Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-2-316-333
E. A. Andrushchenko
The article discusses a curious case of the reception of Goethe in Russia in the late 19th century — the first translation of “Conversations with Goethe” (1891), authored by D.V. Averkiev and commissioned by A.S. Suvorin. Taking the expectations of the implicit reader into account had made his newspaper and publishing house one of most successful Russian enterprises by the turn of the century. It also aligned with Averkiev’s Kulturträger attitude, both as a writer who introduced the public to the culture and everyday life of old Russia and as a translator who familiarized it with the achievements of Western European literature and science. In his translation Averkiev utilized an intermediate text, namely É. Delerot’s translation of the “Conversations” into French. He transferred not only its structural features, but also the skeptical opinion of Eckermann’s personality expressed by C.A. Sainte-Beuve in his letter to G. Charpentier. By reducing the original text, extending his translation with materials from Goethe’s correspondence and recollections about him, Delerot corrected the “wrong” genre of the source text — with the ideal seen in J. Boswell’s book on S. Johnson. Averkiev retained the essential features of the intermediate text, but complemented it with his own article as well as footnotes bringing the text closer to Russian understanding. He expanded some footnotes into detailed comments on the history of literature and theatre, which he specialized in. Having emerged in the depths of a fading culture, Averkiev’s translation anticipated the future explorations of Russian modernism, whose representatives studied the personality of Goethe via his translation and quoted the German writer’s conversations in his interpretation.
{"title":"Sainte-Beuve vs Eckermann, or How the First Russian Translation of “Conversations with Goethe” Was Made","authors":"E. A. Andrushchenko","doi":"10.22455/2500-4247-2023-8-2-316-333","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-316-333","url":null,"abstract":"The article discusses a curious case of the reception of Goethe in Russia in the late 19th century — the first translation of “Conversations with Goethe” (1891), authored by D.V. Averkiev and commissioned by A.S. Suvorin. Taking the expectations of the implicit reader into account had made his newspaper and publishing house one of most successful Russian enterprises by the turn of the century. It also aligned with Averkiev’s Kulturträger attitude, both as a writer who introduced the public to the culture and everyday life of old Russia and as a translator who familiarized it with the achievements of Western European literature and science. In his translation Averkiev utilized an intermediate text, namely É. Delerot’s translation of the “Conversations” into French. He transferred not only its structural features, but also the skeptical opinion of Eckermann’s personality expressed by C.A. Sainte-Beuve in his letter to G. Charpentier. By reducing the original text, extending his translation with materials from Goethe’s correspondence and recollections about him, Delerot corrected the “wrong” genre of the source text — with the ideal seen in J. Boswell’s book on S. Johnson. Averkiev retained the essential features of the intermediate text, but complemented it with his own article as well as footnotes bringing the text closer to Russian understanding. He expanded some footnotes into detailed comments on the history of literature and theatre, which he specialized in. Having emerged in the depths of a fading culture, Averkiev’s translation anticipated the future explorations of Russian modernism, whose representatives studied the personality of Goethe via his translation and quoted the German writer’s conversations in his interpretation.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"65 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89353081","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: 10.22455/2500-4247-2023-8-1-82-99
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: 10.22455/2500-4247-2023-8-1-276-301
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: 10.22455/2500-4247-2023-8-1-144-161
Elena V. Trepetova
The article presents the history of the search for Louis Boussenard’s novel L’Orpheline de Montmartre undertaken by the author since 2011. The French original of this work was lost, the title is totally unknown to French specialists, and the only evidence of its creation was a pre-revolutionary translation into Russian. The author of the article analyses the translation of E.N. Kiselyov, identifies the narrative elements characteristic of Boussenard, which make it possible to exclude the falsification of authorship, establishes the date of the first publication of the Russian translation, and finds sporadic mentions of this novel in French sources. The analysis of these documents allows to put forward a hypothesis that the novel in question was published in the Parisian daily “La Petite République” and reprinted by an unknown regional socialist newspaper. This hypothesis was exactly confirmed after the digitization in 2015 of the daily socialist newspaper “L’Égalité de Roubaix-Tourcoing.” The result of this discovery was the first book publication of the novel L’Orpheline de Montmartre in French (2017).
