Relevant bibliographies by topics / Neoclassicism (Literature) Classical literature Classical literature Russian literature

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Neoclassicism (Literature) Classical literature Classical literature Russian literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Neoclassicism (Literature) Classical literature Classical literature Russian literature"

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Ahmadalieyevich, Topvoldiyev Kazbek. "Oriental elements in russian classical literature." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 9 (2020): 438. http://dx.doi.org/10.5958/2249-7137.2020.01072.1.

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Drozdova, Anastasiya O., and Vladimir V. Petrov. "RUSSIAN CLASSICAL LITERATURE IN READERS’ ONLINE COMMUNITIES." Вестник Пермского университета. Российская и зарубежная филология 12, no. 2 (2020): 90–99. http://dx.doi.org/10.17072/2073-6681-2020-2-90-99.

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On the Internet, readers of Russian literature create online communities (fandoms), in which users experiment with classical literature and construct their own versions of source texts. Although each separate fandom is dedicated to a particular classical work, authors (ficwriters) compare different classical texts and construct a common artistic space based on those. The article deals with the content and boundaries of the online corpus of amateur works based on Russian classical literature. The research subject is fanfics in which artistic worlds of several classical works are combined (crossovers). There are distinguished two forms of modeling a common artistic space in fandoms dedicated to Russian classical literature: 1) through the character's outlook and transformation of the traditional loci; 2) through the narrator’s outlook and creation of an unstable space. The first form involves separating space into ‘public’ and ‘intimate’; the second form is based on the division of space into ‘sacred’ and ‘ordinary’. To describe the connection of fanfics based on classical literature but published in different fandoms, we use the concept ‘superfandom’, which is a corpus of fanfics based on different classical works where texts are united by the types of transformation of original sources and by common strategies of readers’ reception. This binary typology of space reflects the features of perception of Russian classical literature in communities originally created by popular literature fans. On the one hand, ficwriters regard classical literature as an object of honoring; on the other hand, they use the poetics of space from different classical sources to show their own artistic preferences, including acceptance or rejection of Russian classical literature.
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Li, Y. "Russian classical literature and study foreign language." Human research of Inner Asia 2 (2015): 36–31. http://dx.doi.org/10.18101/2306-753x-2015-4-26-31.

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Scholar, R. "Review: The Classical Sublime: French Neoclassicism and the Language of Literature." French Studies 58, no. 2 (2004): 254–55. http://dx.doi.org/10.1093/fs/58.2.254.

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Bekmetov, Rinat Ferganovich. "NAKI ISANBET, A TRANSLATOR OF RUSSIAN CLASSICAL LITERATURE." Tatarica 14, no. 1 (2020): 48–62. http://dx.doi.org/10.26907/2311-2042-2020-14-1-48-62.

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Oblasova, Tatyana Vladimirovna, and Elena Alexandrovna Loginova. "WHY DO TEENAGERS DISLIKE READING RUSSIAN CLASSICAL LITERATURE?" Philological Class 25, no. 2 (2020): 247–57. http://dx.doi.org/10.26170/fk20-02-22.

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Anoshkina-Kasatkina, Vera N., and Tat'jana K. Baturova. "ROUNDTABLE AT THE DEPARTMENT OF THE RUSSIAN CLASSICAL LITERATURE." Bulletin of the Moscow State Regional University (Russian philology), no. 3 (2016): 138–40. http://dx.doi.org/10.18384/2310-7278-2016-3-138-140.

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Tyupa, V. I. "Crisis of sociocultural identity in the classical Russian literature." Sibirskiy filologicheskiy zhurnal, no. 4 (2019): 61–73. http://dx.doi.org/10.17223/18137083/69/6.

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Romanenko, Ksenia R. "Bolkonskii Won't Die: Fan Fiction Based on Russian Classical Literature." Russian Literature 118 (November 2020): 25–44. http://dx.doi.org/10.1016/j.ruslit.2020.11.002.

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Pecherskaya, Tatyana Ivanovna, and Anastasia Aleksandrovna Ponomareva. "Plot situation teacher on special terms of classical Russian literature." Sibirskiy filologicheskiy zhurnal, no. 2 (June 1, 2013): 116–24. http://dx.doi.org/10.17223/18137083/43/15.

