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Purpose of the article: the isolation and analysis of the image of Russian futurism at the beginning of the XX century in the work of the poet and publicist Korniy Chukovsky. Methodology. The methodology of the study is to apply comparative-historical, biographical and psychological methods. Of particular importance in the article was the biographical method, which allowed: to outline certain circles of communication of russian’s intelligentsia of the early XX century; to discover the close environment of Corniy Chukovsky and to trace the mood of individual representatives of literature, fine arts to relatively futurism and futurists. Scientific novelty. In the work, due to the thorough elaboration of journalistic articles, diary entries, and memoirs of Korniy Chukovsky, the image of Russian futurism of the early XX century, which emerged in the work of the writer, was distinguished. So far, this problem has not been singled out in thematic articles or monographs of domestic and foreign scholars. Conclusions. The objectivity of the presentation of the image of Russian futurism in the creative heritage of the poet and publicist Kornia Chukovsky is largely achieved through the contradiction between the essence of the creative views of the writer, the author of intelligence devoted to the innovative direction, and the writers who are dedicated to intelligence.
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The author of this article analyzes the play The Siege by Evgeny Grishkovets, a renowned contemporary Russian writer. She places it against a background of the rest of his works, exposing essential features that characterize his entire dramaturgy, such as the presence of metatheatrical devices, recognition of the importance of contact with the audience, and emphasis on stage performance. The analysis also draws attention to such elements of the play as non-homogeneous spatio-temoral framework, hybrid composition of characters, and parallel development of plot threads. Special attention is paid to the “imprisoning” of characters in discourses and the ambivalent nature of cultural symbols. As the author points out, the Siege stands out in the Grishkovets’s oeuvre, both by departing from the dominant monodrama form and by juxtaposing key themes recurring in his works: the human experience of war, the reflection on the nature of time, the collapse of language referential abilities, and the impossibility of authentic communication
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The purpose of the article. The arrogant problem language in the work of Ukrainian and Russian Futurist poets of the early twentieth century, through the lens of culture. The role of the arrogant language in the works of Mikhail Semenko, Geo Shkurupii and Nick Bazhana is determined. Methodology. Research methodology is to use psychological methods and comparative method of studying documentary sources. Of particular importance in the study gained biographical approach. In particular through curriculum vitae of each member futuristic literary groups, and performing analysis of their creative works, and has been studied subject. Scientific novelty article is to try to identify the characteristic features of the arrogant language, as some linguistic experiment in the history of Russian and Ukrainian literature as a cultural phenomenon. Conclusions. This article was determined that Russian "nonsense" was a theoretical foundation, while the Creator arrogant Ukrainian language on such issues is not working. The mentioned issue led to a brief and unsuccessful experiment in Ukrainian futuristic poetry, but at the same time – to preserve national linguistic traditions.
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Elena Andreevna Stackenschneider (1836–1897), memoirist and hostess of the literary and art salon in St. Petersburg in the 1870s — early 1880s, was keeping records on F. M. Dostoevsky and his creative work for 25 years (1860–1885). She used to remark his public speeches, describe his appearance and habits, give a critical assessment of his writings, and tried to identify the features of his artistic world, never doubting the magnitude of his talent. The unpublished correspondence of Yakov Polonsky with Elena Stakenschneider, as well as previously unpublished fragments of the diaries of the latter, made it possible to clarify the facts of the biography of Fyodor Dostoevsky and to enrich the collection of vital criticisms and evidence of his activities and creative work. Thanks to her meticulous and longstanding work in accumulating materials and keeping memoirs, her deep analysis of Dostoevsky’s genius whose underlying message consists in Christian axiology, it is possible to consider this woman one of the first female researchers of the writer’s creation. The example of E. A. Stackenschneider evidentiates how despite the negative criticism grew up the number of sympathizers of her ideas who aspired to keep the image and heritage of their great compatriot for the descendants.
