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Roman Szubin, Progresywne i Konserwatywne Mity Literatury Rosyjskiej

Niniejszy artykuł jest poświęcony badaniom z zakresu rosyjskiego literaturocentrizmu. Rozpatrują się najbardziej wyraziste momenty tworzenia mitów w literaturze rosyjskiej, w tym tzw mit Puszkina, mit o poczodzeniu (origin-myth) Dostojewskiego, oraz metamitologia Bitowa i Galkowskiego. Wprowadza się nowe określenie: progresywne i konserwatywne mity, to określenie jest związane z orientacją mitotwórczej świadomości od teraźniejszości ku przeszłości, oraz od przeszłości ku teraźniejszości (mity Lermontowa, Tutczewa, Dostojewskiego). Autor preferuje hermeneutyczne podejście, dla którego demitologizacja jest związana z interpretacją mitu, zachowującą „przyjazne” jego rozumienie. Ta metoda powstała w hermeneutycznych badaniach Wardana Hayrapetyana i Armena Grigoryana i opiera się na prace rosyjskich naukowców hermeneutycznego nurtu Michała Bachtina, Włodzimierza Bibichina i Georgia Boczarowa.

Roman Szubin, Progressive and Conservative Myths of Russian Literature

This article is devoted to research in the field of Russian literature-centrism. Considered the most prominent moments of mythopoeia in Russian literature: the so-called "myth of Pushkin", "origin-myth" of Dostoevsky, as well as provide meta-mythological practice (meta-mythology of A. Bitov and D. Galkovsky). We introduce a new definition of "progressive" and "conservative" myths associated with the thrust of the myth-creating consciousness from the present to the past and from the past to the present (the myth of Lermontov, Tyutchev and Dostoevsky myth). The author dwells on the hermeneutic approach to the myth, for which the principal is demythologization through the interpretation of the myth that preserves "friendly" his understanding. This method is based on the hermeneutical research philologists Vardan Hayrapetyan and Armen Grigoryan, and relies on the work of Russian scholars and thinkers hermeneutical sense M. Bakhtin, V. Bibikhin, G. Bocharov.

The aim of the paper is to present prince Myshkin’s highly complex, almost labyrinthine
personality. Reading addresses and undermines all the homogenizing interpretations
(e.g. Lev Shestov’s notoriously malevolent reading of Myshkin) that aim
at discovering “one” truth about this character, be it positive or negative, and thus
fail to acknowledge its contradictory elements. I also intend to show that the prince
can be seen as much more of a “Shestovian,” tragic and divided figure as one could
initially think. Shestov’s philosophical thought inspires the investigations, first as
a starting point for the analysis of Myshkin criticisms in scholarly literature, then as
a polemical reference, and finally as a basis for formulating a lead thesis. I am led
to conclude that building Myshkin’s character, being as it is, largely inconsistent,
insecure, and errant in his moral evaluations of other people, Dostoevsky opposed
any attempts at exhausting, finalizing the identity of the other human being in the
abstract net of rational interpretations. At the same time Dostoevsky most powerfully
brought to light that which is most fragile, intimate and therefore prone to misunderstanding
or a hasty critique — the tragedy of an individual life.

The author of the article analyses Diary of Old Age. 1962–196... by Vladimir Propp,
a world-renowned Russian scholar and author of fundamental works on folklore
(e.g. Morphology of the Tale, 1928; Historical Roots of the Wonder Tale, 1946).
The diary was published for the first time in 1995, on the centenary of the folklorist’s
birth. It covers the period from 28 March 1962 until 25 July 1970.
The author of the article discusses the practice of diary writing, frequency of entries,
their length as well as linguistic and stylistic features; in addition, she describes the
functions of the diary and the role it played in the life of an ageing man. The author
pays particular attention to the fragments directly dealing with experiencing ageing
and old age. Her analysis of the diary shows that for Propp old age was not a time
dominated by apathy, weariness and acute loneliness. It was an element of the world
order, a time of intellectual activity, a period of continuous self-improvement.

