Чехов и Шекспир. По материалам XXXVI-й международной научно-практической конференции "Чеховские чтения в Ялте". Коллективная монография
A specialist in Chekhov's dramaturgy, a subtle connoisseur of the theater, the author devoted his article to echoes and motives that reflecte the influence of Shakespeare on the Russian playwright.
In the late 1920s — the early 1930s, Shakespeare studies in the Soviet Union were dominated by the method of ‘vulgar sociology’. This official methodology influenced every scholar of literature. One of the key figures in literary studies of the time was Vladimir M. Friche.
A change in attitudes to Shakespeare, caused by the general interest in the heritage of classical authors in the Soviet theater, did not occur until 1934.
The article focuses on the yet little researched interpretation of Shakespeare developed in the 1930s by Sigizmund D. Krzhizhanovsky, and his original position in history and cultural scholarship. In particular, we have for the first time analyzed the transcript of Krzhizhanovsky’s paper devoted to Shakespeare’s chronicles. This document is preserved in Fond No. 52, “Vserosskomdram” at the Department of Manuscripts, Institute of World Literature, Russian Academy of Sciences.
The concept of history which underpins Krzhizhanovsky’s interpretation of Shakespeare’s chron icles can be traced back to the problems of methodology of historical knowledge as advanced by German philosophers of the late 19th and early 20th centuries. Among the original interpreters and followers of this approach in Russia were such historians as A. S. LappoDanilevsky, I. M. Grevs and N. P. Antsiferov.
According to Krzhizhanovsky, Shakespeare selected his historical material with an accuracy of a historian. By studying various Shakespearean characters, historical and fictional, Krzhizhanov sky reconstructs the internal structural features of Shakespeare’s chronicles as a textual poetics through analysis and correlation of historical facts and their interpretation both by Shakespeare’s contemporaries and in the author’s imagination. The latter transforms historical facts according to the dramatic canon and creates a fictional world for Shakespeare’s contemporary audience. Krzhizhanovsky argues that, not knowing their own future, spectators are pleased to view themselves as ‘the future’ for historical characters on stage, and to watch the drama of ‘the past’ proceed into the present.
The article is devoted to the reception of personality and A.P. Chekhov’s works in B.L. Pasternak’s novel “Doctor Zhivago”. B.L. Pasternak’s statements about A.P. Chekhov, reflected in the epistolary and memoirs of different years, clearly show the complex evolution in Pasternak’s perception of A.P. Chekhov. The understanding of “Chekhovian” as the embodiment of everyday life, typical of the young Pasternak, by the mid-1930s was replaced by his interest in the personality of Chekhov and his poetics. While working over the novel “Doctor Zhivago”, A.P. Chekhov becomes for B.L. Pasternak one of the main artistic reference points, as evidenced by his numerous statements. In his effort to “give a historical image of Russia for the last forty-five years”, Pasternak is guided by the “Russian childishness of Pushkin and Chekhov”, the lack of preaching and didacticism. The article consistently commnts on all Chekhovian reminiscences in the novel, which interact with Pasternak’s text in a complex manner. Their consideration shows that Chekhov’s formulas in Pasternak’s novel begin to acquire new meanings; “Chekhovian” is recognized as a world that used to be stable, and with which the collapsing one constantly resonates. At the same time, in Chekhov’s world, perceived by Pasternak, the potential for decay and the possibility of renewal have already been laid, and the possibility of renewal, although the latter will largely respond not in prose, but in verses from the novel. One more aspect of the interaction between the two artistic worlds, is the the fact that Yuri Zhivago is endowed both as a writer and a diagnostician. Polemicizing with the tradition of “healing” inherent in Russian literature, Pasternak makes his character an ingenious diagnostician, which probably resonates with the experience of A.P. Chekhov, who recognized that his writing vision was largely shaped by the influence of medicine. The Chekhovian beginning in the novel is shown at various levels of its organization and constitutes one of the most significant implications of “Doctor Zhivago”. The comparison allows us to conclude that Chekhov was present in B.L. Pasternak’s artistic consciousness, firstly, as an author, structuring the artistic world, and, secondly, as a character – the writer, diagnostician, an intellectual belonging to that “descended from the scene” “environment,” on behalf of which he speaks in his final novel.
The article deals with the analysis of W.Shakespeare's works in the Internacionalnaya literatura's editorial policy.
"Semiotics of Scandal" is the third collection of the series "Mechanisms of culture". It presents the materials of an international conference held at the Center for Slavic studies (Sorbonne, Paris). The authors, using different methodologies, analyze different forms of scandal as one of the dominant categories of the literary process, history, and politics.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.