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The Immanent Critique of Yuly Aikhenvald: Silhouettes of Gogol and Dostoyevsky 尤利·艾肯瓦尔德的内在批判:果戈理与陀思妥耶夫斯基的剪影
IF 0.1 0 LITERATURE Pub Date : 2022-01-01 DOI: 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.
本文致力于研究于的文集《俄国作家剪影》中“果戈理”和“陀思妥耶夫斯基”两篇文章的主要主题。Aikhenvald。作者分析了内在批评的接受态度,它以艺术意义的超历史存在为前提。本文建议通过普希金和果戈理传统在方法论上的显著对立,扩展艾肯瓦尔德发展起来的俄罗斯文学中心体系。在这种对立的背景下,本文描述了果戈理和陀思妥耶夫斯基之间的连续性路线,并表明果戈理的喜剧和陀思妥耶夫斯基的悲剧同样反对普希金作品的和谐。作者分析了果戈理和陀思妥耶夫斯基文章的主要主题:疯狂、死亡、犯罪、夜意识、对人缺乏信心;也反映了但丁的《神曲》的典故。这篇文章表明,克服陀思妥耶夫斯基影响的呼吁在艾肯瓦尔德的传记中得到了幸运的反映,艾肯瓦尔德是1922年离开俄罗斯的“哲学汽船”的乘客。作者的结论是,果戈理和陀思妥耶夫斯基的路线在评论家对俄罗斯文化观点的评价中起着明显的主导作用。
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引用次数: 0
“Homo Ludens” in the Epic by I.A. Goncharov 冈查洛夫史诗中的“人类”
IF 0.1 0 LITERATURE Pub Date : 2022-01-01 DOI: 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.
本文对冈查洛夫史诗中戏剧基础的位置和作用问题进行了探讨,并探索了解决这一问题的新途径。先前的作品分析了贡恰罗夫创作的对话基础,如小品《文学之夜》、小说《共同的故事》、《奥布洛莫夫》、《悬崖》,而本文的作者发现并分析了接近戏剧类型的喜剧情节,并利用了以下手段:换衣服,人物以“他者”(在直接和间接意义上)的角色出现,或者作为“戴面具的人物”出现。在史诗中插入这样的情节,使动作更加“迅速”,使人物与读者“亲近”,激发读者的兴趣,使作者的观点更加客观。文章从对话、阐述、上升动作、高潮、结局、意外结局等几个方面论证了戏剧类型特征的存在。分析的结果是拓宽和深化了作家史诗思维的专一性特征及其风格的客观性渊源。
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引用次数: 0
Lithuanian Folk Songs in V. Ivanov’s Translation 伊万诺夫翻译中的立陶宛民歌
IF 0.1 0 LITERATURE Pub Date : 2022-01-01 DOI: 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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引用次数: 0
Pyotr Karlovich Uslar — the Founder of Caucasian Folklore 彼得·卡洛维奇·乌斯拉-高加索民间传说的创始人
IF 0.1 0 LITERATURE Pub Date : 2022-01-01 DOI: 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.
这些文章考察了迄今为止尚未得到充分研究的伊比利亚-高加索语言研究者之一,圣彼得堡科学院通讯成员P.K. Uslar(1816-1875)对高加索民间传说出现的贡献。这位学者研究了高加索高地人的语言,不仅依靠他们母语人士的生活语言,而且主要依靠他们的民间传说。由于在Uslar之前没有关于山地民间传说的科学记录和出版物,因此这位科学家必须成为卡夫卡兹研究史上第一个用原始语言记录它们的人阿布哈兹语,车臣语,阿瓦尔语,拉克语,达金斯基语,列兹金斯基语,塔巴萨兰语,他是第一个用自己的字母出版这些语言的人,在高加索研究的历史上被称为“乌斯拉洛夫斯基语”,也是第一个用“双”下标和文学翻译成俄语,语言学和民间传说评论的人。Uslar不仅一贯坚持他所确定的民俗学文本的记录、出版和评论原则,而且明确地制定了这些原则,奠定了山区白种人文本民俗学的基础,并为高加索民俗学家所遵循。同样重要的是科学家对高加索高地人民间传说研究的贡献- Uslar是高加索研究中第一个描述Nart史诗,动物和童话,寓言,轶事,歌曲,谚语和谚语的人。所有这些加在一起,尽管有很大的延迟,可以称Uslar为高加索民俗研究的创始人。
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引用次数: 1
Value Vectors of Russian Literature: Nizhny Novgorod Text of Russian Literature 俄国文学的价值载体:俄国文学的下诺夫哥罗德文本
IF 0.1 0 LITERATURE Pub Date : 2022-01-01 DOI: 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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引用次数: 0
Concerning the Unrealized Edition of Ivanhoe by Walter Scott in the Publishing House Academia 论沃尔特·司各特《艾芬豪》在学术出版社的未实现版
IF 0.1 0 LITERATURE Pub Date : 2022-01-01 DOI: 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.
