Abstracts of articles
ABSTRACTS OF ARTICLES:
TRANSFORMATION OF THE SOCIAL INSTITUTION OF BOOK PUBLISHING IN RUSSIA IN 1990–2000 AND ITS INFLUENCE ON THE LITERARY PROCESS
© Kurochkina Anna Anatolievna
The article is the first part of a large study aimed at studying the transformation of state participation in the Russian system of book publishing and book consumption. The theoretical basis of the work is the structural and functional paradigm of T. Parsons and the methodological approach to the analysis of the social institute of literature, presented in the early works of L.D. Gudkov and B.V. Dubin. In this article, we explain the methodology of the research and trace the transformation of Russian book publishing that occurred after the state abandoned the leadership of the industry in 1990. The main source of data for analysis was the industry reports of the Federal Agency for Press and Mass Communications (Rospechat), published annually since 2009 and representing a specific communication tool for the state and the industry community through the specialized agency. As part of our research, we were interested not only in the data presented in the reports, but also in the form of representation of various collective actors of the social institute of literature.
Keywords: social institute of literature, literary process, Rospechat, Russian book publishing.
LEADING DOMESTIC AND FOREIGN WRITERS OF THE 2023–2024 THEATRICAL REPERTOIRE
© Proshchin Evgeny Evgenievich
The author of the article refers to the theatrical repertoire of the 2023–2024 season, comparing it with the indicators of the season from five years ago, which was already the object of his consideration. The objectives of the study include recording the dynamics of changes in the structure of the theatrical repertoire over the specified period, especially taking into account those external (cultural, socio-political and even sanitary-epidemiological) challenges that have been thrown at society in recent years and to which theatrical life could not fail to respond. Therefore, even a simple calculation of the total number of literary works, staged in Russian theatres, makes it possible to present the main trends. Thus, the author discovers the growing conservatism of repertory politics. The transformation of Russian classical literature into the basis of the theatrical repertoire is clearly noticeable. This is observed against the background of an increase in the number of performances themselves, but the proportion of modern works remains almost the same. However, Russian classics and works of the XX century provide the specified quantitative increase. There are no special changes in relation to foreign literature, the quantitative increase does not affect it. Time-tested works also have their share in the repertoire as the basis of the children's segment of the repertoire. At the same time, modern "serious" literature, with some exceptions, is not particularly popular. It can be said that Russian theaters, turning to literary pretexts, for the most part do not go beyond the limits of conservative-populist repertory politics. Moreover, there is a clear difference between the theater centers and the periphery. If in the former there is a noticeable frond, the choice of a less obvious and predictable repertoire, then with increasing distance from them, the repertoire policy does not even look like a compromise, but simply inertially archaic.
Keywords: repertoire politics, performance, modern Russian theater, statistical research method, sociology of literature.
THE IMAGE OF THE THINKING WORLD “BEYOND THE BRAIN” BY KIOR YANEV NOVEL SOUTHERN MANGAZEYA
© Garipova Gulchira Talgatovna
The article explores the controversial problems of identifying the phenomenon of transcultural literature associated with the work of writers who occupy a borderline position between several cultural traditions and loci. The authors of the article consider this phenomenon on the basis of the material of Kior Yanev's novel “Southern Mangazeya”, which represents the author's historiosophical concept of the “imperial world” in the context of Russian history from the era of Peter the Great to the post-Soviet period. We analyzed the formal and substantive aspects of the artistic model of the thinking world “beyond the brain”, the principles of transcultural and translingual modeling of its historical constants, the features of the figurative-metaphorical and genre-style system. The image of the thinking world “beyond the brain” in Kior Yanev's novel “Southern Mangazeya” is presented as a “personal myth” of the writer, combining the existential and ontological in the author's attempt to build his historiosophical interpretation of “empire on bones”. On the one hand, this worldview captures historical revelations about the accomplished history-entropy, starting with the collapse of the Golden-haired Mangazeya state and ending with the eschatology of Soviet statehood. On the other hand it captures providence about the possible future resurrection of a new world.
Keywords: transcultural literature, Kior Yanev, the novel “Southern Mangazeya”, mythological image, bestial semiotics, tropology, author's historiosophy.
VASILY AND FAZIL: GENIUS AND PLACE
© Avchenko Vasily Olegovich
2024 marks the 95th anniversary of the birth of Vasily Shukshin (1929–1974) and Fazil Iskander (1929–2016). This anniversary is a good reason not only to remember both writers, but also to compare their creative paths, to find common and different things in them. The proposed essay, which has an anniversary character, outlines those key points that, on the one hand, allow us to talk about the artistic and biographical community between Iskander and Shukshin, and on the other hand, help to realize the aesthetic uniqueness of each of them.
Keywords: V. Shukshin, F. Iskander, the Sixties, rural prose.
VICTOR SOSNORA: FOR TIME AND ETERNITY (interview with Tatiana Vladimirovna Sosnora)
© Bolnova Ekaterina Vladimirovna
The article is an interview with Tatiana Vladimirovna Sosnora, the widow of the poet and writer Viktor Alexandrovich Sosnora. Ekaterina Vladimirovna Bolnova, senior lecturer at Lobachevsky State University of Nizhni Novgorod, acts as an interviewer. Viktor Alexandrovich Sosnora is a large-scale poet, writer, who rose to fame in the second half of the 20th century. Each of his books became an event in literary circles. The fate of V.A. Sosnora is full of unexpected twists and turns. T.V. Sosnora is an independent researcher who is engaged in preserving her husband's legacy. The interview touches on the problems of publishing previously unpublished works, including numerous diaries, as well as critical articles and reviews. T.V. Sosnora talks about the fate of the diaries of V.A. Sosnora's second wife Nina Alekseeva, who died after a long illness in 2009. T.V. Sosnora tells us about V.A. Sosnora's attitude to critical feedback and reviews of his works. Some points related to the creative laboratory of the writer are revealed. Speaking about V.A. Sosnora's mastery of foreign languages, the writer's widow also clarifies the progress of work on the translations that he did. The interview also touches on the facts of the writer's biography concerning his father, mother, uncle, sister, grandmother and other relatives, as well as those related to V.A. Sosnora's relocation to Leningrad. T.V. Sosnora talks about V.A. Sosnora's artistic credo, as well as his attitude to political issues.
Keywords: V.A. Sosnora, biography of the writer, creativity of the writer, archival materials, diary entries, critical materials.
"READING RUSSIA LISTENS TO YOUR VOICE: SHOW ME TO HER!" (BORIS SADOVSKOY'S CORRESPONDENCE WITH ALEXANDER IZMAILOV AND ITS HISTORICAL AND LITERARY CONTEXT)
© Izumrudov Yuri Aleksandrovich
In accordance with the plans for the preparation of a scientific collection of works and a scientific biography of B.A. Sadovskoy, the study of his St. Petersburg literary contacts continues. This article is devoted to the almost unexplored issue of Sadovskoy's relationship with Alexander Alekseevich Izmailov, head of the literary department of the newspaper "Birzhevye Vedomosti", a satirical critic, novelist, poet. Sadovskoy's personal acquaintance with Izmailov was preceded by their printed characteristics of each other's creative individuality. Sadovskoy published in 1911 a review of Izmailov's collection of literary and critical prose, "Literary Olympus". Izmailov published a parody of Sadovskoy's conceptually important poem "Great-Grandfather" in the same year. And, although the parody, perhaps, could not suit Sadovskoy with its ideological orientation, nevertheless it played a certain beneficial role for him, because it added to his fame, popularity, and recognition. So, in the Soviet years, when Sadovskoy was practically not published, Izmailovsky's parody, which was included in anthologies of works of the corresponding genre, reminded of his name and poems. The personal acquaintance of Sadovskoy and Izmailov took place in 1913. It was very important for Sadovskoy to establish connections with an influential critic. This could help him establish himself in the capital's literary world, achieve true recognition of his artistic abilities, which, in his opinion, critics appreciated little. Izmailov wrote about Sadovskoy in several articles and emphasized his undoubted talent as a writer. Through Izmailov, Sadovskoy gained permanent cooperation with "Birzhevye Vedomosti", one of the largest newspapers in Russia at the beginning of the twentieth century. Sadovskoy's texts published in it are almost unknown to modern researchers and readers and need to be introduced into scientific circulation. The article provides the first publication of the correspondence between Sadovskoy and Izmailov, with an appropriate comment. A letter from L.N. Andreev to Sadovskoy is also being printed for the first time. The Appendices reproduce the texts of articles by Sadovskoy and Izmailov that have not been republished since the first publication in the pre-revolutionary press.
Keywords: B.A. Sadovskoy, A.A. Izmailov, L.N. Andreev, parody, "Birzhevye Vedomosti".
THE ALBUM OF THE MOSCOW BOOKSHOP OF WRITERS AGAINST THE BACKGROUND OF THE ERA OF THE 1930S
© Gogolin Mikhail Yurievich
This article is a transcript of the report, delivered by the author on April 19, 2016 in Moscow Club of Bibliophiles (the publication follows the style of oral speech) about a unique artifact, i.e. memorial hand-written album of the Moscow Bookshop of Writers. The album, which is of obvious interest for historians of Russian literature, bibliophiles, specialists in books and book graphics and for all researchers of Soviet era, is thus introduced into scientific circulation. Containing a unique aesthetic meaning, the album sheds additional light on the mechanisms and operations of the so-calles “literary way of life” (as per B.M. Eikhenbaum’s concept) of the 1930s. In additions, the article includes a reproduction of all autographs, made in the album by Soviet authors, writers and scientists, some of whom were subjected to repressions (L.M. Leonov, Demyan Bedny, Vsevolod V. Ivanov, V.V. Ermilov, D.A. Ter-Simonyan, M.P. Galperin, V.A. Gilyarovsky, V.G. Lidin, V.A. Kaverin, G.O. Vinokur, N.S. Ashukin, N.D. Volkov, K.A. Bolshakov, A.N. Zuev). The fact that some of the autographs are written in poems allows to research them in the context of their creators’ poetic works. The authorship of several autographs could not be established; thus, the article creates the basis for their future attribution that remains quite possible. Moreover, the article is accompanied by illustrative materials: book signs and advertisements of the Bookshop of Writers, as well as the autographs of Demyan Bedny, V.A. Gilyarovsky, V.A. Kaverin, K.A. Bolshakov.
Keywords: Stalin era, Soviet book trade, literary life, book signs, writers' autographs.
GREKHNEV READINGS (ISSUE 9)
© Yashina Kseniya Ivanovna
The article is a review of the collection of materials of the international scientific conference "Grekhnev Readings–XIV: A Literary work in a system of contexts", dedicated to the 85th anniversary of Vsevolod Alekseevich Grekhnev (1938–1998) and held on October 30–31, 2023 at the N.I. Lobachevsky National Research University.
Keywords: Russian Russian literature, V.A. Grekhnev, Grekhnev readings, history of Russian literature, Pushkin studies, Russian lyrics.
M. YUDENICH'S NOVEL SAINT-GENEVIEVE-DE-BOIS IN THE CONTEXT OF GOTHIC LITERATURE
© Trushkina Alyona Petrovna
The article is devoted to the analysis of the existence of artistic features of Gothic literature in Marina Yudenich's novel "Saint-Genevieve-de-Bois" (1999). The author of the article used a comparative typological method and a method of holistic analysis of a literary work. It is established that in the work of the Russian writer, the Gothic tradition is refracted, synthesized with a detective story based on the investigation of a mysterious crime. The novelist refers not only to the cliches of classical Gothic (motives of death, blood feud, sin; vivid images of the villain and victim; figures of ghosts and the living dead), but also to elements of literature neo-Gothic, where mystical events become part of the ordinary. In addition, Yudenich depicts a number of toposis that have the characteristics of a traditional Gothic castle (monastery, house, apartment, psychiatric hospital). Also in the novel, the topos of the cemetery, the name of which is included in the title, acquires a significant functional role. As a result of the research, it is proved that the novel contains the features of a traditional Gothic novel, but they are presented in a kind of author's reworking.
Keywords: Gothic literature, neo-Gothic, Gothic detective, psychologism, chronotope, character system.
THE RUSSIAN CULTURAL CODE IN A. VARLAMOV'S PROSE: TRADITIONS OF RUSTIC PROSE IN THE DEPICTION OF THE CITY AND VILLAGE
© Latukhina Anna Leonidovna
© Stepanov Artyom Sergeevich
This article is devoted to the work of one of the most prominent representatives of modern Russian prose - A. Varlamov. The object of the study was the writer's small prose, as well as his novels and tales "Birth", "Loch", "Kupavna", "Hello, prince!", "My soul Paul", "House in the village." The problems of research are associated with the identification of the peculiarities of the embodiment of the Russian cultural code in the prose of the writer, who in modern literary criticism is seen as a successor to the traditions of village prose. It is the typological connection with the villagers that makes it possible to identify the dominant of the Russian cultural code, embodied in the spatial antinomy of the city – village. The study considers the key topos of this opposition, special attention is paid to the mythology of the "house" and the image of the church as key for the Russian Orthodox consciousness. In the course of the study, it was found that the most frequent city in Varlamov's prose is Moscow; not only its center, but also the outskirts. Cult buildings in the city are the Kremlin, churches, the building of Moscow State University. The choice of location both urban and rural is largely due to the biography of the writer himself, and the plot situations themselves are largely autobiographical in nature. The plot situations associated with the central character, both in small prose and in novels and short stories, have certain similarities: the hero moves from one space to another: from city to village and vice versa. The localization of a character in the space of a city or village, his movement from one space to another in search of the meaning of life, faith, himself generates a special type of hero, which is also mentioned in this article.
