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1
Markova, T. N., and E. V. Bilchenko. "Opera “Ruslan and Lyudmila” by M. Glinka: pages of history and modern times." Voprosy kul'turologii (Issues of Cultural Studies), no. 9 (September 30, 2024): 767–75. http://dx.doi.org/10.33920/nik-01-2409-01.
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The article, based on the works of musicologists, literary critics and music critics, examines the history of Glinka's fateful acquaintance with Pushkin, the birth of the opera Ruslan and Lyudmila, the reasons for the failure of its first production and modern directorial decisions of the play. The magical national poem-tale by A. Pushkin “Ruslan and Lyudmila”, despite the attacks of critics, enjoyed great success among contemporaries. Pushkin’s plot attracted Glinka because it opened up a wide scope for his melodic talent. Glinka listened to Pushkin's wishes and created a vivid performance with dance episodes, original stage solutions, lyrical line and emphasized originality of Russian images of Pushkin’s poem. At the same time, Glinka rejected Pushkin's irony, which permeates the poem, and composed a magical work dominated by music. We have a Pushkin plot in the absence of the Pushkin word. Ruslan and Lyudmila have been arguing about the opera for almost 200 years, there are several editions of the music.
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Zvinyatskovsky, Vladimir, and Vlada Linnik. "Pushkin and George Sand." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 14, no. 25 (2021): 34–46. http://dx.doi.org/10.34079/2226-3055-2021-14-25-34-46.
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The proposed article reveals the problem of objective perception of Pushkin's skeptical attitude to the personality of George Sand and her novels. In some mystical way this skeptical attitude was connected with poet’s attitude to the personality of Anna Kern and her work as George Sand’s translator and in the same time (as Pushkin guesed) with her being George Sand’s “copy”. But Anna Kern was not “a copy” of George Sand. She was 5 years older, and her multitude love stories (including her love story with Pushkin himself) preceded the world-known George Sand’s love stories – in her life and in her novels as well. Simultaneously Pushkin created a novel in George Sand’s genre – histoire d’amour sur fond champêtre (this genre was in fact created by George Sand): “Dubrovskiy, le roman infini”. This unfinished novel gives us a key to the nature of Pushkin's skeptical attitude – neither to the personality of George Sand nor to her novels – but to some values propagated by Franch writer, especially the free interpretation of married women’s duties. George Sand’s popularity all over Europe (including Russia) promoted the dissimination of those values. The comparison of Pushkin's “Dubrovskiy” with George Sand’s “Valentine” (1832) brings some clarification of the matter. Plot and social and historic background of “Dubrovskiy” and “Valentine” are almost the same, and it is no coincidence. Pushkin chooses for “Dubrovskiy” the circumstances which give him an opportunity for polemic with George Sand’s “Valentine”. But the polemic begins where “Dubrovskiy” is left finished (rather unfinished). A mistery of the unfinished Pushkin’s novel has never been resolved ever since. Well-known Pushkin’s plan of it’s final part is nothing more than a stingy outline. Nevertheless the context of other Pushkin’s works and his biography gives us some opportunities for a reconstruction of his arguments (subjective and objective as well) in his polemic with George Sand. А comparison of Pushkin’s “Dubrovskiy” with Pushkin’s “Snowstorm” and a final part of “Evgeniy Onegin” clearly shows author’s intentions in the unfinished novel. Dostoyevskiy (in his speech devoted to the opening of Pushkin’s monument in Moscow) had announced the matter in such words: “A Russian woman is not a French one”. Given George Sand’s popularity in Russia in the second part of 19 century it can be argued that Dostoyevskiy had in mind Pushkin’s discussion on the so called “woman`s question” with the author of “Valentine”.
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Korablev, Alexander. "CRYPTOGRAPHY OF FEMALE IMAGES IN POEM "DEAD SOULS" (STRANGER AND BLONDE)." Bulletin of the Donetsk National University. Series D: Philology and Psychology 3 (June 26, 2024): 5–18. https://doi.org/10.5281/zenodo.12540770.
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The article deals with the hidden consistency of female images in the poem "Dead Souls" by N.V. Gogol. The focus is made on the images of the "stranger" and "blonde", which are associatively correlated with the prototypes of Pushkin's plot and Dante's plan. The plot of Pushkin's allusions in "Dead Souls" arises from the correlation of Gogol's and Pushkin's characters, including Eugene Onegin, Tatiana and Olga Larina, Masha Troekurova, Masha Mironova, as well as female images in the poems "Madonna", "I remember a wonderful moment..." and others. The plot of Dante's plan is expressed in the image of Beatrice, which correlates with Gogol's image of Ulinka Betrishcheva. The key importance of Madonna's allusion, which combines the Italian and Russian cultural traditions in the poem, is considered. It is suggested that the prototypes of the images in question are the mother and daughters of the Vielgorsky family
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ILISEI, ERICA. "REPREZENTĂRI ALE ORIENTULUI ÎN POEMUL PRIZONIERUL DIN CAUCAZ DE A.S. PUȘKIN." Slovo 14, no. 1/2024 (2025): 73–85. https://doi.org/10.62229/slv14/5.
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This paper will analyze how A. S. Pushkin's 1822 poem The Prisoner of the Caucasus reflects an imperialist perspective through its romantic representations of the Orient (Caucasus). Pushkin's poem addresses an identity question centered on the opposition between the East (represented by the Caucasus) and the West (represented by the Russian Empire). We will undertake the analysis based on the concept of imaginative geography, as developed by Edward Said in his study, Orientalism. In his poem, Pushkin unflinchingly explores the theme of freedom in a plot based on the antithesis between civilization and nature, representative of Romantic ideology. Pushkin uses this artistic device to critically re-evaluate the romantic stereotype of freedom accessible to the individual through escape from society and a return to untouched nature. In the poem's epilogue, Pushkin unequivocally returns to an eighteenth-century Enlightenment worldview that glorifies civilization and the empire over nature and savagery. The Orient is represented in the poem to underscore two key points: the European, Western identity of Russian culture and the domination of the Russian Empire over the Caucasus.
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Saleh, Ayat Yusuf. "Pushkin quotes in the works of Chekhov." Journal of the College of languages, no. 49 (January 2, 2024): 135–44. http://dx.doi.org/10.36586/jcl.2.2024.0.49.0135.
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Pushkin's quotations in Chekhov's works are one of the means of expressing connections between texts, performing the most important constructive role: behind them Chekhov reveals a deep development of the plot-thematic structure, ideas and, more broadly, Pushkin's artistic philosophy. The scientific relevance of our work is the analysis of the similarities between the literary texts of Pushkin and Chekhov, and touches on quotations in Chekhov's works. Аннотация Работа посвящена проблеме функционирования пушкинской традиции в прозе А.П. Чехова . Творчество Чехова занимает уникальное положение в русском литературном процессе конца XIX - начала XX вв. Чехов завершает развитие классической литературы и в то же время находится у истоков новой художественной эпохи, связанной с символистским искусством. Это обусловило глубокое усвоение писателем всех достижений предшествующего периода, «золотого века» русской литературы, и интерес к новому искусству XX века. Основное внимание в работе сосредоточено на итоговом характере освоения классической традиции.Исследователь указывает на органичную связь Чехова с классической литературной традицией, обозначая такие имена, как A.C. Пушкин.
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Semenova, Anastasia V. "The image of the gloomy warrior in M. M. Kheraskov's poem “Vladimir” and in A. S. Pushkin's fairy tale “Ruslan and Lyudmila”." World of Russian-speaking countries 2, no. 8 (2021): 64–74. http://dx.doi.org/10.20323/2658-7866-2021-2-8-64-74.
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The article uses a comparative text analysis of the poem “Vladimir” and the fairy tale “Ruslan and Lyudmila” to reveal a number of parallels associated with the image of the warrior Rogdai. Previously, researchers have not considered this aspect of the works in detail. The character has a conventionally historical prototype – the epic hero Rogdai is mentioned in the “Core of Russian History” by A. I. Mankiev, and his laconic description in the source sets the type of character in Kheraskov’s and Pushkin’s poems. In both works Rogdai occupies a prominent position at the court of Prince Vladimir of Kiev, and is distinguished by his strength and violent temper. Kheraskov's poem emphasizes the immorality of the character, which is due to the didactic message of “Vladimir” and the need to discredit the warrior who is an opponent of Christianity, while Pushkin omits the ethical points. As the plot develops, the relatively neutral character becomes the antagonist of the main hero – Kheraskov's Vladimir and Pushkin's Ruslan – and at a certain point fights with them, which results in the warrior's dishonorable death. The comparison of “Vladimir” and “Ruslan and Lyudmila” shows that, in addition to the name, Rogdai has similar characteristics in the works of Kheraskov and Pushkin; the image is created according to the model of the epic hero, overshadowed by negative traits. The texts show common motifs - the anger, resentment and vindictiveness of the hero, the corrupting influence of the evil spirit and its helpers, Rogdai's wandering through the desert places, his death at the hands of the enemy. The similarity between Kheraskov's and Pushkin's characters of the same name leads to the conclusion that the image of the gloomy warrior from the poem “Vladimir” was borrowed into Ruslan and Lyudmila.
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Boiko, Valentina L. "Multiple interpretations of images of Spain in vocal works of composers: Comparative analysis of romances based on Pushkin's poems." Russian Studies in Culture and Society 9, no. 2 (2025): 56. https://doi.org/10.12731/2576-9782-2025-9-2-282.
