Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2021-3-4-146-163
A. Markov
Ostrovsky’s translations of the works of Plautus, Terence, and Seneca, preserved in incomplete drafts, attend to the textual criticism related both to the principles of the work and to its aims. The example of the translation of Terence’s Hecyra in comparison with the earlier translation of Plautus’ Asinaria proves the evolution of Ostrovsky’s translation principles. While Plautus was translated without recourse to an intermediary translation, Terence was translated from the popular bilingual edition, and the translator turned to a French translation in difficult cases. The article explains how Ostrovsky worked further with passages translated from the French or with reference to the French text, in which cases, on the contrary, he translated from the Latin without reference to the French translation, and this course of initial work determined the order of further editing of the rough translation. The self-editing went in the direction of both greater accuracy and expressiveness, which in the case of using an intermediary translation proved to be a clearly contradictory task. Reconstructing the history of the text in light of the identified source of the translation allows us to clarify a number of manuscript readings, to identify the pencil edits as belonging highly likely to Ostrovsky himself, contrary to the opinion of the first publisher of the translation, and to raise the issue of the stage intention of the translation.
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Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2021-3-4-80-91
Vasiliy Sh. Avidzba
The article provides an analytical overview of the books by Russian authors of the 19th century, containing information about Abkhazia. Among the studied editions are well-known books that have widespread use in science, as well as rare ones, which have not been given due attention. The reviewed publications contain information about Abkhazia of a physical-geographical, military-topographic, military-statistical, historical-ethnographic, linguistic and archaeological nature. The article attempts to establish the differences in the authors’ cognitive interest in Abkhazia. The materials of the analyzed texts differ in terms of their volume, some of them represent a section or chapter of a book, and there are also generalizing publications entirely devoted to Abkhazia. Despite the discrepancies encountered between the editions in the description of the ethnic appearance of the Abkhaz people, they all contributed to the accumulation of knowledge about it, and played an important role in the formation of scientific Abkhaz studies. Biased assessments and condemnatory characteristics given by individual authors to historical circumstances have been critically analyzed.
{"title":"Review of the Main Book Publications about Abkhazia by Russian Authors of the 19th Century","authors":"Vasiliy Sh. Avidzba","doi":"10.22455/2686-7494-2021-3-4-80-91","DOIUrl":"https://doi.org/10.22455/2686-7494-2021-3-4-80-91","url":null,"abstract":"The article provides an analytical overview of the books by Russian authors of the 19th century, containing information about Abkhazia. Among the studied editions are well-known books that have widespread use in science, as well as rare ones, which have not been given due attention. The reviewed publications contain information about Abkhazia of a physical-geographical, military-topographic, military-statistical, historical-ethnographic, linguistic and archaeological nature. The article attempts to establish the differences in the authors’ cognitive interest in Abkhazia. The materials of the analyzed texts differ in terms of their volume, some of them represent a section or chapter of a book, and there are also generalizing publications entirely devoted to Abkhazia. Despite the discrepancies encountered between the editions in the description of the ethnic appearance of the Abkhaz people, they all contributed to the accumulation of knowledge about it, and played an important role in the formation of scientific Abkhaz studies. Biased assessments and condemnatory characteristics given by individual authors to historical circumstances have been critically analyzed.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"82 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":"117238698","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: 10.22455/2686-7494-2021-3-2-16-39
S. Zhdanov
The paper deals with the spatial images of Germany represented in Russian travelogues of the late 18th – first half of the 19th centuries. The text corpus studied from a semiotic perspective consists of works by A. T. Bolotov, D. P. Gorikhvostov, D. I. Fonvizin, N. M. Karamzin, S. A. Korsakov, W. K. Küchelbecker, F. P. Lubyanovsky, I. P. Myatlev, M. P. Pogodin, A. Ya. Klimov, V. N. Zinovyev. A set of principal features representing the imaginal-geographic Germany is determined. The center of this set is the motif of orderliness actualizing in two images — a rationally organized space in the spirit of the Enlightenment and an idyll based on the Arcadian myth. The other spatial characteristics of the patched-up Germany are cleanness, accuracy, closeness, narrowness, miniatureness connected with the concept of order. The ambivalence of Russian travelers’ perceiving the German loci is emphasized. The idyllic Germany is not only admired but also ironically travestied in Russian literature. The rationally organized, civilized German landscape is both praised for its comfortableness and criticized in the frames of its extreme forms for dehumanization.
