Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2023-5-2-50-71
Elena A. Fedorova, Victoria V. Lyubarets
Based on the ethical teaching of the religious thinker A. A. Ukhtomsky, the article traces and comprehends the development of the type of the Dreamer and Underground Hero in Lermontov and Dostoevsky’s stories and novels. Lermontov creates the image of the artist Lugin as a Dreamer (“Stoss”), and in the character traits of Krasinsky and Pechorin (“Princess Ligovskaya”), the features of the Underground Hero appear. In the work of Dostoevsky, the Dreamer appears not only in the story “White Nights,” but also in the story “Little Hero,” the story “Netochka Nezvanova.” The Underground Hero of Dostoevsky is depicted in the story “Notes from the Underground” and the novel “The Teenager.” The dreamers of both writers are immersed in the world of literature, music, theater, which develops their imagination. However, the characters of Dostoevsky, unlike Lermontov’s one, are able to commit an act and influence reality.
{"title":"The Dreamer and the Underground Hero of M. Yu. Lermontov and F. M. Dostoevsky in the Light of the Ethical Teachings of A. A. Ukhtomsky","authors":"Elena A. Fedorova, Victoria V. Lyubarets","doi":"10.22455/2686-7494-2023-5-2-50-71","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-2-50-71","url":null,"abstract":"Based on the ethical teaching of the religious thinker A. A. Ukhtomsky, the article traces and comprehends the development of the type of the Dreamer and Underground Hero in Lermontov and Dostoevsky’s stories and novels. Lermontov creates the image of the artist Lugin as a Dreamer (“Stoss”), and in the character traits of Krasinsky and Pechorin (“Princess Ligovskaya”), the features of the Underground Hero appear. In the work of Dostoevsky, the Dreamer appears not only in the story “White Nights,” but also in the story “Little Hero,” the story “Netochka Nezvanova.” The Underground Hero of Dostoevsky is depicted in the story “Notes from the Underground” and the novel “The Teenager.” The dreamers of both writers are immersed in the world of literature, music, theater, which develops their imagination. However, the characters of Dostoevsky, unlike Lermontov’s one, are able to commit an act and influence reality.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"81 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":"132772729","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: 10.22455/2686-7494-2023-5-2-72-89
Aleksandr D. Ivinskiy
The article is devoted to the analysis of V. K. Trediakovsky’s translation of “The True Politics of Noble Persons.” This text, the authorship of which was often attributed to F. Fenelon, influenced the development of Russian literary journalism in 1760–1770s. We show that “All Sorts of Things” (“Vsiakaia Vsiachina”) and the other literary magazines used the key ideas of savoir vivre ideology. At the same time, it was Trediakovsky who was one of the first, back in 1730s, who understood their role in shaping the ideology of absolutism. The new facts and interpretations make it possible to reconsider Trediakovsky’s reputation as a pathetic “buffoon” or even a “fool” of Russian literature, whose works were on the sidelines of the main movement of Russian culture.
{"title":"“All Sorts of Things,” Trediakovsky and “Fenelon”","authors":"Aleksandr D. Ivinskiy","doi":"10.22455/2686-7494-2023-5-2-72-89","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-2-72-89","url":null,"abstract":"The article is devoted to the analysis of V. K. Trediakovsky’s translation of “The True Politics of Noble Persons.” This text, the authorship of which was often attributed to F. Fenelon, influenced the development of Russian literary journalism in 1760–1770s. We show that “All Sorts of Things” (“Vsiakaia Vsiachina”) and the other literary magazines used the key ideas of savoir vivre ideology. At the same time, it was Trediakovsky who was one of the first, back in 1730s, who understood their role in shaping the ideology of absolutism. The new facts and interpretations make it possible to reconsider Trediakovsky’s reputation as a pathetic “buffoon” or even a “fool” of Russian literature, whose works were on the sidelines of the main movement of Russian culture.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"20 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":"121948655","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: 10.22455/2868-7494-2021-3-3-206-217
A. Fedorov
In the review, V. A. Kotelnikov’s new book “Alexei Konstantinovich Tolstoy in Life and Literature” is regarded as a scientific discovery. The author lists various aspects of the great work that became the discovery of the personality of Alexei Konstantinovich Tolstoy (the circumstances of his life, relations with contemporaries, opinions on pressing issues, philosophical reflections, etc.), the discovery of A. K. Tolstoy’s works, keeping many mysteries, the discovery of some of his remarkable contemporaries, the discovery of the time of the earthly existence of the writer and poet who lived and worked in a difficult transitional historical era. The review notes that the book by V. A. Kotelnikov is remarkable for the discovery of the historical and cultural era of the middle of the 19th century in her biggest achievements, characteristic tendencies. The author emphasizes the breadth and encyclopedic knowledge of the author of the new research, which is a necessary condition for creating a book about a personality of the scale of A. K. Tolstoy. The style of the new edition is assessed, the main substantive aspects considered by the author are given, the importance of labor in modern literary criticism is shown. The book by V. A. Kotelnikov through dialogue, analogies and comparisons with the creative personality of the writer of the golden age of the classics also becomes a discovery of himself for the modern reader.