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Dissertations / Theses on the topic "Neoclassicism (Literature) Classical literature Classical literature Russian literature"

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Lee, Hyung-Goo. "How "authentic" was Russian Neo-Classicism? : a re-examination of the sources and dissemination of Classical knowledge and the problem of literary taste /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/7171.

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Chan, Kwok-kou Leonard, and 陳國球. "The reception of Tang poetry in the Ming neo-classical criticism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31231081.

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Kelly, Catriona. "Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.

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Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.
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Books on the topic "Neoclassicism (Literature) Classical literature Classical literature Russian literature"

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Welsh literature and the classical tradition. University of Wales Press, 1995.

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Cronk, Nicholas. The classical sublime: French neoclassicism and the language of literature. Rockwood Press, 2003.

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A bibliography to the classical tradition in English literature. Dept. of English, University of Copenhagen, 1985.

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Bulanin, D. M. [Antichnye tradit͡s︡ii v drevnerusskoĭ literature XI-XVI vv. O. Sagner, 1991.

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dedicatee, Takho-Godi A. A., Takho-Godi E. A. editor та Ėdelʹshteĭn, M. I︠U︡. (Mikhail I︠U︡.), editor, ред. Antichnostʹ i russkai︠a︡ kulʹtura Serebri︠a︡nogo veka: XII Losevskie chtenii︠a︡ : K 85-letii︠u︡ A.A. Takho-Godi ; predvaritelʹnye materialy. Izdatelʹstvo FAIR, 2008.

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Muratore, Mary Jo. Mimesis and metatextuality in the French neo-classical text: Reflexive readings of La Fontaine, Molière, Racine, Guilleragues, Madame de La Fayette, Scarron, Cyrano de Bergerac, and Perrault. Libraire Droz, 1994.

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Andreev, Anatoliy. Personocentrism in classical Russian literature of the XIX century. Dialectics of Artistic Consciousness. INFRA-M Academic Publishing LLC., 2021. http://dx.doi.org/10.12737/1095050.

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The monograph is devoted to the study of the brightest phenomenon of the world art culture — Russian literature of the "golden age", which was formed as an aristocratic, personocentric literature. Russian Russian literature began to realize its "cultural code", its purpose, which was close to it in spirit; moreover, it unconsciously formed a program for its development, immediately finding its "gold mine": elitist personocentrism as a highly promising vector of culture, which became a decisive factor in the world recognition of Russian literature. The end-to-end plot of the book was the spiritual biography of the" extra person", a person, a personality. The author suggests that the starting point in the Russian cultural identification of the modern type is "Eugene Onegin" by A. S. Pushkin. This novel in verse, which embodied the type of "superfluous", determined not only the specifics and strategy of the development of Russian literature (which is proved by the analysis of the key classical works of the XIX century-from Griboyedov to Chekhov); in fact, it formed a program for the development of modern world literature.
 For specialists in literature, teachers and students of philological faculties of universities. It will also be useful for cultural scientists, specialists in literary and artistic creativity.
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Takho-Godi, E. A. Antichnostʹ i kulʹtura Serebri︠a︡nogo veka: K 85-letii︠u︡ A.A. Takho-Godi. Nauka, 2010.

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Tussen twee bronzen ruiters: Klassieken in Rusland, 1700-1855. Ambo, 1991.

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Russia's Rome: Imperial visions, messianic dreams, 1890-1940. University of Wisconsin Press, 2008.

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Book chapters on the topic "Neoclassicism (Literature) Classical literature Classical literature Russian literature"

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Salmon, Laura. "Melancholic Humor, Skepticism and Reflective Nostalgia. Igor’ Guberman’s Poetics of Paradox." In Biblioteca di Studi Slavistici. Firenze University Press, 2015. http://dx.doi.org/10.36253/978-88-6655-822-4.06.

