Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-3-242-257
Oksana A. Kravchenko, Zeinab Sadeghi Sahlabad
The article is devoted to the study of the key motifs of the essays “Gogol” and “Dostoevsky” in the collection “Silhouettes of Russian Writers” by Yu. Aikhenvald. The Author analyzes the receptive attitudes of immanent criticism, which presupposes a superhistorical existence of artistic meanings. The article proposes to extend the system of Russian literature concentres developed by Aikhenvald by a methodologically significant opposition between Pushkin’s and Gogol’s traditions. In the context of this opposition the article describes the line of continuity between Gogol and Dostoevsky, and shows that the Gogol’s comedy and Dostoyevsky’s tragedy are equally opposed to the harmony of Pushkin’s work. The authors analyses key motifs linking Gogol’s and Dostoevsky’s essays: madness, deadness, crime, night consciousness, lack of faith in man; and also reflects on allusions to Dante’s “The Divine Comedy.” The article shows that the call to overcome the influence of Dostoevsky is providentially reflected in the biography of Aikhenvald, a passenger of the “philosophical steamship” who left Russia in 1922. The author concludes that the dominant role of Gogol’s and Dostoyevsky’s line in the critic’s assessment of Russian cultural perspectives is obvious.
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-3-218-241
N. L. Ermolaeva
The author of the article turns to the problem of the place and role of the drama basis in the epic of I.A. Goncharov and discovers the new approach to the problem. While the previous works analysed the dialogical basis of the creative work by Goncharov in the sketch “Literary Evening,” novels “The Common Story,” “Oblomov,” “Precipice,” the author of the article finds and analyses the comic episodes that are close to the drama genre and make use of the following devices: changing the clothes, the character’s appearance in the role of “the other” (in direct and indirect sense of the word) person or as “a masked character.” The insertion of such episodes into epic makes the action more “speedy,” creates the “nearness” of the character to the reader, activating the interest of the latter, making the author’s point of view more objective. The article proves the presence of the characteristics of drama genre in these scenes: dialogue, exposition, rising actions, climax, denouement, unexpected ending. The result of the analysis taken is the widening and deepening of the characteristics of the specificity of the epic thinking of the writer and the origins of objectivity of his style.
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-2-318-343
E. Alexandrova
he study is devoted to the publication of Vyacheslav Ivanov’s Russian translation for Lithuanian folk songs, made for unpublished collection of Lithuanian literature (“Sbornik litovskoj literatury,” Petrograd, [1915–1917]; ed. by Iu. Baltrushaitis, M. Gorky). Around the same time, Baltrushaitis was the editor-compiler and translator of the collection of Lithuanian folklore at the publishing house of M. Sabashnikov. This project was also not implemented. Ivanov’s work on Lithuanian translations is chronologically close to his participation in other collections of national literatures. In an extensive introductory article, the author reconsctucts the history of the creation of translations from Lithuanian, using the correspondence of V. Ivanov, Y. Baltrushaitis, M. Sabashnikov. The research shows that Ivanov’s work on translations for the Lithuanian collection stretched from the beginning of 1916 to the summer months, when the poet’s family lived in a village near Sochi. The preamble also contains information about the first publication of an incomplete collection of these translations, made in 1973 by Yu. Tumyalis using unauthorized typescript from the Manuscript Department of the Institute of Lithuanian Literature and Folklore (Vilnius). In this publication, the texts of Ivanov’s translations are given by autographs from the Manuscript Department of the Institute of Russian Literature (Pushkinskiy Dom) of RAS and the Roman Archive of Vyach. Ivanov. The textual comments describe the currently available sources of Ivanov’s translations, such as correspondence of Iu. Baltrushaitis, epistolary materials of others, Ivanov’s preparatory materials, manuscripts, translations from the archival storages of St. Petersburg, Moscow, Rome, Vilnius.
