FROM THE HISTORY OF LITERARY TRANSLATIONS OF K.L. KHETAGUROV’S WORKS: L.D. KIPIANI’S RUSSIAN INTERPRETATION OF THE POEM "SIDZÆRGÆS" ("MOTHER OF ORPHANS")

В статье впервые рассматривается переведенный на русский язык грузинским поэтом и прозаиком Л.Д. Кипиани текст стихотворения К.Л. Хетагурова «Сидзæргæс» (с осет. ‛Вдоваʼ, ‛Мать сиротʼ, в переводе звучит как «Мать»). Автором исследования представлен лексико-семантический анализ разноязычных текстов (оригинал, перевод), прослеживается степень воспроизведения переводчиком интенций автора. В ходе анализа установлено, что приоритетная для художественного текста функция эстетического воздействия на реципиента достигается Л.Д. Кипиани использованием лексических единиц с близким семантическим значением. Однако передача символики, заложенной К. Хетагуровым в художественных образах, не всегда находит выражение в переводе. Важные для раскрытия идейного замысла художественного текста образы-символы: «æргъæвст халон» (‛закоченелая воронаʼ), «сау айнæг» (‛черный утесʼ), «саударæг ус» (‛носящая траур женщинаʼ) и т.д. остаются вне поле зрения реципиента. Не всегда автор перевода преследует цель отразить национально-культурную специфику, заключенную в семантике выражений «зæрдæ къахын», «буц хъæбул», «дудгæ фæбадын», «къона», «гыцци», «лыстæн». В тексте перевода они находят свои русифицированные варианты или не передаются вовсе.Но там, где переводчик отходит от содержания подлинника, создается оригинальный текст в той же художественной манере, близкой к авторской. Основная идея произведения в переводе не теряется: переводчик и на русском языке демонстрирует мытарства матери сирот. Л. Кипиани в целом удалось изобразить картину жизни осетин конца XIX – начала ХХ в., представленную К.Л. Хетагуровым в стихотворении «Сидзæргæс». For the first time, the article considers the translation into Russian by L.D. Kipiani, the Georgian poet and prosaic, of the text of the poem by K.L. Khetagurova "Sidzærgæs" (‛Widowʼ, ‛Mother of Orphansʼ, translated as “Mother”). The author of the study presents a lexical and semantic analysis of multilingual texts (original and translation), traces the degree with which the translator reproduces the author's intentions. In the course of the analysis, it was found that the priority function of aesthetic impact on the recipient for a literary text is achieved by L.D. Kipiani by using lexical units with similar semantic meaning. However, the transmission of the symbolism laid down by K. Khetagurov in artistic images does not always find expression in translation. Symbolic images that are important for the disclosure of the ideological concept of a literary text: "ærgævst halon" (a freezing raven), "sau ainæg" (black rock), "saudaræg us" (a woman in mourning), etc. remain out of sight of the recipient. The author of the translation does not always pursue the goal of reflecting the national-cultural specifics contained in the semantics of the expressions "zarda kahyn", "buts kh'abul", "dudgk fabadyn", "qona", "gyzzi", "lystun". In the text of the translation, they find their Russified versions or are not transmitted at all. But where the translator deviates from the contents of the original, the created text is, nevertheless, in the artistic manner, close to the author's. The main idea of ​​the work is not lost in the translation: in the Russian translation the hardships and ordeals of the mother of the orphans are also vivdly conveyed. L. Kipiani as a whole managed to depict a picture of the life of the Ossetians of the late 19th - early 20th centuries, presented by K.L. Khetagurov in his poem "Sidzærgæs" ("Mother of Orphans").

