Studia Rossica Posnaniensia
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Язык как орудие дегуманизации в языковом пространстве вооруженного конфликта в Украине
Get PDFThe armed conflict in Ukraine, continuing in its culminating form since 24.02.2022, exists in two dimensions – on the battlefield and in the information space. In this second dimension, the main role is played by language, used as a potent weapon, one of the prominent functions of which is that of dehumanization. By violating the norms of constructive public communication, the creators of this discourse – journalists, opinion leaders, activists, politicians – activate the destructive potential of language. The dehumanizing discourse of the armed conflict in Ukraine, however, has not yet received a vigorous linguistic elaboration. The aim of this article is to raise this complex and important issue. By giving various examples of acts of linguistic dehumanization observed in the widely understood linguistic space of the armed conflict in Ukraine, the author identifies the main directions of dehumanization discourse within the Russian-Ukrainian linguo-cultural space. The author’s provided examples of dehumanizing statements facilitate the identification of both explicit and subtle dehumanization techniques prevalent within this discourse. At the same time, public figures are actively involved in the retransmission of dehumanizing content, which significantly affects the dynamics of this discourse and increases the range of its potential active and passive participants.The armed conflict in Ukraine, continuing in its culminating form since 24.02.2022, exists in two dimensions – on the battlefield and in the information space. In this second dimension, the main role is played by language, used as a potent weapon, one of the prominent functions of which is that of dehumanization. By violating the norms of constructive public communication, the creators of this discourse – journalists, opinion leaders, activists, politicians – activate the destructive potential of language. The dehumanizing discourse of the armed conflict in Ukraine, however, has not yet received a vigorous linguistic elaboration. The aim of this article is to raise this complex and important issue. By giving various examples of acts of linguistic dehumanization observed in the widely understood linguistic space of the armed conflict in Ukraine, the author identifies the main directions of dehumanization discourse within the Russian-Ukrainian linguo-cultural space. The author’s provided examples of dehumanizing statements facilitate the identification of both explicit and subtle dehumanization techniques prevalent within this discourse. At the same time, public figures are actively involved in the retransmission of dehumanizing content, which significantly affects the dynamics of this discourse and increases the range of its potential active and passive participants.The armed conflict in Ukraine, continuing in its culminating form since 24.02.2022, exists in two dimensions – on the battlefield and in the information space. In this second dimension, the main role is played by language, used as a potent weapon, one of the prominent functions of which is that of dehumanization. By violating the norms of constructive public communication, the creators of this discourse – journalists, opinion leaders, activists, politicians – activate the destructive potential of language. The dehumanizing discourse of the armed conflict in Ukraine, however, has not yet received a vigorous linguistic elaboration. The aim of this article is to raise this complex and important issue. By giving various examples of acts of linguistic dehumanization observed in the widely understood linguistic space of the armed conflict in Ukraine, the author identifies the main directions of dehumanization discourse within the Russian-Ukrainian linguo-cultural space. The author’s provided examples of dehumanizing statements facilitate the identification of both explicit and subtle dehumanization techniques prevalent within this discourse. At the same time, public figures are actively involved in the retransmission of dehumanizing content, which significantly affects the dynamics of this discourse and increases the range of its potential active and passive participants.The armed conflict in Ukraine, continuing in its culminating form since 24.02.2022, exists in two dimensions – on the battlefield and in the information space. In this second dimension, the main role is played by language, used as a potent weapon, one of the prominent functions of which is that of dehumanization. By violating the norms of constructive public communication, the creators of this discourse – journalists, opinion leaders, activists, politicians – activate the destructive potential of language. The dehumanizing discourse of the armed conflict in Ukraine, however, has not yet received a vigorous linguistic elaboration. The aim of this article is to raise this complex and important issue. By giving various examples of acts of linguistic dehumanization observed in the widely understood linguistic space of the armed conflict in Ukraine, the author identifies the main directions of dehumanization discourse within the Russian-Ukrainian linguo-cultural space. The author’s provided examples of dehumanizing statements facilitate the identification of both explicit and subtle dehumanization techniques prevalent within this discourse. At the same time, public figures are actively involved in the retransmission of dehumanizing content, which significantly affects the dynamics of this discourse and increases the range of its potential active and passive participants
Diabelskie koło historii. Poetyki miejskie w powieści Aleksieja Iwanowa Cienie Teutonów
