“Oh, Where are You, My Russia?”: The Image of Russia in the Camp Poems of A. Solzhenitsyn

2021 ◽  
Vol 1 (6) ◽  
pp. 74-79
Author(s):  
Tatyana Ye. Smykovskaya ◽  
Keyword(s):  
Russian History ◽  
The World ◽  
Pain Points ◽  
Color Symbolism

The article deals with A. Solzhenitsyn camp poems, pertaining to the early and underresearched part of his oeuvre. The analysis is centered around the image of Russia. In his poetry, Solzhenitsyn formulates the basic artistic characteristics of this image, that are further developed and deepened in his prose. The image of Russia consists of two toposes: “the visceral Russia”, that embodies the author’s ideal, as well as “the orphaned Russia”, that reflects the country’s “pain points” or its most acute problems. The image of “the visceral Russia” is created under the influence of Christian traditions and the early lyrics of S. Yesenin. Its key elements are landscapes, pantheistic dissolvment in the world of nature, hesychasm and related to it notions of silence and color symbolism. The image of “orphaned Russia” is divided into “the free Russia” and “the Gulag Russia”. It echoes A. Blok’s poetry and demonstrates the historically ambivalent and dramatic sides of Russian history. Despite the spatial categorizations, the lyrical hero’s perception of his motherland is not fragmented, but objective and multi-sided. Like the author himself, he views Russia as a whole in all of its struggles and contradictions.

scholarly journals “It is not a miracle, but grief...”: representations of Sergey Kozlov's on soteriological mission of the woman (based on the novella “Mother-Masha”)

2021 ◽  
pp. 46-52
Author(s):  
Alena Petrovna Kashkareva
Keyword(s):  
Comprehensive Analysis ◽  
Russian Philosophy ◽  
Russian History ◽  
Female Images ◽  
Textual Space ◽  
The World ◽  
National Salvation

This article analyzes the views of the contemporary Ugric writer Sergey Kozlov pertaining to mission of the women in 1990s – 2000s, which was the turning period for the country. The novella “Mother-Masha” demonstrates that it textual space, namely the woman becomes the symbol of justice of the Christian fabric of life, and is reflected in the sincere desire of the protagonist to establish good and justice in the world. The author contemplates on S. Kozlov's ideological and artistic views upon the role of the woman at the time of major transformations in the Russian history. Reference to the writer’s fictional prose, diaries, and interviews allows revealing the peculiarities of his axiological position in the context of the Russian philosophy of femininity. The scientific novelty of this research is substantiated by the need for articulation of the problem related to the study of specificity of female images in the creative heritage of Siberian writer Sergey Kozlov. Comprehensive analysis of the writer's novella “Mother-Masha” included into the book “Duty Angel” (2011) is carried out. The article introduces the sources, such as diary notes and interview materials, which have not been previously used in studying the works of S. Kozlov. The conclusion is made that soteriological mission was imposed on Mother Masha – the woman who proliferated the Divine Commandments to the world and is associated with the symbol of national salvation.

scholarly journals Når smerte er for det fælles bedste

2015 ◽  
Vol 43 (120) ◽  
pp. 125-142
Author(s):  
Maria Mortensen ◽  
Karen Hvidtfeldt Madsen
Keyword(s):  
The Body ◽  
Pain Research ◽  
The World ◽  
Pain Points

In a case study of a pain performance by Canadian Matthew Menczyk this article examines self-afflicted pain as a phenomenon both capable of transgressing dichotomous interpretations and creating connections between bodies, as well as oppositional concepts such as privat/public, mental/physical and personal/collective. By reading a sample of contemporary cultural-analytical pain-research, we demonstrate how pain is conceptualized within a framework of binary thinking. We question these dualistic understandings of pain, hereby showing how the Cartesian division is haunting the ontology of pain. The case of Menczyk is analyzed with reference to Michel Foucault’s writings on punishment and power. We show how self-afflicted pain points to the potential of pain as a place of resistance and healing and conclude that pain is not only to be understood as a condition-of-the-body, but rather as a phenomenon-in-and-of-the-world.

