Since the end of the 18th century, the so-called “Eastern question” has become one of the key issues in international relations of Eastern European countries and in the Middle East. The “Eastern question” for most Russians was primarily a “Slavic” question. The progressive part of Russia considered the development of the national liberation movement of the Balkan peoples from Turkish enslavement as the most important moral support of Russia’s foreign policy. The participation of writers in the coverage of the Slavic question made the political situation nationwide. One of these writers, who consistently defended the interests of the Slavic peoples in the fight against their oppression by Turkey for many years, was Egor Petrovich Kovalevsky. This article explores Kovalevsky’s role in solving the Slavic question. This role was manifested in his diplomatic activities and expressed in his writings, as well as his influence on the reflection of the Slavic problem in works of writers of the second half of the 19th century. The main result of Kovalevsky’s stay in the Balkans was his literary works. The essays Four Months in Montenegro (1841), which earned him the fame of a “Montenegro Columbus”, introduced Kovalevsky as a writer to readers. Interest in the lifestyle and socio-historical structure of the “Slav brothers” was also reflected in the 3rd and 4th parts of The Wanderer by Land and Sea: “The Carpathians” (1845), “The Lower Danube and the Balkans” (1849). “The Life and Death of the Last Ruler of Montenegro, and the Events That Followed” (1854), “Travel Notes on the Slavic Lands” (1859), “An Episode From the War of Montenegrins with Austrians” (1864) - all these works are interesting not only from the point of view of the Slavic question and its influence on the socio-political thought in Russia, but also from an artistic point of view. The main problem that Kovalevsky raises in his works is the problem of the nation. The national identity of Montenegrins is shown in their struggle for independence against the Turkish yoke. Defending their right to the Orthodox faith, they heroically fight with all those who encroach on their freedom. Four Months in Montenegro is the first work in the cycle about the Slavic lands that raises these questions. Episodes of the historical confrontation between Turkey and Montenegro - Christians and Muslims - run through the entire work. In Kovalevsky’s narrative, imbued with both realistic details of Montenegrins’ life and customs description in the spirit of the “natural school”, and a romantic perception of their way of life, the reader gets acquainted with the customs of the Asian tribe. Kovalevsky’s book Four Months in Montenegro increased interest in the Slavic question and brought it closer to the progressive circles of society. Appointment as director of the Asian Department allowed Kovalevsky to consistently pursue a policy that meets the interests of the Slavic world. Kovalevsky’s works had a direct and indir
{"title":"The Slavic Question (The National and the Imperial) in the Reception of Egor Kovalevsky","authors":"E. V. Aleksandrova","doi":"10.17223/24099554/17/11","DOIUrl":"https://doi.org/10.17223/24099554/17/11","url":null,"abstract":"Since the end of the 18th century, the so-called “Eastern question” has become one of the key issues in international relations of Eastern European countries and in the Middle East. The “Eastern question” for most Russians was primarily a “Slavic” question. The progressive part of Russia considered the development of the national liberation movement of the Balkan peoples from Turkish enslavement as the most important moral support of Russia’s foreign policy. The participation of writers in the coverage of the Slavic question made the political situation nationwide. One of these writers, who consistently defended the interests of the Slavic peoples in the fight against their oppression by Turkey for many years, was Egor Petrovich Kovalevsky. This article explores Kovalevsky’s role in solving the Slavic question. This role was manifested in his diplomatic activities and expressed in his writings, as well as his influence on the reflection of the Slavic problem in works of writers of the second half of the 19th century. The main result of Kovalevsky’s stay in the Balkans was his literary works. The essays Four Months in Montenegro (1841), which earned him the fame of a “Montenegro Columbus”, introduced Kovalevsky as a writer to readers. Interest in the lifestyle and socio-historical structure of the “Slav brothers” was also reflected in the 3rd and 4th parts of The Wanderer by Land and Sea: “The Carpathians” (1845), “The Lower Danube and the Balkans” (1849). “The Life and Death of the Last Ruler of Montenegro, and the Events That Followed” (1854), “Travel Notes on the Slavic Lands” (1859), “An Episode From the War of Montenegrins with Austrians” (1864) - all these works are interesting not only from the point of view of the Slavic question and its influence on the socio-political thought in Russia, but also from an artistic point of view. The main problem that Kovalevsky raises in his works is the problem of the nation. The national identity of Montenegrins is shown in their struggle for independence against the Turkish yoke. Defending their right to the Orthodox faith, they heroically fight with all those who encroach on their freedom. Four Months in Montenegro is the first work in the cycle about the Slavic lands that raises these questions. Episodes of the historical confrontation between Turkey and Montenegro - Christians and Muslims - run through the entire work. In Kovalevsky’s narrative, imbued with both realistic details of Montenegrins’ life and customs description in the spirit of the “natural school”, and a romantic perception of their way of life, the reader gets acquainted with the customs of the Asian tribe. Kovalevsky’s book Four Months in Montenegro increased interest in the Slavic question and brought it closer to the progressive circles of society. Appointment as director of the Asian Department allowed Kovalevsky to consistently pursue a policy that meets the interests of the Slavic world. Kovalevsky’s works had a direct and indir","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":"67585199","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}
This essay investigates the parallels between Fyodor Dostoevsky’s The Idiot and Jose Rizal’s Noli me tangere. The focus is typological parallels: authors living in Europe describe a character returning from Europe to his own country. In both novels, the protagonist’s love for his country leads him on a saving mission, which ultimately fails, due to the overwhelming power of death and violence. For both Dostoevsky and Rizal, it remains open whether there could be salvation. Therefore, they use carnivalesque polyphony as their means of expression. The author declares no conflicts of interests.
