Journal articles on the topic 'Russian prose literature – 20th century'
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1
Maroshi, Valerij V. "“The Russian Bayonet” in the Russian Literature of the 18th-20th Centuries: The Magic Weapon of the Empire." Imagologiya i komparativistika, no. 16 (2021): 225–43. http://dx.doi.org/10.17223/24099554/16/14.
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The article deals with one of the most important unofficial imperial symbols of Russia - the Russian bayonet. For quite a long historical period, 1790-1945, the bayonet remained a metaphor for military, state, and national power. In the historical perspective, it had three main meanings: 1) the glory of the Russian Army, and then the Red Army; 2) the greatness and strength of the Russian Empire; 3) courage, determination, and the Russian man’s contempt for death. The cult of Suvorov and the myth of the Russian bayonet were formed in Russian poetry at the same time - at the end of the XVIII century, and they supported each other. Suvorov’s bayonet charge training remained relevant in the tactics and military theory of the Russian Army until the end of the 19th century. The idea of the mythical Suvorov’s “bogatyr”, a Russian soldier, was poeticized by the commander himself in The Science of Victory (1795) and was continued primarily in the patriotic poetry of the 1830s. The mythologization of the Russian bayonet in Russian poetry and battle prose reached its apotheosis in the early 1830s, at the time of Russia’s confrontation with Europe over the Polish Uprising. The literary myth of the bayonet is presented in its most complete form in Pyotr Yershov’s poem “The Russian Bayonet”. Patriotic lyrics with their collective lyrical subject and nationwide sublime pathos and the battle prose of the 1830s both played a decisive role in the creation of the myth. The hyperbolization of the Russian hero wielding the bayonet in the prose of the 1830s is usually linked with the motif of national superiority. The ideological imperial myth of the invincible and all-powerful Russian bayonet was used primarily within Russia itself. During the Crimean War, the poetical hope that the bayonet would help to win the war with the most well-armed armies in Europe was in vain. In addition, the destruction of the myth was influenced by the spread of the personal point of view in the psychological prose of Leo Tolstoy and Vsevolod Garshin. In Tolstoy’s battle prose, the war rhetoric and the valorization of war are devalued, this “demythologization” also includes an unusual description of the Russian bayonet charge. This trend continues in the prose of Garshin, who gained the experience of an ordinary volunteer soldier in the Russian-Turkish War. In the last third of the 19th century and before the beginning of the First World War, the bayonet in Russian unofficial literature became a metaphor for the repressive state apparatus. Nevertheless, at the beginning of the war, the suppressed national semantics of the bayonet was actualized again. The same thing happened at the very beginning of the Great Patriotic War when the very existence of Russians as an ethnic group was called into question. Soviet poets once again turned to the myth of the all-conquering Suvorov’s Russian bayonet.
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Orlitskiy, Yuri B. "Literary literature in Russian provincial journalism of the early 20th century." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2023): 18–26. http://dx.doi.org/10.20339/phs.1-23.018.
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This article examines the range of real forms and genres of Russian journalism in the early 20th century, in one way or another related to literature, using newspapers from Nizhny Novgorod, Vladimir and Yaroslavl provinces as a case study; Nizhny Novgorod Leaf of 1912–1913 was chosen as the main study material. The study showed the importance of the literary component of the repertoire of a provincial newspaper, the variety of forms of presence of literature, both modern and classical, on the newspaper page. Literature itself is represented in the repertoire by poems, prose miniatures, and stories, often printed with a continuation. Humorous and satirical texts, literary parodies occupy an important place in the newspaper. The main object of critical reflection and parody in 1913 became I. Severyanin and other ego-futurists. Besides, the Leaflet regularly publishes critical and biographical articles, reviews, obituaries, retellings of book market novelties, publications of previously unknown works and memoirs, memoirs, reports on events of literary life. The main heroes of the newspaper of 1912–1913 are Turgenev, Nadson, L. Tolstoy, Gorky (as a famous countryman), Balmont. The main informational occasion for the appearance of literary materials in the newspaper are anniversaries or the publication of interesting books or publications. A significant part of literary publications are reprints from publications in the capital. The newspaper also pays a certain amount of attention to foreign literature, first of all, modern literature; O. Wilde, A. Strindberg, H. Hauptmann, and A. Frans. Particular attention is paid to the prose miniature (poem in prose), a specific newspaper genre characteristic of early twentieth-century periodicals. The large number of articles on literary themes testifies to the general literary centrism of early twentieth-century Russian culture.
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Bolshakova, Alla Yu. "Typology of composition in Village prose of 20th century." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 73–81. http://dx.doi.org/10.20339/phs.5-22.073.
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The purpose of this article is to give an idea of the typology of compositional forms in Russian literature of the last century on the example of the leading literary trend of the second half of the twentieth century, the Village prose, in which compositional organization was of priority importance in comparison with the plot. Understanding the composition as the internal structure of the work, the author of the article aims to prove its importance in the organization of the artistic whole. The tasks of the author of this work include consideration of such key types of composition for the Village prose as circular, associative, temporal (retrospective, anachronistic) ones, composition of off-plot elements, etc. This problem is solved on the basis of the study of the works by V.P. Astafyev, V.G. Rasputin, A.Ya. Yashin, B.P. Ekimov, etc. The significance of the sound image in the compositional organization of the work as associated with the traditions of the song culture of Russia has been considered separately. A special attention, based on the concept of B.A. Uspensky, is paid to the problem of points of view in narrative composition, the dialectic of which provides in the Village prose the narrative organization of the composition on the principle of changing points of view: from the highest points of view, coming from Russian cosmism, to the immanent current reality. As a result of this study, the conclusion has been made about the diversity and significant content of compositional forms that perform not a formal, but an essential role in the implementation of the ideological and artistic concepts of writers in the Village prose.
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Karpenko, I. E. "Ornamental Prose of the Silver Age and “Precious Word” of Alexei Remizov." Язык и текст 5, no. 1 (2018): 55–60. http://dx.doi.org/10.17759/langt.2018010105.
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This article examines poetic diction of literary texts of the major Russian writer of the 20th century Alexey Remizov in relation to the literary phenomenon of Russian literature of the Silver Age – ornamental prose, and work of one of its brightest representatives.
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Ruge, Jing, and Irina V. Monisova. "The state of researches of modern Russian female prose in Сhina." RUDN Journal of Studies in Literature and Journalism 25, no. 2 (December 15, 2020): 277–86. http://dx.doi.org/10.22363/2312-9220-2020-25-2-277-286.
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In the 80s and 90s of the 20th century, womens literature in Russia began to rapidly develop and become recognized as a special phenomenon - for the first time after the last turn of the epoch: Soviet literature was rarely considered in Russian literary criticism from a gender point of view. The creativity of modern women writers became a vivid phenomenon in the context of the Russian literary process, revealed a unique female view of many socio-psychological problems, and in its own way reflected the historical turning point experienced by Russian society. In China, traditionally sensitive to Russian culture, the growth of female literature in Russia was noted almost immediately, and Chinese scientists have so far achieved considerable results in studying the specifics of themes, plots, typology of heroes, artistic styles, and the language of Russian female literature. This article is aimed at summarizing the current state of research on the work of Russian writers in China. It presents both generalizing works and materials devoted to individual writers personalities (L. Petrushevskaya, T. Tolstaya, L. Ulitskaya).
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Tsvetova, N. S. "BOOK REVIEW: GOLUBKOV M.M. WHY DO WE NEED RUSSIAN LITERATURE?" Siberian Philological Forum 20, no. 3 (September 30, 2022): 126–29. http://dx.doi.org/10.25146/2587-7844-2022-20-3-129.
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The author of the review analyzes the monograph by M.M. Golubkov, a well-known expert in Russian literature of the 20th century, Professor, Head of the Department of the Lomonosov Moscow State University. This book falls into three parts. The first deals with the relevance of Russian classics of the 20th century, the reasons for its “expulsion” from university and school literature programs, and the didactic potential that is ignored in the era of the Unified State Examination. The second part is devoted to one of the most urgent problems of modern historical and literary science – the problem of periodization. The third chapter of the monograph is a purely analytical one, which presents rather unexpected “rapprochements” of some key people in the latest Russian prose: Gorky and Solzhenitsyn, Solzhenitsyn and Polyakov, etc. From the point of view of the author of the review, the new book by M.M. Golubkov may be of interest not only to university teachers, but also to school teachers of Russian literature of the 20th and early 21st centuries.
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Kuffel, Józef. "Literatura w kręgu wpływu hezychazmu: Wałaam w prozie Nikołaja Leskowa i Iwana Szmielowa." Kultura Słowian Rocznik Komisji Kultury Słowian PAU 19 (December 22, 2023): 27–38. http://dx.doi.org/10.4467/25439561ksr.23.002.18979.