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The poetry of Israeli émigré Igor' Guberman, comprising thousands of quatrains (‘gariki’), represents a hybrid genre at the junction of Jewish aphoristic tradition, Russian oral folklore, and classical Russian poetry. The theme of toska, which is central to the gariki, may be sharply distinguished from the ‘restorative nostalgia’ theorized by Svetlana Boym (2001): Guberman's toska is a thoughtful, melancholic, and paradoxical feeling. It expresses a particular variety of skepticism that characterizes the paradoxical humor of the Ashkenazi, the purpose of which is not to ridicule others' shortcomings, but to gently make fun of the sadness and painful absurdity that impermeates human existence. Such melancholic and paradoxical humor permits Guberman to look at life, at himself, even at God, with an indulgent ‘smile of reason’ that is absolutely devoid of arrogance. A subtle melancholic and deep skeptic, Guberman "laughs through his tears", for this is what Russian-Jewish tradition teaches, a lesson that has penetrated deeply and more generally into Russian literature: when the soul is beset by excessive sadness, its has recourse only to laughter.
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Robertson, Ritchie. "3. Classical art and world literature." In Goethe: A Very Short Introduction. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199689255.003.0003.

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‘Classical art and world literature’ shows that Goethe’s knowledge of art and literature was wide-ranging and explains that, in both, he came to believe that the works produced by the ancient Greeks formed a standard that could never be surpassed. In art, he explored the classical tradition that descended via the Renaissance to the neoclassicism of the 18th century. In literature, his taste was much wider. He read easily in French, Italian, English, Latin, and Greek, and in his later life he eagerly read translations of Asian texts—novels from China, epics and plays from India, and the Arabic and Persian poetry that would inspire his great lyrical collection, the West-östlicher Divan (West-Eastern Divan).
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"A Novel and Classical Russian Literature." In Vladimir Sorokin’s Discourses. Academic Studies Press, 2020. http://dx.doi.org/10.2307/j.ctv1zjg8sv.10.

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"5. A Novel and Classical Russian Literature." In Vladimir Sorokin’s Discourses. Academic Studies Press, 2020. http://dx.doi.org/10.1515/9781644692868-008.

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Karavashkin, Andrey V. "Letters of Ivan IV the Terrible (Architectonics and Suggestion Techniques)." In Hermeneutics of Old Russian Literature: Issue 20. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-273-291.

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The epistolary traditions of medieval Russia had the most varied sources. In this article, we address the problem of the Genesis of the formative models that formed the basis of the architectonics of the most famous Epistles of medieval Russia. The polemical Epistles of Ivan the Terrible, which have long been included in the circle of classical texts of medieval Russia, should be considered in the context of the development of the Epistle genre as such. But its General theory, as well as a complete history over the course of seven centuries of the development of East Slavic literature has not yet been created. This is due to the objective difficulties associated with the nature of this genre. In medieval Russia, the message is changeable. It not only stands between everyday life and high book tradition, but is also prone to frequent transformations. It is sometimes rhetorical, sometimes ordinary, but at the same time both rhetoric and uncomplicated style do not exclude publicism and public sound. Nevertheless, within the boundaries of the creativity of individual authors, the epistle has completely separated itself as a very peculiar type of source, endowed with such formal and meaningful features that allow it to be distinguished from works of other genres. Comparing the polemical letters of Ivan the Terrible with each other and some other texts of the same author, which are adjacent to them, allows us to talk about a single architectonics and General methods of suggestion — persuasion of the addressee for such letters. The main compositional units of Ivan IV’s letters echo the structure of late Byzantine epistolography. But this coincidence is only external. The basic set of motifs and formulas of Byzantine writing was strikingly different from the epistolary manner that Ivan IV developed. His polemical texts go back to the polemical treatise, diplomatic letters, and private writing.
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Tufanova, Olga A. "The Parables in Ivan Timofeev’s Temporary: Typology and Artistic Specific." In Hermeneutics of Old Russian Literature: Issue 20. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-292-313.

