Academic literature on the topic 'Children's literature, Russian'

The article deals with the question of the originality and formation of children's literature in the historical context of Russia. At all times, the most serious requirements were imposed on children's literature, since it is one of the most important sources of formation of the child's personality, his spiritual values, moral and aesthetic qualities and is of an educational nature. each period is characterized by its own tasks, requirements, themes, heroes, etc. However, the main task of children's literature has always remained the same-to teach children to believe, love, grow, understand, search, and the question of the specifics of children's literature is still reduced to repeating the truths about a dynamic plot, clarity, accessibility and fascination. The article analyzes the best examples of Russian literature, which convey all the diversity and richness of the world, instill in children a literary taste and love of reading.

In the analysis of literary texts, it is crucial to have in mind the concept of chronotope. Mikhail Bakhtin, a prominent Russian literary theorist, employs the term to analyze the arrangement of temporal and spatial elements within literary texts. The objective of this study is to provide a comprehensive analysis of Bakhtin's theoretical concept known as "the chronotope" and its impact on literary texts. Furthermore, its impact on children's literature should also be considered. This study aims to address the following inquiries. 1.The concept of chronotope refers to the literary and linguistic notion that combines the temporal and spatial dimensions within a narrative or discourse. 2. The Significance of the Chronotope. 3. In what manner might the concept of chronotope be employed in the analysis and interpretation of a textual work? The present study is structured into three distinct components. The initial segment pertains to the Bakhtinian concept of chronotope, which encompasses an examination of chronotope itself, its elucidation, and its manifestation as expounded by Bakhtin. Section two provides an elucidation of children's literature and its interconnection with the concept of chronotope. Section three of this study investigates the representation of chronotope in children's literature.

This article investigates the perceived image of English-language children's literature in Soviet Russia. Framed by Even-Zohar's polysystem theory and Bourdieu's philosophy of action, the discussion takes into account the ideological constraints of the practice of translation and the manipulation of texts. Several factors involved in creating the perceived character of a body of literature are identified, such as the requirements of socialist realism, publishing practices in the Soviet Union, the tradition of free translation and accessibility in the translation of children's literature. This study explores these factors and, with reference to selected examples, illustrates how the political and sociological climate of translation in the Soviet Union influenced the translation practices and the field of translated children's literature, creating a particular image of English-language children's literature in (Soviet) Russia.

The translation and publication process of foreign literary works and particularly of children’s literature in Russia has been through various changes and reforms following the socio-political shifts that occurred in different periods of Russian history. This thesis examines three Russian translations of Lewis Carroll’s Alice’s Adventures in Wonderland published before, during and after the Soviet Era. This periodisation is essential, as the main research question of the thesis is how the shifting socio-political circumstances and ideologies governing Russia in each of the three periods examined affected the translation of children’s literature. The study focuses on power and authority references, which are frequently identified in the book, as the creatures of Wonderland constantly insult and terrify Alice in their attempt to seize power. Through these examples and drawing on Even-Zohar’s polysystem theory, Toury’s concept of norms and House’s model of translation quality assessment, this thesis also answers questions as to how the norms prevailing in the source culture are transferred to the target culture, as well as what translation strategies are used by the Russian translators of Alice Adventures in Wonderland in each of the periods examined. Since the study takes place in a Russian context, references to censorship in translation and publication of children’s literature are inevitable, as previous research has demonstrated that publications were under state control, particularly during the Soviet years. Therefore, the translations used here as observational material, are also examined for any potential censorship effect. Despite the fact that the same examples are examined in all three translations, the result and the translators’ choices, differ to a great extent. The pre-Soviet translation has many deletions, related particularly to the violent scenes of the book. The Soviet translation is a literal rendering of Carroll’s original story. Finally, the post-Soviet translation is a creative work, which contains many additions that bring the story closer to the mentality and understanding of the Russian readership.

