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In this article, we will focus on the relation between art revolution and social revolution in Russia at the beginning of the XX century. The key issues in the article are the place and the role of avant-garde art in society and the social organisation of the upcoming totalitarian regime. Interpreting artistic strategies and methods of the Russian revolutionary practice, we hypothesise how an alliance of avant-garde artists and political revolutionaries has originated, how long it lasted and how it looked. Art and social utopias of the Russian avant-garde were different from the totalitarian Communist utopia. This paper emphasises what compromises were necessary for the survival of the alliance of avant-garde and totalitarian regimes.
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The paper presents, comments upon and analyses the anthology of literary criticism ,,1818 – 1918. On Turgenev” by the Russian journalist, critic, aesthete and philosopher P. P. Pertsov in the context of Turgenev’s jubilee in 1918. An emphasis is placed on Pertsov’s work as a creator of anthologies with systematic thinking and a sense of the historical development of literature, which in the late 19th c. popularized the philosophical-metaphysical approach to literature. In the anthology on Turgenev, he followed the same metacritical strategy in order to construct the renewed image of the classical writer as a mental interlocutor of Pertsov’s contemporary.
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The text considers the relationship between I. Turgenev and Y. Vrevskaya: the literariness of Vrevskaya (particular to the culture of 19th century Russian nobility (dvoryanstvo); the impact of Turgenev on Vrevskaya through both direct communication and artistry; the moulding of a life plot - the departure of Vrevskaya as a medical nurse to Bulgaria during the 1877 Russian-Turkish War - after the plot example of Turgenev's novel "On the Eve"; the mythologisation/sacralisation of Vrevskaya in Russian and Bulgarian literature, and in V. Hugo; the building of the cinematic plot of "Yuliya Vrevskaya" (1977) after the plot of "On the Eve" through the motif of love with a fictional Bulgarian; the forming of a behavioural model following the example of Vrevskaya's life choice (in Bulgarian queen Eleonora).
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The article studies the ideological structure of the second novel of Ivan Turgenev „A Nest of the Gentry”. It’s revealed that it characterizes the difference of this work in the general typology of the writer’s novels by some important inventions: a new ideological hero, a new organization of the plot, a new relation between the plot and the social time.
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The article discusses the Russian female detective novel and its television versions. It contains preliminary observations on the nature of reading, literary practices and literary work as a basis of a film script. The paper also deals with the themes, problems and the poetics of the ironic Russian female detective novel and its television versions in the context of the „translation“ of a literary work into the language of cinema.
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The purpose of the article. To keep the track and systematize the examples of drastically critical attitude of literary community to the creative work of Ukrainian futurism model founder, basing on publications concerning M. Semen’ko’s poetry, as well as estimate their objectivity, considering the current understanding of culture formation logics within the 20th century. Methodology of the study provides for the application of such main principles as personalization as a structural element of biographical method. The article includes theoretical futurists’ texts, as well as examples of their poetry, memoirs and reminiscences. All above mentioned strengthened deeply methodological basis of the study. The scientific novelty of the study is defined with reconstruction of polemics occurred among the Ukrainian culture representatives at the beginning of the 20th century. Conclusions. 1. It is emphasized that poetsfuturists’ experiments were not supported by local literary elite, so ‘Ukrainian futurism model’ established under the terms of drastic criticism of the first M. Semen’ko’s poetic challenges by M. Yevshan and M. Zerov.
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The article focuses on the Siberian text of Russian literature – its definition and structure. Referring to Toporov’s concept, which has become an intellectual and methodological challenge for Russian researchers, the author points out that Toporov emphasized the uniqueness of the Saint Petersburgian text, whereas in the Russian humanities, apart from the Moscow text, a number of regional/local texts were created: Crimean, Caucasian, Ural, and Siberian. The specificity of regional texts, including Siberian, requires a broader methodological basis (interdisciplinary approach). Therefore the article analyzes several proposals by Russian researchers regarding the methodological approach to this cultural phenomenon. In addition, it indicates pitfalls and difficulties which should be taken into account in this type of spatial study.
