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Христианская аксиология героев романа В. С. Гроссмана «Жизнь и судьба»

Author(s): Alexander S. Kondratiev / Language(s): Russian Issue: 1/2024

V. S. Grossman’s dilogy “For a Just Cause” and “Life and Fate” may well be considered part of the Soviet literature corpus, but it can also be analyzed in the context of the “big time” of Russian culture, which is proposed in this work. The Battle of Stalingrad is reflected in the family history of Alexandra Vladimirovna Shaposhnikova. The novel “For a Just Cause” begins with a family celebration in her house before the attack of the enemy army and with the household’s plans for the alarming future. “Life and Fate” ends with a meeting of her loved ones before returning to a peaceful life, when it’s time to reflect on the losses and gains. Continuing Tolstoy’s tradition of emphasizing the spiritual evolvement of man in war, Grossman is guided by the national identity categories that date back to the opposition of Law and Grace. In the novel “For a Just Cause” the description of the military-historical trials of the Orthodox people comes to the fore, while “Life and Fate” is about the gracious influence of the Holy Spirit on the destinies of the world and man. In the “big time” of Russian culture, the actualization of the artistic installations of “socialist realism” in the first part does not matter, as does the reduction of the second book to military subjects or to the issue of freedom in the legalistic field, on the verge of lawlessness. The results of the heroes’ life quests are conditioned by the value orientations that dominate their minds: for the humble fulfillment of what fate has ordained and for a gracious personal evolvement.

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Заметки Н. В. Гоголя «К 1-й части» «Мертвых душ»: проблемы поэтики и текстологии

Author(s): Igor’ A. Vinogradov / Language(s): Russian Issue: 2/2024

The main problem solved in the article was the issue of dating Gogol’s rough sketches with the author’s “working” title “To the 1st part.” For almost a hundred years, it was generally accepted that these sketches, related to the first volume of Dead Souls, were written after the publication of this volume in 1842. The arbitrary dating of the notes “To the 1st part” to 1845–1846 is refuted by numerous facts indicating that the images and motifs of the notes were “interspersed” by Gogol into the overall fabric of the poem. These references were first pointed out in 1987 by V. A. Voropaev, who dated the sketches to 1839–1840. New observations were added to the textual observations made by the researcher, allowing one to trace the evolution of the text. The author’s intention, as it appears in the sketches, is also analyzed along with the means by which it is realized in the poem. The combined data of textual criticism and poetics make it possible to clarify the dating of the notes, attributing them to the first months of 1841. The notes contain the author’s plan to express a broad educational meaning in the “gossip” and “idleness” of the city of N. in the first volume of the poem, endowing this the representation with an expression of a general “idleness” of the world. To realize this plan, Gogol planned to bring up several analogies to the “idle” life of “dead souls” in the poem, i.e., “to include all the similarities and introduce a gradual progression.” In the final text of the poem, such “similarities” were typologically “related” to gossip: fortune-telling “scientific reasoning”, predictions of false prophets and pseudo-spiritual literature. According to Gogol, all of them, taken in their totality, explain the numerous misconceptions of mankind in world history — following the “swamp lights,” “roads that lead far to the side.” Rumors about the Antichrist arising in the “emptiness” of the city suggest that in the final chapters of the first volume the writer depicts, as earlier in “The Government Inspector,” the pre-apocalyptic state of society, the approach of the last times — which for some, in fact, become the “last hour” (the death of the prosecutor).

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«Загадочный автор» из Спасского: письмо И. С. Тургенева к П. В. Анненкову от 14 октября 1853 года

