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Journal articles on the topic 'Russian writer'
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1
Николаев, Дмитрий. "Образ писателя в публицистике Ивана Бунина 1920 г." Acta Polono-Ruthenica 1, № XXIV (2019): 75–94. http://dx.doi.org/10.31648/apr.4401.
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The image of the writer plays an important role in the publicist works of Ivan Bunin in 1920. It is the image of the author struggling against the Bolsheviks, and the image of those writers who helped the Bolsheviks propaganda as well as “new Soviet writers”. In 1920 Bunin as the most signif-icant writer of the Russian Diaspora focuses on the most famous writer among those who, according to Bunin, supports the Bolsheviks – Maxim Gorky. Bunin also pays close attention to the contro-versy with H.G. Wells: this is due to the role that the English writer played in the context of Soviet Russia. Bunin’s works in 1920 are written as a reaction of the Russian writer to the various texts published in the press, and the discussion with the works of his main opponents – Gorky and Wells.
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GOTOVTSEVA, A. A. "CHRISTA WOLF'S MOSCOW INSPIRATION." Language and Intercultural Communication XIII, no. XIII (2020): 26–32. http://dx.doi.org/10.21672/2078-9858-2020.10.07-026-032.
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This article deals with the attitude of the German writer Christa Wolf to Russia and the Russian people, expressed in her work "Moscow diaries. Who we are and where we come from." Russia occupied a special place in the heart of the German writer. She quite objectively valued our country, noticed not only advantages, but also disadvantages. Notes of her trips to Russia allow us to see how our country has changed over the past thirty years. This work provides an opportunity for both Germans and Russians to look at Russia from a different perspective, to appreciate the cultural heritage, literature, openness and sincerity of the Russian soul, as well as the political situation.
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Волкова, Е. А., Н. М. Волков, and А. В. Пилевцева. "RUSSIA, THE RUSSIAN PEOPLE AND THE STATE: F. M. DOSTOEVSKY'S VISION." Актуальные вопросы современной филологии и журналистики, no. 2(41) (July 28, 2021): 7–11. http://dx.doi.org/10.36622/aqmpj.2021.23.59.001.
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В статье анализируется социально-исторические воззрения Ф. М. Достоевского. Целью работы является исследование писателем в его произведениях социальных отношений российского общества середины - второй половины XIX столетия: отношения между классами и социальными группами, социальной справедливости, свободы, богатства-бедности, положения русского народа. Авторы приходят к выводу, что писатель стремился изобразить русский народ единым, примирить классовые, сословные противоречия, представить подобное состояние русского общества как особый исторический путь России. Исследовав основные произведения Ф.М. Достоевского, авторы приходят к выводу, что, будучи писателем-реалистом, стремившимся передать правду жизни русского народа, писатель постоянно наталкивался на вопиющее несоответствие собственной доктрины реальным картинам российской действительности. Ф.М. Достоевский возлагал вину за создавшееся положение на русскую интеллигенцию. The article analyzes the socio-historical views of F. M. Dostoevsky in his multifaceted work. The social and historical views of the thinker include a deep study of the social relations of Russian society in the mid-second half of the XIX century: the relations between classes and social groups, social justice, freedom, wealth-poverty, the situation of the Russian people. Russian Russian writers have come to the conclusion that the writer sought to portray the Russian people as one, to reconcile class and class contradictions, to present such a state of Russian society as a special historical path of Russia. However, as a realist writer who sought to draw the truth of the life of the Russian people, the writer constantly came across a blatant discrepancy between his own doctrine and the real pictures of Russian reality. Dostoevsky blamed the situation on the Russian intelligentsia.
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Krasavshenko, Tatiana. "RUSSIA VERSUS ENGLAND: W.S. MAUGHAM - THE AUTHOR OF «ASHENDEN», «CHRISTMAS HOLIDAY» AND «WRITER’S NOTEBOOK»." RZ-Literaturovedenie, no. 1 (2021): 170–82. http://dx.doi.org/10.31249/lit/2021.01.17.
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The article demonstrates that the works by William Somerset Maugham (1874-1965) are «a real storehouse» of Western ideas about Russia, the focus of British stereotypes of Russians, because he was not an «elite», but a «minor» writer - a brilliant witty storyteller and a «copier of life». It is evident that young and mature Maugham perceived the Russian world in a book of stories «Ashenden, or the British agent» (1928), in a novel «Christmas Holiday» (1939), in «A Writer’s Notebook» through the prism of Dostoevsky’s novels, he argued with the Russian writer and in a way was even obsessed with him. But when Maugham became old he lost his attraction to the Russian world.
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Nakhimovsky, Alice. "VLADIMIR JABOTINSKY, RUSSIAN WRITER." Modern Judaism 7, no. 2 (1987): 151–73. http://dx.doi.org/10.1093/mj/7.2.151.
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Vinogradov, Igor’ A. "LITTLE RUSSIA AND GREAT RUSSIA IN SATIRE BY NIKOLAI GOGOL." Vestnik of Kostroma State University, no. 3 (2020): 128–33. http://dx.doi.org/10.34216/1998-0817-2020-26-3-128-133.
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The article first discusses the problem of the correlation in the work of Nikolai Gogol as satirist or critic of the “Little Russian” and “Great Russian” types of Russian nobility. The influence of Nikolai Gogol’s Ukraine impressions on the creation of a number of his works of an all-Russia nature is emphasised: short story “The Nose”, the comedy “The Inspector General”, and the poem “Dead Souls”. Based on a comprehensive analysis, numerous facts and various testimonies of contemporaries, a conclusion is drawn about the deep imperial consciousness of the writer, who did not distinguish representatives of the Ukraine and Great Russia in his religious, pastoral criticism. The writer always thought of the Ukraine as part of Rus’ – Russia – the Russian Empire. In contrast to the ideologists of a narrow “small-town” “patriotism”, Nikolai Gogol, being a state thinker, considered the inhabitants of Northern and Southern Russia as subjects of a single Russian power and in his convictions of unworthy employees, “malignant” people of miscellaneous ranks and of the nobility was equally strict and demanding to his countrymen as well as to the Great Russians.
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Kovalev, Nikon I. "Sergey Tretyakov and Ezra Pound: A Dialogue about Collectivization of Literature Between the Right and the Left." Literature of the Americas, no. 10 (2021): 153–62. http://dx.doi.org/10.22455/2541-7894-2021-10-153-162.
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The paper is dedicated to the dialogue between Ezra Pound and Sergey Tretyakov on the pages of a Dutch magazine Front edited by a Dutch writer Sonja Prins, and other periodicals. This particular episode of Pound’s contacts with left-wing writers hasn’t been duly researched so far. In spite of the dangerous political atmosphere in the 1930s, authors with different ideological views could freely exchange their ideas in the periodicals. The Front published a wide range of anti-bourgeois authors — their views varied from communist to fascist. The Federation of Organizations of Soviet writers (FOSP) was mentioned as a co-founder of Front, although later its name was withdrawn because of the magazine’s publishing policy, which allowed right-wing writers. Tretyakov’s essay “Writer-kolkhoznik” was published in the first issue of the Front; the next issue contained Pound’s response to this essay. In spite of his pro-fascist views, Pound seemed interested in Tretyakov’s work on the kolkhoz. Later both writers continued to argue outside the magazine — Tretyakov mentioned Pound in his Berlin lecture The Writer and the Socialist Village, Pound referred to Tretyakov, this time purely ironically, in Italian press. In the end the dialogue failed, both writers tended to speak about their own main topics — Tretyakov continued to reflect on the writer in the kolkhoz, and Pound was interested in the classical Russian literature and in the attitude to the classical Russian literary heritage in the new socialist Russia.
