Studia Rossica Posnaniensia
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Концепция болезни как ценности в романах Идиот Федора Достоевского и Волшебная гора Томаса Манна
Get PDFThe article is an attempt to analyse the novels The Idiot by Fyodor Dostoyevsky and The Magic Mountain by Thomas Mann in the context of the category of illness. The author undertakes a comparison of the characters suffering from turberculosis: Hans Castorp and Ippolit Terentyev. It is claimed that in both of the works illness acquires the status of a value and opens before the characters a path to self-knowledge. However, while Castorp’s illness develops in comfortable conditions and he finally decides to cease his fascination with death, for the terminally ill Terentyev it is far too late to fight for his life. For this reason, the sacralisation of death is alien to Dostoyevsky’s character. In his case, death can be perceived as the Lacanian Real that interrupts the self-narrative. The noted phenomenon can be attributed to Dostoevsky’s maximalism that urges the Russian novelist to bring the disease to the limits, and take it out of control. Mann, in turn, portrays the disease as a kind of safety valve, keeping the fascination with the dark sides of life in a healthy framework
Gniazdo słowotwórcze wyrazów motywowanych nazwą własną Содом w dyskursie radykalnego ruchu prawosławnego we współczesnej Rosji
Get PDFOne of the important issues discussed in discourse texts of the radical Orthodox Church movement in Russia is the area of man’s sexual life, including the issue of homosexuality. In the studied texts, resources of nominations referring to sexual orientation and homosexual people are relatively small. The group of lexemes referring to homosexuality, mainly male, most numerously represented in the studied material and most diversified grammatically is the word-formation nest of words motivated by the proper noun Sodom (Содом). The elements of the word-formation nest with the stem содом- are usually used in the text because, due to their significantly axiological character, they make unnecessary the use of other strongly axiological units belonging already to lower stylistic registers. It is also not surprising that in the conservative and Orthodox Church circles the units of biblical origin prevail, and the richness of their forms definitely confirms their current importance in the studied discourse
Sanctus Amor (1908) Нины Петровской как жизнетворческий манифест
Get PDFSanctus Amor is the only intravital storybook by Nina Petrovskaya, dedicated to Sergey Auslender. The title of the book, borrowed from the poem by Andrey Bely, initiates a literary polylogue addressed to several lovers of Petrovskaya: to Bely, as he once was her teacher of heavenly love; to Valery Bryusov, as he was Petrovskaya’s beloved one at the time of publication; to Auslender as the addressee of dedication and a new contender for being Petrovskaya’s favorite. Sanctus Amor represents the ideal of the Saintly Love, the manifesto which Petrovskaya followed rigorously in real life. Her letters to Bryusov and Vladislav Khodasevich reveal multiple congruences with the novels of Sanctus Amor, which demonstrate the inextricable character of life and literature in Petrovskaya’s worldview. The paper is devoted to the analysis of Sanctus Amor in the aspect of life-creating practices and its meaning in the literary dialogue with Auslender. Sanctus Amor is a complicated prescriptive symbolic message designed to proclaim its own, and to program another’s, concept of love.Sanctus Amor is the only intravital storybook by Nina Petrovskaya, dedicated to Sergey Auslender. The title of the book, borrowed from the poem by Andrey Bely, initiates a literary polylogue addressed to several lovers of Petrovskaya: to Bely, as he once was her teacher of heavenly love; to Valery Bryusov, as he was Petrovskaya’s beloved one at the time of publication; to Auslender as the addressee of dedication and a new contender for being Petrovskaya’s favorite. Sanctus Amor represents the ideal of the Saintly Love, the manifesto which Petrovskaya followed rigorously in real life. Her letters to Bryusov and Vladislav Khodasevich reveal multiple congruences with the novels of Sanctus Amor, which demonstrate the inextricable character of life and literature in Petrovskaya’s worldview. The paper is devoted to the analysis of Sanctus Amor in the aspect of life-creating practices and its meaning in the literary dialogue with Auslender. Sanctus Amor is a complicated prescriptive symbolic message designed to proclaim its own, and to program another’s, concept of love
Дальние миры в романе Ивана Ефремова Туманность Андромеды
Get PDFThe characters of the rational utopia by Ivan Efremov feel an irrational attraction to distant worlds. This allows us to reveal the relationship between Efremov’s fantasy and the neo--mythological novel of modernism. One of the sources of Efremov’s imagery was the book Agni Yoga, published anonymously in Paris by the Roerichs. Nostalgia for the distant worlds becomes a nostalgia for the free world and the pre-revolutionary past of Russia
Odstępstwa od normy w kategorii gramatycznej liczby w powieści Wojna polsko-ruska pod flagą biało-czerwoną i ich odzwierciedlenie w przekładzie na język rosyjski
Get PDFDorota Masłowska’s Wojna polsko-ruska pod flagą biało-czerwoną employs various types of linguistic innovations. One of them is a mistaken selection of the number of nouns. This stylistic means results in linguistic humour. In the Russian translation of the novel reflecting this phenomenon should not pose any problems. However, neither of the instances of the stylistic means analysed in the paper was reflected in the Russian target text. It is difficult to determine why the translator did not attempt to show Russian readers a reconstruction of the language of the Polish text. As a result, Irina Lappo’s translation lacks the poetic qualities and refreshing touches of Masłowska’s language
Парадигматика и синтагматика видовременных форм русского глагола
