THE PSEUDONYMOUS CODE OF G. CHKHARTISHVILI

This paper sets out to systematize the multiple pseudonyms used by the contemporary writer G. Chkhartishvili. These are B. Akunin (The Adventures of Erast Fandorin, The Adventures of Sister Pelagia, a series of novels The Adventures of the Master, the project Genres, the plays The Seagull, Yin and Yang, the project The History of the Russian State), Boris Akunin and Grigory Chkhartishvili (Cemetery Stories), Akunin-Chkhartishvili (Aristonomy, Another Way), Grigory Chkhartishvili (The Writer and Suicide), Anatoly Brusnikin (Devyatny Spas, Hero of Another Time, Bellona) and Anna Borisova (Kreativschik, There, The Seasons). We investigate reasons for the multiplicity of Akuninian pseudonyms, a strategically honed system of which contributes to his authorial image. It is shown that, while the commercial pseudonyms are aimed at promoting his new literary projects and are implemented through a conspiracy game played with the reader, the creative ones serve to manifest the author ' s breadth of interests and philological knowledge such that every new pen name triggers a new writing strategy and a new creative tactic. The analysis of various literary masks' influence on the author ' s creative outcome shows that each pseudonym is 'placed' in the literary, genre or artistic time of the text. B. Akunin is primarily the author of historical retro-detective stories, whereas adventure novels are signed by the pen name of A. Brusnikin. A. Borisova 'writes' prose set in the present day. From the very beginning, the author's real name has been always assigned to his serious literature. The authorial system of names is being constantly refined, distinguishing B. Akunin, the fiction writer, from G. Chkhartishvili, the elite literature writer, in the novels Aristonomy and Another Way the twinned name Akunin-Chartishvili deliver another conceptual image. In conclusion it is stated that the abundance of Chartishvili's pen names evinces the author's intellectual and personal intrigue, which points to multiconceptual character of their pseudonymous code, being auto-and self-marketing, creative auto- and self-identification.The article was prepared with the financial support of the Russian Foundation for Basic Research (RFFI) - the Department of Humanitarian and Social Sciences, project No. 17-21-07002, and the type of grant - a (m): "A Soviet person in the ambivalent reception of Hungarian and Russian humanitaristics of the 20th and 21st centuries.

Ab initio computation of d-d excitation energies in low-dimensional Ti and V oxychlorides

Using a quantum chemical cluster-in-solid computational scheme, we calculate the local d-d excitation energies for two strongly correlated Mott insulators, the oxychlorides TiOCl and VOCl. TiOCl harbors quasi-one-dimensional spin chains made out of S = 1/2 Ti3+ ions while the electronic structure of VOCl displays a more two-dimensional character. We find in both cases that the lowest-energy d-d excitations are within the t2g subshell, starting at 0.34 eV and indicating that orbital degeneracies are significantly lifted. In the vanadium oxychloride, spin triplet to singlet excitations are calculated to be 1 eV higher in energy. For TiOCl, the computed d-level electronic structure and the symmetries of the wavefunctions are in very good agreement with resonant inelastic x-ray scattering results and optical absorption data. For VOCl, future resonant inelastic x-ray scattering experiments will constitute a direct test of the symmetry and energy of about a dozen of different d-d excitations that we predict here

