Pub Date : 2023-11-15DOI: 10.34216/1998-0817-2023-29-s-125-128
Ekaterina O. Yatskiv
The article deals with the selected plays of A.N. Ostrovsky which are about the life of actors (“The Forestˮ, 1872; “The talents and fansˮ, 1882) and “The Memoriesˮ of A.Y. Panaeva. The author of the article reveals the reasons why writers turned to the topic of the theater, the specifics of the image of the actor’s personality and his life, focusing on the ambivalence of the actor’s image in the public mind, as well as on the ethical components of the personality actor’s, described by Ostrovsky and Panaeva. Further, the author of the article compares the fictional images of the actors in Ostrovsky’s plays with real personalities, whose life and creative path was described in Panaeva’s “Memoirsˮ, revealing similarities. The article tells us about the reasons for the actors’ poor conditions, their dependence on theatrical officials, on the tastes of an indiscriminate public, that is accustomed to the translated repertoire and wants to see only entertainment in the theater, but not a way to enrich themselves spiritually. A.N. Ostrovsky, author of the fiction, and A.Y. Panaeva, the author of the documentary prose, form images of actors with similar character traits (nobility, faith in their work, respect for their own craft, tragic perception of reality) and falling into the same life circumstances, which indicates Ostrovsky’s desire to get away from the conventions and theatrical traditions that had existed before and create a new realistic theater.
{"title":"THE TWO-FACED WORLD OF THEATRE: THEATRICAL BACKSTAGE IN A.N. OSTROVSKY’S PLAYS AND IN “THE MEMORIESˮ OF A.Y. PANAEVA","authors":"Ekaterina O. Yatskiv","doi":"10.34216/1998-0817-2023-29-s-125-128","DOIUrl":"https://doi.org/10.34216/1998-0817-2023-29-s-125-128","url":null,"abstract":"The article deals with the selected plays of A.N. Ostrovsky which are about the life of actors (“The Forestˮ, 1872; “The talents and fansˮ, 1882) and “The Memoriesˮ of A.Y. Panaeva. The author of the article reveals the reasons why writers turned to the topic of the theater, the specifics of the image of the actor’s personality and his life, focusing on the ambivalence of the actor’s image in the public mind, as well as on the ethical components of the personality actor’s, described by Ostrovsky and Panaeva. Further, the author of the article compares the fictional images of the actors in Ostrovsky’s plays with real personalities, whose life and creative path was described in Panaeva’s “Memoirsˮ, revealing similarities. The article tells us about the reasons for the actors’ poor conditions, their dependence on theatrical officials, on the tastes of an indiscriminate public, that is accustomed to the translated repertoire and wants to see only entertainment in the theater, but not a way to enrich themselves spiritually. A.N. Ostrovsky, author of the fiction, and A.Y. Panaeva, the author of the documentary prose, form images of actors with similar character traits (nobility, faith in their work, respect for their own craft, tragic perception of reality) and falling into the same life circumstances, which indicates Ostrovsky’s desire to get away from the conventions and theatrical traditions that had existed before and create a new realistic theater.","PeriodicalId":326235,"journal":{"name":"Vestnik of Kostroma State University","volume":"8 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139275397","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 : 2023-11-15DOI: 10.34216/1998-0817-2023-29-s-148-151
Vasily N. Rassadin, Ivan A. Bushuev
The article is devoted to the analysis of the role of the cultural code of A.N. Ostrovsky in the tourist product of the Kostroma region. The cultural code is understood by the authors as a way of storing and broadcasting to the external environment certain socio-cultural paradigms embedded in the writer’s image and the work of the playwright. Taking into account the analysis of modern trends in the tourism industry of the Kostroma region and the degree of integration of the Ostrovsky code into its composition, the authors come to the conclusion that the Ostrovsky cultural code is an integral element of the modern regional tourist product (an abundance of objects associated with the playwright and the heroes of his works of display objects, interactive programs, event events, etc.).
