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„Чаемое будущее” и „идти вперед” – категория будущего в научном творчестве Михаила Михайловича Бахтина

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Szubin R.
Studia Rossica Posnaniensia
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2022
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vol. 47
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issue 2
103-114
EN
In the article the scientific works of Mikhail Bakhtin are considered as one text with its own single metaplot. The motive of moving forward (“going forward”) is analyzed and treated as the basis of Bakhtin’s progressive outlook, his hopes for the future and for the dialogue in the Great Time. Attention is drawn to a specific period of the Russian thinker’s intellectual life, that is associated with the departure from the ideas of solipsism. The concept of “I – others” is considered a turning point and is compared with the Copernican revolution, which is carried out in the philosophical worldview of a Russian scientist and then transferred to the studies of the works of Fyodor Dostoevsky. It reveals, in particular, the philosopher’s gradual departure from individual reality and his approach towards personalism. The future for Bakhtin is a creative, active category that determines the present. At the same time it is noted that the forward movement as expressed by the Russian thinker is ambivalent and associated with the turn to the past and the source. Along the way the concepts of memory, the curvature of progress, the idea of historical inversion, etc. are also studied. Besides, Bakhtin’s criticism of the Enlightenment idea of progress, Western rationalism and humanism are mentioned. In this regard Bakhtin’s concept of the rebirth acquires great importance, in which, under the influence of movement towards the future, the past is updated.
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ОТНОШЕНИЕ МИХАИЛА ПРИШВИНА К ИДЕОЛОГИИ

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Szubin R.
Przegląd Rusycystyczny
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2020
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vol. 172
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issue 4
EN
The article deals with the problem of writer Mikhail Prishvin’s attitude to socialist ideology. The Diaries of Mikhail Prishvin from 1920 to 1954 are analyzed. The author proposes a periodization of creating the concept of the All-Man, which correlates with social phenomena. The dynamics of Prishvin’s attitude to ideology from total rejection to an attempt to understand socialism is shown. Especially distinguished motives of collectivism and infantilism as the main features of a socialist man. The author draws attention to the fact that for Prishvin socialism and fascism (nazism) has a deep similarity.
PL
Artykuł porusza problem stosunku rosyjskiego pisarza Michaiła Priszwina (1873–1954) do ideologii socjalistycznej. Analizowane są dzienniki Michaiła Priszwina z lat 1920–1954. Autor proponuje periodyzację tworzenia koncepcji „całego człowieka”, która koreluje ze zjawiskami społecznymi. Pokazano dynamikę nastawienia Priszwina do ideologii z całkowitego odrzucenia do próby opanowania socjalizmu. Szczególnie podkreślają się motywy kolektywizmu i infantylizmu jako podstawowych cech socjalistycznego człowieka. Autor zwraca uwagę na fakt, że dla Priszwina socjalizm i faszyzm (nazizm) mają głębokie podobieństwo.
RU
Статья затрагивает проблему отношения русского писателя Михаила Михайловича Пришвина (1873–1954) к социалистической идеологии. Анализируются дневники писателя за период с 1920 по 1954 год. Предлагается периодизация создания концепции «единого человека», коррелирующей с общественными явлениями. Показана динамика отношения Пришвина к идеологии от полного отрицания до попыток освоения социализма. Особо подчеркиваются мотивы коллективизации и инфантилизма в качестве основных черт советского человека. Автор обращает внимание на тот факт, что социализм и фашизм (нацизм) глубоко родственны.
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Польские фамилии в прозе Антона Чехова

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Szubin R.
Poznańskie Studia Polonistyczne. Seria Językoznawcza
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2012
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vol. 19
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issue 1
149-158
PL
The author considers Polish surnames in Chehov‘s prose from two basic positions – formal and semantic. A Polish surname in Chehov always appears in an intense semantic context and involves ambivalent meanings. Nearly all Polish characters of his works are administrators, managers, or beautiful women. An important point is that a Polish surname in Chehov, regardless of the real national identity of its bearer, starts to function as a sign. Within this aspect, deep semantic structures of the text are involved. According to the author of the article, an adaptation of a foreign surname within the text to be received by the Russian linguistic consciousness is generally effected through an anagram and identification to sound structure of the text.
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Литература как миф и гипертекст в „Бесконечном тупике” Дмитрия Галковского (к реконструкции историософской модели)

