33 research outputs found
Π ΠΎΠΌΠ°Π½ ΠΠ°Π»ΡΡΠ΅ΡΠ° Π‘ΠΊΠΎΡΡΠ° "ΠΠ½ΡΠΈΠΊΠ²Π°ΡΠΈΠΉ": ΠΊΡΠ»ΡΡΡΡΠ½ΡΠ΅, ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΠ΅, Ρ ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΠ΅ ΠΈ ΠΏΠΎΠ²Π΅ΡΡΠ²ΠΎΠ²Π°ΡΠ΅Π»ΡΠ½ΡΠ΅ Π°Π»ΡΡΠ½ΡΡ
One of the least known to Russian readers novels of Sir Walter Scott is under analysis. Russian critical thought of Scott does not speak of the novel as it should since The Antiquary (1816) is the novel which demonstrates the movement of the writer's artistic method towards more complex and realistic depiction of characters and circumstances. The authors of the essay analytically concentrate on the talk of the artistic structure of the novel as a wholeness that is characterized by quite harmonious alliances which eliminate various antinomies and dichotomies. The authors argue that the central role in the artistic wholeness of the novel are played by such antinomies as 'historical fact - imaginative (fictitious) fact', 'man as a private individual - man as a social being', 'past - present', 'historical novel - social novel', 'historical novel - novel of manners', 'socio - psychological novel - romance', 'realism - romanticism', 'realistic - gothic', 'dramatic - comic', 'Scottish - English', 'grassroots culture - high culture', etc.; the movement of the narration towards bright resolution of them is revealed in the essay. The authors of the essay also show the role and specificity of ethnographical peculiarities of the Scottish life in the late 1790s as they were seen and narrated by the writer.Π ΡΡΠ°ΡΡΠ΅ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΡΠ΅ΡΡΡ ΠΌΠ°Π»ΠΎ ΠΈΠ·Π²Π΅ΡΡΠ½ΡΠΉ ΡΠΎΠΌΠ°Π½ Π. Π‘ΠΊΠΎΡΡΠ° "ΠΠ½ΡΠΈΠΊΠ²Π°ΡΠΈΠΉ", Π±Π΅Π· ΠΎΠ±ΡΠ°ΡΠ΅Π½ΠΈΡ ΠΊ ΠΊΠΎΡΠΎΡΠΎΠΌΡ, ΠΏΠΎ ΠΌΠ½Π΅Π½ΠΈΡ Π±ΠΎΠ»ΡΡΠΈΠ½ΡΡΠ²Π° ΠΈΡΡΠΎΡΠΈΠΊΠΎΠ² Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ, ΡΡΡΠ΄Π½ΠΎ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΠΈΡΡ Π΄ΠΈΠ½Π°ΠΌΠΈΠΊΡ ΠΊΠ°ΠΊ ΠΆΠ°Π½ΡΠ° ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ ΡΠΎΠΌΠ°Π½Π°, ΡΠ°ΠΊ ΠΈ ΡΡΡΠ΅ΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΠΌΡΡΠ»ΠΈ Π. Π‘ΠΊΠΎΡΡΠ° Π½Π° ΠΏΡΡΠΈ ΠΎΡ ΡΠΎΠΌΠ°Π½ΡΠΈΠ·ΠΈΡΠΎΠ²Π°Π½Π½ΠΎΠ³ΠΎ ΠΌΠΈΡΠΎΠ²ΠΎΡΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ ΠΊ ΡΠ΅Π°Π»ΠΈΡΡΠΈΡΠ΅ΡΠΊΠΎΠΌΡ ΡΠΈΠΏΡ ΠΏΠΈΡΡΠΌΠ°
