Academic literature on the topic 'Boris Strugatsky'

The article focuses on the correlations between the changes in the Soviet education system under Khrushchev’s rule, the brothers Strugatsky’s pedagogical views, and some aspects of the plot-construction in their novels of the 1960s. Arguments are cited in favor of the influence of the USSR’s education policy on the Strugatskys and the gradual development of the escape motif in their work.

Введение. Дана репрезентация индивидуально-авторского концепта НАУКА в художественном тексте, относящемуся к научно-фантастическому дискурсу. Представлено соотношение понятий «лингвокультурный концепт», «художественный концепт» и «индивидуально-авторский концепт». Обоснована ключевая роль компонента «наука» для выражения сути жанра научной фантастики. Описаны различные методики репрезентации лингвокультурного и индивидуально-авторского концептов, реализованных в художественном тексте. Материал и методы. Материалом исследования послужила повесть «Пикник на обочине» Аркадия и Бориса Стругацких – ярких представителей жанра научной фантастики. Методологическая основа работы – это существующие в лингвокультурологии подходы, согласно которым лингвокультурный концепт, преобразованный автором в соответствии с его собственным восприятием действительности, репрезентируется посредством языка в художественном тексте в виде художественного (индивидуально-авторского) концепта. Методика описания лингвокультурных концептов З. Д. Поповой и И. А. Стернина, использованная в исследовании, включает этимологический и дефиниционный анализ имени концепта, выявление синонимов имени концепта, анализ паремий и фразеологизмов, содержащих имя концепта, ассоциативный эксперимент. Для репрезентации лингвокультурного концепта НАУКА применялись лексикографические источники – общелингвистические и специализированные словари русского языка. Результаты и обсуждение. Выстроена структура содержания лингвокультурного концепта НАУКА в русском языке, включая его понятийную и ценностную части. Репрезентирован индивидуально-авторский концепт НАУКА, вербализованный в художественном тексте повести А. и Б. Стругацких. Проведен сопоставительный анализ содержания лингвокультурного концепта НАУКА и одноименного индивидуально-авторского концепта. Заключение. Индивидуально-авторский концепт НАУКА, репрезентированный в повести «Пикник на обочине», отличается от одноименного лингвокультурного концепта по содержанию номинативного поля: ядерной зоной здесь стала «работа, род занятий, профессия», появился новый признак «объекты научного исследования», который привносит дополнительный смысл: научное познание – это не только рациональное следование законам, но и нечто интуитивное, иногда иррациональное. Оценочная часть индивидуально-авторского концепта отражает романтическое, эмоциональное представление братьев Стругацких о науке как о важнейшей профессиональной деятельности. Introduction. The article describes how the author’s individual concept SCIENCE is represented in a science fiction book “Roadside Picnic” written by Arkady and Boris Strugatsky. The introduction correlates the concepts of “linguocultural concept”, “literary concept” and “author’s individual concept”, substantiates the key role of the component «science» in expressing the essence of the science fiction genre, describes various methods of representing the linguocultural concept and the author’s individual concept, implemented in the literary text. Aim and objectives. The article aims at the representation of the author’s individual concept SCIENCE in a literary text belonging to science fiction discourse. Material and methods. The material for this research is the story “Roadside Picnic” written by Arkady and Boris Strugatsky in the genre of science fiction. The methodological basis of the research is represented by existing cultural linguistic approaches, according to which the linguocultural concept, transformed by the author in accordance with his/her own perception of reality, is represented by means of language in a literary text in the form of a literary (author’s individual) concept. The methodology for describing linguocultural concepts by Z. D. Popova and I. A. Sternin, which is used in this work, includes: etymological and definitional analysis of the concept name, identifying synonyms for the concept name, analysis of paremias and aphorisms, which include the name of the concept, associative experiment, frequency analysis, etc. To represent the linguocultural concept SCIENCE, general linguistic and specialized dictionaries of the Russian language were used. Results and discussion. As a result of the research we have built the structure of the content of the linguocultural concept of SCIENCE in the Russian language, including its conceptual and value parts; have represented the author’s individual concept of SCIENCE, verbalized in the literary text of the Strugatsky story and have carried out a comparative analysis of the content of the linguocultural concept of SCIENCE and the same-name author’s individual concept. Conclusion. It is concluded that the individual author’s concept SCIENCE, represented in the story “Roadside Picnic”, differs from the linguocultural concept SCIENCE in terms of the content of the nominative field: “work, occupation, profession» became the nuclear zone, and a new concept feature “objects of scientific research” appeared, bringing an additional meaning. The evaluative part of the author’s individual concept reflects the Strugatskys’ romantic, emotional view of science as the most important professional activity.

