scholarly journals IVAN BUNIN: PEERING INTO FACES (RUSSIA THE DAY BEFORE AND AFTER OCTOBER)

2020 ◽  
Vol 22 (3) ◽  
pp. 182-188
Author(s):  
Sergey A. Nikolsky ◽  
Keyword(s):  
Russian Literature ◽  
Anton Chekhov ◽  
Writing Style ◽  
Surrounding World ◽  
Methods Of Analysis ◽  
Before And After ◽  
Social Type ◽  
Artistic Works ◽  
Maxim Gorky ◽  
Writing Tools

The purpose of the article is an attempt to study how the writer-philosopher Ivan Bunin saw the Russian person and Russia itself on the eve and after October, 1917. For this purpose, the author analyzed important features characteristic of a number of works of Bunin's artistic philosophy, which are concentrated in the journalistic essays «The Damned Days», the story «Village» and the autobiographical novel «Life of Arsenyev». In the article, Bunin's method of analysis is compared with the methods of analysis of his contemporaries – Anton Chekhov, Maxim Gorky and Andrei Platonov with Bunin's analysis: the manner of seeing a particular person is compared with the Chekhov's manner of a benevolent sad observer, confident in the inevitable immutability of what is happening, Gorky's sympathetic empathy for the persecuted, combined with an undisguised hatred of the persecutors, as well as a number of writing tools characteristic of Platonov's realistic phantasmagoria. It is shown that Bunin's manner of philosophical and artistic reflection, still poorly studied, allows the reflecting reader not only to see the characteristic human features usually hidden behind external actions, but also to perceive the writer's assessments and deep philosophical meanings reflected in them. Bunin's special writing style is not only a product of literary methodology. It is a unique way of perception and analysis of the surrounding world materialized in philosophical and artistic works, characteristic of a rare social type of artist – an aristocrat who valued honor and nobility above all else in Russian literature and disappeared after October, 1917.

Post Diagnosis: Bashkirtseff, Chekhov and Gorky through Mansfield’s Prism of Tuberculosis

2017 ◽  
pp. 24-40
Author(s):  
Galya Diment
Keyword(s):  
Anton Chekhov ◽  
Cultural Perceptions ◽  
Before And After ◽  
The Difference ◽  
Maxim Gorky

The article examines Mansfield’s attitude towards three tubercular Russian writers — Marie Bashkirtseff, Anton Chekhov and Maxim Gorky — before and after she herself was diagnosed with the disease. The case with Chekhov was most dramatic since her bond with him, most powerful and intimate even prior to her diagnosis, became even closer but also more frustrating as she was reading through his letters and notebooks in search of any wise advice he could give her, both as a writer and a professional physician, while oftentimes becoming acutely angry with him for Chekhov’s seeming resignation and lack of hope. It also discusses the difference in the English and Russian words, then in use, for the disease — “consumption” versus “chakhotka” — and how that may have affected the different cultural perceptions of tuberculosis in England and Russia.

scholarly journals Русская тема в творческих размышлениях Януша Гловацкого

2013 ◽  
pp. 213-222
Author(s):  
Wawrzyniec Popiel-Machnicki
Keyword(s):  
Fyodor Dostoyevsky ◽  
Russian Literature ◽  
Anton Chekhov ◽  
Nikolai Gogol ◽  
Artistic Activity ◽  
Maxim Gorky

The works of the Polish prose writer, playwright, scriptwriter and columnist Janusz Głowacki are characterized by frequent references to Russian literature. This article analyzes works which refer to the artistic activity of Fyodor Dostoyevsky, Nikolai Gogol, Anton Chekhov and Maxim Gorky. Głowacki’s postmodern achievements, which are imbued with grotesque and irony, are an example of careful, even photographic reflection on present-day Poland, America and Russia.

scholarly journals METHOD OF DISCUSSION DURING LESSONS OF SURROUNDING WORLD LEARNING: THEORY, POSSIBILITIES AND RESULTS

2009 ◽  
Vol 6 (2) ◽  
pp. 19-30
Author(s):  
Rita Makarskaitė-Petkevičienė ◽  
Jurgita Pitrėnaitė
Keyword(s):  
Waste Management ◽  
Primary Education ◽  
Teaching Methods ◽  
Waste Dump ◽  
Surrounding World ◽  
Educational Role ◽  
Before And After ◽  
Set Up ◽  
Fourth Form

