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Vestnik Moskovskogo gosudarstvennogo oblastnogo universiteta Seriia Russkaia filologiia最新文献

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N. S. Leskov’s Linguistic View on Assessment of A. N. Ostrovsky’s Plays 列斯科夫对奥斯特罗夫斯基戏剧评价的语言学观点
Pub Date : 2023-01-01 DOI: 10.18384/2310-7278-2023-2-14-19
O. Golovacheva
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引用次数: 0
THE PROBLEM OF PERCEPTION OF THE CHURCH SLAVIC LANGUAGE IN THE CONTEXT OF THE LANGUAGE REFORM IN ORTHODOX SERVICES 正统教会语言改革背景下的教会斯拉夫语认知问题
Pub Date : 2023-01-01 DOI: 10.18384/2310-7278-2023-1-37-50
M. I. Arkhipov (Hieromonk Laurus)
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引用次数: 0
The Name of A. N. Ostrovsky in the N. S. Leskov’s Texts 列斯科夫文本中的奥斯特洛夫斯基的名字
Pub Date : 2023-01-01 DOI: 10.18384/2310-7278-2023-2-29-42
V. Ledeneva
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引用次数: 0
Lexico-Grammatical Markers of the Syntactic Time Category in A. N. Ostrovsky’s Comedy “It's a Family Affair – We’ll Settle It Ourselves” 奥斯特洛夫斯基喜剧《这是家事——我们自己来解决》句法时间范畴的词汇语法标记
Pub Date : 2023-01-01 DOI: 10.18384/2310-7278-2023-2-43-55
T. Shapovalova
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引用次数: 0
Ostrovsky in Turgenev’s Assessment: Reflections on the Prospects for a Socio-Psychological Theater 奥斯特洛夫斯基在屠格涅夫的评价中:对社会心理戏剧前景的思考
Pub Date : 2023-01-01 DOI: 10.18384/2310-7278-2023-2-66-75
Ленинские Горы, ул. Поварская
Aim. We systematize the literary-critical observations on Ostrovsky’s comedy “The Poor Bride” expressed by Turgenev in the review of this play, which are not so much a criticism of the text, but statements about the principles of the psychological theater that emerged in Russia in the middle of the 19 th century. Methodology. Use is made of the historical-cultural and comparative-typological approaches. Results. It is found that with the advent of Ostrovsky, who relied on popular culture and developed democratic theater, Turgenev became disillusioned with the possibility of creating a subtle psychological play adequate to the possibilities of stage, and that his article on “The Poor Bride” is partly an admission of his defeat. The article proves that Turgenev considers Ostrovsky not so much as an opponent in the dramatic field, but as a like-minded person. Turgenev the critic finds in Ostrovsky’s new play a deep understanding of the nature of modern man, since the most successful characters in “The Poor Bride” embody various egoistic traits in an original way. Turgenev’s criticism of the “false manner,” or “false” psychologism is significantly corrected by the support of deep psychologism, which is expressed in the so-called “sudden movements.” Turgenev’s disagreement with the principles of building the character of Ostrovsky’s central heroine is motivated by a lack of understanding of the psychological pattern of her character and the enthusiasm of the critic for Goethe’s “Faust” and the tragic image of Gretchen. On the whole, in “The Poor Bride” Turgenev sees a play that is close to his dramatic line, since he himself repeatedly turned to plots in the spirit of the “natural school”, which differed from the trend outlined by Ostrovsky in the comedy “Our people – let’s get along”. It was the failure in the dramatic field that caused Turgenev to strongly wish Ostrovsky to return to the lost path. Turgenev did not call on the playwright to abandon the psychological vector, but he acknowledged that a writer for the theater must choose very balanced decisions in the stage embodiment of the inner person. Research implications. The work is of theoretical importance, since the content of the methods of psychological reconstruction of a person in the dramatic art of the 1840s‒1850s is specified. It is also of practical importance for understanding the history of the development of Russian drama, and for concretizing the problem of the creative dialogue between Turgenev and Ostrovsky.
