The article focuses on Daniil Kharms’ refusal from the avant-garde, the artistic language of which has become inadequate for expressing Kharms’s changed values. The author draws on the concepts of myth and archetype to describe this transition. The concept of archetype makes it possible to focus on values of Kharms’ works, since archetype is associated with the axiology of human thinking. The concepts of myth and archetype are considered both in a comparative historical interpretation and in the context of works on the nature of mythological thinking. The following works by Kharms serve as material for the study: the dramas The Comedy of the City of Petersburg (1927) and Elizaveta Bam (1927) become an example of how the cosmogo-noeschatological archetype is expressed in Kharms’s work, and The Old Woman (1939) is an example of how Christian archetype is expressed. According to the analysis, the cosmogonoeschatological myth in Kharms’s early works acts through the mythologemes of the creation and destruction of the myth and is associated with avant-grade type of thinking. However, The Old Woman is based on the mythological images associated with the values of Christian thinking - the crucifixion and resurrection of Christ. The article shows that the expression of archetypes in different stages of Kharms’s work correlates with different concepts of myth and mythological thinking, which is demonstrated on the basis of differences in the implementation of the key mythical category - a miracle. At an early stage, when the cosmogonoeschato-logical archetype underlies Kharms’s thinking, the expression of this archetype correlates with Yakov Golosovker’s concept, according to which the miracle is determined by the impact of “absolute freedom and the power of desire” on reality. At this stage, the miracle implies various changes in reality caused by the desire of Kharms’ characters. At a later stage, the functioning of the miracle is associated with the incarnation of Christian mythology, close to Aleksey Losev’s “myth as a wonderful personal story”, most fully embodied in the mythologeme of the meeting. As a result, the miracle is now the moment when the narrator meets God and gains saving faith. Finally, the author explains that Kharms rejected the avant-garde, since his values and existential self-awareness change after the religious conversion and transition to a different type of thinking, unusual for the avant-garde. The author declares no conflicts of interests.
{"title":"Metanoia of Daniil Kharms: A Transition From Cosmogono-Eschatological to Christian Myth and Rejection of the Avant-Garde","authors":"A. V. Korneev","doi":"10.17223/24099554/17/5","DOIUrl":"https://doi.org/10.17223/24099554/17/5","url":null,"abstract":"The article focuses on Daniil Kharms’ refusal from the avant-garde, the artistic language of which has become inadequate for expressing Kharms’s changed values. The author draws on the concepts of myth and archetype to describe this transition. The concept of archetype makes it possible to focus on values of Kharms’ works, since archetype is associated with the axiology of human thinking. The concepts of myth and archetype are considered both in a comparative historical interpretation and in the context of works on the nature of mythological thinking. The following works by Kharms serve as material for the study: the dramas The Comedy of the City of Petersburg (1927) and Elizaveta Bam (1927) become an example of how the cosmogo-noeschatological archetype is expressed in Kharms’s work, and The Old Woman (1939) is an example of how Christian archetype is expressed. According to the analysis, the cosmogonoeschatological myth in Kharms’s early works acts through the mythologemes of the creation and destruction of the myth and is associated with avant-grade type of thinking. However, The Old Woman is based on the mythological images associated with the values of Christian thinking - the crucifixion and resurrection of Christ. The article shows that the expression of archetypes in different stages of Kharms’s work correlates with different concepts of myth and mythological thinking, which is demonstrated on the basis of differences in the implementation of the key mythical category - a miracle. At an early stage, when the cosmogonoeschato-logical archetype underlies Kharms’s thinking, the expression of this archetype correlates with Yakov Golosovker’s concept, according to which the miracle is determined by the impact of “absolute freedom and the power of desire” on reality. At this stage, the miracle implies various changes in reality caused by the desire of Kharms’ characters. At a later stage, the functioning of the miracle is associated with the incarnation of Christian mythology, close to Aleksey Losev’s “myth as a wonderful personal story”, most fully embodied in the mythologeme of the meeting. As a result, the miracle is now the moment when the narrator meets God and gains saving faith. Finally, the author explains that Kharms rejected the avant-garde, since his values and existential self-awareness change after the religious conversion and transition to a different type of thinking, unusual for the avant-garde. The author declares no conflicts of interests.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"53 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585227","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}
Modern Western artistic culture receives the Antiquity as the ancient myth. The myth of the Atreides enjoys an increased attention of playwrights in Western Europe and the United States, since it raises the universal issues of crime and punishment, awareness of guilt and assertion of truth. This article focuses on the reception of the Atreides myth in Woody Allen’s Cassandra ’s Dream. The article analyses the cultural dialogue between Antiquity and Modernity: the director has transferred the ancient plot to modern reality and endowed the Americans with the features of ancient heroes. The plot of the film develops around a murder committed by the brothers for financial gain. It correlates with the murder of Agamemnon as well as his wife and Aegisthus. Ian’s determination is reminiscent of Elektra’s behavior: he incites his brother to commit a crime and feels no repentance after the murder has occurred. Like Euripides’s Orestes, the other brother, Terry, cannot calm down after the crime, saying that he repents and wants to open himself to the police in order to suffer a well-deserved punishment. In the conflict between the brothers, killing a brother is the only way out of the situation, although Ian says that he feels the same “strange vision”: he must kill again. While ancient heroes act under the will of gods, which gives the impression of conscious and controlled actions, modern heroes