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Literature in the Circle of Influence of Hesychasm: Valaam in Prose of Nikolai Leskov and Ivan Shmielyov The prose of a prominent literary representative of the “first wave” of Russian emigration after the 1917 revolution Ivan Shmielyov and selected texts by Nikolai Leskov were used as the material for the study. The émigré author represents the neorealistic trend in the prose of the early 20th century, referring to the classics of 19th century Russian literature. The traumatic experiences of the revolution and the civil war became for him, as for the entire generation of Russian émigrés, a turning point in reevaluating their worldview, leading to a religious revival. Consequently, the author became a continuator of the Orthodox tradition in literature, whose exponent was N. Leskov. Despite the differences between the discourses of patristics and belles-lettres, the hypothesis stipulated in the title of the article that the considered word artist - both in terms of worldview and literature - was under the influence of hesychasm (elderhood), is confirmed.
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Chernikova, Natalia. "THE WAYS OF PRESENTING RUSSIAN LITERATURE IN THE 21ST-CENTURY BULGARIA." Lomonosov Journal of Philology, no. 4, 2023 (August 23, 2023): 185–93. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-04-16.
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The article examines the translation of Russian literary works in 21stcentury Bulgaria. The reasons for the decline of the process at the beginning of the century are discussed. Reference is made to the editions of new works by authors who are already popular among Bulgarian readers (V. Pelevin, S. Lukyanenko, B. Akunin, S. Minayev, A. Bushkov), as well as writers who are relatively new to the Bulgarian public (E. Vodolazkin, S. Lebedev, A. Salnikov, D. Rubina) and recent translations of the works of authors who started their literary activity back in the 20th century but who have not been published in Bulgaria until recently. Although modern Bulgarian publishers and translators are mainly interested in Russian prose, we also mention some trends in the reception of poetry and drama and the presence of Russian literature on Bulgarian theatrical stage. Bulgarian publishers, scholars and translators who popularize contemporary Russian prose are named, as well as the events (such as the annual national award of the Bulgarian Translators’ Union), the main objective of which is cultural cooperation of the two countries. Translations of Russian literary work in Bulgaria during the politically unstable situation (from February 2022 up to present) are considered, as well as the possibility of publishing such translations in our time.
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Ziyayeva, Xushnudabonu Ilhomjon Qizi. "Hypertextuality Of Tolstoy's Prose." American Journal of Social Science and Education Innovations 03, no. 06 (June 20, 2021): 64–68. http://dx.doi.org/10.37547/tajssei/volume03issue06-11.
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This article highlights the intersection of realism and postmodernism of the 20th century and the hypertextuality of Tatiana Tolstoy's prose. The purpose of the article is to study the poetics of mythological prose, methods and forms of mythologization in modern Russian prose. The scientific novelty lies in the fact that this article seeks to consistently explore not only the myth, but also the mechanisms of mythologization and demythologization in Tolstoy's prose, as well as to identify the axiological and ontological features of mythology in the writer's texts. The theoretical significance of the article consists in the further development of theoretical knowledge about the categories of mythopoetics, the deepening of ideas about the mythologism of literature and the genre features of the mythological novel. The practical significance of the article lies in the fact that its materials can be used in lecture courses and seminars on the history of modern literature, the theory of myth, as well as in the works on T. N. Tolstoy.
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Zhila, Rahmanikhalilelahi. "MORAL DILEMMAS AND ETHICAL CONFLICTS IN RUSSIAN LITERATURE OF THE 20TH CENTURY AND IN THE PROSE OF F. ISKANDER." Kavkazologiya 2023, no. 4 (December 30, 2023): 373–84. http://dx.doi.org/10.31143/2542-212x-2023-4-373-384.
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This article is an exploration of moral dilemmas and ethical conflicts in Russian literature of the 20th century and their influence on shaping public consciousness and dialogue on moral issues. The article actively engages in a deep analysis and discussion of various moral aspects present in Russian literature of the 20th century. Key themes such as freedom, justice, identity, collectivism, and individuality take center stage. The article examines these ethical questions through the prism of well-known literary works of that time, including those by B. Pasternak, M. Bulgakov, Y. Za-myatin, and the Abkhazian writer F. Iskander. Particular emphasis is placed on how these moral issues materialize in the characters and stories of literary works. The analysis explores the mean-ings, dilemmas, and conflicts presented by authors through their characters. This approach adds depth to the article, enriching the discussion of moral issues not only in the abstract but also in literary works. The study methodology is founded on an examination of the socio-cultural back-drop, the impact of historical events on social and moral standards, and a thorough examination of genres and major works. The novelty of the study lies in a comprehensive and in-depth analysis of moral dilemmas and ethical conflicts presented in Russian literature of the 20th century. The arti-cle’s findings can be valuable in literary studies, philosophy, ethics, education, social sciences, and cultural studies. They can be used to debate and examine moral concerns, the impact of litera-ture on public opinion, and to spark public debate and shape public consciousness. The article un-derscores the importance of Russian literature of the 20th century in exploring moral dilemmas and ethical conflicts, as well as its role in shaping public consciousness and dialogue on moral is-sues.
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Bolshakova, Alla Yu. "Вооk as a genre: medieval tradition in Russian prose of 20th century (V.P. Astafiev, F.A. Abramov)." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2021): 123–30. http://dx.doi.org/10.20339/phs.4-21.123.
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The author aims to observe the phenomenon of “thinking by books” which has been born in the verbal creativity of Medieval Russia and promoted in Russian literature of the XX century but has been little studied yet. A special attention is paid to the formation of the book genre by such writers as V.P. Astafyev (“The Last Bow”, “The King-Fish”, “Zatesi”) and F.A. Abramov (“The Pure Book”). To fulfill the tasks set, the author relies on both the provisions of medieval studies and the concepts of genre theorists and historians of modern Russian literature. Definition of “book” as a specific meta-genre; dialectics of the novel and book genres is considered. A special attention is paid to the processes of formation of the “book” by uniting text elements into a super-genre unity. The author shows how the free form of the “book”, consisting of chapters and stories, provides creative freedom to the author and allows, in the medieval spirit, to expand the original version adding new and new texts to it. The article substantiates the position of the “book” as a narrative consisting of seemingly separate, but cyclically connected chapters and parts. This is a meta-genre that is becoming and moving along with historical reality. In conclusion the author of the article draws a conclusion about the productivity of genre of the book in the Village prose as a leading literary direction of the second half of the twentieth century and marks a continuation of this tradition in contemporary Russian prose.
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Vo, Nhon Van. "TRANSLATED LITERATURE IN COCHINCHINA IN THE LATE 19th CENTURY AND IN THE EARLY 20th CENTURY." Science and Technology Development Journal 13, no. 1 (March 30, 2010): 5–12. http://dx.doi.org/10.32508/stdj.v13i1.2099.
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Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.
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Na, Sai. "Artistic space in I.S. Turgenev’s prose poem «threshold» and in chinese literature of the XX century." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 167–76. http://dx.doi.org/10.17588/2076-9210.2019.4.167-176.
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The popularity of «Prose Poems» (1878–1882) by Ivan Sergeevich Turgenev dates back more than a hundred years, while they remain the very first works of the writer, translated into Chinese. The study of Turgenev has gained particular relevance in China. This article discusses the understudied issue of the influence of the Turgenev’s prose poem «Threshold» on Chinese literature through the example of the work of the classics of Chinese literature of the first half of the 20th century, such as Lu Xin (1881–1936), the father of the modern Chinese novel, Li Ni (1913–1968), the singer of «sorrow and grief», and Lu Li (1908–1942), one of the founders of the new Chinese lyrical prose. Using the comparative method, the article analyses the artistic features of the following prose poems: «The Traveler» by Lu Xin, «The Falcon Song» by Li Ni, and «The Door and the Recluse» by Lu Li. The author reveals the significant influence that the philosophical ideas of Turgenev and his creative style had on these writers and Chinese literature in general. The comparative analysis shows that in the poems of Lu Sin and Li Ni, the spatial characteristics of Turgenev's prose poem «The Threshold» are recreated, while Lu Li was inspired by the philosophical meaning of this work of art. In this way, opening a new page for Russian literary scholars in the history of the relationship between Russian and Chinese cultures, the research topic and the analysis done reveal new material for Russian literary studies about on the history of the reception of Turgenev‘s creative work in China.
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Petrenko, Alexander Philippovich, Svetlana Anatolyevna Petrenko, and Irina Borisovna Fedotova. "Influence of N. Gogol’s and M. Saltykov-Shchedrin’s Satire on Michail Bulgakov’s Prose." International Journal of Applied Linguistics and English Literature 6, no. 1 (November 19, 2016): 20. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.1p.20.
