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: 10.22455/2500-4247-2022-7-3-298-321
A. Toporkov
The article analyzes one of the “parafolklore” texts published by Ivan Petrovich Sakharov (1807–1863) in his edition “Tales of the Russian people about the family life of their ancestors.” It is about a song which is interpolated into the description of the ritual “opahivanie,” designed to protect the village from the epizootic and expel the “Cow Death” from it. It has been established that the description of the rite of “ploughing” itself was created by I.P. Sakharov based on the description of this rite published twice by V.B. Bronevsky in 1827 and 1828, and I.P. Sakharov stylistically “decorated” and expanded the text of his predecessor. The song, absent in Bronevsky’s composition, is compiled by Sakharov himself, we believe, on the basis of some real “opahivaniye” songs with addition of some motives, borrowed from authentic works of Russian folklore and from “parafolklore” works of Sakharov himself. In the case of such works we are dealing with a special kind of literary stylization, involving the reworking of authentic folklore texts or composing original works on a folklore basis. At the same time, the composer pays attention not only to the form and content of his texts, but also to special techniques of misleading the reader about their origin (in this case, the “parafolklore” text is interpolated into a description of a real rite).
{"title":"The Experience of Reading the “Parafolklore” Text from I.P. Sakharov’s “Tales of the Russian People”","authors":"A. Toporkov","doi":"10.22455/2500-4247-2022-7-3-298-321","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-3-298-321","url":null,"abstract":"The article analyzes one of the “parafolklore” texts published by Ivan Petrovich Sakharov (1807–1863) in his edition “Tales of the Russian people about the family life of their ancestors.” It is about a song which is interpolated into the description of the ritual “opahivanie,” designed to protect the village from the epizootic and expel the “Cow Death” from it. It has been established that the description of the rite of “ploughing” itself was created by I.P. Sakharov based on the description of this rite published twice by V.B. Bronevsky in 1827 and 1828, and I.P. Sakharov stylistically “decorated” and expanded the text of his predecessor. The song, absent in Bronevsky’s composition, is compiled by Sakharov himself, we believe, on the basis of some real “opahivaniye” songs with addition of some motives, borrowed from authentic works of Russian folklore and from “parafolklore” works of Sakharov himself. In the case of such works we are dealing with a special kind of literary stylization, involving the reworking of authentic folklore texts or composing original works on a folklore basis. At the same time, the composer pays attention not only to the form and content of his texts, but also to special techniques of misleading the reader about their origin (in this case, the “parafolklore” text is interpolated into a description of a real rite).","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"23 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83244289","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: 10.22455/2500-4247-2022-7-1-472-493
K. Burmistrov
The article discusses the history of publication of two works by Alexander Kuprin (1870–1938) and Ivan Shmelev (1873–1950) in “Russkaya Gazeta” (“Russian newspaper”), which is an emigrant newspaper issued in Paris in 1923–1925. Their publication remained unnoticed by modern researchers. The article examines Kuprin’s participation in this periodical, as well as the historical context of Kuprin’s article “Diaries and Letters” (1923) published in this newspaper at the beginning of 1924, and dedicated to the publication of the “Diary of Emperor Nicholas II”. In particular, the author discusses the history of the “Diary”’s publication in Berlin in 1923 and the peculiarities of the reaction to its appearance among the Russian emigration. He also discusses the history of the publication of I.S. Shmelev’s political fairy tale “Preobrazhenets” (1919–1923–1927). Particular attention is paid to the edition of this tale, which was published together with Kuprin’s article in the same issue of “Russkaya Gazeta” (January 7, 1924). For the first time, the article presents the full text of Kuprin’s article, as well as the text of Shmelev’s fairy tale in its 1923 edition, in comparison with its final version published in 1927.
{"title":"From Old Newspapers: an Unknown Essay by Alexander Kuprin and an Unaccounted Publication of Ivan Shmelev’s Fairy Tale","authors":"K. Burmistrov","doi":"10.22455/2500-4247-2022-7-1-472-493","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-1-472-493","url":null,"abstract":"The article discusses the history of publication of two works by Alexander Kuprin (1870–1938) and Ivan Shmelev (1873–1950) in “Russkaya Gazeta” (“Russian newspaper”), which is an emigrant newspaper issued in Paris in 1923–1925. Their publication remained unnoticed by modern researchers. The article examines Kuprin’s participation in this periodical, as well as the historical context of Kuprin’s article “Diaries and Letters” (1923) published in this newspaper at the beginning of 1924, and dedicated to the publication of the “Diary of Emperor Nicholas II”. In particular, the author discusses the history of the “Diary”’s publication in Berlin in 1923 and the peculiarities of the reaction to its appearance among the Russian emigration. He also discusses the history of the publication of I.S. Shmelev’s political fairy tale “Preobrazhenets” (1919–1923–1927). Particular attention is paid to the edition of this tale, which was published together with Kuprin’s article in the same issue of “Russkaya Gazeta” (January 7, 1924). For the first time, the article presents the full text of Kuprin’s article, as well as the text of Shmelev’s fairy tale in its 1923 edition, in comparison with its final version published in 1927.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"10 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87993139","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: 10.22455/2500-4247-2022-7-4-10-33
D. Moskovskaya, N.Yu. Bakshaeva, O. Romanova
Theorizing the concept of Soviet literature is associated with the understanding that in the 1920s the literary process is undergoing massive changes. The mass writer undergoes ideological molding. The “order for inspiration” after 1926 does not come from the financial market, but from the authorities. But regardless of the instance that actualized the order, the fusion of literature with power gives rise to “paraliterature,” which typologically equates the “tabloid” generated by financial mechanisms with mass custom-made thematic literature. An appeal to the motives of the behavior of participants in the early Soviet literary process, the study of which is provided by the archives of proletarian writers’ unions, reveals the possibility of a sociological and literary interpretation in the concept of a Soviet writer. In the sociological perspective, the Soviet writer belongs to the market of ideological values, and the referential content of this concept, proposed by E.A. Dobrenko and M.O. Chudakova — “mass graphomania” or subordination to the doctrine of socialist realism — corresponds to the social practice of the 1920s–1930s. In the literary perspective, the writer appears as the author, “a structure acting in the space of the work.” The immanent perspective liberates the Soviet writer from the status of “Sovietness” and makes it possible to attribute his works to the achievements of world literature.
