Journal articles on the topic 'Russian fiction – 20th century'
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1
Bogoderova, A. A. "Temporary marriage as Russian literary pattern in the 19th – early 20th century." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 92–106. http://dx.doi.org/10.17223/18137083/72/7.
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The paper deals with the subject of temporary marriage between Russian sailors and Japanese women in fictional and non-fictional literature. The literary pattern of temporary marriage includes time limitation of the marriage, the language or/and cultural barrier and the man’s leaving at the end. The time limitation sometimes makes one or both spouses consider this marriage as legal, but “not true.” There are two main variants of the pattern in Russian travel notes of the 19th − early 20th century. The first is the positive one (A. Krasnov, D. Schreider, and N. Bartoshewsky). Both husband and wife are kind-hearted people, their family life is pure and real, although they do not entirely understand each other’s language. The second is the negative one (F. Knorring, D. Armfelt, G. de Vollan, and Vinogradov). Husband and wife are both pragmatic, rational, and cold, with the whole tradition turning into a sort of prostitution and insincere comedy. The plot variants, with one of the spouses being pragmatic, mercantile and cruel, and another loving, faithful, and suffering, are not common. Yuzhakov’s travel notes include such a rare case. The asymmetrical variant was more popular in Western fiction (Madame Butterfly). Russian fiction prefers the positive variant of the pattern. In short stories by D. Persky and M. Volkonsky, the authors transform the motives from Madame Chrysanthème by P. Loti and Madame Butterfly by J. L. Long by showing the Russians as noble people and achieving a happy end wherever possible.
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Shmelkova, Vera V., and Yelena V. Makarova. "Semantic changes of the word “home” in the Russian language of the first decades of the 20th century." Russian Language Studies 20, no. 4 (December 15, 2022): 467–82. http://dx.doi.org/10.22363/2618-8163-2022-20-4-467-482.
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The relevance of the study is determined by the necessity to identify semantic changes of the word “home” in the social consciousness associated with historical, cultural, social, political and economic transformations. This authors describe and analyze the semantic changes of the word “home” in the social consciousness of the Soviet Russia and the Russian diaspora abroad in the first three decades of the 20th century. The purpose of the study is to reveal the semantics of the word “home” in the first three decades of the 20th century through the ana-lysis of fiction texts of that time. For this purpose, a complex methodology for analyzing vocabulary was used, including the descriptive method based on the analysis of dictionary definitions, linguo-stylistic analysis of fiction texts. The research material includes dictionary definitions of the word “home”, represented in the basic explanatory dictionaries of the 19-20th centuries and dictionaries of modern times, fiction and memoir texts. The novelty of the presented data lies in the fact that the analysis of the semantic changes of the word “home” is for the first time carried out in order to compare individual sections of the linguistic picture of the world of Russian speakers in Russia and in emigration against the backdrop of the revolution and in the first post-revolutionary decades. The linguistic reflection of this key concept of Russian linguistic culture at the junction of the two historical eras - pre-revolutionary and post-revolutionary - is socially conditioned and presented as a turning point in fiction and memoirs of the first half of the 20th century. Further study of the semantics of the word “home” is supposed to be connected with the observation of the language of the late 20th - early 21st centuries.
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Malykh, Vyacheslav Sergeevich. "RUSSIAN AND AMERICAN HORROR FICTION AS A GENRE, CREATIVE WRITING AND EDUCATIONAL PHENOMENON: A PROBLEM STATEMENT." Russian Journal of Multilingualism and Education 11, no. 1 (December 15, 2019): 63–69. http://dx.doi.org/10.35634/2500-0748-2019-11-63-69.
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Although the genre of horror has gained an extraordinary popularity in contemporary literature, it still raises controversy among specialists. The situation in Russia is especially complicated. Until the beginning of the 20th century, Russian horror fiction used to develop concurrently with the evolution of horror genre in the U.S., but after the revolution of 1917 and until the late 1980s this tradition was interrupted in Russia. Therefore, nowadays the question “What is horror fiction?” is unclear for Russian philologists, the question “How to write horror fiction?” is unclear for Russian writers, and including the horror genre in literature syllabus is regarded by Russian professors and teachers as a forbidden topic. The situation is different in the United States where a long-standing tradition of interpreting the category of the horrible has been created. Modern American scientists, philosophers, writers and educators agree that horror fiction in its best manifestations touches upon essential problems of a human soul. It allows to exert a powerful positive influence on the formation and development of a personality. Throughout the 20th century, the genre of horror was systematically evolving in the U.S., and as of today, it is American horror fiction that sets the standards of the genre all over the world. The aim of this research is to describe horror fiction as a dynamically developing genre from three points of view: 1) through comparative and genre analyzis of horror fiction in the U.S. and Russia; 2) by studying narrative strategies which are used by horror writers in the U.S.; 3) by surveying principles of teaching the horror genre in an American multicultural educational environment. After experiencing decades of oblivion, the genre of horror can revive in Russia thanks to the critical mastering of the U.S. experience, where the genre tradition has never been interrupted. A list of bibliography is attached to help beginner researchers with their study of the subject.
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Khoruzhenko, Tatiana I. "“Martian” Novels in Russian Science Fiction in the Early 20th Century." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 44–56. http://dx.doi.org/10.15826/izv2.2022.24.2.023.
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This article presents an attempt to consider the formation of the “Martian” text in Russian literature during the Silver Age. The author studies three novels about trips to Mars (On Another Planet by P. Infantiev, On a Neighboring Planet by V. Kryzhanovskaya, Red Star by A. Bogdanov) published in Russia from 1901 to 1908. The aim of the study is to identify the main stable elements of the structure that appeared in all the three novels. The author employs methods of comparative historical analysis. All the three novels are compared with each other and placed into the context of the mystical, utopian, and scientific searches of the epoch. The author identifies common elements of the structure of the narrative in the three texts (the composition consists of three parts: description of life on Earth — flight to Mars — return) and plot (interaction between earthlings and Martians, the idea of Martians as older comrades, a love story of a Martian and an earthling). It was also possible to trace the correlation of the three novels with the utopias of place and time and find out the influence of life-creating strategies that were popular in the Silver Age. The article examines the influence of the “Martian” text which emerged at the beginning of the century on Soviet science fiction starting with A. Tolstoy’s Aelita and ending with the novels of 1960s–1980s. As a result, the author concludes that the “Martian” text of the early twentieth century laid down the main questions about interaction with the inhabitants of other planets, the possibility of colonization, and the price that one must pay for the contact with other worlds. Soviet science fiction searched for answers to them.
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Moiseev, Petr A. "Russian Detective Studies in the First Half of the 20th Century." Studia Litterarum 7, no. 1 (2022): 40–69. http://dx.doi.org/10.22455/2500-4247-2022-7-1-40-69.
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The article examines the works of Russian literary critics of the first half of the 20th century, such as K. Chukovsky, V. Bryusov, V. Shklovsky, E. Lann, N. Berkovsky, E. Vinaver, S. Eisenstein. The author considers Shklovsky’s article “The Novella of Mysteries,” notes its advantages and disadvantages (in particular, indicates the absence of definition of mystery, which is the central concept in the article, as well as Shklovsky’s mixing of the genres of detective story, Gothic novel, sensational novel, etc.). The author indicates advantages of Berkovsky’s note “About the Soviet detective fiction,” in which the example of the novel by A. Tolstoy “Hyperboloid of the engineer Garin” indicates what what is not typical for detective story. The author demonstrates how Eisenstein created a comprehensive and elaborate theory of the detective genre; in particular the understanding of the famous director of the genre specifics (almost complete impossibility of connection between detective genre and “serious” content) and his reference to the detective story as an example of the need for the artist to “always know the station to which you hold the way.” The article is the first detailed analysis of the works of Russian researchers of detective fiction.
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Yudina, Natalia. "Terminology of kinship relations in the Russian language discourse of the 21st century." Przegląd Wschodnioeuropejski 8, no. 2 (November 1, 2018): 255–61. http://dx.doi.org/10.31648/pw.3584.
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The paper reveals the peculiarities of the functioning of kinship relations terminology in Russian language discourse of the 21st century. The review of subject-oriented scientific literature and discourse use of relationship terms in fiction and mass media of the 20th – 21st century makes it possible to distinguish several tendencies in the functioning of relationship nominations in the Modern Russian language. They are characterized by interdisciplinary and synergetic features and demonstrate the unity of genealogical, mental, social, cultural and linguistic processes and principles typical for a modern Russian society.
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Klafkowski, Piotr. "Citizen of the universe. Konstantin Tsiolkovsky’s cosmic philosophy and science fiction." Studia Rossica Gedanensia, no. 4 (December 30, 2017): 335–60. http://dx.doi.org/10.26881/srg.2017.4.21.
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The paper discusses Konstantin Tsiolkovsky’s philosophy as it can be reconstructed from his writings of two kinds, the academic papers and the works generally, though not always correctly, classified as science fiction. It is stressed that Tsiolkovsky belongs to the large school of Russian philosophers known as the Cosmists, and he is placed within the group of 20th century academic-minded Cosmists. The first part of the paper reconstructs Tsiolkovsky’s cosmic philosophy on the basis of his philosophical works, which amount to half of his published works. The second part of the paper discusses all the works by Tsiolkovsky available in English under the science fiction label. The paper also contains comparisons of Tsiolkovsky’s views with the philosophicalreligious system propagated by Nicholas and Helena Roerich, known as Agni Yoga, and its ancient Indian roots. It is also mentioned that Tsiolkovsky played an important role in the development of the early Russian, or more properly Soviet, science fiction movies. The paper stresses that Tsiolkovsky always based his writings on solid scientific foundations, so that the label “science fiction” does not always apply to them.
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Malykh, Viacheslav Sergeyevich. "HYBRID SPECULATIVE FICTION AS A GENRE PHENOMENON IN MODERN LITERATURE OF THE U.S. AND RUSSIA." Russian Journal of Multilingualism and Education 14 (December 28, 2022): 79–85. http://dx.doi.org/10.35634/2500-0748-2022-14-79-85.
