Pub Date : 2023-02-01DOI: 10.15393/j9.art.2023.11802
Natalia Kovtun
The article analyzes the history and poetics of Okudzhava’s war prose and its role in modern literature. Particular attention is paid to the image of the schoolboy character, which structures the text. The author reflects on his orientation towards classical literature and the creators of “lieutenant prose,” but treats the past with an emphatically apprentice attitude. This trusting intonation is inherited by his autobiographical protagonist, whose image emphasises the features of a private individual, an amateur. The figure of the schoolboy combines contradictory features: courage and naivety, belief in myths and fairy tales, as well as inner weariness and self-irony dictated by the author’s position. A special place is held by the story “Be Well, Schoolboy,” which is structured according to the soliloquy principle, when the hero’s self-discovery takes place, the war becomes an initiation and a test of the book truths “about feats, about glory,” which are alienated when confronted with the chaos of reality. The author demonstrates the gap between the perception of the schoolboy by those around him and his self-perception, which opens up an ambiguous and ironic perspective. The motifs of the “naked man,” the Other, Mercurianism and the labyrinth, which converge in the image of the schoolboy hero, have become the key concepts in these texts. The traditional paradigm of the “little man,” whose home is an overcoat, is apparent behind the character of Okudzhava’s prose. A peculiar result of the author’s reflections on the war is the rejection of the epic tradition of the classics. Instead, the schoolboy inherits the old spoon of the “eternal soldier” Shongin, becoming a part of his destiny, so commonplace in its tragic nature. The most important role in the representation of the battle theme is played by the cultural centrism paradigm, which helps to include the traumatic, horrible experience of war in the memory and post-memory space.
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Pub Date : 2023-02-01DOI: 10.15393/j9.art.2023.11982
Natalia Zhilina, Vladimir Rozhin
The article analyses the novel by S. Snegov, a famous Soviet science fiction writer of the second half of the 20th century, whose work has hardly been studied, and the problem of the evangelical intertext has not been regarded at all. The current study of a fragment of the narrative about the relationship between the protagonist and the “snake girl” allows showing that it is reminiscent of the biblical story about the Fall of the first people. At the same time, Snegov completely modifies the well-known narrative: the plot about the insidious serpent (in the form of which the devil penetrated Eden), which tempted a woman pure as the driven snow, is radically transformed, acquiring a paradoxically inverted form — here a man tempts a naïve and uncorrupt snake girl with his mad infatuation and, parting with her, realizes that he is leaving her soul in a turbulent state. It is determined that in the ideological structure of the novel, the minor “Eli — snake girl” storyline plays an extremely important role: the love of the main character actually equates the star-dwellers with earthlings, completely refuting the idea that man is the highest form of intelligent life in the Universe and can perceive aliens only as inferior beings. The analysis of the epigraph shows that the biblical event described in it becomes a key to understanding the dispute that occurred between the central characters and formed the core of the artistic conflict of the first part of the novel. A clear associative connection is established between Snegov’s hero and the Apostle Paul, and by extrapolating the gospel plot reflected in the epigraph to the situation in question, one can clearly see a parallel with the spread of Christianity among pagans. The incorporation of the gospel text into the artistic structure of a science fiction novel allowed the writer to recall the enduring moral values that do not lose their significance for people of the distant future.