该研究致力于出版Vyacheslav Ivanov的立陶宛民歌俄语翻译,为未出版的立陶宛文学作品集(“Sbornik litovskoj文学”,彼得格勒,[1915-1917];刘主编。Baltrushaitis, M. Gorky)。大约在同一时期,Baltrushaitis在M. Sabashnikov出版社担任立陶宛民间传说作品集的编辑、编辑和翻译。这个项目也没有实施。伊万诺夫在立陶宛语翻译方面的工作在时间上接近于他参与其他国家文学的收藏。在一篇广泛的介绍性文章中,作者利用V. Ivanov, Y. Baltrushaitis, M. Sabashnikov的通信,重建了立陶宛语翻译创作的历史。研究表明,伊万诺夫翻译立陶宛文集的工作从1916年初一直延续到夏季,当时诗人的家人住在索契附近的一个村庄。序言部分还包含了于1973年首次出版的一本不完整的翻译集的信息。Tumyalis使用立陶宛文学和民间传说研究所(维尔纽斯)手稿部未经授权的打字稿。在本出版物中,伊万诺夫的翻译文本由RAS的俄罗斯文学研究所(普希金斯基Dom)手稿部和维亚奇罗马档案馆的签名提供。伊万诺夫。文本注释描述了伊万诺夫目前可用的翻译来源,例如Iu的通信。Baltrushaitis,其他人的书信体材料,伊万诺夫的准备材料,手稿,圣彼得堡,莫斯科,罗马,维尔纽斯档案馆的翻译。
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-1-388-413
A. I. Alieva
The articles examines a hitherto understudied contribution of one of the Mountain Iberian-Caucasian languages’ researcher, corresponding member of the St. Petersburg Academy of Sciences P.K. Uslar (1816–1875), to the emergence of Caucasian folklore. The scholar studied the languages of the Caucasian highlanders, relying not only on the living speech of their native speakers, but primarily on their folklore. Since before Uslar there were no scientific records and publications of the Mountain folklore, the scientist had to be the first in the history of Kavkaz studies to record them in the original languages — Abkhazian, Chechen, Avar, Lakh, Darginsky, Lezginsky, Tabasaran, the first to publish them in these languages by means of his own alphabet, which went down in the history of Caucasus studies as “Uslarovsky” and the first to accompany them with a “double” subscript and literary translation into Russian, linguistic and folklore commentary. Uslar not only consistently adhered to the principles of recording, publishing, and commenting on folklore texts defined by him, but also clearly formulated them, laying the foundations of the textual folklore of the Mountain Caucasians, which have been followed by Caucasian folklorists. No less important is the contribution of the scientist to the study of the folklore of the Caucasian highlanders — Uslar was the first in Caucasus studies to characterize the Nart epic, animals and fairy tales, parables, anecdotes, songs, proverbs and sayings. All this together, albeit with a great delay, allows to call Uslar the founder of Caucasian folklore studies.
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-3-430-463
E. M. Dzyuba
The article analyzes the current trends in the field of “supertext” studies, summarizes the reflection on the “Nizhny Novgorod text of Russian literature,” as well as border chronotopes, carried out in the period from 2007 to the present. Authors of the article indicate the main directions of research, such as the identification and description of the sacred toposes of the Nizhny Novgorod land, the comprehension of the value vectors of Russian literature, which were configured in a number of stable images: the images of the city of Kitezh, the Volga, the Diveevsky and Sarov sacred toposes, the image of Seraphim of Sarov. The review article presents the representative characteristics of the national-regional component. Theese features establish the relationship of creativity with the cultural and historical geospace, which appears as the spiritual homeland of the writer (protopop Avvakum, M. Gorky, E. Chirikov, etc.). An important component of literary discourse is the national image-character, which retains positively marked, sometimes ideal features (from the life of Alexander Nevsky to the heroes of E. Dolmatovsky’s “Sormovskaya Lyric”). The article outlines prospects for further research.