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The article is devoted to theoretical exploration of modern hybrid speculative fiction. This term comprises a huge body of creative works which are written at the intersection of genres related to speculative prose. On the one hand, hybrid speculative fiction is rooted in post-modern epoch, on the other hand, it returns to the principles of hybrid genre genesis, which flourished at the beginning of the 20th century. The tendency to genre eclecticism is a common feature of a great number of modern creative works and seems to be an efficient way out of conceptual crisis emerged in speculative fiction at the close of the 20th century, that is why the future development of speculative fiction is expected to be closely connected with the expansion of hybrid genre forms. The overall goal of the article is to scientifically comprehend hybrid genres in modern speculative fiction of the United States and Russia. The investigation of hybrid speculative fiction as a genre and cultural phenomenon leads to setting three goals. Firstly, it is necessary to determine genre taxonomy of such genres of traditional speculative fiction as science fiction, fantasy, and horror. Secondly, it is necessary to investigate genre-forming models, which underlie modern hybrid works. Thirdly, it is important to understand common features of the works of hybrid speculative fiction. The study of the genre interaction in modern speculative fiction is based on the descriptive and functional methods. The comparison of Russian and American works involves the use of comparative, typological and cultural-historical methods. Using the genre blocks common for both literary criticism, readers’ expectations and publishing practice, it is possible to identify such genre-forming models of hybrid speculative fiction, as: science fiction+fantasy; science fiction+horror; fantasy+historical novel; fantasy+postmodernist novel. It is also possible to sum up such common features of the works of hybrid speculative fiction, as: irrational world outlook; distortion of the very structural basis of traditional science fiction; shift of sociocultural model of world outlook; polyphonic principle of narration and potentially an endless unravelling of the plot without a pronounced climax; postclassical narrative model; the complexity of storyline. To conclude, modern hybrid speculative fiction can be treated as a separate literary and sociocultural phenomenon in the literature of the U.S. and Russia. It destroys inner canons of traditional science fiction, it is deeply influenced by post-modern cultural paradigm, and could be described as a significant cultural movement, which is aligned with demands and values of modern society.
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Korshunkov, V. A., and S. M. Ledrov. "FUR ANIMALS: CAT PELTS EXTRACTION AND PROCESSING IN 19TH AND EARLY 20TH CENTURY RUSSIA." Вестник Пермского университета. История 63, no. 4 (2023): 29–39. http://dx.doi.org/10.17072/2219-3111-2023-4-29-39.
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There were huge reserves of raw materials for the fur and leather industry in the territory of Russian Empire. The climate of Northern Russia and Siberia has also contributed to the development of this industry. The demand for its products has long been great among the population of Russia and abroad: “Russian fur” was exported to European countries and China. In addition to wild animals, domestic animal skins were also mined, collected, and processed. Harvesting and processing of cat pelts was common in the past. In the 19th and early 20th centuries, cats were caught, killed and processed precisely because of their fur. The paper presents a comprehensive analysis of previously undis-closed archival documents, statistical data, ethnographic materials, and descriptions of this business in journalism and fiction. The authors discuss the reasons for the emergence and development of the cat pelts processing business, as well as the extent of its spreading. The terminology used to refer to cat skinning and to the fur industry is analyzed. The main regions for harvesting and processing the raw materials in the European part of Russia, primarily Simbirsk, Nizhny Novgorod and Vyatka provinces, are identified, and the technology for cat pelts processing is described, along with the places where the ready-made cat pelts were sold. The authors clarify the export potential of such goods, particularly in Russia’s trade with China. The Nizhny Novgorod fair, where peltry (including cat fur) was being exhibited and sold, is given particular attention. The paper notes that due to its high demand, this business con-tinued to develop during the Soviet period, lasting until approximately the mid-20th century. The paper uses an an-thropological approach (and specifically a zooanthropological approach) to study the economic history and history of daily life. Attention is drawn to the changing attitudes towards domestic animals (in particular, cats) in Russia throughout the 20th century, from their pragmatic and utilitarian perception to their status as family pets in modern culture and society.
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Repina, Anastasija S. "Folk Adaptation of the Sentimental Romance by M. V. Zubova “I`m Going to the Desert." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 181–89. http://dx.doi.org/10.37816/2073-9567-2023-68-181-189.
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The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.
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Kisieliūtė, Ingrida. "Literature and Economics. Another Way to Read the Text." Respectus Philologicus 28, no. 33 (October 25, 2015): 31–40. http://dx.doi.org/10.15388/respectus.2015.28.33.3.
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At the end of the 20th century, the study of literature was supplemented by such new methods as biopoetics, geopoetics, new historicism, etc. The New Economic Criticism, a new approach to the literary text, was found in the United States in the late 20th century. The present article discusses the main aspects of the aforementioned area of the study of literature and as well presents the possible approaches to literary texts from the economic perspective. The New Economic Criticism does not aim to become a method or tendency; thus, it givesthe freedom for a researcher to choose the perspective on the relationship between the literature and economics. The above-mentioned kind of analysis may be found in the English-speaking countries; whereas, the Russian literature has still remained unconsidered; however, Russian scholars are attempting to look at their fiction through the eyes of an economist. In Lithuania, the kind of research has not been found yet. Therefore, the article suggests one of the possible economic approaches, i.e., the analysis of the financial practices of the protagonist of The Gambler by F. Dostoyevsky.
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Kolykhalova, Olga A., and Anna Yu Kuldoshina. "Perceptions of Russian Literature in Britain in the end of the XIX — beginning of the XX century." NSU Vestnik. Series: Linguistics and Intercultural Communication 17, no. 4 (2019): 119–29. http://dx.doi.org/10.25205/1818-7935-2019-17-4-119-129.
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The purpose of the article is to analyze the existing ideas about Russian literature in Britain at the end of the 19th and the first half of the 20th centuries. A brief overview of the advancement of works by Russian classics among British readers is given. The spread of Russian literature in Britain had been progressing slowly for a long time due to the difficulty in translation and the lack of interest in Russia and Russian culture. However, at the end of the 19th and the first half of the 20th centuries, the situation changed in the British literary community. This period saw a plethora of publications of translations of Russian fiction that were accomplished by professional translators, Slavonic scholars, and writers. These translations appeared in periodicals and other print formats. The article provides an overview of the translation of works of F. M. Dostoevsky, L. N. Tolstoy, A. P. Chekhov, who have become the most understandable and accessible to the English mentality. It happened thanks to such outstanding translators as C. Garnett, Aylmer and Louise Maude, S. S. Koteliansky (who worked in collaboration with V. Woolf, J. M. Murry), R. E. C. Long and others. Having gained access to high-quality translations of Russian classics, British writers began to study their works in greater detail. The British saw the influence of English and European writers (W. Shakespeare, Ch. Dickens, J.-J. Rousseau, J. W. Goethe, V. Hugo, etc.), e.g., in F. M. Dostoevsky’s works. However, later the Russian influence could also be felt in the Western novel, modifying it. There is an opinion that the works of A. P. Chekhov, translated by Garnett, changed the English short story, making it exactly as we know it. V. Woolf, J. Joyce, B. Shaw, J. Galsworthy, A. Bennett and others admired the depth, style, and language of Russian writers. Translation of works of great Russian authors facilitated the flow of information about Russia and expanded the Brit’s view on the country and its people. It once again confirms the existence of mutual cultural exchange between the two countries from a historical perspective. It can be argued that, despite all the complexities of the relationship, the mutual influence of the literatures of the two countries is quite significant.
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Spachil, O. V. "RUSSIAN LITERATURE IN MEDICAL HUMANITIES AND NARRATIVE MEDICINE." Culture and Text, no. 53 (2023): 132–42. http://dx.doi.org/10.37386/2305-4077-2023-2-132-142.
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Professional doctors who became writers have been contributing greatly to the formation and development of Russian literature for more than two hundred years. The works of art created by doctors bore the imprint of a professional view of the body and soul of a human being, saturated the texts with medical realities and terms, which gave reason to talk about the medical text in Russian literature. At the same time, the erudition of doctors and scientists allowed them to use examples from fiction in their scientific papers, thus giving rise to a literary text in medicine. Literary and medical discourses interacted in works on the study of higher nervous activity, in psychiatry and psychology. Since the last quarter of the 20th century, the study of fiction has been regarded as an obligatory part of the academic discipline “Medical Humanities”. In the universities of the Russian Federation and abroad, special manuals and readers were created, which were based on fiction written by trained doctors such as A. P. Chekhov, M. A. Bulgakov, V. V. Veresaev, and also those writers who described complex physiological processes and conditions without special medical training – L. N. Tolstoy, F. M. Dostoevsky, A. I. Kuprin, A. I. Solzhenitsyn and others. The study of the elements of the poetics of a literary text, its plot, metaphors and symbols began to be used in the training of doctors in the course of narrative medicine. The article concludes the growing interpenetration and mutual influence of literary and medical discourses. In the first quarter of the 21st century, Russian literature turned out to be an indispensable resource for countering the dehumanization and commercialization of medicine, as well as preserve empathy and philanthropy in future doctors.
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Simsone, Bārbala. "Vīrusu epidēmija zinātniskās fantastikas žanra literatūrā." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 269–76. http://dx.doi.org/10.37384/aplkp.2022.27.269.
