Pub Date : 2023-01-01DOI: 10.22455/2686-7494-2023-5-3-110-123
Evgenija M. Geronimus
The article is devoted to the analysis of the relationship between L. N. Tolstoy and N. G. Chernyshevsky. The paper provides a thorough study of the evidence left by the two thinkers regarding each other, analyzes in detail their correspondence for the 1850s and 1860s with various cultural figures, traces all stages of the personal and creative dialogue of the two writers. The objective of the article includes the study of the relationship between Tolstoy and Chernyshevsky, both before and after their personal meeting. The paper presents a detailed analysis of the reviews left by Chernyshevsky about Tolstoy on the pages of the Sovremennik magazine. The author of the article clarifies many aspects of the relationship between the two writers, focuses on their ideological and sociopolitical views, shows their points of contact and irreconcilable differences.
{"title":"L. N. Tolstoy and N. G. Chernyshevsky: Attractions and Repulsions — Personal and Literary","authors":"Evgenija M. Geronimus","doi":"10.22455/2686-7494-2023-5-3-110-123","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-3-110-123","url":null,"abstract":"The article is devoted to the analysis of the relationship between L. N. Tolstoy and N. G. Chernyshevsky. The paper provides a thorough study of the evidence left by the two thinkers regarding each other, analyzes in detail their correspondence for the 1850s and 1860s with various cultural figures, traces all stages of the personal and creative dialogue of the two writers. The objective of the article includes the study of the relationship between Tolstoy and Chernyshevsky, both before and after their personal meeting. The paper presents a detailed analysis of the reviews left by Chernyshevsky about Tolstoy on the pages of the Sovremennik magazine. The author of the article clarifies many aspects of the relationship between the two writers, focuses on their ideological and sociopolitical views, shows their points of contact and irreconcilable differences.","PeriodicalId":470264,"journal":{"name":"Dva veka russkoj klassiki","volume":"22 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":"136206935","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: 10.22455/2686-7494-2023-5-3-296-319
Irina V. Fedorova
In the last two decades, domestic science has been enriched by a corpus of works describing pilgrimages to the Holy Land in the 19th – early 20th centuries. This happened thanks to intensive archeographic research in Russian archives, which have preserved many texts of different genres that tell about the pilgrimage to Jerusalem. The article presents an overview of a number of such works preserved in manuscripts and / or recently published, and considers the principles that can make it possible to assess the relevance of expanding the source base for the study of domestic pilgrimage literature. These principles are based on the evaluation of the content of the work, the time of the pilgrimage, the social status of the author, the integrity of the text and the degree of its originality.
{"title":"“Unsuitable for Printing”: On the Principles of Selecting Pilgrimage Notes for Publication","authors":"Irina V. Fedorova","doi":"10.22455/2686-7494-2023-5-3-296-319","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-3-296-319","url":null,"abstract":"In the last two decades, domestic science has been enriched by a corpus of works describing pilgrimages to the Holy Land in the 19th – early 20th centuries. This happened thanks to intensive archeographic research in Russian archives, which have preserved many texts of different genres that tell about the pilgrimage to Jerusalem. The article presents an overview of a number of such works preserved in manuscripts and / or recently published, and considers the principles that can make it possible to assess the relevance of expanding the source base for the study of domestic pilgrimage literature. These principles are based on the evaluation of the content of the work, the time of the pilgrimage, the social status of the author, the integrity of the text and the degree of its originality.","PeriodicalId":470264,"journal":{"name":"Dva veka russkoj klassiki","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":"136207355","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: 10.22455/2686-7494-2023-5-3-6-23
Antonella Cavazza
The article examines the factors that contributed to the formation of the Easter story genre in Russia. The author connects this process with the work of the Slavophiles, analyzes the context in which the European “Christmas” tale was not only translated in Russia, but was built into Russian culture. Emblematic of this transformation was the story of Charles Dickens “A Christmas Carol in Prose,” which was published under the title “The Luminous Resurrection of Christ” in Russia. The article examines some of the changes made to Dickens’ text, on the basis of which it can be posited that the free translation of the work came out of the Slavophil environment. It is assumed that D. A. Valuev and A. S. Khomyakov jointly planned and carried out the translation and adaptation of the story. The author of the article notes that the action is transferred to Russia, the setting of the story and the characters are invested with Russian names, features, habits and customs, and, most significantly, Christmas – the religious holiday at the centre of Dickens’ story — is replaced by Easter.
