“Le plus national et le plus populajre”: Language of Krylov’ Fables (To the 250-th Krylov’s Anniversary)

2019 ◽  
Vol 80 (1) ◽  
pp. 64-71
Author(s):  
Dmitrii A. Romanov
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
Literary Language ◽  
Linguistic Features ◽  
Literary Style ◽  
Syntactic Features ◽  
Literary Art ◽  
Russian Literary ◽  
The 19Th Century ◽  
Further Development

This article discusses the lexical and syntactic features of I.A. Krylov’s fable texts. I.A. Krylov’s literary art is analysed against the context of a creative competition between the old and new styles of Russian literature in the first third of the 19th century. A particular focus of this article is on the analysis of Krylov’s contribution to the standardisation of the Russian literary language, as well as to the outlining of the directions of its further development. The specific linguistic features of Krylov’s literary style are revealed and illustrated.

scholarly journals Transforming the image of Yakutia in Russian lyric poetry

2021 ◽  
pp. e021026
Author(s):  
Anna Igorevna Oshchepkova ◽  
Evdokiya Maksimovna Dorofeeva
Keyword(s):  
19Th Century ◽  
Lyric Poetry ◽  
Literary Tradition ◽  
Russian Literature ◽  
Foreign Culture ◽  
Russian Poetry ◽  
Russian Literary ◽  
The 19Th Century

The topic of the reception of Russian classics is often considered in the context of the formation of Yakut literature to determine the influence of Russian literature on the genesis of the Yakut written tradition. In the study of the genesis of Yakut literature, the focus is usually on the influence of Russian literature. Therefore, there is already sufficient experience in determining the degree of reliance of literature with a recent system of writing on the Russian literary tradition. Nevertheless, the question of the influence of the Yakut theme on the formation of the creative consciousness of Russian writers is also difficult. Upon close examination, the reception of a foreign culture appears to be sufficiently differentiated: the influence of the Yakut culture was predominantly indirect. The Yakut theme in Russian literature has a receptive character since there was no concept of the Yakut context at all in the socio-cultural situation of the 19th century. Writers begin to form the "Yakut text" in Russian literature based on the perception of the listener and the reader. Thus, the comprehension of the Yakut culture follows the path of recoding the texts of an "alien" tradition into the language of "one's own" literary tradition. The article deals with the transformation of the image of Yakutia in the works of Russian poets of the 19th–20th centuries. The trend is considered from the perspective of expanding the aspects of the figurative representation of Yakutia and the nature of perception of Russian poetry to the Yakut national topos and is divided into several stages.

scholarly journals GENRE SPECIFICITY OF MIKHAIL ALBOV’S DILOGY “OF PEOPLE «IN SEARCH OF THE CITY»”

2020 ◽  
pp. 145-150
Author(s):  
Galina I. Romanova ◽  
Kristina V Rizayeva
Keyword(s):  
19Th Century ◽  
Life Stories ◽  
Russian Literature ◽  
Late 19Th Century ◽  
Russian Literary ◽  
Literary Process ◽  
Static Character ◽  
The 19Th Century ◽  
The City

Genre specifi cs of the stories «Lyol’ka’s Upbringing» and «A Day in the Vastness of Nature» by Mikhail Albov is considered. Historical-typological analysis of both works is given. Chronotope, type of plots, features of speech organisation in both stories, which are considered as a dilogy, are analysed. The overview characteristic of the existence of the genre of story in the Russian literary process is given, the exclusive affi liation of story genre to Russian literature is noted. Literary trends of the late 19th century are marked, the signifi cant role of the story genre in Russian literature in the 2nd half of the 19th century is indicated. Two traditions in determining the specifi cs of the story genre – by formal features and by meaningful characteristics - are noted. Mikhail Albov’s works general specifi city - the static character of heroes when repeatedly using the same names and life stories of characters in different works of the writer – is presented. The story «Lyol’ka’s Upbringing» by Mikhail Albov is characterised as storytelling traditional one for literature about suffering children, a conclusion about the writer’s creative perception of Fyodor Dostoevsky’s works is made. The story «A Day in the Vastness of Nature» by Mikhail Albov is defi ned as one unrelated to the story «Lyol’ka’s Upbringing» by plot. The article proves that the stories constitute a dilogy. Prevalence of psychology in portraying heroines of both stories is noted; the genre invariant of a story, characteristic of belles lettres of the last third of the 19th century, is identified.

scholarly journals The concept “people” in A. S. Shishkov’s manifestoes in the discourse of the Patriotic War of 1812

2020 ◽  
Vol 11 (3) ◽  
pp. 25-41
Author(s):  
A. B. Panchenko
Keyword(s):  
19Th Century ◽  
Historical Context ◽  
Nation Building ◽  
War Of 1812 ◽  
Literary Language ◽  
National Unity ◽  
Class Society ◽  
National Affair ◽  
Russian Literary ◽  
The 19Th Century

