scholarly journals Wojenna proza Wiktora Astafiewa a problem nienawiści i przebaczenia

2018 ◽  
pp. 193-202
Author(s):  
Wawrzyniec Popiel-Machnicki
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Military Conflicts ◽  
Great Patriotic War ◽  
Man And Nature ◽  
The Subject

Viktor Astafyev was an outstanding Russian writer and a representative  of ”village prose”. In his oeuvre, along with works on the question of “man and nature”, we may find numerous important works concerning the subject of war. Astafyev fought in WWII, which left him with some unhealed wounds. In his novels about this 'Great Patriotic War', the dominating pacifist humanism triggered the first depiction of German soldiers through the prism of Christian mercy in Russian literature. The attempt to analyze the novel The Cursed and the Slain is very relevant in light of our present reality, full of news of new military conflicts, including that in eastern Ukraine.

scholarly journals The semantics of Lermontov's poetic myth of the Demon N. S. Leskov’s “The Islanders”

Litera ◽  
2021 ◽  
pp. 1-9
Author(s):  
Vurgun Georgievich Mekhtiev
Keyword(s):  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Semantic Transparency ◽  
Special Contribution ◽  
Romantic Poetry ◽  
The Subject ◽  
Literary Myth ◽  
The Demonic

The subject of this research is the negative-axiological, satirical layers of the novel “The Islanders”, associated with the image of the demonic character, which M. Y. Lermontov turned into the archetype and poetic myth in the Russian literature. The object of this research is the stylistic techniques and ideological motifs of N. S. Leskov underlying “desacralization” of the romantic myth. The author meticulously examines the following aspects: 1) role of Lermontov's poem “The Demon” and romantic poetry of the 1840s in creation of the myth of the demonic character; 2) semantic deformations that led Leskov to wander from the conventional meanings of the myth ; 3) satirical modus used as the key technique in creation of the the image of Istomin. Particular attention is given to Leskov’s satire in its function of “recoding” of the myth. The conclusion is made that the image of the painter Istomin is appointed with the task to dispel the romantic myth. Therefore, the axiological-emotional lexis, as well as elements of satire that reflect the point of view of the “subjective” narrative are arrayed around him. All of that imparts semantic transparency to the character, which contradicts the “mysterious code” of the myth of romanticism. The author’s special contribution consists in the establishment of correlation between the myth of about the demon and the myth of Prometheus, which is important for assessing the complexity and multifacetedness of the semantic core of the phenomenon under review. The novelty of this research lies in revelation of underlying motif of the satirical style of N. S. Leskov. Its point is not to create a “myth about the myth” or an “anti-myth”; the novel forms the “non-myth” to achieve complete elimination of the literary myth of the demonic character. The writer uses satire for typification, rather than individualization of the character.

scholarly journals To the problem of intertextuality of “Fandorin corpus” by B. Akunin “Planet Water” and “Froth on the Daydream” by Boris Vian

Litera ◽  
2021 ◽  
pp. 25-32
Author(s):  
Kamilla Fezameddinovna Gereikhanova ◽  
Oksana Vasilevna Afanaseva
Keyword(s):  
Detailed Analysis ◽  
French Literature ◽  
Primary Source ◽  
Japanese Literature ◽  
Russian Literature ◽  
The Novel ◽  
Literary Works ◽  
The Subject ◽  
Boris Vian ◽  
Intertextual Dialogue

This article is dedicated to the questions of intertextual dialogue in modern Russian literature on the example of allusions to the novel “Froth on the Daydream” by Boris Vian in the novel “Planet Water” by B. Akunin. The object of this research is the game with audience used by B. Akunin, which allows broadening the context of perception of the novel through intertextual links. The subject of this research is the forms and ways of manifestation of intertextual dialogue of the two works – “Planet Water” and “Froth on the Daydream”, as well as their interaction through the literary works of antiquity and Japanese legends. The authors examine the references to B. Vian’s novel, describing their role in text of the narrative. The article employs comparative, contextual,l and hermeneutical analysis. The interaction of the corpus of texts about Fandorin with the works of Russian, English and Japanese literature is subject to detailed analysis. The texts of B. Akunin about Erast Fandorin abound with various references to the Russian and foreign literary works. The scientific novelty is define by the fact that this article is first to draw parallels with the French literature. The article determines and substabtiates intertextual links of “Planet Water” with “Froth on the Daydream”, which manifest through the key images and onomastic system of the novel. These links should attributed to hidden, encrypted intertext, cryptotext; in order to grasp such text, the reader must be familiar with the primary source. The presence of intertextual dialogue broadens the context of perception of the detective story and associate it with the genre of dystopia and parody.