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During the years 2020–2021, the global pandemic caused by the virus Covid-19 has affected the lives of practically everyone on our planet – this situation was unimaginable in the recent past. However, the writers of the science fiction genre have for centuries used the notion of global pandemic or epidemic as the basis of plotlines in their works in order to research human nature under crisis situation. When the civilisation as we know it is apparently destroyed and apocalypse seems to approach, the fear, panic, and survival instincts caused by the disease become factors that reveal the truth: the characters are forced to stop pretending to be better people than they are, and display their real thoughts and emotions. The present paper, “Virus epidemic in science fiction genre works”, is devoted to the analysis of this phenomenon. The first part of the present paper provides an insight into the history of the theme of a pandemic as it has been depicted by several famous writers from medieval times up to the end of the 20th century. The second part of the paper provides an analysis of two popular science fiction novels created during the end of the 20th century and the beginning of the 21st century – namely, “The Stand” by American writer Stephen King and “Pandemia” by Russian author Jana Wagner. By finding the common and the different aspects in the ways both writers depict global pandemics, their causes, manifestations, and consequences in their works, the following conclusions can be made: pandemic in science fiction often serves less as means of trying to predict actual global catastrophes or means to create suspenseful plots, but rather as the basis for discussion regarding human emotions created by these unpredictable situations and the ways they affect our humanity, consciousness, and culture.
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Shevtsov, N. V. "Mir Bozhiy magazine and Russian culture in the late 19th – early 20th century." Concept: philosophy, religion, culture 4, no. 2 (July 31, 2020): 63–70. http://dx.doi.org/10.24833/2541-8831-2020-2-14-63-70.
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Mir Bozhiy (God’s World) magazine is justly attributed to the lead periodicals of the p lutionary Russia. It came out in 1892-1906. During that relatively short period, it managed to win well-deserved respect and popularity among its readers. The circulation of 18 thousand issues in its best years is a perfect proof. No other classical fat magazine had such a wide circulation. At first, Mir Bozhiy was considered a specialized edition for young audience. That was the reason for its religious name referring at a young soul exploring the world of the God. However, very soon it turned into a magazine for wider public and readers of different ages. Already one year after it was first published, its cover had the subtitle complimented with a note «for self-education». Mir Bozhiy became a magazine for family reading replacing books, schoolbooks and encyclopaedias.Its readers had all reasons to love the magazine. Published works of literature — poems, stories, and novels stood out with their high literary level; and scientific reviews represented thorough analytical studies that contained brave and original conclusion. Contributors of the content included the authors who made Russian poetry and literature shine such as Dmitriy Merezhkovskiy, Ivan Bunin, Dmitriy Mamin-Sibiryak, Alexander Kuprin and others.Exceptional articles came out from the philosophers Sergey Bulgakov, Nikolay Berdyayev, the economist Mikhail Tuhan-Baranovskiy, publishers Pavel Milyukov and Nikolay Iordanskiy, historian Vasily Klyuchevskiy. Articles about music and arts were also frequent in the magazine.Remarkable publications of the magazine became possible thanks to the high professionalism of its staff members who had literary talents and deep scientific knowledge. One of them, Angel Bogdanovich, was not only an outstanding editor but also an excellent publisher. The real masters of literary translation were Lidia Tuhan-Baranovskaya and Maria Kuprina-Iordanskaya, her first husband was the writer Alexander Kuprin, the head of the magazine’s fiction department. Finally, the magazine’s chief editor Fyodor Batyushkov who was the descendant of the famous Russian poet significantly contributed to the success of the magazine.Though, in 1906 due to the political situation, the «harmful magazine» as considered by the censors was closed, publications of the Mir Bozhiy continued influencing the development of Russian literature, science and culture for a long time.
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Bondareva, Anna A. "EVENT CONSTRUCTION IN LEGAL NARRATIVE OF RUSSIAN LAWYERS OF THE LATE 19th – EARLY 20th CENTURY." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 8, no. 1 (March 31, 2023): 147–60. http://dx.doi.org/10.18522/2415-8852-2023-1-147-160.
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The article is focused on the analysis of event construction in courtroom speeches presented by Russian lawyers in the late 19th – early 20th century from rhetorical and narrative perspectives. The first part of the article is devoted to the development of judicial rhetoric after the reform of Alexander II (1864). It was strongly influenced by realistic writing tradition, which could not but contribute to the adoption of various literary strategies, including the approach to narration and representation of events. In the second part, we turn to the features common both for events in fiction and events that lie in the core of courtroom speech narrative. During the jury trials, narrative not only represented the human experience but also interpreted it and enabled lawyers to construct stories final parts of which could be consummated only by the verdict of the jury. It is concluded that the blurred line between real and constructed event made the narrative closure fundamentally important for the jury. Their choice of ending not only defined the position of the accused in one of the semantic fields but also created an illusion that the lenient sentence could approximate the reality to the utopian model of the world based on Christian values. In conjunction with the rhetorical strategies used by lawyers in courtrooms, the specific features of event construction could influence the decision-making of the jury.
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Voloshchuk, Ievgeniia. "„…читая в ногу души прекрасные порывы”: смех аутсайдера и русский ХХ век в Неизвестных письмах Олега Юрьева." Studia Rossica Posnaniensia 47, no. 1 (June 26, 2022): 111–28. http://dx.doi.org/10.14746/strp.2022.47.1.8.
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The paper deals with the specifics of outsiders’ laughter in the book Unknown letters (Неизвестные письма/Unbekannte Briefe, Russian 2014, German 2017) by a Russian-German writer Oleg Yuryev. In particular, it analyzes how Russian cultural and historical traumas of the 20th century were reinterpreted in the book from the perspective of an ironical outsider. In doing so, it focuses on a fictional letter by the writer Leonid Dobychin, which is contextualized with fictional letters of Jakob Michael Reinhold Lenz and Ivan Pryzhov, representing previous historical and cultural periods. Yuryev’s ironic reflections on the Russian historical reality and literary scene of the 20th century manifest themselves at different levels, from the positioning of outsiders’ laughter in relation to the official and marginal hierarchies of the literary canon to the postmodernist play with the traditions of literary classics. In addition, the paper addresses the inter- and/or transcultural aspect of outsiders’ laughter in Yuryev’s book.
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Pautkin, Alexey. "“THE TALE” AND “THE CASE OF IGOR’S CAMPAIGN” (RUSSIA INSIDE OUT IN THE NOVEL BY HOLM VAN ZAICHIK)." Lomonosov Journal of Philology, no. 6 (March 19, 2023): 133–40. http://dx.doi.org/10.55959//msu0130-0075-9-2022-6-133-140.
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The article is devoted to the literary reception of Th e Tale of Igor’s Campaign, which can undoubtedly be called a precedent text of Russian culture. The recognition of individual fragments of the record used in speech and texts of various genres is high. Th e unparalleled significance of the “Igor Tale” developed gradually, under the influence of many factors. During the 19th century, there was a kind of intermedial field of influence of the Old Russian work, manifested primarily in a variety of lyric poetry responses. In prose, the precedent of the “Igor Tale” gains strength only in the 20th century, largely under the influence of scientific publications. A certain canonization of the meanings of the work made it impossible or even unacceptable to reduce them to ironic reading until recently. However, at the very beginning of the 21st century, in the context of postmodernism, there was evidence of a departure from the tradition of searching for the sublime and timeless in the “Word”. Holm van Zaichik’s novel “Th e Case of Igor’s Campaign” (2001) is based on a travestied demonstration of the whole complex of ideas about the “Igor Tale”. It is contrasted with well-known responses in the 19th-20th-century literature. Researchers of the modern literary process find it difficult to determine the genre of the novel, in which there are features of fiction, detective and even dystopia. One way or another, all these components belong to the genre forms that are most in demand today among the mass reader, which suggests a completely new stage of reception of the ancient Russian monument in contemporary literature.
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Zabiyako, Anna A., and Wang Yuqi. "The Image of the Perception of the Japanese and Japan in the Pre-Revolutionary Experience of Artistic Reflection: The Genre Aspect." Humanitarian Vector 17, no. 1 (February 2022): 19–28. http://dx.doi.org/10.21209/1996-7853-2022-17-1-19-28.
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The relevance of the research is determined by the interest of modern literary criticism in the imagological aspects and the problem of developing a research strategy in relation to this kind of texts. The novelty of the work is defined by the genre approach to the study of the image of perception of Japan and the Japanese in Russian pre-revolutionary literature dedicated to the events of the Russian-Japanese war, the introduction of previously unknown texts into scientific circulation, a comparative analysis of narrative strategies that determine the genre specificity of each text. The purpose of the work is to explicate the genre originality of works on the RussianJapanese war, which determines the perspective of the pre-revolutionary artistic reception of the image of perception of Japan and the Japanese in Russia. The methodology is based on an interdisciplinary approach that underpins the imagological paradigm of research. The authors rely on Russian and Chinese works on the history of Japan, Russian-Japanese relations, ethnography of Japan, ethnopsychology, religious studies, on the broad context of imagological research; apply historical-literary, comparative-historical, immanent analysis methods. The complex research is based on modern works concerning the problems of genre studies. The article traces the path of transformation of perceptions of Japan and the Japanese in Russian literature since the middle of the 19th century to the beginning of 20th century which is determined by the genre task of the works: from the first travelogues to the jingoistic notes in periodicals and further to “pacifist” fiction and post-war artistic experiences – the spy and detective text by A. I. Kuprin, the military diaries by V. V. Veresaev, a children’s ethnographic story by I. I. Mitropolsky. We conclude that the tragic and inglorious experience of the Russian-Japanese war pushed the horizons of not only the scientific comprehension of Japan and the Japanese by Russian scientists but also giving development to various genres of Russian literature opened the artistic possibilities of new ethnocultural and ethnopsychological experiences of self-knowledge of Russianness and Russians.
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Ishchenko, Olena. "GENRE FEATURES OF MODERN NON-FICTION LITERATURE (ON THE EXAMPLE OF THE BOOK "DREAM OF ANTARCTIC" BY MARKIYAN PROKHASKO)." Dialog: media studios, no. 29 (March 15, 2024): 73–79. http://dx.doi.org/10.18524/2308-3255.2023.29.300636.
