Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-2-10-27
A. Kovelman
The notion of the “fear of tautology” marks Joseph Brodsky’s poem “Notes of a Fern”: “But evil cannot befall a bad human, and the fear of a tautology is a guarantee of prosperity.” The poet thus inverts Socrates’ assertion that no evil befalls a good person. In the eyes of Brodsky, this assertion represented the epiphany of tautology. His viewpoint was that tautology is squandering one’s life trying to resemble and embrace the appearances and experiences of others. Whereas political and social systems gravitate towards tautology, literature helps one to differentiate himself from the crowd, avoid becoming a “victim of history.” Brodsky’s idea of tautology resonates with those of Mandelstam and Averintsev. Sergey Averinsev described Mandelstam’s dread of confining himself within a religious or ethnic identity as a “profound fear of tautology.” Finally, French philosopher Clément Rosset named tautology “the demon of identity” in the sense of it being sorcery and a magical circle. Advancing upon Rosset’s metaphor, it could be said that the fear of tautology is the desire to break the magical circle and drive the demon of identity into the trap of paradox and irony.
{"title":"The Fear of Tautology as Esthetic and Ethic Category","authors":"A. Kovelman","doi":"10.22455/2500-4247-2022-7-2-10-27","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-2-10-27","url":null,"abstract":"The notion of the “fear of tautology” marks Joseph Brodsky’s poem “Notes of a Fern”: “But evil cannot befall a bad human, and the fear of a tautology is a guarantee of prosperity.” The poet thus inverts Socrates’ assertion that no evil befalls a good person. In the eyes of Brodsky, this assertion represented the epiphany of tautology. His viewpoint was that tautology is squandering one’s life trying to resemble and embrace the appearances and experiences of others. Whereas political and social systems gravitate towards tautology, literature helps one to differentiate himself from the crowd, avoid becoming a “victim of history.” Brodsky’s idea of tautology resonates with those of Mandelstam and Averintsev. Sergey Averinsev described Mandelstam’s dread of confining himself within a religious or ethnic identity as a “profound fear of tautology.” Finally, French philosopher Clément Rosset named tautology “the demon of identity” in the sense of it being sorcery and a magical circle. Advancing upon Rosset’s metaphor, it could be said that the fear of tautology is the desire to break the magical circle and drive the demon of identity into the trap of paradox and irony.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84465380","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 : 2022-01-01DOI: 10.22455/2500-4247-2022-7-4-156-177
M. Kaplun
The article examines a novel Apple Trees Are in Bloom by O. Mirtov (pseudonym of writer Olga Emmanuilovna Negreskul-Rozenfeld) in the context of gender representations of modernism era. The novel Apple Trees Are in Bloom was published in the leading literary and political journal Russian Thought from April to December 1911 and, on the whole, was an ideological continuation of the literary and gender discourse begun by the author in the novel Dead Swell in 1908. O. Mirtov’s second novel is a kind of literary and artistic manifesto of the author, part of her myth-making, which has absorbed the main gender-aesthetic views and spiritual throwing of a female author writing under a male pseudonym. The gender poetics of the novel is built on the basis of basic principles in constructing feminine and masculine imagery, closely related to the modernist concepts of the turn of the century. The novel contains direct references to the theory of gender dualism, Solovyov’s concept of “all-unity”, Berdyaev’s provisions on Kingdom of the Spirit, mystical world comprehension, and the foundations of sex metaphysics. In the novel, Nietzschean motifs coexist with the ideas of “creative love” and the infernal feminism nature. Apple Trees Are in Bloom fits into a successful literary and gender experiment, denounced in a novel form, well fitting into the context of fashionable philosophical trends that have developed by the end of the 19th – beginning of the 20th century.
