On the 125th anniversary of S.A. Yesenin’s birth: from Paris to Konstantinovo

2021 ◽  
pp. 151-156
Author(s):  
Natalia I. Shubnikova-Guseva ◽  
◽  
Alla A. Nikolaeva
Keyword(s):  
Russian Literature ◽  
Russian Language ◽  
Scientific Symposium ◽  
Cultural Events ◽  
Scientific Event ◽  
State Museum ◽  
House Museum ◽  
125Th Anniversary ◽  
History Of ◽  
Language Literature

The review provides information about the main scientific and cultural events in honor of the 125th anniversary of the birth of Sergei Alexandrovich Yesenin (1895–1925), which took place in 2020. Among them is an evening in Paris as part of the XI Days of Russian Books and Russian-language Literature and Russian Seasons in France; the International scientific symposium “Sergei Yesenin in the XXI century”, held in Moscow, Ryazan and Konstantinovo; the exhibitions “‘Live as the star leads you...’: to the 125th anniversary of the poet’s birth” (State museum of the history of Russian literature named after V.I. Dahl); “I never lie with my heart” (House-museum of F.I. Chalyapin). The main scientific event of the anniversary year was the release of the first issue of the Yesenin Encyclopedia — “Memorable places. Literary geography”, prepared in IWL RAS.

scholarly journals PUBLICATION OF RUSSIAN LITERATURE ON THE DEVELOPMENT OF THE AGRARIAN ECONOMY AND FISHERIES IN ANCIENT SOCIETIES OF “BARBARIAN” EUROPE: MID-XIX CENTURY. – 1950 S.

2022 ◽  
pp. 146-157
Author(s):  
V. A. Erlikh
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
Russian Language ◽  
Agricultural Economy ◽  
Agrarian Economy ◽  
History Of ◽  
The 1950S ◽  
Xix Century ◽  
Language Literature

   The authors presented an article on the publication of printed matter covering the history of agricultural economy and trades in Central, Northern, Northwestern, and Southwestern Europe in antiquity. The report is based on editions of Russian-language literature published in Russia in the mid-19th century - the 1950s.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

scholarly journals F.M. Dostoevsky, Author of A Writer’s Diary, in the Reactions of 1873-1874 Periodicals (Based on the Materials of the Manuscript Department at the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 134-157
Author(s):  
Anna V. Petrova
Keyword(s):  
Russian Literature ◽  
Freedom Of Choice ◽  
Editorial Policies ◽  
Daily Newspapers ◽  
The People ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Knowledge Of Christ

The article analyses the reaction of the press to the publication of A Writer’s Diary in 1873. It aims to answer the question of why leading daily newspapers such as Golos, Sankt-Peterburgskie Vedomosti, Birzhevye Vedomosti, Novoye Vremya, did not accept and negatively evaluated Dostoevsky’s work as columnist and editor of the Grazhdanin. Dostoevsky returned to the newspaper business with a new genre, and from the very beginning of A Writer's Diary he declares his unlimited freedom of choice about the topics and format of his conversations with the reader. This fact immediately distinguished him from other columnists, who usually followed the standards of the feuilleton (a genre normally dedicated to the latest news), and strictly obeyed their editorial policies, constantly taking into account the publisher’s “wishes”. Columnists from leading newspapers in 1873–1874 could not find similarities between their work and Dostoevsky’s, between his method of describing reality and theirs, and so they neither could nor wanted to see the author’s novelty and originality that went beyond the established newspaper practice, to be surprised by the courage and innovation of his Writer’s Diary. Instead, most of the journalists (Lev Panyutin, Arkady Kovner, Mikhail Wilde and others) chose to be “critical” and – using irony, satirical attacks, sarcastic comments mockingly sought to undermine Dostoevsky’s authority as a columnist and discredit the values that he put above all in A Writer's Diary in 1873 (a “heartfelt” knowledge of Christ, the purification through suffering, the preservation of a relationship with the people). The article attempts to trace the development of this controversy and the factors that influenced its contents.

