Relevant bibliographies by topics / Bulgakov

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Academic literature on the topic 'Bulgakov'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Bulgakov"

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Zayas, V., F. Mainardi, F. Maggioni, and G. Zanchin. "Sympathy for Pontius Pilate. Hemicrania in M. A. Bulgakov's The Master and Margarita." Cephalalgia 27, no. 1 (January 2007): 63–67. http://dx.doi.org/10.1111/j.1468-2982.2006.01232.x.

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The aim of this study was to explore the description of the migraine attack of Pontius Pilate (a character in the novel The Master and Margarita by M. A. Bulgakov). Some of its features are analysed in light of current migraine literature. It is hypothesized that, at least in part, this description is based on the personal experience of the novel's author. We studied and analysed the text of the novel, other works by Bulgakov, his biography, including his medical training and practice, and the recently published diaries of Bulgakov and his wife E. S. Bulgakova. The novel contains a comprehensive description of a migraine attack. It includes a prodrome/aura of osmophobia. Olfactory perception during or shortly before the migraine attack is altered to the point where neutral or even pleasant odours become unbearable. Bulgakov's extensive history of migraines is seen in his diary, the diary of his wife, letters and other literary works. This is one of the most detailed and extensive depictions of a migraine attack in literature, with osmophobia described with great emphasis. It is likely that Pilate's migraine is described based on the personal history of the novel's author.
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Richmond, Steven. ""And Who Are the Judges?": Mikhail Bulgakov Versus Soviet Censorship, 1926-1936." Russian History 33, no. 1 (2006): 83–107. http://dx.doi.org/10.1163/187633106x00050.

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AbstractMikhail Bulgakov is renowned for his challenge to the dry literary canons of the Soviet regime through his fantstical works of colorful content and unorthodox form, such as Sobach'e serd'tse (Heart of a Dog) and Master i Margarita. But Bulgakov is much mort than an exotic exception to Soviet puritanicalness. His works also include the highly practical and realistic, such as the tragic war-time works "Zapiski iungo vracha" (Notes of a Young Doctor) and Belaia gvardiia (The White Guad). Bulgakov's literary challenge to Soviet censorship also took direct forms. including two works that brazenly satire and examine the utterly taboo subjest of state censorship: the play, Bagrovyi ostrov (The Crimson Island) and Teaal'nyi roman (Theatrical Novel). Bulgakov's challenge to power also extendel to the epistolary, in the form of letters he sent to the Soviet government (and were read by Stalin) that contain attacks against the Soviet censorship bureau. In this real-life drama of Bulgakov versus Soviet censorship, we witness the icredible creativity and bravery of the artist, as well as discover his original and informative theory about how Soviet censorship operated. Let us begin our examina tion of this drama with the censorship bureau itself, how it first functioned and how it came to focus its sights on Bulgakov.
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Yablokov, Evgeny A. "A book review: M.A. Bulgakov: Annotated bibliographic index. Vol. 2, 1941–1985. Rus. state library of arts; M.V. Mishurovskaya, I.S. Efimova, O.V. Golubeva (comps.); M.V. Mishurovskaya (ed.); A.V. Akimenko (bibliography ed.). Moscow, RGBI, 2021, 816 р." Sibirskiy filologicheskiy zhurnal, no. 1 (2023): 327–31. http://dx.doi.org/10.17223/18137083/82/24.

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The review presents the second volume of the Bibliographic Index publications on the works of M. Bulgakov of 1941–1985, compiled by the working group of the Russian State Art Library. These two volumes are the first complete set of Russian-language studies of Bulgakov. A brief annotation to each bibliographic unit (about four thousand of them) should be recognized as a significant benefit of this book. The second volume of the Index covers Bulgakov’s “boom” of the 1960s, when the forgotten and never-before-published works were revealed to the reading public, and, primarily, the novel “Master and Margarita.” At that time, numerous memoirs about Bulgakov, the first philological articles about his work, and the first books about him began to appear. It was a period of early academic research on Bulgakov. Therefore, the material of the second volume differs significantly from the first but is no less interesting. The sources are divided into domestic and foreign: the first part includes the texts written by Bulgakov and about him, published in the USSR from 1941 to 1985. The second part of the Index includes the Russian-language editions published in other countries.
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McCracken, Kyle. "A Reformed Engagement with Bulgakov’s Doctrine of Wisdom." Journal of Reformed Theology 16, no. 3 (July 19, 2022): 214–25. http://dx.doi.org/10.1163/15697312-bja10032.

