scholarly journals Reconstruction of Creative History of Poem by M. Yu. Lermontov “They Loved Each Other for so Long and Dearly...” (1841) as a Way of Understanding the Meaning of Text

2020 ◽  
pp. 265-282
Author(s):  
I. A. Kiselyova ◽  
K. A. Potashova ◽  
E. A. Sechenych
Keyword(s):  
German Text ◽  
Creative Process ◽  
Textual Analysis ◽  
Eternal Life ◽  
Free Translation ◽  
History Of ◽  
Semantic Transformation ◽  
Artistic Image ◽  
First Time

Dynamic poetics is analyzed - from draft to clean manuscript - the poem by M. Yu. Lermontov “They loved each other for so long and dearly ...” (1841), which is a free translation of the poem by H. Heine. Based on a comparison of the transcription of clean manuscript and two draft manuscripts of the poem, as well as the source - the German text - Lermontov’s creative process, his work on choosing the exact word and creating an integral artistic image is reconstructed. The article outlines the causes and mechanisms of Lermontov’s textual corrections that help to understand the movement of author’s thought. The process of Lermontov’s work on the text is associated with the emotional saturation of the “skeletal part” of a German source. Based on the textual analysis of the manuscripts of Lermontov’s poem from the “Notebook presented by V. F. Odoyevsky”, the semantic transformation of the source of the poem is traced, the process of enhancing the tragedy of the text achieved through its openness to eternity is revealed. The relevance of the problem is seen in the need to clarify the originality of the artistic imagery of Lermontov’s poem, to identify the reasons for the strength of its aesthetic impact on the reader, as well as the ontological meaning of the text. The semantic evidence of the text is revealed in the need for direct relations “here and now”, in understanding eternal life as a continuation of the mortal life. The novelty of the study has a factual (for the first time the creative process of composing a poem is presented in as much detail as possible) and interpretative in nature, associated with the refinement of Lermontov's worldview.

Anton Grigoryevich Rubinstein and his Russian Publishers

2021 ◽  
Vol 18 (3) ◽  
pp. 284-298
Author(s):  
Elena M. Shabshaevich
Keyword(s):  
Comparative Analysis ◽  
Creative Process ◽  
Historical Research ◽  
National Museum ◽  
Archival Documents ◽  
History Of ◽  
Publishing Houses ◽  
The 19Th Century ◽  
First Time ◽  
Extensive List

The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily the conflicts related to the rights to publish the composer’s works in Russia. The first documented contract for the publications of A.G. Rubinstein was received by P.I. Jurgenson (for op. 82, 1868). However, the contract of A.G. Rubinstein with the trading house “Bessel and Co.”, concluded in 1871 (though Rubinstein’s first work had been published by Bessel two years earlier), was much more extensive and significant. Under this contract, it was supposed to publish more than fifty A.G. Rubinstein’s works of various genres, so in the 1870s, V.V. Bessel became the main Russian publisher of the composer. However, in 1879, A.G. Rubinstein unexpectedly changed his main publisher in Russia. This position was taken by P.I. Jurgenson, whose trading house also published an extensive list of Rubinstein’s compositions, as well as his literary works. This is evidenced by several notarized contracts, stored in the Russian National Museum of Music, between Rubinstein and “P.I. Jurgenson” company. Thus, the two leading Russian publishers of A.G. Rubinstein legally formalized their relations with the composer, which allows us to follow, in a reasoned and substantive way, the process of maturation of the institution of copyright for music publications in Russia in the last third of the 19th century.Using the example of A.G. Rubinstein, in comparison with the position of M.A. Balakirev, the article also raises the issue of granting copyright to a publisher not only in Russia, but also “forever and for all countries”. The comparative analysis of publications of the same composer by different publishing companies is also new to Russian musicology, this helps identify certain accents that publishers put in popularizing A.G. Rubinstein’s works. The publication of the composer’s works by various publishers also highlights new aspects in his creative process, in the history of the creation, receipt of the opus number, and the titles of some of his works.

scholarly journals Author`s paroimia “If you like printing, you should like to be prisoned” in the Russian language of the 1905–1907

2020 ◽  
Vol 65 (2) ◽  
pp. 197-202
Author(s):  
A. V. Zagrebel’ny
Keyword(s):  
Russian Language ◽  
Russian Revolution ◽  
Final Part ◽  
Russian History ◽  
Semiotic Analysis ◽  
History Of ◽  
Semantic Transformation ◽  
System Prototype ◽  
First Time ◽  
The Russian Language