are driven by circumstances. While heroes of ancient literature take murders for granted, as a legitimate revenge or even a feat, modern artistic culture focuses on the ethical side of the bloodshed. A modern human is dominated by a new Christian morality, which though oftentimes unrealized, affects human desires and functions as a source of ethical reflections. The story of the heroes, consisting of a chain of uncontrollable events, would seem to confirm the unpredictability of life and the total dependence of people on circumstances. Fatalism is an integral part of the ancient worldview: it is not by chance that “Fate” is personified and becomes a separate character in ancient Greek tragedy. However, modern culture affirms human independence and freedom, which Terry discoveres at a moment of spiritual enlightenment after committing a crime, followed by utter repentance. The finale of the film is strikingly different from the ancient interpretations of the myth of the Atreides: the killer-heroes die. The reception of antiquity in American culture of the 21st century is a reflection on what determines the behavior of a modern person in a critical situation, similar to that in ancient mythology, as well as what is the modern attitude of a criminal to their crime. Appealing to the ancient myth, Woody Allen proves that Christian morality allows making the right, “human” decision even in the most difficult circumstances. At the same time, he shows the duality of modern culture: the imposed ideals of mass culture beguile a morally developed person, who gets illusory f
{"title":"Reception of the Ancient Myth of the Atreides in Woody Allen’s Cassandra’s Dream","authors":"Mariya P. Samoylova","doi":"10.17223/24099554/17/6","DOIUrl":"https://doi.org/10.17223/24099554/17/6","url":null,"abstract":"Modern Western artistic culture receives the Antiquity as the ancient myth. The myth of the Atreides enjoys an increased attention of playwrights in Western Europe and the United States, since it raises the universal issues of crime and punishment, awareness of guilt and assertion of truth. This article focuses on the reception of the Atreides myth in Woody Allen’s Cassandra ’s Dream. The article analyses the cultural dialogue between Antiquity and Modernity: the director has transferred the ancient plot to modern reality and endowed the Americans with the features of ancient heroes. The plot of the film develops around a murder committed by the brothers for financial gain. It correlates with the murder of Agamemnon as well as his wife and Aegisthus. Ian’s determination is reminiscent of Elektra’s behavior: he incites his brother to commit a crime and feels no repentance after the murder has occurred. Like Euripides’s Orestes, the other brother, Terry, cannot calm down after the crime, saying that he repents and wants to open himself to the police in order to suffer a well-deserved punishment. In the conflict between the brothers, killing a brother is the only way out of the situation, although Ian says that he feels the same “strange vision”: he must kill again. While ancient heroes act under the will of gods, which gives the impression of conscious and controlled actions, modern heroes are driven by circumstances. While heroes of ancient literature take murders for granted, as a legitimate revenge or even a feat, modern artistic culture focuses on the ethical side of the bloodshed. A modern human is dominated by a new Christian morality, which though oftentimes unrealized, affects human desires and functions as a source of ethical reflections. The story of the heroes, consisting of a chain of uncontrollable events, would seem to confirm the unpredictability of life and the total dependence of people on circumstances. Fatalism is an integral part of the ancient worldview: it is not by chance that “Fate” is personified and becomes a separate character in ancient Greek tragedy. However, modern culture affirms human independence and freedom, which Terry discoveres at a moment of spiritual enlightenment after committing a crime, followed by utter repentance. The finale of the film is strikingly different from the ancient interpretations of the myth of the Atreides: the killer-heroes die. The reception of antiquity in American culture of the 21st century is a reflection on what determines the behavior of a modern person in a critical situation, similar to that in ancient mythology, as well as what is the modern attitude of a criminal to their crime. Appealing to the ancient myth, Woody Allen proves that Christian morality allows making the right, “human” decision even in the most difficult circumstances. At the same time, he shows the duality of modern culture: the imposed ideals of mass culture beguile a morally developed person, who gets illusory f","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":"67585240","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}
Andrei Bely’s texts blur the boundaries of traditional genres, which raises the problem of genre uncertainty and tex integrity. For that purpose, the article analyses the figurative language of the novel Petersburg, the most significant work that accumulates the stylistic and ideological features of Bely’s entire oeuvre. Using the methods of semantic and figurative analysis, the authors address Bely’s Petersburg to identify the factors of textual integrity. As the analysis has shown, the coherence is achieved through esoteric, namely, Masonic symbolism, which dominates the figurative langauge of the novel. Various esoteric symbols are found on all language levels: from phonetic to the level of text. There are characters in the novel that epitomize individual symbols and realia. The authors emphasize the constitutive role of the duplicated esoteric images and symbols that create multiple inline rhymes. In conclusion, the authors note that, together with traditional (characters and realia), the novel contains esoteric images, various direct and indirect esoteric terms and symbols, which Bely either records in the original form or superimposes on or combines with the former ones in the narrative. The genre blurring of Bely’s texts is compensated by the language coherence aligned with the esoteric tradition. When creating literary texts, Bely does not confine himself to the artistic way of knowing and describing the world, but equally uses scientific, religious, and everyday methods of cognition. He creates a synthetic writing, previously found in the esoteric tradition, where it did not go beyond its cognitive tasks. Bely uses synthetic writing with broader functions. This type of writing may be considered as reflecting Bely’s constant polemic with his father, who was an adherent of a strictly scientific method of world cognition. The authors declare no conflicts of interests.