{"title":"THE CULTURAL CODE OF A.N. OSTROVSKY AS AN INTEGRAL ELEMENT OF THE TOURIST PRODUCT OF THE KOSTROMA REGION","authors":"Vasily N. Rassadin, Ivan A. Bushuev","doi":"10.34216/1998-0817-2023-29-s-148-151","DOIUrl":"https://doi.org/10.34216/1998-0817-2023-29-s-148-151","url":null,"abstract":"The article is devoted to the analysis of the role of the cultural code of A.N. Ostrovsky in the tourist product of the Kostroma region. The cultural code is understood by the authors as a way of storing and broadcasting to the external environment certain socio-cultural paradigms embedded in the writer’s image and the work of the playwright. Taking into account the analysis of modern trends in the tourism industry of the Kostroma region and the degree of integration of the Ostrovsky code into its composition, the authors come to the conclusion that the Ostrovsky cultural code is an integral element of the modern regional tourist product (an abundance of objects associated with the playwright and the heroes of his works of display objects, interactive programs, event events, etc.).","PeriodicalId":326235,"journal":{"name":"Vestnik of Kostroma State University","volume":"2 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139272814","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 : 2023-11-15DOI: 10.34216/1998-0817-2023-29-s-59-64
Natalya S. Maiorova, Alla Ye. Pavlova
The article is devoted to the analysis of the texts of the play by A.N. Ostrovsky as private sources within the framework of the representation of everyday phenomena. The analysis of literary diseases allows us to reconstruct the multiple elements of the structure of everyday life in the capital and provincial cities of Russia in the second half of the 19th century. In the course of developing the structure of everyday life, in some episodes of the episodes “Dowry”, “Own people - let’s settle”, “Profitable place”, “Thunderstorm”, “What they go after, they will find”, elements of everyday life are widely used, family sets and uniform traditions, food culture, attitudes towards money and poverty, peculiarities of work and rest, pastime. A.N. Ostrovsky in his plays depicted typical images of his contemporaries and the life of which he himself was a part and with which he came into closest contact in Moscow, St. Petersburg and provincial cities. The heroes of the plays are devoid of stereotypes, they are living people who live not in an imaginary, but in a very real environment, speaking the language of their social group, having timely thoughts and reasoning. All this makes it possible to combine various elements describing everyday life into a coherent structure of the everyday life of the playwright’s plays.
{"title":"EVERYDAY LIFE OF THE HEROES OF THE PLAYS BY A.N. OSTROVSKY","authors":"Natalya S. Maiorova, Alla Ye. Pavlova","doi":"10.34216/1998-0817-2023-29-s-59-64","DOIUrl":"https://doi.org/10.34216/1998-0817-2023-29-s-59-64","url":null,"abstract":"The article is devoted to the analysis of the texts of the play by A.N. Ostrovsky as private sources within the framework of the representation of everyday phenomena. The analysis of literary diseases allows us to reconstruct the multiple elements of the structure of everyday life in the capital and provincial cities of Russia in the second half of the 19th century. In the course of developing the structure of everyday life, in some episodes of the episodes “Dowry”, “Own people - let’s settle”, “Profitable place”, “Thunderstorm”, “What they go after, they will find”, elements of everyday life are widely used, family sets and uniform traditions, food culture, attitudes towards money and poverty, peculiarities of work and rest, pastime. A.N. Ostrovsky in his plays depicted typical images of his contemporaries and the life of which he himself was a part and with which he came into closest contact in Moscow, St. Petersburg and provincial cities. The heroes of the plays are devoid of stereotypes, they are living people who live not in an imaginary, but in a very real environment, speaking the language of their social group, having timely thoughts and reasoning. All this makes it possible to combine various elements describing everyday life into a coherent structure of the everyday life of the playwright’s plays.","PeriodicalId":326235,"journal":{"name":"Vestnik of Kostroma State University","volume":"90 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139273123","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 : 2023-11-15DOI: 10.34216/1998-0817-2023-29-s-129-138
N. Gantsovskaya, G. Neganova, Elena V. Tsvetkova
For many years, Кostroma researchers, full and associate members of the educational and scientific research laboratory “Lexicology and Lexicography” currently operating at Kostroma State University, have been studying the works of A.N. Ostrovsky in linguistic terms. Russian Russian writers have worked out in sufficient detail both the problem of the folk-colloquial, including dialectal, stream in the multidimensional work of the classic of Russian literature playwright, and the problem of the playwright’s contribution to the creation of a new Russian literary language built on democratic principles and continuing the Pushkin tradition of organic fusion of book and spoken elements. The topics such as “Lexical richness of the Russian language” with subtopics are noted: vocabulary of significant and official parts of speech, productive and rare, motivated and unmotivated, free and composed of stable turns, modern and outdated, neutral and affected vocabulary, own and common, locally and stylistically colored, including vernacular, professionalism and jargonisms, native Russian and borrowed vocabulary, etc., as well as the topic “Grammatical features of the hypotaxis of texts by A.N. Ostrovsky”, etc. The genre theme of studying the language of the playwright’s works is embodied in more than a hundred scientific articles in academic publications of the Russian Academy of Sciences and the National Academy of Sciences of Belarus, peer-reviewed scientific journals, various collections of scientific papers and materials of scientific conferences, in the creation of dictionaries, encyclopedias, monographs, dissertations. The authors of the review article also offer a bibliographic index of works on the language of A.N. Ostrovsky’s works published by Kostroma researchers in 1974–2022.
