Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-46-67
Antonina A. Myasnikova
The article examines the phenomenon of artistic depiction of the scream in the poetry of the 20th century English poet Ted Hughes. The analysis of the poems reveals a gradual semantic expansion of the poetic image: while in early animalistic and landscape lyrics the scream is interpreted as an expression of animal suffering or the personification of wild nature, later collections containing elements of the author’s mythology show the acoustic image as a metaphor of the divine presence (“Adam and the Sacred Nine”), a symptom of split consciousness (“Prometheus on his crag”), a mechanism for healing psychological traumas (“Wolfwatching”), and also acquires cosmogonic features (“Crow,” “Cave birds”). The paradigm of the meanings ends with the “birth of the logos,” marking the beginning of the character’s communication with the outside world. The semantic transformation of the investigated motif turns out to be practically significant for the study of the author’s myth evolution. Hughes’ statements in letters and interviews, as well as the facts of biography, reflect the leitmotif formation in author’s work. This fact reveals the possibility of correlating the metaphor of the scream with Ted Hughes’ “poetic voice.”
{"title":"The Scream Phenomenon in the Poetry of Ted Hughes","authors":"Antonina A. Myasnikova","doi":"10.22455/2500-4247-2023-8-3-46-67","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-46-67","url":null,"abstract":"The article examines the phenomenon of artistic depiction of the scream in the poetry of the 20th century English poet Ted Hughes. The analysis of the poems reveals a gradual semantic expansion of the poetic image: while in early animalistic and landscape lyrics the scream is interpreted as an expression of animal suffering or the personification of wild nature, later collections containing elements of the author’s mythology show the acoustic image as a metaphor of the divine presence (“Adam and the Sacred Nine”), a symptom of split consciousness (“Prometheus on his crag”), a mechanism for healing psychological traumas (“Wolfwatching”), and also acquires cosmogonic features (“Crow,” “Cave birds”). The paradigm of the meanings ends with the “birth of the logos,” marking the beginning of the character’s communication with the outside world. The semantic transformation of the investigated motif turns out to be practically significant for the study of the author’s myth evolution. Hughes’ statements in letters and interviews, as well as the facts of biography, reflect the leitmotif formation in author’s work. This fact reveals the possibility of correlating the metaphor of the scream with Ted Hughes’ “poetic voice.”","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135355934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-298-321
Konstantin Yu. Lappo-Danilevskii
The paper checks and reviews a number of key moments in the generally accepted biography of Nadezhda Aleksandrovna Lappo-Danilevskaia (born Liutkevich; 1871–1951), one of the most popular women writers of prerevolutionary Russia and of the Russian emigration, — a biography based first of foremost on information that she herself supplied. It establishes the correct date of her birth (September 29, 1871) and the most plausible birthplace (Mogilev, not Kiev); information about her father’s career and her close relatives is also reported. Materials from various Russian and Western archives allow us to elucidate important episodes of her life, such as: her marriage to the composer Sergei Sergeevich Lappo-Danilevskii (1868–1957) and the birth of their children; her singing career; the censorship of her novel “Princess Mara” (1914); the history of the English translation of her novel “A Russian Gentleman” and of its two editions (both 1917; in New York and in London); her literary and theatrical contacts in exile. Finally the fate of Lappo-Danilevskaia’s memoirs, written in French, is considered; their whereabouts are currently unknown.
