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PODOBY CENZÚRY V SÚČASNEJ RUSKEJ LITERATÚRE

100%
Kupka V.
World Literature Studies
|
2018
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vol. 10
|
issue 4
38 – 57
EN
After centuries of first tsarist and then communist censorship in Russia, censorship was finally prohibited by the Constitution in 1993. The censorship-free 1990s (with all the pros and cons) were followed by a search for new mechanisms of censorship and new forms of prohibition by the authorities to determine a certain control of the state over the mass media and various forms of art, including literature. New legislation (the 2013 law banning propaganda of non-traditional sexual relationships and denial of traditional family values among minors, the 2014 law banning foul language in the arts, the 2016 amendments of anti-extremism law) has become one such mechanism. On the one hand, the laws result in authors’ self-censor-ship; on the other, they provide not only the authorities but also individuals, activist groups or various citizen or religious associations with the opportunity to sue the author or the publisher of a literary work in court.
2

Dyskursy cielesności w literaturze pierwszej fali emigracji rosyjskiej

80%
Demidowa O.
Slavica Wratislaviensia
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2011
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vol. 153
47-53
EN
The paper deals with the phenomenon of the body as represented in Russian émigré literature (first wave). The said phenomenon is treated as the background of Russia classic(al) literature and, specifically, literature and culture of Russian Silver Age. Special attention is paid to the typology of body representation techniques and variants of critical appreciation given to texts by authors of different generations.
3

Dialog kultur. Rękopiśmienne i drukowane źródła powieści My Eugeniusza I. Zamiatina

80%
Lyubimova M.
Rocznik Biblioteki Narodowej
|
2012
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vol. 43
265-278
EN
The creation of the novel We, completed in 1922 by Yevgeny Ivanovich Zamyatin (1884-1937), was heavily inspired by many written and oral sources. In it the author plays with space, time, and the cultural memory of the reader, while making correspondences that touch upon traditions of Russian and global literature, philosophy, history, science, and art. From Zamyatin’s perspective, this kind of structure resembles a modern outlook on life appropriate to the previously unknown kaleidoscope of events that was characteristic for 20th century Russia and Europe. To trace back the sources from which the author borrowed, we have to make a “register” of analogy and coincidence. Sources previously established by researchers can also be completed. The article presents an attempt to describe the literary, historic, and scientific sources used by Zamyatin based on his notes (conspectus, extracts, bibliographies), letters, writings, and lists of books borrowed from his friends.
4

THE DYNAMICS OF GENRE IN VASILY ROZANOV'S WORKS [Dynamika zanru v tvorbe Vasilije Rozanova]

80%
Nykl H.
Slovak Review. A Review of World Literature Research
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2008
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vol. 17
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issue 1
54-62
EN
In his works 'Solitaria', 'Fallen Leaves' and 'The Apocalypse of our times', Russian thinker and publicist Vasily Rozanov created a remarkable type of text which, for its radically innovative nature, was marked as a new genre by V. Shklovsky. The study deals with the evolution of this 'genre' in Rozanov's works and identifies its three phases. In his early works ( ponimanii, Dostoevsky and the Legend of the Grand Inquisitor), Rozanov was trying to write classical discursive texts. At the turn of the 19th century, he started editing dictionaries (Sumerki prosveshchenia, semeinyi vopros v Rosii, Metafizika khristianstva and others) which attain characteristics of a specific genre. From this perspective, the genre of 'Solitaria' represents the culminating phase of the evolution of this literary form. The dynamics of the genre of 'Solitaria' is not exhausted; the study summarizes the results of the leading researchers in this field, from which follows that other changes occurred in the genre itself. The poetics of Rozanov's works grew by its own dynamics to the personalisation of the synthetic efforts of the Russian post-symbolism.
5

