Bells and Cupolas: The Formative Role of the Female Body in Marina Tsvetaeva's Poetry

Slavic Review ◽  
1992 ◽  
Vol 51 (2) ◽  
pp. 232-246 ◽  
Author(s):  
Sibelan Forrester
Keyword(s):  
Women Writers ◽  
Female Body ◽  
World View ◽  
Russian Literature ◽  
Women Readers ◽  
Marina Tsvetaeva ◽  
Female Roles ◽  
Poetic Creation ◽  
Landmark Study

Like many other Russian women writers, Marina Tsvetaeva did not merely include women's language and physical experience in her poetry; they were central to her concern with poetry and poetic creation. These elements of her work have in recent years evoked an interest from women readers and feminist scholars of Russian literature which is reflected in the number of studies devoted to aspects of her work. Antonina Gove discusses the presence and chronological development of female roles in Tsvetaeva's poetry; Anya Kroth illustrates the importance of gender and specifically androgyny in Tsvetaeva's construction of a dichotomous world-view. Barbara Heldt's landmark study of women in Russian literature, Terrible Perfection, devotes several pages to Tsvetaeva as an autobiographer and a woman poet liberated from the “split selves” of her predecessors.

scholarly journals KOBIETY W LITERACKIEJ PRZESTRZENI „ROSYJSKIEGO IZRAELA”

2017 ◽  
Vol 27 ◽  
pp. 44-58
Author(s):  
Agnieszka Lenart
Keyword(s):  
Women Writers ◽  
Russian Literature ◽  
Significant Part ◽  
Cultural Space ◽  
Role Of Women

This article discusses the role of women in the life of „Russian-speaking Israel”. The author gives the names of outstanding women — writers, poets, literary critics, representatives of Russian aliyah in Israel, the seventies and nineties. Among them are: Dora Shturman, Lydia Yanovska, Nina Voronel, Elena Axelrod, Maya Kaganskaya. It turns out that women are a significant part of the cultural space of Israel and the Russian literature of emigration.

scholarly journals Смех и смерть в русской культурной традиции: истоки и трансформация мотива

2018 ◽  
Vol 167 ◽  
pp. 23-34
Author(s):  
Nina Osipova
Keyword(s):  
National Culture ◽  
Fairy Tales ◽  
World View ◽  
Russian Literature ◽  
Cultural Tradition ◽  
Attitude To Death ◽  
Avant Garde ◽  
Western Model ◽  
Dance Of Death

Laughter and death in Russian cultural tradition: Origins and transformation of the motiveThe author studies the mythological basis of attitude to death in the Russian national culture of laughter, the role of ritual laughter in folklore and post-folklore, and various ways of its presentation in Russian literature. Special attention is paid to the component of the game in Russian rituals, and to laughter in Russian fairy tales. The balance of laughter and death in Russian and, moreover, the Slavic world view is connected with its liminality, i.e. with the situation of transition and “on the border”. The article analyzes the transformation of different features of laughter as a means of overcoming death, as well as the way to create irony and absurd in the modern “mortal” discourse regarding ritual tradition. In symbolism and avant-garde literature of A. Blok, N. Evreinov, F. Sologub, D. Kharms, V. Khlebnikov etc. laughter is considered as a means of overcoming the absurd of death. This literature synthesizes the western model of “dance of death” into Russian folklore and buffoon tradition. In contemporary Russian literature it performs a genre-forming role jokes about death, “sadistic rhymes” etc..Сміх і смерть у російській культурній традиції: витоки і трансформація мотивуУ статті розглядається міфологічна основа відношення до смерті в російській національній сміховій культурі, простежується роль ритуального сміху в фольклорі і постфольклорі, різних формах його художньої репрезентації в літературі. Спеціальна увага приділяється ігровому компоненту в обрядовому комплексі російської культури, специфіці сміхової репрезентації в російських чарівних казках. Специфіка співвідношення сміху і смерті в російській і, ширше, слов’янській картині світу пов’язана з його лімінальністю, тобто з ситуацією переходу, положення «на кордоні».Аналізується трансформація характеристик сміху як подолання смерті, способу створення авторської іронії і абсурду в сучасному мортальному дискурсі в його зв’язках з ритуальною традицією.Сміх сприймається як подолання абсурду смерті в літературі символізму і авангарду О. Блок, М. Євреїнов, Ф. Сологуб, Д. Хармс, В. Хлєбніков, яка синтезує західноєвропейську модель «танці смерті» і російську фольклорно-балаганну традицію. В сучасній російській літературі вона виконує жанроутворюючу роль комічні анекдоти про смерть, «садистські віршики».

