Studia Rossica Posnaniensia
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Творчество Бориса Пастернака в польских исследованиях
No full textThe Poetry of Boris Pasternak has been known in Poland thanks to translations and critical articles already since 1920s. Nonetheless Polish researchers became interested in his oeuvre as whole after the authors death. The largest number of studies originates from the last two decades, and their characteristic features include a great diversity of problems and methodology. The Polish authors are especially interested in the contents and form of Pasternak’s writings, and their analysis concern particular works (e.g. poems) or asserted questions and phenomena typical for Pasternak. The most active researchers in Poland are Anna Majmieskułow, Jerzy Faryno and Zygmunt Zbyrowski, other authors have published pertinent articles.The Poetry of Boris Pasternak has been known in Poland thanks to translations and critical articles already since 1920s. Nonetheless Polish researchers became interested in his oeuvre as whole after the authors death. The largest number of studies originates from the last two decades, and their characteristic features include a great diversity of problems and methodology. The Polish authors are especially interested in the contents and form of Pasternak’s writings, and their analysis concern particular works (e.g. poems) or asserted questions and phenomena typical for Pasternak. The most active researchers in Poland are Anna Majmieskułow, Jerzy Faryno and Zygmunt Zbyrowski, other authors have published pertinent articles.The Poetry of Boris Pasternak has been known in Poland thanks to translations and critical articles already since 1920s. Nonetheless Polish researchers became interested in his oeuvre as whole after the authors death. The largest number of studies originates from the last two decades, and their characteristic features include a great diversity of problems and methodology. The Polish authors are especially interested in the contents and form of Pasternak’s writings, and their analysis concern particular works (e.g. poems) or asserted questions and phenomena typical for Pasternak. The most active researchers in Poland are Anna Majmieskułow, Jerzy Faryno and Zygmunt Zbyrowski, other authors have published pertinent articles
„Эпитафия Владимиру Высоцкому” Яцека Качмарского как интертекст
Get PDFThis article is devoted to the analysis of the poem Epitafium dla Włodzimierza Wysockiego (Epitaph for Vladimir Vysotsky) of Jacek Kaczmarski. In this poem the Polish bard conducts an intertextual dialogue with outstanding Russian poet and singer Vladimir Vysotsky.This article is devoted to the analysis of the poem Epitafium dla Włodzimierza Wysockiego (Epitaph for Vladimir Vysotsky) of Jacek Kaczmarski. In this poem the Polish bard conducts an intertextual dialogue with outstanding Russian poet and singer Vladimir Vysotsky.This article is devoted to the analysis of the poem Epitafium dla Włodzimierza Wysockiego (Epitaph for Vladimir Vysotsky) of Jacek Kaczmarski. In this poem the Polish bard conducts an intertextual dialogue with outstanding Russian poet and singer Vladimir Vysotsky
"Мысль" Леонида Андреева в контексте "Мыслей" Блеза Паскаля
No full textThe article describes Thought by Leonid Andreyev as a kind of contemporary artistic reflection of paradoxes descended from Thoughts by Blaise Pascal. The short story Thought by Leonid Andreyev is examined as a creative orientation of its author to Thoughts by Blaise Pascal. A comparative analysis of both works proves that, beside the antynomic vision of man and the world, Andreyev shares with Pascal a similar usage of notions such as thought, imagination, and abyss. The former, however, simplifies the ideas and views of the prominent philosopher in order to better reach the consciousness of the modern reader.The article describes Thought by Leonid Andreyev as a kind of contemporary artistic reflection of paradoxes descended from Thoughts by Blaise Pascal. The short story Thought by Leonid Andreyev is examined as a creative orientation of its author to Thoughts by Blaise Pascal. A comparative analysis of both works proves that, beside the antynomic vision of man and the world, Andreyev shares with Pascal a similar usage of notions such as thought, imagination, and abyss. The former, however, simplifies the ideas and views of the prominent philosopher in order to better reach the consciousness of the modern reader.The article describes Thought by Leonid Andreyev as a kind of contemporary artistic reflection of paradoxes descended from Thoughts by Blaise Pascal. The short story Thought by Leonid Andreyev is examined as a creative orientation of its author to Thoughts by Blaise Pascal. A comparative analysis of both works proves that, beside the antynomic vision of man and the world, Andreyev shares with Pascal a similar usage of notions such as thought, imagination, and abyss. The former, however, simplifies the ideas and views of the prominent philosopher in order to better reach the consciousness of the modern reade
Функция криптоцитаты на основе сравнительного анализа картины „Что есть истина. Христос и Пилат” Н. Ге и „Легенды о Вели- ком Инквизиторе” Ф.М. Достоевского
