Pub Date : 2023-12-08DOI: 10.31425/0042-8795-2023-6-194-199
M. V. Markova
The review considers the first Russian biography of Agatha Christie authored by A. Livergant. Opening with a prologue that reconstructs the events preceding the writer’s famous disappearance, the biography combines a wealth of facts with good artistic quality. That it should be rich in facts is required by the book’s genre, but the biography’s very structure, which resembles a work of fiction, with its prologue, thirteen chapters and ‘In place of an epilogue,’ conveys the idea of the inseparability of life from writing. Since Christie drew inspiration for her mysteries from journeys and her own life’s events, the structure seems particularly appropriate. Moreover, it offers a principally new optics for the examination of the writer’s legacy: something more than works of a gifted artisan of the genre, Christie’s texts are a product of a specific context made up by historical and cultural developments as well as other works of fiction, of which many have been translated by Livergant or examined in his other biographies
{"title":"Aleksandr Livergant. Agatha Christie: The witness for the prosecution","authors":"M. V. Markova","doi":"10.31425/0042-8795-2023-6-194-199","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-194-199","url":null,"abstract":"The review considers the first Russian biography of Agatha Christie authored by A. Livergant. Opening with a prologue that reconstructs the events preceding the writer’s famous disappearance, the biography combines a wealth of facts with good artistic quality. That it should be rich in facts is required by the book’s genre, but the biography’s very structure, which resembles a work of fiction, with its prologue, thirteen chapters and ‘In place of an epilogue,’ conveys the idea of the inseparability of life from writing. Since Christie drew inspiration for her mysteries from journeys and her own life’s events, the structure seems particularly appropriate. Moreover, it offers a principally new optics for the examination of the writer’s legacy: something more than works of a gifted artisan of the genre, Christie’s texts are a product of a specific context made up by historical and cultural developments as well as other works of fiction, of which many have been translated by Livergant or examined in his other biographies","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589482","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 : 2023-12-08DOI: 10.31425/0042-8795-2023-6-164-173
V. Essipov
In his memoir essay, Viktor Essipov, Vladimir Voynovich’s old friend, discusses some landmarks in the writer’s life. After penning the popular cosmonauts’ anthem that Nikita Khrushchev really admired, Voynovich was bound to have a successful songwriting career. Instead, he decided to apply himself to prose, becoming one of the most recognizable writers. Published in the West without the author’s knowledge, his novel The Life and Extraordinary Adventures of Private Ivan Chonkin [Zhizn i neobychaynye priklyucheniya soldata Ivana Chonkina] earned him international fame. The article examines how the topic of betrayal is developed across Voynovich’s works: the early novella Two Friends [Dva tovarishcha] (1969), another novella The Hat [Shapka] (1988), and the short story ‘I Want to Be Honest’ [‘Khochu byt chestnym’] (1989). Voynovich always resented falsehoods spread by the authorities and was actively engaged in the protection of unjustly persecuted compatriots. Similarly, he never hesitated to stand up for his own rights as a writer and a citizen. Because of such a stance, the authorities treated Voynovich as a dissident for years, until eventually forcing him into emigration.
{"title":"Vladimir Voynovich: ‘I want to be honest’","authors":"V. Essipov","doi":"10.31425/0042-8795-2023-6-164-173","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-164-173","url":null,"abstract":"In his memoir essay, Viktor Essipov, Vladimir Voynovich’s old friend, discusses some landmarks in the writer’s life. After penning the popular cosmonauts’ anthem that Nikita Khrushchev really admired, Voynovich was bound to have a successful songwriting career. Instead, he decided to apply himself to prose, becoming one of the most recognizable writers. Published in the West without the author’s knowledge, his novel The Life and Extraordinary Adventures of Private Ivan Chonkin [Zhizn i neobychaynye priklyucheniya soldata Ivana Chonkina] earned him international fame. The article examines how the topic of betrayal is developed across Voynovich’s works: the early novella Two Friends [Dva tovarishcha] (1969), another novella The Hat [Shapka] (1988), and the short story ‘I Want to Be Honest’ [‘Khochu byt chestnym’] (1989). Voynovich always resented falsehoods spread by the authorities and was actively engaged in the protection of unjustly persecuted compatriots. Similarly, he never hesitated to stand up for his own rights as a writer and a citizen. Because of such a stance, the authorities treated Voynovich as a dissident for years, until eventually forcing him into emigration.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589637","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 : 2023-12-08DOI: 10.31425/0042-8795-2023-6-135-148
V. E. Vashchuk
The article analyzes the autobiographical features of The Rotterdam Diary [Rotterdamskiy dnevnik], the only prose work by the late poet B. Ryzhy, a native of Yekaterinburg. The Diary was written soon after his trip to the Poetry International Festival in the Netherlands in 2000 and can be viewed as the young poet’s confessions that shed light on the logic of his life and work. The book remained unfinished at the time of Ryzhy’s death — his widow and father came up with the title and initiated a posthumous publication in the Znamya journal. The book’s unique quality lies in its tentative genre attribution as well as significant fragmentation of the narrative. Using narratological methods, the article demonstrates the narrator’s use of a nonlinear narrative to put together his own image — that of a loner, a ‘loser,’ and, at the same time, ‘an ordinary Russian poet.’ Interestingly, this image is partially reflected in the poet’s contemporaries also portrayed in the Diary and helps to form an opinion about the lyrical hero from the viewpoint of his typological traits.