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The article is concerned with the study of literary relationships between the satire of the famous 20th-century Russian writer M. Bulgakov and the works by the Russian classics of the 19th century – N.V. Gogol and M.Y. Saltykov-Shchedrin. The article describes Gogol’s and Saltykov-Shchedrin’s influence on Bulgakov’s satirical poetics, especially in the period of his development as a writer. Special attention is given to the device of grotesque and the motives of mechanicalness and lifelessness, forming the artistic worlds of the writers under study. The authors note that the technical progress and the rapid development of mechanized production in the 20th century, combined with the satirical motive of primitivism, characteristic of Russian literature, left an imprint on the nature of Bulgakov’s grotesque. The writers at issue are united by such common feature of the satirical poetics as turning to fantasy, hyperbole, ‘strange and queer things’. The article shows the way Bulgakov perceived and embodied the principles of Gogol’s and Shchedrin’s world perception through the comic mixing of absurd, ghostly and real. Bulgakov’s way of seeing the world is characterized as ‘delirious reality’. At the same time, Bulgakov, as well as his literary teachers in the sphere of satire, showed oddness and divergence as regularity, while the comicality of fantasy in his works finally turns into the drama of reality.Keywords: satire, laughter, grotesque, mysticism, fantasy, zoomorphic metaphors
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Poltoratsky, I. S. "The Elements of Ornamental Prose in the Works of Venedikt Matveev (Mart). “Martelias. Stories of My Death”." Studies in Theory of Literary Plot and Narratology 4 (2023): 24–32. http://dx.doi.org/10.25205/2713-3133-2023-4-24-32.
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Venedikt Matveev (Mart) is a prominent figure in the literature of the Far Eastern Russian emigration. His cycle of ornamental miniatures (“martelias”) “The Story of My Death” reflects the original features of the new mythopoetic thinking corresponding to the modernist literature of the early 20th century. In this article we analyze avant-garde compositional and stylistic techniques employed in these short stories in the historical and theoretical context.
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Shafranskaya, Eleonora F. "Armenian text: Poetry and prose." Philological Sciences. Scientific Essays of Higher Education, no. 6s (November 2022): 135–43. http://dx.doi.org/10.20339/phs.6s-22.135.
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The article continues the analysis of the Armenian text — the phenomenon of Russian culture and literature, which we presented in the previous article “The Armenian text: the Children of Job” (Polylinguality and Transcultural Practices. 2022. No. 3). The algorithm for analyzing the Armenian text is presented on the basis of prose texts of the last third of the 20th century (and a dotted line of the 21st), as well as poetic texts of modern poets (Liana Shahverdyan, Maxim Amelin, Alessio Gaspari, Georgy Kubatyan). The article examines the patterns associated with the key names, attributes and space of the Armenian picture of the world — as it develops in Russian literary reception. These are such patterns as Ararat, Sevan, sea, lavash, Armenian patio. Hrant Matevosyan. We offer a new pattern of the Armenian text — the personality and creativity of G. Kubatyan. The study is an attempt to oppose the Armenian text to a simple mention of Armenian attributes in literature. The author also offers an indispensable “ingredient” for the emergence of a local text as such, in particular, an Armenian one. The hierarchy between verses and prose in the process of the birth of a local text is indicated, albeit controversial.
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Golubkov, Sergey A. "Provincial town as a spatial model in the satirical and humorous literature." Semiotic studies 3, no. 1 (April 25, 2023): 32–40. http://dx.doi.org/10.18287/2782-2966-2023-3-1-32-40.
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The article deals with the artistic functions of local spatial models in the Russian satirical and humorous prose of the 20th century. It gives an idea of the typology of comic evaluation objects (character, situation, event, space). Particular attention is paid to the city as a multidimensional cultural text, as a universal metaphor for the state world order. The work reveals a contradiction between the real scale of the county town and the ridiculously grandiose ambitions of its inhabitants. The article discusses the semantics of the province objective world in the satirical and humorous prose, the semantic content of distinguishing between one's own and another's. In this respect, the satirists and comedians development of the humorous specific technique is essential (the motives of rumor, the introduction of imaginary figures, playing with scales, elements of mystification).
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Trostina, Marina Aleksandrovna, and Ksenia Nikolaevna Shishkanova. "The doctor’s image in the reception of Russian criticism and literary studies in the 20th and 21st centuries." Philology. Issues of Theory and Practice 17, no. 4 (April 4, 2024): 1019–25. http://dx.doi.org/10.30853/phil20240148.
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The article highlights the stages of literary and critical reception of the doctor’s image presented in Russian prose in the 19th, 20th and 21st centuries. The work is novel in that it is the first to consider and systematize different points of view of critics and literary scholars on the nature of the doctor’s artistic image, on the doctor’s place in the cultural and historical space of Russia. The research aims to identify the key trends in the reception of the doctor’s image in Russian criticism and literary studies in the 20th and 21st centuries. As a result, it is found that while the thinkers of the 19th century highlight characterological features of a doctor character such as inner freedom, thirst for knowledge and empiricism of thinking inherent in the new generation, the critics and literary scholars of the early 20th century consider a doctor character in the context of the era of scientific discovery. During the period of totalitarianism, the hero is evaluated in terms of having “obligatory” qualities and his involvement with socialism and its achievements. Since the late 1980s, a doctor character has been analyzed from the position of his belonging to the intelligentsia, whose representatives are characterized by internal contradictions. The studies of the early 21st century attempt to reinterpret traditional renderings of Russian classical literature, outline new approaches to the analysis of a literary image: a doctor character is presented as a bearer of the highest spiritual value, a way to transmit hidden meanings.
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Komarova, Olga. "А дальше что? (О прозе В. Нарбиковой)(And What Next? On the Prose of V. Narbikova)." Poljarnyj vestnik 5 (February 1, 2002): 55. http://dx.doi.org/10.7557/6.1400.
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Parallel to radical changes in Russian society in the last decades of the 20th century are transformations in literary methods and genres. There is a widespread notion that new tendences in this sphere were born as a reaction to the uniformistic, boring Sovjet literature of the previous peri- od. Valerija Narbikova was one of the new names which manifested the arrival of postmodernist literature (1989), with its neglect of social and political realities and concentration on the egocentric inner life of an in- dividual and, unusually for Russian literature of the time, its acceptance of sex as the most important part of life, an expression of the desperate need for love and understanding and helplessness in the attempt to discover the meaning of human existence.Narbikova's prose is interesting not for its philosophy, which is in- tentionally very simple, but for its inventive use of language, for its inter- textuality and vitality. Narbikova became almost a cult figure in the 1990s. Her latest novel was published in 1996, and since then she has been silent. Russian society has changed, the reader has become mature, and one may ask oneself in what directions this type of prose might possibly develop.
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Bogdanova, Olga A. "THE EVOLUTION OF THE SEMANTICS OF THE “DACHA TEXT” IN RUSSIAN LITERATURE OF THE 19TH–21ST CENTURIES (FYODOR DOSTOEVSKY, GEORGY CHULKOV, YURY TRIFONOV, YURI MAMLEEV, EUGENE VODOLAZKIN, ETC.)." Vestnik of Kostroma State University 29, no. 3 (December 21, 2023): 76–84. http://dx.doi.org/10.34216/1998-0817-2023-29-3-76-84.
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Fyodor Dostoevsky turned to his dacha in the 1840s as a health-improving kind of “urban topos”, but in the 1860s he rethought its topic in the aspect of public demands of Russia during the era of liberal reforms. A sharp surge of interest in the dacha in the late 1860s, under conditions of estate nobility's loss of the leading position in Russia, was caused by Fyodor Dostoevsky's search for a platform for dialogue between the social groups of Russia within which, a common worldview was developed and the new “best people” were identified. However, along with the rejection of the social class hierarchy inherent in dacha, openness and freedom, the writer also noted negative features - human personality sovereignty restriction (dictate of public opinion, inability to hide from prying eyes) and deterioration (gossip, drunkenness, quarrels, vulgar flirting, etc.). In the 1870s, Fyodor Dostoevsky's interest in dacha as a promising socio-cultural model had been fading, and he would fully share the prevailing attitude towards it as a focus of everyday vulgarity and mediocrity, in the last third of the 19th – the early 20th century, switching to the further development of the “estate topos”. Further, the article traces these antinomies in the image of Fyodor Dostoevsky's dacha in the literature of the Russian Fin de siècle (Georgy Chulkov), in Soviet (Yury Trifonov) and post-Soviet (Aleksey Varlamov, Yuri Mamleev and Eugene Vodolazkin) prose. The conclusion is made about the viability of the “dacha text” in the Russian literature of the 20th century due to its partial convergence with the inspiring topic of the estate.
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Shafranskaya, Eleonora F. "Armenian Text: Job’s Children." Polylinguality and Transcultural Practices 19, no. 3 (September 30, 2022): 511–20. http://dx.doi.org/10.22363/2618-897x-2022-19-3-511-520.
