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1
Smits, Jan. "Competition in International Sales Law: Introduction to Special Issue." European Business Law Review 24, Issue 3 (June 1, 2013): 295–98. http://dx.doi.org/10.54648/eulr2013015.
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In 2011 the European Commission published a proposal for a Regulation on a Common European Sales Law (CESL). This contribution forms the introduction to a special issue of the European Buniness Law Review, discussing the proposed CESL from the viewpoint of competition. If the CESL would be introduced, commercial parties engaged in cross-border transactions within the European Union will have to make an informed choice between the available legal regimes (CESL, CISG and national laws). The question then becomes which of these regimes is the most attractive for parties. The common theme throughout the contributions by Dalhuisen, Kornet, Kruisinga, Low and Meyer is that the Common European Sales Law in its present form will not be an attractive competitor on the European law market.
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Dvinyatina, Tatyana M., and Sergey N. Morozov. "I.A. Bunin’s Prose of 1917–1920. On the Copy Texts Issue." Literary Fact, no. 21 (2021): 220–27. http://dx.doi.org/10.22455/2541-8297-2021-21-220-227.
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This is the second article in a series of works devoted to the definition of copy texts of I. A. Bunin's prose. Research conducted after the publication of the article “Ivan Bunin’s Prose Works. An Approach to the Choice of Copy Texts for a Critical Edition”, allowed us to clarify the chronological boundaries within which the writer's works should be printed according to their own and for each group strictly defined principles of text submission. If, at the first consideration, one of these boundaries was proposed to be considered 1920 — the year of Bunin's departure from Russia, later the analysis of specific textual stories of Bunin's stories of the 1917–1920's made it necessary to shift this border to 1917. All the stories written in these years, both in their figurative and thematic structure, and in their printed history, belong to the next, émigré period of the writer's work. Therefore, like other works of this time, they should be presented in Bunin’s Complete Works with the texts of their last lifetime publications, and not the last Russian publications before 1920, as should be the case for works written in previous years.
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Suryoko, Sri. "Analisis Faktor-Faktor Yang Memengaruhi Partisipasi UKM Tahu Dalam Pengelolaan Lingkungan Hidup di Kota Semarang." Jurnal Administrasi Bisnis 9, no. 2 (June 29, 2020): 149–59. http://dx.doi.org/10.14710/jab.v9i2.28616.
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Until 2015, in the city of Semarang, there are 92 Tofu SMEs. The contribution of SME’s Tofu to the economic quite large, but the industry has the potenstial to pollute teh environment. The purpose of this study was to determine the factors that affect partisipation of Tofu SME’s in environmental management. Tipe of research is explanatory. The sampling technique using non-probability sampling, and the samples in this study is thirty Tofu SMEs. The analysis is a factor analysis test using SPSS 15,0 for windows. Results of the analysis found that the factors that affect participation of Tofu SME’s consists of variables competence, commitment, and the business environment. Recommendation in this study is the skill to manage the buniness impact Tofu SME’s need to be improved and and increased understanding that the product is environmentally friendly can be a competitive advantage, from business competitors of the same type or from substitte products.Di Kota Semarang sampai dengan tahun 2015, terdapat 92 usaha kecil dan menengah (UKM) Tahu yang memberi sumbangan cukup besar terhadap perekonomian, namun UKM Tahu berpotensi mencemari lingkungan. Tujuan penelitian ini adalah untuk mengetahui faktor-faktor yang memengaruhi partisipasi UKM Tahu dalam pengelolaan lingkungan hidup. Tipe penelitian ini adalah ekaplanatori dengan teknik pengambilan sampel yakni purposive sampling dan jumlah sampel 30 usaha Tahu. Analisis data yang digunakan adalah uji analisis faktor dengan bantuan SPSS 15,0 for windows. Hasil analisis ditemukan bahwa faktor-faktor yang memengaruhi partisipasi IKM Tahu di Kota Semarang terdiri dari variabel-variabel kompetensi, komitmen; dan lingkungan usaha. Rekomendasi yang diajukan adalah bimbingan teknis dalam mengelola dampak lingkungan perlu terus ditingkatkan dan peningkatan pemahaman bahwa produk yang ramah lingkungan dapat menjadi keunggulan dalam bersaing, baik dari pesaing usaha sejenis maupun usaha produk pengganti.
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Dvinyatina, Tatiana M., and Sergey N. Morozov. "Ivan Bunin's 1907 Palestine Journey: Chronicle and Context." Literary Fact, no. 24 (2022): 64–94. http://dx.doi.org/10.22455/2541-8297-2022-24-64-94.
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This article develops the theme expounded in the authors’ research published above. It contains a detailed reconstruction of the chronicle of Ivan Bunin’s main pilgrimage through Palestine in April –May 1907. Using all available documentary evidences, the authors of the article make an attempt to reveal the concrete texture of the days when Bunin and Vera Muromtseva spent on their “first distant voyage and honeymoon, which was at the same time a pilgrimage to the Holy Land of Our Lord Jesus Christ” (“The Rose of Jericho”). The article also shows how the immediate impressions of that journey are reflected in Bunin's works and what traces it left in his artistic and personal outlook. The research differs from many studies on the Oriental theme in Ivan Bunin's oeuvres by being primarily biographical and factual in nature.
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Zakruzhnaya, Zoya S., Oleg A. Korostelev, and Maxim A. Frolov. "I. A. Bunin’s Notes and Extracts in View of an Academic Omnibus Edition." Herald of an archivist, no. 1 (2018): 65–73. http://dx.doi.org/10.28995/2073-0101-2018-1-65-73.
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On the eve of his 150th anniversary, the archival heritage of I. A. Bunin is studied with great care; new materials are being introduced into scientific use; a source base for academic omnibus edition of the first Russian Nobel laureate in literature is being prepared; methods and principles for the publication of works of different genres (poetry, journalism, prose, and archival materials) are being developed. The article focuses on specific materials from I. A. Bunin’s archive, so far little-studied, — odd notes, extracts, and marginalia in books and newspaper cuttings. Bunin left many such records on the books given to him, on the magazines read, on the newspaper clippings sent to him, etc. And many of them are of significant interest for researchers. The corpus of these materials happens to be segmented, as the rest of I. A. Bunin’s archive is; parts are deposited in the Leeds Russian Archives in the University of Leeds (Leeds, Great Britain), in the Department of Manuscripts of the A. M. Gorky Institute of World Literature of the Russian Academy of Sciences (IMLI RAN), in the Russian State Archive of Literature and Art (RGALI), in the fonds of the I. S. Turgenev Oryol State United Literary Museum, as well as in several archives in Western Europe and in the USA, in university, federal, and private collections. All Bunin's handwritten notes fall into the following three types of materials: (1) marginalia in books; (2) marginalia in newspaper and magazine clippings; and (3) odd notes not included in notebooks. Of greatest interest are Bunin's marginalia on cutting from newspapers and magazines. Bunin closely followed all responses to his work, collected clippings and stored them in a trunk, a ‘clippings trunk,’ as he called it. It is more important, however, to divide of the array of notes by their content: (1) quotations; (2) refinements and arguments; (3) assessments and opinions. Marginalia containing refinements and arguments, as well as those containing assessments and opinions, are extremely important. Some remarks clarify Bunin's artistic opinions, others offer corrections, clarifications, comments on his own or others work, or on epoch itself, yet other reveal particularities of the artistic conception. Bunin's assessments and comments clarify his literary and public position, providing wide context necessary for understanding the writer’s individuality. The article sets up a research problem — how to introduce this corpus of materials into scientific use and on what principles to prepare them for publication.
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Dvinyatina, Tatiana M., and Sergey N. Morozov. "Ivan Bunin on the Way to Palestine (1889–1903)." Literary Fact, no. 24 (2022): 54–63. http://dx.doi.org/10.22455/2541-8297-2022-24-54-63.
