Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.4.064
Oleg V. Zyryanov
Based on D. N. Mamin-Sibiryak’s shorter prose (essays, stories), the author distinguishes various types of narrative, i.e. first and third person narration and a personal type of narration. In several stories of the essay type, special markers of the presence of the personal narrator stand out expressed in characteristic motifs of admiration, interest, and curiosity. The author proves that during the period of the so-called “second debut” (1881–1882), Mamin began with the development of the form of a personal narrator, most characteristic of the genre of the essay, and gradually switched to the auctorial type of narrative, typical already of the genre of the story and assuming the form of an objective narrator author. It is also noted that in the form of an auctorial narration, Mamin successfully mastered the device of non-personal direct speech, or the speech interference of the character and the narrator author, which brings us to the rudimentary forms of “personal” narrative. From about the mid-1880s, the tendency towards a personal narrative became apparent, which is most noticeable in the stories Korobkin, Doctor Osokin’s Amendment and Simply, which focus on the state of the split consciousness of the character who finds himself in a situation of “man in front of a mirror” (M. M. Bakhtin) and acts as a direct subject of cognition. In the works of the same period (stories Between Us, The Old Fife, and others) a personal type of narration emerges clearly, which continues logically in the stories of the 1900s (Influenza. Monologue, A Dumpling and a Blot). The writer pays attention to the situation of the relationship between the character and the stereotyped nickname imposed on him, a certain “foreign” word-nomination, which leads to an increase in the act of self-awareness of the character and an intensification of the personal narrative. Finally, the article concludes that the development of a personal point of view in the narrative structure of the story leads Mamin-Sibiryak to the emergence of a new genre form, i.e. a personal “monologue” or “diary”, as well as to focus on the aesthetic potential of receptive poetics, which reveals points of convergence with genre variation of Chekhov’s “discovery story”.
作者以D. N. Mamin-Sibiryak的短篇散文(散文、故事)为基础，区分了不同的叙事类型，即第一人称叙事和第三人称叙事以及人称叙事。在一些散文类型的故事中，个人叙述者存在的特殊标记突出地表达在钦佩，兴趣和好奇的特征主题中。作者证明，在所谓的“第二次出道”时期(1881-1882)，马敏从个人叙述者的形式开始发展，这是散文类型中最具特色的形式，逐渐转向作者式的叙事，这已经是典型的故事类型，并采取了客观叙述者作者的形式。我们还注意到，在作者叙事的形式中，马敏成功地掌握了非人称直接引语的手段，即人物与叙述者作者之间的言语干扰，这就为我们带来了“人称”叙事的基本形式。大约从19世纪80年代中期开始，个人叙事的倾向变得明显，这在《科罗金》、《奥索金医生的修正》和《简简单单》的故事中最为明显，这些故事关注的是人物的分裂意识状态，他发现自己处于“镜子前的人”(M. M.巴赫金)的境地，并作为认知的直接主体。在同一时期的作品(《我们之间》、《老生活》等)中，一种个人叙事风格清晰地显现出来，这种叙事风格在20世纪的作品中有逻辑地延续下去(《流感》等)。独白，一个饺子和一个污点)。作者关注人物与强加给他的刻板绰号之间的关系，某种“外来”的词语提名，这导致了人物自我意识行为的增加和个人叙事的强化。最后，文章得出结论，在故事叙事结构中个人观点的发展导致马明-西比里亚克出现了一种新的体裁形式，即个人的“独白”或“日记”，并关注了接受诗学的审美潜力，这与契诃夫的“发现故事”体裁变化有共通之处。
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.4.074
E. Selyutina
This article explores a particular version of the narrative of personal stories, i.e., the “narrative about the author”, which is indicative for the analysis of writers’ reflection on their role in modern Russian-language literature. The article aims to determine the specifics of the “narrative about the author”, show that it is formed in public discourse and conditioned by the existence of a narrative framework (a question-and-answer form of an interview that demonstrates public expectations from the creator). Public self-reflection captures the process of self-identification and modeling of the myth of verbal creative work in modern times. The event of the “narrative about the author” is an important change, after which they were able to define themselves as a writer (to name themselves). The author uses methods of classical and postclassical narratology, as well as personological and narrative psychology in the study of the “narrative about the author”. The study reveals that the “narrative about the author” occupies a borderline position with respect to fictionality, the narrator is non-trivial, they are both inside the event and outside it, combining personal attitude with social, cultural, and other conventions adopted about authorship. The article considers the “narrative about the author” with reference to an interview with the Ural poet E. Simonova. The empirical basis of the study is the interviews she gave from 2019 to 2022. In her interviews, Ekaterina Simonova creates an image of a “little poet”, a socio-psychological construct created under the influence of changes in the symbolic status of poetry in modern times, whose components are non-exclusivity and inclusion into everyday life. Within the narrative and within the limits of one response, one sees the formulation of a position, and in the comments given in parentheses, its ironic interpretation. As a result, the author concludes that in the interview with E. Simonova, a myth develops about the writer as an “everyday”, ordinary person who is built on a strategy of ironic sincerity, which is consistent with the artistic narrative of her poetry.
