Suchergebnisse

This article is devoted to the analysis of the evolution of the genre system in Chinese literature in the first quarter of the twentieth century. The purpose of the study is to trace the transformation of the creative manner of the writers of the period under study. Subject - novels of the famous Chinese writers, not translated into Russian. The comparative-historical method was used to analyze the subject matter and stylistics of the works of narrative genres. The article concludes that at the beginning of the twentieth century, Chinese writers used new genre forms - the socially utopian novel and stories. In their writings, Chinese writers reflected the current problems of the life of the country. The traditional genre of the novel underwent changes: the number of chapters and acting characters was reduced, and a patriotic theme emerged. Social prose was not highly artistic, but it paved the way for the birth of modern Chinese literature. The results of the study fill a gap in the history of China in the first quarter of the twentieth century.

The article deals with the analysis of the transformation of a household sketch in small prose at the turn of the centuries, with the growing complexity of «a life piece» from being social and typical towards involving psychology, philosophy and the depth of a fulfilled life.

The study of the dramaturgic complex which has come to us in a manuscript created in the 1680s–early 1690s in Moscow (kept in the Austrian National Library, Vienna) established that the dramaturgic heritage of Simeon Polockij was not limited to two plays (about Nebuchadnezzar and the prodigal son) in the «Rythmologion». It also includes morality play about the struggle of the Church with the «host of infidels» and seven interludes, previously known from a single list as an anonymous works of the first third of the 18th century. The analysis of the historical and cultural context of the time the morality play was created, as well as its vocabulary, in particular, a rare lexeme (Turchin) and literary techniques typical for the texts of Simeon Polockij (using of the liturgical texts as a structural and thematic motives), leave no doubt about the authorship. Simeon Polockij is also the author of the interludes that can be proven by the content, plot-thematic, stylistic and lexical calls observed between them. Certain situations, plot motives and the vocabulary of the(«Vertograd mnogostvetnyj», «Rythmologion», etc.). interludes can be identified in the context of Simeon's works.

This article introduces into scholarly circulation documents kept in the funds of the Scientific Research Department of Manuscripts of the RSL and the Russian State Archive of Literature and Art relating to literary, socio-political, and material life of the Russkoye Bogatstvo magazine. Along with documentary evidence of literary activity, these documents serve to clarify human preferences, assessments, relationships, and reveal the internal mechanisms of the editorial life of the magazine. The chronological period which the archival materials date back to (1896–1900) is a landmark in the history of the magazine when it first became a legal print medium of the Narodniks and, second, recovered the cooperative principle of its publication. Finally, during the period in question, the relations between the members of the editorial board began to be regulated progressively. Also, to a greater extent than before, all financial flows that passed through the editorial board started to be regulated legally organising the work of the editorial board which allowed the magazine to continue to exist despite the many difficulties — censorious, political, repressive — it had to face on its long and difficult way to the reader. The materials presented in the article tell about some episodes of the fate of the famous magazine under the changing historical conditions and clarify facts of human, literary, and financial relations in the editorial board, while a brief real commentary restores the historical and literary context of the facts described in these documents. The subject of the published documents is specific circumstances including economic ones of the editorial office of Russkoye Bogatstvo, which until now have rarely been the subject of historical and literary publications and articles.

A particular aspect of the problem of interference of philosophy and literature is considered. This article reflects the results of the ongoing study of the problem of perception of poetry by E.A. Boratynsky in Russian philosophical thought. For the first time, an analysis of the reception of Baratynsky's lyrics in the works of Archpriest V.V. Zenkovsky and S.L. Frank is presented. The novelty of the study is seen in the fact that the stated problem is considered for the first time. The relevance seems to lie in the interdisciplinary nature of the research being undertaken. Appeal to the method of slow reading allows us to reconstruct two specific examples of the complex process of interaction between Russian literature and philosophy. Particular attention is paid to Zenkovsky's article "Philosophical Motives of Russian Poetry", as well as Frank's abstracts "The Meaning of Suffering", "On the Meaning of Suffering in Russian Literature" and his "Etudes on Pushkin". It is shown that both Zenkovsky and Frank saw in Boratynsky, first of all, a contemporary of A.S. Pushkin, a poet-philosopher who expressed pessimistic ideas in his work. At the same time, unlike Zenkovsky, who tried to define the essence of Boratynsky's lyrics as such, Frank turned to the poet's poems in order to determine the place of Pushkin in Russian poetry and, on the other hand, in order to express the provisions of his own concept of suffering more clearly.