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The article considers one of the patterns of the Armenian text in Russian literature - the relationship of the historical destinies of the Armenian and Jewish peoples. The purpose of the study is to present, using the example of travelogues of writers of the second half of the twentieth century: Andrei Bitov, Vasily Grossman, Yuri Karabchievsky, Georgy Gachev, how this pattern of the Armenian text was formed - the pairing of the tragic fate of Jews and Armenians. The intention of the mentality of the Armenians, based on their ancient history, coincides with the Jewish intention, which is shown in the article using typological examples from the prose of Dina Rubina. The Armenian text, according to the author of the article, is a literary construct invented precisely by the writer’s creativity, first by prose, then by poetry responding to it. Thus, examples of the Armenian text, which is in interaction with the specified prose, are given from the lyrics of contemporary poets - Liana Shahverdyan, Alessio Gaspari. The Armenian text is a construct retransmitted in Russian literature. It was created by writers who reproduce certain stable patterns in their work. On the material of this study, we focused on one of them - the ontological relationship of Armenians and Jews. Its central motif is the metaphor of the historical memory of the bloody 20th century - a metaphor-reproach for the fratricidal wars of mankind.
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Krylova, Natalia. "On Self and the Era: Literary Exploits of Russian Émigrées in Africa." Uchenie zapiski Instituta Afriki RAN, no. 2 (June 30, 2021): 90–103. http://dx.doi.org/10.31132/2412-5717-2021-55-2-90-103.
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Within the general array of the studies on the issues of immigration during the era of intensive migration processes induced by the Russian revolution of 1917, the approach of researching into cultural self-preservation and cultural identity of the immigrants is used to a considerably lesser extent. At the same time, such an approach, especially if supplied with evidence in the form of fictional and journalistic works, is extremely important for understanding the socio-cultural adaptation of an individual to the new environment and determining the specifics of cultural integration associated with the inevitable and dramatic clash of different cultural stereotypes. The emigrant generation of Russians of the “first wave”, who found themselves in Africa, had the ability to create literature. There were many women among them, for whom literary testimony, poetry, and journalism were important. Epistolary became one of the ways of cultural expression, recreating the history of communities whose existence for a long time remained little known. The use of these sources opens up new areas of life and history of Russian emigration. Life at the crossroads of different cultural traditions, tragic awareness of their isolation from the native culture, challenging experience of learning a foreign culture, as well as the existence within the space of different traditions of life – all these marks of the cultural composure of a Russian emigré of the first half of the 20th century can be found in their journalistic and fictional works. In the works of Russian emigrants, there is a special subtlety of psychological mood, a special insight into their own lives, their “I”, and a special piercing compassion for the world around them. Hence the special lyricism of the women’s prose and poetry, despite the dramas of life reflected in them, and the specialness of their position in this world. Their literary samples are a vivid evidence of a bygone era and represent fresh inclusions in the general literary process. Combining with the poetic and prose streams of Russian emigrant literature, they join together in the general world literary process that was experienced by the 20th century.
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Guo, Siwen. "I. Turgenev’s novel “Rudin” in Chinese literary studies." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 433–43. http://dx.doi.org/10.22363/2312-9220-2019-24-3-433-443.
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The work of I. Turgenev was translated into Chinese in the first half of the twentieth century and later spread widely in China, having a great influence on the new generation of Chinese writers. At the same time, more and more literary critics began to study the works of Turgenev. Extensive research and analysis, as well as the study of works from different angles, contributed to a better understanding of Turgenev and Russian literature by Chinese readers. The article discusses the publications of Chinese litterateurs and critics from the second half of the 20th to beginning of the 21st century, the work of Ivan Sergeevich Turgenev, notes the enduring interest of the Chinese audience to the work of Russian prose writer, in particular, to the novel “Rudin”. Special attention is paid to the prose writer's “path” to the novel; it is proved that the high interest of scientists to Dmitry Rudin, the protagonist of this novel, caused by Chinese specifics and the relevance of many problems associated with this image. The article explains the evolution of the attitude of the Chinese to Rudin: from agreement with Russian researchers considering him as a superfl person to disagreement with them. At the same time, Rudin is compared with typically similar images in Chinese literature. An analysis of Turgenev's works by Chinese literary critics will provide detailed information for future studies in international literary circles, and can also lay the foundation for finding differences between Chinese and Russian literary criticism.
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Artemov, Andrej. "Axiology of “Russian“ in the prose of Jaroslav Rudiš." Przegląd Wschodnioeuropejski 11, no. 2 (December 30, 2020): 227–38. http://dx.doi.org/10.31648/pw.6506.
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The article is devoted to the assessment of the “Russian” aspect in Czech history and culture based on the prose of Jaroslav Rudiš. Jaroslav Rudiš, one of the most prominent contemporary Czech writers, was born in Turnov (1972). Since the publishing of “The Sky under Berlin” (2002), his work has positively attracted the attention of critics and has won a wider community of readers, which is evidenced by several reprints of his books and a considerable interest in the new one. Jaroslav Rudiš distinguishes himself from the other modern Czech authors by the ability to soberly, aptly and relevantly describe the problems of contemporaries. His characters are people who personally experienced the “whiff ” of the history and felt changes in Czech society over the second half of the 20th century. Despite the fact that Rudiš does not write explicitly about Russia, does not talk about the eternal themes of Russian philosophy and culture and does not discuss positive or negative aspects of Russian influence on international politics, he shows the impact of the “Russian” aspect on the course of the newest Czech history quite accurately and ironically, although infrequently. Russia and the “Russian” in the prose of the author are mentioned in connection with the events in the lives of individual heroes who perceive the Russian aspect as given and periodically interacting with their lives depending on the circumstances. The views of his characters are ambiguous: they are not strictly negative with regard to important events, but they are not thoughtlessly positive, when the breathtaking spirit and depriving rational thinking of the wonderful creative ability of the Russian soul are praised. The tonality of Rudiš’s prose is comparable to Dovlatov’s irony of the “Reserve” or to the poetry of the Yerofeyev’s “Moscow − Petushki”. The study of Rudish’s prose was carried out by the method of excerpt from the available Czech texts of the writer. Axiological characteristics (more than 120 citations from 7 works of the author) relevant for representing the image of the “Russian” in Czech literature were analyzed from the point of view of imagological criteria.the religious feeling.
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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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Ivanov, Nikolay Nikolaevich. "The innermost men of Andrei Platonov: the typology of artistic, historical-literary and cultural context." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 192–99. http://dx.doi.org/10.34216/1998-0817-2021-27-1-192-199.
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Types and characters of Andrei Platonov, his skill in creating artistic images, forms and ways of presenting the author's world – a topical historical and literary problem, which is considered in the context of modern research of Russian literature in the 1920s-1930s. This work is devoted to “innermost men” – Platonov author's discovery, certain artistic types, individualised, original and archetypal at the same time. They appeared as the result of Platonov's thought-making and language-making, superimposed on the colour of the epoch, historical, literary and cultural traditions. These and other difficult-to-grasp connections, intersections, and interactions were characterised in the course of research, which is based on the methodology of mythopoetic reconstruction of textual structures and discursive practices. Folklore and mythopoetic archetypes were established, and Platonov's creative motives were systematised. The most significant results of the work are the following. The existing ideas about the type of Platonov's artistic thinking are supplemented; the historical, literary and cultural context of the author's position formation is revealed; the functional side of mythopoetic motifs and archetypes in the creation of images is shown; new assessments of the content and form of a number of well-known works are given. Skill of Platonov is meaningful in the context of contemporary Russian prose of the 20th century, of neonatologists and word creation; augmented scientific understanding of complex phenomena in Russian literature of the first half of the 20th century.
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Can Emir, Badegül, and Hanife Saraç. "A Look at Yuri Bondarev in Turkey from Past to Present." Vestnik of Saint Petersburg University. Asian and African Studies 13, no. 2 (2021): 282–92. http://dx.doi.org/10.21638/spbu13.2021.210.
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Yuri Vasilyevich Bondarev is one of the well-known names of 20th century Russian literature, and he is one Russian writer familiar to Turkish readers. A successful author of war prose, Bondarev attracted the attention of the Turkish audience with a wide range of literary works which includes novels, novellas, short stories, poems, articles, essays, interviews, etc. In this respect, the years in which he produced writings on the universal theme of war have an important place in Turkish politics. Bondarev began to be published in Turkey during the politization process following the military coup (1980) and he continued to be present in Turkey until the day he died. Especially in the 80’s when he was adopted as a war prose writer he was a guide for left-wing people in the struggle after the events of September 12. It is worth noting that the recent significant increase of interest in Bondarev’s work among Turkish linguists and philologists indicates that he is popular with the Turkish reader no less than the recognized classics of Russian literature. In this article, Bondarev’s position in Turkey from past to present will be analyzed in view of the studies on him in Turkish press and literature, and it will be emphasized that the author engrossed the Turkish reader with his artistic expertise and the ideology relayed through his works.
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Есипов, Валерий. "Шаламов и Солженицын: арьергардные бои за читателя." Anuari de Filologia Lleng�es i Literatures Modernes - LLM, no. 8 (December 12, 2018): 79–93. http://dx.doi.org/10.1344/aflm2018.8.7.