{"title":"Gender Poetics of O. Mirtov’s Novel Apple Trees Are in Bloom","authors":"M. Kaplun","doi":"10.22455/2500-4247-2022-7-4-156-177","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-4-156-177","url":null,"abstract":"The article examines a novel Apple Trees Are in Bloom by O. Mirtov (pseudonym of writer Olga Emmanuilovna Negreskul-Rozenfeld) in the context of gender representations of modernism era. The novel Apple Trees Are in Bloom was published in the leading literary and political journal Russian Thought from April to December 1911 and, on the whole, was an ideological continuation of the literary and gender discourse begun by the author in the novel Dead Swell in 1908. O. Mirtov’s second novel is a kind of literary and artistic manifesto of the author, part of her myth-making, which has absorbed the main gender-aesthetic views and spiritual throwing of a female author writing under a male pseudonym. The gender poetics of the novel is built on the basis of basic principles in constructing feminine and masculine imagery, closely related to the modernist concepts of the turn of the century. The novel contains direct references to the theory of gender dualism, Solovyov’s concept of “all-unity”, Berdyaev’s provisions on Kingdom of the Spirit, mystical world comprehension, and the foundations of sex metaphysics. In the novel, Nietzschean motifs coexist with the ideas of “creative love” and the infernal feminism nature. Apple Trees Are in Bloom fits into a successful literary and gender experiment, denounced in a novel form, well fitting into the context of fashionable philosophical trends that have developed by the end of the 19th – beginning of the 20th century.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"75 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87035612","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 : 2022-01-01DOI: 10.22455/2500-4247-2022-7-1-110-125
A. Golubkov
The article concentrates on the analysis of Scaligerana, which stood at the origins of the ana tradition, widely represented by works created in the 17th – 19th centuries. The author analyzes the process of creating the text, which is represented by two independent versions (Prima Scaligerana and Secunda Scaligerana), compiled by students and admirers of the philologist Joseph Justus Scaliger, as well as the occuring of the manuscripts, their veneration and the vicissitudes of its publication. The article explores the logic of presenting information about a scholar who appears to the reader as an interlocutor who shares his personal experience and philological research in a private conversation. It demonstrates that the increased interest in the language, etymologies, and interpretations of the “obscurities” is a distinctive feature and the leading plot line of Scaligerana. The article suggests that the reasons for the close attention to language are to be sought in the European linguistic “revolution” of the 16th century, the reasons for which lie in the radical revision of the symbol’s concept that occurred in the Protestant culture with its non-literal interpretation of transubstantiation. The deontologization of language in the absence of a norm, which was established in France only at the end of the 17th century, led to the popularization of the idea of language as the causes of things, which was evidenced by Scaligerana.
{"title":"Scaligerana: Language as a Plot","authors":"A. Golubkov","doi":"10.22455/2500-4247-2022-7-1-110-125","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-1-110-125","url":null,"abstract":"The article concentrates on the analysis of Scaligerana, which stood at the origins of the ana tradition, widely represented by works created in the 17th – 19th centuries. The author analyzes the process of creating the text, which is represented by two independent versions (Prima Scaligerana and Secunda Scaligerana), compiled by students and admirers of the philologist Joseph Justus Scaliger, as well as the occuring of the manuscripts, their veneration and the vicissitudes of its publication. The article explores the logic of presenting information about a scholar who appears to the reader as an interlocutor who shares his personal experience and philological research in a private conversation. It demonstrates that the increased interest in the language, etymologies, and interpretations of the “obscurities” is a distinctive feature and the leading plot line of Scaligerana. The article suggests that the reasons for the close attention to language are to be sought in the European linguistic “revolution” of the 16th century, the reasons for which lie in the radical revision of the symbol’s concept that occurred in the Protestant culture with its non-literal interpretation of transubstantiation. The deontologization of language in the absence of a norm, which was established in France only at the end of the 17th century, led to the popularization of the idea of language as the causes of things, which was evidenced by Scaligerana.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"51 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87406800","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 : 2022-01-01DOI: 10.22455/2500-4247-2022-7-2-232-247
E. E. Baldanmaksarova
The article is devoted to the study of the hagiographic genre in the Buryat- Mongolian literature of the medieval period. The author examines origins of the genre, rooted in the Indo-Tibetan literary tradition and associated with Buddhist “hagiographic” literature. The traditions of Indo-Tibeto-Mongolian hagiography in Buryat literary criticism have not been specially studied, so this is one of the new areas of study that requires comprehensive review. The analysis of the poetic work of Aghvan Dorzhiev, “Entertaining stories about a trip around the world,” undertaken in the article, makes it possible to trace how such a unique author, who has absorbed the primordial traditions of Indo-Tibetan culture, due to the received almost twenty years of education in Tibet, then the experience of teaching Buddhist philosophy to such a student, like the XIII Dalai Lama, managed to creatively synthesize, as a citizen of Russia, who received his initial education at home, two different cultures. His work, although written in the genre of a medieval life, is evidence of the genre transformation under the influence of new historical, literary and other realities. Thus this work can be viewed as a transition from medieval traditions to the new realistic literature in Buryat- Mongolian culture.
