The article deals with one of the most important unofficial imperial symbols of Russia - the Russian bayonet. For quite a long historical period, 1790-1945, the bayonet remained a metaphor for military, state, and national power. In the historical perspective, it had three main meanings: 1) the glory of the Russian Army, and then the Red Army; 2) the greatness and strength of the Russian Empire; 3) courage, determination, and the Russian man’s contempt for death. The cult of Suvorov and the myth of the Russian bayonet were formed in Russian poetry at the same time - at the end of the XVIII century, and they supported each other. Suvorov’s bayonet charge training remained relevant in the tactics and military theory of the Russian Army until the end of the 19th century. The idea of the mythical Suvorov’s “bogatyr”, a Russian soldier, was poeticized by the commander himself in The Science of Victory (1795) and was continued primarily in the patriotic poetry of the 1830s. The mythologization of the Russian bayonet in Russian poetry and battle prose reached its apotheosis in the early 1830s, at the time of Russia’s confrontation with Europe over the Polish Uprising. The literary myth of the bayonet is presented in its most complete form in Pyotr Yershov’s poem “The Russian Bayonet”. Patriotic lyrics with their collective lyrical subject and nationwide sublime pathos and the battle prose of the 1830s both played a decisive role in the creation of the myth. The hyperbolization of the Russian hero wielding the bayonet in the prose of the 1830s is usually linked with the motif of national superiority. The ideological imperial myth of the invincible and all-powerful Russian bayonet was used primarily within Russia itself. During the Crimean War, the poetical hope that the bayonet would help to win the war with the most well-armed armies in Europe was in vain. In addition, the destruction of the myth was influenced by the spread of the personal point of view in the psychological prose of Leo Tolstoy and Vsevolod Garshin. In Tolstoy’s battle prose, the war rhetoric and the valorization of war are devalued, this “demythologization” also includes an unusual description of the Russian bayonet charge. This trend continues in the prose of Garshin, who gained the experience of an ordinary volunteer soldier in the Russian-Turkish War. In the last third of the 19th century and before the beginning of the First World War, the bayonet in Russian unofficial literature became a metaphor for the repressive state apparatus. Nevertheless, at the beginning of the war, the suppressed national semantics of the bayonet was actualized again. The same thing happened at the very beginning of the Great Patriotic War when the very existence of Russians as an ethnic group was called into question. Soviet poets once again turned to the myth of the all-conquering Suvorov’s Russian bayonet.
{"title":"“The Russian Bayonet” in the Russian Literature of the 18th-20th Centuries: The Magic Weapon of the Empire","authors":"V. V. Maroshi","doi":"10.17223/24099554/16/14","DOIUrl":"https://doi.org/10.17223/24099554/16/14","url":null,"abstract":"The article deals with one of the most important unofficial imperial symbols of Russia - the Russian bayonet. For quite a long historical period, 1790-1945, the bayonet remained a metaphor for military, state, and national power. In the historical perspective, it had three main meanings: 1) the glory of the Russian Army, and then the Red Army; 2) the greatness and strength of the Russian Empire; 3) courage, determination, and the Russian man’s contempt for death. The cult of Suvorov and the myth of the Russian bayonet were formed in Russian poetry at the same time - at the end of the XVIII century, and they supported each other. Suvorov’s bayonet charge training remained relevant in the tactics and military theory of the Russian Army until the end of the 19th century. The idea of the mythical Suvorov’s “bogatyr”, a Russian soldier, was poeticized by the commander himself in The Science of Victory (1795) and was continued primarily in the patriotic poetry of the 1830s. The mythologization of the Russian bayonet in Russian poetry and battle prose reached its apotheosis in the early 1830s, at the time of Russia’s confrontation with Europe over the Polish Uprising. The literary myth of the bayonet is presented in its most complete form in Pyotr Yershov’s poem “The Russian Bayonet”. Patriotic lyrics with their collective lyrical subject and nationwide sublime pathos and the battle prose of the 1830s both played a decisive role in the creation of the myth. The hyperbolization of the Russian hero wielding the bayonet in the prose of the 1830s is usually linked with the motif of national superiority. The ideological imperial myth of the invincible and all-powerful Russian bayonet was used primarily within Russia itself. During the Crimean War, the poetical hope that the bayonet would help to win the war with the