Статья посвящена отечественным ремейкам скандинавских криминальных сериалов «Убийство» (2007) и «Мост» (2011), которые вышли на российские экраны под названиями «Преступление» и «Мост» в 2016 и 2018 гг. соответственно. Предметом первостепенного сравнения являются мотивация преступления (в «Убийстве» и «Преступлении») и концепция характера героинидетектива (в одноименных сериалах). Автор приходит к выводу, что в обоих случаях российские сценаристы редуцируют смыслы, связанные с акцентуацией родительской вины, в соответствии с доминирующими в российском контексте представлениями о норме внутрисемейных отношений. Ключевые слова: скандинавский криминальный сериал, «Forbrydelsen», «Преступление», «Bron», «Мост», ремейк телесериала, образ преступника, образ детектива, тема семьи в кинематографе.
{"title":"RUSSIAN VERSIONS OF THE SCANDINAVIAN CRIMINAL TV SERIES: A REMAKE IN THE CONTEXT OF FOREIGN CULTURE","authors":"O. Turysheva","doi":"10.17223/24099554/13/6","DOIUrl":"https://doi.org/10.17223/24099554/13/6","url":null,"abstract":"Статья посвящена отечественным ремейкам скандинавских криминальных сериалов «Убийство» (2007) и «Мост» (2011), которые вышли на российские экраны под названиями «Преступление» и «Мост» в 2016 и 2018 гг. соответственно. Предметом первостепенного сравнения являются мотивация преступления (в «Убийстве» и «Преступлении») и концепция характера героинидетектива (в одноименных сериалах). Автор приходит к выводу, что в обоих случаях российские сценаристы редуцируют смыслы, связанные с акцентуацией родительской вины, в соответствии с доминирующими в российском контексте представлениями о норме внутрисемейных отношений. Ключевые слова: скандинавский криминальный сериал, «Forbrydelsen», «Преступление», «Bron», «Мост», ремейк телесериала, образ преступника, образ детектива, тема семьи в кинематографе.","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":"47964931","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 study aims to interpret Boris Poplavsky’s novel Home from Heaven (1935) through the prism of the myth of Orpheus and Eurydice to identify the author’s concept of love, art, and the structure of reality. The novel Home from Heaven contains allusions that refer to the myth of Orpheus and Eurydice. The grounds for comparing the myth and the novel plot are seen in the fact that, in his poetic legacy, Poplavsky uses the metaphor of Orpheus in hell to express his own attitude. Poplavsky’s polemic with the ancient myth, with the understanding of the nature of love and the creative genius is revealed and explained by a change in axiology. The principle of allusions to the well-known myth is determined: it is not a manifestation of collisions of the myth in modern times, but a travesty of the mythological plot. In Home from Heaven, Oleg, the modern Orpheus (aspiring writer), does not descend into the realm of the dead for Eurydice, but he himself tries to return to the earthly reality from the “metaphysical hell”, escapes from God with the help of the female love of Eurydice (Tanya and Katya). Poplavsky’s image of the universe is the opposite of the ordered mythological model of the world: “heaven” is the world of culture and the subconscious, which correlates with the lower, infernal space of eternal torment. It is concluded that the modern man sees “hell” (not Hades) both in the metaphysical sphere of the spirit (culture) and in the earthly reality (in the sphere of eros). The correspondence of the modernist aesthetics to the semantics of the plot of the novel is justified: the modern Orpheus, like the ancient one, cannot save love and be saved by love in the “hell” of being. Poplavsky’s inversion of the myth of Orpheus and Eurydice clarifies his concept of love. A harmonious love relationship between people, uniting them into one whole, is impossible because people are prisoners of their consciousness and cannot fully open its content to others. Oleg