Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-69-237-247
Ekaterina E. Dmitrieva
The theme of manors, their history and the mechanisms of generation of the manor text, has long been one of the prioritized areas of the humanities. At the same time, it is obvious that the history of estates and the history of texts generated by them are phenomena of different order. More often there are cases when the estate text, although fueled by the writer's own estate experience, cannot be revered as an imprint from reality (at least indirectly). The paper deals with a rarer incident: a text, literally generated by the estate, which accumulates two different eras with their inherent conflict mentality. An example of such a clash of epochs within the manor text in Western literature is the novel by M. Kundera “Slowness”, and in Russian literature — the novel by S. Dovlatov “Reserve”. The peculiarity of Dovlatov's text is that his character is visiting a museum, consecrated by the cult name of Pushkin, where both the estate and Pushkin have become the object of a constantly reproducible myth. Dovlatov`s destruction and parody of Soviet mythology, which in some way profaned the name of Pushkin, in turn generates an anti-myth, adopted by the new age. The hermeneutical history of the “Reserve” generates curiosity, clearly not provisioned by the author. Through the efforts of criticism, the nihilistic text is interpreted as a translator of the main themes, motifs and values of Russian literature. As a result, Dovlatov's anti-myth, which heralded the end of the country estate era, becomes in the further reception of the novel a cultural omen of Modern times. With his text dedicated to the reserve, in which all kinds of cliches and ideologems are harshly ridiculed, Dovlatov gave birth to new ideologems.
{"title":"Alexandre Pushkin`s Reserve and “Reserve” by Sergei Dovlatov: on peculiarities of the Country Estate Text and the Country Estate Myth","authors":"Ekaterina E. Dmitrieva","doi":"10.37816/2073-9567-2023-69-237-247","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-237-247","url":null,"abstract":"The theme of manors, their history and the mechanisms of generation of the manor text, has long been one of the prioritized areas of the humanities. At the same time, it is obvious that the history of estates and the history of texts generated by them are phenomena of different order. More often there are cases when the estate text, although fueled by the writer's own estate experience, cannot be revered as an imprint from reality (at least indirectly). The paper deals with a rarer incident: a text, literally generated by the estate, which accumulates two different eras with their inherent conflict mentality. An example of such a clash of epochs within the manor text in Western literature is the novel by M. Kundera “Slowness”, and in Russian literature — the novel by S. Dovlatov “Reserve”. The peculiarity of Dovlatov's text is that his character is visiting a museum, consecrated by the cult name of Pushkin, where both the estate and Pushkin have become the object of a constantly reproducible myth. Dovlatov`s destruction and parody of Soviet mythology, which in some way profaned the name of Pushkin, in turn generates an anti-myth, adopted by the new age. The hermeneutical history of the “Reserve” generates curiosity, clearly not provisioned by the author. Through the efforts of criticism, the nihilistic text is interpreted as a translator of the main themes, motifs and values of Russian literature. As a result, Dovlatov's anti-myth, which heralded the end of the country estate era, becomes in the further reception of the novel a cultural omen of Modern times. With his text dedicated to the reserve, in which all kinds of cliches and ideologems are harshly ridiculed, Dovlatov gave birth to new ideologems.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135710873","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: 10.37816/2073-9567-2023-68-167-180
O. Simonova
The paper addresses the Boris Lavrenev’s “The Wind. The Novel about the Days of Vasily Gulyavin” (1924). The gender approach is used as a method of analysis. Although the novel repeatedly attracted the attention of researchers in Soviet times, the paper represents the mentioned research aspect for the first time. The image of the novel’s heroine Lyolka is constructed by different characters` attitudes towards her. The image of the novel’s heroine Lyolka is constructed by the views on her of different characters. She considers herself as a leader, demonstrates excessive cruelty, denies the feminine in herself, generally marks it as weak, secondary. Male heroes impose a normative femininity on her: beauty, sexuality. The novel raises the question: whether a peasant woman (“baba”) can be a comrade? The main character Gulyavin perceives Lyolka ambivalently, trying to recognize the right for a woman and for a prostitute to be called a man. Because of the cruelty and betrayal shown by Lelka, Gulyavin answers the question negatively. In addition considers the Razin’s plot, implicitly presented in the novel. It is also read through the vision of different characters. While in her subjective perception Lyolka is an ataman, then for Gulyavin she is a Persian princess, she is subordinate to him as to a commander and a man. The intimacy with her leads the hero to the betrayal in relation to his friend what correlates with the Razin’s behavior. The execution of the “Persian Queen” Lyolka is similar to the death of the princess.