{"title":"To the Biography of the Woman Writer Nadezhda A. Lappo-Danilevskaia","authors":"Konstantin Yu. Lappo-Danilevskii","doi":"10.22455/2500-4247-2023-8-3-298-321","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-298-321","url":null,"abstract":"The paper checks and reviews a number of key moments in the generally accepted biography of Nadezhda Aleksandrovna Lappo-Danilevskaia (born Liutkevich; 1871–1951), one of the most popular women writers of prerevolutionary Russia and of the Russian emigration, — a biography based first of foremost on information that she herself supplied. It establishes the correct date of her birth (September 29, 1871) and the most plausible birthplace (Mogilev, not Kiev); information about her father’s career and her close relatives is also reported. Materials from various Russian and Western archives allow us to elucidate important episodes of her life, such as: her marriage to the composer Sergei Sergeevich Lappo-Danilevskii (1868–1957) and the birth of their children; her singing career; the censorship of her novel “Princess Mara” (1914); the history of the English translation of her novel “A Russian Gentleman” and of its two editions (both 1917; in New York and in London); her literary and theatrical contacts in exile. Finally the fate of Lappo-Danilevskaia’s memoirs, written in French, is considered; their whereabouts are currently unknown.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135355947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-148-167
Evgeny R. Ponomarev
The article reviews the traditional point of view about the immaturity and inconsistency of Ivan Bunin. On the basis of the new materials (complete corpus of Bunin’s early prose collected by the Bunin group of IWL RAS), the author claims that there are just a few literary clichés in the Bunin’s works of the late 1880s – early 1890s. Young Bunin is relieved of them by “writing from nature,” i. e. live sketches, genre scenes, accurate recording of conversations. Autobiographical material was one of the most important components of the technique “letter from nature,” i. e. the depiction of the relatives as special “types” (more in the Turgenev’s manner than in narodnik sociological plan), as well as the sketches of his own childhood, transformed love stories, etc. After citing examples of autobiographical material in Bunin’s early prose and considering the methods of its use in the texts, the author comes to the conclusion that Bunin’s early work is deeply independent, and Bunin’s “natural” poetics, formed in the first decade of his writing, influenced his poetics in the future.
{"title":"“Letters from Nature”: Autobiographical Material in the Early Prose of Ivan Bunin","authors":"Evgeny R. Ponomarev","doi":"10.22455/2500-4247-2023-8-3-148-167","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-148-167","url":null,"abstract":"The article reviews the traditional point of view about the immaturity and inconsistency of Ivan Bunin. On the basis of the new materials (complete corpus of Bunin’s early prose collected by the Bunin group of IWL RAS), the author claims that there are just a few literary clichés in the Bunin’s works of the late 1880s – early 1890s. Young Bunin is relieved of them by “writing from nature,” i. e. live sketches, genre scenes, accurate recording of conversations. Autobiographical material was one of the most important components of the technique “letter from nature,” i. e. the depiction of the relatives as special “types” (more in the Turgenev’s manner than in narodnik sociological plan), as well as the sketches of his own childhood, transformed love stories, etc. After citing examples of autobiographical material in Bunin’s early prose and considering the methods of its use in the texts, the author comes to the conclusion that Bunin’s early work is deeply independent, and Bunin’s “natural” poetics, formed in the first decade of his writing, influenced his poetics in the future.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135356119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-2-32-45
Ekaterina N. Buzurnyuk
The article deals with the history of interpretation of the joke in v. 21–23 of Aristophanes’ Assemblywomen. There is no consensus among researchers about the meaning of the passage under consideration, what order of verses is preferable, and what role these verses play in the opening scene of the comedy. The textual and contextual analysis allows the author to interpret the obscure passage so that the proposed interpretation suits the poetics of Aristophanes’ comedies best. The author of the article argues against the change in the manuscripts’ order of the verses. The passage in question should be understood as follows: Aristophanes quotes a certain Phyromachus, who in public space made a speech mistake and instead of ἑτέρας ἕδρας ʽother places’ said ἑταίρας ἕδρας, which approximately means ‘hetairas’ seats.’ Since the context implies that the female characters ought to ʽtake their places,’ the quotation of Phyromachus’ mistake turns out to be suitable. In addition, the reduction of the paratragic pathos of the opening scene of the comedy with the help of a joke based on physiological humor is characteristic for the poetic toolkit of Aristophanes and allows him to gain the favor of viewers of different cultural levels.
