Pub Date : 2024-06-07DOI: 10.31425/0042-8795-2024-3-134-161
L. M. Borisova
Gorky’s severe and sometimes unfair criticisms (‘empty soul’) aimed at the hero of his last novel are revealed to be reflections of the writer’s adherence to empiriomonism, a philosophy that demands that an individual submit themselves to a collective genius and systemic knowledge. The article explores the precursors to the Samgin theme in Gorky’s works and the reasons the writer became attracted to A. Bogdanov’s ideas, also detailing differences in their views. The author considers the attitude of the novel’s characters to Bogdanov’s theory and the protagonist’s engagement with the dispute between ‘vperyodovtsy’ (members of the ‘Vperyod’ group, a subfaction of the Bolsheviks) and ‘vekhisty’ (followers of the ideas expressed in Landmarks [Vekhi], a collection of works by Russian liberally minded intellectuals). Gorky creates a belittling image of an individualistically-minded intellectual, portraying Samgin as a follower of the Kantian theory of genius, dismissed as obsolete by empiriomonists. The author suggests that Bogdanov’s character traits, biography and appearance make him a real-life prototype of Dmitry Samgin. A personality crisis in Gorky’s novel is also regarded in the context of the contemporary socio-cultural situation.
{"title":"Klim Samgin and an encyclopaedic genius of the era. On Gorky’s God-building pursuit","authors":"L. M. Borisova","doi":"10.31425/0042-8795-2024-3-134-161","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-3-134-161","url":null,"abstract":"Gorky’s severe and sometimes unfair criticisms (‘empty soul’) aimed at the hero of his last novel are revealed to be reflections of the writer’s adherence to empiriomonism, a philosophy that demands that an individual submit themselves to a collective genius and systemic knowledge. The article explores the precursors to the Samgin theme in Gorky’s works and the reasons the writer became attracted to A. Bogdanov’s ideas, also detailing differences in their views. The author considers the attitude of the novel’s characters to Bogdanov’s theory and the protagonist’s engagement with the dispute between ‘vperyodovtsy’ (members of the ‘Vperyod’ group, a subfaction of the Bolsheviks) and ‘vekhisty’ (followers of the ideas expressed in Landmarks [Vekhi], a collection of works by Russian liberally minded intellectuals). Gorky creates a belittling image of an individualistically-minded intellectual, portraying Samgin as a follower of the Kantian theory of genius, dismissed as obsolete by empiriomonists. The author suggests that Bogdanov’s character traits, biography and appearance make him a real-life prototype of Dmitry Samgin. A personality crisis in Gorky’s novel is also regarded in the context of the contemporary socio-cultural situation.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141373026","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 : 2024-06-07DOI: 10.31425/0042-8795-2024-3-87-104
D. V. Yakupova
The article uses recently discovered memoirs to portray the everyday life of writers evacuated to Penza, including Salomėja Nėris, whose character and biographical events related to the early war period are the focus of this study. The poet’s daily life, view of current events, as well as her literary activities and family affairs are reconstructed based on the reminiscences of her husband P. Veržbilauskas. The article details the locals’ perception of the phenomenon of evacuees arriving from various Soviet republics, quoting common people as well as party bureaucrats. It investigates the creative crisis faced by the evacuated intelligentsia and their dealing with this through consolidating their writers’ community. The relevance of the study stems from the fact that the testimonies by members of artistic intelligentsia have considerable cognitive potential for reconstruction of Penza’s everyday life culture during the Great Patriotic War. The article introduces a body of archived sources subjected to scholarly analysis for the first time.