{"title":"The Image of the Atamansha in the Boris Lavrenev`s Novel ‘The Wind’ (1924): Gender Aspect and Razin`s Plot","authors":"O. Simonova","doi":"10.37816/2073-9567-2023-68-167-180","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-167-180","url":null,"abstract":"The paper addresses the Boris Lavrenev’s “The Wind. The Novel about the Days of Vasily Gulyavin” (1924). The gender approach is used as a method of analysis. Although the novel repeatedly attracted the attention of researchers in Soviet times, the paper represents the mentioned research aspect for the first time. The image of the novel’s heroine Lyolka is constructed by different characters` attitudes towards her. The image of the novel’s heroine Lyolka is constructed by the views on her of different characters. She considers herself as a leader, demonstrates excessive cruelty, denies the feminine in herself, generally marks it as weak, secondary. Male heroes impose a normative femininity on her: beauty, sexuality. The novel raises the question: whether a peasant woman (“baba”) can be a comrade? The main character Gulyavin perceives Lyolka ambivalently, trying to recognize the right for a woman and for a prostitute to be called a man. Because of the cruelty and betrayal shown by Lelka, Gulyavin answers the question negatively. In addition considers the Razin’s plot, implicitly presented in the novel. It is also read through the vision of different characters. While in her subjective perception Lyolka is an ataman, then for Gulyavin she is a Persian princess, she is subordinate to him as to a commander and a man. The intimacy with her leads the hero to the betrayal in relation to his friend what correlates with the Razin’s behavior. The execution of the “Persian Queen” Lyolka is similar to the death of the princess.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"10 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74815576","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: 10.37816/2073-9567-2023-68-200-212
Nadezhda I. Pavlova
Аddresses and analyzes the work of the modern writer N. Abgaryan in terms of the gender-specific features of the artistic representation of the issue of memory, for instance, the actualization of the category of femininity and its aesthetic potential in the texts of the author. The undertaken analysis of narrative mechanisms, plot-compositional and pictorial features of three major works revealed the dominant role of the representation of the female genealogical connection not only in the production of the artistic construct of memory, but also in the formation of the artistic concept of the author's works. The study shows how the emphasis on building a female pedigree, a related transgenerational connection at different levels of the text determines the narrative structure of the narrative act, which in the context of studies of the relationship between the categories of memory, narrative and gender / gender allows us to judge gender specificity of the creativity of both given author and women's writing as a whole. In addition, the inclusion of perspective of the representation of women's psycho-emotional and mental experience in the feminist theoretical discourse presented in the texts makes it possible to speak about the manifestation of the aesthetic potential of women's experience in the work of N. Abgaryan.
