Studia Rossica Posnaniensia
Not a member yet
597 research outputs found
Sort by
Городское пространство как поле мемориальных боев
No full textIn the proposed article, the author focuses on one of the complexes that make up the content of confrontations, namely the memorial complex, realised through the politics of memory on the part of the state, sometimes on the part of individual institutions of civil society. Historical memory is one of the instruments of influence, sometimes even more effective than solutions aimed at modernity. Memory politics is linked to constructing the past, which is actually alienated from the bearers of this past in order to influence (alienate) the present. The present is re-constructed through the politics of memory. Not surprisingly, it is on the memorial front that the fiercest battles for the present are fought. The confrontation between different collective actors, bearers of different memorial constructs, often turns into a "hot" phase, into a direct clash. Therefore, the phrase "memorial battles" in the title is not so much a literary metaphor as a description. The urban environment, due to its multiculturalism, is a space of confrontation between memorials, which is reflected in the urban landscape. This article considers two main tendencies, seemingly opposite, but in fact being different ways of realising one process - the construction of the history of the past. The text shows that these two tendencies are the construction of memory and cultural displacement.In the proposed article, the author focuses on one of the complexes that make up the content of confrontations, namely the memorial complex, realised through the politics of memory on the part of the state, sometimes on the part of individual institutions of civil society. Historical memory is one of the instruments of influence, sometimes even more effective than solutions aimed at modernity. Memory politics is linked to constructing the past, which is actually alienated from the bearers of this past in order to influence (alienate) the present. The present is re-constructed through the politics of memory. Not surprisingly, it is on the memorial front that the fiercest battles for the present are fought. The confrontation between different collective actors, bearers of different memorial constructs, often turns into a "hot" phase, into a direct clash. Therefore, the phrase "memorial battles" in the title is not so much a literary metaphor as a description. The urban environment, due to its multiculturalism, is a space of confrontation between memorials, which is reflected in the urban landscape. This article considers two main tendencies, seemingly opposite, but in fact being different ways of realising one process - the construction of the history of the past. The text shows that these two tendencies are the construction of memory and cultural displacement.In the proposed article, the author focuses on one of the complexes that make up the content of confrontations, namely the memorial complex, realised through the politics of memory on the part of the state, sometimes on the part of individual institutions of civil society. Historical memory is one of the instruments of influence, sometimes even more effective than solutions aimed at modernity. Memory politics is linked to constructing the past, which is actually alienated from the bearers of this past in order to influence (alienate) the present. The present is re-constructed through the politics of memory. Not surprisingly, it is on the memorial front that the fiercest battles for the present are fought. The confrontation between different collective actors, bearers of different memorial constructs, often turns into a "hot" phase, into a direct clash. Therefore, the phrase "memorial battles" in the title is not so much a literary metaphor as a description. The urban environment, due to its multiculturalism, is a space of confrontation between memorials, which is reflected in the urban landscape. This article considers two main tendencies, seemingly opposite, but in fact being different ways of realising one process - the construction of the history of the past. The text shows that these two tendencies are the construction of memory and cultural displacement.In the proposed article, the author focuses on one of the complexes that make up the content of confrontations, namely the memorial complex, realised through the politics of memory on the part of the state, sometimes on the part of individual institutions of civil society. Historical memory is one of the instruments of influence, sometimes even more effective than solutions aimed at modernity. Memory politics is linked to constructing the past, which is actually alienated from the bearers of this past in order to influence (alienate) the present. The present is re-constructed through the politics of memory. Not surprisingly, it is on the memorial front that the fiercest battles for the present are fought. The confrontation between different collective actors, bearers of different memorial constructs, often turns into a "hot" phase, into a direct clash. Therefore, the phrase "memorial battles" in the title is not so much a literary metaphor as a description. The urban environment, due to its multiculturalism, is a space of confrontation between memorials, which is reflected in the urban landscape. This article considers two main tendencies, seemingly opposite, but in fact being different ways of realising one process - the construction of the history of the past. The text shows that these two tendencies are the construction of memory and cultural displacement