本文研究了18世纪末至19世纪上半叶俄国游记中所呈现的德国的空间形象。从符号学角度研究的文本语料库包括a. T.波洛托夫、D. P.戈里赫沃斯托夫、D. I. Fonvizin、N. M. Karamzin、S. a. Korsakov、W. K. kkchelbecker、F. P. Lubyanovsky、I. P. Myatlev、M. P. Pogodin、a. Ya的作品。克里莫夫，V. N.季诺维耶夫。确定了一组代表虚拟地理德国的主要特征。这一集的中心是秩序的母题，实现在两个图像-一个理性组织的空间的启蒙精神和一个田园诗基于阿卡迪亚神话。“修补后的德国”的其他空间特征是干净、准确、紧密、狭窄、微型，与秩序概念联系在一起。强调了俄罗斯游客对德国景点的矛盾心理。田园诗般的德国在俄国文学中不仅受到赞赏，而且受到讽刺的嘲弄。理性组织、文明的德国景观既因其舒适而受到赞扬，也因其极端形式的非人性化而受到批评。
{"title":"Principal Features of the Imaginal-geographic Germany in the Russian Travelogues of the Late 18th – First Half of the 19th Centuries","authors":"S. Zhdanov","doi":"10.22455/2686-7494-2021-3-2-16-39","DOIUrl":"https://doi.org/10.22455/2686-7494-2021-3-2-16-39","url":null,"abstract":"The paper deals with the spatial images of Germany represented in Russian travelogues of the late 18th – first half of the 19th centuries. The text corpus studied from a semiotic perspective consists of works by A. T. Bolotov, D. P. Gorikhvostov, D. I. Fonvizin, N. M. Karamzin, S. A. Korsakov, W. K. Küchelbecker, F. P. Lubyanovsky, I. P. Myatlev, M. P. Pogodin, A. Ya. Klimov, V. N. Zinovyev. A set of principal features representing the imaginal-geographic Germany is determined. The center of this set is the motif of orderliness actualizing in two images — a rationally organized space in the spirit of the Enlightenment and an idyll based on the Arcadian myth. The other spatial characteristics of the patched-up Germany are cleanness, accuracy, closeness, narrowness, miniatureness connected with the concept of order. The ambivalence of Russian travelers’ perceiving the German loci is emphasized. The idyllic Germany is not only admired but also ironically travestied in Russian literature. The rationally organized, civilized German landscape is both praised for its comfortableness and criticized in the frames of its extreme forms for dehumanization.","PeriodicalId":359000,"journal":{"name":"Two centuries of the Russian classics","volume":"19 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":"115383626","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: 10.22455/2686-7494-2021-3-4-92-113
N. G. Mikhnovets
The article analyzes the nature of the interaction between first-line literature and fiction in the 1860–1870s as dynamic, versatile and dialogical. It is argued that the historical novel by E. A. Salias “The Pugachevites” (1874), based on the discoveries of the epic novel “War and Peace” by L. N. Tolstoy, testified to the process of strengthening the epic tendency in Russian literature of the 19th century. The novel by E. A. Salias was not exclusively secondary, the portrayal of the “predatory type” hero became innovative, but not deeply understood by the fiction writer. It is noted that further development was undertaken by F. M. Dostoevsky at the first stage of the creation of the novel “The Adolescent”. Its distinctive feature was the consideration of the “predatory type” in the context of the Russian history of spiritual quests of the 17th–19th centuries. The description of the stages of development of the type by F. M. Dostoevsky made it possible to come to the conclusion that the process of cognition of the Russian character, the identification of the laws of the historical development of Russia presupposed a versatile comprehension of the national foundations of life, which predetermined the epic character as the leading feature of the Russian novel of the second half of the 19th century.
本文分析了1860 - 1870年代一线文学与小说之间互动的动态、多面体和对话性。本文认为，萨拉斯的历史小说《普加乔夫家族》(the Pugachevites, 1874)是在托尔斯泰史诗小说《战争与和平》发现的基础上创作的，它见证了19世纪俄罗斯文学史诗倾向加强的过程。E. A. Salias的小说并不完全是次要的，对“掠夺型”英雄的描绘变得新颖，但并没有被小说作家深刻理解。值得注意的是，陀思妥耶夫斯基在小说《青春期》创作的第一阶段进一步发展了这一思想。它的显著特点是在17 - 19世纪俄罗斯精神探索历史的背景下考虑了“掠夺性类型”。陀思妥耶夫斯基对这种类型的发展阶段的描述，使我们有可能得出这样的结论:对俄国人物的认识过程，对俄国历史发展规律的确定，是以对民族生活基础的全面理解为前提的，这就决定了史诗人物是19世纪下半叶俄国小说的主要特征。
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Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2021-3-2-186-201
M. A. Mozharova
The article deals with the history of a musical term, transformed by L. N. Tolstoy in his novel Anna Karenina into imagery employed for the conveying of ideas about running farmlands in Russia, which are so important for the author and his character Konstantin Levin. Having chosen a musical term to express his idea in the most accurate way, Tolstoy draws parallels between various narrative arcs and certain parts in a polyphonic composition where the main role is that of the “thorough bass” which is Levin’s impressions of the household of an old and wise peasant. Quite expectable of the writer, who loved and studied music, this artistic solution seemed to be so unusual to the editors preparing the publications of Anna Karenina during the entire 20th century that they considered it to be a misspell of a copying clerk or a type setter. As a result, a polysemic musical term “thorough bass” was replaced by “fundamental basis”. Looking up in the autographs does not give the answer to the question, which of these two options is correct, as manuscript collection has not been fully preserved. The only formal source which allows a textual critic to reconstruct the initial version is the text of the first publication of the novel in the magazine Russky Vestnik (1875–1877) corrected by Tolstoy himself in 1877, in accordance with which Anna Karenina is being published in academic Complete works of L.N. Tolstoy in 100 volumes.
