The paper is focused around two biographical themes. Theme one is history of demolishing Leningrad school of dramatic theory developed in the State Institute of History of Art (GIII) in the 1920s. In 1931, the GIII was closed by a Sovnarkom resolution and transformed into Leningrad division of the State Academy of Art Studies (LOGAIS) established by the same resolution. Theme two is description of the ‘academic traumatism’, traumatic behavior and its biographical effects caused by destruction of a whole scientific trend during the anti-formalism campaign of the early 1930s. Based on archival documents (from the Russian State Archive of Literature and Art), shorthand notes and reports on discussions of the 1930s, we analyze and classify behavioral tactics of initiators, participants and victims of the longstanding stigmatization and catalog absolutory, denunciative and repentant narratives. Several documents are analyzed as climax points of polemics and demolition of the scientific community. The most important of them is the unpublished letter to the editors of Rabochiy i Teatr journal written by Alexander Slonimsky, mostly known in the world of science as a Pushkinist. Through the 1920s–1930s, Slonimsky was one of the key players in development and obliteration of dramatic theory associated primarily with Alexei Gvozdev’s group and with transformation and dissolution of the leading humanities institutes. When compared to the regular reports on scourging and self-recrimination of members of the theatrological ‘clique’, the text of the letter appears to be engrained in the complicated mosaic of measures aimed to discredit Meyerhold’s theater practice and Gvozdev as the leader of the scientific school. Deliberate misinterpretation and corruption of self-descriptions along with reconstruction of biographies are some of the most crucial factors that affected reception of cultural projects and their creators in the 1930s and later.
One of the Greco-Roman theories of the relationship between fact and fiction in poetic texts remained quite widespread in the medieval commentary tradition. The unpublished accessus to the Aeneid by Zono de’ Magnalis (early 14th cent.) presents an unusual variant of this theory
The article deals with one storyline of the novel Anna Karenina that stands as the key for the re-search into the significance of Anglomania in the novel. The 1850-1870s in Russian culture is the time of a most intensive formation of the image of the UK as a highly complex combination of real and mythological elements. The novel Anna Karenina, which Tolstoy himself called the novel about modern life, sets forth the fashion for everything ‘English’ in Russian high society in the 1870s with almost documentary precision. The episode the article deals with is Anna Karenina's reading of an English novel. The article looks at different theories of the origin of the novel and suggests a particular novel as the source for the English novel in Anna Karenina. Article argues that the knowledge of the particular English novel contributes not only to the re-search of Anglomania in Anna Karenina and other Tolstoy's works but also gives a significant in-sight into the study of the characters in the novel.
The paper traces the very different contours of Soviet discourses of Arctic in the Stalinists 1930s with their narrative transformation of Arctic space into integral part of national Soviet space. The goal is to see how the Arctic narrative developed and evolved throughout the last 30/40 years of the Soviet era. The research is based on analysis of 3000 literary texts, articles, memoirs and letters, published and archived. The results confirm the presence of ‘Arctic discourse’ in the Soviet society and is supported by various sources. The Arctic issue became per- manent in cultural and political practices of the time in the late 1920s and had a series of cli- maxes in the 1930s–1940s. Its popularity peaked in the mid-1950s and then dropped dramatical- ly. The cultural and literary background of such change is explored through the narrative definitions.
The paper is the chronicle of the international scientific and educational seminar Gumanitarnaya nauka v Rossii i perelom 1917g.: ekzistentsiajlnoe izmerenie / Humanities in Russia and the Break of 1917: the Existential Dimension, held in Perm branch of Narional Research University "Higher School of Economics" (25-28 August 2015).
Nous traduisons ici, du russe en français, le compte rendu du volume de Jean-Paul Bronckart et Cristian Bota, Bakhtine démasqué. Histoire d’un menteur, d’une escroquerie et d’un delire collectif. Genève : Droz, 2011
Review of: Ad populum. Parlare alla pancia: retorica del populismo in Europa. Eds. Bruno Capaci and Giuditta Spassini. Bologna: I libri di Emil di Odoya srl., 2016.
The article aims to rethink the several stereotypes of Romantic tradition, which are still reproduced in regard to Benvenuto Cellini and his Vita. Using the approaches of intellectual history and iconographical studies, the present study pays attention to the coherent system of lay, scientific and ‘secret’ knowledge of the epoch lurking under the surface of the simplicity and even naivety of the author’s language. I argue that this autobiographical writing embodies a certain type of culture of the self deeply rooted in contemporary medical, alchemical and magical contexts. Organized around the concept of “getting pleasure,” Cellini’s practices of the self are built into the Neo-Platonic picture of the world. Analyzing the two passages of Vita, I demonstrate the author’s spiritual ascent from the corporeal suffering to union with ‘the One’ by means of individual and collective magic rituals, transforming his Life into a work of art.
The Russian presence of Dickens can generally be reduced to several types: first, he is a “teacher” admired at the national level, the creator of the “Christmas narrative canon”; second, a mythological figure, his texts being the source of parables and anecdotes; finally, his name has turned into a common thing, an object of everyday life, a symbol in the representative list of European writers. Mandelstams’ poem “Dombey and son” is a pattern of Russian Dickensian.
The essay surveys four articles of the section dedicated to the boundaries of fiction in literature, scientific discourse, and other areas of human creativity. The section is supposed to contribute to the study of a broad range of the problem of literary theory, such as the interaction between literature and other social practices, resulting in the creation of a particulare discourse of 'reality' and 'objectivity', and the highly controversial issue of the relationship between 'material' and 'form' in the literary text.
This paper discusses the legacy of Nikolai Antsiferov (1889–1958), a Russian historian who suggested a unique approach to urban studies in which literature played the key role. In the first section of this paper, the genesis of Antsiferov‘s conceptions of the study of urban history and the image of the city are outlined. The second section provides an analysis of his ideas on the literary image of St. Petersburg and the theory of literary-themed guided tours, which were articulated in his works of the 1920s. The finalsection of the article sheds light on the reception and legacy of Antsiferov‘s intellectual ideas in the modern humanities and assesses its significance in the modern context of interdisciplinarity.
The longstanding friendship between Viktor Shklovsky and Roman Jakobson, which gave way to a gradual cooling of relations and finally arrived at a complete rupture, has for almost a century been the subject of numeral scholarly researches. The reality of personal conflict and the obviousness of the multiple psychological, biographical and historical causes that made this conflict inevitable have nearly completely obscured the persistent theoretical dimension of the evolving relationship between the two men. The story of their relationship may be interpreted as a history of the clash of two perspectives on the development of the humanities, as a history of clash of two metalanguages or of two ways to see the relationships between poetic language and language, between the subject and language, and between language and reality.