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Journal articles on the topic 'Russian Novel And Short Story'
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1
Verma, Vishakcha, and V. V. Maroshi. "F. M. DOSTOEVSKY VS RASKOLNIKOV IN MODERN RUSSIAN LITERATURE." Culture and Text, no. 55 (2023): 22–36. http://dx.doi.org/10.37386/2305-4077-2023-4-22-36.
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The article deals with one of the trends of creative reception of “Crime and Punishment” in the prose of modern Russian authors, two writers from St. Petersburg – the short story “The Trial” by S. Nosov and the novel “The Exposé of Dostoevsky” by T. Sintsova. The common theme of these two works is the biography and quasibiography of Dostoevsky in its correlation with the works of the writer, primarily the novel “Crime and Punishment”. In the case of the short story, the peculiarity of the novel’s reception is connected with representing Dostoevsky as a concrete author who partially identifies with Raskolnikov. In Sintsova’s novel, Dostoevsky acts as a “provocateur” of Raskolnikov-type murder.
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Zavarkina, Marina. "THE CONCEPT OF THE SHORT NOVEL (‘POVEST’) GENRE IN ANDREY PLATONOV’S CREATIVE WORK IN THE 1920S." Проблемы исторической поэтики 20, no. 1 (February 2022): 296–32. http://dx.doi.org/10.15393/j9.art.2022.10562.
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Based on the material of the short novels (povest’) “The Ethereal Tract,” “Epiphany Locks,” “The City of Gradov,” “The Innermost Man,” “Yamskaya Sloboda,” the article presents the concept of the short novel (‘povest’) genre in the 1920s works by A. Platonov. The structural possibilities of this traditional genre of Russian literature allowed the writer to reflect the contemporary reality with all its tragic contradictions. The genre of the short novel (‘povest’) will have reached its peak by the 1930s, when the writer’s principal works were written (“The Pit,” “For the Future,” “Juvenile Sea,” “Bread and Reading,” “Jan”). Many of the techniques that the writer used in the short novels (‘povest’) of the 1920s were embodied in the works of Platonov later on. The article briefly presents the history of the study of the genre of the short novel (‘povest’) in Russian criticism and in modern research. Special attention is paid to the genre-forming factors and genre features of Platonov's short novel (‘povest’), among which one can distinguish: ideological and philosophical content (“volume of content”), type of narrative, plot-compositional structure, the concept of artistic time and space, the genre concept of man, the poetics of the finale. The authors refute the opinion of researchers, which states that Platonov's short novels (‘povest’) can be described in the language of a short story or a novella and that, in general, his short novels (‘povest’) can be called novelistic. The parabolic plot of the “departure-return”, the epic distance, the type of narration, as well as the genre concept of a person (“a person is a plot”) do not allow Platonov's short novel (‘povest’) to be reduced to a novella or grow into a novel. Platonov's short novel (‘povest’) has its own artistic concept, which is rooted in the traditional Russian short novel (‘povest’) genre, which is the “heir” of the Old Russian genre tradition, rather than the European novel. The short novel (‘povest’) of A. Platonov answered the demands of the time, and testified to the writer's understanding of its structural and substantive capabilities.
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Liu, Minjie. "Folklore symbolism of I. Bunin’s short story “The Raven”." Philology. Issues of Theory and Practice 17, no. 1 (January 26, 2024): 177–83. http://dx.doi.org/10.30853/phil20240026.
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The article is devoted to a poetical analysis of Ivan Bunin’s short story “The Raven” (1944), which is a part of the cycle of short stories about love “Dark Alleys”. The research is undertaken in order to comprehend the role of folklore in the formation of the poetic world of Bunin’s love story, to identify the emotional and aesthetic perspectives of the images, motifs, and the central conflict of the short story, which is contextually conditioned and mediated by folklore symbols. The research is novel in that it is the first to analyze in detail the short story “The Raven”, its character system (images of the father, the son, the daughter, Elena Nikolaevna) and to identify the most important folklore components of the central conflict of the story (a love conflict). As a result, it is shown that the active involvement of folklore symbols (the folklorized concept “The Raven”, a color palette of folklore), which were close and understandable to the Parisian community of Russian emigrants, allowed Bunin (who adhered to national traditions, including folklore ones) to bring additional poetic intentions into the text of the shott story, imbued with imagery familiar from childhood and bright fairy-tale emotionality, to bring the perception of the text created in exile closer to the nostalgic memory of the abandoned homeland of Russia.
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Jastrzębska, Katarzyna. "„Nie-miejsce”, ślad i pamięć. Opowiadanie Olgi Tokarczuk Numery w przekładzie Kseni Starosielskiej." Przekładaniec, no. 41 (2020): 96–115. http://dx.doi.org/10.4467/16891864pc.21.005.13587.
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“Non-lieu, Trace, and Memory: Olga Tokarczuk’s Short Story “Numery” in Ksenia Starosielska’s Translation The article offers an analysis of the Russian translation of Olga Tokarczuk’s 1989 short story “Numery” [Numbers]. Published in 2000 in the journal Innostrannaya Literatura, Ksenia Starosielska’s translation presented the future Nobel prize winner to Russian readers for the first time. The translation analysis is based on the categories of “non-lieu”, trace, and memory, which, within the interpretive paradigm adopted in the article, constitute a crucial meaning-making element of Tokarczuk’s short story.
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Panchenko, Polina S., and Elena D. Andreeva. "INDIVIDUAL STYLE IN TRANSLATION (BASED ON T. CHIANG’S SHORT NOVEL STORY OF YOUR LIFE)." Sovremennye issledovaniya sotsialnykh problem 15, no. 1 (March 31, 2023): 37–52. http://dx.doi.org/10.12731/2077-1770-2023-15-1-37-52.
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The article examines the main features of the individual style of the American science fiction writer Ted Chiang and the peculiarities of their translation into Russian language.
The relevance is related to the fact that the individual style of the writer has not yet become a subject of study, despite popularity of his works. The problem of author’s style in translation is critical as there is no unanimity on criteria to define style-forming elements of author’s style.
The purpose of the study is to identify the main features of the author’s individual style and their forming factors, as well as the ways to translate them into Russian. For this we analyze the genre affiliation of the work, writer’s sphere of interest, ideological and thematic components, characters’ images and stylistic means, the type of narration, as well as the translation in terms of preserving or transforming these features.
The material: T. Chiang’s sort novel Story of Your Life (2002).
Results of the study: by textual comparison we define T. Chiang’s style elements and show that some of them are extralinguistic, also we describe their translation strategies.
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Dudareva, M. A. "I.S. TURGENEV’S STRANGE ASYA: APOPHATICISM OF RUSSIAN EROS. CULTUROLOGICAL ANALYSIS OF THE STORY." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 85 (2022): 41–46. http://dx.doi.org/10.37313/2413-9645-2022-24-85-41-46.
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The object of the article is apophaticism of Russian verbal culture. The apophaticism of love, of Russian Eros serves as the subject. This article is based on Turgenev’s well-known short novel “Asya”. The hermeneutic reconstruction core is represented by the symbolic space of the 19th century novel. Much attention is paid to the problem of love metaphysics, its apophatic aspect in the Russian cosmo-psycho-logos, which is essential for understanding the philosophical nature of the writer’s creative work. The research methodology is mainly represented by the holistic ontohermeneutic analysis aimed at highlighting the cultural potential of the literary work in question, which makes it possible to approach the specificity of the writer’s creative process ontologically and delve into the wordsmith’s treatment of genesis. Much attention is paid to the comparison of Pushkin’s Tatiana from the novel “Eugene Onegin” and Turgenev’s story protagonist. The notions of “imagination”, “apophaticism”, “cosmo-psycho-logos” are introduced for profound culturological analysis of the work. The research results are represented by identification of cultural and philosophical potential of the novel “Asya” for further study of the problems of Russian artistic culture apophaticism, metaphysics of Russian Eros, national style of life. The results may be of interest for literary historians incorporating literature in the extensive dialogue of cultural space, and may be also used in teaching courses on cultural studies and philosophy.
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Anisimova, Evgeniya E. "A History for the Common People in Leo Tolstoy’s “Ermak”: The Stroganov Plot." Studia Litterarum 9, no. 2 (2024): 200–217. http://dx.doi.org/10.22455/2500-4247-2024-9-2-200-217.
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The article attempts to contextualize Leo Tolstoy’s short story “Ermak,” to study the range of sources that were in the author’s field of view, and, finally, to correlate the story with the long-standing debate on the role of the Stroganov merchant family in the acquisition of Siberia. The article shows how this short story, adapted for the common people, inherits the historiosophical program formulated by the writer in the novel “War and Peace.” The article analyzes the discussion on the degree of reliability of the Stroganov chronicle, initiated by prominent historians such as G.I. Spassky, P.A. Slovtsov, N.G. Ustryalov, P.I. Nebolsin, etc. It also shows that the basis of Tolstoy’s plot was the creatively rethought idea of migration of peoples posed by S.M. Solovyov in his work “The History of Russia Since Ancient Times.” In the course of the analysis, the prime attention was directed on Tolstoy’s views on the driving forces of history, the evolution of “Ermak” initial concept regarding its dependence on the story “The Cossacks,” motif-plot and imagological links with several stories of the “The Second Russian Book for Reading” and other Tolstoy’s 1860s–1870s works.
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Kamilya F., Ayupova. "MAGGIE GEE’S “THE ARTIST” IN RUSSIAN." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 2 (June 1, 2020): 59–71. http://dx.doi.org/10.18522/2415-8852-2020-2-59-71.
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The proposed material presents a translation of the story “The Artist” from the collection of short stories “The Blue” (2006) by modern British writer Maggie Gee. The author’s novels have been awarded literary prizes and translated into fourteen languages, but are not yet familiar to the Russian-speaking reader. The translation of the story was made by the winner of the international Art & Craft of Translation competition, which was held in 2018 with the support of the Oxford Russian Fund. The text of the translation is accompanied by a brief commentary that provides explanations of historical, cultural, and literary-critical nature.
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Nazarenko, I. I. "Semantics of the initiation plot in short stories by Yu. Felzen." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 119–31. http://dx.doi.org/10.17223/18137083/74/9.