文章利用最近发现的回忆录来描绘疏散到奔萨的作家的日常生活，其中包括萨洛梅婕-涅里斯，她的性格和与战争初期有关的传记事件是本研究的重点。根据诗人丈夫 P. Veržbilauskas 的回忆，还原了诗人的日常生活、对时事的看法以及她的文学活动和家庭事务。文章引用普通人和党的官僚的话，详细描述了当地人对从苏联各加盟共和国撤离的现象的看法。文章调查了撤离的知识分子所面临的创作危机，以及他们通过巩固作家群体来应对这一危机的情况。研究的意义在于，艺术知识分子的证词对于重建伟大卫国战争时期奔萨的日常生活文化具有相当大的认知潜力。文章首次介绍了一批接受学术分析的档案资料。
{"title":"Wartime living of Salomėja Nėris. Lithuanian writers in Penza in 1941","authors":"D. V. Yakupova","doi":"10.31425/0042-8795-2024-3-87-104","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-3-87-104","url":null,"abstract":"The article uses recently discovered memoirs to portray the everyday life of writers evacuated to Penza, including Salomėja Nėris, whose character and biographical events related to the early war period are the focus of this study. The poet’s daily life, view of current events, as well as her literary activities and family affairs are reconstructed based on the reminiscences of her husband P. Veržbilauskas. The article details the locals’ perception of the phenomenon of evacuees arriving from various Soviet republics, quoting common people as well as party bureaucrats. It investigates the creative crisis faced by the evacuated intelligentsia and their dealing with this through consolidating their writers’ community. The relevance of the study stems from the fact that the testimonies by members of artistic intelligentsia have considerable cognitive potential for reconstruction of Penza’s everyday life culture during the Great Patriotic War. The article introduces a body of archived sources subjected to scholarly analysis for the first time.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141373697","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 : 2024-06-07DOI: 10.31425/0042-8795-2024-3-60-74
S. Perevalova
The article examines the unique characteristics of E. Rzhevskaya’s prose. In 1941–1945, Rzhevskaya was an army interpreter from German. In her analysis of Rzhevskaya’s biography and literary output, S. Perevalova shows the assimilation of the writer’s wartime experience in her oeuvre, which simultaneously follows the patterns of ‘lieutenant prose,’ typified by novellas of V. Nekrasov, Y. Bondarev and other contemporaries of Rzhevskaya’s, and the tradition of Russian classical writers of the 19th c. and the Silver Age. The first work of ‘lieutenant prose’ that invokes the classical tradition was V. Nekrasov’s In the Trenches of Stalingrad [V okopakh Stalingrada], a novella strongly defined by humanism and ties to classical Russian war prose. The author names Nekrasov as well as Lermontov and Blok as influences on Rzhevskaya’s creative method, her affinity with the two poets made stronger by their translations of German poetry which earned the status of classics. Thanks to her interest in Blok and Lermontov, a writer Rzhevskaya became acquainted with world culture, where German literature has long been prominently represented.
{"title":"Evocations of Nekrasov’s trench prose in Elena Rzhevskaya’s novellas","authors":"S. Perevalova","doi":"10.31425/0042-8795-2024-3-60-74","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-3-60-74","url":null,"abstract":"The article examines the unique characteristics of E. Rzhevskaya’s prose. In 1941–1945, Rzhevskaya was an army interpreter from German. In her analysis of Rzhevskaya’s biography and literary output, S. Perevalova shows the assimilation of the writer’s wartime experience in her oeuvre, which simultaneously follows the patterns of ‘lieutenant prose,’ typified by novellas of V. Nekrasov, Y. Bondarev and other contemporaries of Rzhevskaya’s, and the tradition of Russian classical writers of the 19th c. and the Silver Age. The first work of ‘lieutenant prose’ that invokes the classical tradition was V. Nekrasov’s In the Trenches of Stalingrad [V okopakh Stalingrada], a novella strongly defined by humanism and ties to classical Russian war prose. The author names Nekrasov as well as Lermontov and Blok as influences on Rzhevskaya’s creative method, her affinity with the two poets made stronger by their translations of German poetry which earned the status of classics. Thanks to her interest in Blok and Lermontov, a writer Rzhevskaya became acquainted with world culture, where German literature has long been prominently represented.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141371530","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 : 2024-06-07DOI: 10.31425/0042-8795-2024-3-122-133
E. Pogorelaya