The article presents an analysis of eschatological motifs in Arkady and Boris Strugatsky’s short novel “Definitely Maybe” (“One Billion Years to the End of the World”) (1976), in particular, it describes the development of the motifs of the Last Judgment, the end of the world and the fate of the universe in the original idea of the story as reflected in the author’s sketches and in the final text. The motif of the Last Judgment underwent a strong change in the text of the story and was realized in the form of self-judgment of the scientists, who are the heroes of the story. They condemn themselves to a future in which their scientific potential will not be fully realized. The motif of the end of the world is stated in the title and the main conflict of the story, which entails the heroes’ confrontation with the force that prevents scientific discoveries that could lead to the end of the world. Most scientists try to make sense of what is happening by appealing to folklore, religious experience, or ideas about extraterrestrial civilization. The fate of the universe is closely connected with the phenomenon of the Homeostatic Universe, which influences the lives of the characters in the story not directly, but implicitly, through everyday phenomena, which by the story’s finale add up to an insurmountable obstacle for most scientists. The eschatological motifs of the Strugatsky brothers were formed under th

La distopía o utopía negativa es un subgénero que ha hecho famoso la literatura inglesa, particularmente desde las obras de George Orwell (1984, de 1948) y Aldous Huxley (Brave New World, de 1932). Sin embargo, suele pasarse por alto que la primera antiutopía moderna pertenece a un autor ruso, Evgueni Zamiátin: la novela Nosotros (My), de 1922, producto de una modernidad tardía. Esta obra estableció los paradigmas que caracterizarían de ahí en más formalmente a la distopía. En 1968, los hermanos Arcadi y Boris Strugatsky, principales referentes de la ciencia ficción soviética en aquellos años, reelaboraron a partir de estas bases una ciudad ya no distópica sino infernal y oscuramente irracional, eje de su novela Ciudad maldita (Grab obrechonni), una distopía ya en clave posmoderna, llevándola a un auténtico (e irresuelto) planteo sobre la naturaleza del mal. A partir de un marco teórico que vincula la evolución de las utopías negativas con la ciencia ficción, nuestra hipótesis implica que esta novela, curiosa síntesis de ciencia, política, esoterismo y literatura, define un nuevo tipo de obra distópica. El paisaje de ruinas que implica, tan caro a la ciencia ficción posterior a la caída del Muro de Berlín, se vuelve un sistema de sinécdoques que representa, desde la estética del fragmento, un profundo nihilismo donde la posmodernidad adquiere la forma de abismo.

Arkady and Boris Strugatskys novel One Billion Years to the End of the World has certain features in terms of subject organization. The article is devoted to the analysis of the authors strategy for building a dialogue with the reader in the novel. Arguments are made to prove that the primary subject of speech is a personified narrator disguising as impersonal; the form of diary entries is designed to establish a trusting relationship with the reader, while the main strategy used by the authors of the novel is understanding.

ABSTRACT: World War II was marked by widespread use of heroic narratives, national legacies, and grand ideas about destiny or the “arc of history.” These topics have a firm foundation in medieval literature, particularly in northern traditions. While literary medievalism had been in the limelight during the nineteenth century, during the early twentieth century it had been dismissed as a quaint curiosity; suitable for the benighted souls of the reading public, perhaps, but not to be taken seriously by avant-garde intellectuals. In the mid-twentieth century, however, literary medievalism returned with a vengeance. Questioning the critical narrative of twentieth-century literary history, this article examines iconoclastic works by Halldór Laxness (Iceland), T. H. White (England), John Gardner (America), and the Strugatsky brothers (Arkady and Boris, Russia), in order to compare perspectives on medievalism from different countries in the aftermath of the bloodiest conflict of all time.

Stanislaw Lem has left a remarkable impact on world literature in science fiction and beyond. One of the reasons for this is his – often radical – approach to exploring new topics and philosophical concepts. In this article, we study his concept of an unknowable intelligence that eludes all scientific approaches by humans who try to understand its motivations, reasoning and functioning; an “alien” alien, as it is most clearly presented in Lem’s 1961 novel Solaris. Echoes of this radical concept can be found, albeit often in a highly diluted form, in a number of subsequent works by various writers like Arkady and Boris Strugatsky, Iain M. Banks and Cixin Liu. They also resurface in other media, from mainstream movies to anime. We argue that Lem’s original concept has been utilized by later writers for manifold purposes, sometimes merely as a plot device, but at other times as a metaphor exemplifying the insurmountable limits of knowledge or even for transporting entirely different ideas.