{"title":"Autobiographical tendencies in Boris Ryzhy’s works. The Rotterdam Diary [Rotterdamskiy dnevnik]","authors":"V. E. Vashchuk","doi":"10.31425/0042-8795-2023-6-135-148","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-135-148","url":null,"abstract":"The article analyzes the autobiographical features of The Rotterdam Diary [Rotterdamskiy dnevnik], the only prose work by the late poet B. Ryzhy, a native of Yekaterinburg. The Diary was written soon after his trip to the Poetry International Festival in the Netherlands in 2000 and can be viewed as the young poet’s confessions that shed light on the logic of his life and work. The book remained unfinished at the time of Ryzhy’s death — his widow and father came up with the title and initiated a posthumous publication in the Znamya journal. The book’s unique quality lies in its tentative genre attribution as well as significant fragmentation of the narrative. Using narratological methods, the article demonstrates the narrator’s use of a nonlinear narrative to put together his own image — that of a loner, a ‘loser,’ and, at the same time, ‘an ordinary Russian poet.’ Interestingly, this image is partially reflected in the poet’s contemporaries also portrayed in the Diary and helps to form an opinion about the lyrical hero from the viewpoint of his typological traits.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589103","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 : 2023-12-08DOI: 10.31425/0042-8795-2023-6-52-75
T. V. Levchenko
The article is devoted to detailed analysis of V. Shalamov’s sketch ‘Aleksandr Konstantinovich Voronsky’ and Voronsky’s own book In Search of Living and Dead Water [Za zhivoy i myortvoy vodoy] (1970). This book owes its publication to the literary critic F. Levin. Levchenko’s article follows the fates of Voronsky, Levin, and Shalamov, as well as their close friends and acquaintances who fell victims to the 1930s’ Great Terror and whose names were for years expunged from the history of Soviet literature. Their destinies appear to be closely connected: arrested and executed in 1937, Voronsky was Shalamov’s ideal of a Marxist, writer, and human being; Shalamov met the late writer’s daughter in Kolyma. Galina Voronskaya devoted her life to the study and preservation of her father’s archive. Shalamov completed a sketch story about Voronsky’s literary career in 1958. Its publication, as well as the printing of Voronsky’s autobiographical novellas, took place thanks to F. Levin’s enthusiastic cooperation. In 2019, the book was published in a version that conforms to the author’s original concept and that Voronskaya, Shalamov, and Levin wished to see published in the Soviet Union some fifty years before.
