Литература. 10 класс. Хрестоматия. Учебное пособие для СПО
Claiming that that the history of the London-based Strand Magazine started with Russian literature would be understandably far-fetched but not extravagantly misleading: the episode with the notorious short novel The Kreutzer Sonata by Leo Tolstoy infamously led to the rift between the enfant terrible W.T. Stead and the future founder of the Strand George Newnes. The deal-breaking disapproval of Tolstoy’s scandalous opus did not, however, result in Newnes’ utter rejection of Russian literature. His new magazine, established shortly after the conflict, was neither straightforwardly Russophile nor openly or implicitly Russophobic unlike many of the periodicals enchafed by the turbulent “Tournament of Shadows”. At the early stages of its existence, the newly founded magazine demonstrated an explicit predilection towards translated rather than domestic fiction, with translations from Russian occupying an important niche among other national literatures. While favouring the renowned, canon-approved authors, such as Alexander Pushkin and Mikhail Lermontov, the early Strand also displayed a tendency to select the works which could be read as adventure or “healthfully” sensational stories thus conforming to the magazine’s genre policies (predominantly gothic Queen of Spades, multigenred Belkin Tales, nocturne-flavoured Tamagne from A Hero of Our Time). The texts were prefaced by introductory notes, enticing yet unconcerned with factual accuracy (e.g., Lermontov was described as a “fair-haired” man with “large blue eyes”). The notes attempted to both “domesticate” the selected authors and retain the international couleur locale while finding suitable English counterparts for the writers of choice (“Russian Othello”, “Byron of North”). The paper will trace the ever-evolving role of Russian fiction in the magazine’s history, from the aforementioned early instances to the peculiar Edwardian and post-Edwardian cases when the translations became more eclectic in nature, ranging from Ivan Turgenev’s ghost story and Tolstoy’s moralistic pieces to the middlebrow stories by Vasily Nemirovich-Danchenko and a modernist oeuvre by Leonid(as) Andreev. The paper intends to outline the strategies of selecting the “Russian material” for the lower middle class readers not only in the context of the Strand’s editorial policies but also as a part of the “middlebrow” Anglo-Russian cultural transfer mechanisms.
The article deals with one storyline of the novel Anna Karenina that stands as the key for the research into the significance of anglomania in the novel.
The 1850-1870s in Russian culture is the times of most intensive formation of the image of the UK as a highly complex combination of real and mythological elements.
The novel Anna Karenina, which Tolstoy himself called the novel about modern life, sets forth the fashion for everything ‘English’ in Russian high society in the 1870s with almost documentary precision.
The episode the article deals with is Anna Karenina's reading of an English novel. The article looks at different theories of the origin of the novel and suggests a particular novel as the source for the English novel in Anna Karenina.
Article argues that the knowledge of the particular English novel contributes not only to the research of anglomania in Anna Karenina and other Tolstoy's works but also gives a significant insight into the study of the characters in the novel.
This article is dedicated to the analysis of one of the 20th century canonical poetic texts – “Elegy” by A.I. Vvedensky, a member of the OBERIU group. The authors investigate the scope of understanding in the text of extreme semantic complexity and ambiguity of both its plot and emotional modality. A detailed review of potential pretexts leads to the discourse on the significance of literary associations and their part in understanding of the poem.
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.