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• The Czech Language in Volhynia A. Arkhanhelska, O. Bláha, U. Cholodová (eds.): Čeština na Volyni. 2020. Olomouc. Univerzita Palackého v Olomouci. ISBN 978-80-88278-62-7

  Martin Henzelmann

  Views:

  119

  In 2020, a collective monograph was published in Olomouc dedicated to the nature of the Czech language and culture in Volhynia in today’s Ukraine, overviewing the settlement and history of Czech migrants in this area, including  culture-specific features of the local Czech identity, especially in the late 19^th and early 20^th centuries. Language features, which play a significant role,are also described. The volume sheds light on phenomena of language contact, in subsystems such as phonetics and phonology, morphosyntax, and lexicology. In this context, the authors present and analyze empirical material. The book is an important contribution to the study of Czech cultural heritage outside the country’s borders.

• «Chekhov’s Stage Set»: «The Cherry Orchard» in the Russian Poetry of the 20th – Early 21st Century

  8 p.

  Marina Larionova

  Nadezhda Tropkina

  Views:

  207

  Chekhov’s text is one of the most significant constituents of the Russian poetry of the 20th – early 21st centuries. The one most frequently alluded to is the play by Chekhov – «The Cherry Orchard». The play written at the break of historical epochs turns out to be in tunes with the times of another turning-point. This fact conditions the allusion to the Chekhov’s text in a poem «The Young Poetry» by V. Kornilov. The main feature of the crucial time period in the poem is the category of freedom, unexpectedly granted during the historical turn and change. The key theme, which determines the historiosophical sense of the text, is a quotation from «The Cherry Orchard», a dialogue between Gaev and Fiers. I. Kabysh perceives the Chekhov’s play both mythopoetically and symbolically in such poems as «How Niveous-White Everything Is in Russia Today! » and «The Snow Started to Fall Without Delays». She introduces a different time into the text, models the reality after the events described in «The Cherry Orchard» and interpreted by the author of the poem in the lower clef (as in «crumbled estate»). The loss of the Garden, its disintegration, the loss of entity, is a gradual, step by step, process – into dachas, then into dust; that is the way the motif of vanishing space and culture appears.

• Hero of Contemporary Russian Prose: Anna Skotnicka, Szczelina. Bohater współczesnej prozy rosyjskiej i jego światy, Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków 2020, 335 s. ISBN: 978-83-233-4771-2

  Elżbieta Tyszkowska-Kasprzak

  Views:

  108

  The text contains a review of the monograph by the Polish literary critic Anna Skotniсka A fissure: A hero of contemporary Russian prose and his worlds. The author considers incompleteness, absence, and insufficiency as a property of the existence of the character of the works of Russian writers of the late 20^th to early 21^st centuries. The sources of this problem, according to Skotnicka, can be seen in the state of disintegration of the social, psychological and mental image of the world in a changing reality, especially historical changes: the collapse of the Soviet Union, as well as political, cultural and social transformations. With these phenomena, the Polish literary critic also connects the concept of chaos, which is characteristic of the postmodern perception of the world as disunited, incomprehensible, alien in relation to people. Skotniсka considers these problems based on the works of Mikhail Kuraev, Svetlana Aleksievich, Roman Senchin, Lyudmila Petrushevskaya, Lyudmila Ulitskaya, Vladimir Makanin, and Mikhail Shishkin. The author refers to the current achievements of the humanities, especially philosophy. The work is innovative and stimulates reflection on the state of the modern human.

• The Search for a Social Ideal as a Cultural Tradition of Russian Thought

  Natalya Matveeva

  Views:

  159

  This study investigates some important lines of Russian social thought of the 19th and early 20th centuries in the context of the interpretation of the social ideal. Four perspectives of the problem are outlined: the first one is cultural geographic, divided into three branches (Westernism, Slavophilism and, Eurasianism), the second one is sociological positivism, the third one is philosophical liberalism, and the fourth one is religious thought. The cultural-geographic orientation created  a wide field of the work of social thought in studying the paths of social development. Sociologists positivists P. Lavrov and N. Mikhailovsky, who were founders of ‘narodnichestvo’ movement, formulated the notion of social ideal as an object of sociological research. The positivist perspective that was intended for the ideals of social solidarity, transformed into the left the traditionalism that was narodnichestvo ideology. Narodnichestvo created the ideal prerequisites for the dissemination of  Marxism in Russia. Liberal philosophic thought offered the original concept of the development of personality as a social ideal (P. Novgorodtsev). The fourth perspective was closest to the modern comprehension of the processes of unification of humankind and the development of the world economic system. The issue of social ideal thus became the main tradition of thought in the pre-revolutionary Russia.

• The Features of Theatre Activity in Hungary: The Legal and Financial Basis (II)

  12 p.

  Olga Romanova

  Ekaterina Khaunina

  Views:

  140

  Hungarian theatre system is the main object of the following article. The first part of article contains the general questions connected with the existing model of theatrical activity. Then there is the analytical review of the modern Hungarian legislation of area of culture and special attention is paid to the structure and content of Law XCIX / 2008 “On support and rules of employment in organizations of performing arts”. In the following part of the article all models which exist and develop in the country nowadays of direct and indirect financial support of theatrical organizations are considered. Since Hungarian and Russian theatre systems have some similar characteristics, the final part is devoted to possible partial adoption of Hungarian experience with a view to develop the institutions for the additional funding of Russian theatres.