A new type of romantic hero of C.G. Byron’s poem “Childe Harold’s Pilgrimage”

“Çayld Haroldun ziyarətləri”, Lord Bayron tərəfindən dörd kantoda yazılmış avtobioqrafik əsərdir. I və II kantolar 1812-ci ildə, III kanto 1816-cı ildə, IV kanto isə 1818-ci ildə nəşr olundu. Bayron özünün poetik şöhrətini ilk iki kantonun nəşri ilə qazandı. Dünya ədəbiyyatında Çayld Harold romantik qəhrəmanın etalonudur. Gündəlik həyatdan bezmiş cazibədar gənc həyatın mənasını duymaq üçün naməlum ölkələrə üz tutur. Poema geniş şəkildə təqlid edildi və Bayronun təbii gözəllik səhnələrini düşünərkən həzin xəyallara dalan sərgərdan qəhrəmanının kultuna töhfə verdi. Onun avtobioqrafik subyektivliyi təkcə ədəbiyyata deyil, musiqi və rəssamlıq sənətinə də geniş təsirə malik oldu və Avropa romantizminin güclü tərkib hissəsinə çevrildi. Açar sözlər: romantizm, romantik qəhrəman,azadlıq, şöhrət, təqlid etmək

ACADEMIC RECEPTION OF THE NOVEL «HERO OF OUR TIME» BY M. Y. LERMONTOV IN THE USA: HISTORICAL BACKGROUND

Введение. Представлена совершенно неисследованная тема в отечественном лермонтоведении – академическая рецепция романа М. Ю. Лермонтова «Герой нашего времени» в США. Автор статьи собрала наиболее представительные на сегодняшний день публикации, вышедшие в США за всю историю американского лермонтоведения и посвященные этому роману. Цель – провести исследование академической рецепции романа М. Ю. Лермонтова «Герой нашего времени» в США. Материал и методы. Поиск публикаций, посвященных роману М. Ю. Лермонтова «Герой нашего времени», вышедших в США, и их анализ по предложенной автором периодизации. Результаты и обсуждение. Предложена периодизация по трем периодам: публикации 1900–1960-х гг., публикации 1970–1980-х гг. и публикации 1900-х гг. по настоящее время. Особенностями публикаций 1900–1960-х гг. является прежде всего осмысление того, как М. Ю. Лермонтов изобразил русское общество 1830-х гг. и главного героя своего произведения, акцент на психологичности романа, а также сравнение с героями А. С. Пушкина. Среди исследователей нет согласия относительно жанра романа – так, Мерсеро относит его к жанру психологического реализма, а в предисловии к первому англоязычному изданию в США отмечен байронический характер Печорина. Для публикаций 1970–1980-х гг. наблюдаются совершенно другие акценты у американских исследователей. На первое место выходит интерес к внутреннему устройству романа: его фабуле, сюжету, структуре. Несмотря на то, что по-прежнему нет полного согласия относительно жанровой принадлежности романа, большинство исследователей считают, что именно в роман «Герой нашего времени» покончил с романтизмом в русской прозе, в чем и заключается его главное новаторство. Изменился и взгляд на главного героя романа – в Печорине видят уже не байронические, а демонические черты. На современном этапе изучения романа «Герой нашего времени» у американских исследователей появляются новые темы в изучении романа. Так, например, красной нитью проходит тема отражения в романе взаимоотношений между русскими и кавказскими народами. Кроме того, если раньше в центре внимания исследователей был только Печорин, то теперь изучаются и другие герои и героини романа. Интересно и то, что Печорина теперь считают постромантическим героем и сам роман большинство исследователей считают постромантическим. Заключение. Проведенный анализ и предложенная периодизация наглядно иллюстрируют эволюцию интереса исследователей из США к различным аспектам романа и его героев. Библиографический список статьи внушителен и сам по себе представляет значительный интерес и вклад в лермонтоведение. Авторы публикаций, вошедших в обзор, – филологи, публицисты, политологи и антропологи. Introduction. The article is devoted to the completely unexplored subject in Russian Lermontov studies – the academic reception of the novel “Hero of our time” by the scholars from the USA. In the article the most reputable and representative works published in the USA about this novel are outlined and analyzed in accordance with the following periodization: publications of 1900-1960s, publications of 1970-80s and the modern publications of 1900s until now. The goal. Research of the academic reception of the novel of M. Lermontov «Hero of our time” in the USA. Materials and methods. Search and analysis of the publications, devoted to the novel “Hero of our time” by M. Lermontov issued in the USA in accordance with the periodization proposed by the author. Results and discussion. The focus of publications 1900–1960s is primarily the understanding of how M.Yu. Lermontov portrayed the Russian society of the 1830s and the main character of his work, an emphasis on the psychological nature of the novel, as well as a comparison with A.S. Pushkin. Among the researchers there is no agreement on the genre of the novel - for example, Mercereau classifies it as a genre of psychological realism, and in the preface to the first Russian-language edition in the United States, the Byronic character of Pechorin is noted. In publications from the 1970s to 1980s, there is a completely different emphasis. First of all, the internal structure of the novel is in the focus. Despite the fact that there is still no full agreement on the genre of the novel, most researchers believe that the novel «A Hero of Our Time» that he put an end to romanticism in Russian prose, which is the main innovation of Lermontov. The view on the main character of the novel has also changed - in Pechorin they see not Byronic, but demonic features. At the present stage, American researchers have new topics in the study of the novel «Hero of our time”. For example, the topic of the relationship between the Russian and Caucasian peoples attracts a lot of attention. In addition, if earlier only Pechorin was in the center of attention of researchers, now other heroes and heroines of the novel are also being studied. It is also interesting that Pechorin is now considered a post-romantic hero, and most researchers classify the novel as post-romantic. Conclusion. The conducted analysis and the proposed periodization demonstrably illustrates the evolution of approaches and interest to the various aspects of the novel and its heroes. The bibliography of the article is impressive itself and makes a significant contribution to the Lermontov studies. The authors of the publications included in the review are philologists, publicists, political scientists, anthropologists.

