АНТИУТОПИЧЕСКИЙ ПАФОС И СПЕЦИФИКА ХРОНОТОПА В РАННЕЙ ПРОЗЕ В.О. ПЕЛЕВИНА

Author(s): Anastasia Leonidovna Bobyleva,Tatiana Gennadevna Prokhorova / Language(s): Russian Issue: 2/2014

The paper analyses the dystopian tendencies in Victor Pelevin’s prose of the 1990s. The features of the chronotope and the dialogic connections with classic dystopias are revealed. The analysis leads to the conclusion that the dystopian look at the future is replaced in Pelevin’s works by the post-utopian view on the present. At the same time, the nature of the chronotope is determined by the Buddhist conception of human life as a chain of sufferings and the idea of the circle of samsara. However, both post-utopian and Buddhist paradigms undergo travesty, which leads to the transformation of the chronotope and the conflict as well as to the reduction of the dystopian pathos. As a result, the genre of dystopia becomes an object of parody.

Истории за царе и философи, писатели и шпиони

Author(s): Angelina Vacheva / Language(s): Bulgarian Issue: 5/2018

Постсоветскость как травма? Проза Романа Сенчина

Author(s): Katarzyna Jastrzębska / Language(s): Russian Issue: 163/2018

According to the author’s estimation, the line of conduct, as well as, psychic and psychological conditions of the heroes of Roman Senchin’s prose are similar in a lot of ways to the clinical picture of the post-traumatic syndrome. This syndrome is caused by the social, economic and moral consequences of the demise of the USSR. As a definitive formula that allows determining the phenomena of the social and political life of modern Russia, which are described in the prose works of Senchin, we suggest using the term t r a u m a - s u b s t i t u t i o n. It exactly reflects the contentsof some line of conduct, views, judgments, and beliefs characteristic of a large part of Russian society. In essence, they are formed in response to the social, political and economic changes caused by the restructuring and in particular by the fact of the demise of the USSR. At the same time, collision with a real trauma, which is the unmasking of the catastrophic consequences of the totalitarian regime is stilla matter of the future.

Пушкин, Мицкевич : сравнительная типология лирических жанров

Author(s): Aleksiej Dmitrowskij / Language(s): Russian Issue: III/1998

Літературна спадщина Миколи Гоголя як джерело дослідження історії бюрократії

Author(s): Valentyna Vasylivna Bezdrabko / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to identify the general social characteristics of the capital bureaucracy of the Russian Empire in the first half of the nineteenth century on the example of Mykola Vasylovych Hohol «Petersburg Stories». The methodology consists of methods of scientific criticism, historical-chronological, historical-typological, structural-system methods for the study of belles-lettres as a historical source and the presentation of intrinsic results. The scientific novelty of the research is to update the works of M.V. Hohol as a fact of objective reality, a historical source in the study of the history of bureaucracy. Conclusions. Reform of the bureaucratic apparatus of the Russian empire of the first half of the nineteenth century determined: changes in the quantitative, qualitative composition of the bureaucracy; mental transformations; professionalization and features of activity; increase of educational qualification; reduction of the role of family ties, that is, patronage; development of the service hierarchy. The formation of class bureaucracy as a special stratum with a specific subculture illustrates the images of the Hohol titular counselor and collegiate assessor, depicted against the backdrop of general social history, the history of everyday life, the everyday life of the individual. Their official activity was conditioned by special qualification and rewarded with titles, pledges, and other honors. The multi-vector of the plot lines of «Petersburg Stories» enables a multidimensional perception of the image of the bureaucrat and the historically predetermined background of his existence.

Преполовљени – први роман Предрага Степановића (интертекстуална анализа)

