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Regular version of the site
Of all publications in the section: 50
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Article
Muravieva L. Новый филологический вестник. 2016. No. 4 (39). P. 37-45.

The article refers to the problem of representing traumatic experience by means of mise en abyme narrative figure. A methodology for this study was formed at the intersection of rhetorical narratology, cognitive narratology, trauma studies and literary theory. Mise en abyme, specially known as a device creating the self-reflexivity in text, gets new functional impulse in the postmodernist fiction. In particularly, authors resort to the mise en abyme in order to represent individual and collective trauma in narrative. For what purposes this figure is used in the postmodern literary discourse? In which way postmodern narrative practices involve and interpret the historical context of the XXth century? In this article, we develop the assumption that there exist several special models of mise en abyme, one of which aims to reflect the trauma in narrative. Some relevant characteristics of this model are described and illustrated on the example of The White Hotel by D.M. Thomas (1981), they are compositional structure; semantic relations; intermedial and modal realization of the mise en abyme.

Added: Jan 31, 2017
Article
Муравьева Л. Е. Новый филологический вестник. 2016. № 2 (37). С. 42-51.

This article compares the concepts of “text-within-a-text” and “mise en abyme”. Until now, there have been no attempts to analyze and differentiate them in Russian literary studies. This paper tries to identify these phenomena by considering the context of their emergence and conceptualization, by studying the semantic and functional criteria for differentiating them in narratives of 19th – 20th century, as well as by regarding the prospects of further integration of these two concepts.

Added: Sep 28, 2016
Article
Dina V. Shulyatyeva. Новый филологический вестник. 2020. No. 1. P. 320-327.

Abstract. In this review the author discusses the questions raised during the XXII Summer International School of Humanities (Moscow). The Summer School program was focused on the subject of national literary classics in global transit: leading 321 world researchers and teachers attempted to problematize a given topic in various aspects, both academic and methodical. Lectures, workshops, roundtables, discussions allowed to discuss the problem of the formation and transformation of the national literary canon, and the reflection of the literary classics in popular culture, as well as its refraction in other, non-literary, media (theater, cinema), and, finally, features of understanding the literary classics in modern artistic practice (first of all, in the modern novel). The methodological part of the Summer School program was no less diverse: the problems of teaching foreign literature at school (related to the clear predominance of Russian literary works in the school course, often studied without following the relationship with Western European literature) and the problems of studying foreign literature at the university were offered for discussion. Particular attention was paid to the discussion of the course of world literature as a project.

Added: May 21, 2020
Article
Bazhenova-Sorokina A. Новый филологический вестник. 2020. No. 2 (53). P. 319-332.

The article analyzes Juan Benet’s essays on Victorian literature, short

stories “De lejos”, “Una linea incompleta” and “Viator” and his non-fiction book “Lon- dres victoriano” in which the Spanish writer addresses 19th century Anglo-Saxon writ- ers from Charles Dickens to Joseph Conrad. Benet is mostly known as an author who

brought the discourse of European and American modernism to Spanish literature and as the creator of the Spanish new novel, who consciously renounced Spanish realism

of both 19th and 20th century.

Added: Aug 1, 2020
Article
Pavel Uspenskij. Новый филологический вестник. 2018. No. 1(44). P. 161-178.

This article suggests a literary analysis of “Renata’s End”, a memoir essay written by V. Khodasevich (1928), one of the key examples for understanding the particular nature of Russian symbolism. It is focused on the interpretation that Khodasevich gave to Petrovskaya’s life abroad. The author of the memoir looks at the life of his character through the prism of a symbolist life-creation (zhiznetvorcheskaya) model based on the concept of doppelgangers, or doubles. Simultaneously, the author’s commentary of Petrovskaya’a life abroad is related directly to his own arduous experience as an émigré.

Added: Oct 12, 2016
Article
Туляков Д. С. Новый филологический вестник. 2021. № 1(56). С. 67-78.
Added: Jun 22, 2021
Article
Туляков Д. С. Новый филологический вестник. 2017. № 1(40). С. 136-146.

The modern concept of literary visuality, defined as those features of a literary text which trigger a vivid and memorable image to appear in the reader’s consciousness, is in stark contrast with the research tradition which treats visuality as manifestation of the visual arts’ influence on a text. Based on this modern approach, we consider the visuality of the characters’ descriptions in Wyndham Lewis’s modernist novel “The Apes of God” (1931). Our analysis of Lewis’s text in the aspects of its intention to establish sensorimotor transfer between the character and the reader, its rendering of visual experience, and its strategy to defamiliarize the habitual course of readerly visualization shows that Lewis’s style is characterized by a counterproductive visuality whose effect and interpretation does not require a recourse to the artist’s painterly aesthetics.