的目标。我们将屠格涅夫对奥斯特洛夫斯基喜剧《可怜的新娘》的文学评论系统化,这些评论并不是对剧本的批评,而是对19世纪中期在俄罗斯出现的心理戏剧原则的陈述。方法。使用历史-文化和比较-类型学方法。结果。我们发现,随着以大众文化为依托,发展民主戏剧的奥斯特洛夫斯基的出现,屠格涅夫对创作一出适合舞台可能性的微妙心理剧的可能性感到幻灭,他关于《可怜的新娘》的文章在一定程度上承认了自己的失败。这篇文章证明屠格涅夫与其说把奥斯特洛夫斯基看作戏剧领域的对手,不如说是一个志同道合的人。作为评论家的屠格涅夫在奥斯特洛夫斯基的新剧中发现了对现代人本质的深刻理解,因为《可怜的新娘》中最成功的人物都以一种原创的方式体现了各种自私的特征。屠格涅夫对“错误的态度”或“错误的”心理主义的批评,在深层心理主义的支持下得到了重大纠正,深层心理主义表现在所谓的“突然运动”中。屠格涅夫之所以不认同奥斯特洛夫斯基笔下女主角的性格塑造原则,主要是由于他对女主角的心理模式缺乏理解,以及评论家对歌德的《浮士德》和格雷琴悲剧形象的热情。总的来说,在《可怜的新娘》中,屠格涅夫看到了一个接近他的戏剧路线的剧本,因为他自己多次转向“自然学派”精神的情节,这与奥斯特洛夫斯基在喜剧“我们的人民-让我们相处”中概述的趋势不同。正是戏剧领域的失败,使屠格涅夫强烈希望奥斯特洛夫斯基回到迷失的道路上。屠格涅夫并没有要求剧作家放弃心理载体,但他承认,戏剧作家必须在舞台上选择非常平衡的决定,体现内心的人。研究的意义。该作品具有重要的理论意义,因为它明确了19世纪40年代至50年代戏剧艺术中人物心理重构方法的内容。这对于理解俄国戏剧发展史,以及具体化屠格涅夫与奥斯特洛夫斯基的创造性对话问题,都具有现实意义。
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引用次数: 0
PERCEPTION AS A NARRATIVE CATEGORY IN MIKHAIL SHISHKIN’S LARIONOV’S REMINISCENCES AND PISMOVNIK 感知作为米哈伊尔·希什金《拉里奥诺夫回忆录》和《皮斯莫夫尼克》的叙事范畴
Pub Date : 2023-01-01 DOI: 10.18384/2310-7278-2023-1-108-115
Ленинские Горы, L. Gory
Aim. The purpose of the paper is to identify modernist principles of composing a text in modern Russian literature or, to be exact, to identify a tendency for a narrative to be based on perception rather than actions. Methodology. The research investigates narrative structures of Mikhail Shishkin’s Larionov’s Reminiscences ( One Night Befalls Us All , 1993) and Pismovnik (2010). The quality of these structures correlates with theoretical ideas of Jos é Ortega y Gasset and Vladimir Weidle who postulated the crucial change in the quality of an early 20 th century literature narrative (they claimed that a traditional plot was replaced with a sequence of subjective perceptual images). It also investigates syntax and tropes of Shishkin’s novels.
的目标。本文的目的是确定现代主义在现代俄罗斯文学中构成文本的原则,或者确切地说,确定叙事基于感知而不是行动的趋势。方法。本研究考察了米哈伊尔·希什金的《拉里奥诺夫的回忆》(1993年出版)和《皮斯莫夫尼克》(2010年出版)的叙事结构。这些结构的质量与Jos Ortega y Gasset和Vladimir Weidle的理论思想有关,他们假设了20世纪早期文学叙事质量的关键变化(他们声称传统的情节被一系列主观感知图像所取代)。本文还研究了希什金小说的句法和修辞。
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引用次数: 0
OPPOSITION OF IDEAS, CHARACTERS AND FATES OF MEN AND WOMEN IN M. M. PRISHVIN’S «THE TALE OF OUR TIME» (1944) m·m·普里什文《我们时代的故事》(1944)中男女思想、性格和命运的对立
Pub Date : 2023-01-01 DOI: 10.18384/2310-7278-2023-1-8-18
L. Alekseeva
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引用次数: 0
“Russian Odyssey” by A. N. Ostrovsky (The Path of Historical Russia and the Fate of the Hero) 奥斯特罗夫斯基《俄罗斯奥德赛》(历史上的俄罗斯之路与英雄的命运)
Pub Date : 2023-01-01 DOI: 10.18384/2310-7278-2023-2-86-97
G. V. Mosaleva
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引用次数: 0
HISTORICISM OF EVERYDAY LIFE IN THE CAUCASIAN CYCLE OF LERMONTOV’S DRAWINGS OF 1840–1841 莱蒙托夫1840-1841年高加索周期绘画中日常生活的历史主义
Pub Date : 2023-01-01 DOI: 10.18384/2310-7278-2023-1-98-107
I. Kiseleva, K. Potashova
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引用次数: 0
Stylistic Significance of Analytical Constructions in the Dramatic Works of A. Ostrovsky 分析结构在奥斯特洛夫斯基戏剧作品中的文体意义
Pub Date : 2023-01-01 DOI: 10.18384/2310-7278-2023-2-20-28
E. N. Laguzova
Aim. We identify the features of the functioning of bookish analytical constructions in the replicas of the characters of A. Ostrovsky’s plays. Methodology. The paper examines the stylistic significance of descriptive verb-nominal phrases with the components to do and to have , characteristic of the language of dramatic works by A. N. Ostrovsky. Use is made of such methods of observation, generalization, and interpretation of the results. Results. In the course of the work, we show the peculiarity of the expressiveness of analytical constructions based on the stylistic mismatch of descriptive phrase and context. The deliberate inappropriate-ness of language units with bookish stylistic coloring in a dialogical replica imitating oral speech is used by A. Ostrovsky as a means of characterization of characters. Structural transformations of the nominal component of analytical constructions contribute to the emergence of an ironic meaning in the statement.
的目标。我们在奥斯特洛夫斯基戏剧人物的复制品中识别出书本式分析结构的功能特征。方法。本文考察了奥斯特罗夫斯基戏剧作品语言特征中带有to do和to have成分的描述性动名短语的文体意义。使用这样的方法来观察、概括和解释结果。结果。在工作过程中,我们展示了基于描述性短语和上下文风格不匹配的分析结构的表达特性。奥斯特洛夫斯基在模仿口语的对话复制品中故意使用带有书面语色彩的语言单位作为人物塑造的一种手段。分析结构的名义成分的结构转换有助于在陈述中出现反讽意义。
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引用次数: 0
期刊
Vestnik Moskovskogo gosudarstvennogo oblastnogo universiteta Seriia Russkaia filologiia
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