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Journeys to the Middle East occupied a special place in the life and works of Ivan Bunin. His journey to Palestine in the spring of 1907 was of central importance to him. However, this journey had a long pre-history in Bunin's life. This article tracks the development of Bunin’s idea of distant voyages, the significance of the Crimea and Odessa in his life and perception of the world. From there began routes to distant lands, and the first for Bunin was his journey to Constantinople in the spring of 1903. The materials of the research includes biographical and documentary evidences.
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Liu, Yuanyuan. "The acceptance of I.A. Bunin in China in the context of ideological direction." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 444–48. http://dx.doi.org/10.22363/2312-9220-2019-24-3-444-448.
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The disagreement between liberal and communist ideological doctrines had a direct impact on the reception of I.A. Bunin's works in China. Having rejected the left ideology, the Chinese community rethought the work of many foreign classics, including Bunin. Liberal ideology has changed, among other things, ideological views on literature, helped by acquaintance with the latest theoretical studies of Western literature. This aroused a natural interest in perceiving the creative heritage of Bunin in China, and made it possible to look at many of its aspects in a new and deeper way. Hereby, this article analyzes the influence of political ideologies on the reception of Bunin’s works in China.
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Do, Thi Huong. "The Perception of I.A. Bunin’s Work in Vietnam." Russian Journal of Vietnamese Studies 5, no. 4 (December 15, 2021): 131–47. http://dx.doi.org/10.54631/vs.2021.54-131-147.
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Ivan Bunin was the first Russian writer, who won the Nobel Prize in literature. However, Vietnamese readers knew him rather late: it was in 1987 that stories by the famous master of artistic language were translated into Vietnamese for the first time. So, as compared with other Russian classics, the history of perception of Bunin's work in Vietnam is not very long. His works are still little-known to a broad readership, but at the same time, the writer managed to gain recognition by elitist Vietnamese reader. This article analyses the features of perception of Ivan Bunins work (on the whole, his stories) in the elitist Vietnamese readership, from the time of publication of his stories in Vietnamese up to 2019. The basis of the analyses are articles and researches on the writers work, including senior theses and masters theses by graduates of higher education institutes, as well as Bunins works translations into Vietnamese.
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Zhatkin, Dmitry N., and Nikolay L. Vasilyev . "A forgotten poem by I.A. Bunin." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2021): 133–37. http://dx.doi.org/10.20339/phs.1-21.133.
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The article introduces into scientific circulation a poem which was not included into the collected works of I.A. Bunin (1870–1953) and in the reference and bibliographic literature about the writer’s creative work: “Deaf Anxiety — how hard you hurt me!..”, published under his name on July 2, 1896 in the newspaper “Odessa news” — among two other well-known works of the poet: “The Tide (Dedicated to. A.M. Fedorov)”, “From Petrarch”. This poem was probably written in Odessa, where Bunin stayed for a few days at the dacha of his friend, the poet, translator, and journalist A.M. Fyodorov (1868– 1949), who helped to published Bunin's poems in three issues of the “Odessa news” (1896. June 16, 23, and July, 2). Both writers were fascinated at this time by the creative works of the Italian poet A. Nеgri (1870–1945) and tried to translate them with the help of their friends who knew Italian. However, there are no direct comparisons with the poetry of A. Nеgri in Bunin’s poem. Nevertheless, understanding of the poetics of the forgotten classic poet helps to clarify the evolution of Bunin’s creative works, in particular to see elements of elegiac romanticism and presymbolism in his earlypoetry.
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Bakuntsev, Anton V. "“The Life of Arsenyev, of Course, Is Primarily Poetry”: Georgy Adamovich on Ivan Bunin’s Novel, 1929–1952." Literary Fact, no. 21 (2021): 304–25. http://dx.doi.org/10.22455/2541-8297-2021-21-304-325.
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The author expresses his heartfelt gratitude to the staff of the Russian State Archive of Literature and Art, as well as to S.N. Morozov (IWL RAS) and S.R. Fedyakin (Gorky Literary Institute) for their assistance in the preparation of the article. Abstract: The article uses the material of G.V. Adamovich’s publications in emigrant periodicals to address the problem of critical reception of I.A. Bunin’s novel “The Life of Arsenyev” in the late 1920s – early 1950s. Bunin in 1928–1939 published his novel in parts. At the same time, the appearance in the magazine “Sovremennye zapiski” (Paris) of each of the five books included in the novel and the release of individual book editions were preceded by the publication of fragments of “The Life of Arsenyev” in emigrant newspapers. This explains the relatively large 324 Литературный факт. 2021. № 3 (21) number of Adamovich’s responses to Bunin's novel. The critic did not let “The Life of Arsenyev” out of his field of view from the time of the publication of her third book in “Sovremennye zapiski” (1929) until the first complete edition of the novel was published in the New York Chekhov Publishing House (1952). The article traces how Adamovich’s attitude to Bunin’s work was adjusted over the years, and how, as a result, sophisticated pickiness was replaced by unconditional admiration. The empirical material is grouped taking into account the chronology of the publication of “The Life of Arsenyev”. The research methods used are the principle of historicism and comparative analysis.
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Lyubomudrov, Alexei. "“Everything simple and clear has been turned into incredibly complex by someone”. Correspondence between Leonid Zurov and Viktor Manuilov (1961 –1967)." Literary Fact, no. 16 (2020): 119–81. http://dx.doi.org/10.22455/2541-8297-2020-16-119-181.
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For the first time а complete correspondence between Leonid Zurov (1902 –1971), the writer of the Russian Diaspora, and Viktor Manuilov (1903 –1987), a famous literary researcher, is introduced into a scientific usage. The main theme of their letters is the problem of transferring to Russia Ivan Bunin’s manuscript and memorial heritage, of which Zurov became the owner. The publication clarifies the reasons why the long and hard negotiations ended without any success. It allows to define more exactly the details and circumstances of this case. The correspondence affects the names of many key figures of cultural life both of the Russian abroad and Metropolitan area. It characterizes those persons who actively supported the return of Bunin's legacy as well as officials who blocked the process. The material reflects the struggle of Russian writers, scientists, museum curators against the Soviet bureaucratic machine for which Bunin was always ideologically alien. It paints a picture of the public sentiment and the Soviet cultural policy of the 1960s. Some letters concern Zurov’s articles devoted to M. Lermontov as well as his work on the novel “Winter Palace”. The publication allows to clarify Zurov’s psychological portrait and to identify a number of significant episodes in the V. Manuilov’s scientific biography
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Ponomarev, Evgeny R. "“The Life of Bunin” and “The Life of Arseniev”: novel projections of biography and the mistakes they cause." Sibirskiy filologicheskiy zhurnal, no. 2 (2023): 124–38. http://dx.doi.org/10.17223/18137083/83/10.
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The paper offers a parallel reading of the book “Zhizn’ Bunina” (“The Life of Bunin”) by Vera Muromtseva-Bunina and the novel “Zhizn’ Arsenieva” (“The Life of Arseniev”) by Ivan Bunin. Numerous correspondences allow us to show the crucial role of the novel quotations in the biography composition. Detailed analysis of the text of the first chapter of “Zhizn’ Bunina” reveals all the sources of the biography: the autobiographical synopsis written by Bunin, sketches preserved in the archive after the writer’s death, oral stories by Bunin and his relatives, preserved in the memory of Muromtseva-Bunina, letters of the young writer published in the USSR, extremely rare extended autobiographical notes, the writer’s diaries, and, finally, the novel “The Life of Arseniev”. The autobiographical outline and the novel are recognized as major sources. Referring to the text of the novel, the biography “recodes” the novel narrative into a biographical one. The compilation structure of “Zhizn’ Bunina” is examined: the insertions of Muromtseva-Bunina’s “own text” are found to have an exclusively connecting character for different types of “other texts.” However, using the novel as a source for Bunin’s biography has resulted in a number of mistakes concerning the writer’s adolescent years. This paper provides a typology of mistakes and corrects the most important of them, as some of them continue to affect the scholarly narrative and biographical publications.