这篇文章讨论了一个音乐术语的历史，它被l·n·托尔斯泰(L. N. Tolstoy)在他的小说《安娜·卡列尼娜》(Anna Karenina)中转化为一种意象，用来传达关于在俄罗斯经营农田的想法，这对作者和他的角色康斯坦丁·列文(Konstantin Levin)来说非常重要。托尔斯泰选择了一个音乐术语来最准确地表达他的想法，他将不同的叙事弧线和复调作曲中的某些部分进行了比较，其中主要角色是“彻底的低音”，这是列文对一个年老而聪明的农民家庭的印象。对于这位热爱并研究音乐的作家来说，这种艺术上的解决方案在整个20世纪对准备《安娜·卡列尼娜》出版物的编辑来说似乎是如此不同寻常，以至于他们认为这是复印员或排字员的拼写错误。因此，一词多义的音乐术语“彻底低音”被“基本基础”所取代。在签名中查找并不能给出问题的答案，这两种选择哪一种是正确的，因为手稿收集并没有完全保存。允许文本评论家重建最初版本的唯一正式来源是1877年由托尔斯泰亲自更正的杂志《俄罗斯Vestnik》(1875-1877)上的小说首次出版的文本，根据该文本，《安娜·卡列尼娜》被发表在l·n·托尔斯泰的100卷学术全集中。
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Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2021-3-2-230-243
V. Shcherbakov
This article is an announcement of the future collected works by Nikolai Ivanovich Solovyov (1831–1874), literary critic, publicist and art theorist of the 1860s. A brief history of the issue is presented, main achievements of the predecessors in the elaboration of Nikolai Solovyov’s literary heritage are indicated, a brief outline of his literary activity is given, and an attempt is made to present Solovyov’s main ideas. The collected works of Soloviev (in three volumes) being prepared at the Department of Russian Classical Literature of the IWL RAS will be the first scientific publication of his works. This edition will include all the literary-critical, historical-literary, journalistic, polemical, philosophical articles by Solovyov, as well as the most significant popular science works of historical and general cultural interest. In addition to the texts originally published in periodicals, later versions of articles from the author's collection Art and Life (1869) will also be presented, for which a special section is intended. The edition will be provided with a scientific commentary and an annotated name index. The first volume of the edition will begin with an introductory article, which will include an essay on the life and literary activities of Solovyov (by Viktor Shcherbakov). At the end of the article, the basic principles of preparation of the future edition are outlined.
{"title":"On “Works” by Nikolai Solovyov Being Prepared at the IWL RAS","authors":"V. Shcherbakov","doi":"10.22455/2686-7494-2021-3-2-230-243","DOIUrl":"https://doi.org/10.22455/2686-7494-2021-3-2-230-243","url":null,"abstract":"This article is an announcement of the future collected works by Nikolai Ivanovich Solovyov (1831–1874), literary critic, publicist and art theorist of the 1860s. A brief history of the issue is presented, main achievements of the predecessors in the elaboration of Nikolai Solovyov’s literary heritage are indicated, a brief outline of his literary activity is given, and an attempt is made to present Solovyov’s main ideas. The collected works of Soloviev (in three volumes) being prepared at the Department of Russian Classical Literature of the IWL RAS will be the first scientific publication of his works. This edition will include all the literary-critical, historical-literary, journalistic, polemical, philosophical articles by Solovyov, as well as the most significant popular science works of historical and general cultural interest. In addition to the texts originally published in periodicals, later versions of articles from the author's collection Art and Life (1869) will also be presented, for which a special section is intended. The edition will be provided with a scientific commentary and an annotated name index. The first volume of the edition will begin with an introductory article, which will include an essay on the life and literary activities of Solovyov (by Viktor Shcherbakov). At the end of the article, the basic principles of preparation of the future edition are outlined.","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":"128292249","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: 10.22455/2686-7494-2022-4-2-232-245
Valentina A. Lukina
The article raises the issue of the main text of the poem by A. A. Fet “Apollo Belvedere” (1856). Not published during the poet’s lifetime, it was first published by B. V. Nikolsky in 1901 as a four-stanza text according to an autograph preserved in the so-called first workbook. Then, according to the same autograph (also consisting of four stanzas), it was printed by B. Ya. Bukhshtab. The study of the autograph in the workbook and the corrections contained in it, as well as its comparison with another autograph preserved in Fet’s letter to V. P. Botkin from October 21, 1857, gives good reason to talk about the existence of at least three versions of the poem , each of which consisted of three, not four stanzas. The version of the poem now accepted as the main one is a contamination that combines two versions (early and late) of the second stanza.