The article is a preliminary study of contemporary Chechen bard Timur Mutsuraev
and texts of his songs. The underground bard and active participant of the First
Chechen War has become a legend and symbol of the Chechen struggle for independence
and freedom. Despite strong anti-Russian and Islamic message Mutsuraev’s
songs are popular not only among independence-oriented Chechens but also
among Russian youth. Most of Mutsuraev’s works are patriotic war-songs glorifying
national effort to defend Chechnya against Russian aggressors. The artist celebrates
Chechen national symbols, myths and ethos. Mutsurayev’s songs are particular interesting
subject of study in context of postcolonial theory.

The article presents associative characteristics of anthroponyms selected from Vladimir
Sorokin’s novel Day of Oprichnik and referring to Russian history. The national
character of these names as well as their implicit meaning and hidden allusions easily
recognizable to Russian readers are a major obstacle for translators which does
not allow them to carry all associations of multilayer names into the translated text.
In translation practice, there is no adequate strategy for translating such a category
of names and certain significant components of a postmodern text. For that reason
these anthroponyms can be classified as “untranslatable in translation”.

In linguistics, syncretism is understood as asymmetry of language sign, i.e. discrepancy
between the content and form of language phenomena, which implies their
ambiguousness. This point of view is applied in the article in order to scrutinize and
classify Russian and Czech syncretic interrogative sentences which are characterised
by means of interrogative form and the meaning of request or challenge (e.g. Ты
мне поможешь/не поможешь?, Чего ты не работаешь?!) or the meaning of
declarative statement (e.g. Можно ли мириться с этими недостатками?).
Ambiguousness of syncretic interrogative sentences is resolved in the context of
communitation. Implementation of theory of grammatical syncretism in Russian
and Czech comparative point of view seems to be promising in future

The main character of the novel — and the author’s main subject of interest — is
Jan, the Immortal 717. He suffers from claustrophobia and agoraphobia. The author
discusses in details the idea of presupposition and its examples in the analysed text.
Also, based on the specific examples from the text, she analyses many different feelings
connected to Jan’s claustrophobia — such as fear, anxiety, panic — and their
physiological symptoms Jan experiences.

The article attempts to present the comparison of two translator’s achievements:
Zbigniew Dmitroca’s Radio Swoboda and Jerzy Czech’s Wdrapałem się na piedestał.
The anthologist’s work is considered here as both the act of translation and revelation
— joining the translation of literary texts and their compilation in anthologies
with scrutinizing the particular writers and literary phenomena as well as the process
of translation itself, and introducing a new, transforming quality to the native
poetry. A translator-anthologist can be perceived in that perspective as a link between
two literary cultures, and also as an initiator of changes and an independent
creator who develops, in his own language and on his own conditions, a certain new
Polish canon of Russian poetry.

Publicystyczny film Upadek imperium. Lekcja Bizancjum wywołał burzliwą reakcję
społeczną. Mówiący o określonej historycznej lekcji, film ten wyraźnie odsyła do
współczesnej sytuacji Rosji, przeciwstawiając ten kraj reszcie cywilizowanego
świata. W artykule została przeprowadzona porównawcza analiza oryginalnego scenariusza
filmu i jego chińskiego przekładu, zmierzająca do ukazania kontekstualnego
charakteru relacji między przekładem i oryginalnym tekstem. Wykorzystując
teorię przekładu wypracowaną przez Michela Foucaulta, autorka opisuje przekład
jako proces produkcji dyskursu. Badając nacechowanie stylistyczne wypowiedzi narratora
oraz wprowadzonych przez tłumacza zmiany w zakresie zjawisk językowych
i kulturowych, autorka dochodzi do wniosku, że chiński przekład jest daleki od
neutralności i odgrywa wyraźną rolę polityczną. Świadomie zaciera on aluzja do
współczesnej polityki Rosji, zmierzając do tego, by chińscy widzowie wyciągnęli
„własne” wnioski wynikające z upadku Bizancjum, czy dokładniej: z upadku Związku
Radzieckiego. Przekład wysuwa na pierwszy plan te elementy, które odpowiadają
oficjalnej chińskiej ideologii państwowej, redukując te, które nie byłyby tolerowane
przez chińską cenzurę.

Recenzja książki

Wanda Laszczak, W kręgu kultury Bogoczłowieczeństwa.
Studia zebrane o świętej Matce Marii (Skobcowej),
Wydawnictwo Uniwersytetu Opolskiego, Opole 2015/

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