scholarly journals THE ITALIAN-STYLE AL FRESCO PAINTING THE RESURRECTION OF CHRIST IN I. S. TURGENEV’S FATHERS AND CHILDREN

2021 ◽  
Vol 19 (1) ◽  
pp. 140-172
Author(s):  
Gennady Karpenko
Keyword(s):  
Semantic Space ◽  
The Novel ◽  
Russian Culture ◽  
Russian Word ◽  
Religious Painting ◽  
The Church

The article focuses on the unsolved mystery of the novel by I. S. Turgenev Fathers and Children — the Italian-style al fresco painting The Resurrection of Christ, located above the entrance to the church at the entrance to the Odintsova estate. None of the researchers and commentators of Turgenev’s novel were puzzled by the question: what does “Italian-style” mean in the Easter image? Meanwhile, Turgenev directly points out that, instead of the gateway Orthodox icon, there is a religious painting The Resurrection of Christ (al fresco painting) in the church, where both the sacrament itself and the outsider witness (“a swarthy warrior in a spiked helmet in the foreground”) are presented. In the Orthodox Easter iconography, however, an outside figure is an unacceptable detail, and the sacrament of the Resurrection as the highest sacred reality in accordance with the spirit and letter of the Gospel was not depicted. The Easter sacrament was replaced by the scene of the Descent into Hell, but such an icon was still called Resurrection. Meanwhile, canonically, the procession of Christ is captured, when the Savior does not descend into hell, but rises from there on the icon of the Resurrection of Christ/Descent into Hell: he leads Adam and other biblical heroes out of the underworld by “grabbing of the wrist.” In this way, the Resurrection of Christ begins with the salvation of man, with co-resurrection. In the value and semantic space of the novel, the Orthodox icon of the Resurrection of Christ/Descent into Hell is concealed behind the “Italian” fresco-veil. If Turgenev knows the “Italian” semantics of the Resurrection, then it is quite natural that the author is more familiar with the semantics of the Orthodox icon from liturgical recollection and makes it covertly actual. The behind-the-scenes presence of the icon of the Resurrection of Christ/Descent into Hell and everything that is liturgically and theologically associated with it and experienced transubs the structure of Fathers and Children. The Easter hierotopy of the novel, outlined by the Orthodox icon and supported by the prayerful hopes of the finale 1) creates a very special, breathtaking and enlightening value space, correlated with eternity, the infinity of the spiritual, which affirms, elevating all present to endless life through participation; 2) sets up the supertext dimension, gives rise to the motive of transcendental hope: “You will not leave my soul in hell”; 3) and also strengthens the Russian word as the Christocentric foundation of Russian culture.

scholarly journals Artistic peculiarities of Nikolay Koshelev’s church painting

2021 ◽  
pp. 127-137
Author(s):  
Vladimir Vladimirovich Zverev
Keyword(s):  
Detailed Analysis ◽  
Russian Culture ◽  
Cultural Life ◽  
Public Consciousness ◽  
Religious Painting ◽  
New Perspective ◽  
Church Art ◽  
Xix Century ◽  
The Church

This article is dedicated to the works of the Russian artist Nikolay Koshelev of the turn of the XIX – XX centuries in the genres of religious and church painting. The introduction of the principles of historicism and realism into the Russian culture of the XIX century discovered a new perspective on religion themed easel paintings, church art and iconography, as well as created opportunities for the new content and formal means for depicting the subjects of painting. The article leans on the monumental cycle “The Passion Journey of Christ” by Nikolai Koshelev for the Church of Saint Alexander Nevsky in Jerusalem. The article traces the complex intertwinement with of the features of church painting with the features of academic easel religious painting in the context of artistic culture of the turn of the XIX – XX centuries. The detailed analysis of the monumental cycle of “The Passion Journey of Christ” at the Alexander Metochion in Jerusalem (created between 1890 and 1900)  reveals certain peculiarities of the artistic form of Nikolay Koshelev's works in the context of Russian church and religious painting of the XIX - early XX centuries. This topic should be viewed in relation to the general problems of modernization of public consciousness and cultural life in Russia of that time.

The Free Responsible Action of the Individual

2018 ◽  
Author(s):  
Michael P. DeJonge
Keyword(s):  
The Novel ◽  
Extreme Situation ◽  
The Third ◽  
Third Phase ◽  
Responsible Action ◽  
Action Type ◽  
Two Phases ◽  
The Individual ◽  
The Church

If, as Chapter 12 argues, much of Bonhoeffer’s resistance thinking remains stable even as he undertakes the novel conspiratorial resistance, what is new in his resistance thinking in the third phase? What receives new theological elaboration is the resistance activity of the individual, which in the first two phases was overshadowed by the resistance role played by the church. Indeed, as this chapter shows, Bonhoeffer’s conspiratorial activity is associated with what he calls free responsible action (type 6), and this is the action of the individual, not the church, in the exercise of vocation. As such, the conspiratorial activity is most closely related to the previously developed type 1 resistance, which includes individual vocational action in response to state injustice. But the conspiratorial activity differs from type 1 resistance as individual vocational action in the extreme situation.

CLASSIFICATION OF RUSSIAN CULTURE-BOUND TERMS AND THEIR EQUIVALENTS BASED ON THE TRANSLATION OF “QUIET FLOWS THE DON” BY M. A. SHOLOKHOV

2020 ◽  
Vol 76 (4) ◽  
pp. 149-155
Author(s):  
SVETLANA S. UZHAKINA ◽  
Keyword(s):  
English Language ◽  
Great Influence ◽  
Political Life ◽  
Daily Routine ◽  
The Novel ◽  
Russian Culture ◽  
The Subject ◽  
Cultural Component ◽  
Historical Epoch

The classification of Russian culture-bound terms used in the novel “Quiet Flows the Don” by M. A. Sholokhov and in its translation into the English language. The novel “Quiet Flows the Don” by M.A. Sholokhov and its translation into English done by Robert Daglish have served as the source for the research of culture-bound terms. These terms have been classified on the basis of the subject division offered by S. Vlakhov and S. Florin. It is proved that the interest to the study of culture-bound terms is still important. The relevance of the research is determined by the fact that despite numerous research papers in this field the origin, classification and translation of these terms still need some investigation. The aim of the present study is to classify the culture-bound terms taken from the novel “Quiet Flows the Don” by M.A. Sholokhon and its translation into the English language. As a result, there have bben taken 407 samples of the lexical units with a cultural component which were classified according to the subject principal offered by S. Vlakhon and S. Florin. The culture-bound terms have a great influence on a foreign reader as they are cultural units that transmit the information of the daily routine and the historical epoch described in the novel. The culture-bound terms taken from the novel “Quiet Flows the Don” by M.A. Sholokhov and its translation are analyzed and classified. The division of the culture-bound terms according to the subject principal allowed to reveal that most terms refer to the daily routine, social and political life and military terms.

scholarly journals The main Problem of Boris Vasiliev’s Novel «Alexander Nevsky» (On the 800th Anniversary of the Birth of the Saint Prince Alexander Nevsky)

2021 ◽  
pp. 257-271
Author(s):  
Денис Владимирович Макаров
Keyword(s):  
Russian Literature ◽  
Historical Novels ◽  
The Novel ◽  
The West ◽  
Historical Method ◽  
The Government ◽  
Artistic Images ◽  
Artistic Image ◽  
The Relationship ◽  
The Church

Основная цель исследования состоит в выявлении основной проблематики романа «Александр Невский» и в исследовании особенностей художественного образа святого благоверного князя Александра Невского в художественном произведении одного из выдающихся представителей советской военной прозы Бориса Львовича Васильева. Начиная со второй половины 1990-х годов писатель воплощает в литературе образы выдающихся древнерусских князей и создаёт в своих исторических романах целую галерею художественных портретов: Владимира Святого, Ярослава Мудрого, Владимира Мономаха и многих других. В работе применяется сравнительно-исторический метод и метод филологического анализа. Для достижения указанной цели анализируется основная проблематика романа Бориса Васильева. В качестве наиболее актуальных для Руси XIII в. вопросов, поднимаемых автором, выделяются проблемы духовного наследия Византии, феодальной раздробленности, двоеверия, взаимоотношения власти (государства) и Церкви, исторического выбора между Востоком и Западом. Автором статьи предпринимает сопоставление образа святого благоверного князя Александра Невского прежде всего со знаменитым памятником древнерусской литературы XIII в. «Повесть о житии Александра Невского». Также в статье указываются предшественники Бориса Васильева в создании образа благоверного князя Александра Невского в русской литературе XIX и XX вв., среди которых поэты Аполлон Николаевич Майков, Лев Александрович Мей, Константин Михайлович Симонов и писатели Алексей Кузьмич Югов, Василий Григорьевич Ян, Анатолий Александрович Субботин, Сергей Павлович Мосияш. Наиболее важные результаты исследования состоят в выявлении основных особенностей художественного образа святого благоверного князя Александра Невского в романе Бориса Васильева. The main purpose of the research is to identify the main problems of the novel «Alexander Nevsky» and to study the features of the artistic image of the saint Prince Alexander Nevsky in the artistic work of one of the outstanding representatives of Soviet military prose - Boris Lvovich Vasiliev, who turned in the second half of the 1990s-2010s to the embodiment in artistic images of outstanding Ancient Russian princes and created in his historical novels from 1996 to 2010 a whole gallery of artistic images: Vladimir the Saint, Yaroslav the Wise, Vladimir Monomakh and many others. To achieve this goal, the main problems of the novel by Boris Vasiliev are analyzed. The research highlights the problems of the spiritual heritage of Byzantium, feudal fragmentation, dual faith, the relationship between the government (state) and the Church, the historical choice between East and West are highlighted as the most relevant issues for Russia of the XIII century raised by the author, the problems of the spiritual heritage of Byzantium, feudal fragmentation, dual faith, the relationship between the government (state) and the Church, the historical choice between the East and the West. The comparison of the image of the saint Prince Alexander Nevsky is undertaken, first of all, with the famous monument of ancient Russian literature of the XIII century «The Story of the Life of Alexander Nevsky». The work also identifies the literary predecessors of Boris Vasiliev in creating the image of the blessed Prince Alexander Nevsky in Russian literature of the XIX and XX centuries, among them the poets Apollo Nikolaevich Maykov, Lev Alexandrovich May, Konstantin Mikhailovich Simonov and the writers Alexey Kuzmich Yugov, Vasily Grigoryevich Yan, Anatoly Alexandrovich Subbotin, Sergey Pavlovich Mosiyash. The comparative-historical method and the method of philological analysis are used in the work. The most important results of the study are to identify the main features of the artistic image of the saint Prince Alexander Nevsky in the novel by Boris Vasiliev.

scholarly journals The Trickster Hero in M. Frisch’s Novel My Name Be Gantenbein

2021 ◽  
Vol 6 (2) ◽  
pp. 74-95
Author(s):  
Ivan V. Kuzin
Keyword(s):  
Classical Tradition ◽  
Semantic Space ◽  
Methodological Principle ◽  
The Novel ◽  
Non Linear ◽  
Deception Game ◽  
Self Organizing

The article offers an interpretation and analysis of the novel My Name Be Gantenbein, allowing to find an explanation to the genre uncertainty of the work of the Swiss writer M. Frisch. Due to the non-linear stylistics of the narrative, the image of Gantenbein eludes an unambiguous classification in terms of moral and ethical problematics lying on the surface. The hero of the novel turns into a methodological principle that clarifies the fundamental existences of life. In classical tradition, these included the concepts of freedom and law, truth and lies, truth and deception, game and life. The complicated plot makes Gantenbein a functional representative of both freedom and blind law. They create semantic space of self-organizing life. As a result, the character is endowed with properties of a trickster, because he accepts the complexity of such a life at the level of his existence. The investigation reveals that the game, roles and masks create the ideological basis of the story. This framework directs the reader to perceive life in its everyday manifestations, contributing to the development of an antidote to escapism.

The Problem of “Higher Individuals” in the Works of F.M. Dostoevsky

2021 ◽  
pp. 119-134
Author(s):  
Li Xiaoyu ◽  
I.I. Evlampiev
Keyword(s):  
Personal Accomplishment ◽  
The Novel ◽  
Traditional Church ◽  
Crime And Punishment ◽  
Existential Crisis ◽  
Kingdom Of Heaven ◽  
The World ◽  
Three Stages ◽  
The Church ◽  
The Ideal

This article deals with the controversial issue of F.M. Dostoevsky’s concept of “Higher Individuals.” The latter are people who rise above other people and have a special influence on society and on history. The authors argue that this concept is most clearly expressed in “The Diary of a Writer” (1876) as well as in the story “The Sentence”, along with Dostoevsky’s commentaries on this story. By means of a detailed analysis of Raskolnikov’s “theory” within the novel “Crime and Punishment”, it is demonstrated that only a superficial version of the concept of “higher individuals” is refuted in the heroes’ argumentations; at the same time, the novel’s characters – Marmeladov, his wife Katerina Ivanovna, and Raskolnikov – can be viewed as examples of different degrees in the personal accomplishment of this “higher personality” state. In conclusion, it is observed how a person must go through three stages of development in order to become a “higher character”: firstly, the experience of an existential crisis and the understanding of the lack of meaning in one’s life; secondly, the “rebellion” against the Creator of the world and its laws along with the rejection of the traditional church faith, whose rejection leads this person on the edge of suicide; thirdly, the acquisition of a new faith, first of all, a faith in one’s immortality, which happens in an unusual, unorthodox form, as is well demonstrated by the character of Svidrigailov in Dostoevsky’s novel. According to Dostoevsky’s doctrine, the meaning ofimmortality lies in the continuation of a person’s existence in a new form in the earthly world or in a “parallel” world similar to the earthly one, and not in the ideal Kingdom of Heaven, as the church claims. Finally, the authors maintain that the process of a character’s transformation into a “higher individual” was consistently and fully described by Dostoevsky in the stories of Raskolnikov and Ivan Karamazov.

