V. Odoevsky and N. Gogol: History of One Autograph

Author(s):  
Evgenia E. Vishnevskaya

This article is about the relationship between two outstanding representatives of Russian culture — V.F. Odoevsky and N.V. Gogol, and also about the history of the book from V.F. Odoevsky’s collection with N.V. Gogol’s donative inscription.

2014 ◽  
Vol 126 (4) ◽  
Author(s):  
Tchavdar S. Hadjiev

The rhetorical function and historical origins of the message of judgment in the book of Zephaniah have been interpreted very differently by scholars. The literary history of the book partly explains this diversity. Zephaniah began its written existence as a call to repentance in pre-exilic Judah (1,2–2,3), then served as an explanation for the disaster of 587 BC (1,2–3,8) and, in its final form, as a promise of redemption to the post-exilic community. The meaning of the proclamation of doom was radically transformed by the various historical and canonical contexts in which the book was read. Attention to this process helps to clarify, on one hand, the relationship between the book and the figure of the historical prophet and, on another, provides a basis for modern theological appropriations of its message.La fonction rhétorique et les racines historiques du message de jugement du livre de Sophonie ont été interprétées de manières divergentes par les exégètes, ce que l’histoire littéraire du livre explique en partie. Sophonie débuta son expérience d’écrivain par un appel à la repentance en Juda pré-exilique (1,2–2,3), puis produisit une explication pour la catastrophe de 587 av. J.-C. (1,2–3,8), pour aboutir à une promesse de salut pour la communauté post-exilique. La portée des oracles de jugement s’est cependant radicalement transformée du fait des contextes historiques et littéraires divers dans lesquels le livre a été lu. La prise en compte de ce processus permet d’une part d’expliciter les rapports entre le livre et la figure historique du prophète, et offre d’autre part une base d’interprétation théologique actuelle de son message.Die rhetorische Funktion und die historischen Wurzeln der Gerichtsbotschaft des Buches Zefanja sind in der Wissenschaft sehr unterschiedlich interpretiert worden. Die Literargeschichte des Buches erklärt diese Vielfalt teilweise. Die Zefanjaschrift war zunächst ein Ruf zur Umkehr im vorexilischen Juda (1,2–2,3), sie diente dann als Erklärung für die Katastrophe von 587 v. Chr. (1,2–3,8) und in ihrer Endgestalt als Verheißung der Erlösung für die nachexilische Gemeinde. Die Bedeutung der Unheilsverkündigung hat sich durch die verschiedenen historischen und literarischen Kontexte, in denen das Buch gelesen wurde, radikal gewandelt. Die Beachtung dieses Vorgangs hilft einerseits die Beziehung zwischen dem Buch und der Gestalt des historischen Propheten zu klären und bietet andererseits eine Grundlage für heutige theologische Anwendungen seiner Botschaft.


2021 ◽  
pp. 106-118
Author(s):  
I.A. Edoshina

The article reconstructs the relations between two contemporaries, two classics of Russian culture – Alexander Ostrovsky and Fyodor Dostoevsky. The relations are considered in the dynamics of their development. Despite the fact that contemporaries of Ostrovsky and Dostoevsky noted the playwright’s critical perception of Dostoevsky’s work, the emphasis is placed on the friendly nature of their relationship, the proximity of their aesthetic views, and the commonality of their creative framework. The article stresses that the proximity of their aesthetic views on artistic creativity will become the basis for Ostrovsky’s cooperation with the Dostoevsky brothers’ journal “Vremya” (Time). The research undertaken here analyzes the reasons for the termination of this cooperation and the nature of further relations between Ostrovsky and Dostoevsky, their mutual assessment of each other’s creativity. As a result, it is noted that although Dostoevsky did not enter Ostrovsky’s inner circle, in his plays the playwright addressed the issues that worried both of them.


