Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-1-64-81
T. A. Sharypina, P. Kazakova
The subject of the article is the problem of the synthesis of arts in the creative collaboration of Hugo von Hofmannsthal and Richard Strauss. А special turn of the problem «music and word» is analyzed, when a musical performance arises in close cooperation between a composer, who is responsible for correcting the text and a writer dealing with the musical palette of their common creation. R. Strauss and G. Hofmannsthal were united by the very concept of the philosophical and aesthetic inheritance of F. Nietzsche, whose research predetermined the theoretical and philosophical basis of their cooperation. The creation of the play «Ariadne on Naxos» was based on the principles, in many respects similar to the Nietzsche's concept of the relationship between music and word. It also made it possible to turn to mythological operas «Helena of Egypt». It is concluded, the work on the opera «Ariadne on Naxos» has become a long-awaited synthesis of opposing views on antiquity and the deep origins of ancient Greek art for its creators.
{"title":"Creative Search by Richard Strauss and Hugo von Hofmannsthal in the Opera “Ariadne on Naxos”: to the Problem of Music and Words Interaction","authors":"T. A. Sharypina, P. Kazakova","doi":"10.22455/2500-4247-2023-8-1-64-81","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-1-64-81","url":null,"abstract":"The subject of the article is the problem of the synthesis of arts in the creative collaboration of Hugo von Hofmannsthal and Richard Strauss. А special turn of the problem «music and word» is analyzed, when a musical performance arises in close cooperation between a composer, who is responsible for correcting the text and a writer dealing with the musical palette of their common creation. R. Strauss and G. Hofmannsthal were united by the very concept of the philosophical and aesthetic inheritance of F. Nietzsche, whose research predetermined the theoretical and philosophical basis of their cooperation. The creation of the play «Ariadne on Naxos» was based on the principles, in many respects similar to the Nietzsche's concept of the relationship between music and word. It also made it possible to turn to mythological operas «Helena of Egypt». It is concluded, the work on the opera «Ariadne on Naxos» has become a long-awaited synthesis of opposing views on antiquity and the deep origins of ancient Greek art for its creators.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"36 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81880692","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: 10.22455/2500-4247-2023-8-2-242-267
Olha Humeniuk
Plot-motif treatment is one of reasonable in classification of expatriate song. It allows to distinguish prevail plot motif in the certain subgroup of corresponding folklore works. Investigating the song folklore by Crimean Tatars, we can rather clearly divide it by such principle. It is possible to determine the songs, where such motifs are dominant as moods and meditations concerning necessity of abandonment from native country, the troubles during departure and sailing to foreign land through sea expanse; the ordeals and severities of adaptation to new circumstances; bitterness of separation from nearest and dearest. Such principle is largely determined by very clear contours of epic narrative in lyrical exposition of these songs in spite of their emotional richness. Besides there are perceptible in folklore by Crimean Tatars rather extensive songs, where all mentioned motifs are combine. Folklore work “The Song of Cool Water” is the main object of study in the proposed article. The author pays attention on composition complexity of this song, on the peculiarities of its figurative structure. She stresses the penetration, vulnerability of its poetic intonations, versification originality.
