Studia Rossica Posnaniensia
Latest Publications


TOTAL DOCUMENTS

355
(FIVE YEARS 146)

H-INDEX

1
(FIVE YEARS 0)

Published By Adam Mickiewicz University Poznan

0081-6884

2021 ◽  
Vol 46 (2) ◽  
pp. 11-25
Author(s):  
Jolanta Brzykcy

The article is an analysis of the poetry of Gisella Lachman (1895–1969), poet of the “first wave” of Russian emigration, from the perspective of the poetics of space. The poet expressed her emigration experience (multiple changes of residence: Russia, Germany, Switzerland, USA) in her poems in spatial relations. They appear on different levels of the works’ morphology: in the construction of the lyrical “I”, in the organisation of the presented world, in the repertoire of motifs and the selection of poetic lexis and genre forms. Space plays a literal role in Lachman’s poetry; it is a representation of extra-literary reality, seen subjectively. It is also subject to metaphorisation, becoming a tool for expressing philosophical content. The poet creates not only a spatial model of the world, but also a spatial model of human life, which she perceives as a transit on the road to eternity.


2021 ◽  
Vol 46 (2) ◽  
pp. 93-104
Author(s):  
Наталья Тулякова ◽  
Наталья Никитина

Fantasy and science fiction genres extensively use imaginary settings and locations different from realistic ones but striving to look real. Arkady and Boris Strugatsky, pioneers of the science fiction genre in Russia, actively exploited the potential of both genres in their early tale, Monday starts on Saturday (1964), which combines features of the two space types. The present paper analyses the principles of creating ‘mago-space’ in the book. To do so, we look at the spatial organization of the events involved in the plot and the personages’ ideas regarding space. The research will enable us to clarify the role of space in conveying the authors’ message, which in this tale is quite explicit. We argue that the space changes significantly within the book, accompanying genre transformations and the development of the protagonist. Since the tale uses ‘mental sublocations’ as the main units of spatial organization, each part is determined by a certain type of cultural heritage. In the first part, it is the mental space of folklore and classical literature, in the second – that of mythology and science fiction, and in the final – philosophy and science. Mental spaces that coexist and follow various laws form a narrative which turns out to be a journey to the described present in the variety of its forms.


2021 ◽  
Vol 46 (2) ◽  
pp. 105-124
Author(s):  
Francesca Negro

The cherry orchard marks the end of Anton Chekhov’s life, consecrating him as the author who defined the threshold of the new epoch. In this article, I construe the garden as the motif linking Chekhov’s sensitivity to the general spirit of his era, revealing his poetics to the global stage as the distinctive mark of a historical and socioeconomic shift. On this path, I will clarify how the subtle difference between sour cherries and sweet cherries becomes a symbol of Chekhov’s dramatic construction, and how his poetics are built on nuances and subtle shifts in meanings, representing the irrevocable fading of a culture. A philological reflection combined with an attentive reading of Chekhov’s letters, Stanislavsky’s memoirs and scenic sketches reveal the author’s interest in the relationship between man and nature as well as the need to read his work from a more spatial-oriented standpoint. Chekhov clearly anticipates the so-called ‘spatial turn’, approaching space not through the description of a specific landscape or dramaturgical setting, but from a phenomenological point of view, leading him to profound reflections on the relationship between physical planning and socio-political development, as later conceptualised by key social thinkers such as Henry Lefebvre and Edward Soja. Chekhov’s dramaturgical construction and symbology are the result of this awareness and endless passion for nature in all its forms.


2021 ◽  
Vol 46 (2) ◽  
pp. 215-231
Author(s):  
Małgorzata Wideł-Ignaszczak

The paper provides a study of religious lexis excerpted from the Russian translation of the encyclical letter Laudato si’. The Russian version of the encyclical was translated and published by Russian Franciscan Publishing House. The analyzed material consisting of single words, as well as compound multi-word expressions, related to the Catholic denomination (264 lexical items – 1000 uses, which accounts for 14% of the entire encyclical), was grouped into semantic fields. The vocabulary was described in terms of the semantics and its functioning and codification, both in the contemporary Russian religious language and in general Russian language. It was assumed that the encyclical is addressed not only to the representatives of the Church hierarchy but also to all the faithful. Hence, there was the need to draw attention to the pragmatic aspects of the religious language, including the balance between comprehensibility and the use of specialist theological terminology in the translated text. It was demonstrated that the majority of the lexical items of religious terminology is coded by the explanatory dictionary of the contemporary Russian language, except for 14 lexical items related to the Catholic denomination that enhance the lexis of the contemporaryRussian language.


2021 ◽  
Vol 46 (2) ◽  
pp. 79-91
Author(s):  
Monika Sidor

This article deals with different aspects of space in the text of Eugene Vodolazkin’s novel Brisbane as well as in its studies and reception. Successive parts of the research are devoted to lieux de mémoire in autobiographical fiction, cultural understanding of the space of the home and places which traditionally create the image of Kiev and the individual mythology of this city. Space perceived in the way modified by culture is a certain frame in which both the hero of Vodolazkin lives and a receiver reads the novel. It is also an important component of the work’s internal structure, the factor responsible for certain genre associations that determine the direction of the reading process. In all these forms of functioning, space is thematically related to the reflection on death. The author concludes that the understanding of space leads to the rejection of the physical future and the affirmation of eternity understood in a religious way, in line with medieval tradition.