Get PDFShadows of the Teutons, a novel by the contemporary Russian writer Aleksei Ivanov, was published in 2021. The story unfolds across two different time periods. Some events take place in 1457 during the siege of Marienburg, the capital of the Teutonic Order’s State, and the Polish-Teutonic conflict serves as a starting point for the depiction of later battles, in 1945, within the former East Prussia, now known as the Kaliningrad Oblast. This article examines the means used to create the urban spaces depicted in the novel and their transformation as a result of armed conflicts. It focuses on the urban landscapes of Baltiysk (Pillau) and Malbork (Marienburg), which exhibit a complex identity and strong interconnections at various levels of the narrative structure. The analysis explores somatopoetics and thanatopoetics, two categories the author employs to describe places, as well as the auditory and olfactory dimensions of everyday wartime experiences, memoryscapes, Teutonic castles and underground settings such as cellars, bunkers, catacombs, secret passages and tunnels.Shadows of the Teutons, a novel by the contemporary Russian writer Aleksei Ivanov, was published in 2021. The story unfolds across two different time periods. Some events take place in 1457 during the siege of Marienburg, the capital of the Teutonic Order’s State, and the Polish-Teutonic conflict serves as a starting point for the depiction of later battles, in 1945, within the former East Prussia, now known as the Kaliningrad Oblast. This article examines the means used to create the urban spaces depicted in the novel and their transformation as a result of armed conflicts. It focuses on the urban landscapes of Baltiysk (Pillau) and Malbork (Marienburg), which exhibit a complex identity and strong interconnections at various levels of the narrative structure. The analysis explores somatopoetics and thanatopoetics, two categories the author employs to describe places, as well as the auditory and olfactory dimensions of everyday wartime experiences, memoryscapes, Teutonic castles and underground settings such as cellars, bunkers, catacombs, secret passages and tunnels.Shadows of the Teutons, a novel by the contemporary Russian writer Aleksei Ivanov, was published in 2021. The story unfolds across two different time periods. Some events take place in 1457 during the siege of Marienburg, the capital of the Teutonic Order’s State, and the Polish-Teutonic conflict serves as a starting point for the depiction of later battles, in 1945, within the former East Prussia, now known as the Kaliningrad Oblast. This article examines the means used to create the urban spaces depicted in the novel and their transformation as a result of armed conflicts. It focuses on the urban landscapes of Baltiysk (Pillau) and Malbork (Marienburg), which exhibit a complex identity and strong interconnections at various levels of the narrative structure. The analysis explores somatopoetics and thanatopoetics, two categories the author employs to describe places, as well as the auditory and olfactory dimensions of everyday wartime experiences, memoryscapes, Teutonic castles and underground settings such as cellars, bunkers, catacombs, secret passages and tunnels.Shadows of the Teutons, a novel by the contemporary Russian writer Aleksei Ivanov, was published in 2021. The story unfolds across two different time periods. Some events take place in 1457 during the siege of Marienburg, the capital of the Teutonic Order’s State, and the Polish-Teutonic conflict serves as a starting point for the depiction of later battles, in 1945, within the former East Prussia, now known as the Kaliningrad Oblast. This article examines the means used to create the urban spaces depicted in the novel and their transformation as a result of armed conflicts. It focuses on the urban landscapes of Baltiysk (Pillau) and Malbork (Marienburg), which exhibit a complex identity and strong interconnections at various levels of the narrative structure. The analysis explores somatopoetics and thanatopoetics, two categories the author employs to describe places, as well as the auditory and olfactory dimensions of everyday wartime experiences, memoryscapes, Teutonic castles and underground settings such as cellars, bunkers, catacombs, secret passages and tunnels
Попавшие в „мышеловку”: анализ отношения местного населения к Чернобыльской Зоне Отчуждения в кино- и телепродукции (1990–2021 гг.)
Get PDFThe release of the television series Chernobyl (HBO, Sky Atlantic 2019) drew renewed attention to the tragedy, its locations, and the affected population, generating new productions in Russia, such as the film Chernobyl: Abyss (Danila Kozlovskij, 2021), explicitly made in response to the Western series, signalling a desire to re-appropriate the narrative of the disaster and its territories. Indeed, a recurrent characteristic of the film and television productions of the countries most affected by the 1986 nuclear disaster (Ukraine, Belarus, and Russia) has been the representation of the land and the inhabitants’ relationship with it (Lindbladh 2019). This is also a central theme in Svetlana Alexievich’s renowned 1997 work Voices from Chernobyl: Chronicle of the future, whose stories inspired some episodes of the Anglo-American series. This article analyzes the representation of the relationship between the inhabitants of the Chornobyl/Chernobyl Exclusion Zone and their homeland in film and television productions dedicated to the nuclear disaster, beginning with Eastern European films made in the early 1990s, moving on to the representation in the Western series, and culminating with an analysis of Kozlovskij’s Chernobyl: Abyss. Features considered include the development of romantic narratives within the contaminated zone, the visual representation of radiation, and the depiction of the local institutions’ response to the disaster.The release of the television series Chernobyl (HBO, Sky Atlantic 2019) drew renewed attention to the tragedy, its locations, and the affected population, generating new productions in Russia, such as the film Chernobyl: Abyss (Danila Kozlovskij, 2021), explicitly made in response to the Western series, signalling a desire to re-appropriate the narrative of the disaster and its territories. Indeed, a recurrent characteristic of the film and television productions of the countries most affected by the 1986 nuclear disaster (Ukraine, Belarus, and Russia) has been the representation of the land and the inhabitants’ relationship with it (Lindbladh 2019). This is also a central theme in Svetlana Alexievich’s renowned 1997 work Voices from Chernobyl: Chronicle of the future, whose stories inspired some episodes of the Anglo-American series. This