Imagologiya i Komparativistika-Imagology and Comparative Studies最新文献

{"title":"The Problem of Genre in the Hymns by the Lake Poets and Thomas Moore","authors":"Alexandra D. Zhuk","doi":"10.17223/24099554/15/1","DOIUrl":"https://doi.org/10.17223/24099554/15/1","url":null,"abstract":"Though there are many seminal works on early Romanticism and Thomas Moore’s poetry, their hymns remain understudied. This article focuses on the genre problem in the hymns by the Lake Poets (S.T. Coleridge, W. Wordsworth, R. Southey) and Thomas Moore, whose poetry is studied in context of English Literature and German Romanticism. The characteristics of the hymn are emotionality, associative composition, abundance of repetitions and parallelisms, archaic grammatical forms of verbs and pronouns, and the use of verb contractions. The combination of genres in hymns results in such variants as the odic hymn, the idyllic and elegiac hymn, the mythological hymn, and even the satirical hymn, with each of them evolving in its own way in the period under study. The odic hymn is represented in “Hymn before Sun-rise, in the Vale of Chamouni” (1802) by S.T. Coleridge and “Hymn. For the Boatmen, as They Approach the Rapids under the Castle of Heidelberg” (1820/1822) and “To the Laborer’s Noon-Day Hymn” (1834/1835) by W. Wordsworth. These poems have such odic features as comparisons and conditional and cause-and-effect syntactic constructions. Coleridge’s hymn going back to the psalms of praise was influenced by German Romanticism, while Wordsworth’s hymns feature religious vocabulary and quotations from the Mass. The mythological hymn comes in two versions – one with idyllic features (“Hymn to the Earth” (1799, publ.1834) by S.T. Coleridge) and the mythological hymn-fragment (“Fragment of a mythological hymn to Love” (1812) by T. Moore). The fist is the translation of Stolberg’s hymn, from which the leitmotif of the Earth as the mother and the nanny of the World is borrowed. The image of the Earth has anthropomorphic features, with the marriage of the Earth and Heaven going back to W. Blake. The myth created by T. Moore is more complex. The creation of the world begins with the marriage of Love and Psyche. Love appears as the masculine principle of the Universe, while Psyche as the feminine one. The plot goes back to the ancient myths of the world creation from the Chaos and marriage of Eros and Psyche. However, T. Moore changed the myth and transformed the heroes into a source of life. “Hymn to the Penates” (1796) by R. Southey combines the idyllic, elegiac, publicistic and hymn features proper. The idyllic features are related to the image of the Penates that turn into a force controlling human lives and the souls of the dead. The childhood memories give rise to the elegiac features. The publicistic features appear in the verses of the people who do not worship the Penates. The composition, repetitions and parallelisms in the satirical “A Hymn of Welcome after the Recess” (1813) by T. Moore go back to the hymn genre; however the main stylistic devices used are irony and metonymy. Summing up, the genre of hymn in the works by the Lake Poets and Thomas Moore undergoes significant transformations, which will be further developed in late Romanism.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584298","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}

{"title":"William Blake in Contemporary Russian Literature and Culture","authors":"Vera V. Serdechnaia","doi":"10.17223/24099554/15/4","DOIUrl":"https://doi.org/10.17223/24099554/15/4","url":null,"abstract":"The article discusses the creativity of the English romantic William Blake comprehended in contemporary Russian literature and culture. These facts are quite significant, since many Russian thinkers and writers, such as Igor Garin and Merab Mamardashvili, mention Blake in their works. Blake, partly remembered as a symbolist and mystic, loomed large in the cultural universe of the Moscow mystical “Yuzhinsky” circle, members of which were, in particular, Yuri Mamleev, Yevgeny Golovin, Alexander Dugin, Yuri Stefanov. For them, Blake was an integral part of the great Tradition or ancient knowledge, lost by the civilization. Blake has been mentioned and quoted in the prose by Yuri Buida, Alexey Gryakalov, Ivan Ermakov, Ksenia Buksha, Oleg Postnov and in the poetry by Olga Kuznetsova, Maria Galina, Alla Gorbunova, Maxim Kalinin and others. Andrei Tavrov enters into a creative dialogue with the English Romanticist in his poetic cycle Lament for Blake (2018). Tavrov creatively renders Blake’s metaphysics of human physiology. The poem “Blake. Sparrow” shows an impressive fusion of Blake’s motives and lyrics. in particular, the multilevel character of the mythological world (from Ulro to Eden), conversations with Angels and traveling through the stars in “The Marriage”, the image of a sparrow and a visionary bird in