Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-35-56
M. D. Kuzmina
During his visit to Germany in 1829–1830, Pyotr Kireyevsky wrote lengthy accounts to his family back in Russia, detailing the conspicuous qualities of European lifestyle as well as his personal attitude to, and experience of, such mode of living. His letters supply the readers with a guide for a virtual tour of Europe. In many ways, Kireyevsky’s letters invoke the influential pretext of Russian travelogues: N. Karamzin’s Letters of a Russian Traveller [Pisma russkogo puteshestvennika]. However, Kireyevsky does not target a large audience, nor does he try to educate his readers or preach Europeism. His older brother Ivan, who followed Pyotr to Europe, would keep his letters to the family brief and rather unsystematic, choosing to focus on his personal judgements and impressions. It seems that, without Pyotr’s letters, it would be nearly impossible to make sense of those epistles or get a good idea of Ivan’s life abroad. Meanwhile, it was Pyotr’s letters that displeased his loved ones. Apparently, the family considered them too good, too ‘correct,’ and, therefore, ‘impersonal.’ They felt that Pyotr’s character was missing from them, which hindered an open and sincere dialogue.
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-86-97
A. Nuzhdina
The article discusses the poetic evolution of the contemporary author Polina Barskova. Nuzhdina follows the logic of Barskova’s poetic experimentation: from her early works written in the 1990s–2000s and inspired by the then-fashionable postmodernist intertextuality to the present-day verse marked by Barskova’s engagement with other, non-poetic new genres. Particularly important are her historical essays, such as The Seventh Alkali [Sedmaya shchyoloch], a book concerned with the distinguishing features of the poetry written in the besieged Leningrad in the 1940s, or her article in the collection of fiction and literary criticism entitled After the Siege [Blokadnye posle], which she also prepared for publication. The matter of genre becomes prominent in Nuzhdina’s analysis: the scholar argues that, following her beginnings in the tradition of intertextuality, typical of the period, Barskova, as early as in the 2010s, went on to master a specific genre of a ‘poetic archive,’ evidenced both in her poetry and historical research. Her poetic texts and essays share a number of characteristics: a diversity of ‘disguises’ and voices, a focus on documentary accuracy, and an ‘uninterrupted alternation’ of narrative and lyrical scenes.
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-180-185
I. Shaytanov
A new collective monograph (this is an important generic definition for the authors), brought out by the Ural State University in cooperation with a St. Petersburg press Aleteya, is their fourth publication devoted to the ‘marginal issues.’ The first three dealt with the ‘author’s crisis,’ ‘author’s failure,’ and ‘the unfinished.’ In the present book a collective effort is aimed at the analysis of the generic forms considered as ‘aftertexts.’ They range from the author’s inscription on the book to various personal documents, critical reaction, and in the broadest sense up to the whole cultural tradition dependent on the text. Most of the papers are devoted to Russian literature in the 20th c. and include a random selection of Bunin’s inscriptions, his marginalia on the book of Blok’s verse among them, Zoshchenko’s letters to his readers, the brothers Strugatsky’s reputation as a myth, etc. The collective theoretical effort does not help much to clarify the term, or to locate it with any precision in the contemporary scholarly discourse, but it wittily chooses it as an umbrella to cover the papers collected in book and considered as variations of the ‘aftertext.’
{"title":"The aftertext phenomenon","authors":"I. Shaytanov","doi":"10.31425/0042-8795-2024-1-180-185","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-1-180-185","url":null,"abstract":"A new collective monograph (this is an important generic definition for the authors), brought out by the Ural State University in cooperation with a St. Petersburg press Aleteya, is their fourth publication devoted to the ‘marginal issues.’ The first three dealt with the ‘author’s crisis,’ ‘author’s failure,’ and ‘the unfinished.’ In the present book a collective effort is aimed at the analysis of the generic forms considered as ‘aftertexts.’ They range from the author’s inscription on the book to various personal documents, critical reaction, and in the broadest sense up to the whole cultural tradition dependent on the text. Most of the papers are devoted to Russian literature in the 20th c. and include a random selection of Bunin’s inscriptions, his marginalia on the book of Blok’s verse among them, Zoshchenko’s letters to his readers, the brothers Strugatsky’s reputation as a myth, etc. The collective theoretical effort does not help much to clarify the term, or to locate it with any precision in the contemporary scholarly discourse, but it wittily chooses it as an umbrella to cover the papers collected in book and considered as variations of the ‘aftertext.’","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139804487","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 : 2024-02-05DOI: 10.31425/0042-8795-2024-1-35-56
M. D. Kuzmina
During his visit to Germany in 1829–1830, Pyotr Kireyevsky wrote lengthy accounts to his family back in Russia, detailing the conspicuous qualities of European lifestyle as well as his personal attitude to, and experience of, such mode of living. His letters supply the readers with a guide for a virtual tour of Europe. In many ways, Kireyevsky’s letters invoke the influential pretext of Russian travelogues: N. Karamzin’s Letters of a Russian Traveller [Pisma russkogo puteshestvennika]. However, Kireyevsky does not target a large audience, nor does he try to educate his readers or preach Europeism. His older brother Ivan, who followed Pyotr to Europe, would keep his letters to the family brief and rather unsystematic, choosing to focus on his personal judgements and impressions. It seems that, without Pyotr’s letters, it would be nearly impossible to make sense of those epistles or get a good idea of Ivan’s life abroad. Meanwhile, it was Pyotr’s letters that displeased his loved ones. Apparently, the family considered them too good, too ‘correct,’ and, therefore, ‘impersonal.’ They felt that Pyotr’s character was missing from them, which hindered an open and sincere dialogue.
