ПУШКИНСКИЙ ДОМ РАН КАК АКАДЕМИЧЕСКИЙ ЦЕНТР ИЗУЧЕНИЯ ТЕМЫ «ПРАВОСЛАВИЕ И РУССКАЯ КУЛЬТУРА». 1991–2021

2021 ◽  
pp. 14-23
Author(s):  
Алексей Маркович Любомудров
Keyword(s):  
Academic Development ◽  
Russian Literature ◽  
Russian Culture ◽  
New Information ◽  
History Of ◽  
The Moment ◽  
Religious Aspects ◽  
Official Status

Статья посвящена тридцатилетней истории изучения религиозных аспектов русской литературы под эгидой Пушкинского Дома. Детально описаны зарождение, цели и состав участников ежегодных конференций «Православие и русская культура», позволивших сказать новое слово об историческом взаимодействии веры и светского творчества. Становление исследований проходило в обстановке противодействия сил, занимавших позиции безоценочного релятивизма и откровенного антихристианства. В работе показано, как стихийно сложившийся в Институте русской литературы центр изучения православных парадигм отечественной словесности в 2008 году получил официальный статус и за годы своего существования подготовил десятки трудов, собраний сочинений классиков, сотни публикаций. Подчеркнута объединяющая и консолидирующая роль пушкинодомцев в академической разработке данной темы. The article is devoted to the thirty-year history of studying the religious aspects of Russian literature at the basis of the Institute of Russian Literature (Pushkin House). The origin, goals and participants of the annual conferences «Orthodoxy and Russian Culture», which provided new information about the historical interaction of faith and secular creativity, are described in details. The formation of the research took place in the atmosphere of confrontation between forces whose positions were relativistic and distinctly anti-christian. The work shows how the spontaneously established Center for the study of the Orthodox paradigm of Russian literature received its own official status in 2008. By the moment the Center has prepared hundreds of publications as well as collective works of classics. The unifying and consolidating role of researchers of Pushkin House in the academic development of subject mentioned above is emphasized.

The Image of a Russian Writer in Magazine Caricatures of the Silver Age

2021 ◽  
pp. 342-356
Author(s):  
Elena S. Sonina ◽  
Keyword(s):  
Civil Society ◽  
Russian Literature ◽  
Russian Empire ◽  
Silver Age ◽  
Russian Culture ◽  
History Of ◽  
The Russian Empire ◽  
Printed Word

Due to the literary-centric nature of Russian culture and the performance of the functions of civil society by the printed word, the role of the writer in the history of Russian literature and journalism of the Russian Empire was traditionally high. Therefore, satirical graphics constantly turned to the image of the Russian writer. The study compares the methods of depicting writers in the 19th and early 20th centuries and isolates the traditions of referring to the literary past and present. Caricature in connection with new trends in literature showed writers in the role of heroes of low and elite cultures, “tramps” (bossjaki) and modernists.

Russomania

2020 ◽  
Author(s):  
Rebecca Beasley
Keyword(s):  
Twentieth Century ◽  
Lived Experience ◽  
Russian Literature ◽  
Turn Of The Century ◽  
British Modernism ◽  
Russian Culture ◽  
Early Twentieth Century ◽  
French And English ◽  
History Of

Russomania: Russian Culture and the Creation of British Modernism provides a new account of modernist literature’s emergence in Britain. British writers played a central role in the dissemination of Russian literature and culture during the early twentieth century, and their writing was transformed by the encounter. This study restores the thick history of that moment, by analyzing networks of dissemination and reception to recover the role of neglected as well as canonical figures, and institutions as well as individuals. The dominant account of British modernism privileges a Francophile genealogy, but the turn-of-the century debate about the future of British writing was a triangular debate, a debate not only between French and English models, but between French, English, and Russian models. Francophile modernists associated Russian literature, especially the Tolstoyan novel, with an uncritical immersion in ‘life’ at the expense of a mastery of style, and while individual works might be admired, Russian literature as a whole was represented as a dangerous model for British writing. This supposed danger was closely bound up with the politics of the period, and this book investigates how Russian culture was deployed in the close relationships between writers, editors, and politicians who made up the early twentieth-century intellectual class—the British intelligentsia. Russomania argues that the most significant impact of Russian culture is not to be found in stylistic borrowings between canonical authors, but in the shaping of the major intellectual questions of the period: the relation between language and action, writer and audience, and the work of art and lived experience. The resulting account brings an occluded genealogy of early modernism to the fore, with a different arrangement of protagonists, different critical values, and stronger lines of connection to the realist experiments of the Victorian past, and the anti-formalism and revived romanticism of the 1930s and 1940s future.