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Rozin, V. M. "Psychic trauma and a special plot of short stories as a result of the incompatibility of personality and culture (interpretation of a love-passionate plot in the stories of Ivan Bunin)." Voprosy kul'turologii (Issues of Cultural Studies), no. 8 (August 31, 2023): 631–42. http://dx.doi.org/10.33920/nik-01-2308-01.
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The article discusses the features of the love-passionate plot in the stories of Ivan Bunin. The question is raised why Bunin, describing the strange or immoral acts of the heroes, does not condemn them, and in general draws a bright, sometimes sad atmosphere. Analysis of L.S. Vygotsky’s short story “Easy Breathing” by Bunin allows us to express an idea about a certain strategy for building Bunin’s works. Based on this consideration, the methods by which Bunin achieves the effect of perception of the characters he needs are analyzed. There are three such techniques: the convergence of the actions and behavior of the characters with the life and breath of nature, the depiction of the life of the characters from the point of view that Bunin needs, and the endowment of the characters with personality traits that exclude ethical characteristics and problems. The scientific explanation of Bunin's artistic constructions is based on the analysis of mental trauma (caused by the departure of the first wife and the horrors of the revolution), artistic understanding of the events that interest the writer, and the peculiarities of the conceptualization of these events. In addition, it is proposed to take into account that Bunin began and became famous as a poet, and as a poet he composed his prose partly according to the laws of versification.
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Kovaleva, Tatiana. "THE MOTIF OF THE PRODIGAL SON IN THE PLOT OF IVAN BUNIN’S NOVEL THE LIFE OF ARSENIEV." Проблемы исторической поэтики 19, no. 2 (May 2021): 301–25. http://dx.doi.org/10.15393/j9.art.2021.9582.
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The article is devoted to the research of the reception and transformation of the subject of the Gospel Parable of the Prodigal Son in the novel The Life of Arseniev by Ivan Bunin. The key events in the Parable of the Prodigal Son are present in the structure of The Life of Arseniev: leaving the ancestral home — leaving God behind; temptations of the spirit and flesh, dissolute life, spiritual lust, spiritual death; confession; return to the ancestral home — return to God, to the Heavenly Father’s Home. Arseniev's departure from his ancestral home differs from the departure of the Gospel Parable’s hero, yet this event is one of the landmarks in the main character’s life path of life. Unlike the prodigal son, Aleksey Arseniev leaves his home seeking the highest meaning and purpose of life as the key aim; the sense of God’s presence had been present in his soul since his very childhood. However, the youthful thirst for glory and pleasures of life led Bunin's hero to the abandonment of the Heavenly Father and to immersion in sinful life. The tropes of sensuality, temptation, desire, degradation, sins, unfaithfulness, adultery are the key motifs in the description of the hero’s dissolute life. Arsenyev’s immoral life became the main reason for the damage to his relationship with Lika and her breakup with him. The most important events in the Gospel Parable of the Prodigal Son are repentance of sins, penance before his father and before God — these events appear in Bunin’s novel in an altered form. Since Arseniev did not experience deep repentance before God for his sinful youth, the resurrection of his soul and his return to the Home of the Heavenly Father were impossible. Bunin demonstrates that an entire life is required for the hero to experience true repentance and his final return to God, thus Bunin leaves Arseniev on the path to God. Scenes from the Gospel Parable of the Prodigal Son, such as departure from the ancestral home, dissolute life and spiritual death are recreated most completely in Bunin’s novel The Life of Arseniev; while repentance and return to God, which take up the remainder of the hero’s life, are described by the author in a complex altered form.
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Anisimov, K. V. "Bunin’s Chests: The Semantic Perspective of a Mundane Image." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 343–54. http://dx.doi.org/10.25205/2410-7883-2020-2-343-354.
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A number of observations provided by the given article are dedicated to a single element taken out of Bunin's plethora of mundane and routine things represented in his prose, i.e. chests and trinket boxes which are traced here in the perspective of symbolic and metaphoric potential of the author’s artistic writing, the ability of the latter to invest intensively the sense into a distinct object – a notion that may serve as a supplement to the mainstream and widespread concept of “enumerating”, cumulative tendency as a predominant in Bunin’s narrative. The reached result of the comparison of chests vs. trinket boxes contains the distinction between the two: whereas the former initiates the anamnesis, the latter – having no correspondence with natural proportions and size of human body – is located much closer to the memory as a spiritual phenomenon. “The Gentleman from San Francisco” is the first story to attract the primary attention. The text contains multiple mentioning of chests and suit-cases. The decisive scene in which both things are involved is the picture of the hero’s preparation for his last appearance among the high society he belongs to. Here, the anonymous gentleman is presented against the background of cases standing wide open in the middle of his room. A consumer transforms into a consumed – this is the inversion of traditional image that Bunin tries to convey to his reader, and this inversion is finally emphasized in an episode of hero’s body’s placement into the box in which English soda water used to be transported. Trinket boxes are pointed out as the second stage on the way of the author’s rethinking of this class of objects. The level of their symbolization now seems to be much higher – first of all because a trinket box yearns away from the “objective” predictability of a chest as an improvised and archetypal coffin compelling a reader to imagine the object of commemorative recreation in a more allegorical and metaphoric way rather than literally and corporally as it was in case with the chests. The primary source for the analysis now is Bunin’s short story “The Grammar of Love”. Its relations with “The Gentleman from San-Francisco” are traced along the leitmotif line of a discovery (“otkrytie” as “discovery”) that contains the sense of a fruitful geographic journey (it’s justly that both stories are travelogues), opening of the trinket box itself (“otkrytie” as “opening”) and revelation as a final result of the entire voyage (“otkrovenie” as “revelation”). What in “The Grammar of Love” becomes a successful embodiment of this mo- tif chain and supplies the plot with the quality of a cycle that leads the main hero right to the point of his psychological rediscovery of himself, in the later story “The Gentleman from San-Francisco” seems to be totally impossible. For the anonymous gentleman the prospect of his revival looks to be closed from the very beginning. In the concluding part of the paper the author basing on the works by Aleida Assmann, develops the idea of projecting Bunin’s im- ages of chests and trinket boxes onto the broad European context. The modern science that deals with the commemorative experience of culture, its practices and representations, has accumulated plenty of data relating to that kind of objects (boxes, chests etc.) as reservoirs of human memory. Their role in Bunin’s poetics is still underrated. However the true meaning of these, at first glance, basically external and unnecessary elements of a narrative is really significant. The author of the article presents a blueprint of possible interpretation of these images in Russo-European comparative perspective.
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Ponomarev, Evgeny R. "Genre Genesis and Plot Theory of Ivan Bunin’s Early Prose." Studia Litterarum 7, no. 4 (2022): 178–93. http://dx.doi.org/10.22455/2500-4247-2022-7-4-178-193.
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The article deals with the main texts of Bunin’s early prose in terms of genre classification and genre genesis. The author of the article singles out initial prose genres with which the young Bunin works and raises the question of the genesis of Bunin’s prose. The author believes that the newspaper work and the periodicals style influence early Bunin’s texts. The plots of Bunin’s early prose also use essay constructions. The special investigation helped to build a typology of plots in Bunin’s early prose. Since the mid-1890s, Bunin’s prose becomes more complicated: the writer is looking for ways to overcome the limitations of the essay forms. In the stories Uchitel’ (Teacher) and Na dache (At the Dacha), the essay poetics is complicated by genre scenes, the abundance of characters and their detailed portrayal, and the strengthening of the novelistic elements. The author considers the story Bez rodu-plemeni (Rootless) to be transitional to the new principles of poetics: it uses a number of new techniques developed by Bunin in his further work.
