At the end of the 1980s. Y.M. Lotman planned to read the special course "The era of the Decembrists." However a special course was not read, but his program remained. Comparison of the program with previous works of Lotman on the history of the Decembrists, as well as with his unpublished correspondence with Y.G. Oksmanom, allows to restore the contents of the proposed special course and follow the evolution of the views of Lotman on the liberation movement in Russia
Contemporary theory examines a literary text as a dynamic reading program. It is heterogeneous; strong and weak areas differentiate themselves; there are segments with higher or lower degrees of conventionality. When applied to narrative texts, the idea of “functional immersion” can be used for the analysis of such a structure, denoting moments when the reader should “get involved” in the plot and “empathize” with the characters, even fictional ones. Some approaches that allow for the elicitation of such “immersion” — primarily approaches of narrative framing (visual, genre, intertextual)—are shown using the example of Oscar Wilde’s novel Portrait of Dorian Gray (1890). The heterogeneity of this text is due to a visual image’s (a painting’s) introduction into the story, where it is featured as an actant. Visuality and literary narrative are two different cultural languages, and one of them (literary) deforms the other (visual). The picture of Dorian Gray is almost invisible as a painted image, but the reader’s attention is drawn to its external, non-image-related elements of art, but as a document that incriminates the prota - gonist. It migrates to the outside world and changes within itself, serving not as the embodiment of an ideal prototype, but as a fluid, ambiguous simulac - rum, similar to and object and a dead body that has become part of a theoretically endless number of objects collected by the novel’s protagonist.
Using newly-discovered archival documents, this article reconstructs the cohesive aesthetic and social conception of children’s literature that lay behind the public appearances of writer, critic and editor Lydia Chukovskaya (1908-1994) between 1953-57. This conception rested on the idea of “truth” as a synonym for psychological authenticity and as an overcoming of the estrangement created by the clichéd mental constructions of socialist realism. The author shows that Chukovskaya’s In the Editor’s Laboratory (1960) synthesized her thoughts over the previous decade on literature and the future of Soviet culture, in the form of a utopian conception of literary editing as a means of social-moral therapy for post-Stalinist society. This conception had a noticeable effect on several young writers of the “Thaw” period. The article includes an appendix of three previously unknown speech outlines for talks Chukovskaya gave at literary discussions in the 1950s.
In the context of the discussion on the relevance of the microhistory today, the author raises questions about the reasons for its reproducibility, its connection and breaks with postmodernism, the social and the creative role in the humanities, as well as about its unsolved and probably generally unsolvable problems.
The article examines the now-typical condition of universities worldwide, in which the unity of research and teaching is on the decline. In Safronov’s opinion, because teaching has no palpable, materially evident results (in comparison with scientific results), it is now being deprofessionalized. Yet this deprofessionalization opens up some new opportunities for educational theory and practice. The special asymmetry in the relationship between a teacher and her/his audience might bring about new forms of educational communication, no longer the distanced professional variety, but rather one built around friendly mutual need.