{"title":"Alexey Konstantinovich Tolstoy as a Discovery","authors":"A. Fedorov","doi":"10.22455/2868-7494-2021-3-3-206-217","DOIUrl":"https://doi.org/10.22455/2868-7494-2021-3-3-206-217","url":null,"abstract":"In the review, V. A. Kotelnikov’s new book “Alexei Konstantinovich Tolstoy in Life and Literature” is regarded as a scientific discovery. The author lists various aspects of the great work that became the discovery of the personality of Alexei Konstantinovich Tolstoy (the circumstances of his life, relations with contemporaries, opinions on pressing issues, philosophical reflections, etc.), the discovery of A. K. Tolstoy’s works, keeping many mysteries, the discovery of some of his remarkable contemporaries, the discovery of the time of the earthly existence of the writer and poet who lived and worked in a difficult transitional historical era. The review notes that the book by V. A. Kotelnikov is remarkable for the discovery of the historical and cultural era of the middle of the 19th century in her biggest achievements, characteristic tendencies. The author emphasizes the breadth and encyclopedic knowledge of the author of the new research, which is a necessary condition for creating a book about a personality of the scale of A. K. Tolstoy. The style of the new edition is assessed, the main substantive aspects considered by the author are given, the importance of labor in modern literary criticism is shown. The book by V. A. Kotelnikov through dialogue, analogies and comparisons with the creative personality of the writer of the golden age of the classics also becomes a discovery of himself for the modern reader.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"40 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":"123919912","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: 10.22455/2686-7494-2022-4-2-194-213
Vladimir L. Korovin
The final verses (12–15) of Psalm 143 (144) are read differently in Greek and Jewish versions: the first is about the temporary well-being of sinners, while the second is about the bliss of the righteous. In the Church tradition, the Greek version, which included all the Patristic interpretations adopted by the Orthodox and Catholics, was considered canonical. The Jewish version in Russia was known from foreign translations until 1822. The first biblical paraphrases in Russian poetry of the 18th century were the paraphrases of Psalm 143, made in 1743 by Lomonosov, Trediakovsky and Sumarokov according to the Greek-Slavic version. This article discusses some later paraphrases of Psalm 143, the authors of which also had to make a choice between two versions of the original text. The example of Lomonosov was followed by N. P. Nikolev, G. A. Pakatsky and V. K. Kuchelbecker, as well as E. V. Karneev. The Jewish version was used by A. M. Kotelnitsky and N. M. Shatrov. The paraphrase of F. N. Glinka was regardless of the discrepancy between two versions of Psalm 143. The most interesting are the poems of Kuchelbecker and Shatrov. The article also clarifies the circumstances of the creation of some paraphrases and notes cases of their textual dependence on the “Psalter in the Russian Language” published by the Russian Bible Society and “Commentary on the Psalter” compiled by Archbishop Irenaeus (Klementievsky).