I. S. Turgenev as a Walter Scottβs reader (on Turgenevβs personal library). Part 1
Π ΡΡΠ°ΡΡΠ΅ ΡΠ°Π·ΡΠ°Π±Π°ΡΡΠ²Π°Π΅ΡΡΡ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠ° Π²ΠΎΡΠΏΡΠΈΡΡΠΈΡ Π.Π‘. Π’ΡΡΠ³Π΅Π½Π΅Π²ΡΠΌ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π° Π. Π‘ΠΊΠΎΡΡΠ°. ΠΠ°ΡΠ΅ΡΠΈΠ°Π»ΠΎΠΌ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ Π²ΠΏΠ΅ΡΠ²ΡΠ΅ Π²ΡΡΡΡΠΏΠ°ΡΡ ΠΌΠ½ΠΎΠ³ΠΎΡΠΈΡΠ»Π΅Π½Π½ΡΠ΅ ΠΏΠΎΠΌΠ΅ΡΡ ΡΡΡΡΠΊΠΎΠ³ΠΎ ΠΏΠΈΡΠ°ΡΠ΅Π»Ρ, ΠΎΡΡΠ°Π²Π»Π΅Π½Π½ΡΠ΅ Π½Π° ΡΡΡΠ°Π½ΠΈΡΠ°Ρ
ΠΌΠ½ΠΎΠ³ΠΎΡΠΎΠΌΠ½ΠΎΠ³ΠΎ ΡΠΎΠ±ΡΠ°Π½ΠΈΡ ΡΠΎΡΠΈΠ½Π΅Π½ΠΈΠΉ Π°Π½Π³Π»ΠΈΠΉΡΠΊΠΎΠ³ΠΎ ΡΠΎΠΌΠ°Π½ΠΈΡΡΠ°. Π‘Π»Π΅Π΄Ρ ΡΡΡΠ³Π΅Π½Π΅Π²ΡΠΊΠΎΠ³ΠΎ ΡΡΠ΅Π½ΠΈΡ ΡΠ²ΡΠ·Π°Π½Ρ ΡΠΎ ΡΡΡΠ΅ΠΌΠ»Π΅Π½ΠΈΠ΅ΠΌ ΠΏΠΎΡΡΠΈΡΡ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎΡΡΠΈ Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠ³ΠΎ ΠΌΠ΅ΡΠΎΠ΄Π°, ΡΡΡΠ½ΠΈΡΡ ΡΡΡΠ½ΠΎΡΡΡ ΠΎΠ±ΡΠ΅ΠΊΡΠΈΠ²Π½ΠΎΠΉ ΠΌΠ°Π½Π΅ΡΡ ΠΏΠΎΠ²Π΅ΡΡΠ²ΠΎΠ²Π°Π½ΠΈΡ, ΠΎΠΏΡΠ΅Π΄Π΅Π»ΡΠ΅ΠΌΠΎΠΉ ΠΈΡΡΠΎΡΠΈΠ·ΠΌΠΎΠΌ ΠΈ ΠΏΡΠΎΡΠ²ΠΈΠ²ΡΠ΅ΠΉΡΡ Π² Π»ΠΈΠ½ΠΈΠΈ ΡΠ°Π·Π²ΠΈΡΠΈΡ Π³Π»Π°Π²Π½ΡΡ
Π³Π΅ΡΠΎΠ΅Π². ΠΠ½ΡΠ΅ΡΠ΅Ρ Π.Π‘. Π’ΡΡΠ³Π΅Π½Π΅Π²Π° Π³Π»Π°Π²Π½ΡΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ Π½Π°ΠΏΡΠ°Π²Π»Π΅Π½ Π½Π° ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΠ΅ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ° ΠΊΠ°ΠΊ Π½ΠΎΡΠΈΡΠ΅Π»Ρ Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΉ ΡΡΠΈΡ
ΠΈΠΈ. Π‘Π²ΠΎΠ΅ΠΎΠ±ΡΠ°Π·ΠΈΠ΅ Π΅Π³ΠΎ ΡΠ΅ΡΠ΅ΠΏΡΠΈΠΈ Π·Π°ΠΊΠ»ΡΡΠ°Π΅ΡΡΡ Π² ΡΡΡΠ½Π΅Π½ΠΈΠΈ ΡΠΈΠ½ΡΠ΅Π·Π° ΠΊΠΎΠΌΠΈΡΠ΅ΡΠΊΠΈΡ
ΠΈ ΡΡΠ°Π³ΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΠ΅ΡΡ, ΠΏΡΠΎΡΠ²Π»Π΅Π½Π½ΡΡ
Π² ΠΎΠ±ΡΠ°Π·Π΅ ΠΈ ΠΏΠΎΠ²Π΅Π΄Π΅Π½ΠΈΠΈ Π³Π΅ΡΠΎΠ΅Π². ΠΡΠΈ ΡΡΠΎΠΌ ΠΏΡΠΈΠ½ΡΠΈΠΏΠΈΠ°Π»ΡΠ½ΠΎ Π²Π°ΠΆΠ½ΡΠΌ Π΄Π»Ρ ΠΏΠΈΡΠ°ΡΠ΅Π»Ρ ΡΠ²ΠΈΠ»ΡΡ ΠΆΠΈΠ·Π½Π΅ΡΡΠ²Π΅ΡΠΆΠ΄Π°ΡΡΠΈΠΉ Ρ