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The end of the 20th – the beginning of the 21st century is characterized by the fact that during this period, interest in non-fiction literature – a special literary genre of documentary prose, which is based on real events, without fiction or conjecture – begins to grow actively. Facts are presented through the imaginative perception of the world by the author of the work. Therefore, in our opinion, this genre can still be called “documentary journalism of life”. Non-fiction has gained particular popularity over the past few years. This is connected, first of all, with the events that are taking place, namely: with the full-scale invasion of the Russian Federation on the territory of Ukraine. Collections of books about the war, the Maidan, and the Revolution of Dignity are published, as well as books that have become bestsellers in the world of psychology, travel journalism, and literature. The article examines the issue of genre features of the book “Dream of Antarctica”, which is an example of modern non-fiction literature. It is clarified why the diffusion of genres is a part of the analyzed book, and how the author combines features of other genres in one work.
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Rustamovna, Fattakhova Amina. "The Outlines Of Life In Modern Literature (As An Example Of “Festive Hill”, A Novel By A. Ganieva)." American Journal of Social Science and Education Innovations 2, no. 08 (August 19, 2020): 209–11. http://dx.doi.org/10.37547/tajssei/volume02issue08-33.
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Modern national literature is developing on the basis of Russian classical traditions, however reflecting the problems and the issues, principles and the methods of fictional works of writers’ classics. Today, there are various artistic systems, and realism is progressing in a complicated way of connecting with naturalism, modernism, sentimentalism and etc. These all aspects make up the whole picture of modern Russian literature. Here it gives the conception of the last decades the 20th century and the beginning of the 21st century as special direction in general growth of Russian literature.
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Garipova, Gulchira T. "Specific of artistic world modeling in the Russian symbolism fiction: theory, trends, transpersonal models." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (December 15, 2020): 399–423. http://dx.doi.org/10.22363/2312-9220-2020-25-3-399-423.
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The article is devoted to the study of the peculiar properties of artistic world modeling in the Russian symbolism fiction with an emphasis on the anthropological and ontological concepts of Man and Being, structuring the world-like novel model. The ability to identify the evolutionary dynamics of both the aesthetic and ethical-philosophical paradigm of the modernist type of artistic consciousness, identified in the context of existentialization and neo-mythologization trends, determines the relevance of the research problem. The novelty of this research is in the analysis of the author's transpersonal models of myth in Russian modernist novels at the beginning of 20th century, in terms of knowledge of the aesthetic imperative of integrity integrating text consciousness (the world as a text), personal consciousness (I-being) and ontological consciousness (being-in-me). Mythological-cultural concepts of Christological philosophy of D. Merezhkovsky, the semiosphere of V. Bryusovs novel The Fiery Angel, mythological codes of the anti-utopian novel-myth L. Andreev, reflecting the most important categories and attitudes of the transpersonal anthropological and religious-philosophical concepts of the new religious consciousness of Russian symbolism became the object of this study.
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Burlakova, I. I., G. A. Khorokhorina, E. V. Glukhova, and M. A. Golovyashkina. "THE USE OF TWENTIETH-CENTURY BRITISH LITERATURE IN THE TEACHING OF ENGLISH TO STUDENTS." ВЕСТНИК ВОРОНЕЖСКОГО ГОСУДАРСТВЕННОГО ТЕХНИЧЕСКОГО УНИВЕРСИТЕТА, no. 2(41) (December 24, 2023): 24–32. http://dx.doi.org/10.36622/mlmdr.2023.69.89.003.
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Statement of the problem. Against the background of the abolition of Russian culture in European countries, we believe that Russian students need to develop general cultural and foreign language communicative competence on the best examples of world culture. British literature of the 20th century is directly connected with the events of life of the previous time and is represented by the works of such writers as J. Galsworthy, A. Conan Doyle, R. Kipling, W. Maugham, O. Wilde, H. G. Wells, B. Shaw, etc. British literature of the XX century is realist and modernist works, fantasy, detectives and science fiction represent the "golden age" of its heyday and reflects the changes taking place in society, the search for eternal truths and defense of traditional values for all. The purpose of the study is to develop the foreign language reading competence of students-trainee foreign language teachers of the 1st and 2nd years using the works of twentieth-century British literature. Results. The impact of the content form of literature on the worldview, attitudes, values of students is great and occurs regardless of the attitude towards social institutions. The impact occurs at conscious and unconscious levels. In pragmalinguistic terms, the speech genre of fiction narrative implements communicative strategies. Reading is a thinking process, which is managed indirectly through text selection, preparation of pre- and post-text tasks, and control of reading comprehension. The analysis of the results of the ascertaining stage revealed an insufficient level of knowledge of 20th century British literature in the experimental and control groups of students - future teachers of a foreign language. In this connection the experimental program aimed at the optimization of the process of teaching English and increasing the level of knowledge of the British literature of the XX century among students was developed. Conclusion. On the whole we came to the conclusion that the work with the content form of the British literature of the XX century represents a special culture of relationship with the students, contributes to the formation of values, independence, high motivation for cognitive activity. It is important to provide the assimilation of British literature of the XX century on the basis of the analysis of the biography of the writer, the basics of literary criticism, the impact of stories and the author's idea on human life.
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Chernysheva, Yuliya S., and Ivan A. Chernykh. "Russian Vocabulary of Recruit Rites in Language and Folklore (based on materials of the 20th–21st centuries)." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 64–74. http://dx.doi.org/10.17072/2073-6681-2022-4-64-74.
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The article analyzes Russian vocabulary of recruit rites in language and folklore based on the materials of the 20th–21st centuries. This lexical layer is practically not studied in Russian science. The purpose of the work is to explore the etymology of the words rekrut, nekrut (i.e. a recruit, a novice) and the functioning of lexemes used to denote a young man going into the army and his wife (bride). The chronological approach of the study allows us to trace the functioning of the terms of recruit rites from the moment of their appearance in the language and folklore in the 18th century to the present. The analysis is based on data from folklore sources, field materials of ethnographic expeditions, official documents, and fiction. The entire lexical array was divided into four thematic blocks: 1) the word rekrut <recruit> and its derivatives in language and folklore; 2) the word soldat <soldier> and its derivatives in language and folklore; 3) lexemes denoting the wife (bride) of a man who has left for the army; 4) other lexemes denoting those who have left for the army. The first block examines the etymology of the word rekrut and its derivatives, the peculiarities of the functioning of these lexemes in Russian dialects and folklore sources. The second block contains an analysis of the word soldat and the set expressions ukhodit’/otdavat’ v soldaty (can be literally translated as to leave to be a soldier/ to send somebody to be a soldier) as used in folklore texts. The third block examines the lexemes denoting the wife (bride, widow) of a soldier in Russian dialects. The fourth block contains other lexemes denoting a person who has left for the army – prizyvnik, novobranets (i. e. a conscript, newly drafted recruit) etc., and the features of their use in Soviet Russia.
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Blagova, A. R., and N. V. Kutukova. "Journalists about Journals: Textbook Review Russian Magazines of the 19th— early 20th Centuries." Concept: philosophy, religion, culture 5, no. 1 (April 1, 2021): 193–95. http://dx.doi.org/10.24833/2541-8831-2021-1-17-193-195.
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The 2021 publication of the MGIMO editorial, a textbook called Russian Magazines of the 19th — early 20th Centuries is a collection of articles by the faculty of the School of international journalism. The collection gives an idea of the formation and development of Russian journalism at the turn of the centuries, the Silver age of the Russian culture. It is this period that is marked by epochal events that have radically changed the life of society. Thick magazines, the subject of research in this collection, were the mouthpiece of not only socio-political, but also cultural events. Having appeared at the end of the 18th century, they acquired real spread in late 19th century, making the sphere of Russian journalism flourish and develop the professional standards. The thick periodical magazines were brought to life by the peculiar conditions of Russia’s development. Such magazines were not only a literary and artistic collection, but also a political newspaper that embodied the dialogue traditions of both conservatives and radicals. Readers of literary magazines and the authors of articles shaped the intellectual environment that determined the cultural advancement of the country and became significant point on the cultural landscape themselves. In the historical and cultural context of this period, the textbook helpfully explains a few little-known facts from the life of the authors whose publications and editorial activities determined the fate of the journals. Until now, such journals as Bozhii mir (God’s World) and several others have not been the subject of scientific interest. Therefore, the novelty and of the research conducted is important. The authors offer the explanation of why they choose this specific set of magazines. It is due to the place they had the process of formation and development of Russian journalism. The textbook emphasizes that the magazines published not only fiction works, their role was much more significant: they were the arena of political and literary struggle, gave the floor to express certain aesthetic or social principles and represented a type of a popular encyclopedia, thus acting as providers of education. In this way, among the instances why the textbook is of interest for educational purposes one should mention that the history of journalism of the period is reflected in the history of Russian culture.
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Korablin, Konstantin, and Anna Ostapenko. "Developing the Conceptual Foundations for the Science of Penitentiary (Prison) Law — Prison Studies — as an Independent Branch of Russian Criminal Law (Second Half of the XIX — Beginning of the XX Century)." Russian Journal of Criminology 15, no. 4 (September 10, 2021): 484–94. http://dx.doi.org/10.17150/2500-4255.2021.15(4).484-494.
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The authors analyze the historical experience of the emergence and development of the science of penitentiary (prison) law — prison studies — as an independent branch of Russian criminal law that was formed in the second half of the 19th — beginning of the 20th centuries. They pay special attention to the institutionalization of the punishment of incarceration whose theoretical foundation was laid by outstanding representatives of Russian pre-revolutionary prison studies. In this historical period, famous legal scholars, practitioners, public figures, political and fiction writers studied problems of the organization and functioning of the Russian prison service, they offered suggestions on its optimization, on improving the effectiveness of its functioning regarding the implementation of the basic principles of punishment for persons who committed illegal actions. It is noted that in the history of Russian criminal law, the institute of punishment was studied by many representatives of legal science and practice who were not only outstanding scholars, but also highly effective organizers of prison work. However even today, in the process of establishing a civilized, humane, international law- and norm-based penitentiary system in Russia, there is an acute lack of complex research which would offer a comprehensive description and characteristic of the contemporary science of penitentiary law that became unofficially known as prison studies in the second half of the 19th — first half of the 20th centuries. Taking into account the historical past of our country, it is evident that a complex approach to researching the fundamental principles of the punishment of incarceration contributes to the further development of Russia legal science, to the objective assessment of the role and place of penitentiary institutions in the system of especially authorized state bodies that possess an exclusive right to counteracting crime. The studied empirical materials allowed the authors to conclude that it is necessary to analyze and widely use this rich historical legacy, which would help contemporary legal research and practice gain new knowledge in a dynamic and consistent way.