2021 ◽  
Vol 46 (2) ◽  
pp. 135-146
Author(s):  
Monika Knurowska
Keyword(s):  

This article presents the thesis that the novel The ape is coming to pick up its skull (1943) by Yuri Dombrovsky bears the genre features of a pamphlet and the structure of the novel, which is subordinated to a didactic purpose – the work contains a warning against the dehumanization and degradation of culture. The novel aims to ridicule the fascists and their ideology. The narrator’s attitude towards all the fascist protagonists is dominated by irony and sarcasm. The character construction of the fascists is ruled by schematism. The narrator emphasizes the animal element in them. They are compared to an ape who is a caricature hybrid of a human and a monkey. The “monkey” traits and behaviours are highlighted in their portraits. In the novel, the dialogues and disputes of the main opponents serve to expose the cynical demagogy of fascism and its inability to create any universal values.


2021 ◽  
Vol 46 (2) ◽  
pp. 293-303
Author(s):  
Zofia Szwed

The article describes the specificity of the changes that took place in the process of dissemination of double negation, typical for Slavic languages, visible in the Ruthenian recension of Church Slavonic texts. The reflections on the achievements in the field are enriched with the results of research on the text of Gospel No. 7 from the collection of the Russian State Archive of Ancient Acts (RGADA F. 381. Op. 1 Unit hr 7), which has not been analyzed so far in terms of the issues raised. Nearly three hundred negative structures were subjected to observations. In order to determine the number of single negation cases in relation to double negation the main focus was on structures such as: (1) ni Pron + V, (2) ni Pron + ne V oraz (3) ne V + ni Pron. It was determined, among other things, that their use was influenced by both the literature tradition and live language with elements of the northern dialect of the East Slavonic. On the other hand, the analysis of the negative structures preceding homogeneous parts of the sentence revealed the tendency, manifested onthe leaves of the monument, to transform towards the norm of the contemporary Russian language.


2021 ◽  
Vol 46 (2) ◽  
pp. 163-183
Author(s):  
Jana Kitzlerova

This paper deals with the word-formation of Mayakovsky’s neologisms, the principles of their composition and also the objects subjected to neologization. Attention is also paid to the Nachleben of these neologisms in contemporary Russian, based on the research into the Russian National Corpus. The paper is a result of the analysis of all Mayakovsky’s neologisms listed in A. Humesky’s book Majakovskij and His Neologisms (1964), except for those originated by the simple connection of two words or word components. The results were compared with the most recent work dealing with Mayakovsky’s neologisms, V. N. Valavin’s dictionary (Word-formation of Mayakovsky. An Attempt at a Dictionary of Occasiоnalisms). It is argued that the main word-formation principle is that of composition (substantives and adjectives) and suffixation (verbs), that even today many neologisms show surprising vitality, and also that not all of the neologisms ascribed to Mayakovsky are indeed his authorial creations.


2021 ◽  
Vol 46 (2) ◽  
pp. 125-134
Author(s):  
Antoni Bortnowski

The subject of the article is the analysis of the image of Kiev, presented in Mikhail Bulgakov’s feuilleton Kiev, the City. This work has rarely been the subject of in-depth analysis, despite the fact that it is one of the few texts in which the writer presents the image of his hometown. A characteristic element of the description of Kiev’s past and present is the irony. It is noticeable in the title of the feuilleton, as well as in the names of its parts. The ironic image of Soviet Kiev stands in stark contrast to the vision of the city captured in the novel The White Guard. The analysis of the techniques used by the writer in the text of Kiev, the City (e.g. the naive narrator’s mask, a combination of pompous style and colloquial speech) is carried out in order to prove that the feuilleton, in its style and ideas expressed, also shows the author’s rejection of post-revolutionary reality and his attempt to overcome the trauma of the past through laughter. The ironic image of the Soviet reality on the background of eternal spiritual values makes Kiev, the City a harbinger of the problems covered inMikhail Bulgakov’s later works.


2021 ◽  
Vol 46 (2) ◽  
pp. 51-68
Author(s):  
Alexander Chertenko

Basing on Aleksandr Medvedkin’s New Moscow and Ivan Pyryev’s The Swineherd and the Shepherd, this case study analyses the way the “new” Moscow was represented as a space of realised utopia in the Soviet socialist realist films of the 1930s and at the beginning of the 1940s. Functioning as a supranational centre of the Soviet “affirmative action empire” (Terry Martin), the cinematographic Moscow casts off all constraints of ‘Russianness’ in order to become a pan-Soviet model which, both in its architecture and semantics, could epitomize the perfect city and the perfect state. The comparative analysis of both films demonstrates that, although both directors show Moscow through the lens of the so-called “spaces of celebration” (Mikhail Ryklin), ‘their’ Soviet capital does not compensate for the “traumas of the early phases of enforced urbanization”, as Ryklin supposed. Rather, it operates as a transformation machine whose impact pertains only to periphery and can be effective once the representatives of this periphery have left Moscow. The complex inclusion and exclusion mechanisms resulting from this logic turn the idealised Soviet capital into a space which only the guests from peripheral regions can perceive as utopian. The ensuing suppression ofthe inner perspectives on ‘utopian’ Moscow is interpreted here as a manifestation of the “cinematicunconscious”, which accounts for the anxieties of the inhabitants of the capital concerning both Stalinist terror and their own hegemony in a society haunted by the purges.


Sign in / Sign up

Export Citation Format

Share Document