article analyzes the representation of the relationship between the inhabitants of the Chornobyl/Chernobyl Exclusion Zone and their homeland in film and television productions dedicated to the nuclear disaster, beginning with Eastern European films made in the early 1990s, moving on to the representation in the Western series, and culminating with an analysis of Kozlovskij’s Chernobyl: Abyss. Features considered include the development of romantic narratives within the contaminated zone, the visual representation of radiation, and the depiction of the local institutions’ response to the disaster.The release of the television series Chernobyl (HBO, Sky Atlantic 2019) drew renewed attention to the tragedy, its locations, and the affected population, generating new productions in Russia, such as the film Chernobyl: Abyss (Danila Kozlovskij, 2021), explicitly made in response to the Western series, signalling a desire to re-appropriate the narrative of the disaster and its territories. Indeed, a recurrent characteristic of the film and television productions of the countries most affected by the 1986 nuclear disaster (Ukraine, Belarus, and Russia) has been the representation of the land and the inhabitants’ relationship with it (Lindbladh 2019). This is also a central theme in Svetlana Alexievich’s renowned 1997 work Voices from Chernobyl: Chronicle of the future, whose stories inspired some episodes of the Anglo-American series. This article analyzes the representation of the relationship between the inhabitants of the Chornobyl/Chernobyl Exclusion Zone and their homeland in film and television productions dedicated to the nuclear disaster, beginning with Eastern European films made in the early 1990s, moving on to the representation in the Western series, and culminating with an analysis of Kozlovskij’s Chernobyl: Abyss. Features considered include the development of romantic narratives within the contaminated zone, the visual representation of radiation, and the depiction of the local institutions’ response to the disaster.The release of the television series Chernobyl (HBO, Sky Atlantic 2019) drew renewed attention to the tragedy, its locations, and the affected population, generating new productions in Russia, such as the film Chernobyl: Abyss (Danila Kozlovskij, 2021), explicitly made in response to the Western series, signalling a desire to re-appropriate the narrative of the disaster and its territories. Indeed, a recurrent characteristic of the film and television productions of the countries most affected by the 1986 nuclear disaster (Ukraine, Belarus, and Russia) has been the representation of the land and the inhabitants’ relationship with it (Lindbladh 2019). This is also a central theme in Svetlana Alexievich’s renowned 1997 work Voices from Chernobyl: Chronicle of the future, whose stories inspired some episodes of the Anglo-American series. This article analyzes the representation of the relationship between the inhabitants of the Chornobyl/Chernobyl Exclusion Zone and their homeland in film and television productions dedicated to the nuclear disaster, beginning with Eastern European films made in the early 1990s, moving on to the representation in the Western series, and culminating with an analysis of Kozlovskij’s Chernobyl: Abyss. Features considered include the development of romantic narratives within the contaminated zone, the visual representation of radiation, and the depiction of the local institutions’ response to the disaster
Отступления от нормы и их отражение в памятниках нормативного характера: на примере правил Ужгородского Псевдозонара XVII в.
Get PDFChristian doctrine clearly regulates a person’s daily life, relationships with others, and behavior even down to eating. Breaking the commandments is considered a sin, and overcoming one’s own weakness leads to the improvement of man and bringing him closer to God, which is ultimately the goal of every Christian’s life. On the material of Cyrillic monuments of written texts of a teaching character, we will consider how the deviation from the norms of Christian morality and violation of the rules of doctrine are reflected in sermons. The sermon as a non-canonical, free genre is interesting for the study of the human value system; it is in the texts of sermons that one can find a reaction to socially significant events. In the article we will trace what sins are mentioned in sermons, what methods of overcoming them are suggested, and what values are emphasized as the main ones. We will conduct this study on the material of the sermons that are part of the Uglian didactical gospel, the didactical gospel of Clement Bukowski, and some other collections. To overcome sin, the Church used not only teachings, but also a collection of laws, the distinctive feature of which was the indication of punishment (penitentia) for the violation of this or that regulation. It should be noted that the various punishments were not physical, but spiritual (e.g. excommunication from the sacrament of confession and communion for a certain period of time, strict fasts, and many others), and the main purpose of punishment was to correct the sinful nature of man and bring him closer to God.Christian doctrine clearly regulates a person’s daily life, relationships with others, and behavior even down to eating. Breaking the commandments is considered a sin, and overcoming one’s own weakness leads to the improvement of man and bringing him closer to God, which is ultimately the goal of every Christian’s life. On the material of Cyrillic monuments of written texts of a teaching character, we will consider how the deviation from the norms of Christian morality and violation of the rules of doctrine are reflected in sermons. The sermon as a non-canonical, free genre is interesting for the study of the human value system; it is in the texts of sermons that one can find a reaction to socially significant events. In the article we will trace what sins are mentioned in sermons, what methods of overcoming them are suggested, and what values are emphasized as the main ones. We will conduct this study on the material of the sermons that are part of the Uglian didactical gospel, the didactical gospel of Clement Bukowski, and some other collections. To