An Episode from the History of Moscow Pushkin Studies

This article reconstructs the history of a circle which existed in Moscow in the 1920s and was devoted to the study of Pushkinʼs work, primarily the novel “Eugene Onegin”. The circleʼs members included G. Chulkov, V. Veresaev, Yu. Verkhovsky and I. Novikov, philologist L. Grossman, actors V. Luzhsky and L. Leonidov. Rare archival documents have been used to reconstruct the work of this literary group, the topics discussed at its meetings, and the general methodology of their approach to reading and commenting on texts.

“Tchaikovsky Called Me the First Performer of the Part of Lensky”. Unknown Memories by Pyotr Lodiy

The article analyzes the circumstances of the publication (December 1903, in the Chernomorskoe poberezh’e provincial newspaper) of the opera singer Pyotr Lodia’s memoirs about his meetings with Pyotr Tchaikovsky, unknown to contemporary researchers till now. The fact that Lodia had performed long before the premiere staging of fragments from the Eugene Onegin opera served as the basis for the singer, referring to the composer’s opinion, to consider himself the first performer of Lensky’s part. The text of this document is being published for the first time. Previously unknown biographical information about the singer’s activities in Novorossiysk is given. The work continues the research line of studying the connections between capitals and provinces at the stage of formation of professional musical culture in the southern regions of the country.

«А благородство моё во мне унывает…»: Какой из четырех Евгениев настоящий?

The article is devoted to the analysis of four characters named Eugene (heroes of A. Kantemir’ satire, A.E. Izmailov’s novel, A. Pushkin’s Eugene Onegin and The Bronze Horseman), represents the initial stage in the evolution of the semantic halo of this name in Russian literature, through an onomastic prism. The study is based on a matrix that takes into account the interaction of components that make up the semantic core of the concept of "nobility": nobility of the family, adherence to external decorum, high moral qualities. The main point was to check in Russian literature for "true Eugene", possessing all the signs of nobility, genetic, external, internal. The answer turned out to be negative: the semantics of the loss of various components turns out to be a constitutional feature of the semantic halo of the name. Russian literature at the initial stage of the development of "Eugene's plot" was more likely to move away from the semantics of the name, fixing the absence of nobility in the "noble", differently approaching the description of this phenomenon. Four heroes were involved in a united plot of the evolution of the semantic halo of the name - processing from satire to tragedy.

French translations of “Eugene Onegin”: on the conveyance of stylistic patterns

This research is dedicated to the topic of multivariate translations. Leaning on the text corpus that contains 16 French translations of A. S. Pushkin's novel “Eugene Onegin”, analysis is conducted on the peculiarities of conveying certain characteristic stylistic patterns in French texts alongside other stylistic techniques of the original, as well as changes in translations depending on the poetic form chosen by the translator. The selected extensive material trace traces the evolution of translators’ approach towards the stylistics of Pushkin's text over time. The article focuses on the chapters III and VIII of the novel. Comparative analysis demonstrates the dependence of the stylistic aspect of translation on the poetic form chosen by the translator. Prose translations provide more accurate stylistic equivalents than translations of the verses. Poetry translations are divided into two groups: 1) accurate compliance with the of Onegin’s verse; 2) departure from the rhyme pattern of the original. The frequency of transmitting stylistic techniques of the original in both groups does not demonstrated significant systematic differences. The author determines the consistencies in conveying certain stylistic patterns in various French translations. Periphrases, comparisons, inversions, and metaphors most of the time receive stylistically accurate equivalents in all translations; while metonymy and polysyndeton with conjunction “and” do not. The scientific novelty lies in examination of the text corpus that contains virtually all existing full translations of the novel “Eugene Onegin”.

Pedagogical features of creating collaborative projects in training philological disciplines

The article examines the pedagogical features of creating a collaborative project in the educational process of the university in the course of organizing and conducting a seminar with bachelor students in the discipline "History of Russian Literature". Features of the module “Artistic features of the novel in verse“ Eugene Onegin ”A.S. Pushkin ". Methodical recommendations for conducting classes in pedagogical universities. Creation of collaborative design and collaborative environment in conducting classes.