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Szubin R.
Studia Rossica Posnaniensia
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2016
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issue 41
231-240
PL
This article is devoted to reconstruction of the historiosophical concept in Dmitry Galkovsky's novel The Infinite Deadlock (Бесконечный тупик). The author pays particular attention to the criteria of historiosophy: mythologism, ambivalence of consciousness, hesychast tradition, eidetic language, a universal man (absolute personality). He highlights the demythological factor in Galkovsky's creative work, its cultural and national nihilism. The author analyzes the image of the main character's identity, who is capable of identifying himself, who is humiliated or ingenious. In passing, the author considers the idea of common history in which the eras which dialectically deny each other's coexistence.
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Progresywne i regresywne mity literatury rosyjskiej

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Szubin R.
Przegląd Rusycystyczny
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2017
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issue 1
PL
Niniejszy artykuł jest poświęcony badaniom z zakresu rosyjskiego literaturocentryzmu.Autor rozpatruje najbardziej wyraziste momenty kształtowania się mitów w literaturzerosyjskiej, w tym tzw. mitu Puszkina, mitu o pochodzeniu (origin-myth)Dostojewskiego. Wprowadzone zostaje określenie mitów regresywnych i progresywnych- jest ono związane z orientacją mitotwórczej świadomości od teraźniejszościku przeszłości oraz od przeszłości ku teraźniejszości. Demitologizacja związana jestw rozumieniu autora z interpretacją mitu, zachowującą jego „przyjazne» rozumienie.Zastosowana metoda badawcza wypracowana została w hermeneutycznych badaniachWardana Hayrapetyana i Armena Grigoryana opartych na pracach rosyjskichhermeneutów: Michała Bachtina, Władimira Bibichina i Siergeja Boczarowa.
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Образ мирового человека в романе Алексея Иванова „Географ глобус пропил"

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Szubin R.
Kultury Wschodniosłowiańskie - Oblicza i Dialog
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2017
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issue 7
175-186
RU
The article is devoted to a research of archaic models in Alexei Ivanov’s creativity. On the material of the novel entitled Geographer has spent on drink the globe(Geograf globus propil) the images and motifs of rescue, as well as the archaic image of rescue described in Vardan Hayrapetyan’s hermeneutics are revealed. In the center of a research is the main character, another example of an archetype of the Russian literature - the little person. In particular, his uncommon abilities to understand, to decode and interpret are emphasized. The attention is also paid to the hermeneutical model of the communication consisting of three instances: speaking (nature), the listener (who is willfully understanding the pupil) and the interpreter (the teacher) whose efforts supplement the anthropomorphous model of unity - the all-man, the one-man (mirovoj chelovek).
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Postać wszechświatowego człowieka w twórczości reżysera, scenarzysty i muzyka Michaiła Miesteckiego

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Szubin R.
Kultury Wschodniosłowiańskie - Oblicza i Dialog
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2019
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issue 9
157-169
EN
The article is devoted to the study of the concept and image of the one-man (rus. mirovoj chelovek). Mikhail Mestetsky – a screenwriter, a director, a musician, the founder and frontman of the group Shklovsky. His work is permeated with anarchic and revolutionary motifs of destruction and provocation. However, along with the aesthetics of destruction, there is a tendency towards collective behavior, the essentialization of the collective. The group, the detachment, the team, the union, and the sect are the favorite categories of Mestetsky's poetics. The identification of „all as one” in the category of the one-man (Wardan Hayrapetyan), collective body occurs in the film Rag Union (2015). The main plot of Mestetsky is set against this background – the self-education of personality and the character formation.
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Герменевтические подступы к русской литературе

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Szubin R.
Kultury Wschodniosłowiańskie - Oblicza i Dialog
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2016
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issue 6
245-257
EN
The article is devoted to the search for a new space in the methodological studies on Russian literature. The author takes as its basis the method of hermeneutics  of words by Vardan Hayrapetyan. Especially the basic categories such as the world man (homo mundi), the Other and its variants: the self (rus. самость), otherness (rus. дру­гость), the alien (rus. чужесть) and two triads, which postulate two types of intellectual situations. In this regard, the author identifies the concept of the hybrid man of the hero of Russian literature in which a small person is a representative of an impersonal collective personality of the world man, home, family, ideas, etc. The author demonstrates the type of a hybrid man on the example of the protagonist of the novel by Vasily Shukshin Stepan Razin.
RU
The article is devoted to the search for a new space in the methodological studies on Russian literature. The author takes as its basis the method of hermeneutics  of words by Vardan Hayrapetyan. Especially the basic categories such as the world man (homo mundi), the Other and its variants: the self (rus. самость), otherness (rus. дру­гость), the alien (rus. чужесть) and two triads, which postulate two types of intellectual situations. In this regard, the author identifies the concept of the hybrid man of the hero of Russian literature in which a small person is a representative of an impersonal collective personality of the world man, home, family, ideas, etc. The author demonstrates the type of a hybrid man on the example of the protagonist of the novel by Vasily Shukshin Stepan Razin.
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Прогрессивные и консервативные мифы русской литературы

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Szubin R.
Przegląd Rusycystyczny
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2017
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issue 1
PL
Roman Szubin, Progresywne i Konserwatywne Mity Literatury Rosyjskiej Niniejszy artykuł jest poświęcony badaniom z zakresu rosyjskiego literaturocentrizmu. Rozpatrują się najbardziej wyraziste momenty tworzenia mitów w literaturze rosyjskiej, w tym tzw mit Puszkina, mit o poczodzeniu (origin-myth) Dostojewskiego, oraz metamitologia Bitowa i Galkowskiego. Wprowadza się nowe określenie: progresywne i konserwatywne mity, to określenie jest związane z orientacją mitotwórczej świadomości od teraźniejszości ku przeszłości, oraz od przeszłości ku teraźniejszości (mity Lermontowa, Tutczewa, Dostojewskiego). Autor preferuje hermeneutyczne podejście, dla którego demitologizacja jest związana z interpretacją mitu, zachowującą „przyjazne” jego rozumienie. Ta metoda powstała w hermeneutycznych badaniach Wardana Hayrapetyana i Armena Grigoryana i opiera się na prace rosyjskich naukowców hermeneutycznego nurtu Michała Bachtina, Włodzimierza Bibichina i Georgia Boczarowa. Roman Szubin, Progressive and Conservative Myths of Russian Literature This article is devoted to research in the field of Russian literature-centrism. Considered the most prominent moments of mythopoeia in Russian literature: the so-called "myth of Pushkin", "origin-myth" of Dostoevsky, as well as provide meta-mythological practice (meta-mythology of A. Bitov and D. Galkovsky). We introduce a new definition of "progressive" and "conservative" myths associated with the thrust of the myth-creating consciousness from the present to the past and from the past to the present (the myth of Lermontov, Tyutchev and Dostoevsky myth). The author dwells on the hermeneutic approach to the myth, for which the principal is demythologization through the interpretation of the myth that preserves "friendly" his understanding. This method is based on the hermeneutical research philologists Vardan Hayrapetyan and Armen Grigoryan, and relies on the work of Russian scholars and thinkers hermeneutical sense M. Bakhtin, V. Bibikhin, G. Bocharov.
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Истори я как предмет пародии в „Диалектике Переходного Времени” Виктора Пелевина

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Szubin R.
Studia Rossica Posnaniensia
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2015
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vol. 40
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issue 1
65-76
RU
The author of this article points to Pelevin’s two main creative strategies: his use of satire which is connected with the representation of history and his inclination toward mysticism and esotericism. This article reconstructs the historical background of this work and mentions the oligarch Khodorkovsky, which constitutes the plot of the novel. Certain aspects of V. Pelevin’s language play are also analyzed, in particular, his tendency to change the meaning of the concept of a number in the novel: a number can be mystical; it can be seen as an image or a sign and also as a word and a part of the text. The collision of two myths – the myth about capitalist consumption and the communistic myth about restoring justice – is investigated. This article shows how dogmas and ideas that are not connected with a specific person are parodied.
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Весь-человек Михаилa Пришвинa (на материале повести „Корабельная чаща”)

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Szubin R.
Studia Rossica Posnaniensia
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2019
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vol. 44
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issue 1
155-166
RU
Article is devoted to studying a concept of all-unity, all-man (rus. всеединство, всечеловек) in the story The Ship Forest (Korabel’naya Chashcha) of the Russian writer Mikhail Prishvin. The idea of all-unity, of unity common to all mankind, peculiar to the Russian thought, has found expression in a symbol All-man (Весь-человек). The image-symbol is considered through a number of collective forms and personalities, its language form, conceptual filling, development of an image in the case of diaries of Prishvin is investigated. The author focuses on the problem of sectarianism in the Russian culture and radicalization of collective life at the beginning of the 20th century in the Bolshevism. As a method hermeneutical developments of Vardan Hayrapetyan in the field of the Russian folklore are applied. The symbol of the All-man corresponds to a mytheme of a first-man and with hermeneum the man of the world (the world person), embodying the archaic idea of rescue.
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Мировой человек – миф или концепт? К образу Всечеловека в творчестве Михаила Пришвина

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Szubin R.
Przegląd Rusycystyczny
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2018
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issue 1
PL
Мировой человек – миф или концепт? К образу Всечеловека в творчестве Михаила Пришвина Статья посвящена изучению концепта «всечеловек» в творчестве русского писателя Михаила Пришвина. Идея всечеловеческого единства, свойственная русской мысли, нашла выражение в символе Весьчеловек. Образ-символ рассматривается через соотношение коллективных форм и личности, исследуется его языковая форма, концептуальное наполнение, развитие образа в корпусе дневников Пришвина. Попутно автор касается проблемы сектантства в русской культуре и радикализации коллективной жизни в начале XX века в большевизме. В качестве метода привлекаются герменевтические разработки Вардана Айрапетяна в области русского фольклора. Весьчеловек соотносится с мифологемой первочеловека и с герменевмой «мировой человек», воплощающей архаичную идею спасения.   Wszechświatowy człowiek – mit czy koncept? Wobec postaci wszechświatowego człowieka w twórczości Michaiła Priszwina Artykuł jest poświęcony badaniu konceptu Wszechczłowieka (ros. всечеловек) w twórczości rosyjskiego pisarza Michaiła Priszwina. Idea wszechjedności, wszechludzkiej jedności jest właściwa rosyjskiej myśli filozoficznej i ukształtowała się jako postać-symbol „cały człowiek” (ros. Весьчеловек). Ten symbol rozpatruje się przez ścisły związek  kolektywizmu i osobowości, indywidualizmu, ponadto bada się rozwój postaci we wszystkich tomach dzienników Priszwina oraz konceptualne napełnenie symbolu. Autor porusza problem między innymi sekt (chłystów) i radykalizacji kolektywizmu w bolszewizmie. Jako metodę badawczą autor wykorzystuje główne tezy hermeneutyki Wardana Hayrapetyana dotyczące rosyjskiego folkloru i rosyjskiej samoświadomości. Pojęcie „cały człowiek” koreluje z hermeneumą „wszechświatowego człowieka”, która wskazuje na archaiczną ideę ocalenia.     The world of man – the myth or a concept? To the Allman's image in Mikhail Prishvin's creativity Article is devoted to studying of a concept all-unity, all-man (rus. всеединство, всечеловек) in works of the Russian writer Mikhail Prishvin. The idea of All-unity, of unity common to all mankind peculiar to the Russian thought has found expression in a symbol All-man (rus. Весьчеловек). The image-symbol is considered through a ratio of collective forms and personalitys, his language form, conceptual filling, development of an image in the case of diaries of Prishvin is investigated. In passing the author concerns a sectarianism problem in the Russian culture and radicalization of collective life at the beginning of the 20th century in the Bolshevism. As a method hermeneutical developments of Vardan Hayrapetyan in the field of the Russian folklore are attracted. The symbol of the Allman corresponds to a mytheme of a first-man and with hermeneum the man of world (the world person), embodying the archaic idea of rescue.
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