Литературные образы России в романах Владимира Сорокина

Vladimir Sorokin is one of the representatives of Russian postmodernism and one of the most translated contemporary Russian authors in Europe. His work reflects an alternative to the “accepted” Russian reality, focusing on its understanding and the influence it has on the Russian people. The author uses artistic means of expression without embellishment and through his works he reflects not only the political, economic and social situation, but also his views and attitudes as a resident of Russia. In our article we present the time map of Russia according to Sorokin as reflected in three novels: The queue (1985), representing the Soviet system in the country, Their four hearts (1994), depicting the collapse of the USSR, and Day of the oprichnik (2006), portraying thebeginning of the XXI century. The article is devoted to the significant epochs of Russian history through the eyes of the author, who is trying to capture the mentality, beliefs and opinions of Russian people in his literary works. The analysis of the main periods of Russian history and their influence on the people, as reflected in Sorokin’s oeuvre, allows us to understand their attitude to the current situation in Russia.Vladimir Sorokin is one of the representatives of Russian postmodernism and one of the most translated contemporary Russian authors in Europe. His work reflects an alternative to the “accepted” Russian reality, focusing on its understanding and the influence it has on the Russian people. The author uses artistic means of expression without embellishment and through his works he reflects not only the political, economic and social situation, but also his views and attitudes as a resident of Russia. In our article we present the time map of Russia according to Sorokin as reflected in three novels: The queue (1985), representing the Soviet system in the country, Their four hearts (1994), depicting the collapse of the USSR, and Day of the oprichnik (2006), portraying the beginning of the XXI century. The article is devoted to the significant epochs of Russian history through the eyes of the author, who is trying to capture the mentality, beliefs and opinions of Russian people in his literary works. The analysis of the main periods of Russian history and their influence on the people, as reflected in Sorokin’s oeuvre, allows us to understand their attitude to the current situation in Russia.Vladimir Sorokin is one of the representatives of Russian postmodernism and one of the most translated contemporary Russian authors in Europe. His work reflects an alternative to the “accepted” Russian reality, focusing on its understanding and the influence it has on the Russian people. The author uses artistic means of expression without embellishment and through his works he reflects not only the political, economic and social situation, but also his views and attitudes as a resident of Russia. In our article we present the time map of Russia according to Sorokin as reflected in three novels: The queue (1985), representing the Soviet system in the country, Their four hearts (1994), depicting the collapse of the USSR, and Day of the oprichnik (2006), portraying the beginning of the XXI century. The article is devoted to the significant epochs of Russian history through the eyes of the author, who is trying to capture the mentality, beliefs and opinions of Russian people in his literary works. The analysis of the main periods of Russian history and their influence on the people, as reflected in Sorokin’s oeuvre, allows us to understand their attitude to the current situation in Russia.Vladimir Sorokin is one of the representatives of Russian postmodernism and one of the most translated contemporary Russian authors in Europe. His work reflects an alternative to the “accepted” Russian reality, focusing on its understanding and the influence it has on the Russian people. The author uses artistic means of expression without embellishment and through his works he reflects not only the political, economic and social situation, but also his views and attitudes as a resident of Russia. In our article we present the time map of Russia according to Sorokin as reflected in three novels: The queue (1985), representing the Soviet system in the country, Their four hearts (1994), depicting the collapse of the USSR, and Day of the oprichnik (2006), portraying the beginning of the XXI century. The article is devoted to the significant epochs of Russian history through the eyes of the author, who is trying to capture the mentality, beliefs and opinions of Russian people in his literary works. The analysis of the main periods of Russian history and their influence on the people, as reflected in Sorokin’s oeuvre, allows us to understand their attitude to the current situation in Russia

Miejska przestrzeń pamięci (na podstawie wybranych utworów Herkusa Kunčiusa, Ričardasa Gavelisa, Grigorija Kanowicza)

