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Journal articles on the topic 'Chukovskaya'

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Published: 4 June 2021

Last updated: 17 February 2022

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1

Holmgren, Beth. "The Akhmatova Journals, vol. 1, 1938-41. By Lydia Chukovskaya. Trans. Milena Michalski and Sylva Rubashova. Poetry trans. Peter Norman. London: Harvill, 1994. vii, 310 pp. Index. Illustrations. Publisher's glossary. $27.50, hard bound." Slavic Review 54, no. 2 (1995): 444–46. http://dx.doi.org/10.2307/2501644.

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2

Vaninskaya, Anna. "Korney Chukovsky in Britain." Translation and Literature 20, no. 3 (November 2011): 373–92. http://dx.doi.org/10.3366/tal.2011.0037.

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Korney Chukovsky is a neglected figure in the story of the British reception of Russian literature. This essay attempts to recover his place in the complex networks of translation, criticism, and interpretation in the twentieth century by examining his three visits to Britain (1903-4, 1916, and 1962), his activities as an intermediary for British writers in Russia, and the British dissemination of his literary criticism.In his alternate guises as indigent newspaper correspondent, feted member of a wartime delegation, and recipient of an Oxford honorary doctorate, Chukovsky came to be both a key contributor to and a keen observer of British perceptions of Russian literature.

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3

Morozova, Svetlana, and Dmitrij Zhatkin. "G.K. Chesterton’s Works in Literary-Critical Review by K.I. Chukovsky." Izvestia of Smolensk State University, no. 3 (51) (November 2, 2020): 37–47. http://dx.doi.org/10.35785/2072-9464-2020-51-3-37-47.

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The article is devoted to the perception of K.I. Chukovsky’s works by a famous English writer G.K. Chesterton. K.I. Chukovsky was one of the first to point out the ambiguity of the literary works by the English writer and called his journalistic activity more convincing. Describing G.K. Chesterton’s essays, K.I. Chukovsky believed that the writer is second to none in this genre. He praised G.K. Chesterton’s journalistic talent in responding to all the phenomena of contemporary social life. K.I. Chukovsky considered it obligatory for the Russian readers to familiarize themselves with the critical works of the English author. In the essay «Gilbert Chesterton. Manalive» (1924) K.I. Chukovsky substantiated why, for all the variety of genre forms that G.K. Chesterton used, Russian readers were familiar with only a few of his works. K.I. Chukovsky’s critical attitude to the novel «Manalive» is explained by his rejection of G.K. Chesterton’s utopian attitude to the social situation in England at the turn of the XIX–XX centuries. In G.K. Chesterton’s works K.I. Chukovsky saw a simulation of revolutionary pathos that did not solve pressing issues of social disorder.

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4

Morozova, Svetlana N., and Dmitriy N. Zhatkin. "CREATIVE WORKS OF JOHN WILLIAM CHEEVER IN THE LITERARY-CRITICAL INTERPRETATION OF KORNEY CHUKOVSKY." Vestnik of Kostroma State University, no. 2 (2020): 164–70. http://dx.doi.org/10.34216/1998-0817-2020-26-2-164-170.

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The article deals with the comprehension of the features of perception of works of American prose writer John William Cheever (1912-1982) by Korney Chukovsky. The appearance of the works of J. Cheever in Russian language was accompanied by the comments of Soviet researchers who considered him to be an active propagandist of socialist ideas. Literary critical works written by Korney Chukovsky provoked a more thoughtful reading of the works of the American writer by Russian readers. Korney Chukovsky is the author of the preface to the collection of short stories written by J. Cheever in translations of Tat’yana Litvinova entitled «Giant Radio» published in 1962. In the future, this introduction, with amendments and additions, was published as an article of «John Cheever». The American writer’s work perception by Korney Chukovsky of was not unique. He criticised the fi rst collection of short stories by J. Cheever «The Way Some People Live» (1943), for his student imitation of the recognisable style of predecessor writers. Korney Chukovsky believed that the best stories of J. Cheever were collected in the book «The Enormous Radio and other stories» (1953), the central themes of which were the imperfection of the social structure and the causes that caused it social inequality of people, their spiritual devastation. Analysing the stories of J. Cheever, Korney Chukovsky noted a signifi cant detail – despite the seeming impartial attitude towards his heroes in trouble, J. Cheever empathises them, wants to draw public attention to important problems of our time.

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5

Morozova, Svetlana N., and Dmitry N. Zhatkin. "Korney Ivanovich Chukovsky about the Russian translation reception of Shakespeare (article one)." LAPLAGE EM REVISTA 7, no. 2 (January 7, 2021): 209–16. http://dx.doi.org/10.24115/s2446-6220202172703p.209-216.

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The works of K.I. Chukovsky, dedicated to the great English playwright Shakespeare («Combat with Shakespeare» (1935), «Crippled Shakespeare» (1939), «Translations of Shakespeare (On the method of Shakespeare’s translation) » (1946), etc.), became an important page in literary critical reception of Shakespeare in Russia. K.I. Chukovsky related the reason for the change in the ideological concept of Shakespeare’s works by Russian translators not only with public perceptions in Russia, but also with the quality of French and German adaptations of the works of the English playwright that came into Russian literature. From the analysis of various works of Shakespeare K.I. Chukovsky used examples to prove the degree of distortion of the meaning of the work due to literal adherence to the ideas about the maximum correspondence between the external organization of the translation and the original. This article aims to analyze the reception of the Russian translation of Shakespeare from the gaze of K.I. Chukovsky.

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6

Morozova, Svetlana N., and Dmitry N. Zhatkin. "Korney Ivanovich Chukovsky about the Russian translation reception of Shakespeare (article two)." LAPLAGE EM REVISTA 7, no. 2 (January 7, 2021): 217–24. http://dx.doi.org/10.24115/s2446-6220202172704p.217-224.