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Chamber vocal lyrics of Russian composers have been the subject of study for many researchers more than once. In this sense, the diversity of approaches and methods of study becomes interesting. One of them is the method of comparative analysis, which examines vocal works of different composers written to the same poem. The poem by A.S. Pushkin "I am here, Inezilla!" was a source for the inspired embodiment of this romantic plot in music by many composers. And if the musical interpretation of this opus by M. Glinka, A. Dargomyzhsky, N. Medtner, V. Shebalin and T. Khrennikov is reflected both in the works of theoretical musicologists and in the concert practice of musicians-performers, then the romances of composers V. Kosenko and V. Deshevov are practically unknown. The aim of the study is to analyze multiple authors' interpretations and creative solutions in composing romances based on A.S. Pushkin's poem "I Am Here, Inezilla!". Materials and methods. The material for the study is the romances composed by various composers based on Alexander Pushkin's poem “I am here, Inesilla!” The main research method is comparative analysis, which allows comparing different phenomena in order to identify their common characteristics and differences. Results. The author of the study summarized the theoretical and practical experience of working with both well-known romances (M. Glinka, A. Dargomyzhsky, N. Medtner) to the poem by A.S. Pushkin, and those that are practically never heard on stage (V. Deshevov, V. Kosenko, V. Shebalin, T. Khrennikov). The Spanish color of the Pushkin’s poem is realized in the romances in various ways. Conclusion. In the composer’s practice the creation of the artistic image is facilitated by a variety of factors, among which are the choice of means of expression, the ability to build the process of the communication word-music, the using arsenal of the methods of composer’s technology which are fundamental.
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Kikhney, L. G., and G. A. Krichevsky. "“Queen of Spades” and “Petty Demon”: Pushkinian Allusions and Their Functions in F. Sologub’s Novel." Nauchnyi dialog 13, no. 10 (2024): 252–72. https://doi.org/10.24224/2227-1295-2024-13-10-252-272.
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The problems of the undertaken research are associated with the uncertainty of the semantic mechanisms of intertextual interaction between Sologub’s novel “The Petty Demon” and Pushkin’s story “The Queen of Spades”. In the research literature, particular overlaps between these works have been noted, but the systemic semantic connection between these two texts has not yet been identified, which determines the relevance of the article. The hypothesis of the work is that Pushkin’s “Queen of Spades” serves as a structural prototype for Sologub’s novel “The Petty Demon.” This structural prototype collects individual reminiscent elements of Sologub’s text into a single semantic plot-organized unit. The purpose of the study is to identify the constructive elements of this prototype in Sologub’s novel using the method of semantic comparative analysis. As a result, it was proved that Sologub uses the key semantic blocks of Pushkin’s “Queen of Spades”, while in the recipient text these blocks include both themes and motives and images. Significant elements include: the theme of cards, the motive of card addiction, the motive of madness, the motive of pragmatic marriage, “double” infernal female images. It is shown that the specificity of the implementation of this narrative structure in Sologub’s text is associated with the inversion of pathos: Pushkin's ironic pathos is transformed into burlesquetragic, and tragic connotations are embedded in the paradigm of the comic. All this allows us to conclude that the grotesque-parody function is the key for the intertextual dialogue between Sologub and Pushkin.
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Rozin, Vadim Markovich. ""The Peasant Lady": an Existential Choice, Super-Difficult in Life, but Possible in Art." Культура и искусство, no. 2 (February 2023): 33–42. http://dx.doi.org/10.7256/2454-0625.2023.2.39727.
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The article offers a new, in fact, cultural and psychological version of Pushkin's famous story "The Peasant Lady". Various assessments of this work are given, including the author's, teenage. The author argues that the modern understanding of works of art involves an analysis of the culture in which it was created, as well as the author of this work. Realizing this installation, he discusses why Pushkin shifted to the reader the consideration of the consequences that followed from the last scene of the "Peasant Girl", when the deception-Lisa's game was revealed. According to the author, this would destroy the plot, since it would show that the behavior of Lisa and Alexey contradicted the ideas of marriage and the actions of young people accepted in Russian society at that time. It is hypothesized that Pushkin, composing "The Peasant Lady", solved his own existential problem, which P. Chaadaev pointed out to him, namely, his real life contradicted Pushkin's declared values and poems. Unable to rebuild his life in 1830, Alexander Sergeevich compromises, reconciling the real and desirable life in the field of art, this largely explains the peculiarities of the "Peasant Lady". In Marina Tsvetaeva's work, there was also the use of art (and other discourses) to bridge the gap between real and desired life, which to a certain extent allowed the artist to realize himself and preserve his mental health.
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Kiseleva, I. A., and K. A. Potashova. "Echoes of A. S. Pushkin's Poem “The Fountain of Bakhchisarai” in the Artistic World of M. Y. Lermontov." Russian Studies in Philology, no. 3 (2) (June 5, 2024): 66–76. https://doi.org/10.18384/2949-5008-2024-3-2-66-76.
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Aim. To reveal the influence of Pushkin’s poem “The Fountain of Bakhchisarai” on Lermontov’s artistic world, on his ideas about the female ideal and the essence of love.Methodology. The object of the study is Lermontov’s reception of Pushkin’s poem “The Fountain of Bakhchisarai” in the aspect of the artistic implementation of its plot, imagery, and spiritual content. Through the analysis of such Lermontov’s works as “The Georgian Song”, “Two Slaves”, the poetic message “On secular chains ...”, a holistic study of Lermontov’s dynamic perception of Pushkin’s poem is given. The methodology of the work is connected with the use of biographical, cultural-historical, comparative-historical, aesthetic approaches, which make it possible to identify the creative roll calls of Pushkin and Lermontov, to clarify the features of a personal perception and the specifics of the artistic method of the two poets.Results. Lermontov’s artistic interpretation of Pushkin’s poem “The Fountain of Bakhchisarai” is twostage. If at an early stage of his work he perceives and implements in his poetry its plot and the most striking features of the depicted characters, then in his mature work “The Fountain of Bakhchisarai” receives an ontological understanding associated with the understanding of female beauty and the phenomenon of love as a spiritual force that determines the human condition and the fate of history. The poem dedicated to M. A. Shcherbatova “On secular chains…” is the most significant in the assimilation of the Pushkin’s tradition. The female image in Lermontov’s poem is a synthesis of Pushkin’s artistic experience, perceived by Lermontov in the trust of the constant memory of his text, and his personal experience of perceiving the spiritual principle of female beauty.Research implications. The theoretical significance of the study relates to the clarification of the peculiarities of the refraction of the Pushkin’s tradition in Lermontov’s work and the concretization of the meaning of the Pushkin’s text in the formation of Lermontov’s worldview.
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Зырянов, О. В. "ПРИНЦИП ДИАЛОГИЗАЦИИ В АРХИТЕКТОНИКЕ ЦИКЛА «МАЛЕНЬКИЕ ТРАГЕДИИ» А.С. ПУШКИНА". Слово. Текст. Контекст, № 4(20) (19 грудня 2024): 102–13. https://doi.org/10.69571/pbsspu.2024.20.4.009.
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Статья посвящена принципу сплошной внутренней диалогизации, прослеженной как в сюжетно-образной структуре отдельных «опытов драматических изучений» А. Пушкина, так и в общей архитектонике его болдинского цикла «Маленькие трагедии» (1830). В анализе пушкинских драматических произведений развиваются идеи, высказанные нашими предшественниками (Д. Благой, С. Вайман, Н. Беляк, М. Виролайнен и др.). Особое внимание уделено концепции драматической формы М. Бахтина, раскрытой им в капитальном исследовании «Проблемы творчества Достоевского». В архитектонике самой полифонической пьесы «Моцарт и Сальери» Пушкина прослеживаются примеры использования художником вариантов двуголосого слова (по М. Бах-тину), а именно – проникновенного слова и слова с лазейкой. Делается вывод о диалогизации структуры цикла «Маленькие трагедии» в свете художественно реализованной Пушкиным задачи раскрытия феноменологии трагического со-знания и его преодоления в акте вочеловечения. The article is devoted to the principle of continuous internal dialogiza-tion, traced both in the plot-figurative structure of individual “experiments in dramatic studies” by Pushkin, and in the general architectonics of his Boldino cycle “Little Trag-edies” (1830). The analysis of Pushkin's dramatic works develops the ideas expressed by our predecessors (D. Blagoy, S. Vayman, N. Belyak, M. Virolainen, etc.). Particular attention is paid to the concept of dramatic form by M. Bakhtin, revealed by him in a major study “Problems of Dostoevsky’s creativity.” In the architectonics of Pushkin’s polyphonic play “Mozart and Salieri” there are examples of the artist’s use of variants, according to Bakhtin, of the two-voiced word, namely the inspired word and the word with a loophole. The dialogization of the structure of the cycle “Little Tragedies” is also noted in the light of Pushkin’s artistically realized task of revealing the phenomenology of tragic consciousness and overcoming it in the act of becoming human.
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. Karnyushin, Vladimir, and Nikita Malofeev. "Pushkin's Pages of Boris Vasiliev's Historical and Autobiographical Novels (Based on the Novel «The Player and the Brether, the Player and the Duellist»)." Izvestia of Smolensk State University, no. 1 (65) (September 13, 2024): 44–54. http://dx.doi.org/10.35785/2072-9464-2024-65-1-44-54.
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The subject of the article is the image of Alexander Sergeyevich Pushkin as a source of unique information within the boundaries of the writer's biography, allowing to conduct historically reliable literary research and to put forward a new assumption about the prototype of the hero of the work. The novel «The Player and the Brether, the Player and the Duellist», which opens the Oleksin cycle of B.L. Vasiliev's works, was taken as a material for analysis. A characteristic feature of the «Oleksin saga» is a complex, branched system of characters. Thanks to the study of «Pushkin's» plot line of the novel it was possible to put forward an assumption about the prototype of the hero of the work and to prove it, relying on archival materials of correspondence of A.S. Pushkin and his contemporaries. The problem of the prototype of the hero of the novel was addressed by V.A. Karnyushin, whose creative interest in this issue is due to the original ending of the novel. The aim of the study is to determine the prototype of the novel's hero.
