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The Torch. Unpublished Response to N.D. Khvoshchinskaya’s Death 火炬。对N.D. Khvoshchinskaya之死的未发表回应
Pub Date : 2023-01-01 DOI: 10.22455/2541-8297-2023-29-91-107
Evgeniya N. Stroganova, Olga A. Karpova
A prominent place in Russian literature of the 1850s–1880s was occupied by the actively published and republished works of N.D. Khvoshchinskaya (published under the pseudonym V. Krestovsky, later V. Krestovsky-pseudonym), who enjoyed the sympathy of critics and were highly valued by such contemporaries as Mikhail Saltykov, Ivan Goncharov, Pyotr Tchaikovsky, etc. Without specifically dealing with the “women’s issue,” she, according to readers, played one of the leading roles in the development of the “women’s theme” in the fiction of her time. Archival materials testify to the unfulfilled plan of the writers who revered Khvoshchinskaya, in particular the idea of publishing a collective collection dedicated to her memory. The composition of this collection was to include the text of the allegorical essay “The Torch,” stored in the Russian State Archive of Literature and Art (RGALI), which is published in the Appendix to the article. The female character of the essay (“the famous writer”) demonstrates the invigorating “triumph of the spirit over the form,” instilling in those around her creative energy, faith in herself and in life. The essay is signed with the pseudonym “P. Letnev,” which contemporaries associated with the name of Praskovya Alexandrovna Lachinova, a writer who experienced a certain influence of Khvoshchinskaya’s creativity and personality.
在19世纪50年代至80年代的俄罗斯文学中,N.D. Khvoshchinskaya(以笔名V. Krestovsky出版,后来以笔名V. Krestovsky出版)的作品被积极出版和再版,他享有评论家的同情,并受到同时代的米哈伊尔·萨尔季科夫、伊万·贡恰罗夫、彼得·柴可夫斯基等人的高度评价。根据读者的说法,虽然没有专门处理“女性问题”,但她在她那个时代的小说中扮演了“女性主题”发展的主要角色之一。档案材料证明了尊敬赫沃什钦斯卡娅的作家们未能实现的计划,尤其是出版一本纪念她的集体文集的想法。这本文集的内容将包括讽喻文章《火炬》(The Torch)的文本,该文章存放在俄罗斯国家文学艺术档案馆(RGALI),在文章的附录中发表。这篇文章的女性角色(“著名作家”)展示了令人振奋的“精神战胜形式”,向周围的人灌输了她的创造力,对自己和生活的信心。这篇文章署名为“P”。“列特涅夫”,同时代的人把这个名字与普拉斯科夫娅·亚历山德罗夫娜·拉奇诺娃联系在一起,拉奇诺娃是一位作家,她受到了赫沃什钦斯卡娅的创造力和个性的一定影响。
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引用次数: 0
Georgics by Virgil, translated by A.F. Voeikov: History of Creation and Oblivion 维吉尔的《圣歌》,A.F.沃伊科夫译:《创造与遗忘的历史》
Pub Date : 2023-01-01 DOI: 10.22455/2541-8297-2023-29-8-90
Aleksey Yu. Balakin
The article reconstructs three stages of A.F. Voeikov’s translation of Georgics by Virgil, undertaken by him “in competition” with the translations of the ancient epic poetry of A.F. Merzlyakov and N.I. Gnedich. Initially (around 1813), Voeikov translated the Latin poet in iambic 6-foot with cross-rhyming, largely focusing on the French translation of Jacques Delisle (1769), which was considered “exemplary.” But under the influence of S.S. Uvarov’s “polemics about hexameters,” Voeikov joined the winning point of view — about the priority of the transmission of the ancient epic by Russian dactylic hexameter, and reworked his translation, counting on success and imperial favor, similar to those that Gnedich’s Iliad won. But despite the intermediary efforts of V.A. Zhukovsky, Voeikov did not receive any royal favor. At the end of the 1810s for the third time he radically changes the strategy of his translation of Georgics, striving for equilinearity and refusing to look back at Delisle’s experience. This last edition is published from the archival manuscript in the Appendix to this work for the first time.