《诗篇》143篇(144)的最后几节(12-15节)在希腊文和犹太文的版本中有不同的解读:第一节是关于罪人暂时的幸福，第二节是关于义人的幸福。在教会传统中，希腊版本包含了东正教和天主教徒所采用的所有教父的解释，被认为是正典。直到1822年，俄罗斯的犹太版本才从外国译本中得知。18世纪俄罗斯诗歌中最早的圣经释义是1743年由罗蒙诺索夫、特雷迪亚科夫斯基和苏马洛科夫根据希腊斯拉夫语版本改写的《诗篇》143篇。这篇文章讨论了后来对诗篇143的一些解释，这些作者也不得不在两个版本的原始文本之间做出选择。罗蒙诺索夫的榜样被n.p.尼古拉夫、g.a.帕卡茨基和v.k.库切贝克以及e.v.卡尔尼夫所效仿。犹太版本由A. M. Kotelnitsky和N. M. Shatrov使用。F. N.格林卡(f.n. Glinka)不顾两个版本的诗篇143之间的差异。最有趣的是Kuchelbecker和Shatrov的诗。文章还澄清了一些改写的创作情况，并指出了它们的文本依赖于俄罗斯圣经协会出版的“俄语诗篇”和大主教Irenaeus (klementevsky)编写的“诗篇注释”的情况。
{"title":"Two Versions of Psalm 143 in Paraphrases of Russian Poets of the Late 18 – First Half of the 19 century","authors":"Vladimir L. Korovin","doi":"10.22455/2686-7494-2022-4-2-194-213","DOIUrl":"https://doi.org/10.22455/2686-7494-2022-4-2-194-213","url":null,"abstract":"The final verses (12–15) of Psalm 143 (144) are read differently in Greek and Jewish versions: the first is about the temporary well-being of sinners, while the second is about the bliss of the righteous. In the Church tradition, the Greek version, which included all the Patristic interpretations adopted by the Orthodox and Catholics, was considered canonical. The Jewish version in Russia was known from foreign translations until 1822. The first biblical paraphrases in Russian poetry of the 18th century were the paraphrases of Psalm 143, made in 1743 by Lomonosov, Trediakovsky and Sumarokov according to the Greek-Slavic version. This article discusses some later paraphrases of Psalm 143, the authors of which also had to make a choice between two versions of the original text. The example of Lomonosov was followed by N. P. Nikolev, G. A. Pakatsky and V. K. Kuchelbecker, as well as E. V. Karneev. The Jewish version was used by A. M. Kotelnitsky and N. M. Shatrov. The paraphrase of F. N. Glinka was regardless of the discrepancy between two versions of Psalm 143. The most interesting are the poems of Kuchelbecker and Shatrov. The article also clarifies the circumstances of the creation of some paraphrases and notes cases of their textual dependence on the “Psalter in the Russian Language” published by the Russian Bible Society and “Commentary on the Psalter” compiled by Archbishop Irenaeus (Klementievsky).","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"15 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":"130603441","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: 10.22455/2686-7494-2021-3-4-24-45
Maria R. Nenarokova
The article focuses on a little-known poem “Flowers” by P. A. Vyazemsky. The history of the poem, its genre and content are under consideration. The works of French light poetry belonging to the subgenre “bouquet poem” and written in the period from 1803 to 1822 were taken as material for comparison. The research relevance lies in the need to consider the interaction of two phenomena of French culture, light poetry and the language of flowers, and their adaptation by Russian culture. The novelty of the research lies in highlighting the subgenre of light poetry “bouquet poem”, in considering the circumstances of creation of the poem “Flowers” and in studying the list of plants mentioned by Vyazemsky in this poem from the point of view of the language of flowers. The study showed that the poem “Flowers” could be written as a poetic tribute to the memory of the playwright Ozerov. It testifies to the strong influence of French literature on Vyazemsky’s work. In terms of structure, composition and set of loci communes, it fully meets the requirements for a “bouquet poem”. Vyazemsky was familiar with all the European traditions of the language of flowers, while he himself created new meanings for some of the plants mentioned in the poem.
{"title":"The Poem “Flowers” by P. A. Vyazemsky as an Evidence of Franco-Russian Literary and Cultural Relations","authors":"Maria R. Nenarokova","doi":"10.22455/2686-7494-2021-3-4-24-45","DOIUrl":"https://doi.org/10.22455/2686-7494-2021-3-4-24-45","url":null,"abstract":"The article focuses on a little-known poem “Flowers” by P. A. Vyazemsky. The history of the poem, its genre and content are under consideration. The works of French light poetry belonging to the subgenre “bouquet poem” and written in the period from 1803 to 1822 were taken as material for comparison. The research relevance lies in the need to consider the interaction of two phenomena of French culture, light poetry and the language of flowers, and their adaptation by Russian culture. The novelty of the research lies in highlighting the subgenre of light poetry “bouquet poem”, in considering the circumstances of creation of the poem “Flowers” and in studying the list of plants mentioned by Vyazemsky in this poem from the point of view of the language of flowers. The study showed that the poem “Flowers” could be written as a poetic tribute to the memory of the playwright Ozerov. It testifies to the strong influence of French literature on Vyazemsky’s work. In terms of structure, composition and set of loci communes, it fully meets the requirements for a “bouquet poem”. Vyazemsky was familiar with all the European traditions of the language of flowers, while he himself created new meanings for some of the plants mentioned in the poem.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"27 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":"131382965","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: 10.22455/2686-7494-2021-3-2-150-167
O. Fetisenko
A holistic and close study of journalism, works of art and letters of K. N. Leontiev allows the author of the article to show the formation of the writer’s views, designated by him at the end of his life with the words “my ascetic philosophy”, the context they existed in and his vocabulary changes. The work discusses Leontiev’s creative, philosophical and personal interest to the issues of life of the spirit, the dynamics of his views, it is shown, how in the 1860s Leontiev comes from an aesthetic interest in the Church and its political defense in consular posts to a thirst for faith. The author pays special attention to the idea and concept of obedience, which are associated with Leontiev's idea of “transcendental egoism”, focusing on personal salvation. Behind the idea of obedience, Leontiev thinks about self-condemnation. The writer and thinker clearly explains the interdependence and interdependence of two principles, the “world” and the “monastery”; for Leontiev, monastery culture becomes a synonym for Orthodox culture. Leontiev tried to introduce ascetic principles of discipline and “sobriety” into his own artistic creation, and not only into content, but also into “performance”, applying in practice the rules that he formulated later in his famous article Analysis, Style and Trends.
