11 research outputs found
La question du livret de Monna Vanna, opéra inachevé de Sergej Raxmaninov et Mixail Slonov
No full textL’article est consacré à l’opéra inachevé de S. V. Raxmaninov, Monna Vanna. Pour expliquer cet abandon, on invoque en général le fait que le compositeur n’aurait pas été satisfait par le travail de son librettiste, M. A. Slonov. Cherchant à faire la clarté sur ce point, l’auteur de cette étude revient sur la collaboration entre les deux hommes, d’où il ressort qu’il n’y a pas lieu de rendre Slonov responsable de l’inachèvement de l’opéra.The article describes the problems connected with the incompleteness of S. Raxmaninov’s opera Monna Vanna. One of the most commonly admitted point of view found in the literature is expressed by the relatives of the composer. According to this version Raxmaninov was unhappy with the work of the librettist M. A. Slonov, and that is the reason why the opera has not been not finished. In his effort to find out whether this version is accurate or not, the author of the article considers the process of the teamwork of Raxmaninov and Slonov on the libretto of Monna Vanna. His conclusion is in favour of the creative union of Raxmaninov and Slonov which he believes to have been quite successful. That is why, in his opinion, there is no reason to blame Slonov for the incomplete ness of the opera
La question du livret de Monna Vanna, opéra inachevé de Sergej Raxmaninov et Mixail Slonov
No full textProblems of text and reception: Mixail Zoscenko.
No full textMixail Zoscenko stands at the center of controversy. His critical reception in both the (former) Soviet Union and the West is dominated by incompatible images of author and work. He has been advanced as a pro-Soviet satirist, an anti-Soviet satirist, or an artist striving for maximum simplicity to meet the needs of the newly literate masses. Previous interpretations have generally promoted Zoscenko within one of these lines, seeking to define him through various political claims, yet it is my contention that this conflict is not primarily a question of literary politics. In my dissertation, I investigate how his texts' complexities and ambiguities generate this critical dissension. Given the noted indeterminacy of Zoscenko's texts--inconsistencies, contradictions and incongruencies on the linguistic and narrative planes--they resist/parody conventional strategies of semanticization. This tension compromises critical expectations that his work fulfills an essentially mimetic or "realistic" function as a "window" on early Soviet life and language. Two central elements of this ambiguity are his celebrated skaz, which complicates the normal procedures by which we may demarcate and hierarchize voices in a narrative, and the generic instability of his texts. By integrating analysis of these elements with examination of the numerous, yet relatively untouched, documents of his reception, I explore how his texts' value shifts within various critical paradigms. The dissension in his critical legacy constitutes a useful case study in order to examine the question of literary reception in the Soviet Union, a subject that rarely has been investigated outside of a political framework. My focus is on the reception of Zoscenko in the 1920s and 1930s, and, therefore, separate attention is devoted to two vital aspects of this question: the mass reader and the Socialist Realist context. However, reference is made to posthumous interpretations and to his legacy in the West in order to elucidate certain theoretical points. As a theoretical basis from which to understand the complexities of textual production and reception, I employ late formalist and Prague structuralist studies of the polysemic nature of the text, complemented by Mixail Baxtin's theories of double-voiced discourse.PhDSlavic Languages and LiteraturesUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/103042/1/9303703.pdfDescription of 9303703.pdf : Restricted to UM users only
L’enthymème entre la philosophie et le style dans la Rhétorique de Mixail Speranskij
No full textЭнтимема между философией и стилем
в Риторике Михаила Сперанского
Отталкиваясь от учения Аристотеля об энтимеме, автор данной статьи пытается показать на примере Риторики М. Сперанского (1792), что интерес к энтимеме в России в конце XVIII-го века связан, с одной стороны, с распространением эмпиризма, а, с другой стороны, с поиском нового стиля русского языка.The Enthymeme Between Philosophy and Style in Mixail Speranskij’s Rhetoric
The author of this article is looking into the enthymeme which, since Aristotle, has been used as a philosophical argument and stylistic device. He is attempting to show, through Speranskij’s Rhetoric (1792), that in Russia at the end of the eighteenth century, the prominence of the enthymeme was linked, on the one hand, to the rise of empiricism, and on the other hand, to the birth of the new style of the Russian language.Gorbounova Raïssa. L’enthymème entre la philosophie et le style dans la Rhétorique de Mixail Speranskij. In: Revue des études slaves, tome 80, fascicule 4, 2009. pp. 443-457