{"title":"Genre and Style Structure of Expatriate Folklore Lyrics by Crimean Tatars (“The Song of Cool Water”)","authors":"Olha Humeniuk","doi":"10.22455/2500-4247-2023-8-2-242-267","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-242-267","url":null,"abstract":"Plot-motif treatment is one of reasonable in classification of expatriate song. It allows to distinguish prevail plot motif in the certain subgroup of corresponding folklore works. Investigating the song folklore by Crimean Tatars, we can rather clearly divide it by such principle. It is possible to determine the songs, where such motifs are dominant as moods and meditations concerning necessity of abandonment from native country, the troubles during departure and sailing to foreign land through sea expanse; the ordeals and severities of adaptation to new circumstances; bitterness of separation from nearest and dearest. Such principle is largely determined by very clear contours of epic narrative in lyrical exposition of these songs in spite of their emotional richness. Besides there are perceptible in folklore by Crimean Tatars rather extensive songs, where all mentioned motifs are combine. Folklore work “The Song of Cool Water” is the main object of study in the proposed article. The author pays attention on composition complexity of this song, on the peculiarities of its figurative structure. She stresses the penetration, vulnerability of its poetic intonations, versification originality.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"42 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75731872","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: 10.22455/2500-4247-2023-8-1-382-397
Andrey P. Dmitriev, P. Glushakov
The publication is a reproduction of twenty book inscripts by Yu.M. Lotman from the library of B.F. Egorov. These inscriptions on books, magazines and reprints of articles form a kind of dialogical form, definitely reminiscent of epistolary communication. The published inscripts are valuable evidence of comradely and collegiate communication between two remarkable scientists, who were connected by decades of productive cooperation. The first inscript is dated 1952, and the last one discovered is 1992. For the first time, the article presents the reproduction of Lotman’s drawing, which depicts the entire family of the scientist. The inscriptions are often built on a language game, they are playful and spontaneous, but still the basis of dedicatory inscriptions are those in which the enduring importance of friendship, collegiality and morality is emphasized. The scripts are printed from autographs kept in B.F. Egorov’s home library in St. Petersburg.
{"title":"“To Dear BorFed”: Newly Found Yu.M. Lotman’s Inscripts from the Library of B.F. Egorov","authors":"Andrey P. Dmitriev, P. Glushakov","doi":"10.22455/2500-4247-2023-8-1-382-397","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-1-382-397","url":null,"abstract":"The publication is a reproduction of twenty book inscripts by Yu.M. Lotman from the library of B.F. Egorov. These inscriptions on books, magazines and reprints of articles form a kind of dialogical form, definitely reminiscent of epistolary communication. The published inscripts are valuable evidence of comradely and collegiate communication between two remarkable scientists, who were connected by decades of productive cooperation. The first inscript is dated 1952, and the last one discovered is 1992. For the first time, the article presents the reproduction of Lotman’s drawing, which depicts the entire family of the scientist. The inscriptions are often built on a language game, they are playful and spontaneous, but still the basis of dedicatory inscriptions are those in which the enduring importance of friendship, collegiality and morality is emphasized. The scripts are printed from autographs kept in B.F. Egorov’s home library in St. Petersburg.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"44 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86885429","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: 10.22455/2500-4247-2023-8-1-126-143
N. D. Lyakhovskaya
The article is dedicated to basic methodological principles of studying Frenchlanguage literatures in Western and Central Africa. In 60s–70s of the 20th century, foreign Africanists-literature scholars, such as Jacques Chevrièr, and domestic ones, I.D. Nikiforova in particular, studied such literatures as a typological commonness with basic peculiar features or characteristics. The first one is the French language with the tendency for the indigenisation and creation of a “hybrid message.” The second one is the general idea-driven and artistic paradigm: the anticolonial orientation, traditional Africa presentation, protection of the authentic culture, folklore, spiritual values. As distinct from foreign Africanists, both Nikiforova and other Russian scientists emphasised the national specific character of regional literatures, having substantiated two more features that are essential: the accelerated development and parallelism or “compression of styles,” alignment of various art movements within a single temporal space. By the late 20th century, the vector of African studies moved towards the analysis of certain literatures in such typological commonness, thus enabling to determine their national distinctness to a deeper and more precise extent.