Author(s): Gennady Karpenko / Language(s): Russian Issue: 2/2024

In the article, the letter of I. S. Turgenev to P. V. Annenkov dated October 14, 1853, which structurally comprises a “physiological essay” about a “little man” and an Easter poem allegedly written by this “little man,” and in fact — by a “mysterious author,” is analyzed. The letter is considered as a letter-work that has already overcome the narrow framework of the epistolary genre during the writer’s life and has become a discussed text. In Turgenev studies, however, the question of the biographical author of the Easter poem remains the main issue in examining the letter: today, in the reader’s space, the poem de facto functions as a work of both Turgenev and Lermontov. The “prosaic” part of the letter about the painter-poet is considered by researchers to be preparatory material for a subsequent work. Meanwhile, the letter is a “cryptographic text,” and as a whole conceals a hidden “Pushkin code,” which is “read” thanks to numerous hints contained both in the letter itself, in its “prosaic” and poetic parts, and in the friendly correspondence between Turgenev and Annenkov. A comparative analysis of the two texts of the Easter poem prepared by the Turgenev academic group, one of which is in a letter dated October 14, 1853, and the other, in the Dubia section, revealed numerous discrepancies in these texts, as well as their significant deviation from the original text published in the Literary Gazette in 1840. In academic texts, all sacred words — the Glory of God, the Son of God — are graphically eliminated. Such eradication of religious and aesthetic feeling, “concealed” in the graphic “decapitation” of the names of Christ, again actualizes the issue of the need to publish the creative heritage of Russian classics in an authentic form.

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Мотив благословения отца в романе Ф. М. Достоевского «Униженные и оскорбленные»

Author(s): Wang Kexin / Language(s): Russian Issue: 2/2024

The article presents an interpretation of the motif of the father’s blessing in F. M. Dostoevsky’s novel “Humiliated and Insulted,” which is the key to the plot of this work. By depicting Natasha’s and Nelly’s mother’s departure from home and return to their fathers, the writer presented a female version of the biblical motif of the “prodigal son.” However, the two stories have different plots due to the absence or presence of a father’s blessing. Nellie’s mother died without receiving blessing and forgiveness. Natasha Ihmeneva, after ultimately receiving her father’s repentance, forgiveness and blessing, returned to her former life. The article notes that a parent’s blessing is an important motif in Russian folklore. In the fairy tale “Sivko-Burko,” recorded by A. N. Afanasyev, it is given as a reward for passing a test, and the fool Ivan manages to conquer the heart of the princess. Ihmenev’s condition at the time of his daughter’s escape is similar to that of the hero of Pushkin’s “Stationmaster” Samson Vyrin: the torments of the fathers are caused not so much by human shame as by the implied punishment of God. In ‘Humiliated and Insulted,” it was Ihmenev who took the first step towards reconciliation with his daughter, forgiveness and paternal blessing. While preserving significant folklore and biblical connotations, in Dostoevsky’s work the motif of the prodigal son is complemented by the motifs of Christian forgiveness and compassion.

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Концепция красоты в романе Ф. М. Достоевского «Идиот»

Author(s): Shingo Shimizu / Language(s): Russian Issue: 2/2024

The article examines the ambivalence of the beauty of Nastasia Filippovna Barashkova, the heroine of F. M. Dostoevsky’s novel “The Idiot” in the aesthetic and ethical dimensions. Compared with the previous interpretations of the image, there is great ambiguity in the writer’s ideas about the beauty of the heroine. Nastasia Filippovna possesses not only physical, but also inner beauty, which causes different reactions in the characters of the novel. When solving the question of what kind of beauty can “turn the world around,” it is proposed to take into account that this transformation can be either for the better or for the worse. The power of Nastasia Filippovna’s beauty, polarized between good and evil, can “overturn”/turn the world and man both towards the fatal darkness or towards the light of resurrection. Her beauty cannot be defined only in morally conflicting categories of statuesque physical or spiritual beauty. In its manifestations, it symbolizes incompleteness, which refuses to “materialize.” This is an indefinable beauty that remains a mystery.

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Петр Верховенский в системе героев романа Ф. М. Достоевского «Бесы»

Author(s): Vasily A. Khotakko / Language(s): Russian Issue: 2/2024

The purpose of the article is to reveal the artistic and philosophical significance of the image of Pyotr Verkhovensky, who is the main character in the novel “Demons” by F. M. Dostoevsky. This implies an expansion and deepening of ideas about his personal development. In Verkhovensky’s spiritual experience, concepts about the primordial Christian landmarks are misperceived and the hierarchy of Law and Grace is violated. Pyotr Verkhovensky is endowed with the ability to influence others for the sake of his own selfish motives in the name of self-affirmation, building an imaginary reality, and commanding his trusted associates with threats and blackmail. Legalism imperceptibly turns into lawlessness, on the one hand, endowing Verkhovensky with the power to influence others, clearly by nature or by perverted human nature. On the other hand, it condemns the hero, who succumbs to the temptations of self-affirmation, to loneliness and spiritual impoverishment. The article also shows the influence of Pyotr Verkhovensky on the creative explorations of Russian writers, revealing the tragic consequences of violating the value hierarchy of Law and Grace, which allows us to consider this artistic image in the moral paradigms of modernity.