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V. Shalamov and A. Solzhenitsyn are two famous representatives of the camp prose in Russian literature of the 20th century. Modern perception of these writers and their works is associated with complex problems analyzed in this report. A number of facts show the general cooling of readers to the personality and works of Solzhenitsyn, despite the support of his authority at first by the Western community, and then – by the new Russian government. On the other hand, the facts demonstrate the growing readers’ interest to the personality and creativity of Shalamov, who never had official support and was in the shadow of Solzhenitsyn. The report analyzes social and the political reasons for this situation with the involvement of little-known information from biographies two writers and polemics, which they conducted among themselves during their lifetime.
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Goncharov, Petr A. "“Native on Fatherland”: A. Solzhenitsyn in V. Astafiev’s view (on the material of letters and journalism)." Neophilology, no. 4 (2023): 814–21. http://dx.doi.org/10.20310/2587-6953-2023-9-4-814-821.
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The article examines the view, assessment, interpretation of the personality scale, the direction of A. Solzhenitsyn’s work in the letters and journalism of V. Astafiev. The importance of the research is due to the attention of modern literary criticism to the historiosophical and socio-political issues of Russian prose, the necessity to research the creations of Russian literature of the 20th century in its brightest performances and assessments. The purpose of the research is an attempt to determine the similarity of aesthetic positions, which became the basis for assessing and interpreting the personality and work of A. Solzhenitsyn in the V. Astafiev’s epistolary and journalism. The publications of letters and journalism by V. Astafyev, the writer’s reaction to publication of the first story by A. Solzhenitsyn are analyzed. The main arguments of V. Astafyev’s letter in defense of A. Solzhenitsyn, the motives for applying to the Writers’ Union are considered. V. Astafyev’s reaction to the “Vermont hermit” return to Russia is considered, the scale of A. Solzhenitsyn’s personality is characterized, and his public position is assessed. As a result of the analysis, it is established that in the letters and journalism of V. Astafiev a vivid image of A. Solzhenitsyn is created as an unbending fighter, an authoritative thinker, one of the founders of village prose, a patriot of Russia. It is concluded that the creative behavior of the writer V. Astafiev is determined by the specifics of his personality, the characteristics of his marital status, and the socio-political life of Russia in the 1960s – 1990s. The scope of application of the work results is research on the modern literature, teaching literature in higher and secondary schools.
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Zhatkin, D. N., and A. A. Ryabova. "Russian Reception by James Hogg (Mid-19<sup>th</sup> — Early 20<sup>th</sup> Centuries)." Nauchnyi dialog, no. 10 (October 29, 2021): 213–25. http://dx.doi.org/10.24224/2227-1295-2021-10-213-225.
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The article continues a series of works devoted to the Russian reception of the Scottish writer James Hogg (1770—1835), a famous interpreter of folk ballads and author of “The Private Memoirs and Confessions of a Justified Sinner” (1824). The facts and materials related to the perception of J. Hogg in Russia in the middle of the XIX — early XX century are collected and summarized. It is noted that during the period under review, no new translations of J. Hogg's poetry and prose into Russian were created, however, in the articles of leading literary critics (N. G. Chernyshevsky, M. L. Mikhailov, A. V. Druzhinin) when analyzing the works of N. V. Gogol, T. Goode, the translation activity of I. S. Turgenev expressed opinions on certain aspects of the biography and work of the Scottish author. It has been established that the main source of information about J. Hogge and his work was for the Russian reader of the second half of the 19th — early 20th centuries translated publications on the history of English literature and culture, other books by Western European researchers published in Russia. The manifestations of interest of Russian researchers and popularizers of English literature in the work of J. Hogg are comprehended, with special attention paid to the article by N. A. Solovyov-Nesmelov “James Hogg”, which was a literary sketch about the childhood of the writer, and the essay by K. F. Tiander the novel of the first quarter of the 19th century, which offers a different assessment from the predecessors of the Scottish author’s activities as a continuer of the traditions of M. Edgeworth.
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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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Abramova, K. V., E. V. Kapinos, and I. V. Silantev. "Siberia and the Far East in the First Half of the 20th Century as a Space of Literary Transfer." Vestnik NSU. Series: History and Philology 21, no. 9 (November 17, 2022): 98–109. http://dx.doi.org/10.25205/1818-7919-2022-21-9-98-109.
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Purpose. The article covers the studies on “Siberia and the Far East of the first half of the 20th century as a space of literary transfer”, which have been conducted in the sector of literary studies at the Institute of Philology of the Siberian Branch of the Russian Academy of Sciences since 2019 and are underway until now. Results. The aim of the article is to demonstrate the main lines of this work, so we shall list them. First, the study of Siberian and Far-Eastern futurism and Siberian and Far-Eastern periodicals of the 1920s with the selective publication of archival materials (N. Aseev, S. Tretyakov, V. Ryabinin, V. Mart, etc.). Secondly, the reconstruction of forgotten, but valuable for the history of Russian literature creative biographies of poets and novelists of the Eastern branch of the Russian emigration (V. Loginov, N. Peterets, B. Beta, B. Volkov, etc.). Thirdly, a description of the poetics of Far Eastern, Harbin and Shanghai authors, identification in their prose and poetic texts of artistic techniques discussed and developed in literary circles of Harbin and Shanghai (original rhymes, rare strophic and compositional forms, imitations of Eastern genres); identification of primary styles and subtexts for Harbin and Shanghai authors. Fourth, the study of documentary sources, up to the most contemporary, of Russian Harbin and Shanghai and the search for documentary evidence of the literary culture of the Russian China in artistic texts, such as V. Pereleshin's “Poem without Subject”.
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Karasik-Updike, Olga B. "Contemporary Jewish Prose in the USA." Literature of the Americas, no. 10 (2021): 100–134. http://dx.doi.org/10.22455/2541-7894-2021-10-100-134.
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The essay presents an overview of Jewish American prose of the second half of the 20th — first two decades of the 21st century within the context of multicultural literature of the USA. The definition of Jewish literature remains a matter of debate. The author of the essay based on the opinions of critics concludes on the criterion for assigning a writer to Jewish literature. It is the artistic embodiment of the personal Jewish experience and identity in the works of literature, the view “from inside,” the perspective of collective memory and the connection to history and culture. Jewish literature today is one of the most developed ethnic segments of multicultural American literature. Writers under study are recognized throughout the world, their works have been translated into many languages, including Russian, they are known to readers and have already become the subject of study by literary scholars. Today, Jewish American literature is represented by two generations of writers. “Senior” generation includes the authors born in the 1920s–30s who began their literary careers in the 60s when there was a generational change in national literature. “Young” generation is represented by the writers who began their literary careers in the 2000s. On the example of the works of the most famous authors of both generations, the author of the essay talks about the factors determining the specific features of Jewish American prose and its characteristic themes, problems, and motives: the search for identity and roots, the representation and rethinking of the Holocaust, ethnic stereotypes, the image of the Jewish family, and the traditions of Jewish humor. The study of the works of modern Jewish writers in the United States allows us to draw conclusions about the display of border consciousness, national and ethnic identity, and collective memory in fiction.
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Selitrina, T. "Sergei Aksakov in England (on the problem of national identity)." Philology and Culture, no. 2 (June 25, 2024): 199–204. http://dx.doi.org/10.26907/2782-4756-2024-76-2-199-204.
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The article presents the assessment of S. Aksakov’s artistic heritage by English critics and writers. We prove that the Russian writer unites European cultures by using universal content. Along with the classics of Russian literature – I. Turgenev, L. Tolstoy and F. Dostoevsky, S. Aksakov’s prose has worldwide significance. The year 1991 was declared by UNESCO the Year of Sergei Aksakov. Aksakov’s “The Family Chronicle” was translated into German by Sergei Rachinsky and was highly praised by A. Herzen. After James Duff translated Aksakov’s trilogy into English, the writer, along with Turgenev, Tolstoy, Gogol and Chekhov, entered the “golden fund of world literature”. The special interest to Aksakov in England was noticeable both in the early 20th century and in the 1980, when his works became bestsellers along with the works of famous Victorians. The article reveals the role of Dmitry Mirsky in popularizing Russian classics, as well as Virginia Woolf, according to whose testimony books by Russian authors Aksakov, Chekhov Turgenev and Dostoevsky found the most enthusiastic response among English readers. The article also touches upon the translation specifics of Aksakov’s works into English.
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Berezhnov, D. "The Relation of Nabokov’s Psychologism to the Tradition of Russian Literature." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, no. 5 (2022): 40. http://dx.doi.org/10.31857/s160578800022745-5.
