World of Russian-speaking countries最新文献_第4页

The image of China in the USSR and RF world history school textbooks 苏联和苏联世界历史学校教科书中的中国形象

World of Russian-speaking countries Pub Date : 1900-01-01 DOI: 10.20323/2658-7866-2022-3-13-27-43

Xiaotao Li, Weiyi Luo

引用次数: 0

“OH LACKLUSTER TIGER, MAGNIFICENT TIGER!”: THE IMAGE OF A TIGER AS A SYMBOL OF NATIONAL CULTURE IN CHINESE AND RUSSIAN POETRY “啊，黯淡的老虎，雄壮的老虎!”:中俄诗歌中作为民族文化象征的老虎形象

World of Russian-speaking countries Pub Date : 1900-01-01 DOI: 10.20323/2658-7866-2020-3-5-105-121

E. Boldyreva, Elena V. Asafieva

{"title":"“OH LACKLUSTER TIGER, MAGNIFICENT TIGER!”: THE IMAGE OF A TIGER AS A SYMBOL OF NATIONAL CULTURE IN CHINESE AND RUSSIAN POETRY","authors":"E. Boldyreva, Elena V. Asafieva","doi":"10.20323/2658-7866-2020-3-5-105-121","DOIUrl":"https://doi.org/10.20323/2658-7866-2020-3-5-105-121","url":null,"abstract":"The article is devoted to the analysis of the symbolic potential of the eternal image of the tiger in Chinese and Russian poetry. On the example of the works of Chinese and Russian poets of different eras, the peculiarity of the artistic representation of the image of the tiger in lyrical texts is considered and a wide range of its symbolic meanings is revealed: tiger as a symbol of cruelty, power love and at the same time courage and honor, desire for the truth, freedom and justice (Guo Moruo), a symbol of destruction and danger (Yu Zhi), a symbol of impending chaos and a harbinger of the upcoming apocalypse, spiritual and physical death (Xu Zhi-Mo), a symbol of bourgeois culture, the personification of the greed and depravity of monarchist society and its rulers, the “dark” past of Russia (Jiang Guamtsi), a symbol of the will to freedom and independence, protest and perseverance (Nu Han), a symbol of experienced fierce tragedies of the past (Du Fu), a symbol of an ancient deity (P Kogan), a symbol of the desire for cold and dangerous freedom and the rejection of a well-fed and safe life in a zoo cage (E. Sadov), an analogue of the ancient Chinese deity, a great fire-breathing commander, a symbol of freedom and the triumph of life and beauty, as well as wisdom and calm (I. Selvinsky). In the process of analysis, attention is drawn to the change in the symbolic connotations of the image depending on the lyrical situation, from the zoomorphic realities accompanying the key symbol (wolf, snake, fox, rat) and historical and mythological characters (cruel and merciless Han ruler Wu-di, honest and noble knight Li Yu, etc.). The image of the tiger is considered as an ambivalent entity, combining opposite qualities and symbolic meanings: cruelty, natural destructive power and wisdom, caution, courage, passion, freedom love.","PeriodicalId":236873,"journal":{"name":"World of Russian-speaking countries","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122004532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The brand of the country, region and city as a factor of Russia's “soft power” 国家、地区和城市的品牌是俄罗斯“软实力”的一个因素

World of Russian-speaking countries Pub Date : 1900-01-01 DOI: 10.20323/2658-7866-2022-3-13-44-68

F.Yu. Kushnarev

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“But is the bed cold to the dead”: the thanatological discourse in Varlam Shalamov's Kolyma Notebooks “但对死者来说，床是冷的吗?”:瓦拉姆·沙拉莫夫《科雷马笔记》中的死亡论话语

World of Russian-speaking countries Pub Date : 1900-01-01 DOI: 10.20323/2658-7866-2021-3-9-58-68

E. Boldyreva, Elena V. Asafeva

{"title":"“But is the bed cold to the dead”: the thanatological discourse in Varlam Shalamov's Kolyma Notebooks","authors":"E. Boldyreva, Elena V. Asafeva","doi":"10.20323/2658-7866-2021-3-9-58-68","DOIUrl":"https://doi.org/10.20323/2658-7866-2021-3-9-58-68","url":null,"abstract":"The article analyzes specificity of the thanatological discourse in Varlam Shalamov's Kolyma Notebooks, which allows to present his work as a single metatext, elaborating different variations of thanatological poetics. The category of death is considered as an integral basis of V. Shalamov's work, which eventually leads to understanding his own attitude to death as an ontological, epistemological and axiological basis of life and creative work. The article examines different modes of death in Kolyma Notebooks: death as an essential component of the lyrical hero's mind, unattainability of rest, death as the embodiment of historical memory, art as victory over death, and the idea of purification and rest of the soul through creative work. Thanatological discourse of Varlam Shalamov's Kolyma Notebooks is seen as an integral artistic world with the image of the lyrical hero-creator at its center, gradually passing through all stages of dying, as a complex of subjects and images, united not only by the theme of physical death, but also by the idea of memory and creativity as a symbol of victory over moral and bodily decay. The article demonstrates how the thanatological character goes along the difficult path from contamination by death to complete spiritual purification, fulfilling the mission of the creator, the poet, called to capture in his work disintegration of personality, inevitably arising under the influence of difficult circumstances of life, and thus he not only relieves himself of deep spiritual distress and finds eternal peace, but also helps to restore historical justice.","PeriodicalId":236873,"journal":{"name":"World of Russian-speaking countries","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115231328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Cultural attributes of Russian rock: elitist or mass culture? 俄罗斯摇滚的文化属性:精英主义还是大众文化?