most well-armed armies in Europe was in vain. In addition, the destruction of the myth was influenced by the spread of the personal point of view in the psychological prose of Leo Tolstoy and Vsevolod Garshin. In Tolstoy’s battle prose, the war rhetoric and the valorization of war are devalued, this “demythologization” also includes an unusual description of the Russian bayonet charge. This trend continues in the prose of Garshin, who gained the experience of an ordinary volunteer soldier in the Russian-Turkish War. In the last third of the 19th century and before the beginning of the First World War, the bayonet in Russian unofficial literature became a metaphor for the repressive state apparatus. Nevertheless, at the beginning of the war, the suppressed national semantics of the bayonet was actualized again. The same thing happened at the very beginning of the Great Patriotic War when the very existence of Russians as an ethnic group was called into question. Soviet poets once again turned to the myth of the all-conquering Suvorov’s Russian bayonet.","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":"67584415","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 postcolonial fiction of the 21st century has developed a new version of family chronicle depicting the life of several generations of migrants to demonstrate the complexity of their experience, different for each generation. This article aims at investigating this tradition from the perspective of three urgent problems: trauma, postcolonial experience, and the “female” theme. The author uses the most illustrative modern women’s postcolonial writings (Z. Smith, Ju. Chang) to show the types of trauma featured in postcolonial literature as well as the change in the character of traumatic experience, including the migrant’s automythologization from generation to generation. There are several types of trauma, or stages experienced by migrants: historical, migration and selfidentification, more or less correlated with three generations of migrants. Historical trauma is the most severe and most often insurmountable for the first generation. It generates a myth about the past, terrible or beautiful, depending on the writer’s intention realized at the level of the writer or the characters. A most expanded form of this trauma can be found in the novel Wild Swans by Jung Chang, where the “female” experience underlines the severity of the historical situation in the homeland of migrants. The trauma of migration manifests itself as a situation of deterritorialization, lack of place, when the experience of the past dominates and prevents the migrants from adapting to a new life. This situation is clearly illustrated in the novel White Teeth by Z. Smith, where the first generation of migrants cannot cope with the effects of trauma. The trauma of selfidentification promotes a fictitious identity in the younger generation of migrants. Unable to join real life communities, they create automyths, joining fictional communities based on cultural myths (Muslim organizations, rap culture, environmental organizations). Such examples can be found in Z. Smith’s White Teeth and On Beauty. Thus, the problem of trauma undergoes erosion, because, strictly speaking, with each new generation, the event experienced as traumatic is less worth designating as such. Compared to historical trauma or the trauma of migration, trauma of self-identification is rather a psychological problem that affects the emotional sphere and is quite survivable for most of the characters.
{"title":"Postcolonial Trauma in the 21st-Century English Female Fiction","authors":"Lilia Khabibullina","doi":"10.17223/24099554/15/5","DOIUrl":"https://doi.org/10.17223/24099554/15/5","url":null,"abstract":"The postcolonial fiction of the 21st century has developed a new version of family chronicle depicting the life of several generations of migrants to demonstrate the complexity of their experience, different for each generation. This article aims at investigating this tradition from the perspective of three urgent problems: trauma, postcolonial experience, and the “female” theme. The author uses the most illustrative modern women’s postcolonial writings (Z. Smith, Ju. Chang) to show the types of trauma featured in postcolonial literature as well as the change in the character of traumatic experience, including the migrant’s automythologization from generation to generation. There are several types of trauma, or stages experienced by migrants: historical, migration and selfidentification, more or less correlated with three generations of migrants. Historical trauma is the most severe and most often insurmountable for the first generation. It generates a myth about the past, terrible or beautiful, depending on the writer’s intention realized at the level of the writer or the characters. A most expanded form of this trauma can be found in the novel Wild Swans by Jung Chang, where the “female” experience