ЗНАЧЕННЯ ЕМОЦІЙНОЇ КОМПЕТЕНТНОСТІ ОСОБИСТОСТІ У ДИСКУРСІ ЖИТТЄТВОРЕННЯ

1970 ◽  
Vol 7 (1) ◽  
pp. 198-207
Author(s):  
Євген Карпенко
Keyword(s):  
Interpersonal Communication ◽  
Emotional Competence ◽  
World View ◽  
Personal Life ◽  
Personal Choice ◽  
Communicative Skills ◽  
Significant Life ◽  
Basic Features ◽  
Correct Implementation

У статті проаналізовано місце феномену емоційної компетентності в становленні дискурсу життєтворення особистості. Відзначено, що її засадничими ознаками є відкритість і діалогічність, що фасилітують процеси життєтворчості в інтра- та інтерпсихічному просторі та сприяють здобуттю певних експірієнтальних «знань» і формуванню відповідних комунікативних «умінь». Отже, емоційна компетентність виконує функцію орієнтації в знаково-символічній реальності внутрішнього та зовнішнього середовища і, відповідно, бере участь у прийнятті рішень стосовно них. Це сприяє реалізації функції особистісного вибору у значущих обставинах життя. Вважається, що цей вибір повинен ґрунтуватися на домінуючій екзистенційній ідентичності та релевантно реалізовуватися на всіх її рівнях: базовому, характерологічному, ситуативному. В цьому контексті емоційна компетентність виступає в якості з’єднувальної ланки між ідентичністю та її зовнішньою поведінковою маніфестацією, в якій вона, власне, й проявляється. Інтегруючи первинні емоції, емоційна компетентність сприяє формуванню системи цінностей, мотивів і світоглядних орієнтацій особистості, а також сприяє їх коректному втіленню в практиці міжособистісного спілкування і, відповідно, конструювання дискурсу власного життя. У цьому полягає ключова роль емоційної компетентності в процесі життєтворення особистості. The article analyzes the role of emotional competence in establishing the discourse of personal life creation. It has been stated that its basic features are openness and readiness to dialog that facilitate life creation processes in the intra- and interpsychic space and promote acquirement of certain experiential "knowledge" as well as formation of relevant communicative "skills". So, emotional competence has a function of orienting in sign and symbol reality of the internal and external environment and, therefore, takes part in decision-making in respect thereof. This enables realization of the function of personal choice in significant life circumstances.  This choice is considered to be based on dominant existential identity and realized in the relevant manner at all its levels: basic, characterological, situational. In this sense emotional competence forms a link between identity and its outer behavioral manifestation.  While integrating primary emotions emotional competence facilitates formation of a system of values, motives and world view of personality as well as their correct implementation in the course of interpersonal communication and personal life discourse construction. This embodies the key role of emotional competence in the process of life creation of personality.

Bread in the Festive and Ceremonial Food of Russians of the Arkhangelsk North in the Early 20th Century

2020 ◽  
pp. 149-157
Author(s):  
Александра Викторовна Фролова
Keyword(s):  
World View ◽  
Visual Image ◽  
Population Based ◽  
Early 20Th Century ◽  
Folk Culture ◽  
Significant Phenomenon ◽  
Large Round ◽  
Northern Russia ◽  
Peasant Family