discovers that, in order to achieve harmony, it is necessary to “build” a house on the “earth” and in the “heaven”, combining the physical with the spiritual. The modern Orpheus, having accepted the fate of the writer, fulfills his mission: having discovered the “hell” of culture and of his own consciousness, having plunged into the “hell” of the earthly reality, he does not succumb to the false art of Eurydice and discovers the true Eurydice—the Word. He returns to God within himself, to culture, but he knows about reality and unites the “heaven” and the “earth” in the “home” of his own creativity, thereby overcoming the total “hell”. According to Poplavsky’s concept, however, the modern Orpheus cannot claim the role of a medium, a prophet, and art is unable to reveal the future. Art does not transform reality, does not grant immortality to the creator, and is itself not immortal, but destroyed by time. Therefore, the epistemological (cognition of being and self-knowledge) and communicative (transfer
本研究旨在通过俄耳甫斯与欧律狄刻神话的棱镜解读鲍里斯·波普拉夫斯基的小说《天堂之家》(Home from Heaven, 1935)，以确定作者的爱情观、艺术观和现实结构。小说《天堂之家》中有关于俄耳甫斯和欧律狄刻神话的典故。将神话与小说情节进行比较的依据在于，波普拉夫斯基在他的诗歌遗产中，用地狱里俄耳甫斯的比喻来表达自己的态度。波普拉夫斯基对古代神话、对爱的本质的理解和创造天才的争论，通过价值论的变化得到揭示和解释。确定了著名神话典故的原则:它不是现代神话碰撞的表现，而是对神话情节的一种嘲弄。在《来自天堂的家》中，现代俄耳甫斯奥列格(有抱负的作家)并没有为了欧律狄刻而堕入死亡的境界，而是自己试图从“形而上学的地狱”中回归世俗的现实，在欧律狄刻(Tanya and Katya)的女性爱情的帮助下逃离了上帝。波普拉夫斯基的宇宙形象与有序的神话世界模型相反:“天堂”是文化和潜意识的世界，它与永恒折磨的较低的地狱空间相关。结论是，现代人在精神(文化)的形而上学领域和世俗现实(爱神)的领域中都看到了“地狱”(而不是Hades)。现代主义美学与小说情节语义的契合是合理的:现代俄耳甫斯和古代俄耳甫斯一样，无法在存在的“地狱”中拯救爱情，也无法被爱情所拯救。波普拉夫斯基对俄耳甫斯和欧律狄刻神话的颠倒阐明了他的爱情观。人与人之间和谐的爱的关系，把他们团结成一个整体，是不可能的，因为人们是自己意识的囚徒，不能完全向别人开放它的内容。奥列格发现，为了达到和谐，必须在“大地”和“天堂”上“建造”一所房子，将物质与精神结合起来。现代的俄耳甫斯接受了作家的命运，完成了他的使命:他发现了文化的“地狱”和他自己意识的“地狱”，他陷入了世俗现实的“地狱”，他没有屈服于欧律狄刻的虚假艺术，而是发现了真正的欧律狄刻——世界。他回到自己内心的上帝，回到文化，但他了解现实，并将“天堂”和“地球”统一在他自己的创造力的“家”中，从而克服了整个“地狱”。然而，按照波普拉夫斯基的观念，现代俄耳甫斯不能担当媒介、先知的角色，艺术也不能揭示未来。艺术不能改造现实，不能使创作者不朽，艺术本身也不是不朽的，而是被时间毁灭的。因此，艺术的认识论(对存在和自我认识的认识)和交流(将精神经验传递给后代的代表)功能仍然存在。
{"title":"“Orpheus in Hell”: The Transformation of the Myth of Orpheus and Eurydice in Boris Poplavsky’s Novel Home from Heaven","authors":"I. I. Nazarenko","doi":"10.17223/24099554/14/4","DOIUrl":"https://doi.org/10.17223/24099554/14/4","url":null,"abstract":"The study aims to interpret Boris Poplavsky’s novel Home from Heaven (1935) through the prism of the myth of Orpheus and Eurydice to identify the author’s concept of love, art, and the structure of reality. The novel Home from Heaven contains allusions that refer to the myth of Orpheus and Eurydice. The grounds for comparing the myth and the novel plot are seen in the fact that, in his poetic legacy, Poplavsky uses the metaphor of Orpheus in hell to express his own attitude. Poplavsky’s polemic with the ancient myth, with the understanding of the nature of love and the creative genius is revealed and explained by a change in axiology. The principle of allusions to the well-known myth is determined: it is not a manifestation of collisions of the myth in modern times, but a travesty of the mythological plot. In Home from Heaven, Oleg, the modern Orpheus (aspiring writer), does not descend into the realm of the dead for Eurydice, but he himself tries to return to the earthly reality from the “metaphysical hell”, escapes from God with the help of the female love of Eurydice (Tanya and Katya). Poplavsky’s image of the universe is the opposite of the ordered mythological model of the world: “heaven” is the world of culture and the subconscious, which correlates with the lower, infernal space of eternal torment. It is concluded that the modern man sees “hell” (not Hades) both in the metaphysical sphere of the spirit (culture) and in the earthly reality (in the sphere of eros). The correspondence of the modernist aesthetics to the semantics of the plot of the novel is justified: the modern Orpheus, like the ancient one, cannot save love and be saved by love in the “hell” of being. Poplavsky’s inversion