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The paper examines the plot of initiation in the stories of the young émigré writer Yu. Felzen as a continuation of the story of the hero of his novel trilogy. In the short stories of the late 1930s, the initiation of the hero-emigrant that was reduced in the novels is found to be associated with a situation of death, provoking his personal and literary development. The plot of the story “The changes” allows correlating it with the archetypal plot of initiation: the hero, having survived a severe illness, surgery, and the departure of his beloved, seems to be moving towards gaining new consciousness, towards writing. However, considering the stories following “The changes” allows revealing the reduction of the hero’s initial transformation. The plot of the story “The repetition of the past” shows how “changes” turn out to be a “repetition” of past life situations for the hero, and he evades the existential existence. The stories “The composition” and “The figuration” confirm the conclusion about the failed initiation of the hero. The work of Russian emigrants as extras on the set of the film “The figuration” is the author’s metaphor for the fate of the Russian emigration. The author’s concept of “the repetition of the past” is the repetition of life situations in reality without being able to change anything and follow the geniuses in creative work. According to Felzen, an emigrant is doomed to adapt and repeat in the inauthentic existence of life the situations that happened to him in another culture and at a different age “The composition.” Emigration does not replace a person with another one. Neither does it form his self-sufficiency.
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Nikolyukin, Alexander. "THE ARCHITECTONICS OF V.F. ODOEVSKY’S “RUSSIAN NIGHTS”." Lomonosov Journal of Philology, no. 6 (March 19, 2023): 100–108. http://dx.doi.org/10.55959/msu0130-0075-9-2022-6-100-108.
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V.F. Odoevsky’s philosophical novel comprises a collection of manuscripts of short stories presented by young people led by Faust, whose name began to denote the author of the novel as the “Russian Faust”. Odoevsky joined Freemasonry at the Noble University Boarding School, the head of which was A.A. Prokopovich-Antonsky, a friend of N.I. Novikov. Odoevsky’s youth, the period of the love of wisdom, passed under the influence of Schelling’s philosophy and the ideas of Freemasonry, the teachings of de Saint-Martin and F. Baader. Th e architectonics of “Russian Nights” as a philosophical novel is determined by conversations and disputes about the issues of modern life among the young characters of the story. “Russian Nights” is a complex combination of mystical Freemasonry and the teachings of Schelling. It is a large philosophical and ethical treatise, representing a motley collection of ideas and opinions on almost all issues of the life and thinking of Russian people in the fi rst half of the 19th century.
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A. Kibalnik, Sergey. "OSIP DYMOV AND CHARLES BOVARY (THE INTERTEXTUAL STRUCTURE OF CHEKHOV’S SHORT STORY THE FIDGET)." Проблемы исторической поэтики 9, no. 3 (March 2021): 187–205. http://dx.doi.org/10.15393/j9.art.2021.9922.
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A. P. Chekhov's short story The Fidget (1892) is an abridged hypertext of G. Flaubert's novel Madame Bovary (1856). The article undertakes a detailed comparison of the characters who occupy a similar place in the narrative and figurative system of these two works: Osip Dymov and Charles Bovary. Both of them are doctors, but Chekhov's character seems to realize the untapped potential that was laid down in the character penned by Flaubert. He is no longer a failed doctor, but a talented one, with all the qualities required to become an excellent medical scientist. Thus, Chekhov does not merely stand up for the medical community, which he is no stranger to. Thanks to this, the story of the Russian writer transforms into a polemical interpretation of the classic French novel. In Flaubert's Emma's imaginary search for the meaning of life, which explains her two adulteries in Madame Bovary, Chekhov seems rather inclined to see the selfishness and lack of responsibility that destroy her family and lead to her own death. It is not by chance that Dymov, rather than Olga Ivanovna dies as a result of her own similar behavior in Chekhov’s short story. At the same time, Chekhov's text is also a polemical interpretation of Tolstoy's Anna Karenina (1873–1877), which was created as an explicit hypertext of Flaubert's novel. In the short story, Chekhov's critical reinterpretation of these two works is clearly based on a kind of “folk” morality of the Ant from the canonical Krylov fable The Dragonfly and the Ant (1808), which is clearly referenced in the title and text of the story. The intertextual structure of Chekhov's story is examined in the article primarily as a system of its pretexts, some of which relate to it in unison, and others-dissonantly. At the same time, the former are the object of polemical interpretation, while the latter are the subject of stylization and value orientation.
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Toorawa, Shawkat M. "The Modern Literary (After)lives of al-Khiḍr." Journal of Qur'anic Studies 16, no. 3 (October 2014): 174–95. http://dx.doi.org/10.3366/jqs.2014.0172.
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Prominent examples of major Qur'anic characters in modern world literature include Joseph (and Zulaykha) -like characters in the 1984 Arabic novel, al-Rahīna (The Hostage) by the Yemeni writer Zayd Muṭīʿ Dammāj (d. 2000) and the fictionalised portrayal of the women around the Prophet Muḥammad in Algerian filmmaker and novelist Assia Djebar's 1991 French novel, Loin de Médine (Far from Medina). In this article I focus, rather, on a ‘minor’ Qur'anic character, al-Khiḍr (cf. Q. 18:65–82). I begin by looking briefly at the evolution of al-Khiḍr in Islamic literatures generally and then focus on his deployment in several short fictional accounts, viz. the 1995 French novella L'homme du livre (Muhammad, A Novel) by Moroccan author Driss Chraïbi (d. 2007); Victor Pelevin's 1994 Russian short story, ‘Prints Gosplana’ (Prince of Gosplan); the 1998 short story, ‘The Mapmakers of Spitalfields’, by Bangladeshi-British writer Manzu Islam; and Reza Daneshvar's 2004 Persian tale, ‘Mahboobeh va-Āl’ (‘Mahboobeh and Ahl’). I characterise the ways in which these modern authors draw on the al-Khiḍr type, persona, and legend, and go on to suggest how and why the use of al-Khiḍr in modern literature is productive and versatile.
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Lin, Guanqiong. "Mythopoetics of the Were-Dragon (The Way of the Dragon by B. M. Yulsky and the Literary Context)." Vestnik NSU. Series: History and Philology 20, no. 2 (2021): 128–35. http://dx.doi.org/10.25205/1818-7919-2021-20-2-128-135.
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As a Russian mountain-forest policeman and writer of the Harbin diaspora, B. M. Yulsky combined in his prose the experience of the police service and ideas about the ethnoculture of the Chinese who inhabited the territory of the Far East. This article contains a hermeneutic and comparative historical analysis of the short story The Way of the Dragon (1939) by B. M. Yulsky. The artistic morphology of the dragon is built on the comparison of its image in Chinese, Amur, Slavic and European cultures. One of the key images in the Russian heroic epic, in the Christian legend of Saint George, in Western and Northern European mythology, the dragon is actualized in modern literature. The analysis involves a philosophical treatise and a Chinese classic novel. It is shown that in the Chinese mythopoetic consciousness the temper and morphology of the dragon is different from its interpretation in European and Russian texts. The content of the short story by B. M. Yulsky speaks about his acquaintance with the understanding of the dragon, which is more characteristic in Chinese culture. The writer integrated the archaic image of the werewolf dragon into the real situation and brought a legend to the history of Honghuzi. The facts set forth in the monograph by D. V. Ershov are the real confirmation of the story described by B. M. Yulsky. The Way of the Dragon is an example of the artistic ethnography and the authorial frontier mythology that have developed in Russian literature in Harbin.
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Goncharov, P. А., and V. А. Shcherbakova. "“Their light still comes to us, still shines to us”: The motive of self-sacrifice in V.P. Astafiev’s story “Starfall”." Literature at School, no. 1, 2020 (2020): 52–67. http://dx.doi.org/10.31862/0130-3414-2020-1-52-67.
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The aim of the study is to establish the compositional and ideological function of the motive of self-sacrifice in V.P. Astafyev’s novel “Starfall”, in some other works of his; to characterize symbolic images; to reveal the genesis of images of meaningful self-sacrifice, images of a star and starfall; to determin compositional features, plot construction; to analyze the specifics of cinematic interpretation of key episodes; to compare the leading motive of the story with the motive structure of the works of the Russian soviet literature of 1940–1960s. The authors prove motivational and figurative consonance of Astafiev’s short novel with the Russian folklore works, Russian classic literature, and works of the Russian literature of the 1940s and 1960s. The analysis of the literary context of the story is carried out, the active development of the dominant motive in the cinematic version of the “Starfall” is established. It was proved that the originality of the story’s ideology is given by the symbolic content and tragic sound of a number of images (the main character, star, starfall). The composition is based on the opposition of the themes of war and love (this compositional technique, due to its prevalence, is perceived as a “common place” by Russian soviet writers about the Great Patriotic War), on the contrast between the tragic and the comic.
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Mokina, Natalia V. "“A strange mystical village” in Bunin’s short novel Dry Valley: To the problem of sources." Izvestiya of Saratov University. Philology. Journalism 23, no. 3 (August 22, 2023): 278–84. http://dx.doi.org/10.18500/1817-7115-2023-23-3-278-284.
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The subject of research in the article is the image of the Dry Valley in Bunin’s short novel and its possible sources. The author believes that the main precedent texts for Bunin’s short novel and the concept of national life and national character embodied in it, are the novels by Fyodor Dostoevsky The Brothers Karamazov (as the researchers have already noted) and The Silver Dove by Andrey Bely. Bunin both argues with the writers and develops their ideas about the essence of the Russian character and the Russian life. The signs pointing at the ‘presence’ of Dostoevsky’s novel, as well as the facts of the writer’s biography, are the main plot collisions, special features of the psychology of the Dry Valley dwellers (their strangeness, warm-heartedness, posing etc.) and place-names. The novel by A. Bely is referred to by key antinomies in understanding the fate of the Russian person (West – East, civilization – primitive world, sacred – demonic, heaven – hell), loci (manor and village), material details and the names of the heroes. At the same time, in the Dry Valley life one can also see the manifestation of universal laws, the idea of which Bunin develops under the influence of the artistic discoveries of Edgar Alan Poe, the author of the short story The Fall of the House of Usher. This is evidenced by the idea, fundamental for the poetics of the two works, about the connection of the external world, including the inorganic one, with the soul and the fate of a person, and the form of its representation (common reference motifs and color dominants in the description of the estate, the nature, the appearance of the characters and their inner worlds, etc.), as well as the system of images.