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-147-159
A. V. Golubkov
The article analyzes an episode from N. Leskov’s novella Iron Will [Zheleznaya volya], whose sequence of events resembles a particular anecdote from Historiettes by the French memoirist Tallemant de Réaux. Both stories concern the character’s prodigious linguistic skills: having learned a foreign language in total secrecy, he shocks his audience by an unexpected display of total fluency. The scholar investigates the possibility of Leskov directly borrowing the plot: hand-copied manuscripts of Tallemant de Réaux’s stories circulated in Russia well before their publication in 1834, and as such provided inspiration for one of Pushkin’s epigrams. The study sets out to establish Leskov’s logic in portraying a stereotypical German (based on strong will) and Russian (based on indolence) national character; notably, contemporary critics have repeatedly described Leskov as a master of narrative paradoxes. For this purpose, the article also analyzes extracts from Historiettes devoted to the manners of French courtiers, largely shaped by Castiglione’s famous courtesy book. It appears that the French stand in stark contrast to both Russians and Germans alike, since they typically disguise their true intentions and efforts in achieving a goal.
文章分析了列斯科夫的长篇小说《钢铁意志》中的一个情节，其事件发展顺序与法国回忆录作家 Tallemant de Réaux 的《史记》中的一则轶事相似。这两个故事都与主人公惊人的语言能力有关：他秘密地学习了一门外语，却出人意料地表现出完全流利的口语，令听众大为震惊。该学者研究了莱斯科夫直接借用该故事情节的可能性：早在 1834 年出版之前，塔勒曼特-德-雷奥的故事手抄本就在俄罗斯流传，因此为普希金的一篇寓言提供了灵感。本研究旨在确定莱斯科夫描绘刻板的德国（基于坚强意志）和俄罗斯（基于懒惰）民族性格的逻辑；值得注意的是，当代评论家多次将莱斯科夫描述为叙事悖论大师。为此，文章还分析了《史记》中有关法国廷臣礼仪的节选，这些节选在很大程度上是由卡斯蒂利昂著名的礼仪书塑造的。法国人似乎与俄国人和德国人形成了鲜明的对比，因为他们通常会掩饰自己的真实意图和为实现目标所做的努力。
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-57-71
E. V. Sartakov
The article is concerned with the Slavic question in Gogol’s journalism and that of the Russian Slavophiles as it was perceived in Serbia. The study was prompted by the author’s discovery of an article printed in the Serbian journal Ljetopis (1860) where Gogol is referred to as a Slavophile. This somewhat biased inclusion of Gogol into the circle of Khomyakov and the brothers Aksakov stemmed from the fact that his view of Slavic issues resembled that of the authors of Russkaya Beseda. Sartakov argues that Gogol decidedly avoided taking sides in the central dispute of the period — the rift between the Slavophiles and the Westernizers — and criticized extreme opinions expressed by both parties. According to Sartakov, Gogol’s ideological affinity with Khomyakov, the brothers Aksakov, and others proves that, rather than being influenced by their ideas, Gogol’s view on Slavic history had the same origins. To support his point, the scholar cites Gogol’s little-known sketch about the Slavs, in which the writer posits that they stood in profound civilizational contrast to their European counterparts, especially Germanic tribes.
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-186-191
L. V. Egorova
The review discusses a biography of Zinaida Gippius that covers the events of her life from 1869 to the 1920s. The author chooses to dwell on her role as the ‘Warrior Maiden of Russian symbolism,’ consequently omitting the last 25 years of her life from the study. Mark Uralsky utilizes an extensive range of documents to show Zinaida Gippius’s significance as a poet, literary critic, philosopher, and activist in the shaping of Russian symbolism and the so-called ‘new religious consciousness.’ The book particularly explores the psychophysical aspects of her personality that largely predetermined her often scandalous public appearances. The sheer wealth of information in combination with a frequent lack of in-depth analysis creates a superficial impression, which is reinforced by the book’s many repetitions. It would be satisfying to see more in-depth research and more skill and scholarship in exploring the extensive material garnered from various sources, as well as more convergence between biography and poetics. At the same time, the collected material and bibliography will be useful for subsequent research of the topic.