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Марков, Александр Викторович. "EPIGRAPHY AND ICONOGRAPHY OF ILLUSTRATIONS BY B. ZWORYKIN TO "BORIS GODUNOV"BY PUSHKIN." Культурное наследие России, no. 2(33) (June 30, 2021): 37–44. http://dx.doi.org/10.34685/hi.2021.33.2.005.
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Иллюстрации Б. В. Зворыкина к произведениям Пушкина, предназначенные для западного читателя, вписывают его произведения в представления о средневековом и ренессансном искусстве. Если иллюстрации к «Сказкам» Пушкина декоративны, то иллюстрации к «Борису Годунову» интерпретативны. В этих иллюстрациях выстраивается отдельный сюжет катастрофического развития событий в случае отступления от христианства, амбиции самозванца рассматриваются прежде всего как антицерковные. При этом Зворыкин свободно обходился с церковной символикой, сближая церковное искусство с народным и предпочитая историческую точность риторической выразительности. Boris Zvorykin's illustrations to Pushkin's works, intended for the Western reader, fit his works into the idea of medieval and Renaissance art. If the illustrations for Pushkin's Fairy Tales are decorative, the illustrations for Boris Godunov are interpretive. In these illustrations, a separate plot of the catastrophic development of events as a result of secularisation, the ambitions of the Impostor are viewed primarily as anti-Church. At the same time, Zvorykin dealt with fantasy with church symbols, bringing church art closer to folk art and preferring historical accuracy to rhetorical expressiveness.
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Liashenko, Tatiana. "Archetypal Features of the Images of Olga and Tatiana in the Alexandre Pushkin's Novel in Verse "Eugene Onegin"." Филология: научные исследования, no. 3 (March 2023): 25–33. http://dx.doi.org/10.7256/2454-0749.2023.3.39950.
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The object of the study is female images in the Alexandre Pushkin's novel in verse by "Eugene Onegin". The archetypal features of the images of Tatiana and Olga are the subject of the study. The author, relying on the works of K.G. Jung and T. Chetwind, characterizes the archetypes of the Bride and the Sister, which are very widely represented in folklore and literary texts. In the novel in verse "Eugene Onegin" Tatiana and Olga carry mainly the features of the archetype of the Bride, which is due to the peculiarities of the plot development. However, the signs of the archetype of the Sister, noted in these images, allow us to understand the specifics of the relationship of the characters more deeply. The novelty of the research lies in the fact that the archetypal approach was first applied to the analysis of female images in the creative heritage of A.S. Pushkin. The author comes to the conclusion that the archetypal features of the characters of the novel in the poems "Eugene Onegin" give the text a special psychological reliability, persuasiveness, realism. The analysis of these features allows us to conclude that in the poet's picture of the world, the bride-woman has enormous influence, disposes of the fate of her chosen one. The image of the bride in Pushkin's mind, apparently, was at that time closely connected with the themes of male self-determination, the search for existential ways, understanding the past and the formation of personal maturity.
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Leskinen, Maria. "The Plot of the Oleg’s Shield in Russian Culture of the 19th – early 20th centuries." Slavianovedenie, no. 5 (2021): 49–66. http://dx.doi.org/10.31857/s0869544x0016745-2.
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The article reconstruct the ideologema based on the chronicle story about Prince Oleg (Prophet Oleg) hoisting a shield on the “gates of Tsaregrad”. This action as a sign of victory acquired a symbolic status becauseof Pushkin's «The Song of Prophet Oleg»(1822) and later, due to the inclusion of «The Song» in the literary anthologies for children, this plot became a stereotype image of Tsaregrad / Constantinople. It became very popular during the Russian-Turkish wars of the 19th - early 20th centuries. The author analyzed the main interpretational trends of the legendary story about Oleg's shield in the context of the history of ideas and images, which had a direct impact on the stereotypes of the mass consciousness.
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Абузова, Н. Ю. "THE FORMATION OF THE "MANOR TEXT" IN THE LYRICS OF A.S. PUSHKIN (1815-1820)." Актуальные вопросы современной филологии и журналистики, no. 2(53) (July 8, 2024): 67–77. http://dx.doi.org/10.36622/2587-9510.2024.53.2.010.
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Научный интерес к «усадебному тексту» не дает полного исчерпывающего ответа, что определяет актуальность данного исследования. Статья затрагивает фактуру художественного текста ранних стихотворений Пушкина, в которых складывается начальная модель пушкинского «усадебного текста» с учетом традиции в поэзии ХVIII века. Моментом зарождения «усадебного текста» в лирике Пушкина принимается пребывание будущего поэта в Царском Селе – культурном прообразе дач – минималистичных «резиденций» для отдыха обычного человека и поддерживавших усадебный тип бытия. В статье отмечено, что традиционно пространство усадьбы формируется на основе оппозиции, предложенной поэзией ХVIII века, - «город - деревня», но со смещением положительного акцента в сторону «деревни» - воплощению «идиллического» хронотопа. Усадебная жизнь представляется как вариант бытия, основанный на частной жизни человека. В ранних стихотворениях Пушкин изображает усадебное бытие условным, нарочито искусственным, литературным, отдавая дань ранним романтикам. В статье определены основные мотивы («заземленности» усадебной жизни, «соседства», «творчества», «пустынножительства»). Выявлены главные усадебные образы ранних пушкинских стихотворений, исследована их семантика: дом, актуализирующий поведенческую модель «хозяин - гость», «соседи - друзья»; кабинет с его метафорикой «соседи – книги» («книги-друзья») и «книжным сюжетом»;сад как продолжение пространства дома и кабинета, идеальное пространство, отражающее гармонию мира. В статье затронут аспект усадебной антропологии, реализуемой через поиск поведенческого стиля, ставшего организующим моментом для ранней пушкинской лирики. Поэт позиционирует себя не только как хлебосольный хозяин усадьбы, распорядитель усадебного бытия, садовник «с смиренным заступом в руках», но и как «философ ленивый», наследник Эпикура и Горация, состоявшийся только в мечтах военный, монах-отшельник, мечтатель, «бахический» поэт. Все ипостаси лирического субъекта объединены проявлением духовности (чтение, литературное творчество, созерцание) и «заземлённости» (дружеские симпозиумы, шалости в духе Анакреонта). Стихотворения «Домовому» и «Деревня» показывают трансформацию, вызванную переосмыслением пушкинских социокультурных позиций, и фиксируют новый подход к усадебной теме – Пушкин создает не миф об усадебном бытии, но «антимиф». Scientific interest in the "manor text" does not provide a complete comprehensive answer, which determines the relevance of this study. The article touches on the texture of the artistic text of Pushkin's early poems, which form the initial model of Pushkin's "manor text", taking into account the tradition in poetry of the XVIII century. The moment of the origin of the "manor text" in Pushkin's lyrics is the stay of the future poet in Tsarskoye Selo, the cultural prototype of dachas – minimalistic "residences" for the rest of an ordinary person and supporting the manor type of existence. The article notes that traditionally the estate space is formed on the basis of the opposition proposed by the poetry of the XVIII century - "city - village", but with a shift of positive emphasis towards the "village" - the embodiment of the "idyllic" chronotope. Manor life is presented as a variant of being based on a person's private life. In his early poems, Pushkin portrays the manor life as conditional, deliberately artificial, literary, paying tribute to the early romantics. The article identifies the main motives ("grounding" of manor life, "neighborhood", "creativity", "desert-dwelling"). The main manor images of early Pushkin's poems are revealed, their semantics are investigated: a house actualizing the behavioral model "host - guest", "neighbors - friends"; an office with its metaphor "neighbors – books" ("books-friends") and a "book plot"; a garden as an extension of the space of the house and office, ideal a space reflecting the harmony of the world. The article touches upon the aspect of homestead anthropology, implemented through the search for a behavioral style, which became an organizing moment for early Pushkin's lyrics. The poet positions himself not only as the hospitable owner of the manor, the steward of the manor life, the gardener "with a humble spade in his hands", but also as a "lazy philosopher", the heir of Epicurus and Horace, a military man who took place only in dreams, a hermit monk, a dreamer, a "heroic" poet. All the hypostases of the lyrical subject are united by the manifestation of spirituality (reading, literary creativity, contemplation) and "grounding" (friendly symposiums, pranks in the spirit of Anacreon). The poems "To the Brownie" and "The Village" show the transformation caused by the reinterpretation of Pushkin's socio–cultural positions, and fix a new approach to the manor theme - Pushkin creates not a myth about the manor existence, but an "anti-myth".
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Sukhikh, O. S., and I. S. Yukhnova. "Motives of Story “Queen of Spades” by Alexan der Pushkin in Novel “Bad Weather” by Alexander Ivanov." Nauchnyi dialog, no. 6 (June 24, 2021): 240–50. http://dx.doi.org/10.24224/2227-1295-2021-6-240-250.
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The novel by A. Pushkin “The Queen of Spades” and the novel by A. V. Ivanov “Bad weather” from the point of view of literary relationships is examined in the article, the method of intertextual analysis is used. The aim of the study is to identify parallels in the problematic, motivational structure and systems of images of these works. The article analyzes the relationship between the work of A. Ivanov and directly with the text of “The Queen of Spades”, and with the epigraph to it. The results of the research allow us to conclude that the image of bad weather as a background for the development of action connects the Pushkin story and the novel by A. V. Ivanov. It is noted that in both works the theme of the change of epochs is artistically realized, and the past is interpreted as a time much brighter and more meaningful than the present. The studied works are also united by the plot-forming motive of playing with fate, which, in turn, is associated with the theme of passion for money. In addi tion, commonality can be noted in the nature of the characters and the principles of their representation; to a certain extent, the fates and nature of women characters of the works are similar. Comparison with Pushkin's story helps to see deep philosophical problems in A. Ivanov’s novel “Bad Weather”.
