Motives of Story “Queen of Spades” by Alexan der Pushkin in Novel “Bad Weather” by Alexander Ivanov

The novel by A. Pushkin “The   Queen  of Spades” and the novel by A. V. Ivanov “Bad weather” from the point of view of literary relationships is examined in the article, the method of intertextual analysis is used. The aim of the study is to identify parallels   in the problematic, motivational structure and systems of images of these works. The article analyzes the relationship between the work of  A. Ivanov and  directly  with  the  text   of “The Queen of Spades”, and with the epigraph to it. The results of the research allow us to conclude that the image of bad weather as a background for the development of action connects the Pushkin story and the novel by A. V. Ivanov. It is noted that in both works the theme of the change of epochs is artistically realized, and the past is interpreted as    a time much brighter and more meaningful than the present. The studied works are also united by the plot-forming motive of playing with fate, which, in turn, is associated with the theme of passion for money. In addi tion, commonality can be noted in the nature of the characters and the principles of their representation; to a certain extent, the fates and nature of women characters of the works are similar. Comparison with Pushkin's story helps to see deep philosophical problems in A. Ivanov’s novel “Bad Weather”

The function and mission of the “little man” in Bulat Okudzhava’s novel Poor Avrosimov

In the beginning of the article we correlate Okudzhava’s story about the creative history of his novel (“invention” of the scrivener’s image) with the writer’s statements about Decembrism, which allows us to solve the following tasks: 1) to restore the main creative impulses of the writer; 2) to characterize the formation of his cognitive strategy, which covers the mythologized past and the tragic events of the Soviet era; 3) to clarify a number of definite functions of the “little man” that have not yet been noted by the interpreters of the novel; 4) to highlight the mission of the “little man” that reveals Okudzhava’s ethical principle. We consider the artist’s inconsistency in stylizing the thinking of the “little man” (the lead character and his psychological counterpart – the narrator) as a means of involving the contemporary reader in a dispute about the conflicts of the past inherited by the 20th century. We show the fundamental novelty of the embodiment of the Decembrist theme in the mirror of the perception of literary critics of the 1970s, who remained in the grip of the myth of the first Russian revolutionaries in its two varieties (official or alternative, cultivated by freethinkers), which interfered with the proper perception of the status of the “little man” next to a historic figure. Our task is to show that the merciful ethics of the artist, compassionate to the sufferer, soften Okudzhava’s civic intransigence towards the ideology of Pestel, whose state utopia became a Soviet reality; thus, we substantiate the regularity of the election of the “little man”, who himself needs indulgence, to the role of the spokesman for Pushkin’s commandment of “mercy to the fallen”. We trace the bold development in Okudzhava’s novel of the classical tradition of the “little man” experiencing his own drama of the “weak heart”. The echoes of Avrosimov’s fantasies about saving Pestel with Pushkin’s poem “Deep in Siberia’s mines...” are comprehended in the article as a sublimation of the author’s pain about the tragic fate of the Decembrists

«Фонарь догадки во тьме времен»: о пьесе Игнатия Ивановского «Сонеты Шекспира»