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Dvinyatina, Tatiana, and Sergey Morozov. "Ivan Buninʼs prose works. An approach to the choice of copy texts for a critical edition." Literary Fact, no. 16 (2020): 68–79. http://dx.doi.org/10.22455/2541-8297-2020-16-68-79.
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This article discusses the choice of copy texts to serve as the basis of a critical edition of Ivan Bunin's prose works. The issue of choosing copy texts has been most thoroughly dealt with in regard to Bunin's poetry, while the text criticism of his prose works is still at an early stage. The multiple stages Bunin's works went through both before and after their publication require methods of presenting his texts to be elaborated which take into consideration both his own work on them and their impact on literary history and on contemporary readers and critics. The present article embodies a first general approach to this subject and outlines a variety of possible solutions to the problems raised. Four groups of Bunin's prose works are examined — those from his early, pre-revolutionary and émigré periods, and those he left unpublished — and an approach to choosing copy texts for each group is explained. A suitable volume structure in a future critical edition of Bunin's works is described. Problems posed by the correct dating of Bunin's stories are analyzed in relation to their chronological position within a future critical edition and the choice of copy texts for them. The basic principles underlying the choice of copy texts of Bunin's prose for a complete scholarly critical edition of his works are presented in conclusion. The article emphasizes that it is impossible to fulfill the last creative will of the author due to the incompleteness of his work with his legacy (selection of works for future editions, uncoordinated editing).
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Ponomarev, Evgeny R. "“Letters from Nature”: Autobiographical Material in the Early Prose of Ivan Bunin." Studia Litterarum 8, no. 3 (2023): 148–67. http://dx.doi.org/10.22455/2500-4247-2023-8-3-148-167.
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The article reviews the traditional point of view about the immaturity and inconsistency of Ivan Bunin. On the basis of the new materials (complete corpus of Bunin’s early prose collected by the Bunin group of IWL RAS), the author claims that there are just a few literary clichés in the Bunin’s works of the late 1880s – early 1890s. Young Bunin is relieved of them by “writing from nature,” i. e. live sketches, genre scenes, accurate recording of conversations. Autobiographical material was one of the most important components of the technique “letter from nature,” i. e. the depiction of the relatives as special “types” (more in the Turgenev’s manner than in narodnik sociological plan), as well as the sketches of his own childhood, transformed love stories, etc. After citing examples of autobiographical material in Bunin’s early prose and considering the methods of its use in the texts, the author comes to the conclusion that Bunin’s early work is deeply independent, and Bunin’s “natural” poetics, formed in the first decade of his writing, influenced his poetics in the future.
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Dvinyatina, Tatiana M. "Literary Circle of the Poet I.A. Bunin in 1895–1900." Studia Litterarum 8, no. 3 (2023): 126–47. http://dx.doi.org/10.22455/2500-4247-2023-8-3-126-147.
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This article traces the history of the formation of Ivan Bunin’s poetic circle during the first years of his metropolitan literary career: from his first visit to Moscow in early 1895 to the time when he was preparing his key collection of poems, “Autumn” (1901). Those were the years when Bunin established contacts with the senior symbolists Konstantin Balmont and Valeriy Bryusov, made the acquaintance of Chekhov and Gorky and became friends with Aleksander Fedorov, Aleksander Kuprin and the members of the Fellowship of South Russian Artists, some of whom influenced the young Bunin’s literary work. By the beginning of the 1900s Bunin had formed links which subsequently strengthened with the Moscow Literary Circle, which included poets and writers from various movements, and the “Parnasus” association, which from 1899 was renamed “Wednesday” and included poets and writers of a non-symbolist tendency, among whom Bunin’s literary biography moved forward. Particular attention is paid in the article to the mutual influence between and textual echoes in Bunin’s poems and those of symbolists, which have to be taken into consideration in the scholarly annotations to the recently launched first complete edition of Bunin’s works.
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Nikolina, N. A. "Expressive Derivational Means in Ivan Bunin’s Prose (To the 150th Anniversary of the Birth)." Russian language at school 81, no. 6 (November 19, 2020): 57–62. http://dx.doi.org/10.30515/0131-6141-2020-81-6-57-62.
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The author introduces the expressive potential of derivational means in Ivan Bunin’s prose. It is noted that the writer consistently avoided occasional word formation. Innovations in his works are potential in nature and few in number. The study is aimed at identifying expressive derivational means and determining their functions in the prose of Bunin. The resources were analysed with descriptive and structural-semantic methods. The author distinguishes the groups of derivational means significant for Bunin’s idiostyle: complex adjectives and adverbs with a trope component in their composition, folk etymological formations and expressive derivational dialectisms. Morphemic repetition is considered as essential for Bunin’s prose. It performs the intensifying-distinguishing and text-forming functions and serves to deploy a certain motif and theme as well as to create a word picture. Actualisation of derivational relations in Bunin’s prose reveals the implied sense of the text.
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Dvinyatina, Tatiana Mikhailovna. "POETRY AND PROSE IN I. A. BUNIN’S BOOK THE TEMPLE OF THE SUN." Russkaya literatura 4 (2022): 185–97. http://dx.doi.org/10.31860/0131-6095-2022-4-185-197.
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Drawing on the contents of Bunin’s book of poems and travel sketches, The Temple of the Sun (1917), this article analyses the relationship and mutual influence of poetry and prose in his writing. At the upper level, it is a matter of direct textual repetitions and visual parallels in the registers of prose and poetry in Bunin’s presentation of identical impressions he received during his journeys through the Middle East. At the same time, particular attention is paid to the functional retargetting of artistic techniques: to the «prosaic» nature of Bunin’s lyrics and his adoption in prose of methods of expressing the author’s attitude and of describing things that are traditionally associated with poetry. This mutual penetration of the poetic and prosaic domains is explained by the special features of Bunin’s personal outlook, according to which all verbal creativity had its source in the element of life he regarded as poetic.
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Ponomarev, Evgeny R. "I.A. Bunin and V.N. Muromtseva-Bunina on the Pages of the “Novyi Zhurnal” / “The New Review”." LITERARY FACT, no. 1 (27) (2023): 258–68. http://dx.doi.org/10.22455/2541-8297-2023-27-258-268.
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The article presents an analysis of the publications of I.A. Bunin and V.N. Muromtseva-Bunina on the pages of the “Novyi zhurnal” (“The New Review”) for its entire history. It turns out that there were significantly more posthumous Bunin’s publications in this edition than lifetime ones. The author sees in this fact the project of V.N. Muromtseva-Bunina, dedicated to the memory of the “eternally living husband”: Bunin remained the main author of the journal for several decades after his death. While sorting through her husband’s archive, the widow began regularly publishing previously unknown prose in the “Novyi Zhurnal,” as well as poems (both never published and thoroughly forgotten). The project was continued by the inheritors of Bunin’s widow, namely L.F. Zurov and M.E. Green. Semantically close to Bunin’s series was the publication of autobiographical essays by V.N. Muromtseva- Bunina “Conversations with Memory,” dedicated to her life together with Bunin. This broadest Bunin context, deployed on the pages of the main journal of the post-war Russian emigration, could be explained with the special situation that had developed in emigrant journalism. Muromtseva-Bunina was interested in constantly receiving author’s fee and tried not to miss a single volume, and the journal wanted to continue printing in the first place the well-known classic of Russia abroad. “Novyi Zhurnal” remained a “Bunin’s journal” until the mid-1970s (or if we talk about the regular publication of Bunin’s literary texts until 1969) and extended Bunin’s writing life for almost 20 years.
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Reznichenko, N. A. "When ‘history belongs to a poet…’ Ivan Bunin’s Cursed Days [Okayannye dni]: A chronicle or a myth?" Voprosy literatury 1, no. 1 (February 20, 2020): 200–219. http://dx.doi.org/10.31425/0042-8795-2020-1-200-219.
