Этюды о Владельце Шарманки. Александр Цыбулевский и художественный перевод
This book continues the tradition of publishing materials on the study of forgotten authors and phenomena of the "second row" in literature, criticism and literary studies in Russia and Europe. It is dedicated to a specific aspect - "forgotten" scholars and literary journalists as actors in the literary process. The collection contains articles of scholars from Russia, Latvia and Belarus.
Pasternak in Revolution: Lyric Temporality and the Intimization of History
The relationship between the individual and historical processes was one of Boris Pasternak’s persistent and central concerns, from his earliest lyrics, to his experiments with long-form poems and prose at mid-career, to his late masterwork, the novel Doktor Zhivago (Doctor Zhivago). Pasternak’s oeuvre poses the questions of what the lyric poet can say about history, and how to say it. Among his earliest, most complex and perhaps least critically understood attempts to answer these questions is the 1920-23 poetic cycle “Bolezn'” (“Illness”). In particular, the third poem of this cycle, “Mozhet stat'sia tak, mozhet inache” (“It can happen like that, or otherwise”), is among Pasternak’s most dense and enigmatic works. To our mind, it also contains the central keys to reading the cycle “Bolezn'” and to Pasternak’s earliest attempts to make lyric sense of historical experience. The present article is a contextualization and analysis of this poem, of the cycle that contains it, and through this, of the counterintuitive potential of the lyric mode as an instrument for historical thought. Our work is based on an examination of the construction of the poem and its web of allusions to Russian and world literature from Lermontov and Tiutchev to Dickens, as well as to the contexts of Pasternak’s biography, in light of recent work on lyric and avant-garde temporality. In this manner, we describe “Mozhet stat'sia tak, mozhet inache” as an evocation of the complex fabric of temporal linkages binding Russian culture together at a moment when the temporal sequence itself had been upended in what Pasternak envisioned as a “purga” (“blizzard”) of revolutionary transformation.
This paper is aimed at exploring the origins and mechanisms which have contributed to the creation of Ivan Dmitriev’s autobiographic “double identity” – as a Russian “classic” poet and as a high ranking state official. His biography is reconstructed in light of his literary and bureaucratic achievements (Dmitriev was one of the famous and acknowledged poets at the beginning of 19th century and also built a successful career as a civil servant becoming the Russian Minister of justice in 1810). A crucial point in his biography occured when his two identities came into clash, in the course of his controversy with Mikhail Kachenovskii, critic and editor of an influential literary review, the “Vestnik Evropy”. This paper analyses also Dmitriev’s defensive strategies against the attacks of literary critics who combined his two different identities, which seemed to him to be mutually exclusive. An explanation of his attitude can be found in the social conventions that regulated the Russian noblemen’s norms of behavior of the time.
This chapter examines the religious life trajectory of a famous Russian literary scholar and professor Stepan Shevyrev. Using unpublished sources, I trace his intellectual development which was influenced by Friedrich Schlegel and Franz von Baader. The artcile shows how Shevyrev objected to Schlegel's religious literary criticims in the 1830s and conversed to the Orthodox literary theory in the 1840s under the influence of Franz von Baader's philosophy.
The publication of poems by Osip Mandelstam with an academic commentary
An article about a poem by Arseny Tarkovsky
"Semiotics of Scandal" is the third collection of the series "Mechanisms of culture". It presents the materials of an international conference held at the Center for Slavic studies (Sorbonne, Paris). The authors, using different methodologies, analyze different forms of scandal as one of the dominant categories of the literary process, history, and politics.
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.