Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2022-4-1-68-117
V. Melnik
“Dead Souls” by N. V. Gogol, the novel trilogy by I. A. Goncharov, “The Brothers Karamazov” by F. M. Dostoevsky form the line of “Dante’s epic” in Russian literature. Solving the problems of historical mission of Russia in the modern world and the fate of modern Russian man in a purely theological key, all three authors deeply and creatively comprehended the question of three-part structure of “The Divine Comedy.” Within the framework of “national utopia” (Gogol), the historically defined image of Russia’s movement from “sleep” to “awakening” (Goncharov), the ideal of “Christian socialism” (Dostoevsky), Russian writers raised the question of fundamental possibility of spiritual transformation for an individual and a nation, indicated for a modern man, infected with apostasy and selfishness, the way from the “hell” of modern life to the religious ideal, to the “paradise,” which all three considered achievable even in earthly life, although they understood it differently. The appearance of the “Dante’s epic” in Russian literature is predetermined, in particular, by its organic attraction to the Orthodox worldview, which determined the centuries-old productivity in art of such an archetype of human behavior as “sin — repentance — resurrection.”
{"title":"Dante’s Epic in Russian Literature: N. V. Gogol, I. A. Goncharov, F. M. Dostoevsky","authors":"V. Melnik","doi":"10.22455/2686-7494-2022-4-1-68-117","DOIUrl":"https://doi.org/10.22455/2686-7494-2022-4-1-68-117","url":null,"abstract":"“Dead Souls” by N. V. Gogol, the novel trilogy by I. A. Goncharov, “The Brothers Karamazov” by F. M. Dostoevsky form the line of “Dante’s epic” in Russian literature. Solving the problems of historical mission of Russia in the modern world and the fate of modern Russian man in a purely theological key, all three authors deeply and creatively comprehended the question of three-part structure of “The Divine Comedy.” Within the framework of “national utopia” (Gogol), the historically defined image of Russia’s movement from “sleep” to “awakening” (Goncharov), the ideal of “Christian socialism” (Dostoevsky), Russian writers raised the question of fundamental possibility of spiritual transformation for an individual and a nation, indicated for a modern man, infected with apostasy and selfishness, the way from the “hell” of modern life to the religious ideal, to the “paradise,” which all three considered achievable even in earthly life, although they understood it differently. The appearance of the “Dante’s epic” in Russian literature is predetermined, in particular, by its organic attraction to the Orthodox worldview, which determined the centuries-old productivity in art of such an archetype of human behavior as “sin — repentance — resurrection.”","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","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":"116553431","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: 10.22455/2686-7494-2022-4-1-242-271
Türkan Olcay
The article is an analytical review of the two-volume special issue of Turkey’s largest monthly literary journal “HECE” dedicated to the 200th anniversary of F. M. Dostoevsky. More than 80 scientists from Turkey, Russia, Ukraine, Bulgaria, Azerbaijan, Armenia, Iran and America took part in the anniversary collective work. The problematic and thematic diversity of the prepared issue reflects relevance and enduring significance of the great Russian writer’s key ideas for the modern world. Works in the issue, emphasizing the depth and indissoluble unity of Dostoevsky’s moral and ethical concepts, and the artistic and aesthetic systems created by him, also convince readers of the inexhaustible potential inherent in the literary heritage of the brilliant thinker and artist. Studies of Dostoevsky’s novels, short stories and journalistic works, collected under the same cover of the journal, are considered in the context of the writer’s entire literary work and in connection with the main vectors of the world literary process. The publication brilliantly implementes the idea of the head of the “HECE” publishing company Mr Omer Faruk Ergezen, and is carried out with high professionalism of the editor, Professor of Ankara University Birsen Karaca.