В данной статье на основе архивных, публицистических и полевых материалов, собранных автором в деревнях Архангельского Севера в 1992-2011 гг., рассматриваются традиции употребления хлеба в праздничной и обрядовой пище севернорусского населения. Севернорусская, как и вся русская, традиционная кухня отражает преимущественно земледельческий характер народного хозяйства. Ведущее место в ней занимали хлебные, мучные и крупяные блюда в многочисленных вариантах. В статье рассмотрена роль хлеба и в центральном семейном торжестве крестьянина - свадебном обряде. Свадебные застолья - сложное, значительное и интересное явление народной культуры, вобравшее в себя разные стороны крестьянского мировоззрения и быта. Хлеб и другие изделия из муки располагались на столах особым образом и становились атрибутами этого действия. Так, ковриги хлеба, символизирующие жениха и невесту, способствовали их соединению и сами имитировали его. С хлебом связаны и обрядовые кормления скота на праздники, в частности, егорьевская обрядность. Как показало исследование, подобные традиции достаточно устойчивы и обладают локальной спецификой. This article considers the traditions of bread consumption in the festive and ritual food of the northern Russian population based on archival, journalistic and field materials collected by the author in villages of the Archangel North in 1992-2011. Like all Russian traditional cuisine, that of northern Russia reflects the character of the national economy, based on grain. The leading place in it was occupied by bread, flour and cereal dishes with many variations. The article considers the role of bread in the main celebration of the peasant family - the wedding rite. The wedding gathering is a complex, significant phenomenon of folk culture, which has reflected different sides of peasant life and its world view. Bread and other flour products were placed on tables in a special way and became attributes of this occasion. Thus the kovrigi (large round loaves) symbolized the groom and bride and contributed to their connection by offering a visual image of it. Bread is also used in the ritual feeding of livestock on holidays and in the Yegorievskaya rite. The study indicates that such traditions are quite stable and manifest local particularities.

scholarly journals Family Psychic Transmission and Anorexia Nervosa

Psico-USF ◽  
2016 ◽  
Vol 21 (3) ◽  
pp. 635-649 ◽  
Author(s):  
Élide Dezoti Valdanha-Ornelas ◽  
Manoel Antônio dos Santos
Keyword(s):  
Anorexia Nervosa ◽  
Young Woman ◽  
Family Relationships ◽  
Emotional Development ◽  
Female Body ◽  
Maternal Grandmother ◽  
Three Generations ◽  
Mother Daughter Relationship ◽  
Mother And Daughter

Abstract Studies show that family relationships can act as mediating agents in triggering and maintaining the symptoms of anorexia nervosa (AN), especially the mother-daughter relationship configuration, which contains unconscious elements transmitted inter-generationally. This study aimed to understand the role of intergenerational psychic transmission in the articulation of anorexic symptoms in a young woman in treatment. Three generations of women of the same family were interviewed: maternal grandmother, mother and daughter, all diagnosed with AN. Some psychic contents that could not be elaborated were identified in the reports and these were, subsequently, converted into legacies transmitted to later generations. Feelings of inhibition and shame regarding sexuality and the female body, transmitted from grandmother to mother and from mother to granddaughter, seem to have blocked the emotional development in all generations. Incorporating these findings into treatment may facilitate the processing of the transmitted unconscious contents, contributing to the reorganization of the family's psychodynamic functioning.

scholarly journals «I see a Jew in me…»: the Jewish Studies of Leonid Frizman

2020 ◽  
Vol 20 ◽  
pp. 270-281
Author(s):  
Konstantin Bondar ◽  
Keyword(s):  
Russian Literature ◽  
Jewish Studies ◽  
Experimental Platform

The article discusses the role of Jewish topics in the scholarly heritage of Leonid Frizman, a Kharkov-born historian of Russian literature. Turning to Jewish Studies quite late in life, Frizman outlined potentially fruitful areas of research on a number of writers and created an experimental platform that allowed him to test and challenge widely accepted assumptions and arrive at new perspectives on various historical, literary and philosophical issues.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

Varia: The Enduring Power of the Classical World View

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
David Jenkins ◽  
Keyword(s):  
Nineteenth Century ◽  
World View ◽  
Russian Literature ◽  
Religious Philosophy ◽  
Classical World ◽  
Human Image ◽  
Ethical Stance ◽  
Enduring Power

For the poet, prophet, and politician, as for the lover, the king, and the anthropologist, the human is the measure of all things. Philosophers and psychologists define us as a perceiving consciousness, an object determined by the environment, a subject not only capable of heroic individualism but also of esoteric understanding. For some, our measure is beyond things and our true worth lies not only in the here and now but rather in our freedom to transcend the bounds of self and prevail beyond the limits of temporality. For the artist, whose creative consciousness aims to redeem the human image from the constraints of brute anonymity, the questions about our status must be asked if not finally answered. The article considers the role that the classical world view plays in the process of artistic redemption. It looks at the Judeo-Christian and Classical legacies and their interpretations. Nineteenth-century Russian literature and religious philosophy are then analysed. The article winds up with a reading of select poems by Osip Mandelstam as special attention is paid to the ethical stance of the poet when confronted with the dictates of totalitarian power.

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