{"title":"Specific Features of Forming French-Language Literatures of Sub-Saharan Africa as the Regional Typological Commonness","authors":"N. D. Lyakhovskaya","doi":"10.22455/2500-4247-2023-8-1-126-143","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-1-126-143","url":null,"abstract":"The article is dedicated to basic methodological principles of studying Frenchlanguage literatures in Western and Central Africa. In 60s–70s of the 20th century, foreign Africanists-literature scholars, such as Jacques Chevrièr, and domestic ones, I.D. Nikiforova in particular, studied such literatures as a typological commonness with basic peculiar features or characteristics. The first one is the French language with the tendency for the indigenisation and creation of a “hybrid message.” The second one is the general idea-driven and artistic paradigm: the anticolonial orientation, traditional Africa presentation, protection of the authentic culture, folklore, spiritual values. As distinct from foreign Africanists, both Nikiforova and other Russian scientists emphasised the national specific character of regional literatures, having substantiated two more features that are essential: the accelerated development and parallelism or “compression of styles,” alignment of various art movements within a single temporal space. By the late 20th century, the vector of African studies moved towards the analysis of certain literatures in such typological commonness, thus enabling to determine their national distinctness to a deeper and more precise extent.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"7 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72915692","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: 10.22455/2500-4247-2023-8-3-280-297
Iuliia S. Romaikina
Based on unpublished archival materials and pieces from epistolary sources, the article restores a history of F.K. Sologub’s cooperation with a popular publishing enterprise at the beginning of the 20th century — Moscow Publishing House. The article analyses business relationships between Sologub and Moscow Publishing House staff members: G.G. Blumenberg, the owner and the editor of the literary digests “Zemlia” (20 books, issued by Moscow Publishing House from 1908 to 1917); D.M. Rebrik, Blumenberg trading house’s authorized representative; Bunin, the editor of the first three books of “Zemlia”; V.S. Klestov, the representative of Moscow Publishing House in St. Petersburg. The article follows the history of Sologub’s art works publications in the literary digest “Zemlia” (short stories “The Old House” and “The Beastly Life,” a novel “Smoke and Ashes”) as well as separate editions of some books (short story collections titled “Fierce Year” (1916) and “The Blind Butterfly” (1918), a collection of poems “Red Poppy” (1917)). Based on the reviews of literary critics, the article proves thematic dialogues between the texts by Sologub and other authors within the context of “Zemlia” almanacs. Information on censorship revisions and payment considerations (gradual reduction of fees) appears to be definitely interesting from the perspective of the history of literature.
{"title":"F.K. Sologub and Moscow Publishing House: History of Cooperation","authors":"Iuliia S. Romaikina","doi":"10.22455/2500-4247-2023-8-3-280-297","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-280-297","url":null,"abstract":"Based on unpublished archival materials and pieces from epistolary sources, the article restores a history of F.K. Sologub’s cooperation with a popular publishing enterprise at the beginning of the 20th century — Moscow Publishing House. The article analyses business relationships between Sologub and Moscow Publishing House staff members: G.G. Blumenberg, the owner and the editor of the literary digests “Zemlia” (20 books, issued by Moscow Publishing House from 1908 to 1917); D.M. Rebrik, Blumenberg trading house’s authorized representative; Bunin, the editor of the first three books of “Zemlia”; V.S. Klestov, the representative of Moscow Publishing House in St. Petersburg. The article follows the history of Sologub’s art works publications in the literary digest “Zemlia” (short stories “The Old House” and “The Beastly Life,” a novel “Smoke and Ashes”) as well as separate editions of some books (short story collections titled “Fierce Year” (1916) and “The Blind Butterfly” (1918), a collection of poems “Red Poppy” (1917)). Based on the reviews of literary critics, the article proves thematic dialogues between the texts by Sologub and other authors within the context of “Zemlia” almanacs. Information on censorship revisions and payment considerations (gradual reduction of fees) appears to be definitely interesting from the perspective of the history of literature.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"55 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":"135356407","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: 10.22455/2500-4247-2023-8-1-82-99
T. Aleksandrova
The paper explores the imagery of light in a poem by Paul the Silentiary (6th century) “Ekphrasis of the Hagia Sophia” (and in an adjoining poem “Ekphrasis of the Ambo”) written by order of the Emperor Justinian in 562 on the occasion of the re-consecration of the Church. This problem is more often touched upon from the point of view of art because of the detailed description of the lighting system in St. Sophia, which uses artificial as well as natural light. But the imagery of light in the poem by Paul the Silentiary bears a purely artistic load as well. On the one hand, the light symbolize the presence of the Deity in the Temple; the lighting system itself is arranged so that its description echoes the image of the descent of heavenly light in Pseudo-Dionysius Areopagite. On the other hand, the light symbolizes joy that comes to replace sadness. Here Paul alludes to contemporary historic atmosphere and the events that inspired the writing of the poem: the earlier victories of Justinian and the ability of the emperor to resist adversity that marked the late period of his reign; the collapse of the dome in the earthquake and its recovery. The date of re-consecration committed on Christmas Eve becomes an occasion for thinking: after the December decrease sunlight should be his new revival. Thus, the symbolism of light carries the idea of a new flourishing, which awaits the Kingdom of Justinian. The emperor himself in the description of Paul appears as the “Sun King,” who shines to the East and the West and bear to the world the divine light of the Trinity. The poem ends with a supplication to God — the Light — to donate His grace to the emperor, the city and its citizens. Such a multi-dimensional approach indicates the high poetic skill of Paul the Silentiary.
