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The author presents the historical and biographical circumstances that led Osip Mandelsztam to write the poem with the incipit ***(Пусти меня, отдай меня, Воронеж…) Two translations were confronted with the Russian original, that of Stanisław Barańczak and Jarosław Marek Rymkiewicz. The main part of the essay offers a proposal of interpretation of this Mandelsztam’s lyric as well as detailed discussion and evaluation of the measures adopted by the translators to make this poem available to the Polish reader.
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The article offers a synthetic review of Hungarian theatrical realizations of Mayakovsky’s biography and works. The process of reception of Russian literature, including Mayakovsky, in Hungary was hindered by country’s strong cultural and language distinctness. For the first time Mayakovsky’s works reached Hungarian reader during politically strained times, namely the period of “white terror”. Despite the circumstances, the ground was fertile – part of the society, including writers positively received the Revolution of 1917, while Mayakovsky was seen as the voice of the revolutionary forms and after 1945 as a tribune of the people. This attitude towards Mayakovsky – seen as the main voice of the proletarian revolution and key author in the process of the formation of socialist poetics – is noticeable in the Hungarian theater until the 1970’s. Then, after a theatrical revolution, accent was placed on his innovative forms. Although there was no real diversity in the repertoire – Hungarian theater was dominated by The Bathhouse, with some exceptions for The Bedbug, or, just until recently, a variation of the works of Mayakovsky, which for the first time introduced fragments of Mystery-Bouffe onto the Hungarian stage.
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The aim of this article is to find a most probable answer to the following question: due to whose aid was Leo Tolstoy allowed to stay in St. Petersburg in November 1855, i. e. during the Crimean War? It refutes several hypotheses, including that of Tolstoy himself, who in his later years attributed this decision to Nicolas I, and proposes two likely candidates for the role of Tolstoi’s patrons: aides-de-champ Dmitri Gorchakov (1828—1907) and Arkadi Stolypin (1822—1899). The article also explores the subject of patronage in Tolstoi’s major writings, including "War and Peace".
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This article introduces to a wide scholarly audience a newly discovered manuscript of Alexander Voeikov’s (1779—1839) satirical poem "Dom sumasshedshikh". The author’s argument is that the discovery of this manuscript helps us to establish the exact date of the poem’s composition, 1814, and not 1817, as it was concidered previously. Reading the poem in context provides an additional proof to Aleksei Balakin’s hypothesis, as the text of the satire refers to the polemics of the day about how to render Greek hexameter in Russian verse.
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This is a prefaced publication of a previously unknown Nikolai Leskov’s review of “The Pilgrim’s Progress” by John Bunyan, which he read in the translation by Yulia Zasetskaia (1835—1882), a philanthropist and an ardent follower of Lord Radstock.
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This article is a prefaced and extensively contextualized publication of 27 letters from Mikhail Gershenzon (1869—1925) to an obscure Russian Symbolist poet Andrei Zvenigorodsky (1878—1961) written from June 25, 1904 to April 11, 1917. In the preface section of the article, special attention is paid to some circumstances related to their mutual research interest, the legacy of Petr Chaadaev (1894—1856).
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This article aims at summarizing the life story of a Russian theater director Sergei Radlov (1892—1958) with an emphasis on his friendship with Osip Mandel’shtam. It includes a whole series of previosly unpublished Radlov’s letters to various correspondents, assumes Radlov’s possible co-authorship of the collective play „Kofeinia razbitykh serdets“, and establishes a new fact of Mandel’shtam’s life: his poetry recital with Nikolai Gumilev at the Radlovs.
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This is an extensively annotated publication of a previously unpublished Vladimir Nabokov’s review “O poezii” (“On Poetry”) written in the end of 1924, and most probably rejected by a Berlin newspaper Rul’. The annotation section of article focuses on the following three obscure Russian poets reviewed by Nabokov: Il’ia Britan (1885—1941), Lev Gordon (1901—1973), and Dmitri Shakovskoi (later Ioann, Archbishop of San-Francisco and Western United States, 1902—1989).
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This article is the 33 installment in the series of annotations to Anna Akhmatova’s Notebooks. This particular installment concerns the following persons mentioned in Akhmatova’s notes: Vladimir Bonch-Bruevich (1873—1955), Ivan Bunin (1870—1953), Nadezhda Gedeonova (1898—1973), Anna Gorenko (i. e. the future Anna Akhmatova herself, 1889—1966), Aleksei Kruchenykh (1886—1968), Olga Kutasova (1929—2013), Viacheslav Losev (1890—1942), Vítězslav Nezval (1900—1958), Pavel Radimov (1887—1967), Elizaveta Tarakhovskaia (née Parnokh, 1895—1968), and Iakov Cherniak (1898—1955).
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This comprehensive bibliography lists 36 translations of Leo Tolstoi’s works into Polish, and over 150 publications on Tolstoi, which appeared in Poland from 1990 to 2008.
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Andrej Klimentow (Płatonow) urodził się w Woroneżu, niespełna 18 lat przed wybuchem rewolucji październikowej. To święte dla literatury rosyjskiej miasto wspina się od zachodu na Wyżynę Środkowoeuropejską. „W mieście tym – jak pisał z ironią Jurij Olesza – przebywali najlepsi, pogrążeni w niedoli rosyjscy pisarze, z wyjątkiem Michała Szołochowa”.
