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1
Song, Bijun. « Reception of Russian village prose in China in the 1980s ». Philology. Issues of Theory and Practice 17, no 3 (28 mars 2024) : 994–98. http://dx.doi.org/10.30853/phil20240144.
Texte intégralRésumé :
The paper examines the process of translating Russian village prose into the Chinese language within a historical-cultural context. The research aims to identify the peculiarities of the reception of Russian village prose in China in the 1980s. Special attention is given to considering the naming of Russian village prose in Chinese literary studies. An overview of scholarly-critical articles dedicated to Russian village prose is provided. It is found that Chinese critics had an extremely contradictory attitude towards village prose due to the specificity of the historical context influenced by a particular period in Chinese history. Chinese critics highly appreciated the aesthetics and themes of village prose, yet they perceived the ideas reflected in the works of village writers as overly conservative. The influence of Russian village prose on Chinese literature is further explored against the backdrop of the reception of Russian literature in general in China. Scientific novelty lies in a comprehensive study of the reception of Russian village prose in China in the 1980s, which has not been previously researched. As a result, the paper ascertains that Russian village prose contributed to the emergence of Chinese environmental literature despite the waning influence of Russian literature on Chinese literature in the late 1980s.
2
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.
Texte intégralRésumé :
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.
3
Givens, John. « Russian Prose in World Literature : Literary Prizes ». Russian Studies in Literature 49, no 2 (avril 2013) : 3–6. http://dx.doi.org/10.2753/rsl1061-1975490200.
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4
Xue, Zhao, et Yu A. Govorukhuna. « Modern Russian female prose in Chinese Russian studies ». Sibirskiy filologicheskiy zhurnal, no 3 (2020) : 142–55. http://dx.doi.org/10.17223/18137083/72/11.
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Chinese literary scholars studying Russian literature come to a conclusion by the end of the twentieth century that its history has many “white spots.” Thus, efforts are made to fill the existing lacunas, and one of them is the modern Russian female prose. The paper analyzes the Chinese reader’s receptive attitudes determining the interpretation and evaluation of the works of Russian women-writers. One reason for the interest in Russian female literature is the “women’s issue” relevance in China. “Soft” Chinese feminism is a receptive context defining the text interpretation. In the Russian literature scholars’ works, it is manifested in the desire to see harmonious intersexual relations in the Russian women-writers’ prose, in a high assessment of a “holy” type in the character sphere. The Chinese reader highly appreciates overcoming the male-female opposition, searching for forms of dialogue, and imagining a harmonious family. Continuity is a relevant cultural receptive attitude of the Chinese reader, the link with tradition being a significant criterion for evaluating a phenomenon. Chinese scholars note that female literature continues the realistic tradition of telling about the social “bottom” and “little man,” thereby provoking the reader’s interest. Russian female prose is the “young” object in Chinese Russian studies. The Russian philology specialists are looking for linguistic “connectors,” e. g. themes and a typology of heroes, to see the phenomenon as a whole. Chinese specialists focus on the themes of survival, love, and family. The hero typology includes such types as the “new Amazons,” playing women, saints.
5
Ruge, Jing, et 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 (15 décembre 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).
6
Bakytzhanova, Zh. « TYPOLOGY OF FAMILY RELATIONS IN PROSE M. METLITSKAYA ». EurasianUnionScientists 4, no 10(79) (20 novembre 2020) : 42–46. http://dx.doi.org/10.31618/esu.2413-9335.2020.4.79.1058.
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One of the main methods of drawing attention to the problem of protecting the institution of the family, preserving the gene pool and strengthening national security is literature, in particular Russian literature. The family theme permeates all Russian literature. As T.D. Proskurin "in the book" From Russia to Russia "by L.N. Gumilyov wrote: “… entangled in the problems of modern times, people turn to history in search of a way out of difficult situations, as they used to say in the old days,“ for instructive examples ”. To this judgment of Lev Nikolayevich Gumilyov, the son of famous parents, we add the fact that “for instructive examples” people turn not only to history, but also to literature ”[1, p. 6]. This article examines the typology of family members and their relationships in the prose of M. Metlitskaya[2].
7
Kõvamees, Anneli. « Found in Translation : The Reception of Andrei Ivanov’s Prose in Estonia ». Interlitteraria 21, no 1 (4 juillet 2016) : 95. http://dx.doi.org/10.12697/il.2016.21.1.8.
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Andrei Ivanov (b. 1971) is the most well known Estonian Russianlanguage writer who has won many literary awards in Estonia and Russia. His prose and position in the literary field of Estonia has initiated the discussion about the exact definition of Estonian literature and the status of the Estonian Russian-language literature. Due to Ivanov’s prose, the world of Estonian Russians has become more visible for the Estonian audience. He also gives a piercing look into the modern society and offers a different perspective on the world; these are some of the reasons of his popularity. The article focuses on the analysis of the reception of Ivanov’s prose published in Estonian. The vast majority of Ivanov’s prose has been translated into Estonian: Путешествие Ханумана на Лолланд, Харбинские мотыльки, Бизар, Исповедь лунатика, Горсть праха, Печатный шар Расмуса Хансена, Мой датский дядюшка and Зола. The author has entered the Estonian cultural field through translations, it may be said that he has been found in translations. Ivanov’s books are bestsellers and widely discussed in newspapers, blogs and in the literary magazines. The position of Estonian Russian literature has shifted from the periphery into the spotlight and the works by Ivanov have played a decisive role in that process. The article focuses on the analysis of the reception of Ivanov’s prose published in Estonian. The articles published in the Estonian language and concentrating on his prose (both in newspapers and in the literary magazines) are under observation. What topics have been discussed? Which aspects of Ivanov’s prose have attracted the attention of the critics?
