Pub Date : 2023-08-15DOI: 10.31425/0042-8795-2023-1-185-191
E. Lutsenko
The review is devoted to a new monograph about the problems of the Russian translation method in the period between the 1900s and the late 1930s. Particularly detailed is the analysis of the book’s main idea that faithfully equirhythmic translation was gradually abandoned in favour of a method more appealing to mass readership. The reviewer highlights the activities of the principal translation institutions of the period and explains their role in the shaping of the new translation method. In addition, the review comments on the book’s structure and praises the decision to publish archival materials, such as M. Alekseev’s article on translation. The reviewer challenges the thesis offered by the book’s compiler M. Baskina, who claims that, although originally executed to high standards of philological accuracy, collections of translated works after WWII were produced with an increasing degree of ‘compromise.’ For an example to disprove this statement, the reviewer points to the Complete Works of Shakespeare published in 1958–1969 under A. Smirnov’s editorship.
这篇评论是关于20世纪20年代至30年代后期俄语翻译方法问题的新专著。特别详细的是对这本书的主要观点的分析，即忠实的等节奏翻译逐渐被一种更吸引大众读者的方法所抛弃。作者着重介绍了这一时期主要翻译机构的活动，并解释了它们在新翻译方法形成中的作用。此外，这篇评论对书的结构进行了评论，并赞扬了出版档案材料的决定，比如阿列克谢耶夫关于翻译的文章。书评人对该书的编纂者巴斯基纳(M. Baskina)提出的论点提出了质疑，巴斯基纳声称，尽管最初是按照语言学准确性的高标准执行的，但二战后的翻译作品集的制作程度越来越“妥协”。为了反驳这一说法，评论者指出，在A.斯米尔诺夫(A. Smirnov)编辑的1958-1969年出版的《莎士比亚全集》(Complete Works of Shakespeare)就是一个例子。
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Pub Date : 2023-08-15DOI: 10.31425/0042-8795-2023-1-192-198
A. B. Arefieva
This review of P. Calderón’s collected plays focuses on a stylistic analysis of Natalya Vankhanen’s new Russian translation of Life Is a Dream [La vida es sueño], considered the crowning glory of Spanish baroque theatre, as well as its interpretation and the dramatic nuances of the translated play in the stage version of the Moscowbased Elektrotheatre Stanislavsky, including their effect on the production’s portrayal of Segismundo. The reviewer stresses the translator’s unique, authorial view of Calderón’s poetic text. It results, firstly, in the translation’s heightened emotional charge, signaled by a profusion of exclamation and question marks and ellipses, and, secondly, in a shift of semantic emphases from the topic of overcoming one’s animalistic instincts to that of discovering the reasons for ‘animalistic’ behaviour in humans. The same topic — the father’s fault for raising a tyrant — is accentuated in Elektrotheatre’s production where Segismundo is shown to become despotic only in the palace upon learning of his mistreatment by the family.
这篇对P·卡尔德龙戏剧集的评论集中在对Natalya Vankhanen的俄语新译本《生活是一场梦》（La vida es sueño）的风格分析上，该译本被认为是西班牙巴洛克戏剧的最高荣耀，以及其在莫斯科Elektrotheatre Stanislavsky舞台版中的诠释和翻译戏剧的戏剧性细微差别，包括它们对该剧对Segismundo的刻画所产生的影响。评论者强调译者对卡尔德隆诗歌文本的独特的作者观点。首先，这导致了翻译中情感负担的增加，大量的感叹号、问号和省略号表明了这一点，其次，语义重点从克服动物本能的主题转移到发现人类“动物”行为的原因的主题。同样的话题——父亲养育暴君的过错——在Elektrotheatre的作品中得到了强调，Segismundo在得知家人虐待他的消息后，才在宫殿里变得专制。
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Pub Date : 2023-08-15DOI: 10.31425/0042-8795-2023-1-209-214
L. Egorova
The review discusses two anthologies of contemporary Greek literature (prose and poetry), comprising works of the authors distinguished with the country’s State Prize for Literature in the years from 2010 to 2018. The two books succeed in capturing the multidimensional character of Greece’s modern life and literature in small forms (short stories, novellas and poems). The first anthology features short stories and novellas by fourteen authors. The second contains works by twenty poets, each represented by five poems. While some authors were rewarded for their literary debut, others received the prize for lifetime achievements. Thanks to the anthologies, characterised by a diversity of subjects, artistic methods and poetic messages, the Russian audiences can join in the polylogue between classics and avant-gardists, realists and surrealists, and gurus and novices, as well as broaden their knowledge of the latest developments in a literature rooted in ancient history that remains unique and inspired through the oeuvre of its masters.