{"title":"F. M. Dostoevsky’s Anniversary on the Pages of Turkish Literary Journal “HECE”","authors":"Türkan Olcay","doi":"10.22455/2686-7494-2022-4-1-242-271","DOIUrl":"https://doi.org/10.22455/2686-7494-2022-4-1-242-271","url":null,"abstract":"The article is an analytical review of the two-volume special issue of Turkey’s largest monthly literary journal “HECE” dedicated to the 200th anniversary of F. M. Dostoevsky. More than 80 scientists from Turkey, Russia, Ukraine, Bulgaria, Azerbaijan, Armenia, Iran and America took part in the anniversary collective work. The problematic and thematic diversity of the prepared issue reflects relevance and enduring significance of the great Russian writer’s key ideas for the modern world. Works in the issue, emphasizing the depth and indissoluble unity of Dostoevsky’s moral and ethical concepts, and the artistic and aesthetic systems created by him, also convince readers of the inexhaustible potential inherent in the literary heritage of the brilliant thinker and artist. Studies of Dostoevsky’s novels, short stories and journalistic works, collected under the same cover of the journal, are considered in the context of the writer’s entire literary work and in connection with the main vectors of the world literary process. The publication brilliantly implementes the idea of the head of the “HECE” publishing company Mr Omer Faruk Ergezen, and is carried out with high professionalism of the editor, Professor of Ankara University Birsen Karaca.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"28 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":"133226425","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: 10.22455/2686-7494-2021-3-4-46-57
Lyudmila V. Deryugina
The well-known reports of T. G. Pashchenko and A. A. Iovsky about I. I. Dmitriev’s meeting with N. V. Gogol in the summer of 1832 in Moscow are considered. An attempt is made to overestimate the text of T. G. Pashchenko’s memoirs, which is considered unreliable, and to show that the information contained there about the first acquaintance of these writers in its main part is consistently combined with the data of other sources that do not raise doubts. It echoes, first of all, with the record of A. A. Iovsky, recently attributed by S. I. Panov, about Gogol’s visit to Dmitriev’s house, as well as with the memoirs of S. T. Aksakov. Memory errors in T. G. Pashchenko’s story can be explained by the temporal remoteness of events and the indirect transmission of information through the retelling of several persons. Separately, it is proposed to consider another significant episode from T. G. Pashchenko’s memoirs — the scene of the author’s reading of the comedy “Marriage”, which supposedly took place at Dmitriev’s. This scene requires new understanding and temporary localization, regardless of I. I. Dmitriev and his meeting with Gogol.
T. G.帕什琴科和A. A.约夫斯基关于1832年夏天德米特里耶夫在莫斯科会见N. V.果戈理的著名报告，现予以考虑。T. G. Pashchenko的回忆录被认为是不可靠的，试图高估它的文本，并表明其中包含的关于这些作家的第一次认识的信息在其主要部分始终与其他来源的数据相结合，不会引起怀疑。首先，它与s·i·帕诺夫(S. I. Panov)最近引用的a·a·约夫斯基(A. A. Iovsky)关于果戈理拜访德米特里耶夫家的记录，以及s·t·阿克萨科夫(S. T. Aksakov)的回忆录相呼应。T. G. Pashchenko故事中的记忆错误可以通过事件的时间距离性和通过几个人的复述间接传递信息来解释。另外，建议考虑T. G. Pashchenko回忆录中的另一个重要情节-作者阅读喜剧“婚姻”的场景，据说发生在Dmitriev家。这个场景需要新的理解和暂时的定位，不管我。我。德米特里耶夫和他与果戈理的会面。
{"title":"Memories of Gogol’s Meeting with I. I. Dmitriev in Moscow: Reliability Issue","authors":"Lyudmila V. Deryugina","doi":"10.22455/2686-7494-2021-3-4-46-57","DOIUrl":"https://doi.org/10.22455/2686-7494-2021-3-4-46-57","url":null,"abstract":"The well-known reports of T. G. Pashchenko and A. A. Iovsky about I. I. Dmitriev’s meeting with N. V. Gogol in the summer of 1832 in Moscow are considered. An attempt is made to overestimate the text of T. G. Pashchenko’s memoirs, which is considered unreliable, and to show that the information contained there about the first acquaintance of these writers in its main part is consistently combined with the data of other sources that do not raise doubts. It echoes, first of all, with the record of A. A. Iovsky, recently attributed by S. I. Panov, about Gogol’s visit to Dmitriev’s house, as well as with the memoirs of S. T. Aksakov. Memory errors in T. G. Pashchenko’s story can be explained by the temporal remoteness of events and the indirect transmission of information through the retelling of several persons. Separately, it is proposed to consider another significant episode from T. G. Pashchenko’s memoirs — the scene of the author’s reading of the comedy “Marriage”, which supposedly took place at Dmitriev’s. This scene requires new understanding and temporary localization, regardless of I. I. Dmitriev and his meeting with Gogol.","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":"130775786","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: 10.22455/2686-7494-2021-3-2-62-95
