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War has left its mark on Colonel B, one of the characters of the short story „After the Ball” written by Leo Tolstoy. But it has changed the life of the protagonist, Ivan Vasilievich, as well.
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The combination of dream and mystery in Turgenev's works appears to reveal accurately and genuinely the psychological nature of the character. This report analyzes the sleep in four mysterious stories of the Russian author. The realization of the inner world of the character becomes a source of mysterious elements and images.
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The interrelation between space and text in this semantic research is represented in the way how the real architectural space has been transformed in literature to form a specific mythopoetic chronotop. The outlined conceptual elements are juxtaposed to Joseph Brodsky's prose, where the specific features of the city as chronotop have been reviewed focusing on the metaphysical images of Leningrad/Petersburg, Venice and New York.
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The sail has an important place in Russian literature from the XIX and XX centuries, being a literary image, a symbol, a bearer of the author’s message. In the article I have written is being analyzed its history – from its first arrival (1828) in Bestuzhev (Marlinsky)’s poem “Andrey, Knyaz of Pereyaslvl”, followed by Lermontov’s “The Sail”, Bunin’s “Song” (“Pesnya”), Grin’s “Scarlet Sails”, V. Kataev’s “A White Sail Gleams” to the famous “Brigantine”, written by Pavel Kogan. Connected to the water and the air, the sail absorbs the essence of the elements. In this way, it becomes a verbal center for the fictional world of freedom, an illustration of the dream, an expression of yearning for the unfulfillable.
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Anna N. Wilk’s chapter delivers an analysis of novels by Alexei Sholokhov (Tyelo and Podval ) as an example of an updated vision of the dark side of femininity. Over the centuries, women have been accused of having magical abilities. Consequently, their physicality have been viewed as arousing both desire and fear of death, or loss of control over one’s life. Different varieties of female monsters survived in cultures aroundthe world as the antithesis of the usual “human” women, such as, for example, demonic lovers or vindictive, malicious ghosts. Despite the development of civilization and social changes leading to the empowerment of women in family, social, and professional life, the aforementioned concerns are still haunting the collective imagination. In Sholokhov’s novels, “women-monsters” focus their attacks on men, exhibiting outrageous brutality and sadism. Wilk’s analysis allows to demonstrate that the fear of the negative femininity is still an actual, timeless trope in popular culture.
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This book represents a study of the textology, typology, sources and literary peculiarities of the so-called ’miscellanies of mixed content' in the South Slavonic tradition (from the end of 13th – the beginning of 18th c.) – less known or unknown in the Humanities. The problem is closely related to the apocryphal collections in the Balkan Cyrillic manuscripts, as the Apocrypha are a significant part of this type of manuscripts. The scope of the study is to popularize the series and texts that fill the gap in the translation and perception of the Slavonic Apocrypha. New information is presented over the sources of translations, as well as the compilation approach of Slavonic writers, which reproduces a new version of the texts. The copies of the Slavonic texts are published in the supplement. The typology of manuscripts is supported by plectograms produced in the Repertory of Old Bulgarian Literature and Letters (http://repertorium.obdurodon.org/).
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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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Sergey Donatovich Dovlatov creates his own unique genre in which the autobiographical and artistic fiction intertwines. The author uses his own destiny as a literary material. His works are defined by the mass reader as "funny", but in depth they draw a dramatic picture of the everyday absurdities that the intellectual in Soviet Russia faces. The main pathos in them is the self-irony, which helps the lyrical hero not to fall into the ideological traps, to preserve his human dignity and not to relinquish his principles. All but invisible in his home country, Sergey Dovlatov became something of a mythical figure among the Russian diaspora of New York. Those who knew him personally realized they didn’t know him very well. The facts of his biography are all blurred, ambiguous, vague. This should be kept in mind when reading his books. Almost confessionary in form, their content is largely invented. As a great mystifier, he was able to unsettle his surroundings. In the field of gravitation surrounding Dovlatov, reality is distorted and loses its plausibility. The pathos typical of world literature can be seen as a defence of the human being. Every one of us has a scale according to which we weigh the social significance of a person. This scale runs between two generalizing definitions, namely “the great man” and “the small man”. The great small man is an oxymoron, a contradiction in terms, and indeed Dovlatov was something of an oxymoron himself, a huge walking contradiction
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The “The Carriage” was written in 1935. “The Carriage” internal structure is divided into two parts. The first of these two parts describes the town of B where things are terribly boring and there is not a single person on the street.The second part tells a story about the landowner Chertokutsky and the "experience" that happened to him. The plot depicts a small country town recreating the atmosphere and the way of life of the characters in the story. The town is reviving and changes its appearance. This anecdote, as well as other published comic short stories of the writer, reflect the unique humorous culture and image of absurd reality.
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In this discourse we are going to trace back some of the misterious and suspicious death of some of the russian poets lived and composing in the 19th and 20th centuries. The purpose of this study is to show under what circumstances did the authors died, and how they died. Is someone else involved in their death. To what extent or if they predicted their own death with some part of their poetry.
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The author of the article analyzes the images of nature in the poetic works of Vladimir Soloviev, depicting the internal state of the poet, his feelings and emotions. Language means with the semantics of natural phenomena allow readers to imagine the poet´s ideas, his philosophy and mystical conception of the world. Displaying the colour scale, light and dark tones, sounds, and emotions is a typical feature of the poems where the poetic images and symbols concretize idiostyle of the writer.
