STYLISTIC CHARACTERISTICS OF THE TEXT OF JAMES JOYCE`"ULYSSES"

2020 ◽  
Vol 2 (3) ◽  
pp. 58-67
Author(s):  
Aygul Ochilova ◽  
Keyword(s):  
James Joyce ◽  
Russian Literature ◽  
Translation Studies ◽  
The Novel

Although the work of James Joyce has been studied in English and Russian literature and translation, it has not been studied in detail in Uzbek literature and translation studies. In this work, along with revealing the problems of tradition and innovation in the work of J. Joyce, we study how the stylistic means used in the text of the novel "Ulysses" are preserved in the Russian and Uzbek translations by means of comparative-typological analysis of the original and translated texts. We identify alternatives and non-alternatives to the original Russian and Uzbek translations

PROBLEMS OF EQUIVALENCE AND ADEQUACY IN THE TRANSLATION OF THE NOVEL “NAVOI” BY AYBEK

2020 ◽  
Vol 5 (3) ◽  
pp. 153-160
Author(s):  
Elmurod Tursunov ◽  
Keyword(s):  
Translation Studies ◽  
Point Of View ◽  
The Novel ◽  
Alternative Translation

Some inappropriatenesses and defects on the issue of equivalence and adequacy in the translated version of the novel “Navoi” by Aybek are revealed in this article. These inappropriatenesses and defects are described in great detail with the help of examples and alternative translation variants are suggested, the problems of equivalence and adequacy in translation studies are researched from the scientific point of view, as well as, views and comments of the Uzbek and foreign translators and scientists are provided on theissue of the two concepts

The problem of language identity in Volodymyr Vynnychenko’s novel I want! in contemporary sociocultural context

2020 ◽  
Vol 2019 (2 (11)) ◽  
pp. 211-227
Author(s):  
Ekaterina V. Baydalova ◽  
Keyword(s):  
National Identity ◽  
Russian Literature ◽  
The Novel ◽  
Sociocultural Context ◽  
Main Character ◽  
Life Goal ◽  
Language Identity ◽  
National Question ◽  
In The Beginning ◽  
Ukrainian Society

The novel by Volodymyr Vynnychenko I want! (1915) was, on one hand, his literary answer to the discussion on the national question in Ukrainian society, and, on the other, it was his reaction to the accusations of him being a renegade resulting from his shift towards Russian literature. In 1907-1908, after the publication of his dramas and novels which were impregnated with the idea of “being honest with oneself” (it implied that all thoughts, feelings, and acts were to be in harmony), his works could be more easily published in Russian than in Ukrainian. This situation was taken by his compatriots as a betrayal against his native language and the national cause. In the novel I want! the problem of language identity is directly linked with national identity. In the beginning of the novel the main character, poet Andrey Halepa, despite being ethnic Ukrainian, spoke, thought, and wrote poems in Russian, and consequently his personality was ruined and his actions lacked motivation. It seems that after his unsuccessful suicide attempt and under the influence of a “conscious” Ukrainian, Halepa got in touch with his national identity and developed a life goal (the “revival” of the Ukrainian nation and the building of a free-labour enterprise). However, in the novel, national identity turns out to be incomplete without language identity. Halepa spoke Ukrainian with mistakes, had difficulty choosing suitable words, and discovered with surprise the meaning of some Ukrainian words from his former Russian friends. The open finale emphasises the irony of the discourse around a fast national “revival” without struggle and effort, and which only required someone’s will.

Esther Waters

2012 ◽  
Author(s):  
George Moore
Keyword(s):  
Working Class ◽  
James Joyce ◽  
Religious Beliefs ◽  
Horse Racing ◽  
The Novel ◽  
Victorian Culture ◽  
Illegitimate Child ◽  
Class Woman

I daresay I shall get through my trouble somehow.’ Esther Waters is a young, working-class woman with strong religious beliefs who takes a position as a kitchen-maid at a horse-racing estate. She is seduced and abandoned, and forced to support herself and her illegitimate child in any way that she can. The novel depicts with extraordinary candour Esther's struggles against prejudice and injustice, and the growth of her character as she determines to protect her son. Her moving story is set against the backdrop of a world of horse racing, betting, and public houses, whose vivid depiction led James Joyce to call Esther Waters ‘the best novel of modern English life’. Controversial and influential on its first appearance in 1894, the book opened up a new direction for the English realist tradition. Unflinching in its depiction of the dark and sordid side of Victorian culture, it remains one of the great novels of London life and labour in the 1890s.