本文致力于详细分析V.沙拉莫夫的素描《亚历山大·康斯坦丁诺维奇·沃龙斯基》和沃龙斯基自己的书《寻找活水和死水》(Za zhivoy i myortvoy vodoy)(1970)。这本书的出版要归功于文学评论家F.列文。列夫琴科的文章讲述了沃龙斯基、莱文和沙拉莫夫的命运，以及他们的密友和熟人，他们都是上世纪30年代“大恐怖”的受害者，他们的名字多年来被从苏联文学史上抹去。他们的命运似乎紧密相连:沃龙斯基于1937年被捕并被处决，他是沙拉莫夫心目中理想的马克思主义者、作家和人类;沙拉莫夫在科雷马见到了这位已故作家的女儿。加林娜·沃龙斯卡娅毕生致力于研究和保存她父亲的档案。1958年，沙拉莫夫完成了一部关于沃龙斯基文学生涯的小品故事。它的出版，以及沃龙斯基的自传体中篇小说的印刷，都要归功于f·莱文的热情合作。2019年，这本书以符合作者最初概念的版本出版，这也是沃龙斯卡娅、沙拉莫夫和莱文大约50年前希望在苏联出版的版本。
{"title":"Characters in V. Shalamov’s sketch ‘Aleksandr Konstantinovich Voronsky’ and their fate traced in the archive of the literary critic F. Levin","authors":"T. V. Levchenko","doi":"10.31425/0042-8795-2023-6-52-75","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-52-75","url":null,"abstract":"The article is devoted to detailed analysis of V. Shalamov’s sketch ‘Aleksandr Konstantinovich Voronsky’ and Voronsky’s own book In Search of Living and Dead Water [Za zhivoy i myortvoy vodoy] (1970). This book owes its publication to the literary critic F. Levin. Levchenko’s article follows the fates of Voronsky, Levin, and Shalamov, as well as their close friends and acquaintances who fell victims to the 1930s’ Great Terror and whose names were for years expunged from the history of Soviet literature. Their destinies appear to be closely connected: arrested and executed in 1937, Voronsky was Shalamov’s ideal of a Marxist, writer, and human being; Shalamov met the late writer’s daughter in Kolyma. Galina Voronskaya devoted her life to the study and preservation of her father’s archive. Shalamov completed a sketch story about Voronsky’s literary career in 1958. Its publication, as well as the printing of Voronsky’s autobiographical novellas, took place thanks to F. Levin’s enthusiastic cooperation. In 2019, the book was published in a version that conforms to the author’s original concept and that Voronskaya, Shalamov, and Levin wished to see published in the Soviet Union some fifty years before.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589959","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 : 2023-12-08DOI: 10.31425/0042-8795-2023-6-174-179
I. Shaytanov
The research is presented in the form close to a fundamentally annotated bibliography demonstrating how European literary experience was advanced in the first quarter of the 19th c. in Russia at the time when contemporary Russian literature was being shaped. Six parts are devoted successively to French, German, English, Italian, Spanish, and classical literatures. The major aspects of research are outlined in an extensive foreword (E. Dmitrieva, M. Koreneva). Highlights include: Comparative analysis of the international contacts of Russian literature; a new interest in the novel, the genre that manifested a new literary taste; publishing and the audience in Russia compared to other European cultures; the birth of literary criticism on the margins of rhetoric; the evolution of a literary taste where gallomania was being substituted by anglo- and germanophilia; the change in the forms of contacts from imitation to stylization in accordance with the formula suggested by Konstantin Batyushkov ‘The stranger’s treasure is mine.’
这项研究的形式接近于一个基本注释的参考书目，展示了欧洲文学经验是如何在19世纪第一季度在俄罗斯推进的，当时俄罗斯当代文学正在形成。六部分依次为法语、德语、英语、意大利语、西班牙语和古典文学。研究的主要方面概述在一个广泛的前言(E. Dmitrieva, M. Koreneva)。重点包括:俄罗斯文学国际交往的比较分析;对小说产生了新的兴趣，这种体裁体现了一种新的文学品味;与其他欧洲文化相比，俄罗斯的出版和受众;文学批评在修辞学边缘的诞生一种文学品味的演变，在那里，嗜酒癖被亲英和亲德癖所取代;根据康斯坦丁·巴图什科夫提出的公式，从模仿到程式化的接触形式的变化“陌生人的宝藏是我的”。
{"title":"History of Russian translations of fiction in 1800–1825","authors":"I. Shaytanov","doi":"10.31425/0042-8795-2023-6-174-179","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-6-174-179","url":null,"abstract":"The research is presented in the form close to a fundamentally annotated bibliography demonstrating how European literary experience was advanced in the first quarter of the 19th c. in Russia at the time when contemporary Russian literature was being shaped. Six parts are devoted successively to French, German, English, Italian, Spanish, and classical literatures. The major aspects of research are outlined in an extensive foreword (E. Dmitrieva, M. Koreneva). Highlights include: Comparative analysis of the international contacts of Russian literature; a new interest in the novel, the genre that manifested a new literary taste; publishing and the audience in Russia compared to other European cultures; the birth of literary criticism on the margins of rhetoric; the evolution of a literary taste where gallomania was being substituted by anglo- and germanophilia; the change in the forms of contacts from imitation to stylization in accordance with the formula suggested by Konstantin Batyushkov ‘The stranger’s treasure is mine.’","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138586352","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 : 2023-10-11DOI: 10.31425/0042-8795-2023-5-158-166
S. G. Ovanesyan
The article is devoted to the Armenian poet O. Tumanyan, who possessed an uncanny gift of intuitive perception of the causal relationships between phenomena and reality, and whose philosophy and worldview as a result were defined by intuition and prescience. According to S. Ovanesyan, the scholar of the poet’s legacy, Tumanyan saw intuition, anticipation, prescience, and the feeling of harmony as part and parcel of talent. He insisted on relating a moment of creative concentration to the author’s inner awakening, inspiration, and intuitive feelings. Tumanyan predicted the 1905 Russian revolution, the Armenian genocide of 1915, the train wreck en route from Pyatigorsk to Tbilisi (1917), etc. Tumanyan often wrote in immediate response to a dream. Alternatively, dreams provided words and expressions that he had been looking for or inspired certain means of expression for thoughts, phenomena, and anxieties. A study of the poet’s dreams offers a deep insight into his subconscious and psychological characteristics.