ДИСКУРС ЭКСТРЕМАЛЬНОГО В СОВРЕМЕННОЙ ЛИТЕРАТУРЕ УРАЛА

According to the authors of the article, works of fiction that introduce shocking ideas into aesthetic reality fit into the general contemporary discourse of the extreme. Literary texts marked by the extreme are based on the principles of taboos violation which are expressed in the space of creativity as an invasion of forbidden topics, a rethinking of the concept of good and evil, a deviation from the norm of any type (from moral and ethical to linguistic). The material for the analysis is the modern Ural writers’ works of various genre-generic forms: a book of poems “The Gospel of Lucifer” by A. Vavilov (2019), a novel “Department” by A. Salnikov (2018), a play “Claustrophobia” by K. Kostenko (2003). The paper shows how the category of the extreme manifests itself at all levels of the text: from problem-thematic (total alienation from traditional norms of life, identity crisis) to specific methods of world modeling associated with the image of the impaired consciousness of a modern person (zoomorphic code, dead-end space, obligatory motives of aggression) and linguistic extremism, based on prison and militaristic vocabulary, on taboo lexical units of the body bottom. Despite genre-generic difference of the works selected for the analysis, there is a similarity of the methods of depicting modern reality and the worldview of a person within the framework of everyday life combined not only by the extremely unusual (i. e., extreme) but also beyond the limits of the allowable and permissible. This poetics includes a lot of grotesque methods of amplification and redundancy with the help of which the recognizable features of modern reality are sharpened and depicted. © 2020 Institute of History and Archeology of the Ural Branch of RAS. All rights reserved

High efficiency and low absorption Fresnel compound zone plates for hard X-ray focusing

Circular and linear zone plates have been fabricated on the surface of silicon crystals for the energy of 8 keV by electron beam lithography and deep ion plasma etching methods. Various variants of compound zone plates with first, second, third diffraction orders have been made. The zone relief height is about 10 mkm, the outermost zone width of the zone plate is 0.4 mkm. The experimental testing of the zone plates has been conducted on SPring-8 and ESRF synchrotron radiation sources. A focused spot size and diffraction efficiency measured by knife-edge scanning are accordingly 0.5 mkm and 39% for the first order circular zone plate.Comment: 5 pages, 7 figure

People and Nature of the Urals: Variants of Representation in the Wartime Literature

Статья поступила в редакцию 02.04.2023 г.Предпринятое исследование сосредоточено на выявлении и анализе двух смысловых блоков, литературно репрезентирующих Урал в годы войны: уральский характер и природа Урала. Материалом исследования стали разножанровые произведения (от документального очерка до стихотворной публицистики). Показано, что представление об уральском характере как характере весьма своеобычном складывается прежде всего благодаря стороннему взгляду: командированных журналистов на Урал с целью освещения трудового подвига тыла, который сродни воинскому, и писателей, оказавшихся на Урале в результате эвакуации. Различие оптики позволило создать сложный образ уральцев: солдат сказочного мужества и мастеров высокой культуры труда, с одной стороны, народа замкнутого, строгого, не всегда дружелюбного, с другой. Столь же неоднолинейно изображение природы Урала. В статье описаны два варианта, предложенные литераторами военных лет: полностью соответствующий нормам соцреалистического канона — могучие люди Урала рождены величественной природой и реалистический — Урал как место холода, мало приспособленное для жизни. В заключение подчеркнуто, что для всей литературы доминантным было убеждение в необходимости жить и работать в тех условиях, в которые ввергла народ война.The study is focused on identifying and analysis of the two conceptual blocks that literary represent the Urals in wartime: the Ural character and the Ural nature. The study material consists of works of different genres, from documentary essays to verse journalism. It is shown that the idea of the original Ural character is generally perceived by an independent view of journalists sent to the Urals to report labor feats at the home front (it is akin to the military feats), and writers stranded in the Urals as a result of the evacuation. Optical differences allowed the creation of a sophisticated image of the Ural people. On the one hand, these are soldiers of fabulous courage, and masters of high work culture, but on the other hand, these people are reserved, strict, and not always friendly. The representation of the Urals’ nature is just as ambiguous. The article describes two variants offered by the writers of wartime. The first one fully meets the socialist realism canons: the mighty people of the Urals were born of a majestic nature, and this place is cold and barely adjusted to life. It is emphasized that the conviction of the necessity of living and working under the circumstances in which people found themselves during the wartime, was dominant regarding all literature

Los arenales costeros del litoral catalán (la bahía de Rosas)

