scholarly journals Вооk as a genre: medieval tradition in Russian prose of 20th century (V.P. Astafiev, F.A. Abramov)

2021 ◽  
pp. 123-130
Author(s):  
Alla Yu. Bolshakova ◽  
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Russian Literature ◽  
Free Form ◽  
The Novel ◽  
Medieval Studies ◽  
Historical Reality ◽  
Verbal Creativity ◽  
Definition Of ◽  
The Village

The author aims to observe the phenomenon of “thinking by books” which has been born in the verbal creativity of Medieval Russia and promoted in Russian literature of the XX century but has been little studied yet. A special attention is paid to the formation of the book genre by such writers as V.P. Astafyev (“The Last Bow”, “The King-Fish”, “Zatesi”) and F.A. Abramov (“The Pure Book”). To fulfill the tasks set, the author relies on both the provisions of medieval studies and the concepts of genre theorists and historians of modern Russian literature. Definition of “book” as a specific meta-genre; dialectics of the novel and book genres is considered. A special attention is paid to the processes of formation of the “book” by uniting text elements into a super-genre unity. The author shows how the free form of the “book”, consisting of chapters and stories, provides creative freedom to the author and allows, in the medieval spirit, to expand the original version adding new and new texts to it. The article substantiates the position of the “book” as a narrative consisting of seemingly separate, but cyclically connected chapters and parts. This is a meta-genre that is becoming and moving along with historical reality. In conclusion the author of the article draws a conclusion about the productivity of genre of the book in the Village prose as a leading literary direction of the second half of the twentieth century and marks a continuation of this tradition in contemporary Russian prose.

scholarly journals The Idiom “Twice Two is Four” in Russian Literature of the 20th Century

2020 ◽  
Vol 18 (3) ◽  
pp. 266-289
Author(s):  
Sergey S. Shaulov
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Russian Literature ◽  
Psychological Type ◽  
Modern Literature ◽  
The Novel ◽  
Russian Culture ◽  
Starting Point

<p>The idiom &ldquo;twice two is four&rdquo; along with its variations is seen in the article as a marker of the situation of an &ldquo;underground man&rdquo;. In literature of the twentieth century the &ldquo;underground&rdquo; in its ethical and philosophical aspects has expanded its meaning, becoming the context of a utopian and antiutopian thought, absorbing the tragic experience of Russian culture after Dostoevsky. Of course, the widespread locution &ldquo;as sure as twice two is four&rdquo; does not always point at this variety of meanings, but it can be reached only in combination with the psychological type of the &ldquo;underground man&rdquo;. Thus, the image of Stalin in the novel &ldquo;the First Circle&rdquo; by Alexander Solzhenitsyn is considered as a variation of the &ldquo;underground&rdquo; consciousness. The problems of philosophical, history related to the evolution of this type of consciousness and actualized in this novel, remain important for modern literature. Another version of this philosophical collision is given in Victor Pelevin&rsquo;s anti-utopian novel &ldquo;S.N.U.F.F.&rdquo;. In both of these cases, the situation of the underground person becomes a picture of a psychological and historical catastrophe. The negative development of the analyzed arithmetic formula in Russian literature of the 20th century encourages to look for another pole of tradition outside the &ldquo;main&rdquo; cultural domains. One of the variants of a moral escape from the trap of the &ldquo;underground consciousness&rdquo; can be found in the poetry of Alexander Bashlachev. The mythopoetical plot of the song &ldquo;Verka, Nadka, Lyubka&rdquo; is an exceptional variant of the development of the &ldquo;underground man&rdquo; topic. A starting point of the plot is just the formula &ldquo;twice two is four&rdquo;. The genre shift from lyricism to allegorical epic gives the poet an opportunity to reconstruct the Easter ideal of Russian culture, even if in a tragic and provocative form, close to the tradition of Russian foolishness for Christ.</p>

The Limit Situation And The Narrative Of War (On The Material Of The Novel “My Lieutenant” By Daniil Granin)

2020 ◽  
Vol 6 (1) ◽  
pp. 90-104
Author(s):  
Anatoly S. Kuprin ◽  
Galina I. Danilina
Keyword(s):  
20Th Century ◽  
Scientific Work ◽  
Point Of View ◽  
Continuous Limit ◽  
The Novel ◽  
Term Limit ◽  
Abstract Author ◽  
The Third ◽  
Definition Of