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When we deal with psychologism, we usually limit ourselves to its approved forms, by default denying psychological qualities of “non-traditional&8j1; literature. According to the author of the article, this is due to the fact that psychologism of the first third of the 20th century has not yet become the subject of thorough literary reflection. The main disadvantage, as it seems, is an isolated approach to different forms of psychologism: there appears no overlap between the existing paradigms. The article offers a morphological and dynamic investigation of the psychological method from Tolstoy to Nabokov, where, according to this article, what is considered to be a marginal technique in “traditional&8j1; works becomes magistral in “non-traditional&8j1; ones. Tolstoy’s works therefore foreshadows the dynamic understanding of consciousness. Tolstoy goes beyond the “classical&8j1; paradigm and anticipates intuitionism, which will be developed and reworked in the novel “The Gift&8j1;. Nabokov picks up the intuitive line and develops it in a lyrical and musical manner, consistently taking the act and the system of reasons beyond the psychological description. Nabokov’s psychologism in this sense shifts the focus, and Henri Bergson’s teaching serves as a basis for the new psychologism, the principles of which were already noticeable in Tolstoy’s prose. The proposed conclusions are based on examples from the texts of Tolstoy and Nabokov, where an analytical approach is yielding to a synthetic one.
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Uryupin, Igor S. "Pushkin’s “The Gypsies”: on a plot precedent in the stories of M. Gorky and I. A. Bunin." Sibirskiy filologicheskiy zhurnal, no. 2 (2023): 63–72. http://dx.doi.org/10.17223/18137083/83/5.
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The paper considers the moral, philosophical, ethical, and aesthetic potential of Pushkin’s poem “The Gypsies” in the vast historical, cultural, and literary context. This potential served as the ideological, semantic, and artistic-eidetic source of all subsequent “gypsy texts” of Russian literature reinterpreting the motifs, images, narratives, mythologemes, and archetypes stemming from the romantic story of the tragic love of Aleko and Zemfira. The focus is on the transformation poetics of the plot under study and its motif-image structure in the prose of the early 20th century. Following the methodological principles of cognitive literary criticism, the phenomenon of the “gypsy semiosphere” is studied in the stories of M. Gorky, “Makar Chudra,” and I. A. Bunin, “Bonfire,” at different levels of textual creation using historical-genetic, structural-semantic, systemic, and holistic research methods. The study has revealed a system of concepts and narrative schemes coming from “The Gypsies” and having a constant character enriched by the life and historical experience of Russian writers of the Silver Age. The ethnographic exoticism of the gypsy world in Russian literature proved to actualize the exceptional feelings and spiritual intensity of the internal processes of human existence subject to the power of the “passions of the fatal.” The love theme in its gypsy national-cultural nuance acquires a stereotypical character in the literature of the late 19th early 20th centuries. The image of the bonfire as a semiotic marker is analyzed through the artistic creation of the precedent “burning heart” plot by M. Gorky and I. A. Bunin.
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Kachorovskaya, A. E. "On the Reception of the Myth of Prometheus in Austrian Literature of 19th-20th Centuries." Nauchnyi dialog, no. 3 (March 30, 2020): 221–35. http://dx.doi.org/10.24224/2227-1295-2020-3-221-235.
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This article focuses its attention on the motive of resistance characteristic of Austrian literature of the 19th - 20th centuries, which is considered from the point of view of the historical and literary relationship with the myth of Prometheus. The history of the issue is reviewed. A selective analysis of the versions of the Promethean myth in the Austrian historical and literary context of the 19th-20th centuries, which is part of the pan-European literary and philosophical heritage, is given. The stylistic and genre originality of Austrian interpretations of the myth of Prometheus is proved on the basis of a study of a number of works. The artistic reception of the image of Prometheus in the poem by Z. Lipiner "Liberated Prometheus", little studied in Russian literary criticism is considered in the article. Attention is paid to the version of the Promethean myth in the literature of Austrian Art Nouveau (on the example of F. Kafka's little prose). The issue of conflicting trends in the development of Austrian literature of the 20th century, affecting the interaction of the motive of resistance with the Promethean myth, is investigated by the example of M. Gruber's essay. The correlation of the Austrian versions of the motive of resistance with the myth of Prometheus is proved. The results of the study confirm the significance of the Promethean myth in the Austrian reception of the 19th-20th centuries, which has more pronounced features of drama and theatricality in relation to the European context.
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Romanov, D. A. "The linguopoetics of D. V. Grigorovich’s short novel "The Peasant" in the context of the linguistic tradition of the 19th–20th century Russian literature (to the 200th anniversary of the birth)." Russian language at school 83, no. 2 (March 25, 2022): 57–68. http://dx.doi.org/10.30515/0131-6141-2022-83-2-57-68.
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This linguopoetic study of D. V. Grigorovich’s short novel "The Peasant" aims to identify features specific to the author’s creative writing style and trace the connections between the text and the linguistic and stylistic traditions of Russian literature in different epochs. The research subject is all constituents of the linguopoetic fabric of the work of art under consideration. These are linguistic units, compositional elements, stylistic devices, plot-building ideas, images, and motifs. The methods include observation, cross sampling, generalisation, linguistic material classification, and establishing the content, structural, stylistic identity of different texts. These methods helped to identify and describe the techniques of creating the lyrical context in the short novel, the place of precedent images in it, the role of syntactical parallelisms and comparisons, the functions of low colloquial and dialectal inclusions, the origins and significance of the stylistic register dynamism. The approaches of modern linguistic poetics combined with certain methods of cultural linguistics (linguoculturology), psycholinguistics, and linguistic folkloristics (linguofolkloristics) enabled the author to analyse the specific features of objectifying the Russian peasantry’s customs, superstitious, and popular beliefs in the text of the short novel. Additionally, the research paper presents some psychological phenomena, the sensory field, and the recreation of the Russian people’s cultural and linguistic picture of the world. In the course of the study, the influence of Grigorovich’s artistic heritage on the literary and stylistic context of the subsequent time (i. e. the writers creating on the cusp of the 19th and 20th centuries, the writers of the Silver Age of Russian literature as well as the "Village" Prose writers of the Soviet period) was determined.
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Avrutina, Appolinaria S., and Sabri Gürses. "Fyodor Mikhailovich Dostoevsky in Turkey: History of Translations." Vestnik of Saint Petersburg University. Asian and African Studies 14, no. 3 (2022): 415–32. http://dx.doi.org/10.21638/spbu13.2022.303.
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The article is devoted to the review of the history of translations of Fyodor Dostoevsky into Turkish. Currently, Dostoevsky is one of the most popular foreign writers in Turkey, and according to the Turkish book market, one of the most purchased authors. By decision of the Ministry of Public Education, since 2004, the works of the Russian classic have been included in the recommendatory part of the school curriculum, so it is difficult to find a person inTurkey who would not read Dostoevsky. The history of Dostoevsky’s translations into Turkish evolved in a special way: back in the late 19th - early 20th century there were none, since the Department of Russian Language and Literature in Turkey first opened in 1935, but the first translations appeared only in the 1920s and performed from French. However, subsequently the popularity of the writer grew so much that absolutely all of his works were translated into Turkish, and some even several times. Classical Russian literature had a special influence on Turkish literature of the 20th century, and Dostoevsky’s works are the most important literary basis for their own work for many Turkish writers. For example, the recently translated into Russian novel “The Idiot” by the American writer of Turkish origin Elif Batuman, who was born and raised in the United States, as well as the novel by the young prose writer Burhan Sonmez “Istanbul. Istanbul”. Despite the late appearance of Dostoevsky’s works on the Turkish book market and late acquaintance with the Turkish reader, Dostoevsky became one of the most popular and beloved Russian writers among Turks of almost all ages (which is confirmed by the publication of Dostoevsky’s works in an adapted form for children). The authors of the article analyzed the history of translations of Dostoevsky’s novels into Turkish and came to the conclusion that the appearance of a large number of translations is explained not only by the great popularity of the Russian language and culture in modern Turkey, and not only by the cinematic popularity of Dostoevsky all over the world, but also by a high reader demand for his texts, since Dostoevsky’s works meet the cultural and moral needs of modern Turkish society.
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Golubkov, Mikhail M. "Images of russian home and the motive of homelessness in the literature XX-XXI centuries." World of Russian-speaking countries 3, no. 9 (2021): 48–57. http://dx.doi.org/10.20323/2658-7866-2021-3-9-48-57.
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The article is devoted to the image of home as it was formed in the XX century Russian literature and as it continues to develop in modern literature. It is associated with the tragic motif of loss, which dates back to A. P. Chekhov's comedy “The Cherry Orchard”. This motif was developed by M. Bulgakov, albeit on entirely different material, in the novella “Heart of a Dog” and in the novel “The Master and Margarita”.The article examines different interpretations of the image of home: it is the city house in the poetry of the war years ( K. Simonov' work), in the Russian emigration literature (V. Nabokov, N. Osorgin), in the artistic world of writers of the new peasant movement (P. Vasiliev), in the literature of socialist realism (S. Babaevsky), in the village prose of the second half of the XX century (V. Rasputin), as well as in modern literature (R. Senchin). The image of home in the 20th-century Russian literature acquires two aspects: on the one hand, it is not seen as an urban multi-story building or a wooden village house, but as a civilizational phenomenon; on the other hand, the writers reflect on the tragic loss of this home and consider the situation as one of homelessness and restlessness, which is clearly indicated by the literary pseudonym of one of the most complex and tragic characters in the novel “The Master and Margarita” by M. Bulgakov: Ivan Bezdomny (Homeless). The tragic perception of the loss of home reaches its climax in V. Rasputin's story “Farewell to Matyora”, where this theme takes on a mythological character: the loss of the Russian home is equated with the end of Atlantis. But if Atlantis perished as a result of a natural disaster insurmountable for man, then the death of Matera at the bottom of the man-made sea acquires an even more tragic meaning.