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19. yüzyılın sonu 20. yüzyılın başlarında Rus edebiyatının en çok okunan ve eleştirilen yazarlarının başında gelen aykırı yazar Leonid Nikolayeviç Andreyev (1871-1919) 1917 Şubat Devrimi’ni büyük bir coşkuyla karşılar. Ancak Bolşevik iktidarı onu büyük bir hayal kırıklığına uğratır. Çarlık rejiminde sıkça şahit olduğu insanların ölümü, daha trajik bir hal alarak Bolşevik yönetiminde şiddetli bir biçimde artar. Peterburg’daki evinin karşısında gördüğü darağaçlarında asılan ve kurşuna dizilen insanlar, onun devrim sevincini hemen söndürür. Oldukça hümanist ve duyarlı bir insan olan ve yaşananlara sessiz kalamayan Leonid Andreyev, Ekim Devrimi’nin hemen ardından yazdığı siyasi içerikli makaleler nedeniyle Finlandiya’ya göç etmek zorunda kalır.
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Descriptions of the process of artistic creation take an outstanding place in V. Nabokov’s works and abound both in conventional and creative metaphors. In this article we analyze metaphoric representation of the concept “creative process” in V. Nabokov’s novel “The Gift”. The theoretical basis of research is the descriptor theory of metaphor by A.N. Baranov. The article reveals the most frequent metaphorical models of creative process in the novel and the areas of its metaphoric conceptualization.
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The aim of the article is a linguistic analysis of sound images in the context of original and translated poems by Boris Pasternak. The authors focus on the author’s individual features of perceptual imagery representation. This imagery is the basis for poetry transformations found in Pasternak’s Russian translations of poems by John Keats. Sound images in the translated poems have the same semantic and ‘poetic’ characteristics as in the original works by Pasternak.
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The military actions of the 20th century (Revolutions, the First and Second World Wars, the Cold War, the war in Kosovo, Chechnya, Iraq) left a terrifying mark on the history. The article discusses traditional and innovative forms of recreating the military context in the Russian and Russophone Belarusian military prose on the example of V. Astafiev and S. Alexievich’s works.
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Based on key aspects of the analysis and interpretation of the poem Rural Cemetery (Сельское кладбище) by one of the main representatives of metarealism Alexei Parshchikov, the concept of Literary-interpretive seminar for university students of Russian as a foreign language will be outlined. Decoding of individual metaphors and metabols can lead to increased interest of students in historical, social, cultural and technical topics as well as the expansion of knowledge in various areas of life.
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Terrorism, the creation of which is associated with the second half of the 19th century, developed in the Russian empire territory. Terrorism in the concept of revolutionists represented a phenomenon linked to the ancient concept of the sacrificial ritual and it was considered to be the only way out of the ever-deepening social crisis. In response to the unprecedented assassinations, the victims of which were representatives of the government’s mechanism, a literary myth appeared about a terrorist-revolutionist who was supposed to explain and justify the violent acts in terms of their contribution to the future revolution. The myth, which was born and developed in artistic literature, is a collection of independent literary works in which a terrorist is the main protagonist. The article examines the connection of principles of ancient sacrificial rituals with terrorist acts and the subsequent creation of a literary myth about a terrorist, whose protagonist went through a significant change from the second half of the 19th to the beginning of the 20th century.
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The subject of this research is the concept of man and society in the second half of the 19th century in the context of Russian and Bulgarian literature. The research was carried out using a historical novel by Bulat Okudzhava called “Poor Avrosimov” and a realistic novel by Ivan Vazov titled “Under the Yoke”. Both texts contain specific features caused by different environments and influences which significantly contributed to the nature of the chosen works. The basis of the research is the reflection of the society and its changes by the narrator’s view through literary-scientific and sociological methods as well as comparative analysis. Continuity of both the work and the author forms one of the central pillars in the work. Further, we came to the conclusion that the historiosophical element fulfils an essential function in the works; it is necessary to remember significant historical events and to observe the movement of society as well as influences that affect the life of man. This way, we confirmed that literature fulfils its educational function, which the author greatly contributes to himself.
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In the present work we will show how school theatre influenced dramatic works of Simeon Polotsky. Considering him as a founder of drama genre in Russian baroque literature, we will try to demonstrate the importance of school plays in that process (didactic role, elements of rhetoric, and declamation patterns). We will focus on his two dramas in order to examine this influence: Parable of the Prodigal Son, and On Nebuchadnezzar the King. Further, we will examine the importance of Polish and Ukrainian school theatre, National University of Kyiv-Mohyla Academy and Slavonic-Greek-Latin Academy. Moreover, we will focus on the influence of Catholic and Orthodox religions on Simeon Polotsky’s works through the school theatre.
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In V. Erofeev’s Moscow–Petushki, the main character is both a rebel and a slave who cannot find himself. Venichka does not understand the Soviet reality or its rules. Because of his bipolar disorder, he resists the broken system and submits to it at the same time. This paradoxical behaviour is seen as typical of people who grew up under the communist regime. Drinking is for him an attempt to escape the suffering brought by the Soviet system: Venichka js trying to save his soul and ideals. On one hand, he is too weak to fight the system in earnest, and, on the other hand, he cannot fully agree with it and become a devoted servant of the state. In the end, he is defeated and killed.
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