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Rudova, Oksana S. "Nikolai Gogol's text in the works of Vladimir Nabokov: the history of foundation of the issue in criticism and literary studies." Vestnik of Kostroma State University, no. 2 (2019): 148–53. http://dx.doi.org/10.34216/1998-0817-2019-25-2-148-153.
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The author of the article tried to trace the formation of the idea about the connection of the works of Vladimir Nabokov with Nikolai Gogol's tradition based on the material of the Russian émigréecritics’ works of and literary critics of the 20th—21st centuries. This process is considered as a progressive one, largely specified by the development of researching idea. The émigréecriticism saw the reason for the similarity these writers’ works in their similar aesthetics based on the relationship of the perception of the world and the human. In turn, literary studies of the late 20th century presented a new way of comparison, where Nabokov's prose is considered to be a complicated fiction on the whole, in which there is not only Nikolai Gogol's subtext, but also allusions to the other writers’ works, called "polygenetics". The author of the article offers a generalisation of methodological nature, indicating different types of literary links.
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Shevtsov, N. V., and M. D. Krynzhina. "Contribution of Alexey Suvorin and His Newspaper Novoye Vremya into Russian Culture of the Second Half of 19th – Early 20th Century’." Concept: philosophy, religion, culture 5, no. 3 (September 28, 2021): 137–47. http://dx.doi.org/10.24833/2541-8831-2021-3-19-137-147.
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Novoye Vremya (The New Time) newspaper was considered as the leading daily periodical of the pre-revolutionary Russia. In 1876, Aleksey Suvorin, an outstanding Russian publisher and literary figure, became its owner and chief editor. He turned the newspaper into a source of information, which seriously influenced the public opinion in Russia. Novoye Vremya provoked constant interest among readers of all social levels. It was popular both among high-ranking government officials and people without any ranks, conservatives and liberals, people with higher education and those who did not even graduate a gymnasium. Newspaper stories were apprehensible not only for educated people but for any common person. Young and old, men and women liked Novoye Vremya. It had never forced its opinion and suggested the readers to make personal judgement through its reports. Suvorin managed to form the audience that valued the newspaper and believed in it. Not only Novoye Vremya stood out for its excellent materials on politics, economy, and non-fiction. In its reviews the newspaper gave a fair evaluation of the Russian authors’ works. Moreover, it became famous with the literary works of the top writers, the classics of Russian literature. Therefore, it is not by accident that the author of this article pays special attention to the cooperation between Novoye Vremya and the most known Russian writers of the second half of the 19th century and early 20th century. Thanks to Suvorin, the talent of Anton Chekhov, who started publishing his works in the newspaper under a different name, opened up. Novoye Vremya published the stories which were later included into his collection In the Twilight. Here he also published his famous novella The Duel. Despite the fact that Novoye Vremya was considered to be a newspaper rather than a literary magazine, it worked together with such writers as Leo Tolstoy, Nikolay Nekrasov, Nikolay Leskov, Mikhail Saltykov-Shchedrin, for whom the newspaper was not only a serious periodical but also a source of education and knowledge. In Soviet times the directive was to forget about Suvorin. And when they did remember, they certainly wrote about him as a reactionary, chauvinist, notorious monarchist. And if another major pre-revolutionary publisher I.D. Sytin was recognized by the Soviet government, although he lost his printing house and real estate, then Suvorin was in disgrace.
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Chumakova, Tatiana V. "Russian Literature of the 19th — Early 20th Centuries in the Infosphere of Theological Academies of the Russian Empire." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 39, no. 3 (2023): 595–606. http://dx.doi.org/10.21638/spbu17.2023.315.
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The purpose of the article is an attempt to develop approaches to the reconstruction of the place and role of literature in the intellectual and information sphere of Russian theological academies of the nineteenth — early twentieth centuries. The current publication has been prepared on the basis of sources of various origins: catalogs of libraries of theological academies, periodicals published in the Orthodox theological academies of the Russian Empire (Khristianskoe chtenie (Christian Reading), Trudy Kievskoi Dukhovnoi Akademii (Proceedings of the Kiev Theological Academy), Pravoslavnyi sobesednik (Orthodox Interlocutor), Bogoslovskii vestnik (Theological Bulletin), for instance), Orthodox autobiographies, proceedings of meetings of councils of theological academies, programs of training courses, teaching manuals (textbooks and anthologies), etc. The analysis of those numerous sources shows that the libraries of four Orthodox theological academies of the Russian Empire had large collections of fiction in various languages, including works of Russian literature. Studying Russian literature was also part of a number of training courses. Initially, it was due not so much to the desire to provide students with a versatile education, but to the desire to develop their artistic taste and literary abilities, which was necessary for composing sermons. But later, literature was interpreted as something of powerful influence at a person’s worldview, something that could compete with religion. The study shows that the influence of contemporary Russian literature was constantly increasing, and, by the early twentieth century, the programs of theological educational institutions included studying works by almost all Russian writers. At the same time, not only ‘spiritual’ writings were studied, but also those which were considered ‘harmful’, and the last one got almost a central place in the ecclesiastic periodicals (L.N.Tolstoy).
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Zelikina, N. S. "The Soviet Adherer of the Pochvennichestvo: Reflections on the Worldview of Vladimir Alekseevich Chivilikhin." Orthodoxia, no. 3 (January 9, 2024): 52–73. http://dx.doi.org/10.53822/2712-9276-2023-3-52-73.
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The paper attempts to review the mindset and ideological foundations of the works by the Soviet writer and publicist Vladimir Chivilikhin, whose novel‑essay “Memory” was not only a phenomenon in the Russian Soviet literary process of the second half of the 20th century, but also served as an occasion for a broad public discussion, which allows us to consider it as the significant event of public life and the basis for analyzing the intellectual discourse of the late Soviet era. At the same time, the research is based not only on the author’s fiction and journalistic works, but also on personal materials (diaries, letters, memoirs) and is conducted in the context of social and ideological problems of the last decades of the Soviet period.
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Markova, Ekaterina A. "W.B. Yeats's play Where There is Nothing and its Tolstoyan dimension." Vestnik Tomskogo gosudarstvennogo universiteta, no. 474 (2022): 73–87. http://dx.doi.org/10.17223/15617793/474/9.
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The article discusses the issue of the influence of Leo Tolstoy, his fiction and non-fiction, on William Butler Yeats's drama in the broader context of Tolstoy's reception in the late 19th - early 20th century in both Russia and the United Kingdom. Tolstoy's image as a writer in the correspondence and non-fiction of the Irish playwright is analysed. The author shows that Yeats's attitude towards the Russian writer, though initially favourable, was gradually becoming more and more irreverent and complex. Similar attitudes towards Tolstoy are detected in Russian writers of the period. Yeats criticises Tolstoy for his didactic tendencies. Nevertheless, Yeats acknowledges Tolstoy's genius and puts him on a par with greatest ancient and modern authors (Shakespeare, Goethe, English romantic poets, Balzac, Flaubert, Ibsen, etc.). Yeats's absolute favourite is his idea of non-resistance and non-violence, which is interpreted in Yeats's own way in his play Where There is Nothing. Yeats's reading of this concept is set in the context of the early 20th century discussion around Tolstoyism, since at the time Tolstoy was mostly perceived as a thinker in Britain. Yeats's position in this discussion is thoroughly analysed. It is most probable that Yeats read one of very short pamphlets compiled by English editors of Tolstoy. The author argues that Tolstoy's ideas and images in Yeats's play were immediately grasped and attacked by its critics. A comparative analysis of the play and Tolstoy's manifesto “What I Believe” reveals that in the play the Russian author's teaching interacts with Nietzschean philosophy and Yeats's own symbolism, as well as various occult practices he was deeply interested in. This amalgam is concentrated in the paradoxical image of a prophet, visionary, destroyer of the old world order (in fact, any order - secular and ecclesiastical) and at the same time a preacher of non-violence, Paul Ruttledge. As it has been argued in previous studies, the episode of a mock trial echoes Tolstoy's interpretation of the Sermon on the Mount. The in-depth analysis shows that not only this episode is related to Tolstoy but the whole play is somewhat reminiscent of his vision of Christian life (rejection of people's law as opposed to God's law, and of urban living; criticism of civilization; necessity for manual labour and simple life in harmony with nature; call for unity and equality of all people). Despite these similarities, there is still a lot of disagreement with Tolstoy in the play, mainly due to the Nietzschean influence (desire to destroy the old world, Dionysian motifs), who Yeats considered to be the exact opposite of Tolstoy. A similar juxtaposition of Tolstoy and Nietzsche is found in both English and Russian literature. A parallel is revealed between Paul and Tolstoy, who, according to Yeats, were mad prophets unable to change the world. This parallel is both mocking and tragic, and Paul is in line with other Yeats's images of jesters and madmen.
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Dizdar, Srebren. "Od uzora do prezira / from admiration to contempt." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 25 (December 23, 2022): 415–72. http://dx.doi.org/10.46352/23036990.2022.415.
