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• “Hungarian Subject Matter” in Chekhov (The Short Story The Unnecessary Victory)

  Tatyana Ilyuhina

  Views:

  272

  The paper considers “The unnecessary victory” as one of the notable works of the earliest stage of Chekhov’s creativity. The Hungarian theme of the story, inspired by the novels of Mór Jókai translated into Russian, and its plot, related to the traditions of the European career novel, address a wide audience. The young writer plays along with this reader with exotic narrative elements and delineates the difference between serious and marginal literature. This hoax, together with other skits of those years, reveals the young writer’s view of literary pursuits as an exciting game in which the main expectation is to be truthful and graceful. The same goals, according to Chekhov, characterize literature in general, regardless of the field of its competence and of the readership coverage.

• Gender and Space in Literature and Cinema (Bogomil Rainov’s Roads to Nowhere and Metodi Andonov’s A White Room)

  Natalya Nyagolova

  Views:

  259

  The article discusses the structural link between the gender model and the fictional space in Bogomil Rainov’s short story Roads to Nowhere (1966) and its film adaptation—Metodi Andovov’s A White Room (1968). The transformations of the original text are traced via several semantic oppositions (masculine-feminine, rational-emotional, order-chaos) and the influence of two aesthetic paradigms—noir and the existentialist “new wave”. These transformations are interpreted in the socio-cultural context of the Bulgarian “thaw” with its quest for the marginal, regional, personal alternatives within the socialist system.

• Non-blame and/or Forgiveness: Observations about L.N. Tolstoy’s Theology on the Background of the Philosophy of I. Kant and M.M. Bakhtin

  10 p.

  Sergey Shults

  Views:

  358

  The problem of correlation of non-blame and forgiveness in L. Tolstoy’s world is put in the context of Kant’s and Bakhtin’s philosophy. The author comes to the conclusion that for L. Tolstoy non-blame is above forgiveness.

• The chronotope of O. E. Mandelshtam’s Poems about the Unknown Soldier

  Sergei Shul’ts

  Views:

  323

  The chronotope of O.E. Mandelstam’s Poems about the Unknown Soldier has at least three levels: (1)  the level  of internal time-space as immanent to the subject, the author-hero; this is the level of subjective refraction of events in individual consciousness/thinking; (2) the  level of external time-space: the historical and natural beginning of world life (historical and physical cosmos) in their correlation; here worldly life is presented as if outside any of its perception from the outside, “by itself”; and (3) the mythical-symbolic dimension shining through the other two; the events here are interpreted in their parabolical content, including in the aspect of the philosophy of culture and intertextuality as a kind of “new mythology”.

• One can only Understand a Journey by Embarking on it

  Antonina Nikonova

  Views:

  234

  The present article is devoted to a new field of research in humanities–the „hygiene of culture” and its leader – Olga Szűcs. The formation of an international researh community is a long and difficult procedure. In the course of the development of the theoretical and the empirical basis of the „hygiene of culture” owing to Olga Szűcs’s personal qualities,the scientific and ethnic norms of a collective of researchers working in different fields of humanities have been set. The results of the research have been published in collective monographs. The paper considers Olga Szűcs’s main scientific contributions to this field and the role she played in this scientific project.

• In search of winners: On the 100th anniversary of Yuri Trifonov's birth

  Igor Sukhikh

  Views:

  198

  Trifonov’s short stories are characterised by a direct tackling of moral issues. Tthe story The Winner contrasts social activity and biological longevity. Trifonov does not choose between the two but reflects on both. The conflict between biology and history is one of the main conflicts depicted in his remarkable prose.

• Between Cyborg and Larva: A Vicious Circle That Human Beings Experience in the Post-humanist Era

  8 p.

  Andrey Chukurov

  Views:

  340

  The article reveals the reasons for and specific features of the transition to the posthumanist
  era. The author of the study reviews the criticism of classical humanism and analyzes
  the relationship between the concepts of "trans-humanism" and "post-humanism." In a
  situation in which a permanent identity is impossible and people move to a “current” “unstable”
  identity, the Imaginary becomes the main guideline for the self-identification process.
  Human beings are unable to cope with the challenges of our time and are aware of their own
  inferiority. That is why they are trying to improve themselves through the available body
  modifications. However, this process gives them a new panic attack over the potential loss
  of control over the body. Analyzing these processes, the author turns to the most controversial
  and specific phenomenon of popular culture – "body horror". This genre reveals the deep
  layers of consciousness, fears and insecurity of human beings in the post-humanist era.

• Zoomorphic Metaphors and Similes in the Modern Russian Prose

  17 p.

  Zoya Petrova

  Views:

  469

  The article represents the main circle of zoonymous images common in the modern Russian prose, they are classified into thematic groups of the “Animals” class, the most frequent vehicles of metaphors and similes are identified, the circle of tenors is outlined, distributed according to the relative frequency of use in literary texts. By means of comparison with the traditional images of the class in question, presented in the dictionary of metaphors and similes of the previous period of the Russian literature, and with the figurative uses of zoonyms in the Russian linguistic world image based on materials of linguocultural dictionaries, the main directions of evolution of zoomorphic tropes in modern Russian prose are determined. Some aspects of textual functioning of zoomorphic tropes are studied: individual preferences in choosing their groups, their conceptualizing role in the text. The results of the study make it possible to get an idea of ​​one fairly significant fragment of the figurative world image of the modern Russian prose.

• «Doktor Zhivago» and Leonid Pasternak

  Natalya Ivanova

  Views:

  271

  In this article, we analyze the transformation of values in the literature and art of the first half of the 20th century through the creative strategies of two closely linked people: the poet Boris Pasternak and his father, the painter Leonid Pasternak. An academician of painting, Leonid Pasternak renewed the traditions of realism, being in close contact with Leo Tolstoy while working on the illustrations for Tolstoy’s novel “The Resurrection”. Having made a creative journey from the movement of “peredvizhniki” (“the Itinerants”) toward Impressionism, he did not accept the newest trends, as opposed to his son who had undergone a long period of fascination with Futurism, as well as the influence of Modernism. This conflict of aesthetics lost its poignancy with the passing of the years and with the geographical distance (Pasternak the father having emigrated in the beginning of the 20s). Thus, Boris Pasternak returned to the poetics of the classical Russian prose in his novel “Doctor Zhivago.” But the Christian values on which the conceptual basis of the novel rests, remained unknown to the father, who had passed away just before his son began working on the novel. The result was the novel itself with its covert subtextual influence and the polemics of the son and the father, the poet and the artist.