viii, 62 p.<br>Arkady and Boris Strugatsky are the most prolific Soviet science fiction writers, who focused, above all, on the social themes and with satire discussed the political and social agendas in the Soviet society. This thesis explores the contribution of the Brothers Strugatsky to the genre of Russian science fiction and looks into the main themes of their most famous novels. At the beginning, I present a short overview of the history of Russian science fiction. Further on, I explore the Brothers Strugatsky's role in the development of science fiction in the Soviet Union and single out the two phases of their literary career: utopian and anti-utopian. Furthermore, I examine the Strugatskys' most prominent novels and their main themes: human nature and Soviet bureaucracy. Finally, I analyze to what extent the Strugatskys' novels fit into the Soviet reality and how they shape the genre of science fiction in Russia.<br>Committee in charge: Susanna Lim, Chair; Yelaina Kripkov, Member; Katya Hokanson, Member

Submitted by Paulo Delfini (paulinhocinema@gmail.com) on 2018-05-30T21:21:47Z No. of bitstreams: 4 Stalker, de Andrei Tarkovski - as semelhanças e dessemelhanças com Piquenique à Beira da Estrada, de Arkadi e Boris Strugatski.pdf: 1765754 bytes, checksum: 636f5e477bd34d6c2f8b742e5600875d (MD5) carta comprovatória Paulo Afonso Monteiro Delfini.pdf: 294727 bytes, checksum: 499084f9273728f1103d7842578786d6 (MD5) CertificadoPaulo.pdf: 145434 bytes, checksum: 734b7ba7a6d0855ef8cee0eb32d7909c (MD5) FolhaAprovacao.pdf: 518861 bytes, checksum: 5826ef5773aeb7d9595469b8cbd50322 (MD5)<br>Approved for entry into archive by Ronildo Prado (ri.bco@ufscar.br) on 2018-06-06T16:59:13Z (GMT) No. of bitstreams: 4 Stalker, de Andrei Tarkovski - as semelhanças e dessemelhanças com Piquenique à Beira da Estrada, de Arkadi e Boris Strugatski.pdf: 1765754 bytes, checksum: 636f5e477bd34d6c2f8b742e5600875d (MD5) carta comprovatória Paulo Afonso Monteiro Delfini.pdf: 294727 bytes, checksum: 499084f9273728f1103d7842578786d6 (MD5) CertificadoPaulo.pdf: 145434 bytes, checksum: 734b7ba7a6d0855ef8cee0eb32d7909c (MD5) FolhaAprovacao.pdf: 518861 bytes, checksum: 5826ef5773aeb7d9595469b8cbd50322 (MD5)<br>Approved for entry into archive by Ronildo Prado (ri.bco@ufscar.br) on 2018-06-06T16:59:24Z (GMT) No. of bitstreams: 4 Stalker, de Andrei Tarkovski - as semelhanças e dessemelhanças com Piquenique à Beira da Estrada, de Arkadi e Boris Strugatski.pdf: 1765754 bytes, checksum: 636f5e477bd34d6c2f8b742e5600875d (MD5) carta comprovatória Paulo Afonso Monteiro Delfini.pdf: 294727 bytes, checksum: 499084f9273728f1103d7842578786d6 (MD5) CertificadoPaulo.pdf: 145434 bytes, checksum: 734b7ba7a6d0855ef8cee0eb32d7909c (MD5) FolhaAprovacao.pdf: 518861 bytes, checksum: 5826ef5773aeb7d9595469b8cbd50322 (MD5)<br>Made available in DSpace on 2018-06-06T17:04:24Z (GMT). No. of bitstreams: 4 Stalker, de Andrei Tarkovski - as semelhanças e dessemelhanças com Piquenique à Beira da Estrada, de Arkadi e Boris Strugatski.pdf: 1765754 bytes, checksum: 636f5e477bd34d6c2f8b742e5600875d (MD5) carta comprovatória Paulo Afonso Monteiro Delfini.pdf: 294727 bytes, checksum: 499084f9273728f1103d7842578786d6 (MD5) CertificadoPaulo.pdf: 145434 bytes, checksum: 734b7ba7a6d0855ef8cee0eb32d7909c (MD5) FolhaAprovacao.pdf: 518861 bytes, checksum: 5826ef5773aeb7d9595469b8cbd50322 (MD5) Previous issue date: 2018-03-13<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>The present dissertation aims to carry out a study on the process of written translation for audiovisual between two languages: Literature and Cinema, with the object of the novel Roadside Picnic (1972) by Brothers Arkadi and Boris Strugatski and their translation to the cinema: the film Stalker (1979) by Andrei Tarkovski. For this, a detailed analysis of both works was established as a procedure, highlighting the similarities and, as an intermediate stage, the script of the film to identify the dissimilarities. The theoretical bias used for this work is based on the studies of Haroldo de Campos on transcription, re-creation and poetic translation, as well as the theories of Julio Plaza on Intersemiotic Translation. We will also work on the film elements approached through cinematographic language to perform analyzes and thus better understand the style and poetic optics of Andrei Tarkovski and his other relations with the narrative of the work. At a last moment the analyzes will have as an intention the understanding of the temporal and spatial construction making a parallel between the narratives of the literary work and the cinematographic work.<br>A presente dissertação tem como objetivo realizar um estudo sobre o processo da tradução escrita para audiovisual entre duas linguagens: literatura e cinema tendo como objeto a novela Piquenique à Beira da Estrada (1972) dos Irmãos Arkadi e Boris Strugatski e sua tradução para o cinema: o filme Stalker (1979) de Andrei Tarkovski. Para isso, estabeleceu-se como procedimento, uma análise detalhada de ambas as obras destacando as semelhanças e como estágio intermediário o roteiro do filme para identificação das dessemelhaças. O viés teórico utilizado para este trabalho, parte dos estudos de Haroldo de Campos sobre a transcriação, recriação e a tradução poética e também as teorias de Júlio Plaza sobre a Tradução Intersemiótica. Serão trabalhados ainda os elementos fílmicos abordados por intermédio da linguagem cinematográfica para realizar análises e assim compreender melhor o estilo e a ótica poética de Andrei Tarkovski e suas demais relações com a narrativa da obra. Em um último momento as análises terão como intuito a compreensão da construção temporal e espacial fazendo um paralelo entre as narrativas da obra literária e da obra cinematográfica.