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Евангельская основа темы братства людей в творчестве И. А. Бунина

Author(s): Tatiana N. Kovaleva / Language(s): Russian Issue: 2/2024

The article is devoted to the researching of the theme of the brotherhood of people man and its evolution in the works by I. A. Bunin. In the artistic world of the writer, the idea of new — evangelical, fraternal relations between people, based on Christian love, is affirmed. The key images and motives for understanding the evolution of the theme of brotherhood of people appear in the early poems, such as “In Kostyol,” “The Gravestone Scripture:” the image of Christ, the motive of faithfulness to the “covenant of love” and to a new, evangelical relationship between people. In the works of 1914–1916 I. A. Bunin creates the image of humanity, which that has forgotten about God, about Christ, about its original initial brotherhood. There is a tragic motive of destruction of the brotherhood of people man poems “Silence,” “Desperation” and in his stories “Brothers,” “The Spring Evening.” The article pays special attention to the study of the Christian text in the short story “Brothers,” the results of which allow to speak about the Gospel meaning of the word “brothers” in the epigraph and in the title of the story, which are playing the most important role in the expression of the key author’s idea, phrased in the words of Christ. I. A. Bunin’s works of the period of the Russian Revolution of 1917 and of the Civil War, namely his diary “Cursed Days” and his speech “The Mission of Russian Emigration,” are imbued with the tragic motive of fratricide and with images of Russian Cain and Russian Abel. The ideas of brotherhood of people and of the deepest interconnection of all humanity people is heardresounds again in through the works by I. A. Bunin inof the emigration period, in and in his lyrical and philosophical prose of the 1920s. The theme of the brotherhood of people in the works by I. A. Bunin, which undoubtedly has an undoubted evangelical basis, develops throughout the writer’s work, which testifies to its significance for the writer’s worldview and his concept of peace and man.

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Тема детства в романе Б. К. Зайцева «Заря»

Author(s): Elena Yu. Shestakova / Language(s): Russian Issue: 2/2024

The purpose of the article is to consider the specifics of depicting the theme of childhood in the novel “Dawn” by B. K. Zaitsev. In modern literary studies, the theme of childhood in the works of Russian writers who found themselves in exile after the revolutionary events is actively being developed and studied. The relevance of the work is due to the fact that it explores one of the important topics in the literature of the Russian diaspora. The novelty of the research consists in comparing the novel by B. K. Zaitsev with 19th century Russian classical prose about childhood, in clarifying the question of traditions and innovation in solving the theme of childhood by the writer of the Russian diaspora. The paper considers theoretical issues related to the spatial and temporal structure of the novel “Dawn,” the disclosure of the figurative and motivational series, artistic means and techniques. All this is necessary not only to understand the peculiarities of the embodiment of the childhood image in B. K. Zaitsev’s prose, but also to determine the national identity of Russian literature about childhood. In the center of Zaitsev’s novel is the image of a child living in a manor, which is depicted according to Russian literary traditions of the 18th — 19th centuries. Describing the ancestral “nest” with its material content, special semantics, autobiographical basis, recreating the world of a child, B. K. Zaitsev relies on the novel “Childhood” by L. N. Tolstoy. Idyllic time dominates the structure of the novel “Dawn.” Its important components include the motifs of light, aromas, smells, sounds of nature, the synesthesia characteristic of a child’s worldview. The child experiences the fullness of the joy of being akin to being in Eden. The world of childhood, permeated with Divine grace, apart from biographical and histor- ical time, is addressed to the category of Eternity. Childhood is spiritualized and sacralized. Mother and father are organically included in the world of the novel, associated with the idea of the orderliness and stability of being. Family meals together and rituals become events that create an atmosphere of happiness. Children’s worldview is presented through a system of oppositions of “their own”/“someone else’s” space. Childhood is associated with thanatological events. The description of the reading circle becomes mandatory in revealing the inner world of the child hero. The writer’s novel is an example of an image of childhood conditioned by a new era, modernist innovations consisting in changing the relationship between the author and the child.

