A. Rudalyov. 4 shots (A. Zhuchkova)

2019 ◽  
pp. 272-277
Author(s):  
Anna V. Zhuchkova
Keyword(s):  
Russian Literature ◽  
Theoretical Research ◽  
New Realism ◽  
The Press ◽  
The Subject

The review considers A. Rudalyov’s book 4 Shots [ 4 vystrela ], devoted to the ‘new realism’, a trend in 2000s Russian literature, and more specifically, works of four ‘new realists’: Z. Prilepin, R. Senchin, S. Shargunov, and G. Sadulaev. The reviewer criticizes the author for an incomplete and biased presentation of ‘new realism’, which had been a focus of intense discussions among literary critics and scholars for over a decade. The same flaw blights the descriptions of the four chapters’ respective protagonists: Prilepin, Senchin, Shargunov, and Sadulaev. Rudalyov ended up writing a panegyric, albeit with very sparse language, mainly by repetition of flattering epithets from the press. He failed, however, to address the discussion of the ‘new realism’ by critics or supply a review of literary theoretical research on the subject. Therefore, the reviewer finds the book lacking in any historical-literary and philological value.

scholarly journals A Médea és gyermekei az orosz irodalmi hagyomány tükrében

2017 ◽  
Vol 56 (1-4) ◽  
Author(s):  
József Goretity
Keyword(s):  
Russian Literature ◽  
Moral Values ◽  
Ancient Greek ◽  
Greek Myth ◽  
New Realism ◽  
Literary Traditions ◽  
Russian Literary ◽  
The Subject ◽  
Literary Techniques

The article approaches Lyudmila Ulitskaya’s Medea and Her Children from the Ancient Greek myth of Medea. The argument starts from the fact that despite the novel’s title, the text shows significant deviation from the story of the original myth. Likewise, the possible reasons for the remarkable differences between the Ancient Greek Medea figure and Ulitskaya’s eponymous heroine is the subject of investigation. It is argued that the differences are due to Ulitskaya’s distinct reliance on classical Russian literature besides the myth in creating her protagonist. The writer establishes intertextual links between her own novel and some outstanding works of Russian literature. As a result of such reminiscences and allusions, Ulitskaya’s heroine represents the moral values and an attitude to life much more typical of classical Russian literature than Antiquity. The article’s author concludes by highlighting that the success of Ulitskaya’s novels can be attributed to the writer’s excellence in combining postmodern literary techniques with the principles of “new realism” – a tendency that follows classical Russian literary traditions.

On Research and Other Matters

1922 ◽  
Vol 26 (140) ◽  
pp. 325-330
Author(s):  
S. Heckstall Smith
Keyword(s):  
British Empire ◽  
Air Force ◽  
The Other ◽  
Other Hand ◽  
Secretary Of State ◽  
The Press ◽  
The Subject ◽  
Stimulation Of

If the thought of another war troubles you, then don't read this article. If you would rather say to yourself as the Secretary of State said to the Air Conference, “ There won't be another war for ten years, so why worry? ” then no doubt you will think with him that it is better to let other nations have alk the bother and expense of trying to advance; after all, we are jolly fine fellows and can soon pick up. If, on the other hand, you have imagination which gives you a nasty queasy sensation when you think of what might be, then perhaps the following notes, albeit disjointed and mostly stale, may at least conjure up in you thoughts of your own on the subject. This is all that is needed to help, our advancement in the air–the stimulation of spoken and written thoughts by the British nation, for if every taxpayer in the British Empire says “ Air Force,” then the Press and Parliament will say it too.