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Gubanova, L. V., M. O. Petrova, and E. N. Vejber. "Dostoevsky, Western Writers and Schola." Язык и текст 7, no. 1 (2020): 76–82. http://dx.doi.org/10.17759/langt.2020070107.
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The article is devoted to the review of the relations of the great Russian writer F. M. Dostoevsky, Western writers and scientists. We consider the mutual influence of Dostoevsky on Western literature and Vice versa. Dostoevsky belongs to writers whose biography is closely connected with their work. Dostoevsky's attempts to penetrate deeply into the soul are attempts to understand himself. This is why he was able to penetrate so deeply into the soul of his characters. Despite the fact that Dostoevsky was strongly influenced by Western European writers (Dickens, Schiller, Hoffman, etc.), he believed that the European way is disastrous for Russia and the great future of Russia, which will save the whole world, is possible only in Christ, in Orthodoxy, in the Church. Fyodor Mikhailovich Dostoevsky is a writer who created unforgettable realistic pictures of the world. Dostoevsky can be loved, admired, and hated (like Nabokov), but the fact that he is a genius writer cannot be denied.
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Stroganova, E. N. "TO THE 200TH ANNIVERSARY OF NADEZHDA DMITRIEVNA KHVOSHCHINSKAYA: ABOUT THE DATE OF THE WRITERS BIRTH." Culture and Text, no. 45 (2021): 113–20. http://dx.doi.org/10.37386/2305-4077-2021-2-113-120.
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The year of birth of the famous Russian writer of the second half of the XIX century Nadezhda Dmitrievna Khvoshchinskaya, who published her works under the nameV. Krestovskyj-pseudonym, is specified on the material of archival sources. The above information refutes the established opinion that the writer was born in 1824 or 1825 and allows us to say that 2021 is the year of the 200th anniversary of the writer. The author focuses on the question of the incorrect portrait representation of the writer in the 6th volume of the biographical dictionary «Russian Writers. 1800-1917».
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Shishkin, Mikhail, and Ekaterina Maksimova. "“I have read your novel and understood nothing, but I was so impressed!”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 2 (2021): 7–16. http://dx.doi.org/10.18522/2415-8852-2021-2-7-16.
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Mikhail Shishkin is a writer, author of the novels “One Night Befalls Us All”, “The Taking of Izmail”, “Maidenhair”, “The Light and the Dark”, as well as novellas, short stories, essays, and the guide “Russian Switzerland”. Winner of the literary awards “Russian Booker Prize” (2000), “Russian National Bestseller” (2005) and “Big Book Prize” (2011). He writes in Russian and German. In this issue of P&I, Mikhail Shishkin recalls the “War and Peace” as a cure, chooses the main film about contemporary Russia and tells what every father should teach his son. Interview by Ekaterina Maksimova.
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Dzholbulakova, CH A., and Ch A. Masekova. "THE ARTISTIC WORLD OF TALIP IBRAIMOV." Herald of KSUCTA n a N Isanov, no. 2-2020 (July 6, 2020): 231–36. http://dx.doi.org/10.35803/1694-5298.2020.2.231-236.
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The ideological and aesthetic originality of the artistic picture of the world of the screenwriter and prose writer, laureate of the Russian prize Talip Ibraimov are revealed in this article. An analysis of the poetics of the writer's works allows us to reveal the originality of the worldview foundations and the artistic method of the Kyrgyz writer, who writes in Russian.
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Stulov, Yuri V. "James Baldwin’s Quest for Ethics Echoing Leo Tolstoy." Literature of the Americas, no. 13 (2022): 282–94. http://dx.doi.org/10.22455/2541-7894-2022-13-282-294.
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The paper deals with the ethical principles of James Arthur Baldwin, an outstanding US writer of the mid-20th century, which echo the moral imperatives of Leo Tolstoy. African American writers traditionally displayed great interest in Russian literature, which is connected with the figure of A.S. Pushkin who along with A. Dumas was regarded as a symbol of talent of a person with African roots; visits to Soviet Russia of African American writers, especially of Langston Hughes who significantly influenced Baldwin’s worldview; and their search for creative ideas which they found in Russian literature, like Richard Wright, his mentor in literature. James Baldwin knew literature very well, including Russian literature, and through Martin Luther King, Jr., his friend and leader of the Civil Rights movement, was greatly affected by Tolstoy’s theory of non-resistance to evil, which he not only advocated but also tried to put into practice. The analysis of some of his works shows certain similarities with Leo Tolstoy. This is especially characteristic of his essays and the artistic world of his novels. The comparison of the great Russian writer’s views with the ideas of the most popular African American writer of the mid-20th century can help understand Leo Tolstoy’s role in forming the ideological platform of African American literature more deeply, and, on the other hand, get an insight into the creative laboratory of the writer who became a prophet for his generation whose voice was important for millions of his compatriots.
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Pakhsaryan, Natalia. "THE CROSSROADS OF CULTURES AND METAMORPHOSES OF TIME IN ANDREI' MAKINE 'S NOVELS." Herald of Culturology, no. 2 (2022): 111–26. http://dx.doi.org/10.31249/hoc/2022.02.06.
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The article discusses several novels by Andrei' Makine, a modern writer, in whose work Russian and French cultures are closely intertwined. The author of such works as The French Testament, Requiem for the East, The Woman Who Waited, etc., having emigrated to France in 1987, writes his novels in French. But in all his works the Russian theme is presented in one way or another. Besides the Russian literary tradition is important for the writer. The experience of I.A. Bunin, in particular, is especially revered by Andrei Makine. In his novels, this Franco-Russian author refers to different stages of Russian history of, including those that had occurred before his birth. On the one hand, he relies on the events of his own biography, introduces autobiographical elements into the plot of novels, on the other hand he constantly mixes these elements with fiction, shifts and pushes the boundaries of time. Fictional metamorphoses in A. Makine’s works allow him to express nostalgia for Russia in the artistic canvas of the text in French.
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Brodal, Jan. "“Poėt v Rossii — Bol’še čem Poėt” or the Poet as Superman." Poljarnyj vestnik 7 (February 1, 2004): 49. http://dx.doi.org/10.7557/6.1337.
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What is the moral responsibility of a writer? Do writers have a stronger moral responsibility than other people? This article discusses the relationship between writer and society with reference to Russian and Norwegian literature.
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Kotelevskaya, Vera, and Maria Matrosova. "RUSSIAN AND FOREIGN STUDIES ON MIKHAIL SHISHKIN’S POETICS." RZ-Literaturovedenie, no. 4 (2021): 109–28. http://dx.doi.org/10.31249/lit/2021.04.08.
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This review examines studies from 2010 to 2020 on Mikhail Shishkin (b. 1961), a Russian writer living in Switzerland, who writes in Russian and German. In articles by Russian and foreign philologists Shishkin’s poetics is presented as the quintessence of the modernist myth on a writer who escapes from reality and history into language. This fact explains his interest in the inexhaustible resource of the world and Russian literature, thanks to which his texts become palimpsests or centos - a space for genre and style dialogue, a place where the cultural tradition is restored and at the same time renewed.
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Pîrvu, Simina. "Nostalgia originii la Andreï Makine, Testamentul francez și Sorin Titel, Țara îndepărtată / The nostalgia of the place of birth in Andrei Makine's French Will and in Sorin Titel's The Aloof Country." Swedish Journal of Romanian Studies 2, no. 1 (2019): 34–41. http://dx.doi.org/10.35824/sjrs.v2i1.19193.