Π°ΡΠ°ΠΊΡΠ΅Ρ ΡΡΠΎΠ³ΠΎ ΡΡΡΠ΅ΡΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ Π΅Π΄ΠΈΠ½ΡΡΠ²Π°. ΠΠΎΠ·ΠΈΡΠΈΡ Π’ΡΡΠ³Π΅Π½Π΅Π²Π°-ΡΠΈΡΠ°ΡΠ΅Π»Ρ ΡΠΊΠ°Π·Π°Π»Π°ΡΡ Π² ΡΡΠ²ΠΎΠ΅Π½ΠΈΠΈ ΠΏΡΠΎΡΠ²Π΅ΡΠΈΡΠ΅Π»ΡΡΠΊΠΎΠΉ ΠΊΠΎΠ½ΡΠ΅ΠΏΡΠΈΠΈ Π»ΠΈΡΠ½ΠΎΡΡΠΈ, Π΄Π΅ΠΊΠ»Π°ΡΠΈΡΡΠ΅ΠΌΠΎΠΉ Π. Π‘ΠΊΠΎΡΡΠΎΠΌ. ΠΠΎΠ»ΡΡΠΎΠ΅ ΡΠΈΡΠ»ΠΎ ΠΏΠΎΠΌΠ΅Ρ Π°ΠΊΡΠ΅Π½ΡΠΈΡΡΠ΅Ρ ΠΎΠΏΠΈΡΠ°Π½ΠΈΠ΅ ΠΆΠΈΠ·Π½ΠΈ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ° Π² Π΅Π΅ Π΅ΠΆΠ΅Π΄Π½Π΅Π²Π½ΡΡ
Π±ΡΠ΄Π½ΠΈΡΠ½ΡΡ
ΠΏΡΠΎΡΠ²Π»Π΅Π½ΠΈΡΡ
, Π½Π΅ΡΠ°Π·ΡΡΠ²Π½ΠΎ ΡΠ²ΡΠ·Π°Π½Π½ΡΡ
Ρ ΠΎΠ±ΡΠΈΠΌ Ρ
ΠΎΠ΄ΠΎΠΌ ΠΈΡΡΠΎΡΠΈΠΈ. ΠΡΠΎΡ ΠΈΠ½ΡΠ΅ΡΠ΅Ρ ΠΊ ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΡ Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΉ ΡΡΠΈΡ
ΠΈΠΈ ΡΠΎΠ²ΠΏΠ°Π΄Π°Π» Ρ ΡΠ°Π·Π²ΠΈΡΠΈΠ΅ΠΌ ΡΠ°ΠΌΠΎΠ³ΠΎ Π.Π‘. Π’ΡΡΠ³Π΅Π½Π΅Π²Π° Π² 1840-Π΅ Π³Π³
ΠΠ°Π»ΡΡΠ΅Ρ Π‘ΠΊΠΎΡΡ ΠΊΠ°ΠΊ ΠΈΡΡΠΎΡΠΈΠΊ
Π Π°Π±ΠΎΡΠ° ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π° Π²ΡΡΠ²Π»Π΅Π½ΠΈΡ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΠΊΠΎΠ½ΡΠ΅ΠΏΡΠΈΠΈ ΠΈ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΡ
Π²Π·Π³Π»ΡΠ΄ΠΎΠ² ΠΠ°Π»ΡΡΠ΅ΡΠ° Π‘ΠΊΠΎΡΡΠ°. ΠΠ° ΠΎΡΠ½ΠΎΠ²Π°Π½ΠΈΠΈ ΠΎΠΏΡΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½Π½ΡΡ
ΠΈΡΡΠΎΡΠ½ΠΈΠΊΠΎΠ² Π»ΠΈΡΠ½ΠΎΠ³ΠΎ ΠΏΡΠΎΠΈΡΡ
ΠΎΠΆΠ΄Π΅Π½ΠΈΡ ΠΏΡΠΎΡΠ»Π΅ΠΆΠΈΠ²Π°Π΅ΡΡΡ ΠΏΡΡΡ ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΠΊΠΎΠ½ΡΠ΅ΠΏΡΠΈΠΈ Π°Π²ΡΠΎΡΠ°, Π²ΡΡΠ²Π»ΡΡΡΡΡ Π΅Π΅ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎΡΡΠΈ, Π° ΡΠ°ΠΊΠΆΠ΅ Π²Π·Π³Π»ΡΠ΄Ρ Π°Π²ΡΠΎΡΠ° Π½Π° ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΠΉ ΠΏΡΠΎΡΠ΅ΡΡ, Π²ΡΡΠ°ΠΆΠ΅Π½Π½ΡΠ΅ Π² ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΡΡΠ΄Π°Ρ
Β«ΠΡΡΠΎΡΠΈΡ Π¨ΠΎΡΠ»Π°Π½Π΄ΠΈΠΈΒ», Β«ΠΠΈΠ·Π½Ρ ΠΠ°ΠΏΠΎΠ»Π΅ΠΎΠ½Π° ΠΠΎΠ½Π°ΠΏΠ°ΡΡΠ°Β», ΠΈ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΠΎΠΌΠ°Π½Π°Ρ
, Π² ΡΠ°ΡΡΠ½ΠΎΡΡΠΈ Β«Π£ΡΠ²Π΅ΡΠ»ΠΈΒ», Β«ΠΠ°ΠΉ ΠΡΠ½Π½Π΅ΡΠΈΠ½Π³Β», Β«ΠΠ½ΡΠΈΠΊΠ²Π°ΡΠΈΠΉΒ»
ΠΠ»ΠΈΡΠ½ΠΈΠ΅ "ΠΠ΅ΡΠ΅Π½ ΡΠΎΡΠ»Π°Π½Π΄ΡΠΊΠΎΠΉ Π³ΡΠ°Π½ΠΈΡΡ" ΡΡΡΠ° Π£. Π‘ΠΊΠΎΡΡΠ° Π½Π° ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΠ΅ ΡΠΎΡΠ»Π°Π½Π΄ΡΠΊΠΎΠΉ Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΉ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ½ΠΎΡΡΠΈ Π½Π° ΡΡΠ±Π΅ΠΆΠ΅ XVIII - XIX Π²Π΅ΠΊΠΎΠ²
ΠΠ»ΠΈΡΠ½ΠΈΠ΅ Π½Π°ΡΠΎΠ΄Π½ΡΡ
Π±Π°Π»Π»Π°Π΄, ΠΈΠ·Π΄Π°Π½Π½ΡΡ