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Александр Македонский или Соломон Премудрый: Кого цитировал Иван Грозный в Первом послании Андрею Курбскому?

Author(s): Fedor N. Veselov / Language(s): Russian Issue: 2 (34)/2023

Numerous legends and apocrypha, circulating in the non-literary scene of Slavia Orthodoxa, in which both Alexander the Great and Solomon the Wise were gradually endowed with parallel features, should have become the basis for the functional similarity of these images in Slavic literature. An important role in the literature of the southern and eastern Slavs in this process was played by the Serbian recension of the Alexander Romance, the second Slavonic translation of the pseudo-Callisthenes work. In the Romance Alexander the Great not only inherits the relics of King Solomon, but the Old Testament king becomes a favorite source for the author’s quotations; Alexander himself acquires a «all-wise heart», and perishes from the «women malice», like Solomon, who «heirs hell because of woman». The wisdom of Alexander in the South Slavic Romance allows one to explain one of Ivan the Terrible’s confusing apothegms in the First Epistle to Andrei Kurbsky: referring to an unnamed prophet, the tsar compares «the madness of women» with «the power of many». It seems that both parts of the apothegm are based on Serbian Alexander Romance, while the one that is dedicated to «women malice» is taken from the «proverbs of Alexander», which in their structure copy the apocryphal Judgments of Solomon. Apparently, thanks to Serbian Alexandria, the images of the kings of antiquity merged even in the mind of the Russian sovereign, who impressed his contemporaries with his education. It is possible that one of the consequences of this was the inclusion of Ivan the Terrible in the alternation of already three figures of legendary rulers who had similar functions in the later folklore narrations.

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Омск Достоевского: памятные места, проблемы реставрации и музеефикации

Author(s): Igor L. Konovalov,Tatyana Viktorovna Panyukova / Language(s): Russian Issue: 1/2024

Omsk is the city where F. M. Dostoevsky served a penal sentence in 1850–1854 and where the “rebirth of his beliefs” occurred. In the first part of the article, Dostoevsky’s memorable sites in Omsk are revealed based on the impressions of the writer himself, as reflected in “Notes from the Dead House” and “Siberian Notebook,” memoir, epistolary, local history and archival sources (Article lists of prisoners of the Omsk prison (ostrog) and maps and plans of the Omsk fortress, stored in the Russian State Military Historical Archive, metric books of Omsk, stored in the Historical archive of the Omsk region). Through the Tara fortress gate, prisoners arrived at the Omsk prison (ostrog); and through the Tobolsk fortress gate, they went to menial jobs. The house of the engineer general have been preserved, who was in charge of prison work (it also housed the engineering office, where Dostoevsky worked as a scribe), as were the complex of the military hospital, where prisoners were treated and had the opportunity to read and write, and where the “Siberian Notebook” was created, the fortress of the Resurrection Military Cathedral, where they were taken for church services and whose rectors nursed the prisoners, and the house of Platz-Major V. G. Krivtsov and the house of the commandant of the Omsk fortress A. F. de Grave. The second part of the article, arranged as a tour of Dostoevsky’s sites in Omsk, describes the history and current state of all identified objects in the same order from the point of view of the restorer and architect. Some loci have disappeared irrevocably; some have been restored for the anniversary of the writer; some of them do not have the status of a monument of history and culture. The task of professional restoration, conservation and museumification of all the memorable sites in Omsk has been set to create a single memorial route “Dostoevsky’s Omsk.”

