scholarly journals The image of light: poetics of Old Russian literature in Russian literary texts of the post-revolutionary decades (M. Tsvetaeva, O. Mandelstam, A. Akhmatova, B. Pasternak)

2021 ◽  
Vol 62 ◽  
pp. 174-183
Author(s):  
Tatiana I. Radomskaya
Keyword(s):  
Russian Literature ◽  
Literary Texts ◽  
Special Role ◽  
The Novel ◽  
Human Soul ◽  
Material Life ◽  
Old Russian ◽  
Red Color ◽  
Russian Literary ◽  
In The Beginning

The topic of the present paper is the process of transformation of old Russian poetics in Russian literature in the beginning of the 20th c. and particularly the concept of light. The concept of light is very specific in Old Russian literature and can be perceived as phenomenological image and associated with sacral world. The concept of light may be transformed and manifested in different images such as protective veil or as a boundary between light and dark (which is explored through the example of old Russian literature). The literature of the early 20 c. proves that the concept of light is similar to one of the Old Russian literature and plays special role in works by M. Tsvetaeva, B. Pasternak, O. Mandelshtam, A. Akhmatova. It is due to transcendental vector of their works. In Tsvetaeva`s works light is shown through opposition “colour – light” that reveals sacral nature of it and white color. The works by Mandelshtam and Akhmatova demonstrate that light also can be white (similar to Tsvetaeva) but also connected with red color as it is associated with death of millions. In the Christian tradition it symbolizes martyrdom. The novel “Doktor Zhivago” by B. Pasternak illustrates that the source of light is inside material life. Thus, the concept of light in the works of postrevolutionary years reveals 2 types of consciousness (according to S. Frank) — immanent presence of common in nature and in human soul and strong feeling of transcendency.

The problem of language identity in Volodymyr Vynnychenko’s novel I want! in contemporary sociocultural context

2020 ◽  
Vol 2019 (2 (11)) ◽  
pp. 211-227
Author(s):  
Ekaterina V. Baydalova ◽  
Keyword(s):  
National Identity ◽  
Russian Literature ◽  
The Novel ◽  
Sociocultural Context ◽  
Main Character ◽  
Life Goal ◽  
Language Identity ◽  
National Question ◽  
In The Beginning ◽  
Ukrainian Society

The novel by Volodymyr Vynnychenko I want! (1915) was, on one hand, his literary answer to the discussion on the national question in Ukrainian society, and, on the other, it was his reaction to the accusations of him being a renegade resulting from his shift towards Russian literature. In 1907-1908, after the publication of his dramas and novels which were impregnated with the idea of “being honest with oneself” (it implied that all thoughts, feelings, and acts were to be in harmony), his works could be more easily published in Russian than in Ukrainian. This situation was taken by his compatriots as a betrayal against his native language and the national cause. In the novel I want! the problem of language identity is directly linked with national identity. In the beginning of the novel the main character, poet Andrey Halepa, despite being ethnic Ukrainian, spoke, thought, and wrote poems in Russian, and consequently his personality was ruined and his actions lacked motivation. It seems that after his unsuccessful suicide attempt and under the influence of a “conscious” Ukrainian, Halepa got in touch with his national identity and developed a life goal (the “revival” of the Ukrainian nation and the building of a free-labour enterprise). However, in the novel, national identity turns out to be incomplete without language identity. Halepa spoke Ukrainian with mistakes, had difficulty choosing suitable words, and discovered with surprise the meaning of some Ukrainian words from his former Russian friends. The open finale emphasises the irony of the discourse around a fast national “revival” without struggle and effort, and which only required someone’s will.

AUTOMATED ANALYSIS OF RHYTHMIC CHARACTERISTICS OF RUSSIAN- LITERARY PROSAIC TEXT AS A METHOD FOR DETERMINING THE TEXT AFFILIATION TO A LITERARY PERIOD

2020 ◽  
Vol 6 (99) ◽  
pp. 73-85
Author(s):  
ELENA I. BOYCHUK ◽  
ELENA V. MISHENKINA
Keyword(s):  
Statistical Methods ◽  
Russian Literature ◽  
Automated Analysis ◽  
Russian Language ◽  
Literary Texts ◽  
Russian Literary ◽  
Prose Rhythm ◽  
Literary Period ◽  
Rhythmic Structures

The article analyses the rhythmic characteristics of Russian-language literary texts using the automated PRD (Prose Rhythm Detector) application. The authors consider the main approaches to the periodization of Russian literature of the XIX-XXI centuries in order to determine the affiliation of works to a particular epoch based on the specifics of the text rhythmic structures. The quantitative and statistical methods of the analysis are used.

scholarly journals Czy tylko socrealistyczna powieść-agitka? Próba re-lektury Matki Maksyma Gorkiego

2020 ◽  
Author(s):  
Joanna Dobrowolska
Keyword(s):  
Russian Literature ◽  
Social Realism ◽  
Early 20Th Century ◽  
The Novel ◽  
Artistic Value ◽  
New Man ◽  
Russian Literary ◽  
Maxim Gorky ◽  
New Religion ◽  
Ideological Context

