scholarly journals NO DEATH, OR EX TENEBRIS LUX: APOTHATIC TRADITION IN APOLLON MAYKOV’S WORKS

2021 ◽  
Vol 23 (78) ◽  
pp. 49-52
Author(s):  
M.A. Dudareva ◽  
◽  
V.V. Nikitina
Keyword(s):  
19Th Century ◽  
Fairy Tale ◽  
Russian Literature ◽  
Research Subject ◽  
Life And Death ◽  
Research Material ◽  
Persian Poetry ◽  
The 19Th Century ◽  
Global Art ◽  
Black Color

The research object is an apothaticism as a phenomenon of global art culture. The research subject is an apothatic tradition related to the collision between the day and evening light, images-codes “darkness” and “light”. The research material is based on the poetry by Apollon Maykov, and this year it would be 200 years since his birth. A hermeneutic reconstruction applies to the ethos of life and death, a mythologeme of timelessness in the later poetry of the poet, representing the direction of “pure art” in the literature of the 19th century. Much attention is paid to the poem “Ex tenebris lux”, written ten years before the poet’s death. The research methodology is reduced to a holistic ontohermeneutic analysis aimed at highlighting the apophatic paradigm of this text. Parallels are drawn with Persian poetry, the Sufi tradition, in which black color is significant in its ambivalent expression. In Maykov’s works, black color is associated with the threshold state of a speaker and the way out of liminality. The authors also touch upon Russian folklore, aesthetics and poetics of a fairy tale, in which the “three kingdoms” plot is important in this case. The research results are valuable from the cultural-philosophical positions of understanding the apophaticism of the artistic space of culture, but they can also be used in teaching courses on Russian literature of the 19th century and philosophy.

scholarly journals Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau

Kultura ◽  
2020 ◽  
pp. 51-68
Author(s):  
Jovana Nikolić
Keyword(s):  
19Th Century ◽  
Fairy Tale ◽  
Middle Age ◽  
Forest Landscape ◽  
Medieval Period ◽  
Art Forms ◽  
Relationship Of ◽  
The 19Th Century ◽  
Gustave Moreau ◽  
Intellectual Climate

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.

scholarly journals Еще раз о формах показателя множественного числа в тюркских языках

2020 ◽  
Vol 13 (5) ◽  
pp. 1415-1437
Author(s):  
Anna V. Dybo ◽  
◽  
Lidia F. Abubakirova ◽  
Mark M. Zimin ◽  
Evgeniya V. Korovina ◽  
...  
Keyword(s):  
19Th Century ◽  
Field Data ◽  
Separate Group ◽  
Family Tree ◽  
Research Material ◽  
Correct Application ◽  
Intermediate Languages ◽  
The 19Th Century ◽  
Reconstruction Point

Introduction. The article continues the discussion of isogloss types and their relevance for the Proto-Turkic reconstruction and reconstruction of the intermediate nodes of the Turkic family tree. Goals. The paper makes another attempt to reconstruct the morphophonological appearance of some affixes for intermediate languages-ancestors of the standard Turkic group (Oguz, ‘Kyrgyz’, Altai, Karluk, Toba, Kypchak). The study draws into consideration not only the plural affix *-lar, but in general inflectional and derivational affixes starting with *-l. Materials and Methods. Methods of stepwise reconstruction are used simultaneously with morphophonological methods of identifying classes of positions and distribution of classes of allomorphs. Field records of dialects, dialectological publications, both modern ones and those of the 19th century, as well as written monuments were used as research material. Results. Both modern field data and classical sources, with the correct application of the methods of stepwise reconstruction, point that affixal *-l has no alternants in proto-Oghuz, proto-Karluk and proto-Qypchaq. All instances of alternation in modern idioms like dialectal Bashkir, dialectal Kazakh, ‘Qyrghyz’ languages, Yakut-Dolghan and Toba languages are to be classified as recent areal innovation. This is deduced due to the nature of morphophonological rules in these languages — neither is applyable for the proto-Common-Turkic stem auslaut, but instead is limited to forms that are specific to each separate group in question.

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.

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.

scholarly journals Raden Saleh's Resistance to Colonialism in the Painting "Between Life and Death" (1848)

2020 ◽  
Vol 3 ◽  
pp. 219-232
Author(s):  
Mochamad Fauzie
Keyword(s):  
19Th Century ◽  
Postcolonial Theory ◽  
Cultural Orientation ◽  
The Other ◽  
Life And Death ◽  
Paradoxical Situation ◽  
Colonial Expansion ◽  
The One ◽  
Theory Research ◽  
The 19Th Century

Romanticism became a new cultural orientation in Europe in the 19th century. Through the exploration of tradition and history, romanticism gradually aroused nationalism, giving rise to a paradoxical situation: on the one hand, it fueled colonial expansion, on the other hand, aroused the spirit of resistance of colonized society. Raden Saleh was in Europe in this situation and became famous as a Romantic painter. This research departs from the assumption that Romanticism encouraged Raden Saleh to develop resistance to colonialism in painting. This study aims to prove the existence of signs of resistance to Colonialism in Raden Saleh's painting, entitled "Between Life and Death" (1848). This goal was achieved by analyzing the painting with CW Morris Semiotics, with the approach of Psychoanalysis Theory and Postcolonial Theory. Research shows that there are signs of resistance to Colonialism in the painting.

scholarly journals The Epigraph to ʽForest and Steppe’ by Ivan Turgenev: Conveying the ʽEmblematic’ Worldview in the Tradition of Translation

2021 ◽  
Vol 3 (1) ◽  
pp. 112-133
Author(s):  
Maria R. Nenarokova
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
The Other ◽  
Main Difficulty ◽  
Classical Literature ◽  
English Speaking ◽  
A Chain ◽  
Symbolic Images ◽  
The One ◽  
The 19Th Century

The article focuses on the reception of Russian classical literature translations in the English-speaking culture. The research was carried out on the material of three existing translations of ‘Forest and Steppe’ by both Russian and English translators published in 1895, 1955 and 1967. The main objective of the research is to determine the difficulties translators of Russian literature of the 19th century could face in the case of Turgenev's epigraph to ‘Forest and Steppe’. The tasks of the study were to define and describe the peculiarities of conveying the epigraph’s vocabulary, to outline the group of the most important keywords of the text, to recognize and describe discrepancies in their translation, to indicate why the chosen option is possible or impossible in the translation of Turgenev’s text. The study showed that Turgenev's worldview was formed under the influence of the culture of ‘rhetorical word’, and the epigraph to ‘Forest and Steppe’ proves it. The epigraph consists of a chain of symbolic images that add up to a single picture. The writer's worldview determined the style of the epigraph, the choice of vocabulary, and the composition of the text. For translators, the main difficulty at the lexical level lies in the fact that they often choose words that carry a greater emotional load than Turgenev’s vocabulary, and also introduce tropes, absent in the original, into translations. On the one hand, the translations create a realistic picture, in contrast to Turgenev’s symbolic landscape, on the other hand, the atmosphere of the text, reflecting the personality of the writer, is destroyed. The translations mirror profound changes that took place in the 19th–20th centuries in the European worldview.

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