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Кто был автором пастельных портретов родителей Достоевского? (из новых разысканий по генеалогии писателя)

Author(s): Boris Nikolaevich Tikhomirov / Language(s): Russian Issue: 1/2024

The article introduces into scientific circulation the archival documents stored in the Central State Archive of Moscow and dedicated to the relatives of F. M. Dostoevsky — his greatuncle (grandmother’s older brother) Vasily Mikhailovich Kotelnitsky and his wife Nadezhda Andreevna, nee Rumyantseva. This is a metric certificate of the wedding on February 4, 1806 in the Transfiguration Church of Moscow, as well as a marriage search compiled by the clergy of the specified church. In the latter document, the list of the guarantors for the groom, along with Dostoevsky’s own grandfather Fyodor Timofeevich Nechaev and his brother-in-law (married to sisters) Andrey Gavrilovich Tikhomirov, includes the “drawing teacher” Fyodor Ivanovich Popov. Using other archival documents (metric records, confession sheets), the author of the article substantiates that this person is the artist Popov (whose name had remained unknown up to this day), who in 1823 painted the famous pastel portraits of Maria and Mikhail Dostoevsky — the parents of the writer — and who, according to Andrei Dostoevsky, was in some kind of relationship with their mother, Maria Fedorovna. The article also provides other data (approximate age, places of service) about the artist Fyodor Ivanovich Popov and his wife Evlampia Nikolaevna (nee Chestnova or Chesnova).

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Памяти Хорста-Юргена Геригка

Author(s): Not Specified Author / Language(s): Russian Issue: 1/2024

In memoriam Horst-Jürgen Gerigk (10.11.1937 — 09.02.2024).

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Хранитель вечности Виктор Федорович Молчанов

Author(s): Not Specified Author / Language(s): Russian Issue: 1/2024

In memoriam Viktor Fedorovich Molchanov (02.01.1950 - 03.03.2024).

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Великое пятикнижие Достоевского: концепт, перевод, толкование

Author(s): Vladimir Nikolaevich Zakharov / Language(s): Russian Issue: 2/2024

Dostoevsky has been successfully translated into different languages. He remains himself even in unsuccessful translations. Every translation is an interpretation. Interpretations include not only critical publications, but also theatrical productions and screen adaptations. Translations and interpretations expand the corpus of Dostoevsky’s texts. Translation is universal. Dostoevsky is in demand for translations not only into foreign languages, but also from Russian into Russian: manuscript to printed text, printed text to multimedia format. Over the last hundred years, the graphics, orthography and punctuation of the Russian language have changed. Changes in the language distort the meaning of Dostoevsky’s works. Both the shortcomings and the achievements of Soviet and post-Soviet textology are most fully presented in the Complete Works of Dostoevsky. They resulted in the amended texts of the writer, which, in turn, required new translations into foreign languages. The concept of “Dostoevsky’s Pentateuch” is tentative. Had Dostoevsky lived longer, he may have written more great novels: not five, but six or more. And now “Poor People,” “Notes from the Dead House,” “Notes from Underground,” “Diary of a Writer” are added to Dostoevsky’s five great novels . Of the different Pentateuchs, there are two personal ones: one by Moses, the other by Dostoevsky, which was immediately labeled “great.” The concept of the “great Pentateuch” has many authors. It became common place in conference debates as early as the 1970s. At first, it was a rhetorical figure that stated the number of Dostoevsky’s famous novels. At present it is a concept that expresses the ideological content, genre and poetics of the writer’s late novels.

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«…Она славная сестра и чудесный человек»: Варвара Михайловна Достоевская-Карепина и ее семья (дополнения к «Хронике рода Достоевских»)