{"title":"The Image of Light in the “Ekphrasis of the Hagia Sophia” by Paul the Silentiary","authors":"T. Aleksandrova","doi":"10.22455/2500-4247-2023-8-1-82-99","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-1-82-99","url":null,"abstract":"The paper explores the imagery of light in a poem by Paul the Silentiary (6th century) “Ekphrasis of the Hagia Sophia” (and in an adjoining poem “Ekphrasis of the Ambo”) written by order of the Emperor Justinian in 562 on the occasion of the re-consecration of the Church. This problem is more often touched upon from the point of view of art because of the detailed description of the lighting system in St. Sophia, which uses artificial as well as natural light. But the imagery of light in the poem by Paul the Silentiary bears a purely artistic load as well. On the one hand, the light symbolize the presence of the Deity in the Temple; the lighting system itself is arranged so that its description echoes the image of the descent of heavenly light in Pseudo-Dionysius Areopagite. On the other hand, the light symbolizes joy that comes to replace sadness. Here Paul alludes to contemporary historic atmosphere and the events that inspired the writing of the poem: the earlier victories of Justinian and the ability of the emperor to resist adversity that marked the late period of his reign; the collapse of the dome in the earthquake and its recovery. The date of re-consecration committed on Christmas Eve becomes an occasion for thinking: after the December decrease sunlight should be his new revival. Thus, the symbolism of light carries the idea of a new flourishing, which awaits the Kingdom of Justinian. The emperor himself in the description of Paul appears as the “Sun King,” who shines to the East and the West and bear to the world the divine light of the Trinity. The poem ends with a supplication to God — the Light — to donate His grace to the emperor, the city and its citizens. Such a multi-dimensional approach indicates the high poetic skill of Paul the Silentiary.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85705543","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: 10.22455/2500-4247-2023-8-2-220-241
E. B. Dzaparova
The article provides a comparative analysis of the poem by A.A. Akhmatova (1889–1966) “Requiem” in the original and in the translation of the Ossetian poet A.M. Kozachi (1937–2021) to identify similarities and differences in lexico-semantic means, figurative system and symbolism. The purpose of the study is to trace the representation of the semantic space of the original in poetic translation. The author shows the main types of translation strategies in the transfer of idiostyle features, gives an assessment from the position of reflecting the emotional message of the original in translation as a whole. The search for invariant correspondences in the target language showed the translator’s desire for more emotional identity with the original and partly for stylistic one. With the help of functional equivalents A.M. Kozachi managed to reflect in the translated text the personal experiences of the lyrical female character, to convey the confessional pathos of the poem. The absence of equivalents in the target language to convey some poetic images forced the translator to resort to associative substitution. The folklore, Orthodox symbolism found in the text is sometimes translated by non-literal lexical means. Since this or that symbol could not always evoke similar associations in the recipient, the translator resorted to semantic adaptation.