Особенности постколониального метадискурса в эссеистике Евгения Маланюка
No full textThe article analyzes the postcolonial metadiscourse of the essays by Yevhen Malaniuk, a prominent representative of the Ukrainian diaspora. It examines a series of his articles, which deconstruct established historical and cultural narratives of Russian literature, revealing elements of colonial trauma and myth-making. The research demonstrates that Malaniuk transcends traditional essayism, actively participating in the decolonization of the cultural space. In his interpretation, Russian literature becomes a symbol of imperial power. However, his authorial strategy is not limited to unambiguous criticism or approval; he aims to deeply understand and objectively present the creative systems of Russian writers, offering a complex multi-level evaluation of their work and assessing the forms of their influence on the formation of cultural identity. His analytical gaze is aimed at demystifying canonical views of Russian literature. Malaniuk approaches literature as a platform through which personal cultural concepts, ethnological patterns, and socio-political attitudes are expressed. His interpretation of the Ukrainian theme through the prism of postcolonial theory affirms the significance of an approach that combines postcolonialism and post-communism in their efforts to demystify dominant narratives of the past and to explore the nature of individual and collective memory, as well as mechanisms of resistance to authoritarianism. The article thoroughly analyzes Malaniuk\u27s thesis on the national criterion in art, which asserts that in the postcolonial era, the emphasis on the national criterion helps restore unique cultural identities that have been degraded during the colonial period. The article argues that one of the constant criteria for forming the methodological base of postcolonial interpretation becomes a nation-centric evaluation. This argument turns into an act of cultural and political resistance, facilitating the revival of identity and dismantling the canon of conservative views regarding categories such as nation, people, culture, personality, society, and educates the reader to newly comprehend this complex of ideas, now dictated by the newest times.The article analyzes the postcolonial metadiscourse of the essays by Yevhen Malaniuk, a prominent representative of the Ukrainian diaspora. It examines a series of his articles, which deconstruct established historical and cultural narratives of Russian literature, revealing elements of colonial trauma and myth-making. The research demonstrates that Malaniuk transcends traditional essayism, actively participating in the decolonization of the cultural space. In his interpretation, Russian literature becomes a symbol of imperial power. However, his authorial strategy is not limited to unambiguous criticism or approval; he aims to deeply understand and objectively present the creative systems of Russian writers, offering a complex multi-level evaluation of their work and assessing the forms of their influence on the formation of cultural identity. His analytical gaze is aimed at demystifying canonical views of Russian literature. Malaniuk approaches literature as a platform through which personal cultural concepts, ethnological patterns, and socio-political attitudes are expressed. His interpretation of the Ukrainian theme through the prism of postcolonial theory affirms the significance of an approach that combines postcolonialism and post-communism in their efforts to demystify dominant narratives of the past and to explore the nature of individual and collective memory, as well as mechanisms of resistance to authoritarianism. The article thoroughly analyzes Malaniuk\u27s thesis on the national criterion in art, which asserts that in the postcolonial era, the emphasis on the national criterion helps restore unique cultural identities that have been degraded during the colonial period. The article argues that one of the constant criteria for forming the methodological base of postcolonial interpretation becomes a nation-centric evaluation. This argument turns into an act of cultural and political resistance, facilitating the revival of identity and dismantling the canon of conservative views regarding categories such as nation, people, culture, personality, society, and educates the reader to newly comprehend this complex of ideas, now dictated by the newest times.The article analyzes the postcolonial metadiscourse of the essays by Yevhen Malaniuk, a prominent representative of the Ukrainian diaspora. It examines a series of his articles, which deconstruct established historical and cultural narratives of Russian literature, revealing elements of colonial trauma and myth-making. The research demonstrates that Malaniuk transcends traditional essayism, actively participating in the decolonization of the cultural space. In his interpretation, Russian literature becomes a symbol of imperial power. However, his authorial strategy is not limited to unambiguous criticism or approval; he aims to deeply understand and objectively present the creative systems of Russian writers, offering a complex multi-level evaluation of their work and assessing the forms of their influence on the formation of cultural identity. His analytical gaze is aimed at demystifying