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The first half of the 20th century in the Russian translation reception of Shakespeare was marked by the emerging of translations by B.L. Pasternak, S. Ya. Marshak, A.D. Radlova, W.V. Levik, I.B. Mandelstam. Characterizing their transcriptions, K.I. Chukovsky not only substantiated the artistic manner and creative position of the translators, but also presented his understanding of individual shortcomings and, conversely, successful findings. The articles «The Crippled Shakespeare», «Asthma in Desdemona» (1940) reflect his sharp rejection of the approach of A.D. Radlova to the interpretation of Shakespeare’s plays, he notes the mistakes made by the translator when working with the original texts. K.I. Chukovsky positively spoke about «Richard II» by I.B. Mandelstam; he considered its undoubted merit to be his free style and the absence of a formalist approach in observing certain parameters of the original text. The most complete features of the translation concept of K.I. Chukovsky are disclosed on the example of his translation of Shakespeare’s comedy «Love’s Labor’s Lost» (1945), which has been repeatedly staged in the theater.

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7

Morozova, Svetlana N., and Dmitry N. Zhitkin. "Works by O. Henry in the Literary-Critical Review of K.I. Chukovsky." Proceedings of Southern Federal University. Philology 2021, no. 1 (March 30, 2021): 143–53. http://dx.doi.org/10.18522/1995-0640-2021-1-143-153.

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The article is devoted to K.I. Chukovsky’s specifics of perception of works by O. Henry (1862-1910). The view of K.I. Chukovsky significantly differed from the prevailing opinion about O. Henry as the successor of Jack London’s traditions at the beginning of the 20th century. K.I. Chukovsky called the book “Four Million” (1906) the «pamphlet of American democracy», which proclaimed not only the unity of the inhabitants of New York, but also the unity of the people of the whole planet. At the end of his career, O. Henry was freed from the role of «master of well-made stories», approaching to new creative borders.

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8

Clements, Barbara Evans, and Beth Holmgren. "Women's Works in Stalin's Time: On Lidiia Chukovskaia and Nadezhda Mandelstam." History Teacher 28, no. 2 (February 1995): 277. http://dx.doi.org/10.2307/494495.

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9

Pratt, Sarah, and Beth Holmgren. "Women's Work in Stalin's Time: On Lidiia Chukovskaia and Nadezhda Mandelstam." Slavic and East European Journal 38, no. 4 (1994): 691. http://dx.doi.org/10.2307/308428.

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10

Bolibok-Witalewska, Barbara, and Beth Holmgren. "Women's Works in Stalin's Time: On Lidiia Chukovskaia and Nadezhda Mandelstam." Russian Review 54, no. 2 (April 1995): 285. http://dx.doi.org/10.2307/130930.

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11

Pervova, Galina. "From the history of pre-school children philological education: on the material of the famous book “From Two to Five”." Tambov University Review. Series: Humanities, no. 178 (2019): 20–26. http://dx.doi.org/10.20310/1810-0201-2019-24-178-20-26.

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It is devoted to the anniversary of bestseller of the 20th century – book by K.I. Chukovsky “From Two to Five” which had several dozen editions. This is a long-term writer’s study of the features of children’s thinking and speech, literary essays, revealing the possibilities of children’s creativity, advice of an experienced writer to those who compose works for children. Material on children’s speech for the book K.I. Chukovsky collected from scientists and writers, from teachers and doctors, from specialists and ordinary citizens of the country from different geographical places and from different social groups. The writer concluded about the linguistic genius of babies. The methods used by preschoolers in the development of their native languages are imitation, the search for patterns, the establishment of causes and effects, the classification of speech units, the analysis of someone else’s speech, comparison, generalization and others. We present many examples of children’s speech from the book by K.I. Chukovsky, give the scientific and methodological justification of children’s word creation, folk etymology, criticism of the language of pre-school children. The advantages of six chapters of the philological research are noted. We cite the scientists’ statements about the children philological possibilities, show the task of educators for the speech development of pre-school children.

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12

Gordon, T. A. "‘No good at all but I love him’ The poetics of K. Chukovsky’s diaries." Voprosy literatury, no. 3 (July 29, 2020): 148–68. http://dx.doi.org/10.31425/0042-8795-2020-3-148-168.

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The critic Chukovsky noted that an artist may remain unaware of their own views. These, however, will find an outlet sooner or later, with the writer none the wiser, and it is the fondness for particular tropes that usually reveals them. Therefore, close attention to the author’s writing style opens the way to understanding their ideas. The article applies the method proposed by Chukovsky to reading his diaries. The objective of the research is to identify Chukovsky’s philosophy by examining his writing. The analysis shows that Chukovsky’s technique combines objective-scientific observations and subjective-emotional evaluations, with the two often disagreeing or even contradicting each other. Such dualism explains Chukovsky’s love of paradox: something profoundly imperfect is hailed as admirable, and human weaknesses (or flaws in a work of literature) are interpreted as essential. Chukovsky’s unique worldview is characterized by its holism. Such an angle allows to see the whole as something much bigger than its parts.

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13

MOROZOVA, SVETLANA N., and DMITRIJ N. ZHATKIN. "KORNEY CHUKOVSKY ABOUT SHERLOCK HOLMES AND ARTHUR CONAN DOYLE." HUMANITARIAN RESEARCHES 73, no. 1 (2020): 78–87. http://dx.doi.org/10.21672/1818-4936-2020-73-1-078-087.

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14

Morozova, Svetlana N., and Dmitriy N. Zhatkin. "Creative work of Edmund John Millington Synge in literary and critical perception of Korney Chukovsky." Vestnik of Kostroma State University, no. 3 (2019): 101–6. http://dx.doi.org/10.34216/1998-0817-2019-25-3-101-106.

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The article considers the specifics of Korney Chukovsky’s perception of dramatic art of Edmund John Millington Synge (1871–1909), one of the greatest personalities of national revival of Ireland. Synge, who created his works in English, not only revived legends of his nation, but also expanded the idea of the Irish national originality, having offered his own vision of the image of an Irish of his time. Korney Chukovsky is the author of one of the first translations of Synge’s dramatic art into Russian (a comedy "The Playboy of the Western World") and of the introductory article to its publication in 1923. The article "Synge and His "Playboy"" reflects the Russian writer’s understanding of the moral and aesthetic questions of the play. According to Korney Chukovsky, tSynge's complex art method was formed under the influence of the ideas of revival of the national drama theatre. This direction in perception of Synge’s heritage was determinative in Russian literature and, in general, reflected the nature of the attitude of Russian cultural consciousness to the Irish playwright’s creative work.

