scholarly journals CREATIVE WORK OF ANTON CHEKHOV IN THE ASSESSMENT OF DMITRY FILOSOFOV (based on reviews and articles of the 1900s)

2020 ◽  
pp. 156-163
Author(s):  
Nataliya G. Koptelova
Keyword(s):  
20Th Century ◽  
Russian Literature ◽  
Fin De Siecle ◽  
Early 20Th Century ◽  
Creative Work ◽  
Anton Chekhov ◽  
Religious Consciousness ◽  
Critical Method ◽  
Artistic Heritage ◽  
Zinaida Gippius

The article discusses the system of ratings, Anton Chekhov’s creative work, developed in the reviews and articles of Dmitry Filosofov of the 1900s. The features of his critical method, which were realised during this period, are characterised. It is proved that Dmitry Filosofov perceives Anton Chekhov’s work as the artistic peak of Russian literature of the early 20th century and at the same time as a certain limit in its movement. It is noted that using the principle of «in occasion of criticism» in his own way, he refracts the traditions of Vissarion Belinsky, Nikolay Dobrolyubov, Nikolay Chernyshevsky, Apollon Grigoryev. It is argued that the tendency to think in antinomies, manifested in the works of Dmitry Filosofov on Anton Chekhov in the 1900s, connects him with Dmitry Merezhkovsky. An important role in the formation of philosophical assessments of Anton Chekhov’s creative work is played by the antinomies «Chekhov and Chekhovism», «Everyday tragedy and everyday heroism». They perform the function of bonds, connecting reviews and articles of this critic in a kind of «Chekhov» cycle. Dmitry Filosofov was one of the fi rst to use the antinomy «Chekhov and Chekhovism» in his works, which later became a constant in criticising the Fin de Siècle as a whole. Assessments of Anton Chekhov’s artistic heritage, concentrated in reviews and articles by Dmitry Filosofov of the 1900s, are focused on dialogue with statements by contemporaries – Dmitry Merezhkovsky, Zinaida Gippius, Vasily Rozanov. In an indirect form, they broadcast the ideas of building a «new religious consciousness». But at the same time, Dmitry Filosofov not only illustrates other people’s critical concepts, but also opens up new facets of Anton Chekhov’s work.

scholarly journals STYLISATION OF ‟HOFFMANN’S COMPLEX” IN THE STORIES BY ALEKSANDR CHAYANOV

2020 ◽  
pp. 159-164
Author(s):  
Vera V Korolyova
Keyword(s):  
20Th Century ◽  
Final Stage ◽  
Russian Literature ◽  
Fin De Siecle ◽  
Early 20Th Century ◽  
Romantic Irony ◽  
Fin De Siècle

The Hoffmann’s layer of intertext in the neo-romantic stories of Aleksandr Chayanov is manifested systematically in the form of «Hoffmann’s complex», which was formed at the turn of the 19th – 20th centuries and it is a part of «Hoffman text of Russian literature». Aleksandr Chayanov’s stories are his own modernist text, which includes not only features of Ernst Theodor Amadeus Hoffmann’s poetics, but also the totality of the subsequent of Hoffmann’s tradition, which was refracted in the works of Russian writers of the late 19th – early 20th century. One of the important aspects of the article is the analysis of individual elements of «Hoffmann complex», which are reflected in Aleksandr Chayanov’s stories (romantic irony and grotesque, psychologism, the problem of violent influence on the personality of another, the problem of echanisation of life and human, symbol images of the mask, doll, automaton, puppet and double, the symbol image of the mirror). Aleksandr Chayanov’s work becomes the final stage in the functioning of «Hoffmann’s complex « in the Fin de siècle and it is characterised by a conscious «play» with Ernst Theodor Amadeus Hoffmann’s style, images and plots, which allows us to talk about stylisation as one of the artistic techniques in Aleksandr Chayanov’s stories.

Mass Media Workers in Russian Literature of the Early 20th Century

2021 ◽  
pp. 298-314
Author(s):  
Maria V. Mikhailova ◽  
◽  
Anastasia V. Nazarova ◽  
Keyword(s):  
Mass Media ◽  
20Th Century ◽  
Russian Literature ◽  
Professional Life ◽  
Forced Labor ◽  
Early 20Th Century ◽  
The Press ◽  
Public Consciousness ◽  
The Cost ◽  
Central Characters

The study analyzes the images of journalists in the works of Russian writers of the late 19th and early 20th centuries, the realities of their professional life and the place they occupied in pre-revolutionary society also. Although members of the press most often act as secondary characters in the prose and drama of M. Gorky, A.I. Kuprin, E.N. Chirikov and other authors, their actions have a significant impact on the development of the plot and the fate of the central characters. The “power” of the press over public consciousness is often evaluated negatively, but the journalist’s figure can be described in tragic tones in terms of how it is perceived by these writers. The journalist is shown as a person who bears all the hardships of forced labor, depends on money and bears the cost of a bohemian lifestyle.

