Всеволод Некрасов о Козьме Пруткове и Алексее Константиновиче Толстом
This article discusses how the conceptual poet Vs.N. Nekrasov talked about Kozma Prutkov as a literary persona, A.K. Tolstoy as the most prominent of Kozma’s creators, and “prutkovskian” traits in contemporary literature and A.K. Tolstoy’s prose. For Vs. Nekrasov the making of Prutkov was a fruitful attempt to “neutralize” some potentially dangerous consequences of so-called “literature-centrism”. Some of the texts under analysis were taken from Vs. Nekrasov’ personal archives (transcripts of speeches, reports for the Russian Theatre Society, drafts, etc.) and are now published for the first time.
The book is the first critical edition of the definitive poems codex of Russian conceptualist Vsevolod Nikolayevich Nekrasov.
An article describes one of the earliest prose texts (never published or even known about) of Vsevolod Nekrasov, Russian concretist and conceptualist: it adds some significant information on "second avant-garde" notions of "classical literature".
Analyses of translation methods of A.N. Tolstoy's novel «Peter the Great» in Chinese version, which translated by Zhu Wen. Researching the translation forms of Russian historisms to Chinese analogues, as well as methods and practices to keep the historic flavour of original novel.
The attention which was shown to Vs.N.Nekrasov’s poetry (not only to his visual texts) by artists of different generations and styles, forced the poet discuss the border between verbal and visual arts, that loosens in the twentieth century, but remains nevertheless permanent and significant. This awareness of the border was inevitable in a situation of unprecedented rapprochement and mutual influence of these arts (for example, the use of a horizontal line in some texts Nekrasov at early 1980s can be compared with the idea of the horizon in Boulatov’s paintings). In a letter to French publisher P.Mréjen about С.Cofone’s book, that played up Nekrasov’s text "Growth" ("A Poem") by its total strikethrough, Nekrasov discusses semantic differences between Russian poetry and their interpretation in the work of book-art. Different cases of strikethrough in the original texts of Nekrasov are further shown, for instance, in early (1970-1980th)) use of strikethrough as a way of marking the "extra", "inconvenient" words (the device has recently become very popular in network imitation of "natural" speech).
The late Soviet period, and its philosophy, remains little known, even if it is precisely the moment when emerges a community of trans-disciplinary thinkers. The Brezhnev period, rich of theoretical and speculative activity, even if practiced under multiple ideological constraints, sees the emergence of an artistic movement, Moscow Conceptualism, which will play a key role in getting philosophy out of its narrow disciplinary field as well as for the future development for thought in Russia. If its inscription in Russian art history is well known, its place in the history of ideas and in the birth of a non-official philosophy is rarely studied. The aim of this article is to give an account of this exceptional moment of thought, the impact of which is still to be felt up to this day.
The book includes memoirs, works on Russian literature of the XVIII – XX centuries and on theory of literature, publications of archival materials and is dedicated to the memory of Anna Ivanovna Zhuravleva (1938-2009) – a historian of Russian literature, Professor at Moscow University. The authors of the collection are colleagues and students of Anna Ivanovna and her husband, the poet Vs.N. Nekrasov.
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.