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N. Reznichenko’s article centres on I. Bunin’s Cursed Days [ Okayannye dni ] as a chronicle of the 1917 Russian Revolution that also takes into account works by Bunin’s predecessors and contemporaries. The author argues that Cursed Days seems to be an attempted verification of history, written in the genre of a writer’s diary with an ambition to pass for a historical record. The analogy with the chronicler author is reinforced by Bunin’s quotations from Russian fundamental historical research typified by the chronicler style (V. Tatishchev, V. Klyuchevsky, S. Solovyov, and N. Kostomarov) as well as journalistic works by Russian writers and politicians who represented the major movements in 19th-c. Russian political thought. In his pursuit to recreate the post-revolutionary atmosphere, Bunin frequently intersperses his narration with contemporary journalistic publications, including Bolshevik newspapers. Bunin’s rich chronicle-like narrative not only runs alongside the artistic depictions, but effortlessly blends with them, making Cursed Days a unique combination of a historical record and a work of literature.
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Kara-Murza, Alexei A. "Ivan Bunin’s Capri Island." Russian Journal of Philosophical Sciences 63, no. 6 (September 1, 2020): 110–32. http://dx.doi.org/10.30727/0235-1188-2020-63-6-110-132.
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Berdnikova, Olga A. "On the Poetics of Titles in I. A. Bunin’s Poetic Heritage." Izvestia of the Ural federal university. Series 2. Humanities and Arts 22, no. 4 (202) (2020): 238–55. http://dx.doi.org/10.15826/izv2.2020.22.4.074.
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This article considers I. A. Bunin’s poetic oeuvre from the point of view of title poetics in order to identify the main patterns and author’s strategies in working with the title complex. The methodology is based on the correlation of the title with the text, subtext, and metatext of the poem, taking into account textual refinements. In Bunin’s principle of working with the title complex, there is a noticeable striving for accuracy and at the same time for a metaphorical semantic comprehensiveness that includes existential, natural, and cultural constants. Thus, the main features of Bunin’s poetics of titles are changes in the titles of one text, removal of titles and dedications, repetition of titles in two or more poems, combination of the theme and genre in a number of titles, and the addressing factor. In recurring titles, the researcher finds key images of Bunin’s poetry that include him in the Russian poetic tradition. However, a tendency to modernism is also noticeable in Bunin’s poetry in the titles of poems that contain Bunin’s philosophical and poetical reflection. The titles of such poems refer to the theme of death and often contain the words “grave” / “tomb”, but the text of the poem enters into an antinomic relationship with the title, i.e. a person belonging to the “world of art”, culture, and tradition (myth and religious tradition) has already ascended over the world and is doomed to immortality. The removal of titles as a strong position in texts on political topics shifts the reader’s attention from the temporary to the eternal and metahistorical, which is found in the text itself and clarifies the author’s position.
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Selemeneva, Olga A. "Textual connections of the mythonyms in I.A. Bunin’s poetry." Russian Language Studies 22, no. 1 (June 4, 2024): 103–16. http://dx.doi.org/10.22363/2618-8163-2024-22-1-103-116.
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The question of the textual functioning of mythonyms in the poetic heritage of I.A. Bunin is raised. The relevance of the topic is due to the interest of linguists in the problem of artistic text-building, in particular the author’s preference in vocabulary selection, as well as the unresolved issue of modeling Bunin’s onomasticon. The purpose of the study is to describe the textual connections of mythological names, through which meaningful and conceptual information is explicated and a subtext is formed. The research material included the scientific edition (by Professor T.M. Dvinyatina) of I.A. Bunin’s poetry, from which 272 units were extracted by continuous sampling. The factual material was systematized and interpreted with the descriptive, taxonomic, quantitative methods, contextual analysis, modeling. Standing out against the background of different layers of the Bunin’s vocabulary, mythological names interact with each other, with other semantic subgroups of onyms, appellatives, attributive and verbal vocabulary. The author notes that mythoanthroponyms and theonyms have the richest syntagmatic connections. Contextual synonymy is found in demononyms, mythoanthroponyms, mythopersonyms, mythoponyms and theonyms; and contextual antonymy is found in mythoponyms and mythopersonyms. The intertextual nature and the precedent level determine the associative connections of Bunin’s mythonymicon units. It is concluded that the textual functioning of mythonyms is determined by I.A. Bunin’s intention to overcome the particularization of cultural worlds and create such an individual author’s mythopoetic space where images and plots already familiar to readers are constantly enriched with new meanings. The prospects of the work include the study of Bunin’s prose mythonymicon and the textual connections of mythonyms in it, which will allow to create a consistent onomastic model of Bunin-writer.
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Kiseleva, Larisa Ayratovna, and Zarrina Vladislavovna Todosienko. "Functional semantics of emotive units in A. P. Chekhov’s and I. A. Bunin’s prose: The general and the specific (based on the material of the microfield “Grief”)." Philology. Issues of Theory and Practice 17, no. 5 (May 14, 2024): 1431–36. http://dx.doi.org/10.30853/phil20240207.
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The aim of the study is to represent the general and distinctive features of functional semantics of emotion nominations in A. P. Chekhov’s and I. A. Bunin’s prose on the example of grief emotives. The article highlights the most important aspects of the given emotion, verbally represented in both writers’ prose; syntagmatic and paradigmatic connections of grief emotives are analyzed and, on this base, the most significant contextual meanings of these lexemes are defined, which are actualized in the considered works. The scientific novelty of the conducted study is that it offers the first comparative analysis of emotive lexemes in A. P. Chekhov’s and I. A. Bunin’s prose from the point of view of functional-semantic similarities and differences of these units. The research established that both general and specific semantic characteristics of grief emotives are represented in A. P. Chekhov’s and I. A. Bunin’s prose works. The similarity of the functional semantics of these units is manifested in the fact that in both writers’ prose they are used for describing the characters’ inner state as well as for the emotional characteristic of the phenomena of the world, with the first case potentially representing a static or a dynamic aspect of the emotion. Furthermore, in Chekhov’s and Bunin’s prose the ambivalence of the grief condition is highlighted by means of hidden oxymorons. One of the specific features of the functional semantics of grief emotives in Chekhov’s prose is that the writer rarely uses authorial individual metaphors for describing this emotion, while in Bunin’s prose such expressive devices are quite vividly represented. The study also established that in Bunin’s prose the emotives of grief are actively used for the emotional characteristic of the phenomena of the surrounding world (first and foremost, light and sound).
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Demidova, Olga R. "I.A. Bunin: (in)variants of the memoir image." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2021): 106–12. http://dx.doi.org/10.20339/phs.4-21.106.
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The paper based on a substantial number of émigré ego-texts (memoirs, diaries, and letters) deals with the invariant paradigm of I.A. Bunin’s image represented in them. Relying on the undertaken analysis, the author argues that the said invariants are structurally organized on two levels based on different criteria. The first level differentiating between the existential and the artistic, presents the invariants “Bunin the man” and “Bunin the writer”, the latter constructed on the juxtaposition of the public and the private, the outer and the inner selves. The second level, actualizing the aesthetic and the artistic, juxtaposes the traditional and the modern, realism and modernism as the criteria of evaluating Bunin’s personality. In the majority of the texts Bunin is associated with the past and gone cultural and literary tradition, the authors of the said texts treating this fact as the cause of Bunin’s personal and artistic tragedy. On the other hand, though, Bunin’s personality and artistic standpoint is regarded by all the authors as incomparable and unique, as well as his role in preserving the tradition in exile
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Dvinyatina, T. "Ivan Bunin’s Early Lyrical Poetry: Sources and Influences." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, no. 5 (2022): 5. http://dx.doi.org/10.31857/s160578800022740-0.