scholarly journals POETICS OF CYCLIZATION IN THE PROSE OF YURIY BUYDA

2020 ◽  
Vol 12 (2) ◽  
pp. 72-80
Author(s):  
Marina P. Abasheva ◽  
◽  
Mariya V. Kurilenko ◽  
◽  
Keyword(s):  
Short Story ◽  
Social Communication ◽  
Russian Literature ◽  
General Interest ◽  
The Novel ◽  
Text Generation ◽  
Semiotic Analysis ◽  
Literary Forms ◽  
The Social ◽  
The One

The article studies the poetics of the contemporary writer Yuriy Buyda in the context of the contemporary Russian short story. The analysis of historically specific forms of Buyda’s cyclization is considered as part of the general tasks of historical poetics in studying the evolution of literary forms. Structural and semiotic analysis of the writer’s works reveals that his prose forms peculiar cycles-clusters, ‘archipelagos’, where a cycle of stories appears to be related to novels. This connection is primarily determined by the setting, but also by recurring heroes and a specific – cumulative rather than cyclical – plot that traces its origin to myth. Through the example of one such cluster of texts – the cycles Zhungli, Gates of Zhungli (Vrata Zhungley) (2011), Lions and Lilies (L’vy i Lilii) (2013), the novel Blue Blood (Sinyaya krov’) and related works – the paper investigates the nature and logic of the depicted world, the mechanisms of its intra-textual connections, as well as the genesis due to both the nature of the author’s artistic thinking and the social, historical and literary, biographical context. Thus, we can observe a tendency of transcending the genre boundaries of a story or novel in favor of hypertext rhizomatic formations – based on mythologizing strategies. These features correlate with the general interest of contemporary Russian literature in collections of short stories, on the one hand, and the contemporary novel’s leaning to disintegration of a single narrative and fragmentation, on the other. It is possible that the tendencies toward hypertext strategies for text generation are determined by the general properties of modern thinking and social communication since today the social morphology of society is built in the form of networks.

scholarly journals Герменевтические подступы к русской литературе

2018 ◽  
pp. 245-257
Author(s):  
Roman Szubin
Keyword(s):  
Russian Literature ◽  
The Self ◽  
The Other ◽  
The Novel ◽  
The World ◽  
New Space ◽  
Methodological Studies

The article is devoted to the search for a new space in the methodological studies on Russian literature. The author takes as its basis the method of hermeneutics  of words by Vardan Hayrapetyan. Especially the basic categories such as the world man (homo mundi), the Other and its variants: the self (rus. самость), otherness (rus. дру­гость), the alien (rus. чужесть) and two triads, which postulate two types of intellectual situations. In this regard, the author identifies the concept of the hybrid man of the hero of Russian literature in which a small person is a representative of an impersonal collective personality of the world man, home, family, ideas, etc. The author demonstrates the type of a hybrid man on the example of the protagonist of the novel by Vasily Shukshin Stepan Razin.

scholarly journals The main Problem of Boris Vasiliev’s Novel «Alexander Nevsky» (On the 800th Anniversary of the Birth of the Saint Prince Alexander Nevsky)

2021 ◽  
pp. 257-271
Author(s):  
Денис Владимирович Макаров
Keyword(s):  
Russian Literature ◽  
Historical Novels ◽  
The Novel ◽  
The West ◽  
Historical Method ◽  
The Government ◽  
Artistic Images ◽  
Artistic Image ◽  
The Relationship ◽  
The Church