{"title":"“HE LOVED HIS NATIVE LANGUAGE TO THE POINT OF ADORATION...ˮ (A new reading of A.N. Ostrovsky’s texts on Kostroma land: bibliography review)","authors":"N. Gantsovskaya, G. Neganova, Elena V. Tsvetkova","doi":"10.34216/1998-0817-2023-29-s-129-138","DOIUrl":"https://doi.org/10.34216/1998-0817-2023-29-s-129-138","url":null,"abstract":"For many years, Кostroma researchers, full and associate members of the educational and scientific research laboratory “Lexicology and Lexicography” currently operating at Kostroma State University, have been studying the works of A.N. Ostrovsky in linguistic terms. Russian Russian writers have worked out in sufficient detail both the problem of the folk-colloquial, including dialectal, stream in the multidimensional work of the classic of Russian literature playwright, and the problem of the playwright’s contribution to the creation of a new Russian literary language built on democratic principles and continuing the Pushkin tradition of organic fusion of book and spoken elements. The topics such as “Lexical richness of the Russian language” with subtopics are noted: vocabulary of significant and official parts of speech, productive and rare, motivated and unmotivated, free and composed of stable turns, modern and outdated, neutral and affected vocabulary, own and common, locally and stylistically colored, including vernacular, professionalism and jargonisms, native Russian and borrowed vocabulary, etc., as well as the topic “Grammatical features of the hypotaxis of texts by A.N. Ostrovsky”, etc. The genre theme of studying the language of the playwright’s works is embodied in more than a hundred scientific articles in academic publications of the Russian Academy of Sciences and the National Academy of Sciences of Belarus, peer-reviewed scientific journals, various collections of scientific papers and materials of scientific conferences, in the creation of dictionaries, encyclopedias, monographs, dissertations. The authors of the review article also offer a bibliographic index of works on the language of A.N. Ostrovsky’s works published by Kostroma researchers in 1974–2022.","PeriodicalId":326235,"journal":{"name":"Vestnik of Kostroma State University","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139273238","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 : 2023-11-15DOI: 10.34216/1998-0817-2023-29-s-139-147
Elena Yu. Volkova, Grigory Yu. Volkov
The authors of the article not only reflected the impressions of A.N. Ostrovsky about Kostroma, but, unlike other researchers, analyzed how the appearance of the provincial city was formed. Starting from the diary entries of the playwright, having studied a variety of materials, the authors showed the features of the construction of the city according to the plan of 1781, its central square, streets, the town of “Wildsˮ, the Ipatievsky Monastery, etc., which the playwright saw on his first visit to the city in 1848. In the future, until the end of his life in 1886, A.N. Ostrovsky often visited Kostroma on business, as a provincial city and lived here for a month or more. The article reflects how the city developed, its population increased, new industrial zones were created, a new theater building was built and opened in 1863, which later received the name of the playwright. A.N. Ostrovsky not only witnessed these changes, but may have been a participant in some city events. As a result, the authors came to the conclusion that without the impressions of A.N. Ostrovsky about Kostroma, its surrounding nature, people, the playwright could not have created his immortal works that are relevant both in the XIX century and our time.