canonical views of Russian literature. Malaniuk approaches literature as a platform through which personal cultural concepts, ethnological patterns, and socio-political attitudes are expressed. His interpretation of the Ukrainian theme through the prism of postcolonial theory affirms the significance of an approach that combines postcolonialism and post-communism in their efforts to demystify dominant narratives of the past and to explore the nature of individual and collective memory, as well as mechanisms of resistance to authoritarianism. The article thoroughly analyzes Malaniuk\u27s thesis on the national criterion in art, which asserts that in the postcolonial era, the emphasis on the national criterion helps restore unique cultural identities that have been degraded during the colonial period. The article argues that one of the constant criteria for forming the methodological base of postcolonial interpretation becomes a nation-centric evaluation. This argument turns into an act of cultural and political resistance, facilitating the revival of identity and dismantling the canon of conservative views regarding categories such as nation, people, culture, personality, society, and educates the reader to newly comprehend this complex of ideas, now dictated by the newest times.The article analyzes the postcolonial metadiscourse of the essays by Yevhen Malaniuk, a prominent representative of the Ukrainian diaspora. It examines a series of his articles, which deconstruct established historical and cultural narratives of Russian literature, revealing elements of colonial trauma and myth-making. The research demonstrates that Malaniuk transcends traditional essayism, actively participating in the decolonization of the cultural space. In his interpretation, Russian literature becomes a symbol of imperial power. However, his authorial strategy is not limited to unambiguous criticism or approval; he aims to deeply understand and objectively present the creative systems of Russian writers, offering a complex multi-level evaluation of their work and assessing the forms of their influence on the formation of cultural identity. His analytical gaze is aimed at demystifying canonical views of Russian literature. Malaniuk approaches literature as a platform through which personal cultural concepts, ethnological patterns, and socio-political attitudes are expressed. His interpretation of the Ukrainian theme through the prism of postcolonial theory affirms the significance of an approach that combines postcolonialism and post-communism in their efforts to demystify dominant narratives of the past and to explore the nature of individual and collective memory, as well as mechanisms of resistance to authoritarianism. The article thoroughly analyzes Malaniuk\u27s thesis on the national criterion in art, which asserts that in the postcolonial era, the emphasis on the national criterion helps restore unique cultural identities that have been degraded during the colonial period. The article argues that one of the constant criteria for forming the methodological base of postcolonial interpretation becomes a nation-centric evaluation. This argument turns into an act of cultural and political resistance, facilitating the revival of identity and dismantling the canon of conservative views regarding categories such as nation, people, culture, personality, society, and educates the reader to newly comprehend this complex of ideas, now dictated by the newest times
Образ послевоенной действительности в повести Виктора Некрасова В родном городе
No full textThe article delves into the specificity of representing post-war reality in Viktor Nekrasov\u27s novel In the home town. The aim of the analysis is to demonstrate the pivotal role of urban reality portrayal in addressing the story\u27s thematic concerns and reflecting the characters\u27 inner turmoil. Nekrasov\u27s characters grapple with post-traumatic stress disorder, struggling to find their place in a post-war world. The depiction of a hostile and unwelcoming Kyiv mirrors their displacement and inability to reintegrate into civilian life. The analysis examines the portrayal of individual urban elements such as apartment or train station, as well as the city as a whole. Furthermore, it explores how the characters interact with the urban environment and with each other. Ultimately, the article concludes that the portrayal of the post-war city is intricately linked to the novel\u27s ideological underpinnings, suggesting that the end of the war marks only the beginning of a challenging journey toward normalcy for both civilians and soldiers alike. In addition, the article for the first time puts forward the thesis about the novel In the home town as an ideological continuation of In the trenches of Stalingrad, with which it forms a holistic view of the war and its consequences in the works of Viktor Nekrasov.The article delves into the specificity of representing post-war reality in Viktor Nekrasov\u27s novel In the home town. The aim of the analysis is to demonstrate the pivotal role of urban reality portrayal in addressing the story\u27s thematic concerns and reflecting the characters\u27 inner turmoil. Nekrasov\u27s characters grapple with post-traumatic stress disorder, struggling to find their place in a post-war world. The depiction of a hostile and unwelcoming Kyiv mirrors their displacement and inability to reintegrate into civilian life. The analysis examines the portrayal of individual urban