The Myth of the Eternal Return in Eremey Aipin’s In Search of the Primordial Land

2021 ◽  
pp. 173-191
Author(s):  
Dmitrii V. Larkovich ◽  
Keyword(s):  
Literary Criticism ◽  
Life Experience ◽  
Cultural Tradition ◽  
The Novel ◽  
Traditional Values ◽  
Spiritual Values ◽  
Eternal Return ◽  
New Novel ◽  
Russian Literary

The title of the new novel by the Yugra writer Eremey Aipin In Search of the Primordial Land, first published in Russian in 2019, contains an obvious reference to the cultural tradition and suggests the possibility of a scholarly reading of a literary text from the perspective of mythopoetics. The novel organically continues the attitude characteristic of all Aipin’s previous works. This attitude clearly discerns the writer’s desire to see the essence of modern life realities through the prism of traditional values enshrined in the myths and legends of his people. In Aipin’s artistic picture of the world, myth does not just appear as one of its elements. It enters the very flesh of this world, constitutes its foundation, its pivotal ontological and axiological axis. Aipin does not limit himself to the role of a popularizer of the mythological repertoire of the Khanty people. On the basis of traditional images, plots and motives, he builds his own mythological paradigm, in which the system of national and universal values is superimposed on the personal life experience of the author and his heroes. This fundamentally determines the basic principles of Aipin’s artistic expression organization. The article aims to reveal the meaning-forming role of the myth of the eternal return in Aipin’s In Search of the Primordial Land and to characterize the means of its artistic actualization in the text. During the research, the results of the latest developments in the field of philological regional studies and mythopoetics were taken into account. The analysis of the novel in the context of the traditional culture of the indigenous peoples of Yugra shows that Aipin inextricably connects reflections on the historical fate of Russia with the fate of a person. Despite the fact that the novel is based on the dramatic events of a worldwide scale, it is full of high optimistic sound. According to Aipin’s idea, Russia, which is at the turn of the millennium, is experiencing a situation of the “second world flood”, since the human community lost its spiritual values. The protagonist of the novel is the artist Matvey Taishin. He goes through difficult life trials, but acquires the desired sense of being; he finds it in love and in the awareness of the need to continue life. Using the example of Taishin, Aipin convincingly demonstrates that the revival of Russia is impossible without recognizing its cultural and spiritual origins, without moving towards its own metal Primordial Land. It is this saving path, based on the return to the eternal, timeless values, that will give Russia the opportunity to realize its historical destiny and overcome the state of chaos and decay. The article is the first experience of a conceptual and contextual analysis of Aipin’s In Search of the Primordial Land in Russian literary criticism, which constitutes the novelty of the research.

scholarly journals The Concept of Victorianism in A. S. Byatt’s “Posession”

2019 ◽  
Keyword(s):  
Literary Criticism ◽  
Victorian Novel ◽  
The Novel ◽  
Victorian England ◽  
Victorian Era ◽  
English Novel ◽  
The Past ◽  
Russian Literary ◽  
Postmodern Novel ◽  
Current Research Interest

The late 1990s – early 2000s was a time of numerous projects dedicated to the Victorian age and the Victorian novel as a specific phenomenon that inspires the modern novel development. The English postmodern novel with its typical narrative, time transferal to Victorian England, weaving of time layers, invokes current research interest. The relevance of this study is caused by considerable interest of researchers in the Victorian era heritage and by need of a comprehensive study of Victorian linguoculture and its implementation in the modern English novel. The Victorian text influences a new genre of the novel that reflects the gravity of modern English prose to the traditional literature of Victorian era, assumed to be particularly important in this context. The analysis of A. S. Byatt’s “Possession” in the Russian literary criticism was made only by O. A. Tolstykh; in the Ukrainian science, this work was investigated by O. Boynitska in the context of searching the past, so this subject is not investigated enough, and in our opinion is new and relevant, especially from the perspective of the “Victorian era” concept embodied in the novel. The aim of the paper is to analyze the “Victorian era” concept peculiarities in the intercultural context, on the basis of A. S. Byatt’s “Possession” as a Victorian novel. The paper takes into account the reproduction of concepts of Marriage, Home, Family, Freedom, Life, as components of “Victorian era.” The Victorian family is often represented through the place of their dwelling; therefore, the great Victorians’ works are overwhelmed by interior descriptions (Dombey’s house, Miss Havisham’s home, Mr. Rochester’s Castle). However, in “Possession,” there is an obvious contrast of Victorian buildings to the same structures in the XX century: the past prime – the modern decline. All the secrets and delusions hidden behind the facades of supposedly respectable buildings result in distorting facts and, to some extent, to violating the rights of ownership to the memories of the past. This gives another meaning to the title of the novel – “possession,” that is ownership, possession of letters, memory, truth.

