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Fyodor Sologub - Poems
Classic Poetry Series Fyodor Sologub - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Fyodor Sologub(1 March 1863 – 5 December 1927) Fyodor Sologub was a Russian Symbolist poet, novelist, playwright and essayist. He was the first writer to introduce the morbid, pessimistic elements characteristic of European fin de siècle literature and philosophy into Russian prose. <b>Early Life</b> Sologub was born in St. Petersburg into the family of a poor tailor, Kuzma Afanasyevich Teternikov, who had been a serf in Poltava guberniya, the illegitimate son of a local landowner. His father died of tuberculosis in 1867, and his illiterate mother was forced to become a servant in the home of the aristocratic Agapov family, where Sologub and his younger sister Olga grew up. Seeing how difficult his mother's life was, Sologub was determined to rescue her from it, and after graduating from the St. Petersburg Teachers' Institute in 1882 he took his mother and sister with him to his first teaching post in Kresttsy, where he began his literary career with the 1884 publication in a children's magazine of his poem "The Fox and the Hedgehog" under the name Te-rnikov. Sologub continued writing as he relocated to new jobs in Velikiye Luki (1885) and Vytegra (1889), but felt that he was completely isolated from the literary world and longed to be able to live in the capital again; nevertheless, his decade-long experience with the "frightful world" of backwoods provincial life served him well when he came to write The Petty Demon. -
The Formation of Latvian Literary Identity at the End of the Nineteenth – the Beginning of the Twentieth Century: Overlapping Vectors of Reception
MAIJA BURIMA The Formation of Latvian Literary Identity at the End of the Nineteenth – the Beginning of the Twentieth Century: Overlapping Vectors of Reception The issue of national literary identity is a complex problem that is related to a common view of discourses of culture and social anthropology. Literary identity is a system of codes that may refer to just one particular national literature and express both its canonical features and processes in its periphery. Literary identity is changing in time. It depends on the poetic style of writers and affects the readers’ understanding of culture. Latvian literary identity is closely related to the processes of the history of Latvian literature. The formation of modern Latvian literature dates back to the early nineteenth century, however, the origin of really balanced search of form and content is most often attributed to Juris Alunāns’ poetry collection Dziesmiņas, latviešu valodai pārtulkotas (Songs translated for the Latvian language) that was published in Tartu (Dorpat) in 1856 and contains Alunāns’ translations from different languages of the poetry by Horace, Johann Wolfgang von Goethe, Friedrich von Schiller, Alexander Pushkin, Mikhail Lermontov, Heinrich Heine, etc. This collection is noteworthy for crystallizing of an important concept of Latvian literature of the mid-nineteenth century, i.e. for a young national literature to develop its identity, a thorough study of classical literature and the improvement of Latvian literary language were needed. These features are manifest in the genre, form, and content of two fundamental texts of the second half of the nineteenth century: the Kaudzītes brothers’ novel Mērnieku laiki (1879) (Times of Land Surveyors) and Andrejs Pumpurs’ epic Lāčplēsis (1888) (Bearslayer). -
Mirrors in Russian Decadent and Symbolist Prose: Valery Briusov and Dmitry Merezhkovsky
Studies in 20th & 21st Century Literature Volume 34 Issue 2 Reflections and Refractions: The Mirror Article 4 in Russian Culture 6-1-2010 Mirrors in Russian Decadent and Symbolist Prose: Valery Briusov and Dmitry Merezhkovsky Kirsten Lodge Columbia University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Slavic Languages and Societies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Lodge, Kirsten (2010) "Mirrors in Russian Decadent and Symbolist Prose: Valery Briusov and Dmitry Merezhkovsky," Studies in 20th & 21st Century Literature: Vol. 34: Iss. 2, Article 4. https://doi.org/10.4148/ 2334-4415.1730 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Mirrors in Russian Decadent and Symbolist Prose: Valery Briusov and Dmitry Merezhkovsky Abstract Examining mirror imagery in the prose works “In the Mirror” by Valery Briusov and The Resurrected Gods: Leonardo da Vinci by Dmitry Merezhkovsky, both published in 1902, this article situates the Russian Decadent and Symbolist associations of the mirror in the pan-European literary and philosophical context. The mirror constitutes the threshold of manifold oppositions, including life and art, life and death, and reality and dream or imagination. It is a realm of alternative reality, magical and seductive, as in Briusov’s story, or potentially both demonic and divine, as in Merezhkovsky’s novel. -
The Models of Space, Time and Vision in V. Nabokov's Fiction
