Pub Date : 1900-01-01DOI: 10.31249/litzhur/2022.57.02
T. Krasavchenko
Analysis of Marina Tsvetaeva’s statements in her letters, diaries, memoirs of her contemporaries as well as a biography and works of a Norwegian writer Sigrid Undset (Nobel prize, 1928) proves that both authors, despite all national, cultural differences, were people of “the same kind”, “the same breed” (Tsvetaeva), they were marked with the same seal - genius and karmic tragedy. In 1930, being in France, Tsvetaeva read (in German translation) Undset’s epic trilogy “Kristin, Lavransdaughter” (1920-1922) which became “her favourite book” for life. Tsvetaeva’s attitude towards Undset reveals her attitude to literature as an existential sphere of human experience, as a saving source of life.
{"title":"“PEOPLE OF THE SAME KIND”: WHAT SIGRID UNDSET MEANT FOR MARINA TSVETAEVA","authors":"T. Krasavchenko","doi":"10.31249/litzhur/2022.57.02","DOIUrl":"https://doi.org/10.31249/litzhur/2022.57.02","url":null,"abstract":"Analysis of Marina Tsvetaeva’s statements in her letters, diaries, memoirs of her contemporaries as well as a biography and works of a Norwegian writer Sigrid Undset (Nobel prize, 1928) proves that both authors, despite all national, cultural differences, were people of “the same kind”, “the same breed” (Tsvetaeva), they were marked with the same seal - genius and karmic tragedy. In 1930, being in France, Tsvetaeva read (in German translation) Undset’s epic trilogy “Kristin, Lavransdaughter” (1920-1922) which became “her favourite book” for life. Tsvetaeva’s attitude towards Undset reveals her attitude to literature as an existential sphere of human experience, as a saving source of life.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127420347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.31249/litzhur/2021.51.06
K. Dushenko
The article examines the origin of two related maxims: «There is nothing new except what has been forgotten» and «There is nothing new under the moon». The Russian form of the first maxim («The new is the old well forgotten») belongs, probably, to the publicist N.V. Shelgunov. Initially, the first maxim appeared in England and France, and for a long time existed in two versions. The earliest of them (c. 1820) was usually attributed to Rose Bertin, the milliner of Marie Antoinette. The second («There is nothing new but what it has been old») is a quote from Chaucer’s «Canterbury Tales» in Walter Scott’s version («The Adventures of Nigell», 1822). In Germany and Russia, only the first, «Bertin’s version» was in circulation. One of the probable sources of Karamzin’s family sayings «Nothing is new under the moon» was the maxim «Il n’y a rien de nouveau sous la Lune», which appeared at the end of the 17 th century in the novel «Turkish Spy» by Giovanni Paolo Marana.
本文考察了两个相关格言的起源:“除了被遗忘的东西，没有什么是新的”和“月亮下没有什么是新的”。第一条格言的俄文形式(“新的是被遗忘的旧的”)可能属于出版家N.V.谢尔古诺夫(N.V. Shelgunov)。最早的格言出现在英国和法国，并在很长一段时间内以两种版本存在。其中最早的作品(约1820年)通常被认为是玛丽·安托瓦内特的女帽商罗斯·贝尔坦创作的。第二句(“没有什么是新的，但它已经老了”)是引用乔叟的《坎特伯雷故事集》在沃尔特·斯科特的版本(“尼吉尔的冒险”，1822年)。在德国和俄罗斯，只有第一个版本，“柏林版”在流通。卡拉姆津家族谚语“月下无新事”的可能来源之一是格言“Il n 'y a rien de nouveau sous la Lune”，它出现在17世纪末乔瓦尼·保罗·马拉纳的小说《土耳其间谍》中。
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Pub Date : 1900-01-01DOI: 10.31249/litzhur/2021.51.04
K. Dushenko, I. Ran
The convergence of chance and Providence was common in the literature of the eighteenth and first decades of the nineteenth centuries, however, Pushkin poses this problem in a historiosophical context. Pushkin’s aphorism «Chance, the mighty, instant instrument of Providence» had a number of parallels in French literature, including the works of conservative publicists of the 1800-1820 s. The opinion that Pushkin is polemicizing here with French historians of the Restoration era is not sufficiently substantiated. The expression «formula of history», which plays an important role in Pushkin’s notes, belongs to french traditionalist P.S. Ballanche, but the concept of «providential hasard», introduced by Ballanche, to Pushkin, apparently, was not known. The article also considers the most famous aphorisms from the close semantic series: «Chance is a nickname for Providence» (N. Chamfort), «Chance is the pseudonym of God» (T. Gautier) etc.
