Sound world of the Russian estate in the lyrics at the turn of the XIX–XX centuries

2020 ◽  
pp. 162-173
Author(s):  
Maria S. Akimova ◽  
◽  
Keyword(s):  
Russian Literature ◽  
The Body ◽  
Sound Recording ◽  
Silver Age ◽  
Old World ◽  
Modern Reader ◽  
Works Of Art ◽  
Historical Dynamics ◽  
Russian Poetry ◽  
Poetic Imagery

The article notes the relevance of a systematic, holistic study of the poetics of Russian literature of the Silver age, which is increasingly necessary as this era moves away from the modern reader. Typical of the culture of XIX–XX features: “the anthro pological turn”, “the expansion of artistic sensibility”, a new notion of psychological insight, lyrical exploration of the experience of the body — resulted in works of art the largest layer of the touch of poetic imagery reflecting the experience of individual sense of life. On the material of Russian poetry of the late XIX — early XX century the sound world of the Russian estate and the poetics of its sound space are analyzed. It is shown how the sound variety is gradually replaced by silence or new sounds — disturbing, foreshadowing the death of the estate as part of the old world. There are traced the mechanisms of transmission of sound “psychophysiological space”, methods of repre sentation of nonverbal language, including features of sound recording. An attempt is made to trace the internal reactions that this or that sound causes in the lyric hero, and in the subjective interpretations of a number of poets to reveal the “acoustic invariant” of the “estate” poetry of the Silver age in its historical dynamics.

Furor Liturgicus: The Religious Concerns of Russian Poetry

2020 ◽  
pp. 395-411
Author(s):  
Martha M. F. Kelly
Keyword(s):  
Eighteenth Century ◽  
Human Life ◽  
Literary Tradition ◽  
Russian Literature ◽  
The Body ◽  
Poetic Tradition ◽  
The World ◽  
Russian Poetry ◽  
Modern Russian

In a now classic 1994 article Victor Zhivov counters the idea that the eighteenth-century quest to create a modern Russian literature represented a wholesale rejection of Russia’s previous literary tradition. He shows instead how poets appropriated elements of Orthodox liturgical tradition in a bid to adapt the classical notion of ‘furor poeticus’, marking it by the eruption of Church Slavonic norms into modern poetics. This chapter demonstrates how, as Zhivov contends, elements of Orthodox liturgical culture have continued to shape the modern Russian poetic tradition from the eighteenth century into the present. In particular, Russian poets have long presented poetry as uniquely able to transform the world by drawing on Orthodox imagery of theosis or divinization—the transfiguration of human life and thus the world, by the divine light and being. The liturgically inflected religious concerns of Russian poetry that sections address include prophecy, human co-creation with God, the problem of the body, and the role of silence.

scholarly journals M.E. Levberg’s Play “Danton” as Perceived by А. Blok

Literary Fact ◽  
2021 ◽  
pp. 115-130
Author(s):  
Veronika B. Zuseva-Özkan
Keyword(s):  
Russian Literature ◽  
State Archive ◽  
Silver Age ◽  
Saint Petersburg ◽  
Critical Attitude ◽  
Russian State ◽  
History Of ◽  
Aleksandr Blok ◽  
First Time ◽  
The Relationship

The article considers the unpublished play by Maria Levberg, a little known female writer of the Silver Age. Aleksandr Blok praised this drama entitled Danton; thanks to his efforts, it was performed in the Bolshoi Drama Theater in 1919. Danton is discussed in several articles by Blok (Bolshoi Drama Theater in the Next Season, of 19 May 1919, Tribune (Tiberius Sempronius Gracchus)) and in his correspondence; it is also mentioned in Blok’s notebooks. The author of the article analyzes all these mentions, reconstructs the history of interactions between Blok and Levberg. Some of her letters to the poet are published here for the first time. Blok’s notes on the typed copy of Danton, preserved at the Manuscript Department of the Institute of Russian Literature in Saint Petersburg, are described. The relationship between this version of the play and the version, preserved at the Russian State Archive of Literature and Arts in Moscow, is revealed. The author analyzes the plot and the system of characters, characterizes the concept of history expressed in Danton, and proposes the hypothesis why this play turned out to be so dear to Blok. Blok’s reviews on Danton are compared to those written by A.M. Remizov (who also welcomed the play, as well as other dramas by Levberg — Stones of Death and The Chevalier’s Epee) and by M.A. Kuzmin who displayed a more critical attitude. Finally, the place of this drama among Levberg’s works and her main themes and ideas are considered.

scholarly journals Falsification of content: decadence and simplification as the extreme forms of internal protest of the heroines of M. V. Krestovskaya’s novella “The Outcry”

