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: 10.22455/2500-4247-2023-8-3-10-27
Evgeniy S. Maslov
The article explores the essence of the cognate oppositions “fabula — syuzhet” and “story — discourse” through the prism of the semiotic triangle concept. The “corners” of the semiotic triangle (thing, thought, symbol) are not aspects of one and the same phenomenon, but independent types of phenomena, and each of them has its own temporality. The author proves that the substance of the plot / discourse is a thought (sense), and not a text as a unity of sense and its acoustic-graphic expression. The time of the syuzhet / discourse (the time of thinking about the object) can not only differ from the time of the fabula / story, but fundamentally does not need it, since it has a different ontological basis; as a consequence, its counterpart exists in any kind of text, not just in narrative. If the text presents events to the reader in the mode of sensual “pseudo-living,” the time of the syuzhet / discourse tends to coincide with the time of the fabula / story. But the rational grasp, based on abstraction, allows thinking to use for its movement not only temporal, but also other “dimensions” of the described material.
{"title":"Time in Narrative: “Fabula — Syuzhet” and “Story — Discourse” vs Semiotic Triangle","authors":"Evgeniy S. Maslov","doi":"10.22455/2500-4247-2023-8-3-10-27","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-10-27","url":null,"abstract":"The article explores the essence of the cognate oppositions “fabula — syuzhet” and “story — discourse” through the prism of the semiotic triangle concept. The “corners” of the semiotic triangle (thing, thought, symbol) are not aspects of one and the same phenomenon, but independent types of phenomena, and each of them has its own temporality. The author proves that the substance of the plot / discourse is a thought (sense), and not a text as a unity of sense and its acoustic-graphic expression. The time of the syuzhet / discourse (the time of thinking about the object) can not only differ from the time of the fabula / story, but fundamentally does not need it, since it has a different ontological basis; as a consequence, its counterpart exists in any kind of text, not just in narrative. If the text presents events to the reader in the mode of sensual “pseudo-living,” the time of the syuzhet / discourse tends to coincide with the time of the fabula / story. But the rational grasp, based on abstraction, allows thinking to use for its movement not only temporal, but also other “dimensions” of the described material.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"30 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":"135356415","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: 10.22455/2500-4247-2023-8-3-232-255
Maria V. Kundozerova
The article is devoted to the study of the Karelian runosongs of the bilingual storyteller of the White Sea, Matvey Korguev. The tasks of the study include the identification of runosongs recorded from Korguev in archival and published sources; determination of their genre affiliation, range of plots and motifs; analysis of their features in the context of the Karelian epic tradition. The texts of 29 runosongs containing the plot “Searching for a tree for a boat” and 271 runes with the plot “Feast in Päivölä” from published collections and the Scientific Manuscript Archive of the Karelian Research Center of the Russian Academy of Sciences were used for comparison. It has been established that three runosongs were written down from M. Korguev, one of which (a handwritten version of 1938) is introduced into scientific circulation for the first time. According to a comparative textual analysis, the records of 1938 and 1941 are variants of the epic runosong with contamination of the plots “Search for a tree for a boat” and “Feast in Päivölä,” while the text of 1935 contains only the plot “Feast in Päivölä.” All texts have an original composition, complicated by interspersing motifs from the plots “Competition in matchmaking” and “Journey to Pohjola.” The text of 1935 contains the motif of the birth of the sun from the yolk, which belongs to the plot “Creation of the World.” Most of the identified motifs are traditional for Karelian epic poetry. Unique are the motifs for setting off to marry on an ahkivo and the marriage of an uninvited guest who killed the host of the feast, as well as some details of the narrative.
{"title":"Plots and Motifs of Matvey Korguev’s Runosongs in the Context of Karelian Epic Tradition","authors":"Maria V. Kundozerova","doi":"10.22455/2500-4247-2023-8-3-232-255","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-232-255","url":null,"abstract":"The article is devoted to the study of the Karelian runosongs of the bilingual storyteller of the White Sea, Matvey Korguev. The tasks of the study include the identification of runosongs recorded from Korguev in archival and published sources; determination of their genre affiliation, range of plots and motifs; analysis of their features in the context of the Karelian epic tradition. The texts of 29 runosongs containing the plot “Searching for a tree for a boat” and 271 runes with the plot “Feast in Päivölä” from published collections and the Scientific Manuscript Archive of the Karelian Research Center of the Russian Academy of Sciences were used for comparison. It has been established that three runosongs were written down from M. Korguev, one of which (a handwritten version of 1938) is introduced into scientific circulation for the first time. According to a comparative textual analysis, the records of 1938 and 1941 are variants of the epic runosong with contamination of the plots “Search for a tree for a boat” and “Feast in Päivölä,” while the text of 1935 contains only the plot “Feast in Päivölä.” All texts have an original composition, complicated by interspersing motifs from the plots “Competition in matchmaking” and “Journey to Pohjola.” The text of 1935 contains the motif of the birth of the sun from the yolk, which belongs to the plot “Creation of the World.” Most of the identified motifs are traditional for Karelian epic poetry. Unique are the motifs for setting off to marry on an ahkivo and the marriage of an uninvited guest who killed the host of the feast, as well as some details of the narrative.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"2012 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":"135356416","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: 10.22455/2500-4247-2023-8-3-106-125
Marianna V. Kaplun
The article examines the work of the Russian writer Olga Pavlovna Runova (nee Meshcherskaya) (1864–1952) in the context of literary and gender discourse that developed in the modernist period. One of the most striking, accentuated feminine works of Runova is the epistolary story Moonlight, published in 1913 in the leading literary and political publication “Russian Thought.” Later, the story was included in another collection of Runova’s gender-specific prose, published in Petrograd in 1916 with the same title. In Moonlight the writer uses diary genre of unsent letter with first-person narration, trying to penetrate deeper into the inner world of a woman, to demonstrate her vulnerability to the patriarchal environment and to show possible options for overcoming a spiritual split. The story combines various artistic tactics of Runova in the construction of femininity, which were reflected in the prose of the writer of the 1900–1910s (psychosis, conformism, escapism). The character of story goes through all the stages of feminine self-determination: from internal discontent through rebellion/rejection to a compromise acceptance of dictated conditions. Runova sees the main way out for a woman in inner escapism, which gives an imaginary respite from the oppressive reality, the prevailing patriarchy, but not solving the problem of women’s self-determination outside the patriarchal world.