Nauczyciel w czasie edukacji zdalnej w polskich tygodnikach opinii. Analiza dyskursu

2021 ◽  
pp. 59-74
Author(s):  
Justyna Dobrołowicz
Keyword(s):  
Critical Discourse Analysis ◽  
Research Question ◽  
Critical Discourse ◽  
Specific Power ◽  
Remote Work ◽  
Sociological Perspective ◽  
The Press ◽  
The World ◽  
Communication Activity ◽  
The Subject

The aim of the research presented in this article is to identify the ways in which theopinion-forming press presents teachers and their remote work with students. I assume thatby constructing press statements: mentioning or concealing certain topics, using specificlinguistic forms – journalists influence what readers think about Polish teachers, how theyevaluate their attitude to work and its effects. The problems raised in the research fall withinthe field of pedeutology – a pedagogical subdiscipline examining the teaching profession.Pedeutology helps to understand the specificity of a teacher’s work, analyses its determinants,creates models of professional competences. I have made the subject of my research thepress discourse understood as a communication activity, as a result of which we learn tothink about the world in a certain way. Although the concept of discourse is currently a usefuland popular research category, it still causes many definition difficulties. I am closest tothe sociological perspective of understanding discourse, according to which discourse hasa specific power to create the world, because it provides its participants with ways ofunderstanding reality. Getting to know the press discourse about teachers is thereforea very important matter, the way of writing about this professional group determines howpeople perceive it and how to behave towards it. The method of analysing the 18 presstexts selected for the study is a critical discourse analysis, which was used to answer thefollowing research question: what linguistic means were used in the discourse on teacher’sremote work and what the effects of this discourse may be. In the analysed texts about distance education, mainly expressions with a clearly negative semantic character are used,which in turn leads to discrediting teachers and shapes the belief about the crisis situationin education.

VIII.—High-Level Terraces in Norway

1877 ◽  
Vol 4 (2) ◽  
pp. 72-75 ◽  
Author(s):  
J. R. Dakyns
Keyword(s):  
Physical Geography ◽  
The Press ◽  
Scientific Opinion ◽  
The Subject ◽  
High Level ◽  
Do So

In the summer of 1872 I visited Norway, and wrote the following brief notice of certain high-level terraces immediately on my return to England, but kept it back that I might first consult some papers on Norwegian terraces that had appeared in the closing numbers of “Scientific Opinion”; these I was not able to meet with for so long a time that I gave up the idea of sending my notice to the press. I am now induced to do so, because I see that the subject of the parallel roads of Glenroy still occupies the attention of geologists, and it may induce some one next summer to examine minutely the Dovre terraces and sand-heaps and their relation to the physical geography of the district. I was merely able to make a flying visit to them, which I delayed my party to do, because they caught my eye so forcibly, as we were driving along the valley.

scholarly journals Images of game and gamer in the space of literature and computer games

2020 ◽  
pp. 69-80
Author(s):  
Olga Anatol'evna Bychkova ◽  
Aleksandra Valer'evna Nikitina
Keyword(s):  
Computer Games ◽  
Russian Literature ◽  
Literary Work ◽  
Psychological Type ◽  
Classical Literature ◽  
Modern Computer ◽  
The World ◽  
The Subject ◽  
Queen Of Spades ◽  
First Time

The subject of this research is the images of game and gamers. In the space of literary work, they are arrayed in metaphorical and often demonic raiment, receiving moral-ethical interpretation in one or another way. The problem of game and gamer in criticism was regarded by Y. Mann (“On the Concept of Game as a Literary Image”), V. V. Vinogradov (“Style of the Queen of Spades”), E. Dobin (“Ace and Queen”, A. Pushkin’s “The Queen of Spades”), R. Caillois (“Games and People”), British writer and researcher of online games R, Bartle, American scientist Nick Yee, and many others. However, juxtaposition of literature sources on the topic to the research in the field of computer games is conducted for the first time. The scientific novelty consists in the comprehensive examination of the psychological game of the gamer based on the material of Russian literature (A. S. Pushkin “The Queen of Spades”, V. V. Nabokov The Luzhin Defense”) , as well as the modern computer games practice, in which psychological type of the gamer found its realization and development in accordance with genre diversity. Even the Russian classical literature depict game as an autonomous space that encompasses the gamer, and often has devastating effect on their personality. The author also observes an important characterological trait of the gamer: the conceptual, “literal” perception of the world, which is based on the reception of visual images of the world against verbal. Therefore, the Russian literature alongside the research practice of modern videogames from different angles approach examination of the images of “game and gamer”, cognize the factors and consequences of the problems that emerge in this object field, as well as seek for their solution. The data acquired in the course of the conducted comparative analysis is mutually enriching.