underlines the severity of the historical situation in the homeland of migrants. The trauma of migration manifests itself as a situation of deterritorialization, lack of place, when the experience of the past dominates and prevents the migrants from adapting to a new life. This situation is clearly illustrated in the novel White Teeth by Z. Smith, where the first generation of migrants cannot cope with the effects of trauma. The trauma of selfidentification promotes a fictitious identity in the younger generation of migrants. Unable to join real life communities, they create automyths, joining fictional communities based on cultural myths (Muslim organizations, rap culture, environmental organizations). Such examples can be found in Z. Smith’s White Teeth and On Beauty. Thus, the problem of trauma undergoes erosion, because, strictly speaking, with each new generation, the event experienced as traumatic is less worth designating as such. Compared to historical trauma or the trauma of migration, trauma of self-identification is rather a psychological problem that affects the emotional sphere and is quite survivable for most of the characters.","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":"67584498","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 House of the Dead was repeatedly compared with the first part of Dante’s The Divine Comedy even in F.M. Dostoevsky’s lifetime. However, his contemporaries usually focused on general analogies, while later scholars paid more attention to the narrative features or individual reminiscences. This research studies the main aspects of the artistic structure of the Dante code, constructing the space of Hell in Dostoevsky’s novel. 1. The organization of space. Alexander Petrovich Goryanchikov, the narrator in The House of the Dead, recreates a three-dimensional image that resembles a gradually narrowing funnel: from a bird’s-eye view, where the prison is seen in its entirety, the focus slowly descends, passing to smaller objects, and finally reaching the “three boards”, which limit Goryanchikov’s personal space. The same principle is employed to construct the space of Hell in Dante’s poem. In The House of the Dead, there is another significant indication of the spatial affinity of Dante’s hell and Dostoevsky’s katorga – active imagery associated with cobwebs and spiders. In the centre of the system of images associated with the designated semantic network is the parade- major, the head of the fortress and the owner of the inmate web. 2. The character system as an element constituting the space of Hell. The character system of The House of the Dead follows the compositional principle of Divine Comedy, where sinners are located in different circles in accordance with their main passion. There are three circles in the prison: the first is formal, according to the court decision; the second is informal, internal, formed by crafts and occupations; the third represents Goryanchikov’s perspective as an exponent of human and humane judgment, which distinguishes another person’s moral state. 3. Torment. The House of the Dead demonstrate a hierarchy in describing the tortures, while freedom becomes a fundamental category to embody the most important motif of physical and moral torment connecting Dostoevsky’s novel with Dante’s experience. The bodily torment ceases to be only the torment of the body to become a pain of the soul, comparable to physical torment, so the soul suffers and burns. Hell as a moral topos was the key for Dostoevsky. In The House of the Dead, he chooses the same way as Dante in The Divine Comedy: vivid corporeality conveys an esoteric metaphor of moral suffering and deep inner movements of the soul.
{"title":"The Images of Dante’s Inferno in Fyodor Dostoevsky’s The House of the Dead","authors":"M. G. Kurgan","doi":"10.17223/24099554/15/2","DOIUrl":"https://doi.org/10.17223/24099554/15/2","url":null,"abstract":"The House of the Dead was repeatedly compared with the first part of Dante’s The Divine Comedy even in F.M. Dostoevsky’s lifetime. However, his contemporaries usually focused on general analogies, while later scholars paid more attention to the narrative features or individual reminiscences. This research studies the main aspects of the artistic structure of the Dante code, constructing the space of Hell in Dostoevsky’s novel. 