{"title":"Some Observations on the Importance of the Translation of the Story “The Luminous Resurrection of Christ” in Shaping and Developing the Easter Tale","authors":"Antonella Cavazza","doi":"10.22455/2686-7494-2023-5-3-6-23","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-3-6-23","url":null,"abstract":"The article examines the factors that contributed to the formation of the Easter story genre in Russia. The author connects this process with the work of the Slavophiles, analyzes the context in which the European “Christmas” tale was not only translated in Russia, but was built into Russian culture. Emblematic of this transformation was the story of Charles Dickens “A Christmas Carol in Prose,” which was published under the title “The Luminous Resurrection of Christ” in Russia. The article examines some of the changes made to Dickens’ text, on the basis of which it can be posited that the free translation of the work came out of the Slavophil environment. It is assumed that D. A. Valuev and A. S. Khomyakov jointly planned and carried out the translation and adaptation of the story. The author of the article notes that the action is transferred to Russia, the setting of the story and the characters are invested with Russian names, features, habits and customs, and, most significantly, Christmas – the religious holiday at the centre of Dickens’ story — is replaced by Easter.","PeriodicalId":470264,"journal":{"name":"Dva veka russkoj klassiki","volume":"17 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":"136207150","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: 10.22455/2686-7494-2023-5-3-148-163
Anastasia A. Kalitnik
The article considers the concept of “Moscow text” on the material of fiction works by S. V. Engelhardt. The analysis of the novellas and short stories of the writer allows to determine the place that they occupy among other “Moscow texts” of Russian classical literature written in the 18th–19th centuries. The work of Engelhardt is considered within the framework of women’s prose of the 19th century, in accordance with the tasks that her representatives set themselves. As a result of the study, the author of the article comes to the conclusion that the image of Moscow in the works of the writer is of decisive importance and receives different interpretations. Moscow in the work of Engelhardt is presented in three main spatial and temporal plans: as a secular city (party receptions, balls, receptions), as an Orthodox city (churches, monasteries) and as a city-symbol of Russia (Time of Troubles, the reign of Catherine II, the Patriotic War of 1812). The motifs of gossip, rumors and money are connected with secular Moscow, the motifs of sin, repentance, prayer, pilgrimage are connected with Orthodox Moscow, the motif of the struggle for power and war are connected with Moscow as a symbol of Russia. Motifs of mystery, mysticism, and legends are associated with the image of Moscow, which help to present the city in an unrealistic, distorted perspective.
{"title":"Moscow in Novellas and Short Stories by S. V. Engelgardt","authors":"Anastasia A. Kalitnik","doi":"10.22455/2686-7494-2023-5-3-148-163","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-3-148-163","url":null,"abstract":"The article considers the concept of “Moscow text” on the material of fiction works by S. V. Engelhardt. The analysis of the novellas and short stories of the writer allows to determine the place that they occupy among other “Moscow texts” of Russian classical literature written in the 18th–19th centuries. The work of Engelhardt is considered within the framework of women’s prose of the 19th century, in accordance with the tasks that her representatives set themselves. As a result of the study, the author of the article comes to the conclusion that the image of Moscow in the works of the writer is of decisive importance and receives different interpretations. Moscow in the work of Engelhardt is presented in three main spatial and temporal plans: as a secular city (party receptions, balls, receptions), as an Orthodox city (churches, monasteries) and as a city-symbol of Russia (Time of Troubles, the reign of Catherine II, the Patriotic War of 1812). The motifs of gossip, rumors and money are connected with secular Moscow, the motifs of sin, repentance, prayer, pilgrimage are connected with Orthodox Moscow, the motif of the struggle for power and war are connected with Moscow as a symbol of Russia. Motifs of mystery, mysticism, and legends are associated with the image of Moscow, which help to present the city in an unrealistic, distorted perspective.","PeriodicalId":470264,"journal":{"name":"Dva veka russkoj klassiki","volume":"16 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":"136208446","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: 10.22455/2686-7494-2023-5-3-236-273
Elena V. Belousova
The article presents an analysis of M. N. Tolstaya collection, kept since 1903 in the Manuscript Department of the National Library of Russia. It consists of 85 manuscripts with a common volume of 4027 sheets. In the 1810s–1820s Tolstaya translated from French into Russian the treatise “Le combat spiritual,” which was a translation of the medieval work of L. Skuupli “Il combattimento spiritual.” She titled her manuscript “Spiritual Combat.” She did not know the Russian text of Skupoli’s work, translated by I. S. Andreevsky in 1787, since it was forbidden to be printed. The article compares some fragments of the “Spiritual Battle” with the “Invisible Warfare” of St. Theophan the Recluse — the famous Russian translation of “Il combattimento spiritual.” For the purpose of religious enlightenment of the Yasnaya Polyana peasants in the 1820s Tolstaya writes “Instruction on the Christian Law, Selected from the Poor’s Store” — an independent work in the catechism genre. It is not known whether she knew the Catechism of Metropolitan Filaret, however, the general structure of these works has much in common. Tolstoy’s activity as a spiritual writer was caused by the desire to improve in the knowledge of God and to serve others.
