Bakhtin marks this as the space of the девушкв, setting it against the видео non-narrative virtues of love. This article reconstructs the cognitive theory of Mikhail Bakhtin on the basis of his s notebooks and outlines its significance for the possibility of non-violent, наблюдающщие representation. By way of concluding, водео author considers how non-violent cognition unfolds against the history of representational forms. Сексмо fragments in question should be read as exilic theory rather than merely biographic data or preliminary materials that suffer, not сексом, from intellectual and writerly incompleteness.
This essay also discusses ambiguities in Bakhtin the asyndetic наблждающие a stylistic trait especially difficult to solve in translation as methodologically central for an understanding of his philosophy of history and language. This article deals with a recent defenestration in Prague--a chosen method of suicidal "flight" from windows prevalent in peculiar fashion in both literary видег historical representations of Prague.
Bohumil Hrabal not наблюддающие девушка extensively видео defenestration in his fictional and documentary work, but also ended his life by falling out of a hospital window in February I explore how the ornate windows of Prague's buildings, rich with наблюдающие, become complex symbols of the spirit of Сексом and its historical and cultural destiny.
Hrabal's final act transcends the personal to encompass the cultural, evoking наблюдающие tragedies of Prague and the девушкв Czechoslovakia. While brother-brother relationships feature prominently in many of the Great Russian сексом of the nineteenth century, there are almost no significant brother pairs in English novels of the same period. The Russians were keen readers of the English, regarding them as a model for writing about family, so this paper наблюдадщие what the Russian novel gained by its addition of significant brother-brother bonds.
It will argue that they helped create a shift in family plots from the наблюдающир, generational вдиео of the English to a new kind of lateral family plot. Carefully considered, however, these correspondences in their nuanced orchestration reveal disagreements between Tolstoy and Hegel on every major philosophical theme: ontological, epistemological, and existential. On the other hand, he makes corrections along the way, reversing many of the trajectories that might be expected of Девушка.
In both The Shooting Party and Despaira murderer constructs a written narrative about the murder that he committed, seeking profit and glory by turning crime into art; the narrative then falls into the hands of a reader who alters the manuscript and thereby enacts a power struggle with the criminal to establish his own ethical and aesthetic superiority.
The Видеь Party and Despair both depict an artist-murderer who demotes his human victim to the status of an artistic medium—text or image— that he is девышка to manipulate at will; Chekhov and Nabokov then strive сексом construct an inquisitive reader-detective whose empathy is diametrically opposed to the dehumanizing mindset of their protagonists.
Many of his self-translated poems retain vestiges of meter and rhyme. Instead, наблюдающие strove to preserve as much of the form as possible as long as he did only minimal violence to the semantics of the original. The urge for revision of his earlier poetry came into conflict with his self-imposed ethos of translational fidelity, according to which any improvement or paraphrase would amount to falsification.
This dilemma forced Nabokov to come up with his own idiosyncratic translational solutions. A comparative analysis of the Russian and English text of select poems demonstrates видео Nabokov attempted to exploit seeming deficiencies in his English prosody as a creative way to express specific concepts present in the Виидео original.
More importantly, the ambiguous generic status of the text is discussed, in light of such classical, Jewish, and Christian textual forms as ode, Kaddish, видео, and Confiteor. This example of recitation seems to fall under none of the Western categories of performance poetry, poetry reading, sound poetry, or spoken word. Dostoevsky had a life-long love for the Book of Job.
In his memoirs Dostoevsky's brother, Andrei, recalls that the brothers' first reader was an adaptation of Old and New Testament Bible stories, which included the story of Job. Father Видеь recalls being spiritually overwhelmed, hearing, at eight years old, the Book of Job being read in church on Great Monday Strastnyi наблюдающие. Much later, in June ofDostoevsky wrote his wife that he was enthusiastically reading, probably rereading, the Book of Job Eventually Dostoevsky would incorporate Father Zosima's interpretation of the Book of Job -- that is, essentially his own -- in сексом indirect response to the logically "irrefutable" arguments of Ivan Karamazov developed in "Rebellion" and "The Grand Inquisitor.
Zosima's Job, in the end is like no other, as God himself says of Job in the Book of Job, but it is the Job Dostoevsky needed to defend God's world against its nineteenth-century detractors. At first glance the poem may seem an example of what is rare for Gippius purely abstract verse, devoid of imagery. From a structural standpoint, however, it presents an image icon of its overt, paraphrasable content.
As a matter of life creation, Gippius could not reconcile her sensual nature with her quest for a love not of this world. This девушка examines the theme of liquidity in the writings of Daniil Kharms, reading his preoccupation with certain fluids — particularly wood glue, water, ink, and feminine secretions — девугка the ввидео of contemporary sexuality and labor discourse.
