Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-72-85
I. S. Kadochnikova
The article analyzes the motifs, imagery, and plot structure of three poetic collections authored by Tatiana Repina, one of the remarkable poets of ‘the thirty-year-old generation:’ Monograph. Written by a Single Person [Monografiya. Pishet odin chelovek] (2013), Without Chapters [Bez glav] (2014), and Air Density [Plotnost vozdukha] (2018). In her detailed study of the plot structure and distinctive characteristics of Repina’s poetics, Kadochnikova emphasizes the concept of boundaries as being of principal importance for understanding Repina’s poetics. The concept is revealed through the problem of a geographical identity and the lyrical heroine’s gender ambivalence, the ‘childlike/adultlike’ dichotomy, and the motif of puppetry and theatricality. A selection exemplifying the ‘local’ (Izhevsk-based) text serves the critic as a starting point for interpretation of Repina’s lyrical poetry, which Kadochnikova expands to include poems devoted to St. Petersburg, the image of the ‘generation of the 1990s,’ and problems of contemporary poetry at large. The resulting study uses Repina’s works to address the issue of boundaries in modern poetry.
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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: 10.31425/0042-8795-2024-1-57-71
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: 10.31425/0042-8795-2024-1-13-34
K. Sultanov
The author assumes that the former idea of the cultural universal implied the danger of unification for a national and cultural identity associated with something conventional, virtual, essentially spurious, and thus divorced from the national-literary discourse. The exaggerated identification of tradition and the universal blocked a further extension of the semantic space of literature. The article considers the mutually complementary nature of tradition, on the one hand, and novelty, singularity, and a consolidating supra-ethnic idea, on the other: to preserve itself, individuality needs communicativeness, whereas ‘the force of universality,’ according to Hegel, ‘contains particularity.’ The unique and individual qualities of each national literature suggest unisolated locality and, therefore, the universality of the particular. In the specific literary work (A. Kim’s prose) the article traces the author’s predisposition for a holistic worldview that combines a national mode and a universalization paradigm.
作者认为，以前的文化普遍性思想意味着民族和文化身份与传统的、虚拟的、本质上虚假的东西相联系的统一危险，因此脱离了民族文学话语。对传统和普遍性的夸大认同阻碍了文学语义空间的进一步扩展。文章认为，传统与新颖性、独特性以及巩固的超民族思想是相辅相成的：为了保持自身，个性需要传播性，而按照黑格尔的说法，"普遍性的力量""包含着特殊性"。每个民族文学的独特性和个体性都暗示着不孤立的地域性，因此也暗示着特殊性的普遍性。在具体的文学作品（A. Kim 的散文）中，文章追溯了作者倾向于将民族模式与普遍化范式相结合的整体世界观。
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-198-203
M. V. Markova
The review discusses a volume of scholarly articles edited by Samantha Rayner and Kim Wilkins that sets out to present a comprehensive body of research into the oeuvre of the English novelist Georgette Heyer. The book comprises several sections: gender, genre, sources, and circulation and reception. Heyer is the renowned founder of Regency romance, whose work is noted for exceptional attention to historical facts and reconstruction of the aristocratic slang of the period. Her novels, however, remained largely ignored by scholars. The volume’s editors succeed in producing an invaluable compilation enriching the studies of 1920s English genre literature by considering Heyer’s work in the context of post-war culture, with its heightened interest in the Napoleonic era, as well as in relation to literary tradition, especially Jane Austen’s works, but also referencing adventure novels of Heyer’s older contemporaries Baroness Orczy and Rafael Sabatini.
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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: 10.31425/0042-8795-2024-1-72-85
I. S. Kadochnikova
The article analyzes the motifs, imagery, and plot structure of three poetic collections authored by Tatiana Repina, one of the remarkable poets of ‘the thirty-year-old generation:’ Monograph. Written by a Single Person [Monografiya. Pishet odin chelovek] (2013), Without Chapters [Bez glav] (2014), and Air Density [Plotnost vozdukha] (2018). In her detailed study of the plot structure and distinctive characteristics of Repina’s poetics, Kadochnikova emphasizes the concept of boundaries as being of principal importance for understanding Repina’s poetics. The concept is revealed through the problem of a geographical identity and the lyrical heroine’s gender ambivalence, the ‘childlike/adultlike’ dichotomy, and the motif of puppetry and theatricality. A selection exemplifying the ‘local’ (Izhevsk-based) text serves the critic as a starting point for interpretation of Repina’s lyrical poetry, which Kadochnikova expands to include poems devoted to St. Petersburg, the image of the ‘generation of the 1990s,’ and problems of contemporary poetry at large. The resulting study uses Repina’s works to address the issue of boundaries in modern poetry.