[ES] Se distinguen dos fuentes para los minerales pesados que se encuentran en las playas de la bahía de Rosas: los basaltos de Olot, para la augita, olivino e hiperstena y las rocas metamórficas del macizo de los Alberes y Cabo de Creus de donde proceden la andalucita, silimanita y distena. La distribución de los minerales, se explica por el transporte efectuado por las corrientes de deriva, los temporales y el viento. Las anomaiías en la distribucidn de algunas especies se deben a los accicentes del terreno y a las condiciones dinámicas muy activas de la bahía, que afectan a la seleccidn de minerales.[EN] The heavy minerals of Gulf of Rosas coastal sand have two different sources. The more frequent heavy minerals are augite and olivine which come from Olot basalts. The metamorfic association is presented by andalusite, siliimanite and kyanite and they come from the metamorfic rocks of the Pyrenees and Cap of Creus massif. Homblende can have two origins: the metamorfic and the granitic rocks of river Muga basin.Peer reviewe

“But There Is No East and Also No West”: Overcoming National Barriers in Akunin’s Way

Поступила в редакцию: 21.09.2022. Принята к печати: 02.02.2023.Submitted: 21.09.2022. Accepted: 02.02.2023.В статье на материале разножанровых текстов Б. Акунина (проект «Приключения Эраста Фандорина», «Сказки народов мира», самоучитель по беллетристике «Русский в Англии») предпринят анализ писательской концепции национальной идентичности и возможности / невозможности преодоления межнационального взаимонепонимания. Отмечено, что «решение национального вопроса» за тридцать лет работы писателя в литературе претерпело определенные изменения. Показано, что в Фандоринском проекте Б. Акунин сосредоточен на моделировании и описании трех барьеров, существующих при восприятии и оценке инонационального (барьер чужого языка; барьер чужого быта; барьер иной ментальности). В «Сказках народов мира» писатель берет иной ракурс осмысления национального комплекса: его интересует характер соотнесенности национального и общечеловеческого. Эта книга о том, что национальная особость — не что иное, как вариант инварианта, в ней осмыслены общечеловеческие ценности в национальной аранжировке. Самоучитель по беллетристике «Русский в Англии» может быть прочитан как итоговые размышления Б. Акунина о вопросе возможности / невозможности межнационального взаимопонимания. Анализ произведения показал, что одновременно это книга профессиональной и национальной самоидентификации. Б. Акунин не упрощает возможности межнационального диалога. Согласно концепции писателя, необходимо не приспособиться к иному национальному образу жизни, но понять его, только тогда начинает «работать» формула «он как я», реализующая себя чрезвычайно редко и всегда неполно. Попытка понять другую ментальность предполагает целый комплекс личностных качеств, в основе которого — способность к диалогу, аналитизм, интеллектуальность, культурологический багаж и — главное — человечность.This article analyses Boris Akunin’s writing concept of national identity and the possibility or impossibility of overcoming cross-national non-communication. The analysis is based on Akunin’s texts of different genres (the Erast Fandorin’s Adventures project, Tales from All Over the World, and Russian Man in England, a self-study book on fiction). It is noted that the “solution of the national question” during the thirty years of the writer’s work in literature has undergone certain changes. The authors demonstrate that in the Fandorin project, Boris Akunin focuses on modelling and describing three barriers that exist in the perception and evaluation of the unfamiliar (the barrier of a foreign language, the barrier of a foreign way of life, and the barrier of foreign mentality). In Tales from All Over the World, the writer takes a different perspective of understanding the national complex. He is interested in the correlation between the national and the universal. This book is about the fact that national identity is nothing but a variant of an invariant, it comprehends universal values in a national arrangement. The self-study book on fiction Russian Man in England can be read as Akunin’s final reflections on the possibility or impossibility of crossnational understanding. The analysis of this work demonstrates that it is a book of professional and national self-identification at the same time. Akunin does not simplify the possibilities of interethnic dialogue. According to the writer’s concept, it is necessary not to adapt to a different national way of life, but to understand it. Only then does the formula “they are like me” begin to “work” realising itself extremely rarely and always incompletely. An attempt to understand a different mentality presupposes a whole complex of personal qualities, which is based on the ability for dialogue, analytics, intellectuality, cultural baggage and, most importantly, humanity

