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"Wolność albo śmierć". Prolegomena do badań nad twórczością czeczeńskiego barda Timura Mucurajewa

Author(s): Kamila Paczek / Language(s): Polish / Issue: 157/2017

The article is a preliminary study of contemporary Chechen bard Timur Mutsuraev and texts of his songs. The underground bard and active participant of the First Chechen War has become a legend and symbol of the Chechen struggle for independence and freedom. Despite strong anti-Russian and Islamic message Mutsu¬raev’s songs are popular not only among independence-oriented Chechens but also among Russian youth. Most of Mutsuraev’s works are patriotic war-songs glorifying national effort to defend Chechnya against Russian aggressors. The artist celebrates Chechen national symbols, myths and ethos. Mutsurayev’s songs are particular in¬teresting subject of study in context of postcolonial theory.

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"Вогняний ангел" В. Брюсова та С. Прокоф’єва: погляд крізь призму "експресіоністичного Бедекера"

Author(s): Mariya O. Shavsha / Language(s): Ukrainian / Issue: 4/2011

A presence is proved in the article of lines of expressionism in the novel of V. Bryusov the "Fiery angel" and in opera of S. Prokof'ev with the same name.

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"Водевиль в сумасшедшемдоме": "Линия Брунгильды" М. А. Алданова

Author(s): Dmitri Nikolayev / Language(s): Russian / Issue: 2/2015

If one were to single out the most characteristic feature of the Russian theatre in exile, it would be the severe scarcity of everything: theatre troupes were small, productions were executed on a very meager budget, etc. Dmitri Nikolayev’s article discusses the way that Mark Aldanov adapted his style to meet this challenge, which resulted in the creation of “Liniia Brungildy” (1937), a play in thegenre of vaudeville.

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"Гнусно подражать народу не хочу". Об одной двусмысленной фразе из подготовительных материалов к роману Ф. М. Достоевского "Преступление и наказание"

Author(s): Konstantin A. Barsht / Language(s): Russian / Issue: 2/2018

The article analyzes the phrase from the preparatory materials to F. M. Dostoevsky’s novel “Crime and Punishment” published in the seventh volume of his Complete Works in 30 volumes, uttered by the main character of the novel Rodyon Raskolnikov: “Abominably I don’t want to mimic people”. To prove the thesis that reproduced as it is the phrase ideologically contradicts all other Dostoevsky’s texts, including the final version of the novel, we rely on a number of theories that consider text ambiguity in linguistic and literary aspects. We demonstrate that the draft phrase is of a different textual nature than the printed text of the novel. It could have contained omitted punctuation marks, letters or words; these possible omissions are not misspellings but constitute a natural element of the autocommunication format chosen by the writer, that is a fast recording of artistic ideas in a reduced mnemonic form. We arrive at the conclusion that this phrase is wrongly presented in the above mentioned edition and assert that it should be read either as: “It is abominable / I don’t want to mimic people” or “It is abominable to mimic people, I don’t want this”. Hence the mark “/” designating the place where there should be a comma, a full-stop or a semicolon in the printed edition.

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"Искусство высокое": Ф. М. Достоевский и стенография

Author(s): Irina S. Andrianova / Language(s): Russian / Issue: 4/2017

The importance of stenography, i. e. the art of writing at speech rate, is widely recognized in the history of evolution of the world science and culture, politics and economy. The given article systematizes the facts about the writers of the 19th and the first half of the 20th centuries who mastered the shorthand or used to resort to the help of professional stenographers in their creative activities. Taking into consideration this review the article makes a conclusion about the role and meaning of stenography in the creative process of F. M. Dostoevsky. He was the second writer in Russia (following V. V. Krestovsky) who applied shorthand writing in his literary work, but the only one in the world literature for whom stenography became something more than just shorthand. He considered it to be mysterious and “high art”. It modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of novels and of the story “A Gentle Creature”, it contributed changes in the writer’s private life and provoke the relatives’ interest (stepson P. A. Isaev, niece E. M. Dostoevskaya). In the course of the marriage of Dostoevsky and stenographer A. G. Snitkina the author’s artistic talent came to the peak. The largest and most important part of his body of work was created in that period. Unfortunately, the Dostoevsky archive keeps only a moderate part of the manuscripts with stenographic notes in them. It is described in the supplement to the article.

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"Между страницей и стеной" : русская цифровая литература в постцифровую эпоху

Author(s): Jana Kostincová / Language(s): Russian / Issue: 2/2016

The article attempts to give characteristics of Russian digital literature within the international context. Using A. Ilianen's text Pensia which exists in both electronic and print form - as a series of texts published in the course of several years in the social network VKontakte as well as a print book—the author attempts to explore new possibilities of the interaction between traditional print literature and electronic/digital literature.

