scholarly journals The influence of the Russian literature on Chulpan’s oeuvre: Novel Night and Day

2021 ◽  
Vol 21 (2) ◽  
pp. 203-207
Author(s):  
Gulshan A. Asilova ◽  
Keyword(s):  
Russian Translation ◽  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Russian Novel ◽  
Soviet Literature ◽  
Literary Influences ◽  
Night And Day

The novel Night and Day was initially published in the journal Sovetskaya Literatura (Soviet Literature) in 1934, but was soon banned. In 1989 the Russian translation of the novel was published. The influence of the Russian novel writing school is manifested in the conflict, composition and imagery of the work. In this article, the novel Night and Day is reviewed from the point of view of literary influences on the author. While analyzing the ideological concept, storyline and dramatic episodes of the novel, the author gives some analogies from the classical Russian literature.

scholarly journals A miracle in a dairy shop: On a typology of an “emigrant” novel

Literary Fact ◽  
2020 ◽  
pp. 337-359
Author(s):  
Tatiana Marchenko
Keyword(s):  
Personal Experience ◽  
Russian Translation ◽  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Prolific Author ◽  
German Translation ◽  
Successful Integration ◽  
Sociocultural Identity

Alja Rachmanowa (real name Galina Dyuryagina-Hoyer) is a Russian writer with a European success in 1930s. Her books were published in German translation made by her husband Arnulf Hoyer, and still remain obscure in Russia. The phenomenon is rather fascinating from the point of view of typology of émigré prose. A novel “Milchfrau in Ottakring” (1933) of the prolific author of three dozen books was extremely popular, not only it remains relevant, but looks very modern as an “emigrant” novel of special type. In a diary form based on a personal experience, the writer sets out a story of success. A qualified philologist, Alja Rachmanowa (her literary pseudonym is usually referred to) was forced to become for a couple of years a saleswoman in a rented dairy shop. This experience of a “foreigner”, her national and sociocultural identity, adaptation, and ultimately successful integration are reflected in the diary autobiographical novel. The Russian component of the book in German whose author / heroine balances between the spheres of “own” and “stranger,” has driven a success of the “Milchfrau in Ottakring”. Russian realities, Russian mentality, nostalgie for the native country permeating the narration, especially attracted the readership. One of the important markers of “Russianness” is a citation of Russian literature, not in the form of a mere quotation, but as a rethinking, re-interpretation, a dispute with the classics. The article deals with some examples of such citing (F.M. Dostoevsky, A.V. Koltsov, A.N. Pleshcheev, Z.N. Gippius). A fragment of the novel in Russian translation is given in Annex

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.

F.M. DOSTOEVSKY’S AND L.N. TOLSTOY’S LITERARY DEVICES IN THE WORKS BY MARK ALDANOV

2019 ◽  
pp. 13-31
Author(s):  
Vladimir Shadursky
Keyword(s):  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Classical Literature ◽  
Ordinary People ◽  
Xixth Century ◽  
Literary Devices

The article is devoted to the analysis of the literary devices used by F.M. Dostoevsky and L.N. Tolstoy in the works of Mark Aldanov in the context of I.A. Bunin’s influence. Aldanov appealed to some Dostoevsky’s ideas; however, he used elements of Dostoevsky’s poetics in his novels. For the analysis of Dostoevsky’s literary devices, the article studies the essay «The Murder of Uritsky», the novels «The Key», «The Beginning of the End», and «Origins». The tradition of Dostoevsky is traced in the essays with a plot about the murder, in the construction used in the dialogues of heroes-resonators in the novels. The article has discovered devices that bring Aldanov’s style closer to Tolstoy’s one in the novels «The Beginning of the End», «Live as You Please», «Origins», «Suicide». The devices include analytical psychologism, individualization of a character by the use of metaphor or metonymy, a personal’s history. Aldanov follows Tolstoy’s narrative manner in demonstrating panoramic thinking, giving images of ordinary people along with images of historical personalities. In most Aldanov’s novels, the attitude towards Dostoevsky, like the attitude towards Tolstoy, is conveyed through a character’s point of view. The novel «Live as you Please» demonstrates interaction of the devices applied by Dostoevsky and Tolstoy. Aldanov realized his place in the tradition of Russian classical literature, argued with the classics of Russian literature if they were not convincing in their ideas or aesthetic devices. The use of the devices of Russian classics is associated with Aldanov’s conservative worldview and orientation toward the moral and aesthetic heritage of the Russian literature of the XIXth century. Aldanov was able to overcome the distance between the style and worldviews of Tolstoy and Dostoevsky.

scholarly journals ARCHETYPICAL CONSTANTS AND TRANSFORMATIONS OF THE RUSSIAN NOVEL

2021 ◽  
Vol 19 (3) ◽  
pp. 78-102
Author(s):  
Irina Belyaeva ◽  
Elżbieta Tyszkowska-Kasprzak
Keyword(s):  
19Th Century ◽  
World Literature ◽  
Fear Of Falling ◽  
Russian Literature ◽  
Spiritual Needs ◽  
Central Position ◽  
The Novel ◽  
Russian Culture ◽  
Russian Novel ◽  
Literary Model

The article examines the correlation of the Russian classic novel with the Easter archetype dominant in Russian culture. The authors believe that the novel assumed a central position in the genre system of 19th century Russian literature, not only because of its natural openness, which allowed it to recreate life and man both in the general dimension and in private manifestations, but also because of the greatest responsiveness of this genre to the spiritual needs of Russian culture. The article examines the “plot space” of the Russian novel, which gravitates towards the archetypal model, actualizing the scenario of rehabilitation (Dostoevsky) / awakening (Goncharov), or salvation. Not only doesn’t the hero’s line in the Russian novel imply an end; moreover, as it lines up vertically, it suggests his rebirth to a “new life,” sometimes even posthumous, as was the case with Turgenev’s Bazarov, or through the fear of falling into the hellish abyss of modern life, as is it was with Oblomov. Using the example of novels by F. Dostoevsky, I. Turgenev, I. Goncharov and L. Tolstoy, the article demonstrates that the main mission of the hero of the Russian novel was that of personal salvation, the achievement of “new happiness” (Prince Andrei Bolkonsky), which is associated with forgiveness, a willingness to accept God and with the “new life.” The Easter nature of Russian culture predetermines the gravitation of the Russian classical novel (as a typological variety of the Russian novel) to the artistic realizations of the idea of salvation present in world literature in genres of a non-novel nature. The Russian novel primarily developed the storylines and motifs that originated in Dante’s Divine Comedy and Goethe’s Faust, which suggested two options for personal salvation: the awareness of sins and “behind the door of the grave.” The second option was more relevant for the 19th century Russian novel. The savior hero, rooted in Cervantes’s novel, was also relevant for Russian literature, although not as popular. Taking into account the complex explorations of modern writers in the field of the novel genre, the authors conclude that there is a present-day connection with the Russian classic novel, i.e., in E. Vodolazkin’s prose: apparent signs of a “Dante plot” are present in the novel Lavr. Regardless of all the metamorphoses, the Russian classical novel is still a national literary model in the space of Russian culture.

scholarly journals German Packaging for Russian Novel: on the Problem of the Genre of the “Fiery Angel” by V. Bryusov

2021 ◽  
Vol 3 (2) ◽  
pp. 34-38
Author(s):  
Eduard Osvaldovich Krank
Keyword(s):  
Literary Criticism ◽  
Middle Ages ◽  
Russian Literature ◽  
The Novel ◽  
Silver Age ◽  
Russian Novel ◽  
Real People ◽  
The Reformation ◽  
And Gender ◽  
Love Triangle

The article is devoted to the problem of the genre of V. Bryusov’s novel “The Fiery Angel”. The purpose of the article is to assert that the author uses the tradition of the medieval German novel in a stylized capacity. Bryusov needs the method of literary mystification not so much to hide relationships of real people who served as prototypes for the heroes of the novel, but to establish an allusive cultural connection between Germany in the era of M. Luther and the “Silver Age” of Russian literature, with its interest in issues of religion and gender. The relevance of the study dictated by the attention of the modern reader to the literature of the “Silver Age”, as well as a special interest in metamorphoses that the novel genre undergoes in the era of modernism and postmodernism. The research materials are the text of the novel, biographical information related to the personalities of prototypes, reviews of literary criticism, as well as literary studies. We use descriptive, hermeneutic, synchronic, diachronic, historical-genetic, comparative, analytical and biographical methods in this work. The results of the study and their discussion consist in reflection on the paradigm in defining the genre of the novel, in pointing out the tradition of literary mystification, which rises to the “Belkin’s Tales” by A. Pushkin. Also important is the circumstances that the religious searches inherent in the prototypes of the heroes of the novel are akin to Protestant moods of the Reformation. As a result, we conclude that the author, because of the anthropological unity of the archetypal situation, continued the literary tradition of the German Middle Ages. It is laid down in the basis of the plots of both V. Bryusov’s novel and the first part of “Faust” by I.W. Goethe, as well as A. Belyi’s novel “Petersburg”, in which the love triangle invariant and its transformation from prototypes to characters is represented by the same mechanism as is characteristic of the “Fiery Angel”. The assertion of this way of implementing a behavioral scheme (anthropological invariant) in the process of transforming prototypes into characters is the innovation of our work.

scholarly journals Special features of the heading complex in the novel “Imaginary Interlocutor” by O. Savych

2019 ◽  
Keyword(s):  
Russian Literature ◽  
Universal Function ◽  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Main Principle ◽  
Literary Interpretation ◽  
Meaningful Information ◽  
Character System ◽  
Text Types