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D. H. Lawrence and his views on F. M. Dostoevsky used to change gradually – from the initial admiration and fascination with the works of this great Russian literary classic, which Lawrence had read in the period of the overall popularity ‘of all things Russian’ in Great Britain at the beginning of the 20th century, to doubts this highly controversial and largely misunderstood British author expressed in the most prolific period of Modernism, when he began publishing his own fiction as well as some non-fictional and critical pieces on literature. The majority of critics and researchers of Lawrence and his opus argue that his denial of Dostoevsky’s importance stemmed not only from his own need to distance himself from the influence of certain works by Dostoevsky but also from his continuous fight with his innermost demons in the later phase of his creative work. It was in these moments that Lawrence sought answers to his questions in the works of other Russian authors translated into English at the time – Solovyov, Berdyaev, Shestov and Rozanov. Lawrence paid special attention to their perspective on certain books by Dostoevsky. With similar enthusiasm, he also analysed the critical explanations of Dostoevsky by his British contemporaries, such as Ford Madox Ford, Arnold Bennett, John Middleton Murry, Joseph Conrad and Virginia Woolf. This paper focuses on Lawrence’s interpretation of The Grand Inquisitor, based on two key chapters from The Brothers Karamazov and written as a preface to the English translation by Samuel Koteliansky, ‘Kot,’ a Russian émigré Jew and Lawrence’s close friend. Although gravely ill, Lawrence managed to write this text in four days in February 1930. He died a month later at Vence, Southern France. It can be argued that in this last major critical piece of his, Lawrence concluded his decades-long re-reading and questioning of the influences that Dostoevsky and other Russian classics have exerted on him, as well as on the emergence and development of British Modernist fiction between 1910 and 1930.
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Kozlyk, Ihor. "Being a Literary Critic: The Methodology of Specialist’s Life in the Profession (based on B. F. Egorov’s epistolary oeuvre)." Pitannâ lìteraturoznavstva, no. 104 (December 27, 2021): 197–238. http://dx.doi.org/10.31861/pytlit2021.104.197.
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The article, which is historical and scientific by character, presents the current humanitarian issues of professional epistolary communication of an outstanding Russian literary critic, Doctor of Philology, Professor B. F. Egorov (1926–2020) with fellow literary critics. The main directions of scientist’s active and versatile practices are considered on the grounds of his published letters and some letters to him in 1998–2020. The article focuses on professional communication and interaction between Ukrainian and Russian literary critics in the complex modern socio-historical and political conditions of interstate relations. The letters are published for the first time and are accompanied by the necessary historical and cultural comments and bibliographic notes. The material contained in them is important not only for the history of Russian and East Slavic literary criticism of the 20th century, but also it is relevant in terms of the prospects of academic studies of literature and the development of productive communication between scholars studying fiction in order to perform the main cultural function of literary studies.
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Duda, Katarzyna. "Mitologia radziecka (beletrystyka i reportaż rosyjski XX i XXI wieku)." Politeja 15, no. 55 (May 22, 2019): 225–50. http://dx.doi.org/10.12797/politeja.15.2018.55.11.
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Soviet Mythology (Russian Belles-Lettres and Non-fiction Literature in 20th and 21st Century)Soviet history, since just after the October Revolution until the present day, has been full of myths created by the communist ideology and politics. In the past, these numerous myths (together with utopias) helped people to believe in the existence of a paradise on the Earth. The most popular of these myths are the myth of the victim, the myth of a hero fighting for ‘the peace in the whole world’, the myth connected with the figure of a Leader, Teacher showing how people have to speak, behave and act, the myth of the Great Patriotic War… The last one is especially well known all over the world because Soviet politicians always consider themselves winners who had regained freedom. These days the Great Patriotic War myth is used or even overused in the Russian Federation because people are looking for an event which could connect all former Soviet nations. Books written by Russian authors are the proof of this tendency.
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Martynov, D. E., and Yu A. Martynova. "A New Monograph by Konstantin Frumkin [Review: Frumkin K.G. Admiring the Academic Class: Reflection of the Social History of Soviet Science in Literature, Art, and Public Rhetoric. Moscow, St. Petersburg, Nestor-Istoriya, 2022. (In Russian)]." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 164, no. 5 (2022): 141–51. http://dx.doi.org/10.26907/2541-7738.2022.5.141-151.
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This article reviews a new monograph by K.G. Frumkin, an eminent culturologist and literary critic. He argues that the cult of science, as an institutionalized professional activity inseparable from the public interest in the work of scientists, is a specific feature of the 20th century. The ideological confrontation of the 1920s and 1930s touched little upon literature. In the fiction of that period, scientists were portrayed as inventors of fantastic military vehicles. After the 1950s, the relationship between scientific institutions and the state took a back seat in literature, while the relationship between scientists came to the fore. The scientific environment became self-sufficient. For the first time scientists were almost exclusively among colleagues, and the social circle they had outside their subculture shrank. The collective self-awareness of the scientific community was also taking shape. The author describes it as a “class mythology” characterized by undisguised elitism and “talent-centric racism.” The collapse of the USSR did not destroy Russian science, but the public enthusiasm for it practically dried up. A few literary works of that time referred to the past, both by rethinking and mythologizing it. The “admiration of the academic class” is thus a historically rooted phenomenon of the 20th century.
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Politov, A. V. "INFRA-LEVEL IN THE RELATIONSHIP OF PERSONAL AND SOCIAL CHRONOTOPOLOGY." Review of Omsk State Pedagogical University. Humanitarian research, no. 28 (2020): 40–44. http://dx.doi.org/10.36809/2309-9380-2020-28-40-44.
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The article examines the dialectics of personal and social forms of the spatiotemporal structure of human existence in the aspect of infra-level phenomena that accompany human existence. The theoretical basis of the work is the concept of the chronotope by A. A. Ukhtomsky and M. M. Bakhtin, the methodological basis is the semantic and hermeneutic analysis of works of Soviet and Russian fiction and journalism of the second half of the 20th century. In the study, human existence is revealed as a multilevel spatiotemporal configuration, the structural elements of which are, in particular, personal chronotopology (axiologically and existentially structured microcosm of human existence) and social chronotopology (supra-individual macrocosm), which are in a complex ambiguous relationship, the negative infra-level manifestations of which deform personal world and life path of a person.
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Zemlyanskaya, Kseniya A. "The Study of Religious Customs and Traditions of the Nanai in Russian Science (Pre-Revolutionary Context) and the Experience of Their Systematization in the Literary Ethnography of Venedikt Mart." Study of Religion, no. 4 (2020): 137–47. http://dx.doi.org/10.22250/2072-8662.2020.4.137-147.
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In the 19th – early 20th centuries, the Nanai were one of the largest Tungus-Manchu peoples of the Russian Far East. A close study of their traditions and customs began in the middle of the 19th century, when numerous ethnographic expeditions of researchers (L.I. Shrenk, R.K. Maak, K.I. Maksimovich) were sent to the Amur. First of all, the researchers were interested in the material culture of the Nanai, the issues of religion were touched upon in the mainstream of ethnographic research. In the last quarter of the 19th century, the attention of researchers was directed to the description of Nanai rites of passage (D. Kropotkin, P.P. Shimkevich). Scientific expeditions of the early 20th century were aimed at describing the spiritual culture of the Nanai and its reflection in material culture (I.A. Lopatin, L.Ya. Sternberg). The description of the religious beliefs of the Nanai was recorded as a result of the missionary activities of Blagoveshchensk and Vladivostok dioceses. In 1932, the former Far East writer Venedikt Mart published the story “Dere – the Water Wedding”, where he accumulates and systematizes the accumulated knowledge about the Nanai people in literary form, introducing certain elements of fiction. Despite the fact that Venedikt Mart writes about the denial of religious customs and traditions by the new generation of Nanai, nevertheless, the story itself is, in fact, clearly fixed at its core by the content of the wedding ceremony
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Zemlyanskaya, K. A. "The Genre System of the “Japanese” Works of Venedict Mart of the Early Period." Studies in Theory of Literary Plot and Narratology, no. 2 (2024): 71–84. http://dx.doi.org/10.25205/2713-3133-2024-2-71-84.
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The prose and poetry of the Far Eastern writer Venedikt Mart provides vivid examples of works in which the writer artistically comprehends the frontier reality of the first decades of the 20th century culture and life of various peoples of the Far East. The personality of the writer Venedikt Mart (1896–1937) included a joyful childhood on the periphery of the Russian Empire, upbringing in the family of a famous coastal local historian, participation in the cultural life of Vladivostok and Harbin in the 20s, and the desire to integrate into Soviet literature. Today, the rich creative heritage of Venedikt Mart is beginning to return to the Russian reader. The writer’s “Japanese” works still remain unexplored. The article presents a genre analysis of Venedikt Mart's works related to Japan and the Japanese in the early (Vladivostok) period of creativity. At the time of modernist searches, certain genres of classical Japanese literature – tanka, haiku, zuihitsu, kaidan – become organic for a writer in understanding the Japanese theme. Mart is sensitive to changes in contemporary Japanese literature, in which there is a modernization of classical genres, combining interest in the East with close attention to the artistic discoveries of Russian literature of the early 20th century. In addition to following the stylistic principles of a particular genre, the writer observes the leading aesthetic principle of Japanese literature – mono no aware. Mastering the Japanese genre system, understanding the aesthetics of the Japanese view of the world and comprehending it through the means of fiction become a way for the writer to get used to the world of a foreign culture and form his own style. This is how his unique image of perceiving Japan is formed – through metaliterary reception.
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Candela, Andrea. "The Radium Terrors." Nuncius 30, no. 2 (2015): 320–44. http://dx.doi.org/10.1163/18253911-03002002.
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At the beginning of the 20th century the collective imagination was fascinated and terrified by the discovery of radium. A scientific imagery sprang up around radioactivity and was disseminated by public lectures and newspaper articles discussing the ambiguous power of this strange substance. It was claimed that radium could be used to treat cholera, typhus and tuberculosis, but at the same time there were warnings that it could be used for military purposes. The media and the scientists themselves employed a rich vocabulary influenced by religion, alchemy and magic. The ambivalent power of radioactive elements exerted a great influence on science fiction novelists. This paper will examine some significant works published in Europe, America and Russia during the first decades of the 20th century and their role in the creation of the complex imagery of radioactivity that seized the public imagination long before the invention of the atomic bomb.