Картина мира в графике бурятского художника Ц.-Н. Очирова

The article deals with the artistic heritage of the outstanding Buryat artist Tsyren-Namzhil Ochirov (1920–1987), whose artistic phenomenon is based on the specific combination of the life philosophy, “naive” simplicity of depiction and the poetic love to his motherland called the Tonto Nyutag by the Buryat people. The public interest to his art was raised during the artist’s lifetime. In the early 1970s, several articles dedicated to his art were released in local newspapers. His unique artistic manner was studied by a group of young amateur artists who were members of the Republican Center of Amateur and Folk Arts in Ulan-Ude. Serious research work on his rich artistic heritage conducted by art critics and scholars started after his death. In the late 1980s and the early 1990s Svetlana Tsybiktarova, the art critic and the science assistant of the Khangalov Historical Museum in Ulan-Ude, together with her elder colleague from Leningrad Natalya Iofan, released the article entitled “The artist from Mogsokhon”. The name of Tsyren-Namzhil Ochirov was introduced to the world of art experts for the very first time. The authors revealed the correlation between his art and the traditional Buddhist painting. Tatyana Boronoeva in her monography “Graphic art in Buryatia” made a partial analysis of Tsyren-Namzhil Ochirov’s art in the chapter “Art of self-taught painters and the problem of ethnicity in the Buryat graphics”. Larisa Nikolaeva in the article entitled “The art system of the Buryat amateur painter Tsyren-Namzhil Ochirov (1920–1987)” shared with readers some interesting facts from his life. In her article, she also underlined some similar features of the traditional Buddhist painting in his art. In 2019, the year prior to the 100-th anniversary of the artist, the family of Tsyren-Namzhil Ochirov published an album of his graphic works. The content of the album was compiled by his granddaughter S. Tarnueva. One hundred and fifty drawings were selected from the family archive and were introduced to the wide public. The rich art heritage of Tsyren-Namzhil Ochirov numbering about five hundred works includes thirty manuscripts and wooden items of the decorative and applied art. The author of the current article makes an analysis of the graphic works of Tsyren-Namzhil Ochirov from the funds of the National Museum of the Republic of Buryatia and from the private collection of the artist’s family. Of a great importance for the author of the article is the definition of his art’s origin, which is, on the one hand, derived from the traditional Buddhist painting, and, “the Buryat Zurag” on the other. The latter is the painting created in a specific artistic manner that reflects the world perception of the Buryat people. For the better description of the topic, the author publishes the conversations with the daughter of the artist Roza Tsyrenovna, with the painter Alexander Moskvitin, his close friend and the speech of the Buryat artist Zandan Dugarov at the event Round Table dedicated to Tsyren-Namzhil Ochirov’s art in 2016. The author of the article uses artistic methods and elements of the historic approach as the complex tool in her research work. Статья посвящена творчеству выдающегося художника Цырен-Намжила Очирова (1920–1987), чей феномен заключается в своеобразном синтезе народной философии, «наивной» простоты графического изображения и возвышенной любви к своей малой родине «тоонто нютаг». Факты биографии буддийского самодеятельного художника, близость его творчества буддийскому наследию установлены в исследованиях 1980–1990-х годов, а в 2019 году впервые опубликовано около 150 произведений Очирова из личных архивов семьи. В настоящей статье представлен впервые проведенный анализ графического наследия Ц.-Н. Очирова на основе материалов из фондов Национального музея Республики Бурятия, а также частной коллекции из семьи художника. Определены истоки творчества мастера, связи с традицией буддийской графики, бурятским мировоззрением, стилем «буряад зураг». Автор впервые приводит материалы личных бесед с членами семьи и коллегами художника. В исследовании использован комплекс искусствоведческих методов и элементы историко-описательного метода.

Joseph Brodsky: from the tragic to the sublime (The letter in a bottle and The new Jules Verne)

The article traces the evolution of J. Brodsky’s poetics driven by the desire to ‘be free from emotional sensitivity’ on the example of the poems The Letter in a Bottle (1964) and The New Jules Verne (1976). The transformation of the poet’s artistic manner is considered through the aesthetic categories of the tragic and the sublime.