The challenges of intellectual translation that the translators of Shakespeare’s sonnets had to stand up to allowed them to develop their own creative imagination. In Russia, this gave rise to the distinctive literary response of Shakespeare’s sonnets in Russian translations. “Shakespeare’s Sonnets” written by Ignaty Ivanovsky is a brilliant illustration of creative playing with the literary concepts of Shakespeare’s poetry. In transforming his unique interpretation of the sonnets into his own play, Ivanovsky demonstrated an outstanding talent. This article is an attempt to make analytic comparison between Ivanovsky’s translation skills and the images and plots of his play “Shakespeare’s Sonnets”.In the article titled “Brand New Shakespeare”, Ivanovsky sets out his understanding of Shakespeare and his sonnets. Thus, he finds no cycle integrity in Shakespeare’s sonnet sequence, which means that the English poet was probably not their sole author. The translator believes that the first seventeen sonnets are songs of sorrow rather than hymns to beauty, as they were written at the death of Shakespeare’s son. These sonnets were the late addition to a long-planned poetic selection dedicated to a woman. These theories are more than speculative ideas –they are the fruit of Ivanovsky’s rich imagination, as he perceived Shakespeare and his sonnets as vibrant and living.Ivanovsky’s hypothetical ‘conjectures’ encouraged him to write a play of his own and defined its structure, which comprises three interludes united in a single frame. Shakespeare and his sonnets are in the focus of the play. The first two interludes lead us to the sonnets; the third interlude introduces the sonnets’ characters, who live a life of Shakespeare’s poetic magic. The sonnets form the frame of the play, and are skillfully built into the poetic plotline. Since Ivanovsky treated Shakespeare as a baroque poet, he was able to reproduce semantic richness of his metaphors and develop their literary potential within the context of the play.Our analysis has established that Ivanovsky’s findings as a translator found their way into the imagery and plotline ‘conjectures’ of his play about Shakespeare. In the context of metaphor theory, which is an issue of contemporary cognitive philology, this type of analysis helps develop the ideas of implementing cognitive approach in translation studies.Писательские фантазии переводчиков сонетов Шекспира, рожденные в процессе переводческого поиска, стали своеобразным литературным резонансом шекспировской сонетианы в России. Пьеса Игнатия Ивановского «Сонеты Шекспира» — яркий пример подобной креативной игры художественными смыслами шекспировских стихов, показавшей удивительную способность автора преобразовать его переводческое прочтение сонетов в собственную пьесу. В статье представлена попытка аналитического сопоставления переводческой позиции и переводных находок Ивановского с образами и сюжетами «Сонетов Шекспира». Статья выполнена в свете проекта, разрабатываемого Институтом мировой литературы им. А. М. Горького РАН.Представление о Шекспире и его сонетах Ивановский изложил в статье «Совсем другой Шекспир». Автор уверен, что в шекспировском сборнике отсутствует циклообразующее единство и далеко не все написано Шекспиром. Первые 17 стихотворений, считает переводчик, появились в связи со смертью сына Шекспира, поэтому в их основе не гимн красоте, а тяжкое горе отца. Эти стихи — позднее добавление к задуманному ранее собранию сонетов, посвященных женщине. Названные принципы представлены в статье не умозрительными идеями — рожденные в творческом пространстве богатого писательского воображения Ивановского, они явились результатом проникновенного ощущения Шекспира и его стихов трепетно живыми.Гипотетические «догадки» Ивановского стали творческими импульсами к созданию его пьесы и определили ее структуру: три интермедии, связанные обрамляющей основой. Идейно-композиционное средоточие пьесы — Шекспир и его сонеты. Интермедии последовательно приближают нас к шекспировским стихам, а персонажами третьей становятся их ожившие герои, которые действуют, подчиняясь волшебной магии шекспировской поэзии. Поэтическую магистраль произведения создают сонеты, непосредственно включенные в обрамляющую часть пьесы. Восприятие Шекспира барочным поэтом позволило Ивановскому воссоздавать семантическую наполненность шекспировских метафор и стимулировало использование их художественного потенциала в пьесе.Проведенный анализ выявил несомненное отражение переводческих находок Ивановского в созидаемых им образах и сюжетных «догадках» пьесы о Шекспире. В свете теории метафоры, разрабатываемой в современной когнитивной филологии, такой анализ позволяет дополнять и конкретизировать представления о возможности применения когнитивных подходов в переводоведческих исследованиях

Экранизация «Барышни-крестьянки» 1995 г. : повесть А. С. Пушкина – сценарий А. Н. Житинского – фильм А. Н. Сахарова

Темой настоящей работы является современная экранизация классического литературного произведения. Объектом исследования будут повесть А. С. Пушкина «Барышня-крестьянка», одноименная повесть А. Н. Житинского, написанная как сценарий, и фильм, который снял по нему режиссер А. Н. Сахаров; а предметом —изменения, которым подвергся в процессе «перевода» текст-источник. Таким образом, мы будем анализировать соотношение трех текстов, двух литературных и одного кинематографического: повесть Пушкина (1830) → повесть-сценарий Житинского (1992) → фильм Сахарова (1995).https://www.ester.ee/record=b5373854*es

Пушкинская эпоха и русский литературный канон : к 85-летию Ларисы Ильиничны Вольперт. Часть 1

http://www.ester.ee/record=b2666370*es

Russian National Myth in Transition

Acta Slavica Estonica is an international series of publications on current issues of Russian and other Slavic languages, literatures and cultures. This volume is part of the subseries Studia Russica Helsingiensia et Tartuensia, XIV, and unites scholars from Estonia, Finland, Russia, Ukraine, Germany, and Canada who belong to the tradition of the Tartu Lotman school. This collective monograph explores the development of national myth on the basis of a variety of materials from Russian culture, beginning from the Late Middle Ages and finishing with the Soviet epoch. The main part of the study is devoted to the Imperial period — the epoch during which the notion of nation arises. Analyzing the mechanisms used to construct national ideology, the authors especially stress the participation of literature and art in nation building: the role of the press, theatre, writers and their works in their dependence upon historical matters and political conjuncture