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Pub Date : 2023-08-15DOI: 10.31425/0042-8795-2023-1-199-204
M. Stroganov
The reviewer finds A. Grodetskaya’s scholarly contributions particularly valuable because they result from open-minded research. Equally undeniable are her achievements in the preparation and publication of Goncharov’s Complete Works and Letters. The book refers to the Maykovs’ literary circle alternately as a literary salon, a circle, or a literary home, each implying an air of literary domesticity. A member of the Maykovs’ literary circle, V. Solonitsyn collaborated with Biblioteka Dlya Chteniya (a monthly printed magazine) and had a number of works by other members published there; interestingly, he also instigated the Maykovs’ handwritten magazines. Homemade journalism coexisted with professional literary work. Goncharov may have started as a professional author, but in the Maykovs’ salon he drifted towards amateur art. He could not imagine his life without writing and discovered many channels like Biblioteka Dlya Chteniya, Podsnezhnik (a handwritten magazine), and the opportunity to join the expedition of the frigate Pallada, which produced a series of the famous sketches penned as private journal entries.
{"title":"A. G. Grodetskaya. Goncharov in the Maykovs’ literary circle. The 1830s–1840s","authors":"M. Stroganov","doi":"10.31425/0042-8795-2023-1-199-204","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-1-199-204","url":null,"abstract":"The reviewer finds A. Grodetskaya’s scholarly contributions particularly valuable because they result from open-minded research. Equally undeniable are her achievements in the preparation and publication of Goncharov’s Complete Works and Letters. The book refers to the Maykovs’ literary circle alternately as a literary salon, a circle, or a literary home, each implying an air of literary domesticity. A member of the Maykovs’ literary circle, V. Solonitsyn collaborated with Biblioteka Dlya Chteniya (a monthly printed magazine) and had a number of works by other members published there; interestingly, he also instigated the Maykovs’ handwritten magazines. Homemade journalism coexisted with professional literary work. Goncharov may have started as a professional author, but in the Maykovs’ salon he drifted towards amateur art. He could not imagine his life without writing and discovered many channels like Biblioteka Dlya Chteniya, Podsnezhnik (a handwritten magazine), and the opportunity to join the expedition of the frigate Pallada, which produced a series of the famous sketches penned as private journal entries.","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":"48918571","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 : 2023-08-14DOI: 10.31425/0042-8795-2023-1-133-178
I. Duardovich
Researchers and memoirists have for some time been focusing on Y. Dombrovsky’s fourth criminal proceedings (1949). Their peculiar appeal lies in a fatal woman’s involvement. Among the writer’s friends and acquaintances who testified during the proceedings, there is a record of one Irina Strelkova. Years later she would be condemned as a female Judas. Accounts would emerge insisting that it was her testimony that sealed Dombrovsky’s fate, featuring prominently in the prosecution’s case and bringing about his ten-year prison camp sentence. The accusers rely on Dombrovsky’s letter published soon after his death that talks of Strelkova and her enthusiasm during the investigation — in short, her eagerness to bury him. The article attempts to get to the bottom of these accusations and, should they prove false, discover the reason for this vilification. In order to do so, I. Duardovich scours the case file, uncovering previously unpublished and uncommented materials, thus making it the first comprehensive study of the proceedings.
