Pub Date : 2023-10-11DOI: 10.31425/0042-8795-2023-5-128-142
E. D. Botvinova
The metaphor of art as a mirror, uncharacteristic of Shakespeare’s Tempest, prompts the conclusion that, rather than referring to the play, Auden invokes the Romantic interpretation of its plot. The Romantics interpreted The Tempest as the playwright’s farewell and the epitome of his artistic endeavours. Romanticism is responsible for the popular thesis that The Tempest is a parable about an artist (Prospero), alone in this world (on an island), who rules over imagination (Ariel and lowly spirits) and keeps savage nature (Caliban) in check. In his poem, Auden deconstructs the parable of the powerful artist Prospero, invoking W. Knight’s allegorical method: Knight followed the tradition of the play’s allegorical interpretation. Auden does not set out to criticize Romanticism, but rather contemplates his own experience as a poet. In The Sea and the Mirror, his reimagining of poetic experience inspires the sections ‘Prospero to Ariel’ and ‘Caliban to the Audience.’ Auden concludes that art, not unlike a mirror, reveals experiences: by looking into it, we may realize our true feelings, yet the effect proves disappointing
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Pub Date : 2023-10-11DOI: 10.31425/0042-8795-2023-5-198-203
L. V. Egorova
The review is devoted to a book by the philosopher, culturologist, and literary critic René Girard, who famously devised the concept of fundamental anthropology with an emphasis on mimetic violence and scapegoating as cornerstones of social life and culture. His ‘mimetic theory’ constitutes one of the last big narratives of the humanities in the 21st c. A Theater of Envy is a must-read for those interested in Girard’s ‘canon’ and an unconventional interpretation of the English playwright’s oeuvre. The scholar is particularly interested in the Bard’s hypermimetic sensitivity. The book reveals a mimetic dimension in Shakespeare’s works, arguing that the playwright was always drawn to plots with mimetic potential. Following brilliant handling of complex structural models and paradoxical inversions, Shakespeare moved on and gradually lost interest in the mechanics of mimetic rivalry, focusing instead on ethical and human repercussions.
{"title":"René Girard. A theater of envy: William Shakespeare","authors":"L. V. Egorova","doi":"10.31425/0042-8795-2023-5-198-203","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-5-198-203","url":null,"abstract":"The review is devoted to a book by the philosopher, culturologist, and literary critic René Girard, who famously devised the concept of fundamental anthropology with an emphasis on mimetic violence and scapegoating as cornerstones of social life and culture. His ‘mimetic theory’ constitutes one of the last big narratives of the humanities in the 21st c. A Theater of Envy is a must-read for those interested in Girard’s ‘canon’ and an unconventional interpretation of the English playwright’s oeuvre. The scholar is particularly interested in the Bard’s hypermimetic sensitivity. The book reveals a mimetic dimension in Shakespeare’s works, arguing that the playwright was always drawn to plots with mimetic potential. Following brilliant handling of complex structural models and paradoxical inversions, Shakespeare moved on and gradually lost interest in the mechanics of mimetic rivalry, focusing instead on ethical and human repercussions.","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":"136212789","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: 10.31425/0042-8795-2023-5-105-127
I. L. Popova
The article discusses the intermedial transfer of the concept of polyphony in Mikhail Bakhtin’s and Leo Spitzer’s studies of Dostoevsky and Proust from the late 1920s. There are plenty of good reasons to compare the two scholars’ works. Firstly, Spitzer’s stylistics was of key importance to Bakhtin throughout his scientific career. Secondly, there is a correlation between the methods for studying Proust’s and Dostoevsky’s novels, which Bakhtin considered as the pinnacle of the European and Russian novel, respectively. The stylistic revolution of the novel anticipated not only the development of 20th-c. prose, the polyphonic novel and stylistic perspectivism, but also the trajectory of theoretical innovations, the study of the dialogue between the Self and the Other, as well the verbal symphonization of the author/narrator’s outer and inner Self. Once polyphony was extrapolated into the field of the novel, the problem of the spoken word and oral genres became more compelling. From the late 1930s until the early 1940s, Spitzer and Bakhtin independently set out to study the genre of ‘shouts’ ( cri ): Spitzer in Proust’s The Prisoner , and Bakhtin in Rabelais’s novel and Russian literature. Bakhtin’s short theoretical essay on the genre of ‘shouts’ in a Russian town square was discovered by the author of this article and is published here for the first time.