scholarly journals N.A. Rubakin, the Great Man of Book, in Letters and Memoirs

2018 ◽  
Vol 67 (2) ◽  
pp. 165-172
Author(s):  
T. Y. Briskman
Keyword(s):  
Information Society ◽  
Publishing House ◽  
Historical Sources ◽  
Russian Culture ◽  
New Information ◽  
Russian State ◽  
History Of ◽  
Modern Information ◽  
State Library

The article presents an overview of the published and unpublished correspondence and memoirs of Nikolay Alexandrovich Rubakin, the outstanding Russian bibliologist, library scientist, bibliographer, educator and writer, whose versatile work and activities occupy the prominent place in the history of Russian culture and spiritual life of Russia in the second half of the 19th — the first half of the 20th century. The relevance of the appeal to the personality and creative heritage of N.A. Rubakin is defined by his role in studying the problems of reading and reader. In the context of the development of modern information society, the reading is of great importance in the development of spiritual and creative abilities of individual. There is highlighted the role of N.A. Rubakin in the history of the Russian State Library. The letters and memoirs are considered as documentary and historical sources containing unique biographical information. In the overview there is given their substantial characteristics and special purpose. Publications presented in the Biobibliographic Index “Nikolay Rubakin (1862—1946)”, published in the “Pashkov Dom” Publishing House of the Russian State Library in 2012, as well as the materials revealed after publication of the Index, are combined into a single array. The article gives many excerpts from the letters and memoirs, illustrating various events and facts from the life of N.A. Rubakin, which were not represented in the Indexes. There are determined the groups of his correspondents; and identified different archives holding his correspondence. Memoirs type materials, their connection with publication of the correspondence are characterized. There is revealed their potential for further research and detailed description with the purpose of introducing into the scientific circulation of new information about the life and activities of N.A. Rubakin..

scholarly journals A semiotic interpretation of national typology: the English, the Boers and ... the Russians (Ivan Goncharov’s Frigate Pallas)

Literator ◽  
1991 ◽  
Vol 12 (1) ◽  
pp. 71-81
Author(s):  
H. Mondry
Keyword(s):  
Nineteenth Century ◽  
Russian Literature ◽  
The Other ◽  
Russian Society ◽  
Dual Model ◽  
Cultural Model ◽  
Russian Culture ◽  
History Of ◽  
The One

This article examines the text of renowned nineteenth century Russian travellers notes, The Frigate Pallada, by Ivan Goncharov, the author of Oblomov. Using the teachings of Victor Shklovsky, Yurij Tynianov and Yurij Lotman on the role of the genre of travellers notes in the history of Russian literature, the author examines the chapter on the Cape Province. She demonstrates that in his descriptions of the two nations of the Cape Province - the English and the Boers - Goncharov is applying that which is known to him - his own cultural model of the Russian society of the mid-nineteenth century. In his examination of differences between the English and the Boers Goncharov applies the ideological dichotomy between the Slavophiles and the Westernisers. Goncharov, by "inverting" the "dual model of Russian culture" (Lotman & Uspensky, 1984a) draws comparisons between the Russians of the Oblomov Slavophile type on the one hand, and the English on the other hand as the model for the improvement of the industry of the economically backward Russian nation. To Goncharov the Boers resemble the Oblomov, old world side of dichotomy, which by inversions of the dual model can fluctuate between "the good" and "the bad" categories.

scholarly journals Authorial Self and Modernity as Reflected in Diaries and Memoirs. Three 19th-Century Hungarian Case Studies

2019 ◽  
Vol 9 (1) ◽  
pp. 85-97
Author(s):  
Béla Mester
Keyword(s):  
Intellectual History ◽  
Social Role ◽  
Public Intellectual ◽  
Self Reflection ◽  
Individual Character ◽  
History Of ◽  
New Type ◽  
The Moment ◽  
The One

Abstract The role of the diaries and memoirs in the process of the conscious self-reflection and their contribution to the emergence of modern individual personalities are well-known facts of the intellectual history. The present paper intends to analyze a special form of the creation of modern individual character; it is the self-creation of the writer as a conscious personality, often with a clearly formulated opinion about her/his own social role. There will be offered several examples from the 19th-century history of the Hungarian intelligentsia. This period is more or less identical with the modernization of the “cultural industry” in Hungary, dominated by the periodicals with their deadlines, fixed lengths of the articles, and professional editing houses on the one hand and the cultural nation building on the other. Concerning the possible social and cultural role of the intelligentsia, it is the moment of the birth of a new type, so-called public intellectual. I will focus on three written sources, a diary of a Calvinist student of theology, Péter (Litkei) Tóth, the memoirs of an influential public intellectual, Gusztáv Szontagh, and a belletristic printed diary of a young intellectual, János Asbóth.