{"title":"The Joke in Aristophanes’ Assemblywomen (v. 21–23)","authors":"Ekaterina N. Buzurnyuk","doi":"10.22455/2500-4247-2023-8-2-32-45","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-32-45","url":null,"abstract":"The article deals with the history of interpretation of the joke in v. 21–23 of Aristophanes’ Assemblywomen. There is no consensus among researchers about the meaning of the passage under consideration, what order of verses is preferable, and what role these verses play in the opening scene of the comedy. The textual and contextual analysis allows the author to interpret the obscure passage so that the proposed interpretation suits the poetics of Aristophanes’ comedies best. The author of the article argues against the change in the manuscripts’ order of the verses. The passage in question should be understood as follows: Aristophanes quotes a certain Phyromachus, who in public space made a speech mistake and instead of ἑτέρας ἕδρας ʽother places’ said ἑταίρας ἕδρας, which approximately means ‘hetairas’ seats.’ Since the context implies that the female characters ought to ʽtake their places,’ the quotation of Phyromachus’ mistake turns out to be suitable. In addition, the reduction of the paratragic pathos of the opening scene of the comedy with the help of a joke based on physiological humor is characteristic for the poetic toolkit of Aristophanes and allows him to gain the favor of viewers of different cultural levels.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"74 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80723209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-1-162-177
A. Golubtsova
The article studies the works by Italian communist author Sibilla Aleramo (1876– 1960), written after her visit to the Soviet Union in 1952, namely an essay “Return from Moscow” published in the communist newspaper “Unità” on September 25, 1952, a poem “Russia alto paese” and a speech on her travel impressions, published in 1953. The analysis of the texts focuses on the functioning of the key elements of “Russian” and “Soviet” myth, which largely determined the image of the USSR in the eyes of Western societies in the early 1950s. The author pays special attention to religious motifs regarded through the prism of Paul Hollander’s concept of “political pilgrimage.” The article analyzes the historical context of the mentioned works, their place among other Italian travelogues on the Soviet Union written in the same time period, as well as the specific traits of Aleramo’s texts distinguishing them from travel prose of her contemporaries and forerunners (Italian authors, who visited the USSR in 1920s and 1930s). It also examines the image of the Soviet Russia created by Aleramo in the paradigm of the Russian and Soviet myth.
{"title":"The Soviet Myth of Sibilla Aleramo","authors":"A. Golubtsova","doi":"10.22455/2500-4247-2023-8-1-162-177","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-1-162-177","url":null,"abstract":"The article studies the works by Italian communist author Sibilla Aleramo (1876– 1960), written after her visit to the Soviet Union in 1952, namely an essay “Return from Moscow” published in the communist newspaper “Unità” on September 25, 1952, a poem “Russia alto paese” and a speech on her travel impressions, published in 1953. The analysis of the texts focuses on the functioning of the key elements of “Russian” and “Soviet” myth, which largely determined the image of the USSR in the eyes of Western societies in the early 1950s. The author pays special attention to religious motifs regarded through the prism of Paul Hollander’s concept of “political pilgrimage.” The article analyzes the historical context of the mentioned works, their place among other Italian travelogues on the Soviet Union written in the same time period, as well as the specific traits of Aleramo’s texts distinguishing them from travel prose of her contemporaries and forerunners (Italian authors, who visited the USSR in 1920s and 1930s). It also examines the image of the Soviet Russia created by Aleramo in the paradigm of the Russian and Soviet myth.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"18 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78035604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-322-337
Kirill A. Chekalov
In 2022, the university press Presses universitaires Blaise-Pascal (Clermont-Ferrand, France) published the first scholarly edition of one of the most prominent works by Jules Verne — Twenty Thousand Leagues Under the Seas. The publisher, ex-professor at the University of Hong Kong, and author of Jules Verne’s English-language biography (2006), as well as numerous works about the writer, William Butcher, describes this edition as the novel’s “restored revision” (texte restaure). This book is the result of many years of research into restoring Jules Verne’s works in their original form, untouched by extensive editorial revisions. It is commonly known that all works in The Extraordinary Voyages collection underwent various amendments and adjustments by the publisher Pierre-Jules Hetzel and later on, by Jules Verne’s son Louis-Jules. W. Butcher previously published English translations and the original versions of certain Jules Verne’s works, including Five Weeks in a Balloon, Journey to the Center of the Earth, The Adventures of Captain Hatteras, Around the World in Eighty Days and others. The pocket size of these editions, however, would not allow to carry out the ambitious editorial project. This review focuses on the core strategies of the Twenty Thousand Leagues Under the Seas’s edition, which W. Butcher refers to as dehetzelisation. The edition also includes a comprehensive scholarly apparatus (an introductory article, rationale, name index, biographical background, detailed chronology of novel writing, annotated bibliography, etc.).