Get PDFThis paper addresses the following topics within the framework of natural grammar: On the paradigmatic level of the analysis (The Part titled “Semantics of aspectual-temporal forms of Russian verb”), the temporal and aspectual meanings of each aspectual-temporal form contained in the system of Russian aspectual-temporal forms are determined. On the syntagmatic level of the analysis (The Part titled “Pragmatics of aspectual-temporal forms in Russian”), the use of aspectual-temporal forms in standard and non-standard contexts is investigated as exemplified by performative verbs in the perfective future
Arka pamięci? Kilka uwag na marginesie filmów Aleksandra Sokurowa Rosyjska arka i Frankofonia
Get PDFAlexander Sokurov is considered to be a creator who often attempts to settle with the uncomfortable past, at the same time revealing the mechanisms of the functioning of power and politics, including the policy of remembrance. The Russian Ark (2002) and Francofonia (2015), which divides over a dozen years and which seemingly concern two different countries and situations, are no different in this respect. And yet, using the same motif in them, i.e. the motif of the museum, Sokurov in Francofonia returns to events that he could not, for various reasons, deal with in a prior movie. We mean here the role of museums, “silent” witnesses of history. The evacuation of works of art from the Hermitage and the Louvre during the war is a source of pride and an element of the victorious narrative, but in the case of Hermitage it is impossible not to think about the price that the city and its inhabitants paid during their siege. They could not be evacuated as efficiently as the museum collections. And thus the idea of saving valuable works of the Hermitage will be invariably associated with the inept evacuation of the people of Leningrad. And it must be admitted that this is not the first opportunity when it comes to Sokurov to remind the world of the painful wound inflicted on the city of Neva and its inhabitants, not only by the Germans, but also to ask about the price of survival.Alexander Sokurov is considered to be a creator who often attempts to settle with the uncomfortable past, at the same time revealing the mechanisms of the functioning of power and politics, including the policy of remembrance. The Russian Ark (2002) and Francofonia (2015), which divides over a dozen years and which seemingly concern two different countries and situations, are no different in this respect. And yet, using the same motif in them, i.e. the motif of the museum, Sokurov in Francofonia returns to events that he could not, for various reasons, deal with in a prior movie. We mean here the role of museums, “silent” witnesses of history. The evacuation of works of art from the Hermitage and the Louvre during the war is a source of pride and an element of the victorious narrative, but in the case of Hermitage it is impossible not to think about the price that the city and its inhabitants paid during their siege. They could not be evacuated as efficiently as the museum collections. And thus the idea of saving valuable works of the Hermitage will be invariably associated with the inept evacuation of the people of Leningrad. And it must be admitted that this is not the first opportunity when it comes to Sokurov to remind the world of the painful wound inflicted on the city of Neva and its inhabitants, not only by the Germans, but also to ask about the price of survival
Ироническая оценка советской действительности в творческой биографии Oлега Григорьева
Get PDFThis text is an attempt to acquaint the reader with the writer’s biography of Oleg Grigoryev, a Russian poet and a representative of “the literary underground”. His works can be classified as urban folklore. Most of his poems are full of harsh irony, which may shock with its dark humour. Grigoryev often resorts to the poetics of the absurd, which may lead a keen reader to the conclusion that he is close to the creative actions of the poetic group of the Oberiuty with Daniil Kharms and Alexander Vvedenski as their main representatives. In this light, Grigoryev’s poetry can be interpreted as a reflection of the dark Soviet reality in which he lived and with which he struggled. Such an attitude surely did not help him in succeeding within the official Russian literature
Патологический разум в пьесе Аси Волошиной Пациенты
Get PDFIn this article Asia Voloshina’s drama Patients is analysed in the context of the pathologies the characters deal with. The inspirations of her play are described, i.e. the films and memories of Luis Buñuel as well as medical cases from the practice of Oliver Sacks. The author also refers to Dante Alighieri’s The Divine Comedy. In this perspective the analysed work is a text about fear that appears when the quest for freedom is abandoned. If in The Divine Comedy in hell and purgatory are people who are sinful and do not know Christ, in the universe of the clinic in “hell” there are all those who are afraid. Voloshina’s play constitutes one out of a number of her works concerning the social and political situation in Russia. In the play, the author points to fear as the source of the viciousness of the collective consciousness. Voloshina raises a question that is characteristic of the post-Soviet space: the characters “hide from themselves and their fate”. Voloshina, however, leads them towards it
Влияние русского языка на белорусские говоры (на примере полевых исследований в Мядельском pайоне Минской oбласти)
Get PDFThe aim of this article is to describe the role of the Russian language in a multilingual environment, which is the Belarusian-Polish-Lithuanian borderland. The study pays particular attention to the influence of the Russian language on contemporary Belarusian dialects, in particular on the Central Belarusian dialect. Part of the Central Belarusian dialect is the dialect of Kamarova (Myadzel district, Minsk region), where I have conducted field research since 2010. The article provides an analysis of selected fragments from the interviews with local residents, indicating a significant impact of the Russian language (primarily at the lexical level) on the speech of the residents of Kamarova, regardless of their age, education, status, position, etc. Moreover, the long and continuing influence of the Russian language on Belarusian dialects, its strong position in Belarus and its high prestige suggest a change in the dialect of Kamarova, in which lexical elements of the Polish/ Lithuanian language are gradually being replaced by their Russian equivalents