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.

Historiosophy of N.Ya. Danilevsky

2020 ◽  
Vol 58 ◽  
pp. 13-17
Author(s):  
Victor V. Aksyuchits
Keyword(s):  
20Th Century ◽  
World History ◽  
Russian Culture ◽  
Russian People ◽  
The World ◽  
History Of ◽  
First Time

According to the author of the article, N.Ya. Danilevsky anticipated a lot of ideas of the 20th century, in particular those of O. Spengler and A. Toynbee, by offering his concept of cultural and historical types in the book “Russia and Europe”. At the same time N.Ya. Danilevsky was in many aspects the follower of Slavophils while interpreting the originality of Russian people and Russian culture. After the turn of the educated society circles to Russian national self-comprehension initiated by Slavophils, N.Ya. Danilevsky not only scientifically formulated the problems brought forth by the Slavophils, but also offered for the first time the resolution of new important questions by analyzing the world history and the history of Slavic peoples. The author especially stresses the role of N.Ya. Danilevsky in creating the historiosophic concept that forestalled the epoch for many decades.

The Newspaper in Economic Development

1942 ◽  
Vol 2 (S1) ◽  
pp. 1-33 ◽  
Author(s):  
Harold A. Innis
Keyword(s):  
University Graduates ◽  
Industry Studies ◽  
Newspaper Industry ◽  
Economic Interpretation ◽  
The Press ◽  
History Of ◽  
The Subject ◽  
The Moment ◽  
Dominant Influence

The bibliography of this subject is the subject, and the enormous filescourse of over three centuries are formidability itself. To reduce the element of formidability it is necessary to turn to studies of the newspaper in terms of countries, regions, owners, editors and journalists. But again the bibliography reflects the character of the press. Newspapermen have contributed notably, but unfortunately the training in newspaper work is not ideal for an economic interpretation of the subject. The increasing participation of university graduates in journalism provides a basis for more objective studies, but even here the training.exercises a subtle influence and weakens the possibility of a sustained and effective interpretation. Throughout the history of the newspaper industry, studies reflect the dominant influence of the moment, or perhaps it is safer to say, represent the dominant influence of the tradition of the industry; hence they show a perceptible lag between the newspaper as it is and the newspaper as it was. In the main they are obsessed with the role of the press in relation to political opinion, the importance of freedom of the press, the fourth estate and so on; they are suffused with innumerable cliches1 constantly bubbling up from the effervescence of writing.

scholarly journals Nature Images in Russian Odic Poetry of the 18th – Early 19th Centuries: Functional Role and Influence on the Further Literary Process

2021 ◽  
Vol 3 (2) ◽  
pp. 40-61
Author(s):  
Alexey V. Svyatoslavsky
Keyword(s):  
Functional Role ◽  
Lyric Poetry ◽  
Russian Literature ◽  
Historical Events ◽  
Organic Part ◽  
Civic Consciousness ◽  
Literary Process ◽  
History Of ◽  
The Subject

The article is devoted to the functional role of nature images in the formation of the imaginary structure of Russian odic poetry of the 18th – early 19th centuries. Examples are taken from the odic poetry of Mikhail Lomonosov, Vasily Trediakovsky, Alexander Sumarokov, Mikhail Kheraskov, Gavrila Derzhavin, Dmitry Khvostov. An attempt was undertaken to answer two questions: the place nature images occupied in odic poetry in the era of its pride and, secondly, the possibility to find in the poetry of classicism, despite the condescending attitude towards it that developed later in the history of Russian literature, something that constituted an organic part of the Russian classics of the 19th and 20th centuries. The functional role of nature images in the odic genre is shown, which, as it seemed, by definition is alien to natural themes, being organically connected with the pathos of civic consciousness and the appeal to the themes of heroism, great personalities, and historical events. However, as it turns out in a number of cases, the very objects of nature evoke the poet's admiration as an impressive work of the Creator, in others, nature is a background that in a certain way enhances the impression of the very historical events that constitute the subject of odic poetry. The conclusion is made about a certain continuity in the depiction of nature – from odic poetry to Russian lyric poetry and prose of the 19th and 20th centuries.

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