The Iconization and Mythologization of Byron’s Life and Work in Nineteenth-Century Netherlands and Europe

Lord Byron is one of the most striking nineteenth-century examples of an icon in the modern sense of the word. Far into the nineteenth century Byron and the main characters from his poems remained models for the rebellious ‘romantic’ hero: a modern version of Milton’s fallen angel. Much has been written about Byron’s work, life and reputation. This enduring interest makes ‘Byron’ ideally suited for a demonstration of research into the historical development of an iconic person as a cultural model. The chapter analyses the Dutch reception of Byron and shows its entanglement with the discussion about the ‘un-Dutch’ character of Romanticism. Paradoxically, there was also an appropriation of Byron, resulting in a Christian ‘light’ version of the ‘Byronic hero’.

Early Romantic Aesthetic Theory and Artistic Practice of Benjamin Constant

The article reconstructs the aesthetics of B. Constant, one of the key figures of the early stage of the formation of French romanticism, the author of one of its first manifestos. The author reveals his aesthetic credo associated with liberalism in his views on society and art, the idea of the self-value of art, its artistic perfection, an increased interest in the national and historical origins of artistic creativity, the local uniqueness, and the character of a romantic hero — sen- sitive, sincere, and at the same time egocentric. It is shown that the vector of Constant’s aesthetic search as one of the creators and theorists of the romantic genres of drama, novel, and novella is directed to the future. He was at the origin of a new direction of French literature — psychological confessional prose. Constant, with his emphasis on the disharmony of the inner world of individuals, deep contrasts between enthusiasm and melancholy, on the one hand, and the sharpened attention to the influence of society on all aspects of human life, including artistic creativity, on the other, not only influenced the next generation of French romantics, but also received a response in Russia in relation to the phenomenon of the “extra person”. His aesthetic theory and artistic practice largely anticipated the tendencies of critical realism in nineteenth-century art and aesthetics.

Гиперболоид инженера Вальса: Набоков и советская фантастика 1910-х – 1920-х гг. [Engineer Waltz’s Hyperboloid: Vladimir Nabokov and the Soviet Fantastic Literature of the 1910—1920s]

The article is aimed to trace some significant parallels between Nabokov’s Russian prose and drama, and a number of Soviet fantastical novels. A close reading reveals a whole network of allusions to Alexander Grin’s The Glittering World (Blistaiushchii mir, 1924) in Invitation to a Beheading (Priglashenie na kazn’, 1935—36), including the usage of the Romantic hero model, canonic female figures and gnostical imagery, originating from The Invisible Man by H. G. Wells. As for The Waltz Invention (Izobretenie Val’sa, 1938), the tragicomedy gives us compelling evidence that Nabokov deliberately wrote a parody on The Garin Death Ray (Giperboloid inzhenera Garina, 1926—27), a famous Soviet sci-fi novel by Alexey Tolstoy. In general, it can be said that Nabokov is scrupulously using implicit allusions and sophisticated wordplay on every level of his texts, widening the genre boundaries of science fiction, dystopia and adventure novel to invent a new literary strategy and new genres of his own. KEYWORDS: 20th-Century Russian Literature, Vladimir Nabokov (1899—1977), Priglashenie na kazn’ (1935—36), Izobretenie Val’sa (1938), Alexander Grin (1880—1932), Alexey Tolstoy (1883—1945), Allusion, History of Literature.