{"title":"“Female Genealogy” and “Memory” in N. Abgaryan`s Prose: on the Issue of Gender Narratology","authors":"Nadezhda I. Pavlova","doi":"10.37816/2073-9567-2023-68-200-212","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-200-212","url":null,"abstract":"Аddresses and analyzes the work of the modern writer N. Abgaryan in terms of the gender-specific features of the artistic representation of the issue of memory, for instance, the actualization of the category of femininity and its aesthetic potential in the texts of the author. The undertaken analysis of narrative mechanisms, plot-compositional and pictorial features of three major works revealed the dominant role of the representation of the female genealogical connection not only in the production of the artistic construct of memory, but also in the formation of the artistic concept of the author's works. The study shows how the emphasis on building a female pedigree, a related transgenerational connection at different levels of the text determines the narrative structure of the narrative act, which in the context of studies of the relationship between the categories of memory, narrative and gender / gender allows us to judge gender specificity of the creativity of both given author and women's writing as a whole. In addition, the inclusion of perspective of the representation of women's psycho-emotional and mental experience in the feminist theoretical discourse presented in the texts makes it possible to speak about the manifestation of the aesthetic potential of women's experience in the work of N. Abgaryan.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"224 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85964240","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: 10.37816/2073-9567-2023-68-213-224
Ya. D. Chechnev
The paper examines the urban originality of the poetic diptych by M. M. Shkapskaya “Peter and Paul Fortress” (1922). The author highlights the way the “Russian Bastille” is perceived in the literary tradition and in which of the reception lines the poetess fits herself. The architectural structure receives an individual author's interpretation, becoming the bride of Peter the Great in M.M. Shkapskaya`s creative world. Thus, one of the key motifs of the poetess's creativity (the motif of motherhood) develops. The study shows that the image of the Petropavlovsk bride originates in the poem “About Petersburg” (1915), written in Toulouse. The poetess likens St. Petersburg to a bride “with a smoky crumpled veil”. The unexpected feminization of the city, to which the literary tradition attributes a “masculine” character (in comparison with the “feminine” Moscow), does not receive further development in the poem, remaining unexplained. After the revolution, the image of bride reappears in Shkapskaya's poetry. Using the example of a specific locus of St. Petersburg, the poetess builds a historiosophical concept associated with Peter I. The Peter and Paul Fortress turns out to be the bride of the first Russian emperor, raising his children. Shkapskaya's poem should be considered as a response to the discussion of the early 1920s about the role of Peter I in the history of Russia. The fortress becomes a symbol of the historical existence of the city, which did not stop with the arrival of the Bolsheviks.
{"title":"Feminization of the Toponym: ‘Peter and Paul Fortress’ by M. M. Shkapskaya","authors":"Ya. D. Chechnev","doi":"10.37816/2073-9567-2023-68-213-224","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-213-224","url":null,"abstract":"The paper examines the urban originality of the poetic diptych by M. M. Shkapskaya “Peter and Paul Fortress” (1922). The author highlights the way the “Russian Bastille” is perceived in the literary tradition and in which of the reception lines the poetess fits herself. The architectural structure receives an individual author's interpretation, becoming the bride of Peter the Great in M.M. Shkapskaya`s creative world. Thus, one of the key motifs of the poetess's creativity (the motif of motherhood) develops. The study shows that the image of the Petropavlovsk bride originates in the poem “About Petersburg” (1915), written in Toulouse. The poetess likens St. Petersburg to a bride “with a smoky crumpled veil”. The unexpected feminization of the city, to which the literary tradition attributes a “masculine” character (in comparison with the “feminine” Moscow), does not receive further development in the poem, remaining unexplained. After the revolution, the image of bride reappears in Shkapskaya's poetry. Using the example of a specific locus of St. Petersburg, the poetess builds a historiosophical concept associated with Peter I. The Peter and Paul Fortress turns out to be the bride of the first Russian emperor, raising his children. Shkapskaya's poem should be considered as a response to the discussion of the early 1920s about the role of Peter I in the history of Russia. The fortress becomes a symbol of the historical existence of the city, which did not stop with the arrival of the Bolsheviks.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"46 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86644521","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: 10.37816/2073-9567-2023-68-81-95
Valerii S. Belgorodsky, Maria G. Kotovskaya, Elina G. Shvets
The paper examines everyday practices associated with female gender socialization and specific aspects of women's social life in Russia during the first decades of the 20th century. The study is based on materials of the journal “Rabotnitsa” (The Female Worker) from the 1910s to 1920s. It explores the formation of women's worldviews, changing perspectives on women's education, the development of beauty standards, and the emergence of new behavioral models. The paper demonstrates how socio-economic transformations influenced the lifestyles, thought patterns, and appearances of women in the early 20th century, a time when mass industrialization and urbanization processes were taking place simultaneously. The authors propose a well-founded hypothesis about the changes in the concept of the “Rabotnitsa” journal compared to the late 19th century, when the journal existed in a completely different social paradigm. The conclusions of the study address what remained essential in a woman's life despite revolutionary upheavals and the new way of life. In the 1920s, women were no longer seen as helpless, weak creatures, dependent on men. The image of a modest, delicate, weak woman was left in the past. The new image of a woman encompassed such qualities as strength, independence, and freedom. The journal articles illustrate how new gender stereotypes, norms of behavior, and patterns of communication between men and women gradually formed.