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Pub Date : 1900-01-01DOI: 10.31249/litzhur/2022.57.06
I. Peshkov
The article is a brief biography of Valentin Nikolaevich Voloshinov from the standpoint of his participation in the Bakhtin circle and publications under his own name of a number of Bakhtin’s works, which began with the critical article “Beyond the Social Principle” (1925), continued by the theoretical article “Discourse in life and discourse in poetry” (1926), books “Freudianism. A Critical Sketch” (1927) and “Marxism and the Philosophy of Language. Fundamental Problems of the Sociological Method in the Science of Language” (1929) and which completed by several papers in 1930. Additional arguments are given in favor of an earlier acquaintance between Bakhtin and Voloshinov than was commonly believed in the 1990 s, and a special interpretation of the episode with Voloshinov in the memoirs of O.M. Freidenberg is put forward.
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Pub Date : 1900-01-01DOI: 10.31249/litzhur/2019.46.01
O. Kryukova
{"title":"I.A. Krylov and his biographical myth","authors":"O. Kryukova","doi":"10.31249/litzhur/2019.46.01","DOIUrl":"https://doi.org/10.31249/litzhur/2019.46.01","url":null,"abstract":"","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115156128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.31249/litzhur/2022.56.01
G. Ermolenko
The article deals with the evolution of the system of actants in Moliere’s comedy. The author of the article shows that throughout the entire body of Moliere’s work, the diversity of plots arises due to the fact that the playwright combines elements of various types of comedy in each play, primarily elements of Italian comedy (both sophisticated and commedia dell’arte) and French farce. At the same time, the characters not only realize the functions of the actants described by V. Propp and A.Zh. Greimas for fairy-tale and more broadly - narrative plots, but they are also endowed with features of the farcical types of “rogue” or “simpleton”. Playing with the plot scheme of the farce and the Italian comedy, Moliere freely combines the functions of various actors in the main characters of each play, either actualizing the well-known plot schemes or destroying them. Moliere’s favorite element of the plot scheme remains the denouement, which arises due to a happy accident, since its other types, in his opinion, are unable to lead to a happy ending.
{"title":"THE EVOLUTION OF THE SYSTEM OF ACTANTS IN MOLIERE’S COMEDY","authors":"G. Ermolenko","doi":"10.31249/litzhur/2022.56.01","DOIUrl":"https://doi.org/10.31249/litzhur/2022.56.01","url":null,"abstract":"The article deals with the evolution of the system of actants in Moliere’s comedy. The author of the article shows that throughout the entire body of Moliere’s work, the diversity of plots arises due to the fact that the playwright combines elements of various types of comedy in each play, primarily elements of Italian comedy (both sophisticated and commedia dell’arte) and French farce. At the same time, the characters not only realize the functions of the actants described by V. Propp and A.Zh. Greimas for fairy-tale and more broadly - narrative plots, but they are also endowed with features of the farcical types of “rogue” or “simpleton”. Playing with the plot scheme of the farce and the Italian comedy, Moliere freely combines the functions of various actors in the main characters of each play, either actualizing the well-known plot schemes or destroying them. Moliere’s favorite element of the plot scheme remains the denouement, which arises due to a happy accident, since its other types, in his opinion, are unable to lead to a happy ending.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132743296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.31249/litzhur/2021.51.05
I. Pavlova
The article is devoted to the attitude of L.N. Tolstoy to the position of the Russian peasantry and post-reform rural life, which was vividly reflected in the novel «Anna Karenina». The searches of the central hero Levin are close to the activities of those representatives of the educated part of Russian society in the 1870 s who were not indifferent to the fate of the masses. These include the essays «From the Village» - 12 letters of the economist, agronomist, educator A.N. Engelhardt, highly regarded by Tolstoy.