Author(s): Inga Mikhaylovna Drobyshevskaya / Language(s): Russian Issue: 2/2024

The article introduces the results of archival research devoted to the family of the eldest of F. M. Dostoevsky’s sisters, V. M. Karepina. Vital records (records of birth, wedding, death) of Varvara Mikhailovna herself, her husband Pyotr Andreevich Karepin, their children and grandchildren, discovered by the authors of the article in the funds of the Central State Archive of the City of Moscow (CSA of Moscow), are published. The materials of the archival “Case of the Moscow Noble Deputy Assembly” are introduced into scientific circulation, including documents related to the inclusion in the 3rd part of the Genealogical Book of the Moscow Province of Dostoevsky’s sister’s husband, P. A. Karepin (1838) and the family of their son, the eldest nephew of the writer A. P. Karepin (1911). The documents in this case include the form list of P. A. Karepin, the decree on the resignation of A. P. Karepin, copies of metric documents on the wedding and death of Dostoevsky’s nephew, and the birth of his son, Vladimir Karepin. The published archival materials fill in significant factual gaps in the pedigree of the genealogical branch of Varvara Mikhailovna Dostoevskaya-Karepina, which was published in the fundamental “Chronicle of the Generations of Dostoevskys” (2012), which was a revised and supplemented republication of the classic work of M. V. Volotsky “The Chronicle of the Generations of Dostoevsky” (1933). The Appendix contains two biographical notes: about the daughter of P. A. Karepin from his first marriage, stepdaughter of V. M. Dostoevskaya-Karepina — Yulia Petrovna Pomerantseva and her husband Nikandr Petrovich Pomerantsev.

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«…Из каких-то Клепиков»: Россия Достоевского в письмах и документах

Author(s): Oksana A. Sosnovskaya,Irina Svyatoslavovna Andrianova / Language(s): Russian Issue: 2/2024

The reason for writing this article was a letter received by the authors from the founders of the recently established local history museum in Spas-Klepiki, Ryazan region. This small town is actively working on the formation of museum funds and collections. S. A. Esenin, A. I. Kuprin, K. G. Paustovsky lived and visited here. According to the organizers, the history of the Dostoevsky family at the turn of the XX century should take a worthy place in one of the expositions. The article systematizes published and unknown archival materials about its stay in Spas-Klepiki and surrounding villages. The lands, forest and estate located here was inherited by F. M. Dostoevsky and his relatives after the death of his rich Moscow aunt A. F. Kumanina. The writer learned about the existence of Klepiki on August 19, 1879 from a letter to him from his wife, who visited the Ryazan region with their children. However, protracted litigation over the division of inheritance did not allow Dostoevsky to become a landowner legally, he did not have time to visit this land. On March 24, 1881 his widow and children were confirmed in the rights of inheritance. According to family correspondence, A. G. Dostoevskaya, accompanied by her son Fyodor, visited Spas-Klepiki in the 1880s and 1890s and stayed at the house of lawyer A. D. Povalishin. She described her way from Ryazan to the estate in her notebook of 1881, and here she also indicated the names of residents of Klepiki who could be useful to her. The writer’s widow bought out the share of the estate in the Ryazan province, which was inherited by her husband’s younger brother A. M. Dostoevsky. She sold part of her lands in 1895, and returned to the sale issue in 1905 at the request of her son Fyodor. Dostoevsky’s son became a Ryazan nobleman in 1897, but he did not live in Ryazan permanently. The life of the Sher family, Dostoevsky’s maternal relatives and coowners of the “Kumaninsky inheritance”, is connected with Spas-Klepiki. The search for Dostoevsky’s documents in the Ryazan archives is relevant. Their discovery would help to reveal new facts of the writer’s family’s stay in the Ryazan region and Spas-Klepiki, to expand the funds of the city’s local history museum, which needs Dostoevsky.

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Достоевский в бесплатном приложении: издательский проект А. Ф. Маркса в записных книгах А. Г. Достоевской

Author(s): Valentina Nikolayevna Stepchenkova / Language(s): Russian Issue: 2/2024

The publication of the Complete Works of F. M. Dostoevsky became the main deed of his widow. Over the course of 10 years, book publication has been stable and profitable for the writer’s family. In 1893, the publisher of the weekly “Niva,” A. F. Marx, offered Anna Grigoryevna to sell him the literary rights to Dostoevsky’s works for printing them as a free supplement to his magazine. Dostoevskaya devoted a chapter of published memoirs to this transaction, but her unpublished notebooks contain additional information about both the external side of the agreement with Marx (lists, dates, notes) and the inner world of the publisher during this period (memories, experiences, doubts, comments). This article introduces into scientific circulation the materials of A. G. Dostoevskaya’s notebooks about family meetings about the sale of literary rights, details and curious stories related to the signing of an agreement with Marx. Ultimately, the deal with Marx was not as profitable as it seemed at first. It divided the publishing activities of the writer’s widow into “before” and “after” the contract: the time after the return of copyright was marked by a sharp decline in demand for Dostoevsky’s works due to the surplus of the Complete works of the Marx publishing house on the book market. The contract with “Niva’s” publisher turned out to be one of the essential circumstances in the process of termination of A. G. Dostoevskaya’s publishing activities in 1910. Despite the adverse consequences of the deal with Marx for the Dostoevsky family’s book business, the writer’s widow remained friendly with “Niva’s” publisher, as evidenced by the documents provided in the article: her letter to him about the donation and publication of three letters from Dostoevsky to his brother Mikhail, as well as the mentions of the name of Marx and his publications in notebooks.