8
Qi, Meng. « Analysis of the Russian village prose and its place in the cultural space of China ». Izvestiya of Saratov University. Philology. Journalism 22, no 3 (24 août 2022) : 330–35. http://dx.doi.org/10.18500/1817-7115-2022-22-3-330-335.
Texte intégralRésumé :
In modern Russia it is widely believed that China has adopted all the best from the USSR: the ideas of the equality of citizens, the socialist structure of the state, the fight against corruption, cultural trends, trends in education. The Russian village prose has become part of the school curriculum of China, just as it has done in its homeland in Russia. Rustic prose is close in spirit to the bulk of the population of the Chinese provinces. The ideas and trends that concern the Russian people could not leave the citizens of China indifferent. Russian literature has been influencing the national literature of China since 1917; using the example of the works of Russian literature, the people of China realized the need for change, writers understood the basics of creating new, modern literature. In the 90s, the place of the Russian village prose was so great that the Chinese population perceived it as their native literature. In China, the works of V. Astafyev, V. Rasputin, V. Shukshin are appreciated, the peculiarities of the writers’ styles are studied. The works written in the genre of rustic prose are of great importance for Chinese citizens, they fall out of the usual genre, preserve the historical memory of the people, show the tragedies of the times of collectivization, the hardships of wartime logistics, the restoration of the destroyed state, and others.Village life fascinates with its simplicity. Breaking away from his roots, destroying intra-family ties, being carried away by opposing tendencies and ideas, the hero of the works of Russian authors makes himself unhappy, but the understanding of the mistake comes to him late, alongside the remorse, or does not come at all.
9
Ovcherenko, Uliana V., et Irina V. Monisova. « Russian and Russian-speaking prose in the situation of multiculturality : experience of Kazakhstan ». RUDN Journal of Studies in Literature and Journalism 25, no 2 (15 décembre 2020) : 234–46. http://dx.doi.org/10.22363/2312-9220-2020-25-2-234-246.
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The article is devoted to the modern literary process in Kazakhstan, specially its Russian and Russian-speaking segment against the background of integration movements in the world and specific cultural processes in the post-Soviet space. It reveals how much the situation and part of literature created in Russian language in the region over the past decades has changed, how a different identity, the mentality of a different culture is expressed and how in turn this culture affects Russian-language texts. An attempt is made to trace the main trends in the development of modern Kazakhstani literature in Russian, in connection with which the works of I. Odegov, G. Doronin, H. Adibaev, D. Nakipov, A. Zhaksylykov and others are analyzed. It is concluded that the Russian language, even after losing its former status, remains in demand in the literature not only by ethnic Russians, but also by Kazakh bilinguals who are successfully experimenting with Turkisms. At the same time, Russian authors are concerned about the preservation of national identity, which motivates the appeal to classics and national folklore, while Kazakhs are more focused on the space of world literature.
10
Tiupa, V. I. « Author and Narrator in the History of Russian Literature ». Critique and Semiotics 38, no 1 (2020) : 22–39. http://dx.doi.org/10.25205/2307-1737-2020-1-22-39.
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The correlation between the author and narrator figures is considered not only theoretically, but in the diachronic aspect for the first time, as historically changed from Karamzin to Vodolazkin. The syncretism of these narrative instances in Karamzin’s prose was replaced by their radical segregation by Pushkin in playing forms of “image of the author” or the unreliable narrator (like Belkin), that leads to the emergence of an implicit authorial instance. The Great Russian classics (with the exception of “War and Peace”) refuse the “image of the author”, gives to the implicit authorship the status of a representation of the being truth. The crisis of classical authorship at the turn of the 19 th and 20 th centuries gives rise to various modifications in symbolism, in “ornamental” prose, in socialist realism, in postmodernism. The article also deals with the issue of creative reconstruction of the classical opposition in the works by Bulgakov, Pasternak, during The Thaw in 1960s and in modern Russian prose.
11
Dronin, N. M., et J. M. Francis. « Econationalism in Soviet literature ». Soviet and Post-Soviet Review 45, no 1 (14 décembre 2018) : 51–72. http://dx.doi.org/10.1163/18763324-20171260.
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Literature was a significant vehicle for ecological thinking in the post-World War ii Soviet Union. In early 1950 a group of Russian writers known as ‘villagers’ advanced environmental themes, equating preservation of the environment in the face of frenzied industrialization and modernization with the preservation of Russian culture itself. The work of the villagers – so known for their focus on the history and condition of the Russian village – reached its peak in the 1970s when many of them had gained a following among the Soviet intelligentsia as a result of their critical stand on the socialist transformation of rural areas and their advocacy for the protection of land, forests, and rivers. In this period, environmental, social, and moral motifs were artfully presented in village prose. From the mid-1980s a nationalistic element came to dominate their art. In the post-Soviet period this tendency deepened, leading finally to marginalization of village prose.
12
A. Bezklubaya, Svetlana. « Religious myth as the basis of the realism of Russian prose of the 1870s-1880s ». Nova prisutnost XX, no 3 (16 novembre 2022) : 539–53. http://dx.doi.org/10.31192/np.20.3.5.
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Modern searches by national cultures for ways to strengthen social order and their own identity bring into focus interest in the sacral, fixed in religion and addressed through the word of myth and literature to human existence. Therefore, the object of this research is the religious myth as the basis of the realism of Russian prose in the period of 1870s-1880s, which was transitive for Russia. The reliance on Christian mythologism in solving social problems was fully realized by the work of Nikolai Leskov, Mikhail Saltykov-Shchedrin, and Fyodor Dostoevsky. The purpose of the article is to conceptualize the correlation between the phenomena of sacral, religious myth and the realism of the prose of these authors as a basis for eliminating the opposition between social and artistic, asserting new principles of national identity. Analyzed: the Being of the sacred; the mythologizing of Russian literature; and the idea of myth as the embodiment of the sacral ideal, based upon which Russian prose writers formulated the idea of realistic literature – the nurturing of the best qualities of a person and society. What is new in the research is the consideration of the religious myth as a factor in the formation of the socially transforming role of Russian realistic prose. The research methodology includes philosophical, historical, hermeneutic and cultural approaches. The provisions of the article allow for expanding the scope of the study of the connection between myth, religions, national literature and cultures.