scholarly journals THE CAUCASUS IN THE NOVEL “HERO OF OUR TIME” IN THE RECEPTION OF THE RESEACHERS FROM THE USA

2021 ◽  
Vol 31 (3) ◽  
pp. 635-640
Author(s):  
N.E. Kuptsova
Keyword(s):  
Detailed Analysis ◽  
Russian Literature ◽  
Local People ◽  
The Novel ◽  
Significant Progress ◽  
The Caucasus ◽  
The Usa ◽  
The Subject

The article gives the detailed analysis of the perception of Caucasus in the novel “Hero of our time” by the researches from the USA. The subject is investigated in the chronological and conceptual context, showing the different angles of interest: most researches in the first instance see the problem of the empire creation and the treatment of local people, in the second instance they are interested in the perception of the Caucasus war by Russian officers and some of them highlight the Caucasus as the beautiful illustration to the novel scenes. The opinions of the researchers from the USA with regards to the perception of the Caucasus war by Lermontov are divided. Some of them see him being insensitive to the topic of colonization, while other authors find that he has made significant progress and put Russian literature on a completely different way of depicting the Caucasian war.

scholarly journals Orientalism poetics: story by Leonid Solovyov “The Nomad”

2020 ◽  
Vol 25 (4) ◽  
pp. 648-656
Author(s):  
Eleonora F. Shafranskaya ◽  
Tatyana V. Volokhova
Keyword(s):  
Central Asia ◽  
Middle Ages ◽  
Postcolonial Studies ◽  
Russian Literature ◽  
The Novel ◽  
Russian Literary ◽  
The Subject ◽  
Xix Century ◽  
First Time ◽  
The Voice

The article deals with the problem of orientalism in literature, narrowed to the question of Russian orientalism and its Soviet derivation. The names of Nikolai Karazin and Andrey Platonov are mentioned among Russian literary Orientalists. The researchers identify the differences between Soviet Orientalism and the Orientalism of the XIX century. The analytical paradigm presented in the article outlines the prospects for the scientific study of Uzbek impressions. Salir-Gul (1933) by Sigismund Krzyzanowski and Pavel Zaltzman's novel Central Asia in the Middle Ages (1930s). For the first time, the novel The nomad (Kochevye) by the Russian writer of the twentieth century Leonid Solovyov written in 1929 and published in 1932 is analyzed in detail. Appeal to the folklore, ceremonial, and ritual life of the peoples of Central Asia becomes one of the main techniques of Leonid Solovyov's Oriental poetics. Solovyov's narrator is not a traditional orientalist observer of an alien, and therefore exotic, picture of the world. In Solovyov's poetics, the subject of the story merges with its object and represents a single whole: Russian literature spoke in the voice of a stranger. The material of the article corresponds to the intentions outlined in modern postcolonial studies.

scholarly journals Ways of conveying ethnocultural lexicon in translation of the novel Eugene Onegin by A. S. Pushin into Portuguese (on the materials of Dário Moreira de Castro Alves’ translation)

Litera ◽  
2020 ◽  
pp. 100-108
Author(s):  
Vasilisa Andreevna Danilova
Keyword(s):  
Comparative Analysis ◽  
Native Speakers ◽  
Russian Literature ◽  
Foreign Languages ◽  
The Novel ◽  
Linguistic Identity ◽  
The Subject ◽  
Eugene Onegin ◽  
Cultural Component