1. The organization of space. Alexander Petrovich Goryanchikov, the narrator in The House of the Dead, recreates a three-dimensional image that resembles a gradually narrowing funnel: from a bird’s-eye view, where the prison is seen in its entirety, the focus slowly descends, passing to smaller objects, and finally reaching the “three boards”, which limit Goryanchikov’s personal space. The same principle is employed to construct the space of Hell in Dante’s poem. In The House of the Dead, there is another significant indication of the spatial affinity of Dante’s hell and Dostoevsky’s katorga – active imagery associated with cobwebs and spiders. In the centre of the system of images associated with the designated semantic network is the parade- major, the head of the fortress and the owner of the inmate web. 2. The character system as an element constituting the space of Hell. The character system of The House of the Dead follows the compositional principle of Divine Comedy, where sinners are located in different circles in accordance with their main passion. There are three circles in the prison: the first is formal, according to the court decision; the second is informal, internal, formed by crafts and occupations; the third represents Goryanchikov’s perspective as an exponent of human and humane judgment, which distinguishes another person’s moral state. 3. Torment. The House of the Dead demonstrate a hierarchy in describing the tortures, while freedom becomes a fundamental category to embody the most important motif of physical and moral torment connecting Dostoevsky’s novel with Dante’s experience. The bodily torment ceases to be only the torment of the body to become a pain of the soul, comparable to physical torment, so the soul suffers and burns. Hell as a moral topos was the key for Dostoevsky. In The House of the Dead, he chooses the same way as Dante in The Divine Comedy: vivid corporeality conveys an esoteric metaphor of moral suffering and deep inner movements of the soul.","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":"67584698","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 images of states as special mental models are created in mass media discourse with its powerful persuasive capacity. The image of one and the same state can be different. This article focuses on the mechanisms of such a change of the image of New Russia in British mass media discourse on the basis of a comparative analysis of the linguistic ways of surfacing the nucleus of the concept “Russia” and its three basic layers - metaphorical, evaluative, and etnocultural associative - in the period after the collapse of the Soviet Union (1991-1993) and in the modern one (2013-2018). The relevance of this work is due to the growing interest of the British media in our country and the need to study the dynamics of verbalization of the conceptual, figurative, evaluative and associative components of the concept “Russia” in British media discourse over the past 30 years. The results of the study confirmed our hypothesis that two different images of New Russia were created in British political media discourse in the two periods: one in 1991-1993 after the collapse of the Soviet Union and the other in 2013-2018 when British-Russian relations sharply escalated. In 1991, British journalists still used phrases such as former Soviet Union, Russian-Soviet state, Russian Empire to designate our state. Currently, there are such nominations as the Russian State, the Kremlin, Putin’s Russia. The metaphorical image of Russia has changed from a connotation associated with the concept of a weak, sick, newborn or defeated country to an offensive image of an enemy, a puppeteer, an active participant in military games, or aggressive animals, such as a bear, gorilla or octopus. The evaluative layer of the image-concept of Russia in the 1990s was represented by epithet utterances with some positive connotations associated with the hope of restoration and friendliness on her part. Currently, almost no positive connotations are found. The associative layer of the image-concept of Russia in the 1990s was represented in the British press by former superpower tokens opposing weak Russia to the powerful Soviet Union. Russia, as the successor to the USSR, was associated with the empire, with the green color of rebirth, with the East and mystery. However, objective journalists are sure that Russia is not an enemy, that cooperation between the two countries is mutually beneficial, given the positive historical experience of the interaction of the two great cultures. The analysis scheme proposed in the article can be used to study the transformation of images of other states. The article can be used in training courses for linguists, journalists and politicians.
{"title":"Transformation of the Image-Concept of Russia in British Political Media Discourse: A Diachronic Aspect","authors":"N. B. Boeva-Omelechko, Ksenia Posternyak","doi":"10.17223/24099554/16/10","DOIUrl":"https://doi.org/10.17223/24099554/16/10","url":null,"abstract":"The images of states as special mental models are created in mass media discourse with its powerful persuasive capacity. The image of one and the same state can be different. This article focuses on the mechanisms of such a change of the image of New Russia in British mass media discourse on the basis of a comparative analysis of the linguistic ways of surfacing the nucleus of the concept “Russia” and its three basic layers - metaphorical, evaluative, and etnocultural associative - in the period after