13
Garretson, Deborah A., et Ruth L. Pearce. « Russian for Expository Prose ». Slavic and East European Journal 29, no 3 (1985) : 360. http://dx.doi.org/10.2307/307236.
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L’vova, Irina V. « The Image of Russia in Beat Culture ». Imagologiya i komparativistika, no 16 (2021) : 207–24. http://dx.doi.org/10.17223/24099554/16/13.
Texte intégralRésumé :
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.
15
Na, Sai. « “Notes of a Hunter” by I.S. Turgenev in the Chinese translation and research reception ». OOO "Zhurnal "Voprosy Istorii" 2024, no 1 (1 janvier 2024) : 208–17. http://dx.doi.org/10.31166/voprosyistorii202401statyi04.
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Historically, there has been close cultural interaction between Russia and China, which was largely influenced by Russian literature. Russian classics translations in China occupy a special place, and it is generally recognized that many Russian writers have had and continue to have an impact on the attitude of Chinese society towards Russia. Creativity I.S. Turgenev shaped the worldview of more than one generation of Russians, and with the advent of translations of his works into Chinese, it continued its influence on Chinese society. Interest in the prose of I. S. Turgenev in China has been going on for decades, but today there is an intensification of research into his work. The article reveals the influence of China's political course on the literary process in the country, traces the line of historical development of attention to Russian literature and, in particular, the attention of Chinese translators to the cycle of stories “Notes of a Hunter”.
16
Egorova, Olga G. « Modern Russian prose abroad : perception, translations, research ». Cuadernos de Rusística Española 19 (29 décembre 2023) : 187–97. http://dx.doi.org/10.30827/cre.v19.29135.
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The article is devoted to assessing the current state of contemporary Russian literature abroad in terms of interest from foreign readers, influence from the Russian emigrants, the volume of translations and topics of interest. The article analyzes the cultural aspects and periods of Russian history of literature that are of particular interest to foreigners, as well as their reflection in modern prose in Russian. The article also focuses on the centers for the promotion of Russian culture abroad, as well as centers/chairs for its research at universities.
17
Milivojević, Dragan, et Kathleen F. Parthé. « Russian Village Prose : The Radiant Past ». World Literature Today 67, no 3 (1993) : 626. http://dx.doi.org/10.2307/40149459.
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18
Kolesnikoff, Nina. « Menippean Satire in Russian Postmodern Prose ». Russian Literature 64, no 1 (juillet 2008) : 47–59. http://dx.doi.org/10.1016/j.ruslit.2008.07.003.
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Kolesnikoff, Nina. « Narrative Strategies of Russian Postmodern Prose ». Russian Literature 53, no 4 (mai 2003) : 401–10. http://dx.doi.org/10.1016/s0304-3479(03)00028-0.
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Darenski, V. Yu. « “Nravstvenniki” or “Derevenshiki” (Village Prose Writers) as Phenomenon of the Russian Spiritual Revival ». Orthodoxia, no 4 (29 septembre 2023) : 165–97. http://dx.doi.org/10.53822/2712-9276-2022-4-165-197.
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The article researches the legacy of the “nravstvenniki” (village prose writers) as an important phenomenon of the Russian spiritual revival in the second half of the twentieth century. It examines the original view based on the millennia-long experience of peasant life, taken by the “village prose” on the fate of a person facing the destruction of the Russian Orthodox civilization. This experience uniquely combines the Christian soul and the “cosmic” (sobornost’-people-nature) conscience, which allows to immediately and unerringly feel and deeply understand any untruth of the existence. This truly is the latest word of the great Russian literature, not in the chronological sense, since another era is already upon us, but in the sense of revealing the last foundations of the “Russian point of view” (V. Woolf) to the world. The main storyline of the “village prose” was the death of the great Orthodox civilization and the perpetuation of the images of its living members surviving into the second half of the twentieth century. This prompted Viktor Astafyev to call it a unique “global phenomenon born out of the suff ering and misfortunes of the people”. The experience of the literature of “nravstvenniki” (Aleksandr Solzhenitsyn), however, also showed the reality of the Orthodox revival of the Russian people, prophesying on this moral basis a new revival of Russia. The article off ers several representative examples of works that enable the reader to understand the spiritual meaning and signifi cance of this literary phenomenon and to appreciate the worldwide historical task it tried to solve: to comprehend both the greatness of the Orthodox peasant civilization and the tragedy of its destruction. The most prominent critique and literary reviews on the “village prose” are also considered. The article ends with substantiating the conclusion of this literary phenomenon becoming the newest Russian classics, corresponding to the most important and urgent tasks of the spiritual revival of Russia and creating a new “canon” of Russian Christian literature of the twenty-first century.
21
Fomichev, Sergey A. « “Restless Man” in Russian Literature ». Literary Fact, no 21 (2021) : 246–60. http://dx.doi.org/10.22455/2541-8297-2021-21-246-260.
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The article is devoted to the analysis of the type of characters in Russian classical literature, for which the author proposes the definition of “restless person” (by analogy with “superfluous” and “little man”). According to the observations of the author, “the nickname of a restless person” was first formally applied to the hero of one of the stories by V.I. Dahl (1842). A similar type (the type of Don Quixote), clearly manifested in the image of Chatsky from “Woe from Wit” by A.S. Griboyedov, became quite common in prose and drama of the 19th century. The article examines characteristic features of this type of literary characters in the heroes of A.N. Ostrovsky, N.S. Leskov and others, analyzes the perception of this type in Russian criticism, reflection by its writers, I.S. Turgenev, F.M. Dostoevsky, Maxim Gorky.