{"title":"Hagiographic Genre in the Buryat-Mongolian Literature of 18th – Early 20th Centuries","authors":"E. E. Baldanmaksarova","doi":"10.22455/2500-4247-2022-7-2-232-247","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-2-232-247","url":null,"abstract":"The article is devoted to the study of the hagiographic genre in the Buryat- Mongolian literature of the medieval period. The author examines origins of the genre, rooted in the Indo-Tibetan literary tradition and associated with Buddhist “hagiographic” literature. The traditions of Indo-Tibeto-Mongolian hagiography in Buryat literary criticism have not been specially studied, so this is one of the new areas of study that requires comprehensive review. The analysis of the poetic work of Aghvan Dorzhiev, “Entertaining stories about a trip around the world,” undertaken in the article, makes it possible to trace how such a unique author, who has absorbed the primordial traditions of Indo-Tibetan culture, due to the received almost twenty years of education in Tibet, then the experience of teaching Buddhist philosophy to such a student, like the XIII Dalai Lama, managed to creatively synthesize, as a citizen of Russia, who received his initial education at home, two different cultures. His work, although written in the genre of a medieval life, is evidence of the genre transformation under the influence of new historical, literary and other realities. Thus this work can be viewed as a transition from medieval traditions to the new realistic literature in Buryat- Mongolian culture.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89979213","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 : 2022-01-01DOI: 10.22455/2500-4247-2022-7-1-356-367
Y. Tkhagazitov, L. B. Khavzhokova
The main purpose of the article is to study the organic combination of problemcontent and artistic-stylistic aspects in the further development of Shogentsukov’s traditions in Kabardian literature. To achieve this goal, it seems necessary to reveal the essence of national traditions and the artistic experience of Russian literature as the basis for the interdependence of “ours” and “theirs” in the formation of the artistic world of the founder and classic of Kabardian literature, Ali Askhadovich Shogentsukov (1900–1941). In accordance with the purpose and task of the study, the authors of the article propose a hypothesis that not only does Shogentsukov’s work belong to the history of national literature and its development, it is also a lively contribution to the modern national literature. The article overcomes a purely ideological interpretation of Ali Shogentsukov’s work and consolidates the idea of his role in the evolution of the national literary process.
{"title":"Ali Shogentsukov and the National Literary Process of the 20th Century (to the Axiology of Re-reading)","authors":"Y. Tkhagazitov, L. B. Khavzhokova","doi":"10.22455/2500-4247-2022-7-1-356-367","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-1-356-367","url":null,"abstract":"The main purpose of the article is to study the organic combination of problemcontent and artistic-stylistic aspects in the further development of Shogentsukov’s traditions in Kabardian literature. To achieve this goal, it seems necessary to reveal the essence of national traditions and the artistic experience of Russian literature as the basis for the interdependence of “ours” and “theirs” in the formation of the artistic world of the founder and classic of Kabardian literature, Ali Askhadovich Shogentsukov (1900–1941). In accordance with the purpose and task of the study, the authors of the article propose a hypothesis that not only does Shogentsukov’s work belong to the history of national literature and its development, it is also a lively contribution to the modern national literature. The article overcomes a purely ideological interpretation of Ali Shogentsukov’s work and consolidates the idea of his role in the evolution of the national literary process.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"362 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76018152","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 : 2022-01-01DOI: 10.22455/2500-4247-2022-7-1-170-183
A. Golubtsova
The work of Italian writer Curzio Malaparte was greatly influenced by the “Soviet” theme. He visited the USSR for the first time as a journalist in 1929, worked as a war reporter on the Eastern front in 1943 and visited the Soviet Union again in 1956. In Malaparte’s numerous fictional and non-fictional works dedicated to his Soviet experience (The Intelligence of Lenin; Coup D’etat: The Technique of Revolution; Lenin the Good Fellow; The Volga Rises in Europe; The Kremlin Ball; Me, In Russia and In China) the author widely used various elements of the European “myth of Russia”. The article studies the influence of the “myth of Russia” on the writer’s views and describes how various components of the myth transform depending on political situation and on the evolution of Malaparte’s beliefs.