{"title":"Yearning for Verne. Twenty Thousand Leagues under the Seas “Restored” Edition","authors":"Kirill A. Chekalov","doi":"10.22455/2500-4247-2023-8-3-322-337","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-322-337","url":null,"abstract":"In 2022, the university press Presses universitaires Blaise-Pascal (Clermont-Ferrand, France) published the first scholarly edition of one of the most prominent works by Jules Verne — Twenty Thousand Leagues Under the Seas. The publisher, ex-professor at the University of Hong Kong, and author of Jules Verne’s English-language biography (2006), as well as numerous works about the writer, William Butcher, describes this edition as the novel’s “restored revision” (texte restaure). This book is the result of many years of research into restoring Jules Verne’s works in their original form, untouched by extensive editorial revisions. It is commonly known that all works in The Extraordinary Voyages collection underwent various amendments and adjustments by the publisher Pierre-Jules Hetzel and later on, by Jules Verne’s son Louis-Jules. W. Butcher previously published English translations and the original versions of certain Jules Verne’s works, including Five Weeks in a Balloon, Journey to the Center of the Earth, The Adventures of Captain Hatteras, Around the World in Eighty Days and others. The pocket size of these editions, however, would not allow to carry out the ambitious editorial project. This review focuses on the core strategies of the Twenty Thousand Leagues Under the Seas’s edition, which W. Butcher refers to as dehetzelisation. The edition also includes a comprehensive scholarly apparatus (an introductory article, rationale, name index, biographical background, detailed chronology of novel writing, annotated bibliography, etc.).","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135356414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-2-268-287
A. Toporkov
“The Dream of the Virgin” is one of the most widespread Christian Apocrypha. It is known among many European peoples, mainly Orthodox and Catholic, namely Belarusians, Bulgarians, Bosnians, Gagauz, Greeks, Irish, Spaniards, Italians, Macedonians, Germans, Poles, Portuguese, Romanians, Russians, Serbs, Slovenes, Ukrainians, French, Croats, etc. The “Dream of the Virgin” is most widely represented in the folk traditions of Eastern, Southern, Central and Western Europe. Some countries have an old scholarly tradition of studying this plot. Such well-known philologists as Alexander Veselovsky in Russia and Bogdan Petriceicu Hasdeu in Romania wrote about it as early as the 19th century. In the 20th century, this text was studied a lot in Italy, Germany, Romania, Russia, etc. The article proposes a preliminary classification of the main genre versions of the “Dream of the Virgin” in Russian manuscript and folklore traditions.
{"title":"“Dream of the Virgin” in Russian Handwritten and Folklore Traditions (17th – the Beginning of the 21st Century)","authors":"A. Toporkov","doi":"10.22455/2500-4247-2023-8-2-268-287","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-268-287","url":null,"abstract":"“The Dream of the Virgin” is one of the most widespread Christian Apocrypha. It is known among many European peoples, mainly Orthodox and Catholic, namely Belarusians, Bulgarians, Bosnians, Gagauz, Greeks, Irish, Spaniards, Italians, Macedonians, Germans, Poles, Portuguese, Romanians, Russians, Serbs, Slovenes, Ukrainians, French, Croats, etc. The “Dream of the Virgin” is most widely represented in the folk traditions of Eastern, Southern, Central and Western Europe. Some countries have an old scholarly tradition of studying this plot. Such well-known philologists as Alexander Veselovsky in Russia and Bogdan Petriceicu Hasdeu in Romania wrote about it as early as the 19th century. In the 20th century, this text was studied a lot in Italy, Germany, Romania, Russia, etc. The article proposes a preliminary classification of the main genre versions of the “Dream of the Virgin” in Russian manuscript and folklore traditions.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89684633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-1-178-197
Viktoriia N. Karpukhina
The author of the article investigates the problem of a literary canon changing in the situation of installing the multilingual writers’ texts into literary tradition. The texts under consideration are the literary and publicistic works by Joseph Rudyard Kipling and John Robert Fowles, the writers acknowledged classical beyond Britain but appreciated as the mass literature authors in the United Kingdom. The paper aims at revealing the reasons and the consequences of installing the Rudyard Kipling’s and John Fowles’s texts into the literary canon, and at defining how the multilingualism and multiculturalism of these writers is connected with their interpretation of the notions of “Englishness” and “Britishness.” Anglo-Indian Kipling’s axiological priorities are the hierarchy of the text characters depending on their national and cultural characteristics and creating the unique author’s multicultural mythology. The key axiological principle of Fowles is understanding of the priority of French culture over the English one and creating the specific sample of an ideal representative of “Englishness,” who is the cosmopolitan lonely rebel with a strong artistic sense. Fowles’s national and cultural identity is shown in his stories and novels with the communicative fragments in different languages to create a very complex multicultural conceptual landscape, often ironical.