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Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2022-4-1-166-177
Olga N. Smyslova
The article is devoted to the peculiarity of artistic expression of the theme of money in “A Writer’s Diary” by F. M. Dostoevsky. The article indicates that Dostoevsky’s journalistic style is characterized by the use of metaphor as an artistic term that can accurately designate the phenomena of current reality and give them a social, cultural or philosophical interpretation. Such metaphorical concepts (“soil,” “earth,” “roots,” “golden age,” “golden bag,” etc.) in the writer’s journalism usually grow out of stable ideologemes, idioms or mythologemes universal for Russian culture, but acquire new meanings. The author of the article determines that the metaphor “golden bag” is used in those essays of “A Writer’s Diary” which discuss the problem of the cult of material goods, which penetrated all strata of Russian society of the 1870s. Dostoevsky, appealing to the well-known idiom “golden bag,” starts from its fixed definition of a “very rich man,” creates a metaphorical image of money, profit and greed, gaining power over modern man, then synonymously brings us closer to the idiom of the “golden calf,” which is not represented in “A Writer’s Diary.”
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Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2022-4-2-96-109
Anastasia A. Kalitnik
The article presents an analysis of Christian motives in the short story by S. V. Engelhardt “God Alone Sees the Truth,” which is a direct rethinking of the short story by L. N. Tolstoy “God Sees the Truth, but Will Not Tell Soon.” The article proves that Engelhardt creatively mastered Tolstoy’s ideas at the level of plot, narrative form, motives and chronotope. Important is the context of Engelhardt’s early prose of the 1850–1860s, which preceded the consolidation of Christian motives in her later work of the 1870–1880s. In the story under consideration the author of the article highlights and analyzes the motives of miracle, sin, repentance, forgiveness, prayer, wandering, spiritual guidance. A detailed study of the realizations of various motives and their semantic echoes makes it possible to identify significant oppositions and trace the spiritual evolution of characters.
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Pub Date : 1900-01-01DOI: 10.22455/2686-7494-2022-4-1-228-241
M. Shcherbakova
The article discusses the ways and methods of implementing the plan of St. Theophan to compose the Gospel story according to the four canonical books of the evangelists Matthew, Mark, Luke and John. The creative history of the book is restored on the basis of St. Theophan’s letters to the Athos monk Arseny (Minin) and N. V. Elagin, as well as the bishop’s articles “Lessons from the deeds and words of the Lord and God and our Savior Jesus Christ” and “Instructions according to which everyone can compose a consistent Gospel story from the four Gospels by himself.” An analysis of the four-part structure of the book is undertaken. As an example of St. Theophan’s deep reading of the gospel text, the stories about the calling of fishermen by the Lord, about His visit to the house of Martha and Mary and the farewell conversation with the disciples are considered. A kind of inserted episode of creative history was revealed — St. Theophan’s editing of the famous three-volume work of the same name by Archpriest Pavel Matveevsky. The main feature of St. Theophan’s work, in comparison with the other Gospel stories, consists in the distribution of events into periods and departments, not so much by the time of their accomplishment, but by place.
本文以马太、马可、路加、约翰四卷福音书为参照，探讨了圣提奥番计划的实施途径和方法。这本书的创作历史是根据圣提奥芬给阿陀斯修士阿尔谢尼(Minin)和N. V. Elagin的信，以及主教的文章“从主和上帝以及我们的救主耶稣基督的行为和言语中得到的教训”和“每个人都可以根据自己的指示从四福音书中写出一个一致的福音故事”而恢复的。对全书的四部分结构进行了分析。作为圣提奥番对福音文本的深入阅读的一个例子，我们考虑了主对渔民的召唤，他访问马大和玛丽的家以及与门徒告别的谈话。创作史上的一段插曲被揭露了出来——圣提奥芬对大祭司帕维尔·马特维耶夫斯基著名的同名三卷本著作的编辑。与其他福音书故事相比，圣提奥番作品的主要特点在于将事件按时期和部门进行分布，与其说是按事件完成的时间，不如说是按地点。
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