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}
Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-3-10-29
O. Bogdanova
The article deals with the problems of studying the dacha as a special kind of artistic space in Russian literature of the 19th–21st centuries. The author of the article analyses dacha against the background of a much better studied “literary estate,” discusses and clarifies the concepts of “dacha culture,” “dacha text,” “dacha topos,” introduces into scientific circulation, shows relationship and dynamics of the terms “literary dacha,” “poetosphere of dacha,” “dacha myth.” The article lists main constitutive differences between the toposes of estate and dacha formed in the 19th and early 20th centuries. In Soviet time, due to the disappearance of the owner’s estate, a number of its functions (unity of nature and culture, storage of family and ancestral memory, etc.) passed to the dacha. Already since the 1920s, the “poetosphere of dacha” has been formed, largely due to the atmosphere of writers’ country villages (Tarusa, Peredelkino, Komarovo, etc.), which have become specific toposes of artistic creativity. In the 1960– 1980s — the period of mass dacha construction in the USSR — the “dacha culture” is enriched either by the romance of individual enterprise, or by the excitement of esoteric search. The literature of the turn of the 20th–21st centuries formed “dacha myth,” which has absorbed the antinomic connotations of the decentered worldview of modernity. For the purpose of scientific development of the phenomenon of literary dacha, the article sets the task of forming a research thesaurus as relevant to the subject of the study of the categories’ system.
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-1-202-215
S. A. Borisova
Emotive vocabulary played a significant role in creating the image of paradise in the literary works that circulated in Ancient Russia. The article explores the meaning of the adjective “fearful” and its cognates. “The Life of Basil the Younger” was chosen as a historical source, in which references to fear are most common. Based on the comparison of the original text of “The Life…” and its Slavonic translation, the article identifies the Greek equivalent of the Old Russian “fear in paradise”, which is a special kind of emotion — φρίκη. Examples from other sources confirm the established connection. Analysis of Ancient Greek texts made it possible to trace the origins of the concept φρίκη, the changes in its meaning over time, and the main aspects of this state. The author also examines connection between fear-φρίκη and the words that designate the emotion of wonder.. As a result of our research, we got the complex understanding of the concept of fear not only in the descriptions of paradise, but also in the stories where characters are faced with the Divine.
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-2-144-161
V. Darensky
The article substantiates the definition of the genre of Dal’s stories and novellas as a story-parable that carries a lesson about the laws of human life. In Dal’s prose emphasis is not so much on the exact external “physiognomy” of human types, but on the deep moral and existential content that is revealed to the reader with their help. The genre specificity of Dal’s prose reflects his Christian worldview, which is similar to the popular one and enriched with reflection and a special artistic gift of the writer. The author of the article demonstrates the reason for the inadequate perception of Dal’s prose in N. Chernyshevsky’s critical assessments. In addition, he refutes the frequent statement that Dal’s “Pictures from Russian Life,” which were to allegedly cover the entire national life, were scattered into fragmented sketches and were not permeated with a single thought. In fact, these “pictures,” although extremely diverse in their subject matter due to the diversity of life itself, are internally clearly united in their general meaning. Dal selected bright stories, generally reflecting the general moral life of the Russian people from the most positive side. Each of these stories carries a deep Christian meaning: in each of them there is a person overcoming or paying his sin, as well as repentance and a general transfiguration and renewal of the soul. Sometimes he shows also the heroic features of the national character. In Dal’s stories-parables an indication of the inner complexity, the dialectic of life, always full of internal contradictions and incomprehensibility, often appears. Dal was the author who accepted the need for updating the genre of the parable. This need was due to the fact that the reader wanted to preserve the genres of traditional culture (fairy tales and parables), but in a new literary form.