{"title":"“I Don`t Want to Get Married, I Want to Study”: to the Sociology of Everyday Life","authors":"Valerii S. Belgorodsky, Maria G. Kotovskaya, Elina G. Shvets","doi":"10.37816/2073-9567-2023-68-81-95","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-81-95","url":null,"abstract":"The paper examines everyday practices associated with female gender socialization and specific aspects of women's social life in Russia during the first decades of the 20th century. The study is based on materials of the journal “Rabotnitsa” (The Female Worker) from the 1910s to 1920s. It explores the formation of women's worldviews, changing perspectives on women's education, the development of beauty standards, and the emergence of new behavioral models. The paper demonstrates how socio-economic transformations influenced the lifestyles, thought patterns, and appearances of women in the early 20th century, a time when mass industrialization and urbanization processes were taking place simultaneously. The authors propose a well-founded hypothesis about the changes in the concept of the “Rabotnitsa” journal compared to the late 19th century, when the journal existed in a completely different social paradigm. The conclusions of the study address what remained essential in a woman's life despite revolutionary upheavals and the new way of life. In the 1920s, women were no longer seen as helpless, weak creatures, dependent on men. The image of a modest, delicate, weak woman was left in the past. The new image of a woman encompassed such qualities as strength, independence, and freedom. The journal articles illustrate how new gender stereotypes, norms of behavior, and patterns of communication between men and women gradually formed.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82460352","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: 10.37816/2073-9567-2023-68-18-29
V. Bakulov, L. Polomoshnov
The study proves that the polemics between liberals and traditionalists about foreign cultural innovations reflects two ways of foreign cultural borrowing: constructive and destructive. Constructive way implies that those foreign cultural forms to be borrowed may be successfully combined with national civilizational forms and traditions. According to this method, innovations are adapted to the local soil. The destructive way of borrowing is based on an attempt to replace national civilizational forms with foreign cultural ones. The study has established that the alternative models of Westerners (liberals) and Slavophiles (traditionalists) represent different ways of reflecting the specific Russian cycle of introducing sociocultural innovations, in which three stages are distinguished. The firs one is the imitation, when they try to introduce alien forms directly, without adaptation, artificially and mechanically, by force. The second is the stage of adaptation of foreign cultural forms through their transformation in accordance with national characteristics. The third is the stage of constructive appropriation, i.e., deep processing and synthesis of foreign cultural forms with national characteristics, transformation of foreign cultural innovation into an original national form. The authors come to the conclusion that with via constructive form of innovation, society effectively goes through all three stages, and with a destructive one society itself deforms along with deforming foreign cultural innovations, without reaching the third stage.
