Эстетические установки "молодой редакции" журнала "Москвитянин"
The article is devoted to Lermontov studies as undertaken by A.I.Zhuravleva.
Nine editions of The Norton Anthology of American Literature (1979-2016) are an important symptom of the scholarly paradigm in the US literary studies shaped at the turn of the 21st century. After a brief outline of the genre’s history and its stance on the American book market I provide a detailed investigation of the changes in the editorial team, its selective strategies, and some trajectories taken in including and/or omitting individual authors within the “Literature since 1945” section of the anthology. The complete lists of editors and anthologized contemporary authors in the two respective tables are charted to trace the reconfigurations of the two sets of names from first to latest editions. My paper reveals the ahistorical nature of the Norton project, which corresponds to the cultural atmosphere of the United States in the aftermath of the “canon wars” in the American cultural studies of the 1980-90s. The qualitative relation between the anthologized writers’ fiction and the editors’ critical introductions and commentary suggests that the anthology’s content and structure is isomorphic to some postmodern practices of the very literature whose onthological meta-description the anthology undertakes.
Unpublished letters from and to Alexander Wesselofsky kept in the Manuscript department of the Institute of Russian Literature, Russian Academy of Sciences, disclose the details of his work on the Paradiso degli Alberti in the 1860s.
Using a set of psychoanalytic metaphors (repression, the family romance, obsessional neurosis, the cathartic method), this article analyzes New Journalism that altered power dynamics in the 1960s American literature and journalism. On the one hand, it was a literary phenomenon and as such strengthened nonfiction as opposed to fiction. On the other, it remained journalism and as such considerably weakened “objectivity” that had dominated American journalism since the 1920s but suffered reputational damage in the 1950s due to the press’ involuntary involvement in McCarthyism. New Journalism’s major ideologue and practitioner was Tom Wolfe who discovered new creative possibilities in the early 1960s. He was forced to do so, having realized the inadequacy of the journalistic language he knew to new social and cultural realia that attracted his attention. In the early 1970s Wolfe summarized, in a way, the decade of New Journalism, defining its role, suggesting its theory, and outlining its history. Insisting on its literary lineage, however, and stressing its originality, Wolf disregarded a rich tradition of literary journalism that since the 1890s was bridging the gap between subjectivities, as a scholar put it, employing devices associated with fiction. A link in the chain of literary journalism, New Journalism is an important topic in a discussion of literary anthropology.
The article deals with the position of the Soviet literary criticism to the interpreters with the languages of the national republics in the period of occurrence, and the active development of the state order for this type of literary work. On the material of literary periodical publications in the mid-1930s considered the strategy of “translation quality” control in criticism. The article analyzes the representation to the merits and demerits of translation work in Soviet critics, in the context of ideology, and in connection with the artistic translation strategy. For example in critics relation to N. Tikhonov’s and Boris Pasternak’s translations from Georgian poets is traced the strategy of creating “best translators” images, that were necessary for the proper functioning of the multinational Soviet literature.
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.