This article analyses literary representations of Vilnius as a Central and Eastern European city, whose space becomes the field where the memory of many national traditions can be observed. The analysis was conducted on the basis of two novels by Lithuanian writers, i.e. A Lithuanian in Vilnius by Herkus Kunčius and A Vilnius poker by Ričardas Gavelis, as well as the works of Grigory Kanovich, a Lithuanian-Jewish author writing in Russian, i.e. the novel The park of forgotten Jews and the autobiographical-memoir prose Dream about vanished Jerusalem. The conflict-generating aspect of memory is revealed in the works of Lithuanian writers. The city centre becomes a battlefield for the commemoration of one’s own tradition and a sphere of action against the tradition of the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.This article analyses literary representations of Vilnius as a Central and Eastern European city, whose space becomes the field where the memory of many national traditions can be observed. The analysis was conducted on the basis of two novels by Lithuanian writers, i.e. A Lithuanian in Vilnius by Herkus Kunčius and A Vilnius poker by Ričardas Gavelis, as well as the works of Grigory Kanovich, a Lithuanian-Jewish author writing in Russian, i.e. the novel The park of forgotten Jews and the autobiographical-memoir prose Dream about vanished Jerusalem. The conflict-generating aspect of memory is revealed in the works of Lithuanian writers. The city centre becomes a battlefield for the commemoration of one’s own tradition and a sphere of action against the tradition of the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.This article analyses literary representations of Vilnius as a Central and Eastern European city, whose space becomes the field where the memory of many national traditions can be observed. The analysis was conducted on the basis of two novels by Lithuanian writers, i.e. A Lithuanian in Vilnius by Herkus Kunčius and A Vilnius poker by Ričardas Gavelis, as well as the works of Grigory Kanovich, a Lithuanian-Jewish author writing in Russian, i.e. the novel The park of forgotten Jews and the autobiographical-memoir prose Dream about vanished Jerusalem. The conflict-generating aspect of memory is revealed in the works of Lithuanian writers. The city centre becomes a battlefield for the commemoration of one’s own tradition and a sphere of action against the tradition of the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.This article analyses literary representations of Vilnius as a Central and Eastern European city, whose space becomes the field where the memory of many national traditions can be observed. The analysis was conducted on the basis of two novels by Lithuanian writers, i.e. A Lithuanian in Vilnius by Herkus Kunčius and A Vilnius poker by Ričardas Gavelis, as well as the works of Grigory Kanovich, a Lithuanian-Jewish author writing in Russian, i.e. the novel The park of forgotten Jews and the autobiographical-memoir prose Dream about vanished Jerusalem. The conflict-generating aspect of memory is revealed in the works of Lithuanian writers. The city centre becomes a battlefield for the commemoration of one’s own tradition and a sphere of action against the tradition of the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site.the Other, consisting of concealing, marginalising, and removing. Kanovich’s works focus on the issue of Jewish memory in Vilnius after the Holocaust, when the ghetto ceased to exist. Memory becomes present when literary heroes look back at their past. They meet in the park to revive it together. The narration allows us to see how one of the oldest parks in Vilnius is transformed intoa Jewish memorial site

Строить через огонь. Польско-еврейские архитекторы и их профессиональные сети, 1937–1945 г.

