After G.W.F. Hegel’s The Phenomenology of Spirit and Ludwig Feuerbach’s The Essence of Christianity, the issue of alienation is considered to be a significant object of study. Sociology — which attempts to dominate studies on this concept — is a discipline which rather single-mindedly interprets the phenomena rooted in the religious reality, and one should not rely solely on its analyses. By the same token, semiotics should be treated with similar distrust, even though the impact of Old Believers on the development of Russian culture is widely emphasised in the works of Russian semioticians. The reason for that stems from the claim for being a universal method — which hence is forced to refer to a universal object — that semiotics has shared; the mentioned object has been culture. The idea of subsuming phenomena of different categories under a common denominator in the course of interpretation has led to a situation in which the semiotic means have turned to be but metaphors, even though semioticians have argued for their ontological statues. Precisely this aspect should be noted, as it proves that semiotics — with its universalist claims — appears to blur the boundaries between sociological stratum, and the one oriented towards philosophy and theology.
From the point of view expressed by Orthodox Christianity, the true tragic alienation relies not on the distance separating one from culture and society, but rather on the one which detaches one from God — the creator of being. The case of Old Believers exemplifies a convoluted situation, as the bone of contention has been provided by liturgy, which is, in other words, the space in which a human being encounters God. If, therefore, this issue is related to culture, then it is so precisely through its metaphysical aspect. Neither sociology nor philosophy — and even not semiotics, recently withdrawing from cultural studies, which it used to dominate — has been capable of interpreting the phenomenon of Old Believers as thoroughly as theology and history of Church. Relying on the scientist methodology, the former group of disciplines has not included such significant aspects of the culture of Orthodox Christianity as anthropology, dogmatics, state theology, or liturgics. Without those aspects, any attempt which aims at explaining the issue of Old Believers happens to be inaccurate.

The article consists of five parts: 1. Preface (the literary families and a development of the literary institutions — periodicals, literary circles etc.), 2. Father and daughter (Alexander Sumarokov and Ekaterina Sumarokova‑Knyazhnina) (the poems in the periodical “Trudolubiwaya ptchela”, P. Berkov and G. Gukovskyi polemics), 3. Sisters (Alexandra Magnickaya and Natalia Magnickaya) (the translation of the Letters on Italy by Ch. Dupaty), 4. Wife and husband (Mikhail Kheraskov and Elizaveta Kheraskova) (the literary school of Kheraskov, the periodicals by Kheraskov), 5. Conclusion. The article concerns the history of the Russian literature from the sixties to the nineties of the 18th century.

In Russian culture of the XVIII and XIX century turn, artists who derived from the peasant social class, played an important part. Until 1861 they have been deprived of their personal liberty and they were owned by the nobility. Very little can be found on the topic in literature. This article describes those artists’ achievements in painting, architecture, theatre and music. They were active both in the country and in big cities.

Between 1824 and 1825, the group of Russian Schelling scholars, with Wilhelm Küchelbecker, were publishing Mnemosyne periodical, which had covered aesthetics, philosophy, and a literary section. In the last part, Alexander Pushkin published five of his works (two of them included sheet music), two of which remain his most significant works of this period: Demon and To the Sea. A discussion and a protest were incited by the introductory essay by Küchelbecker, On the Course of Our Poetry, especially the lyrical one written in the preceding decade. In his response, Pushkin opposed the literary preferences of the editor, who had been privileging classicist genres: ode and tragedy. Pushkin, against him, affirmed and defended the romantic tendencies.

The article is an attempt at analyzing a novel in verse Eugene Onegin by Alexander Pushkin from a ritual and mythological perspective. It turns out that to a large extent the central themes have been conditioned by the structure of the initial myth. However, the initiation of the protagonist as a spiritually-integrated personality has occurred unsuccessful. The discussion of the mythological and archetypal issues regarding Tatyana is brought into special focus.