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This paper deals with the evil and demonic issues in F. M. Dostoevsky’s Demons. The theoretician of the ‘wretched issues of being’ subtly and in a keen-sighted manner investigates the idea of a godman plummeting into the abyss of the horrifying character of Nikolai Vsevolodovich Stavrogin. Dostoevsky writes about the demonic individuality of Nikolai Stavrogin, a man of divine pride and subtle haughtiness, a man who has developed within himself an unheeded and genially bestial capability of inflicting evil, ‘a genius of evil’. This ‘spiritual rebel’, ‘demon of irony’, as his creator calls him, makes himself a god-like figure and, being separated from the genuine godly likeness, reduces himself to the category of sub-human, sinking into the apparition of being and existence. This paper predominantly explores the nature and causes of evil in the actions of the novel’s protagonist. Through the character of the seemingly omnipotent Stavrogin, Dostoevsky introduces a type of ‘new man’, the embodiment of subtle and seductive evil, who intoxicates with his insensitivity, self-complacency and headstrong nature, hiding, at the same time, deep within himself the impersonality and desolation of self-deception that leads first into despair and, then, into disaster. The Stavroginian evil is a secretive, mysterious, yet cynical, apocalyptically bestial mocking of the godman figure of Jesus Christ.
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The basis of the publication is a thematic selection of the materials of the encyclopedic reference book “Dostoevsky Petersburg” being prepared for publishing. The purpose of the publication is to test the principles of the material presentation in the intended edition. All the places of the Northern capital, where Dostoevsky went to attend performances, concerts, or the amusement places, are described in a systematic manner. The published materials are chronologically limited by the first period of Dostoevsky’s life in St. Petersburg: years 1837 to 1849, when the writer’s attention to the theatrical and musical life of the capital was especially intense. All the information is provided by documentary, memoir, epistolary and other sources (including newspaper and magazine reviews). Each miniature article is devoted to a particular place of St. Petersburg and is accompanied by a set of the used sources. Being a thematic excerpt from the encyclopedic reference book, the publication materials are arranged in an alphabetic order. Along with the historical addresses presented in accordance with the documents of the 1840s, the current addresses of the given places are always provided. The publication of materials of the encyclopedic reference book is preceded by an introductory article confronting readers with the historical background of the problem.
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The article makes an attempt of the chronological attribution of F. M. Dostoevsky’s “third” notebook kept in the Manuscripts Department of the Russian State Library (Fund 93.I.2.8). The book, like the two previous ones, was filled in by the writer in different directions, sometimes chaotically: the dates referring to the years 1864 and 1865 appear both at the beginning and in the middle or at the end of the book. In one place there emerges the date "the second half of November 1863". Often, only the date and the month are indicated that required additional clarification as to a year. The nature of the filling of the book, the dates found in it, as well as the content of the notes make it possible to assume that Dostoevsky begins keeping it simultaneously with his “second” notebook housed in the Manuscripts Department of the Russian State Library (Fund 93.I.2.7), in July 1864. Then, in August, he makes the last notes in the “second” notebook and focuses himself on the “third” one (which is most likely to have an auxiliary character), as well as (with regard to literary and journalistic work) on two workbooks referring to the years 1864—1865 (housed in The Russian State Archive of Literature and Arts. F. 212.1.3 and 212.1.4). Thus, we deduce that Dostoevsky was keeping his “third” notebook, from July 1864 up to and including May 1865. A lot of questions touched upon in the article are of a polemical character and need further studying.
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On July 14−19, 2019 at Boston University (USA) took place the 17th Symposium of the International Society of F. M. Dostoevsky (International Dostoevsky Society, IDS). For five days Boston became the world capital of the Great Russian and international writer although he had never been to America. The residents of the central city of New England began to show their interest in Russian culture at the end of the 19th century. One of the evidence of this is the cited in this article newspaper item “On Russian fashion in the United States” from the collection of Dostoevsky’s widow Anna Grigoryevna, kept in the collection of the State Literary Museum. Edgar Allan Poe (1809–1849), the most famous representative of American romanticism, was born in Boston. Dostoevsky considered him a highly gifted writer and published his works in the journal Vremya. In the creative heritage of Dostoevsky there are practically no cultural, historical realities associated with America. The toponym Boston is also missing, but the word itself is used twice. By chance, Dostoevsky inserted the name of the hard labor game derived from the name of Boston city, the American “cradle of freedom”, into his Siberian Notebook that he began keeping during his Omsk penal servitude. Earlier, while translating the novel “Eugene Grande”, Dostoevsky following Balzac had already used the word “Boston” to describe the pastime of the network of old Grande. This publication presents a brief outline of the history of the origin and development of the International Dostoevsky Society, highlights a number of reports, key events, and the main results of the XVII Symposium, bringing together researchers of Dostoevsky’s works from around the world.
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