Проза Александра Яшина и проблема «вологодского текста»
The report focuses on the issue of "regional text" as one of the urgent problems of modern humanities. Alexander Yashin’s prose is given as an example of "Vologda text" in the report.
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The report focuses on the issue of "regional text" as one of the urgent problems of modern humanities. Alexander Yashin’s prose is given as an example of "Vologda text" in the report.
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The article describes the key features of the individual style of A. A. Akhmatova, in particular, considers the originality of the portrait details in lyric poetry. Portrait detail is used primarily as a means of creating an image and at the same time as the mode of transmission of the conflict, it "replaces" the plot, the author compensates for a given ambiguity. Autobiographical, confessional style of Anna Akhmatova the dominating characteristic of a selfportrait in her poetry. Using portrait detail, clothing detail that accompanies the heroine, the poet shows not only the feeling in the climax, but also how the feeling in turn is reflected in the lyrical portrait of the heroine.
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The article deals with a key structural component of autobiography based fiction. Images and impressions of childhood are considered both as the initial point of artists' (writers') creativity and their individual creative styles. A special category is needed to describe this phenomenon: the initial event ('pervichnoe sobytie' - Rus.). The category was offered by Dr. Irina Mineralova in early 2010s to state the initial episode in the plot of Russian autobiography based fiction dedicated to childhood. In our paper, we have broadened the mentioned category by understanding the initial event as initial impression which determines the interrelation of artists and the world they are living in and interpreting in their creative writing. Thus, the initial event ('pervichnoe sobytie') is referred to as a corner stone of an artist co-existence (so-bytie - Rus.) with other elements of their environment and even the Universe. The beginning of individual life corresponds to the Genesis through the unique artist's viewpoint. As the genre presupposes, autobiographical novels combine the documentary and fictional, facts of history and real lives with images of creative work. An author is taken as a creative phenomenon whose personality is reflected in the style and manner of their writing. The study is based on a wide range of pieces of classical Russian literature (XIX-XX centuries), from Alexander Herzen and Leo Tolstoy to Ivan Bunin and Ivan Shmelvyov.
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The terms “the world of a piece of fiction”, “literary world”, “world view” in literary criticism and criticism are often used interchangeably, which characterizes the entire set of elements that make up a work of literature. The study of the world of works of literature has its roots in D. S. Likhachev’s works who first spoke of “the inner world of a work of fiction”. To date, in literary criticism there is no definite list of those “elements” that make up the literary view of the world. Thus, according to V. A. Halizev, the world of a piece of fiction includes the psyche of human beings, their consciousness, and makes up both reality “thingish” and “personal” reality. M. L. Gasparov proposed including in the concept “Literary world” a list of events that are reflected in the work of literature, the socalled “catalog of images”. At the same time the term “literary view of the world is relatively new, having come in the literature of linguistics. Thus, the artistic picture of the world” of the writer seems to be a phenomenon that is “narrower” than the literary world. The view of the world of the writer is a set of specific identifiable components that make up the basis of the visual world, while the literary world represents a collection of all the elements that make up a work of literature.
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In the monography “After the end of classics” Rakyovsky argues that Dostoevsky’s Double (“Dvoynik”) and Mandelstam’s Egyptian stamp (“Egipetskaya marka”) discard traditional narrative and put forward the paradigms of splintering, madness, terror. The article highlights the new anthropology in Dostoevsky’s works by the figures of machines, poets and insects (vermin, bug). As an alternative of the poet, Dostoevsky’s plots put in play the figures of (male) novel writing and (female) book editing and managing. All together with the tragic, the author elaborates the category of comic absurd in the margins of folly, nonsense and object.
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The article presents the conception of the Materials to the history of the Russian women writers by Mikhail Makarov (published in the periodical “Damskij zhurnal” 1830, 1833), including the structure (main part and annex), contents of the entries (time frames, sources of the information, mistakes etc.) and the reception in the 19th century (criticism for the mistakes). The interpretive context are the Bibliographical catalogue of the Russian women writers (1826) by Stepan Russov, Biographical dictionary of the Russian women writers (1889) by Nikolai Golitsyn and other texts on the women writers (among others Catherine II) published in the periodical “Damskij zhurnal”.