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In the Middle Ages, exile meant expatriation, the prolonged absence from the native lands, one can say that a person is in exile when it is not possible to return back home. Exile involves unsettlement; the expatriated suffers from nostalgia and tries to recover his origin, the center, his home. Thinking about the past involves an idealized representation of lived history, which may have the effect of a mythical evocation of the past.
 The nostalgia is one of the central ideas of the novels of the Russian writer Andreï Makine, who has hardly built his identity as a Russian writer of French, his literary beginnings being not simple. The theme of the nostalgia and the parallel between two different worlds are constantly found in Makine's novels, and in The French Will it gets a special note. Andreï Makine says in interviews that he chose to write in French, but his country of origin is always in his soul. Another writer – Romanian this time – in whose novels we find the nostalgia of origins is Sorin Titel, who reveals an unusual world, Banat, where the writer was born. The estrangement from Banat has beneficial consequences in almost all respects. Established in Bucharest, the author has the nostalgia of Banat and transforms it into an epic projection, reinvents Banat. The removal from the places of origin, the distancing, the alienation, are mandatory conditions of the pilgrimage to himself, for only by being far from Banat he could reinvent him, using the memories of his childhood. Even the title of his first book with which he begins the recuperation is enlightening: The Aloof Country, signifying both the Banat, geographically, and the age of childhood, at a symbolic level. This is the case with the two writers, Andreï Makine and Sorin Titel, writers who being far away from their native places, have fictionally translated what they feel for home - Russia and Banat.
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Grishchenko, N. A., E. O. Ershova, V. V. Kornienko, and M. A. Starsheva. "THE FIRST ACQUAINTANCE OF THE ENGLISH-SPEAKING WORLD WITH THE WORKS OF NIKOLAY GOGOL." Siberian Philological Forum 20, no. 3 (2022): 109–25. http://dx.doi.org/10.25146/2587-7844-2022-20-3-128.
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Statement of the problem. This article is the contribution to the research of the English-speaking world perception and understanding of the Russian literature. The aim of the article is to reveal a certain attention to Gogol’s works of the English-speaking audience even before 1886, (the year when Isabel F. Hapgood’s translations initiated British awareness of the works of the Russian writer). The material for this study includes articles about Russian literature and Russia, published in English-speaking periodicals, prefaces to the first translations of Gogol’s novels, notes from diaries, written by the British who visited and stayed in Russia, textbooks of the Russian language for the English-speaking students – the sources that contained any information about the perception of the Russian writer and his works by the English-speaking world. Research results. The study revealed the presence of both positive and negative reviews on Gogol’s works having circulated within English-speaking world even before I. F. Hapgood`s translations (the official date of English-speaking readers’ acquaintance with Gogol). The audience was interested in Gogol as a representative of modern Russian art, a national writer describing traditions and superstitions of Russia, a satirist and mystic, the one who exposed corruption. Conclusions. The use of Gogol’s works in the Russian textbooks for the English-speaking audience deserves special attention. The texts were used to improve the skills of reading, pronunciation, grammar structures, as well as to give information about the culture of Russia, and to form the image of Russia and the Russian people in the English-speaking students’ minds.
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Lee, Lee. "Nadezhda Teffi at the reception of Irina Odoevtseva." Bulletin of Luhansk Taras Shevchenko National University, no. 7 (345) (2021): 117–24. http://dx.doi.org/10.12958/2227-2844-2021-7(345)-117-124.
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The article emphasizes that memoirs contribute to understanding the context of the literary era, allow a deeper understanding of the features of interpersonal relations and the character of writers. The author of the article emphasizes that a special place among the numerous memoirs is occupied by the book of memoirs of the writer of the Silver Age and the Russian diaspora of the first wave of emigration I. Odoevtseva „On the Banks of the Seine”. In these memoirs, I. Odoevtseva's reception of the personality of the Russian writer, author of humorous works N. Teffi is presented. The article emphasizes that the poetics of the memoirs is characterized by the peculiarity of the author's position. I. Odoevtseva is always in the shadows, does not show herself, it is important for her to represent the personality of the writer, she speaks about herself only in connection with the need to recreate this or that context of memoirs. This position of a witness, a person who is in the shadows, makes memories valuable, gives them credibility and testifies to the professionalism of I. Odoevtseva. The memoirs about N. Teffi emphasize the self-irony of the writer, who devoted her work to satirical and humorous literature. The article emphasizes that N. Teffi's self-irony is evidenced by her ability to see her own shortcomings and laugh at herself. The article proves that the Russian writer was deeply immersed in her writing skills and embodied her own life situations in her works. The memoirs of I. Odoevtseva contain N. Teffi's admission that she writes off many of her characters, making the features of her character, episodes of her own life the subject of creative reflection. In various episodes of I. Odoevtseva's memoirs, the inner convictions of the Russian writer are revealed, which help to comprehend the psychological portrait of N. Teffi, the peculiarities of her personality, and worldview. The book „On the Banks of the Seine” presents N. Teffi's self-characterization, which allows you to see her attitude to her work. The writer did not take her humorous talent seriously and this is a manifestation of the author's talent. The memoirist emphasizes the importance of the writer in émigré circles, and focuses on the responses of other, no less significant, authors about her.
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Baturenko, Sergey. "Prerequisites of feminist discourse formation in Russian sociology of the XIX c.: M. I. Mikhailov ." Woman in Russian Society, no. 1 (April 25, 2021): 116–25. http://dx.doi.org/10.21064/winrs.2021.1.10.
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The article considers the ideas of the Russian writer, poet and journalist M. I. Mikhailov, that became intellectual prerequisites for the formation of feminist discourse in Russian sociology of the XIX century. Domestic thinkers have contributed greatly to the emergence in Russia of feminism as a social phenomenon and the theory of feminism in the history of Russian social thought. The specifics of historical and cultural development have influenced the reflection of many issues within the social sciences, including the need to explore the “female issue” in sociology. The author shows that the problem of the position of women in society is markedly expressed in the context of Russian culture and is widely revealed in Russian literature in the works of famous writers, poets, journalists, philosophers, in particular in the works of M. Mikhailov. This article can be considered as an attempt to develop and deepen courses on the history of Russian sociology, it gives an idea of how feminist discourse was formed in classical sociology. The presentation of the problem of inequality, overcoming the dependent position of women and ensuring their rights in Russia differs from the Western specificity. This difference is reflected in the works of M. Mikhailov. The author shows significant influence on shaping the feminist discourse of European scholars, on the one hand. On the other hand, the author describes a revision and critical analysis of these ideas in the works of the Russian writer. The article analyzed Mikhailov’s creativity as one of the components of the process of spiritual and intellectual development of Russian social thought, immediately preceding the emergence of sociology in Russia and the formation of feminist discourse within some leading scientific schools.
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Klioutchkine, Konstantine. "The Rise of Crime and Punishment from the Air of the Media." Slavic Review 61, no. 1 (2002): 88–108. http://dx.doi.org/10.2307/2696984.
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The rapid expansion of the Russian press at the turn of the 1860s had a profound effect on how literary texts were written and read. Fedor Dostoevskii was among the writers most closely involved in the changing discursive environment. The vicissitudes of his precarious position in the field of letters put him under pressure to adopt the most successful discursive strategies and to open his work to the popular genres (feuilleton, local news, courtroom reports), themes (crime, the identity of the new man), and characters (struggling university students, who are also writers or translators) that were enjoying the greatest popularity in the Russian press of the time. By opening his text to the press, Dostoevskii became the first Russian writer to investigate die effects of the media on the personal identity of writer and reader in the new context of uncontrolled discursive proliferation.