Get PDFThe article The function of a crypto-quotation on the basis of the picture of “Quod est veritas. Christ and Pilate” by M. Ge and “The Legend of the Grand Inquisitor” by F. Dostoyevsky aims at highlighting the relations between the analysed phenomena found both in the picture of Ge and in the legend. It reveals the mutual correspondence between the picture and the legend. To make such comparison possible, the author holds a view that methodological assumptions of the so called art correspondence and semiosphere may become sub-codes, which allow mutual influence and explanation of one sign by the others. Common ground for the two texts (the picture and the legend) may be a dialogue and a mythical approach. From the analysis, the author comes to a conclusion that the crypto-quotation (a hidden quotation) may be perceived as the polyphony of the word and the picture, which, to a certain extent, can be associated with Bakhtin\u27s theory of the polyphony of the word in Dostoyevsky\u27s novels.The article The function of a crypto-quotation on the basis of the picture of “Quod est veritas. Christ and Pilate” by M. Ge and “The Legend of the Grand Inquisitor” by F. Dostoyevsky aims at highlighting the relations between the analysed phenomena found both in the picture of Ge and in the legend. It reveals the mutual correspondence between the picture and the legend. To make such comparison possible, the author holds a view that methodological assumptions of the so called art correspondence and semiosphere may become sub-codes, which allow mutual influence and explanation of one sign by the others. Common ground for the two texts (the picture and the legend) may be a dialogue and a mythical approach. From the analysis, the author comes to a conclusion that the crypto-quotation (a hidden quotation) may be perceived as the polyphony of the word and the picture, which, to a certain extent, can be associated with Bakhtin\u27s theory of the polyphony of the word in Dostoyevsky\u27s novels.The article The function of a crypto-quotation on the basis of the picture of “Quod est veritas. Christ and Pilate” by M. Ge and “The Legend of the Grand Inquisitor” by F. Dostoyevsky aims at highlighting the relations between the analysed phenomena found both in the picture of Ge and in the legend. It reveals the mutual correspondence between the picture and the legend. To make such comparison possible, the author holds a view that methodological assumptions of the so called art correspondence and semiosphere may become sub-codes, which allow mutual influence and explanation of one sign by the others. Common ground for the two texts (the picture and the legend) may be a dialogue and a mythical approach. From the analysis, the author comes to a conclusion that the crypto-quotation (a hidden quotation) may be perceived as the polyphony of the word and the picture, which, to a certain extent, can be associated with Bakhtin\u27s theory of the polyphony of the word in Dostoyevsky\u27s novels
К теме творчества в ранней поэзии Анны Ахматовой. Финал книги „Четки” (1914)
Get PDFThe article is dedicated to the analysis of the final of Beads by great Russian poetess Anna Akhmanova. The book’s final consists of just nine verses, but, nevertheless, it is beautiful and amazing. In a relatively brief article the author tries to acquaint us with a very complex, multicolored world created by the poetess and also attempts to bring to a focus the deep, sharp feelings of lyric heroine.The article is dedicated to the analysis of the final of Beads by great Russian poetess Anna Akhmanova. The book’s final consists of just nine verses, but, nevertheless, it is beautiful and amazing. In a relatively brief article the author tries to acquaint us with a very complex, multicolored world created by the poetess and also attempts to bring to a focus the deep, sharp feelings of lyric heroine.The article is dedicated to the analysis of the final of Beads by great Russian poetess Anna Akhmanova. The book’s final consists of just nine verses, but, nevertheless, it is beautiful and amazing. In a relatively brief article the author tries to acquaint us with a very complex, multicolored world created by the poetess and also attempts to bring to a focus the deep, sharp feelings of lyric heroine
Человеческая жизнь на фоне временного пространства. Романы М.А. Осоргина „Свидетель истории” и „Книга о концах”
No full textThe main theme of this article is specific perceiving of reality and the historical process in the novels of Mikhail Osorgin. The writer tries to explain the sense of socialistic movement in Russia and it’s consequence – the revolution and the civil war 1917–1919. According to the point of view of Osorgin, the catastrophe, which happened to his country, is a part of the natural evolution of the universe. For the author, human life is more important than political ideas. Osorgin explains that people should build their own happiness instead of sacrifying their lives for abstract goals, which means nothing in the face of the universe and infinity. These ideas are connected with cosmological ideology of Osorgin.The main theme of this article is specific perceiving of reality and the historical process in the novels of Mikhail Osorgin. The writer tries to explain the sense of socialistic movement in Russia and it’s consequence – the