{"title":"Poem by A.A. Akhmatova “Requiem” in the Dialogue of Cultures: Problems of Translation into Ossetian","authors":"E. B. Dzaparova","doi":"10.22455/2500-4247-2023-8-2-220-241","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-220-241","url":null,"abstract":"The article provides a comparative analysis of the poem by A.A. Akhmatova (1889–1966) “Requiem” in the original and in the translation of the Ossetian poet A.M. Kozachi (1937–2021) to identify similarities and differences in lexico-semantic means, figurative system and symbolism. The purpose of the study is to trace the representation of the semantic space of the original in poetic translation. The author shows the main types of translation strategies in the transfer of idiostyle features, gives an assessment from the position of reflecting the emotional message of the original in translation as a whole. The search for invariant correspondences in the target language showed the translator’s desire for more emotional identity with the original and partly for stylistic one. With the help of functional equivalents A.M. Kozachi managed to reflect in the translated text the personal experiences of the lyrical female character, to convey the confessional pathos of the poem. The absence of equivalents in the target language to convey some poetic images forced the translator to resort to associative substitution. The folklore, Orthodox symbolism found in the text is sometimes translated by non-literal lexical means. Since this or that symbol could not always evoke similar associations in the recipient, the translator resorted to semantic adaptation.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"14 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81725299","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: 10.22455/2500-4247-2023-8-2-10-31
M. Pavlovets
The article is devoted to the neo-avant-garde literary trend that emerged in the Soviet underground of the 2nd half of the 20th century. The paper states that the use of the term “neo-avant-garde” with respect to post-war avant-garde has already become conventional in European art and art studies, however it has not yet established in the Russian scientific vocabulary. Moreover, in the field of literary study a significant amount of research material has been collected, which allows us to indicate the existence of Russian poetic neo-avant-garde in the 2nd half of the 20th century. Its authors primarily were either localized within the uncensored literary underground, or abroad as emigres. The article concludes that the Russian neo-avant-garde differed from historical avant-garde (1900–1930s) in the same ways Western neo-avant-garde did: it rejected the socio-political utopianism in favor of an aesthetical utopia that implied the avoidance of any ideology with a virtually escapist concentration on solving solely art tasks. In addition, neo-avant-garde was interested in the issues of revival, continuation and completion of traditions of historical avant-garde, which in its own times manifested declaratively the breakup with every single tradition. Neo-avantgardists mainly inherited the most radical searches of historical avant-garde authors, who often converged their poetry with the boundaries of art as a whole or with zones of visual, acoustic, performative or other art that adjoin verbal poetry.
{"title":"Russian Poetic Neo-avant-garde of the 2nd Half of the 20th Century: On Issue of the Term’s Use Boundaries","authors":"M. Pavlovets","doi":"10.22455/2500-4247-2023-8-2-10-31","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-10-31","url":null,"abstract":"The article is devoted to the neo-avant-garde literary trend that emerged in the Soviet underground of the 2nd half of the 20th century. The paper states that the use of the term “neo-avant-garde” with respect to post-war avant-garde has already become conventional in European art and art studies, however it has not yet established in the Russian scientific vocabulary. Moreover, in the field of literary study a significant amount of research material has been collected, which allows us to indicate the existence of Russian poetic neo-avant-garde in the 2nd half of the 20th century. Its authors primarily were either localized within the uncensored literary underground, or abroad as emigres. The article concludes that the Russian neo-avant-garde differed from historical avant-garde (1900–1930s) in the same ways Western neo-avant-garde did: it rejected the socio-political utopianism in favor of an aesthetical utopia that implied the avoidance of any ideology with a virtually escapist concentration on solving solely art tasks. In addition, neo-avant-garde was interested in the issues of revival, continuation and completion of traditions of historical avant-garde, which in its own times manifested declaratively the breakup with every single tradition. Neo-avantgardists mainly inherited the most radical searches of historical avant-garde authors, who often converged their poetry with the boundaries of art as a whole or with zones of visual, acoustic, performative or other art that adjoin verbal poetry.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"99 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77650838","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: 10.22455/2500-4247-2023-8-1-276-301
