Юзовка – Сталино – Донецк: политизация национального вопроса в прозе о Донбассе советских писателей 1930–1980-х гг.

Donetsk is a young industrial city. This is captured in the history of its naming, reflective of the transformations of the politics of the two empires: Yuzovka – Stalino – Donetsk. There are few fictional works devoted to Donetsk in Soviet literature. It is local, regional literature, created by natives of the region from the 1930s to the 1980s. Donetsk’s art-journalistic metatext was formed along with the city transforming itself from a worker’s settlement into the capital of industrial Donbass. After October 1917 the city and metatext of Donetsk consistently “did not remember”, “did not see” its origins – Yuzovka – but was concentrated on the Soviet present of the region. The historically conditioned multinational of Yuzovka, under the pressure of Soviet policy and ideology, was transformed into an internationality based on the dominance of the Soviet (essentially Russian) man and his local kind: the Donbasovets. The aspirations to level out the national diversity of the region, to obscure the role of people with Ukrainian roots, and to replace it with the politicised internationalization in the fabric of the works have found their semantic and ideological limit. This limit intensified when the depersonalisation of national-cultural features of the city, region was artificially imposed and it manifested in speech, everyday realities, and the memorial culture of the common people.Donetsk is a young industrial city. This is captured in the history of its naming, reflective of the transformations of the politics of the two empires: Yuzovka – Stalino – Donetsk. There are few fictional works devoted to Donetsk in Soviet literature. It is local, regional literature, created by natives of the region from the 1930s to the 1980s. Donetsk’s art-journalistic metatext was formed along with the city transforming itself from a worker’s settlement into the capital of industrial Donbass. After October 1917 the city and metatext of Donetsk consistently “did not remember”, “did not see” its origins – Yuzovka – but was concentrated on the Soviet present of the region. The historically conditioned multinational of Yuzovka, under the pressure of Soviet policy and ideology, was transformed into an internationality based on the dominance of the Soviet (essentially Russian) man and his local kind: the Donbasovets. The aspirations to level out the national diversity of the region, to obscure the role of people with Ukrainian roots, and to replace it with the politicised internationalization in the fabric of the works have found their semantic and ideological limit. This limit intensified when the depersonalisation of national-cultural features of the city, region was artificially imposed and it manifested in speech, everyday realities, and the memorial culture of the common people.Donetsk is a young industrial city. This is captured in the history of its naming, reflective of the transformations of the politics of the two empires: Yuzovka – Stalino – Donetsk. There are few fictional works devoted to Donetsk in Soviet literature. It is local, regional literature, created by natives of the region from the 1930s to the 1980s. Donetsk’s art-journalistic metatext was formed along with the city transforming itself from a worker’s settlement into the capital of industrial Donbass. After October 1917 the city and metatext of Donetsk consistently “did not remember”, “did not see” its origins – Yuzovka – but was concentrated on the Soviet present of the region. The historically conditioned multinational of Yuzovka, under the pressure of Soviet policy and ideology, was transformed into an internationality based on the dominance of the Soviet (essentially Russian) man and his local kind: the Donbasovets. The aspirations to level out the national diversity of the region, to obscure the role of people with Ukrainian roots, and to replace it with the politicised internationalization in the fabric of the works have found their semantic and ideological limit. This limit intensified when the depersonalisation of national-cultural features of the city, region was artificially imposed and it manifested in speech, everyday realities, and the memorial culture of the common people.Donetsk is a young industrial city. This is captured in the history of its naming, reflective of the transformations of the politics of the two empires: Yuzovka – Stalino – Donetsk. There are few fictional works devoted to Donetsk in Soviet literature. It is local, regional literature, created by natives of the region from the 1930s to the 1980s. Donetsk’s art-journalistic metatext was formed along with the city transforming itself from a worker’s settlement into the capital of industrial Donbass. After October 1917 the city and metatext of Donetsk consistently “did not remember”, “did not see” its origins – Yuzovka – but was concentrated on the Soviet present of the region. The historically conditioned multinational of Yuzovka, under the pressure of Soviet policy and ideology, was transformed into an internationality based on the dominance of the Soviet (essentially Russian) man and his local kind: the Donbasovets. The aspirations to level out the national diversity of the region, to obscure the role of people with Ukrainian roots, and to replace it with the politicised internationalization in the fabric of the works have found their semantic and ideological limit. This limit intensified when the depersonalisation of national-cultural features of the city, region was artificially imposed and it manifested in speech, everyday realities, and the memorial culture of the common people