Keywords: Varlamov, village prose, Russian cultural code, city, village.
NOVGOROD GYMNASIUM OF THE XIX CENTURY IN TRAVELOGUES AND MEMORIES
© Kniazeva Tatiana Sergeevna
The article deals with the peculiarities of the reflection of the history of education in the Novgorod local text, in particular, the formation and development of the men's gymnasium: the conditions of its emergence, the specifics of the educational process. The study of the educational process and level of education is traditionally based on the analysis of documentary sources, which often do not reflect the view of the gymnasium students, teachers or outside observers about the educational institution. This omission can be compensated by analyzing memoirs, recollections and travelogues, the purpose of which was not only to record official information, excluding subjective impressions, but also to reflect aspects of everyday life of educational institutions. The article attempts to characterize the image of the Novgorod gymnasium on the example of A.V. Kruglov's works "On the Historical River (travel negatives)" (1886) and I.F. Radzikovsky's "From My Memoirs" (1895), devoted to the stay in Novgorod. The analysis of the works of little-studied authors allows, firstly, to introduce the texts into the scientific turnover, and, secondly, to consider their connection with the educational reform of the early XIX century. The image of an educational institution formed in the works under consideration allows us to speak not only about the role and place of the gymnasium in the life of Novgorod society, but also about the peculiarities of elementary education in Russia.
Keywords: Novgorod gymnasium, history of education, history of everyday life, Novgorod text, travelogues, memoirs.
SPACE AND TIME IN YURI KOZLOV'S NOVEL THE DESERT OF ADOLESCENCE
© Ermakova Elena Mikhailovna
The article examines the specifics and artistic function of the chronotope in Yuri Williamovich Kozlov's novel "The Desert of Adolescence" (1988). The novel is compared with the writer's earlier texts ("The Invention of the Bicycle", "The Happy Possibilities of the Swing", "Our Time"), as well as with the works of Lev Kassil ("Conduit and Schwambrania") and William Kozlov ("The President of the Stone Island"), in which a fictional country plays a plot-forming role. Not only similarities are revealed, but also differences in the construction of these works. The article explores the idea of the mythological worldview and the ways of its expression in modern verbal creativity. The conclusion is made about the belonging of Yuri Kozlov's novel "The Desert of Adolescence" to "magical realism", which implies an in-depth study of the interaction of space-time parameters of two worlds created by the author: the world of everyday (real) and the world of fictional (fantasy). The complexity and dualism of this interaction create the ground for different interpretations of the semantic structure of the work. There is a need to look at the novel by Yu.V. Kozlov's connection is not so much with the concept of "dream countries" as with the realization of mythological consciousness in general. The study of the spatial-temporal relations of the novel, the system of images and motives allows us to rethink the experience of myth-making, to reveal the characters and their conflicts in the special social conditions of the late Soviet period. The main result of the analysis carried out by the author of the article is the identification of three spatial and temporal levels in Yuri Kozlov's novel "The Desert of Adolescence", which are in a state of dynamic correlation and form an integral artistic system.
Keywords: Yu.V. Kozlov, the myth novel, magical realism, neo-mythological novel.
GENRE SPECIFICS OF THE FINAL BOOK OF POEMS IN THE WORK OF A. VOZNESENSKY (BASED ON THE PUBLICATION T’MAT’ (2008))
© Khozyaikina Anastasiya Vladimirovna
The article deals with the genre uniqueness of the "final" book of poems "T’mat’" (2008), written by A. Voznesensky. The author of the article used comparative-historical, biographical and holistic methods of analyzing the literary work. The results of the study are as follows: firstly, the distinctive features of A. Voznesensky’s poetics are declarativeness, epatage, pronounced subjectivity of the poetic voice of the lyrical hero, closely merged with the image of the poet. Secondly, A. Voznesensky’s book of poems "T’mat’" demonstrates a vivid example of a "final" book of poems, the genre canon of which was developed by poets of the last third of the 19th century. It is organized chronologically and embodies the author’s view of his own fate and the fate of Russia. Written during the period of the author’s serious illness, this book became a kind of poetic testament. It actualizes the motive of farewell, loss, the desire to share the most intimate things, to remember the best moments of his life, to thank his loved ones; biographism is combined with a dialogical appeal to the "other". Thirdly, in this edition the attention to religious-philosophical motives and images is considerably increased, which is connected with the rethinking of the lived life, summarizing its results.
Keywords: А. Voznesensky, problematic and thematic originality, "final" book of poems, meta-genre form, motive of farewell, loss, image of Russia.
MAXIM GORKY'S WORK AND ITS PLACE IN THE REPERTOIRE OF MODERN RUSSIAN THEATERS
© Proshchin Evgeny Evgenievich
The author of the article analyzes the dynamics of the appeal to the work of Maxim Gorky in the modern theatrical process. The statistics of the 2018-19 and 2023-24 theatrical seasons are taken as a basis, studied by the author on the basis of independently collected and systematized material. The 2018 season is notable for the fact that it correlates with the 150th anniversary of the Russian writer, and the indicators of the 2023 season demonstrate in which direction – increasing or decreasing – the interest of the authors of stage productions in Gorky's works is changing, which of Maxim Gorky's legacy finds embodiment on the stage, in the theaters of which cities his dramaturgy and prose texts are in demand. We have recorded a serious and steady level of appeal to Gorky's work, therefore, this writer should in no case be attributed to half-forgotten or even forgotten names that have gone into the past along with the official Soviet literary canon. On the contrary, he is confidently among the twenty authors, both domestic and foreign, whose works are most often staged in modern Russian theaters. All this allows us to speak about the unceasing attention to the work of Maxim Gorky, which has been preserved for a long time, and not just "tied" to the anniversary year, which was 2018.
Keywords: dramaturgy, Maxim Gorky, literary process, modern theatrical repertoire.
BOOK RARITIES AND CURIOSITIES OF THE STALIN ERA
© Gogolin Mikhail Yurievich
The article is an extract from a report delivered by the author on 11/27/2014 and 12/23/2014 at the Moscow Club of Bibliophiles at the meetings dedicated to publications of the 1930s – 1950s (the style of oral speech in the publication is preserved). The article contains a description and characterization of some book rarities that appeared in the Stalin era (1930s - early 1950s). More specifically, we are talking about publications that can be divided into two groups. The first of them includes books that have been published, but are extremely inaccessible even to collectors. These are "[The Letter] To the Great Stalin from the Belarusian people" (1936), I. Stalin "On the foundations of Leninism. On the issues of Leninism" (1949), I. Stalin "On the Great Patriotic War of the Soviet Union" (1949, 5th edition), I. Stalin "Report on the draft Constitution of the USSR. The Constitution (Basic Law) of the Union of Soviet Socialist Republics" (1949). The second group includes models of unpublished books: Volume VI of the "Archive of A.M. Gorky" (1949) and M. Gorky "Poems" (1950). In addition to special bibliographic information, the article provides a number of observations concerning the poetics of collective "Letters to Comrade Stalin", the fate of writers and cultural figures who participated in the compilation of these "Letters", the peculiarities of the publishing and censorship policy of Stalin's time. The article includes information that may be interesting and useful not only to bibliophiles and bibliographers, but also to specialists in humanities: literary critics, historians, cultural scientists, archivists, book historians.
Keywords: The Stalin Era, "Letters to Comrade Stalin", M. Gorky.
FAIRY-TALE MOTIFS AND IMAGES IN THE COLLECTION OF POEMS BY V. SOSNORA "HORSEMEN"
© Bolnova Ekaterina Vladimirovna
The article deals with specific cases of V.A. Sosnora's appeal to fairy-tale motifs and images in the poetic collection "Horsemen". The object of the study are the poems "The Last Songs of Boyan", "There was a gooseberry ...", "The First Prayer to Magdalene", in which the appeal to fairy-tale elements is not organizing the entire text, but allows you to bring additional meanings and significantly enrich the work. The research potential of the article is expanded by involving the poem "The Legend that I was told ...", the basis of the figurative system of which is based on images of mermaids, widely represented not only in Russian folklore, but also in the folklore of other peoples. The poem "Freckle-Ugly" is subjected to an extended and detailed analysis, since it was created based on the genre of a fairy tale. The work consists of six separate poems connected by a single plot that has a fairy-tale basis. The subject of study are the elements in which V.A. Sosnora follows the genre canons of the fairy tale, as well as those in which the author consciously departs from them. In each case, a working hypothesis is put forward to explain these deviations. Special attention is paid to the system of images, chronotope, plot, functions of the heroes of the fairy tale and the poem by V.A. Sosnora. The article demonstrates the importance of folklore elements in the poet's creative world, as evidenced by the frequency of reference to folklore material and the creative processing to which V.A. Sosnora subjects him, passing through his personal worldview. The article uses cultural-historical, mythological, descriptive-functional, comparative-comparative, psychological and formal research methods.
Keywords: V.A. Sosnora, collection "Horsemen", fairy tale, folklore.
THE OPRICHNINA EPOCH IN A. IVANOV'S «CHRONICLE OF IOANNES»
© Karpov Anton Dmitrievich
The article deals with the specificity of the depiction of the era of Ivan IV in A.V. Ivanov's novel "The Chronicle of Ioann" (2009). The author of the article used comparative-historical and holistic methods of analysing a literary work. As a result of the research it was revealed that he devoted to the comprehension of a synthetic work combining elements of a historical novel, parable, mystery and hagiography. Although the basis of the text was the script for the film "The Tsar" (2009) by P. Lungin, in the novel as a "recoded" script, the interpretation of historical events and the main characters undergoes changes, the author's interpretation of Oprichnina is based on the eschatological concept of A. Yurganov. Yurganov, according to which oprichnina in the perception of Ivan Grozny was not so much a political as a religious phenomenon. Accordingly, the Oprichnina in the novel is a mystery of faith, an image of the future on the "earthly firmament", where executions are a kind of Russian purgatory before the Last Judgement, and the Tsar achieves full power as the executor of God's will to punish human sin and establish true "piety" not only to save his own soul, but sinners doomed to death. Most of the Tsar's actions in the novel are subordinated to the idea of the imminent end of the world and the belief in his own messianism. The strategy of historical narrative here is aimed not at depicting "real" history, but at subordinating it to the author's reflection on history, the central component of which is man.
Keywords: A. Ivanov, genre synthesis, historical prose, modern Russian literature, the image of Ivan Grozny.
"STRANGE RAPPROCHEMENTS DO HAPPEN": "EVGENY ONEGIN" A.S. PUSHKIN AND "LEON" A.V. NIKITENKO
© Volkov Ivan Olegovich
© Pavlovich Kristina Konstantinovna
The article is devoted to the study of the "Onegin tradition" in the artistic work of A.V. Nikitenko (1804–1877), a professor of St. Petersburg University, a member of the Imperial Academy of Sciences, a historian of Russian literature, a literary critic and censor. In the centre of the research attention is Nikitenko's unfinished novel known under the common name "Leon", three small excerpts from which were printed in the first third of the 19th century in such popular Russian publications as the almanac "Field Flowers" (1828), the almanac "Northern Flowers" (1831) and "Nevsky al-manac" (1832). The creative (albeit fragmentary) experience of the critic and censor in its semantic centre reveals a non-random connection with A.S. Pushkin's novel Eugene Onegin. The published excerpts from "Leon" are compared with Pushkin's novel in verse, which makes it possible for the first time to reveal the specifics of the image of a reflective hero modelled by A.V. Nikitenko, who confronts the "disease of the century" (imitative and artificial romance) and tries to overcome it with the help of philosophy (it is natural that A.V. Nikitenko's work has the features of a philosophical novel). But at the same time A.V. Nikitenko uses almost the entire artistic text of Russian and foreign romanticism to create the image of Leon. The mechanisms of dialogue with this text are also the subject of consideration in the article. In addition, the thesis that Leon's image can be interpreted as a specific combination of the features of Eugene Onegin and Vladimir Lensky is substantiated.
Keywords: A.V. Nikitenko, novel Leon, A.S. Pushkin, Eugene Onegin, A.P. Kern.
LYRICAL CREATIVITY OF ALEXANDER PUSHKIN IN THE PERCEPTION BY IVAN TURGENEV
© Volkov Ivan Olegovich
The article is devoted to the analysis of I.S. Turgenev's reading perception of A.S. Pushkin's lyrical work. In the centre of the research attention are the materials of the writer's personal library, namely a book copy (vol. 3) from the first posthumous collection of the poet's works (1838–1841) with numerous notes of its owner. By analysing the traces of reading Pushkin's texts left by Turgenev's hand, a picture of the writer's thoughtful and responsive attitude to Pushkin the poet is reconstructed. Turgenev's reflection, preserving a deeply personal attitude to Pushkin's work, collects and unites the poetic texts of the classic of Russian literature into three predominantly overlapping thematic directions: moral and philosophical, love and biographical. However, a number of Pushkin's poems appear in Turgenev's reading outside a certain thematic direction. These are texts in which he makes edits, trying from his own point of view to give them stylistic restraint. In any case, I.S. Turgenev's attention to both verse form and content reveals the depth of his mastery and assimilation of the structural and figurative system of Pushkin's lyrics, which had an extraordinary influence on his own artistic world. In addition, thoughtful and close reading of Pushkin's texts became for I.S. Turgenev an important factor in the formation of his individual aesthetic position.
Keywords: lyrics of Alexander Pushkin, I.S. Turgenev, notes, writer's library.
