scholarly journals Ornamental Prose of the Silver Age and “Precious Word” of Alexei Remizov

2018 ◽  
Vol 5 (1) ◽  
pp. 55-60
Author(s):  
I.E. Karpenko

This article examines poetic diction of literary texts of the major Russian writer of the 20th century Alexey Remizov in relation to the literary phenomenon of Russian literature of the Silver Age – ornamental prose, and work of one of its brightest representatives.

2017 ◽  
Vol 7 (1) ◽  
pp. 40
Author(s):  
Elvira Lumi ◽  
Lediona Lumi

"Utterance universalism" as a phrase is unclear, but it is enough to include the term "prophetism". As a metaphysical concept, it refers to a text written with inspiration which confirms visions of a "divine inspiration", "poetic" - "legal", that contains trace, revelation or interpretation of the origin of the creation of the world and life on earth but it warns and prospects their future in the form of a projection, literary paradigm, religious doctrine and law. Prophetic texts reformulate "toll-telling" with messages, ideas, which put forth (lat. "Utters Forth" gr. "Forthteller") hidden facts from fiction and imagination. Prometheus, gr. Prometheus (/ prəmiθprə-mee-mo means "forethought") is a Titan in Greek mythology, best known as the deity in Greek mythology who was the creator of humanity and charity of its largest, who stole fire from the mount Olympus and gave it to the mankind. Prophetic texts derive from a range of artifacts and prophetic elements, as the creative magic or the miracle of literary texts, symbolism, musicality, rhythm, images, poetic rhetoric, valence of meaning of the text, code of poetic diction that refers to either a singer in a trance or a person inspired in delirium, who believes he is sent by his God with a message to tell about events and figures that have existed, or the imaginary ancient and modern world. Text Prophetism is a combination of artifacts and platonic idealism. Key words: text Prophetism, holy text, poetic text, law text, vision, image, figure


Author(s):  
Valeria Sobol

This book shows that Gothic elements in Russian literature frequently expressed deep-set anxieties about the Russian imperial and national identity. The book argues that the persistent Gothic tropes in the literature of the Russian Empire enact deep historical and cultural tensions arising from Russia's idiosyncratic imperial experience. It brings together theories of empire and colonialism with close readings of canonical and less-studied literary texts as the book explores how Gothic horror arises from the threatening ambiguity of Russia's own past and present, producing the effect Sobol terms “the imperial uncanny.” Focusing on two spaces of “the imperial uncanny” — the Baltic “North”/Finland and the Ukrainian “South” — the book reconstructs a powerful discursive tradition that reveals the mechanisms of the Russian imperial imagination that are still at work today.


2021 ◽  
Vol 26 (2) ◽  
pp. 311-316
Author(s):  
Alexey Yu. Ovcharenko

The review article presents various views on the periodization of Russian literature in the 1920s and 1930s and provides arguments in favor of new, refined approaches to the boundaries of the period. Particularly noteworthy are the works of those authors who point to the need for an expanded understanding of the twenties. The concept of the Big Twenties is of particular value in connection with the centenary of the magazine Krasnaya Nov , which made a significant contribution to the literary process of that time.


2021 ◽  
Vol 8 ◽  
Author(s):  
Alexandra Pakhomova

The article analyzes War Stories (Voennye rasskazy, 1915) by Mikhail Kuzmin and offers a new interpretation of the book’s pragmatics. Most students of War Stories have not treated this collection in much detail, mainly seeing it as Kuzmin’s unsuccessful attempt to become a part of the mainstream patriotic movement during WWI. Contrary to her predecessors, Alexandra Pakhomova argues this particular book has a definite and consciously motivated authorial strategy. What Kuzmin did in War Stories was an attempt to establish his new literary reputation, and also to create an entirely new genre of short fiction in Russian literature. KEYWORDS: 20th-Century Russian Literature, Mikhail Kuzmin (1972—1936), Voennye rasskazy (1915), Literary Reputation, History of Literature.


Literary Fact ◽  
2021 ◽  
pp. 115-130
Author(s):  
Veronika B. Zuseva-Özkan

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.


2019 ◽  
Vol 3 (2) ◽  
pp. 10-21
Author(s):  
Valentina M. Moiseenko

In the context of the agrarian crisis in Russia (USSR) in the second half of the 19th and the first third of the 20th century, much attention in the socio-political literature was paid to the migration of peasants to the extensive undeveloped areas, mainly to the east of the Ural mountains. The changing characteristics of migration and migration policies during this period have resulted in a variety of methods for assessing the effects of migration. The experience of the second half of the 19th and the first third of the 20th century is interesting not only in the dynamics of assessment of the effects, but also in the logical conclusion of the study of this problem. It is known that even today the effects of migration remain a complex and largely unsolved research task.


2017 ◽  
Vol 5 ◽  
pp. 680-685
Author(s):  
Viacheslav Krylov

This article analyses the evolution of literary reflections among the representatives of the 19th-early 20th-century trends and schools where ideas on national literature distinctness were formed. The study specifies both an invariant of the notions of national literature identity and individual variations that did not find further development in literary self-awareness. The essays of the 1870-80s suggest that there was formed an image of the original literature opposed to European literature. A new impetus to the problem of national identity in literature was attached to the era of the Silver Age; however, the analysis of the literary review, historical and literary discourses of the turn of the century leads to the conclusion that it was in this era that the ideology of literary centrism was further strengthened, and the exclusive status of Russian literature in culture received detailed reflection.


2020 ◽  
Vol 6 (99) ◽  
pp. 73-85
Author(s):  
ELENA I. BOYCHUK ◽  
ELENA V. MISHENKINA

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.


Author(s):  
Maxim V. Skorokhodov ◽  

“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.


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