{"title":"Intuition and telepathy in the life of Ovanes Tumanyan","authors":"S. G. Ovanesyan","doi":"10.31425/0042-8795-2023-5-158-166","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-5-158-166","url":null,"abstract":"The article is devoted to the Armenian poet O. Tumanyan, who possessed an uncanny gift of intuitive perception of the causal relationships between phenomena and reality, and whose philosophy and worldview as a result were defined by intuition and prescience. According to S. Ovanesyan, the scholar of the poet’s legacy, Tumanyan saw intuition, anticipation, prescience, and the feeling of harmony as part and parcel of talent. He insisted on relating a moment of creative concentration to the author’s inner awakening, inspiration, and intuitive feelings. Tumanyan predicted the 1905 Russian revolution, the Armenian genocide of 1915, the train wreck en route from Pyatigorsk to Tbilisi (1917), etc. Tumanyan often wrote in immediate response to a dream. Alternatively, dreams provided words and expressions that he had been looking for or inspired certain means of expression for thoughts, phenomena, and anxieties. A study of the poet’s dreams offers a deep insight into his subconscious and psychological characteristics.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136214069","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 : 2023-10-11DOI: 10.31425/0042-8795-2023-5-167-181
T. T. Davydova
A publication of the correspondence between the political ‘heretic’ and Leningrad-based writer Y. Zamyatin and the ‘pessimist’ and Moscow-based author I. Novikov. Covering the years from 1922 to 1929 and gleaned from the annals of the Gorky Institute of World Literature (IMLI RAN) and Russian State Archive of Literature and Art (RGALI), it is supplied with an introduction and comments. The epistolary friendship of the two writers resulted from common interests and acquaintances in the literary world as well as the critic Zamyatin’s backing of Novikov in the 1924 article ‘On the current and the contemporary’ [‘O segodnyashnem i o sovremennom’]. In their letters, Novikov and Zamyatin bemoaned censorship and shared updates about new projects and upcoming productions of their plays, and discussed the life of literary organizations in Leningrad and Moscow as well as anthologies published in Leningrad. Stigmatized as a ‘fellow traveller’ (poputchik) during the 1929 persecution campaign, Zamyatin turned to Novikov in search for a like-minded supporter who would stand by him in print. The published correspondence offers a glimpse into the 1920s historical and ideological climate of Moscow and Petrograd-Leningrad, as well as the literary and theatrical process of the period.
{"title":"‘There’s been a whole campaign against you.’ Y. Zamyatin’s correspondence with I. Novikov","authors":"T. T. Davydova","doi":"10.31425/0042-8795-2023-5-167-181","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-5-167-181","url":null,"abstract":"A publication of the correspondence between the political ‘heretic’ and Leningrad-based writer Y. Zamyatin and the ‘pessimist’ and Moscow-based author I. Novikov. Covering the years from 1922 to 1929 and gleaned from the annals of the Gorky Institute of World Literature (IMLI RAN) and Russian State Archive of Literature and Art (RGALI), it is supplied with an introduction and comments. The epistolary friendship of the two writers resulted from common interests and acquaintances in the literary world as well as the critic Zamyatin’s backing of Novikov in the 1924 article ‘On the current and the contemporary’ [‘O segodnyashnem i o sovremennom’]. In their letters, Novikov and Zamyatin bemoaned censorship and shared updates about new projects and upcoming productions of their plays, and discussed the life of literary organizations in Leningrad and Moscow as well as anthologies published in Leningrad. Stigmatized as a ‘fellow traveller’ (poputchik) during the 1929 persecution campaign, Zamyatin turned to Novikov in search for a like-minded supporter who would stand by him in print. The published correspondence offers a glimpse into the 1920s historical and ideological climate of Moscow and Petrograd-Leningrad, as well as the literary and theatrical process of the period.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136212795","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 : 2023-10-11DOI: 10.31425/0042-8795-2023-5-71-82
G. E. Kalinkina
The article discusses the autobiographical narrative poem The Circle [ Krug ], often referred to by critics as the crowning glory of I. Lisnyanskaya’s oeuvre. The poem consists of fifteen parts: a classic crown of sonnets written in keeping with the English tradition, with a cathartic final mastersonnet. Each sonnet consists of fourteen lines with a crossed and plain rhyme. In her reconstruction of the poem’s plot and its mentions in Lisnyanskaya’s interviews and reminiscences, G. Kalinkina considers The Circle to be an example of autofiction that paints a faithful portrait of the author, a ‘defiled time,’ and history, of which the protagonist is a part. The critic also examines the poem’s allusions, including implicit references to pivotal events in Lisnyanskaya’s personal life (work as a hospital aide during World War II, interrogations by NKVD, and time at a psychiatric hospital) and fellow poets of an older generation: A. Akhmatova, M. Petrovykh, and S. Lipkin, who each ‘taught’ her a valuable ‘lesson.’ The Circle shows how well.