Korney Ivanovich Chukovsky about the Russian translation reception of Shakespeare (article two)

The first half of the 20th century in the Russian translation reception of Shakespeare was marked by the emerging of translations by B.L. Pasternak, S. Ya. Marshak, A.D. Radlova, W.V. Levik, I.B. Mandelstam. Characterizing their transcriptions, K.I. Chukovsky not only substantiated the artistic manner and creative position of the translators, but also presented his understanding of individual shortcomings and, conversely, successful findings. The articles «The Crippled Shakespeare», «Asthma in Desdemona» (1940) reflect his sharp rejection of the approach of A.D. Radlova to the interpretation of Shakespeare’s plays, he notes the mistakes made by the translator when working with the original texts. K.I. Chukovsky positively spoke about «Richard II» by I.B. Mandelstam; he considered its undoubted merit to be his free style and the absence of a formalist approach in observing certain parameters of the original text. The most complete features of the translation concept of K.I. Chukovsky are disclosed on the example of his translation of Shakespeare’s comedy «Love’s Labor’s Lost» (1945), which has been repeatedly staged in the theater.

Archetype as the communication tool of national cultures: on the question of the typological similarity of Russian and Hungarian literatures (based on the short story “Student” by A.P. Chekhov and the novel “Two Beggar-Students” by Mikszáth Kálmán)

The study aim is finding of interaction between national and universal features in works by the Russian and the Hungarian writers, shift from ethnocultural to common content as the specific communication tool of different national literatures. Methodology. Methodological study base is the system unity of cultural and anthropological, structural semiotic and typological, comparative and mythopoetic methods. Results. A.P. Chekhov and K. Mikszáth works include national specificity as well as universal motives and images. Revealed by comparative analysis writers common archetypical platform speaks to common great-roots of their work. Although this approach doesn’t exclude, even involves studies of individual artistic manner, biographic, historical and cultural impact. The common typological row is the fact of world literature phenomenon. Human inward life repeats in specific forms, particularly in archetypes. Comparison of the novel by K. Mikszáth “Two Beggar-Students” and the story “Student” by A.P. Chekhov shows the common typological row (characters status, images of home, road, way and transitivity motives) and simultaneously manifestation variety. Conclusion/recommendations. Convergence of motives and imaginary components in works by K. Mikszáth and A.P. Chekhov intensifies authentic features of the writers. The typological row allows seeing similarity and understanding better difference between the Russian and the Hungarian writers.

The power of commemorative banknote design to support global and local events

Commemorative banknotes are issued to commemorate some particular event or issue with a distinct design with reference to the occasion on which they were issued. In this paper the author explores another aspect to utilization commemorative banknote to promote and support Global and Local events, In addition to marketing historical, artistic, and sporting events, etc., sheds light on the most important international events the covid-19 Pandemic and the utilization of commemorative banknote to support the role of doctors in the world in to Commemorate their unique experience. Further, banknote artwork that captures a personal moment, emotion, memory or other poignant event that tells their story of the Covid-19 pandemic. In addition, the author elaborates on how Commemorative banknotes have a media role to promote important events and communicate the idea in a simple artistic manner. The author concludes that the power of commemorative banknote stems from their ability to enhance the global participation in crises and disasters, through design a global limited edition unified model of banknote In accordance with each country.

Metacriticism of an artistic writing style: Venedikt Yerofeyev on Vladimir Mayakovsky

Venedikt Yerofeyev is a remarkable and complex figure in Russian literature of the second half of the XX century. He is one of the first to expresses a different perspective on the realities of life and propose a new type of assessment of being. The object of this research is the introductory composition of Venedikt Yerofeyev written in 1961, at the time of joining Vladimir State Pedagogical Institute. The main subject of the analysis is the objectification of V. Yerofeyev’s metacritical assessment of “All Right!” Research methodology is at the edge of conceptual evaluation of the text, hermeneutical interpretation of the composition, structural and comparative approaches. The basis of receptive criticism, which in the author’s opinion was taken by Venedikt Yerofeyev as the principle of interpretation of Mayakovsky’s poetic construct, unites the outlines circle of methods. The novelty and relevance of this work consists in the fact that Yerofeyev’s  introductory composition has not been previously examined and commented upon in of a number of scientific sources. Yerofeyev’s writing has a clearly humanistic and philological connotation. The author creates the text by a unique research pattern: from the emotionally sensible focus of experiences of Vladimir Mayakovsky to verification of the positions of synthesis of personal and social order in the poem “All Right!” Metacricisim of Mayakovsky's style and artistic manner in the composition of Venedikt Yerofeyev is given not only from the perspective of point estimation of text of the futurist poet, but also from the standpoint of intensive reduction of the potentially inherent meaning.