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Pub Date : 2023-02-01DOI: 10.15393/j9.art.2023.11902
Sergey Kibalnik
The article examines the cryptopoetics of V. V. Nabokov’s first Eng- lish-language novel “The Real Life of Sebastian Knight” (1938–1939). It demon- strates that this novel is a curious example of the writer’s cryptopoetics, in which many specific circumstances of his personal life were obscured and radically transformed. A special role in the cryptopoetics of the novel is played by the allusive chess symbolism, which has been discussed more than once, but the meaning of which remained unclear. The key to this meaning turns out to be the deeply camouflaged autobiographical subtext of “The Real Life…”. Written shortly after Nabokov’s profound infatuation with Nina Guadanini, this novel is structured this way to show that Sebastian Knight’s only true love was Claire Bishop, and Madame Lecerf (Nina Toorovetz-Rechnoy) was just an episode in his life. The chess mystery of the novel, in which the queen (Madame Lecerf) is defeated by the bishop (Claire Bishop), is set up in unison with this motif. Meanwhile, the surname of the heroine of the novel “Bishop” allusively refers to the writer’s wife Vera Slonim. Thus, not only the crypto-, but also the psychopoetics of the novel is important for understanding the text
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Pub Date : 2023-02-01DOI: 10.15393/j9.art.2023.11862
Elena Shestakova
The research study aims to reveal the ways in which the concept of “Apple Savior” is artistic embodiment in the novel by I. S. Shmelev “The Summer of the Lord.” The concept of “Apple Savior” is considered in the context of the writer’s value and semantic attitudes, which have undergone significant changes compared to his pre-Revolution creative period. In the author’s artistic consciousness, the image of the garden appears as the metaphorical source and beginning of human life. The narrative structure of the chapter is two-dimensional: it contains the discourse of the child hero and the mature narrator. Within the framework of children’s worldview, the image of the garden is inseparable from the image of the family house, the categories of love, beauty and God’s grace. The image of the garden is connected with the idea of Moscow as a garden and Holy Russia as a garden. In the novel “The Summer of the Lord” there is a generalized image — a symbol of the world transformed by God’s presence and the power of the author’s grateful love. The theme of transfiguration closely approaches the motifs of return and memories, which acquire a pronounced nostalgic tinge and lyrical tonality. The images of temples, the city of Moscow and Russia are associated with the motifs of transfiguration, sacralisation, spirituality, deification and eternity. In recreating the concept of the “Apple Savior” by I. S. Shmelev, the artistic method of “spiritual realism” fully manifested itself. The chronotope of the real world in the novel “The Summer of the Lord” appears in close connection with the existential sphere, is comprehended by God’s world. The theme of memory and grateful love establishes the discourse of a mature narrator. The world of childhood and Homeland is recognized as a lost biblical paradise, and becomes the subject of persistent thoughts and reflections of the author.
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Pub Date : 2023-02-01DOI: 10.15393/j9.art.2023.12082
Alexander Alexandrov
The article focuses on the poetic devices that are a part of the artistic system of A. V. Amfiteatrov, a well-known publicist and prose writer, a leading feuilletonist of the early 20th century. The subject of the study is his feuilletons of the post-Revolution period published in Russia until August 1918. The paper reveals the political stance of the publicist on the revolutionary events of 1917, his attitude to the February and October revolutions. The paper provides an overview of the themes and plots of Amfiteatrov’s printed speeches of this period — these are the responses to socio-political events and social issues. Further, the paper analyzes specific examples of rhetorical devices from his articles — direct parallels, paraphrases, deliberate citation of works of classical literature. The author’s artistic and ideological goal-setting paradigms are traced; the critical attitude of the author to the post-revolutionary reality that emerges through comic techniques is revealed. The main sources of paraphrases and parallels for Amphiteatrov are, first of all, satirical works from Russian classical literature — N. V. Gogol, M. E. Saltykov-Shchedrin; as well as G. I. Uspensky, A. P. Chekhov and L. N. Tolstoy, M. Gorky. He extrapolates the quotes and specific situations from these texts onto contemporary reality. The article also provides unknown biographical facts related to the life and work of the publicist in 1917–1918.
{"title":"PARAPHRASES AND PARALLELS IN THE 1917–1918 FEUILLETONS BY A. V. AMFITEATROV","authors":"Alexander Alexandrov","doi":"10.15393/j9.art.2023.12082","DOIUrl":"https://doi.org/10.15393/j9.art.2023.12082","url":null,"abstract":"The article focuses on the poetic devices that are a part of the artistic system of A. V. Amfiteatrov, a well-known publicist and prose writer, a leading feuilletonist of the early 20th century. The subject of the study is his feuilletons of the post-Revolution period published in Russia until August 1918. The paper reveals the political stance of the publicist on the revolutionary events of 1917, his attitude to the February and October revolutions. The paper provides an overview of the themes and plots of Amfiteatrov’s printed speeches of this period — these are the responses to socio-political events and social issues. Further, the paper analyzes specific examples of rhetorical devices from his articles — direct parallels, paraphrases, deliberate citation of works of classical literature. The author’s artistic and ideological goal-setting paradigms are traced; the critical attitude of the author to the post-revolutionary reality that emerges through comic techniques is revealed. The main sources of paraphrases and parallels for Amphiteatrov are, first of all, satirical works from Russian classical literature — N. V. Gogol, M. E. Saltykov-Shchedrin; as well as G. I. Uspensky, A. P. Chekhov and L. N. Tolstoy, M. Gorky. He extrapolates the quotes and specific situations from these texts onto contemporary reality. The article also provides unknown biographical facts related to the life and work of the publicist in 1917–1918.","PeriodicalId":43144,"journal":{"name":"Problemy Istoricheskoi Poetiki","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146086","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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