Before 1939, Jewish architects were active members of their profession, participating in domestic and international architectural networks and contributing to the built environment of Polish cities. From the mid-1930s, however, intensifying antisemitism and far-right political forces pressured architectural networks to exclude Jews from professional unions. The start of the Second World War and the German occupation in 1939 strained professional architectural networks but led to the formation of underground workshops, cooperatives, and other groups, whose connections extended from Warsaw through the camps and ghettos of occupied Poland. This article presents the history of Jewish-Polish architects from 1937 to 1945. Demonstrating how architectural networks reacted to changing conditions of war, occupation, and genocide, it emphasizes architectural networks as sites of political engagement, ranging from prewar antisemitic attacks on Jews and their removal from the Society of Polish Architects (SARP) to underground architectural networks that hid Jews and allowed them to work. Although the fate of Jewish architects depended largely on their relationships with their professional networks, they also actively decided how to utilize those networks to resist the Nazis and to ensure their survival. This research shows that interpersonal relationships and wartime networks were consequential in determining the wartime fates of Jewish architects and also shaped the profession’s post-war structure.Before 1939, Jewish architects were active members of their profession, participating in domestic and international architectural networks and contributing to the built environment of Polish cities. From the mid-1930s, however, intensifying antisemitism and far-right political forces pressured architectural networks to exclude Jews from professional unions. The start of the Second World War and the German occupation in 1939 strained professional architectural networks but led to the formation of underground workshops, cooperatives, and other groups, whose connections extended from Warsaw through the camps and ghettos of occupied Poland. This article presents the history of Jewish-Polish architects from 1937 to 1945. Demonstrating how architectural networks reacted to changing conditions of war, occupation, and genocide, it emphasizes architectural networks as sites of political engagement, ranging from prewar antisemitic attacks on Jews and their removal from the Society of Polish Architects (SARP) to underground architectural networks that hid Jews and allowed them to work. Although the fate of Jewish architects depended largely on their relationships with their professional networks, they also actively decided how to utilize those networks to resist the Nazis and to ensure their survival. This research shows that interpersonal relationships and wartime networks were consequential in determining the wartime fates of Jewish architects and also shaped the profession’s post-war structure.Before 1939, Jewish architects were active members of their profession, participating in domestic and international architectural networks and contributing to the built environment of Polish cities. From the mid-1930s, however, intensifying antisemitism and far-right political forces pressured architectural networks to exclude Jews from professional unions. The start of the Second World War and the German occupation in 1939 strained professional architectural networks but led to the formation of underground workshops, cooperatives, and other groups, whose connections extended from Warsaw through the camps and ghettos of occupied Poland. This article presents the history of Jewish-Polish architects from 1937 to 1945. Demonstrating how architectural networks reacted to changing conditions of war, occupation, and genocide, it emphasizes architectural networks as sites of political engagement, ranging from prewar antisemitic attacks on Jews and their removal from the Society of Polish Architects (SARP) to underground architectural networks that hid Jews and allowed them to work. Although the fate of Jewish architects depended largely on their relationships with their professional networks, they also actively decided how to utilize those networks to resist the Nazis and to ensure their survival. This research shows that interpersonal relationships and wartime networks were consequential in determining the wartime fates of Jewish architects and also shaped the profession’s post-war structure.Before 1939, Jewish architects were active members of their profession, participating in domestic and international architectural networks and contributing to the built environment of Polish cities. From the mid-1930s, however, intensifying antisemitism and far-right political forces pressured architectural networks to exclude Jews from professional unions. The start of the Second World War and the German occupation in 1939 strained professional architectural networks but led to the formation of underground workshops, cooperatives, and other groups, whose connections extended from Warsaw through the camps and ghettos of occupied Poland. This article presents the history of Jewish-Polish architects from 1937 to 1945. Demonstrating how architectural networks reacted to changing conditions of war, occupation, and genocide, it emphasizes architectural networks as sites of political engagement, ranging from prewar antisemitic attacks on Jews and their removal from the Society of Polish Architects (SARP) to underground architectural networks that hid Jews and allowed them to work. Although the fate of Jewish architects depended largely on their relationships with their professional networks, they also actively decided how to utilize those networks to resist the Nazis and to ensure their survival. This research shows that interpersonal relationships and wartime networks were consequential in determining the wartime fates of Jewish architects and also shaped the profession’s post-war structure