Mixail Speranskij réformateur de l’éloquence russe à la fin du xviiie siècle
No full textL’article est consacré au cours de rhétorique, rédigé en 1792, par le futur ministre d’Alexandre Ier, Mixail Speranskij. Après avoir brièvement retracé l’histoire de l’éloquence sacrée russe, l’A. analyse l’apport de Speranskij. Sa réflexion sur les trois composantes du sermon, le logos, le pathos et l’ethos, fait apparaître une sorte de rééquilibrage au profit de l’ethos, ce qui rapproche sa conception de la prédication protestante.The article is devoted to a lesson in rhetoric, written in 1792 by Mikhail Speranskij, the future Minister of Alexander I of Russia. After a short history of Russian Church eloquence, the author analyses Speranskij’s contribution. His thought about the three elements of a ser- mon, the logos, pathos and ethos shows a kind of advantage in favour of the ethos, which is a conception close to the protestant predication
Intertexte ou lecture par défaut ? Les Épigrammes de Martial dans l'œuvre en prose de Mixail Čulkov
No full textЭпиграммы Mарциала и проза Чулкова
Проза Михаила Чулкова является наиболее изученной в русской литературе XVIII века. Именно поэтому странно, что на интертексты произведений Чулкова не обращалось достаточного внимания. А изучением античных интертекстов исследователи не занимались и подавно. Но тем не менее, известный советский филолог В. П. Степанов ссылался на их важность. Возможно, недостаток внимания следует объяснять идеологическими причинами. На протяжение советского периода произведения Чулкова являлись примером выражения русского народного гения в литературе, совершенно не знакомого с классическим наследием человечества. Однако известно, что Чулков был хорошо знаком с греческими и латинскими авторами, даже если он и читал их в переводах, а если в оригинале, то не полностью. Это касается и Эпиграмм Марциала, в XVIII веке еще не переведенных на русский язык. Я думаю, что Чулков мог их читать на латыни, так как он изучал языки в гимназии при Московском университете. На это указывает много общего как в самих текстах обоих писателей, так и сходство тем. Особенно следует отметить тему бедности поэта и оплакивание его участи. Эта тема разработана в произведениях обоих писателей очень похоже (поэт говорит об отсутствии денег, жалуется на ветхость одежды, на остановивших на нем свой выбор Аполлоне и Музах, советует начинающим поэтам хорошо подумать о выборе профессии, завидует необразованным, но богатым людям).
Я не могу согласиться с А. В. Западовым, который считает, что все эти мотивы специфичны для культуры среднего класса русского XVIII века (напомним, что среднего класса в России тогда не было), но также и с Джоном Гаррандом, который связывает темы произведений Чулкова лишь с биографией писателя (ведь биография не могла еще в то время служить достаточным материалом для художественного произведения). Я думаю, что произведения Чулкова имеют интертекстуальные корни. Это — «Эпиграммы» Марциала. Они служили Чулкову не только источником тем для его произведений, но и являлись примером для выражения самоиронии в его прозе. Они также сыграли определенную роль в трансформации голоса рассказчика в совершенно новую фигуру в русской литературе того времени: автор стал занимать важное место в произведении.
Таким образом, Эпиграммы, которые служили Чулкову идеальным материалом для сатирической периодики (эпиграммы всегда невелики по объему, смешны и легки для понимания, в них изображалась в привычной для русской литературы форме реальность), подготовили «техническую базу» для «восхода» прозы в России. Я показал, что произведения Марциала были известны в России XVIII века и что русская проза развивалась не обособленно, а наоборот, находила в классицизме темы, с помощью которых и выражала свое. И в заключение отмечу, что Чулков был обязан Марциалу также спецификой прозы того времени, не желавшей использовать цитату как своеобразную литературную функцию, и считавшей диссимуляцию своих источников характеристикой своей собственной жанровой формы.Martial's Epigrams and Mikhail Čulkov's prose works of fiction
Mixail Čulkov's prose is one of the most commented on works of eighteenth century Russian literature. Strangely enough though, not much attention has been yet paid to the study of its intertextuality. As for the study of its antique intertextuality, it hasn't been done at all, though the famous Soviet scholar V. P. Stepanov mentioned its importance. One could probably find ideological causes to explain this lack of attention. During the Soviet period, Čulkov's works were thought to illustrate the genius of ignorant popular Russian writers, who were not supposed to have had any knowledge of classical literature.
Still, it seems to me that Čulkov knew some of the Greek and Latin Classics quite well, even if he might have read some of them only partially and/or in translation. As for Martial's Epigrams, since they hadn't yet been translated in eighteenth-century Russia, I think that Čulkov might have read them directly in Latin, for he had studied the language at Moscow University's Gymnasium.