Russian Idea, the

2018 ◽  
Author(s):  
Andrzej Walicki
Keyword(s):  
Russian History ◽  
Russian Culture ◽  
The Third ◽  
Peter The Great ◽  
First Case ◽  
The World ◽  
History Of ◽  
First Time ◽  
Vladimir Solov'ev ◽  
Russian Idea

‘The Russian Idea’ is a term used by Russian thinkers to define specific features of Russian culture, the spiritual make-up of the Russian nation, the meaning of Russian history and, as a rule (although not always), Russia’s unique mission in the universal history of humanity. The term was introduced for the first time in 1861 by Dostoevskii, for whom the essence of the Russian Idea was the ‘universal humanity’ (or ‘all-humanity’) of the Russian spirit. At the same time however, Dostoevskii linked the Russian Idea with Russian imperial messianism. Thus, the notion of the Russian Idea included from its beginning a characteristic tension between striving for universalism and nationalist self-assertion.. The first philosopher to devote a special separate work to the Russian Idea (l’Idée russe, Paris, 1888) was Vladimir Solov’ëv, for whom the national idea was ‘not what a given nation thinks about itself in time, but what God thinks about it in eternity’. He was influenced by Dostoevskii but, challenging Russian nationalists, put much greater emphasis on universalism, stressing that the peculiar greatness of the Russians consisted in their capacity for ‘self-renunciation’. The first case of this self-renunciation was the so-called ‘calling of the Varangians’, that is, the voluntary acceptance of foreign rule; the second was the reforms of Peter the Great: rejection of native traditions for the sake of universal progress. Now the Russian nation should commit itself to the third, most important act of self-renunciation: to submit itself to the authority of the pope, restoring thereby the unity of the Universal Church and bringing about the reconciliation between East and West. But this act of humility was seen by Solov’ëv as a precondition from the fulfilment of Russia’s great mission of creating the universal, freely theocratic Christian Empire. Solov’ëv invoked in this connection the monk Philotheus’ idea of ‘Moscow as the Third Rome’ but reversed its meaning by putting emphasis on symbolic Rome, that is, not on national isolationism and keeping intact the purity of the Orthodox faith, but on ecumenical universalism and the messianic task of the Christian transformation of the world. Owing to Solov’ëv, the term ‘Russian Idea’ came to be applied retrospectively, as a designation of a set of problems characteristic for Russian philosophical discussions about the essence of ‘Russianness’. Most historians agree that these problems were formulated under the reign of Nicholas I and that the first thinker who posed them forcefully was Pëtr Chaadaev.

scholarly journals REPATRIATION OF THE BAKHMETEFF ARCHIVE: RUSSIAN DREAMS AND AMERICAN REALITY

2005 ◽  
Vol 6 (1) ◽  
pp. 44-51
Author(s):  
Tanya Chebotarev
Keyword(s):  
Twentieth Century ◽  
European History ◽  
Russian History ◽  
Columbia University ◽  
Government Program ◽  
East European ◽  
The World ◽  
Critical Resource

Since the early 1990s, the Bakhmeteff Archive of Russian and East European History and Culture at Columbia University, like many other Russian émigré archives all over the world, has become a critical resource in the process of rewriting twentieth-century Russian history. Now and then, references to the Bakhmeteff's holdings have appeared in Russian archival publications. Regrettably, some of these publications contain alarming instances of Russian demands for the “repatriation” of the Bakhmeteff Archive's holdings. A major factor behind this trend is an official government program to retrieve archival Rossica at any price; but it also is due in part to . . .