{"title":"Konstantin Leontiev’s “Ascetic Philosophy”: Thesaurus and Context","authors":"O. Fetisenko","doi":"10.22455/2686-7494-2021-3-2-150-167","DOIUrl":"https://doi.org/10.22455/2686-7494-2021-3-2-150-167","url":null,"abstract":"A holistic and close study of journalism, works of art and letters of K. N. Leontiev allows the author of the article to show the formation of the writer’s views, designated by him at the end of his life with the words “my ascetic philosophy”, the context they existed in and his vocabulary changes. The work discusses Leontiev’s creative, philosophical and personal interest to the issues of life of the spirit, the dynamics of his views, it is shown, how in the 1860s Leontiev comes from an aesthetic interest in the Church and its political defense in consular posts to a thirst for faith. The author pays special attention to the idea and concept of obedience, which are associated with Leontiev's idea of “transcendental egoism”, focusing on personal salvation. Behind the idea of obedience, Leontiev thinks about self-condemnation. The writer and thinker clearly explains the interdependence and interdependence of two principles, the “world” and the “monastery”; for Leontiev, monastery culture becomes a synonym for Orthodox culture. Leontiev tried to introduce ascetic principles of discipline and “sobriety” into his own artistic creation, and not only into content, but also into “performance”, applying in practice the rules that he formulated later in his famous article Analysis, Style and Trends.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"11 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":"115056199","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: 10.22455/2686-7494-2020-2-4-186-207
M. Shcherbakova
The article presents the creative history of “A Trip through Italy” — an extensive section of “The Book of My Life”, a memoir and journalistic work of Bishop Porphyrius (worldly Konstantin Uspensky), who was an orientalist and a Byzantologist, a paleographer and an archaeologist. The basis for “A Trip through Italy” was the entries in his diary about his acquaintance with Italy in May to August, 1854. When preparing his work, Bishop Porphyrius significantly supplemented the travel notes with materials from rare publications. Thus, the narrative took the form of a unique historical and cultural source, the compositional core of which remained a journey through Italy. Bishop Porphyrius recorded the state of historical monuments, architectural masterpieces, and urban planning. These professional observations, often accompanied by drawings, acquire special value as evidence with history of a century and a half. In art galleries in Italy, Bishop Porphyrius stated in detail information about the number of exhibition rooms in his travel book, as well as about the location of paintings on their walls, describing not only the content of the paintings, but also his own impressions, which form a well-founded idea of the author’s aesthetic credo. Equally meticulous are the book collections, the treasures of the sacristy of many Italian cathedrals and the basilicas. In “A Trip through Italy” the author appears as a deep connoisseur and scrupulous researcher of Italian art.
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Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2023-5-2-168-181
A. Gulin
The article is based on the author’s personal memories of meetings, cooperation and conversations with the outstanding Russian philologist Pyotr Vasilyevich Palievsky. Being a scientist of exceptional range, Palievsky has received wide recognition in Russia and abroad as the author of classic studies. The author of the article tries to determine the essential features of his contribution to the theory of literary image, the study of the nature of artistic values, the identification of patterns of the literary process. Palievsky’s books and articles, public speeches, oral judgments about writers, about Russian and world artistic culture, about the fate of Russia in the turbulent movement of humanity express scholar’s holistic, original system of views on man and the world. Using the example of individual life episodes and statements of the scientist, the article reveals a personality unique to Russian literary studies, cultural studies, social studies in terms of the degree of involvement in world ideological processes and almost all-encompassing breadth of horizons. The article highlightes activity of Palievsky as the service to his Fatherland of a richly gifted scientist-patriot, continuer and keeper of the national tradition in Russian philology.