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The topic of financial relations of F. M. Dostoevsky with his numerous creditors has not been yet exposed to a comprehensive study. Neither the exact total amount of the writer’s debt, nor the amount of his debts to particular individuals or to what extent those were repaid by him, are known for certain. A detailed study of Dostoevsky’s heavy debt obligations in the mid-1860s as well as their weigh on the writer for almost all his life, may become promising for future researchers. This article presents the analysis of the letters of one of the writer’s creditors, a publisher and public figure L. F. Panteleev, as well as of his father-in-law V. N. Latkin, industrialist and researcher of the Russian North. These documents, dating back to the mid-1860s, make it possible to clarify some data on the numerous debt obligations of Dostoevsky at that time, to consider the relationship (both personal and financial) between two contemporaries — L. F. Panteleev and F. M. Dostoevsky, and also to make more clear the involvement of Latkin. Despite the fact that the communication between the publisher and the writer in the mid-1860s was not durable, the relationship between them can be described as completely trusting and friendly. The facts obtained from their letters to the writer, correlated with information from Dostoevsky’s extant account books and notebooks of that time as well as Panteleev’s memoirs, supplement the general picture of the financial situation of the writer in the mid-1860s.
More...Рецензия на книгу Travels from Dostoevsky’s Siberia. Encounters with Polish Literary Exiles / by Elizabeth A. Blake (Boston 2019)
The review of the Travels from Dostoevsky’s Siberia. Encounters with Polish Literary Exiles by Elizabeth A. Blake (Boston 2019) is devoted to the description and analysis of the modern study of the destinies of the members of the Petrashevsky circle and the Polish exiles in Siberia. It is shown that extensive factual material has been introduced into scientific circulation and that Siberian life of F. M. Dostoevsky and the members of the Petrashevsky circle performs the function of historical and cultural background, on which the history of the Poles’ stay in Siberia is drawn.
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There still remain some “obscure passages” in the “Tale of Igor’s Campaign” that have no convincing interpretation. However, even those interpretations that seemed quite clear, sometimes need a revision. The article aims at specifying the meaning of the phrase “biebryan sleeve”, present in Yaroslavna’s Lament. Upon completion of the research work by N. A. Meshchersky, it was commonly accepted that “biebryan” means here ‘made of byssus, silk’. Recently, however, this idea as well as the very presence of the word “biebryan” in the original text of the Tale was called into question. It is necessary to find out whether this doubt is well-grounded. The meaning of the word “rukav” (sleeve) did not raise doubts among researchers. It was accepted that it means a sleeve of a female dress. To correlate this meaning with the context the word is used in, researchers had to presume that Yaroslavna wiped clean Igor’s bleeding wounds with a sleeve of a long sleeve shirt. It is arguable, however, that this is exactly a sleeve and not any other part of a female dress. To understand the meaning of the phrase one needs to take into account research works on the history of the Byzantine and Old Russian dress, the phrase berchat sleeve found in bylinas, and Serbian songs about warriors (“yunatski”) where female characters “wipe clean” and bandage wounds of heroes.
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The article is aimed at finding the meeting points between the world view of F. M. Dostoevsky and the philosophico-historical heritage of A. S. Khomyakov. Dostoevsky’s texts contain a lot of direct and indirect references at the works of the mastermind of Slavophilism; the writer was acquainted with his philosophico-historical and theological writings as well as the poems. For instance, the article makes an analysis and comparison of two closely related questions in social and political essays of Dostoevsky and Khomyakov: the focus on Russian culture compared with the European one and contrasting Orthodoxy with Catholicism. Proceeding from two core themes of Dostoevsky essays, namely, the identification of Russian civilization against the European one and the criticism of Catholicism, the given research taking into consideration existing significant similarities with Khomyakov’s works seeks to specify some terms and stylistic techniques through the use of which these ideas become more accurate in Dostoevsky’s essays, particularly in “A Writer’s Diary”.
