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

  Sergei Shul’ts

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  27

  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”.

• Interferences in the Field of Literature and Philosophy: Contact Points in the Poetry of Russian and Hungarian Authors: Dukkon Ágnes: A veszélyes szépség útjain. Eszmék, témák, kapcsolatok a klasszikus orosz irodalom világában, L'Harmattan Könyvkiadó – Uránia Ismeretterjesztő Társulat, Budapest, 2021, 340. p. ISBN: 978-963-414-702-2

  Ildikó Regéczi

  Views:

  46

  The Hungarian literary scholar Ágnes Dukkon set herself a great task to complete in her new monograph by undertaking to offer a broad overview of the entire 19^th century epoch of Russian literature through monitoring the transformation and evolution of the literary motive of dangerous beauty [ужасная красота]. While focusing on the concrete correspondences between a variety of literary worlds, the study presents interpretations of works by A.S. Pushkin, M.Y. Lermontov, F.I. Tyutchev, N.V. Gogol, I.S. Turgenev, F.M. Dostoyevsky, M.Y. Saltikov-Shchedrin, N.S. Leskov, and L.N. Tolstoy. At the same time, however, the author of this monograph never fails to keep in mind the conceptual context of the artistic texts by analyzing their relationship with the topical contemporary philosophical ideas of the age. For the Hungarian readers, the chapters incorporating the conclusions of research aimed at Russian–Hungarian connections, conducted with the methodology of historical poetics, comparative literary studies, intertextuality, and biographism, are of special interest. The scholarly findings of this renowned researcher would definitely deserve to be translated in the future into an international language.

• Bugs, Burrow, Inquisitor: Dostoevskian Intertexts in Eyeless in Gaza

  Angelika Reichmann

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  103

  The present article is devoted to the discussion of intertextual connections between Aldous Huxley’s Eyeless in Gaza (1936) and three works by Dostoevsky: Notes from the Underground(1864), Crime and Punishment (1869) and The Brothers Karamazov (1880, Grand Inquisitor scene). As is well-known, the Dostoevskian novel of ideas was a major inspiring force for Aldous Huxley’s art: Huxley’s rewriting of the Grand Inquisitor episode in Brave New World (1932) is probably the best-known case in point. Nonetheless, insufficient critical attention has been devoted to the actual intertextual connections between the two novelists’ output. As I have demonstrated earlier, on closer inspectionPoint Counter Point (1928) turns out to be a rewriting of Devils (1872), which, however, alsoproves to be a low point in Huxley’s assessment of Dostoevsky – a companion piece to his incidental vicious critique included in his 1929 essay on Baudelaire, in which Huxley also targets spiritual quest. Let me argue that Eyeless in Gaza can be read as a sequel to that polemic, in which a change of Huxley’s attitude to Dostoevsky is clearly notable: the novel provides a much more subtle and even respectful critique of Dostoevsky by implying the universal relevance of the Dostoevskian underground to the understanding of the modern human condition and by re-embracing spiritual quest.

• Figures of the Young Actress in the Dramatic Art of A.N. Ostrovsky and A.P. Chekhov

  Ildikó Regéczi

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  137

  The present study focuses on the turning point in drama history between the artistic concept of A.N. Ostrovsky, the founder of modern Russian theater, and that of A.P. Chekhov, who transformed the former approach in the matter of just a few decades. I propose that an analysis of Ostrovsky’s Talents and Admirers (1881) and Chekhov’s The Seagull (1896) can reveal the borderline that divides the dramatic formations belonging to these two separate periods. The analysis concentrates on the transformation of a specific motive, the portrayal and the dramatization of the chances of destiny available for the figure of the young actress. I presume that the dramaturgical features surfacing through the exploration of this portrayal will outline the differences in the approach and in the poetic means used by the outstanding representatives of these successive periods in drama history. Thus, I am not seeking intertextual instances in the narrow sense of the term. Rather, I am after a thematic and motive-based congeniality and its saturation with a new meaning, coming from the functional shift that establishes a connection between the texts of the pieces by Chekhov and Ostrovsky. This approach to intertextuality in the broader sense of the term, which is not primarily present in references at the textual level but is rather based on, for example, thematic congruity, can play an important part also in the assessment concerning functional history, in exploring reception-related peculiarities and, consequently, in the validation of the historical aspect.