elements such as apartment or train station, as well as the city as a whole. Furthermore, it explores how the characters interact with the urban environment and with each other. Ultimately, the article concludes that the portrayal of the post-war city is intricately linked to the novel\u27s ideological underpinnings, suggesting that the end of the war marks only the beginning of a challenging journey toward normalcy for both civilians and soldiers alike. In addition, the article for the first time puts forward the thesis about the novel In the home town as an ideological continuation of In the trenches of Stalingrad, with which it forms a holistic view of the war and its consequences in the works of Viktor Nekrasov.The article delves into the specificity of representing post-war reality in Viktor Nekrasov\u27s novel In the home town. The aim of the analysis is to demonstrate the pivotal role of urban reality portrayal in addressing the story\u27s thematic concerns and reflecting the characters\u27 inner turmoil. Nekrasov\u27s characters grapple with post-traumatic stress disorder, struggling to find their place in a post-war world. The depiction of a hostile and unwelcoming Kyiv mirrors their displacement and inability to reintegrate into civilian life. The analysis examines the portrayal of individual urban elements such as apartment or train station, as well as the city as a whole. Furthermore, it explores how the characters interact with the urban environment and with each other. Ultimately, the article concludes that the portrayal of the post-war city is intricately linked to the novel\u27s ideological underpinnings, suggesting that the end of the war marks only the beginning of a challenging journey toward normalcy for both civilians and soldiers alike. In addition, the article for the first time puts forward the thesis about the novel In the home town as an ideological continuation of In the trenches of Stalingrad, with which it forms a holistic view of the war and its consequences in the works of Viktor Nekrasov.The article delves into the specificity of representing post-war reality in Viktor Nekrasov\u27s novel In the home town. The aim of the analysis is to demonstrate the pivotal role of urban reality portrayal in addressing the story\u27s thematic concerns and reflecting the characters\u27 inner turmoil. Nekrasov\u27s characters grapple with post-traumatic stress disorder, struggling to find their place in a post-war world. The depiction of a hostile and unwelcoming Kyiv mirrors their displacement and inability to reintegrate into civilian life. The analysis examines the portrayal of individual urban elements such as apartment or train station, as well as the city as a whole. Furthermore, it explores how the characters interact with the urban environment and with each other. Ultimately, the article concludes that the portrayal of the post-war city is intricately linked to the novel\u27s ideological underpinnings, suggesting that the end of the war marks only the beginning of a challenging journey toward normalcy for both civilians and soldiers alike. In addition, the article for the first time puts forward the thesis about the novel In the home town as an ideological continuation of In the trenches of Stalingrad, with which it forms a holistic view of the war and its consequences in the works of Viktor Nekrasov
„Женщины в темноте". Świadectwa wojny w twórczości Iriny Sieriebriakowej
No full textThis article aims to explore the traces of anti-war discourse in the work of Irina Serebryakova, a Ukrainian playwright, screenwriter and interpreter. Following Russia\u27s attack on Ukraine in February 2022, the author turned her work towards capturing the changes that war forces on the lives of ordinary people. Serebryakova\u27s dramas record the forced reorganisation of various planes of everyday existence: professional, living or emotional. She presents the relationship between man and war from different perspectives, e.g. in the piece In the Instagram, we will live forever she tackles the problem of looters stealing from flats during bombing raids, but also refugees from the Warsaw train station. The text Women in the dark, written with Masha Denisova, is, in turn, a kind of diary from Russian-besieged Kyiv, written using the verbatim technique. Apart from that, in the play My best Iranian friend, the author combines the traumas of war with the issue of intolerance and national-religious discrimination.This article aims to explore the traces of anti-war discourse in the work of Irina Serebryakova, a Ukrainian playwright, screenwriter and interpreter. Following Russia\u27s attack on Ukraine in February 2022, the author turned her work towards capturing the changes that war forces on the lives of ordinary people. Serebryakova\u27s dramas record the forced reorganisation of various planes of everyday existence: professional, living or emotional. She presents the relationship between man and war from different perspectives, e.g. in the piece In the Instagram, we will live forever she tackles the problem of looters stealing from flats during bombing raids, but also refugees from the Warsaw train station. The text Women in the dark, written with Masha Denisova, is, in turn, a kind of diary from Russian-besieged Kyiv, written using the verbatim technique. Apart from that, in the play My best Iranian friend, the author combines the traumas of war with the issue of intolerance and national-religious discrimination.This article