Mechanisms of conveying phraseological units in the novel “Eugene Onegin” by A. S. Pushkin [based on the translation into the Portuguese language by Dario Moreira Castro Alves

The object of this research is the phraseological units in translation of the novel “Eugene Onegin” by A. S. Pushkin into the Portuguese language. Analysis is conducted on the concept of phraseological units and methods of their classification in the scientific literature. The article aims to examine the methods of conveying phraseological units in the two noncognate language, as well as reveal ethnocultural differences in the set phrases denoting similar concepts. The author believes that understanding and proper interpretation of phraseological units are essential for translating foreign literature, learning and teaching foreign languages. The research employs the methods of contextual and comparative analysis of phraseological units of the Russian culture in translation of the novel, which allowed discerning the differences in cognition of the text among the native speakers of Russian and Portuguese languages. The novelty of this article lies in referring to the only existing translation of the novel “Eugene Onegin” into the Portuguese language, which was has not previously become the object of linguoculturological research. It is revealed that phraseologisms are widely used in the novel and can be classified by the degree of stability, metaphoricity and motivation word collocations. The author indicates the differences in linguistic means of conveying phraseological units in the Russian and Portuguese languages, as well as determines the ways of conveying phraseologisms in translation of the novel, such as phraseological equivalent, analogue, calquing, and descriptive translation. In translation of the meanings of Russian phraseologisms into the Portuguese language, the translator was able to achieve considerable accuracy, although it is difficult to convey the national flavor of the novel to the fullest.  

Personocentrism in classical Russian literature of the XIX century. Dialectics of Artistic Consciousness

The monograph is devoted to the study of the brightest phenomenon of the world art culture — Russian literature of the "golden age", which was formed as an aristocratic, personocentric literature. Russian Russian literature began to realize its "cultural code", its purpose, which was close to it in spirit; moreover, it unconsciously formed a program for its development, immediately finding its "gold mine": elitist personocentrism as a highly promising vector of culture, which became a decisive factor in the world recognition of Russian literature. The end-to-end plot of the book was the spiritual biography of the" extra person", a person, a personality. The author suggests that the starting point in the Russian cultural identification of the modern type is "Eugene Onegin" by A. S. Pushkin. This novel in verse, which embodied the type of "superfluous", determined not only the specifics and strategy of the development of Russian literature (which is proved by the analysis of the key classical works of the XIX century-from Griboyedov to Chekhov); in fact, it formed a program for the development of modern world literature. For specialists in literature, teachers and students of philological faculties of universities. It will also be useful for cultural scientists, specialists in literary and artistic creativity.

A.S. Pushkin — N.A. Nekrasov: aspects of dialogical poetics

The question of dialogical poetics in the epic texts of A. S. Pushkin and N. A. Nekrasov is considered. Attention is paid to the actual topic of Pushkin’s influences in the epic of Nekrasov. The results of a comparative analysis of the poetics of “Eugene Onegin” by Pushkin and the epic poems of Nekrasov are presented. The question of the continuity of the epic poetics of writers is raised, special attention is paid to the originality of this component of their works. The novelty of the research lies in the fact that the aspects of the dialogue poetics of the epic texts of Russian classics are considered for the first time. The relevance of the study is due to the need for new views on the relationship between the epic poetics of Pushkin and Nekrasov. The definitions of the categories of immanent and comparative epic poetics of both creators are given. The author dwells on the function of motives in the epic texts of Pushkin and Nekrasov. It has been proven that it was Nekrasov’s epic that made him the real successor of Pushkin’s genius. A classification of the leading features of the epic poetics of the classics is proposed. The review of existing scientific research on the dialogical poetics of Pushkin and Nekrasov is carried out. The author’s development of the epic typology of their texts is presented. The author’s experience of many years of work on the material of the poetic heritage of Pushkin and Nekrasov is described.