general, images of insects guided through the night (“Dream”), the image of Milton like the meteorite in the heel of the narrator, the figure of Flaxman and the philosophy of creation by the word. In Tavrov’s work, Blake inhabits in a bizarre world of metaliterature, including Gogol and Derzhavin, Velasquez and Newton, Lear and Oedipus, Pan and Melchizedek. Blake, as the creator of overlapping worlds, becomes for Tavrov the key to the total poetization of the universe; where a transition is made from the hermetic principle “as above, so below” to the principle “everything in everything”. This principle turns out to be the most important for contemporary poetry. Blake’s paintings and drawings have become a part of Russian book culture: the famous engraving of the Creator God with a compass “The Ancient of Days” is often used in book graphics; the Moscow conceptualist Viktor Pivovarov, the author of samizdat, admitted that Blake inspired him with his experience in book printing. Blake’s influence can also be seen in the works of contemporary sculptor Alexander Kudryavtsev (1938–2011), namely, his ceramic fresco “The Creation of the World”. Thus, Blake, who came, among others, through the work of The DOORS and Jarmusch’s Dead Man, plays a significant role in the space of contemporary Russian literature. In these terms, the most significant of his works are “Songs” and “The Marriage of Heaven and Hell”, as well as mystical revelations of prophetic poems and his creative life of a genius unrecognized during his lifetime in general.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584309","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}

{"title":"The Image of Russia in Beat Culture","authors":"Irina V. L’vova","doi":"10.17223/24099554/16/13","DOIUrl":"https://doi.org/10.17223/24099554/16/13","url":null,"abstract":"The article deals with one of the most important unofficial imperial symbols of Russia - the Russian bayonet. For quite a long historical period, 1790-1945, the bayonet remained a metaphor for military, state, and national power. In the historical perspective, it had three main meanings: 1) the glory of the Russian Army, and then the Red Army; 2) the greatness and strength of the Russian Empire; 3) courage, determination, and the Russian man’s contempt for death. The cult of Suvorov and the myth of the Russian bayonet were formed in Russian poetry at the same time - at the end of the XVIII century, and they supported each other. Suvorov’s bayonet charge training remained relevant in the tactics and military theory of the Russian Army until the end of the 19th century. The idea of the mythical Suvorov’s “bogatyr”, a Russian soldier, was poeticized by the commander himself in The Science of Victory (1795) and was continued primarily in the patriotic poetry of the 1830s. The mythologization of the Russian bayonet in Russian poetry and battle prose reached its apotheosis in the early 1830s, at the time of Russia’s confrontation with Europe over the Polish Uprising. The literary myth of the bayonet is presented in its most complete form in Pyotr Yershov’s poem “The Russian Bayonet”. Patriotic lyrics with their collective lyrical subject and nationwide sublime pathos and the battle prose of the 1830s both played a decisive role in the creation of the myth. The hyperbolization of the Russian hero wielding the bayonet in the prose of the 1830s is usually linked with the motif of national superiority. The ideological imperial myth of the invincible and all-powerful Russian bayonet was used primarily within Russia itself. During the Crimean War, the poetical hope that the bayonet would help to win the war with the most well-armed armies in Europe was in vain. In addition, the destruction of the myth was influenced by the spread of the personal point of view in the psychological prose of Leo Tolstoy and Vsevolod Garshin. In Tolstoy’s battle prose, the war rhetoric and the valorization of war are devalued, this “demythologization” also includes an unusual description of the Russian bayonet charge. This trend continues in the prose of Garshin, who gained the experience of an ordinary volunteer soldier in the Russian-Turkish War. In the last third of the 19th century and before the beginning of the First World War, the bayonet in Russian unofficial literature became a metaphor for the repressive state apparatus. Nevertheless, at the beginning of the war, the suppressed national semantics of the bayonet was actualized again. The same thing happened at the very beginning of the Great Patriotic War when the very existence of Russians as an ethnic group was called into question. Soviet poets once again turned to the myth of the all-conquering Suvorov’s Russian bayonet.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584405","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}

