Suchergebnisse

Аннотация В статье рассматривается образ Наполеона в творчестве Н.М. Карамзина и Г.Р. Державина. Карамзин, посвятивший Наполеону достаточно много публикаций в своём литературно-политическом журнале «Вестник Европы», первоначально интересовался психологическим характером и восхищался разнообразными талантами Бонапарта, в чём проявляется сентименталистское внимание к индивидууму. Он изображает Наполеона как героя сентиментализма с присущей ему чувствительностью и рефлексией. Державин, напротив, ещё задолго до 1812 г. в ряде произведений предрекал падение Наполеона, используя апокалипсическую символику и литературную условность. В годы Отечественной войны Карамзин фактически сближается с Державиным и свою ненависть к узурпатору выражает в стилистике классицизма, наиболее разработанной в то время для воплощения гражданской тематики.The paper considers the image of Napoleon in N.M. Karamzin and G.R. Derzhavin's works. N.M. Karamzin, who dedicated a sufficient number of publications to Napoleon in his literary and political journal "The Messenger of Europe" (1802 1803), was interested in the psychological nature of Bonaparte and admired his various talents, thereby showing a sentimentalist attitude towards the individual personality. N.M. Karamzin depicted Napoleon as a sentimentalist character with pathos and reflection. On the contrary, G.R. Derzhavin foretold the collapse of Napoleon in some of his works long before 1812, using apocalyptic symbols and literary conventionality. During the Patriotic War, N.M. Karamzin became virtually closer to G.R. Derzhavin and expressed his hatred towards the usurper through the stylistics of classicism, mostly elaborated at those times, in order to embody the civil topics.

В статье рассматривается понятие «театральный хронотоп», под которым понимается пространственно-временной континуум, распространяющийся на все «атрибуты», способствующие формированию театра в целом: театральные площадки и здания театра, труппы, актеры, репертуар, персоналии критиков и периодические издания, в которых отражались театральные постановки, а также развитие их реципиента, зрителя. Томский театральный хронотоп является наиболее ранним по времени возникновения в Сибири. Диалог культур в нем осуществлялся на разных уровнях: в репертуаре; в сравнении разных исполнительских школ, дополнении рецензий местной критики переводными статьями зарубежных литераторов и журналистов. ; Theatrical chronotope in Tomsk was formed earlier than in other Siberian cities. Its formation demonstrated a high level of cultural development of the region. Theatrical chronotope should be understood as a space-time continuum that refers to all the "attributes", contributing to formation of theatrical business and theater in general: theater stages and buildings, companies, actors, repertoire, critics and periodicals, in which performances and audience growth were constantly described. Although first theatrical performances in other Siberian cities are believed to be held at the end of the 18th century, all the chronotope components in Tomsk appeared only by the end of the 19th early 20th centuries: stone theatre building, repertory company, weekly periodicals (Sibirskaya Gazeta, Sibirskiy Vestnik) with their own reviewers. We can distinguish three types of Siberian theater critics in 1880-1916: рopulist, liberal and revolutionary-democratic. They existed almost simultaneously and formed a multi-level dialogue within theatrical chronotope. The cultural elite of society were represented by the so called "oblastniki", who are usually thought to be Siberian orthodox apologists, ignoring all the European and international impact. In fact, the situation was different. For example, political exile Felix Volkhovsky believed that theatrical critic should teach the reader and the viewer, educate their public spirit and moral qualities. Vsevolod Dolgorukov represented the second type of the Siberian critic. Hereditary Prince, he was exiled in Siberia for permanent housing after a criminal trial. "Dialogue of cultures" was fully organized on the pages of the newspaper Sibirskiy Vestnik where he worked. Dolgorukov reviewed foreign plays and analyzed local Tomsk performances in the framework of Saint Petersburg and European tradition. The revolutionary-democratic type of critic was presented by Georgiy Vyatkin who was considered to be "native" Siberian, not only because he was born in Siberia, but also because he got education in Tomsk. Following Dolgorukov, Vyatkin paid great attention to the foreign theatrical repertoire without separating it from the national one. It is thanks to the theatrical chronicle written by local critics and reflected in periodicals we can restore Tomsk Drama Theatre repertoire: which included both Russian classic works and European theatrical plays of different trends. Dialogue of cultures was organized in Tomsk theatrical chronotope not only in the repertoire, but also at the level of guest actors. Reviews of Tomsk critics included translated articles of foreign writers and journalists, which expanded the vision of Siberian spectators of trends in the European theater and as a result connected Siberia with Russian Centre and Europe.