scholarly journals FUNCTIONS OF REMINISENCES IN CHRISTMAS STORIES OF MODERN RUSSIAN WRITERS (ON THE EXAMPLE OF THE WORKS OF Yu. BUIDA AND D. BYKOV)

Author(s):  
G.G. Ramazanova ◽  
Z.A. Zaripova

The Little Match Girl by H.Ch. Andersen is a fairy tale that tells a tragic story about a child's death at Christmas night. Famous Russian authors Yu. Buida and D. Bykov have written stories with the same names (The Little Match Girl and The Little Match Girl Gives a Light). The authors deliberately used these names to show the relation with the famous work. In both stories, the action is set within the timeline defined by the canons of religious calendarial prose. There are miracles in the stories; the Christmas characters are archetypes, as they are kind, merciful and compassionate. The stories written by the contemporary authors are examples of a kind of a palimpsest. They show the socio-historical collisions and moral problems of the post-Soviet time. The article uses the comparative method which allows us to consider the types of characters, to find literary traditions and innovations in the prose of the writers. It is important to take an intertextual approach during (when) examining the stories. It helps identify and analyze how certain motifs and images relate in the 19th century literature and fiction texts of modern writers. This approach reveals the deep connection between the works and the texts of world and Russian literary classics.

Author(s):  
L. A. Kurysheva

One of the popular plots of the Russian literary ballad of the last third of the 18th – the first decade of the 19th century was the story of treacherous love. Ya. B. Knyazhnin’s Flor and Lisa. A Tale in Verses (1778) is one of the first Russian ballads. In addition, this is the first Russian ballad with the appearance of the dead man – the plot situation is so productive in the subsequent, romantic period. It is characteristic that at the early stage of the formation of a new literary genre, the nomination “ballad” does not appear for all authors. Poets get along either without a genre designation, or use more familiar nominations, genres in origin related to a lyro-epic ballad: song, romance, “fairy tale in verses”. We observe, on the one hand, the variability of genre nominations for the lyric-epic narration of a personal dramatic event, and on the other hand, the instability of ideas about the formal and substantive components of the genre of “ballad”. The most typologically close to Flor and Lisa is the N. M. Karamzin’s ballad Alina (<1790– 1791>). Both ballads are devoted to the theme of infidelity and both develop a ballad version of the fairy-tale plot “The husband at the wife’s wedding”, which ends with the transition to the world of the dead and the reunion of lovers. In addition, the similarity lies in a detailed narrative manner and the psychologization of the ballad conflict through direct author commentary. In Flor and Lisa, all events – love, betrayal and the reunion of lovers in death – are presented as extraordinary. The tragic ending is due to the mysterious connection of the fate of the two characters, reinforced by the mythology of the “plant code”. The verification technique (quatrains, four-footed iambic, cross-rhyme, alternating female and male clauses) emphasizes the tightness of the love story. In Karamzin’s Alina, the course of action is due to a combination of universal laws of human existence and the fateful connection of characters. The ballad event is the final union of lovers, despite their stay in different worlds, earthly and heavenly. The mythopoetic basis of the plot is composed of images of changing elements and nature. The verification technique (non-strophic four-foot iambic with free rhyme) supports the idea of fluidity, whimsicality of the elements of life.