scholarly journals Four Portraits, No Retouching

2020 ◽  
Vol 7 (3) ◽  
pp. 97-113
Author(s):  
Pavel Fokin
Keyword(s):  
Russian Literature ◽  
Comprehensive Analysis ◽  
Comprehensive Examination ◽  
State Museum ◽  
History Of ◽  
Made In

Researchers are still raising questions related to the time and place of shooting of certain portraits in the scarce photographic iconography of F. M. Dostoevsky. First of all, this pertains to a set of early photographs, whose dating ranges between 1857 and 1863, according to various sources. The article offers new arguments in favor of attributing several portraits of F. M. Dostoevsky to 1859. This refers to photographs that captured an image of F. M. Dostoevsky that is unusual for most of his admirers, namely, without a beard. Two of them were taken in Semipalatinsk by the photographer S. A. Leibin, while in one of them F. M. Dostoevsky was captured together with the Kazakh educator Ch. Ch. Valikhanov, whom he befriended during the years of his exile. Another photo has not been precisely attributed. A comprehensive analysis of the details depicted on them, the facts of the biography of Ch. Ch. Valikhanov and the letters of F. M. Dostoevsky allows to date the Semipalatisk photographs with greater accuracy. The article proposes that another one of the portraits taken in Tver was carried out simultaneously with the shooting of the portrait of M. M. Dostoevsky. A comprehensive examination of various details and circumstances also leads to the same conclusions. To date, only a few copies of photographs with Ch. Ch. Valikhanov and a photograph allegedly taken in Tver are known. The original solitary portrait made in Semipalatinsk has been lost. The conducted research allows to assert that other copies of these photographs may exist. The proposed conclusions are made on the basis of a study of the originals of photographs in the collection of The V. I. Dahl State Museum of the History of Russian Literature.

scholarly journals Annotated bibliography of the Russian literature on glaciology for 2017

2019 ◽  
Vol 59 (2) ◽  
pp. 267-288
Author(s):  
V. M. Kotlyakov ◽  
L. P. Chernova
Keyword(s):  
Sea Ice ◽  
Snow Cover ◽  
Russian Literature ◽  
Annotated Bibliography ◽  
Russian Language ◽  
Lake Ice ◽  
Ice Caps ◽  
The Past ◽  
The Russian Language ◽  
Language Literature

The proposed annual bibliography continues annotated lists of the Russian-language literature on glaciology that were regularly published in the past. It includes 277 references grouped into the atmospheric ice; 4) snow cover; 5) avalanches and glacial mudflows; 6) sea ice; 7) river and lake ice; 8) icings and ground ice; 9) the glaciers and ice caps; 10) palaeoglaciology. In addition to the works of the current year, some works of earlier years are added, that, for various reasons, were not included in previous bibliographies.  

scholarly journals INTERCULTURAL COMMUNICATION IN THE PROCESS OF TEACHING THE RUSSIAN LANGUAGE

2021 ◽  
pp. 119-123
Author(s):  
I. B. Ignatova ◽  
E. N. Legochkina ◽  
A. V. Goncharova
Keyword(s):  
Intercultural Communication ◽  
Russian Literature ◽  
Russian Language ◽  
Education Development ◽  
Culture Teaching ◽  
Russian Literary ◽  
History Of ◽  
Strategic Policy ◽  
History Of Literature ◽  
The Russian Language

The article deals with intercultural communication in the process of teaching the Russian language. It is currently the strategic policy of modern education. The use of intercultural communication between modern youth and the culture of the past in classrooms of the Russian language and Russian literature is an urgent problem of the modern stage of education development. The implementation of intergenerational intercultural communication in the process of teaching the Russian language and literature in modern Russia presupposes a purposeful appeal to the history of our state, to the history of the Russian literary language, the history of literature and culture. Teaching the Russian language and Russian literature based on the principle of national specificity offers infinite opportunities for educating students.

scholarly journals The stories of Batyrbek Tuganov and their signifi cance in the history of Ossetian Russian-language prose

2021 ◽  
Author(s):  
И.С. Хугаев
Keyword(s):  
Russian Language ◽  
Comprehensive Review ◽  
History Of ◽  
Language Literature