{"title":"The protagonist and his country: A comparative reading of Fyodor Dostoevsky’s The Idiot and Jose Rizal’s Noli me tangere","authors":"S. Lipke","doi":"10.17223/24099554/18/4","DOIUrl":"https://doi.org/10.17223/24099554/18/4","url":null,"abstract":"This essay investigates the parallels between Fyodor Dostoevsky’s The Idiot and Jose Rizal’s Noli me tangere. The focus is typological parallels: authors living in Europe describe a character returning from Europe to his own country. In both novels, the protagonist’s love for his country leads him on a saving mission, which ultimately fails, due to the overwhelming power of death and violence. For both Dostoevsky and Rizal, it remains open whether there could be salvation. Therefore, they use carnivalesque polyphony as their means of expression. 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":"67585247","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}
This article focuses on the images of the Eternal Feminine, which are pivotal in Vyacheslav Ivanov’s system of aesthetic and religious views and in the symbolic motifs of theophany connected with it. Theophany in this case means the manifestation of deity in a sensible form in Ivanov’s poetry, philosophical and critical essays, and diaries at different periods of his life. The concept is largely based on the medieval Christian theosophy: “the soul sees God in a dream, sees in a mirror and divination, and not face to face” (Bernard of Clairvaux). Therefore, according to Russian and American historian and art theorist Mikhail Iampolski, the more accurate the mirror, “the less it reflects to us in terms of form and meaning.” The authors hypothesize that the two Ivanov’s collections of poems Kormchiye zvyozdy [Pilot Stars] (19021903) and Prozrachnost’ [Translucency] (1904) connected by one lyrical meta-plot of mystical revelation and theophany show how the Eternal Feminine images gradually become intangible and impalpable. The anthropomorphic image of the Eternal Feminine, having its own attributes and acting as the subject of speech, loses its outlines and, as it were, dissolves into the world. In this sense, two images, the Beauty and the Translucency, can be contrasted. The first image is the central for Kormchiye zvyozdy, the second - for Prozrachnost’. The Beauty can be through ekphrasis (works by Leonardo, Botticelli, Raphael, etc.) and appear in contemplation. Translucency is active and transforms the world, but it is not personified, devoid of a voice. It is an elusive movement, a quality of the transformed world and at the same time an acting subject, signifying the appearance of Sophia in the world. The analysis of the collections has demonstrated that the general metaplot of theophany has an introduction and development. It is integral and implies a certain author’s strategy as well as its conceptual aesthetic and philosophical foundations. Drawing on Ivanov’s own views on the suggestive functions of the poetry of symbolism (“we, symbolists, do not exist - if there are no symbolist listeners” (“Thoughts on Symbolism”)), the authors assume that not Ivanov’s lyrical hero, but his attentive reader approaches the transcendent world over the course of two books, including through the transformation of Eternally Feminine images. That is, Ivanov puts into practice his own concept of the “realistic” (that is, truly symbolist) type of artistic creativity. The authors declare no conflicts of interests.