{"title":"The Myth of the Chersonesus Destruction: An Episode of the Literary Development of Crimea","authors":"V. V. Orekhov","doi":"10.17223/24099554/15/12","DOIUrl":"https://doi.org/10.17223/24099554/15/12","url":null,"abstract":"In travel literature of the 19th century (P.I. Sumarokov, V.B. Bronevsky, I.M. Muraviev-Apostol, E.D. Clark, F. Dubois de Montpere, K. Omer de Gell and others), there was a legend that ancient Chersonesus was destroyed to extract building materials for the construction of Sevastopol. The objective data analysis shows that it is a literary myth that originates from the work of P.S. Pallas “Observations Made During Traveling Over Southern Provinces of the Russian State in 1793–1794” (1799–1801). The scholar argued that the “destruction” of Chersonesus was a consequence of the active construction of Sevastopol in the 1780s–1790s. In 1818, P.S. Pallas’s viepoint was supported by N.M. Karamzin, whose History of the Russian State tells (with reference to P.S. Pallas) that Chersonesus was destroyed “to take stones to construct houses in Sevastopol”. Since then, this version of the events has become a commonplace in almost any text about Chersonesus. At the same time, some European authors (E.D. Clark, K. Omer de Gell) used this “common place” as an instrument of political propaganda. It has been documented that only four objects of modest scale were built out of Chersonesus stone in 1783: a chapel, a smithy, a pier and an admiral’s house. Then, they started to produce building materials in F.F. Mekenzi’s estate and in the Inkerman quarries, which made the industrial extraction of stone in Chersonesus impractical. Why did the experience of the first city constructions entail such generalizing conclusions in P.S. Pallas’s book? The reconstruction of the historical situation allows to single out two main reasons. That time Crimea was considered a fragment of classical antiquity acquired by Russia. The remains of ancient constructions became the primary object of literary and research interests. However, the first travelers were deceived in their expectations, since in Crimea they mostly found medieval monuments erected on the site of ancient ones. Modern archaeologists know that in the 6th – 7th centuries ancient Chersonesus was completely rebuilt, which explains the scantiness of ancient traces. However, in the era of P.S. Pallas, it was easier to explain the absence of antique artifacts by the destruction caused by those who built Sevastopol. Yet there was another reason. Sevastopol quickly became the most populous city on the peninsula. This led to spontaneous development and unauthorized extraction of building materials, including the territory of Chersonesus. It was impossible to tackle the problem of protecting ancient monument at the level of local initiatives and funds. The exaggerations found in P.S. Pallas’s writing can be explained by the awareness of the spontaneous threat to the ruins of the ancient polis. A small fragment of the text written by P.S. Pallas about the destruction of Chersonesus was rather a signal of alarm calling for measures to preserve the settlement, than a strictly historical statement. This signal, relayed by many literar","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584434","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}

{"title":"Mikhail Lermontov and Nikolay Nadezhdin: Creative History and Sources of the Poem “The Sail”","authors":"S. Komarov, Olga K. Lagunova","doi":"10.17223/24099554/16/7","DOIUrl":"https://doi.org/10.17223/24099554/16/7","url":null,"abstract":"The article offers a new version of the concept and figurative nature of the well-known poem “The Sail” by Mikhail Lermontov. A set of subject lexemes from two articles written by Nikolay Nadezhdin based on the materials of his dissertation is considered as the source of most of the semantic signs of this text. The articles were simultaneously published in two magazines (Ateney [Athenaeus] and Vestnik Evropy [Herald of Europe]) and contain the conception of the phase development of world poetry. In the articles, Nadezhdin outlines the presence of two - classical and romantic - phases and proved that the latter expressed a crisis state of consciousness and is, in its then contemporary form, a forerunner of the transition to new forms of consciousness and the art of words. The task of these forthcoming new forms was to combine two complementary principles that structurally characterize the classical and romantic phases of poetry - oriented towards the outer and inner worlds, respectively. Nadezhdin is a recently hired professor of the language arts department of Moscow University where Lermontov also transfers. Lermontov publishes his debut poem in the same magazine as Nadezhdin, but chronologically later. Getting acquainted with the professor’s articles and his conception, Lermontov undertakes the mission of a qualitative renewal of poetic art that