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15

Shurupova, Olga Sergeevna, and Victoriya Yuryevna Arbuzova. "L. K. Chukovskaya’s Linguistic Personality (by the Material of Epistolary Texts)." Filologičeskie nauki. Voprosy teorii i praktiki, no. 7 (July 2021): 2241–46. http://dx.doi.org/10.30853/phil210350.

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16

Pratt, Sarah. "Angels in the Stalinist House: Nadezhda Mandelstam, Lidiia Chukovskaia, Lidiia Ginzburg, and Russian Women's Autobiography." a/b: Auto/Biography Studies 11, no. 2 (January 1996): 68–86. http://dx.doi.org/10.1080/08989575.1996.10846743.

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17

Moiseev, P. A. "‘Complete rubbish but a real page-turner’ Chukovsky and detective stories." Voprosy literatury, no. 3 (July 29, 2020): 169–86. http://dx.doi.org/10.31425/0042-8795-2020-3-169-186.

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K. Chukovsky was one of Russia’s first scholars of detective fiction. Yet his literary criticism on this particular topic has never been researched. Nor has it come to light that his attitude to the genre was ambivalent. On the one hand, he knew it very well, was a regular reader of detective stories and made a number of valuable observations about the works of Conan Doyle (whose writing he contrasted with the cheap sensationalist books about Nat Pinkerton, stressing the quality of logic in Conan Doyle’s stories) and Wilkie Collins. On the other hand, he often made very critical and ironic remarks about the genre, confessing that he failed to comprehend the reason for its popularity. The article suggests the grounds for Chukovsky’s attitude: he argued that literature was linked to ‘the most important personal experience’ (in the words of the writer N. Oleynikov), with entertaining literature automatically dismissed as an outsider to real art.

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18

Pudikov, I. "K. CHUKOVSKY AND V. NABOKOV: GLIMPSES OF THEIR PERSONAL AND LITERARY RELATIONSHIPS." Voprosy literatury, no. 2 (September 30, 2018): 180–206. http://dx.doi.org/10.31425/0042-8795-2018-2-180-206.

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The relationship between K. Chukovsky and V. Nabokov is a topic little covered by scholars. Even less is written about the mutual literary influence of the two preeminent Russian authors. The article examines their journals, letters and literary works to reveal the development of their artistic disputes.Doyens of Russian culture, the two simply couldn’t have ignored each other, especially as they met in person before the Revolution and thanks to literary circumstances. The article shows that each one’s personal and artistic opinions were bound to cause a clash of worldviews, which indeed took place on paper, and continued without any face-to-face polemics.The author finds a lot of similarities in the two writers’ creative method: they both demonstrate astonishing literary erudition, synthesize new imagery, plots and narrative forms. Both favoured formalistic and stylistic experimentation, literary game and cryptography, pranking, puns, allusions, and anagrams.

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19

Yakovleva, Tetyana. "Odessa City Spaces in Literature: «Potemkin Days» by Karmen, Jabotinsky and Chukovsky." Tirosh. Jewish, Slavic & Oriental Studies 18 (2018): 59–76. http://dx.doi.org/10.31168/2658-3380.2018.18.2.1.

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In the revolutionary year 1905, Odessa became an area of violence in the tension of social, religious and cultural upheaval. In this year there were strikes, escalations of revolutional mood, a fire in the port after the arrival of the battleship «Knjaz´ Potemkin-Tavričeskij» («Potemkin») in the night of June 14-15. Arrival of the rebellious battleship was a significant event not only for the city of Odessa and the Russian revolution, but also for the history of the fate of Jews of the early 20th century. This was the first armed insurrection in the course of the revolution, which moved Odessa and its social, geographical and semiotic city spaces. The «Potemkin days» entered the history of the city of Odessa mainly through the periodicals of that time but also through the Russian-Jewish literature such as Lazar Karmen’s story «Potemkin Days» (1907), Korney Chukovsky’s essay «1905, June» (1958) and Vladimir Jabotinsky’s novel «The Five» (1936). These works depict not only the resulting collective violence but also its semiotic and social spaces in the city. Up until now, this field has not been investigated in any historical, cultural or literary research. The focus of this paper is to analyse geographical, social and symbolic city spaces in Odessa with the help of the space theories by Jury Lotman and Michel de Certeau. Both scholars work with the definitions of the city, the place and the space, which are significant for the selected literate works about Odessa in 1905. The analysis will show not only the ambivalence, mobility and variability of city spaces, but also the narrators expectations and thus the fate of Jews in Odessa and the perspectives in the historical processes for them — assimilation or emigration.

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20

Fedotova, Svetlana V. "Parody in the Literary Criticism of Chukovsky (The Case of Leonid Andreyev)." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 58 (April 1, 2019): 244–62. http://dx.doi.org/10.17223/19986645/58/14.

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21

Zaitseva, Lusia. "“Airing Our Dirty Linen in Public”: Lidiia Chukovskaia, Nadezhda Mandeľshtam, and Competing Visions for a Liberal Soviet Counterpublic." Slavic Review 79, no. 4 (2020): 778–99. http://dx.doi.org/10.1017/slr.2021.9.

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This article contributes to the study of gender and dissidence in the Soviet Union by examining the feud between two significant authors of cultural samizdat and tamizdat—Nadezhda Mandeľshtam and Lidiia Chukovskaia—through an updated feminist lens. It draws on prose unpublished in their lifetimes and presents previously undiscovered writing by Mandeľshtam in order to examine the origins and substance of their feud. I argue that their distinctive modes of authorship date to their relationship with Anna Akhmatova and subsequent differing approaches to her legacy. These approaches reveal their shared conservative attitude regarding gender and moral authority in the nascent liberal Soviet counterpublic as well as their diverging understandings of how the transnational public sphere could help bring about much-needed changes at home. These attitudes shaped how they regarded each other and continue to have salience for our understanding of women's participation in the public sphere in Russia today.

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22

Bode, Andreas. "Humor in the Lyrical Stories for Children of Samuel Marshak and Korney Chukovsky." Lion and the Unicorn 13, no. 2 (1989): 34–55. http://dx.doi.org/10.1353/uni.0.0221.