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Abstract This article engages Sergei Bulgakov’s doctrine of divine wisdom with key reference to the work Sophia the Wisdom of God. It is proposed that Bulgakov viewed the life of the Orthodox Church as a form of living wisely within the world. Following a general overview of his doctrine of Sophia, it is shown that Bulgakov viewed Mariology and Eucharist as key indicators of the life of wisdom within the world. The article closes with a Reformed reflection.
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Petrenko, Alexander Philippovich, Svetlana Anatolyevna Petrenko, and Irina Borisovna Fedotova. "Influence of N. Gogol’s and M. Saltykov-Shchedrin’s Satire on Michail Bulgakov’s Prose." International Journal of Applied Linguistics and English Literature 6, no. 1 (November 19, 2016): 20. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.1p.20.

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The article is concerned with the study of literary relationships between the satire of the famous 20th-century Russian writer M. Bulgakov and the works by the Russian classics of the 19th century – N.V. Gogol and M.Y. Saltykov-Shchedrin. The article describes Gogol’s and Saltykov-Shchedrin’s influence on Bulgakov’s satirical poetics, especially in the period of his development as a writer. Special attention is given to the device of grotesque and the motives of mechanicalness and lifelessness, forming the artistic worlds of the writers under study. The authors note that the technical progress and the rapid development of mechanized production in the 20th century, combined with the satirical motive of primitivism, characteristic of Russian literature, left an imprint on the nature of Bulgakov’s grotesque. The writers at issue are united by such common feature of the satirical poetics as turning to fantasy, hyperbole, ‘strange and queer things’. The article shows the way Bulgakov perceived and embodied the principles of Gogol’s and Shchedrin’s world perception through the comic mixing of absurd, ghostly and real. Bulgakov’s way of seeing the world is characterized as ‘delirious reality’. At the same time, Bulgakov, as well as his literary teachers in the sphere of satire, showed oddness and divergence as regularity, while the comicality of fantasy in his works finally turns into the drama of reality.Keywords: satire, laughter, grotesque, mysticism, fantasy, zoomorphic metaphors
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Ermakova, Liia L. "“Uncreated Firmament”: Vyach. Ivanov and S. Bulgakov (about a Poem)." Studia Litterarum 7, no. 1 (2022): 338–55. http://dx.doi.org/10.22455/2500-4247-2022-7-1-338-355.

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Russian symbolist Vyacheslav Ivanov and religious philosopher Sergius Bulgakov were connected by formal relations and friendship in 1905–1918. In 1914 Ivanov published the poem “Mother” (“Te glyby chto nezhno zasypali grob...”), with a dedication to Bulgakov. The article discusses this poem and its draft version, which allows to trace the movement of the poet’s creative thought. The biographical context is the death of Bulgakov’s mother — he described his intimate experience in the “Unfading Light” (“Svet Nevecherniy”). Special attention is paid to the symbols and motifs typical to Ivanov’s poetics: the firmament, the sun-heart and the motive of transparency. An idea, common both for Ivanov and Bulgakov, is that of some preworld feminine principle that appears in their texts under different names: as Sophia, the Soul of the World, Great Mother, Mother Earth. They are also united by the special attitude towards death which is understood in a Christian way — as a birth into a new life and just a step on the path of resurrection. The intertextual connections of the poem with the philosophical and theological works by Bulgakov may be considered as a result of mutual influence and their reliance on common sources.
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Khachaturian, Liubov’ V. "The “Non-Euclidean Geometry” of the Manuscript: Mikhail Bulgakov’s Digital Archive." Vestnik Tomskogo gosudarstvennogo universiteta, no. 460 (2020): 55–60. http://dx.doi.org/10.17223/15617793/460/6.