scholarly journals Poetics of descriptions in the novel “A Hero of Our Time” by M.Yu. Lermontov in Literature classes

2020 ◽  
pp. 77-89
Author(s):  
E.N. Kolokoltsev
Keyword(s):  
Literary Criticism ◽  
Art Criticism ◽  
Literary Text ◽  
Object Image ◽  
The Novel ◽  
Time Line ◽  
Aesthetic Development ◽  
Spatial Image ◽  
Figure Of Speech

The purpose of the study is to actualize the role of descriptions in the novel by M. Yu. Lermontov “A Hero of Our Time” as an important constructive element of the narrative. The most common form of description in the novel is the descriptions of nature and descriptions of the characters’ portraits. The descriptions found a lively response in literature studies, literary criticism, in art criticism, which responded to the paintings of the poet-and-artist and illustrations for the novel. Naturally, it attracted the author’s attention to the study of the works of those scholars, who viewed the features of Lermontov’s narrative manner. In the stories that made up Lermontov’s novel, descriptions play an important compositional role: they accompany the narrative, the thoughts of the characters, and they are often motivated by the author. The article highlights a number of techniques that will allow students to specify ideas about the descriptions in the novel. The students’ comprehension of landscape descriptions can be supported by drawing up a plan that will reflect the spatial and time-line structure of the story “Bela”, which represents both “travel notes” and the novelette. The use of reproductions of Lermontov’s Caucasian landscapes, similar in the object image to its verbal descriptions in the novel, serves as a visible emotional aid in the nature descriptions comprehension by schoolchildren. Turning to Pechorin’s psychological portrait caused such ways of discovery of his portrait features as drawing up a stylistic map that assists students to focus on linguistic means that the narrator uses to relate the hero image with his potential ingrain. The image and words are closely intertwined in the art print that performs the function of figure of speech and gives a spatial image to the piece of writing. The illustration serves as a means of specifying the students’ perceptions of the characters’ portraits, descriptions of nature and the related plot situations. Ways to comprehend a literary text with the wide involvement of works of art assist students to learn about the peculiarities of Lermontov’s narrative manner and facilitate their aesthetic development.

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 The role of folklore within the worldview and creative individuality of the Crimean Tatar children's writers

2021 ◽  
pp. 35-47
Author(s):  
Fera Seferova
Keyword(s):  
Literary Studies ◽  
The Novel ◽  
Creative Activity ◽  
Creative Idea ◽  
Russian Literary ◽  
The Subject ◽  
Crimean Tatar ◽  
Modern Perspective

The study of interrelation between folklore and literature is one of the most relevant trends in literary studies. Folk poetic symbols as the genetic memory of the nation infiltrate consciousness not only as artistic material, but also as a emotions that awaken the writer’s imagination, giving rise to various associations. The subject of this research is the creative activity of folklore is in the works of the Crimean Tatar children's writers. Examination of the folklore-mythological context, determination of the peculiarities of transformation of folklore motifs in a literary reveals the creative laboratory, allowing determining the specificities of personal reflection of the writer, as well as tracing the psychological patterns of the creative process, and the evolution of artistic thinking overall. The scientific novelty is defined by the absence within Russian literary studies of monographic and significant critical works on determination of the folklore-mythological context, transformation, functionality, and interpretation of folklore elements in works of the writers. The conclusion is made that folklore as part of the culture of a particular nation, is an organic element of the artistic world of the Crimean Tatar writers, such as E. Amit and T. Khalilov. The novel by E. Amit presents the new comprehension of myths, paroemias, and legends. An example of interaction of the mythological views and modern perspective in the novel “Last Chance” is the folk legend on the “happy and unhappy stars”. It also encompasses such ancient forms of folklore as cursing and benevolence, as well as the elements that take roots in the ancient taboos, the period of totemism. In the psychological prose by T. Khalilov, an important role is played by the symbolism of birds and plants. The ancient legend of the winged horse Duldul organically intertwines with the author's creative idea without losing its specificity.

scholarly journals COMPASS INSIDE US BY PETER JILEMNICKÝ: CREATIVE HISTORY, GENRE PECULIARITY, ETHNO-HISTORICAL MATERIAL, AND IDEOLOGICAL TRENDS

2021 ◽  
pp. 91-110
Author(s):  
В.С. ПУКИШ ◽  
И.С. ХУГАЕВ
Keyword(s):  
Literary Criticism ◽  
Soviet Period ◽  
Original Text ◽  
The Novel ◽  
The North ◽  
Russian Literary ◽  
History Of ◽  
Main Ideas ◽  
Central Characters ◽  
First Time

В статье рассматривается роман основоположника «революционно-пролетарской словацкой литературы», «словацкого Горького» Петера Йилемницкого (1901–1949) «Компас в нас» (1937). Актуальность данного рассмотрения определяется уже тем, что в романе значительное место уделено советской (русской, киргизской) и кавказ­ской (осетинской, в хронотопе, заступающем советские рамки) теме, – и при этом произведение Йилемницкого до сих пор не было переведено на русский язык и осталось, в общем, вне поля зрения отечественного литературоведения и литературной кри­тики. Отдельные, связанные с осетинской темой, главы романа в переводе на осетин­ский язык, выполненном в свое время Хасаном Малиевым и Сафаром Хаблиевым, пу­бликовались в советское время в североосетинской периодической печати, и, поскольку одним из героев Йилемницкого выступает друг Петера Йилемницкого известный осе­тинский писатель Чермен Беджызаты (1898–1937) и действие первого плана происхо­дит именно в Южной Осетии, которую, в рамках сюжета, посещает повествователь, роман «Компас в нас» несколько раз упоминался в осетинском литературоведении. Одним из авторов данной статьи (В.С. Пукишем) роман Йилемницкого в «осетин­ской» части в последнее время переведен на русский язык с языка оригинала (редакто­ром перевода, необходимого в виду этнокультурной фактуры, выступил И.С. Хугаев); соответственно, здесь, помимо необходимой биографической и библиографической справки, вводятся в литературно-критический оборот обстоятельства творческой истории романа «Компас в нас», его основные идеи и образы, а также его оценки в словацком литературном процессе; впервые на основе оригинального текста тракту­ется архитектоника, образная система, идеология, общие изобразительные приемы и идейно-эмоциональная тенденция текста Петера Йилемницкого. The article examines the novel Kompas v nás (Compass Inside Us) by Peter Jilemnický (1901–1949), the founder of “revolutionary proletarian Slovak literature,” and “the Slovak Gorki.” The topicality of this review can be proved by the fact that the novel devotes much attention to the Soviet (Russian, Kyrgyz) and the Caucasian (Ossetian – in the space-time going beyond the Soviet period) themes – however, by now it has not been translated into Russian and thus it has remained mostly out of the eye of contemporary Russian literary criticism. At the same time, the Ossetia-related chapters of the novel translated into Ossetian by Khasan Maliev and Safar Khabliev, were published in the North Ossetian press, and due to the fact that one of the central characters of the novel is Chermen Bedzhyzaty (1898–1937), a known Ossetian writer and a friend of Peter Jilemnický, and that the foreground of the story takes place in South Ossetia visited by the narrator, Compass Inside Us has more than once been mentioned by Ossetian literary critics. One of the authors of this article (V. Pukish) recently translated the ‘Ossetian’ part of the novel from Slovak into Russian (I. Khugaev edited the translated text as required by the ehtnocultural texture); this is why, the circumstances of creative history of the novel, its main ideas and images, and the assessments given to it by Slovak literary critics are hereby introduced into the scientific discourse in addition to the required biographical and bibliographical references. Based on the original text of the novel, the authors of this article are for the first time discussing the architectonics, imagery, ideology, general representational devices, and ideological and emotional trends of the text by Peter Jilemnický.

scholarly journals Olga Dmitrievna Golubeva: to the 100th anniversary of her birth

2021 ◽  
pp. 174-181
Author(s):  
Galina V. Mikheeva ◽  
Keyword(s):  
Literary Criticism ◽  
Public Library ◽  
Scientific Work ◽  
100Th Anniversary ◽  
Russian Literary ◽  
History Of ◽  
Biographical Sketches ◽  
Publishing Houses ◽  
The Creation

In 2021 we mark the 100th anniversary of the birth of O. D. Golubeva, a bibliologist, Doctor of Philology, whose entire working life relates to M. E. Saltykov-Shchedrin State Public Library. For 35 years she was the deputy director of the library for scientific work. The article recreates the biographical sketch of the scientist, reveals the significance for Russian literary criticism of her research on the publishing activities of M. Gorky and several publishing houses of the early twentieth century. Special attention is paid to the role of O. D. Golubeva in the creation of a whole series of works devoted to the history of the Library, including biographical sketches of the figures of the Imperial Public Library. The role of the scientist in the creation of the school of historical biography in the National Library of Russia is determined.

Empty Houses

2011 ◽  
Author(s):  
David Kurnick
Keyword(s):  
Literary Criticism ◽  
Henry James ◽  
George Eliot ◽  
Critical Role ◽  
James Baldwin ◽  
William Makepeace Thackeray ◽  
The Novel ◽  
Human Identity ◽  
Private Individual

According to the dominant tradition of literary criticism, the novel is the form par excellence of the private individual. This book challenges this consensus by re-examining the genre's development from the mid-nineteenth to the mid-twentieth century and exploring what has until now seemed an anomaly—the frustrated theatrical ambitions of major novelists. Offering new interpretations of the careers of William Makepeace Thackeray, George Eliot, Henry James, James Joyce, and James Baldwin—writers known for mapping ever-narrower interior geographies—this book argues that the genre's inward-looking tendency has been misunderstood. Delving into the critical role of the theater in the origins of the novel of interiority, the book reinterprets the novel as a record of dissatisfaction with inwardness and an injunction to rethink human identity in radically collective and social terms. Exploring neglected texts in order to reread canonical ones, the book shows that the theatrical ambitions of major novelists had crucial formal and ideological effects on their masterworks. The book establishes the theatrical genealogy of some of the signal techniques of narrative interiority by investigating a key stretch of each of these novelistic careers. In the process, it illustrates how the novel is marked by a hunger for palpable collectivity, and argues that the genre's discontents have been a shaping force in its evolution. A groundbreaking rereading of the novel, this book provides new ways to consider the novelistic imagination.

scholarly journals Creative Works of S. Beckett in the Context of “Notes from the Underground” by F. M. Dostoevsky

2020 ◽  
pp. 174-184
Author(s):  
E. A. Markova
Keyword(s):  
Comparative Analysis ◽  
Literary Criticism ◽  
The Novel ◽  
Temporal Characteristics ◽  
Waiting For Godot ◽  
Russian Literary ◽  
Spatial And Temporal Characteristics

The results of a comparative analysis of the story “Notes from the Underground” by F. M. Dostoevsky and the works of S. Beckett are presented in the article. It is shown how Beckett critically interprets the main novels of the Russian writer. The novelty of the work is seen in the fact that the problem of Beckett as the “heir” of Dostoevsky and his “Notes from the Underground” is considered in Russian literary criticism for almost the fi time. Based on the plays “Waiting for Godot”, “All that Fall”, the novel “Molloy” and the story “First Love”, the author demonstrates how Dostoevsky’s themes, motives and images are refracted in Beckett’s work. Particular attention is paid to the motive of “underground” love. A similarity was found between Dostoevsky’s story and Beckett’s works in spatial and temporal characteristics (uncertainty of the scene, nonlinearity of time, repetition of situations). It has been proven that these characteristics serve to designate a world without God, in which landmarks and goals are lost, positive and rational foundations are broken. It has been established that for Dostoevsky the Underground remains a “dark corner” behind which there is a “big world”, while for Beckett it fi the whole world.

scholarly journals Artistic image of a modern Japanese woman in the anime film “Paprika” directed by Satoshi Kon

2021 ◽  
pp. 46-57
Author(s):  
Vera Sergeevna Moiseenko
Keyword(s):  
Japanese Society ◽  
Modern Society ◽  
Japanese Woman ◽  
The Novel ◽  
Traditional Values ◽  
Western Influence ◽  
Female Image ◽  
The Status ◽  
Artistic Image