本文介绍了路易斯·布塞纳德自2011年以来寻找小说《蒙马特孤儿》的历史。这部作品的法语原版失传了，法国专家完全不知道书名，唯一的证据是革命前的俄文译本。本文的作者分析了E.N.基谢廖夫的翻译，确定了布塞纳德的叙事元素特征，这使得排除作者伪造的可能性，确定了俄文译本首次出版的日期，并发现法国资料中零星提到了这部小说。对这些文件的分析可以提出一个假设，即该小说发表在巴黎日报“La Petite r publique”上，并由一份不知名的地区社会主义报纸转载。这一假设在2015年社会主义日报《L ' Égalité de Roubaix-Tourcoing》数字化后得到了证实。这一发现的结果是小说《蒙马特孤儿》(法语版)首次出版(2017年)。
{"title":"L’Orpheline de Montmartre: A Newly Discovered Novel by Very Popular in Russia Writer","authors":"Elena V. Trepetova","doi":"10.22455/2500-4247-2023-8-1-144-161","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-1-144-161","url":null,"abstract":"The article presents the history of the search for Louis Boussenard’s novel L’Orpheline de Montmartre undertaken by the author since 2011. The French original of this work was lost, the title is totally unknown to French specialists, and the only evidence of its creation was a pre-revolutionary translation into Russian. The author of the article analyses the translation of E.N. Kiselyov, identifies the narrative elements characteristic of Boussenard, which make it possible to exclude the falsification of authorship, establishes the date of the first publication of the Russian translation, and finds sporadic mentions of this novel in French sources. The analysis of these documents allows to put forward a hypothesis that the novel in question was published in the Parisian daily “La Petite République” and reprinted by an unknown regional socialist newspaper. This hypothesis was exactly confirmed after the digitization in 2015 of the daily socialist newspaper “L’Égalité de Roubaix-Tourcoing.” The result of this discovery was the first book publication of the novel L’Orpheline de Montmartre in French (2017).","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"63 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78123449","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: 10.22455/2500-4247-2023-8-2-86-107
M. Y. Ignatieva (Oganissian)
The article analyzes the poetics of the “Spiritual Canticle” of St. John of the Cross as a single two-part work, consisting of a poetic text and its prosaic commentary. The “Spiritual Canticle” is one of the masterpieces of Spanish mystical literature of the 16th century. The author of the article describes this literary context, showing the reasons for its emergence and flourishing, the main directions and features, and then proceeds to analyze the poetics of the texts under consideration. The relationship between poetry and prose in the literary legacy of St. John of the Cross is one of the traditional themes of juanística. The article proposes to consider both the one and the other as a manifestation of both the mystical experience and the poetic genius of St. John, without placing the commentary in an auxiliar position in relation to the verses. By interpreting his own poetic text, John creates a new parallel text on the same topic, but in a different genre. Each component has its own internal plot.These two plots, called “lyrical” and “theological,” enter into complex relationships. Thus, “mountains,” “forests,” “extraordinary islands” and other images change their meaning both in verses and in commentary, revealing a general but whimsical transformation of an earthly topos into a transcendental one. Transformation takes place through various types of intersection of created and uncreated beginnings: in man, in nature and in God. Poems from lyrics become sacred text, commentary from didactic becomes exegetical.
{"title":"Spanish Mystic of the 16th Century and the “Spiritual Canticle” of Saint John of the Cross","authors":"M. Y. Ignatieva (Oganissian)","doi":"10.22455/2500-4247-2023-8-2-86-107","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-2-86-107","url":null,"abstract":"The article analyzes the poetics of the “Spiritual Canticle” of St. John of the Cross as a single two-part work, consisting of a poetic text and its prosaic commentary. The “Spiritual Canticle” is one of the masterpieces of Spanish mystical literature of the 16th century. The author of the article describes this literary context, showing the reasons for its emergence and flourishing, the main directions and features, and then proceeds to analyze the poetics of the texts under consideration. The relationship between poetry and prose in the literary legacy of St. John of the Cross is one of the traditional themes of juanística. The article proposes to consider both the one and the other as a manifestation of both the mystical experience and the poetic genius of St. John, without placing the commentary in an auxiliar position in relation to the verses. By interpreting his own poetic text, John creates a new parallel text on the same topic, but in a different genre. Each component has its own internal plot.These two plots, called “lyrical” and “theological,” enter into complex relationships. Thus, “mountains,” “forests,” “extraordinary islands” and other images change their meaning both in verses and in commentary, revealing a general but whimsical transformation of an earthly topos into a transcendental one. Transformation takes place through various types of intersection of created and uncreated beginnings: in man, in nature and in God. Poems from lyrics become sacred text, commentary from didactic becomes exegetical.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"12 2 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83568496","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: 10.22455/2500-4247-2023-8-3-82-105
Veronika B. Zuseva-Özkan
The article reveals patterns in the construction of female characters in the entire corpus of D.S. Merezhkovsky’s and Z.N. Gippius’ dramas. Although their plays are connected by a number of common motifs, themes and images, the construction of femininity by the husband-and-wife authors differs in many ways. Merezhkovsky is more traditional than Gippius: in his plays, female figures, as a rule, turn out to be only a background for a male character who suffers between “two loves,” anticipating, but not being able to accept the truth of the Third Testament. Therefore, the female characters either embody two faces of Eros, or simply represent variations of female types constant for literature and culture, such as the “Amazon,” “comforter,” “strong woman,” etc. In Gippius, female figures are brought to the fore, it is they who solve existential issues. Their main characteristic is the desire for “that which is not of this world.” The male characters of Merezhkovsky are mainly occupied by their love for two different women, while the female characters of Gippius are occupied by their attempts to find some “meaning,” to transform life, Russia and themselves.