{"title":"<i>Polyphony</i> for a novel’s stylistics: a logistical map of ‘transsemiotization’","authors":"I. L. Popova","doi":"10.31425/0042-8795-2023-5-105-127","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-5-105-127","url":null,"abstract":"The article discusses the intermedial transfer of the concept of polyphony in Mikhail Bakhtin’s and Leo Spitzer’s studies of Dostoevsky and Proust from the late 1920s. There are plenty of good reasons to compare the two scholars’ works. Firstly, Spitzer’s stylistics was of key importance to Bakhtin throughout his scientific career. Secondly, there is a correlation between the methods for studying Proust’s and Dostoevsky’s novels, which Bakhtin considered as the pinnacle of the European and Russian novel, respectively. The stylistic revolution of the novel anticipated not only the development of 20th-c. prose, the polyphonic novel and stylistic perspectivism, but also the trajectory of theoretical innovations, the study of the dialogue between the Self and the Other, as well the verbal symphonization of the author/narrator’s outer and inner Self. Once polyphony was extrapolated into the field of the novel, the problem of the spoken word and oral genres became more compelling. From the late 1930s until the early 1940s, Spitzer and Bakhtin independently set out to study the genre of ‘shouts’ ( cri ): Spitzer in Proust’s The Prisoner , and Bakhtin in Rabelais’s novel and Russian literature. Bakhtin’s short theoretical essay on the genre of ‘shouts’ in a Russian town square was discovered by the author of this article and is published here for the first time.","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":"136213165","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: 10.31425/0042-8795-2023-5-182-187
V. M. Essipov
E. Tsimbaeva’s monograph analyzes the literature of the mid-18th — early 20th cc. in comparison with the realia of the everyday that were omitted from books by contemporary writers as too obvious and have become obscure and unknown to present-day readers. Notably, the book suggests that the commonly accepted rules and conventions of a period would often determine the plots of contemporary works of literature and shape the images and psychology of their characters, whereas new generations of readers may have trouble understanding their seemingly random and strange behaviour. The scholar argues that the bygone realia of the everyday and customs left behind the scenes of a literary text may not be deduced by the modern reader and therefore provide material for studies by present-day historians. Tsimbaeva’s study focuses on this missing knowledge and its cultural and literary significance.
E. Tsimbaeva的专著分析了18世纪中期至20世纪初的文学，并将其与当代作家的书中省略的日常现实进行了比较，因为这些现实太过明显，对当今的读者来说已经变得模糊和未知。值得注意的是，这本书表明，一个时期普遍接受的规则和习俗往往会决定当代文学作品的情节，塑造人物的形象和心理，而新一代的读者可能很难理解他们看似随意和奇怪的行为。这位学者认为，文学文本背后留下的过去的日常现实和习俗可能无法被现代读者推断出来，因此无法为当今历史学家的研究提供材料。齐巴耶娃的研究聚焦于这一缺失的知识及其文化和文学意义。
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Pub Date : 2023-10-11DOI: 10.31425/0042-8795-2023-5-194-197
D. O. Zabalkanskaya
In his book, A. Vetushinsky conducts a comprehensive study of video games. It is the first such analysis undertaken by a Russian scholar, who considers the phenomenon of video games not only from a practical but also culturological viewpoint. A philosopher by training, the author, however, extends his study into other disciplines: he examines games in terms of communication theory, media studies, anthropology, and other fields. It is the book’s multi-disciplinary prism that reveals the contemporary phenomenon of video games as a complicated and even textual structure. The scholar’s fascination with the subject is immediately obvious from a specially devised structure to describe gaming history. The book will interest not only gaming fans but also those who may only have heard about the phenomenon or observed others at play.
a . Vetushinsky在他的书中对电子游戏进行了全面的研究。这是俄罗斯学者第一次进行这样的分析，他不仅从实用的角度，而且从文化的角度来考虑电子游戏现象。作为一名受过训练的哲学家，作者将他的研究扩展到其他学科:他从传播理论、媒体研究、人类学和其他领域来研究游戏。正是这本书的多学科棱镜揭示了电子游戏作为一个复杂甚至文本结构的当代现象。从专门设计的描述游戏历史的结构中可以看出，这位学者对这一主题的迷恋。这本书不仅会引起游戏迷的兴趣，还会引起那些可能只是听说过这种现象或观察过其他人玩游戏的人的兴趣。
{"title":"A. S. Vetushinsky. Gamedrome: What you need to know about video games and gaming culture","authors":"D. O. Zabalkanskaya","doi":"10.31425/0042-8795-2023-5-194-197","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-5-194-197","url":null,"abstract":"In his book, A. Vetushinsky conducts a comprehensive study of video games. It is the first such analysis undertaken by a Russian scholar, who considers the phenomenon of video games not only from a practical but also culturological viewpoint. A philosopher by training, the author, however, extends his study into other disciplines: he examines games in terms of communication theory, media studies, anthropology, and other fields. It is the book’s multi-disciplinary prism that reveals the contemporary phenomenon of video games as a complicated and even textual structure. The scholar’s fascination with the subject is immediately obvious from a specially devised structure to describe gaming history. The book will interest not only gaming fans but also those who may only have heard about the phenomenon or observed others at play.","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":"136212788","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: 10.31425/0042-8795-2023-5-13-41
M. V. Cherkashina
The article prefaces the publication of the first Russian translation of Mallarmé’s essay ‘The Impressionists and Edouard Manet:’ originally printed in English in a London-based periodical in 1876, it was not rediscovered until the early 21st c., when the essay’s translation back into French became available. In his work, Mallarmé offers the first contemporary interpretation of Impressionism as a natural next step in the development of art, revealing it to be a form of self-reflection that gazes at reality. He notes that Manet’s manner of depicting landscapes and people in them bears a similarity to Japanese prints — an art form much beloved by the Impressionists. Other innovative viewpoints expressed by Mallarmé include his interpretation of mimesis, which, rather than mimicking nature, means its recreation, ‘touch by touch:’ the idea that the representative art of the period cannot be isolated from the characteristic politics and industry of the era, and the suggestion that, rather than treating artists as spiritual aristocrats, as was customary in the Romantic era, one should consider them as ‘energetic modern workers,’ exemplified by Impressionist painters. The article sets out to present Mallarmé’s ideas in the context of French art criticism from the 18th c. until the present day.