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Kozlov, I. V. "Ural satirical magazines of the First Russian revolution (“Gnom”, “Rubin”, “Magnit”)." Neophilology 10, no. 2 (May 31, 2024): 397–408. http://dx.doi.org/10.20310/2587-6953-2024-10-2-397-408.
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INTRODUCTION. We analyze a special type of newspaper literature from the beginning 20th century, it is provincial satirical magazines from the time of the First Russian revolution. The purpose of the study is to analyze the editorial activities of Yekaterinburg satirical magazines 1906– 1907.MATERIALS AND METHODS. Based on the comparative historical method, an attempt was made to identify the specifics of provincial satirical magazines in comparison with capital magazines, to understand the specifics of the work of the editor of such a magazine, and the publishing behavior of the authors.RESULT AND DISCUSSION. Provincial magazines more boldly outlined the main themes of satirical magazine poetry and prose of this time. At the same time, they managed to exist for a longer time. Such magazines represent a qualitatively new printing, publishing, and poetry product. They turned out to be in demand by the provincial reader of that time (1906–1907).CONCLUSION. The study of the genre-thematic unity of the satirical magazine can be applied to the study of other Ural satirical magazines.
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Markova, Tatyana N. "Fantasy in the Russian-Language Segment of Literature of Kazakhstan." Вестник Пермского университета. Российская и зарубежная филология 14, no. 3 (2022): 106–12. http://dx.doi.org/10.17072/2073-6681-2022-3-106-112.
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The turn of the 20th–21st centuries is characterized by highly intensive processes of national self-identification. An important role in this process is played by fantasy as a popular genre of popular literature. The study of Kazakh fantasy is of academic interest due to its popularity with readers, the dynamic transformation of the genre structure. The article demonstrates a wide genre spectrum of Kazakh fantasy books and their authors. In the novel Resurrecting Legends Timur Yermashev turns to the heroic page in the history of the Kazakhs – the Orbulak battle of the 17th century. Ilyaz Nurgaliyev consistently works with national myths and folklore images of the Turkic peoples. Azamat Baigaliev and Kira Nurullina write about aliens. Sabyr Kairkhanov in the format of urban fantasy (the novel Synchro) raises the question of the ambiguous role of the Semipalatinsk test site in the life of the Kazakhs. An example of the combination of children’s and adventure fantasy is the novel by Zira Naurzbayeva and Lily Kalaus In Search of the Golden Bowl: The Adventures of Batu and His Friends. Particularly popular are fantasy texts with plots based on the facts of national history, those resurrecting the heroes of Kazakhstani mythology, national traditions and customs. The themes and poetics of Kazakh fantasy are in line with the processes developing in modern prose, the nature of the transformation of the genre correlates with the changing readership. Fantasy readers are mainly representatives of a certain social and age group, those attracted by the topical issues raised – the growth of national self-consciousness – combined with an exciting adventurous plot. The entertaining genre of popular literature has taken on an important ideological function – to promote and shape the national identity of the Kazakhs in a situation of geopolitical changes.
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Polishchuk, Vera. "Гиперболоид инженера Вальса: Набоков и советская фантастика 1910-х – 1920-х гг. [Engineer Waltz’s Hyperboloid: Vladimir Nabokov and the Soviet Fantastic Literature of the 1910—1920s]." Slavica Revalensia 8 (2021): 94–114. http://dx.doi.org/10.22601/sr.2021.08.05.
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The article is aimed to trace some significant parallels between Nabokov’s Russian prose and drama, and a number of Soviet fantastical novels. A close reading reveals a whole network of allusions to Alexander Grin’s The Glittering World (Blistaiushchii mir, 1924) in Invitation to a Beheading (Priglashenie na kazn’, 1935—36), including the usage of the Romantic hero model, canonic female figures and gnostical imagery, originating from The Invisible Man by H. G. Wells. As for The Waltz Invention (Izobretenie Val’sa, 1938), the tragicomedy gives us compelling evidence that Nabokov deliberately wrote a parody on The Garin Death Ray (Giperboloid inzhenera Garina, 1926—27), a famous Soviet sci-fi novel by Alexey Tolstoy. In general, it can be said that Nabokov is scrupulously using implicit allusions and sophisticated wordplay on every level of his texts, widening the genre boundaries of science fiction, dystopia and adventure novel to invent a new literary strategy and new genres of his own. KEYWORDS: 20th-Century Russian Literature, Vladimir Nabokov (1899—1977), Priglashenie na kazn’ (1935—36), Izobretenie Val’sa (1938), Alexander Grin (1880—1932), Alexey Tolstoy (1883—1945), Allusion, History of Literature.
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Эфендиева, Назрин Расим кызы, and Ирина Анатольевна Поплавская. "S. YA. MARSHAK AS A TRANSLATOR OF POETRY AND PROSE BY G. RODARI." Tomsk state pedagogical university bulletin, no. 4(222) (July 15, 2022): 137–46. http://dx.doi.org/10.23951/1609-624x-2022-4-137-146.
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Введение. Диалог русской и западноевропейской литературы, переводы иноязычных текстов и их ассимиляция в принимающей культуре, создание национальных мирообразов – все эти вопросы являются актуальными в современном литературоведении, переводоведении, страноведении. Эстетические принципы С. Я. Маршака при переводе поэзии и прозы итальянского писателя Дж. Родари соответствуют его концепции перевода-портрета и органично вписываются в историю русской и итальянской литературы для детей середины XX в. Цель видится в раскрытии взаимосвязи между принципами Маршака-переводчика и их преломлением в переводах поэзии и прозы Дж. Родари, адресованных ребенку-читателю. Материал и методы. Материалом исследования являются критические статьи С. Я. Маршака, стихотворения Дж. Родари «Чем пахнут ремесла?», «Венеция» и прозаическая повесть-сказка «Приключения Чиполлино», переведенная З. М. Потаповой и отредактированная С. Я. Маршаком. В работе используются рецептивный и имагологический подходы, сравнительно-типологический, сравнительно-исторический и сравнительно-сопоставительный методы, а также контекстуальный анализ и контент-анализ оригинальных произведений Родари и их русских аналогов-переводов. Результаты и обсуждение. Выделяются разные типы переводов – «адресный» перевод К. И. Чуковского, «перевод-портрет» и перевод-редактирование С. Я. Маршака. В соответствии с поэтикой итальянской поэзии для детей и итальянской литературной сказки анализируются переводы С. Я. Маршаком стихотворений Дж. Родари и перевод-пересказ повести «Приключения Чиполлино». Выявляются фольклорные истоки итальянской детской литературы, связь сказки о мальчике-луковке с традициями «commedia dell’arte» и с волшебной сказкой, раскрываются особенности читательской рецепции ребенка, осмысляется «двойная» эстетическая позиция автора, пишущего для детей: «взрослое» сознание, воскрешающее в себе сознание и мировосприятие ребенка. Рассматриваются и сравниваются переводческие принципы С. Я. Маршака-поэта и С. Я. Маршака-прозаика. Подчеркивается роль произведений Дж. Родари в формировании русско-итальянских литературных и культурных взаимосвязей и в становлении отечественной литературы для детей.Заключение. Анализируется близость переводческих принципов Дж. Родари и С. Я. Маршака, выясняется соотнесенность переводческих стратегий русского автора с традициями отечественной переводной литературы. Раскрывается роль С. Я. Маршака и М. Горького в открытии Государственного издательства детской литературы в 1933 г. Определяется круг писателей, заложивших основы советской литературы для детей в первой половине XX в. Выявляется связь переводческих принципов С. Я. Маршака с концепцией современного адаптивного перевода Г. М. Кружкова. Для полноты рецепции русской литературы для детей привлекается статья М. И. Цветаевой «О новой русской детской книге». Introduction. The dialogue of Russian and Western European literature, translations of foreign texts and their assimilation in the host culture, the creation of national world images – all these issues are relevant in modern literary criticism, translation studies, and country studies. The aesthetic principles of S. Ya. Marshak in translating the poetry and prose of the Italian writer J. Rodari correspond to his concept of translation-portrait and organically fit into the history of Russian and Italian literature for children in the middle of the 20th century. The purpose of the article is seen in the disclosure of the relationship between the principles of Marshak-translator and their refraction in translations of poetry and prose by J. Rodari, addressed to the child reader. Material and methods. The material of the study is critical articles by S. Ya. Marshak, poems by G. Rodari “What do crafts smell like?”, “Venice” and the prose story-tale “The Adventures of Cipollino”, translated by Z. M. Potapova and edited by S. Ya. Marshak. The work uses receptive and imagological approaches, comparative-typological, comparative-historical and comparative-comparative methods, as well as contextual and content analysis of Rodari’s original works and their Russian counterparts-translations.Results and discussion. There are different types of translations – “address” translation by K. I. Chukovsky, “translation-portrait” and translation-editing by S. Ya. Marshak. In accordance with the poetics of Italian poetry for children and the Italian literary fairy tale, S. Ya. Marshak’s translations of G. Rodari’s poems and the translation-retelling of the story “The Adventures of Cipollino” are analyzed. The folklore origins of Italian children’s literature are revealed, the connection of the fairy tale about the onion boy with the traditions of “commedia dell’arte” and with a fairy tale, the features of the reader’s perception of the child are revealed, the “double” aesthetic position of the author writing for children is comprehended: “adult” consciousness, resurrecting in itself the consciousness and worldview of the child. The translation principles of S. Ya. Marshak-poet and S. Ya. Marshak-prose writer are considered and compared. The role of the works of G. Rodari in the formation of Russian-Italian literary and cultural relationships and in the formation of Russian literature for children is emphasized. Conclusion. The closeness of the translation principles of J. Rodari and S. Ya. Marshak is analyzed, the correlation of the translation strategies of the Russian author with the traditions of Russian translated literature is clarified. The role of S. Ya. Marshak and M. Gorky in the opening of the State Publishing House of Children’s Literature in 1933 is revealed. The circle of writers who laid the foundations of Soviet literature for children in the first half of the 20th century is determined. The connection between the translation principles of S. Ya. Marshak and the concept of modern adaptive translation by G. M. Kruzhkov is revealed. For the completeness of the reception of Russian literature for children, the article by M. I. Tsvetaeva “On the new Russian children’s book” is used.