Author(s):  
Darya A. Zaveljskaya

The paper deals with the issue of forming of fairy tales artistic model in Russian drama. Currently, one considers dramatic fairy tale mainly in a general context of development of the author's literary fairy tale, although it has its own specifics. The study reviews some questions on the style and genesis of the Russian literary fairy tale for children in relation to the development of author's literary fairy tale as such. The author analyzes the influence of poetics of romanticism on the specifics of dramatic fairy tale, as well as the features of dramatic works by V. F. Odoevsky, who significantly influenced children's literature. His play “The Tsar-Maiden,” intended for children, is considered in comparison with a play by E.-T.-A. Hoffmann “Princess Blandina,” with similarities found in the system of characters, motif of matchmaking and some plot features associated with this motif. The fairy-tale play for adults “Segeliel or Don Quixote of the 19th century” analyzes the motifs of personified confrontation of good and evil and the interpenetration of magic and the ordinary, which was characteristic of romanticism in general and embodied both in other works of Odoyevsky and in later, mainly children's fairy-tale drama. The author suggests the possibility of influence of Odoevsky's plays on the development of children's drama. In both plays, we see the conventionality of artistic reality, resonating with humorous or ironic author's intonation. The paper also addresses I. A. Krylov's magical comic opera “Ilya Bogatyr,” revealing many characteristic features of Odoevsky's plays. At the same time, a distinction is made between Krylov's work and romantic direction, since the tradition of classicism is more clearly manifested in it. One may consider a reduction in pathos owing to humorous playing of heroic and mystical motifs as a feature of the comic opera. The analysis of these works allows us to formulate some characteristics of artistic model of the fairy-tale play, including conventionality of a fictional world, unexpected turns, personification of good and evil, unsteadiness of boundaries between the miracle and the ordinary, as well as humor and irony.


Author(s):  
Alexander W. Belobratov

The analysis of the active reception process, the interaction of “its own” and “alien” seems very fruitful in the study of the epoch-making Robert Musil’s novel “Man without qualities” (1930–1942). The analytical evaluation of the Austrian author’s contact with the “alienness” (in this case, with Russian literary classics) in the form of the discovery of “his own essence” is carried out at the micro-level of individual concepts, expressions, descriptions of characters, and explicit or implicit quotations. The intertextual level of reading the novel expands at the expense of the intercontextual level. Thus, the literary text is read from the foreign (Russian) reader’s cultural referential framework. This means an attempt to recognize the reader’s “own essence” in the “alienness” text, to reinterpret a foreign text, when, on the one hand, the “own essence”, i.e. in this case the work of the 19th century Russian novelists, is subjected to scrutiny in relation to its reception of the Austrian writer as “alien”. On the other hand, Musil’s novel is read through the lens of Russian cultural awareness, and included in the contextual framework of Russian reception, formed by Goncharov’s, Dostoevsky’s, and Leo Tolstoy’s works.


2020 ◽  
Vol 6 (3) ◽  
pp. 51-56
Author(s):  
Bakhodir Kholikov ◽  

The article examines the question of writer’s individuality in the literary interpretation of social and moral problems etective novels on the examples of works "The Godfather" by Mario Puzo and "Shaytanat" by Tahir Malik. The article focuses on the study of the relationship between the reality of a work and reality of life in the context of the period. The comparative method was used in the process of understanding the content of these works, created in different periods


2014 ◽  
Vol 4 (2) ◽  
pp. 211-232 ◽  
Author(s):  
Katrin Riese ◽  
Mareike Bayer ◽  
Gerhard Lauer ◽  
Annekathrin Schacht

Plot suspense is one of the most important components of narrative fiction that motivate recipients to follow fictional characters through their worlds. The present study investigates the dynamic development of narrative suspense in excerpts of literary classics from the 19th century in a multi-methodological approach. For two texts, differing in suspense as judged by a large independent sample, we collected (a) data from questionnaires, indicating different affective and cognitive dimensions of receptive engagement, (b) continuous ratings of suspense during text reception from both experts and lay recipients, and (c) registration of pupil diameter as a physiological indicator of changes in emotional arousal and attention during reception. Data analyses confirmed differences between the two texts at different dimensions of receptive engagement and, importantly, revealed significant correlations of pupil diameter and the course of suspense over time. Our findings demonstrate that changes of the pupil diameter provide a reliable ‘online’ indicator of suspense.


2011 ◽  
Vol 85 (6) ◽  
pp. 55-58
Author(s):  
Catharine Theimer Nepomnyashchy

Kultura ◽  
2020 ◽  
pp. 51-68
Author(s):  
Jovana Nikolić

The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.