World of Russian-speaking countries Pub Date : 1900-01-01 DOI: 10.20323/2658-7866-2021-2-8-105-117

Ma Weihong

{"title":"Cultural attributes of Russian rock: elitist or mass culture?","authors":"Ma Weihong","doi":"10.20323/2658-7866-2021-2-8-105-117","DOIUrl":"https://doi.org/10.20323/2658-7866-2021-2-8-105-117","url":null,"abstract":"The article deals with identifying Russian rock culture as elitist or mass culture. The author characterizes the concepts of elitist and mass culture, explaining the difference between them, and examines the characteristics of Russian rock culture on the basis of this analysis. The author concludes that Russian rock culture is a kind of reconciliation of elite and mass culture: in the second half of the XX century the complexity of the Soviet political system and ideology determined the destiny and cultural attributes of Russian rock, making it a complex, multifaceted and eclectic phenomenon. Forced to survive, rock bands had to incorporate elements of popular music into their works and use mass media to attract the public. Having joined the ranks of commercial performances, rock 'n' roll gained more popularity, and gradually there appeared some signs of the rock culture decline. In the end, however, rock culture did not transform into mass culture, and Russian rock musicians and rock poets continued to play their music in search of a new cultural niche for themselves to express their critical attitude to reality, their denial and opposition to the processes of industrialization and urbanization, returning to the history and culture of the nation, paying attention to philosophical and religious issues and to the depth and completeness of poetic content, reconstructing Russian cultural memory, reflecting on the environmental situation in the modern world. Rock culture is still a culture of resistance, but as society continues to change, the form and content of resistance is also constantly changing, and it is because of this that rock culture has acquired a kind of humanistic foundation that is much deeper than that of popular culture, so ignoring the difference between rock culture and popular culture destroys the innate spirit and the essence of rock culture itself.","PeriodicalId":236873,"journal":{"name":"World of Russian-speaking countries","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123087059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Representing the iconic plot of St. George and the dragon in M. A. Bulgakov's play Flight 代表M. A.布尔加科夫戏剧《飞行》中圣乔治与龙的标志性情节

World of Russian-speaking countries Pub Date : 1900-01-01 DOI: 10.20323/2658-7866-2022-3-13-69-80

Olga A. Kazmina

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Fate as a driving force in the plot of W. Shakespeare's tragedy “Hamlet” 论命运在莎士比亚悲剧《哈姆雷特》情节中的推动作用

World of Russian-speaking countries Pub Date : 1900-01-01 DOI: 10.20323/2658-7866-2021-4-10-84-100

V. A. Andreeva, Ilya Andreev

{"title":"Fate as a driving force in the plot of W. Shakespeare's tragedy “Hamlet”","authors":"V. A. Andreeva, Ilya Andreev","doi":"10.20323/2658-7866-2021-4-10-84-100","DOIUrl":"https://doi.org/10.20323/2658-7866-2021-4-10-84-100","url":null,"abstract":"This article deals with the role of fate as a driving force in the plot of the tragedy “Hamlet” by W. Shakespeare. Fate in the play is presented in the form of three options: Fortune, Fate and Providence. The first gives or takes away luck, the second pursues a person for crimes committed, the third tests a person, offering remorse to the criminal. The plot of the tragedy combines two lines associated with fate: retribution to the fratricide Claudius and the return of the lands to Fortinbras. The article shows how the distant threat of the young Norwegian's arrival turns out to be the bait of fate for Claudius. The latter, using the threat as an excuse, reduces the period of mourning for the deceased brother and arranges a hasty wedding, which leads to the meeting of Hamlet with the ghost and eventually turns into the death of the new king. It is the haste of Claudius that breaks the usual ideas of the prince and leads the hero to the question “To be or not to be?” In his struggle with fate, Hamlet is above it by virtue of his noble character. He, on the one hand, fulfills his duty to his father, on the other hand, he does not become a blind instrument of revenge. Following fate and fighting it, he defeats it, so in the end, despite the bloodshed, he is worthy of military honors and paradise. Claudius, on the contrary, trying to change his fate, commits crimes over and over again. The author of the article shows how three different images of fate are combined in key episodes. In particular, the scene of the duel between Hamlet and Laertes is analyzed in detail. This article is devoted to the question of how fate in W. Shakespeare's “Hamlet” leads the main criminal (fratricidal Claudius) from crime to punishment, and the main character - from meeting with a ghost to fulfilling the will of the murdered. We also consider the plot of vengeance-trial in the context of the framed plot of returning the land by young Fortinbras.","PeriodicalId":236873,"journal":{"name":"World of Russian-speaking countries","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129463707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