the collapse of the Soviet Union (1991-1993) and in the modern one (2013-2018). The relevance of this work is due to the growing interest of the British media in our country and the need to study the dynamics of verbalization of the conceptual, figurative, evaluative and associative components of the concept “Russia” in British media discourse over the past 30 years. The results of the study confirmed our hypothesis that two different images of New Russia were created in British political media discourse in the two periods: one in 1991-1993 after the collapse of the Soviet Union and the other in 2013-2018 when British-Russian relations sharply escalated. In 1991, British journalists still used phrases such as former Soviet Union, Russian-Soviet state, Russian Empire to designate our state. Currently, there are such nominations as the Russian State, the Kremlin, Putin’s Russia. The metaphorical image of Russia has changed from a connotation associated with the concept of a weak, sick, newborn or defeated country to an offensive image of an enemy, a puppeteer, an active participant in military games, or aggressive animals, such as a bear, gorilla or octopus. The evaluative layer of the image-concept of Russia in the 1990s was represented by epithet utterances with some positive connotations associated with the hope of restoration and friendliness on her part. Currently, almost no positive connotations are found. The associative layer of the image-concept of Russia in the 1990s was represented in the British press by former superpower tokens opposing weak Russia to the powerful Soviet Union. Russia, as the successor to the USSR, was associated with the empire, with the green color of rebirth, with the East and mystery. However, objective journalists are sure that Russia is not an enemy, that cooperation between the two countries is mutually beneficial, given the positive historical experience of the interaction of the two great cultures. The analysis scheme proposed in the article can be used to study the transformation of images of other states. The article can be used in training courses for linguists, journalists and politicians.","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":"67584719","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}
Attention to the western reception of Eastern Europe has been relevant for several centuries, but it is especially characteristic of the turn of the 21st century. The inertia of the Cold War is still felt in popular culture: evil is essentialized in the images of Russia/Eastern Europe and Russians/Eastern Europeans every time. Another tradition prefers to create the image of a Russian relying on the harmless, inactive characters of Russian fairy tales and novels, such as Emelya and Oblomov. Russia itself is often not named or portrayed in films and texts; it is replaced by Eastern Europe, Siberia, and fictional cities. The article highlights the main characteristics of the Eastern European text according to Larry Wolff: remoteness, coldness, savagery, passionateness, ambivalence, theatricality, frightening suspense. Eastern European images by the contemporary American writer Donna Tartt (Boris Pavlikovsky and other Slavs in her novel The Goldfinch) are compared with the interpretation of such images in the popular culture and by the writers of the 20th century (in William Somerset Maugham’s novel The Razor’s Edge). In Tartt’s novel, we encounter heroes who are not just interested in Russia and Russians/Eastern Europeans, but are literally fascinated by them, trying to learn the language, study Russian literature. It has been suggested that Fyodor Dolokhov from Leo Tolstoy’s War and Peace, one of the key novels in the world literary tradition, could be the prototype for a significant number of Eastern European images. This ambivalent image combines all the main characteristics of the Eastern European text and allows both negative (most often) and positive (with careful consideration of the plots and characteristics) interpretations. For example, coldness, winter, blizzard can be considered as negative characteristics (especially considering some connotations), but, in the classic novel, which is also oriented towards Dickens, they are naturally connected with the Christmas theme of the miraculous elimination of contradictions, the fabulous resolution of all problems, and transformation. Therefore, it is not surprising that the “code” of the character is repeated, from name to separate themes and motifs. The characteristics Wolff lists – robbery, philosophizing, masquerading, duality – generate both repulsion and attraction. It is possible that the positive perception of Eastern Europe is rooted in the approach to the theme through the prism of literature and literary criticism. Tartt as a philologist is expectedly more influenced by modern literary theory inspired by the formalists, Propp, Bakhtin, Jakobson, and Lotman, than by political clichés.