THE CONCEPT OF CHILDHOOD IN A.M. GORKY'S AUTOBIOGRAPHICAL STORIES "CHILDHOOD" AND F.G. SUKHOV "BUREPOLOM"
© Kurkina Vera Valerievna
This article makes an attempt to comprehend new facts related to the formation and development of that line of Russian autobiographical prose that deals with the creation of the image of a child hero. It is concluded that the stable features of artistic autobiographies include chronological sequence, phasing and author’s reflection. The decisive significance that "Family Chronicle" by S.T. had for the formation of the principles of depicting childhood in Russian autobiographical prose is emphasized. Aksakov and the trilogy of L.N. Tolstoy, including the stories "Childhood", "Adolescence" and "Youth". Along with this, the concepts of childhood in the autobiographical stories of A.M. were analyzed and compared. Gorky "Childhood" (1913) and F.G. Sukhov "Stormbreaker". "Stormbreaker" is an unfinished, posthumously published (2017) work by F.G. Sukhov (1922–1992), Nizhny Novgorod poet and prose writer, participant in the Great Patriotic War. This story, which in many ways continues the artistic quest of writers considered representatives of rural prose (V. Belov, V. Shukshin, V. Rasputin), tells about the life of a rural boy who looks at the world through the prism of the Old Believer customs and social norms surrounding him. The study revealed certain similarities in the autobiographical stories of A.M. Gorky and F.G. Sukhov, related to the narrative structure (fragmentation of memories, philosophical reflections of the author "from the outside"), composition, some key artistic images, such as mother, grandmother, grandfather - it is these characters in these works that most strongly influenced the formation of the personality of the main characters and formation of their inner world. The thesis has also been put forward that the concept of childhood in A.M. Gorky is focused on movement towards the outside world, and the concept of childhood in F.G. Sukhov – to preserve inner, personal peace.
Keywords: autobiographical story, F.G. Sukhov, literature about children, A.M. Gorky, the concept of childhood.
SOVIET RUSSIA IN THE PERCEPTION BY SIGRID UNSET (BASED ON THE MATERIAL OF TRAVEL NOTES "RETURN TO THE FUTURE")
© Mitina Evgeniya Aleksandrovna
The article is devoted to the study of the Soviet Russia image in the book "Return to the Future" ("Tilbake til fremtiden") by Sigrid Unset (1882–1949), Norwegian writer, Nobel Prize winner. This book reflects the journey which she made from Norway, occupied in 1940, to the United States through Sweden, Russia and Japan. It is noted that the author, describing the impressions (personal and other Norwegians) about Soviet Russia, uses as the main technique the comparison of pictures of reality with her speculative stereotypical ideas. The image of Russia in the text by Unset is imainly negative, the author's arrogant attitude is obvious. Despite her sincere curiosity, Sigrid Unset is ready and even eager to see in Russia only backwardness. It can be argued that the Russian theme in the book of Unset develops in line with civilizational discourse. Sigrid Unset is confident in the totalitarianism in the USSR and notes the backwardness of Soviet Russia, manifested in the low standard of living of ordinary citizens (poverty, domestic disorder, etc.). In general, her position can be called class and even racist. In the book Sigrid Unset describes various spheres of life in Russia and her diagnosis is disappointing: Russia is characterized as a backward country in every sense, located at the lowest level of civilization. This backwardness is allegedly due to the very nature of Russian people. There is no factual basis for a number of statements by Sigrid Unset. It is difficult to call the book of Unset strictly documentary prose. This text tends to the genre of memoirs, it is a commentary on the biography of the writer, her personality and at the same time a sketch of the era and a commentary on the attitudes of that time.
Keywords: Sigrid Unset, "Return to the Future", the image of Soviet Russia, stereotypical ideas, totalitarianism.
AIKHENWALD’S IMMANENT METHOD IN MODERN RUSSIAN PROSE AND ESSAYS: TRANSFORMATIONS OF THE GOGOL’S IMAGE
© Myslina Julia Nikolaevna
The article substantiates the applicability of using Aikhenvald’s method to study the transformation of the image of N.V. Gogol in Russian prose and essays throughout the 20th – 21st centuries. The image of the classic remains relevant to this day due to his special status as a metaphysical writer who can be interpreted in different ways. For example, Gogol interpreted by the modernists of the Silver Age differs from Gogol interpreted by realists and postmodernists. The method of interpretation depends on the historical and philosophical situation in Russia. It is proved that the theory of "empathy" by T. Lipps, which became one of the foundations of psychological aesthetics, supplemented by the irrationalist philosophy of Schopenhauer, allowed the emergence of such a method of research in literature as impressionistic (immanent). Immanent criticism gave some options to separate personality Gogol and the history of Russia to study the Russian classic’s own development and life path. The fate of Yu. Aikhenvald’s method is intermittent and has no direct successors in Russian criticism, despite some intersections with V. Rozanov, A. Sinyavsky and others in the common desire to overcome historicism and sociologism in fiction and understand the writer’s own core tasks. Yu. Aikhenvald’s method, which requires slow reading, allows the reader to become involved in the creative act and write his own work. In the 21-st century, in the criticism of M. Shishkin, the features of the immanent method of research are recognizable, for example, in the essay "The Runner and the Ship", V. Sharov’s Gogol becomes M. Shishkin’s Gogol, and ultimately the reader’s Gogol, undergoing continuous transformations with changing philosophical and cultural landmarks.
Keywords: Y.I. Aikhenvald, N.V. Gogol, M. Shishkin, immanent criticism, psychological aesthetics.
FROM THE ARCHIVE OF BORIS SADOVSKY: ARTICLE "PHILOSOPHY OF MARRIAGE"
© Izumrudov Yuri Aleksandrovich
The first publication of Sadovsky's article "The Philosophy of Marriage" (1923) is given, with comments. Its creative history is outlined. It is noted that the article was written during a very difficult post-revolutionary period of the author's life, when he faced the problem of creating a family and finding a home. One of the stimuli for writing the article was Sadovsky's relationship with V.P. Uvarova, his old acquaintance, whose letters to him, unknown to researchers, have been taken into account. The ideas expressed in The Philosophy of Marriage – about the peculiarities of the character and psychology of women, about their intellectual limitations in comparison with men – were not original. Many works were published on this topic during the Silver Age. However, let us emphasise that Sadovsky was in no way dependent on them in the conception of the article. Much in his worldview came from his upbringing, the atmosphere of his parents' home, his social circle (especially in his adolescent years), and the general conservative leaven of his character. In terms of genre and subject matter, "The Philosophy of Marriage" stands apart in the vast array of Sadovsky's articles (which are mostly problem criticism, reviews, reviews, literary portraits, notes). Only the essay "Holy Reaction" (1921) is comparable to it. In order to specify the meaning of Sadovsky's article, a little-known essay by V.P. Dalmatov, "Julia Pastrana", whose hero, the fictional adopted son of Pastrana, gives an assessment of women's creative abilities that is close to what Dalmatov himself formulated and echoes the provisions of "The Philosophy of Marriage", is brought in.
Keywords: B.A. Sadovsky, "Philosophy of Marriage", A.S. Pushkin, Tatiana Larina, V.P. Dalmatov.
SEMPER IDEM: RUSSIAN LITERATURE AS THE VICTORY OF ETERNAL LIFE OVER PASSING DEATH
(Alexander Makhov. Selected works in 3 volumes. Volume 1. On Russian Literature / Ed. O. Dovgy. Tula: Aquarius, 2023. 720 p.)
© Gapeenkova Marina Yurievna
The review presents the collected works of Alexander Makhov (1959–2021) (volume 1). The publication for the first time collects Makhov's studies on the history of Russian literature and journalism of the early 19th century.
Keywords: A.E. Makhov, Pushkin, Russian literature, Russian journalism.
THE FATE OF A PERSON AND A COUNTRY IN THE BOOK BY V. AVCHENKO "RED SKY. NON-FICTIONAL STORIES ABOUT THE EARTH, FIRE AND MAN FLYING"
© Sukhikh Ol’ga Stanislavovna
The article deals with the problematics and poetics of V.O. Avchenko's book "Red Sky. Non-fictional stories about the earth, fire and man flying". The author's focus on the life of the Far East as a land of unusual, rich in talents and peculiar stories, but we can not ignore the expansion of artistic space: the scope of the writer's interests includes the life of the USSR as a whole, considered through the prism of the history of aeronautics. Attention is also drawn to the construction of the plot, which includes a lot of branches, as well as to the principle of intersection of time lines. The character of the author's position and the peculiarities of the author's comments are considered. The conclusion is made about the great work of the author of the book, who studied a huge number of documents, historical evidence, memoirs, biographies, letters and other materials, which allowed him to create a work, behind each line of which is actually a whole plot. The role of the central character is analysed, whose fate passes "punctuated" through the narrative, devoted not only and not so much to him personally, but to the epoch and history of the national aviation.
Keywords: V.O. Avchenko, A.P. Maresiev, A.A. Fadeev, Far East.
A MAN IS A FRIEND TO A DOG…
(Z. Prilepin. Dogs and other people. Moscow: AST Publishing House, 2023. – 251 p.)
© Bolnova Ekaterina Vladimirovna
The book is reviewed by Z. Prilepin's "Dogs and other people" (2023), which tells the stories of dogs, a cat and a parrot living with their owners in a house on the banks of Kerzhenets. Special attention is paid to the interaction of the text with the previous cultural paradigm.
Keywords: Z. Prilepin, new prose, modern literature.
LI INTERNATIONAL SCIENTIFIC CONFERENCE "BOLDIN READINGS"
© Yukhnova Irina Sergeevna
The article summarises the results of the international scientific conference "Boldin Readings" 2023. The chronology of the work is presented, the main ideas that made up the content of the reports are formulated.
Keywords: "Boldin Readings", A.S. Pushkin, Boldin Autumn, modern Pushkin studies.
CREATIVE AND PREUDOCREATIVE ASPECTS OF THE PHENOMENA “DAYDREAM” AND “DAYDREAMING” IN F. M. DOSTOYEVSKIY`S NOVELLA “WHITE NIGHTS”
© Solovyova Anastasia Dmitrievna
The paper analyses the phemomena of the daydream and the daydreaming in F. M. Dostoyevskiy's novella “White Nights”. The author investigates the connection between these phenomena and the phenomenon of creation. It is argued that in this novella the relation between the designated phenomena is controversial. According to the paper's author, the last fact is determined by the specifics of young Dostoyevskiy's aesthetic and philosophical conception. According to scientists, in the 1830–1840s the beginning writer laid great emphasis not only on the issue of the true creation and the true artist, but also on the issue of the “pseudocreation” and the “pseudoartist”. The reflections about these issues continued naturally in F.M. Dostoyevskiy's art works including “White Nights”. The paper advances an idea that on the one hand in this novella the phenomena “daydream” and “daydreaming” correlate with creation as the process of creating fictional worlds involves main character's poetic abilities directly, and his daydreams become similar to works of art in many ways. On the other hand, the daydream and the daydreaming in “White Nights” unfold the features of creativity's opposite (“pseudocreation”) because it is possible to discern in the daydreaming a convenient substitute for the true creation (a hard and self-giving act itself), and that in daydreams a kind of false works of art can be seen. Furthermore, the significant fact is that both phenomena may be considered a result of death of a true artistic talent which the Dreamer, from all appearances, was endowed with.
Keywords: Dostoyevskiy, “White Nights”, daydream, daydreaming, creation, “pseudocreation”.
“MELCHIZEDEK OF RUSSIAN LITERATURE”: THE SILVERAGE IN SEARCH OF CANTEMIR
© Dovgy Olga Lvovna
2023 is the year of the next anniversary of A.D. Cantemir (assuming that he was born in 1708): 315 years since his birth. This anniversary is forgotten even more firmly than the anniversary of 2018. Approximately the same situation was at the beginning of the 20th century – in the year of the 300th anniversary of Cantemir: not a single printed publication in Russia remembered the round date. At the same time, at the turn of the century, many different materials about Cantemir were published – which suggests that this author was in demand in the silver Age. The purpose of the article is to understand the reasons for this interest. The analysis undertaken in the article of books and articles published during the period under review allows us to speak about their general inventory orientation: the silver Age is aimed at "searching for the Cantemir": active publication of newly found archival biographical materials and works attributed (albeit sometimes too hastily) Cantemir is combined with the desire to systematize and scientifically comprehend what has been found. The work on the scientific biography and the complete corpus of Cantemir 's works is as follows
Keywords: Prince A. Cantemir, Silver age, «multiplicity of worlds».
REFERENCES TO TOLSTOY'S NOVEL "ANNA KARENINA" IN MODERN SONGWRITING
© Kochetova Lidiya Vitalievna
This article is devoted to the analysis of intertextual relations between Leo Tolstoy's novel "Anna Karenina" and contemporary songwriting, referring to him. The author of the article, using the example of four songs, shows how references to the novel are built in them, considering it in three important aspects: firstly, as a dialogue between two different types of art – literature and song; secondly, in the context of differences between elite and mass culture; thirdly, taking into account the difference in the time of creation of the works is the second half of the XIX century and the end of the XX-XXI centuries. Since there is an intermediate quotation in this context, the researcher pays attention not only to the lyrics (which is a literary component), but also to the song composition and musical means of expression. The article talks about communication at different levels: the author of the song is a novel, the author of the song is the author of the novel, the author of the song is the listeners, the lyrical heroine of the song is the main heroine of the novel. Analyzing approaches to the interpretation of the novel, the author of the article draws attention to such categories as mass character, stereotyping, postmodern irony. The problem of interpreting the image of Anna Karenina is considered, which arose due to the peculiarity of Tolstoy's creative method, which consists in presenting the character in a multifaceted and contradictory way, which creates opportunities for different attitudes to the hero. This is confirmed by the songs chosen for analysis, which present four different interpretations of Karenina's image. During the analysis, four different types of intertextual relationships were identified, built in songs referring to this novel by Tolstoy: partial quoting and symbolization of the heroine's image; open dialogue with the character; an ironic retelling and an unexpected playful interpretation of the meaning of the novel; interference in the denouement of the action and a change in the ending.
