Островский А.Н. Полное собрание сочинений и писем
Publication of a draft from the personal archive of A. I. Zhuravleva and V. N. Nekrasov, dedicated to the poetics of A.N.Ostrovsky's drama and the problems of its stage interpretation. Edited, prefaced and commented by G. V. Zykova
Aleksandr Ostrovskii, the best known and very prolific Russian playwright of the nineteenth century, interacted constantly with the officials responsible for dramatic censorship, considered by most of Ostrovskii’s contemporaries the most brutal branch of the censorship apparatus. The censor and, independently, Nicholas I personally, did not allow Ostrovskii to stage his first major play. A similar fate awaited some of his later plays. By the mid-1850’s, Ostrovskii had accumulated significant symbolic capital and officials from the Censorship Department started avoiding conflicts with him. Instead, they tried to draw him to their side by interpreting his works in a light that would render them suitable to the requirements for dramatic works. Ostrovskii, from the beginning of his career, tried not so much to avoid conflicts with the censorship and cuts to his plays as to provide the censor with a way to interpret his works that would not require them to be banned. The present article analyzes both the history of such attempts by Ostrovskii and his censors to find common ground, and the reasons why these attempts turned out to be not entirely effective. Using material from the censorship archives, I attempt to demonstrate that such attempts changed the playwright’s status. Available
Another volume in a series of collective works dedicated to the work of A. N. Ostrovsky, his stage interpretation and reception
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.