{"title":"Alien Cultural Innovations in Russia: Alterative Models of National Identity","authors":"V. Bakulov, L. Polomoshnov","doi":"10.37816/2073-9567-2023-68-18-29","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-18-29","url":null,"abstract":"The study proves that the polemics between liberals and traditionalists about foreign cultural innovations reflects two ways of foreign cultural borrowing: constructive and destructive. Constructive way implies that those foreign cultural forms to be borrowed may be successfully combined with national civilizational forms and traditions. According to this method, innovations are adapted to the local soil. The destructive way of borrowing is based on an attempt to replace national civilizational forms with foreign cultural ones. The study has established that the alternative models of Westerners (liberals) and Slavophiles (traditionalists) represent different ways of reflecting the specific Russian cycle of introducing sociocultural innovations, in which three stages are distinguished. The firs one is the imitation, when they try to introduce alien forms directly, without adaptation, artificially and mechanically, by force. The second is the stage of adaptation of foreign cultural forms through their transformation in accordance with national characteristics. The third is the stage of constructive appropriation, i.e., deep processing and synthesis of foreign cultural forms with national characteristics, transformation of foreign cultural innovation into an original national form. The authors come to the conclusion that with via constructive form of innovation, society effectively goes through all three stages, and with a destructive one society itself deforms along with deforming foreign cultural innovations, without reaching the third stage.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"48 5-6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77803087","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: 10.37816/2073-9567-2023-69-37-55
Daria A. Zhurkova
Among the retro-series about Soviet pop artists, the author identifies three types of soundtrack: 1) quotation (songs of the Soviet era in the sound closest to the original or direct inclusion of an authentic soundtrack); 2) modernized (a conscious and radical change in the sound of original songs through arrangement); 3) stylized (songs specially written for a specific series, presented as songs of the Soviet era). The main attention in the article is given to the soundtrack of citation and modernized types. Although the quote-type soundtrack strives to be indistinguishable from the original, it works powerfully and reinterprets the popular music of the Soviet era. On the one hand, the “radius” of Soviet popular music is greatly expanding from a chronological and geographical point of view and including foreign pop hits, thieves' songs, old romances. On the other hand, the creators of serials are pursuing a strict repertoire policy towards Soviet popular music. In particular, they almost completely exclude civil-patriotic songs both from the sound landscape of the soviet era and from the biographies of the artists. The character of a modernized type of soundtrack is highly dependent on the location and function it serves in the structure of the series. It turns out that in the intros to the series and in the dubbing of the love line of the main characters, the original songs undergo an insignificant change. A much more radical introduction into the original text occurs when songs become part of a genre off-screen soundtrack or are transformed for dramatic needs, growing into an independent musical number within the narrative.
{"title":"Soundtrack’s Genre Patterns of the Russian Retro-series about Soviet Pop Artists","authors":"Daria A. Zhurkova","doi":"10.37816/2073-9567-2023-69-37-55","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-37-55","url":null,"abstract":"Among the retro-series about Soviet pop artists, the author identifies three types of soundtrack: 1) quotation (songs of the Soviet era in the sound closest to the original or direct inclusion of an authentic soundtrack); 2) modernized (a conscious and radical change in the sound of original songs through arrangement); 3) stylized (songs specially written for a specific series, presented as songs of the Soviet era). The main attention in the article is given to the soundtrack of citation and modernized types. Although the quote-type soundtrack strives to be indistinguishable from the original, it works powerfully and reinterprets the popular music of the Soviet era. On the one hand, the “radius” of Soviet popular music is greatly expanding from a chronological and geographical point of view and including foreign pop hits, thieves' songs, old romances. On the other hand, the creators of serials are pursuing a strict repertoire policy towards Soviet popular music. In particular, they almost completely exclude civil-patriotic songs both from the sound landscape of the soviet era and from the biographies of the artists. The character of a modernized type of soundtrack is highly dependent on the location and function it serves in the structure of the series. It turns out that in the intros to the series and in the dubbing of the love line of the main characters, the original songs undergo an insignificant change. A much more radical introduction into the original text occurs when songs become part of a genre off-screen soundtrack or are transformed for dramatic needs, growing into an independent musical number within the narrative.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"139 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":"135710859","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: 10.37816/2073-9567-2023-67-174-185
E. A. Andrushchenko
The paper examines D.S. Merezhkovsky’s responses to the famous Nekrasov questionnaire by K.I. Chukovsky, who presented it to his contemporaries by publishing some of the responses in “Chronicle of the Writers` club” (1921). In the preface he pointed out the modernists’ decisive role in reviving the poet’s legacy during the 20th century. In the second (1926) and third (1930) editions Chukovsky changed the list of surveyed poets, which suggests that as a publisher he intended to reflect the new literary hierarchy. In his three publications of the Nekrasov questionnaire he justified his decisions by the views he assumed while working with the material and by the current sociocultural situation. The paper focuses on the handwritten draft of D.S. Merezhkovsky’s responses (1919), which appeared partly in the first edition and were only fully published in 1988. Merezhkovsky was more outspoken than before in his judgement of Nekrasov’s poems about the people, suspecting poet`s speculation on this subject. He also exposed his true attitude to the “feminine” and “masculine” streams of the Russian culture. His responses to Chukovsky deconstructed the artificial concept that he had established in his works “Two mysteries of Russian poetry” and “The poet of eternal femininity”. His intuitively delicate and convincing definition of the currents of Russian culture ran into a contradiction with Nekrasov that emerged in his response. In truth he regarded Nekrasov as a figure of the “masculine” stream of culture, which is a driving, active, rather than a contemplative and passive creative element.