Added: Oct 16, 2016
Article
Успенский П. Ф. Новый филологический вестник. 2017. № 3(42). С. 215-227.

This article is dedicated to the influence of Heinrich Heine on the poetry of Vladislav Khodasevich. Although for Khodasevich the Russian literary tradition was more important than the European tradition, in his lyric poetry tangible influence of Heine’s poetry can be found. However, links to Heine in Khodasevich’s early poetry can be characterized as superficial and are manifested in either in ironic depictions of love (“Verses about a Cousin”) or for the description of a stylized German city (“In a German Small Town”). In the poetry collection The Heavy Lyre (1922) the assimilation of Heine is deeper. Khodasevich on the one hand develops scathing irony after the fashion of Heine (“Gisele”), and, on the other hand he adopts Heine’s romantic treatment of love themes (“The Wanderer Passed, Leaning on his Staff”). There is a proximity within the framework of the book of a sense of a unity of two thematically similar love poems, which treat the theme of love in opposing ways — ironically and romantically. These are modalities that are probably the result of the influence of Heine. This does not annul the reworking of a range of Heine’s themes in such poems as “To Anyuta,” “Evidence,” and “The Star Shines, the Ether Trembles”. The outlines of a new stage of Khodasevich’s assimilation of Heine’ occur in the former’s emigration. Alongside “Ballad” this trend can be noted in in the poem “The Old Man and the Hunchback Girl,” in which the poetics take on characteristics of German poetry in general, and Heine’s poetry more particularly. Together with this, Heine’s influence here makes complicates the thematic influence of German expressionists. This new satirical and social adoption of the German poet failed to find its development in Khodasevich’s work and in his poetry written in emigration we do not find any more references to Heine. In regards to German expressionists, evidently Khodasevich, to some extent, experienced the influence of their poetry. However one cannot interpret this as fundamental to his work.

Added: Apr 4, 2017
Article
Успенский П. Ф. Новый филологический вестник. 2017. № 1(40). С. 158-169.

This article is dedicated to the influence of Heinrich Heine on the poetry of Vladislav Khodasevich. Although for Khodasevich the Russian literary tradition was more important than the European tradition, in his lyric poetry tangible influence of Heine’s poetry can be found. However, links to Heine in Khodasevich’s early poetry can be characterized as superficial and are manifested in either in ironic depictions of love (“Verses about a Cousin”) or for the description of a stylized German city (“In a German Small Town”). In the poetry collection The Heavy Lyre (1922) the assimilation of Heine is deeper. Khodasevich on the one hand develops scathing irony after the fashion of Heine (“Gisele”), and, on the other hand he adopts Heine’s romantic treatment of love themes (“The Wanderer Passed, Leaning on his Staff”). There is a proximity within the framework of the book of a sense of a unity of two thematically similar love poems, which treat the theme of love in opposing ways — ironically and romantically. These are modalities that are probably the result of the influence of Heine. This does not annul the reworking of a range of Heine’s themes in such poems as “To Anyuta,” “Evidence,” and “The Star Shines, the Ether Trembles”. The outlines of a new stage of Khodasevich’s assimilation of Heine’ occur in the former’s emigration. Alongside “Ballad” this trend can be noted in in the poem “The Old Man and the Hunchback Girl,” in which the poetics take on characteristics of German poetry in general, and Heine’s poetry more particularly. Together with this, Heine’s influence here makes complicates the thematic influence of German expressionists. This new satirical and social adoption of the German poet failed to find its development in Khodasevich’s work and in his poetry written in emigration we do not find any more references to Heine. In regards to German expressionists, evidently Khodasevich, to some extent, experienced the influence of their poetry. However one cannot interpret this as fundamental to his work.

Added: Apr 4, 2017
Article
Голубков А. В. Новый филологический вестник. 2017. № 41. С. 153-160.

The essay focuses on the debates concerning aristocratic language in the 17th century French culture – in the wake of the development of linguistic norms coined in the “official” dictionaries by the end of the century. Under the influence of Castiglione’s treatise “The Courtier”, Parisian salons (such as “the Blue chamber” of marquise de Rambouillet and “the Saturdays” of M. de Scudéry), starting with the 1610s, cultivated a specific gallant dialect marked by subtleness and metaphoric paraphrases that meant to distinguish it from the popular tongue. Already by mid 17th century, this “purified” salon language often associated with the jargon of “affected ladies” (les précieuses), had become a satirical target in the works of such writers as Molière, La Bruyère, Bouhours, etc. At the same time, the criticism of the salon-inspired “idioma” was itself part of the gallant aesthetics bearing on the unacceptability of “affection” as claimed by Castiglione. Thus, the pretentious salon idioma that influenced the development of the French linguistic norms due to the proclaimed demands of sophistication and elegance, was itself perceived as a dogmatic scheme imposing its rules on others in a totalitarian manner. 