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The article examines the problem of access to archival sources, many of which are currently closed for research due to a number of reasons, including epidemiological ones. The author sees the solution to the problem in creating special unified electronic archives, in which all information about manuscripts is placed on the Internet site or portal, regardless of where they are located geographically. In the author’s opinion, electronic resources of the “second generation” meet the most complete tasks of scientific research: digital archives that allow not only quickly selecting sources, but also working with an electronic copy of the document identical to the original. Regardless of the scientific qualification of the researcher and the state of the original, any Internet user gets direct access to the electronic copy: they can study it, clarify it, quote it in their works and distribute links to the source. On the material of the “Autograph. The 20th-Century. Digital Archive of Russian Literature” portal, the author describes the process of creating a digital archive as a research work that is located at the junction of two Humanities disciplines: source studies and textual studies. In the course of the research, the author turns to the new materials of the portal – the digital archive of Mikhail Bulgakov. The author gives a detailed description of the history of the writer’s archival collections in various organizations (Institute of World Literature, RAS; Russian State Library; Russian State Archive of Literature and Arts), as well as a description of research works of the past decade on Bulgakov’s artistic heritage. During the writer’s lifetime, the archive was kept by Bulgakov himself, then by his widow, Elena Bulgakova, with a full understanding of the value that the collection as a whole represents. As a result, a huge, interconnected and actually commented complex of manuscripts, albums, correspondence, and visual materials was created. Then the archive was divided into two unequal parts (the Bulgakov-prose writer archive and the Bulgakov-playwright archive) and transferred to two different repositories: the Pushkin House (Fund 369) and the Lenin State library (Fund 562). The Bulgakov collection of the Pushkin House is “adjacent” to the Russian State Archive of Literature and Arts funds, which reflect the history of the text based on the materials of organizations (Glavrepertkom, archival funds of theaters, magazines and publishing houses). The author further describes the materials from the Mikhail Bulgakov Fund at the Institute of World Literature, RAS, presented on the “ Autograph. The 20th-Century” portal. The author cites unpublished (or published with notes) sources from the least studied part of the archive – the collection of theater albums. Comparing the theater album devoted to the stage history of the play The Days of the Turbins (The White Guard, The Brothers Turbins) and the text of Theatrical Novel (A Dead Man’s Memoir), the author infers that the album is a kind of a autodocumentary source of the novel, clarifying many controversial points in its interpretation. The genre nature of this type of album requires a separate study. In conclusion, the author emphasizes that the ideal material for such research can be the digital archive of Mikhail Bulgakov.
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Chudnovsky, M. A. "The journalistic activity of M. A. Bulgakov in Rabochy newspaper. Bulgakov as a newspaper reporter." Science and School, no. 2 (April 30, 2024): 73–82. http://dx.doi.org/10.31862/1819-463x-2024-2-73-82.

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The article examines the journalistic activity of M. A. Bulgakov in Rabochy newspaper as a newspaper reporter in the period from March 1 to September 1922. The author explores the initial period of M. A. Bulgakov’s journalistic activity in the Bolshevik press before collaborating with Gudok and The Day Before newspapers. In his article, the author focuses on the fact that the beginning of Bulgakov’s journalistic activity in Soviet periodicals was associated with the genre of newspaper reporting. The author’s research is based on the fundamental works of the main biographers of the writer and dissertations on similar topics, Bulgakov’s diary entries and personal studies of the original files of Rabochy newspaper from the period of 1922.
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Khisamutdinov, A. A., and N. V. Khisamutdinova. "The writer’s uncle Pyotr Bulgakov in Vladivostok, Tokyo, and San-Francisco." Voprosy literatury, no. 3 (June 14, 2023): 159–69. http://dx.doi.org/10.31425/0042-8795-2023-3-159-169.

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The article compares two printed versions of the short story ‘The Power of the Devil’ [‘Vlast lukavogo’], written by the priest P. Bulgakov. The first publication of the story took place in China in 1907; the second edition was given the title ‘Greed’ [‘Zhadnost’] and printed in Europe in 1923. The later edition was thoroughly revised: technical inaccuracies were corrected, several scenes cut short, expressive means added, and more profound conclusions drawn. These changes may indicate that the revision was in part supervised by the priest’s nephew Mikhail Bulgakov, later a renowned writer. Pyotr Bulgakov taught theology at the Oriental Institute in Vladivostok, then the Japanese and Russian languages in Japan, where he served as priest for the Russian embassy; he also studied the influence of Christian philosophy on East and Southeast Asia, published papers on Japanese studies, and produced translations. The article touches on his relationship with M. Bulgakov’s family.
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Gallaher, Brandon. "The ‘Sophiological’ Origins of Vladimir Lossky's Apophaticism." Scottish Journal of Theology 66, no. 3 (July 16, 2013): 278–98. http://dx.doi.org/10.1017/s0036930613000136.

