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Journal articles on the topic 'Slovo of polku Igoreve'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Lenhoff, Gail, and Boris Gasparov. "Poetika "Slovo o polku Igoreve"." Russian Review 45, no. 1 (January 1986): 47. http://dx.doi.org/10.2307/129404.

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2

Ingham †, Norman W. "The Igor’ Tale and the Origins of Conspiracy Theory." Russian History 44, no. 2-3 (June 23, 2017): 135–49. http://dx.doi.org/10.1163/18763316-04402008.

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In his 2004 lecture delivered at Harvard, Norman W. Ingham critiques Edward L. Keenan’s controversial book Joseph Dobrovský and the Origins of the Igor’ Tale (Slovo o polku Igoreve) and argues that Keenan’s claims against the poem’s authenticity are not convincing.

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3

Fefer, Tatiana. "The Slovo o polku Igoreve: A Poetic Dream." Russian Literature 42, no. 1 (July 1997): 17–24. http://dx.doi.org/10.1016/s0304-3479(97)82572-0.

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4

Butler, Francis. "Edward Keenan, Vladimir Dal', and the Slovo o Polku Igoreve." Russian History 33, no. 2-4 (2006): 217–33. http://dx.doi.org/10.1163/187633106x00140.

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5

Fefer, Tatiana. "Did the “Heretic” Feofan Prokopovič Write the Slovo o polku Igoreve?" Russian Literature 44, no. 1 (July 1998): 41–115. http://dx.doi.org/10.1016/s0304-3479(98)80017-3.

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6

Poppe, Nicholas. "Altaic Lexical Elements in the Slovo o polku Igoreve and the Sceptics." Scando-Slavica 55, no. 1 (November 2009): 8–14. http://dx.doi.org/10.1080/00806760903175284.

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7

Ingham, Norman W. "Zemlia Russkaia and Zemlia Polovetskaia in the Poetic Structure of Slovo o Polku Igoreve." Russian History 19, no. 1-4 (1992): 97–114. http://dx.doi.org/10.1163/187633192x00064.

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8

Zubareva, V. K., and E. I. Konstantinova. "‘The moment you start experimenting with the word its soul is gone’." Voprosy literatury 1, no. 1 (February 20, 2020): 176–99. http://dx.doi.org/10.31425/0042-8795-2020-1-176-199.

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E. Konstantinova interviews V. Zubareva, a poet, literary critic, author of over twenty books, including monographs, poems and prose, as well as winner of several literary awards. The two discuss the essence of literature and the different interpretation it receives in academic research, artistic prose, and poetry, respectively. The interview particularly dwells on V. Zubareva’s new translation of The Tale of Igor’s Campaign [ Slovo o polku Igoreve ] and the Tale’s new concept, according to which, as Zubareva suggests, the author and the narrator are different people and the tale’s real hero is Svyatoslav, who dreams of unifying Russian princedoms, rather than Igor. A US resident of over 30 years, Zubareva also comments on the problem of modern Slavic studies abroad and shares updates on her projects, such as Russkoe Bezrubezhye [ Russian Literature Without Borders ], Orlita, and the Gostinaya literary magazine.

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9

Vaulina, Svetlana. "On Means of Expressing Author’s Modality in “The Tale of Igor’s Campaign”." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije 15, no. 2 (July 2016): 25–33. http://dx.doi.org/10.15688/jvolsu2.2016.2.3.

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10

Kostikova, Ilona, Yuliia Вozhko, Tetiana Razumenko, and Evdokiya Goloborodko. "The Translation Peculiarities of the Ancient Ukrainian Monument «On the Campaign of Igor» by American Researchers Jack Haney and Eric Dahl." Revista Amazonia Investiga 9, no. 28 (April 21, 2020): 545–51. http://dx.doi.org/10.34069/ai/2020.28.04.59.

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The article analyzes some peculiar features in the English translation of the glorious Ukrainian literary monument «On the Campaign of Igor» («Slovo o polku Igoreve») by the famous American researches Jack Haney and Eric Dahl. It also considers the various publications and translations of the work in English, taking into account the Ukrainian monument translation. It is stated that in America there are very few works published by the scholars on this issue. It is connected not with the lack of interest in «On the Campaign of Igor», but it is due to the work complexity with the poem, the problems of translation, and the presence of «confusing selections», as well as unawareness of the political, economic, and everyday situation of those times. It is obvious that the American textbook «On the Campaign of Igor» is a classical scientific English-language edition containing the poem text, explanations, and key aspects. It allows American students not only to study the text of the ancient Ukrainian monument in the original language, but also learn about the historical and literary situation of those times as the Americans imagine it.

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11

Bakhova, N. S. "The story and legends of The Forty-First." Voprosy literatury, no. 5 (December 19, 2018): 192–212. http://dx.doi.org/10.31425/0042-8795-2018-5-192-212.

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The article is devoted to B. Lavrenyov’s story The Forty-First [Sorok perviy]. The author sets out to identify the prototypes of the main character, the White officer V. Govorukha-Otrok. Among these, she names a famous critic from the late 1800s, Y. Govorukha-Otrok. All previous studies of this story were limited to its general aspects, with only the works of B. Geronimus, and to some extent, E. Semyonova, N. Titova, and G. Ratmanova, touching on the subject.The article begins by analyzing the legends around the character, including those inspired by the ‘Cannes echo’ phenomenon: the artistic response of several writers to G. Chukhray’s film adaptation of the story. Bakhova proceeds to point out a close connection of The Forty-First with Lavrenyov’s other works, e. g. Wormwood Herb [Polyn’-trava], noting the latter’s polemical stance towards the ideology of the 1920s. In the latter story, Lavrenyov chooses to pursue an unconventional parallel with the epoch of The Tale of Igor’s Campaign [Slovo o polku Igoreve]. Finally, she points out the close affinity of The Forty-First with Russian folk tales. Consequently, she concludes that Lavrenyov’s inner defiance of certain postulates of the Bolshevik revolution and its newly-established culture is hardwired in the story.

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12

Rostovtsev, Evgeny A. "The Immortal Host of Prince Igor." Vestnik of Saint Petersburg University. History 65, no. 3 (2020): 883–903. http://dx.doi.org/10.21638/11701/spbu02.2020.311.

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The attention of the author of this paper is focused on “The Tale of Igor’s Campaign” (Slovo o polku Igoreve), a famous work of Russian literature. Before the revolution the text was included in the school curriculum, and within the period of 1850–1917 its separate editions exceeded 150. The early Soviet period was marked by a brief decline of the popularity of the “Tale”, but since mid-1930s, the number of its separate editions started to grow, and the negative or indifferent comments on Prince Igor Sviatoslavich in Soviet encyclopedias were replaced by the favorable ones. The heroization of its characters during the Great Patriotic War also contributed to the popularity of the “Tale”. After the war, “The Tale of Igor’s Campaign” was effectively used again as a symbol of the unity of three brotherly nations — Russian, Belarusian and Ukrainian. The celebrations of different anniversaries, such as the 750th anniversary of the “Tale” and 150th anniversary of its first publication were also typical of the Soviet era. After the collapse of the Soviet Union, the “Tale” has become an object of rivalry between Russia and Ukraine. Each country claims to be the only true heir of the “Tale”, actively contributing to its popularization via publications, the organization of commemorative events and the introduction of its text into school curriculums. However, further prospects of the “Tale” commemoration-wise are quite obscure — the article argues that the “Tale” (as well as many other literary works) does not constitute an effective tool for building of national past.

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13

Rakhno, Kostyantyn. "«Zemlja neznaema» i iranskij substrat «Slova o polku Igoreve»The Unknown Land and the Iranian Substratum in the Tale of Igor’s Campaign." Studia mythologica Slavica 17 (October 13, 2014): 91. http://dx.doi.org/10.3986/sms.v17i0.1497.

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14

Rakhno, Kostyantyn. "Žir i žirnye vremena: ob odnom simvole v «Slove o polku Igoreve»Fat and Fat Times: About One Symbol in the Tale of Igor’s Campaign." Studia mythologica Slavica 19 (May 5, 2016): 93. http://dx.doi.org/10.3986/sms.v19i0.6618.

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15

Birnbaum, Henrik. "Boris Gasparov. Poetika "Slova o polku Igoreve. "(Wiener Slawistischer Almanach, Sonderband 12, Literarische Reihe). Wien: Gesellschaft zur Förderung slawistischer Studien, 1984. 405 pp. OS 300; DM 42 (paper)." Canadian-American Slavic Studies 19, no. 2 (1985): 205–6. http://dx.doi.org/10.1163/221023985x00378.

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16

Harkins, William E. "Poetika “Slova O Polku Igoreve.” By Boris Gasparov. Special Volume, Wiener slawistischer Almanach, vol. 12 (edited by A. Hansen-Löve). Vienna: Gesellschaft zur Förderung slawistischer Studien, 1984. 405 pp. Paper." Slavic Review 44, no. 1 (1985): 172–73. http://dx.doi.org/10.2307/2498312.

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17

Poppe, Nicholas. "A textological note on altaic loan words in theZadonščinaand theslovo polku igoreve." Scando-Slavica 39, no. 1 (January 1993): 122–27. http://dx.doi.org/10.1080/00806769308601025.

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18

Klochek, Hryhoriy. "Intertextuality as Factor of Artistic Energy of Literary Work (Vasyl Holoborodko’s Poem “A Curved Dance”)." Академічний журнал "Слово і Час", no. 1 (January 20, 2019): 12–24. http://dx.doi.org/10.33608/0236-1477.2019.01.12-24.

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The theoretical part of the paper outlines methodological principles applied within the analysis of intertextuality as a factor of artistic energy in Vasyl Holoborodko’s poem “A Curved Dance”. For this purpose, the necessary comments on intertextuality as a source of artistic energy have been made. The author of the paper shows the difference between systematic and structuralistic understanding of a literary work, and considers the actual problems of the systematic theory which defines ‘technique’ as a main unit of the expressive system (poetics). In this case the identification of the techniques is supported by the analysis of their expressive functions. The receptive poetics as a methodological doctrine is based on this perspective, the essence of which is modeling the influence of the expressive techniques of a literary work on the recipient in terms of the psychology of artistic perception. The poem “A Curved Dance” have been analyzed as a complete, systematically organized text that begins to function in the process of the perception, generating a quite complete artistic world in the recipient’s mind. The artistic character of the poem is determined by many factors, but the most important of them is the main meaning, generated by the literary text, which may be defined as a dream about the perfect, full-fledged existence of the Ukrainian nation. The whole expressive system of the literary work contributes to creating it, while the dominant role is played by intertextual ‘implants’ in the author’s text, brought from some notable works, namely the image of the curved dance (intermedial moment), reminiscences from the folk song “Oy tam na hori zhentsi zhnut” (“Oh there on the hill harvestmen reap the harvest”) and “Slovo o polku Ihorevim” (“The Tale of Ihor’s Campaign”). They express the meaningful senses that substantially enrich the author’s text from the perspective of the psychology of artistic perception, giving it a hidden meaning, and therefore energy.

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19

Roudet, Robert. "Les coordinations en vieux russe et le problème du Slovo o polku Igoreve." ELAD-SILDA, no. 4 (April 11, 2020). http://dx.doi.org/10.35562/elad-silda.663.

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Le but de ce travail est de donner un exemple frappant d’évolution de la norme écrite. Nous nous penchons sur l’évolution de la coordination, en partant de la norme vieux russe que nous comparons à la norme de la langue moderne. Il est très facile de voir un changement important : la norme vieux russe était une abondance de coordinations qui est totalement exclue en langue moderne, car non seulement elle déboucherait sur une très grande lourdeur, mais même sur des énoncés fautifs. Nous voyons ensuite l’importance que ceci a eu pour la discussion sur l’authenticité du Slovo o polku Igoreve : ce manuscrit se rapproche par son emploi très modéré des coordinations de la langue moderne, mais une brillante étude de A. Zaliznjak qui compare ce manuscrit avec celui de la Zadonščina permet de conclure que ceci est au contraire une preuve très forte pour l’authenticité.

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