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• Georgy Adamovich ‘The Beginning of the Story’, ‘From a Clogged Notebook’ - about the Turgenev’s Subtext

  11 p.

  Ludmila Sproge

  Views:

  301

  The discourse of ‘Ich-Erzählung’ creates visibility, or an autobiographical narrative,
  where the author narrates the more famous classical texts on the theme of ‘love as strong as
  death’. The narration of stories is based on the principle of the repeatability of individual
  thematic units built on similarities and contrasts. The text that is being created does not translate into an autonomous story about Maria Leopoldovna, but it exposes the technique of reminiscence poetics. Quotes and auto-quotes form or create a peculiar language of the major art,
  where the names of Turgenev and Tolstoy are markers of the story. Turgenev’s subtext is
  connected with the way meaning is constructed in the story, which is told about love that has
  never come true but is remembered all one’s my life.

• The Chaos of Fragments, the Fragments of Chaos The Last Prosaic Work of M. Yu. Lermontov: Shtoss

  Andrea Posta

  Views:

  293

  The unfinished short story, Shtoss received little attention from critics, despite of the fact that it is actually the last prosaic text written by M. Yu. Lermontov. It has become somewhat forgotten because it was interpreted as nothing more than a literary joke the young poet played on his friends in St. Petersburg a few months before his tragic death. This article is a narratological analysis of the short story Shtoss based on the terminology used by Gerard Genette and Boris Uspensky. It also aims to interpret the possible function of fragmentation, absence and uncertainty in the short story.

• Historia Morbi of the Hero of A.P. Chekhov's Short Story The Black Monk: Textual and Intertextual Forms of its Presentation

  Aleksandr Kubasov

  Views:

  191

  The ambiguity of the presentation of the illness of the protagonist of Chekhov’s short story The Black Monk and the author's attitude to it is discussed in this paper. The essential role of irony in the story is noted, due to the historical and literary context and the intertext that arises on its basis. The ironic modality is induced, on the one hand, due to the connection of the story with the early work of the writer, and on the other hand, with the works of other authors. The role of Griboyedov's comedy Woe from Wit as a catalyst for irony is also discussed. The ironic modality does not exclude the formulation of a serious problem of the inauthentic existence of humans but gives it an ambivalent character. The interweaving of the conditional beginning and the unconditional in the depiction of the hero and his illness allows Chekhov to pose the ontological problem of the inadequacy of the self-esteem of the individual.

• Metaphors in Lyudmila Ulitskaya’s Short Story ”The Queen of Spades”

  8 p.

  Angelika Molnár

  Views:

  405

  In this paper it opens up how Lyudmila Ulitskaya in her short story “The Queen of Spades”develops the crisis situation whichher heroes getsinto. So, the problems of the crisis should beanalysed also from a broader perspective, however, we will confine ourselves to only one rather narrow aspect of the analysis of poetic utterance, namely the tropological one.The chosen (mechanical and animalistic) metaphors are connected with the figure of the main heroine and also her revolting daughter.

• Types and Functions of Comparative Tropes in Contemporary Prose Texts (as represented in L. Ulitskaya’s Short Story ”The Queen of Spades”)

  5 p.

  Angelika Molnár

  Natalia Nikolina

  Views:

  505

  This article studies the types and functions of comparative tropes in Lyudmila Ulickaya’s short story ”The Queen of Spades”, a reference to Alexander Pushkin’s famous masterpiece. This question is connected with the main heroine’s figure constructed on the basis of the system of tropes. In the analysis suggested by the authors, special attention is paid to the animalistic, vegetative and theatrical metaphors, parallels and similes. In the conclusion the difference between traditional and individual tropes in the woman writer’s literary work is discussed.

• A Story by A. P. Chekhov “The Wolf”: Historical-medical and Archetypal Aspects

  Viktoriya Kondratyeva

  Views:

  609

  The plot of A. P. Chekhov's story "The Wolf" (in the first edition the story was called "Hydrophobia (A true story)") is associated with the frequent facts of wolves attacking people in the 1880s in the central part of the country (called an epidemic at the time).The time of writing the story between March and December 1886 is a year after the discovery of the rabies vaccine in the laboratory of Louis Pasteur and its successful testing in 1885; and in the year the story was created, the first Pasteur stations in Russia were opened. The paramount aspect of a plot of the work by A. P. Chekhov is connected with the field of psychology. Fear, which takes possession over the character, the landowner Nilov, is a psychological phenomenon in the medical sense and leads to an understanding of the fact why Chekhov needs an emphasis on the wolf in the title of the second edition of the story. The image of a wolf with its archetypal component plays a fundamental role in recreating a clinically accurate picture of fear. The real clash with a real wolf becomes a reflection of the fight with the "mental wolf," with its own fears. The writer is interested not so much in the existential side of the phenomenon of fear, as in the psychological one. And the image of a wolf with its archetypal component plays a fundamental role in recreating a clinically accurate picture of fear.