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Altynbaeva, Gulnara M. "The genre features of A. I. Solzhenitsyn’s memoirs." International Journal “Speech Genres” 18, no. 3 (39) (August 22, 2023): 252–59. http://dx.doi.org/10.18500/2311-0740-2023-18-3-39-252-259.
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The article justifies that A. I. Solzhenitsyn expands the potential of the memoir genre by synthesizing techniques of different genres and creating new ways of displaying History. The growing interest in the memoirs of the 20th century, in particular in Solzhenitsyn’s memoirs, in recent decades makes the research topical. Solzhenitsyn considers the truth of history as a priority, and the completeness of the material and polyphony of its presentation as necessary requirements. The research aims at presenting the originality of Solzhenitsyn’s memoirs. The objectives of the research include determining the nature of the memoir genres in Solzhenitsyn’s works, identifying traditional and innovative forms in them, as well as substantiating polygenre as a sign of the writer’s “new oeuvreing”. Simultaneous presence of not only the signs of traditional memoirs, but also documentary features, journalistic, fictional, speech genres, their overlapping and synthesis in the text is the main problem of Solzhenitsyn’s memoirs. In addition, Solzhenitsyn’s heritage can be interpreted as a metamemoir text, based on inextricably linked writer’s biography and Russian history of the 20th century. A separate aspect of Solzhenitsyn’s memoir lies in the analysis of the author’s image and the dialogue with the reader. All genre levels – compositional, problem-thematic, stylistic – are involved in the research. Solzhenitsyn’s memoirs were studied by the methods of comparative, immanent, intratextual analysis. The results of the research can be used to study A. I. Solzhenitsyn’s creative method and the memoirs as non-fiction. The major conclusions point to the consistency of Solzhenitsyn’s position, who does not move away from the word of truth, from the desire for Truth even in memoir genres.
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Kuz’mina, Yuliya A. "GAME PRACTICES OF RUSSIAN SYMBOLISTS AS A REFLECTION ON CINEMATIC LANGUAGE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2023): 66–77. http://dx.doi.org/10.28995/2686-7249-2023-7-66-77.
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The era of Russian Symbolism coincides with the period of cinematography penetration into urban everyday life. The new phenomenon needed to be comprehended. The verbally expressed layer of symbolists’ reflection on the nature of cinematography, expressed in fiction texts, articles and essays, was studied by N.M. Zorkaya, J.G. Tsivian and R. Bird. This article makes an attempt to analyze a nonverbalized type of reflection – symbolists’ mimetic game practices, where players bodily reproduced features of the cinematic experience. The sources of the research were the models of such game practices constructed by memoirists (A. Bely, L. Ivanova, V. Verigina, L. Ilyashenko). With the help of structuralist and semiotic methods, game gestures are analyzed as signifying game structures. It is established that their signified are disclosed as the problematization of 1) formal, structural and genre borders of film, 2) the phenomenon of voyeurism and the formative gaze of The Other, 3) the alienation of the actor’s body. The conclusion is made that at the time of the first decade of the 20th century the symbolists’ ideas about the nature of cinematic language were not yet clearly expressed, but existed in the form of a semantic conflict.
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Medvedeva, Olga V. "The social prestige of the professions of a documentalist and archivist in Russia." Tambov University Review. Series: Humanities, no. 188 (2020): 221–31. http://dx.doi.org/10.20310/1810-0201-2020-25-188-221-231.
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The work is devoted to the issue of the social prestige of the professions of a documentalist and archivist in Russia. The prestige of the professions is indicated by the data of scientific publications and examples taken from the works of fiction and art, which are also a reflection of the public perceptions of each historical stage. Professions are formed simultaneously with the de-velopment of public administration, and their prestige depended on the level of the hierarchy at which a particular position was located. One of the highest posts in the state service of the Russian Empire was the position of personal secretary. A prestigious service was considered to be in the Moscow Archive of the College of Foreign Affairs. In the 19th century the posts of secretary and state secretary were prestigious. In the first half of the 20th century, the replacement of old quali-fied personnel with ordinary workers takes place. In the second half of the 20th century we can talk about a certain rise in prestige by continuing to organize the scientific organization of labor, creating a powerful material, technical and legal basis that regulates records management and archiving. Currently, there are changes in the technology of working with documents related to digitalization, the emergence of new positions, the profession of documentalist is in demand and is more universal in comparison with the profession of archivist. On the basis of the analysis of the questionnaire of archivists, we identify the key factors of the prestige of the documentalist and archivist, among which the main ones are economic and social. A number of state-economic, vocational-educational and public measures are proposed to increase the prestige of professions.
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Ulug`Bek, Djumaev. "ONOMASTIC CODE IN DYSTOPIAN NOVELS BY RUSSIAN WRITERS." European International Journal of Multidisciplinary Research and Management Studies 02, no. 11 (November 1, 2022): 179–83. http://dx.doi.org/10.55640/eijmrms-02-11-41.
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We present the history of the emergence and development of literary onomastics, the relevance of which is currently not in doubt due to the involvement of its data for the analysis of the artistic world of different authors as linguists and literary critics. The aim of the study is to acquaint readers with those works in which reflections on the function of the proper noun in fiction can be considered as prerequisites for the emergence of onomastics. An important role in the development of science about the proper noun not only scientists, but also critics, writers and journalists, for example, V.G. Belinsky, N.S. Leskov, O.I. Senkovsky. Despite the initial interest of researchers to the etymological meaning of a literary name, in onomastic works middle of 20th century lighting find such problems, as reflected in the anthroponyms of the essential characteristics of the literary character, stylistic conformity onomastic units, social conditionality of name, etc. We point out the primary importance in the problems development of the new branch of linguistics for the 1950s of the works of such scientists as V.N. Mikhailov, R.P. Shaginyan, E.P. Magazanik, D.S. Likhachev. In conclusion we note the modern Voronezh onomastic school research specificity, founded by G.F. Kovalev, the successor of the already classical traditions of Russian onomastics. Surnames came late in human history to the world at large. They did not exist before the fifteenth or sixteenth century. Russia is no exception. In fact the very word for “surname” in Russian, familija, was borrowed from the West only in the seventeenth century, and a lot of Russian peasants did not have surnames right up to the day of the emancipation of serfs in 1861.[i] As you would expect, the upper aristocracy was the first social class to adopt surnames. They were based, for the most part on toponyms (place names). In other words, a prince whose domain encompassed the Vjaz’ma area became Prince Vjazemskij (most of these earliest surnames have adjectival type endings in -skij or –skoj). Among other names in this category are Obolenskij, Volkonskij, Trubetskoj, Meshcherskij, Kurbskij (Unbegaun intro, p. 20). To this very day Russians recognize these names as indicative of the origins of a person at the highest levels of the aristocracy in pre-Soviet Russia. It is noteworthy that two members of the Decembrists, who, in 1825, mounted an unsuccessful attempt to overthrow the government and introduce liberal reforms inspired by the West, were Prince Evgenij Obolenskij and Prince S.P. Trubetskoj.
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Babina, Agata. "Mikrostāsta jēdziens mūsdienu literatūrā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 299–310. http://dx.doi.org/10.37384/aplkp.2020.25.299.
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The glorious, overwrought, and ambitious modernism of the early 20th century has gradually been replaced by minimalism in art, architecture and other cultural expressions. In such a changing environment, minimalism trends also appear in the literature. Turning to the analysis of literary fiction over the last hundred years, critics of Romanic and Anglo-Saxon literature have come to the conclusion of the emergence of a new literary genre. In Anglo-Saxon literature, among many other names of this genre, the most recognizable name is flash fiction, while in Spanish, the term microrrelato has been established in the last decade. However, in Latvian literature, the characteristics of the genre correspond to minimas written by Aivars Eipurs. The paper aims to provide insight into the development and textual characteristics of flash fiction and to seek its equivalents in the literature of different Western nations. The study looks at the concept of flash fiction and its synonyms in English, Spanish, French, Russian, and Polish languages, includes definitions of flash fiction as an independent literary genre of a variety of authors and sets out the key features and examples. In addition to the concept of flash fiction, it includes concepts of intertextuality and ellipsis, which, along with humor and metafiction, are essential linguistic elements of flash fiction. Flash fiction merges different genres and their patterns into a new literary form consisting of certain linguistic, syntactical, and pragmatic texting techniques. In building the theoretical base of the study, the emphasis was placed on the critics of contemporary Spanish literature less known in Latvia, such as professor Irene Andrés-Suárez (b. 1948) of the University of Neuchatel (Switzerland), Argentinian writer and literary critic David Lagmanovich (1927–2010) and Mexican literary critic Lauro Zavala (b. 1954). Examples of the genre are mostly referred to by Hispanic authors.
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Макаренко, Евгения Константиновна. "GENRE SPECIFICITY OF BIOGRAPHICAL SKETCHES ABOUT RUSSIAN MOVEMENTS BY E. POSELYANIN." Tomsk state pedagogical university bulletin, no. 1(213) (January 11, 2021): 95–103. http://dx.doi.org/10.23951/1609-624x-2021-1-95-103.