Основная цель исследования состоит в выявлении основной проблематики романа «Александр Невский» и в исследовании особенностей художественного образа святого благоверного князя Александра Невского в художественном произведении одного из выдающихся представителей советской военной прозы Бориса Львовича Васильева. Начиная со второй половины 1990-х годов писатель воплощает в литературе образы выдающихся древнерусских князей и создаёт в своих исторических романах целую галерею художественных портретов: Владимира Святого, Ярослава Мудрого, Владимира Мономаха и многих других. В работе применяется сравнительно-исторический метод и метод филологического анализа. Для достижения указанной цели анализируется основная проблематика романа Бориса Васильева. В качестве наиболее актуальных для Руси XIII в. вопросов, поднимаемых автором, выделяются проблемы духовного наследия Византии, феодальной раздробленности, двоеверия, взаимоотношения власти (государства) и Церкви, исторического выбора между Востоком и Западом. Автором статьи предпринимает сопоставление образа святого благоверного князя Александра Невского прежде всего со знаменитым памятником древнерусской литературы XIII в. «Повесть о житии Александра Невского». Также в статье указываются предшественники Бориса Васильева в создании образа благоверного князя Александра Невского в русской литературе XIX и XX вв., среди которых поэты Аполлон Николаевич Майков, Лев Александрович Мей, Константин Михайлович Симонов и писатели Алексей Кузьмич Югов, Василий Григорьевич Ян, Анатолий Александрович Субботин, Сергей Павлович Мосияш. Наиболее важные результаты исследования состоят в выявлении основных особенностей художественного образа святого благоверного князя Александра Невского в романе Бориса Васильева. The main purpose of the research is to identify the main problems of the novel «Alexander Nevsky» and to study the features of the artistic image of the saint Prince Alexander Nevsky in the artistic work of one of the outstanding representatives of Soviet military prose - Boris Lvovich Vasiliev, who turned in the second half of the 1990s-2010s to the embodiment in artistic images of outstanding Ancient Russian princes and created in his historical novels from 1996 to 2010 a whole gallery of artistic images: Vladimir the Saint, Yaroslav the Wise, Vladimir Monomakh and many others. To achieve this goal, the main problems of the novel by Boris Vasiliev are analyzed. The research highlights the problems of the spiritual heritage of Byzantium, feudal fragmentation, dual faith, the relationship between the government (state) and the Church, the historical choice between East and West are highlighted as the most relevant issues for Russia of the XIII century raised by the author, the problems of the spiritual heritage of Byzantium, feudal fragmentation, dual faith, the relationship between the government (state) and the Church, the historical choice between the East and the West. The comparison of the image of the saint Prince Alexander Nevsky is undertaken, first of all, with the famous monument of ancient Russian literature of the XIII century «The Story of the Life of Alexander Nevsky». The work also identifies the literary predecessors of Boris Vasiliev in creating the image of the blessed Prince Alexander Nevsky in Russian literature of the XIX and XX centuries, among them the poets Apollo Nikolaevich Maykov, Lev Alexandrovich May, Konstantin Mikhailovich Simonov and the writers Alexey Kuzmich Yugov, Vasily Grigoryevich Yan, Anatoly Alexandrovich Subbotin, Sergey Pavlovich Mosiyash. The comparative-historical method and the method of philological analysis are used in the work. The most important results of the study are to identify the main features of the artistic image of the saint Prince Alexander Nevsky in the novel by Boris Vasiliev.

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.

Rushdie and the Art of Modernism

2018 ◽  
pp. 125-143
Author(s):  
Richard Begam
Keyword(s):  
James Joyce ◽  
Salman Rushdie ◽  
Accelerated Aging ◽  
Edward Said ◽  
The Novel ◽  
Avant Garde ◽  
Aesthetic Autonomy ◽  
History Of ◽  
Political Commitments ◽  
Fredric Jameson

This chapter positions The Moor’s Last Sigh (1995)—the first full-fledged novel Salman Rushdie wrote following the 1989 fatwa—in relation to criticisms of modernism advanced not only by Ayatollah Khomeini but also by scholars such as Fredric Jameson and Edward Said. It is significant that the novel’s subject is modernism itself, represented by Aurora Zogoiby, whose work synthesizes virtually every avant-garde movement, from fauvism, surrealism, and Dadaism to cubism, expressionism, and abstractionism. In offering a history of twentieth-century art, Rushdie explores how modernism can retain its aesthetic autonomy while giving voice to its social and political commitments. The chapter concludes by examining two aspects of the novel that are usually considered postmodern: the figure of the palimpsest and Moraes’s accelerated aging. The former is associated with James Joyce and T. S. Eliot’s mythic method, while the latter—with its sense of accelerated temporality—functions as a metaphor for modernism itself.

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