{"title":"Images of the novel Peterburg through the prism of Andrei Bely’s esoteric search","authors":"A. Shuneyko, O. Chibisova","doi":"10.17223/24099554/18/6","DOIUrl":"https://doi.org/10.17223/24099554/18/6","url":null,"abstract":"Andrei Bely’s texts blur the boundaries of traditional genres, which raises the problem of genre uncertainty and tex integrity. For that purpose, the article analyses the figurative language of the novel Petersburg, the most significant work that accumulates the stylistic and ideological features of Bely’s entire oeuvre. Using the methods of semantic and figurative analysis, the authors address Bely’s Petersburg to identify the factors of textual integrity. As the analysis has shown, the coherence is achieved through esoteric, namely, Masonic symbolism, which dominates the figurative langauge of the novel. Various esoteric symbols are found on all language levels: from phonetic to the level of text. There are characters in the novel that epitomize individual symbols and realia. The authors emphasize the constitutive role of the duplicated esoteric images and symbols that create multiple inline rhymes. In conclusion, the authors note that, together with traditional (characters and realia), the novel contains esoteric images, various direct and indirect esoteric terms and symbols, which Bely either records in the original form or superimposes on or combines with the former ones in the narrative. The genre blurring of Bely’s texts is compensated by the language coherence aligned with the esoteric tradition. When creating literary texts, Bely does not confine himself to the artistic way of knowing and describing the world, but equally uses scientific, religious, and everyday methods of cognition. He creates a synthetic writing, previously found in the esoteric tradition, where it did not go beyond its cognitive tasks. Bely uses synthetic writing with broader functions. This type of writing may be considered as reflecting Bely’s constant polemic with his father, who was an adherent of a strictly scientific method of world cognition. 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":"67585317","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 results of the analytical work with the verbal texts of modern foreign prosaists, poets and Johann Sebastian Bach’s music texts. Inn the opinion of the authors of the research, through centuries, works by Bach inspire representatives of different branches of art to look for new instruments for achieving intermediavity of art works and a high level of its synesthesia. One of the basic categories in the context of synthesis of arts is “musicality” as a reflection of the processes of using traditional music instruments and techniques while creating literary texts. Bach’s works themselves turn out to be a very important step in the development of the tradition of literary-music synthesis - Bach used the means, firstly, of musical rhetoric baroque to gain such synthesis. An even more interesting fact is that the very heritage of Bach appeared to be one of the most popular “objects” of musical-ization of the literary text. In the analyzed works of William Coales, Gabriel Josipovici, Richard Powers, Thomas Bernhard, George Tabori, Dieter Thomas Kuhn, Nancy Huston, Anna Enquist, the authors of the article discover Bach’s forebasis, a kind of an urtext, that allows considering the mentioned literary texts to be a highly representative material for solving the problems of the synthetic character of the art culture of the 21st century that indeed requires a deep reflection. Among the results of today’s exponential development of electronic technologies, there exists one important factor in the realization of art peoples’ centuries-old expectations - the forming of the possibility for the emergence (rather massive already) ofworks of art whose creation would involve different types and art forms. On the one hand, this factor makes it necessary to analyze the historical perspective, the evolution of the methods and models of synthesis of arts some authors create; on the other, however paradoxical it may seem, it seems to give a new impulse to experiments of writers, musicians, artists, who try, even remaining in general within the “traditional” boundaries of the types of their art (literature, music, art consequently), to actively use artistic means traditional for these types of art for achieving the effect of crossing the boundaries of “only” literature, music or art. This trend seems to be particularly noticeable in modern European literature. The aim of the given article is to identify the specific instruments of modern foreign prosaists who choose Bach’s music texts as the urtexts of their literary works. The authors declare no conflicts of interests.
{"title":"Literary and musical synthesis in modern foreign literature: Works of Johann Sebastian Bach as urtext","authors":"M. V. Norets, O. B. Elkan","doi":"10.17223/24099554/18/10","DOIUrl":"https://doi.org/10.17223/24099554/18/10","url":null,"abstract":"The article presents the results of the analytical work with the verbal texts of modern foreign prosaists, poets and Johann Sebastian Bach’s music texts. Inn the opinion of the authors of the research, through centuries, works by Bach inspire representatives of different branches of art to look for new instruments for achieving intermediavity of art works and a high level of its synesthesia. One of the basic categories in the context of synthesis of arts is “musicality” as a reflection of the processes of using traditional music instruments and techniques while creating literary texts. Bach’s works themselves turn out to be a very important step in the development of the tradition of literary-music synthesis - Bach used the means, firstly, of musical rhetoric baroque to gain such synthesis. An even more interesting fact is that the very heritage of Bach appeared to be one of the most popular “objects” of musical-ization of the literary text. In the analyzed works of William Coales, Gabriel Josipovici, Richard Powers, Thomas Bernhard, George Tabori, Dieter Thomas Kuhn, Nancy Huston, Anna Enquist, the authors of the article discover Bach’s forebasis, a kind of an urtext, that allows considering the mentioned literary texts to be a highly representative material for solving the problems of the synthetic character of the art culture of the 21st century that indeed requires a deep reflection. Among the results of today’s exponential development of electronic technologies, there exists one important factor in the realization of art peoples’ centuries-old expectations - the forming of the possibility for the emergence (rather massive already) ofworks of art whose creation would involve different types and art forms. On the one hand, this factor makes it necessary to analyze the historical perspective, the evolution of the methods and models of synthesis of arts some authors create; on the other, however paradoxical it may seem, it seems to give a new impulse to experiments of writers, musicians, artists, who try, even remaining in general within the “traditional” boundaries of the types of their art (literature, music, art consequently), to actively use artistic means traditional for these types of art for achieving the effect of crossing the boundaries of “only” literature, music or art. This trend seems to be particularly noticeable in modern European literature. The aim of the given article is to identify the specific instruments of modern foreign prosaists who choose Bach’s music texts as the urtexts of their literary works. 