{"title":"Stéphane Mallarmé on Impressionism and the Impressionists in the context of French art criticism","authors":"M. V. Cherkashina","doi":"10.31425/0042-8795-2023-5-13-41","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-5-13-41","url":null,"abstract":"The article prefaces the publication of the first Russian translation of Mallarmé’s essay ‘The Impressionists and Edouard Manet:’ originally printed in English in a London-based periodical in 1876, it was not rediscovered until the early 21st c., when the essay’s translation back into French became available. In his work, Mallarmé offers the first contemporary interpretation of Impressionism as a natural next step in the development of art, revealing it to be a form of self-reflection that gazes at reality. He notes that Manet’s manner of depicting landscapes and people in them bears a similarity to Japanese prints — an art form much beloved by the Impressionists. Other innovative viewpoints expressed by Mallarmé include his interpretation of mimesis, which, rather than mimicking nature, means its recreation, ‘touch by touch:’ the idea that the representative art of the period cannot be isolated from the characteristic politics and industry of the era, and the suggestion that, rather than treating artists as spiritual aristocrats, as was customary in the Romantic era, one should consider them as ‘energetic modern workers,’ exemplified by Impressionist painters. The article sets out to present Mallarmé’s ideas in the context of French art criticism from the 18th c. until the present day.","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":"136212790","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: 10.31425/0042-8795-2023-5-143-157
N. F. Khamidova
The article summarizes the history of Uzbek translations of Shakespeare, which starts in the 1930s: 1934 saw the publication of the first translation of Hamlet into the Uzbek language by the renowned writer and advocate of jadidism Abdulhamid Chulpan. A year later, the translated play premiered in an Uzbek theatre, directed by Mannon Uygur. For a long time, translators worked with a Russian rendering of the original. This changed in the late 20th c., when Jamol Kamol started to translate directly from English. In 2007, he published his work as a three-volume collection of Shakespeare’s plays. The article, however, focuses on translations of Shakespeare’s sonnets rather than plays. It was not until the 1960s that such translations were first made by M. Shayxzoda. In subsequent years, more translators were drawn to the subject: A. Obidov, K. Davron, and Y. Shomansur. The author compares the translations of Sonnets 66 and 73 made by two different translators and offers her arguments about whose version sounds more natural in the Uzbek language.
本文总结了乌孜别克语翻译莎士比亚作品的历史，这一历史始于20世纪30年代:1934年，著名作家和贾迪迪主义的倡导者阿卜杜勒哈米德楚尔潘(Abdulhamid Chulpan)出版了乌孜别克语版的第一部《哈姆雷特》。一年后，这部译作在一家乌兹别克剧院首演，导演是Mannon Uygur。很长一段时间以来，翻译人员都是用俄语翻译原文。这种情况在20世纪后期发生了变化，当时Jamol Kamol开始直接从英语翻译。2007年，他出版了一部三卷本的莎士比亚剧集。然而，这篇文章关注的是莎士比亚十四行诗的翻译，而不是戏剧。直到20世纪60年代，这种翻译才首次由谢佐达先生完成。随后的几年，更多的译者被吸引到这个主题:A. Obidov, K. Davron和Y. Shomansur。作者比较了两位不同译者对十四行诗66和73的翻译，并提出了自己的观点，即在乌兹别克语中，谁的版本听起来更自然。
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Pub Date : 2023-10-11DOI: 10.31425/0042-8795-2023-5-188-193
E. I. Samorodnitskaya
The review discusses two monographs devoted to Victorian novels: H. Ifill’s work on the problem of character in sensation fiction and H. L. Pennington’s study of what shapes identity in an imaginary autobiography. Among the indisputable merits of Ifill’s book, which focuses on W. Collins’s and M. Braddon’s works, is the author’s attempt to consider Victorian novel as a holistic literary phenomenon beyond its chronological definition. Such an approach immediately removes the division into literary ranks and the opposition of realistic to sensation or social-criminal novel, etc. The scholar describes the essential genre characteristics of the texts, partially represented by the principles of character shaping. Pennington looks at C. Dickens’s and C. Brontë’s novels from the viewpoint of shaping of the protagonist’s identity in a genre born as a mixture of fiction and autobiography.