22
Sergeev, Alexandr A. « Bursa’s prose like a Literary movement in Russian literature ». Philological Sciences. Scientific Essays of Higher Education, no 4 (juillet 2016) : 87–95. http://dx.doi.org/10.20339/phs.4-16.087.
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Chai, Li. « Reflections on Chinese studies of Russian women's prose ». Litera, no 11 (novembre 2023) : 102–12. http://dx.doi.org/10.25136/2409-8698.2023.11.69051.
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The active development of women's prose is an important phenomenon in world literature. After the 1980s, a large number of works by Russian writers were translated in China, which attracted more attention of Chinese Russian scholars. The subject of the research is the historical and cultural prerequisites for the study of Russian women's prose in China and the current state of research on this prose. The relevance of the article can be determined by the fact that with the rapid changes in the socio-cultural environment, the study of women's prose in China gradually demonstrates a systematic and interdisciplinary growing trend, thanks to which it is possible to take a fresh look at the study of Russian women's prose in China. Russian writers' main translated works and the main studies of Chinese scientists on Russian women's prose, published since 1942 to the present, are the material of the study. The research method is the analysis of review materials and generalization of philology researches opinions. The author's special contribution to the research of the topic is the answers received to questions about the context, development, current state and directions of studying Russian women's prose in China. Conclusions are drawn that 1992 is an important moment, before that Chinese scientists mainly paid attention to the translation of foreign women's literature, including Russian, after 1992, through a practical analysis of Western feminist theories in literary studies, Chinese researchers proposed the concept of "soft feminism", which influenced the development of women's prose in China, which led to attention to the inner world of a woman, her role not only in the family, but also in culture and history.
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Ziyayeva, Xushnudabonu Ilhomjon Qizi. « Hypertextuality Of Tolstoy's Prose ». American Journal of Social Science and Education Innovations 03, no 06 (20 juin 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.
25
Jakimovska-Toshik, Maja. « Alla Sheshken’s Scientific Contribution at the Conferences on the International Seminar of Macedonian Language, Literature and Culture ». Stephanos Peer reviewed multilanguage scientific journal 53, no 3 (31 mai 2022) : 88–99. http://dx.doi.org/10.24249/2309-9917-2022-53-3-88-99.
Texte intégralRésumé :
The numerous scientific contributions of Alla Sheshken presented and published in Proceedings of the International Seminar of Macedonian Language, Literature and Culture in Ohrid, reveal topics dedicated to the penetration of Macedonian-Russian literary ties through an intercultural prism. Using a comparative approach, a number of topics on several essential topos are treated: Fyodor M Dostoevski and Macedonian prose; translation and study of Macedonian literature in Russia; reception of the work of S. Janevski and B. Koneski in Russia; M. Bulgakov and Macedonian literature; the contribution of M. Gjurchinov in the affirmation of the scientific interest for the Russian literature in Macedonia, etc. Numerous papers include Alla Sheshken as one of the most passionate scholars and affirmers of the Macedonian-Russian intercultural relations.
26
Ivanova, Irina. « Classic Forced Labor Camp Prose in Contemporary Russian Literature : The Transformation Revisited ». Бюллетень Калмыцкого научного центра Российской академии наук 3, no 23 (3 novembre 2022) : 120–43. http://dx.doi.org/10.22162/2587-6503-2022-3-23-120-143.
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Introduction. In the classic sense, forced labor camp prose includes fiction and documentary texts created by immediate participants of the events described (Stalin’s purges of the 1920s–1950s), and thus being usually autobiographical by nature. The bulk of such prose works were created in the 1950s–1970s by such writers as A. Solzhenitsyn, V. Shalamov, E. Ginsburg, Yu. Dombrovsky, A. Zhigulin, etc. Goals. The paper attempts an analysis of features inherent to manifestations of the forced labor camp theme in contemporary Russian fiction, and relates such texts to existing visions of such prose. Results. As is evident, there can be no camp prose — in the mentioned sense — in 21st-century Russian literature but the sociocultural trauma experienced by individuals (and communities) proves so deep and fundamental for their consciousness and subconsciousness that it persists in Russian literary discourse to date. Family memories, archival documents, search for identity, keen interest in national and regional history, official and social mythology give birth to various author’s strategies of addressing this sensitive issue and working with it. These yield narratives that greatly vary in authors’ ideological and aesthetic viewpoints and give rise to enormous — and sometimes violent — controversy in contemporary cultural environment.
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Khusaenova, R. R., G. R. Gaynyllina et E. F. Nagumanova. « A. Akhmetgalieva 's creativity in the mirror of the achievements of Russian and Tatar prose writers of the beginning of the XXI century ». Philology and Culture, no 3 (5 octobre 2023) : 204–8. http://dx.doi.org/10.26907/2782-4756-2023-73-3-204-208.
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This article examines Tatar and Russian modern prose characterized by transitional features. The main attention is paid to the works by the Tatar writer Aigul Akhmetgalieva whose work most vividly embodies transitional phenomena in Tatar literature at the beginning of the 21st century. In particular, the authors of the article focus on her stories “Kapka” (“The Gate”), “Tan chyklaryn җil ubu” (“The Wind Kisses the Morning Dew”) and the novel “Tutash”. The purpose of the article is to review new trends in Tatar prose and identify the common features in modern Tatar and Russian literature. The motif of search in Tatar prose correlates with the existential component of consciousness in Russian culture as a whole. Both Russian and Tatar prose follow the trend of profound philosophical subtext and the introduction of new writing techniques. The analysis of Akhmetgalieva’s works has led to the conclusion that in modern Tatar prose, classical realism and avant-garde discourse, when interacting, form new methods of personal relationship with the outside world. The characters of modern writers are most often at a crossroads, in a borderline state, the latest prose reflecting the problem of the total ill-being of modern society.