The article tackles the issue of Leo Tolstoy’s attitude towards the city, perceived as a sui generis organised space affecting behaviour of human beings. It analyses the literary works by the author of Anna Karenina, which either conjure up urban images or set their scenes in cities. Literary evocations are confronted with Tolstoy’s non-fictional works and his own view on cities. The images of cities in Tolstoy are read by means of the apparatus typical of urban semiotics, developed mostly in the works by Yuri Lotman and Vladimir Toporov. In this paper, basing on Tolstoy’s works, images of Western cities are confronted with those of Russian ones, with a special emphasis put on the writer’s private opinion on city as human environment. Tolstoyan vision of Saint Petersburg is analysed with regard to poetics of “the Petersburg text of Russian Culture.” The article also hints at Tolstoy’s inclination towards Rousseau’s view on urban spaces.

Writings of Józef Ignacy Kraszewski (1812—1887) played great role in the formation of national consciousness of Poles. 29 volumes of a series of historical novels by J.I. Kraszewski about Polish history from the 9th to 18th century shaped knowledge about (their own) past for several generations of Polish people. Among the many issues presented by Kraszewski in his novels we can find the matter of perception by Polish people neighbouring states and nations. Kraszewski saw the main threat to the Polish nation in the expansion of Germanism and much more positively depicted the former Kievan Rus, thus promoting the ideas of Pan‑Slavism.

The article presents Nadezhda Ivanovna Golitsyna’s (1796—1868) memories of the Polish November Uprising. Golitsyna was a wife of a count Alexander Fyodorovitch Golitsyn
(1796—1864), who was a high‑ranking Tsarist official. They lived in Warsaw, where the husband of the author of the Memoirs worked in the office of the Grand Prince Konstantin. Golitsyn was, most probably, a secret agent of the Third Division. After the outbreak of the November Uprising the Golitsynys, together with prince Konstantin’s troops, left Warsaw. The Poles’ struggle for independence is presented in Golitsyna’s Memoirs as a sudden and unexpected rebellion organised by a group of students against the Russian ruler. Golitsyna criticises the participants of the uprising, and describes their actions as imprudent and reckless. In her opinion, the November Uprising is mainly associated with necessity of marching off from the capital of the Kingdom of Poland, with difficult living conditions, suffering, arrests, and death of the loved ones. Golitsyna shared the views expressed by the Russian courtly circles of the time.

The author attempts to specify the facts related to the publications and the reaction of criticism to the first dramatic writings by Czekhov. The young author had to break the old canons of dramatical art, which led to a strong reaction of the supporters of the traditional understanding of drama. This is exemplified by the history of the “Ivanov” performance.

This article is devoted to reflections on the functioning of the myth of childhood in Aleksandr Kuprin’s works. By creating the images of his juvenile characters, the writer often refers to the aesthetical-axiological canons taken from the Christian tradition and their iconographical realisations addressing child-angel associations. However, he frequently re-evaluates the existing
schemes, showing that the social situation of a child, his or her upbringing, or the system of values ordering his or her family life may negate the Arcadian vision of childhood. That is why child characters in Kuprin’s works exist between two poles: carelessness and torment, love and rejection, idyll and tragedy, innocence and misdeed.

The subject of the analysis is the Russian avant‑garde art of textile and clothes design as a manifestation of the artists’ desire for a change of the aesthetics of the surrounding environment and as an innovative form of artistic expression. Two models of textile and clothes design are discussed on the basis of works by supremacists (K. Malewicz, N. Sujetin, I. Czasznik), constructivists (W. Tatlin, A. Rodczenko, El Lissitzsky, O. Rozanowa, W. Stiepanowa, L. Popowa, A. Ekster, N. Gonczarowa, S. Delaunay, etc.) and textile artists employed by textile
industry (W. Masłow, S. Burylin, M. Anufriewa, W. Łotonina, etc.). Apart from decorative textile art inspired by painting, which is described as abstract, geometrical design, there is also thematic and programme design based on propaganda motifs and visual narration which refers to important events and changes that took place in Russia in the 1920s and 1930s. Both models of textile and clothes design, which interpenetrate and complement each other, are shaped by cultural dialogue based on binary models: canonical — non‑canonical,
traditional — modern, rationalist — irrational (autonomy of creative consciousness), work — fashionable, male — female, manufactured — high‑technology, unique — mass‑produced.
At the level of theory and artistic practice textile design is determined by such factors as: the concept of blurred boundaries between art and life, beauty and utility, Malewicz’s suprematist philosophy of design, constructivist and industrial theory, and formal experiments.