Nadezhdin declared. The poem “The Sail” embodies this decision of the young poet, that is why he is consistent as an author in extracting Nadezhdin’s figurative signs-concepts from the articles in addition to the initial emblematic line from Bestuzhev-Marlinsky’s poem. Thus, the reference to the famous Russian romantic acquires a motivated meaning within the framework of Nadezhdin’s general conception. The conception also explains the stanza-based division of the text into into descriptive and reflexive segments, which are analogs of of orientation towards the outer and the inner world. Lermontov demonstrates that his authorial consciousness overcomes the crisis of the romantic phase. He depicts the romantic character and his dialogue with a different, external subject objectively, in an estranged manner. As a result, the reader understands that the author, as a third consciousness, in his expression and values, is outside the framework of the designated problems of the dispute between the character and the sail, that is, between the real bearer and the actor of new poetry. Associated with this is the special position of this text in Lermontov’s transition from poetry to prose, as well as its inclusion in the famous letter of Lopukhina in September 1832. All this taken together makes it possible to speak about the need to consider the Lermontov / Nadezhdin plot as promising, although absent in Lermontov Encyclopedia.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585138","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}

{"title":"“On the European Events of 1854”: Dostoevsky in a Dialogue with Contemporary Poets on “Holy Russia”","authors":"S. Koroleva","doi":"10.17223/24099554/16/12","DOIUrl":"https://doi.org/10.17223/24099554/16/12","url":null,"abstract":"The major focus of the research is the content of the “Holy Russia” concept in Fyodor Dostoevsky’s poem “On the European Events of 1854”, analyzed in the context of the writer’s creative biography, as well as in the “big” context of historic, military, and political events of 1854, and the wave of poems evolved in Russian literature in response to these events. The author argues that, by the beginning of the Crimean war in 1854, Dostoevsky acquired a new understanding of himself, the Russian people, and Russia. This new understanding had, at its core, the notion of Christ’s absolute holiness, of inner connection between a person and a person through compassionate Christian love as an undoubted value, of vibrant pulse of this love in the Russian heart. No wonder, then, that the poem “On the European Events of 1854” - written by Dostoevsky in March 1854 and devoted to the political, historic, and religious situation connected with the Crimean War - comprises significant motifs characteristic of the writer’s mature works (primarily, the motif of holiness of Russian people’s ideals) and, thus, cannot be considered simply an expression of the author’s loyalty to the tsar and those in power. Two literary contexts - of military-patriotic poetry and of Slavophile poems devoted to the Crimean War - allow distinguishing between the common topics and the author’s voice in the poem. The text has three distinct parts: the first is profoundly innovative, both in the form and content, while the second and third ones basically follow the samples of Slavophile and military-patriotic poetry, correspondingly. The peculiarity of the “Holy Russia” concept, actualized in the first part of the poem, is determined by its involvement with the image of a “little man”, on the one hand, and by the significance of the motifs of self-sacrifice, sufferings, Christian love and faith, on the other. The name “Holy Russia” corresponds here to the Russian people’s historic way of shaping the state and defending it as a truly national value; it expresses the basis of the “Russian spirit”: self-sacrifice; Orthodox notions; respect for such holy things as family and motherland, the tsar and the state; the Russian people’s belief in a sort of special connection with the Lord. The analysis of the way the name “Rus’ ” functions in Dostoevsky’s other “Crimean” poem - “On the First of July 1855” - verifies the hypothesis that the writer’s concept of “Holy Russia” was formed in his poems devoted to the Crimean War.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584328","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}