The article is written in response to I. Plekhanova’s study published in the same issue of Voprosy Literatury, which calls A. Dolgareva’s poetry an undoubtedly leading phenomenon of contemporary poetry. E. Pogorelaya also acknowledges key defining characteristics of Dolgareva’s output: preference for lively colloquial language, references to personal experience and the reader’s civic stance, reliance on plots and archetypical images and motifs, as well as a leaning towards the Soviet literary tradition and Soviet past as the last era of stability and relative normalcy. Polemizing with Plekhanova and other admirers of Dolgareva’s poetry, the author points out that the backbone of her poetics is drawn from 2010s’ Internet poetry, e. g., A. Kudryasheva’s works. The author argues that Dolgareva’s free and unrestricted, if not haphazard, treatment of the language is rooted in that background and that her works share a lot of similarities with those by authors from the Internet. Therefore, Pogorelaya suggests a more critical and reflective approach to Dolgareva’s oeuvre, stressing that it is primarily written with a specific reference group in mind and mirrors the group’s emotional charge.
这篇文章是对 I. Plekhanova 在同一期《Voprosy Literatury》上发表的研究报告的回应，该研究报告称 A. Dolgareva 的诗歌无疑是当代诗歌的领军现象。E. Pogorelaya 也承认多尔加雷娃作品的主要特征：偏爱生动的口语化语言，提及个人经历和读者的公民立场，依赖情节和原型形象及主题，以及倾向于苏联文学传统和苏联过去，将其视为最后一个稳定和相对正常的时代。作者与普列汉诺娃和其他多尔加雷娃诗歌的崇拜者针锋相对，指出多尔加雷娃诗歌的骨干来自 2010 年代的网络诗歌，如 A. 库德莉亚舍娃的作品。作者认为，多尔加列娃对语言的自由、无拘无束（如果不是杂乱无章的话）的处理正是源于这种背景，她的作品与网络作家的作品有很多相似之处。因此，波戈雷拉娅建议对多尔加列娃的作品采取一种更具批判性和反思性的方法，强调其作品主要是为特定的参照群体而写，反映了该群体的情感冲动。
{"title":"A dispute about poems and beyond","authors":"E. Pogorelaya","doi":"10.31425/0042-8795-2024-3-122-133","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-3-122-133","url":null,"abstract":"The article is written in response to I. Plekhanova’s study published in the same issue of Voprosy Literatury, which calls A. Dolgareva’s poetry an undoubtedly leading phenomenon of contemporary poetry. E. Pogorelaya also acknowledges key defining characteristics of Dolgareva’s output: preference for lively colloquial language, references to personal experience and the reader’s civic stance, reliance on plots and archetypical images and motifs, as well as a leaning towards the Soviet literary tradition and Soviet past as the last era of stability and relative normalcy. Polemizing with Plekhanova and other admirers of Dolgareva’s poetry, the author points out that the backbone of her poetics is drawn from 2010s’ Internet poetry, e. g., A. Kudryasheva’s works. The author argues that Dolgareva’s free and unrestricted, if not haphazard, treatment of the language is rooted in that background and that her works share a lot of similarities with those by authors from the Internet. Therefore, Pogorelaya suggests a more critical and reflective approach to Dolgareva’s oeuvre, stressing that it is primarily written with a specific reference group in mind and mirrors the group’s emotional charge.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141374481","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 : 2024-06-07DOI: 10.31425/0042-8795-2024-3-186-189
E. M. Belavina
The review examines a publication of the poem ‘Zone,’ which counts among the most famous works by the innovative French poet Guillaume Apollinaire, in the original language and seven Russian translations, two of which were made in 2022 under the auspices of the Pushkin programme funded by the French Institute of the French Embassy in Moscow to promote book publishing. The book’s structure can baffle the reader, just like Apollinaire’s poem does. Opening with a double dedication to the 110th anniversary of the poem’s original publication and the centenary of M. Kudinov’s birth, the book then displays the original French version of ‘Zone,’ followed by the publisher’s colophon. The subsequent sections of the book seem to follow the conventional logic: N. Zubkov’s foreword discusses the unique characteristics of the French poem’s poetics and outlines the key points for a comparative analysis of the translations. The sequence of the printed translations is at odds with their chronological order, a conscious decision made by the publisher. The final section entitled ‘In the Russian mirror’ features insightful comments on the poem offered by distinguished scholars of French poetry such as N. Balashov, S. Velikovsky, Z. Kirnoze, and M. Yasnov.
