The Writer in the Landscape of the Smenovekhovstvo: Remizov and Prishvin

E. Obatnina
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Abstract

The article analyzes the ambiguous motives and reasons that in the early 1920s, both at home and in the diaspora, influenced the literary personality of the writer in such a way that it involuntarily acquired the features inherent in the Smenovekhovstvo movement. For the first two years in Germany, where he fled to escape the unbearable conditions of life in Russia, Alexey Remizov retained the right to return to Petrograd. Due to this voluntary position of a ”temporary” emigrant in the history of the literary process of the early 1920s, a number of events of his creative life was captured in the landscape of the Smenovekhovstvo. The article presents the first analysis of Remizov's essay ”The Hook. Petersburg’s Memory” (1922), which, at first glance, supports N. Ustryalov's program aimed at organizing the return of emigrants to their homeland. Individual perception of the Smenovekhovstvo ideologemes is discussed using the example of the behavior of two writers in a specific ideological situation. One is the case of Remizov as a “temporary” emigrant writer in 1921- 1923, the other is the case of Prishvin as a writer who, after the October coup, took the position of an “internal emigrant”. Based on Prishvin's diary, the article reveals the tragic story of the perception of Remizov's essay “The Hook” (1922) and the attitude of the two writers to the concept of ”patriotism”, one of the main motives of the “return home” movement. The article offers a new perspective on the history of the relationship between the two like-minded authors and restores the context of their unknown correspondence from 1922-1923, fragments of which have survived in Prishvin's diaries, and in one letter that was published as Prishvin's essay ”Sopka Mair ” (“The Hill Mair ”, 1922). The essay was addressed to Remizov and contained an ”answer ” to the essay ”The Hook”. This article is part of a study of Remizov’s works, viewed as a reflections of individual experience in the history of the first wave of Russian emigration.
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斯莫诺维霍夫斯特沃风景中的作家:列米佐夫与普里什文
本文分析了在20世纪20年代早期,作家的文学个性在国内和海外受到的模糊动机和原因的影响,从而不由自主地获得了斯莫诺维霍夫斯特沃运动的固有特征。在德国的头两年,阿列克谢·雷米佐夫(Alexey Remizov)为了逃避俄罗斯难以忍受的生活条件而逃往德国,他保留了返回彼得格勒的权利。由于在20世纪20年代早期文学进程的历史上,他自愿的“临时”移民的地位,他的创作生活中的一些事件被捕捉到斯莫诺韦霍夫斯特沃的风景中。本文首次分析了雷米佐夫的散文《钩子》。《彼得堡的记忆》(1922),乍一看,它支持乌斯特利亚洛夫旨在组织移民返回家园的计划。本文以两位作家在特定意识形态情境下的行为为例,讨论了个人对斯莫诺韦霍夫斯特沃意识形态的看法。一个是列米佐夫在1921- 1923年作为“临时”移居国外的作家,另一个是普里什温在十月政变后作为作家采取了“国内移居者”的立场。本文以普里什温的日记为基础,揭示了对列米佐夫随笔《钩子》(1922)的悲剧性看法,以及两位作家对“返乡”运动的主要动机之一——“爱国主义”概念的态度。这篇文章为这两位志趣相投的作家之间的关系历史提供了一个新的视角,并恢复了他们在1922年至1923年之间不为人知的通信背景,这些通信的片段在普里什文的日记中幸存下来,其中一封信作为普里什文的文章“Sopka maair”(“The Hill maair”,1922)发表。这篇文章是写给雷米佐夫的,里面有对那篇文章《钩子》的“回答”。本文是对雷米佐夫作品研究的一部分,被视为对俄罗斯第一波移民历史中个人经历的反映。
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