{"title":"(Post)colonial Nationalism or National (Post)Colonialism: 20th Anniversary of Brother 2","authors":"Evgeniy O. Tretyakov","doi":"10.17223/24099554/16/15","DOIUrl":"https://doi.org/10.17223/24099554/16/15","url":null,"abstract":"The article focuses on Alexey Balabanov’s flagship film Brother 2 (2000), which is devoted to the Russian neo-imperial ambitions and traditionally perceived as a “popular” manifesto of Russian nationalism. The author proposes an approach based on the concepts of postcolonial theory and decolonial thinking (in the Tlostanian sense). Firstly, the creation of a unique author’s style by the “provincial” Balabanov (a native of Sverdlovsk) can be viewed as a contradiction to the postcolonial theory, which says that the “subaltern” (Gayatri Spivak) cannot speak in the face of the metropolis. Of course, this only takes place if we recognize the legitimacy of Alexander Etkind’s concept of a specific “internal colonization” in the Russian statehood. Secondly, the evolution of Balabanov’s hero does not imply any preferences for the Russians and constructs a single paradigm to unite Danila Bagrov - “the first real hero of the post-Soviet cinema” (Vasily Koretsky), the Englishman John Boyle from the film War, the Yakut woman Mergen from the short film River, Major Scriabin nicknamed Yakut (Fireman) ... Thus, Balavanov’s mythology of “brotherhood” is not international, yet it cannot be reduced to Russianness (Andrey Plakhov). Thirdly, the metropolis in Balabanov’s dilogy, be it “not Leningrad, but Petersburg”, the capital Moscow or the gangster Chicago, is losing its status as a stronghold of modernity. Its inviability can be seen in the empty streets of St. Petersburg and Moscow. Danila arrives in St. Petersburg from the provincial Priozersk, where life is marked by the patriarchal humanity (images of his mother, his father’s classmate). The hero epitomizes the power of the national soil. He is an epic Bogatyr who goes back to the idea of heroism. In the finale, Danila leaves his brother in Chicago, having gone through an existential experience and realized that war is not a national clash. Having killed many people, he fails to avenge the death of a friend. He longs for abstract justice, but helps a man who is unworthy of the sacrifice. Danila acquires a real friend - an American named Ben and a brother in arms - a prostitute Dasha, who unexpectedly complements the gallery of seemingly schematic female characters epitomizing all the hypostases of a woman in the logic of imperial / colonial modernity (mother / lover / reborn harlot). All this radically destroys traditional national / gender definitions. Thus, these contaminations form the original paradigm of the author’s view, which critically “explodes” the seemingly self-evident nationalist discourse of the film Brother 2 with its inherent racism, sexism, and other xenophobic features.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584898","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}

{"title":"Three “Erl-Kings”","authors":"M. Pavlova","doi":"10.17223/24099554/16/2","DOIUrl":"https://doi.org/10.17223/24099554/16/2","url":null,"abstract":"The scholars of Russian literature are very well aware of V Zhukovsky’s translation of Goethe’s “Erlkonig” (1782), published as “Lesnoy tsar’ ” (1818). However, none of the studies of Zhukovsky’s literary works mentions that Zhukovsky presumably used the English variant of the ballad by W. Scott for his translation of “Lesnoy tsar’ ”. W. Scott’s “The Erl-King” (1797) was written fifteen years after the original and almost twenty years before Zhukovsky’s translation. Thus, it can be assumed that V Zhukovsky, who was acquainted with W. Scott’s, couldn’t ignore the English translation of “Erlkonig”. If we compare V Zhukovsky’s and W. Scott’s tranlsations in terms of their closeness to the original, we can see that the former is significantly far from the original than the latter. Zhukovsky is faithful to the original in terms of the content, but he completely abandons the folklore stylistics of the original and traditionally organizes his text according to the ballad principles, which have already been developed in his original works. However, in his evolution, V. Zhukovsky follows W. Scott and draws on not only W. Scott’s early ballads but also his later narrative poems. By the moment when V. Zhukovsky starts translating Goethe’s ballad, he must have been acquainted with W. Scott’s narrative poems and other poetical pieces, which results in a difference between the original, English, and Russian translations. The closeness of Zhukovsky’s and Scott’s translation strategies can be seen not only on the level of content but also on the stylistic level. When creating “The Erl-King”, W. Scott focuses on the literary form of the ballad: even though his translation is quite close to the original, he transforms the poetical semantics and ballad form in the vein of sentimentalism, which can be also seen in his translation of Burger’s “Lenore”. The comparative analyses of the original and two translations by Zhukovsky and Scott allows making a conclusion that W. Scott’s translation of “Erlkonig” can be “interposed” between Goethe’s text, which is close to folklore ballad traditions, and Zhukovsky’s literary variant. If we take into account the undeniable fact that V. Zhukovsky looked to W. Scott’s ballads, we can say that early W. Scott’s literary pieces vector Zhukovsky’s translational creative works and play the role of a transition stage for Zhukovsky’s development as a poet and translator. It should be noted then, that later W. Scott returns to folklore variants of the ballad, while Zhukovsky remains faithful to the previously developed course to create his own philosophy of the genre.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67584981","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}