of the myth of Orpheus and Eurydice clarifies his concept of love. A harmonious love relationship between people, uniting them into one whole, is impossible because people are prisoners of their consciousness and cannot fully open its content to others. Oleg discovers that, in order to achieve harmony, it is necessary to “build” a house on the “earth” and in the “heaven”, combining the physical with the spiritual. The modern Orpheus, having accepted the fate of the writer, fulfills his mission: having discovered the “hell” of culture and of his own consciousness, having plunged into the “hell” of the earthly reality, he does not succumb to the false art of Eurydice and discovers the true Eurydice—the Word. He returns to God within himself, to culture, but he knows about reality and unites the “heaven” and the “earth” in the “home” of his own creativity, thereby overcoming the total “hell”. According to Poplavsky’s concept, however, the modern Orpheus cannot claim the role of a medium, a prophet, and art is unable to reveal the future. Art does not transform reality, does not grant immortality to the creator, and is itself not immortal, but destroyed by time. Therefore, the epistemological (cognition of being and self-knowledge) and communicative (transfer ","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584232","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}
Personal collections of documents related to the performances of SukhovoKobylin’s and Bulgakov’s own plays have never been compared. Bulgakov practically never mentions Sukhovo-Kobylin in his texts. However, the “meeting” of the two playwrights took place in the space of the theatrical album. Unlike the literary album that has been studied many times, there are no special studies about the typology of the theatrical album and its cultural semantics. The textological study of album “autocollections” as drama companions contributes to the acquisition of semantic “keys” not only to certain texts, but also to those meta-links that they form as well as to the compilation of mobile text transcriptions. The album laboratories of the two playwrights make this similarity clear. The theatrical albums by Sukhovo-Kobylin (a blue blotter with envelopes of versions of plays that are part of the “Pictures of the Past” trilogy, held in the Russian State Archive of Literature and Arts) and Bulgakov (eight albums in the Handwritten Section of the IRLI) reveal two layers. One is an “encyclopedia” of theatrical history of plays, posters, reviews, accompanied by the author’s notes, and a detailed “dossier of censorship ordeals”. The other layer is newspaper clippings with author’s marginalities, marks that simulate a vocabulary universe and the library of plots reflecting newspaper reality and later turned into works. Thus, it is known that Sukhovo-Kobylin was one of the characters in V. Chernoyarov’s feuilleton “The National Team”, published in the magazine “Novyy Zritel” in 1926 and pasted into Bulgakov’s album related to the play The Days of the Turbins at the Moscow Art Theater in 1926. The specified album is an auto-documentary source of Theatrical Novel. The metamorphoses of the texts in the album, accompanied by the author’s notes, marginalities, typologically bring together the theatrical albums of Sukhovo-Kobylin and Bulgakov. They are related semiotically and visually to the scenario of a conventional play, the director’s staged copy, or the exhibition plan of the exposition. The playwrights quite obviously collect the dossier, the “data bank”, fixing the junctions, the path from the manuscript to the publication and the scene (especially in Bulgakov’s case), as if they were making up a biography of their own text. Bulgakov appreciates the author’s recipes and technical guidelines for making an author, formulated in feuilletons of the 1920s. By coincidence, Sukhovo-Kobylin got into this feuilleton environment.