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Kryukova, M. I. "BORIS YULSKY’S "LIVING" DOLLS AND "STONE" CHARACTERS." Bulletin of Udmurt University. Series History and Philology 30, no. 3 (2020): 520–28. http://dx.doi.org/10.35634/2412-9534-2020-30-3-520-528.
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The article analyzes the motive of living mannequins and dolls in B.M. Yulsky’s work, writer of the Far Eastern emigration. In the centre of attention there are two writer’s stories - «The Bearded Jack» and «The Fair Queen». At the beginning of the twentieth century, the doll’s motive became plot-forming and very popular in literature, it is found both in the works of classics and fiction writers. The influence of Hoffmann and Pushkin's creativity on Yulsky’s work is noted in the paper, as well as the intermedia links with Nabokov and Grin’s texts are found. In addition, the motive of a smiling card is also important in Yulsky's stories. Despite the fact that the writer lived and worked in China and Toogen (in a taiga atmosphere), the considered texts take the reader to the West, to the space where inanimate characters intervene in the plot and concentrate it around them. The essence of Yulsky’s characters is static and soulless, therefore they cannot revive the «artificial» soul of dolls.
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Kopteva, E. I. "Pushkin’s allusions in the comedy of A. P. Chekhov "The Cherry Orchard"." SHS Web of Conferences 101 (2021): 01006. http://dx.doi.org/10.1051/shsconf/202110101006.
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The study of Pushkin's allusions in the works of Anton Chekhov has been carried out for several decades. The relevance and novelty of this topic is associated with new observations and searches for intertextual connections, the expansion of the context of analysis, including in connection with the appeal to the dramatic works of the writer. This work considers the allusions from the works of A. Pushkin "The Queen of Spades", "Boris Godunov" and others, their role in the artistic whole of the comedy of A. P. Chekhov "The Cherry Orchard". The effectiveness of the approach which was outlined in the studies of R.G. Nazirov in the 1990s, as well as S.A. Kibalnik, M.V. Litovchenko and other domestic scientists is confirmed. Literary allusions resonate in Chekhov's artistic world, cumulatively marking a transitional stage of cultural and historical life and its personal comprehension. The intertextuality of Chekhov's works allows us to create an integral image of Russian culture: the semantic relations of allusions and reminiscences are combined with the multilayered symbolism of sound, hearing, gesture, touch - in general, the experience of time and the multiple meanings of words. The semantic "expansion" of Chekhov's play text leads not only to comparisons with Russian classics, but also to an open finale - a future literary context, implementing the "principle of plot uncertainty" and removing the uniqueness/truthfulness of any interpretation.
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Pavlovich, Kristina Konstantinovna. "Prose by Yevgenia Maykova in the context of the same old story by Ivan Goncharov." Филология: научные исследования, no. 1 (January 2025): 58–69. https://doi.org/10.7256/2454-0749.2025.1.72621.
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The article is devoted to two romantic stories written by Ekaterina Maykova "Maria" (1835), and "Woman" (1850). The study is associated with biographical, comparative and typological methods. The article focuses on the prose of the owner of the literary house. Her prose bore the stamp of the transitional time in Russian literature of the 19th century. The time when the aesthetic foundations of Ivan Goncharov’s work were laid and developed. Goncharov was a close friend of the Maykov’s family. The early work of the writer and his first novel "The same old story" (1847) is an artistic reflection of the time, ideological problems and disputes regarding the development of Russian literature during the transition from romanticism to realism. The plot of the ultra-romantic story "Maria" has a connection with "Eugene Onegin" by Pushkin. The connection is in the image of Tatyana Larina and at the same time the connection with the romantic Alexander Aduev from "The same old story" by Goncharov. The three heroes are brought together by their passion for the English poet Byron. A decade and a half later, the writer published the story Woman, in which realistic features emerge more and more clearly. The text seems to repeat the plot of Pushkin's novel in verse in the love line. Realistic denouement of the story by Maykova turns out to be akin to the ending of "The same old story", the text of which was written by Goncharov in the Maykov’s literary house. Prose experiments of Maykova turn out to be extremely important for explaining Goncharov’s dialectical attitude towards romantic traditions throughout his work. The stories written by the head of the literary house reflect the movement towards realistic trends, psychologism inherent to the Russian classical novel.
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Fetisenko, O. L. "From the life of «The Knights Of The Book». (About the correspondence of P.P. Pertsov and B.V. Nikolskij)." Solov’evskie issledovaniya, no. 2 (June 30, 2020): 115–22. http://dx.doi.org/10.17588/2076-9210.2020.2.115-122.
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The article precedes the publication of the unpublished correspondence of P.P. Pertsov and B.V. Nikolsky, lasting from 1896 to 1900 and preserved with small gaps (letters of Pertsov prevail). The set identified in The State Archive of the Russian Federation and the Manuscript department of the Institute of Russian literature is up to 32 letters. The main topics of the epistolary dialogue are connected with the literary, critical and publishing activities of the correspondents; the most significant being the «Pushkin's» plot, in which Vl. Solovyov appeared to be included in absence. Among other important subjects of correspondence is the preparation of the collection «Philosophical Currents of Russian Poetry» and the first critical reviews of it. The evolution of relations between the interlocutors is briefly traced, previously unknown reviews about Nikolsky from Pertsov’s letters of the same period to his father and to V.V. Rozanov are given, the reasons that led to the severance of relations are explained. All of these topics are discussed in more detail in the commentary to the letters.
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Pilshchikov, Igor. "Navigium amoris and an Encounter in Mikhailovskoe (Pushkin—Zhukovsky—Florian—Cervantes)." Pushkin Review 24, no. 1 (2022): 21–49. http://dx.doi.org/10.1353/pnr.2022.a903269.
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Abstract: It is well known that Pushkin's "Ia pomniu chudnoe mgnoven´e…" ("I remember a wondrous moment…," 1825) exploits recognizable motifs from Zhukovsky's "Ia Muzu iunuiu, byvalo…" ("I used to meet the youthful Muse…," 1824). This article shows that the two poems share a lyrical plot that emerged in Zhukovsky's work twenty years earlier. Almost all the relevant elements are found in his "Lad´eiu legkoi upravliaia…" ("Steering a light boat…," 1804), one of the poems in his translation of Don Quixote , which he made from Florian's French version of Cervantes's novel. The key motif of the resurrection of the past, which forms the nucleus of "Ia pomniu…" and "Ia Muzu…," is not present in Don Luis's ballad from Don Quixote , "Marinero soy de amor…"—it resulted from a chain of step-by-step transformations of its final quatrain. Despite all the metamorphoses, the proto-source of Russia's best-known love elegy was a Spanish ballad ( romance ), even though the initial metaphor of sailing across the sea of love led by a guiding star was eventually lost.
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Tyupa, V. I. "Palimpsest Plot and Lyrics." Studies in Theory of Literary Plot and Narratology, no. 2 (2024): 5–10. http://dx.doi.org/10.25205/2713-3133-2024-2-5-10.
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The article is devoted to the phenomenon of palimpsest intertextual links, which are capable of acting as “cultural codes”. Initially, the sourceological notion of “palimpsest” was transferred to the sphere of narratology to characterise multi-layered plots, which were encountered in Pushkin’s works, but are most significantly represented in Boris Pasternak’s novel “Doctor Zhivago”. The article draws attention to the fact that in the field of performative fiction writing (in lyrics) the palimpsest organisation of the text also occurs and can be very effective. Examples from the poetic heritage of Pushkin, Blok, Mandelstam, Pasternak, Brodsky, etc. are pointed out.
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Shatin, Yurii V. "Имплицитный мотив и его роль в сюжетике А. С. Пушкина". Studies in Theory of Literary Plot and Narratology, № 3 (2024): 5–13. http://dx.doi.org/10.25205/2713-3133-2024-3-5-13.
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The article examines the concept of implicit motive. Its specificity lies in the fact that it does not actively manifest itself in the plot and does not directly influence the development of the action. Its purpose is different: to connect texts that are far apart from each other into supertextual unites, organizing the author’s model of the world. Using the example of three works by A. S. Pushkin – “My Pedigree”, “Yezersky” and “Bronze Horseman” show how ancestry motive creates such unity. “My Pedigree”, written three years before the other two texts, reflected Pushkin’s dual position: an impoverished aristocrat among poets and a poet among the wealthy nobility. Thus, the poem turned out to be a rhetorical invective directed at two addresses: against the literary party of Bulgarin, on the one hand, and against the new nobility, on another. In the first case, Pushkin’s victory was unequivocal and consolidated the poet’s fame for centuries. It was more difficult with another addressee: the nobility, very far from the literary struggle and who continued to look at Pushkin with considering disdain. A reflection of continuing duality was the poet’s rejection of direct rhetoric and the transition to poetics, where the autobiographical motive of ancestry was transformed into fate of fictional characters: first Andrey Yezersky, then Eugene from “The Bronze Horseman”. Such a transition, in our opinion, gives grounds to consider the three works as a single super text.
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Dragunoiu, Dana. "Hazel Shade's Russian Sisterhood, or Is Pale Fire a Feminist Novel? In memory of Gennady Barabtarlo." Nabokov Studies 18, no. 1 (2022): 7–28. http://dx.doi.org/10.1353/nab.2022.a901977.
