The research outlines the use of the word gvozdika (Eng. ‘carnation’, a species of Dianthus) in Russian poetry. The author takes the European tradition as a framework to describe and analyse diverse representations of the carnation in Russian, mainly poetic, texts of the 18th through 20th centuries, tracing the development and expansion of “carnation-driven” contexts and associations. Part One opens with a retrospective insight into the history of the carnation in European culture, debunking several popular misconceptions, related to the flower’s history and name, which had been uncritically repeated over many decades. The ubiquity of wild carnations has contributed to the belief that, like the rose and the lily, the carnation has a two-thousand-year cultural history. Thus, it might be assumed that the carnation’s beauty and spicy aroma should have set it apart from other flowers, so that it might gradually acquire various symbolic meanings. Indeed, researchers and writers have often noted the ancient symbolism of the carnation. Moreover, both popular and academic writings place the carnation in the limited and well-defined set of plants cultivated in Antiquity. The research into the historical significance of the carnation shows that its oft-postulated antiquity is nothing but wishful thinking: the cultural history of the carnation as well as its symbolic meanings cannot be traced back as a single process from Antiquity to the Present. Until the 14th century, the carnation was referred to by many different names; its literary and symbolic genealogy can only be traced back to the 15 th or 16th century, i.e. when it was introduced into horticulture and when stable designations for it appeared in the new European languages. Our analysis draws on comparative material from Spanish, Italian, French, German, and English poetry (poems by Luis de Gongora y Argote, Francisco de Quevedo, Joachim du Bellay, Remy Belleau, Pierre de Ronsard, and others) and employs numerous multilingual sources to shed light on the history of the carnation in European languages and literatures. In addition, we briefly trace the horticultural history of the carnation in Russia. The garden carnation, or the clove pink, has been known in Russia at least since the 17th century. It was among the plants bought in Holland by the Flower Office of Peter the Great. In the 18th century, the carnation was already widespread in Russian gardens: numerous detailed articles about the carnation, its varieties and cultivations are found in botanical directories and various indexes of the late 18th century. The Alphabetical Catalogue of Plants <...> in Moscow in the Garden of the Active State Councillor Prokofy Demidov, published in 1786, lists 52 varieties of the carnation. Yet, however popular the carnation was in everyday life, it rarely appeared in Russian literature of the 17th and 18th centuries.
{"title":"The Poetics of the Carnation: The Word and the Image in Russian Poetry From Trediakovsky to Brodsky (In the Context of European Tradition). Part One","authors":"V. Polilova","doi":"10.17223/24099554/17/1","DOIUrl":"https://doi.org/10.17223/24099554/17/1","url":null,"abstract":"The research outlines the use of the word gvozdika (Eng. ‘carnation’, a species of Dianthus) in Russian poetry. The author takes the European tradition as a framework to describe and analyse diverse representations of the carnation in Russian, mainly poetic, texts of the 18th through 20th centuries, tracing the development and expansion of “carnation-driven” contexts and associations. Part One opens with a retrospective insight into the history of the carnation in European culture, debunking several popular misconceptions, related to the flower’s history and name, which had been uncritically repeated over many decades. The ubiquity of wild carnations has contributed to the belief that, like the rose and the lily, the carnation has a two-thousand-year cultural history. Thus, it might be assumed that the carnation’s beauty and spicy aroma should have set it apart from other flowers, so that it might gradually acquire various symbolic meanings. Indeed, researchers and writers have often noted the ancient symbolism of the carnation. Moreover, both popular and academic writings place the carnation in the limited and well-defined set of plants cultivated in Antiquity. The research into the historical significance of the carnation shows that its oft-postulated antiquity is nothing but wishful thinking: the cultural history of the carnation as well as its symbolic meanings cannot be traced back as a single process from Antiquity to the Present. Until the 14th century, the carnation was referred to by many different names; its literary and symbolic genealogy can only be traced back to the 15 th or 16th century, i.e. when it was introduced into horticulture and when stable designations for it appeared in the new European languages. Our analysis draws on comparative material from Spanish, Italian, French, German, and English poetry (poems by Luis de Gongora y Argote, Francisco de Quevedo, Joachim du Bellay, Remy Belleau, Pierre de Ronsard, and others) and employs numerous multilingual sources to shed light on the history of the carnation in European languages and literatures. In addition, we briefly trace the horticultural history of the carnation in Russia. The garden carnation, or the clove pink, has been known in Russia at least since the 17th century. It was among the plants bought in Holland by the Flower Office of Peter the Great. In the 18th century, the carnation was already widespread in Russian gardens: numerous detailed articles about the carnation, its varieties and cultivations are found in botanical directories and various indexes of the late 18th century. The Alphabetical Catalogue of Plants <...> in Moscow in the Garden of the Active State Councillor Prokofy Demidov, published in 1786, lists 52 varieties of the carnation. Yet, however popular the carnation was in everyday life, it rarely appeared in Russian literature of the 17th and 18th centuries.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584791","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}