{"title":"Poetics of theophany in Kormchiye zvyozdy (1902-1903) and Prozrachnost’ (1904) by Vyacheslav Ivanov: Transformations of Eternal Feminine images","authors":"L. Mashtakova, E. Sozina","doi":"10.17223/24099554/18/5","DOIUrl":"https://doi.org/10.17223/24099554/18/5","url":null,"abstract":"This article focuses on the images of the Eternal Feminine, which are pivotal in Vyacheslav Ivanov’s system of aesthetic and religious views and in the symbolic motifs of theophany connected with it. Theophany in this case means the manifestation of deity in a sensible form in Ivanov’s poetry, philosophical and critical essays, and diaries at different periods of his life. The concept is largely based on the medieval Christian theosophy: “the soul sees God in a dream, sees in a mirror and divination, and not face to face” (Bernard of Clairvaux). Therefore, according to Russian and American historian and art theorist Mikhail Iampolski, the more accurate the mirror, “the less it reflects to us in terms of form and meaning.” The authors hypothesize that the two Ivanov’s collections of poems Kormchiye zvyozdy [Pilot Stars] (19021903) and Prozrachnost’ [Translucency] (1904) connected by one lyrical meta-plot of mystical revelation and theophany show how the Eternal Feminine images gradually become intangible and impalpable. The anthropomorphic image of the Eternal Feminine, having its own attributes and acting as the subject of speech, loses its outlines and, as it were, dissolves into the world. In this sense, two images, the Beauty and the Translucency, can be contrasted. The first image is the central for Kormchiye zvyozdy, the second - for Prozrachnost’. The Beauty can be through ekphrasis (works by Leonardo, Botticelli, Raphael, etc.) and appear in contemplation. Translucency is active and transforms the world, but it is not personified, devoid of a voice. It is an elusive movement, a quality of the transformed world and at the same time an acting subject, signifying the appearance of Sophia in the world. The analysis of the collections has demonstrated that the general metaplot of theophany has an introduction and development. It is integral and implies a certain author’s strategy as well as its conceptual aesthetic and philosophical foundations. Drawing on Ivanov’s own views on the suggestive functions of the poetry of symbolism (“we, symbolists, do not exist - if there are no symbolist listeners” (“Thoughts on Symbolism”)), the authors assume that not Ivanov’s lyrical hero, but his attentive reader approaches the transcendent world over the course of two books, including through the transformation of Eternally Feminine images. That is, Ivanov puts into practice his own concept of the “realistic” (that is, truly symbolist) type of artistic creativity. The authors declare no conflicts of interests.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"56 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585259","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 various types of the imaginal-geographic space of East Prussia, represented in Andrey Bolotov’s memoirs Andrey Bolotov ’s Life and Adventures, Written by Himself for His Descendants. These space types are structured according to their relations with the elements of the oppositions “center - periphery” and “adventurous-mortal - idyllic.” The center of the “Prussian” space in the text is Koenigsberg with its surrounding grounds, and the periphery is the rest of the East Prussian loci - natural, demi-natural-rural and urbanistic. In this logic, both peripherical and central local images can be connected with the adventurous-mortal and the idyllic space, though to a different extent, which makes the “Prussian” space images of the memoirs ambivalent. The adventurous-mortal space consists of the loci of war (enemy border, battle field, ravaged villages and towns, etc.) as well as territories connected with the narrator’s leaving the center (sailing far, going to a secret mission, traveling home through the Curonian Lagoon), which actualizes motifs of danger, doom, mischief, death. The adventurous and mortal features are essentially “softer” in the frames of Koenigsberg. Firstly, the unrest of Bolotnov’s life in the Prussian capital is connected with the danger of coming back against his will to the space of war, which can result in death, mutilation, etc. Secondly, there are some spaces in the city that can cause his spiritual death. On the one hand, these are “tavern” loci connected with motifs of venal love, excessive drinking, gambling games. On the other hand, the potential danger can come from the University of Koenigsberg and some books in local bookstalls. This danger is connected with the motif of a “wrong” philosophy that leads to libertinism and atheism. Finally, the “softest” danger can come from the inconvenient space (uninhabited, almost scary storage blocks as well as medieval buildings negatively marked with motifs of narrowness, darkness, crookedness of streets and bad smells from the dropped litter). The idyllic spaces are some loci of Prussian villages and towns untouched by the war and characterized with motifs of peaceful life, abundance, order, cosiness, petiteness, and a high density of population. The point of the concentrated idyll in Bolotov’s text is Koeningsberg as the center of the “Prussian” chronotope. The descriptions of Koenigsberg actualize the motifs of visual beauty, order, cosiness, abundance and splendor, but at the same time of some harmonic avoidance of extremes. In addition, the image of the Prussian capital contains features of a city of gaieties, the historical locus and the “initiating” place of knowledge. The author declares no conflicts of interests