2015 ◽  
Vol 9 (1) ◽  
pp. 40-54
Author(s):  
Emily Lauer

Based on a talk given at the Symposium in honor of Dr. Greetham’s retirement, this essay addresses the influence Greetham has had on the author’s scholarship and pedagogy. Lauer describes a project she completed as Greetham’s student in which she analyzed the illustration history of the book Alice’s Adventures in Wonderland. She argues that the history of a text’s illustration can be read as a history of publishing intent: just as different annotations suit a text for a particular implied readership, so too do different illustrations. The illustrators of Alice come after each other, not to re-envision the words of Lewis Carroll, but to re-envision the scenes as already represented pictorially. Furthermore, Lauer posits that the creation of different illustrated editions is part of the historical trajectory of versioning. As Greetham says of annotation, illustration, too, is “always contingent and local, for the relationship between text and audience is always changing” (1994, 369).


Paleobiology ◽  
1980 ◽  
Vol 6 (02) ◽  
pp. 146-160 ◽  
Author(s):  
William A. Oliver

The Mesozoic-Cenozoic coral Order Scleractinia has been suggested to have originated or evolved (1) by direct descent from the Paleozoic Order Rugosa or (2) by the development of a skeleton in members of one of the anemone groups that probably have existed throughout Phanerozoic time. In spite of much work on the subject, advocates of the direct descent hypothesis have failed to find convincing evidence of this relationship. Critical points are:(1) Rugosan septal insertion is serial; Scleractinian insertion is cyclic; no intermediate stages have been demonstrated. Apparent intermediates are Scleractinia having bilateral cyclic insertion or teratological Rugosa.(2) There is convincing evidence that the skeletons of many Rugosa were calcitic and none are known to be or to have been aragonitic. In contrast, the skeletons of all living Scleractinia are aragonitic and there is evidence that fossil Scleractinia were aragonitic also. The mineralogic difference is almost certainly due to intrinsic biologic factors.(3) No early Triassic corals of either group are known. This fact is not compelling (by itself) but is important in connection with points 1 and 2, because, given direct descent, both changes took place during this only stage in the history of the two groups in which there are no known corals.


Crisis ◽  
2016 ◽  
Vol 37 (4) ◽  
pp. 265-270 ◽  
Author(s):  
Meshan Lehmann ◽  
Matthew R. Hilimire ◽  
Lawrence H. Yang ◽  
Bruce G. Link ◽  
Jordan E. DeVylder

Abstract. Background: Self-esteem is a major contributor to risk for repeated suicide attempts. Prior research has shown that awareness of stigma is associated with reduced self-esteem among people with mental illness. No prior studies have examined the association between self-esteem and stereotype awareness among individuals with past suicide attempts. Aims: To understand the relationship between stereotype awareness and self-esteem among young adults who have and have not attempted suicide. Method: Computerized surveys were administered to college students (N = 637). Linear regression analyses were used to test associations between self-esteem and stereotype awareness, attempt history, and their interaction. Results: There was a significant stereotype awareness by attempt interaction (β = –.74, p = .006) in the regression analysis. The interaction was explained by a stronger negative association between stereotype awareness and self-esteem among individuals with past suicide attempts (β = –.50, p = .013) compared with those without attempts (β = –.09, p = .037). Conclusion: Stigma is associated with lower self-esteem within this high-functioning sample of young adults with histories of suicide attempts. Alleviating the impact of stigma at the individual (clinical) or community (public health) levels may improve self-esteem among this high-risk population, which could potentially influence subsequent suicide risk.


Author(s):  
Jesse Schotter

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.


Author(s):  
Ted Geier

Covers the long history of the Smithfield animal market and legal reform in London. Shows the relationship of civic improvement tropes, including animal rights, to animal erasure in the form of new foodstuffs from distant meat production sites. The reduction of lives to commodities also informed public abasement of the butchers.


2020 ◽  
Vol 22 (3) ◽  
pp. 330-343
Author(s):  
Fabio Camilletti

It is generally assumed that The Vampyre was published against John Polidori's will. This article brings evidence to support that he played, in fact, an active role in the publication of his tale, perhaps as a response to Frankenstein. In particular, by making use of the tools of textual criticism, it demonstrates how the ‘Extract of a Letter from Geneva’ accompanying The Vampyre in The New Monthly Magazine and in volume editions could not be written without having access to Polidori's Diary. Furthermore, it hypothesizes that the composition of The Vampyre, traditionally located in Geneva in the course of summer 1816, can be postdated to 1818, opening up new possibilities for reading the tale in the context of the relationship between Polidori, Byron, and the Shelleys.


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