{"title":"“SOMETHING MAGICAL HAS OPENED UP TO USˮ: KOSTROMA IN THE FATE OF A.N. OSTROVSKY","authors":"Elena Yu. Volkova, Grigory Yu. Volkov","doi":"10.34216/1998-0817-2023-29-s-139-147","DOIUrl":"https://doi.org/10.34216/1998-0817-2023-29-s-139-147","url":null,"abstract":"The authors of the article not only reflected the impressions of A.N. Ostrovsky about Kostroma, but, unlike other researchers, analyzed how the appearance of the provincial city was formed. Starting from the diary entries of the playwright, having studied a variety of materials, the authors showed the features of the construction of the city according to the plan of 1781, its central square, streets, the town of “Wildsˮ, the Ipatievsky Monastery, etc., which the playwright saw on his first visit to the city in 1848. In the future, until the end of his life in 1886, A.N. Ostrovsky often visited Kostroma on business, as a provincial city and lived here for a month or more. The article reflects how the city developed, its population increased, new industrial zones were created, a new theater building was built and opened in 1863, which later received the name of the playwright. A.N. Ostrovsky not only witnessed these changes, but may have been a participant in some city events. As a result, the authors came to the conclusion that without the impressions of A.N. Ostrovsky about Kostroma, its surrounding nature, people, the playwright could not have created his immortal works that are relevant both in the XIX century and our time.","PeriodicalId":326235,"journal":{"name":"Vestnik of Kostroma State University","volume":"13 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139275772","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 : 2023-11-15DOI: 10.34216/1998-0817-2023-29-s-85-96
N. L. Ermolaeva
The article overviews the wide range of Russian criticism of the XIXth century and the Soviet literary research to define the ways A.N. Ostrovsky’s talent was understood. The article focuses on the epic character of his plays that has become for the critics a stumbling block on the way of acknowledging the greatness of the playwright’s talent. The article analyses the opinion on the matter by A.A. Grigoriev, E.N. Edelson, A.V. Druzhinin, P.V. Annenkov, N.A. Dobrolyubov, N.N. Strakhov, A.M. Skabichevsky, N.V. Shelgunov, I.S. Turgenev, N.P. Nekrasov, N.S. Nazarov, P.D. Boborykin and some other critics as well as the Soviet researches E.G. Kholodov, A.L. Shtein, N.N. Skatov, Y.V. Lebedev, A.I. Zhuravleva et al. The article starts with the introduction of the problem of epic thinking in the literary studies.
{"title":"RUSSIAN CRITICISM AND SOVIET LITERARY STUDIES ON EPIC DRAMA BY A.N. OSTROVSKY","authors":"N. L. Ermolaeva","doi":"10.34216/1998-0817-2023-29-s-85-96","DOIUrl":"https://doi.org/10.34216/1998-0817-2023-29-s-85-96","url":null,"abstract":"The article overviews the wide range of Russian criticism of the XIXth century and the Soviet literary research to define the ways A.N. Ostrovsky’s talent was understood. The article focuses on the epic character of his plays that has become for the critics a stumbling block on the way of acknowledging the greatness of the playwright’s talent. The article analyses the opinion on the matter by A.A. Grigoriev, E.N. Edelson, A.V. Druzhinin, P.V. Annenkov, N.A. Dobrolyubov, N.N. Strakhov, A.M. Skabichevsky, N.V. Shelgunov, I.S. Turgenev, N.P. Nekrasov, N.S. Nazarov, P.D. Boborykin and some other critics as well as the Soviet researches E.G. Kholodov, A.L. Shtein, N.N. Skatov, Y.V. Lebedev, A.I. Zhuravleva et al. The article starts with the introduction of the problem of epic thinking in the literary studies.","PeriodicalId":326235,"journal":{"name":"Vestnik of Kostroma State University","volume":"144 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139273795","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 : 2023-11-15DOI: 10.34216/1998-0817-2023-29-s-36-42
V. G. Andreeva
The article provides an analytical understanding of Tolstoy’s letters to Ostrovsky, consideration of their content in the projection of reviews and literary disputes of the late 1850s–1860s. A scientific commentary is given on individual facts, events and opinions in Tolstoy’s letters to Ostrovsky, the problem of the ambiguous attitude of writers to each other’s work, their interaction while working in the Sovremennik magazine is touched upon. The role of Nekrasov in establishing creative ties between the writer and the playwright is noted, the individual features and characteristics that they valued and critically perceived in each other are emphasized. The author of the article cites the opinions of contemporaries who noted similarities in the work of famous contemporaries. The paper notes the possible influence of Ostrovsky on the late Tolstoy, the latter’s recognition of the nationwide significance of Ostrovsky’s talent.