Ludmila G. Shakirova
The article examines the poorly studied material concerning Tyutchev, dedicated to the interconnection of symbolism in the poet's works. Based on the analysis of poems, the article proves that the relationship between time and eternity (dating back to antiquity) is the main meaning-forming and connecting principle of Tyutchev’s symbolic system. The author pays special attention to the poem Day and Night, the quintessence of the poet's worldview. The analysis of the poems The Feast is Over, The Swan, The Soul Would Like to Be a Star given in the article makes it possible to understand that time in the lyrics of Tyutchev's nature is constantly associated with the change and movement that are characteristic of the bottom (“dolny world”, the world of “day”); eternity — with a state of immobility and immutability, characteristic of the upper, remote from the “dolny smoke” — infinite space. It is proved that due to the main philosophical opposition between time and eternity, the poet introduces new examples of oppositions, and strengthens the antithetical nature of his entire system. Tyutchev’s symbolic system splits into two hierarchical levels, opposite and at the same time interconnected with each other, each of which is represented by the corresponding links of oppositions, which, in turn, are assigned to a certain scale of values that determine the semantics of time and eternity.
{"title":"Symbols of Time and Eternity in F. I. Tyutchev’s Nature Lyrics","authors":"Ludmila G. Shakirova","doi":"10.22455/2686-7494-2021-3-2-62-95","DOIUrl":"https://doi.org/10.22455/2686-7494-2021-3-2-62-95","url":null,"abstract":"The article examines the poorly studied material concerning Tyutchev, dedicated to the interconnection of symbolism in the poet's works. Based on the analysis of poems, the article proves that the relationship between time and eternity (dating back to antiquity) is the main meaning-forming and connecting principle of Tyutchev’s symbolic system. The author pays special attention to the poem Day and Night, the quintessence of the poet's worldview. The analysis of the poems The Feast is Over, The Swan, The Soul Would Like to Be a Star given in the article makes it possible to understand that time in the lyrics of Tyutchev's nature is constantly associated with the change and movement that are characteristic of the bottom (“dolny world”, the world of “day”); eternity — with a state of immobility and immutability, characteristic of the upper, remote from the “dolny smoke” — infinite space. It is proved that due to the main philosophical opposition between time and eternity, the poet introduces new examples of oppositions, and strengthens the antithetical nature of his entire system. Tyutchev’s symbolic system splits into two hierarchical levels, opposite and at the same time interconnected with each other, each of which is represented by the corresponding links of oppositions, which, in turn, are assigned to a certain scale of values that determine the semantics of time and eternity.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"119 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":"114568649","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: 10.22455/2686-7494-2021-3-4-164-181
O. Fetisenko
Continuing the study of the life and work of Kokhanovskaya (N. S. Sokhanskaya), in this article the author introduces into scientific circulation large fragments of her unpublished letters to A. V. Pletneva (P. A. Pletnev’s widow) and M. O. Mozgova (Kokhanovskaya’s niece) and comes to the assertion that these epistolary materials can be considered not only as confessional prose, but as examples of Christian ascetic and teaching literature. A similar approach to Kokhanovskaya’s letters was outlined back in the 19th century by the famous bibliographer S. Ponomarev, who vainly tried to interest K. P. Pobedonostsev in this subject. The quoted texts, which constitute a kind of continuation of Sokhanskaya’s famous autobiography, refute in the best possible way the opinion voiced in one of the modern articles about Kokhanovskaya, the author of which called the writer’s life “a joyless vegetation”.