revolution and the civil war 1917–1919. According to the point of view of Osorgin, the catastrophe, which happened to his country, is a part of the natural evolution of the universe. For the author, human life is more important than political ideas. Osorgin explains that people should build their own happiness instead of sacrifying their lives for abstract goals, which means nothing in the face of the universe and infinity. These ideas are connected with cosmological ideology of Osorgin.The main theme of this article is specific perceiving of reality and the historical process in the novels of Mikhail Osorgin. The writer tries to explain the sense of socialistic movement in Russia and it’s consequence – the revolution and the civil war 1917–1919. According to the point of view of Osorgin, the catastrophe, which happened to his country, is a part of the natural evolution of the universe. For the author, human life is more important than political ideas. Osorgin explains that people should build their own happiness instead of sacrifying their lives for abstract goals, which means nothing in the face of the universe and infinity. These ideas are connected with cosmological ideology of Osorgin
Религиозно-нравственная проблематика в деревенской прозе ХХ века (В. Астафьев, В. Распутин, В. Шукшин)
Get PDFVictor Astafiev, Valentin Rasputin and Vasiliy Shukshin are the representatives of a rural Russian prose. They all come from Siberia that has a great impact on their works. They wanted to save the rural spirit, hidden in the endless forests of the taiga, from the destructive influence of the urban culture. The writers wanted the Siberian countryside to help Russian society, which was drawn away from cultural roots, to return again to God.Victor Astafiev, Valentin Rasputin and Vasiliy Shukshin are the representatives of a rural Russian prose. They all come from Siberia that has a great impact on their works. They wanted to save the rural spirit, hidden in the endless forests of the taiga, from the destructive influence of the urban culture. The writers wanted the Siberian countryside to help Russian society, which was drawn away from cultural roots, to return again to God.Victor Astafiev, Valentin Rasputin and Vasiliy Shukshin are the representatives of a rural Russian prose. They all come from Siberia that has a great impact on their works. They wanted to save the rural spirit, hidden in the endless forests of the taiga, from the destructive influence of the urban culture. The writers wanted the Siberian countryside to help Russian society, which was drawn away from cultural roots, to return again to God
Творчество А.П. Чехова в рецепции С.Н. Булгакова
Get PDFThe article is devoted to Sergej Bulgakov’s reception of Chekhov. Bulgakov turned numerous times to the works of Russian writers, such as Gertsen, Dostoyevsky, Tolstoy and others. The public lecture ‘Chekhov as Thinker’ was given in the autumn of 1904 at the Tenishev College. It can be examined within the framework of Bulgakov\u27s reception of Chekhov\u27s writings. However, a more productive approach seems to lie elsewhere: the philosopher’s thoughts on Chekhov in the context of his transition ‘from Marxism to idealism’. In this sense, the lecture on Chekhov represents a sum total of sorts. Chekhov\u27s heroes become for him an example of the discrepancy between the general level of culture and spiritual potential of personality. In Chekhov\u27s artistic world, the accent is indeed placed on the individual\u27s moral effort. Instead of putting forward demands to the world, Chekhov\u27s heroes, such as Dymov (in Poprygunia, The Hopper), Misail Poloznev (in Моя жизнь, My Life), Nina Zarechnaja (in Chaika, The Seagull) and many others, begin with demands on themselves. The public lecture was given at the time of first Russian Revolution of 1905. Thus the philosopher extends the boundaries of aesthetic analysis, and considers Chekhov\u27s oeuvre as a testament, while the personality of the writer becomes an example of civic service.The article is devoted to Sergej Bulgakov’s reception of Chekhov. Bulgakov turned numerous times to the works of Russian writers, such as Gertsen, Dostoyevsky, Tolstoy and others. The public lecture ‘Chekhov as Thinker’ was given in the autumn of 1904 at the Tenishev College. It can be examined within the framework of Bulgakov\u27s reception of Chekhov\u27s writings. However, a more productive approach seems to lie elsewhere: the philosopher’s thoughts on Chekhov in the context of his transition ‘from Marxism to idealism’. In this sense, the lecture on Chekhov represents a sum total of sorts. Chekhov\u27s heroes become for him an example of the discrepancy between the general level of culture and spiritual potential of personality. In Chekhov\u27s artistic world, the accent is indeed placed on the individual\u27s moral effort. Instead of putting forward demands to the world, Chekhov\u27s heroes, such as Dymov (in Poprygunia, The Hopper), Misail Poloznev (in Моя жизнь, My Life), Nina Zarechnaja (in Chaika, The Seagull) and many others, begin with demands on themselves. The public lecture was given at the time of first Russian Revolution of 1905. Thus the philosopher extends the boundaries of aesthetic analysis, and considers Chekhov\u27s oeuvre as a testament, while