Author(s): Rada B. Stanarević / Language(s): Serbian Issue: 20/2019

An intertextual analysis of Stepanović's novel reveals two things. First, a fruitful influence of Turgenev on the structure of fabula (reunion of friends at the same location) and on the typology of characters (Dragan – Lytvinov, Vojin – Rudin). Secondly, a highly unusual, impressive mixture of Turgenev and Goethe with reference to their respective works of the same title, Faust, providing the two aforementioned encounters of old friends with magic properties. This is achieved in such a manner that the two nocturnal, Mephistopheles-like meetings happen simultaneously, with Stepanović's characters enduring double destiny (Ana = Margareta and Vera Nikolayevna, Vojin = Mephistopheles and Rudin).With regard to its composition and subject matter, Stepanović's novel offers several interesting features. To start with, Mephistopheles' First/ Mother Night, unique and very successfully designed in artistic terms, takes place, intertwined with another night, within Chapters IV and VI, which justifies their central position as regards the novel's overall structure of fourteen chapters. In contrast with that, the protagonists' split lives of the present develop in the respective chapters of VIII, X, and XII. As for the subject matter – Ana and Dragan's unhappy love – it is comprised within the respective Chapters of V, VII, IX, and XI. As a result, events and relations between characters are not portrayed in a linear manner, but mutually intertwined. Yet, the frame, that is, the first and final chapters, which feature the partly ironically depicted character of Milorad Janković, makes sure that the desired unity of the plot, taking the novel in its entirety, is achieved, thus providing us with an open door to indulge in aesthetic delight.

Vivre ses langues

Author(s): Olena Berezovska Picciocchi / Language(s): English,French Issue: 1/2020

In this study, reflection on bilingualism and bilingual writers leads to the didactics of language learning.The question of the imaginations of languages is at the heart of this research, which first gives voice to literature and then to pedagogical experience in order to reach a general conclusion on the cohabitation between language sand peoples.

Образът на мъртвия Христос в романа „Идиот“ и религиозният светоглед на Фьодор Достоевски

Author(s): Igor Evlampiev,Inga Matveeva / Language(s): Bulgarian Issue: 3/2020

In the article, on the basis of the analysis of the pictorial image of the Dead Christ present in the novel “The Idiot”, it is concluded that the novel refers not only to the work by Hans Holbein “The Body of the Dead Christ in the Tomb”, but to the whole tradition of representation of Christ dead and alone, and in particular to Titian’s later work “Pietà”. Holbein’s painting probably caught Dostoevsky’a attention with the fact that it depicts a dead Christ, who still has signs of life. It is the “inconclusiveness” of Christ’s death that gives rise to doubts in his resurrection, because during that period Dostoevsky considered the resurrection of Christ not as a new existence in the form of an independent person, but as an entry into the “general Synthesis” and a merger with all the humanity and even with the entire universe. The analysis of the meaning of Titian’s canvas “Pietà” leads to the idea (probably shared by Dostoevsky) that our world was created by an evil God and is ruled by the forces of evil; this allows us to speak of an affinity of the points of view of the two artists-thinkers with Gnostic Christianity.

The Vow to Testify: On the Gulag and Intertextual Economy of Literature (Karlo Štajner, Varlam Shalamov, Danilo Kiš)

Author(s): Danijela Lugarić Vukas / Language(s): English Issue: 8/2019

Departing from the “aesthetics of unrepresentability” of testimonial literature and implied “belatedness and collapse of witnessing” (G. Agamben, Sh. Felman, D. Laub), the paper engages in the economic foundations of literature through analysis of symbolic meanings of economic metaphors in Štajner’s memoirs Seven Thousand Days in Siberia and Shalamov’s story Lend-Lease, and through illuminating different aspects of intertextual and intercultural exchange between Štajner’s memoirs and Kiš’s “pseudo-factual” fiction A Tomb for Boris Davidovich. What is testimony and can it be – considering the nature of the one who testifies and the language in which he testifies – “valid,” “valuable,” “useful,” to use the language of economy? Can we think about Kiš’s literary appropriation of Štajner’s memoirs as an outlet for reclaiming the voice not only of Štajner, but also of Kiš’s father, who perished in Auschwitz? What are the uses of economic hypothesis in literary studies?

"Женитьба" Н. В. Гоголя на болгарской сцене

Author(s): Tatiana Fed / Language(s): Russian Issue: 2/2020

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.

Stenography and Literature: What did Western European and Russian Writers Master the Art of Shorthand Writing For?

Author(s): Irina Svyatoslavovna Andrianova / Language(s): English Issue: 1/2019

What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously. This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright’s competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing. Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following 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. This art 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 his novels and the story A Gentle Creature, and led to changes in the writer’s private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author’s artistic talent came to the peak. The largest and most important part of his literary writings was created in that period. As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in shorthand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.