{"title":"Principles of Constructing Femininity in O.P. Runova’s Novel Moonlight","authors":"Marianna V. Kaplun","doi":"10.22455/2500-4247-2023-8-3-106-125","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-106-125","url":null,"abstract":"The article examines the work of the Russian writer Olga Pavlovna Runova (nee Meshcherskaya) (1864–1952) in the context of literary and gender discourse that developed in the modernist period. One of the most striking, accentuated feminine works of Runova is the epistolary story Moonlight, published in 1913 in the leading literary and political publication “Russian Thought.” Later, the story was included in another collection of Runova’s gender-specific prose, published in Petrograd in 1916 with the same title. In Moonlight the writer uses diary genre of unsent letter with first-person narration, trying to penetrate deeper into the inner world of a woman, to demonstrate her vulnerability to the patriarchal environment and to show possible options for overcoming a spiritual split. The story combines various artistic tactics of Runova in the construction of femininity, which were reflected in the prose of the writer of the 1900–1910s (psychosis, conformism, escapism). The character of story goes through all the stages of feminine self-determination: from internal discontent through rebellion/rejection to a compromise acceptance of dictated conditions. Runova sees the main way out for a woman in inner escapism, which gives an imaginary respite from the oppressive reality, the prevailing patriarchy, but not solving the problem of women’s self-determination outside the patriarchal world.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"9 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":"135356448","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: 10.22455/2500-4247-2023-8-2-182-199
S. Titarenko
This article is dedicated to the insufficiently studied topic concerning comparative analysis of European mannerism and neo-mannerist tendencies in Russian modernist poetry. The basis of this analysis is formed by ideas of Ernst Robert Curtius regarding mannerism as a constant theme in European literature and classic art history studies (Max Dvořák, Erwin Panofsky) and modern philological studies dedicated to this style of the 16th century. The article examines the poems from early poetry collections by Valery Bryusov, such as “Juvenilia” (1892–1894), “Chefs d’oeuvre” (1894–1896), “Mе eum esse” (1896–1897), and “Pearls” (1910) by Nikolay Gumilev. It demonstrates that the neo-mannerism in Bryusov’s and Gumilev’s poetry was brought upon by influence of French culture and Art Nouveau style, which reveals in the creation of the contingent, aestheticized and exotic image of the world. The poets use techniques of theatricalization in order to develop plots. A complexity of poetic manner is characteristic, principles of surprise poetics are created in line with it. The picturesque scenes, motifs of narcissism and love games are varied. The topoi of mannerism or early baroque are used. It allows us to talk about the actualization of mannerist model of thinking that embody ideas of aesthetic rebel against tradition.
本文致力于对俄罗斯现代主义诗歌中欧洲风格主义与新风格主义倾向的比较分析这一研究不足的主题。这种分析的基础是由恩斯特·罗伯特·柯提乌斯(Ernst Robert Curtius)的观点形成的，他认为风格主义是欧洲文学和古典艺术史研究(马克斯Dvořák, Erwin Panofsky)和16世纪致力于这种风格的现代语言学研究的恒定主题。本文考察了瓦列里·布留索夫早期诗集中的诗歌，如《少女》(1892-1894)、《开胃菜》(1894-1896)、《小姐》(1896-1897)和尼古拉·古米列夫的《珍珠》(1910)。分析表明，布留索夫和古米列夫诗歌中的新风格主义是受法国文化和新艺术风格的影响而产生的，表现在对偶然的、审美化的、异国情调的世界形象的塑造上。诗人运用戏剧化的技巧来发展情节。诗歌方式的复杂性是其特点，惊喜诗学的原则与之相适应。风景如画的场景、自恋的主题和爱情游戏是多种多样的。风格主义或早期巴洛克风格的主题被使用。它使我们得以探讨体现美学反叛传统思想的矫饰主义思维模式的实现。
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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.
{"title":"The Panegyric on Nicholas Kochanov, a Fool for Christ of Novgorod: Literary Sources","authors":"N. Pak","doi":"10.22455/2500-4247-2023-8-2-288-315","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-288-315","url":null,"abstract":"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.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"43 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88259617","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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