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"ХРИСТИАНСКИЙ СОЦИАЛИЗМ" ИЛИ "СОЦИАЛЬНОЕ ХРИСТИАНСТВО"? (ГОГОЛЬ И ДОСТОЕВСКИЙ В ИСТОРИИ РУССКОЙ СОЦИАЛЬНО-ФИЛОСОФСКОЙ МЫСЛИ)

Author(s): Sergej Kibalnik / Language(s): English,Russian / Issue: 3/2017

The article refers to the phenomenon of Western European, primarily French, and Russian socio-philosophical thought that got a traditional name of “Social Christianity” but in the Soviet times was entitled “Christian Socialism”. Dostoevsky’s “Russian socialism”, as the author himself denominates it in “A Writer’s Diary”, is for a long time and justly related to French “Social Christianity” and to its most famous representative F. R. de Lamennais (Hugues-Félicité Robert de Lamennais). At the same time “Russian Socialism” and all the entirety of Dostoevsky’s socio-philosophical views of 1860s — 1880s extremely remind Gogol’s ideas of his later period. Certain parallels between the two Russian classics are revealed in the article, and it is pointed out that while Dostoevsky’s views are usually treated with sympathy the same ideas in Gogol’s later works are often sharply criticized. The similarity between two writers, apart from certain influence of Gogol on Dostoevsky, is due to their orientation to the same currents in Western European socio-philosophical thought, and first of all to the “Social Christianity”. Both writers shared the key principle of this movement: aspiration to the transformation of social relations on true Christian basis, according to the Christian ideal of brotherhood between people regardless their class position. It was Gogol, along with Chaadaev, Dostoevsky and Tolstoy, who more than any other Russian writer or thinker was inspired by Lamennais’s “Paroles d’un Croyant” (1834) and other writings of the latter. Taking this into account a well-known correspondence between Belinsky and Gogol could be qualified as a dispute between an adherent of socio-political utopia and a disciple of “Social Christianity”.

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"Царството на славяните" от Мавро Орбини, руският превод на Сава Владиславич и изследванията по въпроса

Author(s): Roberto Adinolfi / Language(s): Bulgarian / Issue: 2/2015

The paper discusses some major publications dealing with Mavro Orbini’s Il Regno degli Slavi and its translation in Russian by Sava Vladislavich, which in turn is one of the sources of Paisiy’s Istoria slavyanobalgarska. Works by numerous Slavicists and philologists provide comprehensive explorations on this subject. This paper mainly focuses on studies by Bulgarian and Italian scholars.

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"Шпилен зи полька": О возможных причинах переноса премьеры комедии А. Н. Островского "Бедность не порок" в Петербургe?

Author(s): Andrey Fedotov / Language(s): Russian / Issue: 1/2014

This article suggests that the delay of the first night of Alexander Ostrovsky’s comedy "Bednost’ ne porok" (1854) in St. Petersburg can be explained by the fact that the playwright was deeply dissatisfied with the music of Wiktor Każyński, the author of popular polkas. From what we know from Ostrovsky’s correspondence, the playwright was skeptical about Każyński’s decision to use polka tunes in the version of the comedy meant to be staged in the Alexandrinsky Theatre. For Ostrovsky the very genre of the polka was deeply related to vulgarity, something Ostrovsky had always tried to avoid.

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"Я вернулся в мой город…": Неизвестныйвариант стихотворения О. Э. Мандельштама

Author(s): Marina Salman,Anna Dolinina / Language(s): Russian / Issue: 2/2015

This is the first publication of a previously unknown version of Osip Mandel’shtam’s poem “Ia vernulsia v moi gorod, znakomyi do slez...” (1930, 1932), which survived in the archive of the famous Russian scholar Arkady Dolinin (1883–1968) (currently located in the Manuscript Division of the National Library of Russia). It has come to us in the spisok (copy) made by an unknown person, who almost certainly met Mandel’shtam in the period between late December 1930 and early January 1931. Although the name of the copyist cannot be established, the text as such is remarkable in the way it differs from the final version.

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"Я очень любил получать письма Марины..." Марина Цветаева. Письма Валентину Булгакову. 1925-1927.