Проекты Нового краеведения в неофициальной истории города: опыт Санкт-Петербурга

The problem of interpreting local history is relevant to St. Petersburg, as to many other major historical cities. This article examines phenomena united by the concepts of local (spatial) myth and urban narrative, which go beyond official discourse. Alternative images of the city, based on its concealed places of interest contrast with one of the most widespread representations of St. Petersburg – its association with the heritage of imperial culture. The selection of memorable places and stories shifts from recognizable city landmarks to other objects that reveal the history and image of particular St. Petersburg sites, people’s daily lives and peripheral issues of urban life. This approach to the exploration of urban space, a phenomenon called New Local History, is presented and explained in the article as the rediscovery of the historical potential of the city. The examples given in the article also show the possible role of New Local History in encouraging residents to develop an interest in their own history, in the problems of modernity and in participating in socially significant projects. Trends in interaction with urban space and memory practices that offer alternative interpretations of the past have been identified in various socio-cultural initiatives. In the context of Russian memory politics, this approach often becomes oppositional.The problem of interpreting local history is relevant to St. Petersburg, as to many other major historical cities. This article examines phenomena united by the concepts of local (spatial) myth and urban narrative, which go beyond official discourse. Alternative images of the city, based on its concealed places of interest contrast with one of the most widespread representations of St. Petersburg – its association with the heritage of imperial culture. The selection of memorable places and stories shifts from recognizable city landmarks to other objects that reveal the history and image of particular St. Petersburg sites, people’s daily lives and peripheral issues of urban life. This approach to the exploration of urban space, a phenomenon called New Local History, is presented and explained in the article as the rediscovery of the historical potential of the city. The examples given in the article also show the possible role of New Local History in encouraging residents to develop an interest in their own history, in the problems of modernity and in participating in socially significant projects. Trends in interaction with urban space and memory practices that offer alternative interpretations of the past have been identified in various socio-cultural initiatives. In the context of Russian memory politics, this approach often becomes oppositional.The problem of interpreting local history is relevant to St. Petersburg, as to many other major historical cities. This article examines phenomena united by the concepts of local (spatial) myth and urban narrative, which go beyond official discourse. Alternative images of the city, based on its concealed places of interest contrast with one of the most widespread representations of St. Petersburg – its association with the heritage of imperial culture. The selection of memorable places and stories shifts from recognizable city landmarks to other objects that reveal the history and image of particular St. Petersburg sites, people’s daily lives and peripheral issues of urban life. This approach to the exploration of urban space, a phenomenon called New Local History, is presented and explained in the article as the rediscovery of the historical potential of the city. The examples given in the article also show the possible role of New Local History in encouraging residents to develop an interest in their own history, in the problems of modernity and in participating in socially significant projects. Trends in interaction with urban space and memory practices that offer alternative interpretations of the past have been identified in various socio-cultural initiatives. In the context of Russian memory politics, this approach often becomes oppositional.The problem of interpreting local history is relevant to St. Petersburg, as to many other major historical cities. This article examines phenomena united by the concepts of local (spatial) myth and urban narrative, which go beyond official discourse. Alternative images of the city, based on its concealed places of interest contrast with one of the most widespread representations of St. Petersburg – its association with the heritage of imperial culture. The selection of memorable places and stories shifts from recognizable city landmarks to other objects that reveal the history and image of particular St. Petersburg sites, people’s daily lives and peripheral issues of urban life. This approach to the exploration of urban space, a phenomenon called New Local History, is presented and explained in the article as the rediscovery of the historical potential of the city. The examples given in the article also show the possible role of New Local History in encouraging residents to develop an interest in their own history, in the problems of modernity and in participating in socially significant projects. Trends in interaction with urban space and memory practices that offer alternative interpretations of the past have been identified in various socio-cultural initiatives. In the context of Russian memory politics, this approach often becomes oppositional

Нарушение нормы Леонида Андреева в драматургическом произведении – „новая драма”