Польские города как пространство истории в Семейном архиве Бориса Херсонского

This article is focused on the so-called urban texts related to Poland with a special emphasis on the historical and geographical region of Galicia, which covers the territories of Red Ruthenia in Ukraine and Lesser Poland, and on their historical connotations as presented in Boris Khersonsky’s book of poetry Family archive (2006). Khersonsky is a Russian-speaking Ukrainian poet from Odesa, who has been awarded prestigious prizes for his literary work both in Ukraine and abroad. Family archive can be described as a sort of novel in verse about the tragic history of the 20th century told through the family history of the author himself. The main goal of this article is to analyze the specific spatial structure of the book in the context of geopoetics and places of memory with a special accent on Polish cities and towns. This territory is the quintessential locus of historical events connected to Eastern European Jewish heritage and the tragedy of the Holocaust. This paper seeks to reconstruct the image of Poland with all the connotations and cultural myths associated with its multicultural experience.This article is focused on the so-called urban texts related to Poland with a special emphasis on the historical and geographical region of Galicia, which covers the territories of Red Ruthenia in Ukraine and Lesser Poland, and on their historical connotations as presented in Boris Khersonsky’s book of poetry Family archive (2006). Khersonsky is a Russian-speaking Ukrainian poet from Odesa, who has been awarded prestigious prizes for his literary work both in Ukraine and abroad. Family archive can be described as a sort of novel in verse about the tragic history of the 20th century told through the family history of the author himself. The main goal of this article is to analyze the specific spatial structure of the book in the context of geopoetics and places of memory with a special accent on Polish cities and towns. This territory is the quintessential locus of historical events connected to Eastern European Jewish heritage and the tragedy of the Holocaust. This paper seeks to reconstruct the image of Poland with all the connotations and cultural myths associated with its multicultural experience.This article is focused on the so-called urban texts related to Poland with a special emphasis on the historical and geographical region of Galicia, which covers the territories of Red Ruthenia in Ukraine and Lesser Poland, and on their historical connotations as presented in Boris Khersonsky’s book of poetry Family archive (2006). Khersonsky is a Russian-speaking Ukrainian poet from Odesa, who has been awarded prestigious prizes for his literary work both in Ukraine and abroad. Family archive can be described as a sort of novel in verse about the tragic history of the 20th century told through the family history of the author himself. The main goal of this article is to analyze the specific spatial structure of the book in the context of geopoetics and places of memory with a special accent on Polish cities and towns. This territory is the quintessential locus of historical events connected to Eastern European Jewish heritage and the tragedy of the Holocaust. This paper seeks to reconstruct the image of Poland with all the connotations and cultural myths associated with its multicultural experience.This article is focused on the so-called urban texts related to Poland with a special emphasis on the historical and geographical region of Galicia, which covers the territories of Red Ruthenia in Ukraine and Lesser Poland, and on their historical connotations as presented in Boris Khersonsky’s book of poetry Family archive (2006). Khersonsky is a Russian-speaking Ukrainian poet from Odesa, who has been awarded prestigious prizes for his literary work both in Ukraine and abroad. Family archive can be described as a sort of novel in verse about the tragic history of the 20th century told through the family history of the author himself. The main goal of this article is to analyze the specific spatial structure of the book in the context of geopoetics and places of memory with a special accent on Polish cities and towns. This territory is the quintessential locus of historical events connected to Eastern European Jewish heritage and the tragedy of the Holocaust. This paper seeks to reconstruct the image of Poland with all the connotations and cultural myths associated with its multicultural experience