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This article traces the connection between Ivan Bunin’s early poetry and the Russian poetic tradition of the 19th century. Considering this topic has become particularly relevant at a time when the first critical edition of Bunin’s complete works and letters is under preparation at the Institute of World Literature of the Russian Academy of Sciences. The purpose of the present article is to trace the general direction and pattern of influence on the young poet of the Russian classical tradition (Pushkin, Lermontov, Fet, Tiutchev, Koltsov, Nadson, Pleshcheev, Yakov Polonsky, Apollon Maikov, Apollon Grigorjev, Baratynsky, Nekrasov, K.R. and others) and to relate them to Bunin’s views on poetry as they formed in the 1880s–1890s. The goal of future investigations will be to annotate the critical edition with concrete examples of this influence, not only by the widely-recognized and retrospectively canonized classics, but also by the popular poetry in magazines of the mid-late 19th century, which formed an organic part of the young Bunin’s reading and literary education.
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Anisimova, E. E. "“Tolstoys are Totally Different Matter...” A. K. Tolstoy in Bunin’s Experience of Historical Reflection: B. Genre Aspect of the Theme of Memory." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 371–84. http://dx.doi.org/10.25205/2410-7883-2020-2-371-384.
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The article deals with I. A. Bunin’s perception of the personality and works by A. K. Tolstoy. The key components of this reception are the system of philosophy of history views formulated by A. K. Tolstoy and his concept of historical memory. The belonging of the 19 th century poet to the large Tolstoy family was mythologized by Bunin and became a reason for understanding and determining the young writer’s own position in relation to each of the three writers: L. N. Tolstoy, A. K. Tolstoy and Bunin’s contemporary A. N. Tolstoy. The paper draws upon fictional and nonfictional documents by I. A. Bunin and A. K. Tolstoy. Bunin’s reception of the personality and artistic heritage by A. K. Tolstoy was determined by the history of his origin. The Tolstoy family attracted Bunin’s attention because it was an illustration of his own concept of the literary gift as a “family affair”. Leo Tolstoy enjoyed an undisputed genius and generally recognized family reputation. Aleksey N. Tolstoy’s biography, on the contrary, was ambiguous – the fact that inspired Bunin’s scandalous hints in his essay “The Third Tolstoy”. Aleksey K. Tolstoy’s biographical path of was also surrounded by similar rumors – but Bunin in his article “Inonia and Kitezh” prefers to keep silent on them. In the 1900s, A. K. Tolstoy appeared to Bunin as a rival poet, and in the eyes of Bunin’s contemporaries as the one of his main literary predecessors. Bunin’s poem “Kurgan” was a kind of poetic response to A. K. Tolstoy’s ballad “Kurgan” dedicated to the problem of historical oblivion. These works-doublets could serve as an illustration of one of the types of literary “revision” introduced by H. Bloom. Bunin developed the plot of A. K. Tolstoy’s “Kurgan” in the elegiac genre and demonstrated the value of the past in the present. Since 1918, Bunin’s perception of Tolstoy’s legacy has changed. A. K. Tolstoy’s views of the Russian history are publicly emphasized in the “Cursed Days”, “Mission of the Russian Emigration” and “Inonia and Kitezh”. According to A. K. Tolstoy, the historical catastrophe for Russia was programmed by “Tatar yoke”, which distorted the European character of the national culture and personality and later drove the nation to the particularly Asian, as Tolstoy thought, phenomenon of Ivan the Terrible. Borrowing some modern ideas from the natural sciences, Bunin transferred a number of A. K. Tolstoy’s observations into an anthropological sphere and pointed out specific signs of the “Mongolian” traces in Bolsheviks’ Russia.
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Zaytsev, Dmitry. "Sail in the Poetic Imagination of Ivan Bunin: The Dynamics of the Image." Stephanos Peer reviewed multilanguage scientific journal 56, no. 6 (November 30, 2022): 67–71. http://dx.doi.org/10.24249/2309-9917-2022-56-6-67-71.
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The article deals with the image of a sail and its evolution in the works of the poet. It is concluded that this image is an important marker of Bunin’s development as a poet; against the background of this image, Bunin’s work with the tradition of Russian romantic poetry of the 19th century, rapprochement with it and repulsion, is most clearly visible.
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Nikolsky, Sergey A. "IVAN BUNIN: PEERING INTO FACES (RUSSIA THE DAY BEFORE AND AFTER OCTOBER)." Verhnevolzhski Philological Bulletin 22, no. 3 (2020): 182–88. http://dx.doi.org/10.20323/2499-9679-2020-3-22-182-188.
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The purpose of the article is an attempt to study how the writer-philosopher Ivan Bunin saw the Russian person and Russia itself on the eve and after October, 1917. For this purpose, the author analyzed important features characteristic of a number of works of Bunin's artistic philosophy, which are concentrated in the journalistic essays «The Damned Days», the story «Village» and the autobiographical novel «Life of Arsenyev». In the article, Bunin's method of analysis is compared with the methods of analysis of his contemporaries – Anton Chekhov, Maxim Gorky and Andrei Platonov with Bunin's analysis: the manner of seeing a particular person is compared with the Chekhov's manner of a benevolent sad observer, confident in the inevitable immutability of what is happening, Gorky's sympathetic empathy for the persecuted, combined with an undisguised hatred of the persecutors, as well as a number of writing tools characteristic of Platonov's realistic phantasmagoria. It is shown that Bunin's manner of philosophical and artistic reflection, still poorly studied, allows the reflecting reader not only to see the characteristic human features usually hidden behind external actions, but also to perceive the writer's assessments and deep philosophical meanings reflected in them. Bunin's special writing style is not only a product of literary methodology. It is a unique way of perception and analysis of the surrounding world materialized in philosophical and artistic works, characteristic of a rare social type of artist – an aristocrat who valued honor and nobility above all else in Russian literature and disappeared after October, 1917.
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Tarasova, Nadezhda Ivanovna. "Nostalgic tonality of the source text as a translation problem (based on the material of the French translation of I. A. Bunin’s short story collection “Dark Avenues”)." Philology. Issues of Theory and Practice 16, no. 11 (November 17, 2023): 3924–31. http://dx.doi.org/10.30853/phil20230599.
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The research aims to determine the adequacy of the techniques of rendering nostalgization means into French in I. A. Bunin’s short stories included in the collection “Dark Avenues”. Nostalgization is recognized as the leading principle of the author-individual aesthetics of Bunin’s émigré creative work, the basis of his individual style. The work is based on an approach to the literary text as a carrier of the cultural potential of the language collective, of which the author is a representative, as well as on a holistic investigation of all elements of the literary text, which allows realizing the macro-meaning of the work. The research is novel in that it is the first to examine the translation aspects of the phenomenon of nostalgization in Bunin’s texts. The paper studies the means of rendering explicit and implicit culturally relevant components of the source texts as the most obvious markers of the writer’s nostalgia. The techniques of compensation and filling in cultural background lacunae and text lacunae are revealed, some cases where the national color of the Russian texts is lost are noted. The nostalgic tonality of the source texts is also represented by the means implementing I. A. Bunin’s poetic and philosophical principle of the importance of the sensory perception of life. The rendering of these means in the French translation is characterized by a high degree of adequacy. The results show that the problem of rendering the nostalgic tonality of Bunin’s short stories was solved in the French translation within the framework of a culturally oriented translation strategy. The main technique used was compensation, which is complex in nature.
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Maksimova, Elena. "Artistic Space in the Prose of Ivan Bunin." Recherches sémiotiques 35, no. 1 (August 20, 2018): 27–40. http://dx.doi.org/10.7202/1050985ar.
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Ivan Bunin occupies a unique place in the context of Russian literature. The following article demonstrates the relevance of Juri Lotman’s work on defining semiotic artistic space by examining Bunin’s modeling of the world and his construction of artistic space in his prose works. Special attention is paid to the semiosphere, its central mechanisms, and their realization in several of Bunin’s works, and especially the short story entitled “Horror Story”.