{"title":"The imaginal-geographic space of East Prussia (based on Andrey Bolotov’s memoirs)","authors":"S. Zhdanov","doi":"10.17223/24099554/18/11","DOIUrl":"https://doi.org/10.17223/24099554/18/11","url":null,"abstract":"The article deals with various types of the imaginal-geographic space of East Prussia, represented in Andrey Bolotov’s memoirs Andrey Bolotov ’s Life and Adventures, Written by Himself for His Descendants. These space types are structured according to their relations with the elements of the oppositions “center - periphery” and “adventurous-mortal - idyllic.” The center of the “Prussian” space in the text is Koenigsberg with its surrounding grounds, and the periphery is the rest of the East Prussian loci - natural, demi-natural-rural and urbanistic. In this logic, both peripherical and central local images can be connected with the adventurous-mortal and the idyllic space, though to a different extent, which makes the “Prussian” space images of the memoirs ambivalent. The adventurous-mortal space consists of the loci of war (enemy border, battle field, ravaged villages and towns, etc.) as well as territories connected with the narrator’s leaving the center (sailing far, going to a secret mission, traveling home through the Curonian Lagoon), which actualizes motifs of danger, doom, mischief, death. The adventurous and mortal features are essentially “softer” in the frames of Koenigsberg. Firstly, the unrest of Bolotnov’s life in the Prussian capital is connected with the danger of coming back against his will to the space of war, which can result in death, mutilation, etc. Secondly, there are some spaces in the city that can cause his spiritual death. On the one hand, these are “tavern” loci connected with motifs of venal love, excessive drinking, gambling games. On the other hand, the potential danger can come from the University of Koenigsberg and some books in local bookstalls. This danger is connected with the motif of a “wrong” philosophy that leads to libertinism and atheism. Finally, the “softest” danger can come from the inconvenient space (uninhabited, almost scary storage blocks as well as medieval buildings negatively marked with motifs of narrowness, darkness, crookedness of streets and bad smells from the dropped litter). The idyllic spaces are some loci of Prussian villages and towns untouched by the war and characterized with motifs of peaceful life, abundance, order, cosiness, petiteness, and a high density of population. The point of the concentrated idyll in Bolotov’s text is Koeningsberg as the center of the “Prussian” chronotope. The descriptions of Koenigsberg actualize the motifs of visual beauty, order, cosiness, abundance and splendor, but at the same time of some harmonic avoidance of extremes. In addition, the image of the Prussian capital contains features of a city of gaieties, the historical locus and the “initiating” place of knowledge. 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":"67585387","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 presents a comprehensive analysis of the evolution of perception by Leo Tolstoy and Ivan Turgenev of the French and their society. The writers adopted different models of perception through factors such as personality, communication skills, and worldviews. With all the similarities, Tolstoy, a “Russian foreigner,” emphasized the differences between the two cultures, and Turgenev, a “Russian European,” strove to find a common language between them. The authors declare no conflicts of interests.
{"title":"The “Russian foreigner” Leo Tolstoy and the “Russian European” Ivan Turgenev: Their perception of the French society","authors":"Anastasia S. Goncharova, Yury G. Chernyshov","doi":"10.17223/24099554/18/13","DOIUrl":"https://doi.org/10.17223/24099554/18/13","url":null,"abstract":"The article presents a comprehensive analysis of the evolution of perception by Leo Tolstoy and Ivan Turgenev of the French and their society. The writers adopted different models of perception through factors such as personality, communication skills, and worldviews. With all the similarities, Tolstoy, a “Russian foreigner,” emphasized the differences between the two cultures, and Turgenev, a “Russian European,” strove to find a common language between them. The authors declare 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":"67585432","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 considers the spatial opposition in the novel Brisbane by Eugene Vodolazkin. The spatial opposition “Russia - other countries” for the character first appears in Leningrad, when he studies at university. This opposition is at first somewhat illusory in its nature. The “Russia - Germany” opposition is an invariant of the “Russia - other countries” spatial opposition and also appears in the story during Gleb’s studies at university. The so-called “German” for Gleb is primarily associated with Katarina, later Katya - the name she took out of respect for the Russian roots of Gleb, as well as with the echoes of World War II, which sound muted, sometimes conciliatory. The “German” in the novel is also embodied in cultural onomasticon. The spatial opposition “Russia - Italy” occupies a somewhat more modest place than the opposition “Russia - Germany” in the plot, but it is significant for the national and civil self-determination of the character. Contemporary Italy appears in the novel closer to its end and is associated with the second storyline - the plane of the present. The comparison of Russia and Italy takes place symbolically, on the border of eternity, in timeless space. The “Italian” in the novel is also associated with the world of music. Finally, another spatial opposition, “Russia - Ukraine,” plays an important role in both the plot and the description of the main character of the novel, and organically combines the two national identities, without separating them, as well as the cultural and historical space of Russia and Ukraine. The article also analyzes the oppositions “Kyiv -Petersburg” and “Kyiv - Moscow.” A detailed topography in the novel appears when describing a non-alien space. The motifs of topophobia and to-pophilia when mastering someone else’s space are distinguished. The art world of the novel also includes images of a liminal space. These are train stations and airports, a kind of a gate of the city (or country), the state border, the Berlin Wall. In Slavic mythology, there is another, invisible ontological boundary - between this-being and that-being, the visible symbols of which are the church and the cemetery, separating the world of the living from the kingdom of the dead. These loci are also presented in the novel. In a sense, Brisbane is also a liminal space, since Australia in ordinary consciousness is often perceived as the edge of the world. Brisbane is a metaphor for a little paradise, heaven on Earth, an unattainable dream desired by Arcadia. Brisbane is a metaspace characteristic of neomodernism, which connects all the plot nodes of the novel. The author declares no conflicts of interests.