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The radical elimination of bourgeois children's literature in 1945, coupled with the need to start educating children in a new Communist spirit, created in Yugoslavia a huge gap that could not be filled with the works of local authors. These are the reasons for a strong reliance on the massive translation of Soviet children’s literature. Soviet children’s literature compensated for the lack of tradition in certain literary genres and provided to Croatian (at that time, Yugoslav) children’s literature narrative models. At the same time, it provided guidelines and correctives to social practices. While highly socially engaged works of children’s literature by local authors were published before World War II, following the war they were revised and adjusted to new circumstances. In a similar manner, the translations of Soviet authors published before World War II were retranslated and ideologically adapted. After World War II, the books by Soviet authors made up more than half of all published books. The Russian origin of a book confirmed its ideological correctness, so that even Russian manuals for growing fruits and vegetables, related to a different climate, were translated. However, after the 1948 the break-up of Yugoslavia with the Soviet Union, children’s literature was affected by a wave of revisionism. Although books were still translated from Russian (as Yugoslav production still did not reach the satisfying levels), only those that could fit in the new Yugoslav situation were selected for translation. The works translated earlier were thoroughly revised in order to be compatible with the new circumstances. Therefore, not only did the Communist ideology radically change the picture of children’s literature but also continually revised its own production in line with the changing circumstances. Under the Communist regime the task of adjusting timeless works of art to the special needs of a particular political moment was never completed, and thus these literary works could never acquire their final form.
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This article, based on the existing few studies, provides basic information on the translated eschatological work – “The Word (Sermon) of Palladium Mnich”, widely spread in Russia, especially among the Old Believer peasants. Such features as the time of creation, the alleged author, and the influence on subsequent eschatological works are discussed. The author analyzes the composition of “Sermon of Palladium Mnich”, characterizes the eschatological images in the “Word”, gives information about the Pechora lists of the “Sermon” and describes the features of their text.
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Zdrada – zarówno w życiu, jak i w literaturze – może być albo tragiczna, albo groteskowa. Ale czy to w jakikolwiek sposób zmienia dramat zdradzonego i zdradzającego? Przypadki Anny Kareniny i Emmy Bovary, kobiet, które za swoją zdradę płacą samobójstwem, pokazują, że jednak nie.
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Shchegolikhin, Russian writer of Kazakhstan, famous public and political figure artistically developed a variety of topics in his work: historical and revolutionary, the development of virgin lands in the Kazakh steppe, the topic of the intelligentsia and creativity. In the article, the writer's work is analyzed through the prism of confessional-autobiographical prose. In the center of the study is the analysis of I. Shegohikhin's novel «I Will not Look for Victories». The hallmark of this work is the analysis of the creative process of the writer. The author narrator explains the names of his works, tells the story of the creation. There are interesting parallels between the story of I. Shchegolikhin and the novel of the contemporary Russian writer Yu. Kozlov «The Well of the Prophets». Literary texts of Kazakh and Russian authors include philosophical revelations, reflections on contemporary reality, the impact of globalization on countries, culture and literature.
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The article explores the meanings of Chekhov’s “Boring Story” and advances a possible interpretation, based on Chekhov’s moral beliefs. More exactly, the analysis starts by considering the philosophical and ideological problem of the necessity (or non-necessity) for a system of principles to exist, so that it would govern and give meaning to human life. The parallel with Tolstoy’s religious ideology, as well as with a nihilist moral relativism, points to a distinctly Chekhovian ethical attitude which may be seen as a forerunner of existentialism.
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Russian children's literature is a promising didactic material in teaching Russian as a foreign language. The article describes the features of using such texts in Russian language and Russian textbooks for foreign students for junior and middle classes. The author determines which works are used as didactic texts, identifies and describes the most effective exercises for them, indicates the advantages and disadvantages of using both standard and secondary Original tasks. Further, the conclusion is made about the need, firstly, to actively use the texts of Russian children's literature in Russian as a foreign language at the initial stage of the study, and secondly, to create an expanded didactic catalog of assignments of various types to these works.
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Contemporary “war prose” contains works on both the Second World War and the subsequent conflicts in Afghanistan and Chechnya. The aim of the article is to analyse the changes of the war hero myth in autobiographical texts of the wars’ participants. Among the authors are Oleg Yerma- kov, Zachar Prilepin, Arkady Babchenko. As we find out, the contemporary “war narrative” is in- terwoven with the lack of ideology and patriotic pathos. A soldier fails to accept his war; moreover, he questions the authorities in their decision to break out the military conflict. In these conditions, it is difficult to make heroic acts and sacrifice for the good of the homeland.
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The paper presents a variety of synesthetic metaphors used by musical critics. The metaphors were retrieved from musical critical texts written in Russian, which described classical music events. The basis of division are human senses: hearing, touch, sight and taste. Metaphors are divided into two main groups: intermodal and singlemodal ones. The most representative type turned out to be synesthetic metaphors referring to the sense of touch.
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