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23

Ivanova, E. V. "A. A. Blok Working on the Project One Hundred Best Russian Books. Appendix. Russian Writers Ranged by the Date of Birth (18th, 19th and 20th Century)." Russkaya literatura 4 (2020): 109–27. http://dx.doi.org/10.31860/0131-6095-2020-4-109-127.

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The article examines the history of M. Gorky’s obscure project "One Hundred Best Russian Books", which was to be published at the Publishing House of Z. I. Grzhebin. Blok, N. Gumilev, K. Chukovsky, E. Zamyatin, Ivanov-Razumnik, N. O. Lerner contributed to the project. Block saw it as a chance to summarize the development of the pre-revolutionary Russian literature. The article details Blok’s approach to making the list of one hundred best Russian books; preparatory materials reflecting Block’s guiding principles are also published. The Appendix contains the list of 250 books compiled by Blok at Gorky’s request.

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Feduta, Alexander I. "Reappearance of a Mistake. (On the history of a disappeard text by N.A. Nekrasov)." Literary Fact, no. 18 (2020): 393–402. http://dx.doi.org/10.22455/2541-8297-2020-18-393-402.

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In posthumous editions of K.I. Chukovsky’s works, including the newest 15-volume Collected Works, his article “The Poet and the Executioner” (1922), which is essentially devoted to the poem “Raising the Grace Cup...” addressed to M.N. Muravyov-Vilensky, is re-published. In the 1930s B.Ya. Bukhshtab finally disavowed the authorship of N.A. Nekrasov, and Chukovsky not only excluded this poem from the body of the poet's works, but also refused to republish his article. Now its republishing requires detailed reservations and explanations, which can be facilitated by the reconstruction of scientific polemics of the past decades. Thу article is devoted to its history.

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Oushakine, Serguei Alex. "Being In-between: Poetry for Children and Its Formal Method." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 10–26. http://dx.doi.org/10.31860/2304-5817-2020-2-18-10-26.

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This introduction to the archive bloсk on poetry for children as a critical object attempts to place the development of poetic literature aimed for children within a larger context of literary debates that were taking place at the same time. Throughout the 1920s, such formalist scholars as Yuri Tynianov and Boris Eikhenbaum persistently emphasized in their work that literature should be seen (and judged) as an autonomous field of creative activity. A similar trend could be easily traced in the field of poetic literature for children, too. In this case, the claim to artistic sovereignty was realized as a desire to develop a distinctive set of literary tools, specific for children’s poetry. As many critics maintained at the time, poetry for children should be distinguished not by its themes, but by the ways it organizes the poetic material. New, purposefully created methods of structuring the word mass were perceived as the key feature which could distinguish poetry for children from the rest of the Soviet literature. As a result, by the middle of the 1930s, the Soviet poetry for children gradually developed its own characteristic features: this poetry was playful, lyrical, and humorous. Poems created by K. Chukovsky and S. Marshak delineated the lyric-and-ludic pole of Soviet poetry for children, while poems by V. Mayakovsky and A. Barto would become the classical examples of the “didactic” poetry, in which satire and scorns would function as pedagogical tools. Consequently, the [position of the poet for children would evolve, too: lonely outsiders (like Chukovsky) would be overshadowed by “revolutionary poets” (like Mayakovsky), systemic “fellow-travelers” (like Marshak) and “class-conscious” Soviet children’s writers (like Barto).

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Mezheritskaya, S. I., and M. V. Rozhdestvenskaya. "V. A. Rozhdestvensky, the Translator of Western European Literature (To His 125th Anniversary)." Russkaya literatura 2 (2020): 158–70. http://dx.doi.org/10.31860/0131-6095-2020-2-158-170.

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The article offers insights into the translation activities of the Russian and Soviet poet Vsevolod Rozhdestvensky (1895–1977), one of the representatives of the Leningrad School of Literary Translation. Rozhdestvensky’s poetic style was to a large extent shaped by the influence of such masters of literary translation as N. Gumilev, K. Chukovsky, M. Lozinsky. The article cites unpublished archival data — excerpts from Vs. Rozhdestvensky’s letters of various years, where his views on the theoretical problems of literary translation were expressed. The diffi culties encountered by a translator were also discussed. Of great nterest are the poet’s assessments of the translations by his contemporaries — colleagues in the workshop, many of them being close acquaintances or addressees of his friendly correspondence.

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Razinkova, O. I. "To the question about the genesis of ontolinguistics in creativity K. I. Chukovsky and N. Khomsky." Ekonomicheskie i sotsial’no-gumanitarnye issledovaniya, no. 2(26) (June 2020): 125–29. http://dx.doi.org/10.24151/2409-1073-2020-2-125-129.

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Shor-Chudnovskaya, Anna. "The Incomprehension of Terror as a Harbinger of “Post-Truth”?" Stan Rzeczy, no. 2(17) (November 1, 2019): 55–77. http://dx.doi.org/10.51196/srz.17.3.

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This article is devoted to the attitude to truth as a part of political epistemology and of political culture in post-Soviet Russia. It considers the extent to which the Great Terror contributed to the development of a specific political epistemology, which is also largely characteristic of later periods of Soviet history and perhaps even of today. Of particular interest is the population’s perception of the terror as inaccessible or poorly accessible to logical understanding. As main sources, the article relies on two literary texts: Lydia Chukovskaya’s Sofia Petrovna and Veniamin Kaverin’s The Open Book. Despite all the apparent differences between the Soviet system and today’s Russia, one important similarity is striking: over the last two decades (after 1999) there has been a visible increase in the belief that it is impossible for a political subject to separate truth from lying and that the sphere of public administration and political interests is, by definition, a place where deception prevails. This article discusses the potential historical roots of this certainty.

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29

Kaganovich, Boris S. "Literature in the life of Evgeny Viktorovich Tarle." Voprosy literatury, no. 6 (December 20, 2019): 13–49. http://dx.doi.org/10.31425/0042-8795-2019-6-13-49.