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Borisova, Valentina. "“The Former Prince” Vsevolod Dolgorukov as a Prototype and Reader of Dostoevsky’s Novel The Raw Youth." Неизвестный Достоевский 8, no. 1 (March 2021): 149–67. http://dx.doi.org/10.15393/j10.art.2021.5242.
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The article deals with the biographical, real and historical-literary aspects of the novel The Raw Youth that are related to the life and work of Fyodor Dostoevsky and Vsevolod Dolgorukov. The latter was a “former prince,” who possessed literary talents and was a member of the “Jacks of hearts” gang, which was involved in the “case of the Kumanin inheritance.” He first became the prototype of the characters of the novel The Raw Youth, and then an epigone of its author. After sinking very low in his youth, he experienced a new life surge in Siberian exile, due to sincere repentance and moral purification. Correction and “restoration” of Vsevolod Dolgorukov is confirmed by his subsequent charitable and creative activities. Like Dostoevsky, he was the “Russian youth” type from a “random family,” which, along with the heroes of Dostoevsky’s novel Arkady Dolgoruky and Sergei Sokolsky, included the young Count Nagorov, the main character of the saga novel Literary Bohemia (1890) by Vs. Dolgorukov. The memoir notes of the “former prince,” who was twice stripped of his title, largely echo the notes of The Raw Youth in narrative and ideology due to the influence of Dostoevsky’s novel on Vs. Dolgorukov. It is also evidenced by his convict-themed short story Mishka the Flea, which is typologically similar to Notes from the Dead House and the Easter short story The Peasant Marey. Based on the above, the author concludes that Dostoevsky’s hope for an encounter of “Russian youths” with the Orthodox idea was embodied in the life and work of Vsevolod Dolgorukov.
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Нalуch, Оlexander. "Feasures of Fandorin’s Quasi-biography: Postmodern Experiment." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 84–89. http://dx.doi.org/10.28925/2412-2475.2020.16.12.
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More than two decades ago, the newest Russian writer B. Akunin began a series of multi-genre novels, the main character of which was Erast Petrovich Fandorin, who quickly made a detective career, has become famous not only in Russia, but far beyond its borders. Firstly appeared in the fiction novel «Azazel», Fandorin later quickly began to acquire the features of a real historical personality that affects the course of historical events. Fandorin’s quasi-biography was supplemented by works whose heroes were his ancestors and descendants. One of these novels is «F. M.», the annexes and additions to which testify to the author’s postmodern experiment, which, leaving only the margin of the explanation necessary for understanding the plot, introduced marginal noncanonical texts and genres (short story, essay, fragment), thereby deciding to expand and clarify its meaning. Literary additions, such as the mini-glossary of drug jargon, or the Zen koan, are included to the literary text. Fragments, essays, short stories, different additions and clarifications, visions and dreams, at first glance, destroy the integrity of the novel of the writer, but in fact expand its narrative capabilities, extend the temporal and spatial characteristics, significantly enrich the main storylines, illuminate the motivation of the heroes , show them in an unusual perspective.
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Dudareva, Marianna A., Tatiana V. Shvetsova, Natalia E. Chesnokova, Marina A. Shtanko, and Denis G. Bronnikov. "“Distant death” in Maxim Gorky's short story “Obsession”." Revista Amazonia Investiga 10, no. 42 (July 30, 2021): 9–14. http://dx.doi.org/10.34069/ai/2021.42.06.1.
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The paper analyzes the short story “Obsession” written by Maxim Gorky in the Nizhny Novgorod period of his work, which has been given little attention in philological works. On the one hand, the author himself defined its genre as a Christmas tale; on the other hand, this work cannot be brought into line with Christmas tales and short novels by Gogol and Dostoyevsky, since in Gorky’s story, no miracle occurs. However, this small text still deserves literary scholars’ attention. The short story introduces an interesting paradox of artistic space and time: in outward appearance, the action takes place within one room, on the couch, but the hero’s internal experiences, his conflict with the alter ego carry the reader into the distant past, the Christmas days of the main character’s family, and then the imagination, vision that visited Foma Mironovich come to the fore and become a plot-forming feature. The form in which the story content is presented (obsession, dream, delusion) is typologically similar to the structure of Russian folklore tales telling about encountering the phenomena of the “other world”. The results of the study may be of interest to both literary and cultural scholars.
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Arustamova, Anna A., and Alexandr V. Markov. "CONSTRUCTIVE FUNCTION OF LOVE NARRATIVE IN NATALIA REZNIKOVA’S SHORT STORIES." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 10 (2020): 216–25. http://dx.doi.org/10.28995/2686-7249-2020-10-216-225.
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Natalia Reznikova, a writer of Russian emigration in China, combined in her stories the tradition of love short stories with a moral view of the earlier forms of passion expression. In her prose, judgment is imparted to a woman who cares less about spiritualizing passion than about narrative coherence, which forbids the overt display of affection. The events must progress as in a fine novel, not a short story. Criticizing the symbolist premature equations between the corporeal and spiritual worlds, Reznikova is close to philosophical idealism in the spirit of Vladimir Soloviev, where a love story should be a life drama, not an episode. But she readily uses the clichés of cinema and mass literature, while morally rejecting their content. Such clichés contribute not to the movement of the plot, but to the cyclization of stories depicting the different ages of a woman, when the similarity of plot patterns frames a lifelong love. In Reznikova’s poetics, the feminine optic regulates the implicit art of love, and the corporeality of woman is manifested in her capacity for life-long readiness to act and self-control.
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Abasheva, Marina P., and Mariya V. Kurilenko. "POETICS OF CYCLIZATION IN THE PROSE OF YURIY BUYDA." Вестник Пермского университета. Российская и зарубежная филология 12, no. 2 (2020): 72–80. http://dx.doi.org/10.17072/2073-6681-2020-2-72-80.
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The article studies the poetics of the contemporary writer Yuriy Buyda in the context of the contemporary Russian short story. The analysis of historically specific forms of Buyda’s cyclization is considered as part of the general tasks of historical poetics in studying the evolution of literary forms. Structural and semiotic analysis of the writer’s works reveals that his prose forms peculiar cycles-clusters, ‘archipelagos’, where a cycle of stories appears to be related to novels. This connection is primarily determined by the setting, but also by recurring heroes and a specific – cumulative rather than cyclical – plot that traces its origin to myth. Through the example of one such cluster of texts – the cycles Zhungli, Gates of Zhungli (Vrata Zhungley) (2011), Lions and Lilies (L’vy i Lilii) (2013), the novel Blue Blood (Sinyaya krov’) and related works – the paper investigates the nature and logic of the depicted world, the mechanisms of its intra-textual connections, as well as the genesis due to both the nature of the author’s artistic thinking and the social, historical and literary, biographical context. Thus, we can observe a tendency of transcending the genre boundaries of a story or novel in favor of hypertext rhizomatic formations – based on mythologizing strategies. These features correlate with the general interest of contemporary Russian literature in collections of short stories, on the one hand, and the contemporary novel’s leaning to disintegration of a single narrative and fragmentation, on the other. It is possible that the tendencies toward hypertext strategies for text generation are determined by the general properties of modern thinking and social communication since today the social morphology of society is built in the form of networks.
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Gilk, Erik. "K legionářské tvorbě Františka Langera." Bohemica litteraria, no. 2 (2023): 66–82. http://dx.doi.org/10.5817/bl2023-2-4.
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The paper deals with the thematic construction of František Langer's legionary work, including short stories, plays and a novel for children. In the case of the short stories published in the collection Železný vlk (1923), their narrative situation was also analysed. The short story Za cizí město is considered a key one, pointing out the difficult situation of our soldiers during the Russian Civil War. In the extensive children's novel Pes druhé roty (1923), the author's effort to create a complex artistic image of the Siberian anabasis of the legionnaires is captivating. The mythicizing position, which could already be identified in the seeds in short stories, is fully exposed here. The most famous drama with the theme of the legions, Jízdní hlídka (1935), was already created with a longer gap between the events depicted and presents a different, no longer unequivocally positive, image of the legionnaires. A comparison with play Plukovník Švec (1928) written by Langer's comrade-in-arms Rudolf Medek, which is based on a specific historical event and caused an extensive controversy, is offered.
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Kowalska, Martyna. "Remake jako forma dialogu z klasyką (inspiracje „Szynelem” Mikołaja Gogola w wybranej literaturze rosyjskiej XX i XXI w.)." Politeja 16, no. 2(59) (December 31, 2019): 327–51. http://dx.doi.org/10.12797/politeja.16.2019.59.19.
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Remake as a Form of the Dialogue with the Classics (Nikolai Gogol’s ‘The Overcoat' as an Inspiration in Russian Literature in the End of the 20th Century and the Beginning of the 21st Century)
The article is devoted to the very recent phenomenon in contemporary Russian literature – to a remake. The subject of this research is the literary ‘dialogue’ between classical short story (The Overcoat by Nikolay Gogol) and Russian literary works in the end of the 20th century and the beginning of the 21st century. In scope, there is a micro-novel of Vladimir Voinovich The Fur Hat, then Dmitry Gorchev’s novel The Phone and Vladimir Shinkariev’s work The Flat, as well as Bashmachkin – a drama written by Oleg Bogaev. The interest that contemporary authors demonstrate in Gogol’s work is a result of the problems described which still appear to be current. This is also an attempt to make Russian classics contemporary and reinterpret the 20th century novel simultaneously. The methods of bringing ‘Gogol’s text’ up to date in the above-mentioned works present the wide range of possibilities that remake gives. Voinovich put social and political principles of Soviet state in the first place. The Table of Ranks together with its submission of an individual towards the state has been deeply analyzed. In Gorchev’s and Shinkariev’s stories contemporary Bashmachkins – ‘little men’, eager to fulfill their dreams about better life – are presented. What is more, those texts show a very interesting picture of Russian reality in the beginning of 21st century ruled by lawlessness, corruption and money. The most original approach to Gogol’s work was presented by Bogaev in Bashmachkin’s story continuation. However, the main character is the overcoat who is administering justice on behalf of a dying hero. The remake-sequel is not only a modernized version of Gogol’s plot but also a new text growing up from a postmodern game. A proposed analysis of the above-mentioned Russian remakes presents many different ways a classic literature text can be modernized thanks to this kind of adaptation. However, on the ground of Russian literature, a remake is above all a pursuit of a dialogue with the classics, an attempt to modernize the problematic aspects and emphasize timeless contents.