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Abstract: The essay traces Nabokov's representation of women from the Russian-language works in which he shows a sustained interest in women's lives to the English-language works whose plots often double as whodunnits, driven as they are by questions such as "who is she?" and "what has she done?" I argue that The Real Life of Sebastian Knight, "The Vane Sisters," Lolita, Pale Fire, and Ada dramatize what feminist commentators have identified as properties of patriarchal literary representation: the primacy of women coupled by their absence (De Lauretis), under-description (Heldt), and action delimited by the Love Story plot (Russ). Though some of Nabokov's works perpetuate these conventions, his most enduringly mysterious fiction forces readers to care and wonder about women characters who are under-described and overlooked. The essay also uses the insights of feminist scholars who have written on Lolita (Kauffman, Patnoe, Herbold) to argue that Pale Fire extends the achievements of Lolita by staging a different kind of entrapment: readers are seduced into colluding with Shade's obliteration of his daughter Hazel by focusing too much on her body and disregarding her mind. In one of Pale Fire's subtlest ironies, Shade treats his grief at his daughter's loss by foregrounding his own spiritual quest but continuing to ignore hers. I argue further that the importance of Hazel's spiritual strivings become most clear if seen through the lens of Russia's literary tradition. The second half of the essay traces important bonds of kinship that connect Hazel to Tatyana Larin, the female protagonist of Pushkin's Eugene Onegin, and Cecily von Lindenborn, the protagonist of Karolina Pavlova's only novel A Double Life (1848). Pavlova's novel, combining as it does prose and verse, offers more than a formal precedent for Pale Fire: the plot rescues Hazel from the captivity of the Love Story plot and places her in a context that is more relevant to her own concerns. The essay ends with a tribute to Gennady Barabtarlo, for whom Hazel's predicament anticipated the predicament of another beloved but disregarded daughter: Martyshka of Tarkovsky's Stalker.
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Markov, Alexander. "Scenery by M. V. Dobuzhinsky as a Version of Pushkin Studies." Literatūra 62, no. 2 (2020): 202–15. http://dx.doi.org/10.15388/litera.2020.2.12.
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The sets by M. V. Dobuzhinsky for the operas by Mussorgsky and Tchaikovsky based on Pushkin’s works represent an attempt to reconstruct Pushkin’s world and Pushkin’s attitude to history. The libretto required a stylization and standardization of scenography, but Dobuzhinsky continued to interpret the images of St. Petersburg and central Russia, correlating the plots of operas with a new national upsurge. Thus, the plot of The Queen of Spades was understood as part of Pushkin’s view on the successes and failures of the Petrine reforms, about the connection between adventurism and the imperial style, which corresponded to the general cultural myth of Petersburg but was supplemented by a number of observations on the Pushkin text. The plot of Boris Godunov was read not as a Russian story, but as a common one for countries inheriting the Polish-Lithuanian Commonwealth and Russia. The plot of Eugene Onegin was brought closer to the dacha plots of Russian literature, becoming part of the integrated image of a lost Russia. It is proved that Dobuzhinsky in his decisions followed not the structure of the libretto, but a close reading of Pushkin’s texts.
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Pimonov, V. I., and S. M. Gracheva. "ON LITERARY REMINISCENCES IN PUSHKIN’S ESSAY «I TY TUT BYL...» («AND YOU WERE HERE...»)." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 81 (2021): 117–23. http://dx.doi.org/10.37313/2413-9645-2021-23-81-117-123.
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Object of the article: Pushkin’s essay “I ty tut byl…” ("And You Were Here..." (1835). Subject of the article: literary reminiscences in the Pushkin essay. Purpose of the research: reconstruction of the essay’s plot design. Results: the authors argue that Pushkin’s essay "And you were here ..." has parallel allusions, on the one hand, to an episode from the “Chronicles” by Jean Froissart, and on the other hand, to the play "Wat Tyler" by Robert Southey. Field of application: literary criticism. Conclusion: Comparison of the essay “And you were here ...” with episodes from “Chronicles” by Froissart and Southey’s play “Wat Tyler” indicates that they could serve as literary sources of Pushkin’s text. Thematic parallels between “And you were here...” and some fragments of “Chronicles” and the play “Wat Tyler” help to reconstruct the plot design of Pushkin’s essay and support the idea of its semantic completeness. The author is indebted to Oleg B. Zaslavsky for stimulating discussion and helpful advice.
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Proskurina, E. N. "PUSHKIN’S ALLUSIONS IN B. VOLKOV’S STORY «STEPPE RAVEN»." Culture and Text, no. 45 (2021): 121–30. http://dx.doi.org/10.37386/2305-4077-2021-2-121-130.
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The article analyzes the story of the forgotten writer of Eastern emigration B. N. Volkov«Steppe Raven» in dialogue with the works of A. Pushkin. The goal of the article is to show the stylistic devices, plot elements, artistic details, subtexts of the story, which provide the grounds for finding allusions of Pushkin’s works in the story. Pushkin’s diary notes, «Journey to Arzrum», and a poetic message to «Kalmychka» are involved in the research. The article shows Volkov’s original approach to Pushkin’s texts. Stylistically, Volkov’s story correlates with Pushkin’s prose by the laconicism of the narrative speech, the simplicity, clarity and accuracy of the events depicted. At the level of subtext, Volkov plays up the image of Circe, nominally introduced by Pushkin into the text of the Kalmyk episode in his “Journey to Arzrum”. However, the behavior of Pushkin’s young Kalmyk woman bears little resemblance to this archetypal image of the seductive goddess. In Volkov’s story, on the contrary, the image of a young Mongolian beauty is much more distinctly endowed with the features of Circe. The model of her behavior in relation to the hero-traveler corresponds to the custom of hospitable hetaerism being a part of the tradition of half-civilized peoples.
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Dolinin, Alexander. "Итальянские мотивы в поэме Пушкина «Анджело» [Italian Motifs in Pushkin’s Poem _Andzhelo_]". Slavica Revalensia 8 (2021): 289–302. http://dx.doi.org/10.22601/sr.2021.08.10.
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Pushkin’s poem Andzhelo (1833) is based on the plot of Shakespeare’s Measure for Measure (1623). However, Pushkin changed the location from Vienna to “happy Italy,” and the article offers some explanations of the change. Besides the location and names of characters, the poem has no Italian ethnographic details but instead includes several allusions to Dante absent in Shakespeare. It seems that through them Pushkin amalgamated Dante and Shakespeare, providing an intertextual substitute for the Italian couleur locale. Keywords: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Andzhelo (1833), Dante Alighieri (c. 1265—1321), William Shakespeare (1564—1616), Italy, Allusion, In memoriam: Larisa Georgievna Stepanova (1941—2009).
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Afanasyeva, Elmira, and Lakshmi Srivastava. "PUSHKIN’S NANNY: A POEM BY A. GORODNITSKY IN THE CONTEXT OF PUSHKIN’S MYTH ABOUT THE NANNY." Culture and Text, no. 59 (2024): 6–19. https://doi.org/10.37386/2305-4077-2024-4-6-19.
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This article studies the mythopoetics of poem “Pushkin’s Nanny”(2020) by A. M. Gorodnitsky in the context of the Pushkin myth. The source of the literary myth about the nanny is rooted in the artistic world of Pushkin: the poems “An Evening in Winter”, “The Nanny”, “I Visited that Corner of the Earth Again” and the verse novel “Evgene Onegin”. The literary plot of ‘the poet and the nanny’ is continued in the works of Russian writers (particularly, in the lyrics of N. M. Yazykov) and in the biographical studies of Pushkin. Starting with the 19th century, Pushkin’s nanny began to correspond with the image of an earthly patroness, very sophisticated, protecting the child and “so many times glorified by him” (I. I. Pushchin). She is perceived as a considerate participant in the destiny of the poet, who is already adult, and his companions. Cultural memory has been imprinted with the name of “Arina Rodionovna” since the second half of the 19th century. This occurs as a result of the writings of the early Pushkin scholars, especially P. V. Annenkov. The elements of Pushkin’s myth, such as the harmony of the paired image “Poet-Nanny” and the culmination of the triad “Poet-Manor life -Nanny” are restored in the work while analyzing the poem “Pushkin’s Nanny” by A. M. Gorodnitsky. The poetic event correlates both the national and personal histories of the two individuals. Benevolent love of Arina Rodionovna towards the poet shielded him from all troubles and adverse circumstances. The motives of anonymity and impossibility to locate the nanny’s last resting place come to light at the culmination of the poem. The scenario of mythological diminution eventually results in the poet’s mental stamina and the emptiness of his native world. The specific aspect of the author’s interpretation towards the Pushkin myth is the notion of a “close bond” between “the gray-haired muse” and her nursling.
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Bednarskaya, L. D. "ON THE DEVELOPMENT OF A. N. KARPOV'S SYNTACTIC IDEAS IN THE XXI CENTURY." TULA SCIENTIFIC BULLETIN. HISTORY. LINGUISTICS, no. 4(20) (December 28, 2024): 139–49. https://doi.org/10.22405/2712-8407-2024-4-139-149.
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The article analyzes the scientific achievements of Professor A. N. Karpov, Doctor of Phi-lology, in the field of research of "multicomponent unities" – structures consisting of several sentences united by one theme and syntactic coherence. A. N. Karpov's works have made a great contribution to the study of the linguistics of the text, his ideas have been continued in modern works on the complex syntactic whole (CCC) – the highest unit of syntax, on its forms and functions of the semantic part of the whole text. In modern linguistics, the CCC is analyzed as a transitional structure between a com-plex multicomponent sentence and a text, between a sentence and an attached part that has been dis-connected for the purpose of actualization (attachment, parcellation). A. N. Karpov's fruitful develop-ment of the structure of the period also continues, the study of which turned out to be extremely relevant in the context of studying the structural, semantic and philological analysis of literary text. It turned out that the type of CCC is also related to its content, it is within its boundaries that a descrip-tion, narrative, and sometimes reasoning are formed. The variants of the combination of structures-types in the CCC determine the idiosyncrasy of the writer. Keywords are distributed in the structure of the text by semantic parts, thematically linking them. Awareness of the integrity of the semantic part is associated with the allocation of keywords in it, thematically "stitching" it. The first sentence of the semantic part contains words with a generalized meaning, which is revealed in subsequent sentences using pronouns, single-root words, synonyms, antonyms, etc. It became possible to distinguish the narrative and the actual narrative within the plot. The narrative is more abstract, voluminous, broad-er: This is a text that conveys information about real or fictional events taking place in a time se-quence, and the linguistic means that organize it are broader than just narratives. For example, the narrative of Pushkin's prose is dense, it is as informative as possible: behind each sentence of such a narrative there is a voluminous cultural, historical and plot context, an apperceptive background, this movement of life itself. In conclusion, the signs of a complex syntactic whole are listed.