{"title":"The Problem of Self-Presentation in the Modern Literary Process (“Narrative about the Author” in E. Simonova’s Interviews)","authors":"E. Selyutina","doi":"10.15826/izv2.2022.24.4.074","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.4.074","url":null,"abstract":"This article explores a particular version of the narrative of personal stories, i.e., the “narrative about the author”, which is indicative for the analysis of writers’ reflection on their role in modern Russian-language literature. The article aims to determine the specifics of the “narrative about the author”, show that it is formed in public discourse and conditioned by the existence of a narrative framework (a question-and-answer form of an interview that demonstrates public expectations from the creator). Public self-reflection captures the process of self-identification and modeling of the myth of verbal creative work in modern times. The event of the “narrative about the author” is an important change, after which they were able to define themselves as a writer (to name themselves). The author uses methods of classical and postclassical narratology, as well as personological and narrative psychology in the study of the “narrative about the author”. The study reveals that the “narrative about the author” occupies a borderline position with respect to fictionality, the narrator is non-trivial, they are both inside the event and outside it, combining personal attitude with social, cultural, and other conventions adopted about authorship. The article considers the “narrative about the author” with reference to an interview with the Ural poet E. Simonova. The empirical basis of the study is the interviews she gave from 2019 to 2022. In her interviews, Ekaterina Simonova creates an image of a “little poet”, a socio-psychological construct created under the influence of changes in the symbolic status of poetry in modern times, whose components are non-exclusivity and inclusion into everyday life. Within the narrative and within the limits of one response, one sees the formulation of a position, and in the comments given in parentheses, its ironic interpretation. As a result, the author concludes that in the interview with E. Simonova, a myth develops about the writer as an “everyday”, ordinary person who is built on a strategy of ironic sincerity, which is consistent with the artistic narrative of her poetry.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"5 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90099062","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: 10.15826/izv2.2022.24.4.070
E. Anisimov, Тamara N. Tatsenko
This paper aims to introduce an important document of the Petrine time into scholarly circulation. The last will of the wife of Tsarevich Alexei, Crown Princess Charlotte Christina Sophia, written on the day of her death on October 21, 1715, in the form of a petition addressed to her father-in-law — Peter I — has been known until now only in two translations, made in the eighteenth and in the first half of the nineteenth centuries, going back to an unknown original. This publication contains the text of the petition testament of Crown Princess Charlotte Christina Sophia recently discovered by A. V. Morokhin in the Manuscripts Department of the Russian National Library (St Petersburg). The document is in German written in fluent Neo-Gothic italics of the early eighteenth century on both sides of two sheets of yellowed paper. Comparing the signatures of Crown Princess Charlotte Christina Sophia under several of her letters originating from the archives of Germany with the signature on the document published makes it possible to conclude that the document is authentic. The article provides a complete transcription of the original source, as well as its literal translation into modern Russian. A comparative analysis of the original text with later editions of the petition testament allows the authors to define the newly found document as the original source. The letter of Crown Princess Charlotte Christina Sophia is considered in the broad context of the political and dynastic history of the Petrine state. The circumstances that come to light during the analysis of the tragic story of Princess Charlotte’s death help visualise the expressive features of everyday life in Peter I’s inner family circle.