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Bogdanova, Olga A. "The Semiotics of Dacha in Dostoevsky’s Story “The Eternal Husband”." Dostoevsky and World Culture. Philological journal, no. 3 (2023): 66–80. http://dx.doi.org/10.22455/2619-0311-2023-3-66-80.
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Dostoevsky’s story “The Eternal Husband” (1870) is analyzed here for the first time in the light of the estate/dacha topics present in it and placed in the context of the development of the “dacha text” in 19th-century Russian literature. The dynamics of Dostoevsky’s perception of the dacha are also traced: from positive connotations in early works to negative, ironic ones in late works. It is established that while the “estate text” is present in most of the writer’s works of 1840s–1870s, the “dacha text” can be found mainly in two works of the late 1860s: the novel The Idiot (1868) and the story “The Eternal Husband.” The reason for Dostoevsky’s short–term fascination with the “dacha topos” in the post-reform era is the search for a platform for the interaction between Russian social stratums to develop a nationwide worldview and identify the new “best people,” future leaders of the country. Such a role was played in The Idiot by the dachas of Epanchins and Lebedev. In “The Eternal Husband” the dachas of Pogoreltsevs and Zakhlebinins also serves as a neutral, middle space for an equal dialogue between “people of different worlds:” Velchaninov, a prominent figure of the high society, and Trusotsky, a provincial official. However, here the sociocultural possibilities of the “dacha topos” are disappointed: now the dacha is only the focus of petty-bourgeois vulgarity and mediocrity, a sign of decrease compared to the estate. Boris Tikhomirov’s conclusions about the involution of Velchaninov’s inner world, made at the level of characterology, are confirmed by our analysis at the level of topics: the spiritual and moral degradation of the hero is accompanied by his transition from the world of “estate” values to the sphere of “dacha” interests, which corresponds to a noticeable trend in the life of the Russian educated class of the last third of the 19th century. In our opinion, this can explain Dostoevsky’s refusal to develop the “dacha topos” in the late 1860s and return to the “estate topos” in the last three novels written in the 1870s.
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Ponomareva, Anastasia A. "The Generation Gap in Russian Literature of the Second Part of 1850s." Philology 18, no. 9 (2020): 157–68. http://dx.doi.org/10.25205/1818-7919-2019-18-9-157-168.
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The paper analyzes the generation gap in the Russian literature of the second part of 1850s. Our research is based on works published in magazines: short stories, novelettes, and novels by L. N. Tolstoy, E. P. Novikov, P. I. Melnikov-Pecherskii, S. T. Slavutinskii, S. A. Ladyzhenskii, N. M. Pavlov, etc. The generation gap in Russian literature of the second part of 1850s hasn’t yet been made an object of special research. It is traditionally touched upon in relation to the novel Fathers and Sons (1862) by I. S. Turgenev and fiction ‘generated’ by this novel. However, variants of 1850s and of 1860s differ from each other in significant ways: these variants linked by various ideas, heroes, plots and other. The paper features two variants of the generation gap formed in the Russian literature of the second part of 1850s: great-grandfather / grandfather versus children, fathers versus children. The paper contains a detailed analysis of characterology and plot functions of protagonists that collide with each other, as well as structural-semantic plot organization. First generation gap formed in the middle of 1850s. Short stories, novelettes, and novels have similar plot-composition structures: a story from the distant Russian past forms the plot core; as a rule, events take place in the 18th century (the so-called grandfather’s time); most often, the story is told by a servant of an old lord or is written down after his words; the audience of the story is meant to be from the middle of the 19th century; in some cases, he is also the narrator, a young man who compares generation values of the 18th and 19th centuries. The paper asserts that, in spite of the fact that events take place in the past, the generation are identified through the turn towards social processes of the second half of the 1850s, particularly the emancipation reform. Literature and criticism emphasize the arrival of the new educated follower of democratic reforms instead of the hot-tempered landowner of the old type. The type of the educated landowner gained prominence in 1850–1860s during the active discussion of the emancipation reform. The main narrative function of such protagonists is to prove the effectiveness of democratic theories in practice. At the core of the plot there is the conflict with the generation of fathers, the opponents of reform. We propose that the generation of children, as well as the generation of fathers, is needy: in spite of their education, the young men are shown to be petty and unable to act upon their words or understand the peasant way of life. The protagonists explain their lack of success by other reasons: the new generation was too hasty in their actions. In conclusion, we maintain that Russian literature reflects an important social process of second part of 1850s, namely the anticipation of a ‘new’ man able to act upon popular democratic theories. This type formed ex adverso: writers and critics show a kind of behavior that differs from that of great-grandfathers, grandfathers, or fathers. However, the problem of rearrangement of the social system is beyond the abilities of the ‘fifties’ protagonist’. Much as he differs from his ancestors, he remains their descendant. A demonstrative devotion to democratic theories does not negate his aristocratic privileges. As a result, the plot turns stemming from popular ideas do not work as expected in the end.
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Korotkova, L. Y. "‘Eternal’ Sonechka: An attempt to discover an archetype." Voprosy literatury, no. 6 (December 28, 2020): 27–34. http://dx.doi.org/10.31425/0042-8795-2020-6-27-34.
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The article discusses the transformation of the image of ‘eternal’ Sonechka, originating in F. Dostoevsky’s novel Crime and Punishment [Prestuplenie i nakazanie] and undergoing subsequent changes while preserving the stability of an archetype and acquiring new meanings in M. Tsvetaeva’s The Tale of Sonechka [Povest o Sonechke] (1938), T. Tolstaya’s short story Sonya (1984) and L. Ulitskaya’s novel Sonechka (1992). In following the logic of the heroine’s development, the author finds that all Sonechkas share such features as femininity, loyalty, and an inherent ability to ‘radiate passionate enthusiasm and give warmth:’ this talent for self-sacrifice can be realized in a family, in one’s attitude towards art or a lover, or just by mistake (as in the case of T. Tolstaya’s Sonya). It is easy to see that all female authors in focus of L. Korotkova’s article, while polemicizing with Dostoevsky in that they exaggerate the heroine’s traits to absurd proportions, fall under the spell of the charming ‘eternal Sonechka as long as the world lasts.’ The undying interest of Russian literature in this character only confirms its archetypal status in Russian culture.
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Salakhova, A. R., and A. Yu Yazykova. "Opening the boundaries of a literary text: Anton Chekhov’s novel “Kashtanka” and its film adaptation in teaching Russian as a foreign language." Philology and Culture, no. 1 (April 7, 2024): 172–77. http://dx.doi.org/10.26907/2782-4756-2024-75-1-172-177.
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The article describes the work with a literary text and its adaptation in the classroom of Russian as a foreign language. In particular, we focus on the ways of understanding a literary text by including a film adaptation into classroom activities. Special attention is paid to the characteristics of the intersemiotic translation and its basic concepts: adaptation, film adaptation and interpretation. For the methodology of teaching Russian as a foreign language, this distinction is conditional and is of great interest from the point of view of understanding the idea and content of the literary text and the peculiarities of its interpretation. When working with international students, the use of screen versions of Russian literature texts helps, on the one hand, to simplify the process of understanding their meaning and key points by visualizing verbal and nonverbal components of the text, on the other hand, to complicate this work - to increase the amount of information provided. The present paper presents the algorithm of working on the text of the short story “Kashtanka” by Anton Chekhov and its film adaptations and formulates sample tasks for classroom and independent work.
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Сычева, Е. О. "Comparative analysis as a teaching method (using the example of F. M. Dostoevsky’s novel “Crime and Punishment” and E. Poe’s short story “The Tell-Tale Heart”)." Management of Education 14, no. 3-1(78) (March 15, 2024): 183–87. http://dx.doi.org/10.25726/x0003-9444-7542-h.
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Статья посвящена рассмотрению приема психологизма в творчестве американского новеллиста Э. По и русского писателя Ф.М. Достоевского. В работе отмечен общемировой интерес в литературе XIX – XX века к психологии. Э. По является новатором в области психологических новелл, его творческое наследие повлияло на поэтику многих писателей, в частности Ф.М. Достоевского. Актуальность работы состоит в рассмотрении особенностей психологизма в творчестве русского и американского писателя на примере романа Ф.М. Достоевского «Преступление и наказание» и новеллы Э.А. По «Сердце-обличитель». Оба писателя обращаются к внутреннему миру персонажа, акцентируют внимание на исследовании души человека. Э. По в рассказе «Сердце-обличитель» и Ф.М. Достоевский в романе «Преступление и наказание» ориентируются на искаженную парадигму человека- выбирают героем убийцу, сумасшедшего, чтобы с точностью показать изменение его душевных переживаний. Несмотря на схожесть двух художественных текстов, отмечается отличие. Русский писатель обращается к психологизму, чтобы довести Раскольникова до мук совести, привести его к нравственному очищению через страдание. Антропологические предпосылки русского писателя опираются на образ интеллигибельного человека, моральной личности, находящейся под присмотром совести. Американского писателя же интересует подробное описание ухудшенного духовного состояния героя. The article is devoted to the consideration of the method of psychologism in the works of the American short story writer E. Poe and the Russian writer F. M. Dostoevsky. The work notes the worldwide interest in psychology in the literature of the 19th – 20th centuries. E. Poe is an innovator in the field of psychological short stories; his creative legacy influenced the poetics of many writers, in particular F.M. Dostoevsky. The relevance of the work lies in considering the features of psychologism in the works of Russian and American writers using the example of the novel by F.M. Dostoevsky “Crime and Punishment” and short stories by E.A. By "The TellTale Heart". Both writers turn to the inner world of the character and focus on exploring the human soul. E. Poe in the story “The Tell-Tale Heart” and F.M. Dostoevsky in the novel “Crime and Punishment” focuses on the distorted paradigm of man; they choose a murderer or a madman as the hero in order to accurately show the change in his mental experiences. Despite the similarity of the two literary texts, there is a difference. The Russian writer turns to psychologism in order to bring Raskolnikov to the pangs of conscience, to lead him to moral purification through suffering. The anthropological premises of the Russian writer are based on the image of an intelligent person, a moral person under the supervision of conscience. The American writer is interested in a detailed description of the hero’s deteriorated spiritual state.