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Morozov, Sergey N. "Some Issues of Commenting Ivan Bunin’s Early Stories of 1887–1902." Studia Litterarum 8, no. 3 (2023): 194–213. http://dx.doi.org/10.22455/2500-4247-2023-8-3-194-213.
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The paper examines the principles and methods of commenting Ivan Bunin’s early fiction prose. It is pointed out that research into the type and level of completeness of scholarly commentaries on works of classics of Russian literature has been conducted for almost a century. The structure of the commentary in academic collections of Russian writers’ works is presented. The article offers a methodology of writing a commentary on the early literary prose of Ivan Bunin, while exploring the problems and questions that arise in the commentaries on the writer’s prose written for the future academic Complete Works and Letters by Ivan Bunin, the work on which has already begun. The principles of writing each section of the commentary for this scholarly edition of Bunin’s literary heritage are outlined: textual, historical-literary, and realhistorical ones. The latter section is presented in a more detailed structure of seven paragraphs. For each item, the paper provides several examples of commentary on specific realities from Bunin’s early stories. A separate section is devoted to linguistic commentary, for which several examples of commentary on particular regional words and folk expressions are also given. Thus, the commentary on Bunin’s prose should be comprehensive, combining with the greatest possible completeness all the necessary information about each work.
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Ndiaye, Iwona Anna. "Bunin in the Interwar Poland. A Failed Tour." Studia Litterarum 5, no. 3 (2020): 270–89. http://dx.doi.org/10.22455/2500-4247-2020-5-3-270-289.
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The following paper explores the reception of Ivan Bunin’s literary legacy in the interwar Poland. The question of how The Nobel Prize in Literature influenced the writer’s popularity in Poland. The main aim of this article is to analyze and characterize those circumstances, which became the reason for Bunin’s failure to visit Poland during his literary tour to the Baltic countries in 1938. Selected materials were taken from traditional card and online catalogues in the National Library of Poland and the University of Warsaw Library. They embrace the period from 1920 to 1940. The analysis, on the one hand, shows the problem of political relationships between the revived Polish state and young Soviet Russia and its role in the development of literary contacts in the interwar period. On the other hand, it allows us to draw conclusions about the political and literary dimensions of I. Bunin’s failed tour to Poland.
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Uralsky, M. "‘COULD YOU SEND ME THE PROOFS AS SOON AS POSSIBLE?’ IVAN BUNIN’S CORRESPONDENCE WITH VADIM RUDNEV IN 1933–1934." Voprosy literatury, no. 2 (September 30, 2018): 333–47. http://dx.doi.org/10.31425/0042-8795-2018-2-333-347.
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The paper tells the story of Ivan Bunin’s correspondence with Vadim Rudnev (dating from 1933-1934), managing editor of the Paris-based Russian émigré journal Sovremennie zapiski. Judging by the quoted letters, Bunin did not sever ties with the journal, despite what many researchers suggest; nor did he plan to snub the editors by refusing to send in new works. If we accept Bunin’s own words about his very fastidious approach to proofreading, it becomes clear why he barely published any new works in the period from 1934 to 1936. It was in those years that the Berlin-headquartered publishing company Petropolis printed his collected works in 11 volumes. It was to become Bunin’s last fundamental publication, comprising works entirely proofread by the writer himself. It is only natural that such a humungous effort had affected the ageing writer’s productivity, and Bunin simply could not generate new material for the journal.
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Dvinyatina, T. M. ""Outside the Walls of Zion Destroyed and Defiled": I. A. Bunin in 1917–1921." Russkaya literatura 3 (2020): 117–29. http://dx.doi.org/10.31860/0131-6095-2020-3-117-129.
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This article reconstructs the biographical canvas of Ivan Bunin’s life in 1917–1921. Both in the author’s works and in his life, there are clearly visible clashes and sharp changes of direction between the polarities of existence and life: complete happiness and despair, the collapse of his familiar world and hope for its rebirth through word. Bunin’s works in these years contain obvious allusions to Old Testament prophecies and psalms and to motifs from the Gospels
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Vinogradova, E. M. "The Figurative Structure of Ivan Bunin’s Story «The Snow Bull» («Snezhny Byk») (To the 150th Anniversary of the Birth)." Russian language at school 81, no. 6 (November 19, 2020): 63–73. http://dx.doi.org/10.30515/0131-6141-2020-81-6-63-73.
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The study involves a philological analysis of Ivan Bunin’s story and reveals its multilevel structure. The relevance of the study stems from a growing popularity of Bunin’s works among readers and investigators. Moreover, some of his texts are included in a set of testing and assessment materials for the Unified State Exam in the Russian language as source texts for writing composition. The study is aimed at clarifying and specifying the interpretation of the story based on linguistic analysis in terms of the writer’s biography and legacy. The author identifies the patterns of the lexical structure and composition of Bunin’s story, unfolding the text at the common level as well as at the symbolic one. The author focuses on the title character of the work, which is a counterpoint to psychological and moral-philosophical issues, as well as to other means of revealing subtext semantics. The research methodology involves lexical, intertextual and motif analysis; the research results are presented mainly using the method of linguistic commenting. The research outcomes embrace the philological results (interpretation of the story The Snow Bull, identification of the universal patterns of Bunin’s artistic style and dominants of his vision) and didactic findings (validation of such works as The Snow Bull as the examination material for the USE in the Russian language).
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Bogdanova, O. V., and Minjie Liu. "Anti-Easter Story by Ivan Bunin “Mowers” (structure, system of Images, “Russian Idea”)." Nauchnyi dialog 11, no. 7 (October 1, 2022): 266–83. http://dx.doi.org/10.24224/2227-1295-2022-11-7-266-283.
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A new interpretation of I. Bunin’s story “Mowers” (1921) is proposed. If Bunin’s traditionally “short” story is considered by researchers as a realization of the theme of the Motherland, love for the lost paradise on Earth, admiration and glorification of the Russian people, the work reveals other, essentially opposite intentions of Bunin’s text. It is shown that summing up the results of the first year of emigration formed complex and contradictory thoughts about Russia and its people in Bunin’s mind. It is shown that while recreating in the story what seems to be an uncomplicated memory of the meeting with the mowers and expressing delight over their heart-wrenching song, in fact Bunin is building a complex multi-tiered narrative system. It is noted that in this system, the outer layer of the narrative (a long-standing meeting with the mowers) is crowded by today’s reflection of exiled emigrants (Paris, 1921) and is symbolized by folklore ideas about fairy-tale Russia and its primitive mythology. It is proved that the intention of the author-narrator is focused not on admiration for the past and the lost (traditional perspective), but on antagonism and rejection of the old fairy tale, which, according to Bunin of the 1920s, has come to an end. The central motives of the story are rethought, the semantic recoding of the title image of the mowers is traced.
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Ponomarev, Evgeny. "The history of Russian literature of the 19th and the early 20th centuries according to Ivan Bunin (a page from the unpublished notebook)." Literary Fact, no. 16 (2020): 80–92. http://dx.doi.org/10.22455/2541-8297-2020-16-80-92.
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The article is a detailed commentary to a page from Ivan Bunin’s unpublished notebook (1944). The page lists the names of writers, poets, critics and publishers from the time of Bunin’s youth. According to the author of the article, this listing gives much more objective information about the influences on Bunin’s own early work recognized by himself than all autobiographical notes and memoirs published by the writer. The list of prose writers is dominated by Narodnik authors (he met many of them thanks to his brother, Yuly Bunin) and the writers close to them, who were considered “progressive”. In the list of poets, the authors of “pure art” are connected with the poets of “civil sorrow”, members of the Surikov circle and some senior Symbolists. The list of critics and publishers brings us back to populism. The article concludes that the list presents an attempt of an objective literary autobiography, in contrast to such official autobiographical texts as “Memoirs”.