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.1.006
V. Shishkin
This article examines the itineraries of Margaret of Valois (1553–1615), Queen of Navarre, during her stay in the south of France between the late 1570s and early 1580s, which coincided with the crucial phase of the Religious Wars between Catholics and Huguenots. The main source for the study of these itineraries are the letters of Queen Margaret from the National Library of Russia, which make part of the collection of Peter Dubrovsky. The article traces the history of letters of the Queen of Navarre in St Petersburg, and it is suggested that the carton of the documents (Autograph 57) is part of the personal archive of State Secretary Villeroy. The author also analyses new data on the princess’ itineraries during her childhood, based on the new electronic database, as well as the historiography of the question of her movement, which makes it possible to understand the place of the St Petersburg autographs in the reconstruction of Margaret’s unknown itineraries in 1579–1582. Most of Margaret’s letters were written in territories ruled by Henry of Navarre, in Guyenne and Gascony and Navarre and represent an array of 32 documents of great importance, which help determine exactly where the Queen went to, indicate the trajectory of her movement, specify the duration of her stays in particular localities, and respectively, suggest possible delivery times for letters to recipients, mainly to her brother Henry III and her mother, Catherine de’ Medici. The study of Margaret’s messages from the point of view of her itineraries also helps place them in the historical context of religious and political events of the Civil Wars period in France, identify the details of the peacemaking role of the Queen in the south of the country, as well as understand the mechanisms for the implementation of peace treaties and decisions by the opposing parties.
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.1.009
Liudmila A. Dashkevich
This article explores the history of the establishment of the first Russian-Bashkir agricultural school in the Urals. Its initiator was Nikolai Aleksandrovich Sokovnin (1841–1893), a prominent figure in professional education. The article analyses reports of the Krasnoufimsk Russian-Bashkir lower agricultural school to the trustee of the Orenburg educational district written by Sokovnin. They testify to the fact that the establishment of this educational institution was the result of many years of thinking by the teacher about how it could be possible to improve the economic situation of peasants with the help of education. Sokovnin was convinced that agricultural schools could not be limited to teaching the theory and practice of farming and cattle breeding, they had to give peasants the skills to process agricultural products. He looked for new sources of national wealth in the development of small trades such as handicrafts, as well as in the dissemination of technical knowledge among the population. Sokovnin saw the missionary function of the school in the fact that it could change the established traditions of raising Bashkir children and make them sensible and thrifty heads of households. Sokovnin sent the first teachers of the agricultural school to the best processing enterprises in Central Russia to improve their technical knowledge and skills. The Krasnoufimsk Russian-Bashkir lower agricultural school was opened in 1887. It worked in accordance with the Charter, which demanded that the school have full-time teachers who received state salaries and people who worked for hire. The former included a school manager, a preparatory class teacher, three main class teachers and a teacher of law, the latter — a mullah teacher, craft teachers, foremen, a watchman and other attendants. Education at the school lasted for five years: two years in the preparatory class and three years in the basic. About 60 people studied at the school every year, a third of them being Bashkirs and representatives of other peoples who professed Islam.
{"title":"Krasnoufimsk Russian-Bashkir Lower Agricultural School: N. A. Sokovnin’s Pedagogical Project","authors":"Liudmila A. Dashkevich","doi":"10.15826/izv2.2022.24.1.009","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.1.009","url":null,"abstract":"This article explores the history of the establishment of the first Russian-Bashkir agricultural school in the Urals. Its initiator was Nikolai Aleksandrovich Sokovnin (1841–1893), a prominent figure in professional education. The article analyses reports of the Krasnoufimsk Russian-Bashkir lower agricultural school to the trustee of the Orenburg educational district written by Sokovnin. They testify to the fact that the establishment of this educational institution was the result of many years of thinking by the teacher about how it could be possible to improve the economic situation of peasants with the help of education. Sokovnin was convinced that agricultural schools could not be limited to teaching the theory and practice of farming and cattle breeding, they had to give peasants the skills to process agricultural products. He looked for new sources of national wealth in the development of small trades such as handicrafts, as well as in the dissemination of technical knowledge among the population. Sokovnin saw the missionary function of the school in the fact that it could change the established traditions of raising Bashkir children and make them sensible and thrifty heads of households. Sokovnin sent the first teachers of the agricultural school to the best processing enterprises in Central Russia to improve their technical knowledge and skills. The Krasnoufimsk Russian-Bashkir lower agricultural school was opened in 1887. It worked in accordance with the Charter, which demanded that the school have full-time teachers who received state salaries and people who worked for hire. The former included a school manager, a preparatory class teacher, three main class teachers and a teacher of law, the latter — a mullah teacher, craft teachers, foremen, a watchman and other attendants. Education at the school lasted for five years: two years in the preparatory class and three years in the basic. About 60 people studied at the school every year, a third of them being Bashkirs and representatives of other peoples who professed Islam.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74400022","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: 10.15826/izv2.2022.24.2.036
N. Borovkova