This thesis explores Englishness and its representation in translated children’s literature in Russia during the Soviet period (from 1917 until 1991) and the post-Soviet period (from 1992 until 2015). It focuses on Russian translations of English children’s classics published between the late-Victorian period and the Second World War. It studies how Russian translations of English children’s literature construct literary portrayals of Englishness in varied socio-cultural and historical contexts. It investigates the complex processes involved in re-creating national specificities of English literary texts in Russian culture. The Anglo-centric essence of Englishness – or ‘dobraia staraia Angliia’ [good old England] – is expressed to a greater degree in the classics of English children’s literature. It is this particular idealised Englishness that is represented in the Russian translations. This thesis demonstrates that various manifestations of Englishness are modified in Russian translations and that the degree of modification varies according to changes in the political climate in Russia. A significant role is played by ideology – of a prevailing political nature during in the Soviet Union and a commercial ideology in post-Soviet Russia. The first chapter lays the theoretical foundation for the whole thesis and outlines the methodology adopted. Chapters 2 and 3 set out the contextual background for understanding Englishness by focusing on the question of Englishness perceived from English and Russian perspectives, and discussing the main tendencies of representing Englishness in both cultures. Chapter 4 presents the historical background by highlighting the political and cultural circumstances in which Russian translations were made. The second half of the thesis (chapters five, six and seven) focuses on the analysis of the representation of Englishness in Russian translations. Chapter 5 discusses which English children’s books, published between the late-Victorian period and the Second World War, were selected for translation and at what point between 1918 and 2015. Chapters 6 and 7 present the case studies in this thesis. These provide an analysis of how different manifestations of Englishness were translated and, taking into account the Soviet and post-Soviet historical contexts, examine why they were translated in certain ways.

This thesis presents an analysis of texts written for a child audience in Russia between 1990 and 2010 and characterized by humorous inversions of common sense, a tendency for jokes, puns and a cheerful narrative tone. These narrative features are associated with the concepts of playfulness and play. This thesis argues that, by addressing the implied child reader of the post-perestroika period in a playful mode, children’s authors tried to cope with profound social and cultural transformations which challenged their identities as adults and intellectuals. The new individual responsibilities concerning the upbringing and the education of children, on the one hand, and the crisis of written culture and of the intellectual as sources of moral guidance, on the other, occurred at the same time as the general structures of trust were collapsing in Russian society. The thesis argues that playfulness allowed children’s authors to explore their own identity, and even to express their own fears and doubts as providers of upbringing and education. At the same time, playfulness was a way to involve the child of the post-perestroika period in an attempt to re-construct culture, an attempt which required a strong pedagogical agency. Divided between the wish to guide younger generations and the need to re-define their own selves, children’s authors found in playfulness a field where these contradictory drives could be negotiated and their authorial personae could be re-worked. In the so-called post-post-Soviet period, which followed the election of Vladimir Putin as President of Russia, playful children’s literature is still engaged in this exploration of the adult self and of the possibility of providing guidance through literature. This exploration is further challenged by a generational gap separating adults with a Soviet background from children. The first chapter establishes the theoretical grounds and methods which inform the thesis, while chapter two provides a historical overview of the way in which play and playfulness, both as cultural phenomena and as concepts, intertwined with specific conceptualizations of childhood in Russian and Soviet children’s literature until perestroika. The last two chapters are devoted to the analysis of texts, and mostly focus on works by children’s authors Grigorii Oster, Artur Givargizov and Natal’ia Nusinova which appeared in the years 1990–2010.

Adaptations of works have the potential to bring their subject matter to a new audience. This thesis explores the adaptation of Russian fairy tales into novels by authors Orson Scott Card and Joy Preble by looking at how they present Russian fairy tales, folkloric figures, and fairy tale structure to an American audience.

