"Křičel jsem: – Mrdat, mrdat!"

Vítězslav Nezval a jeho poetika Moskvy

Author(s): Tomáš Glanc / Language(s): Czech Issue: 3-4/2020

In August 1934, poet and writer Vítězslav Nezval (1900–1958), a leading personality of the Czechoslovak inter-war art avant-garde and also a member of the Communist party, visited Moscow as one of the Western guests invited to the founding congress of the Union of Soviet Writers; one year later, he published a prosaic-essayistic reflection of his visit under the title "The Invisible Moscow" (Neviditelná Moskva. Praha: F. Borový, 1935). The purpose of the present study approached from a semiotic angle is to obtain access to the intentional meaning of this specific testimony concealed behind a factual description of events and environments. The author first outlines a broader socio-political context consisting in an intensive interest of Western left-wing intellectuals in the Soviet Union between the world wars and, on the other hand, in systematic efforts of the Soviet leadership to make use of this potential for their own benefit. Nezval ranked among artists who felt a priori sympathies toward the Soviet social experiment, and they are clearly seen in his text, although he himself declared that his intention was not to provide a testimony about the Soviet “objective reality” which is what media reports or articles do. To understand Nezval’s work, the author believes it must be kept in mind that Nezval, while in the Soviet Union, was looking for, first and foremost, inspiration and connections with poetic and ideological principles he professed. Nezval’s cognitive method is intuition, free of any rational and critical reflections, and his creative principle is imagination, whose incarnation Nezval founds in surrealism. The reality around him serves as a matter for a distillation of experiences occurring in a dream mode. This allows him to overlook or willfully interpret various phenomena related, for example, to the repressive aspect of Stalin’s regime or the onerous everydayness of the Soviet Union’s citizens. The author sees the dominant feature of this dreamlike experience and the line connecting seemingly incompatible segments of reality into all-embracing lyrical intoxication in an erotic principle. Nezval is excited by Moscow as an object of bliss, as a source of sexual arousal. This principle is offered to him as a key enabling an individual to cross the boundary of individualism and blend into the society as a bridge between the eternity of sexual ecstasy and the eternity of the classless Communist society, thus promising the fulfillment of human utopias. The author provides an analysis of the text of "The Invisible Moscow" in support of his conclusions, and links them to some period esthetic and philosophical concepts.

"Parias i Heros. Twórczość Eduarda Limonowa", Lucjan Suchanek, Kraków 2001

Author(s): Robert Bieliński / Language(s): Polish Issue: X/2005

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

Author(s): Kamila Pączek / 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.

"Z polskiej karty Lwa Tołstoja. Nowe i zapomniane o Tołstoju i jego percepcji w Polsce", Bazyli Białokozowicz, Olsztyn 2003

Author(s): Walenty Piłat / Language(s): Polish Issue: X/2005

"Анна Каренина. История Вронского" на Карен Шахназаров - граници на киноинтерпретацията

Author(s): Nataliya Nyagolova / Language(s): Bulgarian Publication Year: 0

The article outlines the aesthetic and culturological context of the inception and functioning of the series “Anna Karenina. The History of Vronsky” (2017) by Karen Shakhnazarov. It describes the transformations of the original narrative model of L.N.Tolstoy’s novel and its relation to the structure of the parable (Gabdullina) and the parallel story structure (Nabokov). It also interprets the novel’s narrative assembly with the documentary prose of V. V. Veresaev as a model of presenting Russian history of the end of the XIX – early XX century.

"Болдинские чтения" : organ puszkinologii rosyjskiej

Author(s): Ewa Gołębiewska / Language(s): Polish Issue: III/1998

"Ветер (четыре отрывка о Блоке)" Бориса Пастернака как неотрадиционалистский цикл

