Przegląd Rusycystyczny 2022, nr 2

 strona tytułowa

strona redakcyjna

Spis treści

The author of the article examines the artistic concept of “art for art’s sake” (l’art pour l’art) in its various forms: as a manifesto of a certain historical era (modernism, decadence, postmodernism) or the personal attitude of individual writers and philosophers (Nabokov, Croce). Particular attention is paid to the inextricable relationship of form and content, as well as the idea of ​​their structural and semantic identity. One of the key conclusions of the study is the extreme heterogeneity of the idea of ​​“art for art’s sake”, which main postulates and foundations reveal radical, sometimes mutually exclusive differences depending on the literary trend, literary or cultural theory, as well as in the individuality of a particular writer.

The article provides analysis of the conceptual backgrounds of the psycholinguistic theory by B. Belianin. By promotion the notion of the emotional- semantic dominant the researcher analyzed the phenomenon of reflection of the world models within the text and demonstrated the specific approaches to the typology of the texts by applying the principles of accentuations, highlighted by him, and further developed in the research works of his followers . The above problem V. Belianin singled out as separate field of psycholinguistics. In the work I strived to demonsеrate that the emotional-semantic dominant     is present in any type of the texts (as fiction, political or religious discourse) given the retold or translated text. However while translated  or literary retold the emotional semantic dominant may undergo some transformation, particularly may be intensified.

The aim of the article is to present a few less known, but historically and culturally significant, testimonies of Polish activity in the territory of today's Stavropolsky Kray. The main part of the article introduces three different kinds of the activity of Poles. Firstly, the the Author has discussed circumstances of making the inscriptions in Polish language, carved in the rock near the village of Orekhovka. Secondly, the history of the Catholic community in Pyatigorsk is briefly presented. The Author has focused on the construction of a church with a historical inscription above the entrance made in Polish language. At last, the article presents the profile of a Pole, Josif Bentkowski (1812-1890), a member and secretary of the Stavropol Statistical Committee, and his research activities. Three subjective selected examples of written sources (spontaneously curved rock inscriptions, an element of an architectural design and Bentkowski's archived research works) are manifestations of the cultural activities of Poles in the North Caucasus and, in a broader sense, refer to the concept of “sites of memory”.

Greats of world thought, such as Dostoevsky and Kant, are often the subject of frequent research. The subject of research is their life, selected issues, separate works. Rarely do they become heroes of works that go beyond their legacy or confrontation with other thinkers. It is precisely this, indeed non-traditional aproach, that the presented text deals with. It is initiated by the work of Yakov Emanuelovich Golosovker Dostoevsky and Kant. Golosovker is not an author who consistently reflects the work of these thinkers. He is a thoughtful and systematically thoughtful author who, through Dostoevsky's novel The Brothers Karamazov and the antithetical Kant of the Critique of Pure Reason, creates a narrative close in nature to the war crime drama. In the paper, both the intention and the implementation, the procedural side of its fulfillment, becomes the subject of critical assessment. The text points out the motivations of the author's approach, but above all assesses the (in) suitability of his grasp of the original work of both thinkers.

FELIKS SHTEINBUK. «PIOSENKARZ W STA...», LUB UTAJONY STALINIZM MICHAIŁA BUŁGAKOWA.

Artykuł analizuje realizację w twórczości Michaiła Bułhakowa jednego z wiodących wątków jego dziedzictwa literackiego, który dotyczy konfrontacji artysty z władzą. W związku z tym cel badania jest zdefiniowany jako próba odkrycia i uzasadnienia prawdziwego znaczenia tego tematu za pomocą metod biograficznego, kulturowo-historycznego i porównawczo-typologicznego. W wyniku analizy w przeważającej mierze powieści Mistrz i Małgorzata oraz dramatu Batum stwierdza się, że artystyczny świat pisarza charakteryzuje utajony i świadomy stalinizm, w wyniku czego pisarz stara się zde-demonizować i uczłowieczyć, odpowiednio, obrazy Wolanda i Stalina, które są skorelowane ze sobą.

The aim of the article is the analysis of the three episodes of the series The Black Room (2000), directed by Andrei Zvyagintsev, i.e. Obscure, Bushido and Choice. The focus of the interpretation constitutes the metaphor of the underground, which is derived from Fyodor Dostoevsky’s novel Notes from the underground (1864). The author presents the case study of comparative nature, whose methodological framework constitutes the category of intertextuality, understood broadly as being close to Renate Lachmann’s notion of the memory of the text. So far the selected films of Zvyagintsev have not been the subject of detailed film analyses. The presented point of view allows us to identify the underground as the metaphor, which is crucial for understanding not only the mentioned episodes of the series but also other films of the Russian director. The noted thematic similarities as well as formal solutions lead to the conclusion that the metaphor of the underground is first of all the sign of the empty form, the crisis of the contemporary world and the degradation of the human being, which are linked to the breakdown of the relationship between the individual and the collective.

American writer Edna Dean Proctor (1829-1923), known as a poet and a progressive social activist, published her travelogue back in 1871, hot on the trail of her extensive tour of the countries of Western Europe and the Holy Land, including the Russian Empire. A Russian Journey was reprinted in America several times, and by the 1890 reprint, which has served as the material for this paper. The purpose of the study is to reveal the peculiarities of the image of Russia in the female traveler vision, which was created at the intersection of several discourse fields, Russian and Oriental, European and Eastern. The analysis of the author's creative thinking is based on a culturological perusal, which makes it possible to identify symbolic and mythopoetic codes of construction of a “borderline” mentality, as well as on a gender-adjusted post-colonial approach, exposing the clash of colonial and anti-colonial ideas. The research demonstrates, that European codes do not play a meaning-forming role, as well as the truly Russian ones; instead, the Eastern codes are revealed to the fullest possible extent. The attempts to fit the development of the empire into the Western discourse leads to emergence of semantic shifts and dichotomy of Oriental and European concepts.