Tartu Semiotics Library 5 2 THE MODELS OF SPACE, TIME AND VISION Tartu Semiootika Raamatukogu 5 Тартуская библиотека семиотики 5 Ruumi, aja ja vaate mudelid V. Nabokovi proosas: Narratiivistrateegiad ja kultuurifreimid Marina Grišakova Mодели пространства, времени и зрения в прозе В. Набокова: Нарративные стратегии и культурные фреймы Марина Гришакова University of Tartu The Models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Strategies and Cultural Frames Marina Grishakova Tartu 2012 4 THE MODELS OF SPACE, TIME AND VISION Edited by Silvi Salupere Series editors: Peeter Torop, Kalevi Kull, Silvi Salupere Address of the editorial office: Department of Semiotics University of Tartu Jakobi St. 2 Tartu 51014, Estonia http://www.ut.ee/SOSE/tsl.htm This publication has been supported by Cultural Endowment of Estonia Department of Literature and the Arts, University of Tampere Cover design: Inna Grishakova Aleksei Gornõi Rauno Thomas Moss Copyright University of Tartu, 2006 ISSN 2228-2149 (online) ISBN 978-9949-32-068-4 (online) Second revised edition available online only. ISSN 1406-4278 (print) ISBN 978–9949–11–306–4 (2006 print edition) Tartu University Press www.tyk.ee In memory of Yuri Lotman, the teacher 6 THE MODELS OF SPACE, TIME AND VISION Table of Contents Acknowledgements ................................................................... 9 Introduction ............................................................................... 11 I. Models and Metaphors.......................................................... -
Writing a New Self and Creating a Sense for Emotional Belonging: the Case of Nadezhda Teffi, a Russian Writer in Interwar Paris
Writing A New Self and Creating a Sense for Emotional Belonging: The Case of Nadezhda Teffi, a Russian Writer in Interwar Paris Natalia Starostina, Young Harris College When considering the great upheavals of twentieth-century European history, the experience of Russian émigrés in interwar France may strike the historian as a dramatic, sudden, and deep change in luck.1 Many Russian émigrés who ended up on the shores of the Seine after 1917 were the members of the Russian intellectual and political elites who had enjoyed the life of prestige, wealth, refined social and cultural opportunities in tsarist Russia. For many Russian émigrés, life as they knew it was turned upside down when they left Russia. They had to begin their life anew, to rebuild their identities, and to reinvent the self. The experience of women émigrés was especially difficult. Many women had lost their relatives and husbands during the First World War and the Russian Civil War, and many needed to 1 Héléne Menegaldo, Les Russes à Paris: 1919-1939 (Paris: Autrement, 1998) and “L’émigré russe en ses divers avatars,” in Figures de l’émigré russe en France au XIXe et XXe siècle. Fiction et réalité, eds. Charlotte Krauss and Tatiana Victoroff (Amsterdam and New York: Rodopi, 2012), 55-84; Nikita Struve, Soixante-dix ans d'émigration russe: 1919-1989 (Paris: Fayard, 1996) and “Les trois vagues de l’émigration russe” in Figures de l’émigré russe en France au XIXe et XXe siècle, op. cit., 23-7; Catherine Klein-Gousseff, L'exil russe: la fabrique du refugié ́ apatride, 1920-1939 (Paris: CNRS, 2008); Robert Harold Johnston, New Mecca, New Babylon: Paris and the Russian Exiles, 1920-1945 (Kingston: McGill Queen's University Press, 1988); Katherine Foshko, “France's Russian Moment: Russian emigré ́s in interwar Paris and French society,” (PhD diss., Yale University, 2008); Marc Raeff, Russia Abroad: A Cultural History of the Russian Emigration, 1919-1939 (New York: Oxford University Press, 1990), and John Glad, Russia Abroad: Writers, History, Politics (Tenafly, NJ: Hermitage & Birchbark Press, 1999). -
Russian Silver Age Poetry: Texts and Contexts
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Works Swarthmore College Works Russian Faculty Works Russian 2015 Russian Silver Age Poetry: Texts And Contexts Sibelan E. S. Forrester Swarthmore College, [email protected] M. Kelly Follow this and additional works at: https://works.swarthmore.edu/fac-russian Part of the Slavic Languages and Societies Commons Let us know how access to these works benefits ouy Recommended Citation Sibelan E. S. Forrester and M. Kelly. (2015). "Russian Silver Age Poetry: Texts And Contexts". Russian Silver Age Poetry: Texts And Contexts. https://works.swarthmore.edu/fac-russian/160 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Russian Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. INTRODUCTION: POETRY OF THE RUSSIAN SILVER AGE Sibelan Forrester and Martha Kelly oetry is only one of the exciting cultural achievements of the Russian Pfin-de-siècle, which has come to be known as the Silver Age. Along with the Ballets russes, the music of Alexander Scriabin or Igor Stravinsky, the avant- garde painting of Kazimir Malevich or Marc Chagall, and the philosophical writings of Lev Shestov or Nikolai Berdyaev, poetry is one of the era’s most precious treasures. The Silver Age witnessed an unprecedented and fruitful interaction between Russian literature and the other arts, sometimes within the same person: several of the major poets were (or could have been) musi- cians and composers; others were painters, important literary critics, religious thinkers, scholars, or philosophers. -