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Liubivaia, Irina, and Natal'ya Evgen'evna Korol'kova. "The phenomenon of personality of T. L. Schepkina-Kupernik in the context of theatrical process of the late XIX – early XX century." Философия и культура, no. 6 (June 2020): 1–8. http://dx.doi.org/10.7256/2454-0757.2020.6.33305.
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The interest to the almost forgotten names of female writers of the Silver Ages gas grown over the recent decades. Among them is a prominent and talented Russian and Soviet poetess, translator, writer, play writer, memoirist, journalist T. L. Schepkina-Kupernik. She dedicated approximately 60 years of her life to literary work, and in 1940 was awarded the title of “Honored Master of Arts of RSFSR”. Relevance of the article is defined by the fact that presently the artistic heritage of T. L. Schepkina-Kupernik became undeservingly forgotten, even though it represents great value not only for the Russia, but also for word art history, especially for historians of theatre and literature. Thanks to the translations of T. L. Schepkina-Kupernik, the Russian stage enriched its repertoire, and the audience became acquainted with world-renown dramaturgists. Connoisseurs of the theatrical art were able to appreciate performance of the actors thanks to the memoirs on the actors and peer reviews on their stage performances. An important detail in biography of Tatiana Lvovna consists in her personal experience of acting on stage. The author analyzes the persona of Schepkina-Kupernik from various aspects of her creative work. Analysis is conducted on her work as an actress, writer, translator, and memoirist. Her contribution to the history of the Russian theater is reviewed.
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Sonina, Elena S. "The Literary Canon in the Russian Magazine and Newspaper Cartoons of the late 19th - early 20th centuries." Galactica Media: Journal of Media Studies 3, no. 3 (2021): 122–50. http://dx.doi.org/10.46539/gmd.v3i3.194.
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An enormous amount of research has been devoted to studying the Russian classics. Nevertheless, the issue of reflecting social ideas about the writers whose works were included into the Russian literary canon has been insufficiently studied, especially with regard to satirical graphics. Caricature in the legitimate press is considered to be a popular visual art, with the image of a Russian writer demonstrating the attitude of society towards his work.
 The purpose of this paper is to study the frequency of the portrayals of Russian writers in the satirical graphics of the early 20th century, which are viewed as a reflection of the established (and constantly updated) literary canon of Russia. Our objectives include identifying the images of Russian writers found in the satirical graphics, comparing the visualization techniques used to portray the authors in the caricatures of the 19th and early 20th centuries, highlighting the visual motifs used to contrast the literature of the past and the contemporary magazine issues and pointing out the persistent satirical characterizations and tropes of the images of famous writers, depending on the periodical.
 On the basis of a selective scan of 25 thin magazines and two newspapers published from 1877 to 1917, more than 200 caricatures and satirical cartoons were identified, including benevolent and spiteful caricatures of Alexander Pushkin, Nikolai Gogol, Nicolai Nekrasov, Leo Tolstoy, Maxim Gorky and many others. The cartoons held the readers’ interest in their literary work, forming the people’s attitude towards the human qualities of the writers and highlighting their personality among the rest of their peers. The prevalence of humor or satire was directly related to the historical context, either to the works of a particular writer, the editorial policy of publications or the position of a caricaturist. The cartoons of the early 20th century reflect the social atmosphere of the Silver Age: creative, critical, nervous and overthrowing the idols of the bygone eras. The article would prove useful for literary critics, historians of journalism and visual content researchers interested in the Russian pre-revolutionary press.
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Taganov, Alexander N. "Howlett S. Dostoevsky, Demon of Malraux. Review." Dostoevsky and world culture. Philological journal, no. 4 (2020): 242–59. http://dx.doi.org/10.22455/2541-7894-2020-9-242-259.
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The book here reviewed is particularly important in the field of comparative studies dedicated to Dostoevsky and Malraux, since it is the first attempt to generalize and systematize the connections that unite the creative heritage of the two writers. The interest of Howlett’s book lies in the fact that the author considers Malraux from three different points of view: as a reader, literary theorist, and writer; thus, he creates an original biography of the French writer through the prism of the impact of Dostoevsky’s ideas on him and at the same time a study that allows us to understand Dostoevsky’s role in the development of French literature in the 19th and 20th centuries. Trying to define the role of Dostoevsky in Malraux’s creative development, Howlett speaks of a demonic influence of the Russian writer: Dostoevsky predetermined Malraux’s place as a novelist and literary critic and predicted his fate, being at the same time a “guardian demon” and a tempter, constantly encouraging him to ask the cursed questions of existence. Extracting from Malraux’s texts statements about the Russian author and combining them with his own reflections and observations, Howlett seems to continue and realize Malraux’s unfinished plan to write a book about Dostoevsky.
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Taganov, Alexander N. "Howlett S. Dostoevsky, Demon of Malraux. Review." Dostoevsky and World Culture. Philological journal, no. 4 (2020): 242–59. http://dx.doi.org/10.22455/2619-0311-2020-9-242-259.
Full textAbstract:
The book here reviewed is particularly important in the field of comparative studies dedicated to Dostoevsky and Malraux, since it is the first attempt to generalize and systematize the connections that unite the creative heritage of the two writers. The interest of Howlett’s book lies in the fact that the author considers Malraux from three different points of view: as a reader, literary theorist, and writer; thus, he creates an original biography of the French writer through the prism of the impact of Dostoevsky’s ideas on him and at the same time a study that allows us to understand Dostoevsky’s role in the development of French literature in the 19th and 20th centuries. Trying to define the role of Dostoevsky in Malraux’s creative development, Howlett speaks of a demonic influence of the Russian writer: Dostoevsky predetermined Malraux’s place as a novelist and literary critic and predicted his fate, being at the same time a “guardian demon” and a tempter, constantly encouraging him to ask the cursed questions of existence. Extracting from Malraux’s texts statements about the Russian author and combining them with his own reflections and observations, Howlett seems to continue and realize Malraux’s unfinished plan to write a book about Dostoevsky.
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Oltuszyk, A. B. "Fedor Dostoevsky in Polish Literature, Theater and Cinema." Язык и текст 7, no. 1 (2020): 83–89. http://dx.doi.org/10.17759/langt.2020070108.
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Fyodor Mikhailovich Dostoevsky is a Russian great writer, thinker, philosopher and publicist. His skill influenced the literature and culture of the whole world, including Polish. This article discusses the role of the author of Crime and Punishment in Polish literature and culture, including the presence of his works in Polish theater and cinema. Many Polish writers, who studied the artistic skills of Dostoevsky, were attracted by the composition and structure of his novel, introspection and reflection of characters showing interpersonal relationships, a “borderline” state of mind. Even more important than the recognition by Polish writers of the artistry of Dostoevsky is the influence on them of his philosophical concepts, especially the concept of personality. The specificity of Dostoevsky’s technique is also related to the fact that the Russian writer created negative stereotypes of Poles. It must be remembered that the reception of Dostoevsky in Poland in the first decade after the Second World War was significantly limited. Today, the works of the Russian writer are transferred to theatrical scenes, on the basis of which series, full-length or animated films are shot. There are many editions of his short stories and novels in bookstores, often translated again.
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Giuliani, Rita. "About the Utility of Russian Literature Outside of Russia." Проблемы исторической поэтики 18, no. 3 (2020): 290–300. http://dx.doi.org/10.15393/j9.art.2020.8262.
