Lady Macbeth of the Mtsensk district: About Leskov's Literariness
This paper explores the concept of of 'literariness' (Roman Jakobson's term) on the material of Leskov's popular scetch Lady Makbet of Mtsensk District. Literariness in Leskov’s „Lady Macbeth” consists of a certain set of literary devices, including: using intertexts from Shakespeare and folklore; cohesive motifs (red and gold colors, the image of river, the black viper), the narrative details (poisoned tea), an overarching liturgical subtext as a symbol (the feast of the Mother of God’s Entrance into the Temple), and a creature appearing as a mystic symbol (the cat). All these marked elements are not merely operative in the texture of the work but also incorporated in a way that makes them nonobvious. Each element has worked for the overall goal — of making the main character more signifcant, or revealing the true meaning of the events for the story as a whole. As a result of this dual activity of, frst, activating and, then, hiding literary elements, the work itself exemplifes true literariness, in Roman Jakobson’s sense.
This is a detailed biography of Nikolay Leskov, including a description of his life and literary path. The book analyzes Leskov's canonical works too, such as Lady Macbeth of Msensk, Leftу, Catherdral Clergy etc. Many archival materials are cited for the first time here. The academic nature of the research is combined with an accessible style of presentation.
An actuating device complex motion mathematical model of automated vacuum processing equipment is developed. The model allows for controlling evenness of the thin filming aimed at improving its evenness. Manufacturing advantages of the coordinate actuating devices compared to planetary design are given, as well as main ways of controlling and improving vacuum thin film deposition evenness.
This paper explores the mechanisms of N. S. Leskov’s creative method by examining his sketch «Lady Macbeth of the Mcensk District» (1865). The sketch, which Leskov stylizes as a description of real events that took place in the Mcensk District, is shown to be much more closely connected with the journalistic writing of the early 1860s than with real life. In his choice of subject matter, construction of the protagonist, plot development, and descriptions of nature, Leskov makes use of the most discussed topics from the periodicals of the time, namely, the «woman question» and the «prison question,» and also relies on Ilya Selivanov’s crime stories and the mystical stories of Edgar Allan Poe, which were quite popular during the 1860s. Consequently, the sketch, about which Leskov said that he had «made it up» in reality came together under the powerful influence of topical publications in newspapers and magazines.
The aim of this paper is to examine Marina Tsvetaeva’s view of poet, poetry, and creativity. The novelty of the approach to the subject rests on singling out the key symbolic images and motifs which constitute the representation of the theme in question via “close reading” of M. Tsvetaeva’s work and describing their functioning as a system. The approach allows to discover the specifics of interpretation of creativity by the poetess. The motif of an artist as a chosen one turns out to be the key one. The gift of creativity is related in M. Tsvetaeva’s poetic universe with personified images of natural forces, Insomnia, Genius, Angel and Demon, which all manifest an ambivalence of the creative process and depict it as an “obsession”. The traditional images of lyre, Muse, gift of singing acquire non-trivial connotations in M. Tsvetaeva’s work. The motifs associated with the idea of creativity show that M. Tsvetaeva considers the poetic gift as an ability of “clear hearing” and “dreaming”, “fatal blessing” and “mysterious heat” (a simultaneous metaphor for the creative act and passion). The poet is viewed in M. Tsvetaeva’s artistic world as follows: heathen and warlock, seducer and seduced, sinner and saint, and also martyr doomed to drudge and rejected by the philistine crowd.
Volume in a series that publishes the results of long-term collective research carried out in the framework of a project conducted by employees of the Voronezh state University under the leadership of A. A. Faustov
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.