The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein

2018 ◽  
Vol 10 (3) ◽  
pp. 45-54
Author(s):  
Joon Il Song
Keyword(s):  
20Th Century ◽  
Far East ◽  
Historical Context ◽  
Traditional Culture ◽  
Early 20Th Century ◽  
Creative Work ◽  
Eastern Culture ◽  
Chinese Traditional Culture ◽  
The Far East ◽  
Far Eastern

The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.

scholarly journals THE EVOLUTION OF CINEMATOGRAPHY IN RUSSIAN LITERATURE OF THE 1920S

2019 ◽  
Vol 8 (4) ◽  
Author(s):  
Valentina A. Nikolaeva ◽  
Natalia L. Fesyanova ◽  
Olga N. Goryacheva
Keyword(s):  
20Th Century ◽  
Russian Literature ◽  
Early 20Th Century ◽  
Time And Space ◽  
Cultural Process ◽  
The Third ◽  
Main Emphasis ◽  
Close Relationship

This paper concerns the issue of the interaction of literature and cinematography in the cultural process of the 1920s. The main emphasis is placedon the phenomenon of literary cinematography, which became widespread in the third decade of the 20th century. The content of the concept of “cinematographic literature”is defined, its significant characteristics are singled out (special compositional-syntactic organization of the work, representation of the situation of observation, the use of cinema techniques) and the development of cinematography in the work of poets and writers of the period is studied. Inthecourseof the analysis of thetexts, specific techniques and cinematographic functions characteristic of this decade were singledout. Experimenting with artistic time and space, the authors attach an innovative character to the works, develop new ways of constructing the plot. In addition, cinematography makes it possible to add the text documentary and agitationality. The study revealed a close relationship between the development of cinematography in the literature and the general tendencies of the cultural process of the early 20th century.

scholarly journals A Place of Pretense and Escapism: The Coffeehouse in Early 20th Century Budapest Jewish Literature

Religions ◽  
2018 ◽  
Vol 9 (10) ◽  
pp. 320
Author(s):  
Mari Rethelyi
Keyword(s):  
20Th Century ◽  
Urban Space ◽  
Jewish Life ◽  
Fin De Siecle ◽  
Early 20Th Century ◽  
Jewish Literature ◽  
Fin De Siècle ◽  
Jewish Writers

In Budapest, going to the coffeehouiennese Café and Fin-De-Siecle Cultuse was the quintessential urban habit. The coffeehouse, a Judaized urban space, although devoid of any religious overtones, was Jewish in that most of the owners and significant majority of the intellectual clientele were Jewish—secular and non-affiliated—but Jewish. The writers’ Jewishness was not a confessed faith or identity, but a lens on the experience of life that stemmed from their origins, whether they were affiliated with a Jewish institution or not, and whether they identified as Jews or not. The coffeehouse enabled Jews to create and participate in the culture that replaced traditional ethnic and religious affiliations. The new secular urban Jew needed a place to express and practice this new identity, and going to the coffeehouse was an important part of that identity. Hungarian Jewish literature centered in Budapest contains a significant amount of material on the coffeehouse. Literature provided a non-constrained and unfiltered venue for the secular Jewish urban intellectuals to voice freely and directly their opinions on Jewish life at the time. In the article I examine what the Jewish writers of the early 20th century wrote about Budapest’s coffeehouses and how their experience of them is connected to their being Jewish.

scholarly journals THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY

2021 ◽  
Vol 19 (1) ◽  
pp. 328-362
Author(s):  
Ludmila Mnich
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Russian Literature ◽  
Literary Work ◽  
Literary Text ◽  
Christian Tradition ◽  
Boris Pasternak ◽  
Number Symbolism ◽  
Three Stages ◽  
Zinaida Gippius

The article discusses the issues of studying and interpreting number symbolism in a literary work and characteristics of gospel number symbolism in the Christian context. In 20th-century Russian literature, the Christian tradition had a decisive impact on shaping the meaning of number symbolism. An important feature of the Christian symbolism of numbers is the correlation of number symbolism with two spheres, which can be designated as “positive” (sacral) and “negative” (sinful). The author proposes a methodology for interpreting number symbolism, which comprises three stages: 1) a description of the numbers in a literary text, 2) the correlation of these numbers with the tradition of number symbolism, 3) the interpretation of the meaning of number symbolism, which is an integral part of literary work. The article also distinguishes between two concepts — that of the number image and of the image of number, and substantiates the differences in interpretation of such images. Theoretical notions are supported by the interpretation of number symbolism in the poems of Boris Pasternak, Zinaida Gippius and Alexander Blok, where it is presented explicitly. Other images, motifs and concepts presented in the literary works augmented and added complexity to the tradition of gospel number symbolism in the poems of these authors.

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