{"title":"Typology of the Female Characters in D.S. Merezhkovsky’s and Z.N. Gippius’ Plays","authors":"Veronika B. Zuseva-Özkan","doi":"10.22455/2500-4247-2023-8-3-82-105","DOIUrl":"https://doi.org/10.22455/2500-4247-2023-8-3-82-105","url":null,"abstract":"The article reveals patterns in the construction of female characters in the entire corpus of D.S. Merezhkovsky’s and Z.N. Gippius’ dramas. Although their plays are connected by a number of common motifs, themes and images, the construction of femininity by the husband-and-wife authors differs in many ways. Merezhkovsky is more traditional than Gippius: in his plays, female figures, as a rule, turn out to be only a background for a male character who suffers between “two loves,” anticipating, but not being able to accept the truth of the Third Testament. Therefore, the female characters either embody two faces of Eros, or simply represent variations of female types constant for literature and culture, such as the “Amazon,” “comforter,” “strong woman,” etc. In Gippius, female figures are brought to the fore, it is they who solve existential issues. Their main characteristic is the desire for “that which is not of this world.” The male characters of Merezhkovsky are mainly occupied by their love for two different women, while the female characters of Gippius are occupied by their attempts to find some “meaning,” to transform life, Russia and themselves.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"26 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":"135356122","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: 10.22455/2500-4247-2023-8-3-214-231
Ekaterina V. Volkova, Zoya S. Zakruzhnaya
The article introduces into scientific circulation and for the first time examines the marginalia of I.A. Bunin at the “Collection of Poems” (1927) by V.F. Khodasevich from the funds of the Russian Archive of Leeds (RAL). A comprehensive analysis of the marginalia of I. Bunin, undertaken by the authors of the article, allows to clarify both the aesthetic and general poetic principles of I. Bunin himself, and his attitude to the poetry of V. Khodasevich. As a result of the study, conclusions were made that in his marginalia I. Bunin appears as a traditionalist advocating for classical aesthetic orientation. He does not accept the symbolist worldview and modernist poetics, the mixing of prosaism and poetism, reduced “physiological” imagery, the use of heterogeneous lexical and stylistic layers. It is these characteristic features of V. Khodasevich’s poetry that cause the negative attitude of I. Bunin, which is reflected in his marks and comments. The negative marginalia of I. Bunin are also associated with the biographical context of V. Khodasevich’s poems, which is not always “read” by I. Bunin, as well as with allusions to the poetry of A. Bely and A. Blok.
本文介绍了俄罗斯利兹档案馆(Russian Archive of Leeds, RAL)资助的V.F. Khodasevich的《诗集》(1927)中I.A. Bunin的旁注，并首次在科学流通中进行了考察。本文作者对布宁的旁注进行了全面分析，可以澄清布宁本人的美学和一般诗歌原则，以及他对霍达塞维奇诗歌的态度。研究结果表明，在他的旁注中，布宁是一个提倡古典美学取向的传统主义者。他不接受象征主义的世界观和现代主义的诗学，不接受散文体和诗学的混合，不接受“生理”意象的减少，不接受异质词汇和文体层次的使用。正是霍达塞维奇诗歌的这些特点，导致了布宁的消极态度，这种消极态度体现在他的批注和评论中。布宁的负面旁注也与霍达塞维奇诗歌的传记背景有关，这些诗歌并不总是由布宁“阅读”，也与A.别利和A.布洛克的诗歌的典喻有关。
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Pub Date : 2023-01-01DOI: 10.22455/2500-4247-2023-8-3-28-45
Elizaveta V. Sokolova
The autumn poems of the Austrian poet Georg Trakl (1887–1914), making up a significant part of his lyrical heritage, may be examined through the prism of color and acoustic imagery. The article shows that in his earlier lyric poems (1909–1912) color and sound serve primarily to distinguish between the two spaces, the first of which associates with the reality (natural life, autumn landscape), while the second corresponds to the places of “otherness” (sleep, death). The first space is characterized by a rich palette and sound diversity; the “other” space is depicted mostly in black and white, full of disturbing silence or sharp mechanical sounds. Later verses from 1913–1914 demonstrate less clear distinction of the two spaces, both flow into each other and even merge into one. Color and sound, as it were, “stitch” them through, connecting one with the other. Duality leaves the space and is now concentrated in the very image of autumn, which combines the generosity (abundance of fruits) of the life lived and dying, “black decay.” At the same time, color and sound markers of life and death remain the same, though their use changes slightly: color often acts now as a part of a complex image (“blue wings of the evening”), “dark” tends to become “black”; sounds subside, replaced by a meaningful silence.
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