The creative work of Grigory Gurkin and Vasily Sheshunov as students of Ivan Shishkin

The article contains a comparative analysis of the work of two artist-students of I.I. Shishkin: Grigory Gurkin (Altai) and Vasily Sheshunov (Far East). Both painters went through the school of the great Russian landscape painter at the Imperial Academy of Arts in St. Petersburg. Grigory Gurkin became one of the most significant masters of Russian realistic landscape in the first third of the 20th century, the first professional artist of Altai. Vasily Sheshunov had an equally significant influence on the formation of the artistic life of Ussuriisk and the entire Primorye. In the context of the continuity of Ivan Shishkin's art school, the genre-thematic originality, artistic manner, and creative method of these two masters are compared for the first time. The material for the study was the paintings of artists from the collections of the Sukachev Irkutsk Regional Art Museum, the Primorye State Art Gallery, the State Art Museum of the Altai Krai, the Tomsk Regional Art Museum. Статья посвящена сравнительному анализу творчества двух художников-учеников И.И. Шишкина: алтайского — Г.И. Гуркина и дальневосточного — В.Г. Шешунова. Оба живописца прошли школу великого русского художника-пейзажиста в Императорской Академии художеств в Санкт-Петербурге. Григорий Иванович Гуркин стал одним из самых значительных мастеров русского реалистического пейзажа первой трети XX века, первым профессиональным художником Алтая. Василий Григорьевич Шешунов оказал столь же существенное влияние на становление художественной жизни Уссурийска и всего Приморья. В контексте преемственности художественной школы И.И. Шишкина жанрово-тематическое своеобразие, художественная манера, творческий метод этих двух мастеров сравниваются впервые. Материалом для исследования послужили живописные полотна художников из собраний Иркутского областного художественного музея им. В.П. Сукачева, Приморской государственной картинной галереи, Государственного художественного музея Алтайского края, Томского областного художественного музея.

Vladimir Magar’s spectacle “Don Juan” (Lunacharsky Russian Drama Theatre in Sevastopol, 2006)

The subject of this research is poetics of the spectacle “Don Juan” created by the stage director Vladimir Magar in Lunacharsky Russian Drama Theatre in Sevastopol in 2006. Analysis is conducted on the main peculiarities of the directing artistic manner: creation of fiction atmosphere and romantic plot, montage and musical means of structuring action, montage of literary-dramaturgical material. The author reviews fiction method and experience as the conditions for formation of an actor ensemble; examines the role of scenography, eurythmics, music and other elements of dramatic action. The article is based on the use of comparative-historical method, personal audience experience of its author and analysis of publications dedicated to the spectacle. The research of Vladimir Magars’ directing manner, which is insufficiently studied and can become illustrative for determination of patterns common to the regional theatrical life. This article is a continuation of a series of publication of the topic. Analysis of poetics of the spectacle “Don Juan” is important for understanding the fundamentals of his directing activity, which contributed to the fact that Sevastopol Theatre became a noticeable phenomenon within the Russian theatrical space.

«The Forties, Fateful…» in David Samoylov’s Poetry: a Lingvo-stylistic Analysis of Three Poems about War (To the 100th Anniversary of the Birth)

The article presents an analysis of three poems about war («The Tale of Our Lady and Russian Soldiers» («Slovo o Bogoroditse i Russkih Soldatah»), «The Attack» («Ataka»), «The Forties» («Sorokovye»)) written by D. Samoylov in different periods of his creative activity. On the basis of the existing research of the creative work of the famous poet of the 20th century, a multilevel characteristic of his war lyrics is given. The aim of the article is to characterize the specific features of the poetic language of such an original author by means of a lingvo-stylistic analysis of D. Samoilov’s poems, to reveal the richness and diversity of his artistic manner. The following research methods were used: analytical reading, comparative analysis, ontological method, a multilevel analysis of poetry. The author accentuates reminiscences in D. Samoilov’s war poetry, the contrast and contrast means, repetition as an artistic device, paronomasia in the stylistic mixture of linguistic means belonging to different levels. A multidimensional poet’s approach to the theme of the war is the conclusion of the article.