aims to explore the traces of anti-war discourse in the work of Irina Serebryakova, a Ukrainian playwright, screenwriter and interpreter. Following Russia\u27s attack on Ukraine in February 2022, the author turned her work towards capturing the changes that war forces on the lives of ordinary people. Serebryakova\u27s dramas record the forced reorganisation of various planes of everyday existence: professional, living or emotional. She presents the relationship between man and war from different perspectives, e.g. in the piece In the Instagram, we will live forever she tackles the problem of looters stealing from flats during bombing raids, but also refugees from the Warsaw train station. The text Women in the dark, written with Masha Denisova, is, in turn, a kind of diary from Russian-besieged Kyiv, written using the verbatim technique. Apart from that, in the play My best Iranian friend, the author combines the traumas of war with the issue of intolerance and national-religious discrimination.This article aims to explore the traces of anti-war discourse in the work of Irina Serebryakova, a Ukrainian playwright, screenwriter and interpreter. Following Russia\u27s attack on Ukraine in February 2022, the author turned her work towards capturing the changes that war forces on the lives of ordinary people. Serebryakova\u27s dramas record the forced reorganisation of various planes of everyday existence: professional, living or emotional. She presents the relationship between man and war from different perspectives, e.g. in the piece In the Instagram, we will live forever she tackles the problem of looters stealing from flats during bombing raids, but also refugees from the Warsaw train station. The text Women in the dark, written with Masha Denisova, is, in turn, a kind of diary from Russian-besieged Kyiv, written using the verbatim technique. Apart from that, in the play My best Iranian friend, the author combines the traumas of war with the issue of intolerance and national-religious discrimination
Czy „pośród szczęku broni milczą muzy"? Poezja rosyjska po 24 lutego 2022 roku (wybrane przykłady internetowego projektu „No war – поэты против войны")
No full text"Amidst the clatter of arms, the muses are silent" the Latin maxim "Inter arma silent Musae" is based on a quote from Marcus Tullius Cicero\u27s defence of Milo: "When arms rattle, laws are silent". The meaning of this expression, highly relevant today, is that art takes a back seat during an ongoing war. The invasion of Ukraine by the Russian Federation, started on February 24, 2022, which escalates the armed conflict that has been ongoing since 2014, serves as a pretext to verify whether Cicero\u27s paraphrased statement holds true in the face of the battles between our eastern neighbours. This text is an attempt to analyse selected recent works within Russian poetry, created since the start of Russia\u27s so-called "special military operation" and published online as a part of the international project "No war поэты против войны" initiated and realized by New York\u27s KRIK Publishing House. In the context of scant studies on this topic, the conducted research constitutes a literary criticism novelty, demonstrating how Russian poets have responded to recent history, set against the backdrop of the Russo-Ukrainian war. The main thesis of the article emphasizes that in their poems, they clearly identify the Russian Federation as the main culprit in this conflict."Amidst the clatter of arms, the muses are silent" the Latin maxim "Inter arma silent Musae" is based on a quote from Marcus Tullius Cicero\u27s defence of Milo: "When arms rattle, laws are silent". The meaning of this expression, highly relevant today, is that art takes a back seat during an ongoing war. The invasion of Ukraine by the Russian Federation, started on February 24, 2022, which escalates the armed conflict that has been ongoing since 2014, serves as a pretext to verify whether Cicero\u27s paraphrased statement holds true in the face of the battles between our eastern neighbours. This text is an attempt to analyse selected recent works within Russian poetry, created since the start of Russia\u27s so-called "special military operation" and published online as a part of the international project "No war поэты против войны" initiated and realized by New York\u27s KRIK Publishing House. In the context of scant studies on this topic, the conducted research constitutes a literary criticism novelty, demonstrating how Russian poets have responded to recent history, set against the backdrop of the Russo-Ukrainian war. The main thesis of the article emphasizes that in their poems, they clearly identify the Russian Federation as the main culprit in this conflict."Amidst the clatter of arms, the muses are silent" the Latin maxim "Inter arma silent Musae" is based on a quote from Marcus Tullius Cicero\u27s defence of Milo: "When arms rattle, laws are silent". The meaning of this expression, highly relevant today, is that art takes a back seat during an ongoing war. The invasion of Ukraine by the Russian Federation, started on February 24, 2022, which escalates the armed conflict that has been ongoing since 2014, serves as a pretext to verify whether Cicero\u27s paraphrased statement holds true in the face of the battles between our eastern neighbours. This text is an attempt to analyse selected recent works within Russian poetry, created since the start of Russia\u27s so-called "special military operation" and