继续研究科哈诺夫斯卡娅(n.s. Sokhanskaya)的生活和工作，在这篇文章中，作者将她写给A. V. Pletnev (P. A. Pletnev的遗孀)和M. O. Mozgova(科哈诺夫斯卡娅的侄女)的未发表信件的大量片段引入科学流通，并断言这些书信材料不仅可以被视为忏悔散文，而且可以被视为基督教禁欲主义和教学文学的例子。早在19世纪，著名的目目学家S.波诺马廖夫(S. Ponomarev)就对科哈诺夫斯卡娅的信件提出了类似的方法，他徒劳地试图引起K. P.波别多诺斯采夫对这个问题的兴趣。所引用的文本构成了Sokhanskaya著名自传的延续，以最好的方式驳斥了一篇关于Kokhanovskaya的现代文章中所表达的观点，该文章的作者称作家的生活为“无趣的植物”。
{"title":"Letters of N.S. Sokhanskaya (Kokhanovskaya) as an Attempt of “Spiritual Autobiography”","authors":"O. Fetisenko","doi":"10.22455/2686-7494-2021-3-4-164-181","DOIUrl":"https://doi.org/10.22455/2686-7494-2021-3-4-164-181","url":null,"abstract":"Continuing the study of the life and work of Kokhanovskaya (N. S. Sokhanskaya), in this article the author introduces into scientific circulation large fragments of her unpublished letters to A. V. Pletneva (P. A. Pletnev’s widow) and M. O. Mozgova (Kokhanovskaya’s niece) and comes to the assertion that these epistolary materials can be considered not only as confessional prose, but as examples of Christian ascetic and teaching literature. A similar approach to Kokhanovskaya’s letters was outlined back in the 19th century by the famous bibliographer S. Ponomarev, who vainly tried to interest K. P. Pobedonostsev in this subject. The quoted texts, which constitute a kind of continuation of Sokhanskaya’s famous autobiography, refute in the best possible way the opinion voiced in one of the modern articles about Kokhanovskaya, the author of which called the writer’s life “a joyless vegetation”.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"53 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":"114660250","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: 10.22455/2686-7494-2022-4-1-6-57
I. Vinogradov
The creative history of N. V. Gogol’s article “What is Finally the Essence of Russian Poetry and Its Peculiarity,” the most voluminous chapter of his book “Selected Passages from Correspondence with Friends” (1847), and its relation to the poem “Dead Souls” are studied. Three long stages of Gogol’s work on the article, which ended with the burning of manuscripts, and the fourth, which ended with its publication, reveal a close connection with the content of the poem. Evidence of simultaneous maturation of the ideas of the article and the poem in the 1830s is summarized. It is proved that the article was prepared by Gogol for P. A. Pletnev’s journal “Sovremennik.” Unknown data on the second stage of work on the article in 1841–1842 are introduced into scientific circulation, the expansion of concept of the article at the third stage in 1843–1845, which led to its inclusion in the book of letters to friends in 1846, is traced. It is emphasized that, created over more than ten years, the article contains the final reflections of the writer on the importance of literature in the public and state life of Russia and is an irreplaceable auto-commentary to “Dead Souls.”
{"title":"“Three Epochs” of the Creation of Nikolai Gogol’s Article on Russian Poetry. To the 175th Anniversary of “Selected Passages from Correspondence with Friends”","authors":"I. Vinogradov","doi":"10.22455/2686-7494-2022-4-1-6-57","DOIUrl":"https://doi.org/10.22455/2686-7494-2022-4-1-6-57","url":null,"abstract":"The creative history of N. V. Gogol’s article “What is Finally the Essence of Russian Poetry and Its Peculiarity,” the most voluminous chapter of his book “Selected Passages from Correspondence with Friends” (1847), and its relation to the poem “Dead Souls” are studied. Three long stages of Gogol’s work on the article, which ended with the burning of manuscripts, and the fourth, which ended with its publication, reveal a close connection with the content of the poem. Evidence of simultaneous maturation of the ideas of the article and the poem in the 1830s is summarized. It is proved that the article was prepared by Gogol for P. A. Pletnev’s journal “Sovremennik.” Unknown data on the second stage of work on the article in 1841–1842 are introduced into scientific circulation, the expansion of concept of the article at the third stage in 1843–1845, which led to its inclusion in the book of letters to friends in 1846, is traced. It is emphasized that, created over more than ten years, the article contains the final reflections of the writer on the importance of literature in the public and state life of Russia and is an irreplaceable auto-commentary to “Dead Souls.”","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"290 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":"133634114","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: 10.22455/2686-7494-2022-4-2-42-63
S. Zhdanov
The paper deals with German spatial images represented in the travelogue “Parisian Letters with Notes about Denmark, Germany, Holland and Belgium” by N. I. Gretsch in connection with the tradition of describing Germany in Russian literature of the 19th century. Several types of spaces are determined in the text by Gretsch. One of them is formed by deminatural and home idyllic loci for which the motives of orderliness, coziness, cleanness, lightness, domesticity, plentifulness, visual appeal are typical. There is a connection of this spatial kind with the sentimental world-image of Germany in Russian literature represented in its ‘wasted’ variant having no expression. Urban German loci are also marked with the motif of orderliness connected with the space not of the idyll but of the modern rational civilization. Prussia is determined as the main center of ordering the German space and contrasted with several conflicted liminal places bordering France and Denmark. Describing regulated non-idyllic, liminal as well as historical loci of Germany tends to the neutral factual world-image. Finally, there are some elements of the travestycomical German narrative mode in the text by Gretsch, they basically deal with representing the German philistine space.