{"title":"Time of Palievsky","authors":"A. Gulin","doi":"10.22455/2686-7494-2023-5-2-168-181","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-2-168-181","url":null,"abstract":"The article is based on the author’s personal memories of meetings, cooperation and conversations with the outstanding Russian philologist Pyotr Vasilyevich Palievsky. Being a scientist of exceptional range, Palievsky has received wide recognition in Russia and abroad as the author of classic studies. The author of the article tries to determine the essential features of his contribution to the theory of literary image, the study of the nature of artistic values, the identification of patterns of the literary process. Palievsky’s books and articles, public speeches, oral judgments about writers, about Russian and world artistic culture, about the fate of Russia in the turbulent movement of humanity express scholar’s holistic, original system of views on man and the world. Using the example of individual life episodes and statements of the scientist, the article reveals a personality unique to Russian literary studies, cultural studies, social studies in terms of the degree of involvement in world ideological processes and almost all-encompassing breadth of horizons. The article highlightes activity of Palievsky as the service to his Fatherland of a richly gifted scientist-patriot, continuer and keeper of the national tradition in Russian philology.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"1 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":"123246595","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: 10.22455/2686-7494-2022-4-2-64-81
V. A. Domanskiy
I. S. Turgenev passes a difficult way in creating his artistic typification of characters, from images of romantic heroes and social types to psychological types in “A Sportsman’s Sketches” and short stories of the 1850s. Already in the essay “Khor and Kalinych” the writer acted as a true innovator. He not only depicted two peasants in their natural environment, but for the first time in Russian literature he created two psychological types of a peasant, found in Russia in a variety of forms and a different combination of characteristic features. In later stories (“The Lull,” “Torrents of Spring”), Turgenev uses new techniques for modeling characters and revealing their psychology: “cinematic” methods of portraying, the use of artistic mirrors, literary reminiscences and allusions. In his novels, characters appear as unique personalities — individuals. The highest level of typification of characters in Turgenev’s works is to consider them as cultural types — Hamlet and Don Quixote and their modifications, which can be traced in his novels “Rudin,” “On the Eve,” “Fathers and Sons.”
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Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2021-3-4-6-23
Liubov А. Sapchenko
The article examines the forms and methods of manifestation of Karamzin’s civic position. The novelty of the approach lies in the fact that the stated problem is considered in the context of the literary evolution of the writer, in chronological sequence, as well as in the aspect of addressing. The author analyzes odes dedicated to Russian rulers, “Historical praise to Catherine II”, historical essays, journalistic articles by Karamzin, “History of the Russian state”, a note “On ancient and new Russia...”, “Opinion of a Russian citizen”, as well as the historiographer’s direct oral and written appeals to Emperor Alexander (conversations with him, letters to him). In the course of the study, the image of the Russian historian-citizen, proclaimer of truth, a wise mentor, who appears as an intermediary between the people and the government, indicates to the monarch and compatriots specific directions and methods of activity, is revealed. That makes obvious Karamzin’s transition from mythologizing Russian rulers in the genre of ode and “Historical Praise to Catherine” to documentary substantiation and rigor in their assessment, to direct instructions to the tsar in the note “On Ancient and New Russia...”, in the “Opinion of a Russian Citizen” and, finally, to the eloquent silence.
{"title":"“I Kept No Silence...” (on the Peculiarities of N. M. Karamzin’s Civil Position)","authors":"Liubov А. Sapchenko","doi":"10.22455/2686-7494-2021-3-4-6-23","DOIUrl":"https://doi.org/10.22455/2686-7494-2021-3-4-6-23","url":null,"abstract":"The article examines the forms and methods of manifestation of Karamzin’s civic position. The novelty of the approach lies in the fact that the stated problem is considered in the context of the literary evolution of the writer, in chronological sequence, as well as in the aspect of addressing. The author analyzes odes dedicated to Russian rulers, “Historical praise to Catherine II”, historical essays, journalistic articles by Karamzin, “History of the Russian state”, a note “On ancient and new Russia...”, “Opinion of a Russian citizen”, as well as the historiographer’s direct oral and written appeals to Emperor Alexander (conversations with him, letters to him). In the course of the study, the image of the Russian historian-citizen, proclaimer of truth, a wise mentor, who appears as an intermediary between the people and the government, indicates to the monarch and compatriots specific directions and methods of activity, is revealed. That makes obvious Karamzin’s transition from mythologizing Russian rulers in the genre of ode and “Historical Praise to Catherine” to documentary substantiation and rigor in their assessment, to direct instructions to the tsar in the note “On Ancient and New Russia...”, in the “Opinion of a Russian Citizen” and, finally, to the eloquent silence.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"26 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":"126266795","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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