Смех (в) „фантастической трилогии” Федорa Достоевского

Among the works included in A writer’s diary by Fyodor Dostoevsky, literary scholars point out the “fantastic trilogy” – The dream of a ridiculous man, A gentle creature, and Bobok. Three heroes of Dostoevsky, three outsiders who are in conflict with their environment – a ridiculous man, an underground man and a drunken writer – are the main characters of the “fantastic trilogy”. Thearticle examines the poetological principle of laughter, on which the ontology of Dostoevsky’s artistic world is based. In the aforementioned three short stories three varieties of laughter are identified: 1) laughter as a result of realizing the incompatibility of the truth of the heart with the necessity to live here and now (The dream of a ridiculous man, 1877); 2) laughter as Bakhtin’s genre-forming principle: muffled laughter, that is, laughter that is not heard, which is an expression of the impossibility of resolving a dispute, the impossibility of saying the last word about a problematic world, about its dual truthfulness – the truth of the heart and the truth of the mind (A gentle creature, also titled as The meek one, 1876); 3) a type of parodic laughter, or laughter that laughs out loud (Bobok, 1873).Among the works included in A writer’s diary by Fyodor Dostoevsky, literary scholars point out the “fantastic trilogy” – The dream of a ridiculous man, A gentle creature, and Bobok. Three heroes of Dostoevsky, three outsiders who are in conflict with their environment – a ridiculous man, an underground man and a drunken writer – are the main characters of the “fantastic trilogy”. Thearticle examines the poetological principle of laughter, on which the ontology of Dostoevsky’s artistic world is based. In the aforementioned three short stories three varieties of laughter are identified: 1) laughter as a result of realizing the incompatibility of the truth of the heart with the necessity to live here and now (The dream of a ridiculous man, 1877); 2) laughter as Bakhtin’s genre-forming principle: muffled laughter, that is, laughter that is not heard, which is an expression of the impossibility of resolving a dispute, the impossibility of saying the last word about a problematic world, about its dual truthfulness – the truth of the heart and the truth of the mind (A gentle creature, also titled as The meek one, 1876); 3) a type of parodic laughter, or laughter that laughs out loud (Bobok, 1873).Among the works included in A writer’s diary by Fyodor Dostoevsky, literary scholars point out the “fantastic trilogy” – The dream of a ridiculous man, A gentle creature, and Bobok. Three heroes of Dostoevsky, three outsiders who are in conflict with their environment – a ridiculous man, an underground man and a drunken writer – are the main characters of the “fantastic trilogy”. The article examines the poetological principle of laughter, on which the ontology of Dostoevsky’s artistic world is based. In the aforementioned three short stories three varieties of laughter are identified: 1) laughter as a result of realizing the incompatibility of the truth of the heart with the necessity to live here and now (The dream of a ridiculous man, 1877); 2) laughter as Bakhtin’s genre-forming principle: muffled laughter, that is, laughter that is not heard, which is an expression of the impossibility of resolving a dispute, the impossibility of saying the last word about a problematic world, about its dual truthfulness – the truth of the heart and the truth of the mind (A gentle creature, also titled as The meek one, 1876); 3) a type of parodic laughter, or laughter that laughs out loud (Bobok, 1873).Among the works included in A writer’s diary by Fyodor Dostoevsky, literary scholars point out the “fantastic trilogy” – The dream of a ridiculous man, A gentle creature, and Bobok. Three heroes of Dostoevsky, three outsiders who are in conflict with their environment – a ridiculous man, an underground man and a drunken writer – are the main characters of the “fantastic trilogy”. The article examines the poetological principle of laughter, on which the ontology of Dostoevsky’s artistic world is based. In the aforementioned three short stories three varieties of laughter are identified: 1) laughter as a result of realizing the incompatibility of the truth of the heart with the necessity to live here and now (The dream of a ridiculous man, 1877); 2) laughter as Bakhtin’s genre-forming principle: muffled laughter, that is, laughter that is not heard, which is an expression of the impossibility of resolving a dispute, the impossibility of saying the last word about a problematic world, about its dual truthfulness – the truth of the heart and the truth of the mind (A gentle creature, also titled as The meek one, 1876); 3) a type of parodic laughter, or laughter that laughs out loud (Bobok, 1873)

Ландшафт меняющихся идентичностей на фоне военного вторжения: роман Тамары Дуды Доця сквозь призму перевода