{"title":"ONLY FOUR LETTERS: ABOUT THE CORRESPONDENCE OF L.N. TOLSTOY AND A.N. OSTROVSKY IN THE HISTORY OF THE RELATIONSHIP BETWEEN TWO WRITERS","authors":"V. G. Andreeva","doi":"10.34216/1998-0817-2023-29-s-36-42","DOIUrl":"https://doi.org/10.34216/1998-0817-2023-29-s-36-42","url":null,"abstract":"The article provides an analytical understanding of Tolstoy’s letters to Ostrovsky, consideration of their content in the projection of reviews and literary disputes of the late 1850s–1860s. A scientific commentary is given on individual facts, events and opinions in Tolstoy’s letters to Ostrovsky, the problem of the ambiguous attitude of writers to each other’s work, their interaction while working in the Sovremennik magazine is touched upon. The role of Nekrasov in establishing creative ties between the writer and the playwright is noted, the individual features and characteristics that they valued and critically perceived in each other are emphasized. The author of the article cites the opinions of contemporaries who noted similarities in the work of famous contemporaries. The paper notes the possible influence of Ostrovsky on the late Tolstoy, the latter’s recognition of the nationwide significance of Ostrovsky’s talent.","PeriodicalId":326235,"journal":{"name":"Vestnik of Kostroma State University","volume":"47 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139273845","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 : 2023-11-15DOI: 10.34216/1998-0817-2023-29-s-43-50
Nadezda G. Mikhnovets
In the article, for the first time in the history of studying the drama “Thunderstormˮ and the libretto of the same name by A.N. Ostrovsky, a new source is introduced: the article by F.I. Buslaev “The image of the Last Judgment according to the Russian original of the 17th centuryˮ (1857). It is argued that Buslaev’s article played an important role in the process of creating the drama “Thunderstormˮ by Ostrovsky. It is proved that the original manuscript of the 17th century, published in Buslaev’s article, served as the basis for understanding and recreating in the drama the scale of the changes that took place in Russia in the middle of the 19th century. The special significance of the comparisons carried out by Buslaev between Byzantine, European and ancient Russian images of the Last Judgment is emphasized for the creator of the drama The Thunderstorm, who comprehends the phenomenon of transitional epochs in the centuries-old history of Russia. It is shown that in the problem-thematic structure of the libretto “Thunderstormˮ the event of the Last Judgment appears as a dominant. It is indicated that since the playwright’s acquaintance with Buslaev’s article and work on the drama “Thunderstormˮ, the seventeenth century has been in the center of Ostrovsky’s attention as a historiosophist.
{"title":"ARTICLE BY F.I. BUSLAEV “IMAGE OF THE LAST JUDGMENT ACCORDING TO THE RUSSIAN ORIGINAL OF THE 17TH CENTURY” IN THE CONTEXT OF TWO “THUNDERSTORMS” BY A.N. OSTROVSKY","authors":"Nadezda G. Mikhnovets","doi":"10.34216/1998-0817-2023-29-s-43-50","DOIUrl":"https://doi.org/10.34216/1998-0817-2023-29-s-43-50","url":null,"abstract":"In the article, for the first time in the history of studying the drama “Thunderstormˮ and the libretto of the same name by A.N. Ostrovsky, a new source is introduced: the article by F.I. Buslaev “The image of the Last Judgment according to the Russian original of the 17th centuryˮ (1857). It is argued that Buslaev’s article played an important role in the process of creating the drama “Thunderstormˮ by Ostrovsky. It is proved that the original manuscript of the 17th century, published in Buslaev’s article, served as the basis for understanding and recreating in the drama the scale of the changes that took place in Russia in the middle of the 19th century. The special significance of the comparisons carried out by Buslaev between Byzantine, European and ancient Russian images of the Last Judgment is emphasized for the creator of the drama The Thunderstorm, who comprehends the phenomenon of transitional epochs in the centuries-old history of Russia. It is shown that in the problem-thematic structure of the libretto “Thunderstormˮ the event of the Last Judgment appears as a dominant. It is indicated that since the playwright’s acquaintance with Buslaev’s article and work on the drama “Thunderstormˮ, the seventeenth century has been in the center of Ostrovsky’s attention as a historiosophist.","PeriodicalId":326235,"journal":{"name":"Vestnik of Kostroma State University","volume":"17 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139274308","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 : 2023-11-15DOI: 10.34216/1998-0817-2023-29-s-20-25
N. V. Kapustin
With external simplicity Ostrovsky’s dramaturgy conceals the possibility of different interpretations. In this case we mean not free readings (which is especially characteristic of many modern directors), but those that are able to discover potential meanings that characterize the author’s vision of the world and man. One of these works is the comedy ‟Truth is good, but happiness is better” (1876). In the center of the article is a happy denouement of this comedy, which is an expression of the foundations of Ostrovsky’s worldview, his trust in life. The basis of the denouement is the case. It is closely correlated with the motif of apples that runs throughout the comedy and the most important comparison in the structure of the play is the one of a marriageable girl, who Polyxena is, with a juicy, ripe apple. The origins of the semantics of the apple image are usually associated with fairy tales, but the parallel with the proverb ‟The apple tree does not bloom all year round” is more precise. Its essence is to confirm natural life principles, as in Ostrovsky. At the same time, the natural principle is inseparably connected with the providential principle. All this allows us to say that the accidental denouement of the comedy is not accidental. It is the result of human aspirations, guided by natural and providential principles.