The Flight of Time by Anna Akhmatova: Through Personal Signature to Generational Emblem

Поступила в редакцию 18.05.2019. Принята к печати 21.06.2019.Submitted on 18 May, 2019. Accepted on 21 June, 2019.Логика статьи подчинена исследованию сложного «скрещения судеб» творческого пути Анны Ахматовой и жизни трех поколений, участником и свидетелем которой она была. Показано, что преломление трех эпох в биографии и творчестве поэта, обеспечившее образу Ахматовой эмблематичность, обусловлено историзмом как доминантной чертой ее поэтического мировидения. Выделены и описаны три личные сигнатуры поэта, востребованные временем: лунная дева, колдунья, пророчица Серебряного века; плакальщица, мать, жена, взявшая на себя миссию поминовения погибших в тюрьмах, лагерях, во время войны — в 1930–1940-е гг.; классик русской поэзии, ставший подлинным воплощением связи времен для молодого поколения поэтов в 1960-е гг., что отразилось в множественности и разнообразии «царских» сигнатур-инсигний Ахматовой, создаваемых ею на страницах «Записных книжек», моделируемых ее современниками в мемуарах (зачастую при известном участии поэта), а также — в визуальном коде: от портретов до фотографий, относящихся к разным десятилетиям. Важно, что образ поэта, преломившись в зеркалах каждой из непохожих друг на друга эпох, позволяет и самому времени отразиться в «ахматовских зеркалах». Наиболее драматичные моменты «некалендарного двадцатого века» во многом связаны с ее личной и поэтической судьбой, ставшей одним из воплощений судьбы — «трагической симфонии» ее поколения. Особое внимание уделяется самообозначению сакрального характера, которое предназначено Ахматовой не для времени, но для вечности, является своеобразным тайным кодом, могущим быть расшифрованным только поэзией и поэтами.The logic of this article comes from the research of the intricate “crossing of destinies” in the life and creative journey of Anna Akhmatova and in the life of three generations which she witnessed and shared. The study demonstrates that the deflection of the three epochs in Akhmatova’s biography and creative work, which made her image emblematical, is integral to historicism as a dominant feature of her poetical world perception. The authors distinguish and characterise three personal signatures of the poet demanded by the time: a lunar maiden, sorceress, and prophetess of the Silver Age; a mourner, mother, and wife who took up the mission of praying for those who died in prisons and camps during the war between the 1930s and 1940s; a classic of Russian poetry, who became an authentic incarnation of the link of times for the young generation of poets in the 1960s. It is represented in the multiplicity of Akhmatova’s “imperial” signaturesinsignias, which she created in her Notebooks, and her contemporaries reflected in their memoirs (sometimes with the participation of the poet). Additionally, they were realised in the visual code, namely portraits and photographs, dating back to different decades. It is important that having been reflected in the mirrors of various epochs, the poet’s image lets time itself be reflected in “Akhmatova’s mirrors”. The most dramatic moments of “not what the calendars say, but the real Twentieth Century” are mostly the parts of her private and poetic life, as her destiny was the embodiment of the “tragic symphony” of her generation. Special attention is paid in the article to the self-designation of sacral nature, which Akhmatova intends not for time, but for eternity, it is a unique secret code, which can be decoded only by poets and poetry itself.Работа выполнена при поддержке гранта РФФИ № 19-512-23003 «Самосознание и диалог поколений в русской и венгерской литературной практике XX–XXI веков».The work was supported by Russian Foundation for Basic Research, grant 19-512-23003 “Self-Awareness and Dialogue of Generations in Russian and Hungarian Literary Practice of the 20th–21st Centuries”