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• 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:

  261

  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.

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

  Dmitry Romanov

  Views:

  255

  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.

• 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:

  348

  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.

• Cultural Policy of Russia and Hungary: Modern Discourse and New Actors

  11 p.

  Olga Szűcs

  Tatyana Yudina

  Views:

  350

  The authors of the article argue that contemporary cultural policy discourse is in the focus
  of attention of scientific communities, social and political organizations and government institutions.
  It represents a sort of symbolic struggle and nominations and has necessitated a
  new approach to cultural policy structuring. The article shows that this necessity is demonstrated
  by the development of cooperation between Russia and Hungary in terms of cultural
  sectors and cultural heritage. Expert communities and non-governmental organizations are
  becoming significant elements in the structure of cultural policy subjects. The association
  “For Hungarian-Russian cooperation named after Leo Tolstoy” has become such a key issue.
  The authors of this article attempt to highlight the most essential contemporary issues in
  the sphere of cultural policy in general and in relation of two separate countries – Russia and
  Hungary – through the scientific project “Hygiene of culture”.

• «Doktor Zhivago» and Leonid Pasternak

  Natalya Ivanova

  Views:

  264

  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.