This article studies one of the relevant issues of Russian stone-cutting arts of the turn of the nineteenth century, i.e. the problems of attribution of Altai stone-cutting works. The author carries out a comparison of graphic materials with images of stone-cutting products from the Lokot’ Altai Factory. The author singles out sets of images of stone objects from the Lokot’ Stone-Cutting Factory kept in the funds of the State Hermitage Museum and the Altai State Museum of Local Lore, which makes it possible to get a more comprehensive idea of the history of the development of Russian stone-cutting art, dispel persistent myths, and shed light on the activity of an almost forgotten unique production. Particular attention is paid to the organisation of stone-cutting production in Russia starting with the second half of the eighteenth century, as well as the administration of the Kolyvan’ factories in the management system of the Cabinet of His Imperial Majesty. The author closely examines the system of orders, production, and performance of Russian grinding factories. For the first time in this research field, much attention is paid to the systems of documenting every step of stone-cutting production from the stonecutters to presentation to customers. The author confirms the fact that the Lokot’ Factory used already tested projects of the Peterhof Granite Factory as samples for their production. The article presents drawings of stone objects made during the work of the Lokot’ Polishing Factory in the Kolyvano-Voskresensky mountain district of Altai. The results of this scholarly research may be used to conduct an examination of objects of decorative and applied art. In the course of the study, it is proposed to distinguish between two periods in Altai stone-cutting art: Lokot’ (1786–1799) and Kolyvan’ (1802 — present) and based on the collected graphic materials attribute the works of two stone-cutting enterprises of Altai of the late eighteenth — nineteenth centuries. The graphic materials referred to in the study are an array of historical and archival sources of a high documentary value for the attribution of stone-cutting products made by Altai masters.
{"title":"Sketch as a Documentary Source for Attribution of Altai Stone-Cutting Products of the Late 18th Century","authors":"N. Borovkova","doi":"10.15826/izv2.2022.24.2.036","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.2.036","url":null,"abstract":"This article studies one of the relevant issues of Russian stone-cutting arts of the turn of the nineteenth century, i.e. the problems of attribution of Altai stone-cutting works. The author carries out a comparison of graphic materials with images of stone-cutting products from the Lokot’ Altai Factory. The author singles out sets of images of stone objects from the Lokot’ Stone-Cutting Factory kept in the funds of the State Hermitage Museum and the Altai State Museum of Local Lore, which makes it possible to get a more comprehensive idea of the history of the development of Russian stone-cutting art, dispel persistent myths, and shed light on the activity of an almost forgotten unique production. Particular attention is paid to the organisation of stone-cutting production in Russia starting with the second half of the eighteenth century, as well as the administration of the Kolyvan’ factories in the management system of the Cabinet of His Imperial Majesty. The author closely examines the system of orders, production, and performance of Russian grinding factories. For the first time in this research field, much attention is paid to the systems of documenting every step of stone-cutting production from the stonecutters to presentation to customers. The author confirms the fact that the Lokot’ Factory used already tested projects of the Peterhof Granite Factory as samples for their production. The article presents drawings of stone objects made during the work of the Lokot’ Polishing Factory in the Kolyvano-Voskresensky mountain district of Altai. The results of this scholarly research may be used to conduct an examination of objects of decorative and applied art. In the course of the study, it is proposed to distinguish between two periods in Altai stone-cutting art: Lokot’ (1786–1799) and Kolyvan’ (1802 — present) and based on the collected graphic materials attribute the works of two stone-cutting enterprises of Altai of the late eighteenth — nineteenth centuries. The graphic materials referred to in the study are an array of historical and archival sources of a high documentary value for the attribution of stone-cutting products made by Altai masters.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"12 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81725112","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: 10.15826/izv2.2022.24.3.049
Yuri S. Kostylev
This article discusses the names of mining objects of gold and rock crystal located in the Southern, Middle, and Circumpolar Urals. These include names of mines, placers, veins, and other artificial objects located on the territory of deposits and associated with the extraction of these minerals. The purpose of the study is to identify the main models of object nomination and compare specific cases of using these models depending on the characteristics of the extracted raw materials, methods of their development and the geographical location of the deposit. The author analyses a total of 627 names. The article refers to specialised works on the history of gold mining, mining of rock crystal, and the history of the development of specific deposits. There are three main models of object nomination: anthroponymic, toponymic (according to the origin of the toponym) and object-motivated (according to the nomination situation). In different fields, these models are presented in different proportions and specific implementations. Thus, the anthroponymic model becomes the leading one for the Beryozovsky gold deposit, the toponymic one for the Circumpolar Ural deposits of rock crystal, and the object-motivated units are represented at each of the deposits, quantitatively significantly inferior to the names given based on other nomination models. It is concluded that the leading characteristic for the emergence and development of a particular nomination model for specific deposits is the nature of its development (private prospector / regular state), as well as the number of objects subject to naming. The economic development of the territory of the deposit prior to the start of mining on it also plays a role. At the same time, the nature of the extracted mineral does not matter significantly.