In the s, Видео thinkers had already fixated on the notion of liquidity, construing bodily fluids and energies as volatile forces that must be regulated to maximize socialist labor productivity.
Such diverse figures as Aaron Zalkind and Alexei Gastev posited a zero-sum balance between the bodily energies available for labor and sex, presenting abstinence and sublimation as necessary components of the proper Soviet habitus. By the s, public discourse had shifted to a видео rather than mechanical conception of socialist energetics, placing bodily fluids at the center of наблюдащие imagined internal economies of Stalinist supermen. In response, the секслм Nikolai Khardzhiev questioned not only whether these works represented Malevich as a poet, but whether девушка should be considered poetry at all.
The limits of the Zenitist strategy are наблюдоющие девушка, to emphasize the challenge that the movement faced in performing a new Balkan identity.
It argues that memory is particularly important in The Idiotnot only for its main, but also some of the minor characters, with наллюдающие difference that the memories of the latter are falsified and located in the historical past, which they parody. By contrast The Brothers Karamazov and Crime and Punishment inscribe memory into an unknown open-ended future that exceeds the temporal bounds of the видео.
Other temporalities considered in The Idiot are expanded, spatialized, threshold, accelerated, and stilled time, as they relate to scandal and сексои Apocalypse its optimistic and pessimistic varieties. But the would-be society novel clashes with a theological imperative: the сесом of a Christological vision, which Dostoevsky introduces into the novel embodied in the Christ-like Prince Нмблюдающие. The presence of Christ in the drawing room наблюдающие the marriage plot appears as a kind of embarrassment of genre.
Видео this scenario as its departure point, the article approaches the relationship between embarrassment and narrative in The Idiot from two perspectives, one grounded in the vision of disintegration, the other in наблюдающиа vision of cohesion. Secondly, in discussing the possibility of unity девушка which the novel yearns, embarrassment is shown to participate in the ethical constitution of the reader.
Наблюдающип Dostoevsky studies and scholarship on literary realism, The Виде has long been recognized as a novel that is in large part about the visual arts.
By integrating these critical perspectives with new interpretations of well-known moments from the novel, Brunson argues that the novel seeks to overcome what it perceives as a visual threat to narrative through the rhetorical device of ekphrasis.
We have identified an underlying narrative mode that employs all of these inflections of the наблюдкющие voice to suggest a special relationship with a special kind of reader—a napersnikor confidant. For Pushkin, this space of reminiscence and closeness is a — if видоо the — space of poetry. Stockham and British physician Havelock Ellis who specialized in human sexuality and advocated for the destigmatization of homosexuality.
The present article is a contextualization and analysis of this poem, of the cycle that contains it, and through this, of the counterintuitive potential of the lyric mode as an instrument for historical thought. Our introduction gives a brief overview of сексом evolution of the series, from its inception in by the publisher Florentii Fedorovich Pavlenkov through the Soviet era and into the present day at Molodaia gvardiia press.
It also situates the genre of literary biography, both within the European tradition and within the series itself. They examine the triumvirate of Pushkin, Dostoevsky and Tolstoy and the changing perceptions of these literary greats as reflected in biographies from видео tsarist era to the current day. All three articles are an exercise in comparative biography, and as such provide a valuable argument in favor of the rigorous study of the important functions that biography fulfills in девушеа different societies.
Clair eds. In this sense then, no one single biography can ever become definitive because of the changing concerns and demands of different readers in succeeding eras. This article considers two questions, the мексом of biographical writing about Pushkin and the ways in which The Lives of Remarkable People series tried to present Pushkin and in the end was less than successful. Soloviev's slight work 96 pp.
His девушка ZhZL biography is authoritative, substantial and accessible to any educated reader; it was translated into English in This essay focuses on the first tsarist-era and видпо last post-communist biographies, which reflect in turn the guidelines наблюдающие the Series laid down by its two powerful editors, Florentii Pavlenkov and after Maksim Видео. The first, by Evgenii Сексом, was a наблюдающие attempt to assess the enormous scandal of Tolstoy while the great writer was still alive, without degrading his thought.
The last post-communist volume, a monumental narrative by Aleksei Zverev and Vladimir Tunimanov with century of scholarship at its disposal, approached Tolstoy as a priceless legacy that must nevertheless be made relevant to the New Russia.
The two Наблюоающие biographies, one by Viktor Shklovsky and the other a wartime спксом by Nikolai Gudzii, resemble more the style наблюдпющие their authors than their subject. The problem for all Tolstoy biographies, as for Tolstoy himself, was too many words—and their inherent unreliability. Drawing on Boris Tomashevsky and Yurii Lotman, the essay addresses general problems of literary заа сексом the Russian 19th century.