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The author aims to present the work of Evdokia Nagrodska, a Russian author now fallen into oblivion. To do this, he briefly discusses the literary context of the time and her biography, before analyzing in greater depth her book The Wrath of Dionysus, which was a bestseller in Russia in the early 20th century. He tries, through the analysis of this novel, to rediscover a novelist both despised by the Russian intelligentsia for writing popular literature, and strongly criticized by the former censors for treating themes related to female adultery, homosexuality and lesbianism. By that he is trying to show that Nagrodska is primarily an avant-garde novelist who deals with libertinism far more than pornography and that her freethinking is both sexual and political.
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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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În articol se examinează trăsăturile artistice ale imaginii furtunii din romanul lui Dostoievski «Идиот». Ca bază metodologică au fost folosite teoria simbolului, elaborată de A. Losev și S. Averintsev, ideea paralelismului psihologic în textul literar, investigată de A. Veselovsky și teoria romanului polifonic de M. Bakhtin. Partea practică a articolului este dedicată poeticii și simbolismului peisajului dinaintea furtunii din Sankt Petersburg și particula-rităților descrierii stării interne a prințului Mâșkin.
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The aim of this research is to expose Wiktor Voroshilsky’s translation strategy, especially the translation methods and techniques he uses as the author of the Polish versions of Russian poems. Theorists of translation quite often pay attention to the problem of translation of proper names, exploring different contexts related to this issue. Bazyli Tichoniuk wrote about the translation of names within Polish and Russian at the time, while for other languages we can mention works by Ewa Teodorowicz-Hellman, Anna Szcześniak, Elżbieta Skibińska, Anna Majkiewicz, and Krzysztof Hejwowski. This article attempts to indicate a specific translator’s approach to translating proper names. The material under study consists of 25 poems selected from 211 works translated by Voroshilsky. The main selection criterion was the saturation of the poem with elements of interest to the authors, as well as their diversity. This determined the research method, which focused on analysing the repeatability and variety of translation techniques. Finally, we concluded that Voroshilsky employed different methods of translation, often guided by the function performed by the proper names in the text. We also paid attention to his objective to bring the text closer to the target audience and on the creativity of the translator.
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The two selected sources (Siberian and north Russian wedding ceremonies) give semantic projections of “the white swan/pen” towards a fiancée. They are described as “a personal female, maternal, nursing and ancestral” element and a personification of girl’s mommy, dear sister(s), female friends, female relatives and of course the girl’s beauty which she must leave. The bride-to-be / fiancée is called a “cygnet” or a “white swan” in the songs performed by her female friends as well as by the family of her future husband. Her own ancestral element from her point of view is regarded as “swans,” “flock of swans.” On the other hand, from the point of view of the bridegroom, this is called “geese,” “flock of geese,” “goose’s.” Finally, the fiancée must leave her flock of swans to join her husband’s flock of geese. The above observations and their results are related to the folk traditions – in fairy tales, proverbs, catchphrases, and riddles.
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The article presents an analysis of the concept of “Russia” in Nikolai Gogol’s poem “Dead Souls”. The subject of linguistic analysis was 118 text fragments (simple and complex sentences), including the nouns “Russia” and “Rus” and the adjective “Russian”, which were examined from the point of view of the information about Russia contained in them. To analyse the language material, a facet technique was used, which made it possible to present the content of the concept of Russia at several levels: 1) categories of characteristics (facets); 2) characteristics of two types: organic (intrinsic) and axiological, while the article describes in detail the most frequent categories and characteristics. The study was carried out within the framework of linguistic culturalism and is based on the theory of functional semantics, in particular, on such areas as conceptology and imagology.1
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The article is an attempt to analyse the category of freedom in the Russian religious and philosophical thought as well as interpreting this category in Lyudmila Ulitskaya’s selected works. The article offers some reflections on freedom in the view of Aleksey Khomyakov, Ivan Ilyin, Nikolai Berdyaev, Fyodor Dostoevsky, and other Russian intellectuals who considered is a substitutional element of human life and human functioning. The category of freedom presented in Lyudnila Ulitskaya’s works, “Daniel Stein”, “Interpreter”, and “The Kukotsky Enigma”, “About Body and Soul”, uncovers different facets of this phenomenon. The Russian writer approaches the multiplicity of interpretations of freedom through extraordinary figures, on the one hand, and through difficult subjects, on the other: human relations with God, survival of WW2, methods employed by the Soviet regime in their struggle with the Jews, the Holocaust. These are age-old themes in which the limits of freedom of an individual and the responsibility for the fate of others come to the fore.1
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The article discusses how nonverbal communication in Dostoyevsky’s “The Double” is presented. It is a story about an official who fell into madness as a result of dehumanized interpersonal relations. Both, controlled and uncontrolled behaviours, are manifested by the body language. These reactions alternate, and they are a consequence of the protagonist’s emotional state made up of: his physical appearance, face expressions, visual imaging and vocal reactions, gestures, and forms of communicating with the outside world, paralleled or unparalleled by dialogues or monologues. The analysis of selected fragments of the work, which covers, above all, the non-verbal messages sent by Goladkin, and how they correlate with what he actually says, shows that the writer succeeded in creating an astonishingly accurate, even clinical, description of schizophrenia.