The emotive connotations of diminutives in English are a source of controversy among scholars, while the Slavic languages of Polish and Russian are considered ‘diminutive-rich’ with diminutives that convey diverse nuances. Thus, the translation of diminutives between English and Slavic languages has either been portrayed as difficult or has been ignored altogether. However, an analysis of Carroll’s Alice in Wonderland and several of its translations into Polish and Russian shows that English has many diminutives, some of which are ‘untranslatable’, while many diminutives can be easily translated. Yet, the strong emphasis on diminutives in Polish and Russian produces diminutives in the translations that do not appear in the original text and are not typical of English. What becomes evident is that the obstacles in translating various diminutive constructions provoke the question: What are the semantic-pragmatic differences between English and Polish/Russian diminutives and how do these differences affect translation?
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Dzieciństwo uważane jest za bardzo istotny okres rozwojowy w życiu człowieka, determinujący jego następne lata i wybory życiowe. Poprzez obserwację zachowań dorosłych dziecko nabywa umiejętności oraz adaptuje podstawowe wartości, obowiązujące normy i przekonania, przyswaja systemy symboli kulturowych regulujących życie społeczne. Proces ten prowadzi do ukształtowania osobowości, charakteru i światopoglądu dziecka oraz wpływa na jego przystosowanie do życia w kulturze. Kolejne systemy polityczne w dwudziestowiecznej Rosji odwoływały się do odmiennych porządków aksjologicznych. Zróżnicowane były również koncepcje estetyczne koncentrujące się na kategorii dzieciństwa. W okresie przedrewolucyjnym dzieciństwo było przedmiotem mitologizacji, co wynikało ze zwrotu kultury początku XX wieku w kierunku tego, co pierwotne, niezdeformowane przez mieszczańską moralność. Przełom wieków przyniósł powszechne zainteresowanie mitem. Zwrot ku mitologii ludów pierwotnych łączył się z zainteresowaniem kręgiem wartości kultury dziecięcej. Efektem owych inspiracji były prace poświęcone językowi i psychologii dziecka (teoria rozwoju poznawczego, animistycznego myślenia dziecka autorstwa Jeana Piageta). Sztukę dziecięcą zaczęto postrzegać jako wartość kulturową. W rzeczywistości radzieckiej dzieci traktowane były jako plastyczny „materiał”, służący do uformowania „nowego człowieka radzieckiego”. Ideolodzy partyjni przywiązywali szczególną uwagę do kształtowania charakteru dziecka poprzez zideologizowaną twórczość, przeznaczoną dla najmłodszych odbiorców. Kreacja mitów na użytek propagandy była powszechnym zjawiskiem w przestrzeni radzieckiej subkultury dziecięcej. Upadek Związku Radzieckiego przyniósł westernizację kultury rosyjskiej. Kultura masowa zawładnęła podatnymi na jej wpływ młodymi odbiorcami. Rezultatem przemian polityczno-społecznych był problem marginalizacji części najmłodszego pokolenia. Powyższe zjawiska wskazują na istotny związek między obowiązującymi w danym systemie polityczno-społecznym wartościami i normami kulturowymi a stosunkiem do subkultury dziecięcej. Przedmiotem badań w rozprawie była kategoria dzieciństwa w rosyjskiej kulturze XX wieku (w analizie uwzględniano również informacje dotyczące postrzegania kluczowego zagadnienia w kulturze emigracji rosyjskiej). Problematyka badawcza pracy obejmowała kulturowe, społeczne i polityczne aspekty problemu dzieciństwa traktowanego jako temat kulturowy w rozumieniu Morrisa E. Oplera. W pracy Tematy jako dynamiczne siły w kulturze (Themes as Dynamic Forces in Culture) uczony twierdził, iż w każdej kulturze występuje określona liczba tzw. tematów, dynamicznych stwierdzeń, które zdefiniował jako postulaty względnie stanowiska, głoszone otwarcie lub milcząco sugerowane, zwykle kontrolujące zachowanie lub pobudzające do działania. Celem badań było udowodnienie hipotezy, iż uzasadnione jest mówienie o dzieciństwie jako o rosyjskim temacie kulturowym w XX wieku oraz potraktowanie owego tematu jako jednego z możliwych kluczy do zrozumienia swoistości kultury rosyjskiej. W pracy przyjęto założenie, że istnieją różne rodzaje dzieciństwa, które stanowi produkt kultury. Pierwszym krokiem postępowania badawczego było zarysowanie wizji dzieciństwa w rosyjskich teoriach pedagogicznych. Rozpatrywane były różne konfiguracje norm wychowania i socjalizacji dziecka, a także kreowane wzory zachowań, wpływające na osobowość dziecka. We wspomnieniach dzieci wyodrębniono elementy dziecięcej percepcji świata oraz wyeksplikowano dziecięce postrzeganie sytuacji krańcowych, których dzieci stały się uczestnikami. We wspomnieniach dorosłych poszukiwana była odpowiedź na pytanie, w jaki sposób przeżycia związane z dzieciństwem oraz proces integrowania doświadczeń wpłynęły na światopogląd i osobowość autorów. Kolejnym analizowanym zagadnieniem było radzieckie dzieciństwo zideologizowane rozumiane jako poddawany mitologizacji fenomen socjokulturowy. Ukazane zostały mechanizmy formowania „nowego człowieka radzieckiego”. Zebrany materiał przekonuje, że reorganizacja zewnętrznego i wewnętrznego życia dzieci, psychiczne okaleczanie najmłodszych, ambiwalencja moralna i kulturowa były wpisane w paradygmat straconego dzieciństwa, obejmujący takie ograniczenia tematu kulturowego, jak dzieciństwo na wojnie, dzieciństwo w łagrze i osierocone dzieciństwo. Badane były również problemy i zagrożenia dzieci w dwudziestowiecznej Rosji, ze szczególnym uwzględnieniem zjawiska bezprizornosti oraz marginalizacji, traktowanych jako skutki przemian społeczno-politycznych. Analizie poddany został także wpływ kultury masowej na świadomość dziecięcą. Twórczość dla dzieci potraktowana została jako podstawowy, sformalizowany, materialny przejaw tematu kulturowego. Analizie poddano promowane wartości, ideały wychowawcze, funkcje ideologiczne i propagandowe w literaturze dziecięcej oraz bajkach animowanych dla dzieci. Poruszone zagadnienia stanowiły podstawę do ukazania wpływu tematu dzieciństwa na rosyjską konfigurację kultury. Przeprowadzone badania pozwalają lepiej zrozumieć zarówno specyfikę dzieciństwa w rosyjskiej przestrzeni kulturowej w XX wieku w perspektywie kulturoznawczej oraz analizowaną w zobiektywizowanych kategoriach specyfikę rosyjskiej kultury XX wieku. Rozprawa eksponuje wpływ tematu dzieciństwa na rosyjską konfigurację kultury oraz jego relacje z innymi rosyjskimi tematami kulturowymi, m.in. tematem pracy, tematem kolektywizmu, tematem obrony ojczyzny, tematem wolności, tematem relacji między jednostką a zbiorowością. Przeprowadzone badania dowiodły, że temat dzieciństwa przejawiał się w licznych aspektach kultury rosyjskiej, m.in. w literaturze faktu, literaturze pięknej, filmie, plastyce, pedagogice, filozofii, publicystyce, polityce, wojskowości, systemie penitencjarnym. Podjęte rozważania prowadzą do wniosku, że temat dzieciństwa może być potraktowany jako swoisty klucz interpretacyjny, stanowiący jedną z możliwych prób poznania i zrozumienia kultury rosyjskiej.