overcome sin, the Church used not only teachings, but also a collection of laws, the distinctive feature of which was the indication of punishment (penitentia) for the violation of this or that regulation. It should be noted that the various punishments were not physical, but spiritual (e.g. excommunication from the sacrament of confession and communion for a certain period of time, strict fasts, and many others), and the main purpose of punishment was to correct the sinful nature of man and bring him closer to God.Christian doctrine clearly regulates a person’s daily life, relationships with others, and behavior even down to eating. Breaking the commandments is considered a sin, and overcoming one’s own weakness leads to the improvement of man and bringing him closer to God, which is ultimately the goal of every Christian’s life. On the material of Cyrillic monuments of written texts of a teaching character, we will consider how the deviation from the norms of Christian morality and violation of the rules of doctrine are reflected in sermons. The sermon as a non-canonical, free genre is interesting for the study of the human value system; it is in the texts of sermons that one can find a reaction to socially significant events. In the article we will trace what sins are mentioned in sermons, what methods of overcoming them are suggested, and what values are emphasized as the main ones. We will conduct this study on the material of the sermons that are part of the Uglian didactical gospel, the didactical gospel of Clement Bukowski, and some other collections. To overcome sin, the Church used not only teachings, but also a collection of laws, the distinctive feature of which was the indication of punishment (penitentia) for the violation of this or that regulation. It should be noted that the various punishments were not physical, but spiritual (e.g. excommunication from the sacrament of confession and communion for a certain period of time, strict fasts, and many others), and the main purpose of punishment was to correct the sinful nature of man and bring him closer to God.Christian doctrine clearly regulates a person’s daily life, relationships with others, and behavior even down to eating. Breaking the commandments is considered a sin, and overcoming one’s own weakness leads to the improvement of man and bringing him closer to God, which is ultimately the goal of every Christian’s life. On the material of Cyrillic monuments of written texts of a teaching character, we will consider how the deviation from the norms of Christian morality and violation of the rules of doctrine are reflected in sermons. The sermon as a non-canonical, free genre is interesting for the study of the human value system; it is in the texts of sermons that one can find a reaction to socially significant events. In the article we will trace what sins are mentioned in sermons, what methods of overcoming them are suggested, and what values are emphasized as the main ones. We will conduct this study on the material of the sermons that are part of the Uglian didactical gospel, the didactical gospel of Clement Bukowski, and some other collections. To overcome sin, the Church used not only teachings, but also a collection of laws, the distinctive feature of which was the indication of punishment (penitentia) for the violation of this or that regulation. It should be noted that the various punishments were not physical, but spiritual (e.g. excommunication from the sacrament of confession and communion for a certain period of time, strict fasts, and many others), and the main purpose of punishment was to correct the sinful nature of man and bring him closer to God
Преступление и наказание в рассказе Улика Алексея Скалдина
Get PDFThe article is devoted to the discussion of structural elements and motifs in the short story of the Russian modernist Aleksey Skaldin entitled Trace. In his work, the writer reinterprets certain aspects from Fyodor Dostoevsky’s novel Crime and punishment. It can be assumed that the two texts chosen for comparative analysis are marked by similar ideas (crime, punishment, Übermensch). The goal of the analysis is to underscore the shared and relevant contents of both literary works. The main character of Skaldin’s Trace, Ivan Vyakhirev, is guided by the theory of the division of society into outstanding and ordinary individuals, similarly to Rodion Raskolnikov. Vyakhirev can be seen as a variant of Raskolnikov. Even though he does not know the book Crime and punishment, he “develops” Raskolnikov’s theory. Vyakhirev wants to prove his own uniqueness, the final test being the murder of his old friend. Similar experiences and reasoning of the characters lead them, however, in completely opposite directions. Raskolnikov reevaluates his life and the views he held as he admits that he is not an outstanding individual above the law. Skaldin’s Trace illustrates the reverse path of human personality development. Initiatory signs appear on Vyakhirev’s path, but he is unable to see and use them, and he does not develop self-awareness. He rejects their power, embarking on a dark path. The interpretation of Skaldin’s text through the prism of the ideas contained in Crime and punishment leads to an in-depth reading of the meanings and symbols hidden in Trace (including guilt, freedom, and the female figure).The article is devoted to the discussion of structural elements and motifs in the short story of the Russian modernist Aleksey Skaldin entitled Trace. In his work, the writer reinterprets certain aspects from Fyodor Dostoevsky’s novel Crime and punishment. It can be assumed that the two texts chosen for comparative analysis are marked by similar ideas (crime, punishment, Übermensch). The goal of the analysis is to underscore the shared and relevant contents of both literary works. The main character of Skaldin’s Trace, Ivan Vyakhirev, is guided by the theory of the division of society into outstanding and ordinary individuals, similarly to Rodion Raskolnikov. Vyakhirev can be seen as a variant of Raskolnikov. Even though he does not know the book Crime and punishment, he “develops” Raskolnikov’s theory. Vyakhirev wants to prove his own uniqueness, the final test being the murder of his old friend. Similar experiences and reasoning of the characters lead them, however, in completely opposite directions. Raskolnikov reevaluates his life and the views he held as he admits that he is not an outstanding individual above the law. Skaldin’s Trace illustrates the reverse path of human personality development. Initiatory signs appear on Vyakhirev’s path, but he is unable to see and use them, and he does not develop self-awareness. He rejects their power, embarking on a dark path. The interpretation of Skaldin’s text through the prism of the ideas contained in Crime and punishment leads to an in-depth reading of the meanings and symbols hidden in Trace (including guilt, freedom, and the female figure).The article is devoted to the discussion of structural elements and motifs in the short story of the Russian modernist Aleksey Skaldin entitled Trace. In his work, the writer reinterprets certain aspects from Fyodor Dostoevsky’s novel Crime and punishment. It can be assumed that the two texts chosen for comparative analysis are marked by similar ideas (crime, punishment, Übermensch). The goal of the analysis is to underscore the shared and relevant contents of both literary works. The main character of Skaldin’s Trace, Ivan Vyakhirev, is guided by the theory of the division of society into outstanding and ordinary individuals, similarly to Rodion Raskolnikov. Vyakhirev can be seen as a variant of Raskolnikov. Even though he does not know the book Crime and punishment, he “develops” Raskolnikov’s theory. Vyakhirev wants to prove his own uniqueness, the final test being the murder of his old friend. Similar experiences and reasoning of the characters lead them, however, in completely opposite directions. Raskolnikov reevaluates his life and the views he held as he admits that he is not an outstanding individual above the law. Skaldin’s Trace illustrates the reverse path of human personality development. Initiatory signs appear on Vyakhirev’s path, but he is unable to see and use them, and he does not develop self-awareness. He rejects their power, embarking on a dark path. The interpretation of Skaldin’s text through the prism of the ideas contained in Crime and punishment leads to an in-depth reading of the meanings and symbols hidden in Trace (including guilt, freedom, and the female figure).The article is devoted to the discussion of structural elements and motifs in the short story of the Russian modernist Aleksey Skaldin entitled Trace. In his work, the writer reinterprets certain aspects from Fyodor Dostoevsky’s novel Crime and punishment. It can be assumed that the two texts chosen for comparative analysis are marked by similar ideas (crime, punishment, Übermensch). The goal of the analysis is to underscore the shared and relevant contents of both literary works. The main character of Skaldin’s Trace, Ivan Vyakhirev, is guided by the theory of the division of society into outstanding and ordinary individuals, similarly to Rodion Raskolnikov. Vyakhirev can be seen as a variant of Raskolnikov. Even though he does not know the book Crime and punishment, he “develops” Raskolnikov’s theory. Vyakhirev wants to prove his own uniqueness, the final test being the murder of his old friend. Similar experiences and reasoning of the characters lead them, however, in completely opposite directions. Raskolnikov reevaluates his life and the views he held as he admits that he is not an outstanding individual above the law. Skaldin’s Trace illustrates the reverse path of human personality development. Initiatory signs appear on Vyakhirev’s path, but he is unable to see and use them, and he does not develop self-awareness. He rejects their power, embarking on a dark path. The interpretation of Skaldin’s text through the prism of the ideas contained in Crime and punishment leads to an in-depth reading of the meanings and symbols hidden in Trace (including guilt, freedom, and the female figure)
Wilno mityczne we współczesnej prozie litewskiej
Get PDFThe myth of the founding of the city of Vilnius became particularly important in Lithuanian art in the decade of the restoration of independence. After a long period of occupation, the capital of Lithuania became not only a catalyst for new formulations of national and civic identity, but also a symbol of freedom. The landscape and architecture of the Old Town of Vilnius embody the archaic Baltic imagination, which is not upstaged but, on the contrary, complemented by the Christian world of Vilnius. The restoration of independence activated the archaic Baltic imagination in Lithuanian art and literature as this kind of imagination had nurtured Lithuanians’ national self-awareness over centuries. This article focuses on two modern Lithuanian prose writers, Antanas Ramonas (1947–1993) and Ričardas Gavelis (1950–2002), whose works evoke the two most striking and different images of the same mythical Vilnius – divine and demonic, hopeful and hopeless. These two opposing images of mythical Vilnius reveal two different viewpoints on the world, on history and on the human being in modern Lithuanian literature.The myth of the founding of the city of Vilnius became particularly important in Lithuanian art in the decade of the restoration of independence. After a long period of occupation, the capital of Lithuania became not only a catalyst for new formulations of national and civic identity, but also a symbol of freedom. The landscape and architecture of the Old Town of Vilnius embody the archaic Baltic imagination, which is not upstaged but, on the contrary, complemented by the Christian world of Vilnius. The restoration of independence activated the archaic Baltic imagination in Lithuanian art and literature as this kind of imagination had nurtured Lithuanians’ national self-awareness over centuries. This article focuses on two modern Lithuanian prose writers, Antanas Ramonas (1947–1993) and Ričardas Gavelis (1950–2002), whose works evoke the two most striking and different images of the same mythical Vilnius – divine and demonic, hopeful and hopeless. These two opposing images of mythical Vilnius reveal two different viewpoints on the world, on history and on the human being in modern Lithuanian literature.The myth of the founding of the city of Vilnius became