Keywords: Anna Karenina, songwriting, intertextuality, intermediality.
V.A. SOSNORA'S POEM "SO GOOD: THERE WAS A TABLE LIKE A TABLE…": VARIANTS, DRAFTS, ANALYSIS
Bolnova Ekaterina Vladimirovna
The article focuses on the comparative analysis of draft versions of V.A. Sosnora's poem "So good: there was a table like a table ..." with the final published version. In the course of the work, structural-descriptive, descriptive-functional, comparative-comparative, formal methods were used to solve the tasks as fully and accurately as possible. Archival materials previously unknown to researchers stored in the Russian National Library are used as material. Separately, the evolution of the titles of the poetic work is traced from the presumably first "White Dove" to the last title on the first line. The hypothesis is put forward that this is due to the author's desire for invariance of reading. Working with archival materials allows you to trace the creative evolution of the poem, the change in the author's idea. In each case, the main changes made by V.A. Sosnora at the phonetic, lexical, morphological, syntactic levels, as well as the transformation of the motif-figurative system are analyzed. The hypothesis put forward at the beginning of the article about the chronological sequence of the creation of draft versions stored in the RNB is confirmed. So, chronologically, sheet 2 should be recognized first, followed by sheet 1. The last part of the article presents a comparative analysis of V.A. Sosnora's poem "So good: there was a table like a table..." with E. Poe's "Raven" and A.S. Pushkin's "Prophet". The conclusion is made about the equal importance of these works for a deep understanding of the text of V.A. Sosnora. Thus, the hypothesis put forward in the article about the meaning of the author's rejection of the title, referring only to the poem of the English poet, is also confirmed.
Keywords: V.A. Sosnora, archival materials, draft materials, poem "So good: there was a table like a table...", poetic, textual analysis.
DLYA ZVUKOV SLADKIKH (FOR SWEET SOUNDS): PUSHKIN'S TEXTS AS A TUNING FORK OF RUSSIAN SPEECH HEARING
© Marinova Elena Vyacheslavovna
The question of the influence of the aesthetics of sound formed in the poetic texts of A.S. Pushkin on the speech hearing of subsequent generations – both readers and writers – is considered. All the basic principles of the aesthetic organization of poetic speech, which later became a kind of reference point, a standard of beauty of the sound of the Russian syllable, are embodied in Pushkin's work: the euphony of speech due to the predominance of musical sounds (vowels and sonors); sound roll call in the words that make up the phrase; sound clips between adjacent verses; playing random sound similarity; the functional significance of a word of a certain sound (the choice of a word in favor of sound, rather than lexical meaning). Based on the material of the poet's drafts, it is noted that the text was edited in the direction of euphony, musicality of speech, intentional play with sounds. The peculiarity in the sound of the word often determined the choice of the poet, sometimes even to the detriment of factual accuracy, which Pushkin himself explained using the concept of poetic. Pushkin's poetic heritage demonstrates the aesthetic intrinsic value of sound as one of the components of the artistic meaning of the text and a condition for the integrity of the poetic work. The harmonious combinations of sounds assimilated by our hearing, their certain selection and repetition in our consciousness are imprinted in the form of reference, exemplary, and when perceiving, reading all subsequent texts of Pushkin and other authors who somehow also went through this experience, as well as – in the case of writers and poets – when creating their texts, mentally, we are guided by already established aesthetic ideas.
Keywords: Pushkin's heritage, sound organization of poetic text, aesthetic principle, speech hearing, Russian poetry, poetic category.
THE PROBLEM OF TRUST TO THE RUSSIAN WORD
© Petrova Natalia Evgen’evna
The key question of the article was the question of why active language users give preference to borrowings. The analysis of media language, the Internet, "live" speech leads the author to the conclusion that the main motive in word selection is the criterion of accuracy. At the same time, the analysis of the lexical meaning of a number of words shows that the criterion of accuracy turns out to be fictitious, as in fact the borrowed word is used in a meaning not peculiar to it. This marks an important problem of confidence in the Russian word.
Keywords: Russian word, borrowings, accuracy of speech, trust in the Russian word.
ABOUT GAIDAR, 'SUCCESS FORMULAS' AND MODERN EDUCATION
© Pyatkin Sergey Nikolaevich
The author reflects upon the moral potential of the Russian literature, and its educational function. The example of A. P. Gaidar's work shows how literature forms the life position and values. A special emphasis is made on the attempt to revise the value potential of the writer's works at the end of XX century.
Keywords: A.P. Gaidar, children's and teenage literature, moral potential of Russian literature.
WHAT HAS CHANGED IN THE EXPRESSION OF EMOTIONS
© Yukhnova Irina Sergeevna
The article is based on a speech delivered at a roundtable discussion held on Pushkin's birthday at the Boldino Museum-Reserve. The author reflects on such problems as Pushkin's origins in language and literature, the disappearance of reference speech from the media, changes in the style of public statements, the replacement of vocabulary expressing emotions with graphic signs (emoticons, emoji, etc.).
Keywords: "Pushkin's" language, public speaking, language of emotions, media language.
LITERATURE IS AN INVALUABLE LIFE EXPERIENCE
© Kalinina Lyudmila Fedorovna
The article is based on fragments of an interview that L.F. Kalinina conducted with I.K. Kuzmichev. They shed more light on the episodes of his biography related to his childhood, studies, participation in the Great Patriotic War, his contribution to Gorky studies and organization of literary life in Nizhny Novgorod.
Keywords: Great Patriotic War, Gorky, Gorky studies.
A PAGE OF HISTORY: THE SCHOLAR'S JOURNEY
© Sukhikh Olga Stanislavovna
On the eve of the anniversary of the talented Nizhny Novgorod scholar of literary criticism Ivan Kirillovich Kuzmichiov is published the essay of memoirs dedicated to his fate, written by T. K. Sukhikh based on conversations with the hero. The essay contains biographical information about him, reviews his military past, describes his work as a scholar and teacher.
Keywords: Ivan Kirillovich Kuzmichev, Gorky State University, Great Patriotic War, memoirs, teacher.
REFRACTION OF THE HAGIOGRAPHIC IMAGE OF SERAPHIM SAROVSKY IN THE ORAL FOLK TRADITION OF THE TURN OF THE XX–XXI CENTURIES (TO THE 120th ANNIVERSARY OF THE CANONIZATION OF THE REVEREND)
© Shevarenkova Yuliya Mihajlovna
The article explores oral hagiographic narratives about St. Seraphim of Sarov (1754 – 1833), hieromonk of the Sarov Hermitage. They were recorded in the south of the Nizhny Novgorod region during the folklore expeditions of the UNN. N.I. Lobachevsky 1998–2015. The cult of this saint originally took shape among the female monastic communities of the village. Diveevo, whose trustee was the elder Seraphim, as well as from the peasants of the surrounding villages. In the middle and in the second half of the XIX century the lives of the elder are written, scenes from his life are depicted in popular popular prints and church iconography, at the beginning of the 20th century, after the canonization of Seraphim in 1903, the image of the saint entered Russian literature and religious philosophy. Popular veneration of the saint is concentrated in the south of the Nizhny Novgorod region, expressed in an abundance of stories about his life, his miracles and his natural shrines (springs and stones). The center of veneration of the saint is the Diveevsky district (in the Seraphim-Diveevsky monastery there are his relics and the man-made Kanavka). The plots of biographical oral stories about Seraphim have a book basis, it manifested itself indirectly – through visual images of the saint in a lubok and an icon. In Seraphim's "oral folk life" there are no stories about the saint's childhood and death, his life in the monastery; "oral life" consists of stories about the life of an old man in the forest (a saint feeds a bear, a saint is beaten by peasants, a saint stands on a stone, a saint ennobles a spring). Some images of lives grow in local folklore into independent cycles of legends (these are cycles of stories about the origin and miraculous possibilities of the Kanavka, stones and springs of the saint). Oral narratives have lost their hagiographic didacticism and style, contain portrait and everyday details, psychological characteristics of the characters and create the image of a simple, modest and kind old man in a white robe.
Keywords: Seraphim Sarovsky, life of a saint, oral life, legend, image of the saint.
"THE STORY ABOUT THE FIRST RESIDENCE OF THE MONKS… WHERE THE CENOBITIC SAROV HERMITAGE IS NOW LOCATED": FEATURES OF POETICS (GENRE AND AUTOBIOGRAPHISM)
© Kornilov Zakhar Alekseevich
The article examines the poetical features of "The Story about the First Residence of the Monks…", created by the founder of the Sarov Monastery monk-priest Isaac at the beginning of the 18th century. "The Story…" by Isaac belongs to the genre tradition of the story about the foundation of a monastery: like in other works of this genre, the monument combines elements of life (didacticism, patericon related composition, hagiographic stylistics) and chronicles (documentary and chronological orientation of the narrative, the use of genres of an annual recording and a chronicle story). A distinguishing feature of "The Story…" is its autobiographical nature: a significant part of the narrative is conducted in the first person, the author is both the narrator and the protagonist of the story. Unlike the life of Avvakum, Isaac’s autobiography is much more limited by the hagiographic canon: the author deliberately reduces his presence in "The Story…", using various means for this purpose (transferring his biography to another character, rhetorical processing of speech, simplified representation of the inner world of characters – as a place of competition between good and evil, "reassembling" personal life events with the help of literary topoi). At the same time, these means do not completely suppress autobiography: some fragments of the narrative have a marked author’s subjectivity. These fragments include a geographically accurate description of the monastery founding site, a psychologically detailed confession of Monk Hilarion, a miraculous episode saturated with everyday details, stories of "unrighteous monks" in which – through scrupulous fixation of the actions of the actors – the characters of the author and heroes with whom he comes into conflict are simultaneously revealed; finally, the story about church construction, in which a panoramic picture of the life of a provincial monastery at the beginning of Peter the Great’s reign is drawn. Thus, "The Story about the First Residence of the Monks…" carries the most important feature of the Russian literature of the 17th century – the inconsistency of poetics, balancing on the edge of various genres and methods of narration.
Keywords: Sarov Monastery, the story about a monastery, genre synthesis, autobiography in ancient Russian literature.
FOLK CUSTOMS IN LERMONTOV'S CAUCASIAN POEMS
© Kochugova Yulia Viktorovna
The article is devoted to the analysis of folk customs and traditions presented in M.Y. Lermontov's Caucasian poems. The choice of this theme allows us to deepen existing ideas about the problem of folklorism in the poet's works. The article describes in detail artistic functions and ways of depicting customs of blood feud and hospitality in the poems "Kally", "Khadzhi Abrek", "Izmail-Bey", "Fugitive". Comparative analysis of rituals reflected in poems with folklore sources is made and the degree of accuracy of recreating national habits is revealed. The article shows that in the poems "Kally" and "Izmail-Bey" the motive of blood feud becomes constructively significant. In "Kally" poem it fulfils a plot-forming function and is revealed in the relationship between Adzhi and Akbulat, but the hero who obeys the demands of mullahs who represent norms and rules of mountaineers, refuses to accept the established moral law, which is why the poem symbolically ends with the death of mullah. In "Khadzhi Abrek" poem the situation of blood feud is also the central plot event, and in "Izmail-Bey" poem the motive of blood feud is not the key one but it is important for portraying the mountaineers' mentality and way of life. The theme of blood feud is further developed in the poem "The Fugitive": Harun betrays his clan by abandoning the battlefield and, therefore, is banished from his native land and ends up committing suicide. The poems "Izmail-Bey" and "Khadzhi Abrek" reflect another custom – the custom of hospitality. Comparing the content of the poems with folklore, ethnographic and cultural sources, we can conclude that the writer is well acquainted with the way of life of mountain peoples, so he gives authentic descriptions of the meeting of travelers with their hosts.
Keywords: Lermontov, Caucasus, poems, the custom of blood feud, the custom of hospitality.
M. NIQUEUX’S FOREWORD TO THE FRENCH TRANSLATION OF M. GORKY’S COLLECTION OF STORIES "VEILLEUR DE NUIT ET AUTRES RÉCITS AUTOBIOGRAPHIQUES" (2009): THE IDEA OF "PROMETHEAN OPTIMISM"
© Larina Tat’yana Gennad’yevna
The study of the critical article "Un autre Gorki" by French Gorky scholar M. Niqueux as well as comments written by the translator to each story and autobiographical letter is being conducted, prefaced as an introduction to the collection of Gorky’s stories "Veilleur de nuit et autres récits autobiographiques" ("The Night Guardian and Other Autobiographical Stories") (2009), which he compiled. The collection includes the following autobiographical works by M. Gorky: "Statement of facts and thoughts, from the interaction of which the best pieces of my heart have dried up" (1893), "Biographer" (1893), "At the Schemer. Sketch" (1896), "From the memoirs of <John of Kronstadt>" (1922), "The Hermit" (1922), "The Watchman" (1923), "A true account of the case with Postmaster Pavlov" (1924–1925). The aim of the work is to present and comment the idea of M. Niqueux about the embodiment of the philosophical concept of "Promethean" epoch in the works of Maksim Gorky, as well as to present and comment the thesis of Gorky scholar that Gorky’s utopian belief in the limitless possibilities of reason and rational world reconstruction became the reason of his personal tragedy, embodied in the autobiographical works. The research leads to the conclusion that French expert on Gorky and translator M. Niqueux tries to show the modern reader "another" Gorky, paying a special attention to the ideological and artistic uniqueness of the philosophical views of the early Gorky’s works, considering the themes of his works through the prism of the author’s individual style. The author applies historical and functional, typological, receptive and biographical methods.