The Patriotic War of 1812 is an event that influenced the formation of the Russian na­tional consciousness. At that time, imperial and class identities coexisted. With the de fac­to ban on discussing the idea of a civil nation, Russian intellectuals focused on the cultural and linguistic components of nationalism. The aim of this study was to identify the content of the concept of ‘people’ in the manifestoes by Shishkov. These texts expressed the official posi­tion of the supreme authority on national unity. The method of discourse analysis employed by the author, made it possible to place Shishkov’s texts in a broader historical context, trac­ing their origins in the discussions on the language of the beginning of the 19th century and determining their impact on the subsequent process of nation-building. Being a supporter of the creation of the Russian literary language on the basis of the folk and Church-Slavonic Russian, Shishkov embodied these views in the texts of manifestoes during the War of 1812. Although there is a certain contradiction between the ideas of class society and national unity, the style and images used made it possible for representatives of all classes to perceive the texts. Later on, “people” as a synonym of “nation” was widely used in the formation of the myth of war as a national affair, forming the foundation for the formation of the Russian na­tional consciousness.

scholarly journals The Literary Portrait from Pushkin to Dostoevsky

2020 ◽  
pp. 86-104
Author(s):  
Elena V. Stepanian-Rumyantseva
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
Dynamic Nature ◽  
Human Personality ◽  
Literary Portraits ◽  
Existential Choice ◽  
Literary Portrait ◽  
The 19Th Century ◽  
Physical Resemblance ◽  
As If

The article explores the peculiarities of literary portraits and studies the interconnections and contrasts between painted and written portraits. The recognizability of a portrait in pictorial art is attained not only through physical resemblance but also through “artistic deformations” that the author introduces to the appearance of the portrayed. In a literary portrait, identification is achieved both by verbal and plastic detailing and by addressing the reader’s inner experience and imagination. Traditionally, the literary portrait in the Russian literature of the 19th century is based mostly on plastic characteristics, comparisons, and color accents, and because of this, it is often defined as “pictorial”. However, portraits by Pushkin and Dostoevsky stand out as exceptionally original, as if created from a different material. Pushkin avoids detailing, instead, he presents a “suggestive” portrait, i.e., a dynamic outline of the personality. The reader’s imagination is influenced not by details, but rather by the dynamic nature of Pushkin’s characters. Dostoevsky does not inherit Pushkin’s methods, though he also turns to a dynamic principle in describing the heroes of his novels. When they first appear, he presents them as if from different angles of vision, and their features may often be in discord, which makes the reader sense a contradictory impact of their personalities, as well as of their portraits. This kind of portrait is a dynamic message, where the reader follows the hero along unexpected and contrasting paths that the author previously mapped for him. From the beginning to the very end of their works, these two classics of Russian literature present the human personality as a being in a state of life-long development, always changing and always free in its existential choice.

scholarly journals “Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity

2020 ◽  
Vol 3 ◽  
pp. 205920432094906
Author(s):  
Aaron Carter-Ényì ◽  
Quintina Carter-Ényì
Keyword(s):  
19Th Century ◽  
Primary Source ◽  
Art Music ◽  
Musical Aesthetics ◽  
Linguistic Features ◽  
Music Practice ◽  
Interval Size ◽  
Two Measures ◽  
Tone Level ◽  
The 19Th Century

Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consistent with the account of W. E. B. Du Bois, who argued that African melody was a primary source for the development of American music. The development of the American spiritual coincides with increasing interval size in 19th-century American hymnody at large, surpassing the same measure applied to earlier European hymns. Based on these findings, we recommend techniques of melodic construction taught by music theorists, especially preference rules for step-wise motion and gap-fill after leaps, be tempered with counterexamples that reflect broader musical aesthetics. This may be achieved by introducing popular music, African and African Diaspora music, and other non-Western music that may or may not be consistent with voice leading principles. There are also many examples from the European canon that are highly angular, like Händel’s “Hallelujah” and Schönberg’s Pierrot Lunaire. Although the tendency of textbooks is to reinforce melodic and part-writing prescriptions with conducive examples from the literature, new perspectives will better equip performers and educators for current music practice.

The Kore archetype and its implementation in the play by A.N. Ostrovsky “The Storm”

Neophilology ◽  
2020 ◽  
pp. 521-529
Author(s):  
Kirill V. Smirnov
Keyword(s):  
19Th Century ◽  
Golden Age ◽  
Russian Literature ◽  
Specific Situation ◽  
Russian Woman ◽  
Interpretive Methods ◽  
To Come ◽  
The 19Th Century

We analyze the implementation specific of the Kore archetype, introduced by C.G. Jung and K. Kerenyi, in relation to the image of Katerina, the main heroine of the play “The storm” by A.N. Ostrovsky. The main focus is on the archetype of Katherine’s image. In the process of research, comparative typological, historical, biographical and interpretive methods are used. Due to the analysis of the works of V.V. Toporova, E.M. Meletinsky, N.A. Berdyaev, T. Eliot and others, Katerina’s involvement in the Kore archetype is revealed. We investigate the specific situation of Katerina’s life in the Kabanov family: dependence on circumstances forces the heroine to commit adultery in order to find female happiness. We prove that Katerina’s image created by A.N. Ostrovsky and actualizing the most pressing problems of the modern playwright of society, is typical for Russian literature of the Golden age in social and psychological terms. A detailed study of the main character’s image allows us to come to the conclusion that the illusory feeling and the subsequent doom to suffer reproduce the stable image of a Russian woman, ready for love, but receiving nothing in return. The results of this study may be interesting to everyone who is interested in the work of A.N. Ostrovsky and archetypes in Russian literature of the 19th century.

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