The article is an attempt at analysis of a poetic cycle entitled Travel Notebook (Путевая тетрадь), written by Gizella Lakhman (1890?-1969), a little-known and nowadays practically forgotten poet representing the “first wave” of Russian emigration. The cycle is discussed in the genological (belonging to the genre of the poetic travel cycle) and biographical context (emigration mobility as an impulse to literary activity). Other poems by Lakhman based on the theme of travel has also been taken into account.

In the poet’s artistic worldview, travel bears the traits of philosophy, understood like Plato did, as acquiring wisdom through learning something, as a cognitive practice consisting in a constant search for truth. Behind the artistically diverse forms of mobility of the lyrical subject of Lakhman’s poetry (walk, ride, excursion, hike, journey, expedition, less frequent – wandering) there is a metaphorized image of human life, presented in an ontological, epistemological or axiological perspective. The road and being on the road are, among others, an allegory of human life (the motif of peregrinatio vitae), a figure of passing, loneliness and interpersonal relations, a reflection of the Platonic myth of the soul. In the analyzed series of poems, the journey around Europe served as an illustration for the poet’s reflections on the passing of mankind and for criticism of the condition of the world in the second half of the 20th century, dominated by mass tourism and commercialism.

The main subject of the article is the analysis of the specific of Roman Senchin's literary works such as The Minus(Минус), The Nubuck (Нубук), Forward and upward on the low batteries (Вперед и вверх на севших батарейках). The article contains some thesis about method of interpretation Senchin's literary works. Firstly, the justification of the way of interpretation by using autobiographical key and basing on textual criteria solely. Secondly, presentation and argumentation of the thesis which proves that Roman Senchins' works could be perceive as the example of a textual hybrid, which becomes the place of intersection of two communication strategies such as literaryness and documentarism.

This article discusses how to implement the assumptions of the cyberpunk plot in Sybirpunk series by Michał Gołkowski. The author, using the measures characteristic of cyberpunk (the way of presenting the city, the presence of an specyfic, outsider-hero, exposing the phenomenon of “High tech & low life”, cyborgization of society, etc.), presents an ironic vision of the near future of the Russian Federation. The article analyzes three aspects: urban space (the image of NeoSybirsk, a city combining cyberpunk stylistics with the landscape of an industrial Siberian city), a hero (an outsider from the lower social strata) and the problem of cyborgization (ubiquitous implants). Through them, will be presented the subversive way in which the author engages in polemics with the genre, exposing the specific mentality of the post-Soviet society.

It the article is comprehensively explored for the first time the Russian classical plays on the stage of the professional Ukrainian National Theater of «The Ruska Besida» Circle from the moment of its foundation to the First World War (1864–1914). It tells about the translators of the dramaturgy of M. Gogol, O. Ostrovsky, L. Tolstoy, M. Gorky, A. Chekhov, dates of premieres, directors, and acting troupe. Based on the reviews of that time in the article is analyzed the significance of foreign drama for the development of Ukrainian theatrical art in Galicia.

In this article on the material of Russian-language journalism, the specifics of the formation of noun names with a general meaning of a person in the Russian language of Latvia 1918–1940 in comparison with the language of metropolis. Word formation in this category of names in the language of metropolis in the 20–30s and further characterized by a deepening specification of productive suffixes -ист-; -(ов)ец-/-(ев)ец-; -щик- /-льщик. During the specification, duplexity in the expression of word-forming  ​meanings ​ and a direct consequence of duplexity – competition of  nominations in the same meaning with different suffixes – are eliminated. The process of specifying these word-forming suffixes in the Russian language of Latvia during the period under review is not traced, here, on the contrary, there is an increase in duplicity and active competition of duplex nominations. One of the duplets is often unknown to the language of the metropolis and is formed in the Russian language of Latvia: спортист – спортсмен, конторист – конторщик, ленинец – ленинист.

The aim of this article is to analyze the strategies of deconstruction of political discourse in contemporary audiovisual parodies. It presents a case study of Yegor Loskutov’s parody, which is a reminiscence of the New Year's speeches of Vladimir Putin, the President of the Russian Federation. The text indicates the features of political discourse that are subject to parodic transformations. The study presents a new linguistic perspective on the phenomenon of deconstruction in comparison to the theory of language games. The analysis of the sample work leads to the conclusion that the authors of contemporary parodies conduct a multipronged deconstruction of political messages on the visual, lexical, pragmatic and stylistic levels. By imitating the speeches of authorities representatives with implementation of ironic and allusive signals, language games, and stylistic transformations, the authors of the parodies criticize the speech styles of politicians and the ideas they represent.

The article examines the representation of the intensity of envy in the Polish, Russian and Ukrainian languages in the linguoaxiological aspect. In the description of the intensity of emotion, a quantitative and qualitative assessments can be distinguished. The scale of the intensity of envy, reflected in the compared languages, is quite wide — from low to very high manifestation of feeling. However, a very strong feeling of envy is more often objectified. The comparative analysis showed a predominant similarity in the representation of the assessment of the intensity of envy in the Polish, Russian and Ukrainian languages. Although it is possible to highlight some of the features inherent in any one language. For example, the description of a strong manifestation of envy through the image of a liquid substance is especially characteristic of the Russian language.

The new monograph by S. Goncharova-Grabovskaya, which is intended as a teaching aid, presents the innovative features of the new and latest drama of Russian-speaking playwrights. The problems of transformation of action, character, forms of speech are deeply analyzed. The tendencies of epicization and lyricization of the drama are traced.

Noty o autorach