scholarly journals Converted by un confit de canard: Political Thinking in the Novel Soumission by Michel Houellebecq

2019 ◽  
Vol 27 (4) ◽  
pp. 591-599
Author(s):  
Marie Demker
Keyword(s):  
German Society ◽  
George Orwell ◽  
The Novel ◽  
State Monitoring ◽  
French Society ◽  
Political Literature ◽  
Michel Houellebecq ◽  
Socialist Utopia ◽  
Tabloid Press ◽  
The Church

From a certain perspective, literature is always political. Literature in a broad sense has been a source of uprisings and protest at least since Martin Luther nailed his theses on the door of the church in Wittenberg in 1517 – and probably much further back in history than that. Narratives are the most potent way to articulate both political praise and criticism within a given society. In his political satires, British author George Orwell reviled all kinds of totalitarianism and the idea of a socialist utopia. Swedish writer and journalist Stieg Larsson wrote explicitly dystopian crime stories targeting the Swedish welfare state. German novelist Heinrich Böll turned a critical eye on the development of the tabloid press and the use of state monitoring in German society. In the same tradition, Michel Houellebecq has been seen as a very provocative writer in his tone and in his use of political tools. He has articulated a nearly individual anarchist perspective combined with authoritarian and paternalistic views. In Soumission, Houellebecq uses the European idea of multiculturalism to explode our political frames from within. This article explores the perception of religion in Soumission, assesses the critique Houellebecq directs towards French society and European developments, and examines Houellebecq’s perception of democracy and politics. The following questions are addressed: does Houellebecq’s critique come from a classical ideological perspective? Does he describe any elements of an ideal society – even if only as the reverse of a presented dystopia? What kind of democracy does the text of Soumission support or oppose?

The Vision of the Pope. An Ecumenical Effort of Edmund Schlink (1903–1984)

1992 ◽  
Vol 45 (2) ◽  
pp. 237-244
Author(s):  
Jochen Eber
Keyword(s):  
The Novel ◽  
Second Vatican Council ◽  
Protestant Church ◽  
Vatican Council ◽  
Belles Lettres ◽  
The Church

Ten years after the Second Vatican Council the novel Die Vision des Papstes: Erzählung was published simultaneously by Catholic and Protestant publishers under the pseudonym ‘Sebastian Knecht’. The author of the work was the former official observer of the Protestant Church of Germany (EKD) to the Council, the Heidelberg professor Edmund Schlink, who retired in 1972. The fact of his authorship was known only by a few friends prior to his death; following the death of her husband Mrs Irmgard Schlink revealed the pseudonym. Thus today, one may first examine the historical reasons why Schlink wrote the book. Further, its theological content makes possible a clearer view of the strengths and problems of the particular way to the unity of the Church Schlink recommends in the story. Finally, the effect of the work raises the question if it was meaningful to suggest a solution to ecumenical problems by means of belles lettres.

scholarly journals Train as a Semantic Space in Russian Culture of the 19th-20th Centuries

2021 ◽  
Vol 13 (1) ◽  
Author(s):  
Diana V. Mosova ◽  
◽  
Natalia P. Dmitrenko ◽  
Olga N. Kolchina ◽  
Svetlana N. Averkina
Keyword(s):  
Mass Culture ◽  
Large Body ◽  
Semantic Space ◽  
Russian Culture ◽  
Discursive Analysis ◽  
Living Things ◽  
Analysis And Synthesis ◽  
Dual Character ◽  
New Perspective ◽  
Cultural World

The railway station is the most important chronotope of the 20th century. In times of industrialisation, economic development, military confrontation between major powers, the images of a steam locomotive, locomotive, and train met in a large body of literary and journalistic texts. The study of the railway discourse is based on complex historical and semiotic meanings, which allow concluding about the properties of the Russian cultural world, studying it from a new perspective. In the process of the research, the methods of the theoretical level were used: the study and generalisation of scientific works, analysis and synthesis, induction and deduction. The authors conducted a logical analysis of the collected material, developed new categories of the image of a train as a “fiery demon”, “a locomotive of progress”, “house on wheels”. Semantic models of perception of the train as a cultural space were interpreted. A discursive analysis of ideas that influenced the semantic part of the concept of “railroad” in Russian culture was conducted. It was concluded that the image of a train in literary creation has a dual character. Already at the stage of the construction of the railway, an infernal model of its interpretation as a “serpent train/dragon” was formed, capable of destroying all living things and taking them to the kingdom of death. At the same time, there are examples of a different type of interpretation of the image of a train. Some researchers insist on its connection with the archetype of “mother”, the idea of movement in a circle, return. In the post-Soviet space, the image of a train has not lost its significance. It is still assimilated by mass culture, it enters into everyday life, without losing its ambivalent character.

Sign in / Sign up

Export Citation Format

Share Document