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":"67585352","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 image of Persian Prince Khosrow Mirza, who headed the Apology Delegation to Russia, entered the Russian artistic culture of the 19th and 20th centuries. His name was mentioned by Alexander Pushkin in A Journey to Arzrum, by Nikolai Gogol in the Petersburg stories The Nose and The Portrait. Yury Tynyanov in his novel The Death of Vazir-Mukhtar (1928) elaborated in detail characteristics of the Persian prince. In Dmitri Shostakovich’s Opera The Nose, a musical and dramatic picture was built around the image of Khosrow Mirza. Although this image is inextricably linked to the memory of the death of Alexander Griboyedov, it formed a special set of motifs “colored” by the prince’s individual and personal features. The consideration of Khosrow Mirza’s image in Gogol’s stories casts doubt on the hypothesis proposed by Natalia Seregina about the connection of this image with the satirical element of the comedy The Inspector General. The image of Khosrow Mirza turns out to be the generator of the formation of the Persian text of Gogol’s Petersburg Tales. The analysis of the draft versions of the story The Portrait allows us to argue that, at the very beginning, a special semantic node is formed, which involves the generals who participated in the wars with Turkey and Iran, and the Tehran ambassador. Thus, an orientation is created for the development of an oriental theme, which was subsequently realized in the image of the terrible portrait and the demonic lender. The study of the semantic layers associated with Khosrow Mirza makes it possible to discover the connections between the Persian images of Gogol and the adventure novel The Adventures of Haji Baba from Isfahan by James Justinian Morier. Pictures of Persian life appear in the images of the Isfahan hereditary barber and local beauties, in the motif of money, cut-off noses, a head baked in bread, and are reflected in the stories Nevsky Prospect, The Nose, The Portrait. Another perspective of analysis opens up when understanding the special mission of Khosrow Mirza, aimed at the dialogue of cultures. The prince’s desire is noted to present in Russia the works of the great Persian poets Saadi and Ferdowsi, to implement the rhetoric of dialogue in an apology to Griboyedov’s mother and in a speech addressed to the Russian emperor. The introduction to scholarly discourse of translations of the book Ruzname-ye Safari Petersbourg [The Travel Notes of Khosrow Mirza] by Mirza Mustafa Afshar provides an insight into the Persian perception of the journey to Russia. The episodes of the arrival of the Iranian embassy in the royal palace, the description of the Tauride Palace, the process of making lithographs are considered. The authors conclude that the Persian embassy in St. Petersburg in 1829, caused by the tragic events, nevertheless significantly contributed to the strengthening of Iran’s authority and the formation of its unique cultural image in the minds of the Russian public. Much credit for establi
{"title":"Khosrow Mirza: Historical figure and artistic image. On the cultural originality of Russian-Persian ties","authors":"Oksana A. Kravchenko, Zeinab Sadeghi Sahlabad","doi":"10.17223/24099554/18/12","DOIUrl":"https://doi.org/10.17223/24099554/18/12","url":null,"abstract":"The image of Persian Prince Khosrow Mirza, who headed the Apology Delegation to Russia, entered the Russian artistic culture of the 19th and 20th centuries. His name was mentioned by Alexander Pushkin in A Journey to Arzrum, by Nikolai Gogol in the Petersburg stories The Nose and The Portrait. Yury Tynyanov in his novel The Death of Vazir-Mukhtar (1928) elaborated in detail characteristics of the Persian prince. In Dmitri Shostakovich’s Opera The Nose, a musical and dramatic picture was built around the image of Khosrow Mirza. Although this image is inextricably linked to the memory of the death of Alexander Griboyedov, it formed a special set of motifs “colored” by the prince’s individual and personal features. The consideration of Khosrow Mirza’s image in Gogol’s stories casts doubt on the hypothesis proposed by Natalia Seregina about the connection of this image with the satirical element of the comedy The Inspector General. The image of Khosrow Mirza turns out to be the generator of the formation of the Persian text of Gogol’s Petersburg Tales. The analysis of the draft versions of the story The Portrait allows us to argue that, at the very beginning, a special semantic node is formed, which involves the generals who participated in the wars with Turkey and Iran, and the Tehran ambassador. Thus, an orientation is created for the development of an oriental theme, which was subsequently realized in the image of the terrible portrait and the demonic lender. The study of the semantic layers associated with Khosrow Mirza makes it possible to discover the connections between the Persian images of Gogol and the adventure novel The Adventures of Haji Baba from Isfahan by James Justinian Morier. Pictures of Persian life appear in the images of the Isfahan hereditary barber and local beauties, in the motif of money, cut-off noses, a head baked in bread, and are reflected in the stories Nevsky Prospect, The Nose, The Portrait. Another perspective of analysis opens up when understanding the special mission of Khosrow Mirza, aimed at the dialogue of cultures. The prince’s desire is noted to present in Russia the works of the great Persian poets Saadi and Ferdowsi, to implement the rhetoric of dialogue in an apology to Griboyedov’s mother and in a speech addressed to the Russian emperor. The introduction to scholarly discourse of translations of the book Ruzname-ye Safari Petersbourg [The Travel Notes of Khosrow Mirza] by Mirza Mustafa Afshar provides an insight into the Persian perception of the journey to Russia. The episodes of the arrival of the Iranian embassy in the royal palace, the description of the Tauride Palace, the process of making lithographs are considered. The authors conclude that the Persian embassy in St. Petersburg in 1829, caused by the tragic events, nevertheless significantly contributed to the strengthening of Iran’s authority and the formation of its unique cultural image in the minds of the Russian public. Much credit for establi","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":"67585394","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 two early translations of Aleksandr Pushkin’s Eugene Onegin into Italian. The first Italian critics of Eugene Onegin in the 19th century (Cesare Boccella, Enrico Montazio, Carlo Tenca) were convinced that the novel was weak and did not deserve to be translated. However, two translations appeared in the 19th century. The first translation of 1856 belongs to Louis Delatre, a Frenchman who assimilated in Italy. Delatre visited Russia, where he met Pyotr Vyazemsky, whose stories about Pushkin inspired Delatre to translate five of Pushkin’s works, including Eugene Onegin. The second translation was published in 1858 under the pseudonym A. B., currently attributed to A. Besobrasoff - Anna Ivanovna Bezobrazova, a Russian noblewoman. Comparing the original and the translations, the author identifies and describes the aspects of the original subject to translation shifts (genre definition, structure, lexical and stylistic levels) and determines the specificity of the early Italian reception of the novel. Louis Delatre. The translation of poetry into prose, the rearrangement of fragments within the text, the reduction of “useless details” (including significant structural elements of the original), the addition of notes, the replacement of Russian realities with Italian equivalents reveal an orientation towards greater clarity and ease of perception. The change in the style of the original and the