2020 ◽  
Vol 27 (1) ◽  
pp. 56-72
Author(s):  
Tatiana A. Isachenko

<p>&nbsp;The motif of &ldquo;the escape from paradise&rdquo; has recently become one more time the subject of historical poetics. This motif is opposed to &ldquo;the expulsion from paradise&rdquo; accepted in Western literature. In the perception of scholars the motif of &ldquo;the escape from paradise&rdquo; in 19th century literature took a paradoxical form of &ldquo;loneliness&rdquo; (Dmitriev, Pushkin, Ostrovsky and Batyushkov) and then was designated as a &ldquo;moving&rdquo; model of a Russian man&rsquo;s life who escapes from Paradise&nbsp;&mdash; a &ldquo;homeostatic&rdquo; society (L.&nbsp;N.&nbsp;Gumilev). The transformation of the motif from a &ldquo;stable&rdquo; model to a &ldquo;moving&rdquo; one led to formation of a new Russian character&nbsp;&mdash; a &ldquo;homeless wanderer&rdquo; mentioned by F.&nbsp;M.&nbsp;Dostoevsky in his &ldquo;Pushkin Speech&rdquo;. The article puts forward a thesis that under the influence of wandering a part of Russian society feel inclined for Old Russian forms of world outlook that incites person&rsquo;s searches for life paradise in his own soul. This trend appears in the pilgrimage and theological literature of the 19th century. The transformation of the ratio between the &ldquo;stable&rdquo; and the &ldquo;moving&rdquo; towards the Old Russian ideal of wandering brings man to the saving paths of evangelical commandments. The theme of &ldquo;escape in the desert&rdquo; is closely related to the theme of &ldquo;Mental Paradise&rdquo;. In this regard, the key plot of the popular collection &ldquo;Mental Paradise&rdquo; popular in the 17th century and released in Wallay Iversky Monastery in 1658&ndash;1659 is considered. Based on the manuscripts the article shows how the motives of &ldquo;Paradise&rdquo; and &ldquo;escape in the desert&rdquo; having preceded the trends and having been developed in the 19th century leading to the prosperity of pilgrimage literature, are presented in literature of pre-Peter Russia.</p>


Author(s):  
Luidmila Pastushenko

The article presents the first attempt of a complete and systematic analysis of historic and theological publications of teachers and pupils of the Kyiv Theological Academy in the second half of the 19th – beginning of 20th century in the field of studying the history of relations of Catholicism and Protestantism with Orthodox on the Ukrainian lands. The specifics of Kyiv academic historians studies was determined by the social and-political circumstances in the middle of the 19th century and denoted by an attempt to comprehend this issue in the perspective of the history of interconfessional relations of two Western Christian traditions with the eastern tradition of Orthodoxy in the historical gap of the 16th – 17th centuries – the period of the largest confrontation in confessional relations in Ukraine. The author clarifies the characteristic features of researching the question of inter-confessional interaction in the 15th – 17th centuries, which are expressed in attempts to describe the coexistence of three denominations as multidimensional and provoking а variety of different interpretations. Historical studies present the attempt to show confessional interaction in the political and legal aspects and to provide historical interpretations to the ground of philosophy of history. The article proves the tendency of Kyiv academic researchers to move away from the established Russian historiography of the 19th century view at confessional relations in Ukraine through the prism of hard confrontation and outline in religious life Ukraine conditions and circumstances of inter-confessional dialogue. Also, historians in their studies repeatedly note the significant educational and outlook influence of Western Christian denominations on the formation of educational, cultural, theological, literary traditions in Ukraine.


Author(s):  
Eduard L. Afanasyev ◽  

The article deals with the work of Metropolitan of Moscow Platon II (worldly surname — Levshin) (1737–1812), who became famous not only as an outstanding preacher of the second half of the 18th century, but also as a historical writer. The well-known facts of his life and the creative history of works receive a new sound in the context of a spiritual biography; first of all — a strong connection to the Trinity Lavra of St. Sergius and a deep understanding of the spiritual experience of venerable Sergius of Radonezh. A comparative analysis of the text “On the Road to Schism” (1767) and “Brief History of the Russian Church” (1805) was undertaken, illustrating the path of spiritual growth. The author is presented not just as a widely educated person, but as a hierarch, vigilantly expanding his spiritual horizon. Changes in genre priorities and lexical and stylistic features, adherence to certain literary traditions, the dominance of a national idea, proximity to Church Slavonic sources and ancient Russian literary tradition are traced. One of the key roles of the spiritual heritage of Metropolitan Platon II in the historical and literary process of the second half of the 18th century is confirmed.


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