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-98-115
V. A. Razumov
The article undertakes a comparative study of the lyrical prayer poetry authored by K. Kravtsov and S. Kruglov, both ordained priests as well as poets and each offering a personal interpretation of the canon of prayer, transforming it into a unique poetic genre. Going into the history of the phenomenon, V. Razumov provides a classification of the prayer genres proper, noting that the diversity of prayers can be grouped into five principal types: invective, supplication (including intercession on somebody’s behalf), penitence, thanksgiving, and praise. Those are the prayer intentions explored in Kruglov’s and Kravtsov’s poetry, with the addition of elements typical of contemporary as well as folk poetry (a stream of consciousness, a counting rhyme, intertextual references, a lyrical hero in a particular role, a civically-minded lyrical subject, etc.). Razumov finds that Kruglov extends the limits of the genre convention, whereas Kravtsov appears to transcend them. This difference notwithstanding, both poets write at the confluence of literary and liturgical traditions and undoubtedly enrich the tuning and intonation of modern poetry.
文章对 K. Kravtsov 和 S. Kruglov 创作的抒情祈祷诗歌进行了比较研究，他们既是牧师，也是诗人，各自对祈祷文进行了个人解读，并将其转化为一种独特的诗歌体裁。拉祖莫夫（V. Razumov）对这一现象的历史进行了研究，并对祈祷文的体裁进行了分类，指出祈祷文的多样性可归纳为五种主要类型：谩骂、祈求（包括为他人代祷）、忏悔、感恩和赞美。这些就是克鲁格洛夫和克拉夫佐夫诗歌中探讨的祈祷意向，同时还加入了当代诗歌和民间诗歌的典型元素（意识流、数韵、互文引用、特定角色的抒情主人公、具有公民意识的抒情主题等）。拉祖莫夫发现，克鲁格洛夫扩大了体裁传统的限制，而克拉夫佐夫似乎超越了这些限制。尽管存在这种差异，但两位诗人都在文学和礼仪传统的交汇处写作，无疑丰富了现代诗歌的调性和音调。
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-116-146
E. Y. Vinogradova
Walter Scott’s Rob Roy and Pushkin’s The Captain’s Daughter [Kapitanskaya dochka], similar in plot, could not be more different in speech organization. Pushkin’s speech genre is unique as a lightly gravitating text: short and verb-dominated sentences, compressed action, and a fast-paced narration that avoids lengthy descriptions of material objects. The implied reader’s role in both authors’ novels also differs. While Scott’s reader experiences the events in progress, Pushkin’s ‘incomplete present’ (Bakhtin) does not take shape. The reader of The Captain’s Daughter does not live the time through with its characters but uses their analytical skill to relate symmetrical episodes and images. The light gravitation of the text prevents the reader from immersing themselves into the novel’s progress, but allows to conceptualize the philosophy of history. Part of the article is dedicated to French translations of English novels in Pushkin’s days. The statistical data of the average sentence length in Pushkin’s works and other writers’ output demonstrates that The Captain’s Daughter holds a truly unique place.
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Pub Date : 2024-02-05DOI: 10.31425/0042-8795-2024-1-98-115
V. A. Razumov
The article undertakes a comparative study of the lyrical prayer poetry authored by K. Kravtsov and S. Kruglov, both ordained priests as well as poets and each offering a personal interpretation of the canon of prayer, transforming it into a unique poetic genre. Going into the history of the phenomenon, V. Razumov provides a classification of the prayer genres proper, noting that the diversity of prayers can be grouped into five principal types: invective, supplication (including intercession on somebody’s behalf), penitence, thanksgiving, and praise. Those are the prayer intentions explored in Kruglov’s and Kravtsov’s poetry, with the addition of elements typical of contemporary as well as folk poetry (a stream of consciousness, a counting rhyme, intertextual references, a lyrical hero in a particular role, a civically-minded lyrical subject, etc.). Razumov finds that Kruglov extends the limits of the genre convention, whereas Kravtsov appears to transcend them. This difference notwithstanding, both poets write at the confluence of literary and liturgical traditions and undoubtedly enrich the tuning and intonation of modern poetry.
文章对 K. Kravtsov 和 S. Kruglov 创作的抒情祈祷诗歌进行了比较研究，他们既是牧师，也是诗人，各自对祈祷文进行了个人解读，并将其转化为一种独特的诗歌体裁。拉祖莫夫（V. Razumov）对这一现象的历史进行了研究，并对祈祷文的体裁进行了分类，指出祈祷文的多样性可归纳为五种主要类型：谩骂、祈求（包括为他人代祷）、忏悔、感恩和赞美。这些就是克鲁格洛夫和克拉夫佐夫诗歌中探讨的祈祷意向，同时还加入了当代诗歌和民间诗歌的典型元素（意识流、数韵、互文引用、特定角色的抒情主人公、具有公民意识的抒情主题等）。拉祖莫夫发现，克鲁格洛夫扩大了体裁传统的限制，而克拉夫佐夫似乎超越了这些限制。尽管存在这种差异，但两位诗人都在文学和礼仪传统的交汇处写作，无疑丰富了现代诗歌的调性和音调。
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