文章分析了当前“超文本”研究领域的发展趋势,总结了2007年至今对“下诺夫哥罗德文本的俄罗斯文学”以及边界计时的反思。文章作者指出了主要的研究方向,如识别和描述下诺夫哥罗德土地的神圣地形,理解俄罗斯文学的价值向量,这些价值向量被配置在一些稳定的图像中:基捷什市,伏尔加河,迪维耶夫斯基和萨罗夫神圣地形,萨罗夫的塞拉芬形象。这篇综述文章提出了国家-地区成分的代表性特征。这些特征建立了创造力与文化和历史地理空间的关系,这是作家的精神家园(Avvakum, M. Gorky, E. Chirikov等)。文学话语的一个重要组成部分是民族形象性格,它保留了积极的标记,有时是理想的特征(从亚历山大·涅夫斯基的生活到E.多尔马托夫斯基的《索尔莫夫斯卡娅抒情诗》中的英雄)。文章概述了进一步研究的前景。
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-4-336-355
V. Filicheva
In 1933 the historian A.I. Yakovlev made a new translation of Walter Scott’s novel Ivanhoe, providing it with an extensive introductory article and notes, for the Academia publishing house. However, the translator’s disagreement with the internal reviewers (G.G. Shpet, D.P. Svyatopolk-Mirsky and D.A. Gorbov) prevented the novel from being published. Materials preserved in RGALI allow us to reconstruct the history of this project. Shpet’s review provides a new perspective on Walter Scott’s Russian reputation as it had been outlined in the works of Yu.D. Levin and A.A. Dolinin. Refusing the novel the status of literary classics that necessitates a most accurate rendering of “every word and turn of speech” in translation, Shpet considered exactness, that was the trademark approach of the publishing house, unnecessary in this case. Svyatopolk-Mirsky pointed to some factual errors in the introductory article and notes to the novel, though Yakovlev did not agree and refused to make changes. The materials that are presented here illustrate the specifics of Academia publishing process and, to some extent, the shift in its priorities that resulted in the revision of the perspective plan.
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-3-130-155
A. Kudelin
The long period of the 13th to 18th centuries in Arab history has hardly received exhaustive treatment in international scholarship. To account for this deficiency, one might note that while in recent decades there has been much accomplished in the field of Oriental studies dealing with elucidating of Arabic poetry from antiquity to the 10th–12th centuries, Arabic literature of the 13th–18th centuries is still lacking attention prompted by advanced interpreting practices. The corresponding studies tend to overlook many achievements of international Medieval scholarship including those engaged with traditionalistic type of artistic mindset and with principles of canonfollowing creativeness. Also, late medieval Arabic works are often considered out of their proper context; namely, they are measured against theoretical and literary notions drawn from European literatures of Modern and Late Modern periods. In aiming to offer a corrective to previous interpretive models, this article reconsiders the intensive development of figurative speech techniques in classical Arabic poetry going back to the 2nd / 8th century. Special attention is paid to figurative techniques addressing visual perception and exhibiting the growing importance of the graphic side of writing. The article holds that late medieval Arabic literature is continuously aware of ancient heritage, given the importance of poetics of reminiscences, which back then used to inform such generic modes as takhmīs and tashṭīr. The article also regards works of Ṣafī al-Dīn al-Ḥillī (d. c. 749/1348), who is among the most renowned and noted Arab authors of the 8th / 13th–14th centuries.