„Lenin wiecznie żywy”. Obraz wodza rewolucji we współcze-snej rosyjskiej i polskiej fantastyce

Author(s): Aleksandra Zywert / Language(s): Polish Issue: XXV/2020

The starting point of the paper is to assume that Lenin’s image functions as a pop culture icon. Consequently, the basic purpose of the present text is to try to answer the question about how to create and present the image of the head of the Bolshevik Revolu-tion, as well as about its function in Russian and Polish science-fiction works. The research material includes five fantastic stories: Andrei Lazarchuk, The Mummy, Andrei Stolarov, The Mummy, Andrzej Pilipiuk, Lenin, Lenin 2. Something survived, Cane Fields. Based on the analysis of the works, it can be inferred that Russian authors are definitely more (despite the presence of humorous accents) directed at reworking trauma and anticipating future events with an apocalyptic overtone. In the case of Andrzej Pilipiuk, this element is not there − Lenin’s image is exclusively satiric and grotesque, lacking the features of a realistically life-threatening monster. It seems that Russians are still living “in the shadow” of the Chief and trying to work through the trauma of communism. In the works of Andrzej Pilipiuk, Lenin’s painting (while maintaining all of his constitutive qualities) carries no real threat of returning to the dramatic past and successfully functions as a relic of the past and one of the icons of pop-communism.

Диалози за руската литература на XX век (III. Столица / Провинция)

Author(s): Galina Petkova / Language(s): Bulgarian Issue: 02/2020

Танец в художественной структуре пьес русских, белорусских и польских драматургов 1990-х – 2010-х годов

Author(s): Jelena Lepiszewa,Maciej Pieczyński / Language(s): Russian Issue: 20/2020

In this paper, dance is considered as an element of the artistic structure of dramatic works of Russian, Belarusian and Polish authors of the 1990s–2010s. It was revealed that this element represents the level of the chronotope: it becomes one of its expressive modes (creating an atmosphere due to emotional «charge»), manifests itself as a «non-everyday form of behavior» of a character (J. Faryno), as a «spatial motive» (O. Bagdasaryan) as a sense-forming centre of the artistic universe. A comparative analysis of the plays written by Russian, Belarusian and Polish playwrights of the indicated period showed that in Russian drama the transition occured from the dance – a «spatial motive» to the dance – a semantic center representing author’s model of the world and a Nietzschean man in the terms of a spontaneous, unstable world order. That was caused by the strengthening of the performative and receptive potential of modern drama. At the same time, in the Belarusian drama, due to more strong genetic ties with folklore, the dance for a long time has been manifesting itself as a game form of non-everyday behavior, however, since the mid-1990s it is often introduced as a «spatial motive» representing the extremely deformed consciousness of characters. If it comes to Polish drama, despite the actualization of the dance in the significant for its development works, in the latest plays it rarely functions as a semantic center, because of political and social themes predomination. The authors of this paper made an attempt to clarify the reasons for differents of the dance in the Russian, Belarusian, Polish drama of the 1990s–2010s, based on sociocultural factors, as well as on the logic of the development of the literary proces.

Don Kazakları'nın Osmanlı Topraklarına Göçü ve İgnat Nekrasov'un Vasiyeti

Author(s): Yusuf İslam Yılmaz / Language(s): Turkish Issue: 1/2021

This article studies the Cossacks, a group of people that emerged in the northern steppes of the Black Sea during the fifteenth century. It mainly focuses on the community's political and social effects on the powerful states of the geography, namely Tsarist Russia, Poland, the Crimean Khanate and the Ottoman Empire. After examining the etymology of Cossack and Hetman in the introductory part, it analyzes Don Cossacks’ relations with the Ottomans and the Russian state. Don Cossacks migrated from Russia, where they had a dispute under the leadership of their Hetman Ignat Nekrasov, to the Ottoman lands. Nekrasov's will strictly asked Don Cossacks to protect their identity and beliefs after his death during the period. In this manner, they lived in Anatolia for more than two hundred and fifty years and preserved their language and culture. In the 1960s, they migrated to the USA and Russia due to some customary reasons related to marriage and population decrease. By scrutinizing Don Cossacks' changing contexts, this study aims to draw a framework for the life of the community through the lens of Ottoman documents and Turkish and Russian sources.

Obrazová příloha I

Author(s): No name Anonymous / Language(s): Slovak,Czech Issue: 52/2020

Tożsamość Todda. Mózg między filozoficzną neurosferą a literacką (meta)fikcją

Author(s): Ewa Nowak / Language(s): Polish Issue: 34/2018

The paper explores hybrid identities of main characters in chosen contemporary authors as Kafka, Dürrenmatt, Bulgakov, Dukaj, and in particular Brown. They all contribute to the posthumanist literary genre and to better comprehension of condition posthumana as a leading utopia in the age of advanced technologies. The author argues for affinities between the human and the non-human brain, far beyond the anthropocentrism and anthropodenialism controversy.