Childhood is regarded as a very important period of development in human life: it determines the following years and life choices. Through observation of adult’s behaviour the child gains skills and adapts basic values, norms and believes, learns the systems of cultural symbols regulating social life. This process shapes personality, character and world outlook and influences the child’s adaptation to life in culture. Consecutive political systems in the 20th century Russia referred to different axiological systems. Likewise esthetic concepts concentrated on childhood had undergone differentiation. During the prerevolutionary period childhood was a matter of mythologization, based at the beginning of the 20th century on a desire to establish a culture free from deformations caused by bourgeois morality. The turn of the century brought a wide interest in myths. The rise of interest in mythology of primordial people draw attention to the values of children’s culture. These inspirations resulted in the works devoted to the language and child’s psychology (theory of cognitive development, animistic thinking by Jean Piaget). Child’s art started being perceived as a culture value. In Soviet everyday life a child was regarded as a flexible material able to become a “new Soviet man”. The official party ideologists paid special attention to shaping children’s characters through ideologized arts targeting the youngest consumers. Creating myths intended for propaganda was a general occurrence in the space of Soviet children’s subculture. The fall of the USSR caused westernization of Russian culture. Mass culture possessed complaisant consumers. As a result of political and social changes some part of the youngest generation was marginalized. The above stated remarks denote the crucial dependence between the common values and cultural norms in the given socio-political system and the attitudes to children’s subculture. The subject of the research presented in the dissertation, is the category of childhood in Russian culture of the 20th century. (The analyzes takes into account key phenomena emerging in Russia, as well as these characteristic for the culture of Russian emigration). The research comprised cultural, social and political aspects of childhood as a cultural theme as seen by Morris E. Opler. According to Opler, in every culture we can come across a limited number of dynamic affirmations (themes). As stated by the author of Themes as Dynamic Forces in Culture “the term "theme" is used here in a technical sense to denote a postulate or position, declared or implied, and usually controlling behavior or stimulating activity, which is tacitly approved or openly promoted in a society”. The main goal of the research was to check the hypothesis that we can regard childhood as Russian cultural theme of the 20th century and use that theme as one of possible key concepts to understand specific character of that culture. An assumption has been made that there are different kinds of childhood regarded as a product of culture. The first step in the research was an outline of the vision of childhood in Russian pedagogical theories. Several configurations of upbringing and socialization were presented. In the analyzes of children’s memories the understanding of revolution changes and critical situations in which children participated were explicated. The memories of adults revealed the way of adoption of childhood experiences in the world view and personalities of the authors. The next problem taken into account was the Soviet ideologized childhood perceived as a socio-cultural phenomena. The mechanisms of shaping the “new Soviet man” from early childhood were pointed out. Gathered material proves that reorganization of internal and external life of children, mental injuries of the youngest, moral and cultural ambivalence were integrated in the paradigm of “the lost childhood” including such limiting factors of the cultural theme as childhood at the war, childhood in the concentration camp and orphans’ childhood. Problems and threats for children in the 20th century Russia with a specific emphasis on the homelessness (besprizornost’) and marginalization were regarded as the consequences of social changes. The impact of the mass culture on children’s consciousness was the subject of consideration. The art works for children were treated as a primary, formalized, material expression of the cultural theme. Popularized values, educational ideals, ideological and propagandistic functions of the art targeting the youngest in children’s literature and animated fairy tales for children were taken into consideration. Presented issues revealed the impact of childhood theme on Russian configuration of culture. The undertaken research reveals specific character of childhood in Russian cultural space of the 20th century as seen from the perspective of cultural studies and points out to specific features of Russian culture of the 20th century in general either. The influence of childhood theme on Russian configuration of culture and its relations with other Russian cultural themes was indicated (such as, for instance: the work theme, the theme of collectivism, the theme of homeland defense, the freedom theme, the theme of relations between the individual and the community). The research proved that the childhood theme manifested itself in many aspects of Russian culture, including literature of fact, belles-lettres, film, visual arts, pedagogy, philosophy, journalism, politics, military science, the prison system. The above mentioned arguments lead to the conclusion that the theme of childhood can serve as one of possible key concepts helping in attempts to learn and understand Russian culture.