Keywords: M. Gorky, M. Niqueux, Prometheism, autobiographical works, foreword.
V.M. SHUKSHIN'S STORIES THROUGH THE PRISM OF THE CONCEPT OF "FEAR OF INFLUENCE" HAROLD BLOOM. ON THE QUESTION OF LITERARY CONTINUITY
© Minkina Olga Valentinovna
The article examines intertext in the works of V.M. Shukshin using the concept of H. Blum outlined in his book "Fear of Influence" (1973, translated into Russian in 1998). The purpose of the research is to estimate possibility and expediency of the application of the six stages of "revision", described by H. Bloom, to the description of intertextual connections in the works of V. M. Shukshin. The author identifies deviations, antithetical parallels, reductions, and the "counter-exaltation" by comparing Shukshin's story "The Christmas Tree" (1966) with Gogol's story "Christmas Eve" (1830); the story "Letter" (1971) with the story of the same title by Chekhov (1887); and the story "The Hunt to Live" (1969) with the story of J. London "Love to Live" (1905). The author shows how, thanks to its heuristic approach, H. Bloom's concept helps to evaluate the influence of intertext on the formation of the author's intention: the prism of distortion reveals new meanings, which do not lie on the surface. The article describes kenosis, which reveals Shukshin's rejection of fairy-tale imagery and Christianity; daimonization, which demonstrates the symbolic world of the stories; and ascesis, which manifests itself in the form of short story finales, encouraging the reader to reflect on the complexity of evaluating human actions. As a result, the paper demonstrates the scientific productivity of applying H. Blum's theory to the analysis of both foreign and Russian twentieth-century fiction prose, as well as for objectively and convincingly describing the formation of plotting through the analysis of intertexts.
Keywords: Gogol’, Chekhov, J. London, Shukshin, Harold Bloom.
"BUT WITH GRATITUDE: THERE WERE..." (HISTORY OF RUSSIAN LITERATURE IN MODERN "THICK" MAGAZINES. MAGAZINES ON THE MATERIAL OF 2022)
© Proshchin Evgeny Evgenievich
This article provides statistics of publications in contemporary literary journals related to Russian literature in the last two centuries. Although such publications as Zvezda, Znamya, Novyi Mir and some others are clearly aimed at introducing the Russian reader to the novelties of the literary process, the majority of their issues are devoted to scholarly articles, critical or creative essays, and other materials devoted to writers of the 19th and 20th centuries. The author analyses which authors and works are the subject of the articles, what is the genre of the articles, what is the specific character of the object of research. The article shows which writers are the leaders in scholarly and critical interest and which works and genres attract the most attention. It concludes with a summary list of the names of the writers whose works were published in 2022.
Keywords: History of Russian literature, literary journal, literary process, sociology and statistics of literature.
OLGA VALENTINOVNA MILLER – SCHOLAR AND BIBLIOGRAPHER
© Belyaev Nikolai Sergeevich
This article is dedicated to a famous Russian bibliographer and literary scholar Olga Valentinovna Miller, whose 90th anniversary will be celebrated in 2023. It reveals the main stages of her scientific biography connected with the study of M. Lermontov and A. A. Blok's works. The article is supplemented with a bibliographical list of O.V. Miller's scientific works.
Keywords: Lermontov M.Yu., Blok A.A., Miller O.V., The Institute of Russian Literature of the The Russian Academy of Sciences (The Pushkin House).
THE CONTINUED RESEARCH (N.M. Fortunatov. Structural Analysis of Literary Works: “The Belkin Tales”. A. Pushkin and other Russian and foreign writer's works. Moscow, 2022)
© Yashina Kseniya Ivanovna
The article reviews the new book of N.M. Fortunatov about structural analysis of literary works. The author focused on the main idea of the book. It is proved that the book is designed for different people, not only for experts.
Keywords: N.M. Fortunatov, structural analysis, “The Belkin Tales”, theme, structure.
"A RADIANT WORD" BY IGOR KARAULOV (I. Karaulov. My side of the history. Peter Pocket. Poems – St. Petersburg: Peter, 2023. – 160 p.)
© Bolnova Ekaterina Vladimirovna
Igor Karaulov's poetry collection "My Side of History" is reviewed, thematically related to the military and political events unfolding in Ukraine and Donbas since 2014. The principles of the author's interaction with the postmodern canon are characterized.
Keywords: I. Karaulov, contemporary poetry, postmodernism.
TWO GENIES FROM THE SAME VESSEL: ARTISTIC TRANSFORMATION OF THE FANTASTICAL METASUBJECT IN F. ANSTEY'S FAIRY-TALE NOVEL "THE BRASS BOTTLE" AND L. LAGIN'S FAIRY-TALE STORY "THE OLD MAN KHOTTABYCH"
© Elepova Marina Yurievna
The article analyzes the transformation of the metasubject of the collection of Arabic fairy tales "One Thousand and One Nights" in the fairy-tale novel of English novelist F. Anstey "The Brass Bottle" and the fairy-tale story of Soviet writer L. Lagin "The Old Man Khottabych". An Anstey fantasy novel uses the old story of a genie emerging from a magic pot as a satirical device to poke fun at the British establishment. The author analyses Anstey's work and notes the peculiarities of the poetics of the story: the comicism of the mental antagonism between the Englishman Ventimore and the genie Fakrash el-Aamash which manifests itself on the linguistic and vocalistic level the trvestian and burlesque techniques the parody of the precedent text, the game with oblivion/time reference references the modelling of absurd and grotesque situations. The article proves that L. Lagin in his fairy-tale story "The Old Man Khottabych" creates a sociopolitical remake of the fantastic metasubject of Arabic fairytales – Anstey. The book "The Old Man Khottabych" is built on borrowing Anstey's main fantasy move – the blending of the fantastical and real worlds placing the demonic character of ancient fairy tales in the context of modernity. The writer uses various markers of intertextuality: explicit allusions, reminiscences. In Lagin's tale the humorous coverage of the characters remains, the satirical element is directed at the world of capital, the text is characterised by a dense ideological saturation and the aim to create an ideal picture of Soviet reality. There is a consistent demythologisation of the character, a secularisation of the transcendental element, a functional transformation of the fairy-tale primers, and a complete recoding of the text in terms of a set of Soviet ideologemes and political attitudes. More and more new artistic embodiments of the plastic plot of Arabic fairy tales in the spirit of Anstey (works by R. Leeson, N.L. Lagina) appear in literature. In Sergei Klado's (pseudonym: S. Oblomov) fairy-true story "The Old Man Khottabych's Copper Jug" (2006), this flexible plots become a commonplace intrigue in popular contemporary literature.
Keywords: F. Anstey "The Brass Bottle", L. Lagin "Starik Khottabych", collection "One Thousand and One Nights", transformation of the metaplot.
DIFFERENTIATION AND TYPOLOGY OF LITERARY BORROWINGS IN L. LAGIN'S PROSE
© Ustavshchikova Varvara Aleksandrovna
The article discusses the main types of literary borrowings outlined in the book "Introduction to the theory of intertextuality" by N. Piegay-Gros in relation to L. Lagin's prose. The purpose of the article is to analyze how each of these types manifests itself in the works of the Soviet writer. It is shown that using the citation technique, L. Lagin preserves the hermeticity of his text, imitating an appeal to external sources, but not actually including them. Reference, when borrowed text is called by the Soviet author, but is not present facilitates the "introduction to the course of the matter" and helps to typify the plot putting it on a par with already known. Particular attention is drawn to the fact that in the case of L. Lagin accusations of plagiarism are irrelevant since he was only partly inspired by the works of his predecessors. It is also shown how L. Lagin delicately influencing the reader's memory with the use of allusion retains the familiar form but completely inverts the content. It is proved that the main feature of L. Lagin’s writing style is the method of borrowing ideas, starting points, plot lines or some stylistic elements and genre templates (fairy tale, historical novel, coming-of-age story, adventure novel and fantasy), from previous Russian and foreign authors (H.G. Wells, M. Twain, S. Čech, A. Belyaev, F. Anstey, J. Verne, R. Kipling), using them not for any kind of ridicule, but for complete transformation with introduction of his own vision, in some cases from the position of satirical reconcidering. It is shown in the article, that these types of intertextual connections submitted in the book of N. Piegay-Gros are functioning not only in the postmodern works but can be easily find in the fantastical and satirical works of Soviet writer.
Keywords: L. Lagin, N. Piegay-Gros, intertextuality, reference, transformation.
PERFORMANCE OF SPIRITUAL VERSES BY CHILDREN OF MODERN RUSSIAN OLD BELIEVERS OF MOLDOVA AND ROMANIA
© Yezhova Oksana Fedorovna
This article discusses contemporary practices of spiritual poetry performance by children from Russian Old Ritualists-Lipovan families living in Moldova and Romania. The author analyzes the nature and origin of the texts of spiritual verses, and describes the peculiarities of the corresponding musical material, taking into account the manner of performance and the situation of playback. The above practices were observed during the joint expedition of the Interdepartmental Archaeography Laboratory of the Lomonosov Moscow State University and the Folklore Department of the Institute of World Literature of the Russian Academy of Sciences to the Republic of Moldova in January 2020 as well as through a study of the Old Ritualists' own video records placed in the public domain on the Internet. The author's description of the forms of tradition's practice is the first to be introduced into scholarly discourse. Spiritual poems, currently performed by Lipovan Old Ritualists' children are also analyzed in terms of literary criticism. Thus, various aspects of the poetics of these spiritual poems (metrics, strophics, rhyming, and composition) are explicated, and their rhythmic structure is discussed in relation to the main systems of versification used in Russian poetry. This article shows what new meanings traditional poetic symbols, such as the rose symbol, acquire within the space of the genre of religious poetry. The article also demonstrates changes in the texts of poems by the poets of the nineteenth and twenty-first centuries, which begin to function as spiritual poems. The works of both secular poets (Alexey Koltsov) and poets, whose works are closely connected with religious activities (Boris Nikonov, Nikolai Guryanov), are considered.
Keywords: children's folklore of Russian Old Ritualists-Lipovans, spiritual poems, Moldova, Romania.
PUSHKIN'S BIOGRAPHY IN THE "LIFE OF REMARKABLE PEOPLE" SERIES
© Shmykova Maria Alexeevna
This article is devoted to the analysis of the principles of implementation of the biographical method in the "Life of remarkable people" series on the example of A.S. Pushkin's biography. The work considers editions published at different times and reflecting the types of biographies typical of the era: A.V. Tyrkova-Williams' "Life of Pushkin" (1929–1948), L.P. Grossman's "Pushkin" (1939), and V.I. Novikov's "Pushkin" (2014). These works use different strategies of biographical narrative which affects the interpretation of Pushkin's personality and the logic of his life path. A.V. Tyrkova-Williams considers Pushkin's life and work, relying primarily on an emotional-personal attitude towards him. This brings elements of artistic style and subjectivity of evaluation to the narrative. Unlike A.V. Tyrkova-Williams L.P. Grossman bases his work on the principles of historicism and documentality and adopts a scientific approach. Therefore in his work, the context of documentary narrative is appropriately supplemented by an analysis of Pushkin's works. But despite the objectivity of the narrative the work contains a strong ideological component which is due to the time and place of the biography's creation. V.I. Novikov strives to demythologise Pushkin's image and renounces the traditional chronological narrative. His book is a collection of short novellas based on the most striking in the author's opinion, events in Pushkin's life. Such a construction of the book takes into account the factor of the addressee, which is "a wide circle of readers". The final part of the article summarizes the different principles of the biographical narrative, and traces the connection between the author's personality and the era, as well as the individual methods used.
Keywords: biographical method, Pushkin, Pushkinism, writer's biography, Tyrkova-Williams, L.P. Grossman, V.I. Novikov.
PERM IN THE ART OF BORIS LEONIDOVICH PASTERNAK
© Gamze Üçer
© Çağan Er
The article deals with the image of Perm in the art of B.L. Pasternak. As is well known in 1916 the poet lived for several months in the Urals not far from Perm. This time is called the Perm period in his creative work because here his great poetry began, new images, rhythms, intonations were found. In the poems of this period images of Kama and Perm appear. In "Doctor Zhivago" Perm becomes a prototype of Yuryatin, since the description of the city, its landscape and architecture is inspired by his reminiscences of Perm.
Keywords: B.L. Pasternak, Perm, "Doctor Zhivago".