Indeed many common elements can be found in both authors' set of themes. In particular, I am referring to the theme of the poet's poverty and his constant moaning about it. This theme is found in both works through the use of similar motifs (the poet constantly talks about money, complains about the worn state of his coat, advises younger poets against choosing this profession, complains about the lack of a patron, resents Apollo and the Muses that chose him, and envies uneducated but rich people). I don't agree with A. V. Západov, who thought these motifs could be linked to the rise of a culture specific to the middle class in eighteenth century Russia (there was no such a class yet), nor with John Garrard, who related them to Čulkov's own biography (biography was not yet considered as good material for fictional prose). I think the motives have an intertextual origin. They come from Martial's Epigrams and feed Culkov's set of themes at the same time as they introduce auto-irony into his prose. They also contribute to transforming the voice of the narrator into quite a new figure in the Russian literature of that time: the author, seen as a character taking part in the fiction.
Thus, the Epigrams, which were precisely the ideal material for Čulkov's satirical journals (epigrams are always short, lively and comic, they describe a conventional reality which is well adapted to 18th century Russian literature, which doesn't dare or want to describe the world around), provided technical assistance to the rise of fictional prose in Russia. All this demonstrates that Martial's works were known in eighteenth-century Russia, and that fictional prose didn't rise in opposition to the culture of Classicism, but absorbed it and turned it into its own set of themes. Finally, the fact that Čulkov hid his debt to Martial seems to me to be specific of Russian prose of that time, which, unlike poetry, refuses to consider literary citation as an esthetic function, and regards this dissimulation as characteristic of its own esthetics.Baudin Rodolphe. Intertexte ou lecture par défaut ? Les Épigrammes de Martial dans l'œuvre en prose de Mixail Čulkov. In: Revue des études slaves, tome 72, fascicule 1-2, 2000. pp. 33-51
Intertexte ou lecture par défaut ? Les Épigrammes de Martial dans l'œuvre en prose de Mixail Čulkov
No full textMartial's Epigrams and Mikhail Čulkov's prose works of fiction
Mixail Čulkov's prose is one of the most commented on works of eighteenth century Russian literature. Strangely enough though, not much attention has been yet paid to the study of its intertextuality. As for the study of its antique intertextuality, it hasn't been done at all, though the famous Soviet scholar V. P. Stepanov mentioned its importance. One could probably find ideological causes to explain this lack of attention. During the Soviet period, Čulkov's works were thought to illustrate the genius of ignorant popular Russian writers, who were not supposed to have had any knowledge of classical literature.
Still, it seems to me that Čulkov knew some of the Greek and Latin Classics quite well, even if he might have read some of them only partially and/or in translation. As for Martial's Epigrams, since they hadn't yet been translated in eighteenth-century Russia, I think that Čulkov might have read them directly in Latin, for he had studied the language at Moscow University's Gymnasium.
Indeed many common elements can be found in both authors' set of themes. In particular, I am referring to the theme of the poet's poverty and his constant moaning about it. This theme is found in both works through the use of similar motifs (the poet constantly talks about money, complains about the worn state of his coat, advises younger poets against choosing this profession, complains about the lack of a patron, resents Apollo and the Muses that chose him, and envies uneducated but rich people). I don't agree with A. V. Západov, who thought these motifs could be linked to the rise of a culture specific to the middle class in eighteenth century Russia (there was no such a class yet), nor with John Garrard, who related them to Čulkov's own biography (biography was not yet considered as good material for fictional prose). I think the motives have an intertextual origin. They come from Martial's Epigrams and feed Culkov's set of themes at the same time as they introduce auto-irony into his prose. They also contribute to transforming the voice of the narrator into quite a new figure in the Russian literature of that time: the author, seen as a character taking part in the fiction.