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The subject of the article is a work of the famous poet of the turn of the 18th century, Gabriel Derzhavin. The work is dedicated to the favourite grandson of Catherine II, Alexander I. The poem is part of the so-called Felician cycle and is closely related to the moral and didactic fable, About “Tsarevich Khlor”, dedicated to Alexander I. Derzhavin’s poem does not only refer to the fairy-tale staffage but also shows a close relationship with the political and social reality of the time. The article also discusses the artistic value of this work, its content, and form.
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The city is one of the main topics of the modern reality, and literature is not an exception. While studying the city in literature, researchers pay their attention to anatomy, physiology and psychology of the city, as well as its chronotope etc. We tried to show some of these aspects basing on Republic of Shkid by G. Belykh and L. Panteleev. After some basic facts about the book and its authors there follows the description of Petrograd in the book. The dominant of the city space here is the school itself and surrounding streets. From the authors’ point of view there is some connection between the school, its pupils and the city so that they can influence each other. The city for them is predominantly the school, and the main city monuments are not so attractive for them. It is very important that even if the atmosphere of the epoch is so negative, the authors see the city in happy colours.
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Over the last two decades, students of the Russian language have tended to analyse and interpret the texts of literary works in an overly simplistic manner. Such analysis tends to refer only to the text itself, sometimes only to the plot. It was the recognition of this fact which provided us with the inspiration to prepare a new reading-book concerned with Russian literature, which motivates the students not only to read literary works, but also to gain knowledge on how to read, understand and interpret a literary work. Initial feedback concerning the use of the reading-book has shown the concept to be successful.
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The article discusses the processes of transformation of wishes in modern precedent texts and social networks. It also focuses on the messages from Russian Twitter (in which there occur substitutions, omissions, additions, contaminations, occasional coinages or the usage of expressions in their direct meaning). The research presents the results of the origin of expressions Pip to your tongue, No bottom no cover, etc. analysis and reveals their frequency in text corpora from chronological perspective. The origin of these phrases is well known and is recorded in dictionaries and in the usage, speech practice and dialect phraseology of the Russian language and traditional folklore.
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The city is an important aspect when studying any kind of art, including literature. The city is different in the literatures of different peoples and eras, it is constantly changing like any other living organism. The city in literature is most often represented in two ways: “physical” city (buildings, streets, cultural monuments, climate, transport, etc.) and “psychological” city (atmosphere, the influence of the city on heroes, the experience of heroes as a way of describing the city and etc.). This article examines the depiction of Novosibirsk in modern Russian literature from its “physical” and “psychological” points of view. For different writers, different aspects have the key significance when describing its urban scenery. Some of the description items are the same, but the authors see them in a different way. On the contrary, some of the details in the writers’ work coincide. Most often this applies to the “physical” city, for example, to the description of some streets, climate, and movement in the city.
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The author of the present study deals with the picture of family and family relationships which gained an important place especially in Russian literature of the 19th century. The study is focused on the interpretation of the motif of so-called accidental family in five works by Fyodor Mikhailovich Dostoyevsky (1821–1881). This motif connects four novels Netochka Nezvanova (1849), Humiliated and Insulted (1861), The Adolescent (1875) and The Brothers Karamazov (1880) with A Writer’s Diary which is a work moving on the borders between belles-lettres and documentary literature. According to Dostoyevsky’s views on family and family happiness, the author tries to interpret the motif in connection with developing of this motif in Dostoyevsky’s works and with the genre of a diary as well. Among the works by Dostoyevsky the author highlighted an important role of A Writer’s Diary because of the fact that especially this work serves as a key to the interpretation of the motif of an accidental family.
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