focus on the Italian literary tradition indicate the identification of a foreign work through the prism of Italian culture. The factors stated above are indicative of the adaptation and orientation towards an unprepared reader, who is not familiar with a foreign culture. Delatre acts within the framework of the historically conditioned norms of translation practice, whose task at this stage is to bring the original closer to the reader, to facilitate his acquaintance with a foreign text. Anna Besobrasoff. On the one hand, the focus on the “plot”, the search for Italian equivalents, the addition of notes and descriptions are also characteristic of a historically conditioned adaptive translation strategy. On the other hand, literal translation, style neutralization, elimination of a specific group of “useless details” are rather typical of the translator’s individual reception, probably a consequence of the student’s goal of translation, the translator’s desire to “practice the beautiful Italian language.” Both translations did not attract the attention of literary criticism and did not significantly influence the formation of the idea of Eugene Onegin in Italy at an early stage. The first Italian translations were more an accident rather than a regularity, since they stemmed from the translators’ personal interest in the novel, rather than a request from the recipient culture. This can be confirmed by the date of the next translation - it appeared only in 1906. The author declares no conflicts of interests.
{"title":"The First Translations of Aleksandr Pushkin’s Eugene Onegin Into Italian","authors":"Natalia A. Tik","doi":"10.17223/24099554/17/3","DOIUrl":"https://doi.org/10.17223/24099554/17/3","url":null,"abstract":"The article analyses two early translations of Aleksandr Pushkin’s Eugene Onegin into Italian. The first Italian critics of Eugene Onegin in the 19th century (Cesare Boccella, Enrico Montazio, Carlo Tenca) were convinced that the novel was weak and did not deserve to be translated. However, two translations appeared in the 19th century. The first translation of 1856 belongs to Louis Delatre, a Frenchman who assimilated in Italy. Delatre visited Russia, where he met Pyotr Vyazemsky, whose stories about Pushkin inspired Delatre to translate five of Pushkin’s works, including Eugene Onegin. The second translation was published in 1858 under the pseudonym A. B., currently attributed to A. Besobrasoff - Anna Ivanovna Bezobrazova, a Russian noblewoman. Comparing the original and the translations, the author identifies and describes the aspects of the original subject to translation shifts (genre definition, structure, lexical and stylistic levels) and determines the specificity of the early Italian reception of the novel. Louis Delatre. The translation of poetry into prose, the rearrangement of fragments within the text, the reduction of “useless details” (including significant structural elements of the original), the addition of notes, the replacement of Russian realities with Italian equivalents reveal an orientation towards greater clarity and ease of perception. The change in the style of the original and the focus on the Italian literary tradition indicate the identification of a foreign work through the prism of Italian culture. The factors stated above are indicative of the adaptation and orientation towards an unprepared reader, who is not familiar with a foreign culture. Delatre acts within the framework of the historically conditioned norms of translation practice, whose task at this stage is to bring the original closer to the reader, to facilitate his acquaintance with a foreign text. Anna Besobrasoff. On the one hand, the focus on the “plot”, the search for Italian equivalents, the addition of notes and descriptions are also characteristic of a historically conditioned adaptive translation strategy. On the other hand, literal translation, style neutralization, elimination of a specific group of “useless details” are rather typical of the translator’s individual reception, probably a consequence of the student’s goal of translation, the translator’s desire to “practice the beautiful Italian language.” Both translations did not attract the attention of literary criticism and did not significantly influence the formation of the idea of Eugene Onegin in Italy at an early stage. The first Italian translations were more an accident rather than a regularity, since they stemmed from the translators’ personal interest in the novel, rather than a request from the recipient culture. This can be confirmed by the date of the next translation - it appeared only in 1906. The author declares no conflicts of interests.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"42 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585656","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}
Modern postcolonial studies have developed the definition of internal colonization as a system of regular practices of colonial government and knowledge within the political boundaries of the state. On this scale, relations are formed between the state and its subjects, in which the state treats its subjects as subdued in the course of the conquest, and its own territory as conquered, mysterious, and requiring settlement and “inculturation” from the center. At the same time, the main elements of imperial domination, implemented through coercion, are cultural expansion, hegemony of power, ethnic assimilation within the state borders. The Russian culture of the 19th century formed the plot of internal colonization. It was built around the conflict between the “Man of Power and Culture” and the “Man from the People”. The latter is positioned in the article as a “colonial subaltern” – a disadvantaged, marginalized individual (group) with limited subjectivity. The concept of the subaltern, which is based on A. Gramsci’s idea of hegemony as a variant of voluntary acceptance of relations of domination, suggests that the dominance of the “Man of Power and Culture” is based on the consent of the governed rather than on the methods of violence and genocide. The assertion of the fact that Russia is created through self-colonization and self-sacrifice, and Russian identity is both that of the sovereign and of the subaltern, requires adequate argumentation through rereading and interpreting the plots of internal colonization. In the center of internal colonization are the well-known events of Siberian history: exile and katorga, resettlement, non-Russian question, social life of the borderland, etc. The literary heritage of Nikolai Yadrintsev (articles, poems, feuilletons) provides an opportunity not only to reconstruct the images of “colonial subalternity”, to reconstruct significant episodes of the collective biography of subalterns or to rank them as the indigenous population, old-timers of the region, resettlers from European Russia, but also to hear the voices of the “subalterns” themselves. The postcolonial perspective of the study of the literary works of Yadrintsev, a representative of the liberal segment of the Russian sociopolitical discourse, opens up prospects for identifying the practices and forms of resistance of the voiceless subalterns, the mechanisms of their oppression by both the colonialists and the traditional patriarchal power. When formulating the key findings of the study, the author takes into account that “subalterns”, as a category of the internal colonization process, are initially in double exclusion: their “invisibility” and “inaudibility” is replaced by the right of competing political actors to represent the interests of the subaltern. This invariably creates the danger of perceiving subalterns as coherent political subjects.
