Cały numer PR 2020, nr 4

Strona tytułowa PR 2020, nr 4

Strona redakcyjna PR 2020, nr 4

Spis treści PR 2020, nr 4

In memoriam of prof. Wanda Zmarzer

Wstęp do bloku tematycznego "Rosja: czasy - ludzie - idee

One of the main features of the culture of the Enlightenment was universalism (cosmopolitanism) and secularization. In the presented article, they were related to the problem of tension between revolution and counterrevolution in the thought of the Russian Enlightenment and in the activities of the authorities. The author points to three areas of intercultural dialogue between Western culture (Polish, German, French) and native Russian culture. They are shown as a tool to modernization and strengthen the Russian state, which bring unexpected revolutionary effects.

The article is an attempt to present Alexander Herzen’s youthful mystical experiences on the basis of My past and thoughts and letters to his fiancée, Natalya Zakharina. Religiousness was the element of the writer’s upbringing which was treated superficially in his childhood. In his youth Herzen went through a stage of mysticism. This state of mind was caused by his feelings towards his fiancée and his friendship with Alexander Witberg, an architect. The mystical period, however, did not last long. As a mature person the writer had a skeptical, critical approach to Christianity.

The article deals with the problem of writer Mikhail Prishvin’s attitude to socialist ideology. The Diaries of Mikhail Prishvin from 1920 to 1954 are analyzed. The author proposes a periodization of creating the concept of the All-Man, which correlates with social phenomena. The dynamics of Prishvin’s attitude to ideology from total rejection to an attempt to understand socialism is shown. Especially distinguished motives of collectivism and infantilism as the main features of a socialist man. The author draws attention to the fact that for Prishvin socialism and fascism (nazism) has a deep similarity.

Nadezhda Teffi and Arkadiy Averchenko belonged to the most distinguished Russian satyrical writers of the early 20th century. After the revolution in 1917 they were forced to emigrate. Both N. Teffi and A. Averchenko many times made comments on the revolution and criticised Bolshevist Russia and the Soviet Union. Their works in emigration are valuable materials for the historians interested in civil war and Russian literary life in the years 1917-1920.

The article is concerned with the poems of Russian symbolist poets, published in post-revolutionary collection Spring salon of poets (1918), as well as the poems not included in this collection, but written directly after the February Revolution. Much attention is given to the main features of these poems: alchemical symbolism and imagery. Poets, who formerly had preached and predicted the mystical revolution, now participated in it in a mysterial way, they were now the participants of the revolution who were committing the magnum opus, in other words, they conjured the reality by word.

Reading reminiscences and notes of besieged citizens of Leningrad many times one can come across information concerning famine set in the Russian city during the civil war. It turns out that those two boundary experiences imply many frightening similarities, such as the same mechanism of behavior towards escalating famine. The article attempts to analyze Reminiscences by Dmitry Likhachov from this perspective. The author pays attention to the similarities in describing famine in Petrograd and Leningrad, but also differences. After all, the famine in post-revolutionary Russia is present in Likhachov’s witness in the context of reminiscences form his childhood. Whereas, the siege of Leningrad is seen by grown-up man – husband, father, but also son, who in an interesting way records traumatic changes of the body and psychology of besieged man.

The objective of the paper is to give an overview of and to analyse the Post-Chernobyl Art, which not only is perceived as an artistic comment on the Chernobyl tragedy but, most of all, as a way of working through the social trauma. The Post-Chernobyl Art is a remarkable panorama of the post-apocalyptic culture (both high and low) oriented toward a reflection on what happened; it is also a story about victims of the tragedy and a warning to the future generations.

The article is devoted to the representations in the modern Eastern Slavic peasant autobiographical narratives about XX-th century history. Peasant biographies, diary records, oral peasant tales about the life are the materials of this work. Eastern Slavic autobiographical texts are based on traumatic interpretation of history. The main composition of cultural indices in such narratives about the past coincides with the collection of personal and collective disasters including revolution, Civil War, collectivization, dekulakization, repressions, Great Domestic War and postwar hunger. The article analyzes traumatic memory as such type of memory which interprets the past as a set of personal and general traumas and failures.

The main aim of this paper is to present the basic elements of the narrative of the authorities and pro-Russian media of World War II and the Soviet victory in this war in the light of the Ukrainian crisis and the deterioration of relations between Russia and the West. The author attempts to answer the question of what role in shaping the identity of contemporary Russian society is fulfilled by the memory of the victory of the USSR in the Great Patriotic War. The author analyzes the statements of the Russian authorities and texts that were published in the Russian media in 2014–2017.