Thus, the Epigrams, which were precisely the ideal material for Čulkov's satirical journals (epigrams are always short, lively and comic, they describe a conventional reality which is well adapted to 18th century Russian literature, which doesn't dare or want to describe the world around), provided technical assistance to the rise of fictional prose in Russia. All this demonstrates that Martial's works were known in eighteenth-century Russia, and that fictional prose didn't rise in opposition to the culture of Classicism, but absorbed it and turned it into its own set of themes. Finally, the fact that Čulkov hid his debt to Martial seems to me to be specific of Russian prose of that time, which, unlike poetry, refuses to consider literary citation as an esthetic function, and regards this dissimulation as characteristic of its own esthetics.</jats:p
The Inscription in the Monastery Arxangel Mixail in Varoš (Prilep) and its Reading
No full textThe presentation is dedicated to the Old Church Slavonic "Varoški nadpis" in today's Northern Macedonia. The author proposes a new reading of the year and gives a richly illustrated account of the history of the discovery of this inscription
Du spectacle avant toute chose
No full textAlors que l’historiographie théâtrale a le plus souvent associé le « théâtre de masse » à l’art révolutionnaire soviétique, aux spectacles d’agit-prop et aux « actions de masse », le présent article invite à reconsidérer cette notion au prisme des études culturelles, en choisissant de s’intéresser au théâtre commercial qui s’est développé en Russie à partir des années 1880, en lien avec l’abolition du monopole sur les spectacles publics. L’auteure tente ici de reconstituer un pan de l’activité théâtrale de Mixail Lentovskij (1843-1906), entrepreneur infatigable et metteur en scène visionnaire, et d’expliciter la conception du « théâtre de masse » qu’il a mise en œuvre dans une de ses entreprises les plus célèbres, le Jardin Ermitage. Elle cherche à déterminer les raisons du succès de ce célèbre Jardin dans le contexte d’un marché des spectacles en pleine mutation.While theatrical historiography has most often associated “mass theatre” with Soviet revolutionary art, agitational theater, and “mass actions”, this paper invites us to reconsider this notion through the prism of Cultural Studies, choosing to focus on the commercial theater that developed in Russia from the 1880s onwards in light of the abolition of the Imperial Theater’s monopoly on public performances. The author tries to reconstruct part of the theatrical activity of Mikhail Lentovsky (1843-1906), tireless entrepreneur and visionary director, and to explain the concept of “mass theater” that he implemented in one of his most famous companies, the Hermitage Garden. The author seeks to determine the reasons for the success of this famous Garden in the context of a rapidly changing entertainment market
Baroque elements in the poetry of M.V. Lomonosov
No full textMixail Vasil'evič Lomonosov (1711-1765) is probably the most significant figure in the history of modern Russian literature before Puškin, yet few scholars outside the realm of Slavic studies are familiar with his accomplishments. Lomonosov lived during a dynamic and formative period in Russian history, and without doubt, his work on the reform of the Russian literary language, his interest in syllabotonic versification and his poetic genius helped to lay the groundwork for the marvellous poetical creations of Puskin.
Lomonosov is a poet whose work reflects the influences of many different styles. With his education and training, he was exposed to several literary trends, the most prominent being the Baroque. It is the purpose of this study to examine the stylistic features in Lomonosov's poetry that can be linked with the Baroque. It will focus the attention on his panegyric odes, although it also incorporates several examples from his translations of the Psalms, Anacreontic poems, and the unfinished epic "Peter the Great."
The organization of this study is as follows. The first chapter is devoted to a brief survey of European literary Baroque and to a review of the critical works, both pre-revolutionary and Soviet, which examine the Baroque trend in Russian culture. The second chapter discusses Loraonosov's literary predecessors who exhibit Baroque features in their works. This survey looks briefly at the works of Simeon Polockij, Avvakum, Feofan Prokopovič and Vasilij Trediakovskij. The second part of the chapter focuses on the periods in Lomonosov's education and training which must have influenced his poetical style. The next three chapters are a discussion of the Baroque elements in Lomonosov's work, based on. a detailed analysis of the stylistic features of his poems. The last chapter is a summary and conclusion of the material that is presented in the study.
The Appendix comprises four odes translated by the author. The purpose of the translations is to acquaint the non-Russian reader with Lomonosov's poetry and, at the same time, to present examples of those works which reveal the stylistic features pertinent to the study.
To accomplish the purpose of the study, Imbrie Buffurn's Agrippa d'Aubigne's 'Les Tragiques,' A Study of the Baroque Style in Poetry is used as a point of departure. Buffum has shown that a detailed analysis of the stylistic and thematic elements in d'Aubigne's poetry reveals his style as indicative of the Baroque in general. Moreover, in his examination, Buffum has tried to show d'Aubigne as a representative of the Baroque man. The present study does not try to present the stylistic features of Lomonosov's odes as representative of his Weltanschauung. Its purpose is to show that Loraonosov was a poet who was greatly influenced by Baroque poetry yet was one who was not a poet of the Baroque Age.Arts, Faculty ofCentral, Eastern, and Northern European Studies, Department ofGraduat