• Musical Ekphrasis in I.S.Turgenev's Novel Rudin

  Nóra Troitsky

  Views:

  158

  Turgenev-scholars often use the word "musicality" or "musical code" in the analysis of the writer's fictional prose, since Turgenev often refers to music in dialogues, in descriptions of the characteristics of the heroes. This article focuses on a musical piece, which occurs in the third chapter in Turgenev’s Rudin,F. Schubert’s famous “Erlkönig” Lied. This musical scene of the short novel evokes the mysterious atmosphere of Goethe’s ballad. Schubert’s “Erlkönig” thematizes some of the parallel motifs that appear in the novel such as travel, the motive of finding a path, and the problem of intransmissibility. My aim is to examine how these motifs are manifested in Turgenev’s novel. On the one hand, this research examines the purpose of the musical ekphrasis and how it might foreshadow his fate. This mimetic musical ekphrasis allows us to interpret the novel from different aspects. On the other hand, this intertextual element can be perceived as “mise en abyme” (L. Dällenbach), proceeding from the fact that the function of a diminutive mirror provides a key to a deeper understanding of the text.

• Harms – Gogol – Dostoevsky (“Old Women” – “Vij” – “Crime and Punishment”)

  14 p.

  Sergey Shults

  Views:

  173

  In terms of historical poetics and intertextuality, parallels are drawn between "Old Woman"
  by D. Harms, "Vij" by N. Gogol and "Crime and Punishment" by F. Dostoevsky. As far as the
  three authors are concerned, their common features are revealed, together with the transformation
  of the motives of the ugly infernal old woman, which are depicted in the context of
  mythopoetics, historiosophy and social history by the three authors. Concerning the texts produced
  by their followers the term “post-text” is introduced, which is meant to include the dialogical
  connotations of literary evolution. The role of “vertex composition” (a term coined by
  V.M. Zhirmunsky) in works of Modernism/ Avant-garde is also touched upon.

• Object – Body – Flashback in “The Seagull” by Michael Mayer

  6 p.

  Natalia Niagolova

  Views:

  165

  The article features the transformation mechanisms of Chekhov’s play “The Seagull” in its film adaptation of 2018 by Michael Mayer. The director’s concept activates the opposition “memory – forgetfulness” and this is based on composition-visual reminiscences, i.e. flashbacks. The world of objects and the body discourse in the film complies with that specific film story of nostalgia in which the past is not simply going back to the things the characters were through, but also as a new reading of Chekhov’s intertextuality in the context of Anglo-Saxon cinema culture as well as a stylized memory of the Russian classic writer and his times.

• Biblical parallels in Chekhov’s short story Murder

  Kata Juracsek

  Views:

  13

  The paper explores biblical allusions in Anton Pavlovich Chekhov’s short story Murder. It aims not merely to identify certain biblical themes, but, through an analysis of Chekhov’s text and its biblical parallels, to attempt to provide a deeper understanding of the main character’s changing worldview (a question interpreted by researchers in different, often conflicting ways). The paper also points to motivic and semantic connections between the biblical text and the internal struggle of faith that affects Chekhov’s heroes. On one hand, two Old Testament stories from the Book of Genesis are examined: the fratricide of Abel by his brother Cain, and Jacob acquiring first-born status and the paternal blessing instead of his brother Esau, as well as Jacob’s struggle with the angel. On the other hand, certain sections of the New Testament Gospel according to Matthew are explored, as referenced in Murder, which point to two groups of ideas: the argument between Jesus and the Pharisees concerning proper religious practice and the true essence of faith, and Jesus’s allegory about the camel, as well as his words on murder, which both ratify and amend the Ten Commandments. Through the prism of these references, Yakov’s (and also Matvey’s) internal journeys are interpreted as a shift between the law of the Old Testament and the teachings of the New Testament.