published online as a part of the international project "No war поэты против войны" initiated and realized by New York\u27s KRIK Publishing House. In the context of scant studies on this topic, the conducted research constitutes a literary criticism novelty, demonstrating how Russian poets have responded to recent history, set against the backdrop of the Russo-Ukrainian war. The main thesis of the article emphasizes that in their poems, they clearly identify the Russian Federation as the main culprit in this conflict."Amidst the clatter of arms, the muses are silent" the Latin maxim "Inter arma silent Musae" is based on a quote from Marcus Tullius Cicero\u27s defence of Milo: "When arms rattle, laws are silent". The meaning of this expression, highly relevant today, is that art takes a back seat during an ongoing war. The invasion of Ukraine by the Russian Federation, started on February 24, 2022, which escalates the armed conflict that has been ongoing since 2014, serves as a pretext to verify whether Cicero\u27s paraphrased statement holds true in the face of the battles between our eastern neighbours. This text is an attempt to analyse selected recent works within Russian poetry, created since the start of Russia\u27s so-called "special military operation" and published online as a part of the international project "No war поэты против войны" initiated and realized by New York\u27s KRIK Publishing House. In the context of scant studies on this topic, the conducted research constitutes a literary criticism novelty, demonstrating how Russian poets have responded to recent history, set against the backdrop of the Russo-Ukrainian war. The main thesis of the article emphasizes that in their poems, they clearly identify the Russian Federation as the main culprit in this conflict
Сборник Время жить: литература и империя на Южном Кавказе
No full textIn 2003 the Georgian and Abkhaz writers Guram Odisharia and Daur Nachkebia published the literary collection Time to live (Vremia zhit’), which includes eighteen authors from the South Caucasus depicting the late 1980s-1990s armed conflicts in Abkhazia, Georgia, Nagorno-Karabakh, and South Ossetia. Most of their works were translated into Russian for the book. This volume tried to promote peace and intercultural dialog within the region. However, in doing so it unintentionally illuminated the Russian language’s role as agent of oppression as well as intermediary. Russophonia (writing in Russian outside the Russian Federation) and problems of postcoloniality are central to the collection’s portrayal of the South Caucasus. The article draws on criticism by Gayatri Spivak, Tamar Koplatadze, Naomi Caffee, and others, as well as research conducted in Georgia in 2018 and 2023.In 2003 the Georgian and Abkhaz writers Guram Odisharia and Daur Nachkebia published the literary collection Time to live (Vremia zhit’), which includes eighteen authors from the South Caucasus depicting the late 1980s-1990s armed conflicts in Abkhazia, Georgia, Nagorno-Karabakh, and South Ossetia. Most of their works were translated into Russian for the book. This volume tried to promote peace and intercultural dialog within the region. However, in doing so it unintentionally illuminated the Russian language’s role as agent of oppression as well as intermediary. Russophonia (writing in Russian outside the Russian Federation) and problems of postcoloniality are central to the collection’s portrayal of the South Caucasus. The article draws on criticism by Gayatri Spivak, Tamar Koplatadze, Naomi Caffee, and others, as well as research conducted in Georgia in 2018 and 2023.In 2003 the Georgian and Abkhaz writers Guram Odisharia and Daur Nachkebia published the literary collection Time to live (Vremia zhit’), which includes eighteen authors from the South Caucasus depicting the late 1980s-1990s armed conflicts in Abkhazia, Georgia, Nagorno-Karabakh, and South Ossetia. Most of their works were translated into Russian for the book. This volume tried to promote peace and intercultural dialog within the region. However, in doing so it unintentionally illuminated the Russian language’s role as agent of oppression as well as intermediary. Russophonia (writing in Russian outside the Russian Federation) and problems of postcoloniality are central to the collection’s portrayal of the South Caucasus. The article draws on criticism by Gayatri Spivak, Tamar Koplatadze, Naomi Caffee, and others, as well as research conducted in Georgia in 2018 and 2023.In 2003 the Georgian and Abkhaz writers Guram Odisharia and Daur Nachkebia published the literary collection Time to live (Vremia zhit’), which includes eighteen authors from the South Caucasus depicting the late 1980s-1990s armed conflicts in Abkhazia, Georgia, Nagorno-Karabakh, and South Ossetia. Most of their works were translated into Russian for the book. This volume tried to promote peace and intercultural dialog within the region. However, in doing so it unintentionally illuminated the Russian language’s role as agent of oppression as well as intermediary. Russophonia (writing in Russian outside the Russian Federation) and problems of postcoloniality are central to the collection’s portrayal of the South Caucasus. The article draws on criticism by Gayatri Spivak, Tamar Koplatadze, Naomi Caffee, and others, as well as research conducted in Georgia in 2018 and 2023
Мотив адюльтера в романе Анатолия Мариенгофа Циники: слом или продолжение традиций русского словесно-культурного процесса?