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Tsaregorodtseva, Svetlana Sergeevna, et Sergei Mikhailovich Pinaev. « The Russian historical and literary context of the novels by Guillaume Musso and prose by Marina Tsvetaeva ». Litera, no 2 (février 2024) : 147–59. http://dx.doi.org/10.25136/2409-8698.2024.2.69875.
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The purpose of this study is to identify the Russian historical and literary context in Marina Tsvetaeva's prose of the emigrant period and in the novels of Guillaume Musso. The modern French writer Guillaume Musso is the author of two dozen novels, which (except for "Skidamarink", 2001) were translated into Russian and published in Russia. In almost every one of these novels, one can "discover" the Russian historical and literary context. This will be the main object of our research in the framework of the article (the analysis of the entire multicultural contextual complex of G. Musso's novels requires a more extensive consideration). The main subject of the article is a trilogy of novels about writers: "The Girl and the Night", "The Secret Life of writers" and "Life as a Novel", as well as the adjacent novel "Paper Girl", the main character of which Tom Boyd is a famous writer. Since in the novels Musso refers to meta-narrative, the creation of a meta-text, which involves commenting on the novel by the author, inviting the reader to his creative laboratory, and also requires identifying the historical and cultural context. The novel "The Girl and the Night" by G. Musso is considered in comparison with the "Tale of Sonechka" by M. Tsvetaeva and requires an appeal to the vital biographical context. Russian historical and literary context of the "writer's" cycle of novels by Guillaume Musso and prose by Marina Tsvetaeva" for the first time revealed intertextual connections of novels by the most popular French writer Guillaume Musso with works of Russian literature: emigrant prose by Marina Tsvetaeva, works by F.M. Dostoevsky, I.S. Turgenev and other writers. The authors of the article pay special attention not only to the intertextual connections of Russian and French prose of the XX-XXI century, but also to the peculiarities of the plot structure of modern literature. This study attempts to identify the main trends in modern literature and trace their reflection in the works of G. Musso. The main conclusion that the authors of the article make is that in Musso's prose, the Russian text can be identified at all contextual levels: vital-biographical, literary, historical, cross-cultural.
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Badueva, G. Ts. « THE IMAGE OF THE MOTHERLAND IN MODERN RUSSIAN-LANGUAGE LITERATURE OF BURYATIA ». Pedagogical IMAGE 16, no 1 (2022) : 28–38. http://dx.doi.org/10.32343/2409-5052-2022-16-1-28-38.
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Introduction. The introduction indicates the relevance of the analyzed image of the motherland in modern Buryat prose when shaping the patriotism of schoolchildren and students. Materials and Methods. The study of the formulated problem relies on the methods of cultural-historical and comparative analysis, generalization and synthesis; and the actualization method, which made it possible to comprehend the features of the motherland image created in the prose of modern writers of Buryatia. Results of the research. The image of the motherland in the books by modern Russian-speaking writers of Buryatia consists of several components: the steppe as a nationally marked space, village, family, and others. The most frequent image – the one of the village – given in the village/city, friend/foe opposition, significant for Buryat prose writers, is filled with everyday details and trifles connected with the native home and native people that acquire a symbolic meaning. The blood connection with the homeland helps the heroes overcome the catastrophic nature of time and return to the origins and the spiritual fabric of life. Conclusion. The study of the motherland image in the prose of Buryatia indicates the relevance of this topic in teaching regional literature.
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Murzakhmedova, Gulnara. « GENDER ISSUES IN LITERATURE (ON THE EXAMPLE OF RUSSIA’S “WOMEN’S PROSE”) ». Alatoo Academic Studies 22, no 3 (30 septembre 2022) : 319–26. http://dx.doi.org/10.17015/aas.2022.223.39.
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In this article, the author focuses on the issue of gender in modern Russian literature on the example of “women’s prose”. The article discusses the reasons for the emergence of such a literary phenomenon as “women’s prose”, its distinctive features and originality of the genre. Within the framework of the article, the main themes, poetics, development prospects in modern fiction are also considered. The author examines the factors that led to the selection of “women’s prose” in the context of modern prose and the reasons that led to its flourishing in the literature of the 21st century.
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Goncharov, P. A. « Ch. Aitmatov and the Russian traditionalist prose of the 1960s–1970s (on the 95th anniversary of the writer’s birth) ». Neophilology 10, no 1 (15 mars 2024) : 117–27. http://dx.doi.org/10.20310/2587-6953-2024-10-1-117-127.
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INTRODUCTION. Ch.T. Aitmatov (1928–2008) is a major writer whose work was originally associated with Kyrgyzstan, was widely known in the Soviet Union, and recognized by the world cultural community. His prose is associated with several directions and trends in Russian Soviet literature. The purpose of the study is to draw parallels between Aitmatov’s works of the 1960–1980s and Russian traditionalist literature of that time, to establish the degree of poetic “kinship” between phenomena belonging to different national cultures.MATERIALS AND METHODS. The research material is Ch. Aitmatov’s stories “My Poplar in a Red Scarf”, “Mother’s Field”, the novel “Stormy Stop”, F. Abramov’s novel “Home”, V. Astafiev’s stories, V. Shukshin’s stories. The main methods of studying the material are comparative typological, historical and genetic; a mythopoetic approach to the analysis of literary works is also used.RESULTS AND DISCUSSION. It has been established that Ch. Aitmatov’s prose is related to “industrial literature”, to “lyrical prose”, to “youth literature”. The connections between Aitmatov’s stories and novels and “village prose” turn out to be closer. The desire to preserve memory, traditions, and archetypes of behavior characteristic of the centuries-old culture of the Kyrgyz people is of great importance for the heroes of Ch. Aitmatov’s stories and novels. This trend also characterizes Russian traditionalist literature of the 1960–1980s, which declared the need for a careful attitude towards Russian national traditions. In many respects, the images of the main characters and the mythological motifs of the works of Ch. Aitmatov and the Russian “villages” turn out to be consonant and comparable in a number of parameters. Significant similarities were revealed in the perception of the native land and fields in the works of the “villagers” and Ch. Aitmatov, in the depiction of ambiguous socio-ethical processes in Soviet society of the 1960–1980s, in the understanding of the processes of corrosion of a national character.CONCLUSION. Prose by Ch.T. Aitmatov is close to various currents of Russian literature of the twentieth century in its characteristic humanistic orientation, in its attention to the hero involved in solving acute social and ethical problems of the time. Ch. Aitmatov’s prose is characterized by a poetic “kinship” with the traditionalist direction of Russian literature, manifested in genre, composition, figurative, ideological analogies and correspondences between phenomena belonging to different national cultures. They are brought together by the image of the mother earth, an attempt to rehabilitate and preserve the archetypes of national ethics, to integrate them into modernity full of contradictions. It seems promising to further study the parallels between Ch. Aitmatov’s prose and Russian traditionalist literature in order to determine the national identity of the writers’ artistic worlds and clarify the origins of the commonality of their concepts of the world and man.