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The purpose of the article is to identify the specifics of the parable’s genre form in the Temporary by Ivan Timofeev. Among the full-text “parables- narrations” in the text we can distinguish parables-stories, parables-reflections, parables-instructions. The parables-stories (The Parable of the Tsar’s Roman Son ... and two parables about the widowhood of the Muscovy) are distinguished by a developed plot and represent vital examples told in order to edify and clarify the author’s attitude to historical events and persons. All parables have a two- part structure. The first part is a plot, the second is an interpretation. The technique of abstraction is appeared in the absence of a portrait and nature in many of the characters and in the absence of the historical and geographical realities. At the same time, didacticism is skillfully combined with amusement. For example, in The Parable of the Tsar’s Roman Son... the plot is entertaining with an element of the miraculous, there are elements atypical for the “classical” genre form: various kinds of the motivation for the characters’ actions, as well as a conventional portrait. The second part in the parables-stories is an interpretation that doesn’t contain a detailed disclosure of the allegory, and a prayer to the Lord, returning to the events of the Time of Troubles. An intermediate position between “parables-narrations” and “parables-maxims” is occupied by the parable of two friends. Being an example from life in content, it is close in form to apothegms. The interpretation of the plot situation is not singled out in a parable-reflection in a separate part, it is organically woven into the plot, drawing in the potential possibility of the events development. The plot of the parable about simple natural affairs reminds the instruction of how a person should act when he wants to travel to some city or another country. A laconic interpretation testifies to the fact that the parable-instruction about the completion of the path is applicable, according to Timofeev, to the creative process of writing a historical essay. In general, the parables scattered in many fragments of the text, given in full or only indicated, are a kind of companions that help not only create an extensive historical work, but also comprehend the unusual events of the Time of Troubles.
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Sobol, Valeria. "A Gothic Prelude." In Haunted Empire. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501750571.003.0002.

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This chapter examines the earliest and the most “classical” Gothic tale in Russian literature — Nikolai Karamzin's The Island of Bornholm (1793) where the Russian traveler, stranded on a mysterious Danish island, is surprised to learn that the island used to be populated by Slavs. The fictional traveler's investigation of the mysteries of the island (deriving from possible incest and the resulting punishment) becomes a journey back to the dark pagan origins of Russian history and a Gothic prelude to Karamzin's later historical project. The Island of Bornholm remains an isolated phenomenon in late-eighteenth-century Russian literature, unique for its complex fusing of Gothic tropes and historical concerns.
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Sholokhova, Anna S. "Topos and chronos of English country houseat the beginning of the XXth century in literature and cinema(the novel “The Remains of the Day” by Kazuo Ishiguro and a film by James Ivory)." In Russian Estate in the World Context. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0623-9-313-321.

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The Stately-house novel takes a special place in the English classical literature. The estate here is of key importance in the image-structure of the work. The world of an English estate is reflected as a multi-faceted text, extremely enriched with cultural signs. Novel by Kazuo Ishiguro “The Remains of the Day” can be regarded as one of the examples of typical British aristocratic prose. The narrator and protagonist of the novel is a butler, who serves in the large English Stately home Darlington Hall. The family estate is considered by the hero as a symbol of order and harmony, and at the same time it personifies the ideal world of the past that is gradually fading away. In 1993 the director James Ivory made a film based on the Ishiguro’s novel. He created different visual images of an English estate on the screen with particular accuracy. Fictional Darlington Hall is a combination of several Stately homes located in the southwest of England. The novel by Kazuo Ishiguro and the film by J. Ivory are memories of a bygone era of British Empire, ended with the Second World War.
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Tiurin, Sergei Sergeevich. "The Labours of Heracles in Russian Art, in the Writings of Chroniclers, Russian Scientists and Enlighteners (10th – 19th centuries)". У Развитие науки и образования. Publishing house Sreda, 2018. http://dx.doi.org/10.31483/r-21682.