本文对1903年以来保存在俄罗斯国家图书馆手稿部的托尔斯塔亚文集进行了分析。它由85份手稿组成，共有4027页。在19世纪10年代至20年代，托尔斯塔亚将《Le combat spiritual》一书从法语翻译成俄语，这是对L. skupli的中世纪著作《Il combattimento spiritual》的翻译。她把她的手稿命名为“精神战斗”。她不知道1787年安德烈夫斯基(I. S. Andreevsky)翻译的斯库波利著作的俄文，因为它被禁止印刷。文章将《精神之战》的一些片段与隐士圣提奥芬的《看不见的战争》——著名的俄语翻译《Il combattimento Spiritual》——进行了比较。为了在19世纪20年代对亚斯纳亚波利亚纳农民进行宗教启蒙，托尔斯塔亚写了《基督教法的指导，选自穷人的商店》，这是一部独立的教义问答类作品。目前尚不清楚她是否知道大都会菲拉列特的教义问答，然而，这些作品的总体结构有很多共同之处。托尔斯泰作为一名精神作家的活动是由于渴望提高对上帝的认识和为他人服务。
{"title":"Review of Tolstoy’s Mother M. N. Tolstaya Collection in the Manuscript Department of the National Library of Russia","authors":"Elena V. Belousova","doi":"10.22455/2686-7494-2023-5-3-236-273","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-3-236-273","url":null,"abstract":"The article presents an analysis of M. N. Tolstaya collection, kept since 1903 in the Manuscript Department of the National Library of Russia. It consists of 85 manuscripts with a common volume of 4027 sheets. In the 1810s–1820s Tolstaya translated from French into Russian the treatise “Le combat spiritual,” which was a translation of the medieval work of L. Skuupli “Il combattimento spiritual.” She titled her manuscript “Spiritual Combat.” She did not know the Russian text of Skupoli’s work, translated by I. S. Andreevsky in 1787, since it was forbidden to be printed. The article compares some fragments of the “Spiritual Battle” with the “Invisible Warfare” of St. Theophan the Recluse — the famous Russian translation of “Il combattimento spiritual.” For the purpose of religious enlightenment of the Yasnaya Polyana peasants in the 1820s Tolstaya writes “Instruction on the Christian Law, Selected from the Poor’s Store” — an independent work in the catechism genre. It is not known whether she knew the Catechism of Metropolitan Filaret, however, the general structure of these works has much in common. Tolstoy’s activity as a spiritual writer was caused by the desire to improve in the knowledge of God and to serve others.","PeriodicalId":470264,"journal":{"name":"Dva veka russkoj klassiki","volume":"4 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":"136207786","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: 10.22455/2686-7494-2023-5-3-60-109
Vladimir I. Melnik
The article presents the novel The Precipice as the final part of the novel trilogy by I. A. Goncharov (by analogy with the canticle “Paradise” in the composition of the “Divine Comedy” by A. Dante). So Raisky appears as the central (not declaratively, but essentially) character of the novel, crowning Goncharov’s ideas of a “serious human figure” and an “idealist character.” The article examines the image of Raisky in its evolutionary development, and designates the vector of his spiritual movement as an experience of falling, repentance and resurrection. The image of the ascetic artist Kirilov clearly manifests Goncharov’s ideas about the purpose of art, about the indecomposable unity of art and religion. It turns out that the spiritual evolution of Raisky — from the “Petersburg” part of the novel to the “Malinovskaya” and to the finale — takes place under the sign of Kirilov’s ideological and aesthetic attitudes, despite the fact that they do not coincide with installations of both Raisky and Goncharov himself. For the first time, the article shows the character of the plot, which is particular for the general meaning of the novel, connected with the spiritual duel of Vera and Mark Volokhov, since all the main meanings of the work, including biographical ones, converge in the figure of Raisky.
