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• Moscow Everyday Life in Soviet Film Comedies of the 1960s–1980s

  Anel Kozhabergenova

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  23

  The paper addresses the representation of everyday life in Soviet film comedies of the 1960s–1980s. The object of analysis is a corpus of nine films: Vzroslye deti [Adult children] (1961),  Legkaya zhizn [Easy life] (1964), Daite zhalobnuyu knigu [Give me a book for complaints] (1965), Uroki literatury [Literature lessons] (1968), Ironiya sudby, ili S legkim parom! [The irony of fate, or Enjoy your bath!] (1975), Mimino (1977), Po semeynym obstoyatelstvam [Due to family circumstances] (1977), Sluzhebny roman [Office romance] (1977), and Samaya obayatelnaya i privlekatelnaya [The most charming and attractive] (1985). The research methodology combines two complementary approaches: Michel de Certeau’s sociology of everyday life and Gaston Bachelard’s phenomenological poetics of space. De Certeau’s concept of tactics and strategies helps describe the mechanisms by which the Soviet urban citizen adapted themselves to systemic structures, while Bachelard’s ideas on poetics enable the reading of interiors, material objects, and living spaces as symbolic images rooted in memory and imagination. The article demonstrates that the Soviet film comedy of this period was not a degraded genre but a distinct aesthetic form linked to Italian Neorealism that developed its own language for representing the everyday. In the analyzed films, Moscow appears not as a neutral topographical backdrop but as a meaning-making space that captures the profound transformations of late Soviet society: the conflict of generations, the crisis of public and private spheres, and the paradoxes of urban space unification. Film comedy is treated both as an archive of social tactics and as a text-space where the social and the symbolic are inseparably intertwined.

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

  Ildikó Regéczi

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  405

  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.