This paper covers the reflections of Mother Maria on Vladimir Solovyov’s key philosophical concepts — including Allunity and Panunity, Sophia, Divine Humanity, good and evil, theocracy, and the Russian Idea — included in Światopogląd Władimira Sołowiowa [Vladimir Solovyov’s Weltanschauung]. It also hints her judgement on the role and legacy of the author of A Story of Anti-Christ within the history of philosophy. Skobstova’s conviction of persisting impact of Solovyov’s philosophy is rooted in his task to prevail over the destructive tendency present in European philosophy, which has resulted in the crisis of understanding of the world. Skobtsova analyses and comments upon Solovyov’s thought not as a distanced
scholar of Russian culture, but rather as an apprentice following her master, who does not restrain from engaging in polemics with him. Her turn to verification and re-interpretation is especially visible in those comments which are concerned with the particular aspects of Solovyov’s concept of the Russian Idea. The starting point for Skobtsova’s analysis is provided by the events of the October Revolution. As the paper claims, the confrontation of Solovyov’s thought with the post-1917 reality has not reached success. Solovyov is convinced that that the mission of the Russian czar is to unify humanity, while the Church of the future will reach its centre in the person of a pope in Rome, rather than in the Russian Orthodox Church, which should deprive itself of the claim for supremacy and singularity; against him, Mother Maria reminds us that the czar abdicated in 1917, while the Orthodox Church — after reinstating the Patriarchy — began to restore. The Russian Idea, as Skobtsova argues, has not found a confirmation in the Russian nation and happened to fail. With regard to those facts, she reaches a premise confirming her view that the way of future development of humanity — which aims at realising God’s will — can be only indicated by the Orthodox Russia with its religion of Divine Humanity.

The article analyses the short story «Теперь, когда я проснулся» by Valery Yakovlevich Bryusov. The short story is supposed to be according to its main theme — the longing for absolute individual freedom — one of a lot of similar short stories and novels of the so called Silver Age of Russian literature. Also mentioned are the themes of hostility between the both sexes, of rational and irrational, of madness, life and death or murder and suicide.

The article is an attempt at analysing Mary’s Tuesday, one of Mikhail Kuzmin’s plays. The structure of this piece on the one hand refers to a puppet play, while on the other hand reveals the links with medieval genres. In this article, it is maintained that Kuzmin used the experiences of creating a medieval mystery play and introduced interludes in the text. As a result, the text became a sui generis mystery play about searching for happiness and complying with the etiquette. Additionally, such a reading is supported by the reference to a puppet play, which makes it possible to argue that each of the personas only plays his or her role and is but a puppet operated by the Supreme Being.

The paper analyses the selected works by Mikhail Arstybashev in the context of the naturalist vision of a human being and the motif of crime. Arstybashev perceives civilisation as a destructive force inflicting harm upon human beings and inciting their worst instincts. As he believes, only living according to nature makes it possible to achieve serenity.

The novel The Green Pavilion includes plenty of different issues — among them a function of a teacher plays the most important part. This job was especially difficult in Soviet country where censorship and ideology were very strong. Teachers were afraid of communistic government and they worked in a bad way, telling lies, deceiving students or teaching only these things which were allowed by officials. However, Ulitskhaya shows that “good teachers” also acted under those circumstances. They were the members of a generation who took part in the Second World War and that is way they were aware of many dangers, moreover: they began independent which was strictly forbidden in the former USRR. Victor Yulyevitsh Shenghely is the best example of these kind of educators described in Ulitskhaya’s novel. Not only does he pass on the knowledge but he brings up his pupils properly as well. Children love and admire him. Shenghely became real authority. He meets his student both in the classroom and in his flat, in school and in the Moscow street which is treated by him as a special kind of museum together with its monuments, theatres and homes where famous Russian poets and writers lived in the past. In this way Victor comes back to ttadition destroyed by Bolsheviks. He explains the great importance of literature in totalitarian life. He treats this kind of art as means of telling the truth, as a possibility of expressing facts not lies. Shenghely wants students to be his partners. He respects them and they rely on him talking about their problems which seem to be difficult to overcome. The main Victor’s characteristics — responsibility, cleverness, courage — help him to bring up dissidents. The author of The Green Pavilion emphasizes that masters like Shenghely should exist both in the modern times as well as in the future.