Discussion in the process of teaching refers to a more sophisticated form of conversation, which is more frequently applied working with senior school learners. Problems rather than facts or phenomena are discussed. The question rises if the method of discussion is relevant in lessons of surrounding world learn-ing and whether it enables school learners to acquire knowledge, facilitates its memorisation or allows to ar-rive at solutions to urgent problems. The research involved 18 second formers, 15 school learners of fourth form and 13 students. All the groups of respondents discussed the same problem. Different roles were assigned to the participants in the discussion (a number of respondents represented heads of waste management company, whereas the rest assumed roles of residents of area where waste dump was being set up) and they involved in discussions of issues related to waste management and waste dump establishment. A considerable difference in the results of questionnaires provided to the participants before and after the discussion was observed. It is obvious that the respondents not only gained knowledge but also acquired a different perception and understanding of the problems analysed in the discussion. However, the compari-son of all the results of the survey revealed a stronger educational role of the discussion teaching fourth for-mers. This confirms theoretical statements that this method is more effective with senior school learners. The group of students also found the discussion useful. Key words: primary education, teaching of surrounding world learning, teaching methods, discussion.

Between Modernity and Tradition. Sasha Sokolov’s Works and its Connection with the Old Russian Literature

2021 ◽  
pp. 595-610
Author(s):  
Irina Marchesini ◽  
Keyword(s):  
Russian Literature ◽  
Specific Reference ◽  
Tripartite Model ◽  
Writing Style ◽  
Old Russian ◽  
Literary Heritage ◽  
Sasha Sokolov ◽  
The Relationship

The article focuses on the importance of old Russian literature in the works by Sasha Sokolov, with a specific reference to his first book A School For Fools (1976). The analysis of this text takes into account lexical choices made by the author and their meaning in the context of the narration. This approach lies at the basis for the proposal of a tripartite model that describes the relationship between Sokolov’s works and the old Russian tradition. The model includes the following categories: 1. Allusions to religion; 2. Presence of elements pertaining the realm of folklore; 3. Allusions to episodes or figures related to old Russian literature. The results of this research contribute to the broadening of knowledge in the field of contemporary Russian literature and its relations with the old literary heritage. Moreover, this investigation allows a deeper comprehension of Sokolov’s writing style.

Chukovsky, Kornei Ivanovich (ЧУКОВСКИЙ, КОРНЕЙ ИВАНОВИЧ) (1882–1969)

2018 ◽  
Author(s):  
Brian James Baer
Keyword(s):  
World Literature ◽  
Russian Language ◽  
Anton Chekhov ◽  
Honorary Degree ◽  
Silver Age ◽  
Bolshevik Revolution ◽  
Oxford University ◽  
Before And After ◽  
The Government ◽  
Children's Speech

Born Nikolai Vasil’evich Korneichukov, Chukovsky was a renowned writer, critic, and translator. He was born in St. Petersburg but moved to Odessa at the age of three. Chukovsky established a reputation as a journalist, literary critic, and translator prior to the Bolshevik Revolution, publishing essays in leading journals and founding his own satirical journal Signal (1905–1906). He experienced periodic persecution by the government both before and after the Revolution. Extremely prolific with wide-ranging literary tastes, Chukovsky published several collections of critical essays on the leading writers of the Silver Age. He studied the work of Anton Chekhov and Nikolai Nekrasov throughout his life. In 1962 he received the State Lenin Prize for The Mastery of Nekrasov [Masterstvo Nekrasova] (1953). Chukovsky served as the London correspondent for the Odessa Times (1903–1904) and later translated the works of Walt Whitman and Oscar Wilde, among many other English and American writers. In 1918 he was named head of the English section of World Literature Publishers, where he formulated general guidelines for literary translators, later published as The Art of Translation [Iskusstvo perevoda] (1936), and then as A High Art [Vyssokoe Iskusstvo] (1941). He became a popular writer of children’s literature, authoring a number of now-classic works, as well as writing a book on children’s speech and another on the Russian language. Chukovsky was awarded an honorary degree by Oxford University in 1962.

scholarly journals Anton Chekhov Theater in the perception of Harbin Russians

2021 ◽  
pp. 13-21
Author(s):  
Iuliia Khabarova
Keyword(s):  
Russian Literature ◽  
Anton Chekhov ◽  
Native Culture ◽  
Cultural Life ◽  
Russian Immigrants ◽  
Extensive Coverage ◽  
Literary Heritage