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Ospovat, Alexander. "Из материалов для комментария к «Капитанской дочке»: 9–11 [Notes and Queries on _The Captain’s Daughter_ (9–11)]". Slavica Revalensia 8 (2021): 303–25. http://dx.doi.org/10.22601/sr.2021.08.11.
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There are three sections in this article, all concerning The Captains Daughter (Kapitanskaia dochka, 1836) by Alexander Pushkin. The first section reconstructs the hidden yet crucial train of thought launched by the elder Grinev’s reading of The Court Almanach for 1772, which comes to drive the novel’s plot in a surprising direction. The second section investigates the protagonist’s failed military career. The third section discusses Pushkin’s linguistic lapse (na son griadushchii instead of na son griadushchim), a distortion of a liturgical phrase well known to Orthodox Christians. Keywords: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Kapitanskaia dochka (1836), Russo-Turkish Wars (1736—1739, 1768—1774), Military Careers, The Orthodox Prayer Book, In memoriam: Larisa Georgievna Stepanova (1941—2009).
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Fedorova, Elena A. "Pushkin texts in the description of characters by Dostoevsky and Nabokov." Slovo.ru: Baltic accent 11, no. 2 (2020): 47–57. http://dx.doi.org/10.5922/2225-5346-2020-2-4.
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In his novels, Dostoevsky refers to the Pushkin text to describe characters. For Dostoevsky, Pushkin is an ethical and aesthetic touchstone; the writer’s voice is consonant with that of the poet’s persona. In some cases, the Pushkin text is embedded in religious discourse (the parable of the prodigal son). In interpreting the Pushkin text, Dostoevsky’s characters present and disclose themselves. The ‘dreamer’ from ‘White Nights’ invokes the Pushkin text to convey the values of his own. In her peculiar account of the ‘poor knight’ ballad, Aglaya is transforming religious discourse into aesthetic and mundane. Pushkin’s St Petersburg text, whose sign is wet snow, creates the space in which contradiction-ridden Hermann (The Queen of Spades) and Dostoevsky’s paradoxalists develop. The Pushkin code in Dostoevsky’s texts is what the images of characters are built on. It is a text-producing and plot-building technique and an element of literary discourse, of author-reader interactions. These techniques are used by Vladimir Nabokov in Despair and “The Visit to the Museum”.
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Zvereva, T. V. "Сюжет misericordia и clementia в «Капитанской дочке» А. С. Пушкина". Studies in Theory of Literary Plot and Narratology 4 (2024): 18–28. https://doi.org/10.25205/2713-3133-2024-4-18-28.
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“The Captain’s Daughter” by A. S. Pushkin is considered in the context of ideological disputes related to the most important concepts of the Russian state system, such as: “spravedlivost’” (fairness), “pravosudiye” (justice), and “milost’” (mercy). It was identified that the latter novel was a part of the controversy about the release of the “Complete Collection of the Laws of the Russian Empire” by M. Speransky (1832–1833). In Russia, the focus on justice issues intensified after the events of 1825 and the execution of the Decembrists. The novel demonstrates the author’s extensive reflection on the issues of Christian mercy (misericordia) and the mercy of the government (clementia). The analysis of historical documents showed that Pugachev in his Manifestos followed the principles of Christian mercy, while for Catherine the Second the mercy was a part of the political strategy. These two poles are sometimes attracted to each other, sometimes repelled from each other in “The Captain’s Daughter”, revealing the most complex dialectic of the author’s thought. It is concluded that the moral instinct coming from I. Kant’s “categorical imperative” proves to be saving in Pushkin’s artistic world.
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Gayda, Fyodor A. "Pushkin’s “Bronze Horseman” and the Formation of the Official Image of Peter the Great in Russia in the Era of Nicholas I." Almanac “Essays on Conservatism” 3 (July 30, 2022): 218–24. http://dx.doi.org/10.24030/24092517-2022-0-3-218-224.
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The article is devoted to the formation of images and plot of the “Bronze Horseman” by A.S. Pushkin in the context of the state ideology, as well as ideas about Peter the Great in the Russian educated society. The author reveals the main strategies for the development of the positive image of Peter in the 18th century, as well as their criticism in public circles at the turn of the 18th – 19th centuries. He considers the ways of creating Pushkin’s authorly image of the emperor and the tasks that the poet solved with its help. The Bronze Horseman is analyzed in the context of the political confrontation between A.S. Pushkin with A. Mitskevich. The relationship between Pushkin’s apology for Peter and the state cult of the tsar-reformer, recreated in the early 1830s, is noted. The author comes to the conclusion that two lines of development of the positive myth about Peter, coming from Feofan Prokopovich and Catherine II, are synthesized in Pushkin’s work. Initially, the poet strove to achieve an amnesty for the Decembrists, but after 1830 the image of a “revolutionary from above” arose, and the topic of amnesty ceased to be relevant. In the 18th century the image of Peter in the public consciousness was formed under the influence of the state ideology, but after 1825 the situation changed to the opposite.
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Il'chenko, Natal'ya Mikhailovna, Natal'ya Mikhailovna Il'chenko, Natalia Konstantinovna Sovina, and Natalia Konstantinovna Sovina. "Symbolic images in V.G. Korolenko's short story “In bad society” and their interpretation in the film of K.G. Muratova." Филология: научные исследования, no. 4 (April 2024): 1–11. http://dx.doi.org/10.7256/2454-0749.2024.4.70200.
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The actuality of the research is connected with the problem of “translation” of a classical literature piece by a director-interpreter. The subject of the study is the story by V. G. Korolenko “In a Bad Society” (1885) and its film adaptation by K. G. Muratova – “Among the Gray Stones” (1983). It is demonstrated that on the basis of the story and symbolic images of V.G. Korolenko – the garden, the apple, the flowers, the portarait, the birds and others, K.G. Muratova provides them with additional characteristics, concordant with the new cultural context. The portrait of the mother performs a plot-forming function in the film, and flowers are the main symbol associated with Marusya. K. G. Muratova uses symbols of animal masks - tiger, lion, wolf, with their help Vasya tries to build relationships with others. In the analysis a complex literature study approach is applied that combines historical and cultiral, biographical, comparative-typological methods that make it possible to determine the specific implementation of symbolic imagery in “texts” of various kinds. The substantive dominants of a classic work of Russian literature of the XIX th century are clarified and supplemented in the metalanguage of Russian cinema. The film uses Pushkin's tales ('The tale of the dead princess and seven knights, 'Winter evening'), fairy story of birds, symbolism of colors as specifying elements of cinematic speech. The language of a film is made more complicated with the introduction of musical accompaniment, sound symbols (sound of steps, dripping water and others). The analysis of the “new reading” of symbolic images of V.G. Korolenko's short story “In bad society” in the film “Among the grey rocks” by K.G. Muratova reveals the hidden meanings of a classical piece of Russian literature.
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Vidmarović, Natalija Р. "On fate and/or providence in Pushkin’s short story ‘The blizzard’." Slovo.ru: Baltic accent 11, no. 2 (2020): 35–46. http://dx.doi.org/10.5922/10.5922/2225-5346-2020-2-3.
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It has been repeatedly noted that there are similarities between Pushkin’s short story ‘The blizzard’, Zhukovsky's ballad ‘Svetlana’, from which Pushkin borrowed the epigraph, and Burger's ‘Lenora’, which was twice used by Zhukovsky in different contexts. Differences in the functioning of the traditional plot are considered against the background of the interrelation and interdependence between fate, chance, and free will. In a Christian reading, the attitudes of the main characters of the three works to God's providence explain the motives behind their actions, the further course of events, and the endings of the works.
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Romanova, Alyona N. "“THE DEAD DO NOT DISTURB US FOR LONG”: LOVLAS’S TEAR IN “THE STONE GUEST” BY A.S. PUSHKIN." Vestnik of Kostroma State University 30, no. 3 (2024): 38–43. http://dx.doi.org/10.34216/1998-0817-2024-30-3-38-43.
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In his work on the image of Don Juan, Pushkin comes into contact with the age-old tradition of artistic interpretation of the “eternal plot”. The sources that in one way or another influenced the poet’s idea are quite well studied, however, the origin of a number of images in Pushkin’s play, including the image of “poor Ineza”, remains not entirely clear. The article substantiates the hypothesis that one fragment of S. Richardson’s novel “Clarissa, or the Story of a Young Lady”, which has not yet attracted special attention of researchers, was directly related to the genesis of the image of the main character and was reflected in the first scene of the tragedy “The Stone Guest”.
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Kovtun, Natalia V. "Pushkin’s artistic iconography in small prose by T. Tolstoy." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2024): 141–46. http://dx.doi.org/10.20339/phs.1-24.141.
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The Pushkin myth in the works of Tatiana Tolstoy has been studied in sufficient detail in criticism and literary criticism, the analysis of the author’s stories in this context becomes the subject of scientific reflection much less often. Meanwhile, the concept of Pushkin’s myth in the key novel “Kys” (2000) is based on the artistic discoveries made by the author in the stories. The key place in this paradigm is occupied by the “Plot” and “Limpopo”, which presents the cartoon iconography of the poet, including the main points of his biography: birth, duel, death and an attempt (re)incarnation in the reality of the twentieth century. With all the historical and biographical, ironic and tragic elements of the poet’s image, he retains elusiveness, mystery, he is read as a force capable of freeing Russia from the curse of the revolution, returning to the original, archaic meanings of poetic utterance as such. Pushkin’s narrative is included as the most important component in the narrative manner of T. Tolstoy herself: from direct quotations, reminiscences, allusions, travesties, palimpsest to understanding.
