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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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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.
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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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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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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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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.
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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.
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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.
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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.
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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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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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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.
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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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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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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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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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