V SÚMRAKU MILA URBANA

80%
Janecová T.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 6
461 – 471
EN
The goal of the paper is an analytical and interpretatory reflection on Urban´s short story V súmraku/In the Twilight from the collection titled Výkriky bez ozveny (Screams without Echos, 1928). The interpretation was written with the ambition to contribute to the literary and scientific corpus dedicated to Urban´s literary work with regard to various text forms of his short story published in the years 1928, 1943 and 1965, and also to comment on the parallels between the short story in question and Russian literature (Dostoyevsky, Andreyev). The resources used for writing the paper include the editions of the short story: the original edition of the collection of novellas was provided by Báčki Petrovac library, the later ones are widely available. The literary and scientific resources included writings by experts of Urban´s literary work (Koli, Rakús, Števček), whose findings are related to the subject and the goal of the paper. The comparison of the editions of the short story In the Twilight from the years 1928, 1943 and 1965 helped discover the tendency to weaken the explicitness by making the expressions more and more vague and by reducing the narrator´s comments, as well as to increase the suspense in the short story through the reduction mentioned above and the tendency to strengthen the lyric and vivid elements in the text. The nature of the contrasts on the syntactic and semantic levels was described in order to clarify the way of creating the tension-and-ease arc employed in the short story. The presence of the allusions to Russian literature was demonstrated by including the quotations from the literary works dealing with the creation of characters in the situation of a murderer´s inner drama (Andreyev), the similarity between the literary works of Urban and Dostoyevsky was presented by comparing the outer motifs (the image of beating a horse, an axe as a murder weapon) as well as the inner ones (the motive for the crime, the breaking point of the conflict with God). The paper is supposed to enrich the literary and scientific reflection on Urban´s literary work. The in-depth interpretation of the structure of the short story In the Twilight contributes to the research into Urban´s poetics.
6

THE PHENOMENON OF RUSSIA AS AN EXAMPLE OF THE EAST-WEST RELATIONSHIP. MUTUAL RUSSIAN-GERMAN RECEPTION ON THE LEVEL OF LITERARY GAMES (Fenomen Ruska jako prikladu vztahu 'Vychod-Zapad'. Vzajemna recepce na urovni zanru)

80%
Ulbrechtova H.
Slovak Review. A Review of World Literature Research
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2008
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vol. 17
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issue 1
29-43
EN
The study is divided into two parts. In the first part the position of Russia 'between the East and the West' is outlined in the light of Russian as well as German philosophical thinking accenting their intersections. Central here is the question of the 'mysteriousness' of the Russian culture and of the so-called Russian soul, which the authoress approaches from the position of 'Western Europe'. She touches also on the question of the Western enthusiastic admiration of Russia, in which the exhausted Europe at the turn of the 19th century saw regenerating forces. The second part deals with select examples of the history of Russian-German literary relationships from the 19th and 20th centuries, which show differences in their mutual reception. While Russian literature was regarded as the successor of German philosophy and wanted to creatively develop it further (consequently German philosophy influenced the genre specifics of Russian literature), the image of Russia in Germany had mostly a political-sociological character and operated as a reflection of certain polemics of the period. Russian literature had no influence on the development of German genres; the reception of Russia can mostly be observed on the psychological level of 'suzhets' and motifs. In the conclusion the authoress outlines the possibilities that the study of the reflection of philosophical systems in the 21st century (dialogue between 'Western' philosophy and Russian tradition) opens in Russian contemporary literature.
7

Russian literary response to the First Partition of Poland

80%
Toporov V.
Teksty Drugie (Second Texts)
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2006
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issue 1/2(97/98)
87-99
EN
Vladimir Toporov's article was written as a contribution to the jubilee book published to celebrate Professor Viktor Khoryev's seventieth anniversary (Studia Polonica. K 70-letiyu V. A. Khoryeva, Moscow, 2001). According to the book's title, the author, perceiving the partitions of Poland as a great political crime of 19th century, one which burdened the conscience of Russia and Russians, attempts at replying the question of how Russian literature responded to those dramatic events marking the end of the First Commonwealth. There were not so many compassioning reactions on the part of Russian literature. Attention is drawn, among those few, by 'Boleslav', a tragedy (unfinished) by Mikhail Muravev (1757-1817), one of the first Russian sentimentalist writers. The article reconstructs the play's creative history, along with discussing various depictions of the same theme (being a motif from the history of Poland) and outlining its ideological significance.
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MAYAKOVSKY'S EARLY DRAMA IN EUROPEAN CONTEXT (Vladimir Majakovskijs dramatisches Frühwerk im Kontext des europäischen Dramas)