{"title":"“Subalterns” of Colonization in the Scholarly, Journalistic and Literary Heritage of Nikolai Yadrintsev","authors":"M. Churkin","doi":"10.17223/24099554/15/14","DOIUrl":"https://doi.org/10.17223/24099554/15/14","url":null,"abstract":"Modern postcolonial studies have developed the definition of internal colonization as a system of regular practices of colonial government and knowledge within the political boundaries of the state. On this scale, relations are formed between the state and its subjects, in which the state treats its subjects as subdued in the course of the conquest, and its own territory as conquered, mysterious, and requiring settlement and “inculturation” from the center. At the same time, the main elements of imperial domination, implemented through coercion, are cultural expansion, hegemony of power, ethnic assimilation within the state borders. The Russian culture of the 19th century formed the plot of internal colonization. It was built around the conflict between the “Man of Power and Culture” and the “Man from the People”. The latter is positioned in the article as a “colonial subaltern” – a disadvantaged, marginalized individual (group) with limited subjectivity. The concept of the subaltern, which is based on A. Gramsci’s idea of hegemony as a variant of voluntary acceptance of relations of domination, suggests that the dominance of the “Man of Power and Culture” is based on the consent of the governed rather than on the methods of violence and genocide. The assertion of the fact that Russia is created through self-colonization and self-sacrifice, and Russian identity is both that of the sovereign and of the subaltern, requires adequate argumentation through rereading and interpreting the plots of internal colonization. In the center of internal colonization are the well-known events of Siberian history: exile and katorga, resettlement, non-Russian question, social life of the borderland, etc. The literary heritage of Nikolai Yadrintsev (articles, poems, feuilletons) provides an opportunity not only to reconstruct the images of “colonial subalternity”, to reconstruct significant episodes of the collective biography of subalterns or to rank them as the indigenous population, old-timers of the region, resettlers from European Russia, but also to hear the voices of the “subalterns” themselves. The postcolonial perspective of the study of the literary works of Yadrintsev, a representative of the liberal segment of the Russian sociopolitical discourse, opens up prospects for identifying the practices and forms of resistance of the voiceless subalterns, the mechanisms of their oppression by both the colonialists and the traditional patriarchal power. When formulating the key findings of the study, the author takes into account that “subalterns”, as a category of the internal colonization process, are initially in double exclusion: their “invisibility” and “inaudibility” is replaced by the right of competing political actors to represent the interests of the subaltern. This invariably creates the danger of perceiving subalterns as coherent political subjects.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"58 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584535","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 concept of “narrative epiphany”, which goes back to V.I. Tyupa’s narratology. This narrative is described as a variant of a narrative intrigue – the enigmatic intrigue of revelation with a particular “chain of clarifications, approximations, touching the content of life that is beyond human experience”. The author analyses the work of two writers – F. Mauriac and I. Murdoch to describe the religious and non-religious (secular) varieties of the narrative of epiphany. Besides typological similarities, The Sea, the Sea and Maltaverne: A Novel About a Young Man of Long Ago demonstrate genetic affinity. The comparative analysis allows the narrative of epiphany at all levels of the structure. Compositionally, it is characterized by the I-narrator of a twofold architectonic organization, when the work seems to be being written in plain view of the reader and appears to have already been completed, with the hero making his way to become a writer. Among other fundamental characteristics of the hero-storyteller are his confidence in his ability for insights and his power over souls and even the fate of other people, which is described as a kind of “witchcraft”. In terms of motives, the narrative of epiphany is characterized by the theme of the relationship between imagination and reality: the motives are verbal formulas of a cave, a tunnel, a crack, darkness, on the one hand, and light, the sun, an exit from darkness, on the other. There is also a motif of the atoning sacrifice, related to the turning point in the hero’s consciousness. The main plot collision can be described as self-deception of the protagonist, his false ideas about the meaning of his own life, and about relationships with others. The main event is related to the realization of previous illusions. The principal feature of the plot deployment of the narrative epiphany is the impossibility of “putting an end”, because the course of life appears as unstoppable, in spite of all the shocks and insights experienced by the hero, thus in the finale the horizon moves back again.