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Zaslavskii, Oleg B. "Структурные парадоксы русской литературы и поэтика псевдооборванного текста [Structural paradoxes of Russian literature and poetics of pseudobroken text]". Sign Systems Studies 34, № 1 (2006): 261–69. http://dx.doi.org/10.12697/sss.2006.34.1.11.
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Structural paradoxes of Russian literature and poetics of pseudobroken text. Traditionally, the Pushkin’s work “My provodili vecher na dache…” is considered to be uncompleted. However, on the basis of structural arguments, we show that, in fact, it is completed as an artistic whole. Taking also into account the results of previous analysis of works by Pushkin, Lermontov and Gogol’, we introduce a new notion of “pseudobroken texts”. Their distinctive feature consists in the structural correspondence between the break of a plot and a break as the theme of the text — such, that it is the break of a text which confirms that the text is finished. From the general viewpoint, such a paradoxical phenomenon can be viewed as modeling the impossibility to destroy art and culture.
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Lomova, E., Zh. Ibraeva, M. Tuleubaeva, and A. Kazmagambetova. "THE FORMATION OF THE CONCEPT OF A FEMALE CHARACTER IN F.'S PROSEDOSTOEVS KY." Annali d'Italia 52 (February 25, 2024): 83–88. https://doi.org/10.5281/zenodo.10703028.
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Literary critics have found many sources of the image of the main character of the novel "Poor People":Varenka Dobroselova was compared with the heroine of Honore de Balzac's novel "Eugenia Grande" and with the image of Dunya from A.S. Pushkin's story "The Stationmaster". Considering the opposition of Makar Devushkin - Varenka Dobroselova, criticism expressed the opinion about the secondary nature of the women's party in F.'s novel. Dostoevsky. According to another view of the heroes of the novel "Poor People", Makar and Varenka represent equal semantic and ideological and artistic centers of the plot action, since in the narrative there is a collision of a ghostly and rationally practical attitude to reality.The image of Varenka Dobroselova determines the trajectory of further development of female images in F.'s work. Dostoevsky. His subsequent heroines will make mistakes, rebel and try to fight for their own rights and selfworth as a person and patiently endure suffering and submissively submit to the circumstances of their d ifficult fate. Catherine from the story of F. Dostoevsky's "The Hostess" opens a gallery of images of the Russian writer, in which the motive of spiritual and moral division and the possibility of entering the road of evil thoughts and unrighteous deeds are clearly traced. The next step in the work of F. Dostoevsky's development of a female theme is the story "Netochka Nezvanova", which tells about the fate of a young heroine belonging to a diverse environment. This heroine, on the contrary, is capable of fighting for the truth and human happiness.The image of Netochka Nezvanova made it possible not only for a philologist, but also for a psychologist to explore the personal and spiritual and moral formation of a teenage hero who developed early and had a pa inful reaction to the world around him. The character of Netochka Nezvanova will also develop the image of Lisa Khokhlakova from the novel "The Brothers Karamazov". In the novel "Netochka Nezvanova", the main character is connected in the course of plot collisions with Princess Katya. The writer himself noted that the main thing for him in this artistic character was pride and an innate sense of justice. Princess Katya in the decision of F. Dostoevsky is free from congenital defects. The features of Princess Katya are recognizable in Aglaya Epangina and in the character of Lisa from the novel "The Brothers Karamazov".A different feminine nature is embodied in "Netochka Nezvanova" by the confidante of the poor orphan Alexandra Mikhailovna. Alexandra Mikhailovna is depicted in the work of F. Dostoevsky as a meek, meekly suffering heroine, completely resigned to her sad fate. Thus, in the fiction of F. Dostoevsky's characters of women who resigned themselves to their own failed fate, like Alexandra Mikhailovna, proud, strong-willed, like Princess Katya, and images of early-matured and painfully proud teenagers, like Netochka Nezvanova, appear.
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Virolainen, Maria N. "Pushkin anthological epigram: Poetics of self-referentiality." Vestnik of Saint Petersburg University. Language and Literature 21, no. 2 (2024): 320–31. http://dx.doi.org/10.21638/spbu09.2024.203.
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“Beauty in front of the mirror”, “Statue in Tsarskoye Selo”, “Who grew the tender roses of Theocritus in the snow?” by Pushkin, as well as some anthological epigrams of his contemporaries). The ancient Greek epigram, distinguished by clear formal features and a wide variety of content, recorded, as a rule, only something static or instantaneous. This quality ensured, in the eyes of Pushkin’s contemporaries, the authenticity of the transmission and perception of the object depicted in the epigram. In anthological epigrams of the first third of the 19th century, deviations from such primordial features of the genre as the elegiac distich and the absence of rhyme were allowed, but the static nature, anti-narrativeness, and embodiment of an instantaneous, non-deployable state characteristic of ancient models were preserved. In connection with the last feature, the question arises as to whether a lyrical plot can be realized within the framework of such a genre. Using the example of Pushkin’s epigrams, which are not an inscription addressed to a really existing object, but create a convincing plastic image (creating their own denotation), it is shown that the event component of such texts (their lyrical plot) lies in the very act of embodiment of a visible object, in the act of its acquisition of existence. In a number of cases, this act becomes the subject of poetic reflection, the epigram comprehends itself and becomes self-referential. The substance of poetry, cleared of narration (Yu. N. Chumakov’s terms), is presented in such cases as a self-creating and self-interpreting principle.
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Andreev, Mikhail L. "Carlo Goldoni. “The True Friend”." Literary Fact, no. 4 (26) (2022): 8–74. http://dx.doi.org/10.22455/2541-8297-2022-26-8-74.
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“The True Friend” is not the most famous comedy by Carlo Goldoni that are often put on a stage. It has a different importance. It was “The True Friend” from which Denis Diderot borrowed the plot for his play “The Natural Son,” then being accused of plagiarism and beginning to defend himself. This controversy contributed to a more explicit designation of various trends in the dramaturgy of the 18th century. The miser’s monologue in “The True Friend” became a source for the baron’s monologue in Pushkin’s “The Miserly Knight,” and the very figure of the miser in this play by Goldoni gained a prominent place in the literary series formed around this “eternal image” (from Plautus and Molière to Pushkin, Gogol and Balzac). “The True Friend” was previously published in Russian only as a collotype and in free translations.
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ДАВЫДОВ, В. В. "Images of the ontological frontier in Pushkin and Gogol." Социально-гуманитарные знания, no. 4 (August 28, 2022): 232–48. http://dx.doi.org/10.34823/sgz.2022.3.518875.
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В статье рассматривается философская (антропологическая) проблематика произведений А.С. Пушкина и Н.В. Гоголя. В контексте гипотезы о фазах естественной динамики русской культуры Нового времени рассматривается концепции сюжета и героя, реализованные в произведениях А.С. Пушкина и Н.В. Гоголя. Показаны варианты образного выражения и эстетического осмысления онтологического рубежа между вовлеченным в процесс нравственной и духовной самоидентификации субъектом и идентифицируемым через культурную парадигму внешним миром. Первый вариант представлен пушкинским ренессансным гуманизмом, второй – гностическим антропологическим пессимизмом Гоголя. В обоих вариантах актуализированы, во-первых, сюжет о бегстве и обратимости героя, преодолении границы господствующей в культуре антропологической парадигмы, а во-вторых – образы человека или вещи, оказавшихся на онтологическом рубеже. The article deals with the philosophical (anthropological) problems of the works of A.S. Pushkin and N.V. Gogol. In the context of the hypothesis about the phases of the natural dynamics of the Russian culture of Modern times, the concepts of the plot and the hero, realized in the works of A.S. Pushkin and N.V. Gogol, are considered. The variants of figurative expression and aesthetic understanding of the ontological boundary between the subject involved in the process of moral and spiritual self-identification and the external world identified through the cultural paradigm are shown. The first variant is represented by Pushkin’s Renaissance humanism, the second by Gogol’s gnostic anthropological pessimism. Both versions actualize, firstly, the plot about the escape and reversibility of the hero, overcoming the boundaries of the anthropological paradigm prevailing in culture, and secondly, the images of a person or thing caught on the ontological frontier.
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Chevtaev, A. A. "ON PUSHKIN’S REMINISCENCE IN “THE TALE OF KINGS” BY N.S. GUMILEV." Culture and Text, no. 53 (2023): 48–61. http://dx.doi.org/10.37386/2305-4077-2023-2-48-61.
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The article is devoted to the comprehension of one plot-fabula lacuna in early neo- romantic poem “The Tale of Kings” (1905) by N.S. Gumilev, which is one of the first experiments in constructing Gumilev’s mythopoetics. The analysis of this work reveals the presence of A.S. Pushkin’s reminiscence, referring to the poetics of “The Tale of the Golden Cockerel” in its structural and semantic organization. The plot death of the heroes of Gumilev’s poem, explained by means of Pushkin’s pretext, contributes to the mythologization of “eternal femininity” as a sacred and fatal principle in the structure of the world order. It is concluded that the reminiscence, referring to Pushkin’s fairy tale, in Gumilev’s poem becomes a marker of the universality of the manifestation of passion and the absolutization of the fatal “femininity”.
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Nikishov, Yuri M. "Eugene Onegin’s stages of evolution." Two centuries of the Russian classics 2, no. 4 (2020): 136–71. http://dx.doi.org/10.22455/2686-7494-2020-2-4-136-171.