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<p>This article analyzes the excellence, uniqueness and specific elements of Russian literature that make it valuable in the eyes of a Western reader, helping him or her to better understand Russia and enrich his or her spiritual dimension. There are many such elements, and while I cannot touch on all of them, I would like to remind the reader of the fact that Russian literature has always been that particular point where social, humanitarian, political and philosophical thought comes together. Russian literature also sheds light on the mindset of the Russian people (<em>narod</em>), offering a different perspective to a Western reader. In addition, Russian literature, with its cultural &lsquo;explosions&rsquo; (<em>vzryvy</em>) and the writers who embodied these explosions, greatly influenced European literature, inspiring entire generations of readers and writers. What turned out to be most unique in Russian literature was a perpetual attention to the great questions of human existence, the so-called &ldquo;damned questions&rdquo; (<em>proklyatye voprosy</em>). But Russian literature has an additional quality, starting from that moment when its hero became the human soul. It is precisely the soul, the protagonist of Russian literature, which unites Russian writers in a unique and inimitable community, and their readers and admirers&nbsp;&mdash; in a community moved and grateful. Ultimately, Dostoevsky&nbsp;&mdash; probably the most beloved Russian writer in the West&nbsp;&mdash; was right when he asserted in his well-known Pushkin speech, &ldquo;the capacity for universal compassion (<em>otzyvchivost&rsquo;</em>) is the most important quality of our national character&rdquo;.</p>
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Popova, Victoria Yu. "“No One Writes to the Writer”: César Vallejo´s Soviet Correspondence." Literature of the Americas, no. 13 (2022): 248–81. http://dx.doi.org/10.22455/2541-7894-2022-13-248-281.
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The article is dedicated to the history of the interaction of the Peruvian poet, writer, essayist and public figure César Vallejo with the Soviet Union, mainly after his three trips there in 1928, 1929 and 1931. Relying on the materials of the Russian archives RGALI and RGASPI, the creative and publishing plans of the writer are reconstructed. Vallejo repeatedly made attempts to return to the USSR, publish his reports and books in Russian, stage his plays Lock-out (1930) and Presidents of America (1934) on the Soviet stage. The correspondence with International Union of Revolutionary Writers (IURW) in 1933–1935 was not productive: Vallejo's Moscow correspondent F.V. Kelin did not answer the writer regularly and did not explain the reasons for his silence. The article contains fragments of diary entries by F.V. Kelin and his reports to the IURW, which indicate that the figure of Vallejo in the USSR was considered in the context of the author's social activities in Spain and work in the Union of Revolutionary Writers of Spain. Soviet literary functionaries tried to instruct the writer, expected active cooperation with the IURW, which for various reasons Vallejo could not carry out. Despite the irregular interaction, the Soviet episodes of the writer's work have become very important components of his creative biography, and his literary ties with Soviet Russia are a unique example of the cooperation of a Latin American poet with the literary institutions of the USSR in the late 1920s and early 1930s — at the stage of emergence and consolidation of contacts with writers of leftist views in Spain and Latin America. The appendix contains letters from C. Vallejo to F.V. Kelin, as well as a letter from the IURW to Vallejo (1931) and a memorandum from F. Kelin to the IURW (1931).
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Kantor, V. "KERENSKY AS THE PHANTOM OF THE 1917 RUSSIAN REVOLUTIONS. THROUGH THE EYES OF RUSSIAN WRITERS AND POETS." Voprosy literatury, no. 3 (October 1, 2018): 170–98. http://dx.doi.org/10.31425/0042-8795-2018-3-170-198.
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Vladimir Kantor is examining the tragic and life-changing situation in Russia in 1917, the year of two revolutions, when Russian literature found itself in search of a new hero who could lead the country out of the catastrophe. Starting from March 1917, many writers believed they had found such a person in Aleksandr Kerensky. Russian poets and writers in unison hailed Kerensky as the new Napoleon, who would rein in the Russian revolt just like Napoleon did with the French one. Kerensky was aware only of the positive implications of this comparison. The article reveals the politician’s true role through comparative analysis of characterizations by his contemporaries.He began to live up to the phantom and act in the way that his admirers expected from him, losing his identity in the process. He surrounded himself with prominent figures, appointing the famous Social Revolutionary, terrorist and writer Boris Savinkov as his war minister. As the army commissar for ideology he selected Fyodor Stepun, a writer and philosopher. Most prominent artists from that period were all commissioned to paint Kerensky’s portrait. According to Stepun, Kerensky’s speeches were typified by an almost Schillerean ecstasy.But it was his most liberal law system that spelled doom for Russia and himself. The French National Convention rested upon terror and the guillotine, while Kerensky issued a decree abolishing the death penalty in Russia. In war times, amid raging banditry and with a disintegrating army, this decree proved to cause more irreparable damage than some of Peter I’s most ill-advised laws, and Kerensky used to hold Peter in high esteem. He relied on the power of rhetoric, which had propelled him to prominence during the February revolt, but the times had changed. He was nicknamed ‘negotiator-in-chief’, yet his skills were no longer effective with the mob. The mob was waiting for a show of strength and an order.
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Bushkovitch, Paul. "The Vasiliologion of Nikolai Spafarii Milescu." Russian History 36, no. 1 (2009): 1–15. http://dx.doi.org/10.1163/187633109x412339.
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AbstractThe Romanian writer Nikolae Milescu (Nikolai Gavrilovich Spafarii) was the author of several books designed for the tsar and the Russian court in the 1670's. Working under the patronage of Tsar Aleksei's favorite, Artamon Matveev, Spafarii composed an account of exemplary monarchs from the past called Vasiliologion. He presented ancient and Biblical monarchs as just and wise but also as great conquerors and builders of cities, even when they were pagans. His portrait of Russian monarchs was closer to traditional Orthodox conceptions, but still stressed military victory and building. Spafarii was one of the first writers in Russia to introduce the Aristotelian political terms, monarchy and aristocracy.
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Tashlykov, Sergey A. "The Russian writer Aleksandr Kuprin’s walking." Sibirskiy filologicheskiy zhurnal, no. 4 (December 1, 2008): 74–84. http://dx.doi.org/10.17223/18137083/25/8.
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Alenkina, Tatiana Borisovna. "The structure of academic writer identity in L2 book reviews by Russian undergradu-ates: Voice and stance." Science for Education Today 11, no. 4 (2021): 156–69. http://dx.doi.org/10.15293/2658-6762.2104.08.
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Introduction. The article focuses on theoretical and practical aspects of academic writer identity. The theoretical aspect comprises the analysis of the Anglo-American bulk of research devoted to the problem of writer identity in the academic written discourse. The purpose of the article is to define the structure of writer identity, its voice and stance. The practical objectives of the study is to investigate the identity of novice academic writers represented in their language choices as well as to describe the mechanism of such choices. In order to accomplish the purpose of the research, three types of writer positioning are distinguished: ideational, interpersonal, and textual. Materials and Methods. The theoretical analysis is based on the Systemic Functional Linguistics (SFL) approach and Rhetorical Genre Studies as well as recent developments of ESP. The analysis of empirical data has been conducted using the methods of discourse analysis as well as qualitative and quantitative methods of data processing. The study reveals the voice and stance represented by lexico-grammatical means of the English academic written discourse. The conducted experiment introduces the context of ESP and models the situation of the implementation of the genre approach in the Academic Writing course in the Moscow Institute of Physics and Technology, which is one of the leading technical universities in Russia. The research materials include texts of academic book reviews written in English by Russian undergraduates. Results. The study has revealed the social nature of writer identity determined by the genre hybridity of a book review. It is shown that identification and positioning are in direсt connection with the source text; thus, while choosing a textbook of a general science book, the writer identity is getting to be collective or professional. Depending on the functional style of the source text, the rhetorical markers are changing as well. Thus, while choosing a textbook, students are writing for the teacher and addresses the student audience; at the same time in case of the general science text, the student rises to the level of an expert and addresses the scientific community. The popular science text helps work out the individual voice while the author’s style is changing toward the creative one and the dialogue between the writer and the reader is taking an intimate coloring. Subjectivity markers (adjectives with the negative value, boosters) are getting to be typical for the Russian linguistic and academic culture. Conclusions. The article concludes that constructing the socially-predetermined writer identity is an essential skill for students and academics. The writer identity is fluid and changeable depending on the social context – academic discourse and genre characteristics. The genre of a book review that combines objectivity and subjectivity gives an opportunity to construct writer identity according to the choice of the source text. The writer identity is culturally-predetermined and connected with the standards of Russian linguistic culture, academic rules and traditions of teaching English as a foreign language in Russia.
