In the novel The Goose Fritz, Sergei Lebedev puts the spotlight on the still-relevant problem of the history of Russian Germans, a question which adds depth to discussion about the complex past of the country. Russian Germans, as the author portrays them, live in a state of suspension, bearing a mark of foreignness in both Russia and Germany. Functioning almost from the very beginning between two totalitarian regimes (tsarist and then Soviet regimes on one side, and on the other, fascism), each of which forces people to divest themselves of their own past in favor of an identity aligned with the more “correct” politics of the time and place, Russian Germans have lost the memory of generations and remain “an uprooted people”. In this context, Lebedev’s story concerns human nature as such, as well as a problem of great importance for contemporary Russia: the status of the German minority and the prospect of their migration to Germany.

This paper examines Russia’s “next” generation and its expressions of anti-consu- merist protest, which stem from a fascination with the american beat Generation. Criticism of the consumerist lifestyle prompts the protagonists of bogatyreva’s prose to seek an alternative, especially through hitchhiking, which provides the opportunity to become closer to oneself and others. Communion with nature and a turn towards Eastern Mysticism become important elements of these new styles of existence. The nature of the rebellion of the “next” generation is primarily psy- chological, with an emphasis on expanding one’s own awareness, as well as social, underpinned by the dream of creating a society based on anti-capitalist ideals.

This article analyses the image of the older generation of Siberians in the prose of the modern Russian author Mikhail Tarkovsky, drawing from stories, novellas, essays,
and the detailed portrait of the Yenisey people found within the novel Toyota Cresta. The study aims to concretize the very concept of “Siberian” in Tarkovsky’s
work, identifying specific generational “types” among the protagonists and enumerating the characteristics of male and female characters based on the analysis of
their appearance, behaviour, manners of speech, approach to language, and attitudes towards work and nature. In addition, the article touches upon such problems
as the continuity of generations and generational conflicts.

The subject of this article is the presentation of Soviet reality in Alexei nikitin’s novel, Victory Park. The Russian-speaking Ukrainian writer presents in this work a wide panorama of the life of the inhabitants of left-bank kiev in the first half of the 1980s. The generation of the late Stagnation Period lives in a world of discre- dited ideas, omnipresent absurdity, and hypocrisy. The aim of the article is to try to locate the sources of widespread apathy and hopelessness in nikitin’s novels, which, to a large extent, shape the young generation trying to find their way in a stagnant reality. The key to understanding the life attitudes of the protagonists is the analysis of the specificity of kiev reality, which is the dominant feature of the world presented in the Victory Park.

The main subject of this article is an analysis of the novel Пищеблок. The author of the article gives special attention to the theme of vampirism, used by Ivanov as a metaphor for the authoritarian Soviet system and its influence on citizens of the USRR, especially on scouts. Scouting can be described as a generational experience of the inhabitants of the Soviet Union. To present scouting in the USRR, the writer recreates the nostalgia of childhood, describing in the process the political and propagandistic aspects of scouting. The article also presents literary production of Ivanov.

Tis article is devoted to the study of the prose of Olga Breininger and to the observations within her writing which touch contemporary society, especially as regards the concept of “the generation”. Te paper enumerates the main features of the “generation of the 2000s”, emphasizing the importance of analysing the creative perception of the phenomenon of pain, not only as portrayed by Breininger, but also in the works of other writers of this younger generation.

This article aims to present the evolution of the literary approach to womanhood which took place in the prose of women writers in Russia over the course of two decades (the 1990s of the twentieth century through the 2000s of the twenty-first century). The so-called ‘Mother Generation’ of the nineties (the New Amazons
Group, Lyudmila Ulitskaya, Lyudmila Petrushevskaya), which appeared in literature during the decline of the Soviet Union, developed previously unknown strategies for the representation of womanhood, with a focus on the repressed female subject, a distinct conception of victimhood, mutilated corporeality, and the search for self-identity. The ‘Daughter Generation’ (Ekaterina Sadur, Irina Denezhkina), whose first works appeared in the early twenty-first century, broke with the traditional representation of womanhood as trauma. Instead of describing the pain of female existence, these writers adopted the language of ‘the lost generation’, as if suspended in a vacuum between the Soviet era and the age of transformation.

This article enumerates the most salient features of works by the youngest contemporary Russian-speaking playwrights of Eastern Europe, including Irina Vaskovska, Asya Voloshyna, Natalya Blok, Olga Shilyayeva and Darya Slyusarenko. Conducted from a feminist perspective, the study discusses various ways in which the plays contradict a male-centric vision of the world. Their authors undertake the (re-)definition of the concept of femininity by proposing new perspectives on seemingly well-known topics such as motherhood, family relationships, sexuality, and corporeality. The protagonists of the plays presented in the text oppose the social and moral norms that limit them, make attempts to go beyond those cliches, and fight for the opportunity to be themselves.

In this article, the author shows that Eduard Limonov’s social and political activity was directed not only at achieving short-term political goals, but also at educating a new generation of Russians. As the head of the National-Bolshevik Party, he was a “godfather” to young people disappointed by the Russian reality of the 1990s and the early years of the presidency of Vladimir Putin. The testimonies in the collections entitled “Лимонка” в тюрьму and “Лимонка” в войну demonstrate that Limonov ultimately achieved his goal of shaping a generation of ideologists ready to sacrifice for their homeland.

Rusycystyczne Studia Literaturoznawcze 30(2020)