Author(s): Djonghon Lee / Language(s): Russian Issue: 14/2021

The purpose of this article is to study the relations of the neotraditionalist cycle and genre strategies, as applied to Boris Pasternak’s cycle of poems “Wind (Four Fragments about Blok)” (1956). Despite an abundance of research dedicated to Pasternak’s attitude to Aleksandr Blok, still little attention is paid to the poetics of this lyric cycle. The analysis of genre strategies, the concept of which has been developed by Valery Tyupa, and the principles of lyric cycle, proposed by Igor Fomenko, were used as the methodology of this research. The paper is organised around the following points. Firstly, while the main title (“Wind”) and the meter (amphibrachic trimeter with the rhyme scheme AbAb) function as a centripetal force of the cycle, the configuration of various genre invariants becomes a centrifugal force. Secondly, however, the genre repertoire shows a special logic of the lyric cycle, which can be characterised as a movement from the vertical of the ode to the horizontal of the ballad. The first poem follows the strategy of the ode, but cannot be regarded as a traditional one. In the second poem, the lyrical subject uniquely combines the strategy of the idyll with Blok’s radicalness through the image of wind. The third poem also takes up the strategy of the idyll; here, however, signs of an impending catastrophe can be seen in the lines resonant with the first poem of Blok’s cycle “On the Kulikovo Field”. In the final poem, looking at the lines from Bely’s poem “To the Motherland” (“And you, firestorm, / rage and burn me, / Russia, Russia, Russia”) makes it possible to identify the strategy as that of the ballad (“Blok awaited this storm and its lashing. / With flame- -strikes its lashes would hit” [from Don Mager’s verse translation, “Wind”]). Thirdly, the analysis of Pasternak’s cycle from the perspective of genre strategies helps us to reconstruct a dialogue between poets, which is inherent in the neotraditionalist poetics. Finally, the artistic logic of combining genres in this work sheds new light on the poetological characteristics of the neotraditionalist cycle, which should be distinguished from the poetic homage.

"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.

"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.

"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.

"Двойник" на Ф. М. Достоевски sub specie квантовата литературна херменевтика

Author(s): Nikolay Neychev / Language(s): Bulgarian Publication Year: 0

The paper attempts to create a new model of literary hermeneutics based on the basic principles of quantum mechanics: Heisenberg's un-certainty principle, principle of superposition, collapse of the wave function, principle of complementarity. Through the so-called „quantum hermeneutics“, the possibility of adequately explaining the mysterious nature of artistic reality is explored, as described in „The Double“ of Dostoevsky. In this work, the Russian writer discovers the „formula“, that he will later apply in his last great novels.

"Женитьба" Н. В. Гоголя на болгарской сцене

Author(s): Tatiana Fed / Language(s): Russian Issue: 2/2019

The article traces a range of performances staging Gogol’s play Marriage in Bulgaria with a special emphasis on the respective translations into Bulgarian. The theory features translation and adaptation mechanisms specifically applied to cultural realia. The staging in the Sofia Theatre is highlighted. The methodology applied belongs to the framework of cross-cultural communication studies and employs cultural-historic and reception approaches.

"Жизнь Матвея Кожемякина" Максима Горького: рефлексии по поводу жанра

Author(s): Danuta Szymonik / Language(s): Russian Issue: 12/2019

The paper takes up the problem of the genre of Maxim Gorky’s novel/novella "The Life of Matvei Kozhemyakin" (1911). The author of the article finds the discussed work synthetic in terms of genre, indicating features of various genres (annals, saga, autobiography, several varieties of the novel, including historical, social, and family novel) which form in it a harmonious artistic whole. Following the interpretations of Jerzy Lenarczyk, "Ivo Pospíšil" and other scholars, the author of the article puts forward the family saga as the predominating generic component and emphasizes that “the family idea” ("mysl semeinaia") influenced many of Gorky’s works and shaped their generic structure.

"И нас изгнанников в молитвах помяни..." : o poezji emigracji rosyjskiej w Polsce międzywojennej

Author(s): Tadeusz Zienkiewicz / Language(s): Polish Issue: VIII/2003

Литературная руссская эмиграция в Польше не была столь многочисленна, как в Берлине, Париже, Праге, Харбине. В центрах русской литературной жизни (и вокруг них): в Варшаве, Вильне и Львове сосредоточилось около 60 русских поэтов, представителей поколения „отцов” и „сынов”. В творчестве таких поэтов как Л. Гомолицкий, А. Кондратьев, Г. Клингер, И. Кулиш, К. Оленин, Л. Сеницкая, П. Каценельсон и других, в их лирике, появилась новая модель переживания - ее источником было „изгнание” и тоже „изгнание в изгнании”. В их творчестве повторялись мотивы воспоминаний, любви и тоски по Родине, веры в то, что „с Запада пойдем Востоку мы навстречу” и утраты этой веры, одиночества, рефлексией над своей жизнью и судьбой своего поколения, смысла жизни. Появились характерные для эмиграции мотивы религиозные и даже мистицизма. В их творчестве проявилась вера, что их главная цель состоит в том, чтобы развивать русскую културу, сохранить ее. В эмиграции заново открыли они классиков русской литературы, в их поэзии искали они творческого вдохновения. В их стихотворениях можно найти и примеры влияния польской поэзии. Русская литература в межвоенной Польше, творчество ее представителей требует еще исследований.