INQUSITOR GENERALIS: ИЗМЕЂУ ВОЉЕ ЗА МОЋ И СЛОБОДЕ ОД МОЋИ

Author(s): Jana М. Aleksić,Sergej Beuk / Language(s): Serbian Issue: 72/2020

In this paper, we observe the chapter “The Great Inquisitor” in the novel The Brothers Karamazov as a literary field in which the dominant discourse of Power, the Church elite, represented by the Grand Inquisitor, is confronted by the subversive aspirations of marginalized social groups, embodied in the figure of Christ. Initially considering that the “poem” is an eminent text of culture, in which a vast number of textual clues have been absorbed, primarily the Holy Bible, we discover how the character of the Grand Inquisitor was constructed from the generic-hermeneutic angle. This implies a contextual theological, (inter)textual and semantic framework. In the central part of the paper, the focus of our analysis is the mechanisms by which institutions of power control subversive elements and aspects of their rebellion from the perspective of New Historicism. At the end of the paper, we point to the histori-cal and civilizational implications of an antagonistically conceived narrative on the problems of human freedom, action, and the implementation of power in history and, consequently, the organization of the (contemporary) world.

Достоевский и античность: классическое образование в пансионе Л. И. Чермака

Author(s): Ekaterina Leonidovna Smirnova / Language(s): Russian Issue: 2/2021

The article attempts to identify the classical linguistic and cultural context of F. M. Dostoevsky’s education at the L. I. Chermak boarding school. It lists the programs and textbooks that Dostoevsky studied in 1834‒1837 to learn about the intricacies of classical languages and ancient history, and the teachers who may have influenced his perception of ancient history and culture. Using the issues of the “Biblioteka dlya chteniya” (Library for Reading) journal, the authors investigate which texts related to classical antiquity were available to Dostoevsky outside of the curriculum. The period of Dostoevsky’s studies at the Chermak boarding school can be characterized as extremely favorable for the assimilation and comprehension of ancient heritage. The reason for this is the emphasis on classical languages in education set by government decisions, successfully augmented by the brilliant teaching staff at the boarding school, i. e., K. M. Romanovsky, N. I. Bilevich and A. M. Kubarev, Dostoevsky saw Greco-Roman antiquity not as a boring and tiresome collection of dead forms, but as a source of fantasies, reflections, comparisons, and sublime ideas. The publications in Library for Reading on history and archeology, literature and art of Ancient Greece and Rome revealed antiquity in a multi-faceted manner, taking the teenager inclined to serious reading far beyond the school curriculum into the world of stunning discoveries, sharp scientific controversy, bold comparisons with modern times and vivid artistic images.

Фатима Риза-Заде (Сайях), исследовательница Достоевского

Author(s): Zeinab Sadeghi Sahlabad,Oksana A. Kravchenko,Alina A. Shuldishova / Language(s): Russian Issue: 4/2021

The article is devoted to the biography of the Soviet-Iranian researcher F. Riza-Zade, also known as F. Sayyah, and her studies of Dostoevsky’s literary heritage. A number of archival materials that reflect the professional and friendly relations of F. Riza-Zade in 1929–1930s have been introduced into scientific circulation. A review of the articles “Dostoevsky and Modern French Literature (On the Influence of Dostoevsky)” and “Dostoevsky in Western Criticism,” as well as the preface to the Persian translation of Dostoevsky’s novel White Nights, published in Tehran, has been carried out. It is noted that the researcher’s works have laid the foundations of Soviet and Iranian comparative studies: Dostoevsky’s work was interpreted in the broad context of French literature, German philosophical and aesthetic tradition and Iranian cultural symbols of good and evil. The key methodological principles of F. Riza-Zade are analyzed: the focus on sociological criticism of the Pereverzev school, a cultural and aesthetic approach to the analysis of genre problems, tendency towards self-sufficiency in literary research and rejection of philosophical speculation. The conclusion is made about the importance of the works of F. Riza-Zade in the study and popularization of Dostoevsky’s work and in the fostering of Russian-Iranian cultural ties.