这篇评论探讨了法国创新诗人纪尧姆-阿波利奈尔（Guillaume Apollinaire）最著名的作品之一《区》一诗的原文和七个俄文译本的出版情况，其中两个译本是在法国驻莫斯科大使馆法国研究所为促进图书出版而资助的普希金计划的支持下于2022年出版的。正如阿波利奈尔的诗歌一样，这本书的结构也会让读者感到困惑。书的开头是对诗歌原版出版 110 周年和库季诺夫先生诞辰 100 周年的双重献礼，然后展示了《区》的法文原版，接着是出版商的落款。该书随后的章节似乎遵循传统逻辑：尼-祖布科夫的前言讨论了法国诗歌的独特诗学特征，并概述了对译本进行比较分析的要点。印刷版译文的顺序与时间顺序不符，这是出版商有意为之的决定。最后一节题为 "俄罗斯的镜子"，收录了 N. Balashov、S. Velikovsky、Z. Kirnoze 和 M. Yasnov 等著名法国诗歌学者对这首诗的精辟评论。
{"title":"Apollinaire, G. (2022). Zone. In Russian translations and ‘Russian mirror.’ Ed. By Y. Fridstein and O. Tsareykina. Foreword by N. Zubkov. Moscow: Tsentr knigi Rudomino. (In Russ.)","authors":"E. M. Belavina","doi":"10.31425/0042-8795-2024-3-186-189","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-3-186-189","url":null,"abstract":"The review examines a publication of the poem ‘Zone,’ which counts among the most famous works by the innovative French poet Guillaume Apollinaire, in the original language and seven Russian translations, two of which were made in 2022 under the auspices of the Pushkin programme funded by the French Institute of the French Embassy in Moscow to promote book publishing. The book’s structure can baffle the reader, just like Apollinaire’s poem does. Opening with a double dedication to the 110th anniversary of the poem’s original publication and the centenary of M. Kudinov’s birth, the book then displays the original French version of ‘Zone,’ followed by the publisher’s colophon. The subsequent sections of the book seem to follow the conventional logic: N. Zubkov’s foreword discusses the unique characteristics of the French poem’s poetics and outlines the key points for a comparative analysis of the translations. The sequence of the printed translations is at odds with their chronological order, a conscious decision made by the publisher. The final section entitled ‘In the Russian mirror’ features insightful comments on the poem offered by distinguished scholars of French poetry such as N. Balashov, S. Velikovsky, Z. Kirnoze, and M. Yasnov.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141373350","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 : 2024-06-07DOI: 10.31425/0042-8795-2024-3-75-86
A. K. Ishanova, A. Pronin, A. V. Svyatoslavsky
The article studies the examples of Kazakh mythology lending the archetypes of a victorious giant and the Motherland to the film Batyrs of the Steppe [Batyry stepey], directed by G. Roshal at Alma-Ata’s Central United Film Studio. The plot centres on T. Tokhtarov’s real-life heroic deed that took place in February of 1942, whereas the parallel fairytale plotline tells the story of the batyr Tolygai, who sacrifices himself to save the people.