{"title":"A.N. Engelhardt and the problems of rural life in L.N. Tolstoy’s novel «Anna Karenina»","authors":"I. Pavlova","doi":"10.31249/litzhur/2021.51.05","DOIUrl":"https://doi.org/10.31249/litzhur/2021.51.05","url":null,"abstract":"The article is devoted to the attitude of L.N. Tolstoy to the position of the Russian peasantry and post-reform rural life, which was vividly reflected in the novel «Anna Karenina». The searches of the central hero Levin are close to the activities of those representatives of the educated part of Russian society in the 1870 s who were not indifferent to the fate of the masses. These include the essays «From the Village» - 12 letters of the economist, agronomist, educator A.N. Engelhardt, highly regarded by Tolstoy.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132877718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.31249/litzhur/2021.54.12
Caryl Emerson
Any boom calls forth a backlash and a trashing - and Bakhtin has been trashed often, for many reasons. In this article I consider the recent biography of Bakhtin written by Aleksei Korovashko in the history of anti-Bakhtinistics, and attempt to evaluate the “Korovashko tactic”: where, in my view, it goes wrong, and what lessons we might learn from it in light of Bakhtin’s teaching (especially his theory of love). I then discuss two more productive approaches to criticizing Bakhtin: one devoted to Bakhtin and the body (Dick McCaw), the other to Bakhtin and the spirit (Mikhail Epstein).
{"title":"THE FAD FOR BRINGING BAKHTIN DOWN (AND WHERE IT GOES WRONG)","authors":"Caryl Emerson","doi":"10.31249/litzhur/2021.54.12","DOIUrl":"https://doi.org/10.31249/litzhur/2021.54.12","url":null,"abstract":"Any boom calls forth a backlash and a trashing - and Bakhtin has been trashed often, for many reasons. In this article I consider the recent biography of Bakhtin written by Aleksei Korovashko in the history of anti-Bakhtinistics, and attempt to evaluate the “Korovashko tactic”: where, in my view, it goes wrong, and what lessons we might learn from it in light of Bakhtin’s teaching (especially his theory of love). I then discuss two more productive approaches to criticizing Bakhtin: one devoted to Bakhtin and the body (Dick McCaw), the other to Bakhtin and the spirit (Mikhail Epstein).","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"198 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134501457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.31249/litzhur/2022.56.04
K. Dushenko
Throughout almost the entire 19th century, a cultural text (metatext) was created in France, in which the image of Chauvin played a central role. As a central symbol of chauvinism, the image of Chauvin appeared in the 1830 s as a result of the contamination of two images: a farcical recruit of the Restoration named Chauvin and a Napoleonic veteran (grognard) who performed under different names. An apology for the warriors’ loyalty, the pathos of colonial conquests and liberally tinged patriotism merge into one. The rise of the image of Chauvin is accompanied by a criticism of this image as the embodiment of a rude military. In Jacques Arago’s essay “Chauvinism” (1845), the image of Chauvin was canonized as a universal type of person who “worships one god... his homelandГ The duality of the image of the farcical Chauvin the recruit and the old Chauvin the Grognard persisted for a very long time, but the first image more and more faded into the background. The authoritarian and militant ideology of the Second Empire greatly contributed to the discrediting of the image of Chauvin in democratie et liberal circles.
{"title":"NICOLAS CHAUVIN, A LEGENDARY PATRON OF CHAUVINISM","authors":"K. Dushenko","doi":"10.31249/litzhur/2022.56.04","DOIUrl":"https://doi.org/10.31249/litzhur/2022.56.04","url":null,"abstract":"Throughout almost the entire 19th century, a cultural text (metatext) was created in France, in which the image of Chauvin played a central role. As a central symbol of chauvinism, the image of Chauvin appeared in the 1830 s as a result of the contamination of two images: a farcical recruit of the Restoration named Chauvin and a Napoleonic veteran (grognard) who performed under different names. An apology for the warriors’ loyalty, the pathos of colonial conquests and liberally tinged patriotism merge into one. The rise of the image of Chauvin is accompanied by a criticism of this image as the embodiment of a rude military. In Jacques Arago’s essay “Chauvinism” (1845), the image of Chauvin was canonized as a universal type of person who “worships one god... his homelandГ The duality of the image of the farcical Chauvin the recruit and the old Chauvin the Grognard persisted for a very long time, but the first image more and more faded into the background. The authoritarian and militant ideology of the Second Empire greatly contributed to the discrediting of the image of Chauvin in democratie et liberal circles.","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"172 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123008350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.31249/litzhur/2023.59.02
{"title":"M.M. BAKHTIN AS AUTHOR AND HERO OF AUTO(BIOGRAPHY)","authors":"","doi":"10.31249/litzhur/2023.59.02","DOIUrl":"https://doi.org/10.31249/litzhur/2023.59.02","url":null,"abstract":"","PeriodicalId":246030,"journal":{"name":"Literaturovedcheskii Zhurnal","volume":"272 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123044654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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