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.4.079
Yulia S. Shipitsyna
Against Nature, a book of L. Daston, is devoted to the historical transformations of the term “nature” and its significance in the formation of moral categories from Aristotle to our days. Daston pays special attention to the period between the seventeenth and eighteenth centuries when “modern science” emerged. Daston clarifies the essential contents of such terms as “nature”, “normativity”, and “universal natural laws”, reconstructs the contexts underlying the introduction of these categories into scholarly discourse and finds out their significance in a situation of the growing social importance of scientific knowledge. All these let Daston trace the logic of at least three ways for the “order of nature” to transfer into “moral order” and conclude that the order of nature only had a representative function. The review contains parts of the Russian translation of Daston’s main ideas and conclusions, its critical and historiographic evaluation. Daston’s thesis about the weakness of naturalisation as discoursive strategy is contemplated in the context of the criticism of anthropocentrism, vividly illustrated by works of M. Serres, B. Latour, D. Haraway and T. Morton.
达斯顿(L. Daston)的《反对自然》(Against Nature)一书致力于“自然”一词的历史转变，以及从亚里士多德到我们今天，它在道德范畴形成中的意义。达斯顿特别关注“现代科学”出现的17至18世纪这段时期。达斯顿澄清了“自然”、“规范性”和“普遍自然规律”等术语的基本内容，重构了将这些类别引入学术话语的背景，并在科学知识日益增长的社会重要性的情况下发现了它们的意义。这些都让达斯顿追溯出“自然秩序”向“道德秩序”转化至少有三种途径的逻辑，并得出自然秩序仅具有代表功能的结论。这篇评论包含了达斯顿主要思想和结论的部分俄语翻译，以及它的批判和历史评价。达斯顿关于归化作为话语策略的弱点的论点，是在对人类中心主义的批评背景下思考的，在M. Serres, B. Latour, D. Haraway和T. Morton的作品中得到了生动的说明。
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.1.007
Elena Ye. Prikazchikova
Using the example of the literary projections of French culture on the Russian literature of the eighteenth century, this article examines the evolution of Gallomania as the most important phenomenon of Russian noble culture. The aim of the article is to study the main stages of Gallomania in Russian literature from A. Kantemir to I. A. Krylov. An analysis of these stages makes it possible to trace how Russian literature, through ridiculing various types of Russian Gallomaniacs and types of Gallomaniac behaviour, made a decisive turn from Gallomania in its full sense to Gallophobia as an almost complete rejection of French culture and refusal to follow the precepts of Paris in all spheres of life — from politics to fashion. The main methods used in this work are the methods of cultural-historical, typological, and conception-character analysis of texts. The typology of the image of the Gallomaniac as a “Russian Frenchman”, which received various cultural forms in the 1730s–1750s, 1760s–1770s, and 1790s–1800s, determined various concept-character orientations of literary texts of the eighteenth century. Between the 1730s and 1750s, the dominant image of the Gallomaniac was the petit maître, for whom Gallomania was associated with objects of the “fashionable vocabulary”. The image of such a petit maоtre can be found in the satires of A. Kantemir, epistles, and comedies of A. P. Sumarokov. In the 1760s–1770s, fashionable Gallomania was replaced by ideological Gallomania, which included both the philosophy of Voltaireanism and the reaction to the creation of a cultural myth about Eastern Europe in Western Europe, of which Russia was an example. This stage in the development of Gallomania is characterised by the emergence of a pronounced Gallophobic mood, which is reflected in the works of D. I. Fonvizin and N. I. Novikov. Finally, the third period of Gallomania in the context of an aggravated military and political confrontation between Russia and France is characterised by accentuating the gender component, when mainly fashionable women and girls (Fashionable Wife by I. I. Dmitriev, comedies by I. A. Krylov) became the medium of Gallomanic mentality, who do not have corresponding male parallels.