{"title":"The Goldfinch at Eastern Europe’s Crossroads: Russian Subtexts of Donna Tartt’s Novel","authors":"O. E. Gevel","doi":"10.17223/24099554/15/16","DOIUrl":"https://doi.org/10.17223/24099554/15/16","url":null,"abstract":"Attention to the western reception of Eastern Europe has been relevant for several centuries, but it is especially characteristic of the turn of the 21st century. The inertia of the Cold War is still felt in popular culture: evil is essentialized in the images of Russia/Eastern Europe and Russians/Eastern Europeans every time. Another tradition prefers to create the image of a Russian relying on the harmless, inactive characters of Russian fairy tales and novels, such as Emelya and Oblomov. Russia itself is often not named or portrayed in films and texts; it is replaced by Eastern Europe, Siberia, and fictional cities. The article highlights the main characteristics of the Eastern European text according to Larry Wolff: remoteness, coldness, savagery, passionateness, ambivalence, theatricality, frightening suspense. Eastern European images by the contemporary American writer Donna Tartt (Boris Pavlikovsky and other Slavs in her novel The Goldfinch) are compared with the interpretation of such images in the popular culture and by the writers of the 20th century (in William Somerset Maugham’s novel The Razor’s Edge). In Tartt’s novel, we encounter heroes who are not just interested in Russia and Russians/Eastern Europeans, but are literally fascinated by them, trying to learn the language, study Russian literature. It has been suggested that Fyodor Dolokhov from Leo Tolstoy’s War and Peace, one of the key novels in the world literary tradition, could be the prototype for a significant number of Eastern European images. This ambivalent image combines all the main characteristics of the Eastern European text and allows both negative (most often) and positive (with careful consideration of the plots and characteristics) interpretations. For example, coldness, winter, blizzard can be considered as negative characteristics (especially considering some connotations), but, in the classic novel, which is also oriented towards Dickens, they are naturally connected with the Christmas theme of the miraculous elimination of contradictions, the fabulous resolution of all problems, and transformation. Therefore, it is not surprising that the “code” of the character is repeated, from name to separate themes and motifs. The characteristics Wolff lists – robbery, philosophizing, masquerading, duality – generate both repulsion and attraction. It is possible that the positive perception of Eastern Europe is rooted in the approach to the theme through the prism of literature and literary criticism. Tartt as a philologist is expectedly more influenced by modern literary theory inspired by the formalists, Propp, Bakhtin, Jakobson, and Lotman, than by political clichés.","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":"67584588","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}
In the reviewed book, intercultural philosophy is considered as a development of comparative studies. Marietta Stepanyants shows that, in the framework of comparative studies, stable stereotypes of perceiving the cultures of the West and the East have developed. Intercultural philosophy as an alternative to Westcentrism proceeds from the recognition of the equality of cultural and philosophical traditions and of the possibility to convert categories into another conceptual language. Intercultural philosophy embodies the protest potential of modern culture and the origins of a new civilization project.
{"title":"Intercultural Philosophy: An Experience of Thematization. (Book Review: Stepanyants, M.T. (2020) Mezhkul’turnaya Filosofiya: Istoki, Metodologiya, Problematika, Perspektivy [Intercultural Philosophy: Sources, Methodology, Problems, Prospects]. Moscow: Nauka – Vostochnaya Literatura. 183 p.)","authors":"A. Malinov","doi":"10.17223/24099554/15/17","DOIUrl":"https://doi.org/10.17223/24099554/15/17","url":null,"abstract":"In the reviewed book, intercultural philosophy is considered as a development of comparative studies. Marietta Stepanyants shows that, in the framework of comparative studies, stable stereotypes of perceiving the cultures of the West and the East have developed. Intercultural philosophy as an alternative to Westcentrism proceeds from the recognition of the equality of cultural and philosophical traditions and of the possibility to convert categories into another conceptual language. Intercultural philosophy embodies the protest potential of modern culture and the origins of a new civilization project.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"2017 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584622","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 history of a family of Russian Germans. The authors focus on the historical and cultural relations between Russia and Germany in the 18th–21st centuries, on the features of the literary human document, on the problems of new historicism, multiculturalism and the specifics of ancestral “places of memory”. The problem of hybrid identity is considered as the basis for fruitful cross-linguistic and cross-cultural contacts
