staline de littérature:
André Stil, un « ingénieur des âmes » en France

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L’unique Occidental, Prix Staline de littérature: André Stil, un « ingénieur des âmes » en France

Author(s): Cécile Vaissié / Language(s): French Issue: 1-2/2017

The French writer André Stil (1921-2004) is now almost forgotten, but he was the first and only Westerner to receive, in March 1952, a Stalin prize of literature. He was then the editor of the main communist newspaper in France, L'Humanité, and a candidate member in the Central Committee of the French Communist Party. This was the first time that a Stalin prize was awarded to some non-Soviet writers and the last time that it was awarded under this appellation. A question arises: why was this prize, extremely prestigious in the communist world, attributed to André Stil, and not to Louis Aragon or Paul Eluard, communist writers of incontestable literary talent? Articles and speeches of that time give an unequivocal answer: because André Stil represented then, better than anyone else in France, the literature and the writer, as conceived by Soviet ideologues. Therefore, analyzing the reasons, the context and the consequences of this specific Stalin Price means exploring the attempt to transfer and promote in France the model of writers, advocated by Andrei Zhdanov.

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