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The article attempts to understand the author’s attitude to the main character of the novel “Eugene Onegin” by Alexander Pushkin. For the first time, a complete picture of Onegin’s evolution is given. The author proves that the rapture of secular life is just his prehistory; that the search for self-determination of Pushkin’s hero begins with a blues (premature old age of the soul). Communication with Vladimir Lensky makes Onegin reflect on the meaning of life. The highest point of his searches is freedom and peace (at the level of interests of the circus circle). Thoughts on the Onegin’s hypothetical fate are not attempts “to complete” the novel ending, but this is a way to understand the hero more deeply. The poet himself gave an example of such hypothetical thoughts. The “Fragments from Onegin’s Journey” that violate the plot sequence, placed after the notes (end sign), with their tone create a hint in determining Onegin’s hypothetical fate.
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Fedorova, Elena. "Teleological Plot in the Novels “The Captain’s Daughter” by A. S. Pushkin and “War and Peace” by L. N. Tolstoy." Проблемы исторической поэтики 21, no. 4 (2023): 102–29. http://dx.doi.org/10.15393/j9.art.2023.13123.
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The novels “The Captain’s Daughter” by Pushkin and “War and Peace” by Tolstoy are in the article as works with a teleological plot, which includes the motifs of the test, the choice of the hero and his movement towards salvation. During the choice, the dominant of the hero or people is revealed, based on self-affirmation or self-sacrifice (the “ugliness” vs. “goodness” opposition). In the novels of Pushkin and Tolstoy, the “family thought,” associated with the national-heroic theme, is affirmed, the people appear in them as a conciliar personality. The doctrine of A. A. Ukhtomsky (1875–1942) about the dominant, which he created based on the works of Dostoevsky and Tolstoy, allows us to reveal the ethical perspective of the analyzed novels. Zurin and Shvabrin become Grinev’s “doubles” at the first stage of his life’s journey, Napoleon and Dolokhov — become Pierre Bezukhov’s counterparts. Freeing himself from the “double,” the hero who makes a moral choice, according to Ukhtomsky’s teachings, takes the path of the “interlocutor” and returns to the previous moral dominant, which was formed in the family. An example is Masha Mironova and Pyotr Grinev, Andrei Bolkonsky and Natasha Rostova. Pierre Bezukhov does not have a moral guideline in his family; Andrei Bolkonsky, Platon Karataev and Natasha Rostova help him embark the path of “decency.” The greatness of Kutuzov, according to Tolstoy, is that he has a conciliar consciousness and brings “simplicity, goodness and truth.” It is not by chance that the Battle of Borodino and the connection of the destinies of the main characters take place between the Orthodox holidays of the Assumption and the Nativity of the Blessed Virgin Mary: in Orthodoxy, the abode of the Blessed Virgin Mary is Russia. The Pushkin’s and Tolstoy’s novels trace the traditions of ancient Russian military short novels and hagiographic literature (symmetrical composition, symbolism of light), and affirm the ideal of the world as a family turned to the Gospel Truth, and a conciliar personality walking the path of salvation and helping others find this path.
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Pimonov, Vladimir. "PUSHKIN’S “EGYPTIAN NIGHTS”: POET IN THE ROLE OF CLEOPATRA." Culture and Text, no. 58 (2024): 55–66. http://dx.doi.org/10.37386/2305-4077-2024-3-55-66.
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This article explores Pushkin’s “Egyptian Nights,” which critics consider to be an unfinished work. For the first time, the analysis of the story’s plot structure is carried out exclusively in regard to the autograph draft in prose without taking into consideration the poetic improvisations which are absent in the poet’s manuscript, but are traditionally inserted by publishers into the printed text. The author argues that the story’s plot design is completed in Pushkin’s prose text. An allusive parallel between the story of Cleopatra and the story of the improviser based on the motifs of “prostitution” and the “severed head”, is described. It is shown that the plot structure of the story is built on the juxtaposition of two narrative levels: symbolic and real. In contrast to the ancient legend, in which the public (lovers) pay for the love of the Egyptian queen with their heads in a literal sense, in the main plot the improviser pays for the love of the public with his head in a figurative sense.
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Джанумов, C. А., and А. С. Джанумов. "LITERATURE STUDIES EVOLUTION OF RUSSIAN LITERATURE Original article THE MYTH ABOUT PUSHKIN AND ANECDOTAL SITUATION IN SERGEY DOVLATOV’S STORY “THE RESERVE”." Русистика и компаративистика, no. 15 (February 2, 2022): 7–29. http://dx.doi.org/10.25688/2619-0656.2021.15.01.
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В статье речь идет о художественной функции анекдота в повести Сергея Довлатова «Заповедник» (1983) и об отношении автора произведения к официозному пушкинскому мифу. В статье проводится мысль, что довлатовская деконструкция пушкинского мифа является в какой-то степени ироническим ответом на советскую канонизацию образа А.С. Пушкина и потому носит несколько сниженный, порой уни чижительный, анекдотический характер, что не отменяет искренней не притворной любви автора повести к великому русскому поэту. В «Заповеднике» черты мифологизации Пушкина проявляются почти везде и всюду. Один из таких мифов, имеющих отношение к культу поэта в Пушкинском музее-заповеднике, — мотив подмены настоящих вещей и раритетов, когда-то принадлежавших поэту, позднейшими подделками, копиями, как сейчас принято говорить, «новоделами». Рассказчика возмущает, что в заповеднике пушкинский колорит воссоздается только за счет внешних (и не всегда аутентичных) атрибутов и примет. В процессе анализа рассматриваются интертекстуальные связи повести «Заповедник» с произведениями русской классической литературы XIX в. Отмечается также, что в повести ощутимо присутствие автора не только как рассказчика, повествователя, но и как основного персонажа, что придает достоверность, правдивость изображаемым событиям и характерам. The article deals with the artistic function of the anecdote in the story “Reserve” (1983) by Sergei Dovlatov and the attitude of the author of the work to the official myth about Pushkin. The article suggests that Dovlatov’s deconstruction of the myth about Pushkin is to some extent an ironic response to the Soviet canonization of the image of A.S. Pushkin and therefore bears a somewhat reduced, sometimes derogatory, anecdotal character, which does not negate the author’s sincere unfeigned love to the great Russian poet. Throughout his relatively short life, S. Dovlatov repeatedly turned to the works of Pushkin, to his judgments about literature. Dovlatov’s understanding 8 Comparative Literature Studies of the goal and purpose of literature is often in solidarity with Pushkin’s. So, in the story “Reserve” Dovlatov notes: “His (Pushkin. — S. D., A. D.) literature is higher than morality. It conquers morality and even replaces it. His literature is akin to prayer, nature ... ” [Dovlatov 2019: II, 237]. Dovlatov was also attracted by Pushkin’s idea that “the goal of poetry is poetry”. Thus, in a letter dated May 31, 1968, Komarovo to the prose writer, journalist L. Ya. Shtern Dovlatov categorically asserts: “As for auto declarations about my stories, remember once and for all: literature has no purpose (Dovlatov’s italics. — S. D., A. D.). <…> For me, literature is an expression of decency, conscience, freedom and pain of soul” [Little-known Dovlatov: 294]. In the “Reserve”, the features of mythologization of Pushkin are manifested almost everywhere. One of these myths related to the cult of the poet in the Pushkin Museum-Reserve is the motive of replacing real things and rarities that once belonged to the poet, later forgeries, copies, as they say now, “remakes”. The narrator is outraged that in the reserve, the Pushkin flavour is recreated only due to external (and not always authentic) attributes and features. At the same time, the autobiographical hero cannot or does not want to oppose anything to this cult of Pushkin in the museum-reserve. And hence the mockery and grumbling of the author of the story, an addiction to individual (albeit memorable) anecdotal situations and episodes that do not form a coherent and detailed plot. In the course of the analysis, the intertextual links between the story “Reserve” and the works of Russian classical literature of the 19th century are considered. It is also noted that the author’s presence is tangible in the story not only as a narrator, but also as the main character, which gives credibility and veracity to the depicted events and characters.
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Ryko, Anastasia I. "The Folklore Life of a Literary Text: Narration of The Tale of Tsar Saltan in Traditional Discourse." Slovene 6, no. 1 (2017): 518–39. http://dx.doi.org/10.31168/2305-6754.2017.6.1.22.
Full textAbstract:
The article focuses on the retelling of Pushkin’s The Tale of Tsar Saltan by an 80-year-old local woman, recorded at the end of the 20th century in the Novgorod region (northwest Russia). The text is analyzed both in terms of its structural aspect (the correspondence of prose narration, poetic quotations from Pushkin’s text, and the narrator’s comments) and in terms of its linguistic aspect (the correspondence of dialect and literary variants of grammatical forms). In comparison with Pushkin’s original, in the retelling the author’s perspective has been changed from the fantastic to reality; consequently, the text has been transformed by the adaptation of elements alien to the familiar reality or by their replacement with familiar, but different, elements. Thus, the narrator included in the retelling several stories from her own life and the lives of her relatives (acquaintances), interiorizing the plot and filling it with personal and familiar realities, including transformations on the lexical level. The retelling retains features of a traditional folklore text. The plot becomes simplified; only the basic “event-related” points are kept, and detailed descriptions are excluded. The viewpoint of the narrator has also been changed from the external in The Tale of Tsar Saltan to internal in the retelling. In addition, some structural characteristics of the retelling, in comparison to Pushkin’s original, are typical of oral speech. The narrator produced two versions of the retelling, the “male” and the “female” version, told, respectively, to linguists of different genders. The versions are different at the level of the plot: the “male” version describes the liberation of the Swan Princess, and in the “female” one, the narrator focuses on the revenge of Guidon that is directed toward his aunts. Thus, in the retelling, two folk plots, combined in Pushkin’s original, are separated again and exist as two versions of the same text.