{"title":"The Narrative of Epiphany in the Novels by François Mauriac and Iris Murdoch","authors":"V. Zuseva-Özkan","doi":"10.17223/24099554/15/3","DOIUrl":"https://doi.org/10.17223/24099554/15/3","url":null,"abstract":"The article develops the concept of “narrative epiphany”, which goes back to V.I. Tyupa’s narratology. This narrative is described as a variant of a narrative intrigue – the enigmatic intrigue of revelation with a particular “chain of clarifications, approximations, touching the content of life that is beyond human experience”. The author analyses the work of two writers – F. Mauriac and I. Murdoch to describe the religious and non-religious (secular) varieties of the narrative of epiphany. Besides typological similarities, The Sea, the Sea and Maltaverne: A Novel About a Young Man of Long Ago demonstrate genetic affinity. The comparative analysis allows the narrative of epiphany at all levels of the structure. Compositionally, it is characterized by the I-narrator of a twofold architectonic organization, when the work seems to be being written in plain view of the reader and appears to have already been completed, with the hero making his way to become a writer. Among other fundamental characteristics of the hero-storyteller are his confidence in his ability for insights and his power over souls and even the fate of other people, which is described as a kind of “witchcraft”. In terms of motives, the narrative of epiphany is characterized by the theme of the relationship between imagination and reality: the motives are verbal formulas of a cave, a tunnel, a crack, darkness, on the one hand, and light, the sun, an exit from darkness, on the other. There is also a motif of the atoning sacrifice, related to the turning point in the hero’s consciousness. The main plot collision can be described as self-deception of the protagonist, his false ideas about the meaning of his own life, and about relationships with others. The main event is related to the realization of previous illusions. The principal feature of the plot deployment of the narrative epiphany is the impossibility of “putting an end”, because the course of life appears as unstoppable, in spite of all the shocks and insights experienced by the hero, thus in the finale the horizon moves back again.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"52 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584251","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 typological intersections between the early works of Leo Tolstoy and the works of the 1850s of Egor Kovalevsky. The theme “Egor Kovalevsky and Leo Tolstoy” has not been studied comprehensively and systematically in Russian literary criticism. The research develops from the history of personal relationships between the writers during the Danube Campaign and the Sevastopol events to a comparative study of the writers’ works created during the Crimean Campaign. Tolstoy’s “Sevastopol in December” and in Kovalevsky’s “The Bombing of Sevastopol” reflected the similarities in the authors’ concepts, themes and images. The article justifies that the central theme developed in the writers’ oeuvre was a person and their role in history. Similarities and differences in the portrayal of the heroic events of the defense of Sevastopol by the writers are considered. Kovalevsky’s essay and Tolstoy’s first story are closely linked by one idea – the sense of civic exaltation, national identity. In describing the Russian soldier, his character, the heroism of the defenders of Sevastopol, the writers follow the “truth of life”. Kovalevsky captures the names of the direct participants in the war. With one detail or episode of the last minutes of their lives, Kovalevsky draws the reader’s attention to the “ordinary heroes” of Sevastopol, emphasizing the importance of their individual feat. Tolstoy’s heroes, on the contrary, are nameless: it is the general mood of the defenders of Sevastopol that is important for the writer. There are common features in the narrative manner of the two writers: ways of depicting heroes, accuracy and imagery of landscape sketches. A few strokes and precise details convey the state of Sevastopol. The mood associated with the state of the city is emphasized by the details of the landscape. The similarity in describing the heroes’ and the narrator’s psychology is expressed through the image of fog. The features of the authors’ creative manner and the role of the narrator are analyzed. There is an obvious difference in the creative methods of Kovalevsky and Tolstoy. Describing real details with historical accuracy, Kovalevsky paints a romantic picture with bright “strokes”. Kovalevsky uses concrete real details most often as a way to emphasize a bright feature he has noted in life, while Tolstoy seeks to show (highlight) the quality of life rather than its specific feature. The difference between Kovalevsky’s essay and Tolstoy’s story is also in the assessment of the historical event. Describing the bombing of Sevastopol as a historian, Kovalevsky does not abandon moral and political generalizations. Thus, the manner of narration and the ways of depicting heroes testify that both Tolstoy and Kovalevsky solve one problem with different artistic means – to truthfully portray the reality and the person as the “center of history”. In search of a true depiction of Sevastopol, Kovalevsky, a historian and romantic writer, moved
{"title":"The Crimean War in the Reception of Egor Kovalevsky and Leo Tolstoy","authors":"E. Aleksandrova","doi":"10.17223/24099554/15/9","DOIUrl":"https://doi.org/10.17223/24099554/15/9","url":null,"abstract":"The article examines typological intersections between the early works of Leo Tolstoy and the works of the 1850s of Egor Kovalevsky. The theme “Egor Kovalevsky and Leo Tolstoy” has not been studied comprehensively and systematically in Russian literary criticism. The research develops from the history of personal relationships between the writers during the Danube Campaign and the Sevastopol events to a comparative study of the writers’ works created during the Crimean Campaign. Tolstoy’s “Sevastopol in December” and in Kovalevsky’s “The Bombing of Sevastopol” reflected the similarities in the authors’ concepts, themes and images. The article justifies that the central theme developed in the writers’ oeuvre was a person and their role in history. Similarities and differences in the portrayal of the heroic events of the defense of Sevastopol by the writers are considered. Kovalevsky’s essay and Tolstoy’s first story are closely linked by one idea – the sense of civic exaltation, national identity. In describing the Russian soldier, his character, the heroism of the defenders of Sevastopol, the writers follow the “truth of life”. Kovalevsky captures the names of the direct participants in the war. With one detail or episode of the last minutes of their lives, Kovalevsky draws the reader’s attention to the “ordinary heroes” of Sevastopol, emphasizing the importance of their individual feat. Tolstoy’s heroes, on the contrary, are nameless: it is the general mood of the defenders of Sevastopol that is important for the writer. There are common features in the narrative manner of the two writers: ways of depicting heroes, accuracy and imagery of landscape sketches. A few strokes and precise details convey the state of Sevastopol. The mood associated with the state of the city is emphasized by the details of the landscape. The