The artistic image of Norway: to the issue of fixation the cultural landscape

The purpose of the article is to review changes in worldview and artistic expressions in fixing the cultural landscape of Norway; to trace the reasons in the formation of the style of romanticism, where research function in reflecting nature and culture had a big role; to analyze the features of the local artistic tradition and forms of stylistic transformations that led to the evolution of the cultural landscape vision. To achieve the goal, the analyses from the works of J. Flintoe, J.C. Dahl, N. Astrup, C. Krog, E. Munch, G. Mynthe, E. Werenskiold, K. Kielland, H. Sohlberg, B.Ness, N. Krantz. This made it possible to focus on figurative diversity in the interpretation of the cultural landscape. The research methodology is based on the application of theoretical methods, art analysis, and systematization of works that correspond to this topic. The scientific novelty of the work lies in the actualization of artistic possibilities in capturing changes in the cultural landscape. Conclusions. Paintings are becoming a part of the scientific documentation for the present day. This leads to a new perspective, where painting becomes historical evidence and valuable material for modern architects, restorers, historians, archaeologists. According to the results of the research, it was proved that in the period from the 1820s to the 1920s the most expressive and active development of the cultural landscape theme, was realized by using art as a document. Various clarifications have been developed, such as the mood of romanticism transforms into the style of modernism, and how the compositional constructions of the Middle Age are actualized in the style Art Nouveau. This strengthens the idea of using works of art as a tool for analyzing the evolution of the cultural landscape, due to its potential informative content. One of the main conclusions of the study is based on the idea of relations towards the environment while creating an artistic image of the cultural landscape. In the Norwegian context, the cultural landscape, as a human environment, has been transformed from a panoramic landscape of nature interspersed with human footprints; through the application of man to scale, as a staff, as a romantic hero, a social character. The image of cities has evolved from the documental historical place form to the conflict inside the environment, and like blended color textures. According to the results of the study, it is concluded that art is an active element in fixing the cultural landscape. It is proved that works of art of previous epochs are invaluable material in interdisciplinary research in the reality of contemporary. The comprehensive and systematic experience of Norwegian researchers should be implemented in similar assignments in Ukrainian realities.

The Concept of a Romantic Hero in the Sculpture of Argentina in the 20–40s of the 20th Century

The interest in the history and culture of Argentina in the Russian Federation today has a special char-acter. It is believed that the presence of a huge number of immigrants from Europe, including from Russia, distinguishes Argentina culturally from oth-er countries of the New World, makes its culture more understandable. There is a perception that this is the most Europeanized country in South America. To a large extent, this ideologeme is the result of foreign policy pursued by Argentina itself. At the same time, the process of the formation of national identity in here was complicated and did not end until the 40s of the 20th century. The relevance of the study is to reveal the inconsistency of this process on the material of sculpture as a document of the era, to show the rejection by masters from a remote region of the country, the province of Chaco, the prevailing ideas about the barbarity and savagery of the Indians and Gauchos, the original population of this province and part of other territories of the state. The novelty lies in the comparative compari-son of the positions of the academic art history of Argentina and academic art in the understanding of Indian themes and in how it was interpreted by re-gional masters – K. Dominguez (died in 1969), C. Schenone (1907–1963), J. de la Mena (1897–1954), as well as in the art history analysis of significant works of the considered problematic and the roman-tic tendencies manifested in them. It is advisable to correlate the process of “Europeanization” of Indi-ans, bloody and long-term hostilities in order to expel the gaucho and Indians from their ancestral lands with the understanding of who was the true hero of history in the creations of their descendants. The works of the sculptors Chaco, romantic in spirit, are related to the great J. Hernandez’s poem “Martin Fierro”. Today they are kept not only in the capital of Chaco, Resistencia, but also in museums in Buenos Aires and foreign collections

Hamsun’s “mal du siècle”

My paper expands on several conference themes, specifically “geographical places” and “boundaries,” and will explore the elasticity and intertextual implications of both terms as they apply to national literatures and writers, as well as their porous nature in literary studies (including theory, history, and criticism, according to René Wellek’s classic and still widely accepted triptych of literary studies [Wellek x]). Specifically, I will examine the resonance of the Romantic malaise known in France as “le mal du siècle” and how it might inform a reading of Knut Hamsun’s novel Pan (1894) and shed light on the more than eccentric behavior of its main character, Lieutenant Glahn. The French Romantic writer Chateaubriand (1768-1848), whose slender novel René (1802), with which “le mal du siècle” is most closely associated, represents the epitome of the Romantic hero, who evidently had not drawn his last breath when Hamsun published Pan almost one century later. Upon a closer reading of the two novels, there is more than enough to warrant a comparison. Glahn and René are archetypes of a similar malady afflicting overly sensitive, generally upper-class young men of a nervous and indeed neurotic disposition.