文章研究了哈萨克神话中将胜利的巨人和祖国的原型借鉴到电影《草原上的巴特尔》（Batyry stepey）中的例子，该电影由 G. Roshal 在阿拉木图中央联合电影制片厂执导。剧情围绕托赫塔罗夫在 1942 年 2 月的真实英雄事迹展开，而与之平行的童话情节则讲述了巴特尔托利盖为拯救人民而牺牲自己的故事。
{"title":"When archetypes are called up. Motifs of Kazakh folklore in the war drama Batyrs of the Steppe [Batyry stepey]","authors":"A. K. Ishanova, A. Pronin, A. V. Svyatoslavsky","doi":"10.31425/0042-8795-2024-3-75-86","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-3-75-86","url":null,"abstract":"The article studies the examples of Kazakh mythology lending the archetypes of a victorious giant and the Motherland to the film Batyrs of the Steppe [Batyry stepey], directed by G. Roshal at Alma-Ata’s Central United Film Studio. The plot centres on T. Tokhtarov’s real-life heroic deed that took place in February of 1942, whereas the parallel fairytale plotline tells the story of the batyr Tolygai, who sacrifices himself to save the people.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141374810","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 : 2024-06-07DOI: 10.31425/0042-8795-2024-3-162-179
A. V. Skiperskikh
The article discusses the everyday life of Izmalkovo, a train station in Imperial Russia’s Oryol governate. Among its frequent visitors and commuters was Ivan Bunin. The writer often resided in the area and used the station’s postal and passenger services. Housed in a small and inconspicuous railway station building of the fourth rank, Izmalkovo gradually became an important logistical hub for the writer. Izmalkovo’s postmark grew increasingly familiar to prominent figures of Russian modern art and literature. Following the devastating events of 1917, life in the Russian provinces becomes perilous for those living there. The political crisis forced Bunin to move from Izmalkovo to Yelets, where he had to seek a secret sanctuary at the local notary’s house. Next, the writer was forced to flee the country. Nostalgic memories of the humble station’s chronotope haunted Bunin for the rest of his life. Using an extensive body of examples, the scholar traces the changing perception of the station in the Nobel Prize winner’s writings, from the romantic impressions of his youth to the agonizing reflections on the ‘cursed days.’
{"title":"A railway modernity. Izmalkovo train station in Ivan Bunin’s work","authors":"A. V. Skiperskikh","doi":"10.31425/0042-8795-2024-3-162-179","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-3-162-179","url":null,"abstract":"The article discusses the everyday life of Izmalkovo, a train station in Imperial Russia’s Oryol governate. Among its frequent visitors and commuters was Ivan Bunin. The writer often resided in the area and used the station’s postal and passenger services. Housed in a small and inconspicuous railway station building of the fourth rank, Izmalkovo gradually became an important logistical hub for the writer. Izmalkovo’s postmark grew increasingly familiar to prominent figures of Russian modern art and literature. Following the devastating events of 1917, life in the Russian provinces becomes perilous for those living there. The political crisis forced Bunin to move from Izmalkovo to Yelets, where he had to seek a secret sanctuary at the local notary’s house. Next, the writer was forced to flee the country. Nostalgic memories of the humble station’s chronotope haunted Bunin for the rest of his life. Using an extensive body of examples, the scholar traces the changing perception of the station in the Nobel Prize winner’s writings, from the romantic impressions of his youth to the agonizing reflections on the ‘cursed days.’","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141371173","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 : 2024-06-07DOI: 10.31425/0042-8795-2024-3-194-197
E. D. Botvinova
Anatoly Nayman’s Russian Long Poem is devoted to six landmark works of Russian literature: opening with a discussion of I. Bogdanovich’s Dushenka, A. Pushkin’s The Bronze Horseman [Medniy vsadnik], and N. Nekrasov’s Red-Nosed Frost [Moroz, Krasniy nos], the book goes on to analyze 20th-c. experimental long poems, including V. Mayakovsky’s A Cloud in Trousers [Oblako v shtanakh], A. Blok’s Dvenadtsat [The Twelve], and A. Akhmatova’s Poem without a Hero [Poema bez geroya]. The author proposes a new angle for viewing the poems, shifting the reader’s focus from preconceived interpretations to the poetics of the texts, which function primarily as a cultural rather than historical fact. Nayman’s book shows accurate appreciation of the uninterrupted tradition passed down among the poems and points out their ties with a common European context, such as C. Baudelaire’s poetry or Dante’s Divine Comedy. The author details the development of poetic writing, its form and meaning determined by cultural and historical circumstances.