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AbstractVladimir Lossky (1903–58) and Sergii Bulgakov (1871–1944) are normally taken as polar opposites in modern Orthodox theology. Lossky's theology is portrayed as being based on a close exegesis of the Greek Fathers with an emphasis on theosis, the Trinity and the apophatic way of mystical union with God. Bulgakov's ‘sophiology’, in contrast, if it is remembered at all, is said to be a theology which wished to ‘go beyond the Fathers’, was based on German Idealism and the quasi-pantheist and gnostic idea of ‘sophia’ which is a form of the ‘Eternal Feminine’ of Romanticism. In short, Lossky's theological approach is what people normally think of when they speak of Orthodox theology: a form of ‘neo-patristic synthesis’ (Georges Florovsky). Bulgakov's theological approach is said to be typical of the exotic dead end of the inter-war émigré ‘Paris School’ (Alexander Schmemann) or ‘Russian Religious Renaissance’ (Nicolas Zernov). Lossky, we are reminded, was instrumental in the 1935 condemnation, by Metropolitan Sergii Stragorodskii of the Moscow Patriarchate, of Bulgakov's theology as ‘alien’ to the Orthodox Christian faith. Counter to this widely held ‘standard narrative’ of contemporary Orthodox theology, the article argues that the origins of Vladimir Lossky's apophaticism, which he characterised as ‘antinomic theology’, are found within the theological methodology of the sophiology of Sergii Bulgakov: ‘antinomism’. By antinomism is understood that with any theological truth one has two equally necessary affirmations (thesis and antithesis) which are nevertheless logically contradictory. In the face of their conflict, we are forced to hold both thesis and antithesis together through faith. A detailed discussion of Lossky's apophaticism is followed by its comparison to Bulgakov's ‘sophiological antinomism’. Lossky at first appears to be masking the influence of Bulgakov and even goes so far as to read his own form of theological antinomism into the Fathers. Nevertheless, he may well have been consciously appropriating the ‘positive intuitions’ of Bulgakov's thought in order to ‘Orthodoxise’ a thinker he believed was in error but still regarded as the greatest Orthodox theologian of the twentieth century. Despite major differences between the two thinkers (e.g. differing understandings of reason, the use of philosophy and the uncreated/created distinction), it is suggested that Lossky and Bulgakov have more in common than normally is believed to be the case. A critical knowledge of Bulgakov's sophiology is said to be the ‘skeleton key’ for modern Orthodox theology which can help unlock its past, present and future.
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Dissertations / Theses on the topic "Bulgakov"

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Sokolnikova, Tatiana. "Le pouvoir dans l'oeuvre de Mixail Bulgakov." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10072.

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L'oeuvre de Mixail Bulgakov explore le phénomène du pouvoir sous des aspects fort divers. Elle met en scène de nombreux acteurs, supérieurs ou subalternes, du pouvoir hiérarchique, de même que les moyens de coercition nécessaires à son "bon" fonctionnement. Il apparaît ainsi que, dans la vision boulgakovienne, tout pouvoir hiérarchique (police, Eglise ou autre) possède des caractéristiques bien déterminées (il est limité, temporaire, assujetissant) et qu'il impose des modèles de comportement précis. Mais l'oeuvre ne se limite pas à la dimension oppressive : elle expérimente sur les facteurs qui corrodent les rouages de toute société uniformisée par les effets de pouvoir. A cet égard le principe du redoublement joue un rôle fondamental dans la poétique de la relativité propre à Bulgakov. Affectant les mécanismes uniformisants du pouvoir, il fait de la relativité une parole bien plus subversive que la simple satire. En définitive, seul le pouvoir de l'art s'impose, par ses effets de multiplicité, comme un mode d'action non oppressif sur autrui.
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Ramonas, Arvydas Coda Piero. "L'attesa del regno : eschaton e apocalisse in Sergei Bulgakov /." Roma : Pontificia università lateranense : Mursia, 2001. http://catalogue.bnf.fr/ark:/12148/cb390522209.

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Amaral, Miguel de Salis. "Dos visiones ortodoxas de la Iglesia : Bulgakov y Florovsky /." Pamplona : Eunsa, 2003. http://catalogue.bnf.fr/ark:/12148/cb39271289s.

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Mahieu, Talbot Nathalie. "Jeux de musiques dans l'œuvre de M. A. Bulgakov." Paris, INALCO, 1990. http://www.theses.fr/1990INAL0007.