{"title":"Helena Ifill. Creating character: Theories of nature and nurture in Victorian sensation fiction; Heidi L. Pennington. Creating identity in the Victorian fictional autobiography","authors":"E. I. Samorodnitskaya","doi":"10.31425/0042-8795-2023-5-188-193","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-5-188-193","url":null,"abstract":"The review discusses two monographs devoted to Victorian novels: H. Ifill’s work on the problem of character in sensation fiction and H. L. Pennington’s study of what shapes identity in an imaginary autobiography. Among the indisputable merits of Ifill’s book, which focuses on W. Collins’s and M. Braddon’s works, is the author’s attempt to consider Victorian novel as a holistic literary phenomenon beyond its chronological definition. Such an approach immediately removes the division into literary ranks and the opposition of realistic to sensation or social-criminal novel, etc. The scholar describes the essential genre characteristics of the texts, partially represented by the principles of character shaping. Pennington looks at C. Dickens’s and C. Brontë’s novels from the viewpoint of shaping of the protagonist’s identity in a genre born as a mixture of fiction and autobiography.","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":"136214068","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 : 2023-08-15DOI: 10.31425/0042-8795-2023-1-179-184
I. Shaytanov
The book written by the Polish scholar treats Russian theory as it has been informed in the process of understanding Shakespeare and in its turn served as a basis for Russian theory. The term ‘Russian theory’ is advanced as analogous to ‘French theory’ represented by M. Foucault and French deconstruction in general. ‘Theory’ in this broader sense is used to denote scientific mind represented in various discursive practices, namely historiosophy, religion, philosophy, and partly politics. An attempt to understand Russian intellectual life through analogy with certain Western events can be productive as it brings the national into the world context, but at the same time it is fraught with a danger to wipe off those features that do not fit into the analogy.Thus, Russian historical poetics, the Russian variant of theory, is practically left out, or falls into separate sections and loosely related individual practices. The book is important as a case study of modern theoretical appropriation at work in the domain of literature.
{"title":"Ludmiła Mnich. Shakespeare in Russian theory in the first half of the 20th century","authors":"I. Shaytanov","doi":"10.31425/0042-8795-2023-1-179-184","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-1-179-184","url":null,"abstract":"The book written by the Polish scholar treats Russian theory as it has been informed in the process of understanding Shakespeare and in its turn served as a basis for Russian theory. The term ‘Russian theory’ is advanced as analogous to ‘French theory’ represented by M. Foucault and French deconstruction in general. ‘Theory’ in this broader sense is used to denote scientific mind represented in various discursive practices, namely historiosophy, religion, philosophy, and partly politics. An attempt to understand Russian intellectual life through analogy with certain Western events can be productive as it brings the national into the world context, but at the same time it is fraught with a danger to wipe off those features that do not fit into the analogy.Thus, Russian historical poetics, the Russian variant of theory, is practically left out, or falls into separate sections and loosely related individual practices. The book is important as a case study of modern theoretical appropriation at work in the domain of literature.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43168383","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 : 2023-08-15DOI: 10.31425/0042-8795-2023-1-205-208
N. I. Kovalyov
The review concerns a coauthored monograph that examines the various aspects of the famous anthology of German Expressionist poetry — The Twilight of Humanity [Menschheitsdämmerung]. For the first time Kurt Pinthus is presented as the solo architect of this complex work of art designed to resemble a symphony. The reviewer notes the originality of the comparison with Beethoven’s Symphony No. 9 and argues that the monograph discovers similarities not only on a larger scale but also on the level of specific details, i. e., the arrangement of the poems that enriches the meaning of an individual text through its placement in the new context of other poems. In addition to general comments about the structure of the anthology and its thanatological code, the researchers suggest independent interpretations of the poets (J. R. Becher, T. Däubler, and others) and their role in the orchestration of the anthology. Among the monograph’s very few flaws, the reviewer points out the book’s somewhat excessive reverence for Pinthus’s mythologising.
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