In this article, considering the specifics of the genre, the author focuses on the new observance of the norm in the text of drama. The concept of “norm” in drama has always been interpreted in different ways, i.e. in accordance with the demands of the era, different definitions of “norm” arose. For example, at the beginning of the 20th century in Russia, a peculiar “crisis of the theater” turned out to be especially fruitful in the search for new norms (in search of a new theater). The debate about the new theater lasted, relatively speaking, for ten years: modernists, symbolists, literary groups and individual writers argued about it. Using the example of Leonid Andreyev’s “new drama”, the author discusses such deviations from the norm (previous views) as symbolismand generalization of the characters (in The life of man and Tsar Hunger), the conventionality of the place and time of action (Black masks), and the narrative of the dramatic text (The ocean). Also, the author pays attention to the specific role of the musical background and the chromatics of Andreyev’s works of the “new theater”. Listed as “new plays” during the discussions on the future path of Russian dramatic literature and Russian theater in general, these plays represent the writer’s search for a new dramatic expression, which would later become known in literature as Leonid Andreyev’s “substantial theater”.In this article, considering the specifics of the genre, the author focuses on the new observance of the norm in the text of drama. The concept of “norm” in drama has always been interpreted in different ways, i.e. in accordance with the demands of the era, different definitions of “norm” arose. For example, at the beginning of the 20th century in Russia, a peculiar “crisis of the theater” turned out to be especially fruitful in the search for new norms (in search of a new theater). The debate about the new theater lasted, relatively speaking, for ten years: modernists, symbolists, literary groups and individual writers argued about it. Using the example of Leonid Andreyev’s “new drama”, the author discusses such deviations from the norm (previous views) as symbolismand generalization of the characters (in The life of man and Tsar Hunger), the conventionality of the place and time of action (Black masks), and the narrative of the dramatic text (The ocean). Also, the author pays attention to the specific role of the musical background and the chromatics of Andreyev’s works of the “new theater”. Listed as “new plays” during the discussions on the future path of Russian dramatic literature and Russian theater in general, these plays represent the writer’s search for a new dramatic expression, which would later become known in literature as Leonid Andreyev’s “substantial theater”.In this article, considering the specifics of the genre, the author focuses on the new observance of the norm in the text of drama. The concept of “norm” in drama has always been interpreted in different ways, i.e. in accordance with the demands of the era, different definitions of “norm” arose. For example, at the beginning of the 20th century in Russia, a peculiar “crisis of the theater” turned out to be especially fruitful in the search for new norms (in search of a new theater). The debate about the new theater lasted, relatively speaking, for ten years: modernists, symbolists, literary groups and individual writers argued about it. Using the example of Leonid Andreyev’s “new drama”, the author discusses such deviations from the norm (previous views) as symbolism and generalization of the characters (in The life of man and Tsar Hunger), the conventionality of the place and time of action (Black masks), and the narrative of the dramatic text (The ocean). Also, the author pays attention to the specific role of the musical background and the chromatics of Andreyev’s works of the “new theater”. Listed as “new plays” during the discussions on the future path of Russian dramatic literature and Russian theater in general, these plays represent the writer’s search for a new dramatic expression, which would later become known in literature as Leonid Andreyev’s “substantial theater”.In this article, considering the specifics of the genre, the author focuses on the new observance of the norm in the text of drama. The concept of “norm” in drama has always been interpreted in different ways, i.e. in accordance with the demands of the era, different definitions of “norm” arose. For example, at the beginning of the 20th century in Russia, a peculiar “crisis of the theater” turned out to be especially fruitful in the search for new norms (in search of a new theater). The debate about the new theater lasted, relatively speaking, for ten years: modernists, symbolists, literary groups and individual writers argued about it. Using the example of Leonid Andreyev’s “new drama”, the author discusses such deviations from the norm (previous views) as symbolismand generalization of the characters (in The life of man and Tsar Hunger), the conventionality of the place and time of action (Black masks), and the narrative of the dramatic text (The ocean). Also, the author pays attention to the specific role of the musical background and the chromatics of Andreyev’s works of the “new theater”. Listed as “new plays” during the discussions on the future path of Russian dramatic literature and Russian theater in general, these plays represent the writer’s search for a new dramatic expression, which would later become known in literature as Leonid Andreyev’s “substantial theater”

Великая Отечественная Война на выставках в советских столицах: Москва, Киев, Минск

During World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war.During World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war.During World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war.During World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war

Мотив адюльтера в романе Анатолия Мариенгофа Циники: слом или продолжение традиций русского словесно-культурного процесса?