Π² ΡΠ±ΠΎΡΠ½ΠΈΠΊΠ΅ "ΠΠ΅ΡΒΠ½ΠΈ ΡΠΎΡΠ»Π°Π½Π΄ΡΠΊΠΎΠΉ Π³ΡΠ°Π½ΠΈΡΡ", Π½Π° ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΠ΅ Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΉ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ½ΠΎΡΡΠΈ Π¨ΠΎΡΠ»Π°Π½Π΄ΠΈΠΈ Π½Π° ΡΡΠ±Π΅ΠΆΠ΅ XVIII - Π½Π°Ρ. XIX Π²Π΅ΠΊΠΎ
The Idea of History in Russia and Walter Scott's Historical Narratives
History in Russia in the Enlightenment was represented not only by academic research, but by the series of literary works. They created a space of public history and satisfies the need for historical knowledge for those who could not or did not want to study serious scholarly works. They searched for cultural clichΓ©s, patterns, and metaphors to mold their historical images, schemes, and explanations. Walter Scottβs novels made an immediate impact on Russian society because it had been already prepared for such literature. In Scottβs historical novel there was a beneficial synthesis of simplicity and professionalism, out-of-body-ness of historical patterns and obviousness of moral lessons. The form was one in which history could bring about its true predestination, that is, to form the soul and the heart. Scottβs representation of the ordinary man in the background of large-scale historical events had no influence upon Russian historiography that continued to describe only events of a grand βstate scaleβ, but survived in literature, which, for three centuries, developed both the philosophy of history and philosophical anthropology. Scott became for Russia one of those authors who summed up the quest of the Enlightenment and brought a special type of art history discourse into the world. Russian historians continue to point to the enduring quality of interpreting history through fiction. This results in political and moral values dominating historical discourse
ΠΠ»ΠΈΡΠ½ΠΈe ΠΠ°Π»ΡΡΠ΅ΡΠ° Π‘ΠΊΠΎΡΡΠ° Π½Π° ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΡΡ ΠΏΡΠΎΠ·Ρ Π.Π‘. ΠΡΡΠΊΠΈΠ½Π°: βΠ ΠΎΠ± Π ΠΎΠΉβ ΠΈ βΠΠ°ΠΏΠΈΡΠ°Π½ΡΠΊΠ°Ρ Π΄ΠΎΡΠΊΠ°β