80%
Ulbrecht S.
Slovak Review. A Review of World Literature Research
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2008
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vol. 17
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issue 1
71-85
EN
The text analysis of V. Mayakovsky's tragedy 'Vladimir Majakovskij' (1913) demonstrates moments of similarity and differences in the text constitution on the basis of a comparison with other works of the European dramatic production. The author of the study utilizes Wolfgang Schwarz's structural method which helps to distinguish a language functional, motif and 'suzhet' construction layer in the complementarity of the expressive and the content aspect of a textual sign. Convergencies and divergencies between Mayakovsky's drama and works of other authors shine through from these layers. The author of the study analyzes the motivics, the thematics, the story structure, the depiction of dramatic characters, and the relationship of monologue and dialogue. V. Mayakovsky's tragedy 'Vladimir Majakovskij' draws on the symbolists' lyric drama (e.g. A. Blok) and on the so-called monodrama of Nikolai Jevreinov which in many respects resembles the works of German expressionists. Thus we can see the work of the early V. Mayakovsky as situated between the 'Russian' and the 'European' tradition.
9
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“NERORUMNĚNÍ SVĚTU” JAKO CESTA K MODERNÍ LITERATUŘE, ZVLÁŠTĚ V RUSKÉ PRÓZE PŘELOMU 19. A 20. STOLETÍ

70%
Dohnal J.
World Literature Studies
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2012
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vol. 4 (21)
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issue 1
68 – 80
EN
The article is concerned with the transformations in the understanding of the relationship between the external reality and the inner reality of the perceiving subject that led to a significant shift in the complex way of depicting the subject-object relation in literary works. The author shows that the ability of an individual to understand the world around him and to understand himself changes in the framework of the subject-object relation. The author points out the understanding of the inner reality that prevails in the period of Romanticism, while in the period of Realism and Naturalism, the external reality prevails. At the end of the 19th century, there is a loss of the understanding of both the external and inner reality and a disharmony between the two poles arises. Modern literature with its specific features is taken as a natural consequence of this process. In this way, the author relates the character of the works of art with the sudden transformation of the concept of the world, which is reflected in them.
10

THE PASSING AND THE EVENT (TOWARDS 'PHILOSOPHY' OF THE RUSSIAN NOVEL)

70%
Pospisil I.
Slovak Review. A Review of World Literature Research
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2005
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vol. 14
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issue 1
14-23
EN
The author of the study deals with some specific features of Russian literature in general and the Russian novel in particular. One of them consists of the contradiction between the record of the passing and of the event, between calmness and motion, dramatic and descriptive structures, causality and juxtaposition. The contemporary narrative accentuates the contrast between the event and description The traditional narrative is the structure based on the event i. e. on something unexpected and extraordinary (Wolf Schmied). On the contrary, the typical feature of Russian literature is 'drowning in the stream of history', the effort to let history flow, not to intervene with demonic gestures in cosmic processes. This, of course, does not mean at all that Russian literature in general and the Russian novel in particular would not want to realize their demonic functions - Russian messianism and utopianism are quite famous. The origin of this feature goes back - as it is generally believed - to a cluster of oriental teachings, most probably to gnosticism and the traditions of Byzantine culture. The author presents several examples of these phenomenon in the works of several Russian and non-Russian authors frequently associated with eccentricity, strangeness and madness, e. g. I. Goncharov, N. Gogol, N. Chernyshevsky, F. Bulgarin, L. Tolstoy, A. Chekhov, K. Capek, V. Nabokov and others.
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ESCHATOLOGICKÉ VÍZIE SVETA V RUSKEJ A SLOVENSKEJ LITERATÚRE KONCA 19. A ZAČIATKU 20. STOROČIA (SEKTÁRSTVO U ANDREIA BELYHO A SVETOZÁRA HURBANA VAJANSKÉHO)