similarity in describing the heroes’ and the narrator’s psychology is expressed through the image of fog. The features of the authors’ creative manner and the role of the narrator are analyzed. There is an obvious difference in the creative methods of Kovalevsky and Tolstoy. Describing real details with historical accuracy, Kovalevsky paints a romantic picture with bright “strokes”. Kovalevsky uses concrete real details most often as a way to emphasize a bright feature he has noted in life, while Tolstoy seeks to show (highlight) the quality of life rather than its specific feature. The difference between Kovalevsky’s essay and Tolstoy’s story is also in the assessment of the historical event. Describing the bombing of Sevastopol as a historian, Kovalevsky does not abandon moral and political generalizations. Thus, the manner of narration and the ways of depicting heroes testify that both Tolstoy and Kovalevsky solve one problem with different artistic means – to truthfully portray the reality and the person as the “center of history”. In search of a true depiction of Sevastopol, Kovalevsky, a historian and romantic writer, moved ","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584646","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 is written on the material of the unpublished diaries of Sergei Ivanovich Turgenev (1792–1827) and focuses on two journeys he made in 1811 while studying at the University of Göttingen: to the Harz and to Holland. The former is a special type of student travel that developed in the German “Bursch” environment and had its own stable routes and behavioral “rituals”. The curriculum of the University of Göttingen had a special course on travel; therefore, for university students, hiking in the Harz was part of the unwritten compulsory “program”. The relative proximity of the Harz to Göttingen, its connection with German history, and the beauty of its nature made it an attractive destination for an educational trip that allowed combining the useful with the pleasant. However, the concept “useful”, when applied to the Harz, changed at the turn of the 19th century. The amateur interest in natural history and mineralogy led to a shift in focus from the description of historical monuments to the natural sciences. The Harz began to be considered primarily as a geological phenomenon and a place of mining, which also determined the plans for its exploration. This focus on natural science is evident in the recordings of Sergei Turgenev’s elder brothers, Alexander and Nikolai, who also studied in Göttingen and visited the Harz several years earlier. The described context allows seeing the peculiarities of Sergei Turgenev’s perception of the Harz. He went there solely for pleasure, did not prepare for the journey in any way, and wrote down his impressions only to satisfy Alexander Turgenev’s request of a report on the trip from his younger brother. For this purpose, Sergei “literated” some of his notes based on his travel diary. Lacking pragmatic information, he tried to compensate for it with “sensitive” reasoning and poetic quotations. The somewhat artificial literary character of the text is balanced by the vivid details and sketches of momentary everyday situations. Sergei Turgenev did not post-process his travel notes on the trip to Holland. The notes show that, within just a few months, Sergei Turgenev’s perception of the European space changed. The entertaining “Bursch” transformed, according to his own words, into an “inquisitive” traveler from Stern’s “classification”. He looks at the Dutch, who then recently became new subjects of the French Empire; watches their preparations for Napoleon’s arrival; is surprised at the degree of their loyalty to the foreign ruler; and ponders the question of how much this loyalty depends on citizens’ well-being. The trip to Holland leads Sergei Turgenev, upon his return to Göttingen, to reading Adam Smith, on the one hand; on the other hand, it gives a start to the reasoning, which goes through all his later diaries and letters, on constitutionalism, on the nature of revolutions, and on the need for modernization reforms in Russia.
{"title":"Sergey Turgenev’s Student Travels: The European Experience and Its Reflection in His Diaries for 1811","authors":"M. Koreneva, E. Larionova","doi":"10.17223/24099554/15/7","DOIUrl":"https://doi.org/10.17223/24099554/15/7","url":null,"abstract":"The article is written on the material of the unpublished diaries of Sergei Ivanovich Turgenev (1792–1827) and focuses on two journeys he made in 1811 while studying at the University of Göttingen: to the Harz and to Holland. The former is a special type of student travel that developed in the German “Bursch” environment and had its own stable routes and behavioral “rituals”. The curriculum of the University of Göttingen had a special course on travel; therefore, for university students, hiking in the Harz was part of the unwritten compulsory “program”. The relative proximity of the Harz to Göttingen, its connection with German history, and the beauty of its nature made it an attractive destination for an educational trip that allowed combining the useful with the pleasant. However, the concept “useful”, when applied to the Harz, changed at the turn of the 19th century. The amateur interest in natural history and mineralogy led to a shift in focus from the description of historical monuments to the natural sciences. The Harz began to be considered primarily as a geological phenomenon and a place of mining, which also determined the plans for its exploration. This focus on natural science is evident in the recordings of Sergei Turgenev’s elder brothers, Alexander and Nikolai, who also studied in Göttingen and visited the Harz several years earlier. The described context allows seeing the peculiarities of Sergei Turgenev’s perception of the Harz. He went there solely for pleasure, did not prepare for the journey in any way, and wrote down his impressions only to satisfy Alexander Turgenev’s request of a report on the trip from his younger brother. For this purpose, Sergei “literated” some of his notes based on his travel diary. Lacking pragmatic information, he tried to compensate for it with “sensitive” reasoning and poetic quotations. The somewhat artificial literary character of the text is balanced by the vivid details and sketches of momentary everyday situations. Sergei Turgenev did not post-process his travel notes on the trip to Holland. The notes show that, within just a few months, Sergei Turgenev’s perception of the European space changed. The entertaining “Bursch” transformed, according to his own words, into an “inquisitive” traveler from Stern’s “classification”. He looks at the Dutch, who then recently became new subjects of the French Empire; watches their preparations for Napoleon’s arrival; is surprised at the degree of their loyalty to the foreign ruler; and ponders the question of how much this loyalty depends on citizens’ well-being. The trip to Holland leads Sergei Turgenev, upon his return to Göttingen, to reading Adam Smith, on the one hand; on the other hand, it gives a start to the reasoning, which goes through all his later diaries and letters, on constitutionalism, on the nature of revolutions, and on the need for modernization reforms in Russia.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584594","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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