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Présente tout au long de l'existence, présente à la mémoire, présente dans l'écriture, la musique exerce une influence sensible sur l'œuvre littéraire de Bulgakov et transparait sous des formes diverses : créée par les sons qui animent où poétisent la réalité, par les instruments de musique qui participent à la mise en place du décor et traduisent les sentiments des héros, par les voix des personnages qui chantent parfois plus qu'ils ne parlent. Citée par les titres des œuvres musicales qui servent d'accompagnement dramatique en faisant appel à la subjectivité du lecteur, et même interprétée : des thèmes musicaux deviennent un hymne à la joie, une invitation à la danse ou représentent un symbole de culture menacée. Enfin, la musique est occultée ou mutilée dans son expression : pour subsister, un musicien doit renoncer a la musique et renoncer à lui-même. Mais la musique s'insurge et renait comme une sève de printemps. Grace a l'intervention de la magie, elle prend possession des personnages qui l'ont trahie. . . A une époque de mise au silence et de création étouffée, Bulgakov compose des jeux de musiques qui expriment l'oppression progressive de l'homme mais qui annoncent déjà une résurrection, un printemps de révolte et qui sont une manifestation de liberté
Music revolves around the works of Bulgakov. A lifelong companion, a long lasting memory, a writing instrument, it reveals itself with versatility throughout the text. Music is created : sounds animate and translate the surroundings into poetry : musical instruments play a key part in setting the scenes and interprets feelings on behalf of fictional heroes; voices raise as characters tend to sing more than they speak. Music is quoted : titles of musical pieces produce a dramatic echo and play on reader's subjectivity. . . And even performed : famous musical themes become symbols. Music is finally stifled : it is mutilated in its expressive power. To survive, a musician has to abjure music, thus renouncing his own soul. In vain, music will not let itself be buried : it resurges as the sap of spring and, with the help of magical powers, possesses those who have betrayed it. In the darker times of soviet history, when silence was common law and a strangle hold imposed on creation, Bulgakov composed musical games which portray the progressive oppression of man, and still foretell of further resurrection and rebellion, thus demonstrating an indomitable spirit of freedom
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Pittman, R. H. "Mikhail Bulgakov : the theme of evil in 'Master I Margarita'." Thesis, University of Edinburgh, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370206.

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Mikhail Bulgakov's preoccupation with evil in Master i Margarita is set against the background of spiritual barrenness which is outlined in the essays of Vekhi (1909) as dominating Russian radical thought at the beginning of the 20th century. The themes of loss of spirituality, utilitarian faith or atheism, man-godhood, split personality, lack of faith in people and ethical inaptitude, as depicted in Vekhi, re-emerge in Bulgakov's novel more than two decades after the publication of the essays. The devil's genealogy is examined in relation to the sources which Bulgakov is known to have used while writing the novel. The study of the devil's role reveals that, in the case of the conformist characters, Woland appears as a manifestation of the irrational and metaphysical aspects of existence while, in the case of the ordinary Moscow citizens, he advocates a more common sense, rational attitude to life than that which relies on magic and witchcraft. The writer's dilemma in a philistine, authoritarian society is examined through the phenomenon of split personality (Ivan Bezdomny versus the Master). Throughout the thesis C. G. Jung's ideas are employed to illustrate how Bulgakov shapes the myth which gives meaning to the life of a writer whose work might never be published. The Pontius Pilate story is shown to contain the philosophical kernel of the novel; in accordance with Jungian ideology moral absolutes are conceived by Bulgakov, not as opposites, but as part of a paradoxical whole. The joint immortality of Pontius Pilate and Jeshua serves as a most explicit metaphor of this view which is echoed in Woland's question: what would happen to good if there were no evil?Yet, as a whole Master i Margarita must be seen to demonstrate that there may be justification, but there is no consolation, for a person who turns away from truth.
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Butler, Michael, and Michael Butler. "Narrative Reliability in Selected Works by Bulgakov, Nabokov, and Tertz." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12432.

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This work examines the use of ambiguous or obfuscating narrative devices in 3 works by 20th century Russian authors: A Dead Man’s Memoir, by Mikhail Bulgakov, The Eye by Vladimir Nabokov, and You and I, by Abram Tertz. Bulgakov relies on diabolical imagery as well as characters that are by and large caricatures of how any decent person would behave. Nabokov employs several modernist tropes including skillful use of estrangement, as well as a bland tone towards occurrences that ordinary people would find miraculous. Tertz plays on the notion of a double identity by psychically linking two polar extremes until they are nearly unable to tell themselves apart from one another, causing one to crack and kill himself, thus restoring his observer to a more enlightened state. Each work uses the idea of narrative ambiguity and unreliability to demonstrate the incommunicability of one’s artistic vision in its purest, platonic form.
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Howard, Augustus Pritchard. "A proper secularism : beyond ideology in Bulgakov, Trilling, Updike and Pynchon." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290386.