70%
Maliti E.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 5
429 – 440
EN
Using the theme of sectarianism, the paper compares the works written by Russian representative of Symbolism Andrei Bely (1880 – 1934) and Slovak Realist writer Svetozár Hurban Vajanský (1847 – 1916) – namely the novels The Silver Dove (1909) and The Root and The Shoots (1895-6). Russian literary science has been dealing with sectarianism in Bely´s work in the last few years but the sectarian motifs in Vajanský´s works have not been particularly examined. Inter-literary comparison brings the corpus of Slovak literary works written in the late 19th century into the European context. The authors from the opposite extremes of the turn of the two centuries are related by the origin of their thinking – the ideas of Russian slavophiles. What is important are the efforts made to revive the novel as a genre in a modern manner: A. Bely achieved a worldwide success and S. H. Vajanský did as well in Slovak literature, where he forged the „novel situation“. Both of the works compared are critical of the social system, the dysfunctional elites of the society and challenge the official church. Sectarianism in Bely´s and Vajanský´s works is seen here in the wider context of the „dark“ world reflected on in literary Modernism. Bely used this phenomenon to build up his novel from within as a part of his artistic and philosophical pursuit in the context of Russian Modern. Sectarianism in the work by Vajanský, who used it as one of the motifs, was the result of finding new themes and phenomena which would make it possible to define the nature of the contemporary life of Slovak society.
12
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RUSKÁ LITERATÚRA AKO ZNAK DOBY. LISTOVANIE V ČASOPISOCH REVUE SVETOVEJ LITERATÚRY A SLOVENSKÉ POHĽADY

70%
Kusá M.
World Literature Studies
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2011
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vol. 3 (20)
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issue 4
53 – 63
EN
The paper examines the reception forms of Russian literature in the cultural periodicals Slovenské pohľady and Revue svetovej literatúry in the 1960s and 1970s. In attempting to identify and name the factors of national culture ś socio-political system that played the key role in cultural atmosphere determining the literary life, it analyses the picture/pictures of the Russian literature as presented by the two magazines. To a certain degree, the research enables also setting up a periodization of the 1960s and 1970s with regard to the translations and publications of Russian literature. It specifies the modes of implementing cultural and political changes into publishing reality – either by “returns” to the Russian literary modernism or avant-garde, or by respective form and quality of the literary texts reception. With both of the magazines, obvious emblematic features in publishing Russian literature have come out, clearly indicating the character and changes of their time.
13

Echa fizjonomiki w literaturze rosyjskiej przełomu XVIII i XIX wieku

70%
Dąbrowska M.
Slavica Wratislaviensia
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2011
|
vol. 153
241-250
EN
Physiognomy is a method of recognizing the mental characteristics of a human while relying on his appearance, first of all the features of his face (the color of the eyes, the shape of the nose, the height of the forehead and the like). It was already known in the antiquity (Aristotle); it enjoyed great popularity in the late 18th century (J.K. Lavater). This article comprises three parts. The first contains the review of Aristotle’s physiognomy studies. The second reports the course of the discussion on physiognomy in the second half of the 18th century; it earned critical comments from I. Kant who called it “a cheap merchandise,“ and also from G. Hegel and G. Lichtenberg. The third part reviews the selected texts on Lavater and physiognomy published in the early 19th century Russian magazines; it also describes the way the face used to be presented in sentimental stories (a beautiful face being tantamount to a good heart) and presents direct notes on Lavater in The letters of a Russian traveler by N. Karamzin and in The journey from Petersburg to Moscow by A. Radishchev.
14

KAUKAZ CEZ KALEIDOSKOP RUSKEJ LITERATÚRY

61%
Laučíková K.
Človek a spoločnosť. Internetový časopis pre pôvodné teoretické a výskumné štúdie z oblasti spoločenských vied
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2011
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vol. 14
|
issue 1
-
EN
The Caucasus had an image of hostile country full of bloodthirsty barbarians in the Russian representation of the 18th - 19th century. It became a place of exile of inconvenient people from the intelligentsia. The mountains were absolutely new phenomena for the Russians writers coming from the large plains. The Caucasus of the Russian writers is a creation of their imagination, a place where they put on their mental projections and wishes. In the depiction of the mountains, they found a way to express their desire to return to the natural world with the attributed qualities like spontaneity, innocence, carelessness. To some writers it became a means to limit their own identity and created a new category of men standing between the 'civilisation' and the 'barbarian' world. Pushkin created an exotic image of the highlanders - warrior children of the nature and his poem The prisoner of the Caucasus introducing the concept of freedom and liberty influence the perception of Caucasus among Russian readers. Lermontov was fascinated by the tradition of the blood vengeance and depicted the highlanders as the 'noble savage men' whom the anthropologist R. Bartra judges as a cultural necessity to the 'civilised' European who discovered his suppressed primary element, his alter-ego. The imaginary Caucasus of e. g. Marlinskij, Gneditch, E. Gan is full of handsome man, brave warriors and the passionate women giving a pleasure to every man who wants. Certain themes have been overtaken by other writers like the prisoner of the Caucasus, Queen Tamara and demon. The literary imagination seems to be a way for the writers to domesticate, gain control over a strange country.
15
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TRANSFORMATIONS IN THE PERCEPTION OF RUSSIAN LITERATURE AFTER FEBRUARY 24, 2022

