«WHAT DOES IT MEAN TO BE YOURSELF?»: WRITER AND PUBLICIST YU.N. GOVORUHO-OTROK

Цель исследования заключается в анализе «художественно-публицистического единства» на материале совокупности работ Ю.Н. Говорухи-Отрока, осмыслявшего взгляды Вл. Соловьева. На основе изучения очерка «Господин Антихрист» и цикла из 26 публицистических статей, публиковавшихся в газете «Московские ведомости», устанавливается их единство с автономной моделью вымышленного мира, выстроенными образами автора и адресата, системой персонажей, а также общим конфликтом. Основное содержание исследования составляет изучение следующих аспектов циклизации: сюжет, или критическая ситуация, взаимодействие вымысла и документализма, формы авторского присутствия, характер диалогизации, приемы конструирования образа адресата. В работе выявлено, что фикциональная и критическая проза, объединенная образом автора, сюжетом и системой лейтмотивов, позволяет видеть в Говорухе-Отроке не только яркого журналиста и публициста своего времени, но и самостоятельного писателя. По исследуемой теме соотношения художественного и публицистического рассматривается новый материал из корпуса литературно-критических текстов автора. Очерковое произведение «Господин Антихрист» и цикл работ, осмысляющих эстетические и философские взгляды Вл. Соловьева, являются примером того, как комплекс малоизвестных, извлеченных в том числе из дореволюционной периодики текстов постепенно обнаруживает единство на формальном и содержательном уровнях. Практическая значимость статьи обусловлена возможностью использования ее результатов в трудах по теории и методике анализа литературно-критического текста. Ранее не привлекавшиеся для анализа тексты Говорухи-Отрока о философии Вл. Соловьева как единый комплекс обнаруживают синкретизм на уровне публицистических и художественных компонентов. The aim of the study is to analyze the «artistic and publicistic unity» based on the aggregate of works by Yu. Govorukho-Otrok, comprehending the views of Vl. Solovyov. Based on the study of the essay «Mister Antichrist» and a series of 26 articles published in the newspaper «Moskovskie vedomosti», their unity with the autonomous model of the fictional world, with the images of the author and the addressee, and with the system of characters, as well as with the general conflict is established. The main content of the research is the study of such aspects of cyclization as: a plot, or a critical situation, the interaction of fiction and documentary, forms of the author’s presence, the nature of dialogization, methods of constructing the addressee’s image. This work shows that fictional and critical prose, united by the image of the author, plot and system of leitmotifs, makes it possible to see in Govorukho-Otrok not only a bright journalist and publicist of his time, but also an independent writer. On the investigated topic of the relationship between the artistic and the journalistic, the author considers new material from the corpus of the author’s literary-critical texts. The essay «Mister Antichrist», in particular, and a cycle of works comprehending the aesthetic and philosophic views of Vl. Solovyov, in general, are an example of how the virtually unknown texts, some of them being extracted from pre-revolutionary periodicals, gradually reveal their formal and substantial unity. The practical significance of the article is obvious due to the possibility of using its results in works on the theory and methodology of the analysis of a literary critical text. The texts of Govorukho-Otrok, previously not used for analysis, reveal syncretism at the level of journalistic and artistic components.

Agustín Espinosa y el Siglo de Oro: cartografías literarias de un crítico

This paper tries to show the influence of the classical tradition of the Golden Age in the avant-garde, specifically in the essayistic and creative work of the Canarian writer Agustín Espinosa García. His pages on Góngora, Lope de Vega, Calderón and, to a lesser extent, Cervantes are a reference of the best critical prose of the first third of the 20th century in the Canary Islands. Apart from his attention to the sixteenth and seventeenth centuries, Espinosa developed keen notes on the Romancero, the Enlightenment or French poetry, among many other aspects of his insatiable intellectual curiosity. The recovery of Góngora in the magazine La Rosa de los Vientos (in parallel to Grupo del 27) was not the only project to revitalize the classics, regenerated and installed in the hour of modernity according to the criteria and concerns of the “new literature” where tradition and avant-garde dialogue.