Cynics as the poetics and worldview of imagism suggests, gives the impression of a kind of novel-rebellion against Russian literary culture that has developed since the era of Pushkin. This is despite the fact that Mariengof at the end of the 1920s, when predictably dominated by social-political issues, creates a novel about a love story, seemingly quite traditional for Russian literature. This novel is not only about a love story, however, but also about adultery, proposed almost as a norm in married life. This violates and partly as it were destroys the traditions developed by the Russian literary process in the sphere of motives. Love stories and adulteries are inscribed in the motif, gradually gaining strength, of marital unfaithfulness which increases the independent poetics in Russian literature. According to literary scholars, adultery has its origins in the prose of Pushkin, and Lermontov, and it is further developed by Leo Tolstoy. However, researchers have not paid enough attention to the genres of the romantic, secular novella of the 1820s–1840s, with Turgenev’s works as another line of adultery, largely autonomous, experiencing the natural influence of the Europeanmedieval tradition. From this angle, the motif of adultery in Cynics has an “external” dimension, correlating with historical time, a catastrophic social-political situation, and internal literary history, as Veselovsky designated it. This naturally and inextricably connects the novel with the thickness of national and Western European literary meanings, images, types of heroes, and conflicts.Cynics as the poetics and worldview of imagism suggests, gives the impression of a kind of novel-rebellion against Russian literary culture that has developed since the era of Pushkin. This is despite the fact that Mariengof at the end of the 1920s, when predictably dominated by social-political issues, creates a novel about a love story, seemingly quite traditional for Russian literature. This novel is not only about a love story, however, but also about adultery, proposed almost as a norm in married life. This violates and partly as it were destroys the traditions developed by the Russian literary process in the sphere of motives. Love stories and adulteries are inscribed in the motif, gradually gaining strength, of marital unfaithfulness which increases the independent poetics in Russian literature. According to literary scholars, adultery has its origins in the prose of Pushkin, and Lermontov, and it is further developed by Leo Tolstoy. However, researchers have not paid enough attention to the genres of the romantic, secular novella of the 1820s–1840s, with Turgenev’s works as another line of adultery, largely autonomous, experiencing the natural influence of the Europeanmedieval tradition. From this angle, the motif of adultery in Cynics has an “external” dimension, correlating with historical time, a catastrophic social-political situation, and internal literary history, as Veselovsky designated it. This naturally and inextricably connects the novel with the thickness of national and Western European literary meanings, images, types of heroes, and conflicts.Cynics as the poetics and worldview of imagism suggests, gives the impression of a kind of novel-rebellion against Russian literary culture that has developed since the era of Pushkin. This is despite the fact that Mariengof at the end of the 1920s, when predictably dominated by social-political issues, creates a novel about a love story, seemingly quite traditional for Russian literature. This novel is not only about a love story, however, but also about adultery, proposed almost as a norm in married life. This violates and partly as it were destroys the traditions developed by the Russian literary process in the sphere of motives. Love stories and adulteries are inscribed in the motif, gradually gaining strength, of marital unfaithfulness which increases the independent poetics in Russian literature. According to literary scholars, adultery has its origins in the prose of Pushkin, and Lermontov, and it is further developed by Leo Tolstoy. However, researchers have not paid enough attention to the genres of the romantic, secular novella of the 1820s–1840s, with Turgenev’s works as another line of adultery, largely autonomous, experiencing the natural influence of the Europeanmedieval tradition. From this angle, the motif of adultery in Cynics has an “external” dimension, correlating with historical time, a catastrophic social-political situation, and internal literary history, as Veselovsky designated it. This naturally and inextricably connects the novel with the thickness of national and Western European literary meanings, images, types of heroes, and conflicts.Cynics as the poetics and worldview of imagism suggests, gives the impression of a kind of novel-rebellion against Russian literary culture that has developed since the era of Pushkin. This is despite the fact that Mariengof at the end of the 1920s, when predictably dominated by social-political issues, creates a novel about a love story, seemingly quite traditional for Russian literature. This novel is not only about a love story, however, but also about adultery, proposed almost as a norm in married life. This violates and partly as it were destroys the traditions developed by the Russian literary process in the sphere of motives. Love stories and adulteries are inscribed in the motif, gradually gaining strength, of marital unfaithfulness which increases the independent poetics in Russian literature. According to literary scholars, adultery has its origins in the prose of Pushkin, and Lermontov, and it is further developed by Leo Tolstoy. However, researchers have not paid enough attention to the genres of the romantic, secular novella of the 1820s–1840s, with Turgenev’s works as another line of adultery, largely autonomous, experiencing the natural influence of the Europeanmedieval tradition. From this angle, the motif of adultery in Cynics has an “external” dimension, correlating with historical time, a catastrophic social-political situation, and internal literary history, as Veselovsky designated it. This naturally and inextricably connects the novel with the thickness of national and Western European literary meanings, images, types of heroes, and conflicts

Отступления от нормы и их отражение в памятниках нормативного характера: на примере правил Ужгородского Псевдозонара XVII в.