The purpose of this study is the analysis of limit situation in the narrative of war. The material of the study is the novel of Daniil Granin “My Lieutenant” and related texts. In the first part of the paper, the authors explore existing approaches to the term “limit situation” and similar concepts into scientific and philosophical traditions; limits of its applicability in literary studies and its relation to the categories of “narrative instances” and “event”. Proposed a literary-theoretical definition of the limit situation, which can be used in the analysis of fiction texts. Existing approaches to the examination of the situation of war are analyzed: philosophical-existential, psychoanalytic, sociological, literary. In the second part of the paper, the authors propose their method for analyzing limit situations in texts about war, which basis on existing approaches and preserves the text-centric principle of studying the structure of the story. Two interrelated areas of research have been identified: the study of war as a continuous limit situation in the intertextual aspect (the discourse of war); the study of limit situations (death, suffering, guilt, accident) in the narrative of war as part of a specific text. In the third part of the scientific work,the analysis of war as a continuous limit situation results in the study of the concept of “limit” (border) in a fiction text. The role of “limit” (border) concept in the texts about the war is studied, the possible types of limits in the discourse of war are examined. Limit situations in the narrative of war are analyzed on the basis of the novel “My Lieutenant” by Daniil Granin. A review of journalistic and scientific works about the novel revealed both the continuity and the differences between the novel and the “lieutenant” prose of the 20th century. An analysis of the limit situations in the novel revealed their key position in the narrative. These situations are independent of the fiction time, of the fluctuation of the point of view’; the function of the abstract author is to build the narrative as a “directive” immersion of the hero and narrator in these situations.

scholarly journals A prímszámok könyve

2016 ◽  
Vol 55 (1-2) ◽  
Author(s):  
Beatrix Visy
Keyword(s):  
20Th Century ◽  
Prime Numbers ◽  
Human Existence ◽  
The Self ◽  
The Novel ◽  
New Meanings ◽  
Definition Of

The self-definition of Szilárd Borbély’s only novel – limited fiction based on biographical elements – makes biographical and referential readings possible, thus we can interpret the text as the novel of 20th century poverty and traumatised childhood. However, the aspects of interpretation are concerned with the methods of fiction, the existential and metaphysical questions of the book: the child narrator’s tone offers the vision of a childhood rolling in an eternal present. This, together with the amnesia that interweaves the whole text, suggests a hopeless state of being. The feelings of otherness and solitariness, the signs of the absurdity of waiting for a Messiah and the representation of misery expand to an antrophological stance. New meanings can be attributed to the image of desperate human existence by the motif of prime numbers. The novels of Péter Esterházy, Sándor Tar and Tibor Noé Kiss are also discussed in connection with the representation of poverty and teodicea.

scholarly journals Note of Existentialism in the Poetry of Philip Larkin

IIUC Studies ◽  
2012 ◽  
Vol 6 ◽  
pp. 97-110
Author(s):  
Mohammad Taj Uddin
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
The Novel ◽  
Contemporary Society ◽  
Specific System ◽  
Cultural Events ◽  
Human Thought ◽  
Philip Larkin ◽  
Wide Range ◽  
New Perspective

Existentialism became popular in the twentieth century, and it captured virtually every form of human thought and expression, including the novel, the theatre, poetry, art and theology. Though this philosophy had no specific system or sets of systems, yet it got a wide range of responses due to contemporary social circumstances. Individuals of the 20th century had a problematic existence with anguish, uncertainty, fear, alienation and despair because of different negative socio-political and cultural events that affected every aspect of life in Europe. Philip Larkin belonged to the same century and most of his poems present the typical problems of existence of an individual in the contemporary society. With an aim of better understanding of the poetry of Philip Larkin this paper explores how the poet, while dealing with the themes of his poetry, reflects the mood and ideas of existentialist philosophers. Since philosophy is closely connected with literature, as with other branches of knowledge, this study may help the readers understand Larkin’s poetry from a new perspective. DOI: http://dx.doi.org/10.3329/iiucs.v6i0.12251 IIUC Studies Vol.6 2010: 97-110

scholarly journals THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY

2021 ◽  
Vol 19 (1) ◽  
pp. 328-362
Author(s):  
Ludmila Mnich
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Russian Literature ◽  
Literary Work ◽  
Literary Text ◽  
Christian Tradition ◽  
Boris Pasternak ◽  
Number Symbolism ◽  
Three Stages ◽  
Zinaida Gippius