Get PDFCynics 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
Ландшафт меняющихся идентичностей на фоне военного вторжения: роман Тамары Дуды Доця сквозь призму перевода
Get PDFIn the environment of Russia’s ongoing war against Ukraine, literary translation acquires critical significance as a way to get Ukraine’s narratives of destruction and urbicide across cultural and political borders. This article will focus on Daisy Gibbons’s 2021 translation of Tamara Duda’s 2019 novel Daughter, set in the Eastern Ukrainian city of Donetsk, to examine the translator’s project of reconstructing the complex interplay of Eastern and Western Ukrainian identities embroiled in the narrative of crawling occupation. Daughter tells the story of Russia’s 2014 invasion of Donetsk, dissecting the city’s fragmented identity along cultural and linguistic divides and exploring internal tensions and propaganda-fueled conflicts leading to its eventual downfall. The storyline adopts the female protagonist’s insider/outsider perspective, tracing her gradual evolution from an invisible observer to a fearless insurgent fighting for the survival of her unravelling home. The analysis will centre on the translator’s approach, which combines textual and paratextual techniques to highlight the processes of division and destruction – with their transformative impact on the urban space – and to enter into a visible dialogue with the narrator/protagonist’s voice to amplify and reinforce its distinctly pro-Ukrainian perspective.In the environment of Russia’s ongoing war against Ukraine, literary translation acquires critical significance as a way to get Ukraine’s narratives of destruction and urbicide across cultural and political borders. This article will focus on Daisy Gibbons’s 2021 translation of Tamara Duda’s 2019 novel Daughter, set in the Eastern Ukrainian city of Donetsk, to examine the translator’s project of reconstructing the complex interplay of Eastern and Western Ukrainian identities embroiled in the narrative of crawling occupation. Daughter tells the story of Russia’s 2014 invasion of Donetsk, dissecting the city’s fragmented identity along cultural and linguistic divides and exploring internal tensions and propaganda-fueled conflicts leading to its eventual downfall. The storyline adopts the female protagonist’s insider/outsider perspective, tracing her gradual evolution from an invisible observer to a fearless insurgent fighting for the survival of her unravelling home. The analysis will centre on the translator’s approach, which combines textual and paratextual techniques to highlight the processes of division and destruction – with their transformative impact on the urban space – and to enter into a visible dialogue with the narrator/protagonist’s voice to amplify and reinforce its distinctly pro-Ukrainian perspective.In the environment of Russia’s ongoing war against Ukraine, literary translation acquires critical significance as a way to get Ukraine’s narratives of destruction and urbicide across cultural and political borders. This article will focus on Daisy Gibbons’s 2021 translation of Tamara Duda’s 2019 novel Daughter, set in the Eastern Ukrainian city of Donetsk, to examine the translator’s project of reconstructing the complex interplay of Eastern and Western Ukrainian identities embroiled in the narrative of crawling occupation. Daughter tells the story of Russia’s 2014 invasion of Donetsk, dissecting the city’s fragmented identity along cultural and linguistic divides and exploring internal tensions and propaganda-fueled conflicts leading to its eventual downfall. The storyline adopts the female protagonist’s insider/outsider perspective, tracing her gradual evolution from an invisible observer to a fearless insurgent fighting for the survival of her unravelling home. The analysis will centre on the translator’s approach, which combines textual and paratextual techniques to highlight the processes of division and destruction – with their transformative impact on the urban space – and to enter into a visible dialogue with the narrator/protagonist’s voice to amplify and reinforce its distinctly pro-Ukrainian perspective.In the environment of Russia’s ongoing war against Ukraine, literary translation acquires critical significance as a way to get Ukraine’s narratives of destruction and urbicide across cultural and political borders. This article will focus on Daisy Gibbons’s 2021 translation of Tamara Duda’s 2019 novel Daughter, set in the Eastern Ukrainian city of Donetsk, to examine the translator’s project of reconstructing the complex interplay of Eastern and Western Ukrainian identities embroiled in the narrative of crawling occupation. Daughter tells the story of Russia’s 2014 invasion of Donetsk, dissecting the city’s fragmented identity along cultural and linguistic divides and exploring internal tensions and propaganda-fueled conflicts leading to its eventual downfall. The storyline adopts the female protagonist’s insider/outsider perspective, tracing her gradual evolution from an invisible observer to a fearless insurgent fighting for the survival of her unravelling home. The analysis will centre on the translator’s approach, which combines textual and paratextual techniques to highlight the processes of division and destruction – with their transformative impact on the urban space – and to enter into a visible dialogue with the narrator/protagonist’s voice to amplify and reinforce its distinctly pro-Ukrainian perspective