In the environment of Russia’s ongoing war against Ukraine, literary translation acquires critical significance as a way to get Ukraine’s narratives of destruction and urbicide across cultural and political borders. This article will focus on Daisy Gibbons’s 2021 translation of Tamara Duda’s 2019 novel Daughter, set in the Eastern Ukrainian city of Donetsk, to examine the translator’s project of reconstructing the complex interplay of Eastern and Western Ukrainian identities embroiled in the narrative of crawling occupation. Daughter tells the story of Russia’s 2014 invasion of Donetsk, dissecting the city’s fragmented identity along cultural and linguistic divides and exploring internal tensions and propaganda-fueled conflicts leading to its eventual downfall. The storyline adopts the female protagonist’s insider/outsider perspective, tracing her gradual evolution from an invisible observer to a fearless insurgent fighting for the survival of her unravelling home. The analysis will centre on the translator’s approach, which combines textual and paratextual techniques to highlight the processes of division and destruction – with their transformative impact on the urban space – and to enter into a visible dialogue with the narrator/protagonist’s voice to amplify and reinforce its distinctly pro-Ukrainian perspective.In the environment of Russia’s ongoing war against Ukraine, literary translation acquires critical significance as a way to get Ukraine’s narratives of destruction and urbicide across cultural and political borders. This article will focus on Daisy Gibbons’s 2021 translation of Tamara Duda’s 2019 novel Daughter, set in the Eastern Ukrainian city of Donetsk, to examine the translator’s project of reconstructing the complex interplay of Eastern and Western Ukrainian identities embroiled in the narrative of crawling occupation. Daughter tells the story of Russia’s 2014 invasion of Donetsk, dissecting the city’s fragmented identity along cultural and linguistic divides and exploring internal tensions and propaganda-fueled conflicts leading to its eventual downfall. The storyline adopts the female protagonist’s insider/outsider perspective, tracing her gradual evolution from an invisible observer to a fearless insurgent fighting for the survival of her unravelling home. The analysis will centre on the translator’s approach, which combines textual and paratextual techniques to highlight the processes of division and destruction – with their transformative impact on the urban space – and to enter into a visible dialogue with the narrator/protagonist’s voice to amplify and reinforce its distinctly pro-Ukrainian perspective.In the environment of Russia’s ongoing war against Ukraine, literary translation acquires critical significance as a way to get Ukraine’s narratives of destruction and urbicide across cultural and political borders. This article will focus on Daisy Gibbons’s 2021 translation of Tamara Duda’s 2019 novel Daughter, set in the Eastern Ukrainian city of Donetsk, to examine the translator’s project of reconstructing the complex interplay of Eastern and Western Ukrainian identities embroiled in the narrative of crawling occupation. Daughter tells the story of Russia’s 2014 invasion of Donetsk, dissecting the city’s fragmented identity along cultural and linguistic divides and exploring internal tensions and propaganda-fueled conflicts leading to its eventual downfall. The storyline adopts the female protagonist’s insider/outsider perspective, tracing her gradual evolution from an invisible observer to a fearless insurgent fighting for the survival of her unravelling home. The analysis will centre on the translator’s approach, which combines textual and paratextual techniques to highlight the processes of division and destruction – with their transformative impact on the urban space – and to enter into a visible dialogue with the narrator/protagonist’s voice to amplify and reinforce its distinctly pro-Ukrainian perspective.In the environment of Russia’s ongoing war against Ukraine, literary translation acquires critical significance as a way to get Ukraine’s narratives of destruction and urbicide across cultural and political borders. This article will focus on Daisy Gibbons’s 2021 translation of Tamara Duda’s 2019 novel Daughter, set in the Eastern Ukrainian city of Donetsk, to examine the translator’s project of reconstructing the complex interplay of Eastern and Western Ukrainian identities embroiled in the narrative of crawling occupation. Daughter tells the story of Russia’s 2014 invasion of Donetsk, dissecting the city’s fragmented identity along cultural and linguistic divides and exploring internal tensions and propaganda-fueled conflicts leading to its eventual downfall. The storyline adopts the female protagonist’s insider/outsider perspective, tracing her gradual evolution from an invisible observer to a fearless insurgent fighting for the survival of her unravelling home. The analysis will centre on the translator’s approach, which combines textual and paratextual techniques to highlight the processes of division and destruction – with their transformative impact on the urban space – and to enter into a visible dialogue with the narrator/protagonist’s voice to amplify and reinforce its distinctly pro-Ukrainian perspective