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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 (22 décembre 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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Shirokova, Lyudmila F. « Variations on Russian motifs in Slovak prose of the 21th century ». Slavic Almanac, no 1-2 (2020) : 434–45. http://dx.doi.org/10.31168/2073-5731.2020.1-2.4.02.
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The historical and cultural ties between Slovakia and Russia have a long tradition. They manifested themselves and continue to appear both directly, in the form of various kinds of contacts, and indirectly, in different versions of their artistic understanding. Russian motifs and characters found in the Slovak prose of recent years, perform certain creative tasks that the author sets for himself. In the realistic literature of the 21st century, the Russian characters represent individual, historically and psychologically determined types that include both politicians and ordinary people. The time of narration usually refers to the past, that is, to the period of socialism. Particularly, they dwell upon the topic of the Gulag, the August events of 1968 in Czechoslovakia and reproduce pictures of the subsequent years of “normalization”. Examples of such a reflection of Russian motifs and figures are the works of S. Rakus, P. Rankov, J. Banaš. The use of Russian realities and themes in the literature of postmodernism gives other possibilities for its embodiment. The authors prefer a predominantly metaphorical, allegorical form. This is illustrated by the books of P. Vilikovsky, M. Hvoretsky, D. Majling. They contain allusions to Russian images and realities, conditioned by the intertextuality inherent to postmodernism, and use techniques of pastiche, palimpsest, grotesque, and absurdity.
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Amineva, Venera R., Elvira F. Nagumanova et Alsu Z. Khabibullina. « The phenomenon of Russian-language literature in modern scientific discourse ». Philological Sciences. Scientific Essays of Higher Education, no 6s (novembre 2023) : 140–47. http://dx.doi.org/10.20339/phs.6s-23.140.
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For the first time, the article examines the primary methods employed in the study of Russian literature in the Volga Region (Mari and Tatar) in contemporary scientific discourse. Aim: to reveal the epistemiologic potential of the most significant literary approaches and a new theoretical thesaurus, formed from the experience of studying Russian literature in the Volga Region in the early 21 century. Research material — scientific works of leading specialists and philologists in the field of Russian literature (works of I.P. Karpov, I.A. Yenikeeva, Ya.G. Safiullina, K.K. Sultanova). It is stated that the anthropological approach was first applied in I.P. Karpov’s research on the works of Mari El prose writers and poets, writing in Russian. Russian scientist expands the horizons of Mari literature itself due to the fact that the works of Russian-speaking authors, on the one hand, are inscribed in the national Mari context and, on the other, are part of Russian literature. Compared to I.P. Karpov’s strategy of addressing the text, I.A. Enikeev, a researcher of Russian-language literature in Tatarstan, draws attention to the context and develops a unique methodology based on the interaction of factual and biographical principles in solving the problem of the status of Russian-language works in the modern historical and literary context. The novelty of the presented material lies in the systematization of methodological approaches to the problem of Russian-language literatures of the Finno-Ugric and Turkic peoples of the Volga region in a comparative aspect. The tendencies toward expanding the theoretical thesaurus of concepts characteristic of modern scientific discourse and updating the semantics of existing terms are revealed in the field of research on the Russian-language creativity of poets and prose writers of the Volga region.
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Davydova, Tatiana T., et Еlena V. Kulikova. « Ethnic worlds in E.V. Rudashevsky’s prose ». Philological Sciences. Scientific Essays of Higher Education, no 2 (mars 2021) : 124–30. http://dx.doi.org/10.20339/phs.2-21.124.
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The article deals with the research of Russian and American so called ethnic worlds (cultural backgrounds) in the novel «Bessonitsa» (“Insomnia”) by E.V. Rudashevsky. The other of the novel is a representative of YA literature in modern Russian literature. The relevance of the research is due to the investigating a possible links between American and European cultures in the novel, and the comparison of the American and Russian value systems. The article examines the genetic links between “Insomnia” and new journalism, a popular trend in the US press in the 1970s, as well as American cinema and the work of European writers, artists, and film Directors. Much attention is paid to the generic nature of the novel, the form of the narrative, the problems and images of the characters. The research results make the following conclusions: the idea to describe and compare different ethnic and cultural worlds is characteristic of Rudashevsky’s novel; the depth of Den's inner world disclosure makes the work an important event in modern Russian prose; the poetics of “Insomnia” is largely based on the thematic and aesthetic settings of the American new journalism.
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Sosnizkaja, Margarita S. « Gallipoli theme in Russian literature ». Neophilology, no 24 (2020) : 776–82. http://dx.doi.org/10.20310/2587-6953-2020-6-24-776-782.
