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• B. Spinoza, N.V. Gogol, J. Baudrillard: On the Debate about Theocentrism and Anthropocentrism

  13 p.

  Sergey Shults

  Views:

  232

  Interest in the problem of man, in the structure of the world and in its foundations is brought together, with all the difference, Spinoza, Gogol, Baudrillard. In the lineup of authors, three main attitudes are revealed. Spinoza: all that exists is theocentric; one must strive to comprehend God and His "extensions" (not creatures!) in the form of the world and man. Gogol: comic-romantic criticism regarding intramural irrationality with the author's aspiration for an eschatological perspective. Baudrillard: immersion in the pan-social as the only being, although it has (starting from the Renaissance) an empty foundation. According to Spinoza, man, nature, the world, in general, everything in reality is an extension of God. Not "creation"! - it is a continuation, practically an integral part of God, some "doubles", although those with less "good."  It turns out that God is not able to separate himself from what is around him, what is in the outside world and everything that is not He considers himself to be. Gogol, on the other hand, strove to portray man as really different in relation to God and at the same time capable of changing (the concept of “Dead Souls”). Isn’t the “apocalypse of our time” outlined by Baudrillard? Its unchanging Marxist-Freudian jargon is intended only to serve the immediate intention of reforming social reality. The Baudrillard concept is marked by post- and neo-romantic skepticism regarding the nature of man and society. The extra-Marxist (and non-Freudian) in Baudrillard - his bet on "reversibility", on the "gift" (in the terminology of Moos and his followers) of the "gift", ie installation on a "symbolic exchange" between communicants in all spheres of existence. Thus, Baudrillard comes to recognize the linkage "modern / postmodern" and to recognize the benefits of modernity. The transformation of “dead souls” is a path that Gogol also thought about realizing on different grounds and which opposes the complacency of Spinozist machines.

• Adverbialization and Prepositionalisation of Prepositional Phrases in Old Slavonic. Adverbial and Semi-Adverbial Phrases with по Preposition

  22 p.

  Tatyana Ilieva

  Views:

  243

  The present paper is concerned with the adverbial and semi-adverbial phrases (with incomplete lexicalization), which are formed by prefixing a preposition to an autosemantic word in the Old Slavonic language. The empirical material is systematized on the basis of the prepositions involved in the word formation process, with regard to the adjuncts determined by the newly-formed adverbs and on the basis of the lexico-grammatical affiliation of the motivating word. The path of adverbialization is analyzed in each case and the systematic relations of the newly-formed adverbial units are also described.

• The Psychology of Literary Creativity in the Works of Mihail Arnaudov

  Mariyana Nyagolova

  Views:

  105

  Mihail Petrov Arnaudov (1878-1978), a Bulgarian scientist, was a famous European researcher with significant contributions to several fields of scholarship, i.e., folklore, the history of Bulgarian literature of the Renaissance, comparative literary history, the literature and culture of ancient India, the theory of literary science, the history of German and French literature of Romanticism, etc. This paper is devoted to his contribution to the study of the psychology of literary creativity. It analyses the prerequisites for Arnaudov’s formation as a psychologist of creativity, and provisionally identifies several main stages in his scientific and professional path, during which he conducted research and produced works in this interdisciplinary field. With the help of historical and psychological analysis, the general and specific features in the development of his views on the essence of the psychology of creativity and the meaning of its use in literary criticism and literary history are presented.

• Mysterious Artist with a Movie Camera - Александр Риганов:«Тиссэ. Оператор Эйзенштейна», Санкт-Петербург: Издательство «Сеанс»,2020. ISBN 978-5-6042795-1-9, 384 pp.

  Ferenc Debreceni

  Views:

  158

  This review is a content and critical review of Alexander Riganov’s book on Soviet cinematographer Eduard Tisse (1897-1961), Tisse: Eisenstein’s cameraman, which was the first monograph of its kind published in Russian. The book follows the life of the first Soviet cameraman in chronological order from birth until his last days, with the author overviewingrelevant historic and cinematographic events throughout. Thus, there are three major stories in Riganov’s book: the life and artistic path of an artist, the history of a country, and the golden age of cinematography. Several unique archival documents, e.g. letters, diary segments, photographs etc., were first published in this book. The book’s author paid special attention to Tisse’s and Eisenstein’s joint works. The uniqueness and high professional standard of Riganov’s book makes it a piece of art worthy of attention.

• “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:

  138

  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.

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

  Nóra Troitsky

  Views:

  213

  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.