本文将达利的小说和中篇小说类型定义为一种寓言故事，它承载着人类生活规律的教训。在达利的散文中，重点不是人类类型的确切外部“面相”，而是在他们的帮助下向读者揭示的深刻的道德和存在主义内容。达尔散文的体裁特殊性反映了他的基督教世界观，这种世界观与通俗的基督教世界观相似，但又充满了反思和作家独特的艺术天赋。本文的作者论证了车尔尼雪夫斯基在批评评价中对达尔散文认识不足的原因。此外，他还驳斥了一种经常出现的说法，即达利的《来自俄罗斯生活的照片》(Pictures from Russian Life)据称涵盖了整个国家生活，但被分散成碎片状的草图，没有渗透任何思想。事实上，这些“画面”，虽然由于生活本身的多样性，它们的主题极其多样，但它们的一般意义在内部是明确统一的。达利选择了光明的故事，一般从最积极的一面反映了俄罗斯人民普遍的道德生活。每一个故事都承载着深刻的基督教意义:在每一个故事中，都有一个人克服或偿还他的罪，以及忏悔和普遍的变形和灵魂的更新。有时他也表现出民族性格的英雄特征。在达利的故事寓言中，内心的复杂性和生活的辩证法经常出现，总是充满了内在的矛盾和不可理解。达利是接受需要更新寓言体裁的作者。这种需求是由于读者想要保留传统文化的体裁(童话和寓言)，但以一种新的文学形式。
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-2-120-143
I. Vinogradov
The article covers the problem of K.N. Leontiev’s perception of the N.V. Gogol’s heritage. They were close in worldview but divided by a misunderstanding based on the interpretation of Gogol’s legacy in radical criticism. As the student Leontiev experienced the influence of Western ideology, which led to his negative attitude towards Gogol’s satire. Decisive for him was the opinion of A.I. Herzen about Gogol as an “unconscious revolutionary,” reported to Leontiev by I.S. Turgenev. After the ideological “breakthrough” that followed, when the critic began to adhere to conservative views, his understanding of Gogol’s work remained unchanged. As in his youth, when the authorities for Leontiev were V.G. Belinsky, I.S. Turgenev, A.I. Herzen and N.G. Chernyshevsky, he continued to evaluate Gogol’s heritage exclusively in the context of the accusatory literature of the “natural school.”
{"title":"N.V. Gogol and K.N. Leontiev: Recurrence of Westernism in “Conservative” Criticism","authors":"I. Vinogradov","doi":"10.22455/2500-4247-2022-7-2-120-143","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-2-120-143","url":null,"abstract":"The article covers the problem of K.N. Leontiev’s perception of the N.V. Gogol’s heritage. They were close in worldview but divided by a misunderstanding based on the interpretation of Gogol’s legacy in radical criticism. As the student Leontiev experienced the influence of Western ideology, which led to his negative attitude towards Gogol’s satire. Decisive for him was the opinion of A.I. Herzen about Gogol as an “unconscious revolutionary,” reported to Leontiev by I.S. Turgenev. After the ideological “breakthrough” that followed, when the critic began to adhere to conservative views, his understanding of Gogol’s work remained unchanged. As in his youth, when the authorities for Leontiev were V.G. Belinsky, I.S. Turgenev, A.I. Herzen and N.G. Chernyshevsky, he continued to evaluate Gogol’s heritage exclusively in the context of the accusatory literature of the “natural school.”","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"71 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80402558","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: 10.22455/2500-4247-2022-7-4-108-125
N. Kharitonova
Spanish writer R. del Valle Inclán wrote the novel Tirano Banderas (1926), when Spain was developing a new policy towards the Latin America after the definite loss of its overseas colonies in 1898. Valle Inclán advocated the restoration of indigenous peoples’ rights, political and economic sovereignty of the Latin American countries. The intersectional analysis clarifies the writer’s anticolonial concept. On the basis of racial identity, the novel’s characters form two groups: Spaniards and foreigners, and Indians and Creoles. Indians are an oppressed race, while the Spaniards and foreigners are oppressors. But General Santos Banderas, who tyrannizes his country, is an Indian too. Additional light is shed due to the analysis of gender and social role and its symbolic dimensions. The female characters in the novel forced to ask men for help but their demands are justified if they act in the interests of their children. Paternity also has the connotations of care and protection, and symbolically, care for the nation. The tyrant Banderas, who kills his insane daughter, fails both as father and as an Indian ruler since he appropriates the oppressor’s role imported from the metropolis.