{"title":"Mikhail Bulgakov and Aleksandr Sukhovo-Kobylin. Textology of a Theater Album","authors":"E. Penskaya","doi":"10.17223/24099554/14/11","DOIUrl":"https://doi.org/10.17223/24099554/14/11","url":null,"abstract":"Personal collections of documents related to the performances of SukhovoKobylin’s and Bulgakov’s own plays have never been compared. Bulgakov practically never mentions Sukhovo-Kobylin in his texts. However, the “meeting” of the two playwrights took place in the space of the theatrical album. Unlike the literary album that has been studied many times, there are no special studies about the typology of the theatrical album and its cultural semantics. The textological study of album “autocollections” as drama companions contributes to the acquisition of semantic “keys” not only to certain texts, but also to those meta-links that they form as well as to the compilation of mobile text transcriptions. The album laboratories of the two playwrights make this similarity clear. The theatrical albums by Sukhovo-Kobylin (a blue blotter with envelopes of versions of plays that are part of the “Pictures of the Past” trilogy, held in the Russian State Archive of Literature and Arts) and Bulgakov (eight albums in the Handwritten Section of the IRLI) reveal two layers. One is an “encyclopedia” of theatrical history of plays, posters, reviews, accompanied by the author’s notes, and a detailed “dossier of censorship ordeals”. The other layer is newspaper clippings with author’s marginalities, marks that simulate a vocabulary universe and the library of plots reflecting newspaper reality and later turned into works. Thus, it is known that Sukhovo-Kobylin was one of the characters in V. Chernoyarov’s feuilleton “The National Team”, published in the magazine “Novyy Zritel” in 1926 and pasted into Bulgakov’s album related to the play The Days of the Turbins at the Moscow Art Theater in 1926. The specified album is an auto-documentary source of Theatrical Novel. The metamorphoses of the texts in the album, accompanied by the author’s notes, marginalities, typologically bring together the theatrical albums of Sukhovo-Kobylin and Bulgakov. They are related semiotically and visually to the scenario of a conventional play, the director’s staged copy, or the exhibition plan of the exposition. The playwrights quite obviously collect the dossier, the “data bank”, fixing the junctions, the path from the manuscript to the publication and the scene (especially in Bulgakov’s case), as if they were making up a biography of their own text. Bulgakov appreciates the author’s recipes and technical guidelines for making an author, formulated in feuilletons of the 1920s. By coincidence, Sukhovo-Kobylin got into this feuilleton environment.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper considers gender characteristics of the image of Altai in fiction and publicistic texts by George Grebenstchikoff. The texts under consideration are Grebenstchikoff’s essays Altai Rus’, My Siberia, the fairy tale Khan-Altai in Russian and in English. The paper aims at revealing the relationship between the narrator and the locus of the texts in terms of the category of gender. Imagological characteristics of the image of Altai gender identity in Grebenstchikoff’s texts show the mixture of subjective, emotional, objective, philosophical and analytical narrative traditions in these texts about Altai. Gender identity of the image of Altai is connected to the traditional, patriarchal androcentric worldview, when the way of verbal expression is “controlled by the dominating group”, and the reality of the less influential groups is not represented. The masculine nature of Altai, the Mountain Spirit, is shown in the Altai folklore, which is connected to the embodiment of Altai in the images of White Burkhan and his friend Oyrot. Symbolically, this masculine embodiment of Altai exists in George Grebenstchikoff’s texts as the image of Khan-Altai, the reminiscence to the art and prosaic works of Grigory Choros-Gurkin. This masculine image of Khan-Altai is associated in Grebenstchikoff’s texts with the motifs of running water (a river, a spring) and a song glorifying Altai (a hymn of eternal life). Both the masculine KhanAltai himself as well as Khan-Oirot, the male embodiment of the river (Chulyshmanbogatyr), the shepherd, and the shaman Bakhsa are endowed with a voice, can sing and, thus, participate in the communication with the gods and forces of nature. In selftranslations (My Siberia, Khan-Altai) Grebenstchikoff uses the standard pronoun it while referring to Altai. In the patriarchal, androcentric worldview the masculine image of Khan-Altai is represented with the traditional cognitive metaphors as A MAN IS A WARRIOR, A MAN IS A CREATOR and A MAN IS A SINGER. The narrator in Grebenstchikoff’s texts describes the internal space of Altai semiosphere. Opposite to the “chaos”, strange and dangerous space, this “fairy tale”, “mysterious” semiosphere is separated from the outer world by the line of the Altai Mountains. In his publicistic texts, Grebenstchikoff’s narrator is expressly objective, transferring the folklore metaphor ALTAI – BOGATYR, firstly, with the help of represented speech, and then, with by direct citing from the Altai epic. In the fairy tale Khan-Altai, the narrator is extremely emotional and subjective: he speaks directly to Altai-Bogatyr [Giant Altai], which is related to gaining insight into the spiritual vertical as well as the narrator’s ascending to the female embodiment of Altai – its highest peak, Belukha. The reference to Belukha, the queen of Altai, is made in Grebenstchikoff’s texts with the help of the pronoun ona / Ona [she / She]. The same strategy is used in the self-translations into English: the author uses the