{"title":"ABOUT NON-RANDOM CHANCE IN THE COMEDY OF A.N. OSTROVSKY ‟TRUTH IS GOOD, BUT HAPPINESS IS BETTER”","authors":"N. V. Kapustin","doi":"10.34216/1998-0817-2023-29-s-20-25","DOIUrl":"https://doi.org/10.34216/1998-0817-2023-29-s-20-25","url":null,"abstract":"With external simplicity Ostrovsky’s dramaturgy conceals the possibility of different interpretations. In this case we mean not free readings (which is especially characteristic of many modern directors), but those that are able to discover potential meanings that characterize the author’s vision of the world and man. One of these works is the comedy ‟Truth is good, but happiness is better” (1876). In the center of the article is a happy denouement of this comedy, which is an expression of the foundations of Ostrovsky’s worldview, his trust in life. The basis of the denouement is the case. It is closely correlated with the motif of apples that runs throughout the comedy and the most important comparison in the structure of the play is the one of a marriageable girl, who Polyxena is, with a juicy, ripe apple. The origins of the semantics of the apple image are usually associated with fairy tales, but the parallel with the proverb ‟The apple tree does not bloom all year round” is more precise. Its essence is to confirm natural life principles, as in Ostrovsky. At the same time, the natural principle is inseparably connected with the providential principle. All this allows us to say that the accidental denouement of the comedy is not accidental. It is the result of human aspirations, guided by natural and providential principles.","PeriodicalId":326235,"journal":{"name":"Vestnik of Kostroma State University","volume":"17 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139274414","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 : 2023-11-15DOI: 10.34216/1998-0817-2023-29-s-26-35
Yuriy V. Lebedev
In the early 1850s St. Petersburg writers-Westerners, close to Nekrasov’s Sovremennik, decided to involve A.N. Ostrovsky. In their circle, I.S. Turgenev, who visited the playwright in Moscow in January 1855. At the same time, Ostrovsky, represented by Turgenev, faced a serious competitor. Turgenev, not without reason, then claimed to renew and enrich the Russian theatrical repertoire. However, Turgenev the playwright could not stand the competition, left work on plays and recognized Ostrovsky’s priority. During the period of creating the national repertoire, our dramaturgy needed works of all-Russian sound, deeply immersed in folk culture. The refined dramaturgy of Turgenev was forced to give way to the more democratic and nationally rooted dramaturgy of Ostrovsky. The article reveals the hidden dispute between Ostrovsky and Turgenev in the comedy “The Poor Bride” and examines Turgenev’s polemical responses to this dispute in the comedy “Where it is thin – there it breaks” and in the story “Correspondence”. Unlike Ostrovsky, Turgenev poeticized spiritualized and incorporeal love, pure and sublime, but infinitely far from family joys and worries. Turgenev did not accept in Ostrovsky’s dramaturgy the idealization of merchant life and the parodic and satirical depiction of the Russian nobility. He believed that “the role of the educated class in Russia is to be the transmitter of civilization to the people”. The deep democratism of Ostrovsky’s work seemed limited to Turgenev. Hence, he highly appreciated the language of the national playwright, but often complained about the paucity of the content of his plays. At the same time, Turgenev actively sought to acquaint the Western European reader with the work of Ostrovsky, involving the Englishman Ralston and the Frenchman E. Durand in the translations of his dramas.
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