西班牙作家R. del Valle Inclán写小说《提拉诺·班德拉斯》(1926)时，西班牙在1898年明确失去海外殖民地后，正在制定对拉丁美洲的新政策。Valle Inclán主张恢复土著人民的权利、拉丁美洲国家的政治和经济主权。交叉分析阐明了作者的反殖民主义观念。在种族认同的基础上，小说中的人物形成了两个群体:西班牙人和外国人，印第安人和克里奥尔人。印度人是被压迫的种族，西班牙人和外国人是压迫者。但是，对他的国家实行暴政的桑托斯·班德拉斯将军也是印度人。由于对性别和社会角色及其象征维度的分析，增加了更多的亮点。小说中的女性角色被迫向男性求助，但如果她们的行为是为了孩子的利益，她们的要求是合理的。父权还具有关怀和保护的内涵，象征着对国家的关怀。杀死疯癫女儿的暴君班德拉斯(Banderas)是一位失败的父亲，也是一位失败的印度统治者，因为他继承了从大都市引进的压迫者的角色。
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-1-494-507
T. Smykovskaya
The article is devoted to artistic and publicistic material that was published on the pages of the newspaper “Literature and Art of the BAMLAG.” It belonged to one of the largest divisions of the Gulag — BAMLAG prison camp, located from 1932 to 1938 on the territory of the modern Amur region. BAMLAG was responsible for the construction of Baikal-Amur railway or “the second rails”. The article introduces the newspaper “Literature and Art of the BAMLAG” as a unique phenomenon. Firstly, it is the only literary newspaper of the Gulag and, therefore, illustrates how the artistic language functioned within the system of the Soviet closed prison camps. Secondly, the newspaper’s imaginative and motif structure clarifies numerous themes that were touched on the pages of Gulag periodicals targeted at the mass audience. Publication covers the key themes and images that were popular among the environment of the Baikal-Amur prison camp. The newspaper aimed at elaborating on Stakhanovites theme, putting attention on the objects of Amur railway construction, glorifying the “second rails” and the exemplary labor. The newspaper focused on the key idea of the entire Gulag literature: the “remolding” of the prisoners and the national idea of Soviet Republics’ brotherhood. The article presents previously unstudied artistic and publicistic sources.
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-2-298-317
E. A. Papkova
The author of the article explores Vsevolod Ivanov’s memoir prose, both published texts and previously unknown materials from the family archive, regarding them in the context of a discussion about the genre nature of ego documents. The research materials also include the idea of the memoirs of 1942, conceived by Ivanov as a continuation of the autobiographical novel “The Adventures of the Fakir.” Ivanov’s reflections on the titles of the new edition of memoirs and chapters in 1956 show the peculiarities of its compositional structure: the center of each chapter (“bush” — term by K.A. Fedin) is a certain book, and historical events, facts of the literary process, portraits of contemporaries are grouped around the history of its creation. The article discusses in detail some of these “bushes” of the 1920s. On the basis of archival materials and a comparison of two published versions of “The History of My Books” the study shows why the portraits of the fraternity of “Serapion Brothers” and A.K. Voronsky drew negative critical responses. An analysis of the naively simple-minded narration manner allows us to conclude that the form of memoirs was deliberately chosen by Ivanov for the sake of publishing important facts of the literary history.
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-1-40-69
P. A. Moiseev
The article examines the works of Russian literary critics of the first half of the 20th century, such as K. Chukovsky, V. Bryusov, V. Shklovsky, E. Lann, N. Berkovsky, E. Vinaver, S. Eisenstein. The author considers Shklovsky’s article “The Novella of Mysteries,” notes its advantages and disadvantages (in particular, indicates the absence of definition of mystery, which is the central concept in the article, as well as Shklovsky’s mixing of the genres of detective story, Gothic novel, sensational novel, etc.). The author indicates advantages of Berkovsky’s note “About the Soviet detective fiction,” in which the example of the novel by A. Tolstoy “Hyperboloid of the engineer Garin” indicates what what is not typical for detective story. The author demonstrates how Eisenstein created a comprehensive and elaborate theory of the detective genre; in particular the understanding of the famous director of the genre specifics (almost complete impossibility of connection between detective genre and “serious” content) and his reference to the detective story as an example of the need for the artist to “always know the station to which you hold the way.” The article is the first detailed analysis of the works of Russian researchers of detective fiction.