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We consider the history of Russian refugees who found themselves on the territory of Turkey. They were placed in the Naked Field. Despite the conditions that are difficult to compatible with life, they maintained discipline and led an active social life within the settlement, however, the profits and achievements of this activity went far beyond these limits and, thanks to the works of I.S. Lukash and G.I. Gazdanov, became the property of Russian classical literature. The fate of these two pen masters is sometimes literally parallel, sometimes exactly the opposite. Not all the writers of the Naked Field had such a lucky literary star as they had: the young poet junker V. Rutkovsky died of wounds in the “Valley of Roses and Death”. I.S. Lukash and G.I. Gazdanov never write about each other, but the analogies in their prose coincide, sometimes word for word. We carry out an indicative analysis of several pages. They write about the same events that be-came part of their personal and collective experience. We analyze the book “Gazdanov” by O.M. Orlova from the “Life of Wonderful People” series. The work contains evidence of the Gal-lipoli standing of Russian refugees practically from first hand, provides information about the chronicle of their everyday life.
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Wang, Fan, et Karina Nazirovna Galay. « Comparison of Characteristics of Female Images in Russian and Chinese Rural Prose ». Litera, no 2 (février 2023) : 1–9. http://dx.doi.org/10.25136/2409-8698.2023.2.39663.
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The article compares systematically the works of Russian rural prose school and Chinese Beijing school from the point of view of reflection of female image in the works, analyzes the similarities and differences between them, as well as the reasons for their emergence from the position of comparative literary typology, taking into account the ontology of creativity. The village is the land where Russian and Chinese cultures grew and flourished, and rural literature written in the village gained a high reputation in both Russia and China during the period of great social transformations. The subject of the study is the characteristics of women's images in Russian and Chinese literature. The aim of the work is to analyze and compare female images in authors from Russia and China. Research methods – analysis of literary sources on the topic of research. Results of the research: the study of literary works from Russia and China on the theme of rural life was carried out, the portrayal of the female image by the authors of the two countries was compared. Conclusion. The works show an attempt to transform society through the pursuit of traditional culture and morality, in order to achieve an ideal state of society, full of love and freedom. The similarity of national-cultural narratives, themes and artistic styles makes the works of the Russian rural prose school comparable to the works of the Chinese Beijing school of simple fiction, but the differences between the historical and cultural background, religious beliefs and poetic soil of Russia and China make the works of these two schools of writing somewhat different.
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Gillespie, David, et Kathleen F. Parthe. « Russian Village Prose : The Radiant past ». Modern Language Review 90, no 2 (avril 1995) : 542. http://dx.doi.org/10.2307/3734677.
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Lepisheva, Elena M. « TERRA INCOGNITA OF BELARUSIAN LITERATURE ». World of Russian-speaking Countries 5, no 3 (2020) : 56–73. http://dx.doi.org/10.20323/2658-7866-2020-3-5-56-73.
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The article is focused on the content and aesthetic potential of Belorussian literature, which still remains not widely known not for a foreign (including Russian) only, but native reader as well. It is shown that during its development from progressive beginning at the turn of XIX-XX centuries (Y. Kupala, Y. Kolos, M. Bogdanovich, etc.) to the postSoviet period (late “Sixtiers” 1960s, V. Bykov, A. Adamovich, S. Alexievich, V. Neklyaev and their young followers O. Bakharevich, Z. Vishnev, V. Martinovich), problematic array still focused on “marginal” point of view is showing stability. Interest in the problem is related to following historical, sociocultural factors that predetermined the peculiarity of the Belarusian cultural space as unstable national self-identity, geopolitical location at the multicultural cross-road of two major cultural influences of Europe and Russia. By the example of two texts: “Antinovel” by Zmitr Vishnev “If you look closely – Mars is blue” and “Dogs of Europe” by Olgerd Bakharevich (the second one was translated to Russian and granted the “Grand book" award, the reactualization of the “marginal” worldview in the modern Belarusian literature was presented, which actuality for Russian literature from Dostoyevsky to “other prose” late XX, comprehends the image of Russian-Belorussian literature references, caused by “existential type of artistic consciousness” common to a number of authors (V. Zamanskaya).
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Shorokhov, A. A. « V.M. SHUKSHIN AND “NEW PEASANT POETS” : SURVIVED CHILDREN OF NOT SURVIVED FATHERS ». Siberian Philological Forum 10, no 2 (30 avril 2020) : 4–15. http://dx.doi.org/10.25146/2587-7844-2020-10-2-38.
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The article combines two significant historical and literary phenomena. The first is a group of Russian poets and prose writers of the early twentieth century, known under the general name “new peasant poets”. The second is a group of Russian writers of the late twentieth century, whose work has received a steady definition of “village prose”. V.M. Shukshin’s works are also referred to this cultural phenomenon. The article attempts to get away from simplifying definitions of “urban romance”, “village prose”, and to establish the civilizational continuity of Shukshin’s work with “new peasant poets” of the early twentieth century. The author also tries to consider the phenomenon of the group of “new peasant poets” from the cultural, philosophical and historical-biographical points of view – In the unity of their work, fate and dramatic changes in the history of Russia. The article uses theoretical works on Russian and world literature and history by M.M. Bakhtin, V.V. Kozhinova, I.R. Shafarevich, G.I. Shmeleva, P.F. Alyoshkina, S.Yu. and S.S. Kunyaevs, recent publications on Shukshin’s works by V.I. Belov, A.D. Zabolotsky, and A.N. Varlamov.
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Brougher, Valentina G. « A New Voice in Russian Prose : Zufar Gareev ». Russian Literature 48, no 2 (août 2000) : 117–30. http://dx.doi.org/10.1016/s0304-3479(00)80057-5.
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Galloway, David J. « Polemical Allusions in Russian Gulag Prose ». Slavic and East European Journal 51, no 3 (1 octobre 2007) : 535. http://dx.doi.org/10.2307/20459526.