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Kozlov, Alexey E., and Francesco Varlaro. "The Way of listven’ in the Russian and Siberian Worldview: From Phytonym to Concepts." Critique and Semiotics 40, no. 1 (2022): 183–97. http://dx.doi.org/10.25205/2307-1737-2022-1-183-197.
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The article is devoted to the study of the semantic properties of the dialect word listven’ (“larch”) in the narrative prose. Based on the material of encyclopaedias, fiction and travel prose, observations on the lexical and semantic properties of the word “larch” (lat. Larix dahurica; in the studied context – larix sibirica) are presented. It is shown how, being a dialect nomination, the word becomes a part of the individual author’s system. In the treatise of Vitruvius, the word Larix is associated with the name of the citadel Larignum. The historian talks about the fire that started during the storming of the fortress and mentions the amazing durability of the tree. The idea of Larix as being of the same root as the Latin laridum is widespread, which gives the tree a metaphorical resemblance to body. As M. Statley notes, in European shamanism the world tree was often depicted as a larch. It is significant that all these options are equally reflected in the modern village prose, in particular, in the work of V. Rasputin “Farewell to Matera” (1976). The purpose of the article is to trace the stages that a given lexeme goes through on the way from a phytonym to a concept. In particular, the word begins to appear in non-fiction texts related to the development of Siberia and the Far East from the end of the 18th century, for example the Russian travel logs and subsequently reports. In almost all of the considered contexts, a characteristic enumerative intonation is used, while the word is included in the same row as the normative phytonyms. In some contexts, the properties of the tree are recorded, which can be considered proto-metaphors: the extraordinary strength of the wood, the ugliness of the tree itself, and, finally, frequent comparisons of the bark of larch with human skin or paper are noted. These remarks are given in passing and are not developed into a narrative. Ethnographers were not very interested in the picture of the world of the indigenous people, so the rich folklore, pagan idea of larch as the center of hulde. That’s correlated with the spirit or personality of a person in the religion of the Druids, remained out of sight. The considered path of the word demonstrates the specific mechanism of the transition of a marked dialect word into non-fiction writing and narrative reflection on the essence of the word in fiction writing. Referring to the local dialect, D. N. Mamin-Sibiryak and V. G. Korolenko gave to the word the necessary imagery and expressiveness, which became a constructive part of the language of rural prose of the second half of the 20th century, that is to say the new travel prose of the 21st century. Of course, with the development of Siberian literature, these ideas reached their positions in the prose of L. M. Leonova, V. N. Rasputin, E. Aypin and many others. “Farewell to Matera” becomes a precedent text, where larch as a world tree is not only transformed into a dialectal “larch”, but also acquires a different morphological and semantic genus (Nf + sing → Nm + sing). In modern literature, the word turns into a topos, or rather a narrative element that is variable, repeated and recognizable by the reader. In this regard, of course, the question arises of translations of the word “larch” into other languages. Of course, bringing this lexeme to its exact literary equivalent, “larch” significantly impoverishes the style, discourse and plot possibilities contained in the lexeme under consideration.
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Kulinska, Yanina I., Olena I. Koval, Olga A. Redkina, and Nina V. Gerasimenko. "Diary in modern Ukrainian literature: varieties of the genre." Linguistics and Culture Review 5, S4 (October 22, 2021): 22–32. http://dx.doi.org/10.21744/lingcure.v5ns4.1546.
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Diary literature was of interest to Ukrainian literary critics and literary critics from other countries in different years, but still most scientific studies occur in the mid-20th century. In Ukraine, the diary has been on the side-lines of the literary process for the past two decades. And only the turning points of historical events – the Revolution of Dignity and the Russian-Ukrainian war in eastern Ukraine – returned the genre to active public circulation: without exception, all the diaries of 2014-2020 were created during the crisis period, social upheavals. The relevance of the subject is explained by the need to use the latest practices to comprehend modern Ukrainian literature and, in particular, the diary genre as one of the components of modern military prose. The purpose of the study was to perform a thorough analysis of army diaries published during 2014-2020, study their genre nature, determine their distinctive features and create their general classification. Among the main methods for processing diary texts were historical-biographical, comparative historical, comparative, structural-narratological, interdisciplinary, as well as elements of hermeneutical, intertextual methods, text and discourse analysis, etc. The study presented a thorough analysis and suggested a new classification of the modern diary genre.
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Bolshakova, Alla Yu. "Traditions of the Russian medieval literature in the village prose of the second half of the 20th century: to the problem of genre." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2020): 127–35. http://dx.doi.org/10.20339/phs.1-20.127.
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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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Jing, Ruge. "The spread of modern Russian female novel in China." Litera, no. 6 (June 2022): 151–63. http://dx.doi.org/10.25136/2409-8698.2022.6.38282.
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The article is devoted to the problem of the spread of Russian female novel in China from the end of the 20th century to the present day. The subject of the study is the translation and publication of modern Russian female writers in China. The purpose of the article is to identify patterns of the spread of modern Russian female novel in Chinese society. Using descriptive, analytical and comparative methods, the author tries to analyze the phenomenon of the spread of Russian female novel in China on the basis of Leo Leventhal's theory of literary communication. The author examines in detail such aspects of the topic as the peculiarities of the periodization of the spread of Russian women's prose in China, the main influencing factors in the distribution process, as well as the evaluation of the works of Russian female writers by the Chinese audience. Many studies discuss the perception of the Chinese audience of the works of such Russian writers as L. E. Ulitskaya, T. N. Tolstaya, but the general pattern of the spread of Russian female novel in China has been little studied. The scientific novelty of this work lies in the fact that it for the first time comprehends the process of the dissemination of the works of Russian female writers in China from the point of view of communication. Chinese Russianists are still the dominant force in the distribution of Russian female literature in China, but as the Chinese reading market of Russian female novel is being formed, the influence of readers is becoming stronger.
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Azadovsky, Konstantin M. "“My Real Life Is in Solitude…”: From the Diary of Maria Pozharova." Literary Fact, no. 21 (2021): 8–47. http://dx.doi.org/10.22455/2541-8297-2021-21-8-47.
Full textAbstract:
The publication is dedicated to the poetess Maria Pozharova, who actively published in the Russian press at the beginning of the 20th century, and participated in the meetings of a number of St. Petersburg / Petrograd literary societies and circles in the 1910s. In the Soviet years, only her “children's” poems appeared in print — “for a younger age”, the publication of which was assisted by K. Chukovsky and especially S. Marshak. The published excerpts from Pozharova's diary (for 1909–1916) record her meetings and conversations with Z. Gippius, N. Gumilev, S. Yesenin, the poetess M. Moravskaya, prose-writer and literary critic N.N. Wentzel and other writers, contain detailed descriptions of the evenings of “Sluchevsky's Circle”, the literary life of the capital in the pre-revolutionary years. The introductory article also describes M. Pozharova’s difficult living conditions and marginal existence in the literature of the 1930–1950s. The text of M. Pozharova's diary is accompanied by a historical and literary commentary.