Suchergebnisse

В центре статьи попыткарассмотретъ особенности горного ландшафта в русской литературе 1810-1830-х гг. как своеобразную имагологическую категорию, которую по аналогии с маринистикой мы предлагаем назвать монтанистикой. Три этапа ее развития: 1810-е, 1820-е и 1830-е гг. выявляют различные аспекты этого понятия, связанные с эволюцией русской общественно-политической мысли и философии русского романтизма. Своеобразными репрезентантами этого процесса становятся три классика русской литературы: В.А. Жуковский, А. С. Пушкин иМ.Ю. Лермонтов, а его миромоделирующим топосом Кавказ. Через соотношение с европейской, прежде всего немецкой традицией монтанистики (Шиллер, К.Д. Фридрих), намечены пути компаративистского подхода к данной проблеме. ; Romanticism expanded the landscape space: the sea and the mountains organically entered the romantic picture of the world as ontological and anthropological categories. Gradually, with the development of the revolutionary and national liberation movements in Europe, they become part of historiosophical reflection, which is particularly evident in the works of Byron and Pushkin. Traditionally, the marine element is referred to by the marine art notion (from Lat. mare). Based on this practice, the mountain art notion (from Lat. mons-montibus) is introduced for conversations about mountain landscapes. The place and role of mountain art in the history of Russian Romanticism of 1810s 1830s will be described in terms of the colonial discourse. Russian romantic mountain art as a dynamic system has three stages of development. Chronologically, they are inextricably linked with the ideas of the time, and three periods of Russian social history. The 1810s, the era of patriotic enthusiasm, actualized the problem of nationality and the related romantic concept of local color. In the general atmosphere of civil exaltation, the 1820s brought significant changes in the overall picture of romantic mountain art. The Caucasus as the most mountainous part of the Russian Empire showed the explosiveness of its mountain philosophy. The Polish events of 1831 corresponded to the perpetual Caucasian War and marked the new content of the colonial discourse. In the 1830s, the post-Decembrist era, the Caucasus mountain philosophy integrated into the space of Siberia. The Caucasus and Siberia showed a new form of colonial policy -fight against dissent and establishment of places of exile and hard labor. The revolutionary events in Europe exacerbated the socio-political and philosophical content of Russian mountain art. Existential issues had their symbolic expression in the image of a monastery and a cross on a hill. The first stage of development of mountain art as an object of imagology is connected with the poetry of the Columbus of Russian Romanticism Vasily Zhukovsky. It was he who saw the symbolic imagery of the mountain landscape. Zhukovsky's article "Two Universal Stories: An Excerpt of a Letter from Switzerland" published in the Library for Reading journal (1835) set out the principles of "mountain philosophy" and was an experience of the historiosophical reading of the popular poetic image. The history of landslides in the mountains, the destruction, the ruins of several villages is correlated to the history of the "political destructive volcanoes". At the turn of the 1820s 1830s mountain art undergoes a change. It becomes an integral part of the colonial discourse, and the Caucasus becomes its representative. Pushkin's Journey to Erzerum and the Caucasian cycle of poems, which includes "The Caucasus", "The Landslide", "Delibash", "Kazbek Monastery" (1829), were published almost simultaneously with Zhukovsky's article and brought a Russian element into the ideas of "mountain philosophy". The Mountain Georgian Military Road gradually acquired a symbolic and allegorical meaning. Pushkin's way along this road and Griboyedov's life journey are connected by a Georgian song, a free translation of "The Spring Song" by Dimitri Tumanishvili. Mountain peaks, deeps, rock falls, scenic roads, the whole semiosphere of mountain art exacerbate the poet's feelings and create a "travelogue of a soul elevation". This context inevitably displays the anti-war, anti-colonial sentiment. The Circassians hate us. We drove them out of their vast pastures; their villages are devastated, whole families are wiped out. With every passing hour they are further deep into the mountains, sending their raids from there (6, 647). This passage deliberately reminds the theater of war in Pushkin's journey. Unable to frankly convey his emotions, Pushkin constantly draws pictures of ruin and desolation in the background of wonderful mountain scenery. The primary heir to the "mountain philosophy" of Zhukovsky and Pushkin is Lermon-tov. He is justly called the most "mountainous" Russian poet: The Lermontov Encyclopedia records 292 uses of the word "mountain". Lermontov's particular merit was that he populated the poetic Caucasus with his heroes who, together with the names exotic for the Russian verbal culture, with traditions and customs of a mountainous country, absorbed their creator's philosophy of life, becoming his auto-psychological images. Confessions of Ler-montov's heroes organically enter the atmosphere of the Caucasus life, and mountain landscapes gradually but consistently become "landscapes of the soul". A participant in hostilities, the poet sharply raised the problem of man in war. Thus, the history of Russian mountain art represents the most important processes of the Russian history in the 1810s 1830s. Three great Russian poets made "mountain philosophy" an integral part of public opinion which gave a response to the colonial policy. The Caucasus in the works of Zhukovsky, Pushkin and Lermontov develops from a particular topos, a landscape space to a symbol of human being and an act of national self-consciousness.