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Pub Date : 2023-08-14DOI: 10.31425/0042-8795-2023-1-43-64
A. Zhuchkova
Following an analysis of Kirill Ryabov’s works published in the years 2021 and 2022, the author finds that in Ryabov’s metamodernist aesthetic paradigm the modernist communicative model is preserved alongside some concepts of postmodernist aesthetics. Modernism, postmodernism and metamodernism appear as three stages of the single itinerary with a goal of overcoming the logic of binary oppositions and achieving heteroglossia and dialogue (M. Bakhtin) as a new artistic structure. Through the re-introduction of the depth of emotion and the humanistic dimension, metamodernism strives to comprehend the systemic integrity of the universe. The same agenda characterises Ryabov’s books which show people in their systemic relationships with their own egos, society, the world, and God. The aesthetics of Ryabov’s metamodernist text is defined by such parameters as the abandonment of a clearcut opinion of the author or the protagonist in favour of a dialogue with the reader, reliance on a myth, the concept of a ‘void,’ minimalism, experimentation with the word’s inner form, and the use of mass literature techniques.
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Pub Date : 2023-08-14DOI: 10.31425/0042-8795-2023-1-101-120
E. E. Dmitrieva
The article is written in memory of Yury Mann and follows the life and work of the prominent scholar, whose books not only constitute a landmark phenomenon of Russian literary studies but also offer a new perspective on a number of episodes in the history of literature. Mann’s scholarly career was shaped in the years after WWII. In his book of memoirs, written towards the end of his life, Mann attempts an analysis of his philological pursuits and how, trying to keep up with contemporary trends, he would still occasionally find himself to be an outsider. The article sets out to explain how Mann’s personal and scholarly journey eventually resulted in his remarkable achievements.The author pays special attention to a lesser-known sphere of Mann’s interests: his analytical studies of modern literature (among fellow philologists, he is mostly known as an expert on Gogol and Russian romanticism), his thoughts on conventionality in art, and compelling evidence that Mann’s works follow traditions of Russian formalism.
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Pub Date : 2023-08-14DOI: 10.31425/0042-8795-2023-1-86-100
T. V. Yakushkina
The article discusses the latest novel by one of the most celebrated contemporary writers (who may have been intentionally mystifying their audiences): Elena Ferrante. In her analysis of The Lying Life of Adults [La vita bugiarda degli adulti], the critic offers a consecutive examination of Ferrante’s take on such problems as coming of age, national identity, socio-cultural stratification and, finally, the problem of falsehood, treatment of which defines the novel’s narrative. In Ferrante’s interpretation, the story of the protagonist Giovanna logically follows from the dishonesty of culture and religion. However, the critic argues that this ideological charge kills the novel, turning an overall masterly psychological tale of a teenage girl’s coming of age into a platform for a feminist jab at culture. The only redeeming quality that balances off the plot’s ideological dictate, something immediately associated with the literature of social realism in the mind of a Russian reader, is the image of the narrator, whose consciousness is depicted by Ferrante to be more nuanced and psychologically convincing than the heroine’s radicalism.
这篇文章讨论了当代最著名的作家之一埃琳娜·费兰特(Elena Ferrante)的最新小说(她可能有意让读者感到困惑)。在对《成年人的谎言生活》(La vita bugiarda degli adulti)的分析中，这位评论家连续审视了费兰特对成年、国家认同、社会文化分层等问题的看法，最后是对谎言问题的处理，这些问题定义了小说的叙事。在费兰特的解读中，主人公乔凡娜的故事从文化和宗教的不诚实中顺理成章地展开。然而，评论家认为，这种意识形态的指责扼杀了小说，把一个十几岁女孩成长过程中娴熟的心理故事变成了女权主义者抨击文化的平台。唯一能平衡情节的意识形态支配的可取之处是叙述者的形象，在俄罗斯读者的心目中，这与社会现实主义文学有着直接的联系。费兰特把叙述者的意识描绘得比女主角的激进主义更微妙，在心理上更令人信服。
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Pub Date : 2023-08-14DOI: 10.31425/0042-8795-2023-1-12-32
V. Kantor
Although he mentioned more than once that Tolstoy was his idol, Aldanov, driven by the force of circumstances and catastrophic dimensions of the contemporary historical process, appears to be closer to Dostoevsky, both in terms of theory and subject matter. Scholarly writings that concern Aldanov’s understanding of chance as a historical trigger are often tinged with irony, dismissing his ideas as a prominent writer’s fancy. Aldanov summarises his views on the role of chance in a brilliant book, possibly the best historiosophical treatise written in Russian — A Night at Ulm: The Philosophy of Chance [Ulmskaya noch. Filosofiya sluchaya] (1953), a kind of manifesto of his main idea, where, citing Descartes and employing his style, Aldanov describes different variants of historical occurrences but leaves out their final resolution, only pointing at the possibility of multiple outcomes. This means that chance rules as ever and sometimes bad luck prevails. Lenin epitomised such a bad turn of events for Russia. The country’s subsequent history became that of survival after the terrible blow. The history continues and it remains unclear if any recovery has been made.