particularly important in Lithuanian art in the decade of the restoration of independence. After a long period of occupation, the capital of Lithuania became not only a catalyst for new formulations of national and civic identity, but also a symbol of freedom. The landscape and architecture of the Old Town of Vilnius embody the archaic Baltic imagination, which is not upstaged but, on the contrary, complemented by the Christian world of Vilnius. The restoration of independence activated the archaic Baltic imagination in Lithuanian art and literature as this kind of imagination had nurtured Lithuanians’ national self-awareness over centuries. This article focuses on two modern Lithuanian prose writers, Antanas Ramonas (1947–1993) and Ričardas Gavelis (1950–2002), whose works evoke the two most striking and different images of the same mythical Vilnius – divine and demonic, hopeful and hopeless. These two opposing images of mythical Vilnius reveal two different viewpoints on the world, on history and on the human being in modern Lithuanian literature.The myth of the founding of the city of Vilnius became particularly important in Lithuanian art in the decade of the restoration of independence. After a long period of occupation, the capital of Lithuania became not only a catalyst for new formulations of national and civic identity, but also a symbol of freedom. The landscape and architecture of the Old Town of Vilnius embody the archaic Baltic imagination, which is not upstaged but, on the contrary, complemented by the Christian world of Vilnius. The restoration of independence activated the archaic Baltic imagination in Lithuanian art and literature as this kind of imagination had nurtured Lithuanians’ national self-awareness over centuries. This article focuses on two modern Lithuanian prose writers, Antanas Ramonas (1947–1993) and Ričardas Gavelis (1950–2002), whose works evoke the two most striking and different images of the same mythical Vilnius – divine and demonic, hopeful and hopeless. These two opposing images of mythical Vilnius reveal two different viewpoints on the world, on history and on the human being in modern Lithuanian literature
Знатоки души человеческой: Фeдор Достоевский и Людмила Петрушевская
Get PDFThe article deals with the works of Fyodor Dostoyevsky and Lyudmila Petrushevskaya from the point of view of two disciplines – psychology (addictology), and literary criticism. The paper explores the authors’ description of the symptoms of addiction, which manifests itself both in the consciousness, subconsciousness and behavior of literary heroes, as well as in their relationships, and the studies are reported by specific excerpts from the literary works. Based on the primary analysis of the text, it can be argued that Dostoyevsky already in the 19th century, in his works, described symptoms that were defined by psychology as a science only in the 20th century. Petrushevskaya often enters into an intertextual dialogue with Dostoevsky, describing gloomy heroes and hopelesslife. The study analyzes specific symptoms and their application based on Dostoyevsky’s Netochka Nezvanova (1849) and Petrushevskaya’s The Glitch (1999). The purpose of the work is to draw attention to writers as psychologists, and to the skill of their artistic and psychological depiction of the external symptoms of various mental disorders through their literary heroes. This goal is achieved: 1) by identifying specific symptoms of mental disorders (addiction) of the characters; 2) a comparative analysis of scientific psychological material and literary text; 3) by comparing the artistic depiction of specific symptoms of characters in the texts of certain authors.The article deals with the works of Fyodor Dostoyevsky and Lyudmila Petrushevskaya from the point of view of two disciplines – psychology (addictology), and literary criticism. The paper explores the authors’ description of the symptoms of addiction, which manifests itself both in the consciousness, subconsciousness and behavior of literary heroes, as well as in their relationships, and the studies are reported by specific excerpts from the literary works. Based on the primary analysis of the text, it can be argued that Dostoyevsky already in the 19th century, in his works, described symptoms that were defined by psychology as a science only in the 20th century. Petrushevskaya often enters into an intertextual dialogue with Dostoevsky, describing gloomy heroes and hopelesslife. The study analyzes specific symptoms and their application based on Dostoyevsky’s Netochka Nezvanova (1849) and Petrushevskaya’s The Glitch (1999). The purpose of the work is to draw attention to writers as psychologists, and to the skill of their artistic and psychological depiction of the external symptoms of various mental disorders through their literary heroes. This goal is achieved: 1) by identifying specific symptoms of mental disorders (addiction) of the characters; 2) a comparative analysis of scientific psychological material and literary text; 3) by comparing the artistic depiction of specific symptoms of characters in the texts of certain authors.The article deals with the works of Fyodor Dostoyevsky and Lyudmila Petrushevskaya from the point of view of two disciplines – psychology (addictology), and literary criticism. The paper explores the authors’ description of the symptoms of addiction, which manifests itself both in the consciousness, subconsciousness and behavior of literary heroes, as well as in their relationships, and the studies are reported by specific excerpts from the literary works. Based on the primary analysis of the text, it can be argued that Dostoyevsky already in the 19th century, in his works, described symptoms that were defined by psychology as a science only in the 20th century. Petrushevskaya often enters into an intertextual dialogue with Dostoevsky, describing gloomy heroes and hopeless life. The study analyzes specific symptoms and their application based on Dostoyevsky’s Netochka Nezvanova (1849) and Petrushevskaya’s The Glitch (1999). The purpose of the work is to draw attention to writers as psychologists, and to the skill of their artistic and psychological depiction of the external symptoms of various mental disorders