Том 82, № 3 (2023)
- Жылы: 2023
- Мақалалар: 13
- URL: https://journals.rcsi.science/1605-7880/issue/view/8222
Бүкіл шығарылым
Articles
A History of “Cohesion”: from M. O. Gershenzon’s “The Poet’s Vision” to V. Weidlé’s “Les Abeilles d’Aristée”
Аннотация
The paper is devoted to perception in the theory of literature of the famous statement of Leo Tolstoy about “cohesion” that ensure wholeness of narrative in a novel. Tolstoy’s idea of “cohesion” has repeatedly inspired various interpretations in literary criticism (for instance, M.O. Gershenzon, V.B. Shklovsky, B.M. Eikhenbaum, T. Rainov, and others). There are two contrary positions on the interpretation of the idea of “cohesion”: M.O. Gershenzon’s intuition theory of and in the formal method of V.B. Shklovsky. In the theory of M.O. Gershenzon the “cohesion” become the foundation of the principle of slow reading and expresses the points of correlation between personal vision of author and reader. In V.B. Shklovsky’s theory the “cohesion” is a technique, an element of narration in a fairy tale, short story, novel, etc; and character subjectivity is defined by the function of narration technique. In the 1930s V. Weidlé reconsidered the development of the aesthetics of the first third of the 20th century, showing key changes in literature and art. During this period, it’s observed the disappearance of the individual from the system of views on the nature of literary work, massive influence of analytical approaches, both in literary criticism and in literature itself, fragmentation of wholeness of literary work in aesthetic perception and replicating its techniques. Researchers still often consider to the idea of “cohesion” through Shklovsky’s theory, that inevitably creates distortion in the apprehension of Tolstoy’s aesthetics.
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):5-13
5-13
The Motive of Foolishness in the Novel by F. M. Dostoevsky “Demons”
Аннотация
The first part of the article reviews the study of the theme of foolishness in the “Pentateuch&8j1; of F.M. Dostoevsky and some of his too broad interpretations are criticized. An own understanding of this motive and its real place in the writer’s work is developed. The differentiation of the holy fool and the foolish hero is carried out, as well as the difference between foolishness and buffoonery. In the second part of the work, the motif of foolishness in the novel “Demons&8j1; is considered, since this is the only novel of the “pentateuch&8j1; where this motif really performs an ideological and plot-forming function. The motif of holy foolishness is revealed in a number of characters, such as Stavrogin and Lizaveta Tushina, in addition to literally holy fools (Marya Timofeevna, Semyon Yakovlevich). It is shown how the development of the motif of foolishness in “Demons&8j1; allows Dostoevsky to convey his specific vision of the era of change, since the writer sees the conditionality of the spiritual upheavals of the present historical moment by the Russian national character and the deep layers of the people’s consciousness – the original grassroots religious tradition.
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):14-24
14-24
Transformation of Oblomov’s Portrait in Two Editions of I. A. Goncharov’s Novel: About Literary Discussion with “Physiologies” of F. V. Bulgarin
Аннотация
The article discusses the situation associated with changes in the portrait of Oblomov in two canonical editions of the novel, 1859 and 1862. Along with the existing explanations for the disappearance of the “free thought” metaphor from the second edition of the portrait, which is associated with the elimination of romantic style or with the writer’s haste in preparing the 1862 edition, the article puts forward another version of the transformation of the text. It is motivated by Goncharov’s literary controversy with that line of the “physiological” direction in the literature of the middle of the 19th century, which was presented in the essays of F.V. Bulgarin. The article shows that in both early editions of the novel, the initial and 1859, there are metaphors of “sleepy mind” and “free thought”, which were presented in one of the essays included in the publication “Mosquitoes, or All sorts of things by Thaddeus Bulgarin” under title “Running Thought”. In the early version of Oblomov’s portrait, the situation described in this “physiology” is read, when the “owner” of “mind” and “thought” living in St. Petersburg only coexists with his sleepy mind, and his thought completely leaves him and travels like a “free bird” to other houses of St. Petersburg, observing the “dead kingdom” everywhere. The essay offers a naturalistic section of the city. The interest in Bulgarin on the part of Goncharov is regarded by the author of the article not as an accidental phenomenon, but is associated with the controversy of two lines of “naturalism” in the literature of the 1840s and with the ironic tactics of Goncharov’s narrative. A significant role is also played by personal motives, Goncharov’s negative attitude towards Bulgarin’s personality as a writer and critic. Goncharov in his other writings and letters of the 1830-1850s often reproduces the style of Bulgarin, and Bulgarin’s subtexts always work for him to create an ironic mode, and Goncharov’s narration itself is sustained in a polemical manner. These examples are also systematized in the article. And in general in the opinion of the author of the article, the vector of controversy with Bulgarin should also be extended to the novel “Oblomov”, work on which began in early of 1840s, in the period of commercial success of Bulgarin’s physiological enterprises. Goncharov’s attempt to eliminate Bulgarin’s “traces” in the second edition of Oblomov’s portrait, and then return to them in later editions of the novel, is considered in the article as a kind of “organic contradiction” in the writer’s poetics and publishing tactics, which probably require additional scholarly reflection.
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):25-34
25-34
Literature vs Psychopathology (On the Autobiographic Subtext of Dostoevsky’s Tale “The Double”)
Аннотация
The article shows that Dostoevsky’s tale “he Double” was created in an atmosphere of gradual maturation of Dostoevsky’s break with Belinsky’s circle. In different chapters of this tale, various moments in the development of his attitude towards Dostoevsky were refracted – from delight and admiration to skepticism and rejection. The final break between Dostoevsky and Belinsky’s circle, which followed after the appearance of “Belinsky’s Message do Dostoevsky”, was preceded by a long development of accumulated contradictions, which, obviously, falls on November – December 1845. Thus, it took place just at the time when Dostoevsky was writing the last chapters of his story, in which Golyadkin Jr. shows all his cunning towards Golyadkin Sr. At the same time, there are features in Golyadkin Jr. that, apparently, contain allusions to some features of the personality of the young Turgenev, known to us from the reviews of memoirists. “The Double” itself is not a monument to a mental crisis or a manifesto of a psychopathological state, but an attempt by the writer to figure out how and why all this happened to him, and thereby overcome that happened through literary creativity.
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):35-42
35-42
A History of Design, Creation, Publication, and Critical Reception of Lyubov Gurevich’s Novel “Flatland” (“Ploskogoryeˮ)
Аннотация
The article attempts to characterize L.Y. Gurevich’s (1866-1940) creative persona and explain the reasons behind her refusal to continue her career as a writer and her transition to “the guild of critics.” A study of contemporary responses to the novel Ploskogorye (Flatland, 1897) suggests that their utterly arbitrary interpretation of the central idea, misinterpretation of the content and harsh criticism seemed to be painful to the young writer. The incomprehension of the critics, which could be found even in well-intentioned reviews, their contradictory remarks and focus on secondary aspects reveal, among other things, shortcomings of the methodology of criticism in general (especially in populist and Marxist criticism). Moreover, it also demonstrates male critics’ common unfriendliness towards women’s writing, which the author of the novel could not help but feel. In addition, the reviews allow us to look at the unsuccessful method of promoting the novel by the writer herself and similar ways that critics used to diminish the importance of works written by female authors. Nevertheless, various interpretations of the novel make it possible to read it from different perspectives and conclude how readers might have reacted to it.
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):43-57
43-57
Semantics of Conscience in Richard III: “Worm”, “Coward”, “Witness”
Аннотация
The article surveys a number of meanings of the polysemantic word “conscience”, which defines the religious and moral concept of Shakespeare’s Richard III. The biblical roots of these meanings are shown, to which Shakespeare returned his public over well-known idioms, including the origins of the proverb from Erasmus' Adagia “Conscientia mille testes“. Studying Shakespeare's three early correlations of conscience with cowardice (“coward”), which will become a part of proverbial language only after Hamlet, the author reveals the original content of this comparison, its connection with the theme of “conscience” and the “thoughts” of the pagans as a “witness” in the Epistle to the Romans (Rom. 2:15). We come to the conclusion that it is this dual complex (separation of conscience leading to repentance, and thoughts as awareness without repentance) that predetermined two divergent vectors of reading the “conscience – coward” verbal link in Richard III, then in Hamlet and after. This duality often leads to ambiguity, paradoxical interpretations, misunderstandings. Meanwhile, of the two vectors for Shakespeare only one is true in each case, and it depends on the meaning of the word “conscience”. Mentioned with annoyance by the Murderer “conscience” which “makes a man a coward” (I, 4, 133–134), is a person’s susceptibility to the divine (moral) law named “conscience”. The same with “Conscience is but a word that cowards use” (V, 3, 309) – the teaching of Christ that irritates the usurper-Richard. Whereas the “coward conscience” (V, 3, 179) of a tyrant who wakes up in a cold sweat is no longer conscience, but a “coward”-mind that gives rise to fear of retribution. The article also provides arguments for interpreting the corresponding expression in Hamlet (III, 1, 83).
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):58-63
58-63
“Point of View” as a Compositional Technique
Аннотация
The article attempts to clarify the literary terminology, namely, to give a clear and consistent semantic content to the term “point of view”. A brief overview of the definitions of one of the key concepts of narratology, presented both in encyclopedic and educational publications, reveals a picture of conceptual and terminological discord, in which the term is blurred and meaningless. Using examples from classical texts of Russian literature, “point of view” is considered as the most important principle of the subjective organization of narrative prose.