PUSHKIN'S "THE BRONZE HORSEMAN": ON THE STRUCTURE OF PETERSBURG'S IMAGE
© Kongaz Irene Dilara
© Muhurcisi Yulva
Besides being a spatial phenomenon, cities have a certain identity and symbol with their streets, gardens, avenues, squares, buildings and people living in them. For centuries, literary works have been instrumental in reflecting the interaction between the city, which has many unique qualities and identities, and the individual-society, by examining cities from a perspective other than the concept of space. Aleksandr Sergeyevich Pushkin, one of the leading writers of 19th century Russian literature, in his work "The Bronze Horseman" analyzes the impact of St. Petersburg, the symbol of the new Russia, "the window to Europe", on the poor people of the city. He describes this effect through Yevgeni, a poor civil servant and the hero of the work. In his work, the author deals with the conflict between Tsar Peter I, who ordered the establishment of the city on the swamp in line with the interests of the state and the nation, and the small person Yevgeni, who is from the lower class of the society, in an ideological context. Yevgeni, who lost his dreams and the girl he loved as a result of the flood in Petersburg, will express his rebellion against the statue of the city's founder, Tsar Peter I, "The Bronze Horseman". In our study, the problems and negative conditions of the poor and lower class people of the city as a result of a natural disaster, the effect of the city on the society and the future of the state – the happiness of the individual will be examined through Yevgeni.
Keywords: St. Petersburg, Alexander Pushkin, Bronze Horseman, Peter the Great.
CITY AS A RELATED MOTIVE IN KARAMZIN’S TRAVELOGUE "LETTERS OF A RUSSIAN TRAVELLER"
© Mehmet Firat Aramaci
The article deals with the principles of depicting European cities in N.M. Karamzin's travelogue "Letters of a Russian Traveller". As the basic approach is used B.V. Tomashevskiy's theory of motif according to which a city can be considered in Karamzin's work as a connected motif. The article shows, how during realization of this motif objective and subjective principles are combined and interact. The author reveals that the historical and cultural facts, the geographical information belong to the objective element while the author's comments to these realities, the emphasis upon the personalities of the philosophers who live in the city the comparison of the European city and its way of life with the Russian traditions belong to the subjective one.
Keywords: N.M. Karamzin, "Letters of a Russian Traveller", B.V. Tomashevsky, city.
FROM THE MEMORY OF BORIS SADOVSKY'S LITERARY CONTACTS IN THE CAPITAL: COOPERATION WITH THE ALMANAC "ST. PETERSBURG EVENINGS"
© Izumrudov Yuri Aleksandrovich
This article examines aspects of B.A. Sadovsky's literary contacts in St Petersburg. For Sadovsky who became a writer in Moscow it was important to establish himself also in the capital where the best literary forces were concentrated. And in order to outline some of the stages of this affirmation, the article includes excerpts from Sadovsky's yet unpublished letters to his parents in Nizhny Novgorod, which contain relevant information. Central to the article is a description of the circumstances of Sadovsky's collaboration with the almanac "St. Peterburg (Petrograd) Evenings", published by E.A. Nagrodskaya, author of the novel "The Wrath of Dionysus", which caused a stir in readers' circles. The facts of Sadovsky's acquaintance and communication with Nagrodskaya are highlighted in the context of the iconic subject connected to the St. Petersburg bohemia of the cabaret "The Stray Dog". The correspondence between Sadovsky and Nagrodskaya is published for the first time, with a detailed commentary. Also for the first time is an analysis of Sadovsky's article "N.M. Yazykov (Sketch of Life and Work)", published in the third issue of "Petrograd Evenings" (1914). In terms of genre, it is a literary portrait. A vivid, expressive text with a polemical mood, evoking the reader's undoubted interest. At the same time in the final conclusions sometimes too categorical biased. It is stressed that Sadovsky's evaluations were on the whole in line with the traditions of scholarly interpretations of Yazykov's poetry that emerged in the nineteenth and early twentieth centuries. Modern scholars take a more balanced approach to the analysis of Yazykov's creative fate. E.V. Yazykova's book "The Work of N.M. Yazykov" (1990) stands out in this respect. It contains poems about Yazykov by a great connoisseur of his works V.V. Afanasyev (Monk Lazarus).
In the context of Sadovsky's conception of Yazykov's creative path his own fate as a man and a creator is also discussed.
Keywords: B.A. Sadovsky, E.A. Nagrodskaya, "Petersburg Nights", "Stray Dog", N.M. Yazykov, E.V. Yazykov, V.V. Afanasiev (Monk Lazarus).
“WE MET AT THE DOOR OF THE MAUSOLEUM...” (Dmitry Zernov. sorry, there will be no revolution. SPb.: T8 Publishing Technologies/Palmira, 2022. – 175 pp.)
© Proshchin Evgeny Evgenievich
The review gives a brief description of the poetics of a new book of poems by Dmitri Zernov from Nizhny Novgorod.
Keywords: Dmitry Zernov, book of poems, poet's image, post-conceptualism, contemporary poetry.
ECHOES OF THE MEETING OF M.YU. LERMONTOV WITH A.S. PUSHKIN'S WIDOW IN THE POEM "FROM UNDER THE MYSTERIOUS, COLD HALF MASK..."
© Alexander Valentinovich Kurochkin
The autograph of Lermontov's poem "From under the mysterious, cold half mask... "did not reach us, the motives and details of its creation remain still not clarified. The real work is designed to fill this gap. Traditionally, it is believed that the poem is inspired by Lermontov's meeting with an unknown lady in a masquerade. Meanwhile, the mask does not mean a ballroom attribute that hides a face, but a person closed from those around the spiritual world. The mask therefore turns out to be only a half mask, which keeps the secrets of the soul of the heroine of the poem, which does not exist in reality. However, her poetic image arose under the impression of the meeting that took place in reality. On the eve of Lermontov's departure to the Caucasus, he had a conversation with A.S. Pushkin's widow – Natalia Nikolaevna. The details of the conversation reported by her to her daughter from her second marriage – A.P. Arapova, we find in the memoirs of the latter. The comparison of the details of the conversation presented in them, as well as the characteristics of Natalia Nikolaevna's mental disposition and state, transmitted by herself in one of the letters, make it possible to detect echoes of the conversation in the poem "From under the mysterious, cold half mask…". Lermontov initially prejudiced Pushkin's widow, considering her guilty of the death of her husband, but in the process of the conversation, the true mental qualities of Natalia Nikolaevna were revealed to him, who reacted with deep sympathy to the poet. Gradually, the unity of the souls of the interlocutors took place, which was reflected in the poem. The date of the meeting allows you to clarify the chronological framework for writing the poem.
Keywords: M.Yu. Lermontov, N.N. Pushkina, A.S. Pushkin, A.P. Arapova, the poem “From under the mysterious, cold half mask...”.
AMBIVALENCE OF THE DREAM IN THE TALE «NEVSKY PROSPECT» BY N.V. GOGOL
© Solovyova Anastasia Dmitrievna
The article analyzes the phenomenon of the "dream" in the artistic world of the tale "Nevsky Prospect" by N.V. Gogol (the first publication was in 1835). It is reported that this phenomenon in the text has a dual character. On the one hand the dream is main character`s attempt to realize the impossible ideal of unity of beauty and goodness. The character`s dreaming absorbs the romantic content related with the desire to see both aesthetical and ethical perfection because beautiful outside is perceived by Piskarev as evidence of the divine sign on the person, of the fact that the beauty is a gift which must born in souls` the thought about purity and harmony. On the other hand the dream of the young artist Piskarev has a dark side. This phenomenon is an unconscious protest against the Creator, the result of self-deception and rejection of the real world in which each person can choose between virtue and vice freely thus not matching someone else`s expectations including fully justified ones. The character has no power neither to give up his ideal which turned up its lack of vitality in the real world nor to wrestle with evil that`s why he finds the exit in a dream as an alternative reality. In the article ambivalence of the dream in this tale is explained by particularity of the period of Gogol`s spiritual path when he was writing "Nevsky Prospect" (1833–1834). The author wrote the tale when he was under influence both aesthetic-humanistic philosophy which declares unity of aesthetical and moral ideal and religious world view (Christianity) adopted since the childhood. The second one is characterized by negative perception of a dream.
Keywords: Gogol, "Nevsky Prospect", dream, ambivalence, ideal.
TRANSCULTURAL SYMBOL AND PALIMPSEST: BLUE LILY AND NIGHT VIOLET IN RUSSIAN CULTURE OF THE EARLY XX CENTURY
© Anna Sergeevna Markova
The article examines the peculiarities of comparing the transcultural symbol of the blue flower with a palimpsest reading, which allows not only to identify additional connotations, but also to discover the formula "virgin-flower" attributed to the era of syncretism (A.N. Veselovsky). Based on the material of the works of Russian culture of the early XX century, the images of lilies and night violets are considered as variations of the transcultural symbol of the blue flower. As illustrative material, the poems by I. Annensky "The Second Painful Sonnet" and N. Gumilev "I am a conquistador in an iron shell" are given; the poem by A. The block "Night Violet", M. Vrubel's panel "Princess of Dreams", A. Kuprin's story "Night Violet". The interrelation of the blue color and lilies with the image of the Virgin Mary and additional connotations that the flora image has: royal power, chastity and death are also considered. The development and strengthening of these connotations in the French literature of the XIX century is shown by the example of the works of A. Rimbaud, S. Mallarmet, A. de Lamartine and O. Balzac. The article also reveals the concept of transculture (M.N. Epstein), which assumes the position of "exclusion" and "non-necessity" for the perception of this phenomenon, and the concept of a transcultural symbol. The transcultural symbol of the blue flower is genetically related to the era of syncretism, has a pronounced color lexeme, refers to elementary symbols, which allows it to have variations and readings in national cultures. However, each of these incarnations must be considered as a variation, and not as a reception, since it is palimpsest relationships that allow for an independent, meaningful, new work.
Keywords: transcultural symbol, blue flower, blue lily, night violet, palimpsest.
ZAUM AS TELEOLOGY: TUFANOV AND VYGOTSKY
© Мarkov Alexander Viktorovich
The article identifies the sources of one of the most extraordinary treatises of the Russian avant-garde A. V. Tufanov’s book Towards Zaum which are not indicated in the footnotes of the book, but comprise Tufanov’s undoubted reading circle. The identification of these sources is evidenced by the contexts of hidden quotations, which make the concept of the book clearer by qualifying it as an archaeology of semiotics. The underlying assumption is that after a series of striking performances by the avant-garde a demand for teleology emerged which was to strengthen the social position of the avant-garde. It found its most consistent form in Vygotsky’s Psychology of Art, where the social character of art was explained by its own teleological dimension of material, gesture and form. Tufanov does not produce a consistent doctrine of the social character of art, but depicts the primitive invention of art as a similar combination of material, gesture and form. Numerous parallels are drawn to this scheme with other intellectual projects from Scriabin to Eisenstein. These parallels have made it possible to establish the hidden sources of Tufanov's thought such as the constructions of Wundt and Potebnya in particular to explain the meaning of Tufanov's discourse on the image of the mouse. Common sources of Vygotsky’s and Tufanov's inspiration in the avant-garde theater Isadora Duncan's plastic dance and Expressionism's critique of symbolist versions of semiotics are also pointed out. In addition, the social framework of such thought is examined such as the understanding of the unconscious as a kind of awe and uncontrollable affect in psychoanalysis and its critique by Vygotsky the deficits of the epoch of military communism and the democratic aspects of the eccentric linguistic project of Nikolai Marr. The possible origins of Bakhtin's notion of speech genre are also established in a specific reading of avant-garde performance through the notion of contradictions and folds in the activities of primitive man. The conclusions allow us to clarify the role of teleology in the formation of the activity approach in psychology and of semiotics in literary studies.
Keywords: Russian avant-garde, zaum, popular linguistics, history of ideas, Tufanov, Vygotsky.
RUSSIAN POETRY THROUGH THE EYES OF AN ESTONIAN
© Kasper Kalle
This article is a comparative description of two systems of verse: Russian (syllabo-tonic) and Estonian, in which quantitative metrics along with traditional syllabic, syllabo-tonic and tonic are widely used. The description is not done through the prism of purely verse studies but by explicating the personal poetic experience of the author, who is equally successful in creating poems in both Russian and Estonian. Through a kind of autodescription combined with observations upon the best samples of Russian classical poetry, ancient and new European poetry, Estonian oral and written poetics the author comes to a number of valuable conclusions of both practical and theoretical nature (the necessity of overcoming the predominance of "rhyme" mode of thinking in Russian poetry the negative role of formal grammar means which allow even a poet without any real talent to create poetry with relative ease). On the one hand, these findings are of importance for comparative poetry in all its branches (metrics, rhythmics, phonics) and on the other hand are of undoubted benefit for all those interested in the development of both Russian and Estonian poetry in their exploration of new poetic forms and in their mutual enrichment artistically.
Keywords: Russian versification, Estonian versification, rhyme, vers libre, poeticity.
TWO ESCHATOLOGICAL CONCEPTS BY ALEXANDER BASHLACHOV
© Gavrikov Vitaly Aleksandrovich
Article is dedicated to the analysis of those eschatological perceptions, which are directly or implicitly embodied in the song texts of Alexander Bashlachov (1960–1988). The eschatological concept of the famous poet, rock-musician and bard cannot be considered homogeneous as it reveals a pronounced tendency to transformations which are caused by the social changes of perestroika years and the moments of his individual biography. On the basis of the analysis of Alexander Bashlachov's texts the conclusion is made that Alexander Bashlachov's poetics reflects not one but two eschatological concepts which can't be reduced to simple private modifications of some general initial basis. The author shows that the evolution of Bashlachov's art follows some regularities among them is gradual deliverance from the assurance of his Messianic vocation reduction of those features which typologically ascend to the image of prophet-poet, seer-poet. This article also gives a characteristic of how the Christian motifs in Bashlachov's works are interlaced with the mystical New Age movements and pan-religion. At the same time the article contains observations concerning textology of Alexander Bashlachov's songs and impossibility to automatically apply to them traditional principles of poetic text-criticism. The latter circumstance makes the proposed article interesting not only for specialists in the works of Aleksandr Bashlachov or rock-poetry in general, but also for all those researchers who study the auditory component of the art word.