{"title":"“On the Beaten Path of Russian Tourists”: Representation of the Germany Space in “Parisian Letters with Notes About Denmark, Germany, Holland and Belgium” by N. I. Gretsch","authors":"S. Zhdanov","doi":"10.22455/2686-7494-2022-4-2-42-63","DOIUrl":"https://doi.org/10.22455/2686-7494-2022-4-2-42-63","url":null,"abstract":"The paper deals with German spatial images represented in the travelogue “Parisian Letters with Notes about Denmark, Germany, Holland and Belgium” by N. I. Gretsch in connection with the tradition of describing Germany in Russian literature of the 19th century. Several types of spaces are determined in the text by Gretsch. One of them is formed by deminatural and home idyllic loci for which the motives of orderliness, coziness, cleanness, lightness, domesticity, plentifulness, visual appeal are typical. There is a connection of this spatial kind with the sentimental world-image of Germany in Russian literature represented in its ‘wasted’ variant having no expression. Urban German loci are also marked with the motif of orderliness connected with the space not of the idyll but of the modern rational civilization. Prussia is determined as the main center of ordering the German space and contrasted with several conflicted liminal places bordering France and Denmark. Describing regulated non-idyllic, liminal as well as historical loci of Germany tends to the neutral factual world-image. Finally, there are some elements of the travestycomical German narrative mode in the text by Gretsch, they basically deal with representing the German philistine space.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"25 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":"133270048","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: 10.22455/2686-7494-2021-3-2-120-137
I. V. Pyrkov
The article is devoted to the analysis of the artistic functions of the image of newspaper in the novel by I. A. Goncharov Oblomov and the comprehension of moral and philosophical results of the confrontation of protagonist with the profane information challenges of the external environment. Particular attention is paid to the semantic content of the Oblomov paradigm – the information world, interpreted taking into account the rich experience of Goncharov's work in the newspaper editorial field. The author of the article proves that one of the central tenets in the moral and philosophical concept of the writer is the preservation of humanity. The dialogues of heroes and the clash of their positions show that humanity in Oblomov's understanding echoes the corresponding understanding of it by Goncharov, revealing the complex and multifaceted worldview of the writer. The study outlines the evolution of attitudes towards the information model in Russian classical literature and examines the issue of the proportionality between external inertia and internal dynamics characteristic of Ilya Ilyich Oblomov. A hypothesis is put forward about the intense spiritual life of Oblomov, the expediency of pronouncing the name of Pushkin by the protagonist is deciphered.