{"title":"National Identity and a Literary Canon in British Tradition of the 20th Century","authors":"Viktoriia N. Karpukhina","doi":"10.22455/2500-4247-2023-8-1-178-197","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-1-178-197","url":null,"abstract":"The author of the article investigates the problem of a literary canon changing in the situation of installing the multilingual writers’ texts into literary tradition. The texts under consideration are the literary and publicistic works by Joseph Rudyard Kipling and John Robert Fowles, the writers acknowledged classical beyond Britain but appreciated as the mass literature authors in the United Kingdom. The paper aims at revealing the reasons and the consequences of installing the Rudyard Kipling’s and John Fowles’s texts into the literary canon, and at defining how the multilingualism and multiculturalism of these writers is connected with their interpretation of the notions of “Englishness” and “Britishness.” Anglo-Indian Kipling’s axiological priorities are the hierarchy of the text characters depending on their national and cultural characteristics and creating the unique author’s multicultural mythology. The key axiological principle of Fowles is understanding of the priority of French culture over the English one and creating the specific sample of an ideal representative of “Englishness,” who is the cosmopolitan lonely rebel with a strong artistic sense. Fowles’s national and cultural identity is shown in his stories and novels with the communicative fragments in different languages to create a very complex multicultural conceptual landscape, often ironical.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"5 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91188585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-2-350-359
N. Shchedrina
The review gives a general description of T.I. Dronova’s monograph “D.S. Merezhkovsky’s Historiosophical Novel in the Perspective of the 20th Century,” published in 2021 by the Saratov University Publishing House. The analysis of the book structure reveals the original concept of the historiosophical novel, which is presented by the author. The postulates of the research are based on theoretical studies and results of the genesis and genre novelty’s study of the historiosophical novel of the writer-thinker, as well as on the serious methodological basis and fundamental historical and literary works. The author of the monograph appeals to the controversial issues of the genre in modern literary studies and identifies the dominant and meaningful content of the concept “historiosophical novel.” The problem gets a practical solution in the analytical chapters. The transfer of the attention from the religious and philosophical concept of the writer-thinker to the cognitional method of history and the analysis of poetics prioritizes in further. It is declared that the attitude to history as a text leads D.S. Merezhkovsky to the aestheticization of the Past. The paradoxical nature of genre synthesis in the historiosophical novel, which T.I. Dronova brought out due to the conjugation of concrete historical and metahistorical narrative plans, has a deep impression. The monograph convincingly reveals the features of the artistic embodiment of the author’s historiosophical concept in the trilogy Christ and the Antichrist, as D.S. Merezhkovsky leads the reader outside the concrete historical epoch to metahistorical conflicts. The question of the nature of artistic historicism in the trilogy The Kingdom of the Beast is actualized, the author analyses the importance of the “historicity of narrative” problem for the Writer. A large section of the monograph about the nature of connections in the prose of the 1920–1930s (A. Platonov, M. Bulgakov, M. Aldanov) with D. Merezhkovsky’s works is also of interest.
本文对T.I. Dronova的专著《D.S.梅列日科夫斯基的《20世纪视角下的历史哲学小说》，由萨拉托夫大学出版社于2021年出版。通过对小说结构的分析，揭示了作者提出的历史哲学小说的原始概念。本文的研究假设是基于对作家-思想家的历史哲学小说的起源和体裁新颖性研究的理论研究和结果，以及严肃的方法论基础和基本的历史文学作品。作者对现代文学研究中存在争议的小说体裁问题提出了吁求，并明确了“历史哲学小说”这一概念的主导意义。在分析的章节中，这个问题得到了实际的解决。从对作家-思想家的宗教和哲学观念的关注转向对历史的认知方法和诗学的分析是进一步研究的重点。人们认为，把历史作为文本来对待的态度使梅列日科夫斯基走向了对过去的审美化。t·i·德罗诺娃通过具体的历史和超历史叙事计划的结合，在历史哲学小说中提出了类型综合的悖论性，给人留下了深刻的印象。梅列日科夫斯基的《基督与反基督》三部曲将读者带出具体的历史时代，进入到元历史的冲突中，这篇专著令人信服地揭示了作者的历史哲学概念的艺术体现特征。在《野兽王国》三部曲中艺术历史主义的本质问题的实现中，作者分析了“叙事的历史性”问题对作家的重要性。关于1920 - 1930年代散文(A. Platonov, M. Bulgakov, M. Aldanov)与D. Merezhkovsky作品之间联系的本质的专著的一大部分也很有趣。