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TETIK, KEVSER, and ONUR AYDIN. "TRANSFERRING THE FUNCTIONS OF THE RUSSIAN DASH IN TRANSLATION INTO TURKISH (ON THE EXAMPLE OF THE STORY “CAUCASUS PRISONER” BY L. N. TOLSTOY)." Tyumen State University Herald. Humanities Research. Humanitates 8, no. 1 (2022): 19–37. http://dx.doi.org/10.21684/2411-197x-2022-8-1-19-37.
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The aim of this study is a comparative description of the functions of the dash in the story by Lev Nikolayevich Tolstoy “The Prisoner of the Caucasus” and its translation into Turkish. In this study, analyzing original text and its translation contextual, comparative and stylistic science methods were utilized. The subject of the research is the meanings and functions of dash sign (—) in short story and translated text. While the use of dash is quite limited in the Turkish language, it is one of the most frequently used punctuation marks in Russian. The similarity of the use of this sign is that in both languages it is used in direct speech, dialogue. Studies related to the comparative analysis of punctuation marks in literary texts in Russian and Turkish are almost nonexistent. The comparison and analyses of texts show that dash has been used more commonly in the Russian language compared to Turkish and these areas of use do not match with the use of dash in Turkish. While in the 22-page Russian novel “Prisoner of the Caucasus” written by L. N. Tolstoy, dash was used 332 times in total, it was never used in the Turkish translation. It is noteworthy that dash was mostly used for author-specific purposes in the original Russian text. In the Turkish translation, comma, semicolon or colon were used instead of dash, and sometimes no punctuation was used. Consequently, in the translation of the work into Turkish, Russian sentences containing the dash frequently lost their meaning. In this regard, the study draws attention to the fact that when translating texts from Russian into Turkish, it is necessary to take into account the functions of dashes in order to convey them accurately and adequately, for which other means of expressing these values can be used. And also, when teaching Russian as a foreign language, it is necessary to pay close attention to the study of the principles of Russian punctuation and the functions of punctuation in a sentence.
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Ляпін, Руслан Сергійович. "БУТТЯ, ЩО ПАДАЄ В «СВІТ»: А. ПЛАТОНОВ ТА М. ХВИЛЬОВИЙ У КОНТЕКСТІ ФІЛОСОФІЇ М. ХАЙДЕГГЕРА." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 1, no. 99 (2022): 85–100. http://dx.doi.org/10.34142/2312-1076.2022.1.99.06.
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This article presents a comparative analysis of A. Platonov's novel “The Secret Man” and M. Khvylovy's short story “Blue November” in the context of the philosophical paradigm of Heidegger's “being-in-the-world”. M. Heidegger's fundamental ontology as an object of research allows us to interpret the specifics of the behaviour, expressed thoughts and feelings of the characters of the works of Russian and Ukrainian classics of the first part of XXth century. It is shown that everyday life, which, according to M. Heilegger, falls into the “world”, “closes” protagonists from themselves in A. Platonov's and M. Khvylovy's works. The protagonist of Platonov's novel Foma Pukhov perceives his own dreams, the irrational side of his personality, as a “deception” of reality, and in Heidegger's sense “runs away” from a way of thinking that does not help to cope with everyday affairs. Everyday life in the world of Mary in Khvylovy's short story is characterized by the rejection of motherhood as her natural vocation, as well as the constant suppression of tender feelings for Vadim. If M. Heidegger marks alienating everyday life with spatial predicates of movement “down” (“roll” and “fall”), Khvylovy describes the heroine's fall into the “world” and alienation from herself as a reduction in size. Maria in Khvylovy’s novel and Pukhov in Platonov’s are in search of a way from everyday life, which “rolls down” and alienates, to the authenticity of being. Pukhov finds it in the “revolutionary” work for the benefit of others. The truth of the “restless” Maria remains the prospect of her further search after Vadim's death.
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Babikov, Andrei. "Ada’s Penmanship To the publication of an excerpt from the Russian translation of Nabokov’s novel." Literary Fact, no. 16 (2020): 8–67. http://dx.doi.org/10.22455/2541-8297-2020-16-8-67.
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The material offered to the readers is a translation into Russian, with extensive notes, of an excerpt from the First Part of Vladimir Nabokov’s novel Ada, or Ardor: A Family Chronicle (1969). The published material consists of a translator’s Preface, five chapters from the novel, notes by V.V. Nabokov and the translator’s annotations. The Preface to the publication describes the creative and biographical circumstances of the creation of one of the most significant and controversial novels of the twentieth century, and indicates the sources of its conception, which goes back to the English short story of Nabokov Time and Ebb (1944), and considers its formal peculiarities. The Preface outlines the basic principles of Ada’s poetics, which distinguish it from the number of other works of the outstanding master and innovator of prose and affect it’s readers perception, such as: deliberate complexity of the narrative technique and an unprecedented variety of language tools used by Nabokov. The author of the Preface draws attention to the fact that the subtitle of the novel, indicating that it belongs to the genre of family chronicles, serves as one of the elements of Nabokov’s game poetics, since the classical tradition becomes the subject of parody in Ada. The novel is considered by the author of the Preface and translator of Ada as a grand compendium of European literature of Modern period, as an experiment in combining many varieties of the novel, from pastoral and Enlightenment utopian fiction of the 16– 17 centuries to the Nouveau roman of the 1950s and 1960s. The new Russian version of Nabokov’s most untranslatable novel took into account detailed annotations (in progress) by B. Boyd, works by A. Appel, Jr., and other researches, observations by one of the German translators of Ada, D. Zimmer, and the text of the French translation of the novel, which was prepared under Nabokov’s supervision. The Preface to the publication and the translator’s annotations involve archival material, in particular the draft of several chapters of the Russian translation of Ada, prepared by Véra Nabokov.
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Segal-Rudnik, Nina. "«Вечный муж» и традиция мениппеи." Roczniki Humanistyczne 69, no. 7 (August 11, 2021): 171–86. http://dx.doi.org/10.18290/rh21697-11.
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The article examines the motif structure of the main characters in Dostoevsky’s The Eternal Husband against the background of menippea and its various genres. The parodic transformations of the images and motifs of Dostoevsky's previous texts, especially the novel The Idiot, modify the traditional love triangle of the short story. The relationship between the protagonist and the antagonist reflects the ambivalence of the archetypal scheme “king vs jester” and the way it appears in Hugo’s romantic drama Le Roi s’amuse and Verdi’s opera Rigoletto. The plot of revenge and vindication of trampled dignity dates back to the genre of medieval mock mystery (R. Jakobson) and its narrative of the Easter resurrection, posing the problem of Christianity and its values in the Russian society of the time.
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Kolykhalova, Olga A., and Anna Yu Kuldoshina. "Perceptions of Russian Literature in Britain in the end of the XIX — beginning of the XX century." NSU Vestnik. Series: Linguistics and Intercultural Communication 17, no. 4 (2019): 119–29. http://dx.doi.org/10.25205/1818-7935-2019-17-4-119-129.
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The purpose of the article is to analyze the existing ideas about Russian literature in Britain at the end of the 19th and the first half of the 20th centuries. A brief overview of the advancement of works by Russian classics among British readers is given. The spread of Russian literature in Britain had been progressing slowly for a long time due to the difficulty in translation and the lack of interest in Russia and Russian culture. However, at the end of the 19th and the first half of the 20th centuries, the situation changed in the British literary community. This period saw a plethora of publications of translations of Russian fiction that were accomplished by professional translators, Slavonic scholars, and writers. These translations appeared in periodicals and other print formats. The article provides an overview of the translation of works of F. M. Dostoevsky, L. N. Tolstoy, A. P. Chekhov, who have become the most understandable and accessible to the English mentality. It happened thanks to such outstanding translators as C. Garnett, Aylmer and Louise Maude, S. S. Koteliansky (who worked in collaboration with V. Woolf, J. M. Murry), R. E. C. Long and others. Having gained access to high-quality translations of Russian classics, British writers began to study their works in greater detail. The British saw the influence of English and European writers (W. Shakespeare, Ch. Dickens, J.-J. Rousseau, J. W. Goethe, V. Hugo, etc.), e.g., in F. M. Dostoevsky’s works. However, later the Russian influence could also be felt in the Western novel, modifying it. There is an opinion that the works of A. P. Chekhov, translated by Garnett, changed the English short story, making it exactly as we know it. V. Woolf, J. Joyce, B. Shaw, J. Galsworthy, A. Bennett and others admired the depth, style, and language of Russian writers. Translation of works of great Russian authors facilitated the flow of information about Russia and expanded the Brit’s view on the country and its people. It once again confirms the existence of mutual cultural exchange between the two countries from a historical perspective. It can be argued that, despite all the complexities of the relationship, the mutual influence of the literatures of the two countries is quite significant.
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Bintang, Gilang, and Satria Raditiyanto. "The Characterization of The Main Characte and Ivan Ilyich Character Analysis in The Short Stories The Death of Ivan Ilyich Written By Leo Tolystoy." Jurnal Ilmiah Social Teknik 5, no. 1 (December 22, 2022): 1–8. http://dx.doi.org/10.59261/jequi.v5i1.121.
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In this Literature research, the researcher will analyze about the characterization from the several main character and Ivan Ilyich character analysis as the main character from the short stories: The Death of Ivan Ilyich Written by Leo Tolystoy. This short stories also has scores another triumph for Nobel Prize winner. This Short stories is the filled with Ivan Ilyich profound vision of life, as the honest Judgment of a high court prosecutor in 19th-century Russian miserable husband, the proud father, and upwardly-mobile member of Russia's professional class, the object of Tolstoy's unremitting satire. The researcher will completed the character explanation with the description about the several characterizations from the another main character base from the short story written by Leo Tolystoy. Short stories are short stories with a small page 20 until 50 pages, considerably longer, depicting a real life in a complex sequence of events. Rees states that short stories is the most widely being read of all kinds of literature (1973:106). The Literature research will analyze about the characterization from the several main character, and analyze the Ivan Ilyich character base from E.M. Foster (1927), and the Ivan Ilyich obsession base from the short stories with using the structural elements of literature study.