This article examines the criticism and publicistic writing about A. P. Chekhov’s dramaturgy and theatre conducted by the Harbin Russians in the early XX century. Russian immigrants of that time did not break ties with the native culture seeing it as a source of spiritual revival and hopes for returning to Russia. Chekhov was an integral part of their intellectual and cultural life. The ideological and aesthetic views of Harbin Russians resonated with the views of Western immigrants, although indicating certain differences. The publications of Eastern immigrants rarely contain skeptical arguments about Chekhov's role in the hierarchy of classics; for Harbin Russians, Chekhov resembles the pride of the Russian literature. The author analyzes the most characteristic articles, considering the fact that they were published in newspapers “on the occasion”. The conclusion is made that the topic  of “Eastern Immigration and the Chekhov” is poorly studied, which defines its scientific relevance, contributes to more extensive coverage of literary heritage of the white émigré, and enriches the knowledge on personality of the writer, his prose, and theater.

scholarly journals Czy tylko socrealistyczna powieść-agitka? Próba re-lektury Matki Maksyma Gorkiego

2020 ◽  
Author(s):  
Joanna Dobrowolska
Keyword(s):  
Russian Literature ◽  
Social Realism ◽  
Early 20Th Century ◽  
The Novel ◽  
Artistic Value ◽  
New Man ◽  
Russian Literary ◽  
Maxim Gorky ◽  
New Religion ◽  
Ideological Context

My paper is a proposal for a non-standard reading of Mother by Maxim Gorky, often perceived as a piece of propaganda with low artistic value, a novel overfilling with ideology, subjugated to the doctrine of social realism. I would like to step beyond these stereotypes and show some contexts that have hardly been identified in the Polish reception of Russian literature from the early 20th century. I distinguish three main issues in the content of the novel: the image of the mother (novel about a mother), socialism as the “new religion” and the utopia of the “new man”. I see the current of Marxism called God-Building as a very important ideological context. I refer to research by Polish and Russian literary scholars and to my own findings.

scholarly journals “Going Home to Russia”? Irish Writers and Russian Literature

2006 ◽  
Vol 1 ◽  
pp. 239-251
Author(s):  
Frank Sewell ◽  
Keyword(s):  
Women Artists ◽  
Russian Literature ◽  
Seamus Heaney ◽  
Anton Chekhov ◽  
Medbh Mcguckian ◽  
Marina Tsvetaeva ◽  
The Face ◽  
Aleksandr Blok ◽  
The Many ◽  
The Impact

The poet Josef Brodski once wrote: ‘I’m talking to you but it isn’t my fault if you can’t hear me.’ However, Brodski and other Russian writers, thinkers and artists, continue to be heard across gulfs of language, space and time. Indeed, the above line from Brodski forms the epigraph of ‘Travel Poem’, originally written in Polish by Anna Czeckanowicz. And just as Czeckanowicz picks up on Brodski’s ‘high talk’ (as Yeats might call it), so too do Irish writers (past and present) listen in, and dialogue with, Russian counterparts and exemplars. Some Irish writers go further and actually claim to identify with Russian writers, and/or to identify conditions of life in Ireland with their perception of life in Russia. Paul Durcan, for example, entitled a whole collection of poems Going Home to Russia. Russia feels like ‘home’ to Durcan partly because he is one example of the many Irish writers who have listened in very closely to Russian writing, and who have identified with aspects of what they find in Russian culture. Another example is the poet Medbh McGuckian who has looked to earlier Russian literature for examples of women artists who ‘dedicated their lives to their craft’, who ‘never disgraced the art’, who created timeless works in the face of conflict and suffering: she refers particularly to Anna Akhmatova and, especially, Marina Tsvetaeva. Contemplating and dialoguing with her international sisters in art, McGuckian finds a means of communicating matters and feelings that are ‘closer to home’, culturally and politically (including the politics of gender). Ireland’s most famous poet Seamus Heaney has repeatedly engaged with Russian writings: especially those of Anton Chekhov and Osip Mandelstam. The former is recalled in the poem ‘Chekhov on Sakhalin’, a work taut with tension between an artist’s ‘right to the luxury of practising his art’, and the residual ‘guilt’ which an artist may feel and only possibly discharge by giving ‘witness’, at least, to the chains and flogging of the downtrodden. On the other hand, Mandelstam, for Heaney, is a model of artistic integrity, freedom and courage, a bearer of the sacred, singing word, compared by the Irish poet to an on-the-run priest in Penal days. In this conference paper, I will outline some of the impact and influence that Russian writers have had on Irish writers (who write either in English or in Irish). I will point to some of the lessons and tactics that Irish writers have learnt and adopted from their Russian counterparts: including Cathal Ó Searcaigh’s debt to Yevgenii Yevtushenko, Máirtín Ó Cadhain’s to Maxim Gorki, Máirtín Ó Direáin’s to Aleksandr Blok, and Padraic Ó Conaire’s to Lev Tolstoi, etc.

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