The article deals with the creative reception of a complex of motifs “sin - repentance - salvation” and the hero’s moral reflections that form the basis of Crime and Punishment and Fyodor Dostoevsky’s unfulfilled plan of a book about the “Great Sinner.” We analyze the works of several Russian and Hungarian authors of the 1960s-1990s. In Victor Pelevin’s novel Chapayev and Pustota, the hero involuntarily becomes a murderer. Instead of being exiled to Siberia, he ends up in a mental hospital, which functionally serves as a replacement for Raskolnikov’s “punishment” stage - a prison sentence. After leaving the hospital, the hero, who has not accepted the new reality, flees to a Buddhist monastery in Inner Mongolia to escape from the criminalized and dangerous modernity. The motifs of crime and failed repentance of the outsider writer are used by Vladimir Makanin in the novel The Underground or the Hero of Our Time. His hero recognizes Dostoevsky’s authority, projecting the novel’s situation onto his own. However, he rejects the need to repent the murders, since for him Raskolnikov’s story is an “alien” literary plot and a humiliation of his very “self.” The heroes of Limonov’s early prose constantly relate themselves to the marginal heroes and criminals of Dostoevsky. For them, the impossibility of repentance does not cancel the hero’s selfdoubt, his “state of hesitation” that determines, according to Dostoevsky, the behavior of the Great Sinner and Raskolnikov. In Russian prose of the 1990s, the text and plot allusions of which refer to Crime and Punishment, the main antihero is a writer and reader of Dostoevsky who tries on the situations and actions of Dostoevsky’s heroes, ultimately dismissing them as “alien” and “literary.” The classics of modern Hungarian literature, Janos Pilinszky and Miklos Meszoly, admitted that they literally lived inside Dostoevsky’s world. The novels of Meszoly of the 1960s, The Death of an Athlete and Saul, both tell the story of rebirth and conversion of two heroes - the runner Balint and the detective Saul. Balint is lonely and aspires to the absolute, a sports record, for which he is willing to sacrifice everything. He is similar to Dostoevsky’s sinner in his pridefulness. However, before his death, he ascends a mountain. The motifs that accompany his “spiritual ascent” point to the sacred symbolism of rebirth. The final change in the direction and purpose of running turns him into an “athleta Christi”, a repentant proud man. However, the plot of Saul does not follow the Bible to the end and finishes with Saul’s blinding, interrupting the biblical story and not representing his enlightenment as of the future Paul the Apostle. Similarly to Crime and Punishment, the novel unfolds around a murder - a “stoning” of the victim, Stephen the Apostle. Saul, like Raskolnikov, renounces his former self-identification and logic of the Law. The shock in both cases is the sin of murder, the internal experience of the crime. Saul
{"title":"Raskolnikov’s crime and repentance in Russian and Hungarian literature of the second half of the twentieth century","authors":"Valery V. Maroshi, G. Horváth","doi":"10.17223/24099554/18/9","DOIUrl":"https://doi.org/10.17223/24099554/18/9","url":null,"abstract":"The article deals with the creative reception of a complex of motifs “sin - repentance - salvation” and the hero’s moral reflections that form the basis of Crime and Punishment and Fyodor Dostoevsky’s unfulfilled plan of a book about the “Great Sinner.” We analyze the works of several Russian and Hungarian authors of the 1960s-1990s. In Victor Pelevin’s novel Chapayev and Pustota, the hero involuntarily becomes a murderer. Instead of being exiled to Siberia, he ends up in a mental hospital, which functionally serves as a replacement for Raskolnikov’s “punishment” stage - a prison sentence. After leaving the hospital, the hero, who has not accepted the new reality, flees to a Buddhist monastery in Inner Mongolia to escape from the criminalized and dangerous modernity. The motifs of crime and failed repentance of the outsider writer are used by Vladimir Makanin in the novel The Underground or the Hero of Our Time. His hero recognizes Dostoevsky’s authority, projecting the novel’s situation onto his own. However, he rejects the need to repent the murders, since for him Raskolnikov’s story is an “alien” literary plot and a humiliation of his very “self.” The heroes of Limonov’s early prose constantly relate themselves to the marginal heroes and criminals of Dostoevsky. For them, the impossibility of repentance does not cancel the hero’s selfdoubt, his “state of hesitation” that determines, according to Dostoevsky, the behavior of the Great Sinner and Raskolnikov. In Russian prose of the 1990s, the text and plot allusions of which refer to Crime and Punishment, the main antihero is a writer and reader of Dostoevsky who tries on the situations and actions of Dostoevsky’s heroes, ultimately dismissing them as “alien” and “literary.” The classics of modern Hungarian literature, Janos Pilinszky and Miklos Meszoly, admitted that they literally lived inside Dostoevsky’s world. The novels of Meszoly of the 1960s, The Death of an Athlete and Saul, both tell the story of rebirth and conversion of two heroes - the runner Balint and the detective Saul. Balint is lonely and aspires to the absolute, a sports record, for which he is willing to sacrifice everything. He is similar to Dostoevsky’s sinner in his pridefulness. However, before his death, he ascends a mountain. The motifs that accompany his “spiritual ascent” point to the sacred symbolism of rebirth. The final change in the direction and purpose of running turns him into an “athleta Christi”, a repentant proud man. However, the plot of Saul does not follow the Bible to the end and finishes with Saul’s blinding, interrupting the biblical story and not representing his enlightenment as of the future Paul the Apostle. Similarly to Crime and Punishment, the novel unfolds around a murder - a “stoning” of the victim, Stephen the Apostle. Saul, like Raskolnikov, renounces his former self-identification and logic of the Law. The shock in both cases is the sin of murder, the internal experience of the crime. Saul ","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"97 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585399","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}
The article provides a brief overview of the ideas about Islam and its adherents in Russian public thought of the 19th - early 20th centuries, as well as the policy of the Russian state in relation to this religion. Against this background, the characteristics given by Anton Chekhov to Muslim peoples at different stages of his work in prose and letters to friends and relatives are considered. Most often Chekhov’s works mention Turks, Tatars, Persians, less often Afghans, Circassians, Chechens, the Kirghiz. The development of the level of representation of an ethnic group is closely related to its estimated dynamics. If the ethnonym “Tatar” is often given a negative connotation, episodic characters in the writer’s stories are already devoid of negative characteristics, and the unnamed Tatar, the main character of the story “In Exile,” is a positive character. Contrasting his views with the egoistic anarchism of the exiled settler Semyon Chekhov in an artistic form embodies the idea of the opposition of individualism of the West and Eastern community. Chekhov’s experience of communication with real Muslims is reflected in the book Sakhalin Island and in his epistolary works. Objective assessments and respect for the Tatar people prevail here. In letters sent to relatives on the way to Sakhalin, Chekhov describes Volga and Siberian foreigners positively, as good, respectable, modest people “better than Russians,” according to a Russian assessor. In his texts, the writer actively used ethnonyms, ethnonymic adjectives, ethnophaulisms, ethnic stereotypes, images of representatives of Muslim peoples. The literary techniques Chekhov used to describe Muslim issues include ethnonymic synonyms and mixed ethnic, religious, class, and professional affiliations. When describing his characters, Chekhov pays much less attention to confessional differences in comparison with ethnic ones. In Islam itself, he sees no threat, but shares the popular opinion about the civilizational “backwardness” of the Muslim world. Asian stereotypes are represented by aggressive and wild Afghans, Persians, Circassians, and quite “decent Kyrgyz.” The characters’ traits largely depend on the genre of the work and the degree of detail of the image. The study of ethno-religious motifs in Chekhov’s works shows that his attitude to a person is always more positive than to a community, and the ethnic and confessional stereotypes he uses are grouped not so much around a nation, rather around an ethnonym (confessiononym). Such ethnic and confessional stereotypes can be classified as nominalistic, that is, they actively function in the culture, but lose their genetic connection with the corresponding community. The author declares no conflicts of interests.
{"title":"Muslims and the Muslim world in the works of Anton Chekhov","authors":"Yuri A. Shatunov","doi":"10.17223/24099554/18/15","DOIUrl":"https://doi.org/10.17223/24099554/18/15","url":null,"abstract":"The article provides a brief overview of the ideas about Islam and its adherents in Russian public thought of the 19th - early 20th centuries, as well as the policy of the Russian state in relation to this religion. Against this background, the characteristics given by Anton Chekhov to Muslim peoples at different stages of his work in prose and letters to friends and relatives are considered. Most often Chekhov’s works mention Turks, Tatars, Persians, less often Afghans, Circassians, Chechens, the Kirghiz. The development of the level of representation of an ethnic group is closely related to its estimated dynamics. If the ethnonym “Tatar” is often given a negative connotation, episodic characters in the writer’s stories are already devoid of negative characteristics, and the unnamed Tatar, the main character of the story “In Exile,” is a positive character. Contrasting his views with the egoistic anarchism of the exiled settler Semyon Chekhov in an artistic form embodies the idea of the opposition of individualism of the West and Eastern community. Chekhov’s experience of communication with real Muslims is reflected in the book Sakhalin Island and in his epistolary works. Objective assessments and respect for the Tatar people prevail here. In letters sent to relatives on the way to Sakhalin, Chekhov describes Volga and Siberian foreigners positively, as good, respectable, modest people “better than Russians,” according to a Russian assessor. In his texts, the writer actively used ethnonyms, ethnonymic adjectives, ethnophaulisms, ethnic stereotypes, images of representatives of Muslim peoples. The literary techniques Chekhov used to describe Muslim issues include ethnonymic synonyms and mixed ethnic, religious, class, and professional affiliations. When describing his characters, Chekhov pays much less attention to confessional differences in comparison with ethnic ones. In Islam itself, he sees no threat, but shares the popular opinion about the civilizational “backwardness” of the Muslim world. Asian stereotypes are represented by aggressive and wild Afghans, Persians, Circassians, and quite “decent Kyrgyz.” The characters’ traits largely depend on the genre of the work and the degree of detail of the image. The study of ethno-religious motifs in Chekhov’s works shows that his attitude to a person is always more positive than to a community, and the ethnic and confessional stereotypes he uses are grouped not so much around a nation, rather around an ethnonym (confessiononym). Such ethnic and confessional stereotypes can be classified as nominalistic, that is, they actively function in the culture, but lose their genetic connection with the corresponding community. The author declares no conflicts of interests.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585476","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}
Gogol’s works are very promising for the demarcation between the author’s attitude and the text’s idea and poetics that, usually, successively generate one another. However, Gogol’s attitude came from the archaic and normally could not become the text’s idea - including the motif of a marriage threat. In Evenings on a Farm Near Dikanka and Viy, this motif was part of the depicted folklore world and, thanks to it, was detached from the author. The motif spawns new ties between attitude, idea, and poetics in the comedy Marriage (1833, 1842). Here idea (satire on marriage-related estate swagger) is formally given, and so the motif of marriage threat (shown in Podkolesin’s indecision) goes beyond it and approves itself by contradiction. Kochkarev shows unconsciously in his praise of women the infinity of their bodies as the archaic background of Podkolesin’s attraction to and fear of marriage. This infinity comes from the Slavic belief that during menses the female body ties the people’s world with the underground world of the dead and the infinity of the Earth. The kinship between the woman and the animal, which is constantly voiced in the comedy, makes marriage shameful and transforms its diabolic symbolism into “devil’s laughter”. Placing the story of the failed marriage in the “non-Russian” Petersburg world (perceived by the Russian folk mind as a realized chimera), Gogol gives the hidden explanation of his fear of women personified in Podkolesin. At the very beginning of the comedy, the invasion of the real world by the chimeric one is manifested in “new mirrors” that show people their caricatures. The character’s obscene language is the sign of his high position in society (it is legitimated by the “sodomic” names); lies become an unconscious replacement of the truth, and the hyperbole approves the opposite. Zhevakin and Kochkarev reflect the succession of the archaic and laughter worlds in Marriage. The former represents the “alive deceased” and an old-Russian beggar; the latter a joker and a devil-matchmaker. The explicit and banal “idea” in Marriage is the starting point for the poetical expression of Gogol’s attitude. However, personifying it in the comical hero, who lives in a comical world, Gogol, like in Evenings on a Farm Near Dikanka and Viy (though in a different way), distanced himself from this attitude. Gogol’s late works show his own and hard-fought ideas. The archaic attitude was a fatal threat for them. The author declares no conflicts of interests.
{"title":"On the Demarcation Between Attitude and Poetics (On the Example of Marriage by Nikolai Gogol)","authors":"Alexander I. Ivanitskiy","doi":"10.17223/24099554/17/10","DOIUrl":"https://doi.org/10.17223/24099554/17/10","url":null,"abstract":"Gogol’s works are very promising for the demarcation between the author’s attitude and the text’s idea and poetics that, usually, successively generate one another. However, Gogol’s attitude came from the archaic and normally could not become the text’s idea - including the motif of a marriage threat. In Evenings on a Farm Near Dikanka and Viy, this motif was part of the depicted folklore world and, thanks to it, was detached from the author. The motif spawns new ties between attitude, idea, and poetics in the comedy Marriage (1833, 1842). Here idea (satire on marriage-related estate swagger) is formally given, and so the motif of marriage threat (shown in Podkolesin’s indecision) goes beyond it and approves itself by contradiction. Kochkarev shows unconsciously in his praise of women the infinity of their bodies as the archaic background of Podkolesin’s attraction to and fear of marriage. This infinity comes from the Slavic belief that during menses the female body ties the people’s world with the underground world of the dead and the infinity of the Earth. The kinship between the woman and the animal, which is constantly voiced in the comedy, makes marriage shameful and transforms its diabolic symbolism into “devil’s laughter”. Placing the story of the failed marriage in the “non-Russian” Petersburg world (perceived by the Russian folk mind as a realized chimera), Gogol gives the hidden explanation of his fear of women personified in Podkolesin. At the very beginning of the comedy, the invasion of the real world by the chimeric one is manifested in “new mirrors” that show people their caricatures. The character’s obscene language is the sign of his high position in society (it is legitimated by the “sodomic” names); lies become an unconscious replacement of the truth, and the hyperbole approves the opposite. Zhevakin and Kochkarev reflect the succession of the archaic and laughter worlds in Marriage. The former represents the “alive deceased” and an old-Russian beggar; the latter a joker and a devil-matchmaker. The explicit and banal “idea” in Marriage is the starting point for the poetical expression of Gogol’s attitude. However, personifying it in the comical hero, who lives in a comical world, Gogol, like in Evenings on a Farm Near Dikanka and Viy (though in a different way), distanced himself from this attitude. Gogol’s late works show his own and hard-fought ideas. The archaic attitude was a fatal threat for them. The author declares no conflicts of interests.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584938","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}
The article analyses the research conception of the new academic A History of Ural Literature. Attention is focused on the original methodological approaches to the construction of the 19th century literary history of the region: attitude to the general Russian literary process, modelling of historical and geographical dynamics, account of the multinationality and types of literary systems (folklore, medieval literature, literature of the new European type).
{"title":"Regional literary history as an object and construct (Book Review: Sozina, E.K. (Ed.) (2021) IstoriyaLiteratury Urala. XIX Vek: V2 Kn. [A History of Ural Literature. 19th Century: In 2 Books]. Moscow: Izdatelskiy Dom YaSK)","authors":"V. Kiselev","doi":"10.17223/24099554/16/17","DOIUrl":"https://doi.org/10.17223/24099554/16/17","url":null,"abstract":"The article analyses the research conception of the new academic A History of Ural Literature. Attention is focused on the original methodological approaches to the construction of the 19th century literary history of the region: attitude to the general Russian literary process, modelling of historical and geographical dynamics, account of the multinationality and types of literary systems (folklore, medieval literature, literature of the new European type).","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584971","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}
The paper explores Isaac Newton’s understanding of the origins of historical imagology. In his study of imagology as practice, Newton proved to be not only a historian and natural philosopher, but also as a mythographer. He attempted a comprehensive taxonomic and chronological analysis of the pagan (gentile) deities of the ancient Mediterranean peoples. From Newton’s point of view, pagan religions, myths and poetry associated with them, were the foundations of historical imagology as a practice of interpreting the images of “foreign peoples” in the ancient world. The paper contains commented fragments of the author’s translation from Latin into Russian of a number of Newton’s archival works on mythography and the origins of imagology. The translation from Latin into Russian is made for the first time. The author declares no conflicts of interests.
{"title":"At the Origins of Historical Imagology: Isaac Newton’s Nature-Philosophical Mythography. Translation and Commentaries","authors":"K. Sharov","doi":"10.17223/24099554/17/8","DOIUrl":"https://doi.org/10.17223/24099554/17/8","url":null,"abstract":"The paper explores Isaac Newton’s understanding of the origins of historical imagology. In his study of imagology as practice, Newton proved to be not only a historian and natural philosopher, but also as a mythographer. He attempted a comprehensive taxonomic and chronological analysis of the pagan (gentile) deities of the ancient Mediterranean peoples. From Newton’s point of view, pagan religions, myths and poetry associated with them, were the foundations of historical imagology as a practice of interpreting the images of “foreign peoples” in the ancient world. The paper contains commented fragments of the author’s translation from Latin into Russian of a number of Newton’s archival works on mythography and the origins of imagology. The translation from Latin into Russian is made for the first time. The author declares no conflicts of interests.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585301","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}
For the first time in the national literary studies, the article examines the book of travel notes Russia and Russians (1882) by the French writer Victor Tissot (1845-1917). Tissot’s travel notes on Russia are considered in the context of Russian-French relations at the turn of the 20th century, Russia’s growing interest in France on the eve of the conclusion of the Russian-French alliance. The article proves that the basic opposition constructing the image of Russia in Tissot’s book is the opposition of Russia and Ukraine. Tissot poetizes the image of Little Russia (which is understood not without the influence of ideas of Adam Miczkevich and Cyprien Robert) as the custodian of the original “Slavicness.” Despite the poetization of Ukraine, Tissot considered Moscow the true center of the Russian Empire, the city expressing the spirit of the country. The influence on Tissot’s travel notes about Russia by Theophile Gautier, impressionism, the traditions of Germaine de Stael is shown. Tissot sought to contrast the tradition of Gautier’s “aestheticized” discourse about about Russia with a more “realistic” image of Moscow and Russia by expanding the scope of the depicted, by describing not only the ceremonial, but also the shadow life of Moscow and Russia. The characteristic feature of Tissot’s poetics is the combination of aesthetics with macabre and gothic elements in the structure of the image of Russia. The article concludes that Tissot made a significant contribution to the destruction of the myth of Russia’s closedness, created by Custine and the Paris press, and to the generation of a generally positive image of Russia on the eve of the conclusion of the Russian-French alliance. The author declares no conflicts of interests.
