scholarly journals German Packaging for Russian Novel: on the Problem of the Genre of the “Fiery Angel” by V. Bryusov

2021 ◽  
Vol 3 (2) ◽  
pp. 34-38
Author(s):  
Eduard Osvaldovich Krank
Keyword(s):  
Literary Criticism ◽  
Middle Ages ◽  
Russian Literature ◽  
The Novel ◽  
Silver Age ◽  
Russian Novel ◽  
Real People ◽  
The Reformation ◽  
And Gender ◽  
Love Triangle

The article is devoted to the problem of the genre of V. Bryusov’s novel “The Fiery Angel”. The purpose of the article is to assert that the author uses the tradition of the medieval German novel in a stylized capacity. Bryusov needs the method of literary mystification not so much to hide relationships of real people who served as prototypes for the heroes of the novel, but to establish an allusive cultural connection between Germany in the era of M. Luther and the “Silver Age” of Russian literature, with its interest in issues of religion and gender. The relevance of the study dictated by the attention of the modern reader to the literature of the “Silver Age”, as well as a special interest in metamorphoses that the novel genre undergoes in the era of modernism and postmodernism. The research materials are the text of the novel, biographical information related to the personalities of prototypes, reviews of literary criticism, as well as literary studies. We use descriptive, hermeneutic, synchronic, diachronic, historical-genetic, comparative, analytical and biographical methods in this work. The results of the study and their discussion consist in reflection on the paradigm in defining the genre of the novel, in pointing out the tradition of literary mystification, which rises to the “Belkin’s Tales” by A. Pushkin. Also important is the circumstances that the religious searches inherent in the prototypes of the heroes of the novel are akin to Protestant moods of the Reformation. As a result, we conclude that the author, because of the anthropological unity of the archetypal situation, continued the literary tradition of the German Middle Ages. It is laid down in the basis of the plots of both V. Bryusov’s novel and the first part of “Faust” by I.W. Goethe, as well as A. Belyi’s novel “Petersburg”, in which the love triangle invariant and its transformation from prototypes to characters is represented by the same mechanism as is characteristic of the “Fiery Angel”. The assertion of this way of implementing a behavioral scheme (anthropological invariant) in the process of transforming prototypes into characters is the innovation of our work.

scholarly journals I. Turgenev’s novel “Rudin” in Chinese literary studies

2019 ◽  
Vol 24 (3) ◽  
pp. 433-443
Author(s):  
Siwen Guo
Keyword(s):  
Literary Criticism ◽  
Chinese Literature ◽  
Great Influence ◽  
Russian Literature ◽  
The Novel ◽  
Ivan Sergeevich Turgenev ◽  
Future Studies ◽  
Russian Literary ◽  
Similar Images ◽  
New Generation

The work of I. Turgenev was translated into Chinese in the first half of the twentieth century and later spread widely in China, having a great influence on the new generation of Chinese writers. At the same time, more and more literary critics began to study the works of Turgenev. Extensive research and analysis, as well as the study of works from different angles, contributed to a better understanding of Turgenev and Russian literature by Chinese readers. The article discusses the publications of Chinese litterateurs and critics from the second half of the 20th to beginning of the 21st century, the work of Ivan Sergeevich Turgenev, notes the enduring interest of the Chinese audience to the work of Russian prose writer, in particular, to the novel “Rudin”. Special attention is paid to the prose writer's “path” to the novel; it is proved that the high interest of scientists to Dmitry Rudin, the protagonist of this novel, caused by Chinese specifics and the relevance of many problems associated with this image. The article explains the evolution of the attitude of the Chinese to Rudin: from agreement with Russian researchers considering him as a superfl person to disagreement with them. At the same time, Rudin is compared with typically similar images in Chinese literature. An analysis of Turgenev's works by Chinese literary critics will provide detailed information for future studies in international literary circles, and can also lay the foundation for finding differences between Chinese and Russian literary criticism.

scholarly journals ARCHETYPICAL CONSTANTS AND TRANSFORMATIONS OF THE RUSSIAN NOVEL

2021 ◽  
Vol 19 (3) ◽  
pp. 78-102
Author(s):  
Irina Belyaeva ◽  
Elżbieta Tyszkowska-Kasprzak
Keyword(s):  
19Th Century ◽  
World Literature ◽  
Fear Of Falling ◽  
Russian Literature ◽  
Spiritual Needs ◽  
Central Position ◽  
The Novel ◽  
Russian Culture ◽  
Russian Novel ◽  
Literary Model