My paper is a proposal for a non-standard reading of Mother by Maxim Gorky, often perceived as a piece of propaganda with low artistic value, a novel overfilling with ideology, subjugated to the doctrine of social realism. I would like to step beyond these stereotypes and show some contexts that have hardly been identified in the Polish reception of Russian literature from the early 20th century. I distinguish three main issues in the content of the novel: the image of the mother (novel about a mother), socialism as the “new religion” and the utopia of the “new man”. I see the current of Marxism called God-Building as a very important ideological context. I refer to research by Polish and Russian literary scholars and to my own findings.

scholarly journals I. Turgenev’s novel “Rudin” in Chinese literary studies

2019 ◽  
Vol 24 (3) ◽  
pp. 433-443
Author(s):  
Siwen Guo
Keyword(s):  
Literary Criticism ◽  
Chinese Literature ◽  
Great Influence ◽  
Russian Literature ◽  
The Novel ◽  
Ivan Sergeevich Turgenev ◽  
Future Studies ◽  
Russian Literary ◽  
Similar Images ◽  
New Generation

The work of I. Turgenev was translated into Chinese in the first half of the twentieth century and later spread widely in China, having a great influence on the new generation of Chinese writers. At the same time, more and more literary critics began to study the works of Turgenev. Extensive research and analysis, as well as the study of works from different angles, contributed to a better understanding of Turgenev and Russian literature by Chinese readers. The article discusses the publications of Chinese litterateurs and critics from the second half of the 20th to beginning of the 21st century, the work of Ivan Sergeevich Turgenev, notes the enduring interest of the Chinese audience to the work of Russian prose writer, in particular, to the novel “Rudin”. Special attention is paid to the prose writer's “path” to the novel; it is proved that the high interest of scientists to Dmitry Rudin, the protagonist of this novel, caused by Chinese specifics and the relevance of many problems associated with this image. The article explains the evolution of the attitude of the Chinese to Rudin: from agreement with Russian researchers considering him as a superfl person to disagreement with them. At the same time, Rudin is compared with typically similar images in Chinese literature. An analysis of Turgenev's works by Chinese literary critics will provide detailed information for future studies in international literary circles, and can also lay the foundation for finding differences between Chinese and Russian literary criticism.

scholarly journals A brief overview of the reception of “The Tale of Igor's Campaign”

Litera ◽  
2021 ◽  
pp. 33-46
Author(s):  
Ziwei Li
Keyword(s):  
Mainland China ◽  
Russian Literature ◽  
May Fourth Movement ◽  
General Process ◽  
Old Russian ◽  
Fourth Movement ◽  
Russian Literary ◽  
Scientific Task ◽  
Complete Translation ◽  
Historical Methods

The subject of this research is the process of reception of “The Tale of Igor's Campaign” in mainland China. The analysis of China’s historical conditions and comparison of the statistics at different periods indicate changes in the process of reception of Russian literature as a whole, and the Old Russian literary landmark in particular in the course of historical development of Celestial Empire. The novelty of this research is defines by insufficient coverage of the process of reception of “The Tale of Igor's Campaign” in China as a special cultural phenomenon, inseparable from the overall process of cultural and literary development of the country. Reception of the Russian literature is viewed in the socio-historical system, in which it organically interacts with the national culture and literature. The article employs descriptive, conceptual, and comparative-historical methods for solving the scientific task; determines the key stages in the general process of reception of “The Tale of Igor's Campaign” in China; and reveals the peculiarities of each stage with description of the major achievements. The author concludes that for almost two centuries, the Old Russian literary landmark has undergone a propaedeutic reception in China, which gradually intensified after the May Fourth Movement. It experienced stagnation after the first complete translation of the “Tale” into Chinese language, and a breakthrough in the image of this work in modern Chinese science, which currently interprets “The Tale of Igor's Campaign” as a literary-historical text.

scholarly journals СЕМАНТИКА ВРЕМЕН ГОДА В РОМАНЕ Л. ТОЛСТОГО «ВОСКРЕСЕНИЕ»

2020 ◽  
Vol 18 (4) ◽  
pp. 229-247
Author(s):  
Elena Masolova
Keyword(s):  
Russian Literature ◽  
Land Ownership ◽  
The Novel ◽  
Main Character ◽  
Early Winter ◽  
Christian Realism ◽  
Social Evil ◽  
Old Russian ◽  
God's Word ◽  
The World

The article is devoted to the revealing of the seasons semantics in Tolstoy’s novel “Resurrection”. Having examined the events happening to the characters of Tolstoy’s novel during 15 years of their life we came to the conclusion that in the “Resurrection” the depicted seasons are associated with reconstruction of humanity’s steady movement towards God. The description of spring at the beginning of the novel is a parable-like prologue that affirms the idea of mankind’s future spiritual resurrection. In spring, 29 year-old Nekhlyudov decided to redeem himself in front of Maslova. When the main character recollected the spring of his youth, he realized social ill-being and the need to find the lost harmony with the world thus, he abdicated from his right to the land ownership. Student Nekhlyudov saw in summer nature a source of inspiration; in summer, escorting prisoners to hard labor, the character understood the roots of social evil, and prisoner Maslova returned to her original pure self. The spiritual spring of Nekhlyudov takes place in a calendar spring, and his spiritual resurrection happened in autumn; Maslova’s spiritual spring coincides with a calendar summer. The character comes to the adoption of Christianity in fall reading the Gospel. In the finale of the novel, early winter “rushes” the earth’s renewal; Nekhlyudov’s enlightenment is predetermined by changes in nature and by the indisputable rightness of God’s Word which had been revealed to him. In the “Resurrection”, the seasons become the markers of being and gain the ontological significance. Spring symbolizes future moral enlightenment of the mankind; summer is a symbol of life; fall “strengthens” Nekhlyudov’s religious searches, “convincing” him to build life according to God’s covenants; winter is a cleansing preparatory period that precedes the spiritual resurrection of people. The epic character by Tosltoy emerges due to the correlation of natural calendar with the semantics of seasons developed in Old Russian literature. The novel “Resurrection” is an artistic work of Christian realism that continues the tradition of Old Russian literature.

scholarly journals Who killed poor Liza? Cultural transmission in Nikolay Karamzin’s novel Poor Liza

2020 ◽  
Vol 4 (2) ◽  
pp. 126-134
Author(s):  
M. A. Dudareva
Keyword(s):  
Cultural Transmission ◽  
Historical Context ◽  
Russian Literature ◽  
The Novel ◽  
Loss Of Life ◽  
National Space ◽  
The Social ◽  
Russian Literary ◽  
History Of ◽  
Cultural Types

An appeal to the novel “Poor Lisa” by Nikolay Karamzin in an extensive cultural and historical context provides an opportunity to pose a question on the transmission of culture, its “vertical” dimension. This makes it possible to distinguish between the characters according to their cultural types: Liza is a person of “soil”, endowed with ancestors’ sacred knowledge, while Erast is a man of «culture» out of touch with the ground. In this regard, it proves to be relevant not so much the social inequality of the characters, as noted by the researchers, as their different worldview, attitude to nature, love, etc. Parallel with the Russian folklore tradition, lyrics, where the concept of «love» is represented through the lexemes «sweetheart», «soul», «heart» are also challenging in this respect. It is to this archaic knowledge, the heritage of centuries, that Liza, the main character, is attached. Separation from love, a broken heart in this context is equivalent to the loss of life. Based on such representations, Liza’s act is considered from a different angle: death is the only possible outcome for the heroine, for her heart life. In the typological aspect, it is fruitful to refer to Montaigne’s Essays, to his statements on heart life, which is to a great extent consistent with the life of nature. At that time, Montaigne’s philosophy was well known to Russian literary figures.The methodological basis of the study includes structural-typological, comparative, and system-complex (culturological) research methods, ensuring a comprehensive approach to the analysis of the artistic text and making it possible to show the national space in Karamzin’s novel. The results may be interesting to both philologists and cultural scientists, and can also be used in courses on the history of Russian literature.

scholarly journals Hermeneutics of Old Russian Literature: Issue 20

2021 ◽  
Author(s):  
Olga A. Tufanova ◽  
Marianna V. Kaplun
Keyword(s):  
Russian Literature ◽  
Research Problem ◽  
Original Research ◽  
Traditional Practice ◽  
University Professors ◽  
Old Russian ◽  
Russian Literary ◽  
History Of ◽  
Fundamental Research ◽  
Manuscript Collections

The book is a comprehensive fundamental research on the history of Russian literature of the 11th–17th centuries, reflecting various domestic and foreign schools and trends. The materials are structured into sections depending on the subject, topics and methods of analysis and show both the novelty and the traditional nature of the research problem. The focus is on the scientific problems of codicology, source study, textology, macro- and micropoetics of both manuscript collections and individual monuments of the literature of Old Russia, editions of newly found redactions and previously unknown medieval texts. Analytical and survey research focuses on the problems of interpretation of Old Russian written monuments, the artistic specifics of various genre forms, syncretic phenomena of Old Russian literary and artistic creativity. A number of works have shown a deep interest in the issues of the reception of plots of Old Russian literature in the literature of the 20th–21th centuries, allusions to the medieval texts. The newest original research devoted to the peculiarities of Old Russian writing and manuscript ruling clarifies the issues of the existence of Old Russian books and makes significant adjustments to the established traditional practice of publishing Old Russian monuments. In general, research presented in the book expands and deepens the understanding of the history of the development of Russian medieval literature. The book is addressed primarily to trained readers — medieval scholars, university professors, graduate students and philology students, historians, cultural experts, art historians.

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