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):64-69
64-69
The Opposition of “Kindred / Alien” in Small Genres of Buryat Folklore
Аннотация
The paper reveals the peculiarities of the opposition of friend / foe (or kindred / alien) in the family-kinship relations of Buryats on the example of Buryat proverbs and sayings in the aspect of semantic content of the text. It is relevant to study the role of the universal opposition of one’s own / another’s in the formation of people’s interaction in society, to identify national specifics in the use of mechanisms of identity and differences in paroemias. The work involves the materials of field research of recent years, archival and published sources proving the stability and preservation of small genres of folklore. It is revealed that in the local tradition, formulaic expressions similar in meaning can change their semantics, complementing and expanding the functions of the main character. It is established that the most common and preserved are proverbs about the maternal uncle with a positive connotation. It should also be concluded that in Buryat proverbs, the duality of the position of the maternal side and the recognition of the paternal, then maternal side of one’s close to a certain extent influenced the modification of oppositional markers of relatives-nephews.
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):70-76
70-76
Nomination of Family and Kinship in Arkhangelsk Dialects
Аннотация
The article deals with the groups of lexemes associated in Arkhangelsk dialects with the concepts of family and kinship. The word-formation nest with the root of rod- (the genus) is much more significant than the nest with the basis of semja- (the family). The same lexemes may mean both specific family members and a group of relatives, in other words, they can be used in a collective meaning. The differentiation turns out to be quite weak. To denote kinship and relatives, the following terms are also used: the names of the people community (bratva, squad, artel, collective farm, population), some pronouns (my, mine, all, ours), metaphors associated with the cultural codes (due to the terminology of S.M. Tolstoy) like a vegetable code (tree, root, seed), animal code (nest), object code (house), somatic code (blood, leg, knee, vein, bone, tail) and the abstract one (side, line). Numerous examples are introduced into the scientific use for the first time.
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):77-85
77-85
The Story “Childhoodˮ by Panteleimon Romanov: An Immersion into Creative History
Аннотация
The works of P.S. Romanov, who played a prominent role in the literary process in the 1920s, was forgotten for several decades after the writer's death. It was not until the 2000s that researchers, attracted by Romanov primarily as a master of the satirical story, began to take a more active interest in his prose. Despite the existence of monographs on Romanov, his manuscripts were overlooked and no attention was paid to their study. This article on Romanov's story “Childhood” (1924) is based entirely on archival material and should partially fill this gap. The reference to a number of documents, including sketches, draft versions, plans, diaries, autobiographies, and diary entries, has made it possible to uncover some of the “secrets&8j1; behind the creation of the story “Childhood”. This work represents only the first step towards a complete and exhaustive study of the history of the text. In the future, all the identified sources of the story's text are to be collected, described, clearly dated, and chronologically arranged.
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):86-94
86-94
“Mad People All Around”: Universal Insanity in A. I. Herzen’s “Doctor Krupov” and F. M. Dostoevsky’s “Notes from the Dead House”
Аннотация
Dostoevsky’s “Notes from the Dead House” shows the influence of Herzen not only in its ideological basis, but also in its artistic details. Its portrayal of universal insanity bears a strong resemblance to some thoughts from the psychiatric treatise of Alexander Herzen’s Dr. Krupov. In contrast to Herzen’s notions of environmental determinism, Dostoevsky sees insanity as a manifestation of one’s repressed personality. Thus, in “Notes from the Dead House” he continues his struggle with the theory of environment, which he had already begun since “The Poor People”.
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):95-100
95-100
From the History of Philology
On the Beginning of Author’s Lexicography in Russia
Аннотация
The article presents an overview of the updated history and chronology of the initial stage of the author’s lexicography in Russia, based on a corpus of previously unknown archival documents, as well as some lost publications of the 19th century. It seems that the beginning of academic author’s lexicography can be traced since 1842, when Moscow academicians led by Ivan Davydov put forward the idea of the need for the participation of the Imperial Academy of Sciences in compiling dictionaries of the language of writers. In 1848 they formulated the “Rules for compiling dictionaries or indices of the classical Russian writers&8j1;, having completed the first indexes of words of the works of Lomonosov and Karamzin. It is established that the activity of the Academy of Sciences on the creation of Pushkin’s language dictionary was started in 1848; and by 1849, according to the program of Moscow academicians, the first indexes of words were compiled for the works of Gavriil Derzhavin and Vasily Zhukovsky. The project of Piotr Bilyarsky to create the dictionary of the language of Mikhail Lomonosov is described in detail and the true reasons for the failure of this large-scale project are explained. Another attempt to compile the dictionary of Lomonosov’s language, by Anton Budilovich (1871), is regarded as the first published dictionary of the writer’s language in Russia. The article presents the analysis of the significant lexicographic work conducted by Mikhail Sukhomlinov both before being elected to the Academy of Sciences (1850s) and already as a member of the Academy (1870–1880s). The paper is completed by a description of the first index in the history of Russian lexicography for literary translations – Nikolay Gnedich’s Iliad and Vasily Zhukovsky’s Odyssey (1885).
The Bulletin of the Russian Academy of Sciences: Studies in Literature and Language. 2023;82(3):101-111
101-111
Chronicles
112-122