The subject of this research is the ethnocultural lexicon in translation of A. S. Pushkin’s novel in verse “Eugene Onegin” into Portuguese language. The author views the term realia as a lexicon with ethnocultural semantics inherent to determination of linguistic identity. The goal of this research consists in the analysis of the methods of conveying realias in the two non-cognate languages, as well as in determination of ethnocultural differences of the lexemes signifying similar notions. The author assumes that understanding and accurate interpretation of culturally marked lexicon are essential for translating foreign literature, as well as studying and teaching foreign languages. Contextual and comparative analysis of the realias of Russian literature in translation of the novel served as the methods for this research, which allowed determining the distinctions in cognition of text among the Russian and Portuguese native speakers. The novelty of this work is defined by reference to the only translation of the novel “Eugene Onegin” into Portuguese language that has not previously been an object of linguoculturological study. It is revealed that realias are being used in multiple spheres of human activity and may contain cultural component in the meaning of words and their connotation. As a result, the author indicated the differences of language means of conveying realias in the Russian and Portuguese languages; as well as established the ways of conveying ethnocultural lexicon in translation of the novel, such as correlation, hypo-hypernymic translation, adaptation, periphrastic translation, and calquing.

scholarly journals Reanimating/Resisting Late Soviet Monstrosity: Generational Self-Reflection and Lessons of Responsibility in Alexei Ivanov’s Pischeblok [The Food Unit]

2021 ◽  
Vol 10 ◽  
pp. RLS88-RLS111
Author(s):  
Ksenia Robbe
Keyword(s):  
Turning Point ◽  
Coming Of Age ◽  
Russian Literature ◽  
The Novel ◽  
Self Reflection ◽  
Ethical Implications ◽  
The Subject ◽  
Late Socialism ◽  
The Moment ◽  
Reading Approaches

Remembering late socialism through child perspectives in (auto)fictional writing has been a prominent practice in contemporary Russian literature. In particular, the early 1980s focalized by young protagonists have become the subject of three recent novels, by Alexei Ivanov, Shamil’ Idiatullin and Alexander Arkhangelsky. This article closely examines one of these novels, Alexei Ivanov’s Pischeblok [The Food Unit] published in 2016, asking how it articulates the generation that was coming of age during the 1980s and considering the ethical implications of this articulation. The reading approaches this question by examining the genre characteristics of the novel which involve a tension between ‘generatiography’ and fantasy, and between the realist and post-post-modernist modes. It argues that this hybridity of genre and a metamodernist oscillation allow for creating a multilayered representation of the late Soviet as a space of improvisational possibilities involving play with petty monsters as well as of genuine monstrosity embodying the darker side of the Soviet. The article outlines the novel’s generational self-reflection which involves re-familiarizing the readers with the ideals that existed within socialism but were not realized by the generation which internalized state socialism’s monstrous side. At the same time, the return to the moment of struggling with this monstrosity creates an alternative turning point and the possibility of responsibility-taking.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Le potentiel théâtral chez David Foenkinos. Analyse du roman, du scénario et du film La Délicatesse

2020 ◽  
Vol 65 (2) ◽  
pp. 297-319
Author(s):  
Aluaș Alina
Keyword(s):  
Text Processing ◽  
Careful Analysis ◽  
The Novel ◽  
Work Analysis ◽  
Personal Myth ◽  
The Subject

"The Theatrical Potential in David Foenkinos’ Work. Analysis of the Novel, the Scenario and the Film “La Délicatesse”. Our interest, especially when it comes to the subject of literature, is to show the manner in which the text processing done by the author (script writer/director) brings to light the guidelines of the novelistic text’s semantics, which under careful analysis reveals a kind of personal myth of the novelist. The skewed, syncopated, interrupted writing which disrupts the chronotope serves the needs of the script as well as the director’s selective vision. Unconsciously, the novel seems to follow the structure of the theatrical model. These traits can also be found in the cinematographic structure of the film. Keywords: love, eroticism, delicacy, theatricality, scenario, film. "

STYLISTIC CHARACTERISTICS OF THE TEXT OF JAMES JOYCE`"ULYSSES"

2020 ◽  
Vol 2 (3) ◽  
pp. 58-67
Author(s):  
Aygul Ochilova ◽  
Keyword(s):  
James Joyce ◽  
Russian Literature ◽  
Translation Studies ◽  
The Novel

Although the work of James Joyce has been studied in English and Russian literature and translation, it has not been studied in detail in Uzbek literature and translation studies. In this work, along with revealing the problems of tradition and innovation in the work of J. Joyce, we study how the stylistic means used in the text of the novel "Ulysses" are preserved in the Russian and Uzbek translations by means of comparative-typological analysis of the original and translated texts. We identify alternatives and non-alternatives to the original Russian and Uzbek translations

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.

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