{"title":"Intellectual hands. I. Lisnyanskaya’s narrative poem <i>The Circle</i> [<i>Krug</i>] as a variant of autofiction","authors":"G. E. Kalinkina","doi":"10.31425/0042-8795-2023-5-71-82","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-5-71-82","url":null,"abstract":"The article discusses the autobiographical narrative poem The Circle [ Krug ], often referred to by critics as the crowning glory of I. Lisnyanskaya’s oeuvre. The poem consists of fifteen parts: a classic crown of sonnets written in keeping with the English tradition, with a cathartic final mastersonnet. Each sonnet consists of fourteen lines with a crossed and plain rhyme. In her reconstruction of the poem’s plot and its mentions in Lisnyanskaya’s interviews and reminiscences, G. Kalinkina considers The Circle to be an example of autofiction that paints a faithful portrait of the author, a ‘defiled time,’ and history, of which the protagonist is a part. The critic also examines the poem’s allusions, including implicit references to pivotal events in Lisnyanskaya’s personal life (work as a hospital aide during World War II, interrogations by NKVD, and time at a psychiatric hospital) and fellow poets of an older generation: A. Akhmatova, M. Petrovykh, and S. Lipkin, who each ‘taught’ her a valuable ‘lesson.’ The Circle shows how well.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136213014","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 : 2023-10-11DOI: 10.31425/0042-8795-2023-5-42-70
E. E. Dmitrieva
The article discusses the category of silence and its unique realization in the works of S. Mallarmé and O. Mandelstam. In their search for a new language of the new era, Romantic poets of Europe, and later the Symbolists, promoted the categories of rhythm, suggestiveness, melodiousness, and silence. E. Dmitrieva analyzes Mallarmé’s essays and poems, including ‘A Throw of the Dice’ (which anticipates the poetics of the late 20th c. with its unusual typographic layout), and the poem’s visual interpretation by O. Redon, who decodes its internal meanings with a cryptogram ‘quiet-silence-death.’ The second part of the article is devoted to Mandelstam’s poetry. According to Dmitrieva, the poet’s reputation as a Russian Mallarmé almost certainly originates in the Western studies of Mandelstam’s oeuvre. In order to substantiate the analogy, his scholars often point out the two poets’ fondness for suggestiveness, the magic of words, and the opportunities offered by their liberal combination, seen as a special form of ‘associative symbolism.’ Dmitrieva follows the progression of this method in Mandelstam’s poetry and examines several verses that reveal distinct affinities with Mallarmé.