Cultural production in nineteenth-century Britain and Russia was characterized by two important phenomena that affected the literary sphere and visual arts – a burgeoning interest in folklore and a perception of childhood as a privileged space. In my dissertation, I explore how these two spheres converged in the figure of the folkloric child. I also uncover the semiotic dimensions of the binary oppositions intrinsic to the discourse of supernatural children, such as human – monster, child – non-child, cultural insider – Other. In my comparative analysis of supernatural children in Russian and English folklore, I focus on two main categories of supernatural children – unbaptized spirits and fairy changelings – and note the various affective responses they invoke in the bearers of culture. Narratives that focus on unbaptized children are characterized by a sense of communal guilt, whereas in changeling tales, interactions between the human world and the Otherworld are characterized by battles for resources in a contested semiotic space. In the second half of my dissertation, I show how supernatural children influenced prominent literary texts of the nineteenth century. Analyzing the influence of folkloric children on Russian literature, I examine the works of Fedor Dostoevskii and Fedor Sologub, two major writers with shared interest both in uncanny children and in folklore. In their writings, the folkloric child signifies the cultural anxieties specific to nineteenth-century Russia, from commodification of traditional culture to encroaching westernization and loss of spiritual identity. For comparison, I turn to an analysis of the changeling myth in Emily Brontë's Wuthering Heights and Thomas Hardy's Jude the Obscure. These two novels actively use motifs from the lore of changelings to develop the theme of colonialism and its influence on the lives of the colonized or peripheral Others. The study of Otherness that constitutes the body of this dissertation is informed by Yuri Lotman's theory of semiotic core/periphery, as well as by Julia Kristeva's concept of abjection and J.J. Cohen's examination of monstrosity and its cultural significance.
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The textbook is a significant addition to G.M. Pervova's textbook "Children's Literature", published in INFRA-M in 2021. The textbook analyzes the range of reading works by Russian classical writers for a children's audience. The author chooses for consideration the work of those writers who did not write specifically for children, so you will not find in the manual the famous surnames of K.I. Chukovsky, N.N. Nosov and many others. The manual raises the problem of expanding the circle of children's reading, emphasizes the importance of the creativity of Russian classics as carriers of the true art of the word. When analyzing texts, the author of the manual proceeds from the peculiarities of children's perception of literature and shows the methodological possibilities of promoting perception to an aesthetic level. Meets the requirements of the federal state educational standards of higher education of the latest generation. It is addressed to students studying in the field of training 44.03.01 "Pedagogical education" (profiles "Primary education", "Preschool education").