Anatoly Nayman 的《俄罗斯长诗》专门论述了俄罗斯文学中六部具有里程碑意义的作品：开篇讨论了 I. Bogdanovich 的《杜申卡》、A. Pushkin 的《青铜骑士》[Medniy vsadnik]和 N. Nekrasov 的《红鼻子霜》[Moroz, Krasniy nos]。Nekrasov 的《红鼻子霜》[Moroz, Krasniy nos]，接着分析了 20 世纪的实验长诗，包括 V. Mayakovsky 的《穿长裤的云》[Oblako v shtanakh]、A. Blok 的《十二人》[Dvenadtsat]和 A. Akhmatova 的《没有英雄的诗》[Poema bez geroya]。作者提出了看待这些诗歌的新角度，将读者的关注点从先入为主的解释转移到文本的诗学上，这主要是作为一种文化而非历史事实发挥作用。奈曼在书中对诗歌中流传下来的不间断的传统进行了准确的鉴赏，并指出了它们与欧洲共同背景的联系，如波德莱尔的诗歌或但丁的《神曲》。作者详细介绍了诗歌写作的发展，其形式和意义是由文化和历史环境决定的。
{"title":"Nayman, A. (2023). Russian Long Poem. Moscow: Alpina non-fiction. (In Russ.)","authors":"E. D. Botvinova","doi":"10.31425/0042-8795-2024-3-194-197","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-3-194-197","url":null,"abstract":"Anatoly Nayman’s Russian Long Poem is devoted to six landmark works of Russian literature: opening with a discussion of I. Bogdanovich’s Dushenka, A. Pushkin’s The Bronze Horseman [Medniy vsadnik], and N. Nekrasov’s Red-Nosed Frost [Moroz, Krasniy nos], the book goes on to analyze 20th-c. experimental long poems, including V. Mayakovsky’s A Cloud in Trousers [Oblako v shtanakh], A. Blok’s Dvenadtsat [The Twelve], and A. Akhmatova’s Poem without a Hero [Poema bez geroya]. The author proposes a new angle for viewing the poems, shifting the reader’s focus from preconceived interpretations to the poetics of the texts, which function primarily as a cultural rather than historical fact. Nayman’s book shows accurate appreciation of the uninterrupted tradition passed down among the poems and points out their ties with a common European context, such as C. Baudelaire’s poetry or Dante’s Divine Comedy. The author details the development of poetic writing, its form and meaning determined by cultural and historical circumstances.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141374846","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 : 2024-06-07DOI: 10.31425/0042-8795-2024-3-198-203
A. Y. Ovcharenko
Smirnova’s book deals with an interdisciplinary topic that is complex and little researched – unfinishable works and fragment as a form of existence of a literary text, also discussing the special prominence of unfinishable works in Russian literature of the first quarter of the 20th c. The transformation of the genre and semantics of a literary fragment and unfinishable work is examined across an impressive compilation of philosophical essays and fiction that allow for analysis of the genesis of unfinishedness and unfinishableness as an artistic creed. I. Smirnova creates a dynamic representation of the literary space of the period and a systemized description of the ideas about the essence of the literary phenomena in question. Such an approach enables a more accurate definition of literary fragment and unfinishable text, while the extensive body of analyzed personalities and works of diverse genres, the author’s genuine immersion in the period, and her original and individualistic judgements and conclusions create a reliable theoretical reference for subsequent research.