本文以18世纪法国文化对俄国文学的文学投射为例，考察了作为俄国贵族文化最重要现象的加洛曼尼亚的演变。本文的目的是研究从坎特米尔到克里洛夫的俄罗斯文学中格洛曼癖的主要阶段。通过对这些阶段的分析，我们有可能追溯俄罗斯文学是如何通过嘲笑各种类型的俄罗斯格洛曼狂和格洛曼狂的行为，从完全意义上的格洛曼狂转变为格洛曼恐惧症，几乎完全拒绝法国文化，拒绝在生活的各个领域遵循巴黎的戒律——从政治到时尚。本研究使用的主要方法是文本的文化历史分析、类型分析和概念特征分析。在18世纪30 - 50年代、60 - 70年代和90 - 19世纪，高卢曼狂形象的类型学作为“俄国法国人”接受了各种文化形式，决定了18世纪文学文本的各种概念-性格取向。在18世纪30年代到50年代之间，Gallomania的主要形象是小ma特，对他们来说，Gallomania与“时尚词汇”的对象联系在一起。在a . Kantemir的讽刺、a . P. Sumarokov的书信和喜剧中都可以找到这样一个小人物的形象。在18世纪60年代至70年代，时髦的加洛马尼亚被意识形态的加洛马尼亚所取代，其中既包括伏尔泰主义的哲学，也包括对西欧关于东欧文化神话的创造的反应，其中俄罗斯就是一个例子。Gallomania发展的这一阶段的特点是出现了明显的gallophobia情绪，这反映在D. I. Fonvizin和N. I. Novikov的作品中。最后，在俄罗斯和法国之间军事和政治对抗加剧的背景下，格洛曼狂的第三个时期的特点是强调性别成分，主要是时尚的女人和女孩(I. I.德米特里耶夫的《时尚妻子》，I. A.克里洛夫的喜剧)成为格洛曼狂心理的媒介，她们没有相应的男性相似之处。
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.3.052
Yulia V. Matveeva, Erzsйbet Schiller
Based on fragments of poet David Samoilov’s correspondence with Ágnes Kun, a translator and writer of Hungarian descent (one letter from David Samoilov to Ágnes Kun and six letters from Ágnes Kun to David Samoilov from 1960 to 1982) found in the Russian State Archive of Literature and Art, the authors examine the long professional and personal relationships of the two correspondents. For Samoilov, his epistolary contacts with Бgnes Kun also included a relationship with her husband, Soviet Hungarian writer Antal Hidas, whose personality is indirectly present in the correspondence. It may be stated that Бgnes Kun and Antal Hidas discovered the Hungarian classical and modern poetry and Hungarian culture for David Samoilov through its translation. With the help of the word-for-word translations made by Ágnes Kun, he translated such Hungarian poets as Endre Ady, János Arany, Mihály Vцrцsmarty, Antal Hidas, Gyula Illyйs, Attila Jуzsef, Miklós Radnуti, István Simon. But, as it can be seen from the correspondence discovered and published in the auto-documental evidence of David Samoilov (diaries, memoirs, and essays), his communication with Antal Hidas was very uneven and concentrated almost exclusively on the professional: all the letters found are about translations, verses, books, and section headings. The same conclusions can be made about his diaries. Finally, the article introduces one letter of David Samoilov and three letters of Бgnes Kun that have never been published previously.
根据在俄罗斯国家文学艺术档案馆发现的诗人大卫·萨莫伊洛夫与匈牙利裔翻译和作家Ágnes Kun的通信片段(1960年至1982年，大卫·萨莫伊洛夫写给Ágnes Kun的一封信和Ágnes Kun写给大卫·萨莫伊洛夫的六封信)，作者研究了这两位通信者长期的专业和个人关系。对于萨莫伊洛夫来说，他与Бgnes Kun的书信往来还包括与她的丈夫、苏联匈牙利作家安塔尔·希达斯(Antal Hidas)的关系，后者的个性间接体现在信件中。可以说Бgnes Kun和Antal Hidas通过翻译为David Samoilov发现了匈牙利古典和现代诗歌以及匈牙利文化。在Ágnes Kun逐字翻译的帮助下，他翻译了匈牙利诗人Endre Ady, János Arany, Mihály Vцrцsmarty, Antal Hidas, Gyula Illyйs, Attila Jуzsef, Miklós Radnуti, István Simon。但是，从David Samoilov发现并发表的自动文件证据(日记、回忆录和文章)中可以看出，他与Antal Hidas的通信非常不平衡，几乎完全集中在专业领域:所有发现的信件都是关于翻译、诗句、书籍和章节标题的。从他的日记中也可以得出同样的结论。最后，文章介绍了David Samoilov的一封书信和Бgnes Kun的三封书信，这是以前从未发表过的。
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