The author introduces a collection of papers published as the proceedings of the Ninth Gasparov Readings, which were held in 2014 and devoted to translations of Classical and European authors by Mikhail Gasparov himself. Some of these articles analyse his legacy, while the remainder focus on problems and curious examples of translation (two of which appear in this issue). The roundtable discussion encouraged the participants to answer the following questions: Can translation be taught? How did I learn to translate? How do I teach translation?
The author seeks to destroy the myth surrounding the personality of Mikhail Katkov, one of Russia’s most prominent thinkers and journalists, who defended the Russian imperial ideology, believing it to have descended from European views to take root in the local culture. The author invokes two major figures of Russian history and culture: Peter the Great and the poet Aleksandr Pushkin. Katkov argued that Russia owed its successful integration into European history to Peter the Great, who transformed the country into a powerful empire and created an independent space for spiritual experiments. So it no longer seems accidental that Pushkin was referred to as ‘the singer of the empire and freedom’. It was for that reason that Katkov jumps to the defense of the Russian empire, fearlessly opposing the government, no less, who, he thought, had lost touch with reality. Eventually, Katkov was fighting two enemies: Russian nihilists (with Herzen in the lead), who wasted no time undermining the empire, and Russian liberals, who would stop at nothing, even welcome a foreign invasion, in order to bring down the empire (the so-called ‘Polish intrigue’). The author sets out to reconstruct the writer’s true image through his work.
The paper discusses a number of crucial elements of Venedict Erofeev's poem "Moscow - Petushki": the female imagery, the concept of love, and the concept of artistic discourse. These notions acquire new meaning and special significance when the poem's references to I. Kramskoy's painting "The Inconsolable Grief" are scrutinized. The methodology of the analysis is primarily based upon M. Bakhtin's theories of "finalization" and "rhetoric word".
The aim of this article is to discover and analyze the intertextual connections between the works of Marie de France and Chrétien de Troyes. The analysis of these connections will shed light on not only the projects of both authors, but also on the context and the laws of vernacular literature of 12th c.
The article, based on the analysis of Chekhov’s The Duel [Duеl], offers a new interpretation of Chekhov’s oeuvre. Modern Chekhov studies often imply that the writer lived in the era of the end of ideologies and therefore refrained from offering any ideological recipes. In fact, nearly each of Chekhov’s longer novellas debunked the nascent ideologies of the time. He warned of the perils of submission to an ideology, even though he could not predict which one would eventually dominate. Therefore, he critiqued each and every one of them. This is how ideology is tackled in his story The Black Monk [Chyorniy monakh] (an anticipation of detrimental Modernist ideas); in A Dreary Story [Skuchnaya istoria], these days often compared to the story of Faust; and in Ward No. 6 [Palata nomer shest], showing descent of normal people into insanity. Similarly, in The Duel, he depicted a proto-Nazi and Bolshevik, no less, in the character of Von Koren, who embraces Nietzsche’s worldview and will not hesitate to destroy an intellectual who crossed his path.
Two unpublished autobiographies of poet, translator and memoirist Benedikt Livshits (1886/1887-1938), written in 1923 and 1924 (and held in the Manuscript Division of the Institute of Russian Literature), feature, together with an extensive commentary establishing the chronological backdrop to and the details of his life in the 1890s-1910s. Major events in his life are listed as far as possible thanks to a variety of archive sources (the statements of his second wife, E. Livshits, his student file from the Kiev Municipal Archive). These include the poet’s family history and his time as a student at the Richelieu Gymnasium and the universities of Odessa and Kiev, as well as the precise date of his baptism and a number of episodes from his service in the First World War. Information gleaned from the reminiscences of E. Livshits regarding the vicissitudes of her husband’s life is a particular focus, giving greater insight into a life story little told by memoirists. Also included is an unpublished poem by Livshits’s first wife, V. Arngold-Zhukova, which she dedicated to him.