This article analyses the influence of Sir Walter Scottβs historical fiction (Rob Roy) on the development of the historical novel in Russia in the first half of the 19th century, based on the example of Pushkinβs The Captainβs Daughter. The author argues that both Scott and Pushkin had a similar approach to their national and local history and collected historical material in the same way (through archival research and by contacting local people who had witnessed the events of the Jacobite Rebellion, 1715, and the Pugachev Rebellion, 1773β1775). A close analysis of both texts presents examples of a similar poetics of the narration, dialectal use of language and dialogue, and the use of local colour and folk elements, such as folk songs or old sayings, which serve as mottos for particular chapters in the novels.This article analyses the influence of Sir Walter Scottβs historical fiction (Rob Roy) on the development of the historical novel in Russia in the first half of the 19th century, based on the example of Pushkinβs The Captainβs Daughter. The author argues that both Scott and Pushkin had a similar approach to their national and local history and collected historical material in the same way (through archival research and by contacting local people who had witnessed the events of the Jacobite Rebellion, 1715, and the Pugachev Rebellion, 1773β1775). A close analysis of both texts presents examples of a similar poetics of the narration, dialectal use of language and dialogue, and the use of local colour and folk elements, such as folk songs or old sayings, which serve as mottos for particular chapters in the novels.This article analyses the influence of Sir Walter Scottβs historical fiction (Rob Roy) on the development of the historical novel in Russia in the first half of the 19th century, based on the example of Pushkinβs The Captainβs Daughter. The author argues that both Scott and Pushkin had a similar approach to their national and local history and collected historical material in the same way (through archival research and by contacting local people who had witnessed the events of the Jacobite Rebellion, 1715, and the Pugachev Rebellion, 1773β1775). A close analysis of both texts presents examples of a similar poetics of the narration, dialectal use of language and dialogue, and the use of local colour and folk elements, such as folk songs or old sayings, which serve as mottos for particular chapters in the novels