{"title":"“A History of Overcoming . . .” (Book Review: Geyn, F.F., Prusakov, M.V. & El’zesser, V.Ya. (2019) Nemtsy, Vyrosshie na Russkikh Pesnyakh [Germans Who Grew up on Russian Songs]. Tomsk: Tomsk Polytechnic University. 429 p.)","authors":"I. A. Poplavskaya, S. A. Pesotskaya","doi":"10.17223/24099554/15/18","DOIUrl":"https://doi.org/10.17223/24099554/15/18","url":null,"abstract":"The article presents the history of a family of Russian Germans. The authors focus on the historical and cultural relations between Russia and Germany in the 18th–21st centuries, on the features of the literary human document, on the problems of new historicism, multiculturalism and the specifics of ancestral “places of memory”. The problem of hybrid identity is considered as the basis for fruitful cross-linguistic and cross-cultural contacts","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":"67584632","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, based on the material of the Siberian Diary (1909), as well as the travelogues “Adam and Eve” (1909) and “The Black Arab” (1910), examines the features of the images of the Kazakh steppe in Mikhail Prishvin’s early works. All these texts are based on the materials of one journey, which the writer made from May to December 1909. The article attempts to understand the place of Prishvin’s steppe narrative in the discourse of Russian Orientalism in the late imperial period, when the attitude towards residents of the Asian outskirts in Russian literature underwent certain changes. The main question is whether Prishvin preserved the strategies of Russian Orientalism of the 19th century in his descriptions of the steppe and its nomadic and sedentary inhabitants, or he developed new principles for describing and inventing the inner East of Russia. Speaking about Russian Orientalism, the authors of the article proceed from the idea that this discourse is a product of an imperial culture that seeks to “discover the world” under the conditions of an imaginary division of the world into the colonizing West, the colonized East, and Russia, which is both the subject and object of colonization. Analyzing Kazakh travelogues in the context of Prishvin’s biography and works, as well as the cultural context of the colonial policy of the Russian Empire, the authors come to the conclusion that the writer does not create a special discourse about the East but continues the traditions of classical Russian literature of the 19th century. Describing the inhabitants of the steppe (Russian colonists, the imperial administration, as well as the nomadic and sedentary Turkic population), Prishvin bases on the fundamental oppositions of Russian Orientalism, which help to raise questions about Russia, the Russian character, the goals and means of the Russian expansion to the East: Russian/Asian, wild/civilized, real/imaginary. The specificity of Prishvin’s travelogues also lies in the fact that they were created at the intersection of many - scientific, journalistic, artistic, and administrative - discourses that make up Russian Orientalism. For this reason, a complex and largely contradictory position of the author is formed in the travelogues. Prishvin performs many contradictory roles: he is a humanist philosopher who sympathizes with the patriarchal world of the Kazakhs and the desire for freedom of the Russian people; he is an ethnographer scrupulously recording everything that he sees along the way; he is a romantic ready to dress up in oriental clothes and imagine the magical land of the East, which does not exist; he is an enlightened writer who observes the primitive culture and cruel customs of the Kazakhs and the Russian colonists. Prishvin made a great contribution to the design of a new evolutionary round of Russian Orientalism in the late empire: thanks to his essays of the Kazakh world, the imaginary literary map of Russia at the beginning of the 20t
{"title":"Mikhail Prishvin and the Kazakh Steppe: Problems of the Evolution of Russian Orientalism During the Late Empire","authors":"P. Alekseev, Damir N. Dyusekenev","doi":"10.17223/24099554/16/9","DOIUrl":"https://doi.org/10.17223/24099554/16/9","url":null,"abstract":"The article, based on the material of the Siberian Diary (1909), as well as the travelogues “Adam and Eve” (1909) and “The Black Arab” (1910), examines the features of the images of the Kazakh steppe in Mikhail Prishvin’s early works. All these texts are based on the materials of one journey, which the writer made from May to December 1909. The article attempts to understand the place of Prishvin’s steppe narrative in the discourse of Russian Orientalism in the late imperial period, when the attitude towards residents of the Asian outskirts in Russian literature underwent certain changes. The main question is whether Prishvin preserved the strategies of Russian Orientalism of the 19th century in his descriptions of the steppe and its nomadic and sedentary inhabitants, or he developed new principles for describing and inventing the inner East of Russia. Speaking about Russian Orientalism, the authors of the article proceed from the idea that this discourse is a product of an imperial culture that seeks to “discover the world” under the conditions of an imaginary division of the world into the colonizing West, the colonized