{"title":"“The Myth of Russia” in the Works by Curzio Malaparte","authors":"A. Golubtsova","doi":"10.22455/2500-4247-2022-7-1-170-183","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-1-170-183","url":null,"abstract":"The work of Italian writer Curzio Malaparte was greatly influenced by the “Soviet” theme. He visited the USSR for the first time as a journalist in 1929, worked as a war reporter on the Eastern front in 1943 and visited the Soviet Union again in 1956. In Malaparte’s numerous fictional and non-fictional works dedicated to his Soviet experience (The Intelligence of Lenin; Coup D’etat: The Technique of Revolution; Lenin the Good Fellow; The Volga Rises in Europe; The Kremlin Ball; Me, In Russia and In China) the author widely used various elements of the European “myth of Russia”. The article studies the influence of the “myth of Russia” on the writer’s views and describes how various components of the myth transform depending on political situation and on the evolution of Malaparte’s beliefs.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"35 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75726383","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 : 2022-01-01DOI: 10.22455/2500-4247-2022-7-3-110-129
Aleksandra S. Balakhovskaya
In the age of late Antiquity in the literatures of the Mediterranean basin countries hagiographic discourse has become widespread in pagan, Jewish and Christian literatures. Characteristic features of a literary work with a hagiographical discourse are the presence of a deified character (“man of God”), the combination of the historical substrate with the oral tradition, the dominance of pictorial elements over informative ones, the apologetic and edifying narrative, and the use of archetypes of the “man of God.” In addition to the general hagiographic discourse, there was the Christian hagiographic discourse, which has such specific features as a clear boundary between divine and human nature, the biblical paradigms underlying hagiographical texts, a more radical image of asceticism, the specific nature of miracles, which are mainly miracles of mercy and performed by the power of God. The article examines how the features of hagiographical discourse were reflected in the biographical works by Iamblichus “Vita Pithagorica” and by Athanasius of Alexandria “Vita Antonii,” and also shows the relations between Christian hagiography and the antique biography.
{"title":"Hagiographical Discourse in “Vita Pythagorica” by Yamblichus and “Vita Antonii” by Athanasius of Alexandria","authors":"Aleksandra S. Balakhovskaya","doi":"10.22455/2500-4247-2022-7-3-110-129","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-3-110-129","url":null,"abstract":"In the age of late Antiquity in the literatures of the Mediterranean basin countries hagiographic discourse has become widespread in pagan, Jewish and Christian literatures. Characteristic features of a literary work with a hagiographical discourse are the presence of a deified character (“man of God”), the combination of the historical substrate with the oral tradition, the dominance of pictorial elements over informative ones, the apologetic and edifying narrative, and the use of archetypes of the “man of God.” In addition to the general hagiographic discourse, there was the Christian hagiographic discourse, which has such specific features as a clear boundary between divine and human nature, the biblical paradigms underlying hagiographical texts, a more radical image of asceticism, the specific nature of miracles, which are mainly miracles of mercy and performed by the power of God. The article examines how the features of hagiographical discourse were reflected in the biographical works by Iamblichus “Vita Pithagorica” and by Athanasius of Alexandria “Vita Antonii,” and also shows the relations between Christian hagiography and the antique biography.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"93 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76731660","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 : 2022-01-01DOI: 10.22455/2500-4247-2022-7-1-508-519
K. Chekalov
St. Petersburg branch of the Archive of the Russian Academy of Sciences stores a correspondence between a famous French writer André Gide and a renowned soviet Orientalist scholar, member of the USSR Academy of Sciences, Fyodor Rosenberg (1867–1934). Part of the correspondence is kept in the Parisian library Jacques Doucet. In 1921, the University of Lyon published the epistolary in French (in total 338 letters). The correspondence covers a long period from 1896 to the date of death of the Russian academic. This letters allow to contemplate the spiritual world of two outstanding cultural figures of the fin de siècle, as well as to see once again how the revolution in Russia influenced the mindset and the way of life of academic