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A renowned historian, Evgeny Tarle (1874–1955) was famously preoccupied with literature. His ‘eternal companions’ included Pushkin, Lermontov, Nekrasov, Dostoevsky, Saltykov-Shchedrin, and L. Tolstoy. Another notable fact is his ambiguous attitude to contemporary Russian and Western literature. Tarle was a keen reader of Pascal, Schopenhauer, Vladimir Solovyov, and Rozanov, among others. His literary and particularly epistolary legacy features a few exceptionally perceptive and brilliant characteristics of writers and philosophers, many of which are published here for the first time. Tarle maintained a wide circle of literary acquaintances. He was a close friend of the authors Tatiana Bogdanovich, Tatiana Shchepkina-Kupernik, and Evgeny Lann – recipients of his most interesting letters. Tarle was also well acquainted with several literary scholars and critics, including S. Vengerov, P. Shchegolev, A. Gornfeld, K. Chukovsky, B. Eichenbaum, Y. Oksman, and others. Conveying shrewd observations on literature, Tarle’s comments on the subject also provide insights into the scholar’s own personality and work.

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Taubman, Jane A. "Sofia Petrovna. By Lidia Chukovskaia. Translated by Aline Worth. Revised and amended by Eliza Kellog Klose. Evanston, 111.: Northwestern University Press, 1988. 120 pp. $9.95, paper. - To The Memory Of Childhood. By Lidia Chukovskaia. Translated by Eliza Kellog Klose. Evanston, 111.: Northwestern University Press, 1988. 168 pp. Photographs. $24.95, cloth; $9.95, paper." Slavic Review 49, no. 1 (1990): 148–49. http://dx.doi.org/10.2307/2500452.

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Rosenthal, Charlotte. "Women's Works in Stalin's Time: On Lidiia Chukovskaia and Nadezhda Mandelstam. By Beth Holmgren. Bloomington: Indiana University Press, 1993. x, 225 pp. Index. $14.95, paper." Slavic Review 53, no. 3 (1994): 915–16. http://dx.doi.org/10.2307/2501572.

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Simonova, Olga A. "In this Light Church — Korney is the Hierarch: Recurring Images in the Poetry of Korney Chukovsky and His Contemporaries." Studia Litterarum 3, no. 2 (2018): 122–43. http://dx.doi.org/10.22455/2500-4247-2018-3-2-122-143.

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Attwood, Lynne. "Sexuality and the Body in Russian Culture. Jane T. Costlow , Stephanie Sandler , Judith VowlesWomen's Works in Stalin's Time: On Lidiia Chukovskaia and Nadezhda Mandelstam. Beth Holmgren." Signs: Journal of Women in Culture and Society 21, no. 1 (October 1995): 184–86. http://dx.doi.org/10.1086/495051.

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Samarin, Alexander Y. "S.I. Vavilov — Reader of Soviet Literature." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 3 (August 27, 2020): 281–87. http://dx.doi.org/10.25281/0869-608x-2020-69-3-281-287.

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The article analyzes the diary records of the outstanding Soviet physicist, Academician and President of the USSR Academy of Sciences Sergei Ivanovich Vavilov (1891—1951), dedicated to his reader’s perception of contemporary Soviet literature. Widely-read S.I. Vavilov collected his private library of 37 thousand volumes; he regularly visited bookstores, mainly antiquarian and second-hand bookshops. Despite the prevailing interest to the old books, S.I. Vavilov knew Soviet literature, used its images in his popular science works (S.A. Yesenin) and diary characteristics (I. Ilf and E. Petrov). The few diary entries with the assessments of the works of Soviet writers (A.N. Tolstoy, A.E. Korneychuk, K.I. Chukovsky, A. Bely, A.K. Vinogradov, V.V. Veresaev, M.A. Bulgakov, etc.) most commonly demonstrate critical attitude to them. It was defined by both his classical aesthetic preferences, formed in his youth on the material of Russian literature of the 19th century, and by his unflattering attitude to the Soviet reality, which Academician did not show publicly, allowing just certain statements in his private diaries. The generally negative perception of Soviet literature indicates that, contrary to the claims of some researchers, S.I. Vavilov was not a Stalinist and was quite sceptical of the socialist reality.

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Stephan, John J. "Dnevnik, 1901-1929. By K. I. Chukovskii. Ed. Elena Chukovskaia. Intro. Veniamin Kaverin. Moscow: Sovetskii pisatel', 1991. 544 pp. Index. Plates. 3 rubles 90 k, hard bound." Slavic Review 51, no. 3 (1992): 628–29. http://dx.doi.org/10.2307/2500119.

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Chistopolova, A. "Interpreter´s personality and its influence on the process of translation (based on the works of k. Chukovsky and s. Marshak)." Актуальные направления научных исследований XXI века: теория и практика 4, no. 4 (July 11, 2016): 55–59. http://dx.doi.org/10.12737/20755.

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Futljaev, Nikita S., and Dmitry N. Zhatkin. "Russian Fate of the Poem by Robert Burns «Who is that at my bower-door?..»." Nauchnyi dialog, no. 7 (July 30, 2020): 284–98. http://dx.doi.org/10.24224/2227-1295-2020-7-284-298.

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The Russian translation reception of Robert Burns's poem “Who is that at my bower-door?..” (1783) is for the first time considered in the article. It is emphasized that the comic work did not attract the attention of Russian translators until 1862, when the unsatisfactory interpretation of V. D. Kostomarov, deprived of the emotionality of the English original, came out. The results of the analysis of translations of the poem created by M. N. Shelgunov (1879), T. L. Shchepkina-Kupernik (publ. 1936), S. Ya. Marshak (1939), S. Sapozhnikov (publ. 2014), E. D. Feldman (2017), A. V. Krotkov (publ. 2018) are presented. The perception of Burns’ work in Russian literary criticism and literary criticism is comprehended. In particular, numerous reviews and studies are analyzed (A. T. Twardowski, K. I. Chukovsky, E. G. Etkind, T. B. Liokumovich, R. Ya. Wright-Kovaleva, A. Bobyleva), caused by S. Ya. Marshak translation, who, despite all his liberties, preserved the atmosphere of a lively conversation between two people, and emphasized their intonational, emotional and gender differences. It is noted that, having entered into a polemic with S. Ya. Marshak, who made Burns unnecessarily classic and stylistically “smooth”, modern translators created interpretations in the spirit of courteous poetry, largely devoid of the aesthetics of the original, its unique melody.

