Универсалии русской литературы
Volume in a series that publishes the results of long-term collective research carried out in the framework of a project conducted by employees of the Voronezh state University under the leadership of A. A. Faustov
For the first time possible reminiscences are marked in "The House of the Dead" from Byron's "The Prisoner of Chillon", a poem that Dostoevsky, by his own admission, loved; the nature of these reminiscences is interpreted in a biographical context
This paper explores the concept of of 'literariness' (Roman Jakobson's term) on the material of Leskov's popular scetch Lady Makbet of Mtsensk District. Literariness in Leskov’s „Lady Macbeth” consists of a certain set of literary devices, including: using intertexts from Shakespeare and folklore; cohesive motifs (red and gold colors, the image of river, the black viper), the narrative details (poisoned tea), an overarching liturgical subtext as a symbol (the feast of the Mother of God’s Entrance into the Temple), and a creature appearing as a mystic symbol (the cat). All these marked elements are not merely operative in the texture of the work but also incorporated in a way that makes them nonobvious. Each element has worked for the overall goal — of making the main character more signifcant, or revealing the true meaning of the events for the story as a whole. As a result of this dual activity of, frst, activating and, then, hiding literary elements, the work itself exemplifes true literariness, in Roman Jakobson’s sense.
The Asiatische Banise (“The Asian Banise”) (1689), written by Heinrich Anshelm von Zigler und Kliphausen (1663-1697), was the most successful German baroque novel before Goethe’s Werther. Its popularity throughout Europe is further evidenced by the publication of a sequel novel; several operatic versions, stage plays, and poems; as well as translations into Swedish, Russian, Dutch, and French. This interdisciplinary collection documents and analyzes for the first time the singular history of the reception of the Asiatische Banise.
The aim of this paper is to examine Marina Tsvetaeva’s view of poet, poetry, and creativity. The novelty of the approach to the subject rests on singling out the key symbolic images and motifs which constitute the representation of the theme in question via “close reading” of M. Tsvetaeva’s work and describing their functioning as a system. The approach allows to discover the specifics of interpretation of creativity by the poetess. The motif of an artist as a chosen one turns out to be the key one. The gift of creativity is related in M. Tsvetaeva’s poetic universe with personified images of natural forces, Insomnia, Genius, Angel and Demon, which all manifest an ambivalence of the creative process and depict it as an “obsession”. The traditional images of lyre, Muse, gift of singing acquire non-trivial connotations in M. Tsvetaeva’s work. The motifs associated with the idea of creativity show that M. Tsvetaeva considers the poetic gift as an ability of “clear hearing” and “dreaming”, “fatal blessing” and “mysterious heat” (a simultaneous metaphor for the creative act and passion). The poet is viewed in M. Tsvetaeva’s artistic world as follows: heathen and warlock, seducer and seduced, sinner and saint, and also martyr doomed to drudge and rejected by the philistine crowd.
This article seeks to introduce into comparative folkloristics an epic tradition of the Muong, one of minority groups in Northern Vietnam. More precisely, it deals with the epic cycle of ‘The Birth of the Earth and Water’ which represents an essential part of the Muong ritual narratives. This cycle was presumably created no later than fifteenth century and intended for practicing mourning rituals. Though in 2015 ritual narratives of the Muong were recognized as national intangible cultural heritage in Vietnam, the Muong epics remain practically unknown and unexplored in Western scholarship.
The article discuss the most common epic themes such as creation, man’s origin and reproduction, acquisition of culture, deeds and fights of the main culture heroes through a number of motifs represented in tales constituting the Muong epic cycle. Comparative analysis of these themes and motifs in global and regional perspectives reveals obvious parallels with their representations in the world folklore as well as some specific variations and local links.