{"title":"K. I. Chukovsky`s Nekrasov Questionnaire and D.S. Merezhkovsky","authors":"E. A. Andrushchenko","doi":"10.37816/2073-9567-2023-67-174-185","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-67-174-185","url":null,"abstract":"The paper examines D.S. Merezhkovsky’s responses to the famous Nekrasov questionnaire by K.I. Chukovsky, who presented it to his contemporaries by publishing some of the responses in “Chronicle of the Writers` club” (1921). In the preface he pointed out the modernists’ decisive role in reviving the poet’s legacy during the 20th century. In the second (1926) and third (1930) editions Chukovsky changed the list of surveyed poets, which suggests that as a publisher he intended to reflect the new literary hierarchy. In his three publications of the Nekrasov questionnaire he justified his decisions by the views he assumed while working with the material and by the current sociocultural situation. The paper focuses on the handwritten draft of D.S. Merezhkovsky’s responses (1919), which appeared partly in the first edition and were only fully published in 1988. Merezhkovsky was more outspoken than before in his judgement of Nekrasov’s poems about the people, suspecting poet`s speculation on this subject. He also exposed his true attitude to the “feminine” and “masculine” streams of the Russian culture. His responses to Chukovsky deconstructed the artificial concept that he had established in his works “Two mysteries of Russian poetry” and “The poet of eternal femininity”. His intuitively delicate and convincing definition of the currents of Russian culture ran into a contradiction with Nekrasov that emerged in his response. In truth he regarded Nekrasov as a figure of the “masculine” stream of culture, which is a driving, active, rather than a contemplative and passive creative element.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"22 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83325817","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: 10.37816/2073-9567-2023-68-284-299
E. Radaeva
The paper analyzes the influence of the expressionist method on the painting of contemporary artists in Russia, as well as (to a greater or lesser extent) Ukraine, Belarus, Armenia, Kazakhstan. The exhibitions of recent years, thematic publics on art (on social networks) came to be the study`s initial material, then we are talking selectively about the work of individual authors. The research allowed for concluding: in modern fine arts, expressionism is distinguished by its unconditional “vitality” and the ability to assimilate with new trends; the “handwriting” of modern “expressionists” is characterized by the constant absence of chiaroscuro, often — the pretentiousness of the color scale; the theme of the spirit stifling in the gripe of the City, and the spirit of protest, pouring out into feminism or rejection of civilization (bourgeois / market), sometimes — aestheticization of the ugly, motifs of death and decay, sometimes — primitivism, childishness, gravitation towards the poster technique. However, today we are dealing with a “softened” version of expressionism: not always a pessimistic view of the artist's world, not always based on a pronounced rebellious beginning.