ΠΡΡΡΠ²Π½ΠΈΠΊΠΈ XIX - ΠΏΠΎΡΠ°ΡΠΊΡ XX ΡΡ. ΡΠΊ ΡΠΊΠ»Π°Π΄ΠΎΠ²Π° ΠΊΠΈΡΠ²ΡΡΠΊΠΎΠ³ΠΎ ΡΠ΅ΠΊΡΡΡ (Π΄ΠΎ ΠΏΠΎΡΡΠ°Π½ΠΎΠ²ΠΊΠΈ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠΈ)
Π£ ΡΡΠ°ΡΡΡ ΡΠΊ ΠΎΡΠ³Π°Π½ΡΡΠ½Π° ΡΠΊΠ»Π°Π΄ΠΎΠ²Π° ΠΊΠΈΡΠ²ΡΡΠΊΠΎΠ³ΠΎ ΡΠ΅ΠΊΡΡΡ ΡΠΎΠ·Π³Π»ΡΠ΄Π°ΡΡΡΡΡ ΠΏΡΡΡΠ²Π½ΠΈΠΊΠΈ XIX β ΠΏΠΎΡΠ°ΡΠΊΡ XX ΡΡ., Π·ΠΎΠΊΡΠ΅ΠΌΠ° ΡΠΌΠΎΠ²ΠΈ Ρ Π΄ΠΆΠ΅ΡΠ΅Π»Π° ΡΡ
Π½ΡΠΎΡ ΠΏΠΎΡΠ²ΠΈ, Π΄Π΅ΡΠΊΡ ΡΡΡΡΠΊΡΡΡΠ½Ρ ΠΉ ΡΡΠΈΠ»ΡΡΡΠΈΡΠ½Ρ ΠΎΡΠΎΠ±Π»ΠΈΠ²ΠΎΡΡΡ, Π° ΡΠ°ΠΊΠΎΠΆ Π³Π΅Π½Π΅ΡΠΈΡΠ½ΠΈΠΉ Π·Π²βΡΠ·ΠΎΠΊ ΡΡΠΎΠ³ΠΎ ΠΆΠ°Π½ΡΡ Π· ΡΠ°ΠΊΠΈΠΌΠΈ ΡΠ°ΡΡΠΈΠ½Π°ΠΌΠΈ ΠΌΡΡΡΠΊΠΎΠ³ΠΎ ΡΠ΅ΠΊΡΡΡ ΠΠΈΡΠ²Π°, ΡΠΊ ΠΌΠ΅ΠΌΡΠ°ΡΠΈΡΡΠΈΠΊΠ° Ρ Π½Π°ΡΠΊΠΎΠ²Π° ΠΊΠΈΡΠ²ΠΎΠ·Π½Π°Π²ΡΠ° Π»ΡΡΠ΅ΡΠ°ΡΡΡΠ°
ΠΡΠΈΠ΅ΠΌΡ ΠΈ ΡΠΏΠΎΡΠΎΠ±Ρ Π»Π΅ΠΊΡΠΈΠΊΠΎΠ³ΡΠ°ΡΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΡΡΡΠ°ΡΠ΅Π²ΡΠ΅ΠΉ Π»Π΅ΠΊΡΠΈΠΊΠΈ Π² Β«Π‘Π»ΠΎΠ²Π°ΡΠ΅ ΡΡΡΡΠΊΠΎΠ³ΠΎ ΡΠ·ΡΠΊΠ° Π₯Π₯I Π².Β» ΠΊΠ°ΠΊ ΠΏΠΎΠΊΠ°Π· ΡΠ²ΡΠ·ΠΈ ΡΠ°Π·Π½ΡΡ ΡΠΏΠΎΡ
Π ΡΡΠ°ΡΡΠ΅ ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅ΡΡΡ ΡΠ»ΠΎΠ²Π°ΡΠ½ΠΎΠ΅ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½ΠΈΠ΅ ΠΏΠ»Π°ΡΡΠ° ΡΡΡΠ°ΡΠ΅Π²ΡΠ΅ΠΉ Π»Π΅ΠΊΡΠΈΠΊΠΈ, ΠΈΠ·Π²Π΅ΡΡΠ½ΠΎΠΉ Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ ΡΡΡΡΠΊΠΎΠΌ ΡΠ·ΡΠΊΠ΅, Π² Β«Π‘Π»ΠΎΠ²Π°ΡΠ΅ ΡΡΡΡΠΊΠΎΠ³ΠΎ ΡΠ·ΡΠΊΠ° Π₯Π₯I Π².Β», Π½Π° ΠΎΡΠ½ΠΎΠ²Π΅ ΡΠ΅Π³ΠΎ Π΄Π΅Π»Π°ΡΡΡΡ Π²ΡΠ²ΠΎΠ΄Ρ ΠΎ ΠΌΠ΅ΡΡΠ΅ Π»Π΅ΠΊΡΠΈΠΊΠΎ-ΡΠ΅ΠΌΠ°Π½ΡΠΈΡΠ΅ΡΠΊΠΈΡ
Π΅Π΄ΠΈΠ½ΠΈΡ ΠΏΡΠΎΡΠ»ΠΎΠ³ΠΎ Π² ΡΠ·ΡΠΊΠ΅ Π΄ΡΡΠ³ΠΎΠΉ ΡΠΏΠΎΡ
ΠΈ, ΡΠ΅ΠΌΠ°Π½ΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΠΈ ΡΡΠΈΠ»ΠΈΡΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΠΏΡΠΎΡΠ΅ΡΡΠ°Ρ
, Ρ
Π°ΡΠ°ΠΊΡΠ΅ΡΠ½ΡΡ