The article is devoted to the transformation of the basic images of the East Slavic demonography such as Baba Yaga, Koschei the Deathless and Zmey Gorynych in modern public discourse. The adequate “reading” of the political caricature correlates with the presence of extralinguistic, political, logical and linguistic presuppositions. Mythological and fairy-tale creatures have become popular in the modern public communicative space. Numerous authors use such images due to their cultural significance for the society, their high “recognizability”, as well as the rich pragmatic potential of the images themselves.

The focus of this article is the correspondence between Nadezhda Mandelshtam and Lydia Ginzburg from 1959 to 1968. N. Y. Mandelshtam is the widow of the poet O. E. Mandelshtam, a biographer and essayist. L.Y. Ginzburg is a literary sсolar, novelist, esseyist and biographer. This is the first time Ginzburg’s letters have been studied scholastically. This article is devoted to one of the multiple layers of meaning of their correspondence – a dispute about the nature of poetry and on to approach to its study by these two great women, who possessed a powerful male intellect, literary gift and extraordinary experience.

This article concerns Lidya Senitskaya (Volyntseva, 1890?-1975), poet, writer, playwright, translator and literary critic, representative of the „first wave” of the Russian emigration, living until 1939 in Równe, then (1939-1964) in Warsaw, and later on in the USA. Considered by her contemporaries as one of the most interesting creators of the Russian diaspora in pre-war Poland, she is now regarded by contemporary researchers as an unquestionable poetic individuality. Today Senitskaya is a completely forgotten figure, and her work is unknown to the contemporary readers. The article is an attempt to present the poet’s creative silhouette, determine and discuss the subject matter and poetics of her poems.

The paper described Yevgeniya Veber-Khiryakova's views on Russian emigration based on her cooperation with the Warsaw newspaper “Za Svobodu!”. The context for the analysis became statements of other representatives of the Russian Diaspora in Warsaw and Paris. The analysis of journalistic writing and literary criticism have been performed, which led to the conclusion that she perceived emigration as a mission, with a special role attributed to literature. Veber-Khiryakova referred to the great traditions of Russian literature, which tried to combine aesthetic and ethical ideals, and to the idea of a writer – prophet. The texts of Veber-Khiryakova, which are part of the program of the newspaper “Za Svobodu!”, testify to her affiliation with radical diaspora circles, unfavorable to any compromises with Soviet Russia.

Due to the rapid social changes after the collapse of the Soviet Union there occurred a need to present a new literary character with whom the readers could identified themselves. Facing the lack of the new models of an all-Russian character, Russian writers began to use well-known literary patterns from the past. The aim of the given article is to analyse the main characters of two defining works at the beginning of XXI-century Russian literature –“Generation ‘P’” by V. Pelevin and “Dukhless” by S. Minaev – in terms of presence of the features characterising the superfluous men and the little man. These two categories of characters in XIX-century Russian literature are being partially transposed so as to fit the contemporary mentality and conditions of everyday life.

Teaching of a foreign language involves numerous problems arising already at the initial stage of learning. This article presents methods for solving some of them through the organization of selected elements of the teaching process in and outside a classroom, using the Flipped classroom model and using proprietary educational materials (including memory maps, an introductory video course for beginners Introductory Russian Phonetics Course, materials supporting learning to read and methods for work with them). The paper also present plans for improving and developing the video course.

The article puts forward the translation issues of the linguistic phenomenon in Vladimir Sorkin’s novel The Queue. It analyzes the non-standard phenomena which constitutes a big challenge for the translator. The reasons behind this state of affairs should be sought within a selection of unconventional means of expression which revolutionized the perception of literature and its translation . Some excerpts of the novel are an attempt to provide an answer as to what degree the translator has managed to successfully portray the novel’s connotation in Polish with analogical linguistic measures.

The main aim of this paper is to reveal the activeness of the most common accentual tendencies in the Russian spoken language used by two groups of respondents (Russian students of Smolensk State University and Belorussian students from Brest State University). The study revealed that the degree of the use of new accentual variants is different in each of the two groups of respondents. In most cases, the group of the Russian philology faculty student did not choose the wrong accentual variants. In contrast, the group of Russian mathematics students more actively chose the non-normative word stress variants. Belorussian respondents would use the wrong variants more often than the Russian students, which supports the hypothesis of the universality of accent evolution tendencies throughout the regions represented by the speakers who participated in the research.

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