61%
Posokhin I.
World Literature Studies
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2023
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vol. 15
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issue 1
69 – 87
EN
This article explores the ongoing transformations in the way Russian literature has been represented and perceived outside Russia since the start of the war in Ukraine in 2022, based on texts from Western and Central European media. It addresses several key topoi (the guilt and innocence of Russian classical literature, the imperialism of Russian liberals, the “uselessness” of Russian literature in the context of war) and several narrative lines (cancelling, reconciling, defending). It then examines the perspectives of some of the most prominent contemporary Russian writers, including Evgenii Vodolazkin, Mikhail Shishkin, Ludmila Ulitskaya, and Maria Stepanova.
16

NOSTALGIA ZA NEEXISTUJÚCOU „KRAJINOU DETSTVA“ V IMPRESIONISTICKEJ POVIEDKE IVANA BUNINA (K ŽÁNROVEJ PODOBE PRÓZ TEMNÉ ALEJE)

61%
Pašteková S.
Slovenská literatúra (Slovak Literature)
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2014
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vol. 61
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issue 4
322 – 328
EN
The article was written as an outcome of the international scientific colloquium The Forms of Melancholy in the Arts organized by the Institute of Slovak Literature, Slovak Academy of Sciences, in Bratislava (15th May 2014) and, at the same time, is a partial outcome of the VEGA grant project titled Hyperlexicon of Literary and Scientific Terms and Categories, designed as a reflection on the genre theory and the forming of the genre invariants in modern prose of the 20th century. The methodological basis of the article is the interpretation analysis of the text structure of a particular short story chosen from the prose cycle Dark Avenues (1939-43) by the Russian Modernist Ivan Bunin with respect to literary as well as non-literary contexts. The article is supported by primary sources (original texts of Bunin´s short stories and their Slovak translations by renowned Slovak translators – the cited samples) as well as secondary literature on the subject of the research carried out by Russian, Czech and Slovak literary scientists, and, in addition to that, by the author´s own previous research into the work of Ivan Bunin. The result of the interpretation analysis of one of the most significant short stories in the cycle titled Rusya (1940) and its non-literary background proves the hypothesis of the narrator´s ambiguous position on the author – narrator - character axis and, at the same time, tries to define the genre particularities of Bunin´s text oscillating between lyric, epic and drama with regard to the author´s intention and the use of the means of expression to convey the artistic message. The well-thought-of way of handling time and space, the writer´s narrative strategy brings an original aesthetic and psychological effect in reader text reception. In the context of Bunin´s work of the later emigration period, the presented interpretation analysis proves the assumption that the short story structure features genre vagueness being an open and continuously developing composition system.
17
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IMAGE OF THE OTHER AS A REFLECTION OF CULTURAL IDENTITY (A CASE STUDY OF RUSSIAN POSTMODERN PROSE AND DRAMATURGY)

61%
Merezhynska G., Vasylevych O.
World Literature Studies
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2023
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vol. 15
|
issue 1
58 – 68
EN
This article examines the strategies for creation of the images of the Other and the One-of-Us as exemplified in postmodern prose and dramaturgy (Evgenii Grishkovets’ drama Zapiski russkogo puteshestvennika [Notes of a Russian traveler], 2011; Maria Arbatova’s dramatic travelogue Po doroge k sebe [Eng. trans. On the Road to Ourselves, 1998], [1992] 1999; Vladimir Tuchkov’s hypertext novel “Russkii I Tszin” [Russian I Ching], 2009; Valerii Kislov’s comical treatise “Kratkii kurs u-vei” [A short course on wu wei], 2009). The close attention to the images of the East and the West and emphasis placed on similarities and differences with the Russian worldview is driven by the transitional character of Russian culture and its search for identity. The dominant strategy emerges in reviewing the outdated images of the Other and the One-of-Us. By creating these images, the authors employ a range of strategies: demythologization/mythologization, inversion, and apophatics. The common intention of the works lies in promoting cultural dialogue.
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