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The article shows the image of Heracles – the greatest hero of ancient Greece – in early Russian art, as well as in the writings of chroniclers, scholars and enlighteners of the 10–19th centuries. It is established that throughout the history of Ancient Rus and then of Russia, Hercules was perceived with an exceptionally positive side, despite the pagan roots of his image. Condemnation occasionally was the fact of his deification by the Greeks and Romans. The image of Heracles was positively adopted by the Orthodox Church, which relied on the Byzantine doctrine, where Heracles was also viewed as a charitable fighter of monsters and a defender of people from evil. As a result or research it was revealed that Heracles had exceptional popularity in Russian art and literature, where he performed in a classical Hellenistic manner. He remained the standard of physical strength, human power and at the same time – a model of nobility, the ruler of the twelve great labours. The article contains materials from the author's monograph with the working title «Twelve of Labours of Heracles in ancient literature and numismatics».
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Ertner, Elena N. "Mythopoetics of the Siberian estate in the Russian prose of the end of the XIX — the first third of the XX centuries." In Russian Estate in the World Context. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0627-7-127-137.

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For the first time in the history and criticism of literature the article regards the features of the Siberian “estate topos” as a new modification of the Russian culture “estate text”, typical for the literature of the late XIX — the first third of the XX centuries. In the prose of N.A. Lukhmanova, M.M. Prishvin, N.M. Yadrintsev Tyumen merchant estate transforms into a new “cultural space”. The shift from the philosophy of the rural life to the “business” philosophy and the idea of the commercial Siberian estate bring forward the new topos-related notions: “estate is a factory” and “tannery Lyon”. We introduce the comparative mythopoetics of the Siberian city and country estates through the processes of demythologization of classical country “estate myth” and local remythologization of the concepts: “estate is a fortress”, “estate is a garden / a greenhouse”, and “estate is a nest”. The merchant “estate topos” forms at the intersection of the Russian land Paradise lost and the Siberian Eden, newly created by settlers. The Tyumen schismatic estate be comes “the promised land” or the city of Kitezh: the sacred space of secret chapels, “the underground Kingdom of our Fathers’ faith”. The emphasis is also given to the “theatri cality” of the merchant “estate” play behavior.
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Conference papers on the topic "Neoclassicism (Literature) Classical literature Classical literature Russian literature"

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Litvinenko, A. A. "Classical literature or how to make children read." In All-Russian scientific-practical conference of young scientists, graduate students and students. Технического института (ф) СВФУ, 2018. http://dx.doi.org/10.18411/a-2018-197.

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Benevolenskaya, Nonna. "CONCEPTUAL READING OF RUSSIAN CLASSICAL LITERATURE IN THE FOREIGN AUDIENCE." In 6th SWS International Scientific Conference on Social Sciences ISCSS 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscss.2019.4/s13.014.

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Kuzmina, Luiza, and Elena Remchukova. "RUSSIAN CLASSICAL LITERATURE TEXT AS A PRECEDENT PHENOMENON OF THE MODERN MEDIA SPACE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/18.

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The article is devoted to the functioning features of precedent texts in modern media discourse. Texts by F.M. Dostoevsky, namely, fiction, journalism and epistolary heritage, served as the research material. The relevance of the study is explained by the intertextual nature of the modern media space. The article shows that along with the use of Dostoevsky's precedent texts as signs of high culture, the modern media space also actively manifests the features of the postmodern cultural paradigm. The specifics of the latter include metatextuality, irony, various kinds of transformation, e.g., in headlines, which indicates their game foregrounding. Special attention is paid, firstly, to various types of intertextuality and ways of precedent phenomena foregrounding; secondly, to their use in various media areas (advertising, urban naming) and genres (interviews, internet blogs, etc.). The problem of recoding precedent phenomena is considered against the background of the use of signs of high culture as a form of reflection of modern mass consciousness in modern media communication, which is of research interest from an axiological point of view.
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Kiseleva, Irina, and Elena Sakharchuk. "The phenomenon of hospitality in Russian culture: a study on the materials of Russian classical literature." In Proceedings of the 4th International Conference on Innovations in Sports, Tourism and Instructional Science (ICISTIS 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icistis-19.2019.29.

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Khabibullina, Alsu Z., Elvira F. Nagumanova, and Oksana Y. Amurskaya. "Russian Classical Literature in Multi-ethnic Environment: The Issues of Reception and Methodology of Teaching." In 2nd International Forum on Teacher Education. Cognitive-crcs, 2016. http://dx.doi.org/10.15405/epsbs.2016.07.13.

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