Added: Oct 14, 2019
Article
Зеленин Д. А. Новый филологический вестник. 2020. Т. 1. № 52. С. 37-50.

The article suggests using the «discursive emblem» term, understood as a specially organised way of presenting literary commonplaces, doctrinal or philosophical principles, which is also capable of structuring texts of various genres. Article presents an overview of scientific approaches to postulating and solving the problem of emblem, presented in a literary text. Based on that, we introduce a discursive notion of emblems, allowing us to usefully fit it not as a inscription–image–subcription «triad», but as a non–visualised symbolic construct. Article then analyses premises for diffusion of emblematics in literature and there are presented some theoretical notes and remarks on conceptist nature of emblematics and on dominant role of metaphor in baroque poetics and aesthetics, all of which leads the author to conclude that emblematics took part in forming a unique poetic style. Agrippa d’Aubigné’s “Avantures du Baron de Faeneste” are taken as a specimen of a baroque work of emblematic nature and the two main protagonists – Enay and Faeneste – are shown to have served as prototypes of two key emblematic aspects: verbal and visual. It is argued that their charactonyms, their speeches and what happens to them demonstrates dialogics of Word and Image not only in an emblematic, but also in religious aspects of the XVIIth century: more specifically, in contrasting a catholic view of visuality against a protestant’s one. In conclusion three key components of the text are singled out: a visual (Faeneste), verbal (Enay) and the total process of emblematic reading, showing characters’ genuine relationships with the world around them.

Added: Oct 10, 2019
Article
Харитонов Д. В. Новый филологический вестник. 2020. Т. 52. № 1. С. 250-264.

The aim of this paper is to analyze a peculiar case of interaction between nonfiction and fiction. The analysis’ starting point is a famous introduction by an American writer Tom Wolfe to The New Journalism anthology (1973) where he praises realism, which he finds capable of uniquely — physiologically — affecting the reader, and claims that New Journalism brought realism back to American letters, repeating an important episode of the history of literature: the coming of the realistic novel to the 18th century England. These statements have not yet received the critical attention they obviously deserve.

As was shown by researchers (M. Dickstein, J. Hartsock, B. Shapiro), this novel emerged from imitation of antecedent nonfiction and was meant to affect the reader by its borrowed “truthfulness.” In this “truthfulness” one recognizes the paradoxical idea of “fictional truth,” inherent to the novel, which engaged the literary critic M. Riffaterre and philosopher G. Currie (among others). It becomes possible to assume that British “literature of fact” of the late XVII century provided patterns of truthful and verisimilar narrative while the realistic novel formed “the poetics of truth” that conveyed to the reader communicative aesthetic experience of encountering a narrative’s “reality.”   

          Studies in evolutionary biology, neurophysiology, and cognitivism corroborate this assumption and, accordingly, prove Tom Wolfe’s first statement to be correct. His second statement is half-right: what happened in the 1960s was not so much the return of realism to American literature as another emergence of a literary form from the tension between fiction and nonfiction. New Journalism imitated the novel as in the 18th century the novel imitated “literature of fact.”

Added: Oct 10, 2019
Article
Голубков А. В. Новый филологический вестник. 2019. № 49. С. 269-278.

The article concerns the analysis of “Oedipus”, a tragedy by P. Corneille, staged in Paris in January 1659. The play, created on the advice of Superintendent N. Fouquet, has substantial plot differences as compared with classical Oedipus story schemes, dating back to Sophocles and Seneca. Corneille has considerably shortened the tale about the life of Oedipus and Jocasta, and, at the same time, developed the story of Laius’ daughter Dirce and her lover Theseus. While analyzing, the author comes to the conclusion that the central subject-matter of Corneille’s tragedy is the search for  270 Новый филологический вестник. 2019. №2(49). 271 a true king, a blood descendant of Laius, who could sacrifice himself in order to save Thebes from plague. Initially, Oedipus does not understand his mission, nevertheless, towards the end of the play, he becomes a real king, embodiment of the state as a whole. There is a hypothesis that such political pathos could be explained mostly by historical realia of the Fronde, by the tender age of Louis XIV, as well as by pragmatic orientation of the play towards high society audience, for whose pleasure Corneille ‘softened’ the dreadful details of the ancient myth, and developed Dirce’s and Theseus’ characters in conformity with the principles of gallantry. The author comes to a conclusion that the play with a modified ancient plot turns out to be the embodiment of the ‘beautiful infidels’ translation strategy, which is based on a pragmatic change of the initial text in accordance with the needs of a certain public. It has been suggested that Corneille could have become with his play, willingly or unwillingly, a partisan of the ideas of the French high society and Fouquet, whose arrest in 1661 was one of the first independent steps of Louis XIV as a French monarch. 