{"title":"Chance as an artistic and philosophical problem. Mark Aldanov’s novel Suicide [Samoubiystvo]","authors":"V. Kantor","doi":"10.31425/0042-8795-2023-1-12-32","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-1-12-32","url":null,"abstract":"Although he mentioned more than once that Tolstoy was his idol, Aldanov, driven by the force of circumstances and catastrophic dimensions of the contemporary historical process, appears to be closer to Dostoevsky, both in terms of theory and subject matter. Scholarly writings that concern Aldanov’s understanding of chance as a historical trigger are often tinged with irony, dismissing his ideas as a prominent writer’s fancy. Aldanov summarises his views on the role of chance in a brilliant book, possibly the best historiosophical treatise written in Russian — A Night at Ulm: The Philosophy of Chance [Ulmskaya noch. Filosofiya sluchaya] (1953), a kind of manifesto of his main idea, where, citing Descartes and employing his style, Aldanov describes different variants of historical occurrences but leaves out their final resolution, only pointing at the possibility of multiple outcomes. This means that chance rules as ever and sometimes bad luck prevails. Lenin epitomised such a bad turn of events for Russia. The country’s subsequent history became that of survival after the terrible blow. The history continues and it remains unclear if any recovery has been made.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43286469","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 : 2023-08-14DOI: 10.31425/0042-8795-2023-1-65-85
L. Muravyova
The article looks at the origins of the concept of autofiction and compares S. Doubrovsky’s and R. Federman’s theories, emphasising the influence of American criticism on the concept’s development. Although often referred to as a hybrid genre first emerging in France in the 1970s and combining fictional and factual events, ‘autofiction’ at its inception was understood as a special narrative practice of traumatic self-reflection through the concept of fiction. In Doubrovsky’s critical works, fiction emerges not as a product of imagination but as a psychoanalytical practice of entrusting one’s experiences to writing. In parallel with Doubrovsky, another scholar, the French-American novelist of Jewish descent Raymond Federman, challenges the limitations of the traditional autobiography. His manifesto, Surfiction (1973), reflects on the boundaries between reality and fiction and questions the very possibility of an autobiographical experience representation. Along with Doubrovsky, Federman views autobiographical writing as an attempt to render a not-to-be-represented and traumatic experience.
{"title":"Criticism and fiction: An autofiction experience. Serge Doubrovsky and Raymond Federman","authors":"L. Muravyova","doi":"10.31425/0042-8795-2023-1-65-85","DOIUrl":"https://doi.org/10.31425/0042-8795-2023-1-65-85","url":null,"abstract":"The article looks at the origins of the concept of autofiction and compares S. Doubrovsky’s and R. Federman’s theories, emphasising the influence of American criticism on the concept’s development. Although often referred to as a hybrid genre first emerging in France in the 1970s and combining fictional and factual events, ‘autofiction’ at its inception was understood as a special narrative practice of traumatic self-reflection through the concept of fiction. In Doubrovsky’s critical works, fiction emerges not as a product of imagination but as a psychoanalytical practice of entrusting one’s experiences to writing. In parallel with Doubrovsky, another scholar, the French-American novelist of Jewish descent Raymond Federman, challenges the limitations of the traditional autobiography. His manifesto, Surfiction (1973), reflects on the boundaries between reality and fiction and questions the very possibility of an autobiographical experience representation. Along with Doubrovsky, Federman views autobiographical writing as an attempt to render a not-to-be-represented and traumatic experience.","PeriodicalId":52245,"journal":{"name":"Voprosy Literatury","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46872344","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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