{"title":"Walter Scott’s Saint Ronan’s Well in Ivan Turgenev’s Artistic Perception","authors":"Ivan O. Volkov","doi":"10.17223/24099554/16/4","DOIUrl":"https://doi.org/10.17223/24099554/16/4","url":null,"abstract":"The article brings forth and develops the problem of I.S. Turgenev’s consequent perception of W. Scott’s SaintRonan’s Well (1824). The author focuses, firstly, on the I.S. Turgenev’s notes on the pages of the English novel and, secondly, on the analysis of Turgenev’s Clara Militch (1883), whose artistic composition reflects Walter Scott’s motifs and images. Saint Ronan’s Well was in the area of Turgenev’s reader interest in the early 1840-s. While reading the novel, he left notes in the form of short lines on the margins and underlined separate words, using either a pencil or his nail. On the one hand, Turgenev’s notes demonstrate his reader interest to the ironic impression of the entire Saint Ronan’s Well society and its individual representatives (for example, the images of Mac Turk, Mister Winterblossom, Earl Etherington). On the other hand, Turgenev emphasizes four leading and minor characters. Paired by Turgenev, they have an antithetic mode: the comic images of Peregrine Touchwood and Meg Dods and dramatic images of Lord Etherington and John Mowbray. Turgenev is sensitive to W. Scott’s principle of depiction, based on the deep and acute contradiction between individual characters and within their feeling worlds.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585039","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}

{"title":"The Forms of the Interaction between “Civilization” and “Nature” in the Fiction by Oscar Wilde: The Exchange and the Ritual of Sacrifice","authors":"N. Kuznetsova","doi":"10.17223/24099554/16/5","DOIUrl":"https://doi.org/10.17223/24099554/16/5","url":null,"abstract":"Most of Oscar Wilde’s works focus on the high society (including the royalty), which is portrayed as artificial, imitative, and ludic. These characteristics are epitomized in the process of collecting (artificial) rarities (The Picture of Dorian Gray, Salome, The Young King), or in the passion for performance and mystification (The Birthday of the Infanta, The Sphinx Without a Secret, The Importance of Being Ernest). As opposed to the “high society”, Wilde shows the natural (or ancient) milieu, which is firmer and healthier, but devoid of aesthetic perfection. Paradoxically, the high society represents external, corporeal, aesthetic form of life, while the natural milieu means the spiritual and ethic one. Wilde shows the aesthetic or ethic perfection as a fatal and dangerous phenomenon, since fully expressing themself in one, the person has to abandon the other. As a result, a good-looking person becomes a paragon of immorality, while a morally upstanding one looks too much ugly). Wilde is interested in the technique of the interaction between the opposites, rather than in the depiction of the absolute corporeal or moral perfection. The article aims at showing the two forms of interaction between “the civilization” and “the nature”. The positive model shows a profitable exchange: one side gives exactly as much as the other side receives (i.e. the rescued Hare for the rescued Star-Child; the peace of the Canterville Ghost for Virginia’s fortunate marriage). This is the case when the characters, who have some problems with their bodies (the transparent Ghost or the serpent-like Star-Child) gain the distinct shape, as if passing from the ancient to the modern state. In the cause of mutually beneficial exchange, the happy end (in Wilde’s terms) is possible. In the negative model, we can clearly see the imbalance between the two sides: one side gives more, but receives less, while the other becomes the figure of worship. Gradually, the influence of one of the sides grows: the “predator”, like the vampire, consumes and exhausts their “victim”. Instead of the modern exchange, the relationships between “the civilization” and “the nature” transform into the ancient ritual of the sacrifice, or idol worship (Basil, Nightingale, Jokanaan), with the members of this process returning to the ancient - formless - state.","PeriodicalId":55932,"journal":{"name":"Imagologiya i Komparativistika-Imagology and Comparative Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67585083","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}