Keywords: Alexander Bashlachov, eschatology, apocalypse, post-apocalypse, apocatastasis.
FEATURES OF PERCEPTION OF RUSSIAN POETRY BY CONTEMPORARY RUSSIAN RAP CULTURE
© Lukovnikov Mikhail Alekseyevich
The aim of the article is to quantify the use of texts of professional Russian poetry of the XIX-XX centuries in the composition of modern Russian rap compositions, as well as to identify the significance of various precedent poetic texts and mythologized images of their authors for the modern Russian reader. The subject of the study was rap compositions posted in the period from 2013 to 2019 on the Internet referring to the poems of domestic poets. Using statistical, sociological, comparative and comparative methods the author comes to the following main conclusions. There is a permanent increase in the number of rap compositions included in the subject which is interpreted as evidence of the increasing intensity of convergence of subcultural and classical aesthetics. It has been established that modern rap compositions most often include poetic texts created in 1910s-1920s (Silver Age poetry), in 1960s-1970s (Khrushchev Thaw poetry) and in 1820s–1830s (Golden Age poetry). The author explains the particular relevance of the poetry of these periods by both the high artistic level of the recipient works and the similarity of historical and ideological conditions of their creation. The rating of the authors to whose works rap-singers address most frequently has been compiled: the first three positions in it are occupied by S.A. Esenin, I.A. Brodsky, M.Y. Lermontov. It is determined that the poetic text that is quoted most frequently by the rap performers is the poem of I.A. Brodsky "Do not leave the room, do not make a mistake ..." (1970). It is suggested that the frequency of the specific poetic texts in rap songs is caused by both specific features of a particular work (theme, images, rhythmic organization, etc.), and the general tendency of rap performers to rely on stable patterns which should be either adequately re-created or recreated at a higher creative level.
Keywords: rap, statistics, Russian poetry, S.A. Yesenin, I.A. Brodsky.
WHAT IS KAVUROVSHCHINA, OR WHEN IS THE REAL DAY COMING TO THE APENNINES?
(N.A. Dobrolyubov. Children of Vesuvius: Publicism and Poetry from the Italian Period; ed. M.G. Talalai. SPb.: Aletheia, 2022. – 424 p.)
© Korovashko Alexey Valerievich
The review characterizes the publication of N. A. Dobrolyubov's texts, connected with his stay in Italy (December 1860 – June 1861), which were first brought together in the collection "Children of Vesuvius" (2022).
Keywords: Dobrolyubov, Italy, literary mask, Risorgimento.
THE CONTINUING DIALOGUE ("In response to the best gifts": a wreath for the 63rd birthday of Alexander Evgenievich Makhov / coauthored and prefaced by Alisa Lionova; edited by O. L. Dovgii, A. Lionova. – Tula: Aquarius, 2022. – 596 p., illustration)
© Yukhnova Irina Sergeevna
The article reviews the collection of articles dedicated to the 63rd birthday of Alexander Evgenievich Makhov, a scholar known for his fundamental and simultaneously innovative works in the fields of medieval studies, rhetoric, poetics, musicology, emblematics, iconography and history of literary studies. Not only the composition of the collection, but also its general orientation, which can be defined as a continuation of the collective dialogue with the outstanding researcher and remarkable person.
Keywords: A.E. Makhov, bestiary, encyclopaedism.
'CHRONICLES OF ST. SERAPHIM-DIVEYEVO MONASTERY' BY LEONID CHICHAGOV: OLD RUSSIAN GENRE PARALLELS
© Kornilov Zakhar Alekseevich
“Chronicles of St. Seraphim-Diveyevo Monastery” a landmark work of ecclesiastical writing at the turn of the century can be considered as an experiment to return the “folk” hagiography to the mainstream literature. Accumulating various hagiographic genres that go back to the tradition of Old Russian literature (monastic chronicle, patericon, vision, miracles, etc.) Chichagov not only reproduces the facts narrated in these texts, but also applies certain features of their poetics to his work. In particular, such elements of the artistic structure of “Chronicles” as composition, style, narrator figure and chronotopos are determined (partially or completely) by the Old Russian genre canon: “enfilade” composition, hagiographic style, the author who deals with the mystical meaning of history, and finally, the eschatological tension of the narrative stemming from the sacred status of the Diveyevo topos. The conceptual grain of “Chronicles” is the legend of the Four Earthly Domains of the Most Holy Theotokos which is introduced into the narrative through a vision. The semantic depth of the legend, due to centuries of circulation within different cultures, had a significant impact on the artistic structure of the work, determining the originality of the artistic time and the religious and ethical position of the author.
Keywords: ancient Russian literature, life (zhitiye), chronicles (letopis), St. Seraphim Diveevo Monastery, the domains of the Theotokos.
THE IMAGE OF SVYATOGOR IN THE FINE ARTS OF THE XIX-XX CENTURIES AND ITS DEVELOPMENT IN THE XXI CENTURY
© Korepova Maria Ilinichna
The article is devoted to the analysis of the image of the folk hero Svyatogor in the works of professional Russian artists and illustrators of the 19th and 21centuries: N.I. Sokolov’s, K.O. Brozh’s, A.P. Ryabushkin’s, I.V. Simakov’s, N.K. Roerich’s, I.Y. Bilibin’s, K.A. Vasiliev’s, R. Papsuev’s, as well as in modern animation. At the beginning of the article a brief description of the folklore image of Svyatogor is given, the themes of fate and continuity as main characteristic of him are especially emphasized, the point of view that Svyatogor is not really of giant growth is disputed.When analyzing illustrations by N.I. Sokolov notes that Svyatogor is depicted as approximately human growth, but in one piece it is still a giant, therefore, the illustrator is inconsistent. Looking at the vignette of K.O. Brozh the author concludes that it already contains the main elements that will be common for further images of Svyatogor. In the illustration by A.P. Ryabushkinis highlighted the main motive of doom and slow dying. For I.V. Simakov’s illustration on the contrary the motive of the struggle stands out, albeit character there is also doomed. Next, a comparative of the paintings by N. Roerich and I.Y. Bilibin is analyzed, the author concludes that Roerich depicts the lofty ideal of a warrior, while Bilibin depicts an old and disproportionate giant. A stable tradition of depicting Svyatogor, which was formed in the middle – the second half of the 20th century, is described. This tradition is interrupted by Vasiliev's painting in which a plot of epic poetry is used to express the author's independent position. There is a tendency in the 21st century to humanize and deconstruct the image of Svyatogor, the first presents in the works of R. Papsuev, the second is in the animated film "Alyosha Popovich and Tugarin the Serpent". It is concluded that the artists interpret the image of Svyatogor in their own way but at the same time retain certain features that originate from the folklore tradition.
Keywords: Svyatogor, bylina, folklore, fine arts.
LEONARD DANILTSEV IN THE CONTEXT OF NEW SINCERITY: THE PRINCIPLE OF CHIASM
© Мarkov Alexander Viktorovich
I analyze the poetic and pictorial heritage of Leonard Daniltsev, one of the central figures of independent Moscow art, and reconstruct the general principle behind his artistic and poetic work. I combine in my analysis E. Rutten's concept of sincerity after communism, which allowed to fit non-conformist poetry into the organization of literary production as a craft, and the interpretation of chiasmus as rhetorical figure, converting sense and sensibility. Both sincerity and chiasmus are based on the convergence of phrase and visual gesture accepted as is, while an acceptance of the authenticity of rhetorically abundant art transforms the constructive elements into meanings. Unlike many non-conformist figures, Daniltsev did not seek to use the rhetoric of personal gestures that destroy the system of official signs and topoi, but rather depersonalized gestures that question the subjective foundations of romantic pathos as appropriative. I prove that Daniltsev grounded the sense of reality as an intersubjective sense of dignity, and used pictorial images in poetry not as allusions, but as propositions within the adapted rhetorical chiasm, confirming the necessary experience of the unity and contingency of the world. In this sense, his legacy echoes both Prigov’s “new sincerity” and the renewed by G. Aigi language framework of poetry, as well as anticipates today theories of contingency and the status of reality.
Keywords: independent Russian art, Leonard Daniltsev, Prigov, Aigi, painting rhetoric.
FROM DIALOGUE TO SOBORNOST – THE EVOLUTION OF COMMUNICATION WITH THE OTHER IN THE WORK OF L.D. ZINOVIEVA-ANNIBAL
© Kondrashova Viktoria Viktorovna
The article presents an analysis of the relationship with the Other in the works of L.D. Zinovieva-Annibal. The choice of this topic is determined primarily by the life-creating guideline of the writer, for whom it was especially important to realize and develop ideas in dialogue. The study is relevant for several reasons: firstly interest in the reassessment of the work of women writers from the point of view of feminist literary criticism is growing; secondly, there’s a need for modern man to search for new forms of dialogue and definition of his own subjectivity. The article traces how the relationship with the Other consistently unfolds from a dialogue in the love of two to sobornost.
Based on the theoretical works of V. Ivanov, V. Solovyov and M. Buber the article also describes the specificity of the embodiment of the category of sobornost (collegiality) in the artistic consciousness of Zinovyeva-Annibal who sought to overcome individualism both in everyday life and in art. At the same time, the author describes the artistic techniques used in the writer's texts within the framework of this embodiment (theatricality as a religious act based on the synthesis of antique and Christian symbols; dialogical nature of writing, multilevel mirror metaphor, destruction of the author's subjectivity). The above mentioned techniques and aspects are considered on the example of the following works: the drama "Rings" (1904), the story "Thirty-three Ugly Things" (1907), the short story "Help You! Delirium in red pencil" from the collection "No!" (published posthumously in 1918 by Vyach. Ivanov).
Keywords: L.D. Zinovieva-Annibal, sobornost, concept of the Other, modernism.
THE IMAGE OF THE CITY IN THE POETRY OF V. SOSNORA
© Bolnova Ekaterina Vladimirovna
The article analyzes the ways of creating the image of the city in the poetry of V. Sosnora. The object of the study were the poems "The Legend of the city of Kitezh", "Krasnodar", "Pskov", "Leonid Martynov in Paris", "Goodbye, Paris", "Burned bridges and founded Rome", "Ten years later", "The Third Paris" and a number of others. The choice of material is due to the desire to analyze those texts of the author in which the image of the city is holistically captured, and not a certain, even significant, location. The article notes that for V. Sosnora there is no fundamental difference in the image of real and mythical cities. Based on the analysis of V. Sosnora's early poems, the hypothesis is expressed that the author's interest is focused not on the reconstructed description of the topography of the city, but on an attempt to capture its individual atmosphere based on the individuality of the inhabitants. In the future, this assumption is confirmed when referring to the texts written throughout the poet's creative career. It is noted that V. Sosnora creates not only images of Soviet cities, but also European ones, such as Rome, Prague. An important place in the poetic heritage of the author is occupied by poems in which there is an image of Paris, which is connected with the facts of the biography of V. Sosnora. In conclusion, it is suggested that the author does not seek to capture the appearance or features of the geographical location of cities, the images of which are found in his poems. In the poetic world of V. Sosnora, the most productive technique is to create an image of the city through the disclosure of images of people. This feature is associated with the general humanistic attitude of V. Sosnora's poetry.
Keywords: V. Sosnora, image of the city, Kitezh, urban space.
BORIS SADOVSKY IN THE HISTORY OF LITERARY HOAXES
© Izumrudov Yuri Aleksandrovich
This article examines the work of Boris Sadovsky in the context of the history of literary hoaxes. The article shows the specificity of his solution to the problem of stylization in each case depending on the targeting of the hoax. It is revealed that a characteristic feature of Sadovsky's hoaxes is polemical and it is manifested in relation to writers whose ideology he did not share, such as Blok, Nekrasov, Stepniak-Kravchin: Blok, Nekrasov, Stepniak-Kravchinsky. Sadovsky's interest in hoaxes was to a certain extent determined by the vital creative ideas of the Art Nouveau culture. But in the main it was connected with the very peculiarities of his creative individuality the tendency to integrate into his artistic world the narrative and stylistic features of the Russian classics and various historical and cultural documents. The influence of Pushkin's aesthetics was conceptual for Sadovsky. Pushkin's laconic plots, Belkin's literary mask, the author's tradition of acting as publisher of his stories – all this was close to Sadovsky the artist. The formation of his creative personality was also influenced by his childhood fascination with A.K. Tolstoy as the creator of the mystified image of Kozma Prutkov. Sadovsky's arsenal of hoaxes includes five 'Blok's' texts (the most significant among them is 'Soldier's Tale'), poems by Yesenin, Nekrasov and Stepniak-Kravchinsky as well as 'memoirs' about Nekrasov and Stepniak-Kravchinsky. Letters to him by A.P. Chekhov and A.M. Gorky published by Sadovsky can also be included in this series. In the long term, some of the writer's other texts could be read from a hoax perspective.
Keywords: B.A. Sadovsky, literary mystification, stylisation, polemic, A.A. Blok, N.A. Nekrasov, S.M. Stepniak-Kravchinsky, S.A. Yesenin, A.S. Pushkin, A.K. Tolstoy.