East, and Russia, which is both the subject and object of colonization. Analyzing Kazakh travelogues in the context of Prishvin’s biography and works, as well as the cultural context of the colonial policy of the Russian Empire, the authors come to the conclusion that the writer does not create a special discourse about the East but continues the traditions of classical Russian literature of the 19th century. Describing the inhabitants of the steppe (Russian colonists, the imperial administration, as well as the nomadic and sedentary Turkic population), Prishvin bases on the fundamental oppositions of Russian Orientalism, which help to raise questions about Russia, the Russian character, the goals and means of the Russian expansion to the East: Russian/Asian, wild/civilized, real/imaginary. The specificity of Prishvin’s travelogues also lies in the fact that they were created at the intersection of many - scientific, journalistic, artistic, and administrative - discourses that make up Russian Orientalism. For this reason, a complex and largely contradictory position of the author is formed in the travelogues. Prishvin performs many contradictory roles: he is a humanist philosopher who sympathizes with the patriarchal world of the Kazakhs and the desire for freedom of the Russian people; he is an ethnographer scrupulously recording everything that he sees along the way; he is a romantic ready to dress up in oriental clothes and imagine the magical land of the East, which does not exist; he is an enlightened writer who observes the primitive culture and cruel customs of the Kazakhs and the Russian colonists. Prishvin made a great contribution to the design of a new evolutionary round of Russian Orientalism in the late empire: thanks to his essays of the Kazakh world, the imaginary literary map of Russia at the beginning of the 20t","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":"67584778","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}
Представлена первая попытка систематического изучения восприятия в Китае концептуального образа России в повести К.Г. Паустовского. Предметом исследования стала современная китайская трактовка структурных компонентов данного образа – триединой модели «природы – народа – языка». Комплексное осмысление рецепции концепта русского мира Паустовского в китайской словесной культуре выражает его коннотации с китайским культурным кодом, отражает развитие взаимосвязей русской и китайской литератур в XXI в. Ключевые слова: концептуальный образ России, «Золотая роза» К. Паустовского, рецепция, взаимоотношение литератур, Сюй Лу, реминисценция, лирико-экологическая повесть, мотив счастья, «Розовая мечта».
{"title":"THE GOLDEN ROSE BY KONSTANTIN PAUSTOVSKY: RECEPTION OF RUSSIA AS A CONCEPTUAL IMAGE IN MODERN CHINESE LITERARY CULTURE","authors":"V. Krylov, Kazan, Yang Yan","doi":"10.17223/24099554/13/11","DOIUrl":"https://doi.org/10.17223/24099554/13/11","url":null,"abstract":"Представлена первая попытка систематического изучения восприятия в Китае концептуального образа России в повести К.Г. Паустовского. Предметом исследования стала современная китайская трактовка структурных компонентов данного образа – триединой модели «природы – народа – языка». Комплексное осмысление рецепции концепта русского мира Паустовского в китайской словесной культуре выражает его коннотации с китайским культурным кодом, отражает развитие взаимосвязей русской и китайской литератур в XXI в. Ключевые слова: концептуальный образ России, «Золотая роза» К. Паустовского, рецепция, взаимоотношение литератур, Сюй Лу, реминисценция, лирико-экологическая повесть, мотив счастья, «Розовая мечта».","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41418022","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}
Дается обзор алтайских эпизодов биографии В.Я. Шишкова и мнений писателя о роли Алтая в его жизни и творческой судьбе, высказанных в эгодокументах. Реконструируется образ Алтая, созданный в рассказе «Алые сугробы» с опорой на ближайший претекст – роман А.Е. Новоселова «Беловодье». Анализируются цветовая и водная доминанты образа в амбивалентном единстве семантики жизни и смерти. Проводятся аналогии между сюжетом поиска Беловодья и историческим путем Советской России. Ключевые слова: Алтай, алтайский текст, Сибирь, сибирский текст, Беловодье, В.Я. Шишков, А.Е. Новоселов.
{"title":"ALTAI IN THE BIOGRAPHY AND LITERARY WORKS OF VYACHESLAV SHISHKOV (SCARLET SNOWDRIFTS)","authors":"T. Bogumil","doi":"10.17223/24099554/13/8","DOIUrl":"https://doi.org/10.17223/24099554/13/8","url":null,"abstract":"Дается обзор алтайских эпизодов биографии В.Я. Шишкова и мнений писателя о роли Алтая в его жизни и творческой судьбе, высказанных в эгодокументах. Реконструируется образ Алтая, созданный в рассказе «Алые сугробы» с опорой на ближайший претекст – роман А.Е. Новоселова «Беловодье». Анализируются цветовая и водная доминанты образа в амбивалентном единстве семантики жизни и смерти. Проводятся аналогии между сюжетом поиска Беловодья и историческим путем Советской России. Ключевые слова: Алтай, алтайский текст, Сибирь, сибирский текст, Беловодье, В.Я. Шишков, А.Е. Новоселов.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43121253","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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