13至18世纪阿拉伯历史的漫长时期在国际学术界几乎没有得到详尽的研究。为了解释这一缺陷,人们可能会注意到,尽管近几十年来在东方研究领域已经取得了很大成就,涉及从古代到10 - 12世纪的阿拉伯诗歌的阐释,13 - 18世纪的阿拉伯文学仍然缺乏先进的解释实践的关注。相应的研究往往忽视了国际中世纪学术的许多成就,包括那些从事传统主义类型的艺术思维和遵循经典创作原则的学术成就。此外,中世纪晚期的阿拉伯语作品经常被认为脱离了其适当的背景;也就是说,它们是根据来自欧洲现代和晚期文学的理论和文学观念来衡量的。为了纠正先前的解释模式,本文重新考虑了追溯到2 / 8世纪的古典阿拉伯诗歌中比喻性言语技术的密集发展。特别关注的是解决视觉感知的具象技巧,并展示了写作中图形方面日益增长的重要性。文章认为,中世纪晚期的阿拉伯文学不断意识到古代遗产的重要性,因为回忆的诗学在当时曾被用来通知takhm ? s和tashṭīr等一般模式。本文还介绍了Ṣafī al- d n al-Ḥillī(公元749/1348年)的作品,他是8 /13 - 14世纪最著名的阿拉伯作家之一。
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-2-162-173
M. Shcherbakova
The article examines L.N. Tolstoy’s Sevastopol stories. The analysis is provided with hitherto unpublished archival sources, namely letters to Archbishop Innokenty (Borisov) of Crimean monks and white clergy. The study reveals the reasons why the Crimean War, according to some, turned out to be a defeat for Russia, and according to others, it was the victory of the indestructible Russian spirit. The author shows how Tolstoy recreated the psychological picture of the Crimean War in the Sevastopol stories, clearly outlined its spiritual meanings; and how an artistic, imaginative system of Tolstoy’s narrative is built in an interpolar space: peace and war, eternal and momentary, divine and human. Truth is the protagonist of the Sevastopol stories, and it is revealed in them in all the variety of Tolstoy’s artistic techniques, the origin of which lies in real life. Tolstoy’s own unique system of moral assessments was further developed in the novel “War and Peace.” The author of the article outlines parallels between the Crimean War and the Patriotic War of 1812 — both in historical memory and in the work of Tolstoy.
{"title":"Leo Tolstoy’s Sevastopol Stories: Spiritual Meanings of the Crimean War","authors":"M. Shcherbakova","doi":"10.22455/2500-4247-2022-7-2-162-173","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-2-162-173","url":null,"abstract":"The article examines L.N. Tolstoy’s Sevastopol stories. The analysis is provided with hitherto unpublished archival sources, namely letters to Archbishop Innokenty (Borisov) of Crimean monks and white clergy. The study reveals the reasons why the Crimean War, according to some, turned out to be a defeat for Russia, and according to others, it was the victory of the indestructible Russian spirit. The author shows how Tolstoy recreated the psychological picture of the Crimean War in the Sevastopol stories, clearly outlined its spiritual meanings; and how an artistic, imaginative system of Tolstoy’s narrative is built in an interpolar space: peace and war, eternal and momentary, divine and human. Truth is the protagonist of the Sevastopol stories, and it is revealed in them in all the variety of Tolstoy’s artistic techniques, the origin of which lies in real life. Tolstoy’s own unique system of moral assessments was further developed in the novel “War and Peace.” The author of the article outlines parallels between the Crimean War and the Patriotic War of 1812 — both in historical memory and in the work of Tolstoy.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"32 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88374536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-2-220-231
L. I. Shchelokova
Main purpose of the article is to examine the concept of “native land,” the content of which was formulated by Yu.S. Stepanov (“pain” for one’s land, “natural wealth,” the land itself, a dear person, nature crowned with a native word). The range of texts under study includes publications from the period of the Great Patriotic War. The author of the article uses the USSR leaders’ official speeches of the first war days, namely V.M. Molotov and I.V. Stalin. They served as a starting point for the development of key directions in the newspaper correspondence of other authors. The article raises question about the growth of the semantics of homeland defense, the concept of which goes back to the motifs of pain, suffering, sorrow. Writers of the war years built a multilevel structure of the concept of “native land,” which consists in a spatial association, a figurative unity, traditionally including natural, cultural, mythological images and specific people and participants in real events. The article concludes that the concept of “homeland” transforms and accumulates not only the functions of the guardian and protection in the subsequent periods of the war. The core of the concept includes connotations of “native land,” that is our land / our country, Soviet land / our land, etc. The periphery of the concept is the military experience of the defender of the country.