The article examines the correlation of the Russian classic novel with the Easter archetype dominant in Russian culture. The authors believe that the novel assumed a central position in the genre system of 19th century Russian literature, not only because of its natural openness, which allowed it to recreate life and man both in the general dimension and in private manifestations, but also because of the greatest responsiveness of this genre to the spiritual needs of Russian culture. The article examines the “plot space” of the Russian novel, which gravitates towards the archetypal model, actualizing the scenario of rehabilitation (Dostoevsky) / awakening (Goncharov), or salvation. Not only doesn’t the hero’s line in the Russian novel imply an end; moreover, as it lines up vertically, it suggests his rebirth to a “new life,” sometimes even posthumous, as was the case with Turgenev’s Bazarov, or through the fear of falling into the hellish abyss of modern life, as is it was with Oblomov. Using the example of novels by F. Dostoevsky, I. Turgenev, I. Goncharov and L. Tolstoy, the article demonstrates that the main mission of the hero of the Russian novel was that of personal salvation, the achievement of “new happiness” (Prince Andrei Bolkonsky), which is associated with forgiveness, a willingness to accept God and with the “new life.” The Easter nature of Russian culture predetermines the gravitation of the Russian classical novel (as a typological variety of the Russian novel) to the artistic realizations of the idea of salvation present in world literature in genres of a non-novel nature. The Russian novel primarily developed the storylines and motifs that originated in Dante’s Divine Comedy and Goethe’s Faust, which suggested two options for personal salvation: the awareness of sins and “behind the door of the grave.” The second option was more relevant for the 19th century Russian novel. The savior hero, rooted in Cervantes’s novel, was also relevant for Russian literature, although not as popular. Taking into account the complex explorations of modern writers in the field of the novel genre, the authors conclude that there is a present-day connection with the Russian classic novel, i.e., in E. Vodolazkin’s prose: apparent signs of a “Dante plot” are present in the novel Lavr. Regardless of all the metamorphoses, the Russian classical novel is still a national literary model in the space of Russian culture.

scholarly journals CITRA PEREMPUAN DALAM NOVEL CERITA TENTANG RANI KARYA HERRY SANTOSO; TINJAUAN KRITIK SASTRA FEMINIS* (The Image of Women in the Novel Entitled Cerita Tentang Rani by Herry Santosa: A Feminist Literary Criticism)

ALAYASASTRA ◽  
2019 ◽  
Vol 15 (2) ◽  
pp. 71
Author(s):  
Choerul Anam
Keyword(s):  
Literary Criticism ◽  
Qualitative Method ◽  
Feminist Criticism ◽  
The Novel ◽  
Main Character ◽  
Descriptive Research ◽  
Feminist Literary Criticism ◽  
History Of ◽  
And Gender ◽  
Research Types

This study aims to describe the image of women in Herry Santoso's novel: Cerita Tentang Rani in the perspective of feminist literary criticism. The method applied in the research is a qualitative one. The purpose of the qualitative method leads the writer being able to get to know the in-depth history of the research environment by applying descriptive research types. Feminist criticism theory of Rosemarie Putnam Tong and gender theory of Judith P. Butler were applied in this research. The results of this study prove that the image of the main character, Maharani, is a strong and tough woman. The images of the woman cover 1) the image of women in her relation with Allah Swt (God); 2) the image of women in her relation with herself; and 3) the image of women in her relationship with others. Keywords: female image, feminist literary criticism, Novel Cerita Tentang Rani.

scholarly journals The influence of the Russian literature on Chulpan’s oeuvre: Novel Night and Day

2021 ◽  
Vol 21 (2) ◽  
pp. 203-207
Author(s):  
Gulshan A. Asilova ◽  
Keyword(s):  
Russian Translation ◽  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Russian Novel ◽  
Soviet Literature ◽  
Literary Influences ◽  
Night And Day

The novel Night and Day was initially published in the journal Sovetskaya Literatura (Soviet Literature) in 1934, but was soon banned. In 1989 the Russian translation of the novel was published. The influence of the Russian novel writing school is manifested in the conflict, composition and imagery of the work. In this article, the novel Night and Day is reviewed from the point of view of literary influences on the author. While analyzing the ideological concept, storyline and dramatic episodes of the novel, the author gives some analogies from the classical Russian literature.

scholarly journals Orientalism poetics: story by Leonid Solovyov “The Nomad”

2020 ◽  
Vol 25 (4) ◽  
pp. 648-656
Author(s):  
Eleonora F. Shafranskaya ◽  
Tatyana V. Volokhova
Keyword(s):  
Central Asia ◽  
Middle Ages ◽  
Postcolonial Studies ◽  
Russian Literature ◽  
The Novel ◽  
Russian Literary ◽  
The Subject ◽  
Xix Century ◽  
First Time ◽  
The Voice

