Серый мужик. Народная жизнь в рассказах забытых русских писателей XIX века
The cycle "Imitations of the Ancients" (1821) is described in the article as an episode from Batyushkov's reception-derived practices. Sources for three of the six miniatures in "Imitations" are found (fragments of Saadi's "Gulistan"as adapted by J.-H. Herder), as well as the syntactic-compositional model for another miniature ("Когда в страдании девица отойдет..."/"When the maiden, suffering, passes away..."). Analysis of how this model functions provides the basis for a hypothesis for precising the manner in which topoi in this text are linked to its plot.
This paper is aimed at exploring the origins and mechanisms which have contributed to the creation of Ivan Dmitriev’s autobiographic “double identity” – as a Russian “classic” poet and as a high ranking state official. His biography is reconstructed in light of his literary and bureaucratic achievements (Dmitriev was one of the famous and acknowledged poets at the beginning of 19th century and also built a successful career as a civil servant becoming the Russian Minister of justice in 1810). A crucial point in his biography occured when his two identities came into clash, in the course of his controversy with Mikhail Kachenovskii, critic and editor of an influential literary review, the “Vestnik Evropy”. This paper analyses also Dmitriev’s defensive strategies against the attacks of literary critics who combined his two different identities, which seemed to him to be mutually exclusive. An explanation of his attitude can be found in the social conventions that regulated the Russian noblemen’s norms of behavior of the time.
This article discusses the issue of conflicting “languages” inside the literary ethnography of mid-nineteenth century imperial Russia. The case under investi- gation here is the Russian Naval Ministry’s “literary expedition”, launched by Grand Duke Konstantin Nikolaevič in 1855–1861 to study the fishing and shipping practices of different parts of the Russian Empire and to produce sketches about them. Exploring the preparatory stage of the expedition, the author identifies the European and Russian precedents of literary ethnography from Adelbert Chamisso’s Reise um die Welt to Ivan Gončarov’s Frigate Pallas, which may have provided a model for Konstantin. Extant unpublished documents of the expedition from Russian and Estonian archives allow us to reconstruct its ideological origins and to show that it was born from the spirit of the Russian Geographical Society’s projects and the so-called “nationalizing” paradigm of ethnographic knowledge that dominated the discursive field in the 1850s. The author demonstrates that the underlying idea of the expedition had much in common with Slavophile ethnography (the case of Ivan Aksakov) and its project of “Russian science”. The last part of the article shows how this “nationalizing” paradigm clashed with cosmopolitan and liberal ideas when Konstantin was launching the expedition.
The chapter examines Russian Jews’ participation in Russian political parties as a consequence of their integration into Russian society, and the role of the Jews in various political parties in late XIX – early XX centuries, from social-democrats to cadets.
The focus of this article is Nikolai Nekrasov's attempt to revive the legacy of Yevgeny Baratynsky, whose poetry - mainly due to Vissarion Belinsky's criticism - was not as higly esteemed in Nekrasov's lifetime as after Baratynsky's "rediscovery' in the early 20th century. It is also shows that Baratynsky's elegies could influence Nekrasov's poem "Kogda iz mraka zabluzhdeb'ia..." (1845), and ofeer an explanation of the reason why Nekrasov favored Baratynsky's poem "Priznanie" (1823, 1832-33).
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.