{"title":"Smirnova, N. (2023). Literary fragment and unfinishable text: Conception and reading. Moscow: Kanon-Plyus. (In Russ.)","authors":"A. Y. Ovcharenko","doi":"10.31425/0042-8795-2024-3-198-203","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-3-198-203","url":null,"abstract":"Smirnova’s book deals with an interdisciplinary topic that is complex and little researched – unfinishable works and fragment as a form of existence of a literary text, also discussing the special prominence of unfinishable works in Russian literature of the first quarter of the 20th c. The transformation of the genre and semantics of a literary fragment and unfinishable work is examined across an impressive compilation of philosophical essays and fiction that allow for analysis of the genesis of unfinishedness and unfinishableness as an artistic creed. I. Smirnova creates a dynamic representation of the literary space of the period and a systemized description of the ideas about the essence of the literary phenomena in question. Such an approach enables a more accurate definition of literary fragment and unfinishable text, while the extensive body of analyzed personalities and works of diverse genres, the author’s genuine immersion in the period, and her original and individualistic judgements and conclusions create a reliable theoretical reference for subsequent research.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141373269","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 : 2024-06-07DOI: 10.31425/0042-8795-2024-3-190-193
L. V. Egorova
The reviewed study of A. Sinyavsky’s Strolls with Pushkin [Progulki s Pukhkinym] and In Gogol’s Shadow [V teni Gogolya] sets out to identify the principal narration strategies employed by the philologist and experimenter Sinyavsky, who in an unrestrained manner tackled the issues of the Russian studies of Pushkin and Gogol, as well as art and its functions. The book pays tribute to the writer’s unconventional philological studies: awarded a PhD at Lomonosov Moscow State University, Sinyavsky was a staff researcher at the USSR Academy of Sciences’ Gorky Institute of World Literature and a lecturer at MSU and the Moscow Art Theatre School. Sinyavsky’s narration owes its character to the use of ‘philological prose’ devices. The book’s authors successfully argue that analytical discursiveness reveals itself through the characteristics of a scholarly study: the setting of research goals, the overview of the problem’s background, the analytical method, the structural makeup of a study, and the introduction of references and footnotes. The reviewer notes that the authors’ well-argued acknowledgement of the relevance of Sinyavsky’s findings sets their book apart from other studies of the subject.
{"title":"Bogdanova, O. and Vlasova, E. (2022). Andrey Sinyavsky’s ‘philological prose.’ St. Petersburg: Aleteya. (In Russ.)","authors":"L. V. Egorova","doi":"10.31425/0042-8795-2024-3-190-193","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-3-190-193","url":null,"abstract":"The reviewed study of A. Sinyavsky’s Strolls with Pushkin [Progulki s Pukhkinym] and In Gogol’s Shadow [V teni Gogolya] sets out to identify the principal narration strategies employed by the philologist and experimenter Sinyavsky, who in an unrestrained manner tackled the issues of the Russian studies of Pushkin and Gogol, as well as art and its functions. The book pays tribute to the writer’s unconventional philological studies: awarded a PhD at Lomonosov Moscow State University, Sinyavsky was a staff researcher at the USSR Academy of Sciences’ Gorky Institute of World Literature and a lecturer at MSU and the Moscow Art Theatre School. Sinyavsky’s narration owes its character to the use of ‘philological prose’ devices. The book’s authors successfully argue that analytical discursiveness reveals itself through the characteristics of a scholarly study: the setting of research goals, the overview of the problem’s background, the analytical method, the structural makeup of a study, and the introduction of references and footnotes. The reviewer notes that the authors’ well-argued acknowledgement of the relevance of Sinyavsky’s findings sets their book apart from other studies of the subject.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141373358","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：