TRADITIONS OF STUDYING THE RUSSIAN LANGUAGE AT SOUTHWEST UNIVERSITY IN THE CONTEXT OF THE LANGUAGE POLICY OF THE PRC 新中国语言政策背景下西南大学俄语学习的传统

World of Russian-speaking countries Pub Date : 1900-01-01 DOI: 10.20323/2658-7866-2020-3-5-5-17

Olga A. Kazmina, Xiaohua Kou

{"title":"TRADITIONS OF STUDYING THE RUSSIAN LANGUAGE AT SOUTHWEST UNIVERSITY IN THE CONTEXT OF THE LANGUAGE POLICY OF THE PRC","authors":"Olga A. Kazmina, Xiaohua Kou","doi":"10.20323/2658-7866-2020-3-5-5-17","DOIUrl":"https://doi.org/10.20323/2658-7866-2020-3-5-5-17","url":null,"abstract":"The article is researching origins of the study Russian language in China, the “boom” of the Russian language and Russian-Soviet culture in the 1950s. in the PRC, their “disgrace” during the “cultural revolution” and the “second spring of rapid development” after 1978. The object of the study is the language policy of the PRC, the main emphasis is on the analysis of the study of the Russian language in the city of Chongqing and Southwestern University (SWU), where the Russian language as a bachelor degree major was open in 1950, and then underwent a new birth in 2010. Attention is paid to the study of the formation and development of the Faculty of the Russian Language of SWU in retrospect, the names of teachers, including Soviet citizens, who were at the origins of Russian studies at the university are indicated, and a large amount of statistical data is provided. The main purpose of this article is to analyze the productive work of the Faculty of the Russian Language, reopened in 2010. The article presents positive trends in improving the methodological, educational, scientific, extracurricular work of the faculty, as a result of improving the quality of teaching and students' knowledge. The perspectives of conjugation of the “Belt and Road” initiative with the development of language policy in China are assessed. A conclusion is made about the development potential in the field of international cooperation and international exchanges of the Faculty of the Russian Language of SWU.","PeriodicalId":236873,"journal":{"name":"World of Russian-speaking countries","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121541607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The images of wisdom and prophecy in literature and ancient traditions of China and Rus-Russia 中国和俄罗斯古代传统文学中的智慧和预言形象

World of Russian-speaking countries Pub Date : 1900-01-01 DOI: 10.20323/2658-7866-2022-4-14-92-109

G. Y. Filippovsky

引用次数: 0

Lianozovo biographical myth in Vladimir Sorokin's novel “Blue Lard” 索罗金小说《蓝猪油》中的利亚诺佐沃传记体神话

World of Russian-speaking countries Pub Date : 1900-01-01 DOI: 10.20323/2658-7866-2021-4-10-112-126

Yulia V. Tkachuk, Alexei S. Bokarev

{"title":"Lianozovo biographical myth in Vladimir Sorokin's novel “Blue Lard”","authors":"Yulia V. Tkachuk, Alexei S. Bokarev","doi":"10.20323/2658-7866-2021-4-10-112-126","DOIUrl":"https://doi.org/10.20323/2658-7866-2021-4-10-112-126","url":null,"abstract":"The article examines one of the key episodes of V. Sorokin's novel “Blue Lard” (1999) from the perspective of the biographical myth. In the novel, some prominent representatives of Soviet uncensored art appear as characters. They are members of the Lianozovo group Evgeny Kropivnitsky, Oskar Rabin, Igor Kholin, Genrikh Sapgir, and Vsevolod Nekrasov. It is argued that the Lianozovian “biographical legend” cultivated in the work is formed on the basis of three equal and interrelated semes: “marginality”, “opposition to official art”, and “claims of aesthetic superiority”. The first seme “highlights” I. Holin's past as a prisoner and O. Rabin's complicated relationship with the law; the second emphasizes the opposition of underground art to any “permitted” forms of literature; the third absolutizes its artistic primacy and avant-garde character. The sources of the myth outlined in the novel are analyzed through the memoirs collected by V. Pivovarov in his album Holin and Sapgir jubilant, metapoetic texts by the Lianozovites featuring the literary life of the era (for example, V. Nekrasov's article “”) and their literary works (poems and paintings). V. Sorokin's myth-making strategy involves, on the one hand, reducing biographical images to a few of their most expressive qualities (which makes them one-dimensional) and, on the other hand, replacing conventional codes with occasional ones or “doubling” them (bringing them to their semantic limit).","PeriodicalId":236873,"journal":{"name":"World of Russian-speaking countries","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130465037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0