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Bintang, Gilang, and Satria Raditiyanto. "The Characterization of The Main Characte and Ivan Ilyich Character Analysis in The Short Stories The Death of Ivan Ilyich Written By Leo Tolystoy." Equivalent Jurnal Ilmiah Sosial Teknologi 5, no. 1 (December 22, 2022): 1–8. http://dx.doi.org/10.46799/jequi.v5i1.121.
Full textAbstract:
In this Literature research, the researcher will analyze about the characterization from the several main character and Ivan Ilyich character analysis as the main character from the short stories: The Death of Ivan Ilyich Written by Leo Tolystoy. This short stories also has scores another triumph for Nobel Prize winner. This Short stories is the filled with Ivan Ilyich profound vision of life, as the honest Judgment of a high court prosecutor in 19th-century Russian miserable husband, the proud father, and upwardly-mobile member of Russia's professional class, the object of Tolstoy's unremitting satire. The researcher will completed the character explanation with the description about the several characterizations from the another main character base from the short story written by Leo Tolystoy. Short stories are short stories with a small page 20 until 50 pages, considerably longer, depicting a real life in a complex sequence of events. Rees states that short stories is the most widely being read of all kinds of literature (1973:106). The Literature research will analyze about the characterization from the several main character, and analyze the Ivan Ilyich character base from E.M. Foster (1927), and the Ivan Ilyich obsession base from the short stories with using the structural elements of literature study.
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Ostrovskaya, Elena S. "“Under the Sway of Coal,” or a Story of the British Coal Miner Harold Heslop, Who Failed to Become a Soviet Writer." Slovene 6, no. 2 (2017): 482–504. http://dx.doi.org/10.31168/2305-6754.2017.6.2.20.
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The paper focuses on the rapid and short-living Soviet writing career of the British coal miner Harold Heslop. Between 1926 and 1931, three novels by Heslop were published in the USSR (in Russian translation) and the translation of a fourth was commissioned and completed, and in 1930 the author himself travelled to the USSR as one of two members of the British delegation at the Kharkov conference of the International Union of Revolutionary Writers (IURW). However, that was the end of his success: the translated novel Red Earth was not published nor were any of his later novels. The only venue for his rare shorter essays and occasional prose excerpts was the magazine International Literature. The paper discusses this curious writer’s biography from different perspectives. It analyzes at length the critical article by Anna Elistratova, published in Na literaturnom postu and International Literature, juxtaposing the two versions and the text of Heslop’s novel to contextualize the writer and his work in the Soviet literary criticism of the time. It explores archival materials—Heslop’s correspondence with different people and institutions as well as institutional papers—to discuss the case as personal as well as institutional history, representative of the situation of the 1930s. Finally the article shifts perspective to discuss the author and his work in the context of the British working-class literature of the time.
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Laletin, Y. P. "Useful and Necessary Book about Outstanding Personalities from Afghan History and Culture." Concept: philosophy, religion, culture 7, no. 3 (September 30, 2023): 142–45. http://dx.doi.org/10.24833/2541-8831-2023-3-27-142-145.
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MGIMO University published the second edition of the book Afghan Novels and Stories by Ye. D. Ostrovenko. Yevgeniy Dmitrievich served as Russian Ambassador to Afghanistan in 1992 and was the first ambassador to present credentials signed by the President of Russia to the head of the Afghan state. His book makes a great contribution to strengthening bilateral ties between Russia and Afghanistan, expanding the horizons of knowledge about this country, its history and culture. Candidate of Historical Sciences, Ye. D. Ostrovenko worked for many years both in Afghanistan itself and in the central apparatus of the USSR and Russian Foreign Ministries in the Afghan direction and knows Afghanistan firsthand. He saw more than fifty years of the history of relations between the USSR and Russia with Afghanistan pass before his eyes, and often participated in them personally. The book is in a rare genre combining history, including archives and other historical materials, and fiction. It revolves around personalities, yet manages to show a bigger picture of the history and politics of the country and its peoples. The book tells about a number of outstanding personalities, but special attention is drawn to the poet and warrior Khushhal Khan Khattak (XVII), the first ruler of the independent Afghan state Ahmed Shah Durrani (XVIII), statesman and diplomat Muhammad Wali Khan (late 19th – early 20th centuries). Some of the novels present unique findings of the author. So, in the process of creating the story Canal E. D. Ostrovenko relied on the experience of his practical work as a translator and his novel can be considered original historical evidence. Through the collection of short stories readers get acquainted with the peculiarities of Afghan life, learn about the difficult, and sometimes dangerous, everyday life of Russian diplomats. The new edition includes two newly published novels Pashtun scholar, devoted to M. G. Aslanov, the author of the Pashtu-Russian dictionary, and Warrior fighting with two swords. Book by E. D. Ostrovenko is written in excellent Russian and is easy to read. The author makes extensive use of classical Afghan and Iranian poetry, which arouses additional interest among specialists, including students of the Afghan languages — Pashto and Dari. The book was met with a favorable reception by the Afghans themselves, receiving a wide response and high praise from the Afghan diaspora in Moscow. It will be a useful read not only to students studying Afghanistan, but also to anyone interested in the culture of this wonderful country with its complex and multifaceted history.
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Wu, Xiaoting. "The image of a "new woman" in the novel "Virgin Soil" by I. S. Turgenev and in the short story "Mourning the Dead" by Lu Xun." Litera, no. 11 (November 2023): 221–27. http://dx.doi.org/10.25136/2409-8698.2023.11.68968.
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The object of this article is the image of "new woman" in Russian and Chinese literature. The subject of the study is the correlation between the characters of two heroines, Zijun and Marianna, who are the bearers of a new female identity, in the story "Mourning the Dead" by Lu Xun and the novel "Virgin Soil" by I. S. Turgenev. The aim of the study is to identify the main factors that determined different outcomes of the storyline of these characters, despite the similarity of their fates. In order to achieve the set goal, it is necessary to solve the following tasks: 1) to reveal the personality of the two characters by analyzing their life path, as well as the beginning and end of their respective love; 2) to analyze the author's intention based on the socio-historical context of the period of creation of these two works. The following methods were used during the study: comparative method, method of holistic analysis of a literary work, as well as cultural-historical method. The scientific novelty of the work lies in the fact that the article is the first attempt to compare Lu Xun's short story "Mourning the Dead" with I. S. Turgenev's novel " Virgin Soil ", with special attention paid to the opposite denouement of the stories of Zijun and Marianna. Based on the analysis, it is concluded that the outcome of the fates of these heroines is directly related to their perceptions of their own lives and love, which are conditioned, in turn, by the different intentions of the authors regarding the logic of the development of their characters. The scientific significance of the study lies in the fact that the data obtained not only reveal the ideas about the image of the "new woman" in general, but also contribute to a deep comparative understanding of the analyzed books, which can contribute to the field of comparative literary studies between Russia and China.
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Komarova, Olga. "“Писатель всегда платит за все валютой собственной жизни: за счастье, за творчество, за любовь, за увлечения...”: О романе Дины Рубиной На солнечной стороне улицы." Poljarnyj vestnik 10 (January 1, 2007): 14. http://dx.doi.org/10.7557/6.1307.
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The article deals with Dina Rubina's novel On the Sunny Side of the Street, published in 2006. The writer's name became known in Russia in the 70-ies when as a young girl she began publishing her first short stories in the liberal literary magazine Junost ́, and got her first recognition among the reading public as a promising story-teller.After her emigration to Israel in 1990 a new period in Dina Rubina's writing started. A new theme made itself apparent in her stories - the theme of Jews from the former Soviet Union discovering their new Motherland, their new experience of living under absolutely different geographical and social surroundings. She managed to create in her stories a gallery of characters almost recognizable in their uncertainty and fumbling attempts at survival. The stories she wrote then were a success with the public not only because of their plot but also because of a peculiar mixture of humour and sadness, and very vivid and convincing speech characteristics of the protagonists, they also witnessed about the awakening of patriotic feelings of the newcomers. Dina Rubina's artistic style seemed to combine the vividness of the psychological characterization and caleidoscopic variety of depicted situations.The novel On the Sunny Side of the Street is different both in the topic and in the artistic means used by the author. It is telling a story of two gifted persons, mother and daughter, and their different ways of using their talents.This particular story is shown on a wide background of different events taking place in Tashkent during some four decades after World War II with a picturesque variety of characters of different nationalities and beautiful scenery, tragic and comic signs of the Soviet time - all this helps to create a panoramic view of both the city and its inhabitants.The structure of the novel is complicated, the story is often interrupted by voices of former inhabitants of Tashkent telling about their impressions from the town or by the voice of the author telling of her own private experiences and even meetings with the main protagonist, Vera, who is a painter. This fact accounts for the author's masterful use of colourful details both in descriptions of the characters, their speech and the nature.This novel was rewarded with a special Radio-Booker prize in 2006, and with a very prestigious literary prize "Bol ́šaja kniga" in 2007. Dina Rubina has proved that she remains a very important part of Russian literary life.
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Butenina, E. M. "VLADIVOSTOK AS A TRANSFER LOCUS IN ENGLISH FICTION." Humanities And Social Studies In The Far East 18, no. 1 (2021): 161–65. http://dx.doi.org/10.31079/1992-2868-2021-18-1-161-165.
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The paper discusses Vladivostok – “an eccentric city on the edge of cultural space”, in Yuri Lotman’s terms – as a locus of intercultural transfers (both in direct and indirect sense) in Somerset Maugham’s and Maurice Kennedy’s short stories as well as in William Gerhardie “novel on Russian themes” Futility. For Vladivostok (as for St. Petersburg whose natives founded the Pacific fort and became its first residents), railway stations and bridges are the key “topographic indices”, in Vladimir Toporov’s terms. For the transfer aspect various leisure institutions (restaurants, theatres, clubs) are also important as they mark existence outside home. Besides these cultural facilities, the locus of sea is important as it both divides and connects distant land locations. The paper argues that after Gerhardie’s novel Vladivostok entered English literary consciousness as a distant, practically unreachable topos of unfulfilled dreams. At least, this is the city’s function in the Irish author Maurice Kennedy’s short story titled “Vladivostok”. The expanding circle of city texts in cultural studies enables to discover new pages in literature. The “eccentric” marine cities such as St. Petersburg, Vladivostok, or New York have a special potential for such studies, since the sea routes initially determined their multicultural identity and a unique location sense for which the transfer possibility is just one of the many facets.