PRESENTATION OF THE BOOK SERIES 'TRIBURE TO LION-AND-FOX BESTIARIES'
© Dovgy Olga Lvovna
The article represents a narration on zoom-presentation of the book series “Tribute to lion-and-fox bestiaries” on May 14, 2022, published in memory of 9 bestiary conferences held at the Russian State Humanitarian University from 2011 to 2020. The initiator of publication Alice Lvova, who hosted these conferences together with A.E. Makhov, spoke about the concept of the series and the preparative process. The series consists of four small books in multi-colouredcovers. Each book contains 9 articles by participants in all nine bestiaries: A. Makhov, O. Kulagina, A. Lvova, O. Dovgy. Together, these polychromatic books create the mood of bright fun game, a daring experiment. One could ask: «Why reprint already published articles?» According to A. Lvova, the articles of one author, selected from the collections, line up in a new row, enter into new relationships and allow to get a new sight not only four different individual bestiary systems of interpreting works of verbal and visual art, but also something in common in them, which allows to catch beyond the game a fundamentally different glance on the text and talk about the 'lion-and-fox' bestiary approach. And if not to be afraid of pompous words about – the "school". The guests – and many of them have participated in bestiary conferences and collections – talked about the importance of publishing the series for the preservation of A.E. Makhov's memory and for the development of the bestiary movement. The discussion of the series turned out to be bright and lively.
Keywords: bestiary conferences of A. Makhov and Alice Lvova, the system of bestiary codes as a method of text interpretation, Intrada.
POETIC PUSHKINIAN BY ALEXANDER GORODNITSKY IN THE POEM MY PUSHKIN
© Afanaseva E.M.
In 2021, "The Road to Pushkin", a book of poems by A.M. Gorodnitsky was published which included 72 poems. The creative history of this publication lasts about 60 years: the earliest poem "Don't get married, poets» was written in 1963, and the recent texts were created during the forced isolation of 2020 due to the spread of COVID-19.
The article is devoted to the study of the poetics of the poem "My Pushkin" (2018), which opens the book "The Road to Pushkin". On the basis of intertextual analysis, the peculiarity of allusions to Pushkin's texts and memoirs of contemporaries is restored; the role of portraits and monuments to the poet included in the aesthetic myth of A.M. Gorodnitsky is investigated. Special attention is paid to the semantics of the rhythmic organization of the text written in 6- and 5-stop iambic.
In the poem "My Pushkin" there appears a whole conglomerate of meanings focused on dialogue with the Pushkin myth of Russian culture ("my Pushkin", "Pushkin is our everything", "Merry Pushkin", "The Sun of Russian poetry", etc.). The lyrical hero coexists as if in two dimensions: living his life he focuses on the life of Pushkin and those cultural codes that remind of the Poet of the XIX century. Pushkin's texts, the poet's environment, his biography, portraits and monuments, the geography of travels and iconic Pushkin places – all this becomes the basis of intertextual interactions and forms the author's personally experienced Pushkiniana.
Keywords: lyrics, book of poems, intertextuality, A.S. Pushkin, A.M. Gorodnitsky.
WORK OF J. BYRON IN THE LITERARY AND CRITICAL REFLECTION OF K.I. CHUKOVSKY
© Zhatkin Dmitry Nikolaevich
© Morozova Svetlana Nikolaevna
The article deals with the features of K.I. Chukovsky’s perception of the work of J. Byron. Literary critical publications, memoirs and epistolaries of the Russian writer contain numerous facts of references to the biography and work of J. Byron. to K.I. Chukovsky paid much attention to the analysis of the influence of the English author's work on the formation of the worldview of Russian writers, on the images and motives of their works. In the articles «About Mr. Evg. Solovyov», «“Duel” written by Kuprin» and diary notes K.I. Chukovsky spoke with conviction about the artificiality of the rapprochement between J. Byron and A.S. Pushkin, in the articles «Irakli Andronikov», «Merezhkovsky and Lermontov» talked about the exaggeration of the researchers in Byron's influence on M.Yu. Lermontov. When analyzing translations of Byron's works into Russian, K.I. Chukovsky criticized literalism, non-compliance with the classical principles of literary translation, which led to the distortion and impoverishment of the heritage of the English poet. A significant amount of materials related to the understanding of the translational reception of the works of John Byron in Russia is included in to the book «High Art», which describes the published translations of «The Prisoner of Chillon» (V.A. Zhukovsky), «Childe Harold's Pilgrimage» (V. V. Levik), «Don Juan» (P.A. Kozlov, G.A. Shengeli, T.G. Gnedich). K.I. Chukovsky gave examples of distortions made by each of the translators, while noting the stylistic complexity and heterogeneity of Byron's heritage.
Keywords: K.I. Chukovsky, J. Byron, reception, romanticism, translations.
THE CONCEPT OF HAPPINESS IN V. ASTAFIEV’S PROSE: ‘THE ETHICS OF REVERENCE FOR LIFE’
© Rudakova Svetlana Viktorovna
The article focuses on the analysis of the phenomenon of happiness in V. Astafyev’s work, one of the brightest representatives of rural prose and continuer of the traditions of Russian classics. The connection of Astafiev's concept of happiness with his idea of life, with his moral and philosophical convictions is revealed. The closeness of the writer's position to the views of A. Schweitzer, who states that reverence for life must become the basis of ethics, and it must define human relations not only to people but also to all living beings. Happiness for Astafyev's characters is associated with joining something important, interacting with someone or something important for the common good, often happiness goes together with misfortune, suffering, grief. For Astafyev's favourite characters, happiness lies in unity with nature. On the contrary, a breakdown in their relationship with nature leads to unhappiness. Happiness for Astafyev's characters is in love, which, born in the heart, transforms a person's life and increases from the desire to make the other - the loved one - happier. Happiness for Astafyev's characters is connected not with egoistic desires, but with the readiness to give and create something beautiful for their near and dear ones. Astafyev reflects on the importance and significance of love even in war, on the connection of this state with the world of happiness in The Shepherd and the Shepherdess, in the novels Life to Your Live and So I Want to Live. The author also considers the concept of happiness, imposed by a totalitarian system and opposed to individual ideas of happiness. The work also offers an analysis of the miniature Happiness.
Keywords: V. Astafiev's prose, happiness, A. Schweitzer's ‘ethics’, nature, love, dream, war, art, harmony.
GENDER ISSUE AS AN EXAMPLE OF A FRACTAL PERSPECTIVE. ANALYSIS OF LANGUAGE IN SASHA SOKOLOV’S NOVEL ‚PALISANDRIA‘
© Marianna Leonova
The gender issue in general and the gender issue in a literary work in particular in literary criticism and in a number of works devoted to gender roles is presented as a question of the power of one gender (most often male) over another. In a literary work, this problem is relevant not only at the level of the theme and the protagonists of the work, which follows from the very essence of the issue, but also at the level of language. At the language level, the problem of gender is reflected both at the level of vocabulary and at the level of semantics and morphology. In the works of Sasha Sokolov, we will also find it at the level of the theme and structure of the statement, as well as in the game with stylistic elements. The problem of gender in language is viewed, as a rule, as a reflection of the dominance of one gender over another, and the attempts to solve it as the elimination of such dominance. When interpreting such works of postmodernism as, for example, the novel "Palisandria", the solution to this problem is associated with the literary game typical of the indicated era. The article shows that both the question of gender in a language and the answer to it in a literary work are primarily a question about the perspective created within the framework of this work, directly depends on it and is determined by it. The article examines four strategies for creating a fractal perspective at the level of the language of the work and shows how this perspective not only affects our perception of gender role ambivalence, but is also a symptom of our openness to such perception.
Keywords: Sokolov, fractal perspective, gender, postmodern, structure.
THE HISTORICAL CONTEXT OF BORIS AKUNIN’S NOVELS
© Karpov Anton Dmitrievich
The article discusses the historical context that became the basis for B. Akunin's detectives in the cycle "The Adventures of Erast Fandorin" and novels created under the mask of "Anatoly Brusnikin". The author of the article used comparative-historical and holistic methods of analysis of the literary work. The study revealed that Boris Akunin organically combines detective intrigue with elements of historical and adventure-adventure narration. The detective story cycle "The Adventures of Erast Fandorin" describes the main events of the Russian history of the late 19th – early 20th century. The elements of the historical novel (including real historical figures as characters, the description of past events in order to address contemporary issues), recognizable techniques of mass literature (plot clichés, detective collision) and post-modernism (quotation, intertextuality) allow the writer to create, conditionally speaking, post-modern historical novels. The texts of Boris Akunin, written under the mask of Anatoly Brusnikin – The Ninth Savior, A Hero of Another Time and Bellona – are devoted to critical periods in Russian history: the reforms of Peter the Great, military conflicts in the Caucasus in the 19th century, the Crimean War. All novels of the project are distinguished by a polyphonism of opinions on the historical development of Russia, the desire to recreate an objective picture of the past. The novels, created under the literary mask, can be called an attempt by G. Chkhartishvili (B. Akunin) to move away from the cliché of the novelist and present a purely authorial interpretation of the events of the past – not a writer, but a chronicler, a chronicler trying to understand the historical patterns, the essence and origins of Russian statehood, to comprehend the causes of "today's day" through the prism of the past.
CHILDREN AND THE WORLD WIDE WEB IN THE NOVEL V.P. KRAPIVIN'S NOVEL GREEN'S AMPOULE
© Sukhikh Olga Stanislavovna
The article analyzes the artistic embodiment of the world information network in the novel by V.P. Krapivin ‘Green's ampoule’. It is noted that in this work the image of the world information network is presented to the reader in two forms: the Internet and the Informatorium. They are similar in their primary function: they protect and store content. The differences however concern their origins as well as ways of encoding and saving information. The image of the Informatorium has a fantastical character. It is associated with the main storyline of the novel specifically the fate of the boy Grisha Klimchuk, nicknamed Green, as well as the story of the youth company from the free city of Insk. According to Krapivin it is no wonder that children are able to explain the nature of the Informatorium as a creation of the universe itself: children are not subject to rationalist logic, they can see the border between the real and the fantastic, they can understand the impossible as possible. The accelerator for the launching of the Informatorium, for the ‛release’ of encoded information and its spreading, is also triggered by the actions of children. According to V. Krapivin's concept a child who is not under the power of rationalistic theories is a ‛conductor’ of emotions. These however are capable of pushing the Informatorium into action the result of which is to save the world from a social evil that is trying to capture absolute power. The universal information network which is beyond the control of a highly technical specialist responds to children's emotions to children's faith in the triumph of goodness. This mirrors V. Krapivin's concept of his work as a whole his idea of the role and importance of the child in the world.
Keywords: V. P. Krapivin, image of a child, world information network, emotional beginning, Internet, Informatorium.
OKTYABR’ LEONOV: MATERIALS FOR A CREATIVE BIOGRAPHY
© Bakurkin Kirill Sergeevich
Oktyabr’ Mikhailovich Leonov (October 26, 1929 – November 4, 1979) is known primarily as the founder of the architectural and ethnographic museum Angarsk Village which preserved the monuments of wooden architecture of the Angara region, and as the discoverer of the famous Dubyninsky pisanits – rock carvings the age of which according to some estimates, is about six thousand years old. However Leonov was also a talented essayist writer whose books were not published during the author's lifetime for reasons of ideological order only now began to find their way to the reader (in 2014 for example Leonov's book ‘Fifteen hundred kilometers of Thoughts: Travel Notes’ was published in Bratsk). This article was created on the basis of studying archival materials related to the life and work of Oktyabr’ Leonov and numerous interviews taken by the author from people who not only knew Leonov intimately but also were his associates in his museum ethnographic and archaeological endeavors. The information concerning the views of Leonov on the Soviet government the official version of Marxism is introduced into scientific circulation. Attention is also paid to various twists and turns associated with the membership of Leonov in the CPSU. Some information sheds light on those episodes of the biography of Leonov that preceded his move to Bratsk. Other information reveals details of Leonova's struggle to create the Angarsk Village. But the biggest place in the article is devoted to the relationship of October Leonov with such major Soviet writers as Oleg Kuvaev and Albert Miftakhutdinov.
Keywords: October Leonov, Oleg Kuvaev, Albert Miftakhutdinov, Angarsk Village.
XL INTERNATIONAL SCIENTIFIC AND PRACTICAL CONFERENCE “GORKOVSKY READINGS. MAKSIM GORKY. PARADIGMS OF PHILOSOPHICAL AND ARTISTIC SEARCH OF THE XX-XXI CENTURIES”
© Skachkova Viktoria Nikolaevna
© Urtminceva Marina Genrihovna
The article gives a description of the reports made during the XL Anniversary International Scientific and Practical Conference "Gorky Readings", held in Nizhny Novgorod on March 28-29, 2022. This was devoted to the poetics of Gorky's works, the cultural and philosophical contexts of his writing; the methodology of textological research into the writer's fiction and journalism; an analysis of the moral and philosophical constants of Gorky's legacy; the problems of translating Gorky's work into foreign languages; and ways of presenting it in contemporary cultural institutions. Special focus in the article was given to the history of the conference and its special role in the development of Gorky studies.
Keywords: Gorky, Gorky studies, Gorky Readings, anniversary conference.
PHILOLOGICAL CONFERENCE “SCIENCE 2022” AND ROUNDTABLE DISCUSSION “PUSHKIN AND MICKIEWICZ”
© Deriugina Kseniia Sergeevna
This report describes two scientific events that took place in April 2022 on the ZOOM video communication platform: the student scientific conference "Science 2022" and the roundtable discussion "Pushkin and Mickiewicz". The report briefly describes the presentations made at these events and outlines the significance of these events for the development of philological science, research and cultural contacts.
Keywords: Student Scientific Conference, University of Grodno, University of Moscow, University of Nizhni Novgorod, Pushkin, Mickiewicz.