The article discusses the issues of studying and interpreting number symbolism in a literary work and characteristics of gospel number symbolism in the Christian context. In 20th-century Russian literature, the Christian tradition had a decisive impact on shaping the meaning of number symbolism. An important feature of the Christian symbolism of numbers is the correlation of number symbolism with two spheres, which can be designated as “positive” (sacral) and “negative” (sinful). The author proposes a methodology for interpreting number symbolism, which comprises three stages: 1) a description of the numbers in a literary text, 2) the correlation of these numbers with the tradition of number symbolism, 3) the interpretation of the meaning of number symbolism, which is an integral part of literary work. The article also distinguishes between two concepts — that of the number image and of the image of number, and substantiates the differences in interpretation of such images. Theoretical notions are supported by the interpretation of number symbolism in the poems of Boris Pasternak, Zinaida Gippius and Alexander Blok, where it is presented explicitly. Other images, motifs and concepts presented in the literary works augmented and added complexity to the tradition of gospel number symbolism in the poems of these authors.

scholarly journals An Asymmetric Axe from the Collections of the Tobolsk Museum-Reserve

2021 ◽  
Vol 20 (5) ◽  
pp. 105-115
Author(s):  
Igor V. Balyunov
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Point Of View ◽  
Forest Industry ◽  
Eastern European ◽  
15Th Century ◽  
Modern Period ◽  
Definition Of ◽  
The Village ◽  
Functional Purpose

Purpose. Among its collections, the Tobolsk Museum-reserve keep an axe, which was an accidental find. The purpose of this publication is to introduce the presented sample into scientific circulation, as well as to complete the description of the find, establish its functional purpose, chronology and determine its place of production. Upon admission to the museum, it was identified as a combat weapon and tentatively dated to the 17th century. Results. The axe has a wide blade which extends downwards, covered with a notched ornament. An important feature is its asymmetric cross-section, where one of the sides is flat and the other is convex. Similar axes found in Siberia are often defined as battle axes, however this definition is incorrect. Currently, no Tobolsk axe prototypes are known to have been found on the territory of the Moscow state, however asymmetric axes are known to have been used, in particular, in Eastern Europe, since at least the 15th century. According to some authors, asymmetric axes are specialized tools for carpentry and joinery. This definition is most reliably justified in the publication of Polish researcher M. Glosek. This point of view is convincingly confirmed by the catalogues of Eastern European metalworking plants of the first half of the 20th century. The definition of long-bladed asymmetric axes as a combat weapon is based, as a rule, on random finds with unknown dating. More proof can be found by their absence in the materials of archaeological excavations. Conclusion. It can be assumed that asymmetric axes were imported to Russia between the Modern Period up to ethnographic modernity. One of the most likely producers is the Transcarpathian plant in the village of Kobyletskaya Polyana, which specialized in the manufacture of tools for the forest industry and had a fairly wide market. The widest possible period when Transcarpathian axes could be imported into Russia is no earlier than the end of the 18th century, and not later than the middle of the 20th century.

scholarly journals Certain Questions of the Criminological Concept of the Definition of «Victim of a Crime»

2020 ◽  
pp. 175-183
Author(s):  
Dmytro VYHOVSKYI ◽  
Tetiana NIKIFOROVA
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Criminal Code ◽  
Narrow Sense ◽  
Crime Victim ◽  
New Science ◽  
The World ◽  
Special Value ◽  
Definition Of ◽  
Criminological Analysis

The article gives an analysis of the views of works of the Ukrainian and foreign scientists in the field of some victimological theories, in particular — definition «victim of a crime». Attention applies on the special value of provocative behavior of the victim in a case of commission of some crimes. Attention is drawn to the fact that provocative behavior is not only important for conducting a criminological analysis of a crime victim, but for qualification of some crimes too (for example — articles no. 118 and no. 124 of the criminal code of Ukraine). To achieve the objectives of the article, studies of criminologists were analyzed. Researches of scientists, who considered the problem of defining a «victim of crime» in terms of psychology, sociology, etc. were also analyzed. It has been concluded that criminological victimology (as an integral part of criminology) is a relatively new science. This situation is explained by the lack of interest of researchers in concepts of «victim mentality», «victimisation», «victim of a crime» till to the late 1940s 20th century. The conclusion was made about regularities between humanistic trends in the world and formation of the concept of "victim of crime" in the middle of the twentieth century. The conclusions are based on the study of the importance of victimological teaching in modern criminology science. Most of them are used by modern criminology scientists’ definitions of «victim of a crime». Attention is drawn to the ambiguity of understanding definition «victim of a crime». This is because some scientists suggest identifying «victim of a crime» with a «person, who suffered from the crime». In our opinion, his understanding is wrong. Also it is specified, that «victim of a crime» can be used in a narrow sense (as the person who is directly caused moral, physical or property damage) and in a broad sense (representative of a certain nation, race, religious trend, social group, concerning which a crime directly was not committed, but who cannot feel safe because of spread of these crimes). Keywords: victim mentality, victimisation, victim of a crime, victimological theories.