本文探讨了沉默的范畴及其在马拉玛和曼德尔施塔姆作品中的独特表现。在寻找新时代的新语言的过程中，欧洲的浪漫主义诗人，以及后来的象征主义者，推动了节奏、暗示、旋律和沉默的分类。E. Dmitrieva分析了mallarm的散文和诗歌，包括《掷骰子》(A Throw of the Dice)(它以不同寻常的排版方式预测了20世纪晚期的诗学)，以及O. Redon对这首诗的视觉解读，他用“安静-沉默-死亡”的密码破译了这首诗的内在含义。文章的第二部分专门讨论曼德尔施塔姆的诗歌。根据德米特里耶娃的说法，这位诗人作为俄罗斯mallarm的名声几乎肯定源于西方对曼德尔施塔姆作品的研究。为了证实这种类比，他的学者经常指出这两位诗人对暗示性的喜爱，文字的魔力，以及他们自由结合所提供的机会，被视为一种特殊形式的“联想象征主义”。Dmitrieva在曼德尔施塔姆的诗歌中遵循了这种方法的发展，并研究了几首与mallarm有明显相似之处的诗。
{"title":"The semiotics of silence; or, how differently it was interpreted by Mallarmé and Mandelstam","authors":"E. E. Dmitrieva","doi":"10.31425/0042-8795-2023-5-42-70","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-5-42-70","url":null,"abstract":"The article discusses the category of silence and its unique realization in the works of S. Mallarmé and O. Mandelstam. In their search for a new language of the new era, Romantic poets of Europe, and later the Symbolists, promoted the categories of rhythm, suggestiveness, melodiousness, and silence. E. Dmitrieva analyzes Mallarmé’s essays and poems, including ‘A Throw of the Dice’ (which anticipates the poetics of the late 20th c. with its unusual typographic layout), and the poem’s visual interpretation by O. Redon, who decodes its internal meanings with a cryptogram ‘quiet-silence-death.’ The second part of the article is devoted to Mandelstam’s poetry. According to Dmitrieva, the poet’s reputation as a Russian Mallarmé almost certainly originates in the Western studies of Mandelstam’s oeuvre. In order to substantiate the analogy, his scholars often point out the two poets’ fondness for suggestiveness, the magic of words, and the opportunities offered by their liberal combination, seen as a special form of ‘associative symbolism.’ Dmitrieva follows the progression of this method in Mandelstam’s poetry and examines several verses that reveal distinct affinities with Mallarmé.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136214046","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 : 2023-10-11DOI: 10.31425/0042-8795-2023-5-83-104
V. L. Makhlin
The history of Dostoevsky’s reception knows a relatively brief but extremely intense and productive period of ‘paradigm shifting:’ displacing the philosophical journalism of Rozanov, Merezhkovsky, Shestov and others in the 1910s and 1920s was literary criticism proper. The paper is concerned with this methodological turnaround in Dostoevsky studies. Inspired by V. I. Ivanov’s article ‘Dostoevsky and the novel-tragedy’ [‘Dostoevsky i roman-tragediya’] (1911), young scholars of the day (V. Komarovich, L. Grossman, B. Engelgardt, and M. Bakhtin, among others) attempted to comprehend ‘Dostoevsky in Dostoevsky,’ i. e., interpret his novels’ ‘ideology’ in terms of his poetics rather than in abstraction. The author suggests that the main problem in all Dostoevsky-centred polemics since the 1910s–1920s and to this day remains twofold: on the one hand, it is a problem of the writer’s attitude to his characters; on the other, it is a challenge of identifying the genre of Dostoevsky’s novels. Citing Bakhtin’s monograph (1929, 1963), the article sets out to disprove Ivanov’s term of ‘novel-tragedy’ in reference to the nonclassic nature of Dostoevsky’s novels.
{"title":"Dostoevsky in Dostoevsky. M. Bakhtin and the methodological turnaround in the 1910s–1920s","authors":"V. L. Makhlin","doi":"10.31425/0042-8795-2023-5-83-104","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-5-83-104","url":null,"abstract":"The history of Dostoevsky’s reception knows a relatively brief but extremely intense and productive period of ‘paradigm shifting:’ displacing the philosophical journalism of Rozanov, Merezhkovsky, Shestov and others in the 1910s and 1920s was literary criticism proper. The paper is concerned with this methodological turnaround in Dostoevsky studies. Inspired by V. I. Ivanov’s article ‘Dostoevsky and the novel-tragedy’ [‘Dostoevsky i roman-tragediya’] (1911), young scholars of the day (V. Komarovich, L. Grossman, B. Engelgardt, and M. Bakhtin, among others) attempted to comprehend ‘Dostoevsky in Dostoevsky,’ i. e., interpret his novels’ ‘ideology’ in terms of his poetics rather than in abstraction. The author suggests that the main problem in all Dostoevsky-centred polemics since the 1910s–1920s and to this day remains twofold: on the one hand, it is a problem of the writer’s attitude to his characters; on the other, it is a challenge of identifying the genre of Dostoevsky’s novels. Citing Bakhtin’s monograph (1929, 1963), the article sets out to disprove Ivanov’s term of ‘novel-tragedy’ in reference to the nonclassic nature of Dostoevsky’s novels.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136212786","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：