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Sutcliffe, Benjamin M., Natasha Perova et Joanne Turnbull. « War and Peace : New Russian Prose ». Slavic and East European Journal 51, no 4 (1 décembre 2007) : 800. http://dx.doi.org/10.2307/20459589.
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Nollan, Valerie Z., et Kathleen Frances Parthe. « Russian Village Prose : The Radiant Past ». Slavic and East European Journal 40, no 4 (1996) : 766. http://dx.doi.org/10.2307/310123.
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Chernikova, Natalia. « THE WAYS OF PRESENTING RUSSIAN LITERATURE IN THE 21ST-CENTURY BULGARIA ». Lomonosov Journal of Philology, no 4, 2023 (23 août 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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Bencic, Zivа. « THE POWER OF (NEO)MYTH. Review of the monograph by Jasmina Vojvodić Neomythologism in actual Russian prose, Moscow : Flinta, 2021. 240 p. » Siberian Philological Forum 13, no 1 (30 mars 2021) : 59–63. http://dx.doi.org/10.25146/2587-7844-2021-13-1-72.
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Russian writer Jasmina Vojvodić’s monograph Neomythologism in Actual Russian Prose focuses on an important but still insufficiently studied aspect of modern Russian literature. It is safe to assume that due to the originality of the approach to the problem under consideration, as well as the choice of the research material itself, it will meet a lively response from the scientific community. The monograph Neomythologism in actual Russian prose contains twelve chapters, one of which serves as a theoretical introduction, and the remaining eleven are divided into three large thematic blocks, called The Game of Ice Neomyth, Trivialization of myth and Historical Neomyth.
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Guanqiong, Lin, et Natalia M. Solntseva. « Honghuzi in the literary reception ». RUDN Journal of Studies in Literature and Journalism 25, no 1 (15 décembre 2020) : 82–90. http://dx.doi.org/10.22363/2312-9220-2020-25-1-82-90.
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Outlaw is one of the archetypes in world literature. Honghuzi is the eastern version of the image of the outlaw. As his counterpart in European literature, he expressed the ambiguity, the ambivalence of human nature. Unlike the characters of F. Schiller, A.S. Pushkin and others, the image of Honghuzi is the least marked by romantic features. In the prose of the Russian emigrant writers of the Harbin diaspora, Honghuzi expresses the Chinese mentality; the specifics of orientalism are projected onto him, and at the same time its image is extremely objective, which primarily characterizes the prose of P.V. Shkurkin - the author of the ethnographic prose about the outlaws of the border zone of the Russian Far East, Manchuria, Korea and Mongolia. The context consists of the works by Shi Naian, Pushkin, Schiller, English folklore, etc. Comparative analysis allows us to identify the individual features of the artistic perception of the Honghuzi's activities by Shkurkin. It is proved that the interpretation of Honghuzi by Shkurkin is close to the image of the robber in Chinese, English, German literature, along with Russian literature of the XIX-XX centuries.
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Artemov, Andrej. « Axiology of “Russian“ in the prose of Jaroslav Rudiš ». Przegląd Wschodnioeuropejski 11, no 2 (30 décembre 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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Shatsky, E. O. « Namesakes in literature, or Chekhov's code in Sholokhov's novels ». Voprosy literatury, no 2 (17 juin 2021) : 116–38. http://dx.doi.org/10.31425/0042-8795-2021-2-116-138.
Texte intégralRésumé :
An allusive proper name is one of the traditional artistic devices of the Russian classics. The author examines Sholokhov's prose to find nearly a dozen names with reference to various Chekhov short stories. In most cases, there is no similarity between the characters' destinies, but the sheer ubiquity of Chekhov-inspired names can be considered as an homage to the master. On the other hand, the allusive names that Sholokhov consistently borrows from The Cherry Orchard [Vishnyoviy sad] are indicative of plot parallels between Sholokhov's novels and Chekhov's play. Notably, Sholokhov uses allusive proper names as a means of generalisation and typification of characters, from the bulwark of traditional morality, the Cossack woman Natalia Stepanovna, the ‘Russian Lucretia,' to the evercheerful soldier Lopakhin, to the family of Mikhail and Dunyasha Koshevoy as a symbol of recovery of the nation divided by the civil war, to the Gaev family as a premonition of the fate awaiting peasant Russia. Such allusions allow for treatment of Sholokhov's novels as a trilogy about the tragedies of the Russian people in the first half of the 20th c.
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Yang, Zhao. « Translations and studies of V. Rasputin and Russian rural prose in China ». World of Russian-speaking countries 1, no 11 (2022) : 46–59. http://dx.doi.org/10.20323/2658-7866-2022-1-11-46-59.
Texte intégralRésumé :
The article presents an analytical review of translations and researches of V. Rasputin's works and Russian rural prose in China. The author notes that Russian “rural prose” and the work of the major writer of this genre, Rasputin, have outstanding artistic characteristics and have an important influence on Chinese modern and contemporary literature. This article discusses in detail the main stages of studying Rasputin's work and “rural prose” in Chinese literary criticism, as well as outlines and comments on the various scientific points of view of Chinese scholars. The article identifies three stages in studying this phenomenon of Russian literature: the first stage - 1980s-1990s, when Chinese literary scholars focused on ethical issues and issues of national character, seeing in the rural prose an attempt at spiritual salvation and the revival of national consciousness. The second stage is from the 1990s to the first decade of XXI century, in the period of “reform and opening up” in China when contradictions between urban and rural areas were intensified, and many modern Chinese writers expressed in their works a call to protect national culture, which caused their natural interest in V. Rasputin's works, depicting the fierce clash of national culture and Western civilization in the period of social transformations. Finally, the third stage is the beginning of the 21st century, when Chinese studies of Russian rural prose gain many new directions and perspectives (comparativist and narratological studies).