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Введение. Известный в дореволюционной России публицист и духовный писатель Евгений Поселянин (настоящая фамилия Погожев), пройдя путь сомнений в вере и получив духовное возрождение в Оптиной Пустыни, стал участником развернувшейся между интеллигенцией и представителями Русской Православной Церкви дискуссии начала XX в. Церковность эстетического сознания Е. Поселянина определила основную задачу всего его творчества, заключавшуюся в воспроизведении и передаче духовного мира Русского Православия. Цель. Творчество известного духовного писателя и публициста конца XIX – начала XX в. Евгения Николаевича Поселянина, совершенно забытое на несколько десятилетий советской эпохи, требует реабилитации и серьезного научного исследования. Материал и методы. Исследуется сборник жизнеописаний Е. Поселянина «Русские подвижники 19-го века» (1900 г.). Работа написана в русле исторической поэтики. Результаты и обсуждение. В литературной деятельности Поселянина отразились важнейшие духовно-культурные искания его современников и художественно-эстетические тенденции конца XIX – начала XX в. Религиозное возрождение начала XX в. привело к сдвигу границ внутри русской культуры, при котором произошло сближение и взаимовлияние богословия, философии, науки с художественной литературой, что отразилось на трансформации традиционных художественно-эстетических форм. В творчестве Е. Поселянина можно проследить, как церковные темы и православное содержание облекаются в характерные для светской литературы и отходящие от строгих жанровых канонов литературные формы, которые становятся более пластичными жанровыми образованиями, открытыми для выражения и передачи современным человеком опыта духовной жизни. Заключение. Книга Е. Поселянина «Русские подвижники 19-го века» представляет собой документ русской духовной жизни XVIII–XIX столетий. В этом сборнике биографических очерков традиционализм жизнеописания святого размывается жанровыми новациями: включением структурных элементов из других художественных и публицистических церковных жанров (патерики, проповеди, церковная история) и популярной в светской литературе беллетризованной мемуарно-биографической прозы. Introduction. Evgeny Poselyanin, a well-known publicist and spiritual writer in pre-revolutionary Russia, having traveled the path of doubts in faith and received a spiritual revival in Optina Pustyn, became a participant in the discussion between the intelligentsia and representatives of the Russian Orthodox Church at the beginning of the 20th century. The ecclesiastical nature of E. Poselyanin’s aesthetic consciousness determined the main task of all his work, which was to reproduce and transmit the spiritual world of Russian Orthodoxy. Aim and objectives. The work of the famous spiritual writer and publicist of the late 19th – early 20th centuries. Evgeny Nikolaevich Poselyanin, completely forgotten for several decades of the Soviet era, requires «rehabilitation» and serious scientific research. Material and methods. The article examines the collection of biographies of E. Poselyanin «Russian ascetics of the 19th century» (1900 edition). The research is written in the mainstream of historical poetics. Results and discussion. Poselyanin’s literary activity reflected the most important spiritual and cultural searches of his contemporaries and artistic and aesthetic tendencies of the late 19th – early 20th centuries. Religious revival of the early 20th century led to a shift in boundaries within Russian culture, during which there was a convergence and mutual influence of theology, philosophy, science with fiction, which was reflected in the transformation of traditional artistic and aesthetic forms. In the work of E. Poselyanin, one can trace how church themes and Orthodox content are clothed in literary forms characteristic of secular literature and departing from strict genre canons, which are becoming more plastic genre formations open for the expression and transmission of the experience of spiritual life by modern man. Conclusion. The book by E. Poselyanin «Russian ascetics of the 19th century» is a document of Russian spiritual life in the 18th – 19th centuries. In this collection of biographical sketches, the traditionalism of the life of the saint is eroded by genre innovations: the inclusion of structural elements from other artistic and journalistic church genres (paterics, sermons, church history) and fictionalized, memoir and biographical prose popular in secular literature.
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Kamalova, Alla. "Духовность и святость в романе Евгения Водолазкина Лавр." Acta Polono-Ruthenica 4, no. XXIII (December 30, 2018): 19–32. http://dx.doi.org/10.31648/apr.3564.
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The article is devoted to spirituality as an actual category of the scientific and cultural paradigm of the 20th century, spirituality is qualified as an “eternal theme”. The author emphasizes the “fuzziness of the theme,” speaks about the complexity of its definition, as well of ambigious understanding in various socio-historical periods. Spirituality as an eternal topic of fiction is discussed on the example of the novel by Evgenе Vodolazkin Lavr. Lavr – is a hagiographic novel, which describes the life and spiritual path of the doctor in Medieval Russia. The author emphasizes the actuality of the novel Lavr for modern Russia.
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Vekshina, Ekaterina, and Irina Michajlova. "Is it worth multiplying translation multiplicity? From the experience of working on a new translation of Multatuli’s Max Havelaar." Scandinavian Philology 20, no. 2 (2022): 288–300. http://dx.doi.org/10.21638/11701/spbu21.2022.204.
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The article is written within the framework of a relatively new trend in translation studies — the study of translation multiplicity (or, in other terminology, re-translation) of fiction. It uses Multatuli’s Max Havelaar (pseudonym of Eduard Douwes Dekker (1820–1887)) as its research material. It is an anti-colonial novel with autobiographical elements that opened Dutch readers’ eyes to the real state of affairs in the Dutch East Indies. These days, Max Havelaar is enjoying a worldwide surge in popularity: between 2017 and 2022, its new translations and retranslations have been published in twelve languages, including English, French and Azerbaijani. The authors of this article, who were involved in creating a new Russian translation (the planned year of publication is 2022), analyse the work of their predecessors — the previous seven Russian editions of the novel, which were published from 1916 to 1959. The analysis leads to the conclusion that the previous Russian versions of Max Havelaar do not meet the modern norms of translation (in the terminology of G. Toury), since all the 20th-century translations of the novel were made not from the Dutch original, but from a German translation, which had been made from the abridged edition of 1871, and not from the full author’s version of 1875–1881. These translations are full of literalisms that do not take into account the context; they contain errors in understanding the author’s text and are unnecessarily difficult to understand. This is why there is a need for a new, modern Russian version, which will allow Russian readers to appreciate Multatuli’s famous book at its true value. The differences in translation strategies in the 20th and 21st centuries are listed and relevant examples are given.
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Kostova-Panayotova, Magdalena. "RUSSIAN LITERARY MODERNISM AND ITS INFLUENCE ON BULGARIAN LITERATURE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 203–24. http://dx.doi.org/10.37816/2073-9567-2020-58-203-224.
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The paper discusses to what extent major currents and representatives of Russian modernism and the Avant-garde had influenced the works of prominent representatives of 20th-century Bulgarian literature such as L. Stoyanov, Liliev, Debelyanov, Trayanov, Sirak Skitnik, and many others. In addition to addressing the influence of Russian symbolism on Bulgarian writers, the article examines the impact of Acmeism on the work of El. Bagryanа and At. Dalchev; the one of Imaginism on the work of Bulgarian modernists from the 1920s such as Slavcho Krasinski, Geo Milev and others. The intertwining of features of the poetics from different avant-garde currents, both in the works of individual authors and in the works of a single writer appeared as a typical phenomenon in the life of the Bulgarian avant-garde. Such poets as N. Furnadzhiev, A. Raztsvetnikov, N. Marangozov and others, and fiction writers as Ch. Mutafov, A. Karaliychev, A. Strashimirov, J. Yovkov, repeatedly experienced the influence of contradictory modernist and avant-garde currents, however, in their works they managed to add the “European form” to the “Bulgarian content”. The study also involves Bulgarian avant-garde journals such as Crescendo, Libra/Vezni, etc. This paper argues that by going against the rules, the avant-garde writers created a productive artistic method, a kind of alternative classic.
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Sedelnikova, Olga V., and Enhzaya Vandan S. "Marcell Benedek. The Double of Mr. Golyadkin." Dostoevsky and World Culture. Philological journal, no. 4 (2021): 196–209. http://dx.doi.org/10.22455/2619-0311-2021-4-196-209.
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It is here presented the Russian translation of the introduction Dostoevsky’s short story The Double, firstly published in the fourth volume of the Hungarian translation of Dostoevsky’s Collected Works (1922) that was part of a large educational project by the publishing house Révai. The author of this short article about The Double, Marcell Benedek (1885–1969), writer, translator, and literary scholar, was an eminent representative of the Hungarian culture of the early and mid-20th Century. His works and media appearances were intended to familiarize readers with the works of Hungarian and European literature, to teach them to understand the language of fiction and the mechanisms of the aesthetic interpretation of reality. Benedek wrote one of the first articles about Dostoevsky’s early work in the European history of Dostoevsky studies and is at the origins of a tradition of deep reflection on the nature of the writer’s aesthetic principles.
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Bogumil, Tatiana A. "Cedar as a Tree Image of Siberian Text." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 4 (2022): 233–48. http://dx.doi.org/10.15826/izv2.2022.24.4.075.
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This study aims to create a “portrait” of the cedar as a central dendro-image of the Siberian text and the image of Altai in particular. The research materials are scholarly works on ethnography and folklore studies, Russian and Russian-language fiction of the nineteenth — twenty first centuries about Siberia. The author mostly refers to texts from the five-volume anthology The Image of Altai in Russian Literature of the 19th–20th Centuries (2012). The sources are considered in the context of the geo-poetic approach and ethno-dendrology. The analysis makes it possible to single out a combination of elements of the “tree” generic concept specific to the image of the cedar, which has not previously been the subject of systematic consideration. The real and cultural qualities of the cedar as a coniferous, evergreen, powerful, fruit-bearing, “male” tree determine its sacralisation in Siberian pagan and Russian Christian cultures. The Russian name for the Siberian cedar pine, “кедр”, which dates to the Middle Ages, establishes a correspondence between Siberia and Palestine, North and South, reflects the process of mythologisation of the conquered space in the categories of paradise / locus of the Passion. The main mythological and mythopoetic “cedar” motifs are associated with ideas about the World Tree, the Tree of Life, the family tree, the tree of poetry, etc. The symbolisation of the cedar as a sign and model of a person, a people, homeland, Altai, and Siberia remains unchanged. The cedar is accompanied by images of an animal (bear, sable), bird (eagle), and mountains. The semantic counterpart of the Siberian cedar in Russian culture is the oak, which is the main tree in the European part of Russia. Starting in the twentieth century, the practice of industrial logging leads to the emergence of new, environmental issues.