The article deals with the problem of orientalism in literature, narrowed to the question of Russian orientalism and its Soviet derivation. The names of Nikolai Karazin and Andrey Platonov are mentioned among Russian literary Orientalists. The researchers identify the differences between Soviet Orientalism and the Orientalism of the XIX century. The analytical paradigm presented in the article outlines the prospects for the scientific study of Uzbek impressions. Salir-Gul (1933) by Sigismund Krzyzanowski and Pavel Zaltzman's novel Central Asia in the Middle Ages (1930s). For the first time, the novel The nomad (Kochevye) by the Russian writer of the twentieth century Leonid Solovyov written in 1929 and published in 1932 is analyzed in detail. Appeal to the folklore, ceremonial, and ritual life of the peoples of Central Asia becomes one of the main techniques of Leonid Solovyov's Oriental poetics. Solovyov's narrator is not a traditional orientalist observer of an alien, and therefore exotic, picture of the world. In Solovyov's poetics, the subject of the story merges with its object and represents a single whole: Russian literature spoke in the voice of a stranger. The material of the article corresponds to the intentions outlined in modern postcolonial studies.

scholarly journals “The Heterotopia of Estate” in the Novel by Z. N. Gippius “Roman-Tsarevich” (1913)

2020 ◽  
Vol 27 (1) ◽  
pp. 294-314
Author(s):  
Olga A. Bogdanova
Keyword(s):  
Golden Age ◽  
Russian Literature ◽  
Russian Revolution ◽  
The Other ◽  
The Novel ◽  
Silver Age ◽  
Russian Symbolism ◽  
Western European ◽  
Different Parts ◽  
The Revolution

<p>The article studies the space-semiotic organization of one of the central symbolist novels of the Silver age, associated with the &ldquo;estate topos&rdquo; in Russian literature. Most of the action in the &ldquo;Roman-Prince&rdquo; by Z.&nbsp;N.&nbsp;Gippius takes place in the 1910s on the territory of country estates in different parts of Russia, as well as in the Western European castle near the Pyrenees, where Russian revolutionaries live. The duality of the Russian revolution manifested as late as in Decembrist movement (the &ldquo;autocratic&rdquo; dictatorship of P.&nbsp;I.&nbsp;Pestel and the Christian democratism of S.&nbsp;I.&nbsp;Muravyov-Apostol) echoed in Gippius&rsquo;s novel in the form of the opposition between Roman Smentsev and Mikhail Rzhevsky, along with his supporters Florenty and Litta. Gippius&rsquo;s discovery consists in the fact that she found in the field of &ldquo;estate topos&rdquo; a meaning that goes back to the activities of the Decembrists-noble revolutionaries of the first quarter of the 19th&nbsp;century, often large landowners. The &ldquo;Estate topos&rdquo; appears in the &ldquo;Roman-Prince&rdquo; as the topos of the Russian religious revolution in a number of local variations. The ideological and artistic circulation between its three loci unites the Western European castle, reminiscent of the educationist roots of the Russian &ldquo;estate culture&rdquo; with its ideal of a free personality, a noble estate of the Golden age, which brings Russia&rsquo;s first apostles of religious revolution, and eclectic intelligent-landowner estate of the Silver age, the inhabitants of shich are under the evil power of the Antichrist of the revolution, genetically ascending to Stavrogin of the novel &ldquo;Demons&rdquo; by F.&nbsp;M.&nbsp;Dostoevsky. At the same time, they maintain the ability to break the fatal circle outlined by Smentsev thanks to the heterotopic connection with the other two estate projections presented in the novel. So, the scientific novelty of the article is that: here, in the material of the Gippius&rsquo;s novel is identified and discussed an important modification of the &ldquo;estate topos&rdquo; in the literature of Russian symbolism&nbsp;&mdash; a landowner&rsquo;s rural estate as a topos of the religious revolution, and for understanding of its structure a new category&nbsp;&mdash; &ldquo;heterotopia of the estate&rdquo;&nbsp;&mdash; is used.</p>

The Formation of Genres in the Renaissance and After

2021 ◽  
pp. 179-193
Author(s):  
Alastair Fowler
Keyword(s):  
Literary Criticism ◽  
Middle Ages ◽  
Print Culture ◽  
New World ◽  
Historical Context ◽  
The Novel ◽  
Social Basis ◽  
Renaissance Period ◽  
Practical Information ◽  
The One