• The Linguistic Means of Representation of the Category of Generality in the Text of A.P Chekhov’s Three Years

  Natalja Kim

  Views:

  260

  The multi-level means of representation of the category of generality inherent in the language as a whole are reflected in the story of A. P. Chekhov "Three Years" in all their diversity. The characters of the work reflect on generally significant topics in the context of their own lives, thatimplementthe category of generality in the work. When language units function in the text of the story, their particular-specific and generalizing meanings interact, which causes a two-dimensional semantic perception both within a single utterance and the text as a whole. The use of the means of generalizing in the speech of the characters is pragmatically driven and is determined by the purpose of the speaker to depersonalize the statement or to influence the interlocutor, giving personal reflections a universal meaning.

• “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.

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

  Igor Sukhikh

  Views:

  197

  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.

• European Cultures in Leo Tolstoy’s Interpretation: Ambiguous and Unambiguous (on the Basis of the Sketch “Sevastopol in May” and the Novel “War and Peace”)

  Dmitry Romanov

  Views:

  269

  The article examines the embodiment of the interactions of Russian culture with French and German cultures in the course of global historical eventsin Tolstoy’s works. The review includes the Crimean War of 1853-1856 and the Patriotic War of 1812. The author analyzes the use of foreign language inclusions by the heroes of Tolstoyʼs works and the authorʼs assessment of them. Special attention is paid to the analysis of the ideas and images of European cultures, which help to express the worldview of the writer.

• Grotesque and paradox: Female and male narratives in Victor Erofeyev’s novels

  Tünde Szabó

  Views:

  269

  This paper examines the narrative dynamics of two novels by Victor Erofeyev. The female discourse of Russian Beauty is characterized by the vertical dynamics of grotesque, while the discourse of the autobiographical narrator of Good Stalin is characterized by the dynamics of paradox, a horizontal movement between opposing truths. In both novels the Soviet aesthetic canon is undermined through the dynamics of narrative that denies the possibility of a singular truth.

• “Step by Step” in Camp Prose: Aleksandr Solzhenitsyn’s ”One day in the Life of Ivan Denisovich” and Imre Kertesz’s “Fatelessness”

  Angelika Molnár

  Views:

  273

  The paper is devoted to the disclosure of the concrete and abstract images of "step(ping) " and the reinvention of related other meanings (concepts like ’path’, ’fate’and ’happiness’)in the novel by A.I. Solzhenitsyn "One Day in the Life of Ivan Denisovich" and in the novel by Imre Kertesz "Fatelessness". In order to identify the similarities and differences concerning these fundamental text-forming components in these outstanding works of camp prose, it is necessary to turn to the study of trophes, i.e. creating new meanings on the basis of the combination of incompatible things and images. This allows us to approach the author's picture of the world in both cases.

• The relationship between Excellent People by Chekhov and the ideological position and artistic attitude in the late short stories of Leo Tolstoy

  Ildikó Regéczi

  Views:

  358

  In Chekhov and His Prose (first published in 1965), the author, Thomas G. Winner contends that the subject matters of a few of Chekhov’s short stories written in the 1880s (such as «Хорошие люди» [Excellent People]) were created in the spirit of Leo Tolstoy, yet the one called «Несчастье» [Misfortune], written also in 1886, already marked the beginning of a series of texts that can be interpreted directly as “a light parody” of Anna Karenina (1873–1877) as well. The basic question posed here concerns whether there is really a significant difference that can be observed between the above two works and whether they reveal this sharp difference in the reception of Tolstoyan ideas that Winner's monograph suggests. The paper seeks to answer this query on the basis of the interpretation of Excellent People and the textual representation of the issue of goodness. In this analysis, particular attention is given to the way in which Tolstoy's ideas are represented and to the author's poetic choices that bring the text close to Tolstoy's late short stories.

• The story Сhildhood as the beginning of Leo Tolstoy’s linguopoetic search

  Dmitry Romanov

  Views:

  269

  The paper discusses the most prominent linguistic and poetic techniques in Leo Tolstoy’s story Childhood. Linguistic poetics is understood in a broad sense: with the inclusion of not only linguistic units themselves, but also compositional characteristics, stable plot moves, details of subject expressiveness, and effects on the reader. The evolution of the studied techniques in Tolstoy’s further work is traced.