This paper examines the letters exchanged between Vadim Sidur and Karl Eimermacher, and Julia Sidur and Karl Eimermacher in the context of the influential testimony of the 20th century. In the letters from Vadim Sidura addressed to Karl Eimermacher — the German Professor of Slavic Studies — the predominant issue discussed is the artistic work of the former and his future plans: exhibitions, books, catalogues; it also covers in detail the culture of the epochs of Leonid Brezhnev, Yuri Andropov, and the early years of Mikhail Gorbachev’s activity. Letters authored by Vadim Sidura’s wife Julia, written after his death, convey descriptions of perestroika and the atmosphere within the culture of the 80s. It is worth noting that both addressers are critics not only capable of noting particular phenomena, but also keen of providing analytical judgements. This exchange happens to be a significant testimony of the times of perestroika and the convoluted events accompanying the political transformation. Importantly enough, it shows both that part of society which yearns for preserving the old political system, and those citizens who actively participate in the creation of the new society and its structures. Both collections of letters along with the facts, descriptions, and evaluations they cover, boil down to a testimony of an epoch in which dialogue has been — and still is — possible.

Eduard Limonov emigrated from the Soviet Union in 1974. At that time, he already was a mature poet of the Moscow literary underground. Like most Russian emigrants, Limonov was disillusioned with America, where he was neither understood nor recognized. In the evolution of his poetry the anthropological issues are replaced by the social ones. On the one hand, his poems unveil a strong critique of unjust America, on the other — the yearning for the abandoned homeland. Crucial in his literary output is love poetry dedicated to Yelena Shchapova, who left the poet in New York. Limonov’s poetry of the Paris period does not offer sharp critique of French reality but it presents the poet’s ponderings over the sense of life, human fate, and loneliness. The motives that concern love and the poet himself take a new literary form. Yearning for homeland comes to the foreground.

The article points to the ways of creating the depicted world by the playwrights of the 80s and the 90s of the 20th century. It also indicates the next stages of the development of contemporary Russian drama, referring to the works by, among others, Yevgeni Grishkovetz, Ivan Vyrypaev, and the Presnyakov Brothers.

Ave Maria is a universal Marian prayer. It is very popular in Russia, which is undoubtedly connected with the significance of Marian devotions in this country. In the most recent Internet prayer, it is widely paraphrased, transformed, included in other original poems, and textually modified. Frequently, the intertextual links point to its particular lines and images. Only in one translation discussed, Ave Maria is deprived of its mode of prayer and supplemented with a satanist tone. The intertextual variants of Ave Maria this paper confronts confirm the capacity of the source text, which results in the new ways of articulation in Russian language.

Пельмени is one of the most significant plays authored by Vladimir Sorokin. Deriving both from the postmodernist tendencies and the inventions of theatre of the absurd, this play encompasses a metaphysical reflection upon the condition of Russia. The journey through time and space (from the late 70s to the early 90s of the 20th century), orchestrated by Sorokin, leads to a bitter conclusion: history has come full circle, while future – even though exteriorly different — interiorly is identical to past.

The article is devoted to fairytale motifs, occurring in the chosen works of contemporary Russian horror literature, such as: Новая жизнь by Aleksey Provotorov, Ей отмщение — Aykhal Mikhaylov, Sanctuary 3/9 — Anna Starobinets, Дети Робинзона Крузо — Roman Kanushkin. The main aim of the present study is to show that the witches image in the analyzed examples reveals the character that merges typical features of both the fairytales, and the horror. Therefore, the basic elements of the fairytale canon (e.g., antagonist appearance, motifs, activity, common features mainly connected with Baba Yaga or other Russian witches) have been examined in terms of their existence in the world presented.