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Достоевский на «простом языке»: проблемы современного художественного перевода

Author(s): Valentina Vasilievna Borisova,Iskra V. Kosmarskaia / Language(s): Russian Issue: 2/2024

The article is devoted to the functional analysis of one of the modern adaptive models of the national literary language — the plain language. This concept is actively discussed and implemented in modern translation practice today, including in numerous literary translations of the works of Dostoevsky, the most widely read Russian writer in the world. From a historical and typological point of view, the new translation strategy correlates with the principles of the Russian translation of the first book from Dostoevsky’s reading circle — “One Hundred and Four Sacred Stories of the Old and New Testaments,” as well as the New Testament published in 1823, which includes the writer’s hard labor Gospel that became a key precedent text in his post-reformation work. The article analyzes the work performed in the early 2000s. Japanese scientist Ikuo Kameyama translated the novel “The Brothers Karamazov,” which was a representative experience of modern artistic interpretation and adaptation of Dostoevsky’s work. Thanks to the translator’s orientation to the plain language, the novel of the Russian writer found its foreignspeaking readers and became an understandable and familiar text for them.

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Tinklalaidės: naujas medijų žanras ir būdingiausi jo bruoža

Author(s): Sandra Paškevičiūtė / Language(s): Lithuanian Issue: 81/2024

Over the past decade, podcasts – a relatively new media genre – have garnered significant and increasing attention in the public sphere. Although podcasts have been extensively covered in many online articles and their research has attracted growing scholarly interest, the understanding of what podcasts are varies to some extent. Different sources and authors define the phenomenon rather differently, each outlining different distinguishing characteristics of podcasts. Moreover, podcasting is often compared to radio broadcasting, with ongoing debates about whether it should be considered a new medium or an extension of radio. Employing genre analysis, this article aims to discuss the most characteristic aspects of podcasts, as well as their similarities and differences with radio shows, thereby offering general insights into this genre and its place within the broader media landscape. The article also includes a case study comparing a Lithuanian radio show with an independent podcast, discussing their most common characteristics, similarities, and differences.

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Budowa i charakterystyka Korpusu Polskich Czasopism Naukoznawczych

Author(s): Emanuel Kulczycki,Franciszek Krawczyk / Language(s): Polish Issue: 2 (122)/2024

Purpose/Thesis: This article introduces the Corpus of Polish Science of Science Journals (CPSSJ), a specialized corpus created to support research in the field of science of science and its development in Poland. Approach/Methods: The construction of the corpus was based on the digitization of previously non-digitized articles and the retrieval of articles from scientific journal we- bsites and digital libraries. The documents were processed by various natural language processing methods. Results and Conclusions: The capabilities of the CPSSJ are demonstrated through a topic modeling analysis of the Nauka Polska journal. The current iteration of the CPSSJ incorpo- rates 12 Polish science of science journals published between 1918 and 2020, comprising a total of 51,822 documents. Research Limitations: The study acknowledges limitations of the corpus, particularly in the context of natural language processing and optical text recognition. While acknowled- ging some limitations, the article also explores opportunities for the future development of corpus. Practical Implications: In the future, the corpus could facilitate the reconstruction of discourses related to science and higher education in Poland, thus enhancing the reco- gnition of Polish science of science globally. Originality/Value: The construction of this corpus represents an original undertaking, involving the digitization and processing of science of science papers. This effort resulted in the creation of a unique tool for discourse analysis

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