1933年,历史学家A.I.雅科夫列夫(A.I. Yakovlev)为学术出版社(Academia)重新翻译了沃尔特·斯科特(Walter Scott)的小说《艾芬豪》(Ivanhoe),并为其提供了大量的介绍文章和注释。然而,译者与内部审稿人(G.G. Shpet, D.P. Svyatopolk-Mirsky和D.A. Gorbov)的分歧阻止了小说的出版。RGALI中保存的材料使我们能够重建这个项目的历史。Shpet的评论为沃尔特·斯科特在俄罗斯的声誉提供了一个新的视角,就像在Yu.D.的著作中概述的那样。莱文和a。a。多利宁。Shpet拒绝给予小说文学经典的地位,因为文学经典需要在翻译中最准确地呈现“每一个词和每一个词法”,Shpet认为精确,这是出版社的商标方法,在这种情况下是不必要的。斯维亚波克-米尔斯基指出了小说导论文章和注释中的一些事实错误,但雅科夫列夫不同意并拒绝修改。这里介绍的材料说明了学术界出版过程的具体情况,并在某种程度上说明了其优先事项的转变,从而导致了展望计划的修订。
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引用次数: 0
On Distinctiveness of the Arabic Poetic Canon of the 13th to 18th Centuries 论13至18世纪阿拉伯诗经的独特性
IF 0.1 0 LITERATURE Pub Date : 2022-01-01 DOI: 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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引用次数: 0
Leo Tolstoy’s Sevastopol Stories: Spiritual Meanings of the Crimean War 列夫·托尔斯泰的《塞瓦斯托波尔故事:克里米亚战争的精神意义
IF 0.1 0 LITERATURE Pub Date : 2022-01-01 DOI: 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.
这篇文章考察了托尔斯泰的《塞瓦斯托波尔故事》。该分析提供了迄今未发表的档案来源,即给克里米亚僧侣和白人神职人员Innokenty大主教(Borisov)的信。这项研究揭示了克里米亚战争的原因,根据一些人的说法,这是俄罗斯的失败,而根据其他人的说法,这是坚不可摧的俄罗斯精神的胜利。作者展示了托尔斯泰如何在《塞瓦斯托波尔故事》中再现克里米亚战争的心理画面,并清晰地勾勒出其精神意义;以及托尔斯泰的叙事体系是如何在一个极间空间中建立起来的:和平与战争、永恒与短暂、神性与人性。真相是《塞瓦斯托波尔》系列故事的主角,它在托尔斯泰各种各样的艺术手法中得到揭示,而这些手法的起源则来自于现实生活。托尔斯泰自己独特的道德评价体系在小说《战争与和平》中得到进一步发展。这篇文章的作者概述了克里米亚战争和1812年卫国战争之间的相似之处——无论是在历史记忆中还是在托尔斯泰的作品中。
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引用次数: 0
Concept of “Native Land” in Journalism of War Years 战争年代新闻中的“故土”概念
IF 0.1 0 LITERATURE Pub Date : 2022-01-01 DOI: 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.
本文的主要目的是考察“故土”的概念,其内容是由美国学者提出的。Stepanov(为土地的“痛苦”,“自然财富”,土地本身,一个可爱的人,自然被冠以一个本土的词)。正在研究的文本范围包括卫国战争时期的出版物。这篇文章的作者引用了苏联领导人在第一次战争时期的官方讲话,即V.M.莫洛托夫和I.V.斯大林。它们是其他作者在报纸通信中发展关键方向的起点。这篇文章对国土防卫语义学的发展提出了质疑,国土防卫的概念可以追溯到痛苦、苦难、悲伤的母题。战争年代的作家们构建了一个“本土”概念的多层次结构,它是一种空间关联,一种形象的统一,传统上包括自然、文化、神话形象以及现实事件中的特定人物和参与者。文章的结论是,“家园”的概念在随后的战争时期不仅转变和积累了监护和保护的功能。这个概念的核心包括“祖国”的内涵,即我们的土地/我们的国家,苏联的土地/我们的土地等。这个概念的外围是国家保卫者的军事经验。
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引用次数: 0
The image of Emperor Alexander I in the epic novel by L.N. Tolstoy “War and Peace” 托尔斯泰史诗小说《战争与和平》中亚历山大一世的形象
IF 0.1 0 LITERATURE Pub Date : 2022-01-01 DOI: 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.
本文分析了列夫·托尔斯泰在他的史诗小说《战争与和平》中所呈现的亚历山大一世皇帝的形象,并指出作者并不是为了创造最可信的君主形象。他展示了在解放战争年代站在一个伟大国家首脑的人。作者证明了史诗中的英雄人物,包括历史人物,不是从社会和时代的决定论的立场来评价的,而是完全从永恒和生命的真理的立场来评价的。作品艺术世界的独特性在于,亚历山大一世的形象被纳入了艺术宇宙的巨大设计之中,代表了作者的历史哲学思想。文章指出,在皇帝的形象中,托尔斯泰刻意强调了一个被误解的人的弱点和矛盾,因为他受到了多方面的影响。分析了某些场景中英雄的声音,指出了具有成对人物的情节,并指出了史诗世界特征的先行图景。在作品的艺术世界中,作者阐释了沙皇与东正教人民之间的深刻联系。君主的形象对每个俄罗斯人来说都是与最高真理、代祷的思想联系在一起的,然而,其深层含义引导读者发现唯一公正的判断——神。作者谴责了对皇帝毫无意义的崇拜,但肯定了作为上帝的受膏者服务皇帝的崇高精神。
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