Π΄Π»Ρ ΡΡΠ½ΠΊΡΠΈΠΎΠ½ΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΡΡΡΠ°ΡΠ΅Π²ΡΠ΅ΠΉ Π»Π΅ΠΊΡΠΈΠΊΠΈ Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ ΡΠ·ΡΠΊΠ΅. Π Π΅Π°Π»ΠΈΠ·ΡΠ΅ΡΡΡ ΠΌΠ΅ΡΠΎΠ΄ΠΈΠΊΠ° ΠΈΠ·ΡΡΠ΅Π½ΠΈΡ Π»Π΅ΠΊΡΠΈΠΊΠΈ ΠΏΠΎ Π»Π΅ΠΊΡΠΈΠΊΠΎΠ³ΡΠ°ΡΠΈΡΠ΅ΡΠΊΠΈΠΌ Π΄Π°Π½Π½ΡΠΌ, ΠΏΡΠΈ ΠΊΠΎΡΠΎΡΠΎΠΉ ΡΠΎΠ»ΠΊΠΎΠ²ΡΠΉ ΡΠ»ΠΎΠ²Π°ΡΡ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠ³ΠΎ ΡΠ·ΡΠΊΠ°, ΡΠΎΠ·Π΄Π°Π²Π°Π΅ΠΌΡΠΉ ΠΏΠΎ ΠΏΡΠΈΠ½ΡΠΈΠΏΠ°ΠΌ Π°Π½ΡΡΠΎΠΏΠΎΡΠ΅Π½ΡΡΠΈΡΠ΅ΡΠΊΠΎΠΉ Π»Π΅ΠΊΡΠΈΠΊΠΎΠ³ΡΠ°ΡΠΈΠΈ, Π²ΡΡΡΡΠΏΠ°Π΅Ρ ΠΈ ΠΊΠ°ΠΊ ΠΈΡΠΎΠ³ ΠΎΠΏΠΈΡΠ°Π½ΠΈΡ Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ ΡΠ·ΡΠΊΠ°, ΠΈ ΠΊΠ°ΠΊ ΠΈΡΡΠΎΡΠ½ΠΈΠΊ Π΅Π³ΠΎ ΠΈΠ·ΡΡΠ΅Π½ΠΈΡ. ΠΡΠ»Π° ΠΏΠΎΠ΄ΡΠ²Π΅ΡΠΆΠ΄Π΅Π½Π° ΠΏΡΠΈΠ½ΡΠΈΠΏΠΈΠ°Π»ΡΠ½Π°Ρ Π½Π΅ΠΎΠ΄Π½ΠΎΡΠΎΠ΄Π½ΠΎΡΡΡ ΠΏΠ»Π°ΡΡΠ° ΡΡΡΠ°ΡΠ΅Π²ΡΠ΅ΠΉ Π»Π΅ΠΊΡΠΈΠΊΠΈ Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ ΡΠ·ΡΠΊΠ΅, ΠΏΠΎ ΡΠ°Π·Π½ΡΠΌ ΠΏΡΠΈΠ½ΡΠΈΠΏΠ°ΠΌ ΡΡΡΠΎΠΈΡΡΡ Π»Π΅ΠΊΡΠΈΠΊΠΎΠ³ΡΠ°ΡΠΈΡΠ΅ΡΠΊΠΎΠ΅ ΠΎΠΏΠΈΡΠ°Π½ΠΈΠ΅ ΠΈΡΡΠΎΡΠΈΠ·ΠΌΠΎΠ² ΠΈ Π°ΡΡ
Π°ΠΈΠ·ΠΌΠΎΠ² ΡΠ°Π·Π½ΠΎΠ³ΠΎ ΡΠΈΠΏΠ°. ΠΠ±ΡΠ·Π°ΡΠ΅Π»ΡΠ½ΡΠΌ ΡΠ»Π΅ΠΌΠ΅Π½ΡΠΎΠΌ ΡΠΎΠ»ΠΊΠΎΠ²Π°Π½ΠΈΡ ΠΈΡΡΠΎΡΠΈΠ·ΠΌΠΎΠ² ΡΠ²Π»ΡΠ΅ΡΡΡ ΡΠΊΠ°Π·Π°Π½ΠΈΠ΅ Π½Π° Π²ΡΠ΅ΠΌΡ Π±ΡΡΠΎΠ²Π°Π½ΠΈΡ ΠΎΠ±ΠΎΠ·Π½Π°ΡΠ°Π΅ΠΌΠΎΠΉ ΠΈΠΌΠΈ ΡΠ΅Π°Π»ΠΈΠΈ, ΡΠΎΠ»ΠΊΠΎΠ²Π°Π½ΠΈΠ΅ ΡΠΎΠ΄Π΅ΡΠΆΠΈΡ ΡΠ»Π΅ΠΌΠ΅Π½ΡΡ ΡΠ½ΡΠΈΠΊΠ»ΠΎΠΏΠ΅Π΄ΠΈΠ·ΠΌΠ°. Π ΡΠ΄ ΠΈΡΡΠΎΡΠΈΠ·ΠΌΠΎΠ² Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ ΡΠΏΠΎΡΡΠ΅Π±Π»Π΅Π½ΠΈΠΈ ΡΠ°Π·Π²ΠΈΠ²Π°Π΅Ρ ΠΏΠ΅ΡΠ΅Π½ΠΎΡΠ½ΡΡ ΡΠ΅ΠΌΠ°Π½ΡΠΈΠΊΡ. ΠΡΠΈ Π·Π½Π°ΡΠ΅Π½ΠΈΡ ΠΏΠΎ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠΈ ΡΠΈΠΊΡΠΈΡΡΡΡΡΡ Π‘Π»ΠΎΠ²Π°ΡΠ΅ΠΌ, Ρ
ΠΎΡΡ Π΅ΡΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎ Π·Π°ΠΏΠ°Π·Π΄ΡΠ²Π°Π½ΠΈΠ΅ Π»Π΅ΠΊΡΠΈΠΊΠΎΠ³ΡΠ°ΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΡΠΈΠΊΡΠ°ΡΠΈΠΈ. ΠΠΊΡΠΈΠ²Π½ΡΠΌ ΠΏΡΠΎΡΠ΅ΡΡΠΎΠΌ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠ³ΠΎ ΡΡΠ°ΠΏΠ° ΡΠ°Π·Π²ΠΈΡΠΈΡ ΡΠ·ΡΠΊΠ° ΡΠ²Π»ΡΠ΅ΡΡΡ Π°ΠΊΡΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡ ΠΈΡΡΠΎΡΠΈΠ·ΠΌΠΎΠ², ΡΠ°ΠΊΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, Π² ΡΠ·ΡΠΊΠ΅ ΠΏΡΠΎΠΈΡΡ
ΠΎΠ΄ΠΈΡ ΡΠ΅Π³ΡΠ»ΡΡΠ½ΠΎΠ΅ ΠΏΠ΅ΡΠ΅ΡΠ°ΡΠΏΡΠ΅Π΄Π΅Π»Π΅Π½ΠΈΠ΅ Π»Π΅ΠΊΡΠΈΠΊΠΈ ΠΌΠ΅ΠΆΠ΄Ρ Π°ΠΊΡΠΈΠ²Π½ΡΠΌ ΠΈ ΠΏΠ°ΡΡΠΈΠ²Π½ΡΠΌ Π·Π°ΠΏΠ°ΡΠΎΠΌ. Π Π°Π½ΡΡΠΎΠΏΠΎΡΠ΅Π½ΡΡΠΈΡΠ΅ΡΠΊΠΈ ΠΎΡΠΈΠ΅Π½ΡΠΈΡΠΎΠ²Π°Π½Π½ΠΎΠΌ ΡΠ»ΠΎΠ²Π°ΡΠ΅ Π°ΠΊΡΡΠ°Π»ΠΈΠ·ΠΈΡΠΎΠ²Π°Π½Π½ΡΠ΅ Π·Π½Π°ΡΠ΅Π½ΠΈΡ ΠΈΡΡΠΎΡΠΈΠ·ΠΌΠΎΠ² ΠΏΠΎΠΌΠ΅ΡΠ°ΡΡΡΡ Π²ΡΡΠ΅ Π³Π΅Π½Π΅ΡΠΈΡΠ΅ΡΠΊΠΈ ΠΏΠ΅ΡΠ²ΠΈΡΠ½ΡΡ
, Π½ΠΎ ΡΡΡΠ°ΡΠ΅Π²ΡΠΈΡ
Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ ΡΠ·ΡΠΊΠ΅. Π ΡΠ»ΠΎΠ²Π°ΡΠ½ΡΡ
ΡΡΠ°ΡΡΡΡ
, ΠΎΠΏΠΈΡΡΠ²Π°ΡΡΠΈΡ
Π°ΡΡ
Π°ΠΈΠ·ΠΌΡ, ΡΠΏΠ΅ΡΠΈΠ°Π»ΡΠ½ΡΠ΅ ΠΏΠΎΠΌΠ΅ΡΡ ΠΈ ΠΏΠΎΠ΄ΡΠΎΠ»ΠΊΠΎΠ²Π°Π½ΠΈΡ Π΄Π΅ΠΌΠΎΠ½ΡΡΡΠΈΡΡΡΡ ΡΠΎΠ»Ρ Π°ΡΡ
Π°ΠΈΠ·ΠΌΠΎΠ² ΠΊΠ°ΠΊ ΠΌΠΎΡΠ½ΠΎΠ³ΠΎ ΡΡΠΈΠ»ΠΈΡΡΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ ΡΠ΅ΡΡΡΡΠ°. ΠΡΠΌΠ΅ΡΠ°Π΅ΡΡΡ ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°Π½ΠΈΠ΅ Π°ΡΡ
Π°ΠΈΠ·ΠΌΠΎΠ² Π² ΡΡΠΈΠ»ΠΈΠ·ΠΎΠ²Π°Π½Π½ΠΎΠΉ ΡΠ΅ΡΠΈ, Π² ΡΡΠ½ΠΊΡΠΈΠΈ ΠΏΠΎΡΡΠΈΠ·ΠΌΠΎΠ², Ρ ΠΎΡΠΎΠ±ΠΎΠΉ ΡΠΌΠΎΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎ-ΡΠΊΡΠΏΡΠ΅ΡΡΠΈΠ²Π½ΠΎΠΉ ΠΎΠΊΡΠ°ΡΠΊΠΎΠΉ, ΠΎΡΠ΅Π½Ρ ΠΏΠΎΠ΄ΡΠΎΠ±Π½ΠΎ ΠΎΠΏΠΈΡΡΠ²Π°ΡΡΡΡ ΡΠ΅ΠΌΠ°Π½ΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ Π½ΡΠ°Π½ΡΡ ΠΈ ΡΡΠΈΠ»ΠΈΡΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎΡΡΠΈ ΡΠ°ΠΊΠΈΡ
ΡΠΏΠΎΡΡΠ΅Π±Π»Π΅Π½ΠΈΠΉ. ΠΠΎΠ΄ΡΠΎΠ±Π½Π°Ρ Π»Π΅ΠΊΡΠΈΠΊΠΎΠ³ΡΠ°ΡΠΈΡΠ΅ΡΠΊΠ°Ρ ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠ°ΡΠΈΡ ΡΡΡΠ°ΡΠ΅Π²ΡΠ΅ΠΉ Π»Π΅ΠΊΡΠΈΠΊΠΈ Π² Π‘Π»ΠΎΠ²Π°ΡΠ΅ Π΄Π°Π΅Ρ ΡΠΈΡΠ°ΡΠ΅Π»ΡΠΌ ΡΠ»ΠΎΠ²Π°ΡΠ΅ΠΉ Π²Π°ΠΆΠ½ΡΡ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΡ ΠΎ Π³ΡΠ°ΠΌΠΎΡΠ½ΠΎΠΌ ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°Π½ΠΈΠΈ ΡΡΠΎΠ³ΠΎ ΠΏΠ»Π°ΡΡΠ° Π»Π΅ΠΊΡΠΈΠΊΠΈ ΠΈ ΠΏΠΎΠΊΠ°Π·ΡΠ²Π°Π΅Ρ ΠΏΡΠ΅Π΅ΠΌΡΡΠ²Π΅Π½Π½ΠΎΡΡΡ ΡΠ·ΡΠΊΠ° ΡΠ°Π·Π½ΡΡ
ΡΠΏΠΎΡ
, ΡΠ²Π»ΡΡΡΡΡΡΡ Π²Π°ΠΆΠ½Π΅ΠΉΡΠΈΠΌ ΡΠ²ΠΎΠΉΡΡΠ²ΠΎΠΌ ΠΆΠΈΠ²ΠΎΠΉ ΡΠ·ΡΠΊΠΎΠ²ΠΎΠΉ ΡΠΈΡΡΠ΅ΠΌΡ
ΠΠΠΠΠ‘Π’Π Π’ΠΠ ΠΠ‘Π Π¨ΠΠΠ§ΠΠΠΠ Π Π ΠΠΠΠΠΠ‘Π’ΠΠΠ ΠΠΠΠ¬Π’ΠΠ Π Π‘ΠΠΠ’Π’Π: ΠΠΠΠ’ΠΠΠ’ΠΠ ΠΠβΠ―ΠΠΠ Π Π’ΠΠΠΠΠΠΠΠ§ΠΠ ΠΠΠ ΠΠΠΠΠ
The article analyzes Shevchenkoβs awareness about the works by Walter Scott, outlines possible impact of the English novelist on the stories written by the Ukrainian author, and considers similarities and differences between both writers.Π£ ΡΡΠ°ΡΡΡ ΠΏΡΠΎΠ°Π½Π°Π»ΡΠ·ΠΎΠ²Π°Π½ΠΎ ΡΠ°ΠΊΡΠΈ ΠΎΠ±ΡΠ·Π½Π°Π½ΠΎΡΡΡ Π¨Π΅Π²ΡΠ΅Π½ΠΊΠ° ΡΠ· ΡΠ²ΠΎΡΡΡΡΡΡ ΠΠ°Π»ΡΡΠ΅ΡΠ° Π‘ΠΊΠΎΡΡΠ°, ΠΎΠΊΡΠ΅ΡΠ»Π΅Π½ΠΎ ΠΏΠ°ΡΠ°ΠΌΠ΅ΡΡΠΈ ΠΌΠΎΠΆΠ»ΠΈΠ²ΠΎΠ³ΠΎ Π²ΠΏΠ»ΠΈΠ²Ρ Π°Π½Π³Π»ΡΠΉΡΡΠΊΠΎΠ³ΠΎ ΡΠΎΠΌΠ°Π½ΡΡΡΠ° Π½Π° ΠΏΡΠΎΠ·Ρ ΡΠΊΡΠ°ΡΠ½ΡΡΠΊΠΎΠ³ΠΎ ΠΌΠΈΡΡΡ, ΡΠΎΠ·Π³Π»ΡΠ½ΡΡΠΎ ΡΠΏΡΠ»ΡΠ½Ρ ΠΉ Π²ΡΠ΄ΠΌΡΠ½Π½Ρ ΡΠΈΡΠΈ ΡΠ²ΠΎΡΡΠΎΡΡΡ ΠΎΠ±ΠΎΡ
ΠΏΠΈΡΡΠΌΠ΅Π½Π½ΠΈΠΊΡΠ²