{"title":"The art space in Eugene Vodolazkin’s novel Brisbane: The imagological aspect","authors":"O. S. Kryukova","doi":"10.17223/24099554/18/18","DOIUrl":"https://doi.org/10.17223/24099554/18/18","url":null,"abstract":"The article considers the spatial opposition in the novel Brisbane by Eugene Vodolazkin. The spatial opposition “Russia - other countries” for the character first appears in Leningrad, when he studies at university. This opposition is at first somewhat illusory in its nature. The “Russia - Germany” opposition is an invariant of the “Russia - other countries” spatial opposition and also appears in the story during Gleb’s studies at university. The so-called “German” for Gleb is primarily associated with Katarina, later Katya - the name she took out of respect for the Russian roots of Gleb, as well as with the echoes of World War II, which sound muted, sometimes conciliatory. The “German” in the novel is also embodied in cultural onomasticon. The spatial opposition “Russia - Italy” occupies a somewhat more modest place than the opposition “Russia - Germany” in the plot, but it is significant for the national and civil self-determination of the character. Contemporary Italy appears in the novel closer to its end and is associated with the second storyline - the plane of the present. The comparison of Russia and Italy takes place symbolically, on the border of eternity, in timeless space. The “Italian” in the novel is also associated with the world of music. Finally, another spatial opposition, “Russia - Ukraine,” plays an important role in both the plot and the description of the main character of the novel, and organically combines the two national identities, without separating them, as well as the cultural and historical space of Russia and Ukraine. The article also analyzes the oppositions “Kyiv -Petersburg” and “Kyiv - Moscow.” A detailed topography in the novel appears when describing a non-alien space. The motifs of topophobia and to-pophilia when mastering someone else’s space are distinguished. The art world of the novel also includes images of a liminal space. These are train stations and airports, a kind of a gate of the city (or country), the state border, the Berlin Wall. In Slavic mythology, there is another, invisible ontological boundary - between this-being and that-being, the visible symbols of which are the church and the cemetery, separating the world of the living from the kingdom of the dead. These loci are also presented in the novel. In a sense, Brisbane is also a liminal space, since Australia in ordinary consciousness is often perceived as the edge of the world. Brisbane is a metaphor for a little paradise, heaven on Earth, an unattainable dream desired by Arcadia. Brisbane is a metaspace characteristic of neomodernism, which connects all the plot nodes of the novel. 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":"67585597","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 presents the first attempt to study the Hungarian translations of Fyodor Dostoevsky’s The Gambler. The research aims at determining the completeness of the translation of sensemaking elements in the two most popular Hunagarian translations by Endre Szabo (1900) and Erzsebet Guthi Devecserine (1957) to assess the impact of the translation shifts on the preservation of the novel’s idea. The method of studying the original and the translations is based on the concept analysis. Studying the original, the authors have revealed that the concept of passion (composed of such concepts as passion in love, passion for gambling, greed, and pride) is one of the sensemaking elements in the novel. The article focuses on passion in love in three episodes of the introduction which verbalise this concept in the image of Alexey Ivanovich, thus establishing his psychological portrait and describing his attitude to Polina. The worldview in Dostoevsky’s novels is built upon the orthodox values, which define the dominants of the novel axiology. The Hungarian culture is catholic. The contradictions between the Orthodox and Catholic interpretation of passion in general allow hypothesizing that the reproduction of some features of passion in love in translation may be challenging. The analysis of the translations has revealed that the translators rendered some features of the concept practically without loss (appetence, hatred, murder, jealousy, desire, appetite, agony / excruciation, suicide, disease). Theidentified losses (pleasure, extinction of appetence, loss of control) do not distort the sense of the episodes studied as well as the portrait of the character. The authors believe that it was possible to preserve the concept due to a number of factors. Firstly, the translators focused on the similarities rather that differences in the Orthodox and Catholic interpretations of passion. Secondly, the approach of the Hungarian translators is distinguished by an extremely careful attitude to the original: Szabo adheres to the literal reproduction of the original style and Devecserine aspires after the balance between the original and the Hungarian linguistic norm. Contribution of the authors: the authors contributed equally to this article. The authors declare no conflicts of interests.