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Yulianto, Wawan Eko. "The Survival of Faith in Solzhenitsyn’s One Day in the Life of Ivan Denisovich and “Matryona’s House”." k@ta 21, no. 1 (June 21, 2019): 42–50. http://dx.doi.org/10.9744/kata.21.1.42-50.
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Faith is a vital element in the works of Nobel laureate Alexander Solzhenitsyn, a Russian writer who experienced the notorious Gulag and difficultly in a strongly atheistic country. However, faith is never a simplistic topic for Solzhenitsyn, especially writing in a time when religion was officially shoved aside from the public discourse. In the light of a set of views on religion inferred from Terry Eagleton’s essay, this paper aims to explain the anomalous religiosity as seen in the narrators of Solzhenitsyn’s novel One Day in the Life of Ivan Denisovich and short story “Matryona’s House.” According to the Eagleton’s model, there are three stages of religiosity, namely, 1) omission of religion’s otherworldly and pure ritualistic elements, 2) acceptance of mentally-empowering potentials of religion, and 3) internalization of the humanistic values of religion. The analysis concludes with a notion that One Day in the Life of Ivan Denisovich and “Matryona’s House” represent an evolution of faith that has gone through a period of challenge. On a sidenote, the analysis also confirms the dialogic nature of Solzhenitsyn’s works, in which one topic is presented through contradictory voices.
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Maslakhova, Alina B., and Ulyana S. Baimuratova. "METHODS TO TRANSLATE REALIA IN CHINESE-LANGUAGE NOVELS INTO ENGLISH AND RUSSIAN." Sovremennye issledovaniya sotsialnykh problem 14, no. 4 (December 29, 2022): 14–27. http://dx.doi.org/10.12731/2077-1770-2022-14-4-14-27.
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Background. The cultural reforms at the end of the 20th century in China opened to the world a whole variety of genres of Chinese short stories, as well as science fiction and historical fiction. Thanks to the Internet, they are gaining popularity at the present stage of literature formation, expanding the range of genres of online works with new types such as xianxia, xuanhuan, wuxia, which are rich in lexemes that denote the realia of Chinese culture and are of interest to translators.
Purpose. The article considers the stratum of equivalent-free vocabulary and reveals a variety of ways to translate realia from Chinese into English and Russian
Materials and methods. The research material comprises the popular Chinese short stories of the xianxia genre by the writers Mo Xiang Tong Xiu “Mo Dao Zu Shi” (also known as “The Untamed”), published by Jinjiang Literature City online publishing house (晋江文学城), 2015-2016, and the short story “Divine Doctor: Daughter of the First Wife” by Mo Shu Liu, published by Motie (磨铁图书), 2015. The material was analyzed using the continuous sampling and content analysis method, as well as the lexical-semantic and translation analysis.
Results. In this article the authors reviewed the scientific definition of the term “realia”. They also analyzed a new genre of Chinese online literature (xianxia) as one of the rapidly gaining popularity. Examples of realia from two online novels were classified according to the typology by four principles of division (subject, local, temporal, translational). It is defined that the indicated division of analyzed realia while translating them from Chinese into Russian and English manifested itself in creating a neologism, which results in preservation of content and flavor of the translated realia, as well as the descriptive, approximate and contextual types of translation.
Practical implications. The practical usefulness of the results of the study consists in the possibility of replenishing the cross-cultural dictionary of Chinese realia with new lexemes and their interpretation in Russian and English, in the use of the analyzed lexemes when compiling the trilingual corpus for linguists, philologists, literary scholars to work with.
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Nenarokova, Maria R. "Sterne and Yakovlev: On the reception of Lawrence Sterne in Russia." Vestnik of Saint Petersburg University. Language and Literature 20, no. 3 (2023): 549–66. http://dx.doi.org/10.21638/spbu09.2023.309.
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The article focuses on a little-known episode from the history of Russian-English literary relations. L. Sterne’ s works, “Sentimental Journey through France and Italy” in particular, were included in the range of reading of the educated Russian nobility, and “Sentimental Journey” attracted a wide variety of readers. Sterne’s “Journey” marked the beginning of “sentimental” travel literature in Russian, written by the authors “with eyes, full of tears.” Pavel Yakovlev, a writer of the first half of the 19th century, forgotten today, wrote short plays, novellas, a novel, numerous articles, but he became famous for his parodies. His most famous parody is the novella “Sentimental Journey along Nevsky Prospekt”, first published in parts in the “Blagonamerenny” magazine, and then as a separate book. Yakovlev used Sterne’s story as a kind of a plan recognizable by readers. Borrowing the structure of Sterne’s book helps the development of the plot. Yakovlev also uses various artistic means, a certain vocabulary and syntax, which are inherent in the works by Sterne. Yakovlev’s book is a monologue of the protagonist, which includes the conversations he heard in coffee houses, shops, visiting friends. Like Sterne’s text, Yakovlev’s novella belongs to “oral culture,” that of salons. There are three planes in Yakovlev’s novella: the creation of a literary envelope that holds the attention of readers; a parody of the “sentimental journey” as a literary genre; depiction of scenes from the life of literary Petersburg.
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Alexandrova, Elmira. "FLAUBERT’S ALLUSIONS IN THE CREATIONS OF G. GAZDANOV." Проблемы исторической поэтики 21, no. 2 (June 2023): 236–157. http://dx.doi.org/10.15393/j9.art.2023.12342.
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The present study is devoted to the images of episodic characters in Gaito Gazdanov’s work that were styled after themain character of G. Flaubert’s short story “A Simple Soul” (“Un cœur simple”). The characters marked by the features similar to those of Felicite appear in many of the young émigré writer’s works of the 1920s and 1930s: they include the maid and the cook from the novel “Vecher u Kler” (“Evening at Claire's”), the cook from the story “Vecherniy sputnik” (“Evening Companion”) and a number of characters from “Nochnye dorogi” (“Night Roads”). The motifs of constantly shifting affections, absent-mindedness, thoughtfulness, “frozen” age, peasant origin and “woodenness” as a symbol of frozen immobility, bourgeoisness, “geographical cretinism,” etc. In some images, the intertextual layers are overlayed: in addition to Flaubert’s, this is the reception of the “Leninist cook,” who “must learn to manage the state” (as a symbol of the “substitution” of social roles and social timelessness). The images of Fedorchenko and Suzanne from “Nochnye dorogi” (“Night Roads”) intertwine the features of Flaubert’s “simple soul” Felicity and her “sister” Dushechka, as interpreted by Chekhov. (We have previously shown that the heroine of A. P. Chekhov’s story “Dushechka” was their literary prototype.) Thus, Gazdanov emphasizes that he felt the kinship between the characters of the French and Russian writers. The deciphering key to understanding Flaubert’s intertext in Gazdanov was the phrase from the dialogue about the cook in “Vecherniy sputnik” (“Evening Companion”): “I should write a book about her.”Here the subject of the author’s interest is fully revealed, its similarity to Flaubert’s understanding of the literary hero — the hero of any social class, worthy of becoming the subject of the author’s image.Gazdanov not only agrees with the French writer, but offers his own vision: all of the characters in question are addicted to alcohol. The heroes’ excessive drinking is their tragedy: alcoholic oblivion becomes a way for the everyman hero to endure mental suffering, to fill the emptiness of existence. This is Gazdanov’s interpretation of the very demand of a simple soul for feelings, depicted in Flaubert’s short story.
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Zavidovskaia, Ekaterina A. "Illustrated Editions and Popular Woodblock Prints nianhua Featuring Short Stories by Pu Songling." Oriental Studies 19, no. 4 (2020): 94–107. http://dx.doi.org/10.25205/1818-7919-2020-19-4-94-107.
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The paper studies connections between the illustrated lithographic edition of Pu Songling’s 蒲松齡 (1640–1715) “Strange Stories from a Chinese Studio with annotations, poems, and illustrations” (詳註聊齋誌異圖詠Xiangzhu liaozhai zhiyi tuyong, 1886), a collection of illustrations by Shanghai publishing house Tongwenshuju 同文書局 and several popular woodblock prints 年畫 nianhua found in Russian collections (Peter the Great Museum of Ethnography and Anthropology of the Russian Academy of Sciences, State Hermitage, Geographic Society) in order to learn how Pu Songling’s stories circulated in the society of late Qing China, and the perception of literature written in classical language by the wider public. The conclusions are that the aforementioned illustrated lithographic edition may have prompted creation of woodblock prints based on Pu Songling’s stories, where nianhua artists borrowed poetic inscriptions and composition of the lithographic illustrations. The small amount of such prints in comparison with those illustrating classical Ming-Qing novels such as Romance of The Three Kingdoms 三國演義, Journey to the West 西遊記, Dream of the Red Chamber 紅樓夢 allows to suggest that novels remained the favourite among the literati, while illiterate consumers of popular prints could appreciate their auspicious meaning more than the story. The fact that majority of the discovered nianhua pictures were produced at the oldest and largest printing shops in Yangliqing 楊柳青 – Dai lianzeng 戴廉增 and Qi jianlong 齊健隆 famous for their fine artistic quality proves that their customer base was mostly comprised of wealthier and more literate public.
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Plotnikova, Anastasia Gennadievna. "Social problems in M. Gorky’s essays on cinema in a historical context." Philology. Issues of Theory and Practice 17, no. 1 (January 30, 2024): 230–36. http://dx.doi.org/10.30853/phil20240033.
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The research aims to determine the peculiarities of the notion of cinema at the initial stage of its existence. The essays and short stories by M. Gorky published in the newspapers ‘Nizhegorodskii listok’ and ‘Odesskie novosti’ during the All-Russia Industrial and Art Exhibition 1896 and articles of this period published in the Nizhny Novgorod press served as the research material. Classical and new works on Gorky studies and film studies are involved. The research is novel in that it is the first to address the short story ‘Revenge’ and to restore the journalistic context associated with it. Through a comprehensive analysis of Gorky’s essays on cinema and the short story ‘Revenge’, the mechanism of transformation of journalistic texts into a literary one through the problem-thematic and figurative-motivic complexes is traced. The involvement of a wide range of articles in the synchronous press makes it possible to detect the deep involvement of the writer’s works in the contemporary social and everyday context. As a result of the research, the range of Gorky’s texts related to cinema expands, the social origins of Gorky’s attitude to cinema and his notion of screen art as an illusory ideal world opposed to the harsh reality of life are revealed.