through their literary heroes. This goal is achieved: 1) by identifying specific symptoms of mental disorders (addiction) of the characters; 2) a comparative analysis of scientific psychological material and literary text; 3) by comparing the artistic depiction of specific symptoms of characters in the texts of certain authors.The article deals with the works of Fyodor Dostoyevsky and Lyudmila Petrushevskaya from the point of view of two disciplines – psychology (addictology), and literary criticism. The paper explores the authors’ description of the symptoms of addiction, which manifests itself both in the consciousness, subconsciousness and behavior of literary heroes, as well as in their relationships, and the studies are reported by specific excerpts from the literary works. Based on the primary analysis of the text, it can be argued that Dostoyevsky already in the 19th century, in his works, described symptoms that were defined by psychology as a science only in the 20th century. Petrushevskaya often enters into an intertextual dialogue with Dostoevsky, describing gloomy heroes and hopelesslife. The study analyzes specific symptoms and their application based on Dostoyevsky’s Netochka Nezvanova (1849) and Petrushevskaya’s The Glitch (1999). The purpose of the work is to draw attention to writers as psychologists, and to the skill of their artistic and psychological depiction of the external symptoms of various mental disorders through their literary heroes. This goal is achieved: 1) by identifying specific symptoms of mental disorders (addiction) of the characters; 2) a comparative analysis of scientific psychological material and literary text; 3) by comparing the artistic depiction of specific symptoms of characters in the texts of certain authors
Литературные образы России в романах Владимира Сорокина
Get PDFVladimir Sorokin is one of the representatives of Russian postmodernism and one of the most translated contemporary Russian authors in Europe. His work reflects an alternative to the “accepted” Russian reality, focusing on its understanding and the influence it has on the Russian people. The author uses artistic means of expression without embellishment and through his works he reflects not only the political, economic and social situation, but also his views and attitudes as a resident of Russia. In our article we present the time map of Russia according to Sorokin as reflected in three novels: The queue (1985), representing the Soviet system in the country, Their four hearts (1994), depicting the collapse of the USSR, and Day of the oprichnik (2006), portraying thebeginning of the XXI century. The article is devoted to the significant epochs of Russian history through the eyes of the author, who is trying to capture the mentality, beliefs and opinions of Russian people in his literary works. The analysis of the main periods of Russian history and their influence on the people, as reflected in Sorokin’s oeuvre, allows us to understand their attitude to the current situation in Russia.Vladimir Sorokin is one of the representatives of Russian postmodernism and one of the most translated contemporary Russian authors in Europe. His work reflects an alternative to the “accepted” Russian reality, focusing on its understanding and the influence it has on the Russian people. The author uses artistic means of expression without embellishment and through his works he reflects not only the political, economic and social situation, but also his views and attitudes as a resident of Russia. In our article we present the time map of Russia according to Sorokin as reflected in three novels: The queue (1985), representing the Soviet system in the country, Their four hearts (1994), depicting the collapse of the USSR, and Day of the oprichnik (2006), portraying the beginning of the XXI century. The article is devoted to the significant epochs of Russian history through the eyes of the author, who is trying to capture the mentality, beliefs and opinions of Russian people in his literary works. The analysis of the main periods of Russian history and their influence on the people, as reflected in Sorokin’s oeuvre, allows us to understand their attitude to the current situation in Russia.Vladimir Sorokin is one of the representatives of Russian postmodernism and one of the most translated contemporary Russian authors in Europe. His work reflects an alternative to the “accepted” Russian reality, focusing on its understanding and the influence it has on the Russian people. The author uses artistic means of expression without embellishment and through his works he reflects not only the political, economic and social situation, but also his views and attitudes as a resident of Russia. In our article we present the time map of Russia according to Sorokin as reflected in three novels: The queue (1985), representing the Soviet system in the country, Their four hearts (1994), depicting the collapse of the USSR, and Day of the oprichnik (2006), portraying the beginning of the XXI century. The article is devoted to the significant epochs of Russian history through the eyes of the author, who is trying to capture the mentality, beliefs and opinions of Russian people in his literary works. The analysis of the main periods of Russian history and their influence on the people, as reflected in Sorokin’s oeuvre, allows us to understand their attitude to the current situation in Russia.Vladimir Sorokin is one of the representatives of Russian postmodernism and one of the most translated contemporary Russian authors in Europe. His work reflects an alternative to the “accepted” Russian reality, focusing on its understanding and the influence it has on the Russian people. The author uses artistic means of expression without embellishment and through his works he reflects not only the political, economic and social situation, but also his views and attitudes as a resident of Russia. In our article we present the time map of Russia according to Sorokin as reflected in three novels: The queue (1985), representing the Soviet system in the country, Their four hearts (1994), depicting the collapse of the USSR, and Day of the oprichnik (2006), portraying the beginning of the XXI century. The article is devoted to the significant epochs of Russian history through the eyes of the author, who is trying to capture the mentality, beliefs and opinions of Russian people in his literary works. The analysis of the main periods of Russian history and their influence on the people, as reflected in Sorokin’s oeuvre, allows us to understand their attitude to the current situation in Russia