The article is devoted to the analysis of the author’s paroimia “If you like printing, you should like to be prisoned”. In the course of working with the sources of the period of the first Russian revolution, the only case of using this paroimia in the rubric “New Proverbs” of the socio-political satirical magazine “Zarnitsy” was revealed. The scientific novelty of the study is that for the first time the author’s paroimia “If you like printing, you should like to be prisoned” is analyzed, which has not previously attracted the attention of researchers. The methods of component, contextual, logical and semiotic analysis, as well as analysis of vocabulary definitions were used in the work. As a result of the study, the following results were obtained: 1) a source paroimia was established; 2) a structural and semantic transformation of the source paroimia was characterized; 3) recognition of the author’s paroimia was scientifically grounded in its system prototype; 4) an analysis of the events of Russian history of the period of the first Russian revolution, which led to the emergence of a new paroimia, was done, 5) the author’s paroimia judgment was formulated, its type was defined. The final part of the article outlines the prospects for further research.

scholarly journals The Dynamic Poetics in the Text History of Lermontov’s Poem “The Dream”

2020 ◽  
Vol 27 (1) ◽  
pp. 130-145
Author(s):  
Irina A. Kiseleva ◽  
Ksenia A. Potashova
Keyword(s):  
Creative Process ◽  
Natural World ◽  
Main Text ◽  
Final Version ◽  
History Of ◽  
Body And Soul ◽  
The Creation ◽  
Artistic Image ◽  
The Given ◽  
Immortality Of The Soul

<p>The article focuses on the analysis of the poetic genesis of Lermontov&rsquo;s poem &ldquo;The Dream&rdquo; (1841) that manifests itself in the author&rsquo;s corrections in the rough copy and in the clean one. There was carried out a reconstruction of the poet&rsquo;s creative process, of his work on the contexture and the creation of a completed artistic image. The article presents the transcription of the poem&rsquo;s rough and clean copies including alterations and symbols of the manuscript. It has been proved that while the first versions in the main text identify three dreams, the final version keeps only two of them. In the course of his work on the text the poet chooses not to introduce the image of a dream into the first poem, but makes it clear that everything is happening in the dream only by means of the title. This technique increases the reality of the given image. In the analysis of the poem&rsquo;s dynamic poetics a special emphasis is made on the registration of the landscape details changes due to which the poet conveys his perception of the natural world and his place in it as a&nbsp;body and soul creature. The narrator&rsquo;s feelings of desolation and abandonment in the natural world get worse from the rough copy to the clean one, and at the same time grows his anxiety for the unanimity with his mistress who, as the hero himself, has a spiritual sight. The capacity of the characters for empathy and the experience of bodily death assert the poet&rsquo;s faith in the immortality of the soul.</p>

scholarly journals Art Nouveau in the context of realism: Ilya Repin at the turn of two centuries

2022 ◽  
pp. 1-10
Author(s):  
Olga Sergeevna Davydova
Keyword(s):  
Two Dimensions ◽  
Art Nouveau ◽  
Main Subject ◽  
Avant Garde ◽  
Documentary Sources ◽  
Dynamic Potential ◽  
Complex Reconstruction ◽  
History Of ◽  
Artistic Image ◽  
First Time

The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the &ldquo;first wave of symbolism&rdquo; &ndash; members of the association &ldquo;The World of Art&rdquo; (primarily, the editor-in-chief of the eponymous journal S. P. Diaghilev, A. N. Benois, K. A. Somov, Y. Y. Lanceray). Special attention is given to the question of perception of I. E. Repin by certain representatives of the avant-garde in 1910s. Developing in the range &ldquo;attraction &ndash; negation&rdquo;, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX &ndash; early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and &nbsp;the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles.

scholarly journals M. YU. LERMONTOV’S POEM SVIDANIE (1841): TEXTUAL HISTORY, ARCHITECTONICS, MEANING

2021 ◽  
Vol 19 (1) ◽  
pp. 124-139
Author(s):  
Irina Kiseleva ◽  
Kseni Potashova
Keyword(s):  
Creative Process ◽  
Spiritual Life ◽  
Final Draft ◽  
Textual History ◽  
History Of ◽  
The Creation ◽  
First Time

The article discusses the formation of the poetics of the 1841 poem by M. Yu. Lermontov’s Svidanie (Rendez-vous) from first to final draft. The reconstruction of the creative history of the text allows us to imagine the peculiarities of M. Yu. Lermontov’s reasoning, his path to the creation of artistic reality in its spatial and objective design. Landscape details, visual plans, and the image of the lyrical hero change in the creative process. The novelty of research has a factual (for the first time the process of creating a poem is presented in as much detail as possible) and interpretative character, associated with the clarification of Lermontov’s poetics and worldview. The poem is interpreted as a contamination of reality, dream and transitional states, with particular attention paid to the poetics of dreams. The incompleteness of the text is presented as an aesthetic device for the reliable portrayal of the sleep phenomenon. The poem is understood as an aesthetically and metaphysically integral text, in which the author manifests himself as a person with knowledge and experience of spiritual life.