life. The fact that the epistolary lacks a number of letters is mainly explained by the 1917 Revolution. Only a short collection of letters dates back to the 1920s (when Rosenberg was a senior research curator at the Asiatic Museum, now the Institute of Oriental Manuscripts of the Russian Academy of Sciences), while the early 20th century is broadly represented in the correspondence. Social and political reality becomes more and more catastrophic as it invades that highly estheticized, sometimes explicitly Pre-Raphaelite-like universe into which Rosenberg, a refined expert in both Eastern and Western-European cultural traditions, would like to withdraw. “Beautiful Italy” occupies a significant place in the letters. Rosenberg’s deep emotions connected with his being a homosexual are also an important part of the epistolary. The edition is prepared by Nikol Dziub, professor at the University of Upper Alsace (UHA). The introductory note and an extensive pageby- page commentary provide a comprehensive view of the reality, cultural landmarks, and personalities that appear in the correspondence.
{"title":"“Your Letters are as Cordial as a Friend’s Handshake” (Correspondence between André Gide and Fyodor Rosenberg)","authors":"K. Chekalov","doi":"10.22455/2500-4247-2022-7-1-508-519","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-1-508-519","url":null,"abstract":"St. Petersburg branch of the Archive of the Russian Academy of Sciences stores a correspondence between a famous French writer André Gide and a renowned soviet Orientalist scholar, member of the USSR Academy of Sciences, Fyodor Rosenberg (1867–1934). Part of the correspondence is kept in the Parisian library Jacques Doucet. In 1921, the University of Lyon published the epistolary in French (in total 338 letters). The correspondence covers a long period from 1896 to the date of death of the Russian academic. This letters allow to contemplate the spiritual world of two outstanding cultural figures of the fin de siècle, as well as to see once again how the revolution in Russia influenced the mindset and the way of life of academic life. The fact that the epistolary lacks a number of letters is mainly explained by the 1917 Revolution. Only a short collection of letters dates back to the 1920s (when Rosenberg was a senior research curator at the Asiatic Museum, now the Institute of Oriental Manuscripts of the Russian Academy of Sciences), while the early 20th century is broadly represented in the correspondence. Social and political reality becomes more and more catastrophic as it invades that highly estheticized, sometimes explicitly Pre-Raphaelite-like universe into which Rosenberg, a refined expert in both Eastern and Western-European cultural traditions, would like to withdraw. “Beautiful Italy” occupies a significant place in the letters. Rosenberg’s deep emotions connected with his being a homosexual are also an important part of the epistolary. The edition is prepared by Nikol Dziub, professor at the University of Upper Alsace (UHA). The introductory note and an extensive pageby- page commentary provide a comprehensive view of the reality, cultural landmarks, and personalities that appear in the correspondence.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"127 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77171447","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 : 2022-01-01DOI: 10.22455/2500-4247-2022-7-4-34-53
Elena N. Kovtun
The article comprises the summarized results of the author’s investigation of the Universe of Afterlife — the post-mortem home of human soul — as a specific locus in Russian, Slavic, European and North American fantasy of 20th–21th centuries. More than a hundred fiction texts under analysis, referring to the genre of fantasy, depict the Universe of Afterlife as an isolated area, unmistakably identified both by the author and the reader, and characterized by its own space-time and landscape parameters, population diversity, system of social and moral norms. The article outlines the invariant features of the Universe of Afterlife narrative, allowing to raise an issue of the unified “Universe of Afterlife Intertext,” inherent in the literature of fantasy of the examined period. Besides, it introduces the images of the meeting guard, mentor or guide, accompanying the personage through the afterlife kingdom. The article proposes the classification of basic models of the Universe of Afterlife according to the criteria elaborated by the author; it also features the most widely-spread plotcomposition schemes of the Universe of Afterlife narrative. The conclusion contains the comprehensive characteristics of the functionality of the Universe of Afterlife art image and the summary of the different writer’s ideas and hypotheses on the aims, meaning and duration (finiteness or eternity) of post-mortem existence.