The End of Muscovy: The Case for circa 1800

Slavic Review ◽  
2010 ◽  
Vol 69 (2) ◽  
pp. 426-438 ◽  
Author(s):  
Donald Ostrowski
Keyword(s):  
Early Modern ◽  
Historical Development ◽  
Turning Points ◽  
Early Modern Period ◽  
Historical Study ◽  
Russian History ◽  
Modern Age ◽  
Modern Period ◽  
The World ◽  
Court Politics

How Russia transformed itself from a relatively small principality on the steppe frontier in 1450 to a major Eurasian empire by 1800 is one of the fundamental questions of Russian historical study. The two main views posit a central role for Peter I (1682–1725) in that transformation either by singled-handedly “changing everything” and bringing Muscovy into the modern age through embracing contact with Europe and with the western enlightenment or by accelerating the pace of changes already occurring. In this article, Donald Ostrowski proposes that Russia's transition during this period can be better explained by examining the general trends of historical development and influences across Afro-Eurasia. This essay also raises questions about the use of the termmodernizationand examines eight categories of historical development: contact with the world; establishment of an empire; court politics; military; society and economics; governmental administration; church relations; and culture and education. Ostrowski concludes that in the early modern period one finds no turning points in Russian history, only more or less continuous trends, and that only roughly around 1800 do fundamental changes begin to occur within these eight categories.

scholarly journals The Winter War: Preparation and Technology of War

2019 ◽  
Vol 8 (12) ◽  
pp. 5052-5055
Keyword(s):  
World War Ii ◽  
Russian History ◽  
World War ◽  
Historical Experience ◽  
The Past ◽  
Historical Processes ◽  
Political Forces ◽  
The World ◽  
Armed Violence ◽  
Winter War

The theme of the World War II held in the period of 1941-1945 never loses its relevance because the threat of armed violence and military aggression in present days is too great. Therefore, the historical experience should become the property of the younger generation, so it does not repeat the mistakes of the past. Without speaking against the pluralism of scientific approaches and assessments in the study of the past in general, it is impossible to agree with the bias in the description of historical processes that take place today in Russian history. With the coming to power of the new political forces, many historical events concerning the past of the country are rethought, there is a rewriting of historical facts in favor of politicians, to justify their actions

scholarly journals Linguaculturological Features of the Images of the Celestial World in the Russian Poetry of the 1990’s

2019 ◽  
Vol 21 (4) ◽  
pp. 1095-1104 ◽  
Author(s):  
S. S. Dutbayeva
Keyword(s):  
Literary Criticism ◽  
Cognitive Linguistics ◽  
World Order ◽  
Russian History ◽  
Cultural Symbols ◽  
Old World ◽  
The Earth ◽  
The World ◽  
Russian Poetry ◽  
Heaven And Earth

Modern philology studies language at the junction of different directions, e.g. hermeneutics and cultural studies, cognitive linguistics and literary criticism, linguaculturology and textology, etc. As a rule, combined methods provide the most interesting results. The article describes the images of the sky / heaven in the Russian poetry of the late XX century, the period of Russian history known as “the dashing nineties”. Contemporary poets seemed to have a very peculiar perception of that period. Their vision of traditional mythological and cultural symbols differed from commonly accepted interpretations. They described Russia as a dead woman or as a man at a crossroads, while the sky was a lost paradise that retained the peace and tranquility that are not to be found on the earth any more. The gap between heaven and earth is shown by the chaos of birdcalls, machinery noise, and nuclear clouds. Heaven and earth are connected by the World Tree, which unites the macroand microcosm. Man seeks balance and harmony but cannot find them. In the 1990’s, mankind was repeating the stage it had passed in the early XX century, when cherry orchards gave place to railways, and the old world order was coming to an end. In such periods, people do not look at the sky for solace; they mind their own step and see heaven reflected in the rails. The poetry of the 1990’s is filled with deep symbolism. The present analysis revealed several image clusters of the sky: mythological, religious, culturological, philosophical (eschatological), scientific and technological, and folklore. These clusters are interconnected and complement each other.