When Russian Empress Catherine the Great (1729–1796) wrote allegorical fairy tales and educational materials for her grandsons, as well as an audience of Russian children, she actively partook in transnational traditions, finding inspiration and models in genres that fluidly crossed geographical boundaries in the eighteenth century. Comparing Catherine’s writings for children both nationally and transnationally with other mirrors for princes intended to guide young rulers, allegorical fairy tales in exotic settings, and broader enlightening projects of the time, reveals how her works hybridise different genres and transnational sources of inspiration to create something new and never seen before in Russia. At the same time, the example of Catherine’s writings also exemplifies how writings for a child become literature for children.

Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.

This essay begins with a personal insight into the achievements of my grandfather, Rao Sahib K Kothandapani Pillai. Born in 1896 at Andalur Semmangudi village in South India, Kothandapani Pillai is celebrated as the earliest Tamil writer to take the initiative of translating Tolstoy’s works into Tamil. A diplomat who read Tolstoy for pleasure, Kothandapani Pillai translated three stories––Two Old Men’ (‘Dva starika’, 1885), ‘How Much Land Does A Man Need?’ (‘Mnogo li cheloveku zemli nuzhno?’, 1886), and ‘A Lost Opportunity’ (‘Upustish’ ogon’––ne potushish’, 1885)––published in 1932 in Kadhaimanikkovai (Stories from Tolstoy), an academic textbook for primary-school children. The second part of this essay examines my grandfather’s translator-successors who, between 1930-1970, continued to produce Tamil translations of Tolstoy and other authors such as Maksim Gorky, Fedor Dostoevsky and Anton Chekhov, for Progress and Raduga publishers in Moscow.

AbstractGiven its proximity to the Russian border, the city of Trabzon was a strategic port for the Young Turk government against the backdrop of war with Russia. While there is an extensive body of literature about Trabzon during the Armenian Genocide, the experiences of Armenian women and girls who stayed in the city remain unexamined. This chapter draws on the Trabzon trials and survivor testimonies to explore their experiences.While Trabzon Armenians received an official order of deportation, on June 26, 1915, the Vali Cemal Azmi made an “exemption” for Armenian women in later stages of pregnancy and for children “when the parents so desired.” Girls up to 15 years old and boys up to 10 years old remained and were placed in large houses throughout the city. After four years, all male children disappeared, and the girls who survived mostly did so in Turkish households to which they were given as gifts or sold to serve as a wives, servants, or sex slaves.In 1919, the Turkish Courts-Martial brought the perpetrators of the Armenian Genocide to trial in Constantinople. Cemal Azmi, Yenibahçeli Nail, who was the Committee on Union and Progress secretary for Trabzon, and five officials who worked with him stood before the court. The charges against them included organizing and implementing the massive annihilation of the Trabzon Armenians, the plunder of their property, the rape and murder of women and children, and the drowning of around 50 pregnant women in the Black sea. There were 20 sessions of the Trabzon trial, held between March 26 and May 20, 1919, during which witnesses and survivors testified. Among them were Misses Siranush Manukian, Philomene Nurian, Sofia Makhokhian, Aruseak Gylchian, Miss Arabian, and other women who witnessed mass drownings, were survivors of rape, forced marriages, and forced prostitution. The trial was extensively covered by both the Armenian and the Turkish press, whose representatives were present at the daily hearings. Close examination of these women's testimonies and other shreds of evidence of this trial shows how gendered the Armenian genocide was and how women were targeted for both their gender and national identity.