{"title":"Fyodor Dostoevsky’s The Gambler in Hungarian Translations: The Interpretation of the Concept ‘Passion in Love’ (‘Lyubovnaya Strast’)","authors":"Anastasiia O. Shatokhina, Aleksandra V. Banchenko","doi":"10.17223/24099554/17/4","DOIUrl":"https://doi.org/10.17223/24099554/17/4","url":null,"abstract":"The article presents the first attempt to study the Hungarian translations of Fyodor Dostoevsky’s The Gambler. The research aims at determining the completeness of the translation of sensemaking elements in the two most popular Hunagarian translations by Endre Szabo (1900) and Erzsebet Guthi Devecserine (1957) to assess the impact of the translation shifts on the preservation of the novel’s idea. The method of studying the original and the translations is based on the concept analysis. Studying the original, the authors have revealed that the concept of passion (composed of such concepts as passion in love, passion for gambling, greed, and pride) is one of the sensemaking elements in the novel. The article focuses on passion in love in three episodes of the introduction which verbalise this concept in the image of Alexey Ivanovich, thus establishing his psychological portrait and describing his attitude to Polina. The worldview in Dostoevsky’s novels is built upon the orthodox values, which define the dominants of the novel axiology. The Hungarian culture is catholic. The contradictions between the Orthodox and Catholic interpretation of passion in general allow hypothesizing that the reproduction of some features of passion in love in translation may be challenging. The analysis of the translations has revealed that the translators rendered some features of the concept practically without loss (appetence, hatred, murder, jealousy, desire, appetite, agony / excruciation, suicide, disease). Theidentified losses (pleasure, extinction of appetence, loss of control) do not distort the sense of the episodes studied as well as the portrait of the character. The authors believe that it was possible to preserve the concept due to a number of factors. Firstly, the translators focused on the similarities rather that differences in the Orthodox and Catholic interpretations of passion. Secondly, the approach of the Hungarian translators is distinguished by an extremely careful attitude to the original: Szabo adheres to the literal reproduction of the original style and Devecserine aspires after the balance between the original and the Hungarian linguistic norm. Contribution of the authors: the authors contributed equally to this article. The authors declare 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":"67585665","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 identifies typological parallels between Andrei Bely and G. Meyrink based on their similar worldviews: Bely, the ideologist of Russian Symbolism, was an adept of Rudolph Steiner’s anthroposophy; Gustav Meyrink, an outstanding representative of the Prague School, had an intense interest in occultism and mysticism. Both factors - the aesthetic representation of unconsciousness in fiction and the appellation to mystic and occult experience - bring together Bely’s novel Moscow (1926-1932) and Meyrink’s The Golem (1915). The interest to the oeuvre of both writers emerges in the period of breaking the old paradigm, the epoch of methodological impasse, and the search for new heuristic opportunities of text interpretation. The article reveals the common features of oneyropoetics in both novels and the typological proximity of the “characters of the way” (Ivan Korobkin and Athanasius Pernat) in the aspect of life creation (Bely) and in overcoming the “golemic” aspect and creating “Higher Self’ (Meyrink), raising the problem of the ambivalent finals. Architectonically, both novels are a two-layer text for a “mass” reader on the one hand and a special “initiated” reader on the other. The demonic urban spaces of Moscow and Prague take on the shape of a utopian city, undergoing transformed through the character’s mysterial suffering and becoming the final of their way (initiation) to “Higher Self.” The ideological centre of the novels is the concept of personality; namely, awareness and overcoming the “rapture” (“golemic nature”) by the character in Austrian (Prague) novel and responsibility for a scientific discovery and desire to “warm the Universe” by the character of the Russian novel, which results in his search for a spiritual integrity. Dreams as a bright epitomy of linguistic experiment serve for the plot formation in Moscow and accompany the character, the scientist, throughout his entire spiritual way. The Golem has a frame composition where dreaming and identification of the narrator with Pernat, who passed a mysterial way, become his spiritual experience and initiation. The present study is intended to show the opportunities of “comparative poetics”, which allows to correlate the oeuvre of both writers who fit stadially in the Expressionist Aesthetic and in more epochal sense - in the poetics of art modality (Samson Broytman). The author declares no conflicts of interests.
{"title":"Moscow by Andrei Bely in the dialogue with Austrian literature of the 20th century (a case study of Gustav Meyrink’s The Golem)","authors":"Natalia G. Sharapenkova","doi":"10.17223/24099554/18/7","DOIUrl":"https://doi.org/10.17223/24099554/18/7","url":null,"abstract":"The article identifies typological parallels between Andrei Bely and G. Meyrink based on their similar worldviews: Bely, the ideologist of Russian Symbolism, was an adept of Rudolph Steiner’s anthroposophy; Gustav Meyrink, an outstanding representative of the Prague School, had an intense interest in occultism and mysticism. Both factors - the aesthetic representation of unconsciousness in fiction and the appellation to mystic and occult experience - bring together Bely’s novel Moscow (1926-1932) and Meyrink’s The Golem (1915). The interest to the oeuvre of both writers emerges in the period of breaking the old paradigm, the epoch of methodological impasse, and the search for new heuristic opportunities of text interpretation. The article reveals the common features of oneyropoetics in both novels and the typological proximity of the “characters of the way” (Ivan Korobkin and Athanasius Pernat) in the aspect of life creation (Bely) and in overcoming the “golemic” aspect and creating “Higher Self’ (Meyrink), raising the problem of the ambivalent finals. Architectonically, both novels are a two-layer text for a “mass” reader on the one hand and a special “initiated” reader on the other. The demonic urban spaces of Moscow and Prague take on the