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My dissertation, "A Proper Secularism: Beyond Ideology in Bulgakov, Trilling, Updike and Pynchon," explores the ways in which the literary imagination pushes beyond ideology, and points towards notions of the eternal, by attunement and fidelity to the material. In the terms of Rowan Williams, "if a proper secularism requires faith; if it is to guarantee freedom, this is because a civilized politics must be a politics attuned to the real capacities and dignities of the person." It is the argument of this thesis that the literary imagination, when operating with integrity, mirrors this understanding of the properly secular. A proper secularism is thus defined as both an insistence upon accurate portrayal of the material world in all its variety and difference and, concomitantly, as an honest "holding together" of that difference that can provide an approach to the eternal. It is my contention that four novels, The Master and Margarita by Mikhail Bulgakov; The Middle of the Journey by Lionel Trilling; Roger's Version by John Updike; and Gravity's Rainbow by Thomas Pynchon, each embody and rely upon this understanding of the secular. In so doing, each book pushes beyond the ideology of a century of war and violent imposition. Bulgakov's novel was composed in the heart of Communist Russia; Trilling's novel deals with the lives and ideological biases of Communist sympathizers in America; Pynchon writes from America but about London as it copes with the unitary, impositional ideology of death as signified by the German V-2 rocket in World War II; John Updike, though not overtly concerned with the Cold War in Roger's Version, nonetheless explores the machinery of war in the computer and its language. It is the argument of this dissertation that these novels constitute an answer to the violence of impositional ideology, a counter-arc to the path of the rocket, gravity's impositional rainbow.
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Rouquet, Christiane. "M. Bulgakov et le monde théâtral et littéraire de son temps." Aix-Marseille 1, 1989. http://www.theses.fr/1989AIX10029.

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L'oeuvre de m. Bulgakov nous parait fortement autobiographique. Notre premier but par l'etude du "roman theatral", des lettres "a un ami secret", du "maitre et marguerite", des pieces "moliere" et "l'ile pourpre", de "la vie de monsieur de moliere" est de demontrer l'ossature autobiographique de son oeuvre, de degager l'opinion de m. Bulgakov sur le monde theatral et le monde litteraire et de reveler sa conception de l'art. Nous nous proposons ensuite d'etudier les procedes, utilises par m. Bulgakov pour transformer des evenements d'ordre autobiographique en "faits litteraires" et de mettre en lumiere l'image symbolique de l'ecrivain aux prises avec le pouvoir. Dans la premiere partie, nous etudions les experiences de m. Bulgakov au theatre d'art en axant notre travail sur la problematique des rapports de l'artiste et du pouvoir, nous cherchons dans son oeuvre ("roman heatral", "l'ile pourpre") les traces de sa collaboration et examinons sa satire du milieu theatral. Dans la deuxieme partie, apres avor etudie le monde de l'edition (gudok, nakanune, rossia, nedra) a l'epoque de la nep, nous analysons dans "le roman theatral" la satire du monde des ecrivains. Nous examinons "le maitre et marguerite" en demontrant que le roman est en partie autobiographique et a travers la critique du massolit (rapp ou union des ecrivains) nous degageons la conception de l'art de m. Bulgakov. Nous achevons notre etude par l'analyse des procedes utilises pour transformer des evenements d'ordre autobiographique en "faits litteraires" (demarcation, absurde, fantastique, symbolique) et montrons que le roman est profondement autobiographique et s'avere une riposte a un
Mr. Bulgakov's work appears to be very autobiographic. Through the study of "theatrical novel", the letters "to a secret friend", "the master and margarita", the plays "moliere", "the crimson island" and "the life of monsieur de moliere", our first objective is to show the autobiographic frame of his work, to bring out mr. Bulgakov's opinion about theatrical and literary worlds and reveal his conception of the art. Then, we want to look into the different ways bulgakov transformed autobiographical events into "literary facts" and bring to light the symbolic image of the writer in his struggle with those in power. In the first part, we will investigate bulgakov's experience with the art theatre, focusing on the difficulty of relations between the artist and the authorities, we will look for traces of his collaboration (in "theatrical novel", "the crimson island") and examine his satire on the theatrical world. In the second part, after having studied the publishing trade (gudok, nakanune, rossia, nedra) during the nep period, we will analyse the satire on the literary world through "theatrical novel". We will end our study with the analysis of the different methods used to transform autobiographical events into "literary facts" (demarcation, absurdity, fantastic, symbolic); we will show that the novel is deeply autobiographic and proves to be a retort to a strictly materialistic society
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Aučynaitė, Virginija. "М. Булгаков и Mосковский художественный академический театр." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100702_111718-47797.