„Miasto nigdy się nie kończy…”. Mroczne oblicze miasta w prozie Herty Müller

One of the recurring motifs in Herta Müllerʼs work is the experience of the city, which often becomes a space of threat, violence, uncertainty, and finally repression and death. The German Nobel Prize laureate describes urban spaces, where the fate of the city is intertwined with the fate of the protagonists, depicting a world of people who are downtrodden, lost, defeated, and yet not without hope. This article discusses selected works by Herta Müller, in which the multidimensional image of the city opens up new fields for reflection and allows us to gain insight into how a totalitarian state functions. The cities the author describes are reflective of all Romanian cities under the dictatorship of Nicolae Ceaușescu; they are places of depravity and terror. This article also explores the aesthetics of ugliness which affects the understanding of the role of cities in Herta Müllerʼs prose, and analyzes important urban symbols such as asphalt, apartment blocks, parks and the flora and fauna characteristic of communist cities. In many of Müllerʼs texts, cities form a dramatic backdrop for acts of violence and repression against ‘the Stranger’ – for instance, the German minority,the Roma community, and women. Thus, the experience of an individual becomes the experience of the whole community, which makes Herta Müllerʼs work enduringly relevant.One of the recurring motifs in Herta Müllerʼs work is the experience of the city, which often becomes a space of threat, violence, uncertainty, and finally repression and death. The German Nobel Prize laureate describes urban spaces, where the fate of the city is intertwined with the fate of the protagonists, depicting a world of people who are downtrodden, lost, defeated, and yet not without hope. This article discusses selected works by Herta Müller, in which the multidimensional image of the city opens up new fields for reflection and allows us to gain insight into how a totalitarian state functions. The cities the author describes are reflective of all Romanian cities under the dictatorship of Nicolae Ceaușescu; they are places of depravity and terror. This article also explores the aesthetics of ugliness which affects the understanding of the role of cities in Herta Müllerʼs prose, and analyzes important urban symbols such as asphalt, apartment blocks, parks and the flora and fauna characteristic of communist cities. In many of Müllerʼs texts, cities form a dramatic backdrop for acts of violence and repression against ‘the Stranger’ – for instance, the German minority,the Roma community, and women. Thus, the experience of an individual becomes the experience of the whole community, which makes Herta Müllerʼs work enduringly relevant.One of the recurring motifs in Herta Müllerʼs work is the experience of the city, which often becomes a space of threat, violence, uncertainty, and finally repression and death. The German Nobel Prize laureate describes urban spaces, where the fate of the city is intertwined with the fate of the protagonists, depicting a world of people who are downtrodden, lost, defeated, and yet not without hope. This article discusses selected works by Herta Müller, in which the multidimensional image of the city opens up new fields for reflection and allows us to gain insight into how a totalitarian state functions. The cities the author describes are reflective of all Romanian cities under the dictatorship of Nicolae Ceaușescu; they are places of depravity and terror. This article also explores the aesthetics of ugliness which affects the understanding of the role of cities in Herta Müllerʼs prose, and analyzes important urban symbols such as asphalt, apartment blocks, parks and the flora and fauna characteristic of communist cities. In many of Müllerʼs texts, cities form a dramatic backdrop for acts of violence and repression against ‘the Stranger’ – for instance, the German minority,the Roma community, and women. Thus, the experience of an individual becomes the experience of the whole community, which makes Herta Müllerʼs work enduringly relevant.One of the recurring motifs in Herta Müllerʼs work is the experience of the city, which often becomes a space of threat, violence, uncertainty, and finally repression and death. The German Nobel Prize laureate describes urban spaces, where the fate of the city is intertwined with the fate of the protagonists, depicting a world of people who are downtrodden, lost, defeated, and yet not without hope. This article discusses selected works by Herta Müller, in which the multidimensional image of the city opens up new fields for reflection and allows us to gain insight into how a totalitarian state functions. The cities the author describes are reflective of all Romanian cities under the dictatorship of Nicolae Ceaușescu; they are places of depravity and terror. This article also explores the aesthetics of ugliness which affects the understanding of the role of cities in Herta Müllerʼs prose, and analyzes important urban symbols such as asphalt, apartment blocks, parks and the flora and fauna characteristic of communist cities. In many of Müllerʼs texts, cities form a dramatic backdrop for acts of violence and repression against ‘the Stranger’ – for instance, the German minority,the Roma community, and women. Thus, the experience of an individual becomes the experience of the whole community, which makes Herta Müllerʼs work enduringly relevant

„Ненормативные” средства выражения адресованности в школьной практике, или игра с нормой

The article consists of several parts: an introduction, theoretical and practical parts, and the conclusion. This work touches upon several directions in linguistics. First of all, attention is paid to the concept of addressing, namely the terms addressee (Listener) and addresser (Speaker) and their interrelation at the moment of communication. The author provides a definition of human speech behavior, which at the present stage is usually considered in pragmalinguistics. The article focuses on the factor of the addresser in pedagogical discourse (the speech of a Russian language teacher at a secondary school in Slovakia is analyzed) from the point of view of observing the normativity of speech. In this regard, special attention is paid to the culture of speech and the concept ofliterary language. The work shows the varieties of norms of literary language, but the emphasis is on stylistic norms. The author focuses on the search for violations of stylistic norms in а scientific style. The article provides the author’s classification of selected language violations and characterizes the speech behavior of the Speaker.The article consists of several parts: an introduction, theoretical and practical parts, and the conclusion. This work touches upon several directions in linguistics. First of all, attention is paid to the concept of addressing, namely the terms addressee (Listener) and addresser (Speaker) and their interrelation at the moment of communication. The author provides a definition of human speech behavior, which at the present stage is usually considered in pragmalinguistics. The article focuses on the factor of the addresser in pedagogical discourse (the speech of a Russian language teacher at a secondary school in Slovakia is analyzed) from the point of view of observing the normativity of speech. In this regard, special attention is paid to the culture of speech and the concept of literary language. The work shows the varieties of norms of literary language, but the emphasis is on stylistic norms. The author focuses on the search for violations of stylistic norms in а scientific style. The article provides the author’s classification of selected language violations and characterizes the speech behavior of the Speaker.The article consists of several parts: an introduction, theoretical and practical parts, and the conclusion. This work touches upon several directions in linguistics. First of all, attention is paid to the concept of addressing, namely the terms addressee (Listener) and addresser (Speaker) and their interrelation at the moment of communication. The author provides a definition of human speech behavior, which at the present stage is usually considered in pragmalinguistics. The article focuses on the factor of the addresser in pedagogical discourse (the speech of a Russian language teacher at a secondary school in Slovakia is analyzed) from the point of view of observing the normativity of speech. In this regard, special attention is paid to the culture of speech and the concept of literary language. The work shows the varieties of norms of literary language, but the emphasis is on stylistic norms. The author focuses on the search for violations of stylistic norms in а scientific style. The article provides the author’s classification of selected language violations and characterizes the speech behavior of the Speaker.The article consists of several parts: an introduction, theoretical and practical parts, and the conclusion. This work touches upon several directions in linguistics. First of all, attention is paid to the concept of addressing, namely the terms addressee (Listener) and addresser (Speaker) and their interrelation at the moment of communication. The author provides a definition of human speech behavior, which at the present stage is usually considered in pragmalinguistics. The article focuses on the factor of the addresser in pedagogical discourse (the speech of a Russian language teacher at a secondary school in Slovakia is analyzed) from the point of view of observing the normativity of speech. In this regard, special attention is paid to the culture of speech and the concept of literary language. The work shows the varieties of norms of literary language, but the emphasis is on stylistic norms. The author focuses on the search for violations of stylistic norms in а scientific style. The article provides the author’s classification of selected language violations and characterizes the speech behavior of the Speaker

Diabelskie koło historii. Poetyki miejskie w powieści Aleksieja Iwanowa Cienie Teutonów