{"title":"Gender Aspect of the Image of Altai in George Grebenstchikoff’s Works","authors":"V. Karpukhina","doi":"10.17223/24099554/14/10","DOIUrl":"https://doi.org/10.17223/24099554/14/10","url":null,"abstract":"The paper considers gender characteristics of the image of Altai in fiction and publicistic texts by George Grebenstchikoff. The texts under consideration are Grebenstchikoff’s essays Altai Rus’, My Siberia, the fairy tale Khan-Altai in Russian and in English. The paper aims at revealing the relationship between the narrator and the locus of the texts in terms of the category of gender. Imagological characteristics of the image of Altai gender identity in Grebenstchikoff’s texts show the mixture of subjective, emotional, objective, philosophical and analytical narrative traditions in these texts about Altai. Gender identity of the image of Altai is connected to the traditional, patriarchal androcentric worldview, when the way of verbal expression is “controlled by the dominating group”, and the reality of the less influential groups is not represented. The masculine nature of Altai, the Mountain Spirit, is shown in the Altai folklore, which is connected to the embodiment of Altai in the images of White Burkhan and his friend Oyrot. Symbolically, this masculine embodiment of Altai exists in George Grebenstchikoff’s texts as the image of Khan-Altai, the reminiscence to the art and prosaic works of Grigory Choros-Gurkin. This masculine image of Khan-Altai is associated in Grebenstchikoff’s texts with the motifs of running water (a river, a spring) and a song glorifying Altai (a hymn of eternal life). Both the masculine KhanAltai himself as well as Khan-Oirot, the male embodiment of the river (Chulyshmanbogatyr), the shepherd, and the shaman Bakhsa are endowed with a voice, can sing and, thus, participate in the communication with the gods and forces of nature. In selftranslations (My Siberia, Khan-Altai) Grebenstchikoff uses the standard pronoun it while referring to Altai. In the patriarchal, androcentric worldview the masculine image of Khan-Altai is represented with the traditional cognitive metaphors as A MAN IS A WARRIOR, A MAN IS A CREATOR and A MAN IS A SINGER. The narrator in Grebenstchikoff’s texts describes the internal space of Altai semiosphere. Opposite to the “chaos”, strange and dangerous space, this “fairy tale”, “mysterious” semiosphere is separated from the outer world by the line of the Altai Mountains. In his publicistic texts, Grebenstchikoff’s narrator is expressly objective, transferring the folklore metaphor ALTAI – BOGATYR, firstly, with the help of represented speech, and then, with by direct citing from the Altai epic. In the fairy tale Khan-Altai, the narrator is extremely emotional and subjective: he speaks directly to Altai-Bogatyr [Giant Altai], which is related to gaining insight into the spiritual vertical as well as the narrator’s ascending to the female embodiment of Altai – its highest peak, Belukha. The reference to Belukha, the queen of Altai, is made in Grebenstchikoff’s texts with the help of the pronoun ona / Ona [she / She]. The same strategy is used in the self-translations into English: the author uses the","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper examines the spatial images of German borders in the Russian literature of the late 18th – early 20th centuries. These ‘liminal’ descriptions of Germany come in several variations. The first is the image of the boundary as a syncretic and transit locus between Russia and Germany, i.e. between Us and Them respectively. Their features are mixed there as in cases of Karamzin’s Livonia or Skalkovsky’s Kurland. Secondly, the booundary can be presented as a certain point, reaching which the narrator / hero finds themselves in a new space, for example, Travemünde during a sea voyage or Eydtkuhnen when traveling by rail. The description of this conventional point follows several traditions in the travel literature. One was set up by N.M. Karamzin’s Letters of a Russian Traveler ”, when the voyager is aware of his transition into Their space and experiences an emotional uplift. Over time, however, this “attack of topophilia” becomes the object of a travesty game and ridicule of the literary tradition, as, for example, in Myatlev’s poem “Sensations and Comments by Madame Kurdyukova Abroad, Dans L’etranger”. Topophilia, interest in the Other, can also be encouraged by the feeling of getting into a more free locus, which marks Germany in particular and Western Europe in general as spaces of freedom (in the travelogues by K.A. Skalkovsky, M.E. Saltykov-Shchedrin). Another variant of a Russian traveler’s reaction to crossing the German border is frustration, which is felt in Fonvisin’s letters abroad. Their author feels disenchantment With each new point on the journey, D.I. Fonvizin feel inauthentic German space as the embodiment of the European Other. This generates a third variant of the German liminal locus, when the entire Germany becomes a border, a transitory, boring, semiotically empty place on the way to real Europe, for example, France (texts by D.I. Fonvizin, F.M. Dostoevsky and others). Probably, it determines the perception of the German nation as an average nation without any strongly pronounced characteristics. In addition, the situation of crossing the border with Germany can also be trivialized as opposed to Karamzin’s tradition, as in A.T. Averchenko’s travelogue. Along with topophilia, frustration and indifference in texts about the borders of Germany in the second half of the 19th century describe the motif of topophobia, fear of the Other in its version of the new German Empire, generating images of a latent or obvious threat, aggression, for example, in the texts by M.E. Saltykov-Shchedrin, N.A. Leikin. Finally, early travelogues of this period emphasise the internal borders between German lands, while by the early 20th century the images of the internal German borders fade and become trivial.