This chapter analyses the formation of genres in the Renaissance period and after. It is true that the early modern historical context made possible the revival of several ancient genres and the fresh invention of new ones. Explorations and new world discoveries, for example, stimulated a return to classical georgic, which appealed to the appetite for practical information on the one hand and on the other for images of exotic places. Again, the development of a print culture was a prerequisite for several important kinds. For the most part, however, ‘formation’ may be misleading. The Renaissance was not always characterized by new forms; often it worked by adapting old forms or imparting to them a new spirit. The majority of the principal kinds had already been available in the Middle Ages. Occasionally, a new genre had no ancient precedent, so that one had to be faked. This was the case with the ‘poetics’ genre; its social basis was the novel activity of literary criticism. The chapter then considers genre metaphors, as well as the writing metaphor.

scholarly journals Topos of Egypt in Poetry of Silver Age

2021 ◽  
pp. 237-255
Author(s):  
S. Mulahi ◽  
E. N. Eltsova ◽  
S. M. Pinaev
Keyword(s):  
Literary Criticism ◽  
Russian Literature ◽  
Regional Models ◽  
Cultural Space ◽  
Silver Age ◽  
European Continent

The specificity of the development of the geographical and cultural space of Egypt in the poetry of the Silver Age at the time when the “Russian” poetic Egypt was born as a system of leitmotifs, imagestopos and a specific lexicon is described. It is noted that in modern literary criticism, in comprehending the geopoetics of a regional text, works devoted to the European continent, in particular, geopoetic regional models of Russian literature, have been most fully investigated. The relevance of the study is seen in the need to comprehend and analyze the geopoetics of Egypt and, more broadly, Africa as a sacred geocultural space. The textual fragments of poetic works by K. Balmont, V. Bryusov, I. Bunin, N. Gumilyov, V. Khlebnikov, representing stable geospatial images and symbols of Egypt, are analyzed. The authors come to the conclusion that the poetry of the Silver Age combines geocultural images and symbols with mythological motives, which gives the topos of Egypt a geosophical meaning. The analyzed material made it possible to show the generalized artistic structure of the geopoetic representation of Egypt in the poetics of the Silver Age and to highlight the spatial geocultural dominants: the  Nile, Africa, the desert, the Sphinx, Egyptian heroes as images-topos, the Arab East.

scholarly journals THE ARTISTIC EMBODIMENT OF THE IMAGE OF ENGLAND IN THE «LETTERS TO ANOTHER ROOM» BY RAVIL BUKHARAYEV

2019 ◽  
Vol 8 (7) ◽  
Author(s):  
Alina R. Gaynutdinova ◽  
Alfiya F. Galimullina ◽  
Foat G. Galimullin ◽  
Abay K. Kairzhanov
Keyword(s):  
Literary Criticism ◽  
Religious Identity ◽  
Russian Literature ◽  
The Other ◽  
Cultural Tradition ◽  
The Novel ◽  
English Society ◽  
Ancient Times ◽  
Everyday Realities ◽  
The One

The problem of the writer’s self-identification, especially of such a multifaceted one as Ravil Bukharayev, is closely connected with one of the topical problems of modern literary criticism and cultural studies – the problem of the Other. Ravil Raisovich Bukharayev (1951 - 2012) – a Tatar poet, writer, philosopher who wrote in Russian, lived for more than 20 years in England. In his work he demonstrates a new cultural situation, the ability to seamlessly apprehend the universal art culture, literature and worldview ideas from ancient times to the present day at the same time preserving his national and religious identity. The poetry by R. R. Bukharayev has repeatedly become the object of scientific research while the philosophical prose by R. R. Bukharayev is still waiting for his researcher. This article represents the experience of a scientific study of the artistic world of RR Bukharayev’s prose based on the example of his novel Letters to Another Room [1]. The results of our study suggest the following conclusions: The novel by R. R. Bukharayev “Letters to Another Room” presents the perception of England through the Other’s vision of it. R. R. Bukharayev representing himself as the Other in relation to the English tradition upends the preconceived idea of the English “gentleman” as the only bearer of the English literary and cultural tradition. Irony and self-irony help the narrator to isolate himself from Englishness of the created text: 1)The image of England in the novel by R. R. Bukharayev is ambiguous: on the one hand, the narrator found a real House with a wonderful garden, a place of rest and creativity in it, on the other – the author is far from idealizing English society. He seeks maximum objectivity in the artistic presentation of the image of England in his novel. 2)A distinctive feature of R. R. Bukharayev’s narrative is an integration of Russian and English realities in the text, which is manifested in comparisons of English everyday realities with memories of Russian life. In the minds of the author the images and associations connected with English and Russian literature and culture organically coexist.  

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