{"title":"Expressionist Traditions in the Works of Contemporary Artists of Russia and Former Union Republics","authors":"E. Radaeva","doi":"10.37816/2073-9567-2023-68-284-299","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-284-299","url":null,"abstract":"The paper analyzes the influence of the expressionist method on the painting of contemporary artists in Russia, as well as (to a greater or lesser extent) Ukraine, Belarus, Armenia, Kazakhstan. The exhibitions of recent years, thematic publics on art (on social networks) came to be the study`s initial material, then we are talking selectively about the work of individual authors. The research allowed for concluding: in modern fine arts, expressionism is distinguished by its unconditional “vitality” and the ability to assimilate with new trends; the “handwriting” of modern “expressionists” is characterized by the constant absence of chiaroscuro, often — the pretentiousness of the color scale; the theme of the spirit stifling in the gripe of the City, and the spirit of protest, pouring out into feminism or rejection of civilization (bourgeois / market), sometimes — aestheticization of the ugly, motifs of death and decay, sometimes — primitivism, childishness, gravitation towards the poster technique. However, today we are dealing with a “softened” version of expressionism: not always a pessimistic view of the artist's world, not always based on a pronounced rebellious beginning.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"138 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87871750","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: 10.37816/2073-9567-2023-68-150-166
V. Golovko
The study explores genre genesis of “literary eastern”, formed in the work of P. K. Beletsky at the beginning of the 1910s, ahead of the appearance of its cinematic twin, in cultural and historical aspects. The Russian writer, who, to a certain extent, took into account the experience of creators of the Western westerns, created an “archaic” of the genre type of eastern that received further development in Russian literature and culture. The genre specificity of such works of Beletsky, traditionally defined as “novel” in the writer’s metapoetics, is manifested in the creation of a “frontier” situation, a narrative expression of cultural interaction between “civilization” and the “wild” world of the uncharted Eastern Siberian region of Russia. Unlike Western westerns, the Russian version of this type of literary work embodies the idea of achieving “common good” rather than individual egoistic success with the prospects of socially progressive and humanistic transformations. Beletsky's eastern laid the traditions of a large epic form, tracing back to the constructions of the novel type, characterized by a pronounced novelistic task, contamination of intensive (acuity of action, action scenes) and extensive (description of everyday life, wide distribution of the action) principles of constructing the plot, the homogeneousness of artistic situations, “scenaricity”, “cinematographic frameness”, ethical polarization in the character system, determination to depict “exceptional” characters and circumstances. The poetics of Beletsky’s literary eastern had an impact on the formation of “narrative formulas” of the corresponding cinema genre.
{"title":"Literary Eastern as an Artistic Discovery of P. K. Beletsky","authors":"V. Golovko","doi":"10.37816/2073-9567-2023-68-150-166","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-150-166","url":null,"abstract":"The study explores genre genesis of “literary eastern”, formed in the work of P. K. Beletsky at the beginning of the 1910s, ahead of the appearance of its cinematic twin, in cultural and historical aspects. The Russian writer, who, to a certain extent, took into account the experience of creators of the Western westerns, created an “archaic” of the genre type of eastern that received further development in Russian literature and culture. The genre specificity of such works of Beletsky, traditionally defined as “novel” in the writer’s metapoetics, is manifested in the creation of a “frontier” situation, a narrative expression of cultural interaction between “civilization” and the “wild” world of the uncharted Eastern Siberian region of Russia. Unlike Western westerns, the Russian version of this type of literary work embodies the idea of achieving “common good” rather than individual egoistic success with the prospects of socially progressive and humanistic transformations. Beletsky's eastern laid the traditions of a large epic form, tracing back to the constructions of the novel type, characterized by a pronounced novelistic task, contamination of intensive (acuity of action, action scenes) and extensive (description of everyday life, wide distribution of the action) principles of constructing the plot, the homogeneousness of artistic situations, “scenaricity”, “cinematographic frameness”, ethical polarization in the character system, determination to depict “exceptional” characters and circumstances. The poetics of Beletsky’s literary eastern had an impact on the formation of “narrative formulas” of the corresponding cinema genre.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"32 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87676780","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：