Litera ◽  
2020 ◽  
pp. 56-74
Author(s):  
Anna Kharitonova
Keyword(s):  
Russian Literature ◽  
The Body ◽  
Literary Studies ◽  
Its Analysis ◽  
Literary Context ◽  
New Type

This article examines novella by Maria Krestovskaya “The Outcry” (1900) in the context of reception of the phenomenon of decadence in Russian literature of turn of the XIX – XX centuries. This novella by the mostly forgotten writer, who in her works refers mostly to the female topics (love, family, and profession), is currently of particular interest from the perspective of reflection of cultural trends of that time. A “typical female story” about the unhappy marriage, aimed against the power of money, insincerity and lack of freedom, puts decadence to the forefront of narration as a cultural emblem of the era, revealing the inner motifs and mechanism, which led one of the heroines to an ostentatiously decadent behavior. A contrasts form of protest against the bourgeois world in the novella is the ideology of simplification. The scientific novelty of the conducted research is defined by paucity of research on the works of M. V. Krestovskaya, and absence of special works within the modern literary studies dedicated to her writing heritage. The author’s contribution consists in introduction of novella “The Outcry” into the extensive Russian-European cultural and historical-literary context, as well as its analysis from the perspective of worldview trends and aesthetic influences of the late XIX – early XX centuries. The research proves that this text, which is not the only resort of M. V. Krestovskaya to a new type of here of the “end of century”, can be justifiably attributed to the body of work devoted to the heroes-decadents.

scholarly journals GENRE ORIGINALITY OF N.I. TRYAPKIN’S POEM «THE NEST OF MY FATHERS»

2020 ◽  
pp. 105-110
Author(s):  
Валерий Александрович Редькин
Keyword(s):  
Russian Literature ◽  
Russian Poetry

В статье рассматривается проблема жанрового своеобразия поэмы Н. И. Тряпкина «Гнездо моих отцов». Анализ произведения основывается на авторской концепции жанра как системы жанрообразующих признаков. Делается вывод о том, что «Гнездо моих отцов» - это большая реалистическая социально-философская поэма, развивающая традиции русского национального лиро-эпоса. Творчество Н. И. Тряпкина, в целом принадлежащего к конкретно-реалистическому стилевому течению русской поэзии второй половины XX в., опирается на глубокие традиции русской литературы и фольклора, жанровые традиции русской поэмы. The article deals with the problem of genre originality of N. I. Tryapkin’s poem «The nest of my fathers». The analysis of the work is based on the author’s concept of genre as a system of genre-forming features. The conclusion is made that «The nest of my fathers» is a large realistic socio-philosophical poem that develops the traditions of the Russian national lyric epic. N. Tryapkin’ works, in general, belonging to specifically-realistic style for Russian poetry of the second half of the XX century, based on deep traditions of Russian literature and folklore, genre traditions of Russian poems.

The “estate topos” in the works of representatives of the “peasant concord” group

2020 ◽  
pp. 206-217
Author(s):  
Maxim V. Skorokhodov ◽  
Keyword(s):  
Personal Experience ◽  
Russian Literature ◽  
Silver Age ◽  
Garden Of Eden ◽  
Long Period ◽  
Long Time

“Estate topos” is usually considered in the works of authors who had estates or for a long time were living in estates of their relatives and friends. Significantly less attention is paid to the characterization of the “estate topos” in the texts of the authors, who, due to class restrictions, were not the owners of the estates and their frequent guests. In the literature of the Russian Silver Age, these are primarily the poets of the “peasant concord” group: N. Klyuev, S. Ese nin, A. Shiryaevets, S. Klychkov and oth- ers. For them, the most important and often the earliest in time of development of the source of knowledge about the Russian estate was Russian literature. The poets got an idea of estate complexes from personal experience. Elements of these complexes become symbols, each of which has a semantic filling formed over a long period. Revolutionary events of 1917–1921 lead to the rapid death of the estate world. If Klyuev in the early post-revolutionary years welcomed this process, then for Shiryaevets the Russian estate is inseparable from peasant life, Esenin is characterized by the transfer of elements of landlord complexes to the space of the peasant estate, in the heritage of Klychkov, like some other authors, an important role is played by a garden connected not only with the landowner estate, but also with peasant life, with the Garden of Eden.

The Image of a Russian Writer in Magazine Caricatures of the Silver Age

2021 ◽  
pp. 342-356
Author(s):  
Elena S. Sonina ◽  
Keyword(s):  
Civil Society ◽  
Russian Literature ◽  
Russian Empire ◽  
Silver Age ◽  
Russian Culture ◽  
History Of ◽  
The Russian Empire ◽  
Printed Word

Due to the literary-centric nature of Russian culture and the performance of the functions of civil society by the printed word, the role of the writer in the history of Russian literature and journalism of the Russian Empire was traditionally high. Therefore, satirical graphics constantly turned to the image of the Russian writer. The study compares the methods of depicting writers in the 19th and early 20th centuries and isolates the traditions of referring to the literary past and present. Caricature in connection with new trends in literature showed writers in the role of heroes of low and elite cultures, “tramps” (bossjaki) and modernists.

Two genera of Panchaetothripinae newly recorded from China, with first description of males of Opimothrips tubulatus (Thysanoptera, Thripidae)

Zootaxa ◽  
2019 ◽  
Vol 4567 (3) ◽  
pp. 583 ◽  
Author(s):  
YANLAN XIE ◽  
YAJIN LI ◽  
ZHENGYUE LI ◽  
HONGRUI ZHANG
Keyword(s):  
Sri Lanka ◽  
Abdominal Segment ◽  
Southern China ◽  
Morphological Characters ◽  
The Body ◽  
Old World ◽  
Old World Tropics

The subfamily Panchaetothripinae comprises 40 extant genera worldwide (ThripsWiki 2019), although only 15 genera are previously recorded from China (Mirab-balou et al. 2016; Li et al. 2018). Panchaetothripinae thrips are characterized by the strong reticulations on the body and leg. Wilson (1975) recognized three tribes in this subfamily, Panchaetothripini, Monilothripini and Tryphactothripini, but only tribe Tryphactothripini was relatively supported based on morphological characters (Mound et al. 2001). Species in this Tribe have abdominal segment II constricted at the base and bearing laterally patches of strong ridges, wart-like tubercles or stoutly recurved microtrichia, and abdominal segment X tends to be asymmetrical. Recently, two further genera of Tryphactothripini were found in Southern China, Noathrips and Opimothrips. These two monotypic genera are reported only from the Old World tropics, Noathrips from India and Sri Lanka, and Opimothrips only from Thailand (Bhatti 1967; Kudô 1979; Nonaka & Okajima 1992). The purpose of this paper is to record these two genera from China, together with the first description of the male of Opimothrips tubulatus. 

Figures of/for Voice

2019 ◽  
Author(s):  
David Nowell Smith
Keyword(s):  
Inner Ear ◽  
Sound Production ◽  
Silent Reading ◽  
The Body ◽  
Read Aloud ◽  
Sound Recording ◽  
Literary Works ◽  
The Status ◽  
The Subject ◽  
Presence And Absence

The concept of “voice” has long been highly ambiguous, with the physiological-phonetic process of sound production entangled in a far more extensive cultural and metaphysical imaginary of voice. Neither purely sound nor purely signification, voice can name either a sonorous excess over signification or the point at which sounds start to signify. Neither purely of the body nor ever extricated from its body, it can figure multiple kinds of meaningful embodiment, the breakdown of meaning in brute materiality, or even a strangely disembodied emanation. Voice can be both intentional and involuntary, both singular and plural, both presence and absence, both the possession of a subject and something that possesses subjects or is uncontainable by the subject. Voices may signify immediacy and be experienced as immediate, and yet they are continually mediated—by text, by technology, by art. In literature, the status of voice is particularly fraught. Not only do literary works deploy this imaginary of voice, but voice is crucial to literature’s medium. If this is most evident in the case of works composed or transmitted orally, it also holds for written works that, while destined for silent reading, nevertheless construct a virtual soundworld destined for its reader’s inner ear, to be subvocalized rather than read aloud. Literary works have been crucial in the development and deployment of the cultural-metaphysical imaginary of voice, precisely because “voice” poses such a diverse set of questions and problems for literature. These problems change focus and force with the development of technologies of inscription and prosthesis, from printing to sound recording to automated speech.

scholarly journals Carnality and Eroticism in the History of Russian Literature: Toward a Genealogy of a Discourse of Silence

2011 ◽  
Vol 1 (4) ◽  
pp. 8
Author(s):  
Alexei Lalo
Keyword(s):  
Literary History ◽  
Medical Science ◽  
Russian Literature ◽  
Roman Catholic ◽  
The Body ◽  
Russian Orthodox ◽  
Canonical Representations ◽  
History Of ◽  
Russian Medical ◽  
Main Strategy

The essay explores traditions of expressing the body and sexuality in Russian culture and literature. The main strategy that many authors used was that of silence ignoring (“keeping silent about”) the topic altogether. Alternatively, others have adhered to burlesques, in which an author presents carnality and eroticism in a deliberately ludicrous, grotesque way. The essay defines three historical determinants for the “strategy of silence” and the “strategy of burlesque” marking the history of Russia's literary representation. The first is a set of profound differences between Western and Russian medical science, sexology and psychopathology. The second is a divide in perceptions of sexuality between Roman Catholic and Russian Orthodox traditions. The third is embodied in some of the earliest canonical representations of sexuality in literary history, including the Archpriest Avvakum’s Life (1682).

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