scholarly journals Prishvin and Stalin: Artistic Image of the Leader in Writer’s Work

2021 ◽  
pp. 254-270
Author(s):  
A. M. Podoksenov ◽  
V. A. Telkova
Keyword(s):  
Foreign Affairs ◽  
Soviet Period ◽  
Soviet Society ◽  
The Novel ◽  
History Of ◽  
The Subject ◽  
Characteristic Features ◽  
Artistic Image ◽  
First Time ◽  
Personal Assessment

The relevance of the study is due to the fact that the subject of the article is the question of who was the real prototype of the Chekist Sutulov in Prishvin’s novel “Tsar’s road”, which has not yet been considered in the history of foreign affairs. It is shown that in Russian literature it is difficult to find master of the pen, whose work would be to the same extent conditioned by the influence of the ideological and political context. The novelty of the research lies in the fact that for the first time an attempt was made to show how, through the artistic image of the Chekist Sutulov, one of the main characters of the novel “Tsar’s Road”, Prishvin seeks to reflect the ideo-logical and political attitudes, characteristic features of behavior, style of thinking and speech of Stalin. Particular attention is paid to the analysis of the 18-volume “Diary” of the writer, which was not previously published due to censorship restrictions, which became available to the reader only in the post-Soviet period. It is shown that, through the artistic image of Sutulov, Prishvin gives his personal assessment of Stalin’s role in the development of the state, striving to artistically faithfully and truthfully reflect the characteristic features of that atmosphere of economic, political and spiritual super-tension in which Soviet society lived in the 1930s on the eve of the Great Patriotic War.

scholarly journals Methods of the Diachronic Analysis of Author’s Proverbs of the Russian Language: the Possibility of Application

2019 ◽  
pp. 196-208
Author(s):  
Artur Zagrebelnyy
Keyword(s):  
Russian Language ◽  
Complex Method ◽  
Practical Application ◽  
National History ◽  
Revolutionary Era ◽  
History Of ◽  
Diachronic Analysis ◽  
Semantic Transformation ◽  
First Time ◽  
The Russian Language

The purpose of the article is to present the author's method of the diachronic analysis of author's proverbs of the Russian language and the possibilities of its practical application on the example of the analysis of the author's proverb Don't get in the someone's arsenal with your own machine gun. The principal novelty of the research is that a complex method of the historically distant author's proverb analysis was developed, tested and presented for the first time. The method is based on the achievements of modern scientists in the field of synchronous study of author's proverbs and their system prototypes, structural paremiology, research of the Russian language of the revolutionary era, facts of the national history of the beginning of the 20 th century. The developed method is presented in the form of a sequence of 7 stages of the analysis, allowing to describe the structural and semantic transformation of a proverb; to scientifically justify the recognition in a new proverbial unit of the source proverb by establishing the commonality of their reference to one of the 4 higher logical and semiotic invariant groups; to interpret the facts of a wide extralinguistic context, which led to the emergence of a new proverb; to formulate the opinion expressed by the author's proverb and to establish its type. The paper demonstrates the possibilities of the technique practical application by the example of analysis of the author's proverb mentioned above.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

A Confrontation between Two Doctrines: The Birth of Struggle for Hegemony in Hebrew Children's Literature during the 1930s and 1940s

2008 ◽  
Vol 1 (2) ◽  
pp. 139-155 ◽  
Author(s):  
YAEL DARR
Keyword(s):  
Children's Literature ◽  
Educational System ◽  
Single Channel ◽  
Children’S Literature ◽  
The Political ◽  
Literary Creation ◽  
History Of ◽  
High Level ◽  
First Time ◽  
Literary Quality

This article describes a crucial and fundamental stage in the transformation of Hebrew children's literature, during the late 1930s and 1940s, from a single channel of expression to a multi-layered polyphony of models and voices. It claims that for the first time in the history of Hebrew children's literature there took place a doctrinal confrontation between two groups of taste-makers. The article outlines the pedagogical and ideological designs of traditionalist Zionist educators, and suggests how these were challenged by a group of prominent writers of adult poetry, members of the Modernist movement. These writers, it is argued, advocated autonomous literary creation, and insisted on a high level of literary quality. Their intervention not only dramatically changed the repertoire of Hebrew children's literature, but also the rules of literary discourse. The article suggests that, through the Modernists’ polemical efforts, Hebrew children's literature was able to free itself from its position as an apparatus controlled by the political-educational system and to become a dynamic and multi-layered field.

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

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