Postures of Dying: Eliot, Seneca and the Elizabethans

This article analyses the substantial intertextual relations between Eliot’s ‘Gerontion’, Seneca’s tragedies, and Elizabethan and Jacobean drama, particularly in the depictions of dying speeches. It demonstrates, too, that ‘Gerontion’ is a prominent example of how Eliot’s poetry anticipates the issues explored in his critical prose—in this case, notably ‘Shakespeare and the Stoicism of Seneca’ and ‘Seneca in Elizabethan Translation’. Further, the article relates the use of what Eliot called ‘saturated’ images in early modern drama and his own poetry with his theories of poetic creation and originality. In so doing, it argues that, contrary to the accepted critical narrative, the famous description of a ‘profound kinship’ with an unnamed ‘dead author’ that Eliot describes in ‘Reflections on Contemporary Poetry’, may not primarily and exclusively refer to Jules Laforgue.

Wordsworth's Unremembered Pleasure

Wordsworth’s writing detects and investigates pleasures that are overlooked, underacknowledged, and ‘unremembered’. This book explores Wordsworth’s sustained interest in the ethical and aesthetic value of lost, inaccessible, and unfelt pleasure throughout his poetry and critical prose. Such pleasures are marginal and fleeting; they pass by silently and are recognized only retrospectively. Yet they shape the aims, technique, and ultimately the whole affective economy of Wordsworth’s writing. Rather than understanding the domain of pleasure to be subjective personal experience, Wordsworth posits affects and attachments beyond conscious experience and possession. By tracing the intertwined history of romanticism and psychoanalysis, the work teases Wordsworth’s interest in unnoticed experience apart from the psychoanalytic concepts that have shaped our understanding of it. Reading Wordsworth against Freud, it rethinks central critical categories: repression, sublimation, mourning, happiness, pleasure, and the gift. In Wordsworth’s account of composition, it locates the resources to rethink poetic pleasure: not as wish-fulfilment, nor as aesthetic escape, but as an engaged and reparative relation to the world.

Hagiography as a Platform for Internal Catholic Debate in Early Modern Europe: Francisco de Ribera's La Vida de la Madre Teresa de Iesus (1590) and the Defense of a Contemplative Way Inside the Jesuit Order

By the end of the sixteenth century, the Society of Jesus was redefining its ever-growing organization. Starting with the generals Mercurian and Acquaviva, the order attempted to leave behind the open spaces devoted to retired forms of prayer so as to put the full weight of the institution on its practical ministries. However, such an advance against contemplative prayer did not lack challenges. The present work aims to rescue a hardly studied critical prose in the midst of those changes: the case of the Spanish Jesuit Francisco de Ribera. This article suggests that Salamanca's professor used his words to defend contemplative prayer. For this purpose, he utilized a device of great scope in the Catholic universe during the Counter-Reformation: the hagiographic narrative. It is proposed here that the vita appears as a mechanism of dispute not only outside but also inside Roman Catholicism. In this sense, the hagiography was a platform of debate within the order. Far from being a purely repetitive text, Ribera's biography of the Castilian visionary and reformer Teresa of Ávila shows the exaltation of a form of prayer that he gladly projected to the group of all believers and especially to the Society of Jesus.

The Core of Critical Performative Autoethnography

Taking its cues from, and lending support to, the assertion in the autoethnographic literature that performative autoethnography (PA) is “moral” and “democratic” in its critical engagement, this article theoretically constructs the concepts “moral” and “democratic” in the context of PA. It does this by intersecting the performative theory of Conquergood with the moral philosophy of Dewey and the paradigmatic theory of Adorno, while including an expressionist narrative thread based on urban writer Algren’s critical prose-poem “Chicago: City on the Make,” and while drawing on examples from autoethnography written by the author of this article. As a result, the article, primarily theoretical, situates PA within the long-overlooked and very rarely discussed paradigm “Adorno-esque ‘longing’” where PA is able to “perform” its moral and democratic disposition in a nondogmatic or non-hegemonic manner while seeking social justice.