This dissertation deals with how science fiction reflects the shift in cultural paradigms that occurred in the Soviet Union between the 1960s and the 1970s. Interest was displaced from the rational to the irrational, from a scientific-technologically oriented optimism about the future to art, religion, philosophy and metaphysics. Concomitant with this shift in interests was a shift from the future to an elsewhere or, reformulated in exclusively spatial terms, from utopia to heterotopia. The dissertation consists of an analysis of three novels by the Strugatsky brothers (Arkady, 1925-1991 and Boris 1933-2012): Inspector Glebsky’s Puzzle (Otel’ U pogibšego al’pinista, 1970), The Kid (Malyš, 1971) and Roadside Picnic (Piknik na obočine, 1972) and two films Dead Mountaineer’s Hotel (Hukkunud alpinisti hotell/ Otel’ U pogibšego al’pinista, Kromanov, 1979) and Stalker (Tarkovsky, 1980).  The three novels, allegedly treatments of the theme of contact with an extraterrestrial intelligence, were intended to be published in one volume with the title Unexpected Encounters. The films are based on two of the novels. In the novels an earlier Marxist utopia has given way to a considerably more ambiguous heterotopia, largely envisioned as versions of the West. An indication of how the authors here seem to look back towards history rather than forward towards the future is to be found in the persistent strain of literary Gothic that runs through the novels. This particular trait resurfaces in the films as well.  The films reflect how tendencies only discernable in the novels have developed throughout the decade, such as the budding Soviet consumer culture and the religious sensibilities of the artistic community.

Lingua Cosmica: Science Fiction from around the World consists of eleven scholarly essays on contemporary authors (born 1950 or later) of science fiction who publish in languages other than English, or who publish from the English-speaking “periphery”: i.e., outside the United States, the United Kingdom, and Anglophone Canada. Each essay examines one author, making a case for their importance internationally and contextualizing their work within the science-fictional traditions of their own culture and those of the genre globally (themes, tropes, tendencies, subgenres, etc.). Each also offers an in-depth analysis of a major work or works. The book thus identifies major contemporary authors of science fiction outside the “center” of the English-speaking world and presents them to students and scholars in the Anglophone world. The scholars respond to questions such as: Who are these authors, and why are they important? What innovative thematic material or formal elements do they offer? What unique elements from their culture do they bring to the genre? How do they dialogue with the history of the genre, and how do they fit into the contemporary SF scene? The authors studied are Angélica Gorodischer from Argentina, Yves Meynard and Jean-Louis Trudel writing collaboratively as Laurent McAllister (Francophone Canada), Liu Cixin (China), Daína Chaviano (Cuba), Johanna Sinisalo (Finland), Jean-Claude Dunyach (France), Andreas Eschbach (Germany), Sakyo Komatsu (Japan), Olatunde Osunsanmi (Nigerian American), Jacek Dukaj (Poland), and Arkady Strugatsky and Boris Strugatsky (Russia/USSR).

This chapter theorizes that Soviet civilization was inherently “science fictional” in its ideological superimposition of scientific utopianism and radical social change. It imbeds a discussion of the work of the Russian science-fiction writers Arkady Strugatsky and Boris Strugatsky in the social and cultural context of the Soviet Union. The chapter describes the development of the Strugatskys’ work over three decades, from rationalist optimism to humanistic despair.