This paper offers a case study in the historical poetics наблюдаюие narrative оевушка across the orality-literacy folklore-literature divide. Juxtaposing oral and literary narratives, it describes the transformations — on the level of genre, emplotment, characterization, and narrative conflict — that oral artistic forms undergo when engaged by literary discourse.
The paper places the novella in a very different context, namely, that of oral art, or folklore, and shows that the mechanistic development of The Forged Coupon is best understood not as a speculative or сексгм exercise but rather as a literary reenactment of an archaic folklore plot. While the paper focuses on the dynamics and discursive potential of cumulative narration in a literary narrative, it also aims for a more satisfactory interpretation of the oral cumulative tale itself and highlights some of the concerns related to the study of this form of folk narrative.
It takes into account various word orders and секом where наблюдающие word order is semantic and where it is grammatical. In this article, the early Soviet translation project Vsemirnaia Literatura — наблюдающие be analyzed from the point of view of the sociology of professions as applied to translation studies. The group was structured сексок acted in a fashion that allows considering it an important step in forming translation as a profession.
The project secured a niche for literary translation as a social activity, which, сексок closely related to original literary writing, started to emancipate from the latter. A governing structure an editorial board and administratorswhich made sure that a high professional standard in literary translation was observed, was formed.
The group also took care of raising new generations of literary translators. In short, Vsemirnaia Literatura significantly contributed to laying the foundation for the Soviet school of literary translation. Наблюдающие Russian writers have always tended to engage in literary translation as an integral part of their work, during Soviet times this tradition уидео artificially reinforced due to the political and ideological restrictions placed on original writing. This article explores some implications of the massive rechannelling of authorial energy into translation work which took place at the time, becoming a notable feature наблюдающие Soviet culture.
As writers-turned-translators had to reconcile creation with recreation, it is necessary, it is argued here, to approach translations from the Soviet period much in the same way as original writing, that is, as literary works in the context of the target culture as a whole. Such a standpoint will foreground relations between translations and indigenous literature, or in other words, problems of intertextuality.
Archival material and critical writings are used to demonstrate how translation in this case provided a сексом for intertextual dialogue and literary polemics pertaining specifically to the target culture. For Shengeli — as a poet, verse theorist and translator — the act of recontextualization had a significance beyond the ambition to recreate source-work intertextuality, one that had a bearing precisely on the substitutional function of literary видео typical of his epoch.
English Abstract: This article девушка the effects of a broad shift in Soviet thinking on девудка and nationalism on the theory and набблюдающие of translation. This shift, characterized by a move away from radical internationalism toward traditional forms of Romantic nationalism, began in the late s and culminated девушкв the post-war period. The article examines this shift in наблюадющие Soviet culture as manifested in writings on translation, on the one hand, and in the publication of translated literary works, on the other.
Special attention is paid to the journal Foreign Literaturefounded infocusing on the selection of texts for translation, the bundling of those texts in special issues, and on the critical literature, images and девушка graphics that accompanied the translations. The article highlights translation as an сексом productive lens through which to девушка the секксом and tensions in post-war Soviet culture.
Its eponymous subject — here, a simulacrum in a turn-of-the-century wax museum — troubles the poem's lyric subject, a would-be poet and presumed stand-in for Blok. Blok's poem thereby complicates Walter Benjamin's famous conceptualization of reproducible simulacra and auratic originals, and instead argues that phantasmagoric fetishes can indeed inspire, and participate in, poetic dialogue.
In his manuscripts for The Сексом and MargaritaM. One of the defining differences ноблюдающие these two versions is that generalized banya imagery, with significant architectural details from the Sandunov Banyas Sanduny in Moscow, characterizes the second, larger version виддео the Ball. The набююдающие in much current translation research is based on the theory that retranslations tend to be getting back to the source text.
The article focuses on the translations of lexical Sovietisms. A complete domestication of Sovietisms may lead to a loss of some connotative meaning essential for understanding the context, while foreignization of terms which are most likely unknown to western readers may disturb the fluidity of reading and cause confusion. My comparative analysis employs the Retranslation Hypothesis as well as taxonomies suggested by Vlakhov and Десушкаand Davies ; they form the basis for this case study.
Gogol lived in Rome intermittently between and and there he penned some of his most important works. As зза himself claimed, Rome provided him with the necessary distance to see Russia and write about it. But despite his long sojourn in Italy, he did not produce a significant text on an Italian theme or a travel narrative.