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-160-179
E. Tsimbaeva
Devoted to Pushkin’s novel in verse Eugene Onegin [Evgeny Onegin], the article is a sequel to the author’s previous article ‘What! From outback steppe villages…’ [‘Kak! Iz glushi stepnykh seleniy…’] (Voprosy Literatury, 2019, No. 5) on the same theme. The scholar sets out to reconstruct those facts of the protagonist’s and his relatives’ biography that can only be discovered by detailed historical analysis of the text in comparison with the historical and cultural realia of Pushkin’s days. Such in-depth analysis throws new light on the complicated relationships of the novel’s main characters, determined by a psychological as well as socio-cultural subtext that was immediately recognizable by Pushkin’s contemporaries, but which is lost on later generations. Based on her earlier studies of Russian Catholicism and the problems of the historical reconstruction of literary texts, E. Tsimbaeva proposes a tentative spiritual and intellectual portrait of Onegin’s mother, whom Pushkin never mentions directly. The scholar sees her goal in broadening the reader’s understanding of the poet’s original design as well as the stages of, and reasons for, subsequent alterations acknowledged by Pushkin himself in his mention of ‘contradictions’ in the final draft.
这篇文章专门讨论普希金的诗体小说《尤金-奥涅金》（Eugene Onegin），是作者前一篇文章《什么！来自内陆草原村庄......》（"Kak! Iz glushi stepnykh seleniy......"）（《文学视野》，2019年第5期）的续篇。该学者着手重建主人公及其亲属的生平事迹，这些事实只有通过对文本进行详细的历史分析，并与普希金时代的历史和文化现实进行对比才能发现。这种深入的分析为小说主要人物的复杂关系提供了新的视角，这种复杂关系是由普希金同时代人一眼就能看出的心理和社会文化潜台词决定的，但后人却忽略了这一点。基于她早先对俄罗斯天主教和文学文本历史重建问题的研究，E. Tsimbaeva 初步提出了奥涅金母亲的精神和思想肖像，普希金从未直接提到过她。这位学者认为，她的目标是拓宽读者对诗人最初设计的理解，以及对普希金本人在最后草稿中提到的 "矛盾 "所承认的后来改动的阶段和原因的理解。
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-186-191
L. V. Egorova
The review discusses a biography of Zinaida Gippius that covers the events of her life from 1869 to the 1920s. The author chooses to dwell on her role as the ‘Warrior Maiden of Russian symbolism,’ consequently omitting the last 25 years of her life from the study. Mark Uralsky utilizes an extensive range of documents to show Zinaida Gippius’s significance as a poet, literary critic, philosopher, and activist in the shaping of Russian symbolism and the so-called ‘new religious consciousness.’ The book particularly explores the psychophysical aspects of her personality that largely predetermined her often scandalous public appearances. The sheer wealth of information in combination with a frequent lack of in-depth analysis creates a superficial impression, which is reinforced by the book’s many repetitions. It would be satisfying to see more in-depth research and more skill and scholarship in exploring the extensive material garnered from various sources, as well as more convergence between biography and poetics. At the same time, the collected material and bibliography will be useful for subsequent research of the topic.
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-192-197
E. M. Belavina
Kvyatkovskaya has published an anthology of her poetic translations from French: her book covers works by 23 authors written in the period from the 16th to 20th cc. The collection is divided into three different genres: ‘Poems,’ ‘Fables,’ and the first ever Russian translation of Voltaire’s tragedy Les Guêbres. The latter is supplied with texts related to the play’s reception and the polemic it incited (Voisenon’s remark in verse). Voltaire’s play is devoted to the ever-relevant topic of tolerance and castigation of hate-mongering against cultural or religious diversity. In her anthology, Kvyatkovskaya demonstrates a profound understanding of the original, and a poetic skill in perfect keeping with the principles of the Leningrad school of poetic translation. The choice of authors and their works is guided by the translator’s personal taste and the strategy of discovery: the book features relatively unknown pursuits of renowned authors, such as Racine’s epigrams and Les Cantiques Spirituels, Perrault’s fables, and Artaud’s Sonnets Mystique.
{"title":"An unknown Voltaire and Maya Kvyatkovskaya’s other French translations","authors":"E. M. Belavina","doi":"10.31425/0042-8795-2024-1-192-197","DOIUrl":"https://doi.org/10.31425/0042-8795-2024-1-192-197","url":null,"abstract":"Kvyatkovskaya has published an anthology of her poetic translations from French: her book covers works by 23 authors written in the period from the 16th to 20th cc. The collection is divided into three different genres: ‘Poems,’ ‘Fables,’ and the first ever Russian translation of Voltaire’s tragedy Les Guêbres. The latter is supplied with texts related to the play’s reception and the polemic it incited (Voisenon’s remark in verse). Voltaire’s play is devoted to the ever-relevant topic of tolerance and castigation of hate-mongering against cultural or religious diversity. In her anthology, Kvyatkovskaya demonstrates a profound understanding of the original, and a poetic skill in perfect keeping with the principles of the Leningrad school of poetic translation. The choice of authors and their works is guided by the translator’s personal taste and the strategy of discovery: the book features relatively unknown pursuits of renowned authors, such as Racine’s epigrams and Les Cantiques Spirituels, Perrault’s fables, and Artaud’s Sonnets Mystique.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139863732","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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