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

Author(s): Irina Svyatoslavovna 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.

"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.

"Парад идиотов" Генриха Сапгира в контексте поэзии XX века

Author(s): Svetlana Artyomova / Language(s): Russian Issue: 14/2021

This paper analyses and interprets possible sources of the subtext in Genrikh Sapgir’s poem “Parad idiotov” [‘A Parade of idiots’], namely motifs of the road and marching onward, as reflected in the revolutionary parades of the early twentieth century and in the Soviet poetry for children and for the general reader. In the poetry of Aleksandr Galich and Iosif Brodsky the revolutionary fervour of the parade is presented ironically. In it, the distinctions between military and civil parades, between the jubilee parade and a workers’ demonstration are elided: movement to the music itself becomes a characteristic motif of the poetry of the 1960s, so that the motif of the parade becomes not just a literary signifier, but also a feature of everyday life, suggesting on the one hand joy and celebration, and on the other the greatness of the country and the glorification of the Soviet man who strides along “the correct path”. In parallel with the semantics of a holiday, the motif of the procession acquires an additional meaning (also inspired by the era) of a forced movement, the march of prisoners towards their place of imprisonment. Sometimes the parade motif takes on both meanings: the joyous march and the listless marching of puppets become woven into a single whole. It is noteworthy that in children’s poetry, the parade motif is indistinguishable from its counterpart in “adult” poetry. The lyrical subject of Sapgir’s poem, who walks towards the parade of idiots, merges with it: movement is proclaimed to be the goal of life, and death for a dream with a blissful smile – the romantic idea of an idiot. It is probably no coincidence that Sapgir’s text contains no direct quotes from previous “parade” texts nor clear markers of a genetic connections with them: the poet is quoting not texts, but the epoch.

"Путешествие вокруг его комнаты": жанровое своеобразие романа И.А. Гончарова "Обломов"

Author(s): Lyubov' Aleksandrovna Sapchenko / Language(s): Russian Issue: 1/2018

The paper is the first attempt to reveal the genre specificity of I.A. Goncharov’s novel in the light of the parodic variety of sentimental travel (“A Journey Around My Room” by Xavier de Maistre). It has been noted that the plot of journey in the work by I.A. Goncharov, which is connected, as it would seem, only with the book of essays “Frigate Pallas”, is actually present in all three novels of the writer, showing itself as a theme or a motive and as a symbolic image or an ideal form of human activity. The author gives a number of examples proving that the novel “Oblomov” can be defined as “anti-travel”: as a book about a man who “did not go”: did not travel through Europe, did not go to the springs, did not visit Oblomovka, did not keep his promise to come to Paris… The comparative-historical method of analysis (historical-typological and “contact”) have been used during the research. As a result, the following conclusions have been drawn: 1) the artistic entity of the novel contains the genre signs of “anti-travel”; 2) this genre component represents the actualization of the sentimentalist tradition in a parody aspect and in part - the transformation of Xavier de Maistre’s famous book “A Journey Around My Room”; 3) the commonality of the two works reveals itself at various levels: at the genre level, the central character and the plot and in the system of characters and in the figurative and symbolic system. The version of the title translation adopted by the researchers (“A Journey around My Room” as opposed to “A Journey through My Room”) does not enclose the character within the space of his home but brings him out into the limitless imagination. The most important of the results obtained is the following: the tradition of sentimental travel, with its reduction of the external space, minimization of movement and actualization of the inner world, with irony characteristic of the Sternian variety of sentimentalism, turns out to be kindred to Goncharov. The obtained results are important for understanding the genre specificity of the novel “Oblomov”, for recreating the historical and literary context, for determining the place of I.A. Goncharov’s work in the history and theory of the travel genre, and for preparing comments for the complete collection of works by I.A. Goncharov.

"Старина" в первой завершенной поэме Пушкина

Author(s): Galina Gumiennaja / Language(s): Russian Issue: III/1998

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

Author(s): Sergey A. 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”.