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Bagno, V. Ie. "Yasniie Poliany and Petersburg Corners of Russia and Russian Literature (Prophesies and Prognostications of E. Pardo Bazán)." Russkaya literatura 3 (2020): 74–84. http://dx.doi.org/10.31860/0131-6095-2020-3-74-84.
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The article analyzes E. Pardo Bazán’s concept of Russian literature, as formulated in her book "La Revolución y la Novela en Rusia". The work of the Spanish female writer is considered in the context of the «prophetic» pronouncements of the Russian 19th-century writers regarding the fates of the Russian novel in Europe, as well as in the context of her predecessors’ and contemporaries’ writings, primarily those of E.-M. de Vogüé. The perspective of the perception of the Russian literature abroad in the 20th century, as pre-chartered in Pardo Bazán’s book, is traced, the patterns of her true and false prognostications are identifi ed, including dispute over Tolstoy and Dostoevsky.
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Nakoneczny, Tomasz. "Rosja jako tekst w prozie Wiktora Pielewina." Studia Rossica Posnaniensia, no. 41 (June 20, 2018): 159–72. http://dx.doi.org/10.14746/strp.2016.41.13.
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The article presents the work of Victor Pelevin, one of the most famous contemporary Russian writers, in the context of changes in literary communication. The writer uses postmodern techniques and strategies (intertextuality, decanonization, heterogeneity) and traditional cultural motifs and themes (Russian and foreign) to compensate literature for the loss of its metaphysical attributes and authority of high art.
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Yureva, Olga Y. "V. G. RASPUTIN ON THE CHRISTIAN FOUNDATION OF RUSSIAN LITERATURE." Проблемы исторической поэтики 19, no. 4 (2021): 344–56. http://dx.doi.org/10.15393/j9.art.2021.10162.
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The article examines the Christian foundations of the aesthetic views of V. G. Rasputin, which he expressed in various speeches, journalistic articles, and literary works. Tying Russian literature with the adoption of Christianity in Russia, Rasputin argued that it inherited the “science of the soul” taught by the church, patristic principles, and Christian laws and commandments. All the criteria for evaluating literary phenomena of the past and present for the writer are based on Christian categories and laws. Rasputin understands literature as the main factor in the formation of the Russian nation, along with the Orthodox faith, as a “powerful incentive” “for the creation of a Russian person.” Literature contributed to the “artistic and moral design of the soul” of the Russian person, fulfilled a “priestly mission.” Rasputin considered the most important thing in the writer’s work to be its spiritual and moral impact on the reader. The writer believed that the primary task of Russian literature at the present stage of development is “the salvation of the nation,” “the salvation of Russian spirituality.” As the writer claimed, the basis of Russian civilization is the redemptive synodic principle. The writer’s views are embodied in his work, which recreates a truly “Orthodox image of the world.”
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Głuszkowski, Piotr. "Recepcja twórczości literackiej Maksyma Gorkiego w Polsce." Studia Rossica Gedanensia, no. 6 (December 28, 2019): 83–96. http://dx.doi.org/10.26881/srg.2019.6.06.
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The paper explores the reception of Maxim Gorky’s literary works in Poland in 1900– 2018. At the beginning of the 20th century Gorky was among the most-translated Russian authors. Translations of his works were published in the former Polish territories under all partitions (Russian, Prussian and Austrian). In the years 1918–1939/1945, despite anti-Soviet attitudes of a significant part of Polish society, Gorky was still very popular. In the times of the Polish People’s Republic (1945–1989), the writer was characterized by the historians of Russian literature as a classic Soviet writer and the founder of the Socialist Realism. Polish scholars usually repeated views of their Soviet colleagues. Recently Gorky’s works attract attention rather of Polish writers and publicists (Józef Hen, Adam Michnik, Sylwia Frołow, Krzysztof Varga) than of historians of literature.
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Kirillova, Roza Vladimirovna. "TO THE 85th ANNIVERSARY OF EGOR EGOROVICH ZAGREBIN." Yearbook of Finno-Ugric Studies 16, no. 2 (2022): 364–67. http://dx.doi.org/10.35634/2224-9443-2022-16-2-364-367.
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The article is devoted to the 85th birthday anniversary of the playwright, novelist, publicist, people's writer of the UR Egor Zagrebin. He is one of the most famous Udmurt writers in the Finno-Ugric world, who has done a lot for the national culture not only as an author, but also as a chairman of the UR Union of Writers. Egor Zagrebin raised the Udmurt drama to a new level. His works have become an organic part of multinational Russian literature. The creative legacy of Egor Zagrebin remains in demand among cultural figures and readers of Russia and foreign countries.
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Bakashova, Jyldyz K. "Problems of the interaction of reality and fiction in Russian literature in the 20s of the XX century." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2021): 119–24. http://dx.doi.org/10.20339/phs.1-21.119.
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The article is devoted to one of the important problems of literature at the end of the nineteenth and the first half of the twentieth century — documentary artistic creation. Writers, and later filmmakers, introduce real materials into their works that create a historical narration. Writers of different creative orientations are united in their attitude to the documentary trend. The article examines the actual problem of using prototypes by Russian writers when they create works of art. The views of Russian writers on the problem of interaction between reality and fiction in their work are considered on the example of the statements of L.N. Tolstoy, N.K. Hudzia, F.M. Dostoevsky, N.V. Gogol, V.G. Belinsky, A. Serafimovich, A. Todorsky, A. Blok. Russian writers believed that artistic truth is inseparable from the truth of life, real reality is the basis that feeds art. But no less significant is the creative understanding of the facts of life. The path from the prototype to the artistic image created by the writer in the work is closely connected with the figurative vision of the world, with generalization and individualization, with the aesthetic comprehension of real facts, there is a dialectical connection between art and life. Adequate reconstruction of events presupposes their aesthetic comprehension by the writer.
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Zueva, Galina. "Media Image of a Contemporary Writer via Interpretation of Their Texts (by the Example of Inwerviews with Dina Rubina's)." Theoretical and Practical Issues of Journalism 9, no. 1 (2020): 192–203. http://dx.doi.org/10.17150/2308-6203.2020.9(1).192-203.
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This paper studies the media image of a modern Russian writer Dina Rubina basing on her portrait (face-to-face) interviews and subject-related portrait interviews in various contemporary Russian and pro-Russian media: newspapers, magazines, radio, TV, and the internet-media. Growing interest to modern writers in the media environment and to interaction between the writer and the reader via mass media determines the topicality of the research. The study object is a public figure from the literary community. In this relation, the author finds it necessary to distinguish between the notions "media image", "imagery", and "image". The interviews with Dina Rubina are analyzed in the context of the form and contents of her works, which helps to identify and fix some personal intentions of the writer. The author studies the writer's media image basing on the theory of archetypes, as well as their influence on Dina Rubina's and her interviewers' professional behavior. The specific character of the questions asked to the writer prove the importance of the archetype of the creator and its dominance among the contributory archetypes, namely, those of the Harlequin and the mother. Special attention is paid to the gender aspect of a modern writer's media image, which is quite significant for Dina Rubina and her readers.