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This article deals with the study of the author’s changes of semantics and functions of achromatic colors in Tolstoy’s late artistic prose. The study tested that in Tolstoy’s national stories coloratives with the root “black” are asymbolic and mainly perform the descriptive function. In Tolstoy’s stories of the 1880s these coloratives acquire symbolic meaning and foreshadow the atrocity of the character. In the finale of “Resurrection,” the disturbing semantics of black color gives way to the life-affirming semantics. In “Hadji Murd” when depicting the appearance of characters, black color performs the characterizing function. In Tolstoy’s national stories dark color has the descriptive function, but in “Where Love is, There God is Also” it fulfills the prospective one. In Tolstoy’s stories of the 1880s coloratives with the root “dark” “predict” the sad fate of people who ignored the commandments of God. At the beginning of “Resurrection”, darkness is a metaphor of immoral life, at the end of the novel the colorative with the root “dark” inspires hope for the renewal of life. In “Hadji Murd” coloratives with the root “dark” have the descriptive function. In “What Men Live by” white color recreates the divine nature of the Angel. In Tolstoy’s stories of the 1880s the white color has negative semantics and the characterizing function. In “Resurrection” when recreating images of nature, white color has positive semantics and the prospective function. In portrait painting in “Hadji Murd” white color has negative semantics and the characterizing function. In “What Men Live by” the light is symbolic and is associated with the realization of God’s commandments. In “The Death of Ivan Ilyich” the light gives the character the joy of merging with the world. In “Resurrection” the light acquires a symbolic meaning, “leading” Nekhlyudov to reading the Gospel. In “Hadji Murd” light “reveals” the unreadiness of people to the enlightenment. In “Resurrection”, unlike other Tolstoy’s works, the colorative code is presented with its characterizing and prospective coloratives’ functions. The evolution of the coloratives’ using demonstrates Tolstoy’s intense search for a new artistic system that adequately reflects his attitude to the world.
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This paper presents the last few days in the life of Marina Tsvetaeva spent in Yelabuga, which eventually led the writer to commit suicide. The notes included in the diary of her son, Georgy Efron, are an important and original source of knowledge on Tsvetaeva’s mental and physical state. The 16-year-old boy’s reaction to the death of his mother may come as a surprise if a broader social and biographical context (a migrant and remigrant biography of the poetess and her teenage son as well as the reality of the Stalinist country, where – contrary to the assurances made by the propaganda – there was no safe haven for people returning from post-Revolution exile) is not taken into consideration.
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This paper presents the communication analysis of the Russian Zaum poetic experiment vision. Russian Zaum poets experiment with utilitarian language, as well as scientific and theoretical discourse. They construct new meanings, rules and writing, producing hybrid cubo futurism, and archetypal and mythic language. This paper analyses the collapse and deconstruction of grammar, poetics and ways of writing utilitarian speech, as well as openness verse, interweaving narrative and non-narrative poetic structure. The Zaum poetic experiment shows intermedia complexity (opera “Victory over the Sun”), ambiguity (Hlebnikov) and fluidity whilst dealing with the utopian visions of a new world.
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Although in the reader of Nabokov’s novel Pale Fire, a search for any logos would turn into a Sisyphean task, although the reading of this novel is not a contact with one meeting, but rather a network of meanings, there is an obvious relationship with the real world in the form of a parody or reassesment. That is why some of the themes that this paper addresses are: the relationship between fiction and reality implied by the author’s narrative method; sexual discourse, as well as a parody of the world of intellectuals (professors, critics, writers), by which Nabokov deconstructs the world to which he himself belongs. Th e influence of the realistic one is obvious, not only with the presence of the elements relevant to the world, but also in the absence that results from it: the poet’s daughter, whose death starts the writing of the poem and a while chain of eventns is a little present - she is plump, not very pretty and too sensitive, completely below the basic requirements of the time of narration that she belongs.
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