The author shares his memories of his communication with Yu.M. Lotman from 1977 to 1984. From 1976 to 1980, the author studied at the Herzen Institute in Leningrad and several times took part in student conferences in Tartu, and also came to listen to lectures by Yu.M. Lotman, Z.G. Mints, B.M. Gasparov and other teachers. The author shares his memories of Lotman's lectures and seminars, in particular, about the course of lectures dedicated to “Eugene Onegin”. In addition to Lotman's research on poetics and the history of literature, the author's attention was drawn to his works on the semiotics of everyday behavior, theater and theatricality. In Lotman's book Semiotics of Cinema and Problems of Cinema Aesthetics (1973), the author draws on a detailed analysis of Antonioni's film Blow Up. Lotman's article “The Theme of Cards and the Card Game in Russian Literature of the Early 19th Century” (1975) became one of the incentives for the author to write the article “The Queen of Spades in Children's Folklore” (1992, 1998).

Letters of children have been preserved in the Archive of A.M. Gorky in A.M. Gorky Institute of World Literature of the Russian Academy of Sciences. In them, young readers give an assessment of the work of the "proletarian writer". The children analyzed the images of the main characters, noted the ideological value of Gorky's works, asked the author clarifying questions, asked his opinion about the characters, admired the style and imagery of the works. The reviews were critical, emotional, artistic, and analytical. They testified to the attention of the readership to the writer's work and served as proof of the formation of an active creative reader. The writer's works were mainly interpreted through the prism of expressing the interests of classes and social groups, which led to a distorted view of the artistic heritage of the classic and simplified the perception of his texts.

The article traces the ways of development and realization of historical prose in Russian children's literature from its very origins in the XIX century to modern literature of the XXI century. The types of narrative, genre diversity and thematic and problematic variability of works on a historical theme are analyzed. In addition, the author's strategies of writers who turn to the narrative of the past are investigated.

The purpose of this study is to observe the overall picture of translations of Chinese literature for children into Russian language from the first editions to the present day. In addition to compiling a complete chronological list of all Chinese books translated into Russian from the category of children’s reading, our tasks included identifying and characterizing the main periods, trends and patterns in the development of translation and book publishing of Chinese children’s literature in Russian, analyzing the dynamics of translations in different years, analyzing the activities of translators who contributed to the development of cultural ties between the two countries, listing the names of the best illustrators, whose work played an important role in popularizing Chinese literature for children, identifying the main problems in translation and publication of children’s Chinese books in Russia at different periods. After studying the general picture of translations of Chinese literature for children into Russian, as well as taking into account the nature of historical events and political relations between China and Russia, we propose to distinguish the following seven periods in translation: 1779–1917; 1918–1949; 1950–1959; 1960–1980; 1981–1991; 1992–2013; since 2014.

The article provides a hermeneutic analysis of O.E. Nakko's educational story through the prism of the study of the problematic and poetics of this work. The specificity of the story as a work addressed to a children's audience, built as a memory story, is revealed. The emphasis is on the study of the figurative system of the work, the typology of characters, as well as the relevance of the theme of memory, the problem of heroism, etc.

e aim of the article is to grasp the mental division of mind of Russian intellectuals in solving the problem of organizing Orthodox school education. e organized schooling was largely absent in Muscovy and the practice of studying with a private teacher substituted for schools. e idea to create Orthodox schools, di erent from Latin ones of Western Europe, was set forth in the last quarter of the XVII century and led to the compilation of several handwritten teachers' collections, the compilers of which sought to present in them the content of school Orthodox education. at gives the ground for comparison between two of them: ABC for kids by Evfimy from Chudov monastery and School ABC by Prokhor Kolomniatin. Conclusions: two di erent compilers, who used di erent texts, show similar thematic composition in constructing a school curriculum. It includes: 1. Grammar as a main section; 2. Explanation the necessity of study and the meaning of “Wisdom”; 3. Norms of the pupils' conduct; 4. Instructions on piety as well as threats for ignoring them; 5. Catechisms and the texts of prayers; 6. Instructions for teachers. e two authorcompilers nearly exhausted the possibilities of the Muscovite repertoire of texts, which could be used for children's education. However, they added some new translations as well as their own compositions.

The paper examines the history of Danish children’s literature translation into and publication in Russian from the middle of the 19th century to the present day. The article considers literary and extraliterary reasons for the fluctuations in the readers’ and publishers’ interest in Scandinavian literature throughout the history of literary contacts between Russia and Denmark. The work analyses contemporary publishing trends and the book market participants’ motivations when selecting Danish authors and books for translation into Russian.