T. A. Koshemchuk, Marina S. Samarina
The lyrical cycle of the A.A. Block “Italian Poems” (1909) is a travelogue of the poet (a number of contemplated cities), it is considered from three points of view: as reflecting the isolation of the poet-lyricist on his own experiences and embodying the central theme of Blok, denoted as passion; as a unity of variations in the composition of the whole (not previously considered), in the development of the poet’s central theme; as the part of the third volume in the concept of the poet’s path, which in spirit is the culmination of the period of “antithesis.” The Italian theme is analyzed in variations of the poet’s dominant intention, in the cycle it is the search for the object of passion. First, the history of Italy as a story of extinct passions awakening the passions of the poet (Galla); then the real women of Italy; finally, the poet’s passion turns to the Madonna of frescoes and sculptures, giving rise to demonic motives and blasphemously erotic culminations. The development of the theme of passions (realhistorical, feminine and Eternally Feminine) leads to the assertion of immortal art in the transitory world. The analysis of Blok’s Italian cycle suggests introducing of the new accents into the concept of the poet’s path, of its three stages: the cycle marks not the harmonization and search for synthesis of the third volume, but a dark culmination in the spirit of the period of tragic substitutions and “falls” of the “antithesis” stage.
{"title":"The Lyrical Cycle of A.A. Blok “Italian Poems”: Poetic Reception of Italy and the Culmination of the Period of “Antithesis”","authors":"T. A. Koshemchuk, Marina S. Samarina","doi":"10.22455/2500-4247-2023-8-1-276-301","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-1-276-301","url":null,"abstract":"The lyrical cycle of the A.A. Block “Italian Poems” (1909) is a travelogue of the poet (a number of contemplated cities), it is considered from three points of view: as reflecting the isolation of the poet-lyricist on his own experiences and embodying the central theme of Blok, denoted as passion; as a unity of variations in the composition of the whole (not previously considered), in the development of the poet’s central theme; as the part of the third volume in the concept of the poet’s path, which in spirit is the culmination of the period of “antithesis.” The Italian theme is analyzed in variations of the poet’s dominant intention, in the cycle it is the search for the object of passion. First, the history of Italy as a story of extinct passions awakening the passions of the poet (Galla); then the real women of Italy; finally, the poet’s passion turns to the Madonna of frescoes and sculptures, giving rise to demonic motives and blasphemously erotic culminations. The development of the theme of passions (realhistorical, feminine and Eternally Feminine) leads to the assertion of immortal art in the transitory world. The analysis of Blok’s Italian cycle suggests introducing of the new accents into the concept of the poet’s path, of its three stages: the cycle marks not the harmonization and search for synthesis of the third volume, but a dark culmination in the spirit of the period of tragic substitutions and “falls” of the “antithesis” stage.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"87 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85465380","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: 10.22455/2500-4247-2023-8-2-288-315
N. Pak
The article examines the literary sources of the anonymous Panegyric on Nicholas, named Kochanov, a 14th-century Saint of Novgorod, presumably written in Novgorod in the middle of the 16th century. In numerous cases the author of the Panegyric conveys the few historical information about the life of the Saint by the borrowings from certain literary sources. Established ones are the Sermon on the memory of Basil of Caesarea by John XIII of Constantinople, the Panegyric of Nicholas of Myra attributed to Clement of Ohrid, and the anonymous Sermon on the transfer of the relics of Nicholas the Wonderworker from Myra of Lycia to Bari. The second part of the article privides a comparison of the Panegyric with two late lives of Nicholas Kochanov. The results of analysis confirm the conclusion that they go back to the Panegyric as their source. Moreover, the late Praise of Xenophon of Robeika, another Saint of Novgorod, the founder of the Monastery in honour of St. Nicholas, as well as the Life of Xenophon of Robeika are also based on the text of the Panegyric of Nicholas Kochanov. The appendix contains the text of the Panegyric of Nicholas Kochanov published in accordance with the manuscript of the 17th century OLDP F.48.
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