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Shmeleva, A. V. ""We should live the people's lives ..." K.P. Pobedonostsev About the main characteristics of Russian literature." Язык и текст 2, no. 3 (2015): 53–58. http://dx.doi.org/10.17759/langt.2015020307.
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This publication reveals the tradition of Russian literature, based on the principles of historicism and nationalities. The connection of speech and outlook of the writer as an example of creativity one of the outstanding figures of the second half of the XIX century – K.P Pobedonostsev. Research subject is the basic thesis of Pobedonostsev which is addressed to the writers - "We should live the people's lives ...." Accumulation of the ideals of the people, which are elaborated throughout the history of Russia. It allows to preserve the culture of artistic expression and national historic appearance.
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Liu, Yuan'yuan'. "I. A. Bunin's Literary Work in the context of the Intercultural Dialogue between the Peoples of Russia and China." Litera, no. 8 (August 2022): 44–56. http://dx.doi.org/10.25136/2409-8698.2022.8.38618.
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The article is a description of the literary policy of the Chinese state on the example of the work of the Russian writer I. A. Bunin. It is emphasized that the Chinese state has always been interested in friendly mutually beneficial relations with the states and peoples of neighboring countries, so it has historically resorted to the "soft power" strategy. The hypothesis of the influence of the Chinese state on representatives of Russian cosmism, as well as their supporters, including I. A. Bunin, is expressed and partially substantiated. Russian writer's work and the development of Bunin studies in China, which, on the one hand, allows the Chinese to better understand the culture and soul of the Russian person, on the other hand, contributes to ensuring intercultural dialogue between the two peoples and their rapprochement, are considered. Conclusions are drawn that are important for the development of Russia and Russian-Chinese relations: a) Russia's harmonious development is impossible in conditions of isolation from the East, due to the geopolitical position of the country; b) The Chinese state has historically sought to ensure close cooperation with Russia using the "soft power" strategy; c) the "soft power" strategy was oriented towards the Russian intelligentsia, which formed a positive attitude of the Russian population towards the East and smoothed the sharp corners in the pro-Western policy of the Russian state; d) the policy of cultural influence of the Chinese Empire, and then the PRC, contributed to the transformation of the philosophical doctrine of Russian cosmism, which was supported by I. A. Bunin and other prominent Russian writers; e) eastern orientalism in the works of I. A. Bunin, to one degree or another contributed to the harmonization of relations in Russia and, along with the works of L. N. Tolstov and A. P. Chekhov, became part of the cultural tunnel between Western-oriented Russia and China.
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Barilovskaya, A. A., and N. V. Kolesova. "RUSSIAN CULTURAL SUBSTRATE IN THE ENGLISH TEXTS BY M. SHRAYER." Bulletin of Krasnoyarsk State Pedagogical University named after V.P. Astafiev 57, no. 3 (2021): 124–33. http://dx.doi.org/10.25146/1995-0861-2021-57-3-296.
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Statement of the problem. At present when expansion of linguistic and cultural contacts between countries and peoples is growing, the problem of studying the phenomenon of transculturalism acquires particular relevance. Cultural interaction, fusion of cultural traditions and overcoming cultural isolation is reflected on the stage of linguistic interaction and translational creativity of emigrant writers who, being cut off from the linguistic processes of the metropolis in a new linguistic environment, use the language of the host country, combining elements of two linguistic systems and cultures. The purpose of this article is to study and single out the features of the Russian cultural substrate in the works by the modern emigrant writer M.D. Schrayer. Review of scientific literature on the problem. Along with a large number of works devoted to the language of translingual writers, works on the analysis of the Russian-language substrate in the texts by modern authors who create their texts in English are quite few and do not completely solve the problem of the functional significance of this phenomenon. The methodology (materials and methods). The article is based on the analysis and generalization of articles devoted to the problem of cultural substrate and translingual literature done by Russian and foreign linguists from the point of view of linguocultural analysis of the text, component analysis of the semantic structure of lexical units and synchronous comparison of linguistic units belonging to different systems. Research results. Based on the analysis of the texts by M. Schrayer functioning of the Russian-language substrate in the English texts was analysed. The methods of semantization of Russian cultural elements and their use in order to fulfill certain aesthetic functions were studied. It was revealed that the Russian cultural substrate is organically included in the description of Russian reality, creates the image of Russia, expands the idea of the people inhabiting this country and their culture. Conclusion. The English-language literary texts by M. Schrayer are a vivid example of intercultural communication. The use of the Russian cultural substrate in English-language texts serves as a kind of information transfer channel at the intercultural level. Russian cultural elements demonstrate how an emigrant writer includes his experience in a literary work, they convey the author’s attitude, reveal the connection of his biography to an eventful series of his works, which ultimately forms and interprets the image of Russia in a foreign language communicative sphere.
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Afanasieva, Nina D., Svetlana S. Zakharchenko, and Irina B. Mogileva. "Formation of the Linguistic Picture of the World of Bilinguals." Polylinguality and Transcultural Practices 19, no. 4 (2022): 587–95. http://dx.doi.org/10.22363/2618-897x-2022-19-4-587-595.
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The authors of the article analyze the specifics of the formation of the linguistic picture of bilinguals, in whose minds two cultural codes are combined. The authors suggest that the linguistic picture of the world of bilinguals differs from the picture of a native speaker. When forming a bilingual linguistic personality, two cultures merge in his mind; many historical, social facts, influenced by individual and personal views, judgments, assessments, get a brighter color, are described differently, which makes it possible to understand the worldview of another person. Natural bilinguals, unlike artificial ones, have a combination of two pictures of the world, two cultural codes. However, both pictures in the mind of a bilingual, who is not divorced from one of the language environments, combine, change and eventually form another one with its own specific features. Bilingual writers, in whose minds two different languages are combined, using, for example, the Russian language when creating their work, nevertheless find themselves in the system of images of their native language, native culture. As a result, expressions, stylistic techniques and other means of artistic expression that are atypical for native speakers appear. This is how a new cultural code appears, which requires special linguistic means. A bilingual writer evaluates any phenomenon from the point of view of the native cultural The article provides examples: some characteristic features of the work of the Swedish bilingual writer of Greek origin Theodor Kallifatides, Russian-American writer V.V. Russian Russian and Kyrgyz literature by Chingiz Aitmatov, Russian French writer Andrei Makin. A bilingual author, in whose mind two different worlds are connected, nevertheless is closer to the system of images of his native language, native culture.
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Kara-Murza, Alexey. "At the Origins of "Russian Northerness": Disputes about Lomonosov (1st third of the 19th century: Merzlyakov, Griboyedov, Bestuzhev-Marlinsky)." Polylogos 6, no. 2 (20) (2022): 0. http://dx.doi.org/10.18254/s258770110020592-3.