the personality of the writer becomes an example of civic service.The article is devoted to Sergej Bulgakov’s reception of Chekhov. Bulgakov turned numerous times to the works of Russian writers, such as Gertsen, Dostoyevsky, Tolstoy and others. The public lecture ‘Chekhov as Thinker’ was given in the autumn of 1904 at the Tenishev College. It can be examined within the framework of Bulgakov\u27s reception of Chekhov\u27s writings. However, a more productive approach seems to lie elsewhere: the philosopher’s thoughts on Chekhov in the context of his transition ‘from Marxism to idealism’. In this sense, the lecture on Chekhov represents a sum total of sorts. Chekhov\u27s heroes become for him an example of the discrepancy between the general level of culture and spiritual potential of personality. In Chekhov\u27s artistic world, the accent is indeed placed on the individual\u27s moral effort. Instead of putting forward demands to the world, Chekhov\u27s heroes, such as Dymov (in Poprygunia, The Hopper), Misail Poloznev (in Моя жизнь, My Life), Nina Zarechnaja (in Chaika, The Seagull) and many others, begin with demands on themselves. The public lecture was given at the time of first Russian Revolution of 1905. Thus the philosopher extends the boundaries of aesthetic analysis, and considers Chekhov\u27s oeuvre as a testament, while the personality of the writer becomes an example of civic service
Фантом истории и история фантома в романе Ю. Дружникова „Первый день оставшейся жизни”
No full textThe article studies the originality of the latest Yu. Druzhnikov\u27s nоvеl chich accumulated the features of detective, historic, аdvеnturе, аnd espionage gеnrеs. Соlliding different stylistic systems the author provokes unехресtеd synthesis which generates а work bеlоnging to а new artistic type. It melts historically true and historically possible facts into а single unity. Воrn bу the writer\u27s imagination the historic phantom looks absolutely rеаl and is perceived as а true historic fact. It is the history of this phantom that creates the peripeteia of the nоvеl The first day of the remaiпiпg life.The article studies the originality of the latest Yu. Druzhnikov\u27s nоvеl chich accumulated the features of detective, historic, аdvеnturе, аnd espionage gеnrеs. Соlliding different stylistic systems the author provokes unехресtеd synthesis which generates а work bеlоnging to а new artistic type. It melts historically true and historically possible facts into а single unity. Воrn bу the writer\u27s imagination the historic phantom looks absolutely rеаl and is perceived as а true historic fact. It is the history of this phantom that creates the peripeteia of the nоvеl The first day of the remaiпiпg life.The article studies the originality of the latest Yu. Druzhnikov\u27s nоvеl chich accumulated the features of detective, historic, аdvеnturе, аnd espionage gеnrеs. Соlliding different stylistic systems the author provokes unехресtеd synthesis which generates а work bеlоnging to а new artistic type. It melts historically true and historically possible facts into а single unity. Воrn bу the writer\u27s imagination the historic phantom looks absolutely rеаl and is perceived as а true historic fact. It is the history of this phantom that creates the peripeteia of the nоvеl The first day of the remaiпiпg life
Поэзия Вадима Андреева и Даниила Андреева: к проблеме нацио- нального мирообраза
Get PDFThe report presents an analysis of works of а Russian mystic poet and philosopher Daniel Andreev (1906–1959) and а European poet Vadim Andreev (1902–1976) as а phenomenon of 20th century\u27s cultural development. Cross-cultural communication in the poets\u27 works is combined with developed national identity. Vadim Andreev\u27s poetry embodies national identity through developmeпt of motives representative for the Russian literature. Reconstituted world of the Russian literature (А. Pushkin, А. Blok, O. Mandelstam) defines axiological unity of his poetry and is of primary importance information of his creative competenceThe report presents an analysis of works of а Russian mystic poet and philosopher Daniel Andreev (1906–1959) and а European poet Vadim Andreev (1902–1976) as а phenomenon of 20th century\u27s cultural development. Cross-cultural communication in the poets\u27 works is combined with developed national identity. Vadim Andreev\u27s poetry embodies national identity through developmeпt of motives representative for the Russian literature. Reconstituted world of the Russian literature (А. Pushkin, А. Blok, O. Mandelstam) defines axiological unity of his poetry and is of primary importance information of his creative competenceThe report presents an analysis of works of а Russian mystic poet and philosopher Daniel Andreev (1906–1959) and а European poet Vadim Andreev (1902–1976) as а phenomenon of 20th century\u27s cultural development. Cross-cultural communication in the poets\u27 works is combined with developed national identity. Vadim Andreev\u27s poetry embodies national identity through developmeпt of motives representative for the Russian literature. Reconstituted world of the Russian literature (А. Pushkin, А. Blok, O. Mandelstam) defines axiological unity of his poetry and is of primary importance information of his creative competenc