{"title":"Concept of “Native Land” in Journalism of War Years","authors":"L. I. Shchelokova","doi":"10.22455/2500-4247-2022-7-2-220-231","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-2-220-231","url":null,"abstract":"Main purpose of the article is to examine the concept of “native land,” the content of which was formulated by Yu.S. Stepanov (“pain” for one’s land, “natural wealth,” the land itself, a dear person, nature crowned with a native word). The range of texts under study includes publications from the period of the Great Patriotic War. The author of the article uses the USSR leaders’ official speeches of the first war days, namely V.M. Molotov and I.V. Stalin. They served as a starting point for the development of key directions in the newspaper correspondence of other authors. The article raises question about the growth of the semantics of homeland defense, the concept of which goes back to the motifs of pain, suffering, sorrow. Writers of the war years built a multilevel structure of the concept of “native land,” which consists in a spatial association, a figurative unity, traditionally including natural, cultural, mythological images and specific people and participants in real events. The article concludes that the concept of “homeland” transforms and accumulates not only the functions of the guardian and protection in the subsequent periods of the war. The core of the concept includes connotations of “native land,” that is our land / our country, Soviet land / our land, etc. The periphery of the concept is the military experience of the defender of the country.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"353 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76887558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-1-260-281
V. G. Andreeva
The article analyzes the image of Emperor Alexander I presented by Leo Tolstoy in his epic novel “War and Peace,” and states that the writer did not aim to create the most believable portrait of the sovereign. He showed the person who stood at the head of a great country during the years of the liberation war. The author of the work proves that the heroes of the epic, including historical figures, are assessed by the writer not from the position of their determinism by society and the era, but exclusively from the position of eternity and life’s truth. The peculiarity of the artistic world of the work is that the image of Alexander I turns out to be included in the huge design of the artistic universe, representing the author’s historiosophical thought. The article notes that in the image of the emperor Tolstoy deliberately emphasized the weaknesses and contradictions of a person who was mistaken because of the multidirectional influences exerted on him. The voices of the heroes in certain scenes are analyzed, episodes that have a paired character and are indicators of the precedent picture of the world characteristic of the epic are noted. In the artistic world of the work, the writer illustrates the deep connection between the tsar and the Orthodox people. The image of the sovereign is associated for each of the Russian people with the thought of the highest truth, intercession, however, the deep meanings lead the reader to the discovery of the only fair judgment — the Divine. The writer condemns the senseless worship of the emperor, but affirms a high spirit of service to the emperor as God’s anointed one.
{"title":"The image of Emperor Alexander I in the epic novel by L.N. Tolstoy “War and Peace”","authors":"V. G. Andreeva","doi":"10.22455/2500-4247-2022-7-1-260-281","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-1-260-281","url":null,"abstract":"The article analyzes the image of Emperor Alexander I presented by Leo Tolstoy in his epic novel “War and Peace,” and states that the writer did not aim to create the most believable portrait of the sovereign. He showed the person who stood at the head of a great country during the years of the liberation war. The author of the work proves that the heroes of the epic, including historical figures, are assessed by the writer not from the position of their determinism by society and the era, but exclusively from the position of eternity and life’s truth. The peculiarity of the artistic world of the work is that the image of Alexander I turns out to be included in the huge design of the artistic universe, representing the author’s historiosophical thought. The article notes that in the image of the emperor Tolstoy deliberately emphasized the weaknesses and contradictions of a person who was mistaken because of the multidirectional influences exerted on him. The voices of the heroes in certain scenes are analyzed, episodes that have a paired character and are indicators of the precedent picture of the world characteristic of the epic are noted. In the artistic world of the work, the writer illustrates the deep connection between the tsar and the Orthodox people. The image of the sovereign is associated for each of the Russian people with the thought of the highest truth, intercession, however, the deep meanings lead the reader to the discovery of the only fair judgment — the Divine. The writer condemns the senseless worship of the emperor, but affirms a high spirit of service to the emperor as God’s anointed one.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"17 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83725594","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}