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Stepanov, Alexander. "Monologue of K. I. Chukovsky’s Crocodile: towards the problem of sources and parallels." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 257–75. http://dx.doi.org/10.31860/2304-5817-2020-2-18-257-275.

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The author analyses the sources of Crocodile’s monologue from the tale by K. I. Chukovsky and its parallels in the Russian poetic texts, predominantly of those from the 19th century. The monologue written in iambic tetrameter with masculine pair rhymes, stands out from the polymetric composition of the poem in its length, “civic” sound, citations, and parody. It evokes associations with a number of texts of metrical, lexical, motivic, and plot commonality. All of them can be traced back to the “Prisoner of Chillon” by G. Byron, translated by V. A. Zhukovsky, and original Russian work, “Mtsyri” by M. Yu. Lermontov. In Chukovsky’s fairy tale, the original structural-semantic complex is parodically reinterpreted; creating the “younger”, “children’s” branch of the revolutionary epic (B. M. Gasparov and I. A. Paperno), the author primarily resorted to the heritage of Russian classical poetry. By adapting it to the child’s perception, he also left a semantic gap in the story that is accessible to the sophisticated reader. Crocodile’s monologue, which contains the motives of freedom, imprisonment, confession, suffering, and oppression, prepared the young reader for the perception of romantic and democratic poetry that awaited him/her at a new stage of the literary development (“works for youth”).

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Mironova, Veronika Evgen’evna. "IMAGE OF LONDON IN DETECTIVE STORIES BY ARTHUR CONAN DOYLE AND ITS RENDERING IN THE RUSSIAN TRANSLATIONS BY N. K. AND M. N. CHUKOVSKYS." Philological Sciences. Issues of Theory and Practice, no. 4 (April 2019): 343–47. http://dx.doi.org/10.30853/filnauki.2019.4.70.

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Matveenko, Irina A., and Veronika E. Mironova. "Through the Prism of the Epoch: The Sociolinguistic Aspects of Arthur Conan Doyle’s The Red-Headed League as Translated by N. K. Chukovsky." Izvestia of the Ural federal university. Series 2. Humanities and Arts 22, no. 3(200) (2020): 184–97. http://dx.doi.org/10.15826/izv2.2020.22.3.052.

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Vilkova, Maryna. "PECULIARITIES OF COMPARATIVE ANALYSIS OF E.SENON-THOMPSON’S SHORT-STORY «ARNAUX, THE CHRONICLE OF A HOUSING PIGEON» AND ITS RUSSIAN TRANSLATION BY М. CHUKOVSKY." INTERNATIONAL JOURNAL OF MULTILINGUAL EDUCATION III, no. 5 (July 1, 2015): 13–23. http://dx.doi.org/10.22333/ijme.2015.5002.

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Vershik, A. M. "Vladimir Abramovich Rokhlin—A biographical tribute (23.8.1919–3.12.1984)." Ergodic Theory and Dynamical Systems 9, no. 4 (December 1989): 629–41. http://dx.doi.org/10.1017/s0143385700005265.

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Vladimir Abramovich Rokhlin was born on 23 August 1919 in Baku (Azerbaijan). His parents, Abram Beniaminovich Rokhlin and Henrietta Emmanuilovna Levenson, came from Jewish families, who lived in the Ukraine and in Byelorussia and then moved to Baku. Rokhlin's mother was the sister of the well-known literary figure and children's writer Kornei Chukovsky; Rokhlin's grandmother, Klara Levenson, was one of the first women doctors in Russia. Rokhlin's mother graduated from a medical school in France and was a doctor in Baku. She died tragically in 1923. His father was a broadly educated man and took an active part in political activity before the revolution (he was a social democrat) and in the early years of the revolution. Later he was involved in administrative work in Baku, in the Ukraine, in Central Asia and in Moscow. Not surprisingly he did not escape the Stalinist repressions: in 1939 he was arrested and on 13.7.1941 was sentenced to be shot. In 1957 his relatives received a certificate of rehabilitation (‘the case is closed due to insufficient evidence’); it is clear from this certificate that it was still impossible to obtain reliable information about the last years of his life; in particular even the exact date of his death is not precisely established. Rokhlin's family was exiled to Siberia and remained there. Fortunately Rokhlin, who was at that time a student at the University of Moscow, escaped with comparatively minor unpleasantnesses, and was not expelled from the University.

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Urzha, Anastasia V. "The Foregrounding Function of Praesens Historicum in Russian Translated Adventure Narratives (20th Century)." Slovene 5, no. 1 (2016): 226–48. http://dx.doi.org/10.31168/2305-6754.2016.5.1.9.

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This research focuses on the functioning of praesens historicum forms which Russian translators use to substitute for English narrative forms referring to past events. The study applies the Theory of Grounding and Russian Communicative Functional Grammar to the comparative discourse analysis of English-language adventure stories and novels created in the 19th and 20th centuries and their Russian translations. The Theory of Grounding is still not widely used in Russian translation studies, nor have its concepts and fruitful ideas been related to the achievements of Russian Narratology and Functional Grammar. This article presents an attempt to find a common basis in these academic traditions as they relate to discourse analysis and to describe the role of praesens historicum forms in Russian translated adventure narratives. The corpus includes 22 original texts and 72 Russian translations, and the case study involves six Russian translations of The Adventures of Tom Sawyer, focusing on the translation made by Korney Chukovsky, who employed historic present more often than in other translations of the novel. It is shown that the translation strategy of substituting the original English-language past forms with Russian present forms is realized in foregrounded and focalized segments of the text, giving them additional saliency. This strategy relates the use of historic present to the functions of deictic words and words denoting visual or audial perception, locating the deictic center of the narrative in the spacetime of the events and allowing the reader to join the focalizing WHO (a narrator or a hero). Translations that regularly mark the foreground through the use of the historic present and accompanying lexical-grammatical means are often addressed to young readers.

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Trubnikоva, Liudmyla. "AN EVOLUTION OF MIMIC LOOK AT FINE ART." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 161–69. http://dx.doi.org/10.33838/naoma.28.2019.161-169.