{"title":"Travel notes Russia and Russians by Victor Tissot in the context of Russian-French relations at the turn of the 20th century","authors":"V. Trykov","doi":"10.17223/24099554/18/14","DOIUrl":"https://doi.org/10.17223/24099554/18/14","url":null,"abstract":"For the first time in the national literary studies, the article examines the book of travel notes Russia and Russians (1882) by the French writer Victor Tissot (1845-1917). Tissot’s travel notes on Russia are considered in the context of Russian-French relations at the turn of the 20th century, Russia’s growing interest in France on the eve of the conclusion of the Russian-French alliance. The article proves that the basic opposition constructing the image of Russia in Tissot’s book is the opposition of Russia and Ukraine. Tissot poetizes the image of Little Russia (which is understood not without the influence of ideas of Adam Miczkevich and Cyprien Robert) as the custodian of the original “Slavicness.” Despite the poetization of Ukraine, Tissot considered Moscow the true center of the Russian Empire, the city expressing the spirit of the country. The influence on Tissot’s travel notes about Russia by Theophile Gautier, impressionism, the traditions of Germaine de Stael is shown. Tissot sought to contrast the tradition of Gautier’s “aestheticized” discourse about about Russia with a more “realistic” image of Moscow and Russia by expanding the scope of the depicted, by describing not only the ceremonial, but also the shadow life of Moscow and Russia. The characteristic feature of Tissot’s poetics is the combination of aesthetics with macabre and gothic elements in the structure of the image of Russia. The article concludes that Tissot made a significant contribution to the destruction of the myth of Russia’s closedness, created by Custine and the Paris press, and to the generation of a generally positive image of Russia on the eve of the conclusion of the Russian-French alliance. The author declares no conflicts of interests.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585442","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}
The article develops the problem of Ivan Turgenev’s perception of Walter Scott’s non-historical novel SaintRonan’s Well (1824) with the focus on the comparative study of Turgenev’s ClaraMilich (1883), whose composition reflects Walter Scott’s motifs and images. Forty years after reading Saint Ronan’s Well in the original, Turgenev turns to it within the framework of his own plan. In Clara Milich, the English novel and its author are brought into focus of deep artistic reflection. Turgenev’s Clara Milich genetically ascends to Walter Scott’s Clara Mowbray, which proves that Turgenev creatively interacted with the English novel. The dialogue between the two authors is mediated by William Shakespeare. Following the logic of the English novel, steadily leading to a dramatic denouement, Turgenev creates a brief story of a woman’s loving soul, yearning for sincere understanding and responsiveness, yet doomed to death. Taking Walter Scott’s novel as a model, Turgenev draws a parallel between Clara Minich’s life and the tragedy of Shakespeare’s Ophelia, putting the main mail character in the position of Hamlet. Twice compared to Shakespeare’s heroine, Scott’s Clara Mowbray repeats Ophelia’s suffering path in its pivotal points: collapse of happiness in love - loss of a lover -madness due to the experienced shock - death resulting from melancholy and madness. Turgenev gives no direct textual references to Ophelia, but transfers the essential elements of this image to his Clara Milich, which manifests not only in the motif of madness, but also in the general design of the tragic love story. A theatrical production in Saint Ronan is based on A Midsummer Night’s Dream - the story of Athenian lovers parallels the collision of Tyrrel and Clara. Tugenev’s epic also includes a play with similar overtones: a small performance about a tragedy of love is arranged in the house of the Georgian princess. Like Walter Scott, Turgenev uses the metaphor “all the world’s a stage” to create a narrative subtext that enhances and deepens the human drama. Following Scott, Turgenev accepts Shakespeare’s concept of the tragic state of the world and, in order to unfold the tragedy of the human, introduces a fantastic element into the story in a similar vein. For Turgenev’s Aratov, the intrusion of the unreal leads to admitting his guilt and, at the same time, reveals a hitherto unknown feeling. However, like Shakespeare and unlike Scott, Turgenev uses the otherworldly image not only as a sign of disaster, but also as the hero’s hope for an imaginary salvation. The author declares no conflicts of interests.
{"title":"The tradition of Walter Scott in the work of Ivan Turgenev: SaintRonan's Well and Clara Milic","authors":"Ivan O. Volkov","doi":"10.17223/24099554/17/2","DOIUrl":"https://doi.org/10.17223/24099554/17/2","url":null,"abstract":"The article develops the problem of Ivan Turgenev’s perception of Walter Scott’s non-historical novel SaintRonan’s Well (1824) with the focus on the comparative study of Turgenev’s ClaraMilich (1883), whose composition reflects Walter Scott’s motifs and images. Forty years after reading Saint Ronan’s Well in the original, Turgenev turns to it within the framework of his own plan. In Clara Milich, the English novel and its author are brought into focus of deep artistic reflection. Turgenev’s Clara Milich genetically ascends to Walter Scott’s Clara Mowbray, which proves that Turgenev creatively interacted with the English novel. The dialogue between the two authors is mediated by William Shakespeare. Following the logic of the English novel, steadily leading to a dramatic denouement, Turgenev creates a brief story of a woman’s loving soul, yearning for sincere understanding and responsiveness, yet doomed to death. Taking Walter Scott’s novel as a model, Turgenev draws a parallel between Clara Minich’s life and the tragedy of Shakespeare’s Ophelia, putting the main mail character in the position of Hamlet. Twice compared to Shakespeare’s heroine, Scott’s Clara Mowbray repeats Ophelia’s suffering path in its pivotal points: collapse of happiness in love - loss of a lover -madness due to the experienced shock - death resulting from melancholy and madness. Turgenev gives no direct textual references to Ophelia, but transfers the essential elements of this image to his Clara Milich, which manifests not only in the motif of madness, but also in the general design of the tragic love story. A theatrical production in Saint Ronan is based on A Midsummer Night’s Dream - the story of Athenian lovers parallels the collision of Tyrrel and Clara. Tugenev’s epic also includes a play with similar overtones: a small performance about a tragedy of love is arranged in the house of the Georgian princess. Like Walter Scott, Turgenev uses the metaphor “all the world’s a stage” to create a narrative subtext that enhances and deepens the human drama. Following Scott, Turgenev accepts Shakespeare’s concept of the tragic state of the world and, in order to unfold the tragedy of the human, introduces a fantastic element into the story in a similar vein. For Turgenev’s Aratov, the intrusion of the unreal leads to admitting his guilt and, at the same time, reveals a hitherto unknown feeling. However, like Shakespeare and unlike Scott, Turgenev uses the otherworldly image not only as a sign of disaster, but also as the hero’s hope for an imaginary salvation. The author declares no conflicts of interests.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585587","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}
The article attributes the work as to be created by Vasily Zhukovsky - the fact that was doubted by researchers for many decades. The article publishes an excerpt from a letter from Dmitry Bludov to Zhukovsky, which is the only surviving evidence in Zhukovsky’s epistolary about his translation of Godefridus Bernardus van Swieten’s libretto to Joseph Haydn’s oratorio The Seasons in 1802. The translation was commissioned to Zhukovsky by Ivan Kerzelli, the brandmaster of the Petrovsky Theater, for the premiere in Moscow in February 1803. The article highlights the history of the anonymously published translation of the libretto entitled Four Seasons, later included in the bibliography of Vasily Sopikov with the translator’s surname and an error in the year of publication. The article gives a detailed stylistic analysis of Zhukovsky’s translation. The author is grateful to K.Yu. Lappo-Danilevsky for participating in the discussion of the results of the work on Zhukovsky’s translation considered in the article. The author declares no conflicts of interests.
{"title":"Translated libretto of Joseph Haydn’s oratorio The Seasons -an unknown work by Vasily Zhukovsky","authors":"S. Berezkina","doi":"10.17223/24099554/18/2","DOIUrl":"https://doi.org/10.17223/24099554/18/2","url":null,"abstract":"The article attributes the work as to be created by Vasily Zhukovsky - the fact that was doubted by researchers for many decades. The article publishes an excerpt from a letter from Dmitry Bludov to Zhukovsky, which is the only surviving evidence in Zhukovsky’s epistolary about his translation of Godefridus Bernardus van Swieten’s libretto to Joseph Haydn’s oratorio The Seasons in 1802. The translation was commissioned to Zhukovsky by Ivan Kerzelli, the brandmaster of the Petrovsky Theater, for the premiere in Moscow in February 1803. The article highlights the history of the anonymously published translation of the libretto entitled Four Seasons, later included in the bibliography of Vasily Sopikov with the translator’s surname and an error in the year of publication. The article gives a detailed stylistic analysis of Zhukovsky’s translation. The author is grateful to K.Yu. Lappo-Danilevsky for participating in the discussion of the results of the work on Zhukovsky’s translation considered in the article. The author declares no conflicts of interests.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585667","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}
The article explores the water sphere of the Altai text (with the exception of lakes). The research methodology is based on works on local supertexts by representatives of the Tartu-Moscow school, as well as adherents of the geocultural and geopoetic approach. A range of motifs and images based on the real qualities of the object under study, on cultural tradition, and on archetypal foundations is revealed. The Katun and the Biya differ in their origin, color of water, specific flow, and sound. In a work of fiction, all the real characteristics of these and other Altai rivers often underlie the metaphor of personification. The formation of one of the main rivers of Siberia, the Ob, by the confluence of the Katun and the Biya, is reflected in literature through a visual image - the color difference between two rivers in the channel of the third, and an anthropomorphic image - the union / conflict of a man and a woman, two women. Chuyskiy Trakt is an analogue of the Chuya and the Katun. The white color of the mountain rivers is identified with milk and gray hair, giving rise to zoomorphic and anthropomorphic metaphors. The noise of the mountain rivers is interpreted as the cry of the beast, crying and speech, including artistic and human ones. The flow of water is associated with the passage of time, a turbulent current with a difficult historical moment, the immutability of the flow with eternity. Especially frequent is the chronotope of a river crossing associated with a crisis moment in the life of a person and/or society. Metonymic substitutions of a river and a crossing according to the pars pro toto principle, and vice versa, are based on a borderline - a feature common for them. The border concentrates around itself plots related to the implementation/impossibility of contact, changes. Therefore, not only the crossing of the river, but also the path along the river is accompanied by corresponding events. Swimming in the river is endowed with adventurous, epistemological, aesthetic functions. Rivers allow differentiating space and navigating in it. Small rivers are usually associated with the concepts of homeland and childhood. The noted semantics are universal for the most part. The territorial attachment of these meanings arises due to toponymic markers. The author declares no conflicts of interests.
本文探讨了阿尔泰文本的水圈(湖泊除外)。研究方法基于塔尔图-莫斯科学派代表以及地理文化和地理方法的追随者对当地超文本的研究。揭示了一系列基于被研究对象的真实品质、文化传统和原型基础的母题和图像。卡顿河和比亚河在起源、水的颜色、水流和声音上都有所不同。在小说作品中，这些河流和其他阿尔泰河流的所有真实特征往往是拟人化隐喻的基础。卡顿河和比亚河汇合处形成了西伯利亚的主要河流之一鄂毕河，这在文学中通过一种视觉形象——第三条河流中两条河流的颜色差异，以及一种拟人化的形象——一男一女的结合/冲突，两个女人。chuysky轨道是Chuya和Katun轨道的类似物。山间河流的白色被认为是牛奶和白发，由此产生了兽形和拟人的隐喻。山间河流的声音被解释为野兽的哭声，哭声和言语，包括艺术和人类的哭声。水的流动与时间的流逝有关，湍流与艰难的历史时刻有关，流动的不变与永恒有关。尤其常见的是与个人和/或社会生活中的危机时刻有关的过河的时标。河流和渡口的转喻替换根据pars pro to原则，反之亦然，都是基于边界-这是它们共同的特征。边界集中在自身周围，与接触和变化的实现/不可能相关。因此，不仅是渡河，沿河的路径也都伴随着相应的事件。在河中游泳具有冒险、认识论和审美的功能。河流可以区分空间并在其中航行。小河通常与家园和童年的概念联系在一起。上面提到的语义在很大程度上是通用的。这些意义的地域依恋是由地名标记引起的。作者声明没有利益冲突。
{"title":"Altai Hydropoetics: Rivers","authors":"T. Bogumil","doi":"10.17223/24099554/17/14","DOIUrl":"https://doi.org/10.17223/24099554/17/14","url":null,"abstract":"The article explores the water sphere of the Altai text (with the exception of lakes). The research methodology is based on works on local supertexts by representatives of the Tartu-Moscow school, as well as adherents of the geocultural and geopoetic approach. A range of motifs and images based on the real qualities of the object under study, on cultural tradition, and on archetypal foundations is revealed. The Katun and the Biya differ in their origin, color of water, specific flow, and sound. In a work of fiction, all the real characteristics of these and other Altai rivers often underlie the metaphor of personification. The formation of one of the main rivers of Siberia, the Ob, by the confluence of the Katun and the Biya, is reflected in literature through a visual image - the color difference between two rivers in the channel of the third, and an anthropomorphic image - the union / conflict of a man and a woman, two women. Chuyskiy Trakt is an analogue of the Chuya and the Katun. The white color of the mountain rivers is identified with milk and gray hair, giving rise to zoomorphic and anthropomorphic metaphors. The noise of the mountain rivers is interpreted as the cry of the beast, crying and speech, including artistic and human ones. The flow of water is associated with the passage of time, a turbulent current with a difficult historical moment, the immutability of the flow with eternity. Especially frequent is the chronotope of a river crossing associated with a crisis moment in the life of a person and/or society. Metonymic substitutions of a river and a crossing according to the pars pro toto principle, and vice versa, are based on a borderline - a feature common for them. The border concentrates around itself plots related to the implementation/impossibility of contact, changes. Therefore, not only the crossing of the river, but also the path along the river is accompanied by corresponding events. Swimming in the river is endowed with adventurous, epistemological, aesthetic functions. Rivers allow differentiating space and navigating in it. Small rivers are usually associated with the concepts of homeland and childhood. The noted semantics are universal for the most part. The territorial attachment of these meanings arises due to toponymic markers. The author declares no conflicts of interests.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584815","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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