{"title":"The Artistic Embodiment of the Historiosophical Concept in the D.S. Merezhkovsky’s Novels","authors":"N. Shchedrina","doi":"10.22455/2500-4247-2023-8-2-350-359","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-350-359","url":null,"abstract":"The review gives a general description of T.I. Dronova’s monograph “D.S. Merezhkovsky’s Historiosophical Novel in the Perspective of the 20th Century,” published in 2021 by the Saratov University Publishing House. The analysis of the book structure reveals the original concept of the historiosophical novel, which is presented by the author. The postulates of the research are based on theoretical studies and results of the genesis and genre novelty’s study of the historiosophical novel of the writer-thinker, as well as on the serious methodological basis and fundamental historical and literary works. The author of the monograph appeals to the controversial issues of the genre in modern literary studies and identifies the dominant and meaningful content of the concept “historiosophical novel.” The problem gets a practical solution in the analytical chapters. The transfer of the attention from the religious and philosophical concept of the writer-thinker to the cognitional method of history and the analysis of poetics prioritizes in further. It is declared that the attitude to history as a text leads D.S. Merezhkovsky to the aestheticization of the Past. The paradoxical nature of genre synthesis in the historiosophical novel, which T.I. Dronova brought out due to the conjugation of concrete historical and metahistorical narrative plans, has a deep impression. The monograph convincingly reveals the features of the artistic embodiment of the author’s historiosophical concept in the trilogy Christ and the Antichrist, as D.S. Merezhkovsky leads the reader outside the concrete historical epoch to metahistorical conflicts. The question of the nature of artistic historicism in the trilogy The Kingdom of the Beast is actualized, the author analyses the importance of the “historicity of narrative” problem for the Writer. A large section of the monograph about the nature of connections in the prose of the 1920–1930s (A. Platonov, M. Bulgakov, M. Aldanov) with D. Merezhkovsky’s works is also of interest.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"231 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80266695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-1-100-125
M. Reysner
The research is devoted to the function of inner commentary in the Nasir-i Khusraw’s poetic works. Being the outstanding religious philosopher and Ismaili Teacher, he had reformed the artistic language of Persian Classic Poetry with the help of strategy of allegorical commentary ta’wil, which was firstly used only on the Quran’s text. He used the traditional form of qasida for didactic aim. Сonventional poetic motifs and standard beginnings served as the basis for creating allegories of varying degrees of complexity. The objects of this article are some examples of allegories based on traditional poetic motifs and standard beginnings of Nasir-i Khusraw’s qasida, his interpretations of term ta’wil and author’s discourse upon form and meaning of Word. The article also deals with different kinds of inner commentary in Nasir-i Khusraw’s three spring qasida. The analysis shows that on the first stage of formation of mystic poetry’s language commentary, giving secret meaning of text was the sphere of author’s individual initiative. At the stage of fixing the created connotations in the canon, they become stable and to a lesser extent depended on the presence of the author’s commentary, thus the allegorical ambiguity of the text becomes the generally accepted norm.
{"title":"In the Search of Secret Meaning: the Role of “Inner Commentary” in Nasir-i Khusraw’s Poetic Works (11th Century)","authors":"M. Reysner","doi":"10.22455/2500-4247-2023-8-1-100-125","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-1-100-125","url":null,"abstract":"The research is devoted to the function of inner commentary in the Nasir-i Khusraw’s poetic works. Being the outstanding religious philosopher and Ismaili Teacher, he had reformed the artistic language of Persian Classic Poetry with the help of strategy of allegorical commentary ta’wil, which was firstly used only on the Quran’s text. He used the traditional form of qasida for didactic aim. Сonventional poetic motifs and standard beginnings served as the basis for creating allegories of varying degrees of complexity. The objects of this article are some examples of allegories based on traditional poetic motifs and standard beginnings of Nasir-i Khusraw’s qasida, his interpretations of term ta’wil and author’s discourse upon form and meaning of Word. The article also deals with different kinds of inner commentary in Nasir-i Khusraw’s three spring qasida. The analysis shows that on the first stage of formation of mystic poetry’s language commentary, giving secret meaning of text was the sphere of author’s individual initiative. At the stage of fixing the created connotations in the canon, they become stable and to a lesser extent depended on the presence of the author’s commentary, thus the allegorical ambiguity of the text becomes the generally accepted norm.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"91 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87416430","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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