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This article explore and analyses conformity to natural laws of individual interpretations of human emotions on a masterpieces of European artists from Antic age to early Modernism, also in Ukrainian painting (for instance, creative works of Olexander Murashko), The following examples are setting peculairities of creative positions of every author which reflected unusual mimic grimaces of his heroues in pickturesque portraits (especially at works of Antonello da Messina, Ercole de Roberti, Leonardo da Vinci, Frans Hals, Rembrandt Hannenszoon van Rijn, Mihaly Munkacsy, Ilya Repin, Edward Munk, with him legendary “Scream”, which paradoxally and repeatedly reflected in horror movie-art about twenty years ago — in the trilogy by Wes Craven) and Old Greek sculptures (“Athena and Marsyas”, “Laokoon”). Also the author of this article analyzed different views of representatives of classical philosophy and aesthetics of Age of Renassainse (Karol van Mander, Giorgio Vasari), Baroque, Classicism (Charles Lebrun) and Age of Education (Denis Diderot as author of “Salones”, Johann Joachim Winckelman, Johann Caspar Lavater — in recollection of Nikolay Karamzin), also used classic and modem famous historicals of fine art (Egene Fromentin, Bernard Berenson, Georgiy Nedoshivin) and contemporary scientists, which a lot of researched this problems (Giovanni Chivardi, Fritz Lange) etc. Author used pointed mimetic observations of some Ukrainian (from “Portrait” by Nikolay Gogol to short-story by Yuriy Mulik-Lutsik and great novel by Natalka Snyadanko) and foreign writers (Denis Diderot as author of “Le Neveu de Rameau”, Dafna du Maurier, Nikolay Chukovskiy), memories of Ukrainian painters (Mikola Burachek). Some materials from the recent history of those states were introduced into scientific usage. Review of need for inclusion of approaches and methods related to the fields of art criticism studies (par example, psychology, history of movie-art, mythology, philosophy), and certain concepts. An attempt to understand the problem of mimetic expressiveness in fine art.

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Latypova, A. A. "The characteristic of phraseological units with components “heart” and “soul” in Russian and Bashkir languages (on the basis of phraseologisms from diaries of M. Karim and K. Chukovsky)." Vestnik Bashkirskogo universiteta 8, no. 1 (2019): 149. http://dx.doi.org/10.33184/bulletin-bsu-2019.1.25.

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Kotkiewicz, Aurelia. "„Wspomnienia” Nadieżdy Mandelsztam jako forma reprezentacji pamięci." Miscellanea Posttotalitariana Wratislaviensia 6 (October 10, 2017): 207–15. http://dx.doi.org/10.19195/2353-8546.6.16.

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Nadezhda Mandelstam’s Hope against Hope: A Memoir as a form of representation of memoryNadezhda Mandelstam’s Hope Against Hope: a Memoir must be regarded as one of the most important accounts of the gradual subjugation of Russian literature in Stalin’s Soviet Union. The purpose of my article is to examine the literary devices employed by the author in her attempt to describe her traumatic experiences, as well as the strategies she uses in order to ‘tame the past’ at a more personal, generational, and historical plan concerning such experiences as loneliness, entrapment, solitude, homelessness, suffering, fear, and death. Her memoir enables her to relieve the trauma caused by the tragic fate of her husband, the poet Osip Mandelstam, as well as to recreate the final years of his life and work. In a broader context, the book offers thoughts and insights into the moral state of humanity. Together with such novels as Vasily Grossman’s Everything Flows…, Lydia Chukovskaya’s Sofia Petrovna, and Anna Akhmatova’s Requiem, Nadezhda Mandelstam’s writings are a shattering account of life in a totalitarian regime, marked by an ideologically driven process of distorting and erasing memory. She identified creative process not only with the struggle to keep her husband’s name alive but also with a moral obligation to bear witness to the inhumanity of her time.Воспоминания Надежды Мандельштам как форма репрезентации памятиВоспоминания Надежды Мандельштам — это одно из самых выдающихся свидетельств процесса порабощения русской литературы в период сталинского террора. Целью статьи является анализ механизмов репрезентации личного травматического опыта Надежды Мандельштам, а также применяемых стратегий осваивания прошлого в личном, общественном и историческом контекстах одиночество, отчужденность, бездомность, страдание, страх, смерть. Рядом с такими произведениями как Все течет... Василия Гроссмана, Софья Петровна Лидии Чуковской, Реквием Анны Ахматовой, Воспоминания Надежды Мандельштам являются потрясающей записью гибели русской интеллигенции, а также идеологически управляемого процесса искажения и стирания памяти о прошлом. Творческий процесс Надежда Мандельштам отождествляет с борьбой за память о поэте Осипе Мандельштаме, его поэтическом наследии, но также с моральной ответсвенностью дать свидетельство времени.

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Oushakine, Serguei. "A tale? A lie? A lesson? On some quasi-literary debates about the (lack of) usefulness of a genre." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 8–43. http://dx.doi.org/10.31860/2304-5817-2021-1-19-8-43.

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During the last two decades, a series of publications drew scholars’ attention to the institutional and ideological context in which the politicization of the fantastic, animistic, and magical took place in the USSR in the late 1920s. In these narratives, «the fight against chukovshchina» is often used as an epitome for the «fight against skazka», which was orchestrated in 1928 by ignorant officials from the Narkompros and aimed at a small group of authors lead by Kornei Chukovsky. Important as it was, «the fight against chukovshchina» was a small and, perhaps, the least intellectually interesting aspect of the ongoing discussions. Debates about skazka did not start in 1928. Nor were they purely Soviet. Similar themes, arguments, and concerns could be easily found in the polemical exchanges in literary and pedagogical periodicals from the 1860s onwards. Key ideas and approaches that were articulated in the 1920s-1930s by and large repeated and repurposed the ideas that took shape long before the Bolshevik revolution. Expanding on the existing scholarship, this introduction to the archival collection «Debating Fairy-Tales» takes the scholarship on skazka beyond the institutional and ideological analysis in order to look closer at the intellectual context that shaped early soviet debates on the limits and function of the fantastic imagination. As the introduction suggests, when read this way, the debates on skazka show how this particular genre was deployed as a platform that enabled a series of fascinating paradigmatic shifts in understanding the links between national literature, on one hand, and education and imagination, on the other. By locating the early soviet debates on skazka within a much larger temporal frame, we could destabilize the monopoly of «the literary studies of politics» in order to see how skazka was conceptualized and problematized within radically different intellectual traditions — from the genetic and the functionalist to the morphological and the rhetorical. Such a diachronic approach makes visible how the original concern of the critics with the problem of skazka’s own origin was replaced by their attempts to figure out skazka’s functional purpose, it’s own internal structure, and, finally, the forms and types of skazka’s impact on it’s readers.