{"title":"Raisky and Paradise in The Precipice by I. A. Goncharov","authors":"Vladimir I. Melnik","doi":"10.22455/2686-7494-2023-5-3-60-109","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-3-60-109","url":null,"abstract":"The article presents the novel The Precipice as the final part of the novel trilogy by I. A. Goncharov (by analogy with the canticle “Paradise” in the composition of the “Divine Comedy” by A. Dante). So Raisky appears as the central (not declaratively, but essentially) character of the novel, crowning Goncharov’s ideas of a “serious human figure” and an “idealist character.” The article examines the image of Raisky in its evolutionary development, and designates the vector of his spiritual movement as an experience of falling, repentance and resurrection. The image of the ascetic artist Kirilov clearly manifests Goncharov’s ideas about the purpose of art, about the indecomposable unity of art and religion. It turns out that the spiritual evolution of Raisky — from the “Petersburg” part of the novel to the “Malinovskaya” and to the finale — takes place under the sign of Kirilov’s ideological and aesthetic attitudes, despite the fact that they do not coincide with installations of both Raisky and Goncharov himself. For the first time, the article shows the character of the plot, which is particular for the general meaning of the novel, connected with the spiritual duel of Vera and Mark Volokhov, since all the main meanings of the work, including biographical ones, converge in the figure of Raisky.","PeriodicalId":470264,"journal":{"name":"Dva veka russkoj klassiki","volume":"18 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":"136207789","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: 10.22455/2686-7494-2023-5-3-218-235
Pavel V. Ilyin
The article examines the autobiographical notes of Mikhail Ivanovich Pushchin (1800–1869), the younger brother of the “first” and “priceless” friend of A. S. Pushkin, the Decembrist I. I. Pushchin. M. I. Pushchin was also one of the participants in the Decembrist movement and left a significant memoir legacy. The notes of M. I. Pushchin are in demand in Pushkin and Decembrist studies, but still do not have a complete scientific publication. They are of significant interest as a retrospective document describing the life of the era and a number of events of historical significance in the first half of the 19th century, and as memoirs written by an outstanding author — a guards and then an army engineer, a participant in the events of 1825 and military operations in the Caucasus, friend and acquaintance of many historical figures. The article characterizes the significance of M. I. Pushchin’s notes as a historical source, presents the first results of studying its manuscript that have come down to us, preserved among the Pushchin family papers, dates the available two editions of the notes, based on a comparison of the manuscript with the published text of the notes, and makes attempt was made to reconstruct the history of creation memorial monument.
{"title":"M. I. Pushchin and His Autobiographical Memoirs","authors":"Pavel V. Ilyin","doi":"10.22455/2686-7494-2023-5-3-218-235","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-3-218-235","url":null,"abstract":"The article examines the autobiographical notes of Mikhail Ivanovich Pushchin (1800–1869), the younger brother of the “first” and “priceless” friend of A. S. Pushkin, the Decembrist I. I. Pushchin. M. I. Pushchin was also one of the participants in the Decembrist movement and left a significant memoir legacy. The notes of M. I. Pushchin are in demand in Pushkin and Decembrist studies, but still do not have a complete scientific publication. They are of significant interest as a retrospective document describing the life of the era and a number of events of historical significance in the first half of the 19th century, and as memoirs written by an outstanding author — a guards and then an army engineer, a participant in the events of 1825 and military operations in the Caucasus, friend and acquaintance of many historical figures. The article characterizes the significance of M. I. Pushchin’s notes as a historical source, presents the first results of studying its manuscript that have come down to us, preserved among the Pushchin family papers, dates the available two editions of the notes, based on a comparison of the manuscript with the published text of the notes, and makes attempt was made to reconstruct the history of creation memorial monument.","PeriodicalId":470264,"journal":{"name":"Dva veka russkoj klassiki","volume":"16 5 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":"136207801","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: 10.22455/2686-7494-2023-5-3-164-201
Elena Yu. Knorre
The article is the first to reconstruct the estate theme in L. N. Tolstoy’s works in its intersection with the war theme. It turns out that the estate in Tolstoy’s works dedicated to war and revolutionary struggle plays a plotforming role. Using the examples of the stories “Caucasian Prisoner,” “Divine and Human,” the epic novel “War and Peace,” the author of the article traces the motif of the prodigal son’s return to his father’s house, his main phases of “departure” (“isolation”), “test” and “return” (“gaining new connections with the world”). War in this plot scheme appears as a limenal space of testing, the initiation of the soul on the path of returning to its true home. Summing up the results, it can be concluded that Tolstoy’s images of an ideal estate and house are opposed to war and are associated with biblical motifs of the Garden of Eden, a vineyard, symbolizing the “kingdom of God.” Tolstoy’s paradigm of the perception of the ideal estate as an image of righteous management and peacemaking, pacification of passions in serving God and people, becomes decisive in the depiction of the estate during the war in the literature of the 20th century.