The article discusses V.S. Solovyov's influence on the reflections of M.O. Gershenzon in 1910–1920s about progress, personality, crisis of culture and war. The article affirms the thematic continuity of the views of the two thinkers and the conviction of M.O. Gershenzon in the key position of personality in the development of historical processes. It is emphasized that personality is a reference point in the coordinate system that builds the idea of progress in M.O. Gershenzon's works. It is noted that the crisis of culture and the war are stages on the path of progress that neglects the personal, namely: the progress of abstract, highly specialized scientific knowledge in which the individual is alienated. The cultural heritage, which is not claimed by the individual as a single consciousness and therefore not assimilated by modern man, has become just a value that does not meet an individual request, turns 'mystery' into 'religion', an object of personal spiritual comprehension into obligatory ritual that alienates a person from action, the meaning of which is lost. Between Solovyov's "mystery of progress" and Gershenzon's "religion of progress" an entire epoch passes away, in which, as it seemed, war is no longer possible, but finally the war sweeps away the achievements of civilization with a fiery whirlwind. All the consequences M.O. Gershenzon's statement that the main reason for this process is the loss of the individual (including personal search for truth), its transformation into a value in culture, are analyzed in the article. It is concluded that the World War I undermined faith in progress as a multiplication of values in culture; it was comprehended as a consequence of the violation of the organic "complexity of a whole life", the alienation of a value that was personal in origin.

At the turn of the 19th–20th century and in the first third of the 20th century literary conventions changed, the poetic word reached the limits of the expressible. The article argues that aesthetic thought in this period is developing largely under the influence of L.N. Tolstoy's late period of work, when he radically revised his view of the unity and monolithic nature of narrative, testing a new mode of writing. On the other hand, it is shown that the views of N.F. Fedorov and L.N. Tolstoy's role of scientific knowledge largely determines the worldview during this period. The article proves the position that the limits of the expressible in art also correspond to the desire of the creator to image his personal presence in the work as evidence of its truth. In particular, it was revealed that N.F. Fedorov sees in a close reading of a book and studying system of views of its author the source of his bodily resurrection. L.N. Tolstoy expressed the search of truth "for himself" as religious feeling. The article shows that the visible and physical verify to the truth of absolute unity in the philosophy of V.S. Solovyov. Author's personal presence in his work (literally "author's face", according to L. Shestov) is a way to resist the "lie" (according to A.A. Potebnya) of expressed and published thoughts. The lie also examined by V.V. Rozanov. He contrasted "literature" and "handwriting of the soul" as the work "for self". The conclusion emphasizes similarity of views on the nature of art from Tolstoy and Fedorov through Shestov and Rozanov to Shklovsky.

The French literature from the late 19th and early 20th centuries that can be classified as "space fiction" centered on missions to Mars and making contact with Martians. The topic's appeal stems from scientific findings of the time (particularly the so-called Martian canals) as well as the traditional symbolism of the Roman god who gave the Red Planet its name. All authors who wrote about Mars during the "Belle Époque" were inspired, to varying degrees, by the writings of the eminent astronomer Camille Flammarion (both scientific and fictional). The article delves into the specifics of how Joseph Rosnyaîné, André Laurie, Georges Le Faure, Henry de Graffigny, Arnould Galopin, Gustave Le Rouge, and Jean de La Hire interpret the Martian theme in their works. It is demonstrated that the use of traditional materials for popular novels is mixed with a desire to update popular literature's narrative strategies. Thus, The Extraordinary Adventures of a Russian Scientist Across the Solar System by Le Faure and Graffigny, written between 1888-1896, contrasts the "intergalactic" theme, which was novel in French literature, with its archaic interpretation. The tendency to mix genres, to combine the "merveilleux-scientifique" (scientific marvelous) with Gothic and vampire literature approaches, as well as to augment the story with the occult component, increases. The so-called "martian duology" by G. Le Rouge, which lays the foundation for the poetics of horror – so vital to the 20th-century popular reading – is among the most significant literary works. The modernist bent is particularly evident in J. de La Hire's 1911 book The Mystery of the Fifteen, which foresaw the rise of the superman hero, a new type of hero for the popular novel (however, this hero did not gain popularity in France).