Cross-cultural communications prompted the international popularity of the Japanese original genre of anime. It has become the translator of not only the Japanese mentality and traditional values to the West, but also demonstrates the changes taking place in Japan. The analysis of artistic image of the anime heroine Atsuko Chiba (Paprika) is the goal of this research. Noticeable changes in the status of women in Japanese society are observed only since the middle of the XX century, which immediately found reflection in Japanese cinematography. The use of empirical and comparative methods allow establishing that the changes taking place in Japanese traditional society changes retain the national peculiarities. The anime film “Paprika” directed by Satoshi Kon, which is based on the eponymous novel by Yasutaka Tsutsui, reflects the transformation of the role of women in modern society. The novelty of this work lies the fact that this article analyzes the virtually unstudied topic of the artistic imagery in anime and the structure of modern female image therein. The images of Atsuko Chiba and Paprika, translated from the novel to anime, indicate the changes that took place in the Japanese society in the late XX – early XXI century, and namely the female image that gives a better perspective and sense of such changes. Despite the Western influence upon the traditional Japanese society and transition of the country into the new level of development, did not hinder the preservation of national peculiarities that are based on the century-old traditions and Japanese mentality.

scholarly journals PARA ALÉM DE UM TETO TODO SEU: O CASO ELISA LISPECTOR

2021 ◽  
Author(s):  
Débora Magalhães Cunha Rodrigues
Keyword(s):  
Literary Criticism ◽  
Short Story ◽  
Virginia Woolf ◽  
Clarice Lispector ◽  
The Novel ◽  
Female Subjectivity ◽  
Simone De Beauvoir ◽  
Brazilian Literature ◽  
Room Of One's Own

RESUMO: Elisa Lispector escreveu inúmeros romances e contos, recebendo prêmios por alguns deles. A escritora, embora tenha explorado a construção de uma subjetividade feminina, é quase sempre lembrada pelos escritos autobiográficos, principalmente o romance No exílio de 1948. A crítica esteve mais atenta às narrativas que iluminavam episódios da vida de sua irmã caçula, Clarice Lispector, do que às especificidades de sua escrita. A obra e a trajetória de Clarice Lispector causaram sombra não só à obra de sua irmã como às de outras escritoras do mesmo período.  Neste artigo, questionamos o papel da crítica no apagamento do nome de Elisa Lispector na literatura brasileira que tomou o caso Clarice como excepcional, negando às escritoras, de um modo geral, um espaço para debater seus textos e subjetividades. Além da vinculação da obra da escritora à obra de sua irmã pela crítica literária, analisamos como a tradição literária falocêntrica contribuiu para este apagamento. Elisa Lispector contribuiu para o debate acerca do baixo número de publicações de escritoras, evocando Virginia Woolf e Simone de Beauvoir. Atuou para que as escritoras pudessem ter uma tradição em que se ancorar. Analisamos os romances O muro de pedras publicado em 1963, O dia mais longo de Thereza de 1965, A última porta de 1975, Corpo a corpo de 1983 e do conto “Uma outra temporada no inferno” de seu último livro O tigre de bengala publicado em 1985, demonstrando como a escritora explorou os processos de emancipação feminina e os conflitos comuns a esta fase de transição.BEYOND A ROOM OF ONE’S OWN: THE CASE ELISA LISPECTORABSTRACT: Elisa Lispector has written numerous novels and short stories, receiving awards for some of them. The writer, although she explored the construction of a female subjectivity, is almost always remembered for autobiographical writings, especially the novel No exílio of 1948. The criticism was more attentive to the narratives that illuminated episodes of the life of her younger sister, Clarice Lispector, than to the specificities of her writing. Clarice Lispector's work and trajectory cast a shadow not only on her sister's work but also on those of other writers of the same period. In this article, we question the role of criticism in the elimination of Elisa Lispector's name in Brazilian literature, which took Clarice as exceptional, denying writers, in general, a space to debate their texts and subjectivities. In addition to linking the writer's work to her sister's work by literary criticism, we analyze how the phallocentric literary tradition contributed to this elimination. Elisa Lispector contributed to the debate about the low number of writers' publications, evoking Virginia Woolf and Simone de Beauvoir. It worked so that the writers could have a tradition in which to anchor themselves. We analyze the novels O muro de pedras published in 1963, O dia mais longo de Thereza of 1965, A última porta of 1975, Corpo a corpo of 1983 and the short story "Uma outra temporada no inferno" from her last book O tigre de bengala published in 1985, demonstrating how the writer explored the processes of female emancipation and the conflicts common to this phase of transition.Keywords: Elisa Lispector; feminist criticism; Brazilian literature.

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