В статье дается комплексное рассмотрение идейно-художественно- го содержания рассказов Батырбека Туганова, одного из виднейших представителей осетинской (русскоязычной) литературы рубежа XIX и XX веков; фиксируются их осо- бенности в сопоставлении с текстами соответствующего жанра, принадлежащими предшественникам Туганова – И. Канукову и К. Хетагурову, и их значение в становле- нии осетинского литературного билингвизма. The article provides a comprehensive review of the ideological and artistic content of the stories of Batyrbek Tuganov, one of the most prominent representatives of the Ossetian (Russian – language) literature of the turn of the XIX and XX centuries; their features are recorded in comparison with the texts of the corresponding genre belonging to the predecessors of Tuganov, namely, I. Kanukov and K. Khetagurov and their signifi cance in the formation of Ossetian literary bilingualism.

Reconstruction of the «Armenian» Text in the Russian Poetry of the XX Century (Computer Research Experience)

2020 ◽  
pp. 5-21
Author(s):  
Mikhail Amirkhanyan ◽  
Larisa Pavlova ◽  
Irina Romanova
Keyword(s):  
Russian Literature ◽  
Russian Language ◽  
Research Experience ◽  
Poetic Tradition ◽  
Software Complex ◽  
Russian Poetry ◽  
History Of ◽  
Computer Research ◽  
The Common ◽  
Literary Portrait

The article describes a study on the reconstruction of the so-called «Armenian » text in Russian poetry. Russian folklore and ancient Russian literature have already mentioned Armenian literary portrait that was finally formed in Russian literature only in the ХХ century, after the tragic events in the history of Armenia in 1915. Through applying the software complex «Hypertext search for companion-words in author's texts» to the representative corpus of the Russian language poems on the Armenian theme (65 works of different poets), lexemes marking the minimal themes of the «Armenian» text have been identified. These lexemes act as dominant components of the «Armenian» lexical combinations presented in the poems of Russian poets («Ararat», «Yerevan», «mountain», «sky», «ground», «blood», «heart», «soul», «flame», «eternal») and optional ones («hostile», «to rot», «myopic», «book», «child», «Komitas», etc.). The common lexical combinations will allow the authors to establish intertextual links, which form the basis of the «Armenian» text in Russian poetry. However, in most cases poems have no intertextual links that could signal the influence of one text on another. The coincidence of vocabulary in the texts is usually explained by geographical and historical realities, as well as a poetic tradition.

scholarly journals F.M. Dostoevsky, Author of A Writer’s Diary, in the Reactions of 1873-1874 Periodicals (Based on the Materials of the Manuscript Department at the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 134-157
Author(s):  
Anna V. Petrova
Keyword(s):  
Russian Literature ◽  
Freedom Of Choice ◽  
Editorial Policies ◽  
Daily Newspapers ◽  
The People ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Knowledge Of Christ

The article analyses the reaction of the press to the publication of A Writer’s Diary in 1873. It aims to answer the question of why leading daily newspapers such as Golos, Sankt-Peterburgskie Vedomosti, Birzhevye Vedomosti, Novoye Vremya, did not accept and negatively evaluated Dostoevsky’s work as columnist and editor of the Grazhdanin. Dostoevsky returned to the newspaper business with a new genre, and from the very beginning of A Writer's Diary he declares his unlimited freedom of choice about the topics and format of his conversations with the reader. This fact immediately distinguished him from other columnists, who usually followed the standards of the feuilleton (a genre normally dedicated to the latest news), and strictly obeyed their editorial policies, constantly taking into account the publisher’s “wishes”. Columnists from leading newspapers in 1873–1874 could not find similarities between their work and Dostoevsky’s, between his method of describing reality and theirs, and so they neither could nor wanted to see the author’s novelty and originality that went beyond the established newspaper practice, to be surprised by the courage and innovation of his Writer’s Diary. Instead, most of the journalists (Lev Panyutin, Arkady Kovner, Mikhail Wilde and others) chose to be “critical” and – using irony, satirical attacks, sarcastic comments mockingly sought to undermine Dostoevsky’s authority as a columnist and discredit the values that he put above all in A Writer's Diary in 1873 (a “heartfelt” knowledge of Christ, the purification through suffering, the preservation of a relationship with the people). The article attempts to trace the development of this controversy and the factors that influenced its contents.

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