scholarly journals Philosophy of mastery (as exemplified by P.P. Bazhov’s legacy

2021 ◽  
Vol 4 ◽  
pp. 107-119
Author(s):  
Elena Pogorelskaya ◽  
◽  
Leonid Chernov ◽  
Keyword(s):  
Natural World ◽  
Specific Aspect ◽  
Soviet Period ◽  
Russian History ◽  
Natural Attitude ◽  
Global Context ◽  
The World ◽  
Close Relationship ◽  
European Philosophy ◽  
Classical Philosophy

The work is devoted to the philosophy of mastery presented in the tales of the Ural writer Pavel Petrovich Bazhov. The basis of the phenomenon of mastery is the classical philosophy of Plato in its Socratic version. The authors of the article see it as their goal to prove the close relationship between the practical handicraft Ural art, represented in the mythology and literature of P.P. Bazhov, and the classical metaphysical attitudes of European philosophy. The personality of the master becomes a cementing link between the natural world and the world of culture. Mastery in its philosophical and practical form acts as a support for the natural attitude towards nature, art, and towards man in general. The authors decipher the phenomenon of mastery in the tales of P.P. Bazhov, analyze his modes and the specifics of manifestation. Ural tales of P.P. Bazhov in describing the phenomena of mastery and genuine creative attitude to nature repeat the structure of the classical attitude to the world and logically correspond to the structure of the creative attitude of the master poet to the object he creates. The specificity of the Ural artcraftsmanship lies in the fact that the personality of the master is embodied not in an ideologist, not in a religious preacher, not in an intellectual, but in a master who interacts with the elements of nature as concretely and closely as possible. The work immerses P.P. Bazhov’s legends, written during the Soviet period of Russian history, in the global context of research into the nature of genuine living creativity, and also emphasizes the regional and very special specific aspect in the Ural mastery.

Subtextual Scopes of Meaning in Vs. V. Ivanov’s Story «By the Old Road to Smolensk» («Bliz Staroi Smolenskoi Dorogi»)

2020 ◽  
Vol 81 (3) ◽  
pp. 58-62
Author(s):  
I. S. Uryupin
Keyword(s):  
World History ◽  
Russian History ◽  
War And Peace ◽  
Her Family ◽  
National Image ◽  
Semantic Organization ◽  
Constructive Function ◽  
The World ◽  
Great Patriotic War ◽  
Mother Earth

The article deals with cognitive and semantic organization of Vs. V. Ivanov’s story «By the Old Road to Smolensk» («Bliz Staroi Smolenskoi Dorogi») in historical, cultural, poetical and ontological aspects. The constructive function of the subtext with its plot-building potential is revealed. The aim of the research is to disclose subtextual scopes of meaning and semantics on the motive and imagery; architectonical and compositional; idea and philosophy levels of the text. With this aim the structural and typological method of investigating literary phenomena was used along with the elements of hermeneutical, stylistic analysis of literary prose in its syntagmatics and paradigmatics. Vs. V. Ivanov’s story devoted to the anniversary of the Battle of Borodino and written in the years of the Great Patriotic War gives implicit parallels between the events fateful for the Russian history, presents a national image of the world and conceptualizes the notion of an individual private history with its close connection with world history. The author’s attention is focused on the image of a Russian peasant woman who accumulated the archetypical features of Mother Earth and Motherland having renounced all her family for the sake of the victory. Comprehension of severe hardships of Homeland is given though her understanding of war and peace. But the image of the old woman – Agrippina Caryina – and her life drama in Vs. V. Ivanov’s story is represented through the eyes of Vasily Andreyevich Zhukovsky who impersonated the author’s mind. The conflict/dialogue of two different life worlds shapes the inner plot of the story realized in the subtext, which helps the author to comprehend the life and fate of the heroine. The subtext being a constructive means of the story plot building enables the artist to transfer the real thoughts of the heroine, the tragedy and feat of her family in the Battle of Borodino, which she does not directly speak about, but which are clear to the «enlightened» interlocutor.

Sign in / Sign up

Export Citation Format

Share Document