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.

scholarly journals F.M. Dostoevsky, Author of A Writer’s Diary, in the Reactions of 1873-1874 Periodicals (Based on the Materials of the Manuscript Department at the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 134-157
Author(s):  
Anna V. Petrova
Keyword(s):  
Russian Literature ◽  
Freedom Of Choice ◽  
Editorial Policies ◽  
Daily Newspapers ◽  
The People ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Knowledge Of Christ

The article analyses the reaction of the press to the publication of A Writer’s Diary in 1873. It aims to answer the question of why leading daily newspapers such as Golos, Sankt-Peterburgskie Vedomosti, Birzhevye Vedomosti, Novoye Vremya, did not accept and negatively evaluated Dostoevsky’s work as columnist and editor of the Grazhdanin. Dostoevsky returned to the newspaper business with a new genre, and from the very beginning of A Writer's Diary he declares his unlimited freedom of choice about the topics and format of his conversations with the reader. This fact immediately distinguished him from other columnists, who usually followed the standards of the feuilleton (a genre normally dedicated to the latest news), and strictly obeyed their editorial policies, constantly taking into account the publisher’s “wishes”. Columnists from leading newspapers in 1873–1874 could not find similarities between their work and Dostoevsky’s, between his method of describing reality and theirs, and so they neither could nor wanted to see the author’s novelty and originality that went beyond the established newspaper practice, to be surprised by the courage and innovation of his Writer’s Diary. Instead, most of the journalists (Lev Panyutin, Arkady Kovner, Mikhail Wilde and others) chose to be “critical” and – using irony, satirical attacks, sarcastic comments mockingly sought to undermine Dostoevsky’s authority as a columnist and discredit the values that he put above all in A Writer's Diary in 1873 (a “heartfelt” knowledge of Christ, the purification through suffering, the preservation of a relationship with the people). The article attempts to trace the development of this controversy and the factors that influenced its contents.

scholarly journals Ironia i nihilizm. Figura bibliotekarza w Posłuchaniu u Lucypera Józefa Sękowskiego

2019 ◽  
pp. 83-94
Author(s):  
Jarosław Ławski
Keyword(s):  
National Identity ◽  
Present Article ◽  
Short Story ◽  
Subject Matter ◽  
Russian Literature ◽  
Absolute Power ◽  
Polish Literature ◽  
The World ◽  
History Of ◽  
The Subject

The subject matter of the present article is the image of library and librarian in a forgotten short story by a Polish-Russian writer Józef Julian Sękowski (1800−1858). Sękowski is known in Polish literature as a multi-talented orientalist and polyglot, who changed his national identity in 1832 and began to write only in Russian. In the history of Russian literature he is famous for Library for Reading and Fantastic Voyages of Baron Brambeus, an ironic-grotesque work, which was precursory in Russian prose. Until 1832 Sękowski was, however, a Polish writer. His last significant work was An Audience with Lucypher published in a Polish magazine Bałamut Petersburski (Petersburgian Philanderer) in 1832 and immediately translated into Russian by Sękowski himself under the title Bolszoj wychod u Satany (1833). The library and librarian presented by the author in this piece are a caricature illustration proving his nihilistic worldview. Sękowski is a master of irony and grotesquery, yet the world he creates is deprived of freedom and justice and a book in this world is merely a threat to absolute power.

A Helmet from Upper Winchendon, Buckinghamshire

1965 ◽  
Vol 45 (2) ◽  
pp. 183-191
Author(s):  
Martin Holmes
Keyword(s):  
The Press ◽  
The Subject ◽  
The Individual ◽  
National Emergency

Rather more than forty years ago the late Francis Henry Cripps-Day compiled a county-by-county survey of the weapons and armour still to be found in English churches, either as parish armour, kept there originally against a moment of national emergency, or as a memorial to some person of quality. It appeared as an appendix to the Record of European Armour and Arms which had been left unfinished by Sir Guy Laking at the time of his death, and which Mr. Cripps-Day completed and saw through the press. The information in this appendix was gathered in from various sources, and the editor gave due credit to the individual observers who had had the perception to notice odd helmets or swords in this church or that, and had taken the trouble to communicate with him upon the subject.

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