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Klimowicz, Tadeusz. "„Cesarstwo u schyłku wielkiego konania…” Nicky, Alix, Grigorij i inni w dziennikach, listach, telegramach, wspomnieniach. Cz. I i II." Slavica Wratislaviensia 169 (May 9, 2019): 23–55. http://dx.doi.org/10.19195/0137-1150.169.3.

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“The Empire at the end of the decadent days…” Nicky, Alix, Grigori, and others in journal entries, letters, telegrams, memoirs: Parts I and IIThe first part of the essay is an attempt to identify the primary motivating factors for the February Revolution and, consequently, the Bolshevik coup and the abdication and execution of the last Romanov ruler. In this part, I have discussed a handful of the most often advanced hypotheses of various credibility — from those formulated by historians, historians of ideas, sociologists, and political scientists protracted warfare, rising dissatisfaction of Petrograd “line standers”, incompetence of the political elites, continuing desacralization of the ruler figure, a process set in motion during the reign of Tsar Alexander II, up to those widely considered irrational, shrouded in mysticism or conspiracy-minded the curse of the Ides of March, the unearthing of Lermontov’s prophecy, Rasputin’s last will and testament, and the machinations of “The Grand Orient of Russia’s Peoples” masonic lodge. My attention, however, has been focused primarily on the egodocuments important for the understanding of the empire’s decline and erosion — the journals and correspondence of Nicholas II and Alexandra Feodorovna.The second part of the essay focuses primarily on the appearance or its lack of the February and October events in the journals of Russian writers including Bunin, Gippius, Ivnev, Korolenko, Kuzmin, Blok, Chukovsky, Merezhkovsky. All of them rather than only those that suffered the regime’s repressions shared a lack of compassion or empathy for the overthrown monarch, a dislike sometimes turning into outright hatred and hostility of the Bolsheviks, and a proclivity for mourning pre-Revolutionary Russia, a feeling of having witnessed the collapse of a prior, better world. The new definitely not brave — built by peasants clad in military garb, “the pale, tall Barbarians”, and mobs running rampant through post-October streets of Moscow and Petrograd — had a gloomy, hostile face of the “boor”, the “troglodyte”, who had nothing in common with the bucolic, paper characters of Turgenev or Tolstoy, and rather resembled clones of the inhabitants of Bunin’s apocalyptic The Village.In the conclusion, I have discussed the possible reasons behind Vladimir Putin’s decision to abandon the idea of official state celebrations of the centenary of the events of February and October of 1917. „Pимский мир периода упадка…” Ники, Аликс, Григорий и другие в дневниках, письмах, телеграммах, воспоминаниях Первая часть эссе представляет собой попытку назвать главные причины Февральской революции и охарактеризовать некоторые ее последствия: большевистский переворот, отречение от престола и казнь последнего императора из династии Романовых. Я привел несколько чаще других выдвигаемых по этому поводу гипотез с разным уровнем достоверности — начиная с тех сформулированных в публикациях историков, историков идей, социологов, политологов продолжающаяся война, нарастающее недовольство „людей из очередей” в Петрограде, некомпетентность политической элиты, усиливающийся с времен царствования Александра II процесс десакрализации монарха, а заканчивая иррациональными, окутанными мистикой, иногда остающимися в кругу теорий заговора зловещее проклятие мартовских ид, вышедшее из забвения Предсказание Лермонтова, завещание Распутина, козни масонской ложи „Великий Восток Народов России”. Однако свое внимание я сосредоточил прежде всего на эгодокументах необходимых для лучшего понимания процесса эрозии империи — дневниках и переписке Николая II и его супруги Александры Федоровны.Во второй части я писал в основном о при/от/сутствии февральских и октябрьских событий в дневниках русских писателей в том числе Бунина, Гиппиус, Ивнева, Короленко, Кузмина, Блока, Чуковского, Мережковского. Объединило их отсутствие сострадания, эмпатии для свергнутого с престола царя не только у репрессированных режимом, негативное иногда переходящее в ненависть, враждебность отношение к большевикам и всеобщее оплакивание дореволюционной России, чувство потери старого мира. У нового но не дивного — создаваемого крестьянами в военной форме, „варваров роями”, „чернью” на послеоктябрьских улицах Петрограда и Москвы — было угрюмое, недружелюбное лицо „хамов”, „пещерных людей”, которые не имели ничего общего с идиллическими, бумажными персонажами вымышленными Тургеневым или Толстым, а, скорее, были клонами героев, населяющих апокалиптическую Деревню Бунина.Наконец, я упомянул о причинах, по которым Владимир Путин отказался от торжественного празднования сотой годовщины Февраля и Октября.

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PETRENKO, DENIS. "ON THE ISSUE OF CORRESPONDENCE’S METAPOETICS: K. CHUKOVSKY’S LETTERS TO V. BRUSOV (1904-1923)." Brusov Readings, September 9, 2019, 132–42. http://dx.doi.org/10.31377/brus.vi0.586.

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According to the paper, K. Chukovsky’s letters to V. Brusov cast light on their relationship, as well as reveal the way K. Chukovsky mastered his skills as a writer and a reviewer. In his letters to V. Brusov K. Chukovsky emphasizes the latter’s in-depth knowledge and selfless devotion to his métier. Significantly, V. Brusov was K. Chukovsky’s tutor, and «Vesy» (The Balance) magazine founded by V. Brusov was the first periodical where K. Chukovsky’s works were issued. The correspondence indicates that K. Chukovsky planned to initiate a specialized children’s book publishing house as early as in the early XX century.

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"Women's works in Stalin's time: on Lidiia Chukovskaia and Nadezhda Mandelstam." Choice Reviews Online 31, no. 11 (July 1, 1994): 31–5925. http://dx.doi.org/10.5860/choice.31-5925.

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