Christian doctrine clearly regulates a person’s daily life, relationships with others, and behavior even down to eating. Breaking the commandments is considered a sin, and overcoming one’s own weakness leads to the improvement of man and bringing him closer to God, which is ultimately the goal of every Christian’s life. On the material of Cyrillic monuments of written texts of a teaching character, we will consider how the deviation from the norms of Christian morality and violation of the rules of doctrine are reflected in sermons. The sermon as a non-canonical, free genre is interesting for the study of the human value system; it is in the texts of sermons that one can find a reaction to socially significant events. In the article we will trace what sins are mentioned in sermons, what methods of overcoming them are suggested, and what values are emphasized as the main ones. We will conduct this study on the material of the sermons that are part of the Uglian didactical gospel, the didactical gospel of Clement Bukowski, and some other collections. To overcome sin, the Church used not only teachings, but also a collection of laws, the distinctive feature of which was the indication of punishment (penitentia) for the violation of this or that regulation. It should be noted that the various punishments were not physical, but spiritual (e.g. excommunication from the sacrament of confession and communion for a certain period of time, strict fasts, and many others), and the main purpose of punishment was to correct the sinful nature of man and bring him closer to God.Christian doctrine clearly regulates a person’s daily life, relationships with others, and behavior even down to eating. Breaking the commandments is considered a sin, and overcoming one’s own weakness leads to the improvement of man and bringing him closer to God, which is ultimately the goal of every Christian’s life. On the material of Cyrillic monuments of written texts of a teaching character, we will consider how the deviation from the norms of Christian morality and violation of the rules of doctrine are reflected in sermons. The sermon as a non-canonical, free genre is interesting for the study of the human value system; it is in the texts of sermons that one can find a reaction to socially significant events. In the article we will trace what sins are mentioned in sermons, what methods of overcoming them are suggested, and what values are emphasized as the main ones. We will conduct this study on the material of the sermons that are part of the Uglian didactical gospel, the didactical gospel of Clement Bukowski, and some other collections. To overcome sin, the Church used not only teachings, but also a collection of laws, the distinctive feature of which was the indication of punishment (penitentia) for the violation of this or that regulation. It should be noted that the various punishments were not physical, but spiritual (e.g. excommunication from the sacrament of confession and communion for a certain period of time, strict fasts, and many others), and the main purpose of punishment was to correct the sinful nature of man and bring him closer to God.Christian doctrine clearly regulates a person’s daily life, relationships with others, and behavior even down to eating. Breaking the commandments is considered a sin, and overcoming one’s own weakness leads to the improvement of man and bringing him closer to God, which is ultimately the goal of every Christian’s life. On the material of Cyrillic monuments of written texts of a teaching character, we will consider how the deviation from the norms of Christian morality and violation of the rules of doctrine are reflected in sermons. The sermon as a non-canonical, free genre is interesting for the study of the human value system; it is in the texts of sermons that one can find a reaction to socially significant events. In the article we will trace what sins are mentioned in sermons, what methods of overcoming them are suggested, and what values are emphasized as the main ones. We will conduct this study on the material of the sermons that are part of the Uglian didactical gospel, the didactical gospel of Clement Bukowski, and some other collections. To overcome sin, the Church used not only teachings, but also a collection of laws, the distinctive feature of which was the indication of punishment (penitentia) for the violation of this or that regulation. It should be noted that the various punishments were not physical, but spiritual (e.g. excommunication from the sacrament of confession and communion for a certain period of time, strict fasts, and many others), and the main purpose of punishment was to correct the sinful nature of man and bring him closer to God.Christian doctrine clearly regulates a person’s daily life, relationships with others, and behavior even down to eating. Breaking the commandments is considered a sin, and overcoming one’s own weakness leads to the improvement of man and bringing him closer to God, which is ultimately the goal of every Christian’s life. On the material of Cyrillic monuments of written texts of a teaching character, we will consider how the deviation from the norms of Christian morality and violation of the rules of doctrine are reflected in sermons. The sermon as a non-canonical, free genre is interesting for the study of the human value system; it is in the texts of sermons that one can find a reaction to socially significant events. In the article we will trace what sins are mentioned in sermons, what methods of overcoming them are suggested, and what values are emphasized as the main ones. We will conduct this study on the material of the sermons that are part of the Uglian didactical gospel, the didactical gospel of Clement Bukowski, and some other collections. To overcome sin, the Church used not only teachings, but also a collection of laws, the distinctive feature of which was the indication of punishment (penitentia) for the violation of this or that regulation. It should be noted that the various punishments were not physical, but spiritual (e.g. excommunication from the sacrament of confession and communion for a certain period of time, strict fasts, and many others), and the main purpose of punishment was to correct the sinful nature of man and bring him closer to God

Восстановление женственности в городах, подвергшихся воздействию войны: женская активность, пространственнaя субверсия и лингвистическое сопротивление в литературе, созданной авторами-женщинами

This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration