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Journal articles on the topic 'Writer-emigrant'
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1
Kiyanskaya, Oksana I., and David M. Feldman. "ODESSA IN PUBLICIST WORKS BY NATALIA LOGUNOVA." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2020): 113–23. http://dx.doi.org/10.28995/2686-7249-2020-6-113-123.
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This article is the third in a series of publications devoted to the biography and journalistic work of the Russian emigrant writer N.A. Logunova. The article describes the place of Odessa in her work, analyzes her journalistic work “We are from Odessa”, published in the emigrant press in the second half of 1950s. It is assumed that the authors of the article in the future will continue publishing and commenting Logunova’s journalistic texts about Odessa.
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Mitzner, Piotr, and Hikaru Ogura. "Letters from Maria Czapska and Józef Czapski to Alexei Remizov." Tekstualia 2, no. 61 (2020): 141–48. http://dx.doi.org/10.5604/01.3001.0014.3819.
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This article contains letters with comments from Maria Czapska and Józef Czapski to Alexei Remizov, a prominent Russian writer, residing in Paris. Remizow, an experimenting writer, unrelated to any literary group or political party, was the fi rst Russian emigrant who coopetated cooperated with the Paris-based journal „Kultura” [Culture]. The preserved letters testify to the deep friendship connecting him with the Czapski siblings and are signs of writer’’s constant interest in Polish literature.
3
Obatnina, Elena R. "The Writer in the Landscape of the Smenovekhovstvo: Remizov and Prishvin." Texts and History: Journal of Philological, Historical and Cultural Texts and History Studies 3 (2020): 91–111. http://dx.doi.org/10.31860/2712-7591-2020-3-91-111.
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The article analyzes the ambiguous motives and reasons that in the early 1920s, both at home and in the diaspora, influenced the literary personality of the writer in such a way that it involuntarily acquired the features inherent in the Smenovekhovstvo movement. For the first two years in Germany, where he fled to escape the unbearable conditions of life in Russia, Alexey Remizov retained the right to return to Petrograd. Due to this voluntary position of a ”temporary” emigrant in the history of the literary process of the early 1920s, a number of events of his creative life was captured in the landscape of the Smenovekhovstvo. The article presents the first analysis of Remizov's essay ”The Hook. Petersburg’s Memory” (1922), which, at first glance, supports N. Ustryalov's program aimed at organizing the return of emigrants to their homeland. Individual perception of the Smenovekhovstvo ideologemes is discussed using the example of the behavior of two writers in a specific ideological situation. One is the case of Remizov as a “temporary” emigrant writer in 1921- 1923, the other is the case of Prishvin as a writer who, after the October coup, took the position of an “internal emigrant”. Based on Prishvin's diary, the article reveals the tragic story of the perception of Remizov's essay “The Hook” (1922) and the attitude of the two writers to the concept of ”patriotism”, one of the main motives of the “return home” movement. The article offers a new perspective on the history of the relationship between the two like-minded authors and restores the context of their unknown correspondence from 1922-1923, fragments of which have survived in Prishvin's diaries, and in one letter that was published as Prishvin's essay ”Sopka Mair ” (“The Hill Mair ”, 1922). The essay was addressed to Remizov and contained an ”answer ” to the essay ”The Hook”. This article is part of a study of Remizov’s works, viewed as a reflections of individual experience in the history of the first wave of Russian emigration.
4
Kravchenko, Iryna. "EMIGRATION IN THE LIFE AND WORKS OF GUSTAW HERLING-GRUDZIŃSKI (based on the material of “Journal written at night”)." Polish Studies of Kyiv, no. 35 (2019): 475–80. http://dx.doi.org/10.17721/psk.2019.35.475-480.
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This article analyzes the problem of emigration in the life and works of one of the most impor- tant representatives of Polish literary emigration of the twentieth century – Gustaw Herling-Grudziński. He was a Polish writer, journalist, essayist, World War II underground fighter and political dissident abroad during the communist system in Poland. The work of the writer called “Journal Written at Night” was the material for this re- search. “Journal Written at Night” contains valuable information regarding his views on the problem of emigra- tion, and also describes the opinions of his Polish émigré colleges on this issue. In addition, the article describes the reason for the emigration of the writer and analyzes the works in which he described his emigration experience. Keywords: diary, emigrant, Polish literary emigration.
5
Paliy, O. "THE NARRATIVE STRUKTURE OF THE NOVEL BY MILAN KUNDERA IMMORTALITY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 222–38. http://dx.doi.org/10.17721/2075-437x.2020.36.18.
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Novel Immortality of the famous Czech writer-emigrant Milan Kundera represents an organic combination of the Czech and West European tendencies of the novel development as well as demonstrates an adaptation process of the latest practice in the Czech literature, where emigrant literature plays a great role. The article studies poetics of the novel on the plot, composition and narrative levels. It is examined the philosophical and aesthetic character of the book, the interpenetration of the epic narrative forms and essay, the author’s communicative strategies. Intertextual and game modus of the novel is considered while game character is opposed to existential subject. Special attention is paid to the narrative composition of text characterized by the underlined subjectivity of narrative manner, the method of author’s mask, the meta-narrative judgments, the simultaneous use of different narrative forms.
6
Lipowski, Wojciech. "„Powraca do nas dawne życie”… Doświadczenie pamięci w opowiadaniach Zygmunta Haupta." Rocznik Biblioteki Naukowej PAU i PAN 65 (2020): 169–86. http://dx.doi.org/10.4467/25440500rbn.20.011.14170.
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“The Old Life Returns to Us”... The Experience of Memory in Zygmunt Haupt’s Short Stories The paper presents some selected aspects regarding the work of a Polish emigrant writer Zygmunt Haupt (1907–1975). Its aim is to provide an interpretation of the forms of remembrance contained in some of the short stories as well as the influence of the writer’s biography on his prose. In the second part, attention is given to the philosophical and cultural contexts in which the author’s works may be placed. Moreover, the linguistic elements present in the quoted short stories are also described. The author of the paper attempted to organise the biographical information about the writer as well as to depict the historical background of his literary activity.
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Novak, Snizhana. "IMAGE OF THE UKRAINIAN EMIGRANT IN THE SMALL PROSE OF VOLODYMYR BIRCHAK." Polish Studies of Kyiv, no. 35 (2019): 267–71. http://dx.doi.org/10.17721/psk.2019.35.267-271.
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The article analyzes the peculiarities of the formation of V. Birchak a collective image of a nationally conscious Ukrainian-emigrant, endowed with many virtues and disadvantages, forced to overcome the challenges of the emigrant fate. Considered the writer’s understanding of the events of the life of Ukrainian emigration after the defeat of the national liberation struggles of 1918 – 1920, in which the prose writer also participated directly, because of which he also lived and worked on emigration. Volodymyr Birchak (1881– 1952) is one of the founders of the Lviv Modernist literary group Young Muse (1906 – 1014), a Galician, a writer-pedagogue who directly participated in the national liberation struggle of Ukrainians from 1918 to 1920, and after the defeat was forced was to emigrate to Transcarpathia, which then belonged to Czechoslovakia. The writer’s close and understandable were the experiences and wandering of Ukrainian emigrants who sought salvation from the Moscow invasion beyond their native land without livelihood, without the possibility of obtaining citizenship, finding a job, adapting to life without the glow of enemy bullets. The article deals with the collection of stories “The Golden Violin” (1937) and the story “The Emigrant” (1941), which was not included in the collections. The composite-organizing components of many of these stories are trials that fell to the fate of the heroes. The motive of the road, present in the small prose of V. Birchak of the 20’s and 40’s of the twentieth century, is a motive of emigrant hardships, searching for himself in a new, non-hostile world. All the prose works of V. Birchak confirm his views on the important role in the history of the state creation of each strong person, and not the crowd. The author in many of his stories skillfully depicts the customization of emigre heroes under the inadequate claims that seem to be invented deliberately to mock exiles from Ukraine: as a rule, educated, intelligent, educated, patient in the experience of difficulties, able to adapt and continuously teach something new , responsible and decent in the relationship with the environment. They do not have excessive pride, do not show self-defeatism, do not declare their exclusiveness, as former fighters for the freedom of Ukraine. They also do not squeal, but engage in everyday work to survive until the time comes again to take up arms and win. Survive in difficulty, poverty, humiliation of their dignity helps optimism.
8
Kasiyan, Z. L. "DARYIA YAROSLAVSKA`S NOVEL "A GIRL IN NEW YORK": SEARCHING NATIONAL IDENTITY." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 461–69. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-461-469.
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The article first attempts to analyze the artistic peculiarities of “A Girl in New York” novel by Ukrainian diaspora writer Daria Yaroslavska, the specifics of the solution to the problem of "I" – "Other" as the search for the main heroine of her own identity in the coordinates of the New World.
 The problem of assimilation of personality under the influence of "Other", preservation of "His", transformation into "another-but-your" is considered. Particular attention is paid to the dynamics of the development of the image of the Ukrainian emigrant.
9
Topalova, Delgir Yu. "События Гражданской войны в рассказах калмыцкого писателя-эмигранта С. Балыкова". Бюллетень Калмыцкого научного центра Российской академии наук, № 2 (30 грудня 2020): 198–215. http://dx.doi.org/10.22162/2587-6503-2020-2-14-198-215.
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The article analyzes the Civil War theme in the work of emigrant writer Sanzha Balykov based on the example of a number of works. Updating the documentary beginning in the works, the author projects the main points of the emergence of Kalmyk emigration, builds the entire historical background of the forced mass exodus of Kalmyks abroad. The stories of S. Balykov are a reliable historical document describing the complex “time-space” of Kalmyk history. Both the narrative as a whole and the image of the heroes of the stories embody the dramatic fate of the nation, the universal calamity that is obviously inseparable from the fate of the writer himself. The author’s achievement is that, having shown the tragedy and fate of the Kalmyk people in a completely different light, he “transformed” his previous views on the events of history that have not been described in Kalmyk fiction before him
10
Sioridze, Marine, and Ketevan Svanidze. "European Ideals and National Identity in Georgian Emigrant Literature of the XX Century." Balkanistic Forum 30, no. 1 (2021): 138–52. http://dx.doi.org/10.37708/bf.swu.v30i1.8.
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The political processes of the 20th century became a kind of test for Georgian writers, the passing of which was largely manifested by the writers’ physical presence-absence, the denial of their own beliefs. Immigrant literature has become a form of free expres-sion of dissident thoughts. The authors were forced to move to another language space for their spiritual and physical survival in order to at least somehow get closer to the national culture. However, new contradictions arose at the same time. Writers lived in a foreign country, in a society of a different mentality and worldview, for which the topic that was close to the Georgian way of life could possibly be completely alien and uninteresting. The works of Georgian emigrant authors could be incompatible or less compatible with foreign literary discourse.The goal of writers and poets of the early 20th century was to remove the shack-les of imperialism from Georgia and to become closer to Europe. The Soviet authori-ties launched a cruel and immoral campaign against the writer, caused by the ideolo-gy of that time. One of the outstanding representatives of this particular era was Grigol Robakidze. The present paper deals with the research and analysis of the movement that began at the beginning of the 20th century and was aimed at bringing Georgia closer to Europe; it also discusses the reasons that served the public to appeal to European ideals and how the struggle went on to establish their cultural values. Grigol Robaki-dze's German-language work is essentially a part of Georgian literature.The writer was delighted with the poetic greatness of the Georgian language and its capabilities. Robakidze's works clearly show his selfless love for the mother-land. He was in love with the Georgian language, the Georgian land, the Georgian character and, in general, with everything Georgian. It is easy to imagine that the stay in emigration even more strengthened the writer's patriotic feelings. The creative path of the emigrant writer was in expressing his own and national identity, on the one hand, and in adapting to the literary environment, the part of which the author should have become himself, on the other hand. Thus, he did not move away from his native roots and found his place in a foreign literary discourse.
11
Krycka-Michnowska, Iwona. "EMIGRACJA ROSYJSKA W MIĘDZYWOJENNEJ WARSZAWIE: ALEKSANDR CHIRIAKOW." Acta Neophilologica 1, no. XX (2018): 187–97. http://dx.doi.org/10.31648/an.2695.
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This paper is devoted to the cultural activity of the Russian emigrant, writer, journalist, critic and author of the memoirs – Aleksandr Khiryakov (1863-1940)in interwar Warsaw. His activity proves that he was an important representative of the diaspora, however he was marginalized by literary scholars. Khiryakov was involved in the life of the emigration community as a member of numerous literary groups and social committees. He initiated significant projects, voiced important ideas and actively cooperated with opinion-forming Russian newspapers, which propagated among their readers the conviction of their responsibility for the fate of Russia as well as its political and cultural missions.
12
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.
13
Osiewicz, Bartosz. "Опыт эмиграции в поэтическом творчестве Александра Галича". Acta Polono-Ruthenica 4, № XXIV (2019): 21–32. http://dx.doi.org/10.31648/apr.4871.
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This article is devoted to an analysis of the autobiographical experience of emigration in Alexander Galich’s poetry. Galich’s poetic texts are able to reflect the state of the writing subject, revealing to the reader the depth of his feelings and emotions and showing the features of his intimate world. The lyrics of Galich, an emigrant, are full of autobiographical experience and are rich in the “exile” time-spatial component associated with the author’s biography. In formal-compositional terms, his poems are distinguished by a broken harmony and integrity. However, as life experience showed, emigration turned out to be a serious test for the writer, leaving an indelible mark on his psyche and creative legacy.
14
Andrianova, Irina S. "An Album from Argentina: Dostoevsky in the Сollection of A. I. Kalugin". Неизвестный Достоевский 7, № 2 (2020): 219–42. http://dx.doi.org/10.15393/j10.art.2020.4761.
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The reserves of the Alexander Solzhenitsyn House of Russian Abroad in Moscow holds 84 large-format albums with clippings from emigrant newspapers from the 1940s and 1950s, selected according to various subjects (Necropolis, Icons, Church, Our achievements, etc.). These materials are a valuable source for researchers, since the collections of emigrant periodicals in Russian and foreign libraries are fragmented. All albums are predictably associated with the activities of the Russian emigrants. In 1996, A. I. and N. D. Solzhenitsyns transferred them to the collection of the House. The materials were initially received from the collector himself — Alexey Ivanovich Kalugin (1883-1982), a Russian emigrant who lived in Lithuania, Germany, Italy and Argentina. The article clarifies a number of biographical facts about Kalugin, presents a letter to him from A. I. Solzhenitsyn dated September 21, 1980, analyzes the content of the album "Dostoevsky" from the Russian Writers series. In it Kalugin included excerpts from <i>Golos naroda</i>, <i>Novoe russkoe slovo</i>, <i>Russkaya mysl</i>, <i>Narodnaya pravda</i>, <i>Za pravdu</i>, <i>Nasha strana</i>, <i>Seyatel</i>, and other newspapers that reported on new editions of the writer's books, performances, literary debates and lectures devoted to his work (professor V. N. Ilyin, writer Osip Dymov, etc.). They also contained information on the activities of the “Circle for the study of Dostoevsky” in Paris under the leadership of G. A. Meyer, and presented the commemoration program for the 70th anniversary of Dostoevsky's death in France. The album includes reviews of published books about the writer's work, articles about his life and work written by critics and emigrant researchers, the first publications of essays by I. S. Shmelev, B. K. Zaitsev and A. M. Remizov about Dostoevsky in Russian, etc. Among the little-known materials previously unpublished in Russia, the Kalugin album contains an article by Ekaterina Dostoevskaya about Fedyusha – the writer's grandson, a publication of the boy's poems, Professor V. N. Speransky's memoirs about Anna Dostoevskaya and an interview with her. These materials are published in the Appendix to the article.
15
Rudnianyn, O. I. "Artistic concept of the main character in the family novel-chronical written by Ukrainian emigrant writer Oleksa Izars’kyi." Science and Education a New Dimension IX(248), no. 23 (2021): 86–91. http://dx.doi.org/10.31174/send-ph2021-248ix73-21.
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Marchenko, Tatiana. "A miracle in a dairy shop: On a typology of an “emigrant” novel." Literary Fact, no. 16 (2020): 337–59. http://dx.doi.org/10.22455/2541-8297-2020-16-337-359.
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Alja Rachmanowa (real name Galina Dyuryagina-Hoyer) is a Russian writer with a European success in 1930s. Her books were published in German translation made by her husband Arnulf Hoyer, and still remain obscure in Russia. The phenomenon is rather fascinating from the point of view of typology of émigré prose. A novel “Milchfrau in Ottakring” (1933) of the prolific author of three dozen books was extremely popular, not only it remains relevant, but looks very modern as an “emigrant” novel of special type. In a diary form based on a personal experience, the writer sets out a story of success. A qualified philologist, Alja Rachmanowa (her literary pseudonym is usually referred to) was forced to become for a couple of years a saleswoman in a rented dairy shop. This experience of a “foreigner”, her national and sociocultural identity, adaptation, and ultimately successful integration are reflected in the diary autobiographical novel. The Russian component of the book in German whose author / heroine balances between the spheres of “own” and “stranger,” has driven a success of the “Milchfrau in Ottakring”. Russian realities, Russian mentality, nostalgie for the native country permeating the narration, especially attracted the readership. One of the important markers of “Russianness” is a citation of Russian literature, not in the form of a mere quotation, but as a rethinking, re-interpretation, a dispute with the classics. The article deals with some examples of such citing (F.M. Dostoevsky, A.V. Koltsov, A.N. Pleshcheev, Z.N. Gippius). A fragment of the novel in Russian translation is given in Annex
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Kudrina, Elena V. "“The story is too wordy”: M. Gorky and the Failed Writer Mark Volgin (The Plot of the Novel “Emigrants” and the Fate of Its Author)." Studies in Theory of Literary Plot and Narratology 16, no. 2 (2021): 116–28. http://dx.doi.org/10.25205/2410-7883-2021-2-116-128.
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The article is devoted to the plot of Mark Volgin’s novel “Emigrants”. Letters of the writer Olga Nikolaevna Nikiforova and her mother, Lyudmila Alekseevna Nikiforova, to M. Gorky were found in the Gorky Archive of the Institute of World Literature. They asked the writer to read the manuscript “Emigrants” signed with the pseudonym Mark Volgin and give a review. The manuscript was sent from Harbin in July-August 1935. Gorky read the novel and wrote an answer in October. Gorky’s letter about the novel reached the addressees only in early 1936. We learn about the content of the novel from the letters of L. A. and O. Nikiforov and the letter of the Deputy People's Commissar of Foreign Affairs B. S. Stomonyakov. Mark Volgin’s political novel depicted the whole essence of emigrant life. The novel interested the Harbin Consul M. M. Slavutsky and M. Gorky. Gorky advised Nikiforova to work on it seri-ously. The manuscript of the novel “Emigrants” has not been preserved in Gorky’s Archive. The fate of two more copies of the manuscript is unknown. New, previously unpublished let-ters of Gorky’s correspondents are being introduced into scientific circulation.
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Ajres, Alessandro. "Gustaw Herling-Grudziński e la letteratura italiana del XX secolo." Poznańskie Studia Polonistyczne. Seria Literacka, no. 39 (December 15, 2020): 183–93. http://dx.doi.org/10.14746/pspsl.2020.39.10.
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Magdalena Śniedziewska’s book discusses a theme in Gustaw Herling-Grudziński’s works which has not been thoroughly researched, i.e. their relationship with Italian literature. This is how we discover Herling-Grudziński as a writer who is simultaneously a great literary criticwho looks eagerly and with both interest (sometimes) and passion at the work of such authors as Nicola Chiaromonte, Ignazio Silone, Alberto Moravia, Luigi Pirandello, Tomasi di Lampedusa and Leonardo Sciascia. The opening chapter of the book discusses Herling-Grudziński’s condition as an emigrant and the changes in his attitude to Naples which became his second home after World War II; the final chapter is about the Polish writer’s difficult relationship with Italian book market, reconstructing the story of the reception of Inny świat (A World Apart) in Italy.
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Sokolov, Boris V. "A Prototype of Vadim Roshchin in the “White” Version of Alexey N. Tolstoy's Trilogy The Road to Calvary." RUDN Journal of Studies in Literature and Journalism 26, no. 1 (2021): 16–32. http://dx.doi.org/10.22363/2312-9220-2021-26-1-16-32.
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The article is devoted to the reconstruction of the idea of the white version of the second volume of A.N. Tolstoy's trilogy The Road to Calvary , created by the writer in the emigration in 1921-1923. This idea was fundamentally different from the one embodied by A.N. Tolstoy after his return to the USSR. Materials published in 1918 in the Rostov magazine Donskaya Volna ( Don Wave ) are used for the reconstruction. Those materials help to identify Colonel V.K. Manakin as a supposed prototype of one of the main characters, Vadim Roshchin, in the final chapters of the first volume of the trilogy and in the first chapters of the second volume of the white version. The prototype makes it feasible to reconstruct the possible idea of the second volume of the white version of The Road to Calvary . A.N. Tolstoy's notebooks are also used for the reconstruction. The reconstruction of A.N. Tolstoys plan turned out to be more logically consistent compared to the only existing Soviet version of the second and third volumes of the trilogy The Road to Calvary. Both Roshchin and Telegin, in the emigrant version of the first volume of the trilogy act as ideologists of the White Movement, find themselves in the White Armies of Southern Russia, and then in exile. The study shows that the transition of the main characters to the Red Movement in the Soviet version of The Road to Calvary is artistically unconvincing, since it does not correspond to the original plan of A.N. Tolstoy, embodied in the emigrant version of Sisters .
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Trepte, Hans-Christian. "Between Homeland and Emigration. Tuwim’s Struggle for Identity." Acta Universitatis Lodziensis. Folia Litteraria Polonica 36, no. 6 (2017): 35–47. http://dx.doi.org/10.18778/1505-9057.36.04.
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Julian Tuwim belongs to the pantheon of the greatest Polish writes of the 20th century. His Polish-Jewish descent, his attitude towards the Polish language, towards Jews in Poland, his political activities as an emigrant as well as his controversial involvement with the communist Poland still fuel many critical discussions. Polish language and culture were for him much more important than the categories of nation or state. However, whereas for Polish nationalists and antisemites Tuwim remained “only” a Jew, Jewish nationalists considered him a traitor. It was in exile that his attitude towards his Jewish countrymen began to change, especially after he learnt about the horror of the Holocaust in occupied Poland. Thus, he began writing his famous, dramatic manifesto, We, the Polish Jews. After World War II, Tuwim came back to Poland, hoping to continue his prewar career as a celebrated poet. His manifold contributions to the development of the Polish language and literature, within the country and abroad, cannot be questioned, and the dilemmas concerning his cultural and ethnic identity only make him a more interesting writer. Julian Tuwim belongs to the pantheon of the greatest Polish writes of the 20th century. His Polish-Jewish descent, his attitude towards the Polish language, towards Jews in Poland, his political activities as an emigrant as well as his controversial involvement with the communist Poland still fuel many critical discussions. Polish language and culture were for him much more important than the categories of nation or state. However, whereas for Polish nationalists and antisemites Tuwim remained “only” a Jew, Jewish nationalists considered him a traitor. It was in exile that his attitude towards his Jewish countrymen began to change, especially after he learnt about the horror of the Holocaust in occupied Poland. Thus, he began writing his famous, dramatic manifesto, We, the Polish Jews. After World War II, Tuwim came back to Poland, hoping to continue his prewar career as a celebrated poet. His manifold contributions to the development of the Polish language and literature, within the country and abroad, cannot be questioned, and the dilemmas concerning his cultural and ethnic identity only make him a more interesting writer.
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Li, Gen. "Emigrant’s fate in the image of the protagonist in the novel “Katya the Chinese” by D. A. Prigov." Litera, no. 6 (June 2021): 108–15. http://dx.doi.org/10.25136/2409-8698.2021.6.35899.
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This article is dedicated to the analysis of peculiarities of representation of emigrant&rsquo;s fate in the novel &ldquo;Katya the Chinese&rdquo; by the contemporary Russian writer Dmitri Prigov. The subject of this research is the system of characters in the novel, namely the images of the protagonist Katya and her nanny. This is an interdisciplinary research with emphasis on the cultural-historical and hermeneutical methods. The plotline of the novel revolves around the life of the girl Katya, the daughter of the representative of white &eacute;migr&eacute; in China. The role of an intermediary in Katya&rsquo;s adaptation to the civilizational space of China was played by her nanny, since she was a typical representative of the &ldquo;people&rdquo; and an exemplary bearer of Chinese traditional culture. The author aims to comprehensively examine the plotline of the novel through the prism of the processes of cultural assimilation, which defines the novelty of this research. The conclusion lies in outlining the stages of the protagonist&rsquo;s assimilation to the cultural space of China: language, social, behavioral, and spiritual. The article indicates the effectiveness of studying the novel in the context of the history of white &eacute;migr&eacute;. The heroine's departure from China makes her to reconsider personal identity, which in many ways has become &ldquo;Chinese&rdquo;. The story of the girl Katya allows the author to describe the emigrant&rsquo;s fate, who is forced to spend his life upon the road and constantly adapt to foreign cultural spaces.
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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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Laboncz, Zsuzsa. "Kálmán Barsy, un escritor húngaro en Puerto Rico." Acta Hispanica 17 (January 1, 2012): 79–93. http://dx.doi.org/10.14232/actahisp.2012.17.79-93.
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The name of this Hungarian-born, l^atin American writer may sound unfamiliar to us, Hungarian readers, but nowadays Kálmán Barsy is one of the most popular and highly recognised authors in America, whose very first novel was honored with the pri^e Casa de las Américas in 1982. His novels, short stories and essays have been published in several languages, but we can only read one of them in Hungarian. No doubt, this work occupies a very important place in our literature, as it is treating a less known subject, the story of the socalled second generation of the emigration. This second generation has only a few members like Kálmán Barsy, who shares his homeland memories, and the difficulties of the integration into a new and strange community. With this study I try to present not just his life and work, but also the way he describes the experience of an emigrant of the second generation.
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Babicheva, M. E. "Evolution of V.B. Sven’s Creative Work: From Essays and Stories to the Big Epic Form." Observatory of Culture 15, no. 3 (2018): 330–39. http://dx.doi.org/10.25281/2072-3156-2018-15-3-330-339.
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The article for the fi rst time attempts to introduce into the Russian cultural circulation the creative heritage of V.B. Sven, whose 120th anniversary of birth was celebrated in 2017. This writer of the second wave of Russian emigration is now almost unknown in homeland. His works, however, deserve to be noticed by Russian readers and researchers. Firstly, V.B. Sven’s works, due to their high artistic level, are an integral part of Russian culture. Secondly, the writer refl ected in his literature a number of interesting historical and cultural phenomena, characteristic of the era he wrote about. A literary analysis of V.B. Sven’s works is given in correlation with his unusual biography. Many facts from the writer’s life are refl ected only in sources diffi cult to access; they are presented to a wide audience in this work for the fi rst time. The article considers the specifi cs of V.B. Sven’s creative style in the evolutionary development. The article develops a periodization of the literary array created by the writer and justifi es the conditionality of its division into periods. It shows the infl uence of M.M. Prishvin on the work of V.B. Sven, determines the place of the writer in the emigrant literature, analyzes the reviews of his works written by his contemporary critics-emigrants. Much attention is paid to the artistic innovation of V.B. Sven, his experiments in the fi eld of artistic form, inherent in later works. The article highlights the mystical element in the worldview and, accordingly, in works of the writer, and the specifi c cultural phenomenon closely associated with it — Miklashevsky’s “system”, which became the content and structural center of one of his works. The article distinguishes between the diffi culty of seeing any V.B. Sven’s lifetime printed publications, on the one hand, and the availability of texts of his works in digitized form, on the other. There is emphasized the importance, in a situation like this, of information about the existence of the works, about their merits and accessibility. The references to the article include a list of sites where the main works of the author can be found.
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Berec, Nebojsa. "Stanislav Krakov: A biography." Zbornik Matice srpske za drustvene nauke, no. 157-158 (2016): 637–68. http://dx.doi.org/10.2298/zmsdn1658637b.
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The key goal of this paper is the reconstruction of key moments in Stanislav Krakov?s (1895-1968) biography. He was a famous Serbian man of letters, prominent interwar journalist, war hero and finally an emigrant publicist. The paper is based on personal testimonies, biographical notes, archive material from Stanislav Krakov Collection kept in the Archives of Yugoslavia, documents from the National Library of Serbia and the Yugoslav Cinematheque, periodicals and contemporary newspapers, as well as on testimonies of Krakov?s contemporaries. This paper shows the life of Stanislav Krakov from his early life circumstances: volunteering in the First and Second Balkan War, participation in the World War I as an officer, concluding with the perilous journey through Albanian mountains to the Adriatic Sea, and breakthrough on the Macedonian Front in 1918 via Kaymakchalan. Wounded and decorated several times, he did not stay in the army. He dedicated himself to literature and journalism. The stressful and jagged atmosphere in interwar Yugoslavia Defined Stanislav Krakov. While being a kind of a Balgrade dandy he was also a prominent patriotic figure - a decorated young veteran, editor of Politika and editor- in-chief of Vreme newspapers, writer of war novels, travel memoirs, theater critic, and so on. Family and ideological connections with general Nedic determined his journalist career and personal life during the World War II - when he was the editor of Obnova and editor-in-chief of Novo Vreme - as well as after it. As a collaborator, after the WWII, this well-known hero of the WWI and the Balkan Wars passed away as a fugitive and emigrant, never bringing to an end the intended monograph about general Nedic, nor his own memoirs.
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ZABIYAKO, ANNA A., and YANA V. ZINENKO. "“ACROSS TRANSBAIKALIA AND THE AMUR” BY A.P. FARAFONTOV AS A SOURCE OF STUDY OF FOLK ORTHODOXY ON THE TERRITORY OF THE FAR EASTERN FRONTIER OF THE EARLY TWENTIETH CENTURY." Study of Religion, no. 2 (2021): 28–43. http://dx.doi.org/10.22250/2072-8662.2021.2.28-43.
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The article presents the results of the study of materials collected by A.P. Farafontov and reflecting the folk Orthodox culture of the Russian population of Transbaikalia and the Amur region of the early 20th century. A.P. Farafontov (1889, Troitskosavsk - 1958, San Francisco) is a Russian emigrant enthusiast: ethnographer, naturalist, taxidermist, writer; member of the Russian Geographical Society, The Society for the Study of the Manchurian Region. The collected data (signs, charms, life stories, past occurrences, tales, riddles) were written down by A.P. Farafontov during an expedition from Harbin to the Trans-Baikal resort of Shivanda (1916) and published in the Harbin scientific journal “Monitor of Asia” with a conceptual foreword by P.V. Shkurkin. The first part of the collection - “Among the Russian people” - is of particular interest to researchers. Its value is in fixing the local ethno-religious tradition of the Russian population of the Far Eastern frontier (Transbaikalia and the Amur region), based on folk Orthodoxy with the inclusion of elements of religious cults of local peoples (Buryats, Chinese, Nanais, Udege, etc...
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Kukhtenkova, Anastasia. "The “Lyrical World” as One of the Manifestations of the Existential Quests of the Characters of G. I. Gazdanov’s Novels when They Perceive Music." Philology & Human, no. 1 (July 15, 2021): 134–44. http://dx.doi.org/10.14258/filichel(2021)1-09.
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The article presents the employment of lexical textual paradigms in the explications of related motives in the novels by G. I. Gazdanov (lyrical world and musical stories). The associative-synonymous microfield lyric world, including metaphorical periphrases, repetitions, different ways of describing the functioning of contextual synonymy, is correlated with the associative-thematic microfield, which is built by the hyponyms reflecting the theme of music, and the distinctive-feature words are signals of states of a performer or a listener of musical sounds. The compositional relation and the significance of these leitmotifs in the manifestations of their confessional character, the prospective function, and the emigrant subtext are established. That is, the reference to the representation of the lyrical world in the works of this writer reveals the interaction of related leitmotifs, reflecting the depths of the characters' confessional nature, the manifestation of their "spiritual psychobiography." The compositional frame of harmonious balance, emotional calmness is the basis of the lyrical world. A specific feature of G.I. Gazdanov’s ideostyle is the supporting of the lyrical world with musical sounds, a blurred boundary between leitmotifs.
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Baidatska, Svitlana. "IMMIGRATION PROBLEMATICS IN THE NARRATIVE DISCOURSE OF JOSEF IGNACY KRASZEWSKI." Polish Studies of Kyiv, no. 35 (2019): 56–61. http://dx.doi.org/10.17721/psk.2019.35.56-61.
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The article devotes to the immigration problematics in the creative work of Józef Ignacy Kraszewski – the leading spiritual and intellectual leader of Polish immigration after the January uprising. The contribution of a writer to the development of the cultural life of the Polish immigration of the 19-th century in the field of fiction, literary criticism, journalism, publishing and public activities were characterized as the theme of the January uprising determined the direction and problematics of the journalistic and public activities of the writer of the Dresden period of life and work. Peculiarities of creative rethinking of consequences of the Polish Insurrection of 1863 in the large-scale artistic heritage of Josef Ignacy Kraszewski, in particular, in the cycle of novels on political issues that were published under the pseudonym Bogdan Boleslavit “The Child of the Old City” (1863), “We and They” (1865), “Moscal” (1865), “The Jew” (1866), “Travelers “(1968-1970),” In a Strange Land “(1871). In the Dresden period the creativity of Josef Ignacy Kraszewski acquired new features – profound analytic and critical judiciousness of judgements. It should be noted the richness of the problematics and genre variety of the creative work of Kraszewski in this period. The novel “In a Strange Land” contains abundance of social realities, emotional images of conflicts and characters of the work. The narrative strategy of the novel is determined by the emotionality, sensuality and high degree of the presence of the narrator in the work through the indirect representation of his personal feelings, ideas and the declaration of a personal social position On the material of the novel “In a Strange Land” the motive of expulsion, martyrdom, involuntary journey, travel-escape is analyzed both in the literature of the mentioned period and in the narrative discourse of Josef Ignacy Kraszewski. The writer demonstrates the intersection of Polish and foreign culture from his own position of emigrant. The article analyzes the intricate mechanism of saving national identity in such political situation after January uprising
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Milenko, Viktoria D. "“Rostov Text” and Context of A.T. Averchenko’s Creativity between 1918-1919th." Proceedings of Southern Federal University. Philology 2021, no. 2 (2021): 166–79. http://dx.doi.org/10.18522/1995-0640-2021-2-166-179.
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The author of the article for the first time refers to a little-known period in the biography of the writer-humorist A.T. Averchenko, who visited the Don in 1918-1919th. Cooperating with the local newspaper “Priazov Region”, Averchenko created a multi-genre “Rostov text”, which now numbers 26 publications and served as the material for the study. The biographical context allows to recreate publications in the magazines “New Satyricon”, “Theatrical Courier”, “The Don Wave”, the writer’s archive, memoirs of his contemporaries, etc. The relevance of the topic of the article is due to both the need for a scientific study of the biography of the emigrant writer and the tasks of literary local history, in particular, the possible perpetuation of Averchenko´s name in Rostov-on-Don (for example, with the memorial plaque on the building of the former editorial office of “Priazov Region”). Having indicated the characteristic feature of Averchenko’s creative path – touring activities – the author of the article sets the dates of his concerts in Rostov-on-Don in 1912, 1914, 1918, names the addresses (Asmolovsky theater, cafe “Empire”, theater “Grotesque”, etc.) and contacts in the civil and military spheres of the city. For the first time Averchenko’s way from Petrograd to the south in 1918 is reconstructed in details, the reasons of his departure from the capital are in many ways illuminated in a new way, littleknown data about his wife, opera singer E.F. Petrenko are introduced into scientific circulation. The reviews of the Averchenko´s Rostov concerts of humor are analyzed. Particular attention is paid to the civic self-determination of the writer, who for the first time found himself in the epicenter of the White Movement on the Don and supported it. Averchenko’s further social activities in Crimea are largely characterized as a logical continuation of the Rostov period, which together explains the reasons of his emigration.
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Kiyanskaya, Oksana I., and David M. Feldman. "ODESSA WRITERS OF THE 1920S IN THE JOURNALISM OF N.A. LOGUNOVA (IVANOVA)." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 10 (2021): 52–68. http://dx.doi.org/10.28995/2686-7249-2021-10-52-68.
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The article is the fourth in a series of publications devoted to the biography and journalistic work of N.A. Logunova the Russian emigrant writer. It deals with the first years of her adult life in Odessa, the beginning of her literary career and the activities of the literary circle “The Green Lamp” (Zelenaya lampa). The authors focus on the first steps in the literature of the later famous Soviet writers and journalists V.P. Kataev, I.E. Babel, E.G. Bagritsky, Y.K. Olesha, etc., their first publications in the Odessa periodicals and their public speeches. In addition, it is about, one might say, a particular lifestyle of Odessa writers, formed under the influence of the cultural specifics of their home-city. Logunova tells in detail about the life of Eduard Bagritsky, who loved birds and was indifferent to the conveniences of life, describes the methods of Babel’s literary work, who from his youth aspired to the maximum saturation of his prose, literally honing every phrase, removing everything that he considered optional. The article also characterizes methods used by Odessa writers for adaptation to the new – Soviet – conditions of literary life, fundamentally different from the pre-Soviet – political situation.
31
Antonova, Elena V. "On the History of Critical Perception of the Story “For Future Use” by Platonov: About a Possible Reason for the “Big Bang”." Studia Litterarum 6, no. 4 (2021): 246–61. http://dx.doi.org/10.22455/2500-4247-2021-6-4-246-261.
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The article uses new materials to clarify the history of publication and the initial stage of criticism of Andrey Platonov’s story “For Future Use.” In particular, it attempts to bring as much clarity as possible as far as the date of the story’s publication in the magazine Krasnaia Nov’ is concerned and also to clarify the date of Stalin’s acquaintance of with this story. It is argued that Stalin’s attention was drawn to this publication due to its mentioning by critic G.V. Adamovich, in a note published in the emigrant newspaper Poslednie Novosti. Based on the evidence of S.I. Kanatchikov and V.A. Sutyrin, the author clarifies the nature of the “Politburo meeting,” at which the editor of Krasnaia nov’ A.A. Fadeev, was assigned the task of launching a critical campaign against For Future Use. The newspaper Poslednie novosti for some time monitored the situation with the novel and reacted to critical publications on this topic in central newspapers such as Pravda and Izvestia. The article is supplemented with documentary materials: excerpts from the diary of the writer I.V. Evdokimov and relevant notes from the newspaper Poslednie novosti.
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Adelgeym, Irina E. "“At the foot of the throne of the ruler.” “Vesuvius the Killer” as a catalyst for the accepting one’s fate in Gustaw Herling-Grudziński’s oeuvre." Slavic Almanac, no. 1-2 (2020): 419–33. http://dx.doi.org/10.31168/2073-5731.2020.1-2.4.01.
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I dwell upon the way Gustaw Herling-Grudziński (1919-2000), a prominent Polish emigrant writer of the 20th century reflected upon the phenomenon of earthquakes. He lived for nearly a half of the century (1955-2000) at the foot of Vesuvius and witnessed several earthquakes. Moreover, his father-in-law Benedetto Croce, an Italian philosopher, historian and politician barely survived the earthquake of the 1883, which severely injured him both physically and psychologically. I specifically reflect on Herling-Grudziński’s thoughts about this phenomenon he expresses in his notes in the “Diary Written at Night” (1977-2000) and especially in the stories included into this book. I analyse the connection of this process to the mechanisms of psychological and artistic adaptation, his settling in the foreign space both in terms of literature and in terms of life. I focus on a number of interconnected contexts in which “the shadow of the earthquake” appears in Herling-Grudziński’s prose as a specific phenomenon. Namely, it is connected to the language inseparably and immediately, but at the same time, it is a manifestation of Evil directed against the divine in man. The writer attempted at defining its specificity as related both to his self and his reactions, and to the mentality of native Neapolitans. The shadow that hangs over the worldview of the Neapolitans, clearly embodies the idea of the fragility of the human life through the feeling that the fate of a man although full of unexpected calamities, is never unique. Giacomo Leopardi defined this as a shadow of “Vesuvius the Killer”. The analysis suggests that this shadow facilitated the adaptation of Herling-Grudziński to the foreign space.
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Dmytriv, Iryna. "CREATIVITY OF “LOGOS” WRITERS THE PERIOD OF EMIGRATION." Polish Studies of Kyiv, no. 35 (2019): 121–26. http://dx.doi.org/10.17721/psk.2019.35.121-126.
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The article attempts an integrated analysis of the creativity of the “Logos” group activities of the emigration period on the background of the literary process of the first half of the twentieth century. The aesthetic, religious and national principles that underlie the multifaceted activity of the “Logos” are considered. The “Logos” group should be described by six writers: Hryhor Luzhnytsky, Olexandr-Mykola Moh, Stepan Semchuk, Petro Sosenko (junior), Vasyl Melnyk and Roman Skazynsky. Hryhor Luzhnytsky is the author of more than 500 artistic, scientific, popular scientific works, numerous journalistic works, reviews, essays. After leaving for the United States in 1949, the writer continues his activity and takes on adventure and sensational and spyware. Vasyl Melnyk (Limnychenko) is a “writer-wanderer” and a “political emigrant”. Beyond the borders of his native land continues to write poetry (“Ode to the book”, “Ballad about the Truth”, “Ballad about White Letters”, “Ballad about the Sun in the Bridge” and others). A certain generalization of the writer’s life experiences was his journalistic works “Ukrainian Crusaders”, “Religion and Life”. A peculiar “bridge” between poetry and journalism became essays. Stepan Semchuk − a poet, a journalist, a publicist. Becoming a priest, Stepan Semchuk leaves for Canada, but he does not cease to write there. Out of his native land he published poetic collections. Stepan Semchuk worked as an active publicist, author of the historical and literary articles. Association of catholic writers “Logos” was occupied noticeable place in literary life of Western Ukraine of intermilitary period of the 20th century. “Logos” writers expressly declared that they were the creators of Catholic literature, and tried to outline the concept of “Catholic worldview” and “Catholic literature”. Ideological principles of “Logos” were a christian moral; the main tasks were popularization of religious subject and christian ethics. “Logos” writers literary works are skilful collage of biblical images, motifs, allusions, reminiscences, christian ceremonies, symbols.
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Żmidziński, Jakub. "„Wędrowiec-dantofil” w rodzinnej Italii. Stanisław Vincenz a włoska tradycja artystyczna." Poznańskie Studia Polonistyczne. Seria Literacka, no. 38 (October 15, 2020): 77–101. http://dx.doi.org/10.14746/pspsl.2020.38.4.
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The article is the first attempt at a holistic view of Stanisław Vincenz’s relationship with Italian culture. Since his youth, Vincenz would visit the Italian Peninsula travelling to Venice and, already as an emigrant after World War II, made a few visits to Naples and Tuscany. These journeys resulted in numerous comments included in his essays on Dante Alighieri, as separate overview Z perspektywy podróży (From a traveller’s perspective) and List z Neapolu. Dialog z Czesławem Miłoszem (A letter from Naples. A dialogue with Czesław Miłosz). Italian journeys, interest in Dante and Italian culture (architecture, painting, folk rituals) brought numerous Italian motifs in the tetralogy Na wysokiej połoninie (On a high mountain pasture). The key element is included in volume II, Zwada (Conflict), which describes a group of loggers cutting down trees in a primeval Carpathian forest. In this part, a young Italian dies and is buried after a Hutsul funeral ritual which is not understood by the foreigners. The analysis of the abovementioned motifs shows how important Italian culture was to Vincenz, also in a very personal sense, given the Vincenz family’s distant Venetian roots. One may even claim that for the writer, Italy was almost a family land. Personifying the European spirit, Italy was his “broader” homeland.
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Egorova, Svetlana Lvovna. "From the fate of Russian emigrants in Israel in the late XX – early XXI centuries: an unusual finding in the scientist’s personal archive." Samara Journal of Science 10, no. 4 (2021): 219–24. http://dx.doi.org/10.17816/snv2021104214.
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The paper presents some main features of the daily life of Russian emigrants who arrived in Israel as part of the Big Aliyah in the 1990s on the example of the details of the emigrant period in the life of Nadezhda Osipovna Fedorova (19212018), the widow of the peoples writer of the Komi Republic Gennady Aleksandrovich Fedorov (19091991). The sources of the work were the letters of N.O. Fedorova from Bishkek and Ashkelon to Syktyvkar to the literary critic I.M. Vaneeva (19332010), discovered in the personal archive of the scientist and poet A.E. Vaneev (19332001). Wide chronological coverage of correspondence (19911994; 19972010) and the volume of the archive file (226 pp.) allow presenting the reasons for N.O. Fedorovas departure from Russia, the specifics of adaptation in a new social environment, some aspects of the everyday culture into which Russian Jews were immersed, finding out the role of correspondence with Russian friends and colleagues in the life of immigrants. The results of the work lead to a conclusion that the emigrants compensated for the absence of the previous social historical ground by stable bilateral contacts with the country of origin. The Big Aliyah emigrants did not get lost in the culture of the host country: adopting the experience of Arab-Israeli relations perception, local norms and customs, they brought Russian (Soviet) traditions and holidays into the culture of the indigenous population.
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Zabiyako, Anna A., and Ekaterina V. Senina. "POETIC IMAGE OF PERCEPTION OF CHINA AND CHINESE IN RUSSIAN LITERATURE OF MANCHURIA 1920–1940 (BASED ON WORKS BY ARSENIY NESMELOV)." Humanities And Social Studies In The Far East 18, no. 4 (2021): 208–17. http://dx.doi.org/10.31079/1992-2868-2021-18-4-208-217.
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The article presents the results of a study of the specifics perception of China in Russian literature in Manchuria, created mainly by emigrant writers living in Harbin and nearby territories of the CER line. According to the authors of the article, this specificity was determined by the frontier (spatial, temporal, ethnic, social, religious) circumstances of the formation of the population of Northern Manchuria, the powerful development of oriental and Chinese studies in these territories since the beginning of the 20th century, the pre-vious experience of foreign communication of representatives of the older generation of emigration, the organic integration into the bor-derline being of “children of emigration.” On the material of lyrics and prose by Arseniy Nesmelov, the authors of the article explore the poetic images of the perception of China and the Chinese from the point of view of their conceptual, metaliterative, sociocultural basis, as well as methods of expression. It is concluded that the modernist approach is very soon replaced by Nesmelov's realistic narrative in the spirit of ethnographic sketches. From the propaganda neomyphologism and space-time indifferency inherent in the former capital journalist, the Harbin writer turns to the point of view of the "simple Harbin resident" and beyond, to a detailed penetration into the eve-ryday psychology of ordinary Chinese (Manchus), residents of Manchuria (peasants, laborers, Hunhuz).
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Rusnak, Iryna. "The poetics of Mykola Chyrskyi’s feuilleton “Poděbrady cicerone”." Synopsis: Text Context Media 26, no. 4 (2020): 131–37. http://dx.doi.org/10.28925/2311-259x.2020.4.3.
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The subject of the Study is the poetics of the feuilleton “Poděbrady cicerone” (1924) by Mykola Chyrskyi. The feuilleton “Poděbrady cicerone” was an effective response of the writer to the desire of the Ukrainian Academy of Economics (UAE) students to criticize his views on the ideas of women’s emancipation, as well as editors’ of student issues satirical attitude to the volume of prepared materials. The objective of the article is to study the achievements of M. Chyrskyi in the use of common techniques of artistic visuality creation in a message and the implementation of the ideological and thematic idea. The hermeneutic method of analysis of a journalistic text was used to achieve the objective. The results of the study clarify the features of the central image of Cicerone, the composition of the text and its subject matter. Cicerone is an experienced mediator between travelers and the phenomena of reality exposed in the feuilleton. The recipient looks at the memorable places of Poděbrady through the author’s eyes, his remarks become dominant in shaping the idea of the town, the UAE and the people who studied and lived there. The colorful details of student life, the activities of some parties, artistic, public organizations and associations were reproduced in the feuilleton in a humorous tone, including the women’s union, provocatively named the “Organizations of a problematic nature” in the feuilleton. The composition of the feuilleton was created with the help of assembly technology. The assembling elements emphasized the emotional, semantic, and associative connections between the individual characters and the episodes. The clash of incompatible episodes helped to create comic artistic effects, to reflect the dynamic situation of observing the life of the Ukrainian student community. In addition to the main topic, the feuilleton implicitly raised the issue of editing and reducing journalistic materials in student periodicals in exile. The feuilleton allowed the writer to involve readers in the discussion of important issues, which turned the works of this genre into an active factor of public life. The appearance of materials about women's emancipation in Ukrainian foreign periodicals and the participation of women in the multifaceted life of migrants verified the considerable attention to these issues in the Ukrainian emigrant environment. However, the feuilleton achievement of the writer is not limited to the works of the outlined subject. This promising layer of M. Chyrskyi journalistic heritage can reveal new features of the writer’s poetics in further research.
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Kumar Jadhav, Dr Ganesh Vijay. "Multiculturalism in Kavita Dasvani’s Lovetorn." SMART MOVES JOURNAL IJELLH 9, no. 1 (2021): 101–9. http://dx.doi.org/10.24113/ijellh.v9i1.10883.
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Multiculturalism is a mechanism of interconnected ingredients and their experiences with each other as well as with the present world. It is a kind of respecting others’ very existence and identity. In specific ethnic minorities especially the women and low caste people are not identified with their self or existence. Respect is the practice which teaches to treat others with some reverence and modesty. It protects and values the dignity and social worth of an individual. It also acknowledges the social differences, because every group has its own specificity. Multiculturalism considers it because the minorities’ contribution to the society is empowering the society and taking it to a position of next and better destination. Uma Parmeshwran rightly argues in her article, “Home is home where your feet are, and may your heart be there too” that “literature can play an important role since literature not only reflects persistence and change in society but also can lead society to a better appreciation of its multicultural and ethno-centered fabric. The ethnic emigrant writer either writes about the country in which he is presently residing, like the main stream writers do, and thus try to be like ‘them’ or he can write about his ethnic world and be different” (31). In the present paper the major focus is on the multicultural aspects in context with various situations. Characters behaviour in different multicultural situations is the angle of analysis of the researcher.
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Kulikova, Elena Yu. "Pavel Bulygin’s Abyssinian poems in the magazine “Rubezh” (Border) (Harbin, 1935–1936)." Vestnik of Kostroma State University 27, no. 1 (2021): 185–91. http://dx.doi.org/10.34216/1998-0817-2021-27-1-185-191.
Full textAbstract:
The article is devoted to the Abyssinian poems by Pavel Bulygin, a poet and a prose writer who left Russia after the revolution, whose poems were published in Harbin weekly “Rubezh” (Border) (1935–1936). Exotic motives are analysed in the poet's work, for whom, following Nikolay Gumilyov, Africa became a “guiding star”: Bulygin's collection of poems “Alien Stars” is dedicated to Abyssinia – the name of the cycle clearly refers to Gumilyov's “Alien Sky”. Special attention is paid to the May issue of “Rubezh” (1936), where Bulygin’s five poems from the cycle “Alien Stars” were published under the general title “The poems about Abyssinia”. These texts are considered as a microcycle, united thematically – Bulygin's poetic bestiary is described, focused on Gumilyov in many respects; the literary nature of the poet's affection to African travels is noted not only through Gumilyov’s lyrics, but also through James Fenimore Cooper and Jack London’s adventure novels; it is pointed out that the poet uses the technique of “imaginary” ekphrasis, when instead of a really existing picture, his own one is recreated – poetic and as if picturesque at the same time. In addition to the publication in the May issue of “Rubezh” in 1936, there are Bulygin’s works, published in Harbin weekly in 1935 (“Saw Gin” (“Hyena-Man”), “Russian in Abyssinia”, “From a heated red stone...”). Immersion in African topos, warmed for Bulygin by Gumilyov's poetry and travels, helps the emigrant poet escape from loneliness, anguish and nostalgia.
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Sykhomlynov, Oleksii. "EMIGRANTS “MEMORY STORIES” OF ROMUALD WERNIK." Polish Studies of Kyiv, no. 35 (2019): 349–57. http://dx.doi.org/10.17721/psk.2019.35.349-357.
Full textAbstract:
Nostalgic discourse is an important feature of the Polish boundary and emigration literature of the twentieth century. This is a large-scale and widespread trend. She is an appeal to memories and nostalgic poetics. We can talk about a certain discourse of the past memoirism, which is understood as a norm and strategy used in the creation of text or expression-statement. The basis of creative interpretation in this case are cultural and social models, which become the norm, point of reference, the basis of the text or statement, which have certain genre features. The tragic experience of social and political events of the twentieth century: the loss of small homelands and the breakdown of ties with the broad concept of “ideological homeland”, caused the emergence of a new type of literature, full of poetics of memoirs. “Memory-nostalgia” becomes one of the main thematic and artistic components of the literature of the frontier, illustrating the emergence of nostalgic discourse, a certain norm and strategy for the creation of literary texts that have specific features and are found in poetry, prose or essay in the ethno-cultural model of literature polish-ukrainian frontier. Memoirs – this is a subjective understanding of certain historical events or biographies of a particular historical figure, carried out by the writer in an artistic form with the use of his true documents of his time, a deep correlation of his own spiritual experience with the inner world of his heroes. Nostalgia is a type of vulnerability that appears today in the literature more often than any other, and is a specific form of perception of reality and the way of world perception. Today, the “literature of exiles” often refers to the theme “lost paradise of childhood”, people are tired of their youth and the place where the artist’s socialization took place. This is the essence of the nostalgic worldview. There is awareness of the irretrievability of the past, but it does not cause negative feelings, only generates a sweet pain of memories. In this context, an interesting example of nostalgic prose is the works of Romuald Wernik, an emigrant, writer from the Polish-Ukrainian borderland, historian of art, political publicist.
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Nosov, Nikolay N. "L.I. Strakhovsky: Between Symbolism and Acmeism (Based on Foreign Publications)." Observatory of Culture 17, no. 4 (2020): 426–37. http://dx.doi.org/10.25281/2072-3156-2020-17-4-426-437.
Full textAbstract:
The article is devoted to L.I. Strakhovsky (alias Leonid Chatsky; 1898—1963), a Russian writer and poet of the first wave of emigration, and his poetry and prose reflected in foreign publications of his works in Russian. Returning to our culture the name of this author, now half-forgotten in his homeland, and introducing this name into literary studies, the article tries to reveal the thematic and stylistic diversity of L.I. Strakhovsky’s poetry and prose. The research’s object is foreign publications of L.I. Strakhovsky’s artistic works in separate books, almanacs and periodicals published in Belgium, Germany, Canada and identified through collection catalogues of leading Russian libraries (the Russian State library, the Alexander Solzhenitsyn House of Russia Abroad) and library resources that display foreign Russian-language publications by L.I. Strakhovsky. The article highlights and analyzes the main stylistic (symbolism, acmeism, “junior acmeism”) and thematic (autobiographical, English, mystical) components of L.I. Strakhovsky’s works, reveals the components’ individual features, the originality of their constancy and mutual influence. The main of these features is that L.I. Strakhovsky’s works can be stylistically periodized on the basis of the author’s increased propensity to cyclize his works though without creative evolution in the usual sense and with the stable nature of his working throughout his life. To review the publications and analyze the nature of L.I. Strakhovsky’s works, the article draws on the context of Russian and emigrant literature of his era, creatively associated with L.I. Strakhovsky and its main figures, and notes his literary and cultural influence.
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Lāms, Ojārs. "Crossroads of Global and Local Identity in Contemporary Latvian Migrant Literature: Reflections on the Novel Stroika with a London View by W. B. Foreignerski (V. Lācītis)." Interlitteraria 24, no. 2 (2020): 309–15. http://dx.doi.org/10.12697/il.2019.24.2.4.
Full textAbstract:
This paper deals with the contemporary migration experience as seen through the subjective lens of a literary text. The analysis focuses on the novel Stroika with a London View by the Latvian diaspora writer William B. Foreignerski (Vilis Lācītis in the Latvian version). Foreignerski combines the portrayal of proletarians’ survival with entertaining and comical scenes from daily life. In the novel the story is told from the perspective of the narrator in the first person singular, thus the different relationships between the protagonist and the surrounding environment are already defined by this choice.
 In the novel the image of London is of great significance as a metropolis and multicultural city in which most of the events described in the novel occur. London is the key determinant for the poetics of intercultural literature in the novel – London can be a labyrinth, an initiation, a trap or a springboard. London as a city that can provide everything that life can offer gives one a chance not only to break away from the economic limitations at home but also from the ideological narrowness of the protagonist’s homeland as it is depicted in the novel. The start of the quest for a new life at the beginning of the novel is to a certain extent traumatic as it is characteristically in traditional emigrant literature. However, with the intercultural approach used by Foreignerski, the migration experience results in the freedom to accept new ideas and in gaining new horizons for the protagonist as well as for the reader.
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Podlubnova, Yu S. "“To the Keeper of the Ufimian Museum...” The Letter by D. D. Burlyuk to A. A. Cherdantsev August 3, 1923. New York." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 199–206. http://dx.doi.org/10.25205/2410-7883-2019-1-199-206.
Full textAbstract:
The letter from the poet, the founder of Russian futurism David Davidovich Burliuk (1882– 1967) was written on August 3 of 1923. His addressee was Aleksander Alekseevich Cherdantsev (1871–1943). The letter is kept in the collection of the writer, local historian and a collector of documentary materials Alexander Kuzmich Scharts (1906–1986) in the Ural Writers Museum. The content of the letter is associated with a famous episode of the biography of David Burliuk, his lfe in 1915–1918 in the village of Buzdak near Ufa. Here he created more than 200 paintings. Also he was the active member of the Ufa art circle (1913–1918) at the provincial museum (he communicated with local artists, organized exhibitions). In 1918 Burliuk traveled from Siberia, then emigrated first to Japan (1920) and then to the USA (1922). His paintings remained in Buzdyak. Some of them after 1918 ended up in museums (mainly the Ufa Art Museum) while the other part was scattered. The fate of the abandoned paintings was worried Burliuk. He established correspondence with A. A. Cherdantsev and then replaced him as director of the museum Ylius Yulievich Blumenthal (“My dear, old, but forever young friend, David Burliuk!” Moscow, 2018). Obviously this letter was only a bit in the correspondence which was conducted in 1923. The letter is important for determining the degree of involving of the poet and the emigrant artist in the cultural life of Ufa and more broadly the Soviet Union in the 1920s. This demonstrates his attitude to his own artistic heritage. The letter in an allows to reconstruct some contexts that were not disclosed in the previously published correspondence of Burliuk.
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Arias-Vikhil, Marina A. "Italian Freemasons and the Russian Revolutionary Movement: Vsevolod Lebedintsev’s Story (about the Prototype of the Hero of “The Tale of the Seven Hanged” by L. Andreev)." Literary Fact, no. 22 (2021): 136–45. http://dx.doi.org/10.22455/2541-8297-2021-22-136-145.
Full textAbstract:
The Archives of A.M. Gorky Institute of World Literature of the Russian Academy of Sciences keep a record of the lecture of the Italian freemason, writer and journalist Arrigo Rizzini “Ideas and Dramas of Maxim Gorky,” read on March 13, 1903 at a meeting of the Literary and Philosophical Circle of the University of Rome. Rizzini prefaced the recordings of the lecture on the Gorky's work with an unexpected dedication: “I dedicate with brotherly love to Maria Feliksovna Zelenskaya and Vsevolod Vladimirovich Lebedintsev.” This early dedication reveals a very important, but little-known page in the history of the Russian revolutionary movement — its connection with Italian Masons and the secret assistance of Italian Masonic organizations to Russian emigrant revolutionaries. The story of V. Lebedintsev is well known, in particular, thanks to the story of Leonid Andreev “The Tale of the Seven Hanged,” where Lebedintsev was bred under the name of Werner. However, Lebedintsev’s connection with Italian Freemasons has so far remained out of sight of Russian researchers. The well-known fact of the execution of a militant Social Revolutionary under the name of the Italian Mario Calvino sheds light on the rather large-scale and effective activities of Italian Masons to legalize Russian revolutionaries in Russia and in Europe by providing them with passports of members of Masonic lodges (just in 1907 more than 100 passports were handed over, according to the results investigation by the Italian Ministry of the Interior). Masons, who were opponents of violent actions, saw in Russian revolutionaries, first of all, victims of autocracy and fighters for civil society, and not terrorists, as the case of M. Calvino testifies.
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Tokman, Hanna. "Motives of loneliness in poetry by Todos Osmachka: existential and dialogical interpretation." Слово і Час, no. 5 (October 2, 2020): 75–95. http://dx.doi.org/10.33608/0236-1477.2020.05.75-95.
Full textAbstract:
The paper deals with the works by the Ukrainian poet Todos Osmachka (1895—1962). Attention is focused on the motive of loneliness in the poems from the collection “The Tassels of Time” (1953). Taking into account the memories of the poet’s contemporaries, the researcher analyzes the texts and interprets their existential meanings. The poems contain both individual facts of human life and philosophical generalizations. The loneliness of T. Osmachka’s lyrical character is caused by historical events, emigration, the absence of friends and his beloved one. The hero is an artist, so he needs a reader who can understand and feel his work. The poet expresses feelings of an emigrant writer who left his unhappy occupied country. The poems depict the author’s life among people who are strangers for him in terms of spirit. The poet needs loneliness for his creative work, and it is high loneliness of spirit.
 Osmachka’s philosophical statements make sense of the human solitude as a feature of unique individual existence. The researcher cites the works of philosophers M. Heidegger, J. Ortega y Gasset, G. Marcel, which help to interpret T. Osmachka’s texts. M. Heidegger’s ideas of being-toward-death, Dasein, human self, essential loneliness, and others were used as parallels to the poetic texts. The researcher refers to the theses of Ortega y Gasset’s philosophy concerning loneliness as the initial state of a man and attempts to find the Other, friendship, and love. The article also uses the theory by Marcel on the phenomenology and metaphysics of hope.
 The dialogue between poetry and existential philosophy reveals the meanings of poetic images and specifics of creative work. The analysis allowed the researcher to define some distinctive style features of T. Osmachka’s philosophical poems and indicate some samples of expressionistic and surrealistic poetics in his works.
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Semak, O. I. "IHOR KOSTETSKYI AND EUGENE IONESKO: TYPOLOGY OF ARTISTIC THINKING." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 150–56. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-150-156.
Full textAbstract:
The article deals with the works of such famous playwrights as Ihor Kostetskyi and Eugene Ionesco. The comparison of the work of the Ukrainian playwright with the dramatic works of the world level made it possible to distinguish the laws that show that Ihor Kostetskyi's drama is a multi-faceted and ambiguous phenomenon in the literary process of the second half of the twentieth century. The study of the peculiarities of the literary heritage of I. Kostetskyi involves a profound analysis of the influence of the emigration factor on creative process of the writer. His close interweaving of universal, national, and moral issues was caused by life in emigration and the loss of Ukraine. The combination of Ukrainian mentality with the understanding of the philosophical concepts of the West allowed the playwright-emigrant to consider social and moral problems more panoramic. Using techniques such as phantasmagority of individual scenes, deconstructivistic distrust to language, the destruction of syntactics and paradigmatics and logical structural connections in some places allows us to characterize the poetics of I. Koste-tskyi’s style as an absurdity experiment based on the drama of the Baroque era.In the result of comparison of the heritage of Eugen Ionesco and Ihor Kostetskyi the author found that both dramatists rejected the canons of classical drama with its traditional plot, experimented with the form of works, the language of characters. The artistic material of their dramatic works unfolds through absurd situations that contrast with the world of reality.One of the problems raised by the authors is the problem of human communicability, which leads to leveling of the personality. Their verbal experiments are one of the factors in the creation of new generations of heroes. The dramatists did not abandon one of the main problems of existentialism - time as characteristics of human being.
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Tkachuk, Olena. "MULTICULTURALISM BY CONRAD-EMIGRANT." Polish Studies of Kyiv, no. 35 (2019): 376–80. http://dx.doi.org/10.17721/psk.2019.35.376-380.
Full textAbstract:
The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.
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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.
Full textAbstract:
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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Mitzner, Piotr. "Russian Emigrant School of Translation." Tekstualia 1, no. 36 (2014): 89–96. http://dx.doi.org/10.5604/01.3001.0013.4573.
Full textAbstract:
The article offers a glance at the history of those Russian literary scholars and translators who emigrated to Poland after the Revolution of 1917. It also presents an important, but forgotten writer and translator from Russian, Wacław Denhoff-Czarnocki (who played an important role in presenting Russian poetry to Polish audiences in the 1920s) and refers to a review in which Lev Gomolicki not only comments on a Polish translation of Pushkin’s verse, but also sketches a short set of formal rules that prominent Russian translators of the time defi ned as valid principles of poetry translation.
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Lanovyk, Mariana. "POETICS OF NOCTURNE IN LYRICS OF JURIJ KOSACH." Polish Studies of Kyiv, no. 35 (2019): 216–22. http://dx.doi.org/10.17721/psk.2019.35.216-222.
Full textAbstract:
The article deals with the poetical works of Ukrainian writer in exile Jurij Kosach in context of Frederic Chopin nocturne tradition in the European art. The parallels to the visions of Ukrainian oral national tradition, romantic writers (particularly T.Shevchenko), Ukrainian emigrant poets of the previous generation (B.Lepky, E.Malaniuk, Alexander Oles’ and others), and European symbolists (Sh. Baudelaire, A.Rimbaud) are given. The author outlines the nocturne tendencies in music, literature and other arts as traditions of cultures in bondage as well as the artists in exile. The main attention is drawn to the influences of existential situations after the revolutions of the beginning of the 20th century and two World Wars. In Soviet space the minority of nocturne music was interpreted as a protest against major tone of so called social realism pseudo art. Night as the main concept of Jurij Kosach’s lyrical selections (especially “Manhattan Nights”, “Summer in Delaware”) is analyzed in different poetical intentions and interpretative perspectives: night in Motherland as an idea of national and spiritual darkness of enslavement Ukraine, as lost land (in parallel to Atlántida); night of exile as the way of uncertainty and lost, as the nostalgia; night travelling by sea as a development of antique Homeric tradition of Odyssey as well as Alcaeus traditions of the idea of life obstacles; night travelling by land as a development of Goethe’s tradition – way of life to the calmness of death; mystery of night as the reinforced Faustian and Wagnerian ideas; solitude of night as a reflection of Nietzsche’s ideas of the world sorrow and existential fear. Motives of night, night travelling, poetics of starlit sky, constellations as secret signs and silent language etc. are analyzed in their projection upon the philosophic concepts of destiny, solitude, and bondage. They are interpreted on different levels: in the life of one person (night reflections of different artists in exile, such as T. Shevchenko, A.Pushkin, M.Tsvetaeva, F. Villon, E.A. Poe, A. Mickiewicz, W.Whitman and others are outlined in the contexts of their destiny situations); in the existence of a city (European, American and Ukrainian in their “night” living in different centuries and historical circumstances); or in the life of the nation at large.