{"title":"The Universe of Afterlife Intertext in Fantasy of 20th–21th Centuries: The Functionality of Art Model","authors":"Elena N. Kovtun","doi":"10.22455/2500-4247-2022-7-4-34-53","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-4-34-53","url":null,"abstract":"The article comprises the summarized results of the author’s investigation of the Universe of Afterlife — the post-mortem home of human soul — as a specific locus in Russian, Slavic, European and North American fantasy of 20th–21th centuries. More than a hundred fiction texts under analysis, referring to the genre of fantasy, depict the Universe of Afterlife as an isolated area, unmistakably identified both by the author and the reader, and characterized by its own space-time and landscape parameters, population diversity, system of social and moral norms. The article outlines the invariant features of the Universe of Afterlife narrative, allowing to raise an issue of the unified “Universe of Afterlife Intertext,” inherent in the literature of fantasy of the examined period. Besides, it introduces the images of the meeting guard, mentor or guide, accompanying the personage through the afterlife kingdom. The article proposes the classification of basic models of the Universe of Afterlife according to the criteria elaborated by the author; it also features the most widely-spread plotcomposition schemes of the Universe of Afterlife narrative. The conclusion contains the comprehensive characteristics of the functionality of the Universe of Afterlife art image and the summary of the different writer’s ideas and hypotheses on the aims, meaning and duration (finiteness or eternity) of post-mortem existence.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"3276 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86605808","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 : 2022-01-01DOI: 10.22455/2500-4247-2022-7-4-142-155
Ani Petrs
The article is devoted to the literary hoax of Samuel Kissin (Muni) (1885–1916), a poet, critic and translator. Based on the material of the memoirs of contemporaries (in particular, V. Khodasevich), archival sources and comments on them the article examines the history, goals and reasons of the hoax created by Kissin — Alexander Beklemishev, on whose behalf S. Kissin wrote poetry and prose, and more than that — in which he tried to reincarnate. The basis of the A. Beklemishev’s novel “In the Summer of 190*” (1907–1908) is “Goliadkin inside out,” the story of the displacement of one person by another from his body, told in the first person. The author of the article pays special attention to the subject organization of the story, the peculiarities of the voices of the authors-narrators, their correlation with each other. Also she highlights The main themes and motifs of the novel and draws parallels between the characters of A. Beklemishev (S. Kissin) and the characters of F. Dostoevsky. In conclusion the article states that the main feature of literary hoax is the construction of another author’s instance.
这篇文章致力于塞缪尔·基辛(穆尼)(1885-1916)的文学骗局，他是一位诗人、评论家和翻译家。根据同时代人的回忆录材料(特别是V. Khodasevich)，档案资料和对他们的评论，本文研究了Kissin - Alexander Beklemishev创造的骗局的历史，目标和原因，代表S. Kissin写了诗歌和散文，以及更多-他试图转世。a·别克莱米舍夫(A. Beklemishev)的小说《一九一九年的夏天》(1907-1908)的基础是《Goliadkin inside out》，讲述了一个人被另一个人从自己的身体中驱逐出去的故事，以第一人称的方式讲述。本文作者特别关注故事的主体组织、作者-叙述者声音的独特性以及他们之间的相互关系。此外，她还强调了小说的主题和母题，并在A. Beklemishev (S. Kissin)和F. Dostoevsky的人物之间进行了比较。文章最后指出，文学骗局的主要特征是对另一个作者实例的建构。
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