shape of a utopian city, undergoing transformed through the character’s mysterial suffering and becoming the final of their way (initiation) to “Higher Self.” The ideological centre of the novels is the concept of personality; namely, awareness and overcoming the “rapture” (“golemic nature”) by the character in Austrian (Prague) novel and responsibility for a scientific discovery and desire to “warm the Universe” by the character of the Russian novel, which results in his search for a spiritual integrity. Dreams as a bright epitomy of linguistic experiment serve for the plot formation in Moscow and accompany the character, the scientist, throughout his entire spiritual way. The Golem has a frame composition where dreaming and identification of the narrator with Pernat, who passed a mysterial way, become his spiritual experience and initiation. The present study is intended to show the opportunities of “comparative poetics”, which allows to correlate the oeuvre of both writers who fit stadially in the Expressionist Aesthetic and in more epochal sense - in the poetics of art modality (Samson Broytman). 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":"67585328","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 examines the development of the image of Turkey in the Russian press in 1914-1918. Perceiving the Ottoman Empire as a minor power with a weak army, Russian newspapers and magazines took into account the great strategic and political significance of the new Russian-Turkish war in solving Russia’s “historical tasks” in the Black and Mediterranean Seas. Periodicals of different orientations assessed the significance of the new Russian-Turkish war in different ways. For the conservative press, this was primarily the return of the “cross to St. Sophia”, the return of the Orthodox tsar to Constantinople. The liberal press paid more attention to the economic opportunities from the capture of the Straits. However, for both of them, the victory in the war was perceived as a natural result of the Russian-Turkish confrontation and symbolized the final “expulsion” of Turkey from Europe. In a broader sense, this meant the expulsion of Aziatchina [Asianism] from the “civilization” area. This reasoning was facilitated by major victories on the Caucasian Front (as opposed to the main front in Europe) and regular reports from official sources (Petrograd Telegraph Agency, General Staff) about the socio-economic and political crisis in the Ottoman Empire. The condescending attitude, the underestimation of the combat capability of the Turkish army and Turkey’s resistance to a protracted war prevailed. In many ways, therefore, the Caucasian Front remained secondary, although victory in this theater made it possible to open the Straits and receive large consignments of weapons and ammunition from the Western allies. In 1917, the “dream of Tsargrad,” tacitly proclaimed as the main goal of Russia in the world war, became one of the key factors in the political crisis. In the socialist press, Constantinople and the Straits became the personification of Russian imperialism and the cause of the deaths of millions of soldiers, the impoverishment of the people, and the depletion of the economy. Against this background, the image of Turkey underwent tangible changes. The conservative press developed the image of Turkey as an “Eastern despotism,” a historically doomed autocracy. In fact, it became a new ideological frame for the old military goals of Russia in the world war. The social democratic press turned more to the suffering of ordinary Turks, who were forced to shed blood for goals they did not know. The commonality of the fate of the Turkish and Russian peoples in their long and difficult struggle with the autocracy for the establishment of democracy was emphasized. The economic and political crisis in Russia actually led the second point of view to victory, which influenced the general course of the Russian Revolution. The author declares no conflicts of interests.
{"title":"A “sick man” on a sinking ship: The image of Turkey in the Russian press during the First World War","authors":"I. Bogomolov","doi":"10.17223/24099554/18/16","DOIUrl":"https://doi.org/10.17223/24099554/18/16","url":null,"abstract":"The article examines the development of the image of Turkey in the Russian press in 1914-1918. Perceiving the Ottoman Empire as a minor power with a weak army, Russian newspapers and magazines took into account the great strategic and political significance of the new Russian-Turkish war in solving Russia’s “historical tasks” in the Black and Mediterranean Seas. Periodicals of different orientations assessed the significance of the new Russian-Turkish war in different ways. For the conservative press, this was primarily the return of the “cross to St. Sophia”, the return of the Orthodox tsar to Constantinople. The liberal press paid more attention to the economic opportunities from the capture of the Straits. However, for both of them, the victory in the war was perceived as a natural result of the Russian-Turkish confrontation and symbolized the final “expulsion” of Turkey from Europe. In a broader sense, this meant the expulsion of Aziatchina [Asianism] from the “civilization” area. This reasoning was facilitated by major victories on the Caucasian Front (as opposed to the main front in Europe) and regular reports from official sources (Petrograd Telegraph Agency, General Staff) about the socio-economic and political crisis in the Ottoman Empire. The condescending attitude, the underestimation of the combat capability of the Turkish army and Turkey’s resistance to a protracted war prevailed. In many ways, therefore, the Caucasian Front remained secondary, although victory in this theater made it possible to open the Straits and receive large consignments of weapons and ammunition from the Western allies. In 1917, the “dream of Tsargrad,” tacitly proclaimed as the main goal of Russia in the world war, became one of the key factors in the political crisis. In the socialist press, Constantinople and the Straits became the personification of Russian imperialism and the cause of the deaths of millions of soldiers, the impoverishment of the people, and the depletion of the economy. Against this background, the image of Turkey underwent tangible changes. The conservative press developed the image of Turkey as an “Eastern despotism,” a historically doomed autocracy. In fact, it became a new ideological frame for the old military goals of Russia in the world war. The social democratic press turned more to the suffering of ordinary Turks, who were forced to shed blood for goals they did not know. The commonality of the fate of the Turkish and Russian peoples in their long and difficult struggle with the autocracy for the establishment of democracy was emphasized. The economic and political crisis in Russia actually led the second point of view to victory, which influenced the general course of the Russian Revolution. 