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Kondrateva, Viktoriya, and Angelika Molnar. "Archetype as the communication tool of national cultures: on the question of the typological similarity of Russian and Hungarian literatures (based on the short story “Student” by A.P. Chekhov and the novel “Two Beggar-Students” by Mikszáth Kálmán)." E3S Web of Conferences 273 (2021): 11022. http://dx.doi.org/10.1051/e3sconf/202127311022.
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The study aim is finding of interaction between national and universal features in works by the Russian and the Hungarian writers, shift from ethnocultural to common content as the specific communication tool of different national literatures. Methodology. Methodological study base is the system unity of cultural and anthropological, structural semiotic and typological, comparative and mythopoetic methods. Results. A.P. Chekhov and K. Mikszáth works include national specificity as well as universal motives and images. Revealed by comparative analysis writers common archetypical platform speaks to common great-roots of their work. Although this approach doesn’t exclude, even involves studies of individual artistic manner, biographic, historical and cultural impact. The common typological row is the fact of world literature phenomenon. Human inward life repeats in specific forms, particularly in archetypes. Comparison of the novel by K. Mikszáth “Two Beggar-Students” and the story “Student” by A.P. Chekhov shows the common typological row (characters status, images of home, road, way and transitivity motives) and simultaneously manifestation variety. Conclusion/recommendations. Convergence of motives and imaginary components in works by K. Mikszáth and A.P. Chekhov intensifies authentic features of the writers. The typological row allows seeing similarity and understanding better difference between the Russian and the Hungarian writers.
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Ivanova, Elizaveta A. "Joe Abercrombie’s ‘Red Country’ as a Fantasy Western: the Genre Features of the Novel." Вестник Пермского университета. Российская и зарубежная филология 14, no. 2 (2022): 92–100. http://dx.doi.org/10.17072/2073-6681-2022-2-92-100.
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The article analyzes the novel Red Country (2012) written by the outstanding modern British fantasy author Joe Abercrombie. All his works can be characterized as postmodern play with genre conventions and genre mixing. Red Country unites the characteristics of the fantasy and the Western – genres that seem to be incompatible. The aim of the article is to look into how the elements of each of the genres are connected in the novel and how they are transformed in this process. The article gives a short overview of the characteristic features of both fantasy and Western based on works by Russian and foreign researchers. The text of Red Country is analyzed at the levels of plot, conflict, characters, setting, values, and ideology. For this novel, inside the already existing world of his books, Abercrombie creates a new territory organized in accordance with the story setting principles of the Western genre. The writer uses a lot of plot devices characteristic of the Western and some elements of a typical Western character, although depriving him of his traditional mysteriousness by employing a character known from his previous novels. However, most of Red Country’s characters do not conform to the stereotypes about Westerns, and the ideas and values conveyed in the novel undermine those of the Western genre. Responsibility, cooperation, freedom, reprehension of violence come in place of order, lawfulness, masculinity, and self-sufficiency. Such values are much more typical for the fantasy in general and for Abercrombie’s works specifically. The number of Western clichés in the novel itself indicates their unusual interpretation by the author. At the plot level, these shifts create a game with the reader, who is provoked to predict the outcome of events basing on his knowledge of the Western genre. Such expectations are often not met, which creates a strong effect of surprise and arouses more interest in the plot.
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Волков, Валерий Вячеславович, and Наталья Васильевна Волкова. "LITERARY UTOPIA AND DYSTOPIA: THE PECULIARITIES OF GENRES, THE ASPECTS OF HERMENEUTIC RESEARCH." Вестник Тверского государственного университета. Серия: Филология, no. 3(66) (November 6, 2020): 26–40. http://dx.doi.org/10.26456/vtfilol/2020.3.026.
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Цель данной работы - уточнить жанровую специфику британских и российских литературных антиутопий. В центре внимания авторов, с одной стороны, жанрово-теоретический анализ утопий, с другой стороны, анализ содержания и структуры базового дуального концепта «Время: настоящее - возможное будущее» и концептов, смежных с ним. Ключевые концепты интерпретируются по процедурам, использующимся в филологической герменевтике. В результате исследования выявлены отличительные особенности британских и российских антиутопий. Аксиологическое основание «британской» дистопии - стабильность и упрощенность, что каузирует застылость в рамках линейного времени. «Российская» дистопия в романе Ефремова основывается на идеях коммунизма, которые оказалось невозможным реализовать. Рассказ Чехова «Пари» строится в традициях «духовного реализма», центрирует внимание на соотношении секулярного и религиозного путей к «совершенному человеку». The purpose of the article is to clarify the genre characteristics of the British and the Russian dystopian fiction. The work is focused, on the one hand, on the genre and theory analysis of utopias and, on the other hand, on the content and structure analysis of the main binary concept «Time: the Present and the Possible Future», as well as related concepts. The key concepts are interpreted according to the procedures used in the philological hermeneutics. The distinctive features of the British and the Russian dystopias are revealed. The axiological essence of the «British» dystopia is stability and simplicity leading to stagnation within linear time. The «Russian» dystopia in Efremov’s novel is based on the ideas of communism impossible to implement. Chekhov’s short story «The Bet» is based on the traditions of «spiritual realism» and focuses the reader’s attention on the correlation of the secular and religious paths to the «perfect human being».
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Rogacheva, Natalia A., and Anastasiia O. Drozdova. "NABOKOV’S REFLECTION ON HIS OWN AND OTHERS’ WORKS IN THE SHORT NOVEL “VASILIY SHISHKOV” AND POEM “THE POETS”." Tyumen State University Herald. Humanities Research. Humanitates 6, no. 2 (2020): 64–78. http://dx.doi.org/10.21684/2411-197x-2020-6-2-64-78.
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The problem of Nabokov’s artistic identity is relevant for contemporary literature studies. The researchers interpret writer’s estimation of his Russian works differently: in his American years, Nabokov (1) created a new artistic identity (A. Dolinin) and started a new career (N. Cornwell) or (2) developed his general themes (B. Boyd), targeted at English readers. The unique status of the texts written in French is defined by their “phantom” nature (M. Malikova) and the “final work with the literature legacy” (A. Babikov). In our research, the problem of Nabokov’s identity is analyzed for the first time in its connection with the methods of creation of the “phantom” fictional world. Our research subject includes the poem “The Poets” and the short story “Vasiliy Shishkov”. The texts are considered within the literary-critical and artistic contexts. The purpose of this article is to determine how the reflection of one’s own and other people’s creativity is built in these works, taking into account that perceptual imagery serves as tools for aesthetic assessment for Nabokov. The main research method in the work is structural-semiotic analysis: perceptual images are characterized by the variety of their localization, by the method of creation and distribution, by their attitude to the background, etc. The structural-semiotic approach to the analysis of literary texts has revealed the value of “phantom” or “distinctness” in Nabokov’s artistic optics. The intensity of sensations is directly related to the status of the subject of perception and to its position in the hierarchy of fictional worlds (Vasily Shishkov is the fiction of the narrator, the narrator is the fiction of the emigrant writer Nabokov). The impossibility of reliable perception, its continuity and limitation within the framework of an entire era or individual life are assessed by Nabokov as important conditions for creative development, especially significant in a situation of reflection on a new addressee art creation.
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Volkov, Ivan O., and Emma M. Zhilyakova. "Ivanhoe by Walter Scott in the Creative Perception of Ivan Turgenev. Article One." Vestnik Tomskogo gosudarstvennogo universiteta, no. 460 (2020): 5–15. http://dx.doi.org/10.17223/15617793/460/1.
Full textAbstract:
In the article, on the material of Ivan Turgenev’s library and his short story “The Jew”, the issue of reading and creative perception is examined. Turgenev’s perception of Ivanhoe by Walter Scott is in the focus. The research attention is developing from the interpretation of several Turgenev’s notes left in the English version of the novel to the analysis of the creative perception of the images of Isaac and Rebecca, which became the ideological and semantic basis of “The Jew”. The reading of Ivanhoe in the original in the early 1840s became for the writer a penetration into Scott’s individual writing system. Turgenev’s few notes indicate that he became acquainted with Scott’s creative manner: the ability to voluminously weave comic elements into the pathetic-heroic atmosphere of action, the combination of historical and artistic material, the boldness of the ironic tone, and the mastery of speech characteristics. The reader’s perception of Scott’s novel was soon replaced by its creative interpretation, as a result of which “The Jew” appeared. Following the example of the English novelist, the object of Turgenev’s artistic reflection is a Jewish father and his daughter, who find themselves in a socio-historical and moral-psychological crisis — the Patriotic War of 1812 and the Foreign Campaigns of the Russian Army. There is an obvious similarity between Scott’s Rebecca and Turgenev’s Sarah: from the elements of the external description and the details of the portrait to the moral and psychological characteristics. The two young girls are especially united by the sense of pride and the awareness of their dignity, which clearly manifest themselves in the moments of danger that threatens them. Besides, the relationship between the Jewish girl and the Russian officer in Turgenev’s story vaguely resembles the situation of Rebecca and Ivanhoe. But the love line in “The Jew” does not develop in full. Considering William Shakespeare’s and Gotthold Lessing’s experience, following Walter Scott, Turgenev reflects on the universal nature of the “humiliated tribe”. The Russian writer depicts the psychology of the experiences of the Jew Girshel, accused of spying for the French. In the tradition of objectivity and epic literature, inherited from Scott, Turgenev draws a tragic line related to the position of an ordinary person. But, unlike the English novelist, Turgenev brings the torment of the character to the highest limit – the death penalty. At the same time, the Russian writer explicates sharp contradictions in the image of his character that turns out to be a carrier of suffering, on the one hand, and a source of laughter, on the other. This shows Turgenev’s orientation on the features of Shakespeare’s image of a person, in which the tragic invariably coexists with the comic. Walter Scott sensitively learned the law of ambivalence from Shakespeare, too.