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The article continues the study of the issue of the formation of the historiosophical and culturological concept &quot;Russia as the North&quot;, born to a large extent in connection with the philosophical understanding of the life and work of the Russian scientist and poet Mikhail Lomonosov. The author believes that a significant contribution to this process of Russian self-identification was made in the first third of the 19th century. such intellectuals as the professor of Russian literature, poet and translator Alexei Fedorovich Merzlyakov (1778–1830), the writer and diplomat Alexander Sergeevich Griboedov (1795–1829) and the romantic writer, Decembrist Alexander Alexandrovich Bestuzhev-Marlinsky (1797–1837). The article analyzes literary and journalistic texts, variously associated with the name of Lomonosov, which formed the basis of the concept of &quot;Russian northerners&quot;.
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Ławski, Jarosław. "Ironia i nihilizm. Figura bibliotekarza w Posłuchaniu u Lucypera Józefa Sękowskiego." Prace Filologiczne. Literaturoznawstwo, no. 8(11) cz.2 (June 30, 2019): 83–94. http://dx.doi.org/10.32798/pflit.69.
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The subject matter of the present article is the image of library and librarian in a forgotten short story by a Polish-Russian writer Józef Julian Sękowski (1800−1858). Sękowski is known in Polish literature as a multi-talented orientalist and polyglot, who changed his national identity in 1832 and began to write only in Russian. In the history of Russian literature he is famous for Library for Reading and Fantastic Voyages of Baron Brambeus, an ironic-grotesque work, which was precursory in Russian prose. Until 1832 Sękowski was, however, a Polish writer. His last significant work was An Audience with Lucypher published in a Polish magazine Bałamut Petersburski (Petersburgian Philanderer) in 1832 and immediately translated into Russian by Sękowski himself under the title Bolszoj wychod u Satany (1833). The library and librarian presented by the author in this piece are a caricature illustration proving his nihilistic worldview. Sękowski is a master of irony and grotesquery, yet the world he creates is deprived of freedom and justice and a book in this world is merely a threat to absolute power.
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Senchin, R. V., and E. I. Konstantinova. "‘Not a good time for positive heroes’." Voprosy literatury, no. 5 (November 9, 2019): 75–90. http://dx.doi.org/10.31425/0042-8795-2019-5-75-90.
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E. Konstantinova interviews R. Senchin, a writer, journalist, shortlisted entry and winner of numerous literary prizes: Russian Booker (2009), National Bestseller (2010), The Culture Prize of the Russian Government (2012), Yasnaya Polyana (2014), The Big Book [Bolshaya Kniga] (2015), and others. They discuss Senchin’s personal creative experiments and discoveries as well as contemporary Russian prose in general. Senchin opines that modern literature, having digested the experiences of the ‘new realism’ of the 1990s–2000s, has moved on to discover writers’ individual characteristics and harness new subjects, including documentary ones. Given the limitations of the forms and methods of artistic literature, Senchin argues, an unexpected choice of topic, language, intonation or plot comes to the forefront. However, he prefers to stick to recognizable, traditional subjects and recurrent characters. The exploration of the motivations and personality of those characters (the writer Savateev and the office clerk Chashchin) takes up most of the interview.
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Korshunova, Evgenia Alexandrovna. "I.A. Bunin and S.N. Durylin: problems of creative dialogue." RUDN Journal of Studies in Literature and Journalism 24, no. 1 (2019): 27–34. http://dx.doi.org/10.22363/2312-9220-2019-24-1-27-34.
Full textAbstract:
The article is devoted to the consideration of the creative connections of I.A. Bunin and S.N. Durylin (1887-1954). In modern literary criticism, the question of studying the creative connections of S.N. Durylin and I.A. Bunin is urgent, which was not touched upon by the researchers. Although Durylin does not belong to the writers of emigration, in Russia he almost immediately finds himself in internal emigration: art works and scientific works were not published. This brought him closer to Bunin’s position. First of all, Durylin is interested in Bunin’s story “The Village”, in which the “Russian question” is touched. But, if in the story “Village” the writer does not fully accept the Bunin idea of Russia as a country of the wild and primeval, then in the “Life of Arseniev” the model of Russian life recreated by the author finds a response in Durylin’s creative consciousness. In the memoir book “In his corner” the author recreates the immanent image of Bunin’s native land. Brings together the writers of the perception of the revolution of 1917 as a “breakdown”, a catastrophe, a lyric narrative, a structureforming function of memory. However, if Bunin’s pre-revolutionary pictures of Russian life are the center of the narrative, then Durylin serves as a background (and a window into an ideal past), the focus of writers’ attention is the post-revolutionary process of the death of the healthy beginnings of Russian life, embodied in the form of snow.
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Yetkin, Gülhanım Bihter. "The Pioneering Prototype Characters that Shape the History of Russian Literature." Two centuries of Russian classics 4, no. 4 (2022): 154–83. http://dx.doi.org/10.22455/2686-7494-2022-4-4-154-183.
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The article deals with the concept of a prototype and the theory of prototypes. The author of the work shows that the prototype is an effective element that unites the real and artistic worlds, an important resource that contributes to the creation of a holistic and capacious image of the character. Borrowing the qualities of the prototype, the writer equips his character with them, sometimes directly, and sometimes fictionalizing these features. The creative work produced by writers with elements of the appearance and spiritual world of real persons enables the writer to make new discoveries. The article emphasizes the significance and functions of the prototype, a lot of work has been done to identify and systematize the prototypes of various characters of Russian literature. A comprehensive representation of real faces that served as a source for the formation of their heroes by different writers, reflection of the changes in the figures of these real people from a prototype to an artistic image, make it possible to better understand the author’s train of thought, his path from the hero’s idea to the realization of his figure in the work.
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Liang, Wang. "CHINESE WRITER TIAN HAN IN RUSSIAN STUDIES." Science of the Person: Humanitarian Researches 4, no. 34 (2018): 71–80. http://dx.doi.org/10.17238/issn1998-5320.2018.34.71.
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Shvarts, N. V. ""To Present a List of Russian Orthodox Churches Abroad and the Clergy Attached to Them..." Based on the Materials of the St. Petersburg Archives." Язык и текст 8, no. 1 (2021): 48–56. http://dx.doi.org/10.17759/langt.2021080106.
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The article is based on documents from the Russian State Historical Archive and the Central State Historical Archive of St. Petersburg that have not previously been used by researchers, which contains information about the priests served in Russian Orthodox churches in Italy in the 1860-s. It was then that cities Naples, Florence and Rome were visited by the great Russian writer F.M. Dostoevsky. His travels had coincided with a profound transformation of the government of the overseas churches and updating the staff list of priests. When choosing priests for ministry outside Russia special attention was paid to their education. Today there is no documentary evidence of personal communication between the writer and the clergy, but to analyze the situation and activities of Russian Orthodox churches abroad seems appropriate, because Dostoevsky's interest in all events that took place in Italy was great throughout his life.
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Kara-Murza, Alexey. "At the origins of "Russian Northernism": disputes about Lomonosov (late 18th - early 19th centuries: Muravyov, Karamzin, Batyushkov)." Polylogos 6, no. 1 (19) (2022): 0. http://dx.doi.org/10.18254/s258770110019114-7.
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The article examines the issue of the formation of the historiosophical and culturological concept &quot;Russia as the North&quot;, born to a large extent in connection with the philosophical understanding of the life and work of the Russian scientist and poet Mikhail Lomonosov. The author believes that a significant contribution to this process of Russian self-identification was made at the end of the 18th - beginning of the 19th centuries. such intellectuals as the writer and public figure Mikhail Nikitich Muravyov (1757–1807), the historian and writer Nikolai Mikhailovich Karamzin (1766–1826) and the poet Konstantin Nikolayevich Batyushkov (1787–1855). The article analyzes literary and journalistic texts, variously associated with the name of Lomonosov, which formed the basis of the concept of &quot;Russian Northerness&quot;.