{"title":"“They Divided the Estate During the War”: L. N. Tolstoy’s Traditions in the Estate Text of the 20th Century","authors":"Elena Yu. Knorre","doi":"10.22455/2686-7494-2023-5-3-164-201","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-3-164-201","url":null,"abstract":"The article is the first to reconstruct the estate theme in L. N. Tolstoy’s works in its intersection with the war theme. It turns out that the estate in Tolstoy’s works dedicated to war and revolutionary struggle plays a plotforming role. Using the examples of the stories “Caucasian Prisoner,” “Divine and Human,” the epic novel “War and Peace,” the author of the article traces the motif of the prodigal son’s return to his father’s house, his main phases of “departure” (“isolation”), “test” and “return” (“gaining new connections with the world”). War in this plot scheme appears as a limenal space of testing, the initiation of the soul on the path of returning to its true home. Summing up the results, it can be concluded that Tolstoy’s images of an ideal estate and house are opposed to war and are associated with biblical motifs of the Garden of Eden, a vineyard, symbolizing the “kingdom of God.” Tolstoy’s paradigm of the perception of the ideal estate as an image of righteous management and peacemaking, pacification of passions in serving God and people, becomes decisive in the depiction of the estate during the war in the literature of the 20th century.","PeriodicalId":470264,"journal":{"name":"Dva veka russkoj klassiki","volume":"14 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":"136207149","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: 10.22455/2686-7494-2023-5-3-124-147
Irina Yu. Smirnova
The article examines the ideological and artistic originality of the book of essays by A. I. Ertel “Notes of Stepnyak.” It manifests itself in the fundamentals of organizing the integrity of the entire collection, the writer’s worldview, and the relationship between the position of the author and the narrator in the book. The work emphasizes that Ertel was often credited with extreme populist views, but the writer saw his task not only in helping the people, but in the improvement and transformation of the entire Russian society, Russian life, which was confidently and quickly losing its moral core and high moral standards. The author of the article comprehends the main motifs of the book of essays and the principles of organizing the system of characters in it. Ertel’s letters to his contemporaries, his reasoning allow to describe and characterize writer’s attitude towards the Russian people and the main problems of Russian post-reform life.
{"title":"“Enlightenment” or “Enrichment”: About the Values and State of Russian Post-reform Society in A. I. Ertel’s Series “Notes of Stepnyak”","authors":"Irina Yu. Smirnova","doi":"10.22455/2686-7494-2023-5-3-124-147","DOIUrl":"https://doi.org/10.22455/2686-7494-2023-5-3-124-147","url":null,"abstract":"The article examines the ideological and artistic originality of the book of essays by A. I. Ertel “Notes of Stepnyak.” It manifests itself in the fundamentals of organizing the integrity of the entire collection, the writer’s worldview, and the relationship between the position of the author and the narrator in the book. The work emphasizes that Ertel was often credited with extreme populist views, but the writer saw his task not only in helping the people, but in the improvement and transformation of the entire Russian society, Russian life, which was confidently and quickly losing its moral core and high moral standards. The author of the article comprehends the main motifs of the book of essays and the principles of organizing the system of characters in it. Ertel’s letters to his contemporaries, his reasoning allow to describe and characterize writer’s attitude towards the Russian people and the main problems of Russian post-reform life.","PeriodicalId":470264,"journal":{"name":"Dva veka russkoj klassiki","volume":"50 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":"136207798","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: 10.22455/2686-7494-2023-5-3-274-295
Nina V. Trofimova
The problem of Old Russian sources’ using in historical dramas by A. N. Ostrovsky has been raised many times in literary studies. However, the works devoted to the study of the changes made in the second version of the play “Kozma Zakharyich Minin, Sukhoruk” did not include an analysis of differences in the approach to ancient Russian materials. The article provides the comparative analysis of playwright versions in terms of the use of facts, images, stylistic means dating back to the Russian medieval monuments. The analysis of the texts led to the conclusions that about the reducing the number of historical facts and of direct arrangments of Old Russian texts, therefore, the sequence and the details of the narration decreased in the second version. The monologues of the characters reflecting the religious views of the Middle Ages were removed, so the ideological and psychological motivation of character’s actions became weaker. The love line, nonexistent in the sources, became consistent and complete. The role of some fictional characters associated with the Old Russian tradition has changed. As a result, in the second version the personal destinies of historical and fictional characters came to the fore instead of the epoch-making events of the 17th century. Rearranging of the accents changed the genre of the play: from a “dramatic chronicle” it turned into a historical drama.
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