{"title":"Mass Character and “Massovization” in the Early Soviet Literary Process","authors":"D. Moskovskaya, N.Yu. Bakshaeva, O. Romanova","doi":"10.22455/2500-4247-2022-7-4-10-33","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-4-10-33","url":null,"abstract":"Theorizing the concept of Soviet literature is associated with the understanding that in the 1920s the literary process is undergoing massive changes. The mass writer undergoes ideological molding. The “order for inspiration” after 1926 does not come from the financial market, but from the authorities. But regardless of the instance that actualized the order, the fusion of literature with power gives rise to “paraliterature,” which typologically equates the “tabloid” generated by financial mechanisms with mass custom-made thematic literature. An appeal to the motives of the behavior of participants in the early Soviet literary process, the study of which is provided by the archives of proletarian writers’ unions, reveals the possibility of a sociological and literary interpretation in the concept of a Soviet writer. In the sociological perspective, the Soviet writer belongs to the market of ideological values, and the referential content of this concept, proposed by E.A. Dobrenko and M.O. Chudakova — “mass graphomania” or subordination to the doctrine of socialist realism — corresponds to the social practice of the 1920s–1930s. In the literary perspective, the writer appears as the author, “a structure acting in the space of the work.” The immanent perspective liberates the Soviet writer from the status of “Sovietness” and makes it possible to attribute his works to the achievements of world literature.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"25 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88415530","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: 10.22455/2500-4247-2022-7-4-232-253
Galina M. Lesnaya
The article examines the initial stage in the study of Lesya Ukrainka’s works, where most of the plots and images of her poetry were perceived by contemporaries and the next generation of readers as “exotic.” Not understood by contemporaries, the legacy of Lesya Ukrainka turned out to be in demand in the 1920s, at that time the main directions of research of her work were laid. The main merit in popularizing the poetry of Lesya Ukrainka belongs to a group of “neoclassical” poets and literary critics close to them, who taught readers to “love and understand” her works with “exotic” plots. As a circumstance that influenced the specific imagery of Lesya Ukrainka’s poetry, researchers of that time highlighted the writer’s immersion in world literature. For the second time, a deep interest in the work of Lesya Ukrainka arose at the turn of the 20–21st centuries in connection with the publication and study of the heritage of Ukrainian modernists of the early 20th century. Then some facts of her biography were rediscovered and many aspects of her legacy were rethought. New facets of the writer’s works allow us to explore the “Complete Academic Collection of Works” by Lesya Ukrainka, published in 2021, and dedicated to the 150th anniversary of her birth. It provides an opportunity to analyze the process of her becoming and formation as a creative personality, which took place under the influence of the environment, upbringing and work on literary translations.
{"title":"“Society Did not Notice Her, Passed Her by”: from the History of the Study of “Exotic” Plots in the Works of Lesya Ukrainka","authors":"Galina M. Lesnaya","doi":"10.22455/2500-4247-2022-7-4-232-253","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-4-232-253","url":null,"abstract":"The article examines the initial stage in the study of Lesya Ukrainka’s works, where most of the plots and images of her poetry were perceived by contemporaries and the next generation of readers as “exotic.” Not understood by contemporaries, the legacy of Lesya Ukrainka turned out to be in demand in the 1920s, at that time the main directions of research of her work were laid. The main merit in popularizing the poetry of Lesya Ukrainka belongs to a group of “neoclassical” poets and literary critics close to them, who taught readers to “love and understand” her works with “exotic” plots. As a circumstance that influenced the specific imagery of Lesya Ukrainka’s poetry, researchers of that time highlighted the writer’s immersion in world literature. For the second time, a deep interest in the work of Lesya Ukrainka arose at the turn of the 20–21st centuries in connection with the publication and study of the heritage of Ukrainian modernists of the early 20th century. Then some facts of her biography were rediscovered and many aspects of her legacy were rethought. New facets of the writer’s works allow us to explore the “Complete Academic Collection of Works” by Lesya Ukrainka, published in 2021, and dedicated to the 150th anniversary of her birth. It provides an opportunity to analyze the process of her becoming and formation as a creative personality, which took place under the influence of the environment, upbringing and work on literary translations.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"9 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87358973","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}
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