Added: Oct 14, 2019
Article
Пронина Т. Д. Новый филологический вестник. 2014. № 2 (25). С. 126-140.
Added: Mar 1, 2017
Article
Бассель А. В. Новый филологический вестник. 2015. Т. 3. № 34. С. 119-139.

The article is devoted to the analysis of O. Mandelstam's "Let us Conquer the World" - a collection of poetic translations from a German proletarian poet Max Barthel. A comparison of the original poems and their translations allows the author of the article to single out a number of principles and tendencies in Mandelstam's work as a translator. It is shown that the Russian poet enriches Barthel's imagery by rendering it more complex, partly eliminates religious metaphors, emphasizes the symbols of revolution, "russifies" the original text to fit it the Russian tradition and fills the poems with images of his own.

Added: Feb 17, 2016
Article
Крылова И. А., Никитина Н. А., Тулякова Н. А. Новый филологический вестник. 2019. № 50. С. 236-248.

The paper makes the first attempt at analyzing I. Turgenev’s tale Clara Militch as a pretext for A. France’s Leslie Wood. France uses Turgenev’s text in several ways, taking plot elements (the motives of chaste marriage, physical love between the protagonist and his dead lover, the death of the protagonist), borrowing the personages system and citing Turgenev’s characters directly. These borrowings prove that France consciously alluded to Turgenev’s tale. The borrowings so numerous allowed us to look at Leslie Wood as a certain interpretation of Clara Militch. Still, France’s perception of Turgenev’s tale seems to have been different from that of the contemporary critics. He was not interested in either historic or cultural context, nor in the psychoanalytic aspect of the tale. Instead, France concentrated on the theme of mystic love, the interaction between the male and the female, interpreting these aspects in his own way. While physical love stars the heroine, Leslie Wood is built around the man’s feelings and actions. Turgenev’s heroine displays a bright, even demonic personality, whereas France’s character obediently follows her husband. France does not stress the fatality of love beyond grave, but rather studies its role in the progress of the human soul. Placed among the other stories of the cycle L’Étui de nacre, many of which also deal with the theme of love and death and chaste marriage, Turgenev’s plot becomes another point of view in the complex narrative system of the cycle. Still, looking at Leslie Wood with the view of Clara Militch softens France’s irony, showing the characters in a more dramatic, tragic light.

Added: Feb 21, 2019
Article
Орехов Б. В. Новый филологический вестник. 2012. № 3. С. 87-95.

The article deals with the folklore and mythological plan in the Marshak's story in verse  "Mister Twister" 

Added: Sep 28, 2013
Article
Авраменко И. А. Новый филологический вестник. 2016. Т. 39. № 4. С. 126-136.

The article demonstrates how memory as a mental mode becomes the key element in the narrative structure of XX century English novels that are retrospective and narrated in the first person. Some of these works have not been translated into Russian and thoroughly studies. Two models are suggested for such novels. In the first model memory is a spontaneous autocommunicative process. The narrator in the present reaches out to himself as a character in the past and restores the chronological sequence of events up to the present moment. The second model blends the present with the past, the narrator with the character, uses multiple narrative techniques and, to a larger extent than the first model, is communicatively oriented towards the reader.

Added: Oct 3, 2016
Article
Муравьева Л. Е. Новый филологический вестник. 2018. Т. 1. № 44. С. 57-68.

Narrative functions very greatly and are studied in a wide interdisciplinary spectrum. However, one of the functions of the narrative have not yet been studied in detail and therefore deserves a special attention. This is an alarm function: narratives can not only reconstruct past events, but they can also warn on the possible danger, predict the future events and simulate the reactions of recipients. In theoretical narratology, this function is perceived with caution: narrative is usually considered as a form referring to the past. At the same time, the applied research shows that  narratives could be actively involved in the practices of predicting the future. This mechanism is largely based on the collective memory. The article deals on the problem of narrative representation of risk and its relation to collective memory.   

Added: Feb 20, 2018
Article
Пронина Т. Д. Новый филологический вестник. 2015. № 1 (32). С. 82-99.
The article deals with the topoi that Mandelstam used in “Slate Ode” in the frame of his own author’s task. Discourse analysis of the text, that means detection of performative strategy of lyric utterance, gives an opportunity to trace the interaction between the poem and odic genre tradition and author proves that in it, however, realized other genre invariant.
Added: Mar 1, 2017