Shadows of the Teutons, a novel by the contemporary Russian writer Aleksei Ivanov, was published in 2021. The story unfolds across two different time periods. Some events take place in 1457 during the siege of Marienburg, the capital of the Teutonic Order’s State, and the Polish-Teutonic conflict serves as a starting point for the depiction of later battles, in 1945, within the former East Prussia, now known as the Kaliningrad Oblast. This article examines the means used to create the urban spaces depicted in the novel and their transformation as a result of armed conflicts. It focuses on the urban landscapes of Baltiysk (Pillau) and Malbork (Marienburg), which exhibit a complex identity and strong interconnections at various levels of the narrative structure. The analysis explores somatopoetics and thanatopoetics, two categories the author employs to describe places, as well as the auditory and olfactory dimensions of everyday wartime experiences, memoryscapes, Teutonic castles and underground settings such as cellars, bunkers, catacombs, secret passages and tunnels.Shadows of the Teutons, a novel by the contemporary Russian writer Aleksei Ivanov, was published in 2021. The story unfolds across two different time periods. Some events take place in 1457 during the siege of Marienburg, the capital of the Teutonic Order’s State, and the Polish-Teutonic conflict serves as a starting point for the depiction of later battles, in 1945, within the former East Prussia, now known as the Kaliningrad Oblast. This article examines the means used to create the urban spaces depicted in the novel and their transformation as a result of armed conflicts. It focuses on the urban landscapes of Baltiysk (Pillau) and Malbork (Marienburg), which exhibit a complex identity and strong interconnections at various levels of the narrative structure. The analysis explores somatopoetics and thanatopoetics, two categories the author employs to describe places, as well as the auditory and olfactory dimensions of everyday wartime experiences, memoryscapes, Teutonic castles and underground settings such as cellars, bunkers, catacombs, secret passages and tunnels.Shadows of the Teutons, a novel by the contemporary Russian writer Aleksei Ivanov, was published in 2021. The story unfolds across two different time periods. Some events take place in 1457 during the siege of Marienburg, the capital of the Teutonic Order’s State, and the Polish-Teutonic conflict serves as a starting point for the depiction of later battles, in 1945, within the former East Prussia, now known as the Kaliningrad Oblast. This article examines the means used to create the urban spaces depicted in the novel and their transformation as a result of armed conflicts. It focuses on the urban landscapes of Baltiysk (Pillau) and Malbork (Marienburg), which exhibit a complex identity and strong interconnections at various levels of the narrative structure. The analysis explores somatopoetics and thanatopoetics, two categories the author employs to describe places, as well as the auditory and olfactory dimensions of everyday wartime experiences, memoryscapes, Teutonic castles and underground settings such as cellars, bunkers, catacombs, secret passages and tunnels.Shadows of the Teutons, a novel by the contemporary Russian writer Aleksei Ivanov, was published in 2021. The story unfolds across two different time periods. Some events take place in 1457 during the siege of Marienburg, the capital of the Teutonic Order’s State, and the Polish-Teutonic conflict serves as a starting point for the depiction of later battles, in 1945, within the former East Prussia, now known as the Kaliningrad Oblast. This article examines the means used to create the urban spaces depicted in the novel and their transformation as a result of armed conflicts. It focuses on the urban landscapes of Baltiysk (Pillau) and Malbork (Marienburg), which exhibit a complex identity and strong interconnections at various levels of the narrative structure. The analysis explores somatopoetics and thanatopoetics, two categories the author employs to describe places, as well as the auditory and olfactory dimensions of everyday wartime experiences, memoryscapes, Teutonic castles and underground settings such as cellars, bunkers, catacombs, secret passages and tunnels

Sowiecki dzikus, cuchnący dorsz i Muza – Władysława Chodasiewicza widzenie Petersburga

The aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views).The aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views).The aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views).The aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views)