{"title":"The Newspaper and Other Markers of the Information World in the Novel Oblomov by Ivan Goncharov","authors":"I. V. Pyrkov","doi":"10.22455/2686-7494-2021-3-2-120-137","DOIUrl":"https://doi.org/10.22455/2686-7494-2021-3-2-120-137","url":null,"abstract":"The article is devoted to the analysis of the artistic functions of the image of newspaper in the novel by I. A. Goncharov Oblomov and the comprehension of moral and philosophical results of the confrontation of protagonist with the profane information challenges of the external environment. Particular attention is paid to the semantic content of the Oblomov paradigm – the information world, interpreted taking into account the rich experience of Goncharov's work in the newspaper editorial field. The author of the article proves that one of the central tenets in the moral and philosophical concept of the writer is the preservation of humanity. The dialogues of heroes and the clash of their positions show that humanity in Oblomov's understanding echoes the corresponding understanding of it by Goncharov, revealing the complex and multifaceted worldview of the writer. The study outlines the evolution of attitudes towards the information model in Russian classical literature and examines the issue of the proportionality between external inertia and internal dynamics characteristic of Ilya Ilyich Oblomov. A hypothesis is put forward about the intense spiritual life of Oblomov, the expediency of pronouncing the name of Pushkin by the protagonist is deciphered.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"25 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":"123425291","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: 10.22455/2686-7494-2021-3-2-138-149
E. Fedorova
The article considers novels The Life and Adventures of Tikhon Trostnikov (1843) by N. A. Nekrasov and Humiliated and Insulted (1861) by F. M. Dostoevsky as experimental works in which the authors sought to combine European and national traditions. The reference to biographical material, the use of the structural method allowed to discover the similarity in genre content of the works and the difference of ideological attitudes of the authors. Both novels were created as autobiographical works, adventurous and satiric, included elements of “natural essay”, but each of the authors sought to use national genre content: Nekrasov's is a folk drama, and Dostoevsky refers to the traditions of Old Russian calendar literature, a literary story that shows the verification of the Holy Scriptures. Nekrasov failed to create a complete work, largely due to the narrative form, in which in some cases the parody begins to appear. But Dostoevsky managed to bring the novel to a new level, especially in his last works The Raw Youth and The Brothers Karamazov. Performing the task of “restoring the lost man”, Dostoevsky turns to the church calendar, Gospel allusions and parable plot.
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Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2022-4-2-246-261
O. B. Kafanova
The research focuses on the translation of Musset’s elegy “Lucie,” never published during A. A. Fet’s lifetime. The research is devoted to the clarification of the Russian poet’s translation skills and the analysis of the self-worth of his work. Of interest is the question of the time of work on the translation and the reasons for refusing to publish it. Directly influenced by A. de Lamartine, the elegy represents the “new lyricism.” The lyrical hero embodies his grief over the death of his first love, almost a girl, in melancholic musical verses. Another discovery was a new attitude to nature, to which the poet confides his melancholic feelings. The landscape turns out to be his best and closest companion. The structure of the elegy is characterized by repeated complaints; the first and final stanzas coincide. Fet revises the text and reduces some prolixities and divagations to achieve a more natural intimacy. Apparently, he worked on Musset’s elegy in the 1850s, when he found his own poetic language. In general, he managed to improve the text of Musset in some way, to clear the elegy of unnecessary digressions, long notes. As a result of a kind of competition, he creates a poetic masterpiece that is not inferior to the original.
{"title":"Creative Laboratory of Afanasy Fet: Translation from A. de Musset","authors":"O. B. Kafanova","doi":"10.22455/2686-7494-2022-4-2-246-261","DOIUrl":"https://doi.org/10.22455/2686-7494-2022-4-2-246-261","url":null,"abstract":"The research focuses on the translation of Musset’s elegy “Lucie,” never published during A. A. Fet’s lifetime. The research is devoted to the clarification of the Russian poet’s translation skills and the analysis of the self-worth of his work. Of interest is the question of the time of work on the translation and the reasons for refusing to publish it. Directly influenced by A. de Lamartine, the elegy represents the “new lyricism.” The lyrical hero embodies his grief over the death of his first love, almost a girl, in melancholic musical verses. Another discovery was a new attitude to nature, to which the poet confides his melancholic feelings. The landscape turns out to be his best and closest companion. The structure of the elegy is characterized by repeated complaints; the first and final stanzas coincide. Fet revises the text and reduces some prolixities and divagations to achieve a more natural intimacy. Apparently, he worked on Musset’s elegy in the 1850s, when he found his own poetic language. In general, he managed to improve the text of Musset in some way, to clear the elegy of unnecessary digressions, long notes. As a result of a kind of competition, he creates a poetic masterpiece that is not inferior to the original.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","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":"125975700","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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