Author(s): Lev Mnuhin / Language(s): Russian / Issue: 1/1996

Review of: "Я очень любил получать письма Марины..." Marina Tsvetaeva. Letters to Valentin Bulgakov. 1925-1927. Prague, Museum of the Czech Literature, 1992.70 p. (Galina Vaněčková Publishing, Editor Marta Dandova). by: Lev Mnuhin

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"Я связана с ней против ее желания": О расшифровке Ц. М. Пошеманской стенографического дневника А. Г. Достоевской

Author(s): Irina S. Andrianova / Language(s): Russian / Issue: 2/2018

In 2018 the Decree of the Ministry of Labour and Social Protection of the Russian Federation abolished the profession of a stenographer due to the absence of demand. Researchers of the creative work of Fyodor Dostoevsky cherish the memory of two female stenographers — the writer’s collaborator Anna Dostoevskaya and Ceciliya Poshemanskaya, a modest stenographer from Leningrad that managed to fi nd the key to the shorthand system of the former. In the 1950s-1970s Poshemanskaya disclosed to the public the diary of Anna Dostoevskaya of 1867, the rough copies of “A Writer’s Diary” and “The Brothers Karamazov” and some more pages written shorthand by the writer’s assistant. Th e information on Poshemanskaya and her long-term, broad scale work in the memory of Dostoevsky is scarce. This article gives a brief description of the main stages of her creative career of the stenographer from Leningrad. Some additional details on life and work of Poshemanskaya are available in the documents kept in the fund of historianregistrar Sarra V. Zhitomirskaya (10239-fund). Principally, in the letters of Poshemanskaya to Vera M. Fyodorova and Sarra V. Zhitomirskaya, employees of the Manuscript Department of the V. I. Lenin State Library. The fragments of Poshemanskaya’s letters and her two letters to Vera M. Fyodorova published in the article’s supplement throw light upon the methods of the stenographer’s work and assign the objective to use her experience while decoding shorthand notes from the Dostoevsky archive as well as other historic stenographs.

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(Nie) Chcieć być wszystkim. Stawrogin i najgłębsza otchłań Dostojewskiego

Author(s): Michal Kruszelnicki / Language(s): Polish / Issue: 24/2015

This paper proposes a new interpretation of Nikolai Vsevolodowich Stavrogin – a relentlessly intriguing character in Fyodor Dostoyevsky’s novel The Devils. This reading opposes the very influential line of interpretation employed in works of thinkers working within the current of Russian symbolism and “cultural renaissance” from the beginning of the 20th century. The author argues that this “religious” interpretive tradition contributes to one of the greatest misunderstand- ings concerning Dostoyevsky’s work in that it oversimplifies its ambivalence and obscures one of Dostoyevsky’s darkest insights into the human soul, initially revealed in Notes From the Under- ground and from that time on recurring in each of his major novels. In the first part of the article, several classic Russian interpretations of Stavrogin are examined in order to show their common tendency to morally judge Stavrogin from the Orthodox point of view, recognize his greatest sin in the lack of faith in God and for that reason see before him only the perspective of self- disintegration and inevitable death. The author argues that “religious” interpretations do not explain the mystery of Stavrogin. What is more, they homogenize the complexity of his character and offer an all-to-easy solution to the vital philosophical problem which reiterates in Dostoyevsky’s entire mature fiction and which finds its greatest artistic representation in Stavrogin himself.

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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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A MAN IS FREE AS HE IS THE IMAGE OF GODLY FREEDOM. FYODOR DOSTOEVSKY’S FURTHER CONSIDERATIONS ABOUT FREEDOM

Author(s): Iwona Magdalena Perkowska / Language(s): English / Issue: 21/2013

The article presents Fyodor Dostoevsky’s considerations of freedom based on both The Brothers Karamazov and The Idiot. The writer shows, that dealing with own freedom is one of the greatest tasks in human life and man's future fate depends wholly on how he copes with this task. Freedom is a fundamental concept in a philosophical anthropology of the Russian novelist. According to his grasp of the problem of evil this is a man, who appears the source of all misery, which he brings upon himself, among which not atheism but false understanding of God is the greatest one.

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A. Platonov’un “Çukur” Eserinde Umudun Kayiplari