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В данной магистерской работе “М. Булгаков и Московский Художественный театр” рассматривается трагическая история взаимоотношений М. Булгакова с Московским Художественным академическим театром, которая нашла своё художественное отражение в ”Театральном романе”. Трагические переживания М. Булгакова в романе выражаются через призму смеха, что сообщает ему необычайную легкость. В ”Театральном романе” писатель использует разные формы комического: сатиру, иронию, пародию. Вместе с тем, в романе Булгакова раскрывается подлинная трагедия художника, творящего в условиях несвободы и насилия.
Šiame magistro darbe „M. Bulgakov‘as ir Maskvos teatras „Chudožestvennyj“ yra aptariama tragiška M. Bulgakov‘o santykių su Maskvos akademiniu teatru „Chudožestvennyj“ istorija, meniškai atsispindėjusi „Teatro romane“. Tragiški M. Bulgakov‘o išgyvenimai romane yra išreiškiami per juoko prizmę, kas suteikia jam nepaprasto lengvumo. „Teatro romane“ rašytojas naudoja įvairias komiškumo formas: satyrą, ironiją, parodiją. Tuo pačiu M. Bulgakov‘o romane yra atskleidžiama tikroji menininko, kuriančio prievartos ir laisvės nebuvimo sąlygomis, tragedija.
In the Master Paper “M. Bulgakov and Moscow Khudozhestvenny Theatre”, the tragic history of relations between M. Bulgakov and Moscow Khudozhestvenny Theatre that was artistically reflected in “The Theatre Novel” is discussed upon. The tragic experience of M. Bulgakov is expressed in the novel through a prism of laugh that provides it with an extraordinary lightness. In “The Theatre Novel”, the author uses various comic forms, such as satire, irony and parody. Simultaneously, the novel by M. Bulgakov discloses the real tragedy of the artist involved in the creative activities upon compulsion and lack of freedom.
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Nikolaev, Sergei V. "Church and reunion in the theology of Sergii Bulgakov and Georges Florovsky, 1918--1940." Ann Arbor, Mich. : ProQuest, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3288936.

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Thesis (Ph.D. in Religious Studies)--S.M.U., 2007.
Title from PDF title page (viewed Nov. 19, 2009). Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4744. Adviser: Bruce D. Marshall. Includes bibliographical references.
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Books on the topic "Bulgakov"

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Sokolov, B. V. Bulgakov: Ėnt͡s︡iklopedii͡a︡. 2nd ed. Moskva: Algoritm, 2003.

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Vilenskiĭ, I͡U G. Doktor Bulgakov. Kiev: "Zdorovʹi͡a", 1991.

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Sokolov, B. V. Bulgakov: Ėnt︠s︡iklopedii︠a︡. Moskva: Algoritm, 2003.

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Bulgakov, Mikhail Afanasʹevich. Mikhail Bulgakov. Moskva: ĖKSMO-Press, 2000.

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Mailov, A. Sergiĭ Bulgakov. Sankt-Peterburg: Vysshie gumanitarnye kursy, Filosofskai͡a︡ shkola, 1993.

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Coda, Piero. Sergej Bulgakov. Brescia: Morcelliana, 2003.

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Vitaliĭ, Moskalenko, ed. Doktor Bulgakov. Vinnit︠s︡a: Nova knyha, 2010.

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Bulgakov, Mikhail Afanasʹevich. Neizvestnyĭ Bulgakov. Moskva: Izd-vo "Knizhnai͡a︡ palata", 1993.

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Novačić, Aleksandar. Bulgakov: Pisma Staljinu. Beograd: IP Dobar naslov, 2013.

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Institut filosofii (Rossiĭskai︠a︡ akademii︠a︡ nauk) and Nekommercheskiĭ nauchnyĭ fond "Institut razvitii︠a︡ im. G.P. Shchedrovit︠s︡kogo", eds. Sergeĭ Nikolaevich Bulgakov. Moskva: ROSSPĖN, 2020.

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Book chapters on the topic "Bulgakov"

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Beretta, Cristina. "Michail Bulgakov." In Kindler Kompakt: Russische Literatur 20. Jahrhundert, 169–73. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04365-8_27.

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Rigler, Sibille. "Bulgakov, Michail." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_194-1.

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Peters, Jochen-Ulrich. "Michail Bulgakov." In Die russische Erzählung, 475–85. Köln: Böhlau Verlag, 2018. http://dx.doi.org/10.7788/9783412506599.475.

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Schäfer, Wilfried, and Michael Düring. "Bulgakov, Michail: D'javoliada." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_195-1.

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Schlegel, Hans-Joachim. "Bulgakov, Michail: Belaja gvardija." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_196-1.

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Schriek, Wolfgang, and Sibille Rigler. "Bulgakov, Michail: Sobač'e serdce." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_197-1.

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Sisto, Walter Nunzio. "Russian Mariology and Bulgakov." In The Mother of God in the Theology of Sergius Bulgakov, 53–74. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315555454-4.

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Milne, Lesley. "Gogol and Mikhail Bulgakov." In Nikolay Gogol, 109–26. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19626-5_8.

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Beretta, Cristina. "Bulgakov, Michail: Master i Margarita." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_198-1.

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Deane-Drummond, Celia. "Deep incarnation between Balthasar and Bulgakov." In Envisioning the Cosmic Body of Christ, 101–13. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429340604-9.