本文重构了沃伊科夫翻译维吉尔《圣歌》的三个阶段,他与梅兹利亚科夫和格涅迪奇的古代史诗翻译“竞争”。最初(大约在1813年),沃伊科夫用6英尺的抑扬格和反押韵翻译了这位拉丁诗人,主要关注雅克·迪莱尔(Jacques Delisle, 1769年)的法语译本,这被认为是“典范”。但在乌瓦洛夫的“关于六步格的论战”的影响下,沃伊科夫加入了获胜的观点——关于用俄罗斯短格六步格传播古代史诗的优先权,并重新修改了他的翻译,指望成功和帝国的青睐,类似于格涅迪奇的《伊利亚特》赢得的那些。但是,尽管茹科夫斯基做了中间人的努力,沃伊科夫并没有得到王室的任何恩惠。19世纪10年代末,他第三次彻底改变了他翻译《乔治》的策略,力求平顺,拒绝回顾迪莱尔的经历。这最后一版是第一次从本作品附录中的档案手稿中出版。
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引用次数: 0
Unknown Materials about Esenin’s Publishing Activity (1921) 关于艾森宁出版活动的未知材料(1921年)
Pub Date : 2023-01-01 DOI: 10.22455/2541-8297-2023-29-174-185
Nina M. Solobay
The article introduces into scientific circulation two archival documents signed by S.A. Esenin, which were not included in “The Complete Works of S.A. Esenin” in 7 vols. (9 books) (1995–2001). These documents are kept in the Moscow City Council fund in the Central State Archive of the Moscow Region and indicate plans to expand the publishing activities of imaginists, namely, the project of opening their own printing house. The main document is a letter with an informal appeal to the chairman of the Moscow City Council L.B. Kamenev signed by Esenin, V.G. Shershenevich, and A.B. Kusikov. An official petition addressed to Kamenev, signed by Shershenevich, Esenin, S.T. Grigoriev, R. Ivnev, and Kusikov, is attached to the letter. Both documents were registered in the expedition of the Executive Committee of the Moscow City Council on December 31, 1921, and are commented on in detail in the article. The content of the discovered letter to Kamenev confirms that there was previously a successful initiative of a similar nature. Among the “illegal” publications of the imaginists is the author’s collection of Esenin “Treryadnitsa,” published in mid-October 1920 under the brand of the non-existent publishing house “Cereal,” as well as three collections with the participation of Esenin — “The Foundry of Words,” “The Tavern of Dawn,” “The Cavalry of Storms,” published in February–May 1920. These discovered documents open previously unknown pages of Esenin’s biography.
本文介绍了《埃塞宁全集》七卷本中未收录的两份由埃塞宁签署的档案文件。(9本)(1995-2001)。这些文件保存在莫斯科地区中央国家档案馆的莫斯科市议会基金中,表明了扩大幻想主义者出版活动的计划,即开设自己的印刷厂的项目。主要文件是一封由叶谢宁、V.G.舍舍内维奇和A.B.库西科夫签署的致莫斯科市议会主席L.B.加米涅夫的非正式呼吁信。一封由舍舍内维奇、叶谢宁、st格里戈里耶夫、r伊夫涅夫和库西科夫签署的致加米涅夫的正式请愿书附在信的后面。这两份文件都登记在1921年12月31日莫斯科市议会执行委员会的考察中,并在文章中进行了详细的评论。这封被发现的写给加米涅夫的信的内容证实,以前曾有过一个类似性质的成功倡议。在意象主义者的“非法”出版物中,有作者的艾塞宁作品集《特里亚德尼察》(Treryadnitsa),于1920年10月中旬以不存在的“谷物”出版社的名义出版,以及艾塞宁参与的三部作品集——《文字的铸造厂》、《黎明酒馆》、《风暴骑兵》,于1920年2月至5月出版。这些被发现的文件打开了以前不为人知的埃塞宁传记。
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