{"title":"German Borders and Germany as a Boundary: Images of the Liminal Space in the Russian Literature of the Late 18th – Early 20th Centuries","authors":"S. Zhdanov","doi":"10.17223/24099554/14/9","DOIUrl":"https://doi.org/10.17223/24099554/14/9","url":null,"abstract":"The paper examines the spatial images of German borders in the Russian literature of the late 18th – early 20th centuries. These ‘liminal’ descriptions of Germany come in several variations. The first is the image of the boundary as a syncretic and transit locus between Russia and Germany, i.e. between Us and Them respectively. Their features are mixed there as in cases of Karamzin’s Livonia or Skalkovsky’s Kurland. Secondly, the booundary can be presented as a certain point, reaching which the narrator / hero finds themselves in a new space, for example, Travemünde during a sea voyage or Eydtkuhnen when traveling by rail. The description of this conventional point follows several traditions in the travel literature. One was set up by N.M. Karamzin’s Letters of a Russian Traveler ”, when the voyager is aware of his transition into Their space and experiences an emotional uplift. Over time, however, this “attack of topophilia” becomes the object of a travesty game and ridicule of the literary tradition, as, for example, in Myatlev’s poem “Sensations and Comments by Madame Kurdyukova Abroad, Dans L’etranger”. Topophilia, interest in the Other, can also be encouraged by the feeling of getting into a more free locus, which marks Germany in particular and Western Europe in general as spaces of freedom (in the travelogues by K.A. Skalkovsky, M.E. Saltykov-Shchedrin). Another variant of a Russian traveler’s reaction to crossing the German border is frustration, which is felt in Fonvisin’s letters abroad. Their author feels disenchantment With each new point on the journey, D.I. Fonvizin feel inauthentic German space as the embodiment of the European Other. This generates a third variant of the German liminal locus, when the entire Germany becomes a border, a transitory, boring, semiotically empty place on the way to real Europe, for example, France (texts by D.I. Fonvizin, F.M. Dostoevsky and others). Probably, it determines the perception of the German nation as an average nation without any strongly pronounced characteristics. In addition, the situation of crossing the border with Germany can also be trivialized as opposed to Karamzin’s tradition, as in A.T. Averchenko’s travelogue. Along with topophilia, frustration and indifference in texts about the borders of Germany in the second half of the 19th century describe the motif of topophobia, fear of the Other in its version of the new German Empire, generating images of a latent or obvious threat, aggression, for example, in the texts by M.E. Saltykov-Shchedrin, N.A. Leikin. Finally, early travelogues of this period emphasise the internal borders between German lands, while by the early 20th century the images of the internal German borders fade and become trivial.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"171 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584286","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}
{"title":"THE STEREOTYPICAL MEDIA IMAGE OF THE SIBERIAN REGION (BASED ON THE MATERIALS OF THE RUSSIAN MEDIA OF THE 21ST CENTURY)","authors":"O. Kondratyeva","doi":"10.17223/24099554/12/11","DOIUrl":"https://doi.org/10.17223/24099554/12/11","url":null,"abstract":"This to","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41539117","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}
{"title":"THE “FRENCH” THEME IN F.M. DOSTOEVSKY’S THE IDIOT","authors":"E. Novikova","doi":"10.17223/24099554/12/7","DOIUrl":"https://doi.org/10.17223/24099554/12/7","url":null,"abstract":"","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49418366","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}
В статье рассматривается образ немецкой (прусской) деревни в путевых заметках М.Е. Салтыкова-Щедрина «За рубежом». Образ отличается амбиваленностью. С одной стороны, ему присущи идиллические черты порядка и изобилия, патриархального почитания родителей и авторитетов вообще, и в этом плане Германия как пространство порядка противопоставлена локусу русской деревни, отмеченной чертами стихийности, распада и аномии. С другой стороны, писатель вскрывает внутреннюю дисгармонию этой формальной идиллии, в которой нет социальной справедливости, а законопослушность обращается в сервильность. Национальный элемент в тексте, однако, не абсолютизируется и оказывается в определенной степени подчиненным социально-историческому началу. Ключевые слова: М.Е. Салтыков-Щедрин, Германия, немцы, сатир, образ Чужого, художественное пространство, русская литература XIX в.