本文考察了20世纪上半叶俄罗斯文学评论家的作品，如K. Chukovsky, V. Bryusov, V. Shklovsky, E. Lann, N. Berkovsky, E. Vinaver, S. Eisenstein。作者对什克洛夫斯基的文章《神秘小说中篇》进行了思考，指出了其优缺点(特别是指出了文章中心概念——神秘的定义缺失，以及什克洛夫斯基将侦探小说、哥特小说、耸人听闻小说等体裁混合在一起)。作者指出了伯科夫斯基的笔记“关于苏联侦探小说”的优点，其中以A.托尔斯泰的小说“工程师加林的双曲面”为例，指出了侦探小说中不典型的东西。作者展示了爱森斯坦是如何创造了一个全面而详尽的侦探流派理论;特别是这位著名导演对类型的理解(侦探类型和“严肃”内容之间几乎完全不可能有联系)，以及他将侦探故事作为艺术家需要“始终知道自己所处的位置”的例子。本文首次对俄罗斯侦探小说研究者的作品进行了详细的分析。
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Pub Date : 2022-01-01DOI: 10.22455/2500-4247-2022-7-1-338-355
Liia L. Ermakova
Russian symbolist Vyacheslav Ivanov and religious philosopher Sergius Bulgakov were connected by formal relations and friendship in 1905–1918. In 1914 Ivanov published the poem “Mother” (“Te glyby chto nezhno zasypali grob...”), with a dedication to Bulgakov. The article discusses this poem and its draft version, which allows to trace the movement of the poet’s creative thought. The biographical context is the death of Bulgakov’s mother — he described his intimate experience in the “Unfading Light” (“Svet Nevecherniy”). Special attention is paid to the symbols and motifs typical to Ivanov’s poetics: the firmament, the sun-heart and the motive of transparency. An idea, common both for Ivanov and Bulgakov, is that of some preworld feminine principle that appears in their texts under different names: as Sophia, the Soul of the World, Great Mother, Mother Earth. They are also united by the special attitude towards death which is understood in a Christian way — as a birth into a new life and just a step on the path of resurrection. The intertextual connections of the poem with the philosophical and theological works by Bulgakov may be considered as a result of mutual influence and their reliance on common sources.
{"title":"“Uncreated Firmament”: Vyach. Ivanov and S. Bulgakov (about a Poem)","authors":"Liia L. Ermakova","doi":"10.22455/2500-4247-2022-7-1-338-355","DOIUrl":"https://doi.org/10.22455/2500-4247-2022-7-1-338-355","url":null,"abstract":"Russian symbolist Vyacheslav Ivanov and religious philosopher Sergius Bulgakov were connected by formal relations and friendship in 1905–1918. In 1914 Ivanov published the poem “Mother” (“Te glyby chto nezhno zasypali grob...”), with a dedication to Bulgakov. The article discusses this poem and its draft version, which allows to trace the movement of the poet’s creative thought. The biographical context is the death of Bulgakov’s mother — he described his intimate experience in the “Unfading Light” (“Svet Nevecherniy”). Special attention is paid to the symbols and motifs typical to Ivanov’s poetics: the firmament, the sun-heart and the motive of transparency. An idea, common both for Ivanov and Bulgakov, is that of some preworld feminine principle that appears in their texts under different names: as Sophia, the Soul of the World, Great Mother, Mother Earth. They are also united by the special attitude towards death which is understood in a Christian way — as a birth into a new life and just a step on the path of resurrection. The intertextual connections of the poem with the philosophical and theological works by Bulgakov may be considered as a result of mutual influence and their reliance on common sources.","PeriodicalId":41001,"journal":{"name":"Studia Litterarum","volume":"25 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87895725","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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