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Conference papers on the topic "Bulgakov"

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Rudenko, M. S. "BULGAKOV AND SHOLOKCHOV IN THE LITERARY CRITICISM OF THE FIRST WAVE OF RUSSIAN EMIGRATION." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3725.rus_lit_20-21/194-198.

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The question of how the first wave of emigration evaluates the works of Bulgakov and Sholokhov is far from simple. While Bulgakov is perceived by emigrants as a Soviet, or at least “sub-Soviet” writer, such definitions are not given to Sholokhov. It is obvious that Sholokhov is perceived as a writer of the first rank, a singer of the Cossacks, and the creator of a wide epic canvas. The completely socialist realist “Virgin Soil Upturned” also receives a fairly positive assessment. At the same time, critics are obviously biased towards Bulgakov. He is valued as a satirist, but his position in “The White Guard” and especially in “Days of the Turbins” is regarded rather as Soviet, and his objectivity is sometimes interpreted as slander. If Sholokhov is perceived almost without criticism, then critical arrows fall on Bulgakov not only from Khodasevich and Adamovich, who seem to be quite unanimous on this issue, but also from a number of connoisseurs of Russian literature.
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FILIPPOVA, IRINA. "ABOUT TYPOLOGY OF INTERSEMIOTIC TRANSFORMATIONS." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.36.

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We present the author's typology of intersemiotic transformations during the intralinguistic film adaptation of literature adaptation of a work of literature empirically based on the play by M. A. Bulgakov "Ivan Vasilievich" and the film "Ivan Vasilievich changes his profession." Comparative analysis reveals the transformation of various components of the content (realities, external and personal characteristics of characters, genre features) and various degrees (transformation and deformation).
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Savelyeva, Tatayana. "Irony In The Novel "The Heart Of A Dog" By M. Bulgakov." In International Scientific Conference «Social and Cultural Transformations in the Context of Modern Globalism» dedicated to the 80th anniversary of Turkayev Hassan Vakhitovich. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.10.05.444.

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Smirnov, Ivan. "COMPUTER ANALYSIS OF THE NOVEL BY M. A. BULGAKOV �MASTER AND MARGARITA." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s27.058.

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Novikova, M. M. "RUSSIAN PHILOSOPHERS ABOUT THE FATE OF CULTURE AND ART." In Культура, наука, образование: проблемы и перспективы. Нижневартовский государственный университет, 2021. http://dx.doi.org/10.36906/ksp-2021/88.

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The article is devoted to the Russian aesthetic thought of the 20th century, to the problem of correlation between the general cultural and inner artistic processes, to the crisis of art in the situation of cultural breakdown. The article evaluates the aesthetic and cultural ideas of Russian philosophers N.A. Berdyaev, S.N. Bulgakov, P.A. Florensky, A. Bely, V.I. Ivanov, V.V. Weidle, P.A. Sorokin, establish the objectivity of their predictions about the future development of art.
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Nemtsev, Vladimir Ivanovich. "Friedrich Nietzsche and Mikhail Bulgakov in the Context of the Philosophical Ideas of the Silver Age." In Conference on current problems of our time: the relationship of man and society (CPT 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210225.033.

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Karlova, Olga. "FEATURES OF THE AUTHOR�S WORLDVIEW IN THE NOVEL BY MIKHAIL BULGAKOV �THE MASTER AND MARGARITA�." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s11.24.

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Yablokov, Evgeny. "Nikolskyʹs discourse in the Work of M.A. Bulgakov: a Combination of a Monarchical and a Mythological." In Russian Bohemian Studies Yesterday and Today. Institute of Slavic Studies, Russian Academy of Sciences, 2022. http://dx.doi.org/10.31168/7576-0479-4.14.

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Silchenko, Ivan Sergeevich. "THE WEAPONS IN THE NOVEL BY M. A. BULGAKOV “THE WHITE GUARD”. EXPERIENCE OF MILITARY-HISTORICAL ANALYSIS." In Историческая наука и историческое образование в условиях глобальных трансформаций. Екатеринбург: [б.и.], 2021. http://dx.doi.org/10.54351/978-5-7186-1774-0_2021_25_45.

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Silchenko, Ivan Sergeevich. "THE WEAPONS IN THE NOVEL BY M. A. BULGAKOV “THE WHITE GUARD”. EXPERIENCE OF MILITARY-HISTORICAL ANALYSIS." In Историческая наука и историческое образование в условиях глобальных трансформаций. Екатеринбург: [б.и.], 2021. http://dx.doi.org/10.26170/978-5-7186-1774-0_2021_25_45.

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