{"title":"IDYLL AND ITS DECONSTRUCTION IN THE IMAGE OF GERMAN RURAL SPACE (BASED ON THE TRAVEL NOTES ZA RUBEZHOM BY M.YE. SALTYKOV-SHCHEDRIN)","authors":"S. Zhdanov","doi":"10.17223/24099554/11/8","DOIUrl":"https://doi.org/10.17223/24099554/11/8","url":null,"abstract":"В статье рассматривается образ немецкой (прусской) деревни в путевых заметках М.Е. Салтыкова-Щедрина «За рубежом». Образ отличается амбиваленностью. С одной стороны, ему присущи идиллические черты порядка и изобилия, патриархального почитания родителей и авторитетов вообще, и в этом плане Германия как пространство порядка противопоставлена локусу русской деревни, отмеченной чертами стихийности, распада и аномии. С другой стороны, писатель вскрывает внутреннюю дисгармонию этой формальной идиллии, в которой нет социальной справедливости, а законопослушность обращается в сервильность. Национальный элемент в тексте, однако, не абсолютизируется и оказывается в определенной степени подчиненным социально-историческому началу. Ключевые слова: М.Е. Салтыков-Щедрин, Германия, немцы, сатир, образ Чужого, художественное пространство, русская литература XIX в.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47453328","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}
{"title":"EUROPEAN DRAMA AS A DIDACTIC MATERIAL: MOLIERE AND GOLDONI AT THE LESSONS OF RUSSIAN FOR GREAT DUCHESS ALEXANDRA FEDOROVNA","authors":"O. Lebedeva","doi":"10.17223/24099554/11/2","DOIUrl":"https://doi.org/10.17223/24099554/11/2","url":null,"abstract":"","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47283514","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}
В статье рассматриваются рецепция и осмысление итальянской живописи в путевых «Журналах» С.П. Шевырева. Итальянская живопись в его травелогах предстает как единый эстетический феномен, вписанный не только в систему итальянского текста авторов-любомудров, но и в их идеалистическую эстетикофилософскую концепцию. Живопись становится ключевым репрезентантом Италии как романтического мифа и как реального пространства, имагологического феномена. Ключевые слова: русский романтизм, итальянский текст, любомудры, диалог культур, экфрасис.
{"title":"ITALIAN PAINTING IN S.P. SHEVYREV’S TRAVELOGUES","authors":"Y. E. Pushkareva","doi":"10.17223/24099554/11/7","DOIUrl":"https://doi.org/10.17223/24099554/11/7","url":null,"abstract":"В статье рассматриваются рецепция и осмысление итальянской живописи в путевых «Журналах» С.П. Шевырева. Итальянская живопись в его травелогах предстает как единый эстетический феномен, вписанный не только в систему итальянского текста авторов-любомудров, но и в их идеалистическую эстетикофилософскую концепцию. Живопись становится ключевым репрезентантом Италии как романтического мифа и как реального пространства, имагологического феномена. Ключевые слова: русский романтизм, итальянский текст, любомудры, диалог культур, экфрасис.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49575897","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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