Знатоки души человеческой: Фeдор Достоевский и Людмила Петрушевская

The article deals with the works of Fyodor Dostoyevsky and Lyudmila Petrushevskaya from the point of view of two disciplines – psychology (addictology), and literary criticism. The paper explores the authors’ description of the symptoms of addiction, which manifests itself both in the consciousness, subconsciousness and behavior of literary heroes, as well as in their relationships, and the studies are reported by specific excerpts from the literary works. Based on the primary analysis of the text, it can be argued that Dostoyevsky already in the 19th century, in his works, described symptoms that were defined by psychology as a science only in the 20th century. Petrushevskaya often enters into an intertextual dialogue with Dostoevsky, describing gloomy heroes and hopelesslife. The study analyzes specific symptoms and their application based on Dostoyevsky’s Netochka Nezvanova (1849) and Petrushevskaya’s The Glitch (1999). The purpose of the work is to draw attention to writers as psychologists, and to the skill of their artistic and psychological depiction of the external symptoms of various mental disorders through their literary heroes. This goal is achieved: 1) by identifying specific symptoms of mental disorders (addiction) of the characters; 2) a comparative analysis of scientific psychological material and literary text; 3) by comparing the artistic depiction of specific symptoms of characters in the texts of certain authors.The article deals with the works of Fyodor Dostoyevsky and Lyudmila Petrushevskaya from the point of view of two disciplines – psychology (addictology), and literary criticism. The paper explores the authors’ description of the symptoms of addiction, which manifests itself both in the consciousness, subconsciousness and behavior of literary heroes, as well as in their relationships, and the studies are reported by specific excerpts from the literary works. Based on the primary analysis of the text, it can be argued that Dostoyevsky already in the 19th century, in his works, described symptoms that were defined by psychology as a science only in the 20th century. Petrushevskaya often enters into an intertextual dialogue with Dostoevsky, describing gloomy heroes and hopelesslife. The study analyzes specific symptoms and their application based on Dostoyevsky’s Netochka Nezvanova (1849) and Petrushevskaya’s The Glitch (1999). The purpose of the work is to draw attention to writers as psychologists, and to the skill of their artistic and psychological depiction of the external symptoms of various mental disorders through their literary heroes. This goal is achieved: 1) by identifying specific symptoms of mental disorders (addiction) of the characters; 2) a comparative analysis of scientific psychological material and literary text; 3) by comparing the artistic depiction of specific symptoms of characters in the texts of certain authors.The article deals with the works of Fyodor Dostoyevsky and Lyudmila Petrushevskaya from the point of view of two disciplines – psychology (addictology), and literary criticism. The paper explores the authors’ description of the symptoms of addiction, which manifests itself both in the consciousness, subconsciousness and behavior of literary heroes, as well as in their relationships, and the studies are reported by specific excerpts from the literary works. Based on the primary analysis of the text, it can be argued that Dostoyevsky already in the 19th century, in his works, described symptoms that were defined by psychology as a science only in the 20th century. Petrushevskaya often enters into an intertextual dialogue with Dostoevsky, describing gloomy heroes and hopeless life. The study analyzes specific symptoms and their application based on Dostoyevsky’s Netochka Nezvanova (1849) and Petrushevskaya’s The Glitch (1999). The purpose of the work is to draw attention to writers as psychologists, and to the skill of their artistic and psychological depiction of the external symptoms of various mental disorders through their literary heroes. This goal is achieved: 1) by identifying specific symptoms of mental disorders (addiction) of the characters; 2) a comparative analysis of scientific psychological material and literary text; 3) by comparing the artistic depiction of specific symptoms of characters in the texts of certain authors.The article deals with the works of Fyodor Dostoyevsky and Lyudmila Petrushevskaya from the point of view of two disciplines – psychology (addictology), and literary criticism. The paper explores the authors’ description of the symptoms of addiction, which manifests itself both in the consciousness, subconsciousness and behavior of literary heroes, as well as in their relationships, and the studies are reported by specific excerpts from the literary works. Based on the primary analysis of the text, it can be argued that Dostoyevsky already in the 19th century, in his works, described symptoms that were defined by psychology as a science only in the 20th century. Petrushevskaya often enters into an intertextual dialogue with Dostoevsky, describing gloomy heroes and hopelesslife. The study analyzes specific symptoms and their application based on Dostoyevsky’s Netochka Nezvanova (1849) and Petrushevskaya’s The Glitch (1999). The purpose of the work is to draw attention to writers as psychologists, and to the skill of their artistic and psychological depiction of the external symptoms of various mental disorders through their literary heroes. This goal is achieved: 1) by identifying specific symptoms of mental disorders (addiction) of the characters; 2) a comparative analysis of scientific psychological material and literary text; 3) by comparing the artistic depiction of specific symptoms of characters in the texts of certain authors

Стены памяти и протеста: Как мемориальные доски преобразуют городские ландшафты в России

This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how theseplaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities.This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how these plaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities.This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how these plaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities.This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how theseplaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities