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Религиозно-этический идеал Михаила Лермонтова: истоки формирования и художественное воплощение

100%
Киселёва И.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2012
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issue 5
30-40
EN
Ethics by Lermontov are deeply original and have a religious character. According to Christian canons, in the poet’s consciousness, the source of moral is acting and a measure of a moral sense is Christ. Primary in Lermontov’s poetry is the accusation of his generation’s flaws. Also acusation of defectsc are strong in his creativity. The leading motive of Lermontov’s poetry is that of God's court, which acts as a justice standard.
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Баллада М. Ю. Лермонтова «Три пальмы» и судьба одного ориентального мотива в поэзии В. Жуковского, А. Пушкина, А. Мицкевича

86%
Ходанен Л.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2011
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issue 4
53-61
EN
This article concerns the Eastern motif ―the horse and the rider in the desert‖. This motif appeared in French poetry (Millevoye and Lagrange) in connection with the translations of the Bedouin (desert arabs) poetry. Gradually, in the poetry by Zukovskij (Песнь араба над могилою коня), Pushkin (IX Imitation from the poetic cycle Подражания Корану), Mitskevich (Фарис), and Lermontov (Три пальмы), a metasubject was formed, with a synthesis of Eastern and Western motifs. The poets start with the imitation of the Eastern texts and then, in their poetry, they start to express the philosophical ideas of correspondence between the Eastern and Christian cultures as different forms of a civilization development.
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Концепт „смерть” в романтической лирике Михаила Лермонтова

72%
Megrelishvili T.
Slavica Wratislaviensia
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2018
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vol. 167
111-122
EN
The romantic concept of deathin the poetry of Mikhail Lermontov The analysis of the European romantic discourse has demonstrated the importance of the motive of death for the understanding of the artistic worldview of a romantic poet. Lermontov’s legacy is no exception to this general rule. The existence of recurring themes in his poetry requires special attention to the motive of death that makes it stand out from the context of Russian Roman­ticism. The article analyzes the peculiarities of Lermontov’s artistic worldview and his approaches to overcome psychological loneliness, which is reflected in the motive of death, among others.
BG
Романтична концепция за смърттав лириката на Михаил Лермонтов Анализът на общоевропейския романтичен дискурс демонстрира важността на мотива за смъртта, за разбирането на художествената картина на света на поета романтик. В този аспект творческото наследство на Лермонтов не прави изключение. Като се има предвид характерния за Лермонтов похват да се връща към постоянните теми в творчеството си, особено внимание трябва да се обърне върху трансформирането на мотива за смъртта, поради което лириката му изпъква на фона на общия контекст на руския романтизъм. Статията разглежда особеностите на художествената картина на света на поета Лермонтов и начините за художествено преодоляване на психологическата самота, което намира своя израз и в мотива за смъртта.
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Звуковой мир поэмы Михаила Юрьевича Лермонтова Демон

72%
Hodanen L.
Slavica Wratislaviensia
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2014
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vol. 158
41 - 48
EN
The article concerns about the sonosphere in M. Lermontov’s works. The earlier poet’s epistolary legacy, in which the main ways of sound perception are reflected, is analyzed. It is noted that in Lermontov’s literary works this perception became the foundation of a distinct theme in lyrics and paradigm of motifs which appeared in his poems (Sounds, Yest rechi — znachenye). The phonic world of the poem Demon is described in detail (1841 edition). The types of Demon’s and Tamara’s sonospheres which by means of phonic images diversify the main conflict are defined; the artistic functions of the musical images are brought to light.
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Сенсорика пространства в стихотворении Михаила Юрьевича Лермонтова Из Гете […] Горные вершины спят во тьме ночной

72%
Smirnow A.
Slavica Wratislaviensia
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2014
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vol. 158
33 - 40
EN
Lermontov’s free translation of a poem written by Goethe, the external support for figurative sense of structure is different in its semantic content. Maintaining the completeness of a landscape, Lermontov appeals to the super-physical, perfect condition. An individual has a deep need for the rejection of the fundamental principles of life. The Russian poet changes the subject-object relations in his translation. The material and spiritual world appear in it in a different non-pantheistic way, the text turns towards a typical romantic tradition. Lermontov offers a romantic type of contrasts of the near and far objects, deprives the text of contours giving it free linearity. The distance is endowed with a romantic mediator function. The juxtaposition of the mountain tops and the valleys forms the basis of the works of Lermontov. German expectation of a “standstill” in the Russian text is removed. Lermontov divides the text into two parts. In the second the nature is directly connected with the enlightenment of the soul. In contrast to Goethe’s multidivision, Lermontov recreates the antithesis of the peaks and valleys in the first part and opens a possible correspondence between lyrical impulses in the natural environment in the second . Lermontov’s text cannot be understood without reference to unrestricted romantic impulses and unattainable ideals in contrast to the pantheistic reconciliation with the imperfection of human in Goethe’s conception. From the poem From Goethe there is a direct path to the Vyhozhu odin ja na dorogu… which reveals the causes of the tragedy of human condition in the world. Even in a state of fatal languor the protagonist’s feelings do not seek peace and pantheistic nirvana. Since the text Vyhozhu odin ja na dorogu… is a result of Lermontov’s romantic pursuit, without his image system Goethe’s masterpiece cannot be understood. The motif of loneliness, which is central to Lermontov’s creativity, finds in it the height of the tragedy. As in the poem From Goethe the lyrical situation of a secluded rendezvous with nature cannot be imbued with pantheistic sentiments for Goethe. Perfect peace is unattainable in Lermontov’s poetic world as it is always associated with freedom. If a metaphysically imperturbable calm (Ruh) for Goethe is a universal constant of the poetic life, then the key formula of Lermontov is “I’m looking for freedom and peace!”.
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Память, мифологизация или мифопоэтика? Лермонтов в свете религиозной философии Серебряного Века

58%
Zoltán J. G.
Roczniki Humanistyczne
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2015
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vol. 63
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issue 7: Słowianoznawstwo
5-27
RU
В настоящей работе делается попытка суммировать и контрастировать взгляды русских религиозных философов эпохи Серебряного века на творчество Лермонтова. Полемичная оценка Владимира Соловьева дала толчок переосмыслению места Лермонтова в отечественном каноне. Начиная с Мережковского, истолковавшего произведения Лермонтова в согласии с дуалистическим кодом собственной метафизической умозрительной конструкции, все религиозные философы, включая Н. Бердяева, Л. Шестова, откликались на дилемму «Пушкин или Лермонтов», даже в форме кратких разбросанных замечаний. Религиозные мотивы, фигурирующие в лирике и прозе Лермонтова, внушают, что сакральный код русской словесности и художества определяет и его поэтику. Это очевидно в замысле композиции его предисловия к роману Герой нашего времени. В Лермонтове В. Розанов узрел «мистагога», о. Флоренский, трактуя его творчество преимущественно в рамках своего учения о Софии, акцентирует и «титаническое начало». О. С. Булгаков и С. М. Соловьев разъяснили факты, результировавшие негативную оценку Лермонтова В. Соловьевым. В сочинениях религиозных философов создавалась картина, резко противостоящая прочтениям последующих поколений историков литературы, которые старались выставлять художника-Лермонтова как вульгаризированного критика общественно-политической атмосферы своего времени
PL
W artykule podjęto problem podsumowania i zarazem zderzenia poglądów rosyjskich filozofów religijnych Srebrnego Wieku na twórczość Lermontowa. Polemiczny osąd Włodzimierza Słowiowa stał się impulsem do przewartościowania pozycji Lermontowa w rosyjskim kanonie literackim. Poczynając od Mierieżkowskiego, który odczytał utwory poety zgodnie z kryteriami własnych teorii metafizycznych, ich spekulatywnym charakterem i dualistycznym kodem, kolejni myśliciele, w tym Mikołaj Bierdiajew i Lew Szestow, starali się odnieść do dylematu: „Puszkin czy Lermontow”, nawet jeśli były to ich krótkie rozproszone uwagi. Motywy religijne, obecne w liryce i prozie Lermontowa, odzwierciedlają fakt, że kod sakralny rosyjskiej literatury i sztuki nieobcy jest także jego poetyce. Widoczne jest to zwłaszcza w zamyśle kompozycji wstępu do powieści Bohater naszych czasów. Wasilij Rozanow dostrzegł w Lermontowie „mistagoga”, o. Paweł Florenski, rozpatrując jego twórczość głównie w ramach własnej teorii na temat Sofii, akcentował w nim „pierwiastek tytaniczny”. S. Bułgakow i S. M. Sołowiow próbowali objaśnić negatywną ocenę W. Sołowiowa wobec Lermontowa. Prace filozofów religijnych przyniosły obraz zdecydowanie przeciwstawny do oceny Lermontowa przez następne pokolenia historyków literatury, którzy przedstawiali go jako zwulgaryzowanego krytyka atmosfery społeczno-politycznej swej epoki.
EN
In the present article the author attempts to summarise and juxtapose views on Lermontov’s oeuvre formulated by the religious philosophers of the Silver Age. The polemic assessment made by Vladimir Solovyev offered a stimulus to reconsidering Lermontov’s position in Russian national canon. Beginning with Merezhkovsky, interpreting the works of Lermontov in accordance with his own metaphysical philosophical construction, all religious thinkers, including N. Berdyaev, L. Shestov, have reacted to the dilemma “Pushkin or Lermontov”, even if they did so in the form of scattered comments. Religious motifs coded in Lermontov’s prose and poetry, suggest that the sacral code of Russian literature and arts determined his poetics. This is obvious from the project of the composition seen in his foreword to A Hero of Our Time. V. V. Rozanov deemed Lermontov a ‘mystagogue’, whereas the Rev. Florensky, discussing his oeuvre pre-eminently in the framework of his own doctrine on Sophia, addresses the role of ‘titanic’ notion. The Rev. Sergius Bulgakov and S. M. Solovyov clarified facts leading to Vl. Solovyov’s negative assessment. In their writings religious philosophers created a picture sharply contrasting with vulgarised readings afforded by future generations of historians of literature, who strived to make out Lermontov the artist as a vulgarised critic of the social and political atmosphere of his time.
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Mотивы театральности / маскарадности в "Маскараде" Лермонтова и драматургии Шекспира

58%
Шульц С. А.
Studia Rossica Gedanensia
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2017
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issue 4
281-293
RU
В "Маскараде" Лермонтова преломлен мотив Шекспира «весь мир – театр» во всем многообразии смыслов мотива. В отличие от Шекспира, их позитивное наполнение Лермонтовым в целом отвергается. Оно дано в превращенном измерении – как героическое, стоическое претерпевание индивидом почти всегда страдательной «роли», и в таком «претерпевании» – неотъемлемая высота «роли».
EN
In Lermontov’s "Masquerade", Shakespeare’s motif “the whole world – theater” is reversed in all the diversity of its meanings. Lermontov rejects any positive content of various meanings of the motif. It is given in the transformed dimension – as a heroic, stoic endurance of an almost always passive “role”. This endurance in an inherent part of the “role’s” greatness.
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