Европа-Россия-Китай: восприятие или отторжение?
The collection offers articles dedicated to the Russian-Chinease literary relations, the image of China in the Western literary tradition and the vision of Russia in Chinese literature.
Due to its significant cultural and social meaning, the word Babushka has become one of the most recognizable English words of Russian origin. But what is behind this elderly woman for a Russian person? The purpose of this study is to shed light and understand the phenomenon of the Russian babushka and the importance of her role in Russian culture. The study was not specifically designed to evaluate factors of the reshaping of the babushka’s image throughout history. An attempt will be made to examine a number of well-known novels and short stories written by prominent Russian authors from different times, both fictional and autobiographical, which explore the image of the Russian babushka. I argue that the images of grandmothers described in popular literature have influence on the formation of the Russian world view. As a result of the analysis, I have identified the main components of this social and cultural construction which still remain fixed in the Russian language consciousness regardless the recent changes in the system of family values.
Features of religion as way of the relation to the world and its influence on development of the Russian literature are considered. The spetsififichesky lines of religion defining features of outlook and strategy of social behavior of believers are marked out. The main vectors are specified in use of religious images and ideas within literary texts.
The purpose of the article is to analyze the existing ideas about Russian literature in Britain at the end of the 19th and first half of the 20th centuries. A brief overview of the advancement of works of Russian classics among British readers is given. The spread of Russian literature in Britain was progressing slowly for a long time due to the difficulty in translation and the lack of interest in Russia and Russian culture. However, at the end of the 19th and first half of the 20th centuries, the situation changed in the literary community of Britain. This period saw a plethora of publications of translations of Russian fiction that were accomplished by professional translators, Slavonic scholars, and writers and appeared in periodicals and other print formats. The article provides an overview of the translation of works of F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov, who have become the most understandable and accessible to the English mentality thanks to such outstanding translators as C. Garnett, Aylmer and Louise Maude, S.S. Koteliansky (who worked in collaboration with V. Woolf, J.M. Murry), R.E.C. Long and others. Having gained access to high-quality translations of Russian classics, British writers began to study their work in more detail. The British saw the influence of English and European writers (W. Shakespeare, Ch. Dickens, J.-J. Rousseau, J.W. Goethe, V. Hugo, etc.), e.g. in the works of F.M. Dostoevsky. However, later the creation of Russian writers influenced the Western novel, modifying it. There is an opinion that the works of A. P. Chekhov, made by Garnett, changed the English short story, making it exactly as we know it. V. Woolf, J. Joyce, B. Shaw, J. Galsworthy, A. Bennett and others admired the depth, style, and language of Russian writers. Translation of works of great Russian authors facilitated the flow of information about Russia and expanded the British view of the country and people. This once again confirms the fact of mutual cultural exchange between the two countries from a historical perspective. It can be argued that, despite all the complexities of the relationship, the mutual influence of the literatures of the two countries is obvious.
This article is focused on the evolution of well-known Russian writer Vladimir Sorokin's works (novels, sort stories. cinema scripts) in post-Soviet period. Its main subject is the film "Target" (2011) shot by Alexander Zel'dovich and based on the script by Zel'dovich and Vladimir Sorokin.
The memoirs of Jewish amateur writer P. Vengerova and Russian writer/educator E. Vodovozova have many commonalities in their plot lines. Yet the approaches of the memoirists towards the description of their childhood were different. While Vengerova builds her memoirs on the myth of the Golden Age of Jewish authenticity lost in the course of assimilation, Vodovozova perceived her childhood against the foil of Russian serf-ownership. The strategies and methods of the writers derived from their approaches.
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.