The article discusses the origins of Sergei Yesenin's acquaintance with the novel What Is to Be Done? by N. G. Chernyshevsky: this happened in Spas-Klepikovskaya second-class teacher's school in 1909-1912. The work was read among the intellectuals, and students outside of school hours argued about it and embraced the ideals of the "new people". Later Yesenin encountered Chernyshevsky's novel at the lectures on Russian literature by P. N. Sakulin at Moscow City People's University named after A. L. Shanyavsky. As a result, a number of elements of Chernyshevsky's poetics were associatively reflected in Yesenin's long and short poems as well as in his story Yar. In the works of Yesenin figurative echoes with Chernyshevsky are noticeable. The main ideological moments that worried both writers include: the wonderful future of the Fatherland, the conscious creative arrangement of the earthly paradise in the country. Among artistic means, the writers used the epithet "new", applied it to the re-interpretation of the biblical laws of human society in terms of freedom, e quality and brotherhood. Both writers considered this epithet to be the main element in describing both the process of building a just state system, and in characterizing the creators of a better life. Understanding the importance of the nuances of psychology for each person, Chernyshevsky and Yesenin developed the concept of mystery. Chernyshevsky used the successfully found philosophical solution to create reliable everyday pictures, and Yesenin endowed it with further biblical and mythological meanings, asserting the "mystery" as a comprehensive postulate of sophianis m. In his personal life, Yesenin in his youth followed the example of the everyday habits of Rakhmetov, but without repeating the entire line of behavior of Chernyshevsky's literary character. Yesenin gave his main characters in the story At the White Water (<1915>) unusual names that appear in minor characters and characters mentioned in passing in Chernyshevsky's novel. However, in order not to assert the comprehensive nature of Yesenin's borrowings of Chernyshevsky's creative findings, the article presents other possi ble sources of na mes and biographical foundations for some of the poet's behavioral lines.

The article provides a comparative analysis of the aesthetic views of G.W.F. Hegel (based on the material of "Lectures on Aesthetics" prepared for publication by H.-G. Goto) and V.S. Solovyov. The presented history of the question of the influence of Hegelian philosophy on Solovyov's work demonstrates the prospects and productivity of research related to the issues of aesthetics of Solovyov and Hegel. In this regard, there is a need to summarize the results of the investigations on this topic, making a number of important clarifications and revealing previously intended points of convergence and divergence of the two philosophers. Both general aesthetic problems (the meaning of beauty in nature, the connection between beauty and the absolute idea) and applied issues of an art and literary nature (justification of the hierarchy of arts, features of lyrical poetry) are considered. A direct and hidden polemic of Solovyov with Hegel's ideas is revealed: the objection to the subjectivity of the perception of beauty in nature, the emphasis on the need to spiritualize substance under the influence of beauty. Clarifying the understanding of the role of art in history by Hegel and Solovyov makes it possible to more clearly trace the grandiose prospects for the development of art in the Russian philosopher, whose concept of theurgic creativity will later be adopted by younger symbolists. Speaking not only as a philosopher, but also as a poet, Solovyov criticizes Hegel's position on lyrical poetry as an expression of the individual subjective consciousness of the artist. It is demonstrated how the Hegelian dialectical method is implemented by Solovyov in characterizing the stages of development of Russian poetry of the XIX century. It is suggested that the dialectic of freedom and necessity was interpreted by Solovyov when presenting the theory of fate as the Providence of God.

There is evidence of Yesenin's acquaintance with What is to be done? by Chernyshevsky, which happened during the adolescent years of the future poet, while he was studying at the Spas-Klepikovskaya second-class teacher's school in 1909–1912. From the novel by a 19th century writer individual plot twists (the "living corpse" line), some stylistic findings and the author's judgments (about the mystery, the liar, Hamlet) seem to have migrated to the story of the 20th century poet, of course, in a veiled and transformed form. It can also be assumed that one of the moments of Chernyshevsky's exile was reflected in a minor character in Yesenin's story (the city of Vilyuysk and the Vihlyuisky shooter – with the loss of one letter). Meanwhile, any estimations of the influence of Chernyshevsky's poetics on the artistic fabric of Yesenin's story remain hypothetical, for which reason other possible interpretations of the "dark places" of Yar are given. Yesenin could be attracted by the biographical data of a number of heroes (the city of Ryazan and the Oka river are mentioned) in connection with his own place of birth in the Ryazan region, as well as by an innovative approach to the novel genre (with the inclusion of dreams and the presence of other insertions); the poet himself also introduced many additional elements into Yar – ethnographic descriptions of the wedding and the ritual of plowing around the village against epizootic, folklore quotations from non-ritual songs and funeral lamentation, proverbs and sayings, etc. As a result, the complex compositional and plot structure of Yesenin's story is quite comparable to the multifaceted nature of Chernyshevsky's n ovel, with its adventurous line, with many philosophical digressions, with the trips of the heroes (the motive of wandering). Unlike What is to be done?, aimed at the future, Yar depicts everyday life of peasants and traditional festive culture, it is replete with sketches of regional rural life, which eventually has become a valuable ethnographic material.