Последние адреса: мемориальные доски как место памяти и форма коммуникации
Get PDFMemorial plaques are one of the most common forms of commemorative practices. Organically fitting into the geographical and socio-cultural landscape and having several functions, memorial plaques not only become a kind of marker of a “site of memory” (lieu de mémoire), play an important role in preserving names, transmitting historical memory, but also contribute to the construction and consolidation in the mass consciousness of ideologically verified representations of historical political events. Various “initiatives from below” and projects of independent activists (for example, the “Last Address” (“Poslednij adres”) project with memorial tablets to victims of state terror or the anonymous “questions about repressions” action discussed in this article) become vivid examples of how today’s Russian civil society reacts to a unilateral submission historical facts by power structures. The organizers of such actions become new actors in the politics of memory. They seek not only to expand the space of specific “places of memory” – memorial plaques and their contents – but also to change the perception of certain historical events and attitudes towards them. On the example of memorial plaques as a form of commemoration, the article examines the communicative strategies of different groups of memory subjects in modern Russia. Memorial plaques are one of the most common forms of commemorative practices. Organically fitting into the geographical and socio-cultural landscape and having several functions, memorial plaques not only become a kind of marker of a “site of memory” (lieu de mémoire), play an important role in preserving names, transmitting historical memory, but also contribute to the construction and consolidation in the mass consciousness of ideologically verified representations of historical political events. Various “initiatives from below” and projects of independent activists (for example, the “Last Address” (“Poslednij adres”) project with memorial tablets to victims of state terror or the anonymous “questions about repressions” action discussed in this article) become vivid examples of how today’s Russian civil society reacts to a unilateral submission historical facts by power structures. The organizers of such actions become new actors in the politics of memory. They seek not only to expand the space of specific “places of memory” – memorial plaques and their contents – but also to change the perception of certain historical events and attitudes towards them. On the example of memorial plaques as a form of commemoration, the article examines the communicative strategies of different groups of memory subjects in modern Russia. Memorial plaques are one of the most common forms of commemorative practices. Organically fitting into the geographical and socio-cultural landscape and having several functions, memorial plaques not only become a kind of marker of a “site of memory” (lieu de mémoire), play an important role in preserving names, transmitting historical memory, but also contribute to the construction and consolidation in the mass consciousness of ideologically verified representations of historical political events. Various “initiatives from below” and projects of independent activists (for example, the “Last Address” (“Poslednij adres”) project with memorial tablets to victims of state terror or the anonymous “questions about repressions” action discussed in this article) become vivid examples of how today’s Russian civil society reacts to a unilateral submission historical facts by power structures. The organizers of such actions become new actors in the politics of memory. They seek not only to expand the space of specific “places of memory” – memorial plaques and their contents – but also to change the perception of certain historical events and attitudes towards them. On the example of memorial plaques as a form of commemoration, the article examines the communicative strategies of different groups of memory subjects in modern Russia. Memorial plaques are one of the most common forms of commemorative practices. Organically fitting into the geographical and socio-cultural landscape and having several functions, memorial plaques not only become a kind of marker of a “site of memory” (lieu de mémoire), play an important role in preserving names, transmitting historical memory, but also contribute to the construction and consolidation in the mass consciousness of ideologically verified representations of historical political events. Various “initiatives from below” and projects of independent activists (for example, the “Last Address” (“Poslednij adres”) project with memorial tablets to victims of state terror or the anonymous “questions about repressions” action discussed in this article) become vivid examples of how today’s Russian civil society reacts to a unilateral submission historical facts by power structures. The organizers of such actions become new actors in the politics of memory. They seek not only to expand the space of specific “places of memory” – memorial plaques and their contents – but also to change the perception of certain historical events and attitudes towards them. On the example of memorial plaques as a form of commemoration, the article examines the communicative strategies of different groups of memory subjects in modern Russia. 