The article presents an analysis of the heading complex in the novel by I. Savych “Imaginary Interlocutor”. The author of the article analyses and classifies the headings of the novel: the general title and the titles of its eighteen chapters. The main principle of the classification is correlated with the traditional components of the text: thematic content, problems, plot, character system, details, time and space, etc. under analysis is also “the energy” of the headings: connection of the whole novel and its chapters with other works of Russian and foreign literature of different times. The other aspect of the analysis of the novel discussed is epigraph which functions in several coupling systems: with the novel context, with the text of the novel and its chapters, with different epigraphs. The author of the research considers communicative types and functions (informative and form-meaning ones) of epigraphs in literary interpretation. In O. Savych’s novel meaningful information of the epigraph is a prospective message concerning thematic, plot and conceptual moments of the book. Special attention is paid to the form-building function in the text. Types of the epigraphs in the novel are different according to the source. Epigraph, as an element of O. Savych’s text is multifunctional. Its main and universal function is dialogical: epigraph is one of ways to make a monologue dialogical, to present a different from the author’s point of view. Thus, the system of the author’s thought, their literary orientation are revealed. While the division of the novel into 18 chapters gives to the novel the character of completeness, enhances its inner unity, epigraphs outline the open character of the text borders. The analysis of the heading complex allows to make some conclusions about the nature of O. Savych’s book and its place in Russian literature of 1920 – 1930 years.

“The Village of Stepanchikovo and its inhabitants”and “The Raid on Barsukovka”: parody-satirical modein the image of the estate by F.M. Dostoevsky and M.A. Kuzmin

2020 ◽  
pp. 85-98
Author(s):  
Elena Yu. Safronova ◽  
Keyword(s):  
Short Story ◽  
Golden Age ◽  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Silver Age ◽  
Xix Century ◽  
The Village

The article explores the dynamics of comic depiction of the “estate topos” in Russian literature since the mid-XIX century to early XX century. The article is based on the novel “The Village of Stepanchikovo and its inhabitants. From the notes of the unknown” (1859) by F.M. Dostoevsky and the short story “The Raid on Barsukovka” (1914) by M.A. Kuzmin. It is shown that already in the time of Dostoevsky’s mature creativity in Russian literature there were recognizable stamps of the so-called “estate story”, which the author of “Village Stepanchikovo” parodies in a satirical way. In the Silver age, when Kuzmin created his story, the passeistic ideal of the Golden age of the Russian “estate culture” had been already formed with its sublime aestheticized perfection, which was considered by the author of the beginning of the XX century in a humorous way. Thus, the criticism of the extremes and distortions of the “estate culture” in Dostoevsky’s novel was of a more serious and radical, socio-psychological nature in comparison with its denial by a number of writers of the turn of the XIX– XX centuries from the point of view of “pan-aestheticism” of the Silver age.

scholarly journals Intertextual Connections between the Novels The Goat in MILK by Yu. Polyakov and The Joke of the Patron by A. Averchenko

2021 ◽  
Vol 26 (3) ◽  
pp. 537-545
Author(s):  
Jinhua He
Keyword(s):  
Soviet Union ◽  
Russian Literature ◽  
Point Of View ◽  
Historical Event ◽  
The Novel ◽  
Social Phenomena ◽  
Historical Significance ◽  
The Soviet Union ◽  
Intertextual Connections

This article is devoted to the analysis of the links between the novels The Joke of the Patron by A. Averchenko and The Goat in Milk by Yu. Polyakov. The purpose of the article is to explain the aspects that bring the two works together, as well as to reveal the characteristics that distinguish Yu. Polyakov from his predecessor. The task is to clarify the traditions of Russian literature and novelty in the novel The Goat in Milk by Yu. Polyakov. In the article, the author examines the similarity of the two works on the plot level, finds similar artistic techniques and motives for the actions of the characters. In addition, the article focuses on the gallery of Soviet writers created by Yu. Polyakov, as well as the important role of the historical event-the collapse of the USSR - in the life of the main characters. In his novel The Goat in Milk , Yu. Polyakov reflects the late Soviet and post-Soviet life in the literary circle. Attention to social phenomena and the development of history in the work of Yu. Polyakov is of great social and historical significance. We can say that Yu. Polyakov did not just borrow the plot of Averchenko, but on its basis he improved the original and gave a peculiar interpretation of the era of change from the point of view of the writer from the Soviet Union.

Kate O'Brien and Virginia Woolf: Common Ground

2018 ◽  
Vol 48 (1) ◽  
pp. 127-142
Author(s):  
Aintzane Legarreta Mentxaka
Keyword(s):  
Civil War ◽  
Virginia Woolf ◽  
Spanish Civil War ◽  
Common Ground ◽  
Point Of View ◽  
Political Alignments ◽  
Literary Influences ◽  
Kate O'brien

Convergences in the work of Kate O'Brien and Virginia Woolf range from literary influences and political alignments, to a shared approach to narrative point of view, structure, or conceptual use of words. Common ground includes existentialist preoccupations and tropes, a pacifism which did not hinder support for the left in the Spanish Civil War, the linking of feminism and decolonization, an affinity with anarchism, the identification of the normativity of fascism, and a determination to represent deviant sexualities and affects. Making evident the importance of the connection, O'Brien conceived and designed The Flower of May (1953), one of her most experimental and misunderstood novels, to paid homage to Woolf's oeuvre.

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