Author(s): Reyhan Çelik / Language(s): Turkish / Issue: 76/2013

With the revolution of October 1917 a new political process has begun in Russia. This process has not only changed the daily life of the Russian people, but also has exterminated the humanistic emotions of them. This subject has been the main question of the works of A.Platonov, who observed the sechanges on the people since the begining of the revolution. Although aforementioned difficulties expressed by some writers of that period, due to the tough stance in the works Platonov is considered to be against the regime. However, despite all the pressures he continues to express thoughts clearly. He is one of the most important writers of the twentieth century Russian literature with language, philosophy, as well as the revolution approaches; in his time he reflects the suffering of the people and challenges in society. He attracts attention both the stylistic features of literary art and thoughts of anti-regime. Some of the author’s works have been translated into Turkish. These works are “Dzhan”, “The Foundation Pit”, “Chevengur”. “The foundation Pit” which he has written up in 1930, however, published in 1987 in Russia. In his work “The foundation Pit”, he has drawn the profile of ‘new human’ which has occuerd to get her with the the socialist system. In this work are transferred painful losses, which given to achieve overall collectivization. Voşçev removed from his job because of the thoughtfulness, for the search to truth, will join the ranks of people working for the sake of this hope and in work is expressed what happened in this process. At the same time in work, against the Soviet regime’s utopian thought has created an anti-utopia. In this work the life philosophy of the villagers that live in the Soviet system and their journey to hope has been examined relative to the life philosophy of the period.

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A. S. PUŞKİN’İN “YEVGENİ ONEGİN” ADLI ESERİNDE BİÇİMSEL ÖZELLİKLER

Author(s): Duygu Ikisivri / Language(s): Turkish / Issue: 38/2017

Aleksandr Sergeyevich Pushkin (1799-1837), who was regarded as the founder of Russian literature, became a writer sensitive to society. He also reflected on his intense interest in Russian language, culture, and the social life of his time. As an output of this, he intended to write a work reflecting the life of the Russian youth. After a few attempts, he wrote his poetic novel, Eugene Onegin, which he described as “my best work” by adding innovations to his creativity. In this study, the features of Eugene Onegin brought to Russian literature were revealed. Through the process of formation of the poetic novel and formal characteristics were revealed differences from the previous Russian poetry. It has been attempted to examine in detail how the Onegin Stanza created in the work was created, its structure, and its contribution to the content. During this process, examples were given both in Russian and in Turkish, taking into consideration the structural differences between Russian and Turkish. Finally, Eugene Onegin is explained through several examples of the use of the Onegin Stanza invented together in Russian poetry.

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A.P. Çehov'un 'İyi Kalpli Alman (Добрый Немец)' Öyküsünün Çağdaş Anlambilim Yöntemleriyle İncelenmesi

Author(s): Aytül Bayar,Ersin Çetinkaya / Language(s): Turkish / Issue: 36/2017

A.P. Chekhov is one of the most respected writers in both Russian and world literature with what he brought to the literary world. The master of shortness (writing short) A.P. Chekhov at the same time by writing theatrical works played an important role in the foundation and development of the modern theatre. In his works, humour, sociological and social events and the circumstances of the period are all reflected. The examination of A.P. Chekhov’s story “the Good German (Добрый немец)”,which contains humorous elements more, in terms of the possibilities of modern semantics is the gist of our study.

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Absurdalny świat totalitarnego zniewolenia. Władimira Nabokowa gry z mitami i symbolami

Author(s): Agnieszka Baczewska-Murdzek / Language(s): Polish / Issue: 12/2012

The author of the present paper focuses on the relationship between the individual and the power in a totalitarian state of absurd, created in Russian prose of Vladimir Nabokov. According to the author of the article, by describing totalitarian reality, the Russian writer deals with the problem of human oppression and asks about the reasons for this state of affairs. He shows areas of growing opposition and builds in the reader strength needed to rebel.

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Ambiguität (nicht nur) als ästhetische Selbstbehauptung: russische Literatur im 20. Jahrhundert im Fokus der Bachtinschen Dialogizität

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Ambiguität (nicht nur) als ästhetische Selbstbehauptung: russische Literatur im 20. Jahrhundert im Fokus der Bachtinschen Dialogizität

Author(s): Andrea Meyer-Fraatz / Language(s): German / Issue: 2/2014

Mikhail Bakhtin’s term of “dialogism” is closely connected with the terms of “ambiguity” and “ambivalence”. Describing dialogism, hybridity, and polyphony in his study “Слово в романе” [The word in the novel] he creates a poetics of ambiguity and ambivalence. The current study demonstrates on the examples of four Russian writers of the 20th century how Bakhtin’s theory can be understood this way, forming a parallel with the poetics of contemporary writers such as Daniil Kharms, Yevgeny Zamyatin, and Andrei Platonov as well as writers of the second half of the century such as Andrei Bitov. Whereas in the case of Kharms, the inherent ambiguity of the text dealt with in this article leads to a sort of dialogue among scholars, the cases of Zamyatin and Platonov are closely linked with the problem of dystopia, for which is typical the penetration of dialogism into a monological world. The last case, Andrei Bitov’s novel “Puskinhouse”, is closely linked with postmodernist ambiguity.

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