Великая Отечественная Война на выставках в советских столицах: Москва, Киев, Минск
Get PDFDuring World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war.During World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war.During World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war.During World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war
Проекты Нового краеведения в неофициальной истории города: опыт Санкт-Петербурга
Get PDFThe problem of interpreting local history is relevant to St. Petersburg, as to many other major historical cities. This article examines phenomena united by the concepts of local (spatial) myth and urban narrative, which go beyond official discourse. Alternative images of the city, based on its concealed places of interest contrast with one of the most widespread representations of St. Petersburg – its association with the heritage of imperial culture. The selection of memorable places and stories shifts from recognizable city landmarks to other objects that reveal the history and image of particular St. Petersburg sites, people’s daily lives and peripheral issues of urban life. This approach to the exploration of urban space, a phenomenon called New Local History, is presented and explained in the article as the rediscovery of the historical potential of the city. The examples given in the article also show the possible role of New Local History in encouraging residents to develop an interest in their own history, in the problems of modernity and in participating in socially significant projects. Trends in interaction with urban space and memory practices that offer alternative interpretations of the past have been identified in various socio-cultural initiatives. In the context of Russian memory politics, this approach often becomes oppositional.The problem of interpreting local history is relevant to St. Petersburg, as to many other major historical cities. This article examines phenomena united by the concepts of local (spatial) myth and urban narrative, which go beyond official discourse. Alternative images of the city, based on its concealed places of interest contrast with one of the most widespread representations of St. Petersburg – its association with the heritage of imperial culture. The selection of memorable places and stories shifts from recognizable city landmarks to other objects that reveal the history and image of particular St. Petersburg sites, people’s daily lives and peripheral issues of urban life. This approach to the exploration of urban space, a phenomenon called New Local History, is presented and explained in the article as the rediscovery of the historical potential of the city. The examples given in the article also show the possible role of New Local History in encouraging residents to develop an interest in their own history, in the problems of modernity and in participating in socially significant projects. Trends in interaction with urban space and memory practices that offer alternative interpretations of the past have been identified in various socio-cultural initiatives. In the context of Russian memory politics, this approach often becomes oppositional.The problem of interpreting local history is relevant to St. Petersburg, as to many other major historical cities. This article examines phenomena united by the concepts of local (spatial) myth and urban narrative, which go beyond official discourse. Alternative images of the city, based on its concealed places of interest contrast with one of the most widespread representations of St. Petersburg – its association with the heritage of imperial culture. The selection of memorable places and stories shifts from recognizable city landmarks to other objects that reveal the history and image of particular St. Petersburg sites, people’s daily lives and peripheral issues of urban life. This approach to the exploration of urban space, a phenomenon called New Local History, is presented and explained in the article as the rediscovery of the historical potential of the city. The examples given in the article also show the possible role of New Local History in encouraging residents to develop an interest in their own history, in the problems of modernity and in participating in socially significant projects. Trends in interaction with urban space and memory practices that offer alternative interpretations of the past have been identified in various socio-cultural initiatives. In the context of Russian memory politics, this approach often becomes oppositional.The problem of interpreting local history is relevant to St. Petersburg, as to many other major historical cities. This article examines phenomena united by the concepts of local (spatial) myth and urban narrative, which go beyond official discourse. Alternative images of the city, based on its concealed places of interest contrast with one of the most widespread representations of St. Petersburg – its association with the heritage of imperial culture. The selection of memorable places and stories shifts from recognizable city landmarks to other objects that reveal the history and image of particular St. Petersburg sites, people’s daily lives and peripheral issues of urban life. This approach to the exploration of urban space, a phenomenon called New Local History, is presented and explained in the article as the rediscovery of the historical potential of the city. The examples given in the article also show the possible role of New Local History in encouraging residents to develop an interest in their own history, in the problems of modernity and in participating in socially significant projects. Trends in interaction with urban space and memory practices that offer alternative interpretations of the past have been identified in various socio-cultural initiatives. In the context of Russian memory politics, this approach often becomes oppositional