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":"67585492","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 examines the peculiarities of the literary representation of Karelia in the late Soviet literature. The research involves texts by Yury Kazakov, Andrey Voznesensky, Bella Akhmadulina, Lev Ozerov, Viktor Starkov, and others, which were written based on trips to Karelia in the period from the 1960s to the 1980s. The historical and cultural features of the area often became significant for writers and poets who came from other regions. These features (bilingualism, dialogue of cultures, historically and geographically determined European influence) emphasized the region’s uniqueness against the background of other territories of the North of Russia. Reflection of the specificity of the region - both natural and cultural - forms the general tone of the essays and lyrics of the late 1960s - early 1980s, realistic in their poetics. Some details of the literary image of Karelia that developed during this period (including the motif of travel, Finno-Ugric and Scandinavian realities and toponyms) reflect the late Soviet practices of “outsideness” (Rus. vnenakhodimost’, a term by Alexei Yurchak), in addition to the development of earlier post-romantic topics. In Ozerov’s, Voznesensky’s, Starkov’s prose and lyrics, the representation of a journey to Karelia acquires the features of time travel, the character’s contact with antiquity/eternity. This position of the character in relation to their time correlates with the mechanisms that developed during that period of the Soviet people’s escape from the haunting day-to-day reality without direct resistance or opposition to the ideological system. In Kazakov’s and Akhmadullina’s Karelian plots, due to the introduction of Finno-Ugric place names, motives, vocabulary, the image of the place sometimes acquires the features of “our abroad,” the “imaginary West.” Unlike the West itself, Karelia was not exclusively imaginary: one could visit it and see it with one’s own eyes, just like the Soviet Baltic states. A trip to Karelia was at the same time consistent with the ideologically acceptable and approved practices of domestic tourism and literary exploration of the North. The features of the “imaginary West” in this case were organically included in the general tendency of romanticizing and mythologizing Karelia in its literary representation of the late Soviet period, developing and complicating the image that had formed back in the 19th century. The cultural multilayeredness of Karelia is obviously attractive for the generation of authors of the Thaw with its heterogeneous culture, which sometimes combined opposite tendencies (interest in the West and the East, in the past and the future, physics and lyrics, socialism and the human face, etc.) and shaped the practice of outsideness. The literary texts of popular authors widely broadcast this image, spreading it among readers. The author declares no conflicts of interests.
{"title":"North as West: The literary image of Karelia and the late Soviet outsideness practice","authors":"Natalya L. Shilova","doi":"10.17223/24099554/18/17","DOIUrl":"https://doi.org/10.17223/24099554/18/17","url":null,"abstract":"The article examines the peculiarities of the literary representation of Karelia in the late Soviet literature. The research involves texts by Yury Kazakov, Andrey Voznesensky, Bella Akhmadulina, Lev Ozerov, Viktor Starkov, and others, which were written based on trips to Karelia in the period from the 1960s to the 1980s. The historical and cultural features of the area often became significant for writers and poets who came from other regions. These features (bilingualism, dialogue of cultures, historically and geographically determined European influence) emphasized the region’s uniqueness against the background of other territories of the North of Russia. Reflection of the specificity of the region - both natural and cultural - forms the general tone of the essays and lyrics of the late 1960s - early 1980s, realistic in their poetics. Some details of the literary image of Karelia that developed during this period (including the motif of travel, Finno-Ugric and Scandinavian realities and toponyms) reflect the late Soviet practices of “outsideness” (Rus. vnenakhodimost’, a term by Alexei Yurchak), in addition to the development of earlier post-romantic topics. In Ozerov’s, Voznesensky’s, Starkov’s prose and lyrics, the representation of a journey to Karelia acquires the features of time travel, the character’s contact with antiquity/eternity. This position of the character in relation to their time correlates with the mechanisms that developed during that period of the Soviet people’s escape from the haunting day-to-day reality without direct resistance or opposition to the ideological system. In Kazakov’s and Akhmadullina’s Karelian plots, due to the introduction of Finno-Ugric place names, motives, vocabulary, the image of the place sometimes acquires the features of “our abroad,” the “imaginary West.” Unlike the West itself, Karelia was not exclusively imaginary: one could visit it and see it with one’s own eyes, just like the Soviet Baltic states. A trip to Karelia was at the same time consistent with the ideologically acceptable and approved practices of domestic tourism and literary exploration of the North. The features of the “imaginary West” in this case were organically included in the general tendency of romanticizing and mythologizing Karelia in its literary representation of the late Soviet period, developing and complicating the image that had formed back in the 19th century. The cultural multilayeredness of Karelia is obviously attractive for the generation of authors of the Thaw with its heterogeneous culture, which sometimes combined opposite tendencies (interest in the West and the East, in the past and the future, physics and lyrics, socialism and the human face, etc.) and shaped the practice of outsideness. The literary texts of popular authors widely broadcast this image, spreading it among readers. 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":"67585530","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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