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Barabash, Yurii. "BUNIN AND GOGOL: UKRAINIAN FACTOR, OR BETWEEN ORYOL REGION AND PROVENCE." Слово і Час, no. 4 (August 3, 2021): 3–22. http://dx.doi.org/10.33608/0236-1477.2021.04.3-22.
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The gap as long as several decades between I. Bunin’s different opinions of Gogol’s personality and writings — from youthful admiration and feeling of emotional and spiritual proximity to the confession of ‘hatred’ in a diary note of emigrant times — has been considered both as historical-literary fact and psychological mysterious phenomenon. The key problem determining the angle of an analytical approach to the topic is the role and significance of the ‘Ukrainian factor’ in Bunin’s biography and literary art, his interest and affection towards Ukraine, its people, nature, history, traditions, and culture, which was testified by the writer’s confessions and became the subject of research in the Ukrainian scholarly discourse and journalism (E. Malaniuk). In that light, the stories by Bunin based on his traveling around Ukraine, the parts of the novel “Аrseniev’s life”, memoir and epistolary materials have been analyzed in the paper. Special attention has been paid to Bunin’s tender attitude towards T. Shevchenko, his creative works and his personality. It was Shevchenko’s poetry as well as “A Terrible Revenge” and “The Old-World Landowners” by Gogol that revealed Ukraine to young Bunin, entering his conscience and creative imagination. As to the later Bunin’s negative attitude towards Gogol, the decisive factors were dissimilarity of both writers’ personal and psychological features and difference of their creative methods and poetics, connected with the change of historical and literary paradigm. In particular, Gogol was the forerunner to modernism from which Bunin stayed away.
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Korshunova, Evgenia Alexandrovna. "I.A. Bunin and S.N. Durylin: problems of creative dialogue." RUDN Journal of Studies in Literature and Journalism 24, no. 1 (December 15, 2019): 27–34. http://dx.doi.org/10.22363/2312-9220-2019-24-1-27-34.
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The article is devoted to the consideration of the creative connections of I.A. Bunin and S.N. Durylin (1887-1954). In modern literary criticism, the question of studying the creative connections of S.N. Durylin and I.A. Bunin is urgent, which was not touched upon by the researchers. Although Durylin does not belong to the writers of emigration, in Russia he almost immediately finds himself in internal emigration: art works and scientific works were not published. This brought him closer to Bunin’s position. First of all, Durylin is interested in Bunin’s story “The Village”, in which the “Russian question” is touched. But, if in the story “Village” the writer does not fully accept the Bunin idea of Russia as a country of the wild and primeval, then in the “Life of Arseniev” the model of Russian life recreated by the author finds a response in Durylin’s creative consciousness. In the memoir book “In his corner” the author recreates the immanent image of Bunin’s native land. Brings together the writers of the perception of the revolution of 1917 as a “breakdown”, a catastrophe, a lyric narrative, a structureforming function of memory. However, if Bunin’s pre-revolutionary pictures of Russian life are the center of the narrative, then Durylin serves as a background (and a window into an ideal past), the focus of writers’ attention is the post-revolutionary process of the death of the healthy beginnings of Russian life, embodied in the form of snow.
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Chernysheva, Veronika I. "K. R. (Grand Duke Konstantin Konstantinovich) – reviewer of Bunin’s early poetry." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (February 21, 2022): 68–71. http://dx.doi.org/10.18500/1817-7115-2022-22-1-68-71.
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The article deals with the critical review written by the Grand Duke Konstantin Konstantinovich Romanov on the third and fourth volumes of Ivan Bunin’s collected works. These two volumes were published by the publishing house “Znanie” partnership. The review was written on February 17, 1909 in the city of Pavlovsk. Its purpose was to pass a resolution on whether or not Bunin should be awarded the Pushkin prize. Analyzing the original poems and translations of the award nominee, the critic K. R. comes to the conclusion that they deserve an honorable mention, but they are not worthy of the award. Nonetheless, acting as a reviewer, K. R. himself remains primarily a poet of the “Fet school”. He mainly overcomes the boundaries of the artistic and aesthetic paradigm, which Bunin’s work no longer fits, according to his own observations. At the same time, he manages not only to sensitively grasp the features of the artistic world of Bunin’s poems, but also to give the readers of the highest review an opportunity to evaluate it. The review of Grand Duke Konstantin Konstantinovich is essential to understanding how Bunin’s early poetry was perceived by contemporaries in general, since K. R. himself entered literature as a poet only a little earlier than Bunin – in 1882. Just like Bunin, he considered himself a successor to the Pushkin tradition. Of his contemporaries, he valued Fet above all, and also considered Polonsky and Maikov to be his teachers. He published five collections of poems: Poems of K. R., 1886; New Poems of K. R. 1886–1888, 1889; The Third Collection of Poems of K. R. 1889–1899, 1990; Poems 1900–1910, 1911; In the Ranks. Poems, 1915. His literary and critical analysis of Bunin’s poetry is as biased as it is objective, not devoid of tendentiousness and at the same time it strives for completeness and detailed conciseness of analysis.
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Korostelev, Oleg. "“Vesty iz Passy”: Vera Bunina’s Handwritten Newspaper." Literary Fact, no. 1-2 (2016): 348–69. http://dx.doi.org/10.22455/2541-8297-2016-1-2-348-369.
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Bogdanova, O. V., and Z. Liu. "Intertext of Ivan Bunin's Story "Rusya"." Philologos 39, no. 4 (2018): 5–12. http://dx.doi.org/10.24888/2079-2638-2018-39-4-5-12.
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Morozov, S. N. "Bunin's Emigration: the Origins, Preconditions, Circumstances." Philologos 39, no. 4 (2018): 69–75. http://dx.doi.org/10.24888/2079-2638-2018-39-4-69-75.
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Selemeneva, Olga A. "I.A. Bunin’s poetic mythonymicon: connotative aspect." Russian Language Studies 19, no. 3 (September 28, 2021): 285–97. http://dx.doi.org/10.22363/2618-8163-2021-19-3-285-297.
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The article studies the system of mythological names in I.A. Bunins poetic heritage. The relevance of the topic is due to the unexplored problems of word-formation motivation, semantics, structure, and the role of mythological names in I.A. Bunins prose and poetic texts. The aim of the paper is to analyze the connotative potential of different-structured mythological names which are significant for the artistic system of I.A. Bunin. The actual material of the study contains I.A. Bunins poetic texts written in 1888-1952. The main research methods are descriptive, etymological, contextual, semantic methods, and structural analysis. The inventory of more than 700 poetic contexts of I.A. Bunin made it possible to identify 152 mythological names from various sources. The selected units were systematized on four features: semantics, etymology, structure, and frequency of use. The analysis of the connotative potential of some simple, composite and complex mythological names allowed to come to the conclusion that they accumulate additional emotional-evaluative, symbolic meanings. New combinations of meanings, qualitative and quantitative changes in the connotative content of mythological names are provided by the individual authors reinterpretation of primary sources, the complexity of motivational relations between producing units and derivatives, and the semantic environment of a particular unit. Mythological names are associated with the key motifs, themes, ideas, and value oppositions of I.A. Bunins picture of the world. The study of the features of the system of I.A. Bunins mythological names with the tools of linguistics and literary studies, philosophy, and cultural studies is one of the undoubted prospects of research.
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Nikolina, Nataliya A. "METALANGUAGE COMMENTS IN I. BUNIN’S PROSE." Bulletin of the Moscow State Regional University (Russian philology), no. 4 (2020): 35–42. http://dx.doi.org/10.18384/2310-7278-2020-4-35-42.
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Gerasimenko, Natalia A. "SYNTAX OF I. BUNIN’S DIARY RECORDS." Bulletin of the Moscow State Regional University (Russian philology), no. 4 (2020): 7–14. http://dx.doi.org/10.18384/2310-7278-2020-4-7-14.
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