scholarly journals Rubens in Russian poetry: from ecfrasis to ideology and vice versa

Literatūra ◽  
2019 ◽  
Vol 61 (2) ◽  
pp. 150-161
Author(s):  
Alexander Markov
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Russian Literature ◽  
Vicious Circle ◽  
Cultural Image ◽  
Russian Poetry ◽  
Baroque Art ◽  
Western European

Although the name of Rubens was included in the canon of well-known Western European artists in the Russian 18 century and his style was quite recognizable, an appeal to the artistic poetics of Rubens was rare, and Rubens’s eccentricities, created by Valery Bryusov and Nikolai Oleinikov, are full of ambiguities and obscure places. The article clears up all these obscurities based on the enlightening notion of Rubens as an artist capable of only a local mimesis, of portraying the life of Flanders, but not of a classic imitation of nature. This thesis was adopted by Pushkin and Dostoevsky and gradually acquired a moralistic and historicist meaning: Rubens depicts the characters, not the nature of a person, which means that he portrays the vice mainly and draws the viewer into the vicious circle of vice. The reevaluation of Baroque art at the beginning of the 20th century and the symbolists’ dreams of immersive theater required a different look at the audience’s involvement, thereby turning Rubens into an artist who could simulate the revolutionary activity of the crowd. At the same time, Pushkin’s idea of Rubens as an artist of arbitrariness, and not freedom, supported by the cultural image of Paul I as a collector of Rubens, was retained in Russian literature of the twentieth century.

scholarly journals From the ancient Greek myth to the Russian literary archetypes in I.A. Goncharov’s novels

2020 ◽  
pp. 35-50
Author(s):  
Nina L. Ermolaeva
Keyword(s):  
Fairy Tale ◽  
Creative Thinking ◽  
Russian Literature ◽  
Cultural Tradition ◽  
The Novel ◽  
Ancient Greek ◽  
Greek Myth ◽  
European Tradition ◽  
Russian Literary ◽  
The Village

The article deals with the mythological sub-text as one of the connective means in the novel trilogy by Goncharov. The author of the article assumes that the creative thinking of Goncharov’s is epic and his understanding of world literary types can be seen as the basis for the theory of literary archetypes. The novelty of the approach to the sources is justified by the aim of the article, the latter being to show the reflection of the evolution of the author’s mythological thinking in his creating the literary archetypes by using various mythological and folk sources. Analysis of the mythological sub-text in the novel “A Common Story” allows to say that the author applied mainly the European tradition of the ancient myths, namely the myth of Oedipus to the modern life in Russia. Viewing “Frigate ‘Pallada’ ” the author of the article concludes that Goncharov returned from the world-wide journey “more Russian” than he had been before. Thus in the novels “Oblomov” and “The Precipice” he used not only the European cultural tradition but also the Slavonic mythology and Russian folklore. The result of his turning to the fairy-tale and Russian literature was the appearance of the archetype images of Oblomov and oblomovism and that of gown in his creative work. “The bylina sub-text” in the novel “The Precipice” helps to understand the rivalry of the atheist Mark Volokhov with the proponent of “the old truth” Tushin as the fight of the Russian epic hero with the serpent. The analysis of Goncharov’s articles of 1870s allows one to see his wish to create the archetype images of the characters from the Russian life. Arguing with A.I. Zhuravleva’s opinion that Goncharov did not manage to fulfill this task in “The Precipice”, the author of the article proves that the image of grandmother has come into the national consciousness as an archetype. It has direct connection with the archetype of the village that came into being in the Russian literature of XIX–XX centuries.

“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.

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