Penguin Classics
PENGUIN CLASSICS A Complete Annotated Listing www.penguinclassics.com PUBLISHER’S NOTE For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world, providing readers with a library of the best works from around the world, throughout history, and across genres and disciplines. We focus on bringing together the best of the past and the future, using cutting-edge design and production as well as embracing the digital age to create unforgettable editions of treasured literature. Penguin Classics is timeless and trend-setting. Whether you love our signature black- spine series, our Penguin Classics Deluxe Editions, or our eBooks, we bring the writer to the reader in every format available. With this catalog—which provides complete, annotated descriptions of all books currently in our Classics series, as well as those in the Pelican Shakespeare series—we celebrate our entire list and the illustrious history behind it and continue to uphold our established standards of excellence with exciting new releases. From acclaimed new translations of Herodotus and the I Ching to the existential horrors of contemporary master Thomas Ligotti, from a trove of rediscovered fairytales translated for the first time in The Turnip Princess to the ethically ambiguous military exploits of Jean Lartéguy’s The Centurions, there are classics here to educate, provoke, entertain, and enlighten readers of all interests and inclinations. We hope this catalog will inspire you to pick up that book you’ve always been meaning to read, or one you may not have heard of before. To receive more information about Penguin Classics or to sign up for a newsletter, please visit our Classics Web site at www.penguinclassics.com. -
The Gamut Archives Publications
Cleveland State University EngagedScholarship@CSU The Gamut Archives Publications Winter 1989 The Gamut: A Journal of Ideas and Information, No. 28, Winter 1989 Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/gamut_archives Part of the Arts and Humanities Commons, Law Commons, Medicine and Health Sciences Commons, Physical Sciences and Mathematics Commons, and the Social and Behavioral Sciences Commons How does access to this work benefit ou?y Let us know! Recommended Citation Cleveland State University, "The Gamut: A Journal of Ideas and Information, No. 28, Winter 1989" (1989). The Gamut Archives. 26. https://engagedscholarship.csuohio.edu/gamut_archives/26 This Book is brought to you for free and open access by the Publications at EngagedScholarship@CSU. It has been accepted for inclusion in The Gamut Archives by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. Dear Gamut Reader, We want to say thank you for your con tinuing support. In other years we've offered you our fabulous 2-for-1 subscription deal so that you could share the surprises and satis factions of The Gamut with friends. We're still offering our seasonal advanced renewal deal, with the additional gift of a pocket size Gamut calendar for 1990, so that you'll think about us all year long (not just when the mailman delivers 96 pages of ideas and information to your door). So, renew. Now. Whether you've just begun reading us or your subscription is about to expire, send us $12.00 for your own one-year subscription. -
Bakhtin in His Own Voice: Interview by Victor Duvakin: Translation and Notes by Slav N
Marshall University Marshall Digital Scholar Modern Languages Faculty Research Modern Languages Summer 2016 Bakhtin in His Own Voice: Interview by Victor Duvakin: Translation and Notes by Slav N. Gratchev Slav N. Gratchev Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/languages_faculty Part of the European Languages and Societies Commons, and the Modern Languages Commons Recommended Citation Gratchev, Slav N. “Bakhtin in His Own Voice: Interview by Victor Duvakin: Translation and Notes by Slav N. Gratchev.” College Literature, vol. 43, no. 3, Summer 2016, pp. 592-602. doi: 10.1353/lit.2016.0028. This Article is brought to you for free and open access by the Modern Languages at Marshall Digital Scholar. It has been accepted for inclusion in Modern Languages Faculty Research by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. DOCUMENT BAKHTIN IN HIS OWN VOICE: INTERVIEW BY VICTOR DUVAKIN MIKHAIL BAKHTIN TRANSLATION AND NOTES BY SLAV N. GRATCHEV TRANSLATOR’S INTRODUCTION On March 15, 2013, Radio Svoboda (Radio Liberty) broadcast a recording of selections from a series of interviews with Mikhail Bakhtin conducted in 1973 by philologist and dissident Victor Duvakin (Komardenkov 1972, 18).1 At this key moment in the Soviet era, Professor Duvakin, who had been dismissed from his position at Moscow State University, decided to create a phono-history of the epoch (Timofeev-Resovsky 1995, 384). Among the three hundred people whom Duvakin interviewed was Mikhail Bakhtin (Bocharova and Radzishevsky1996, 123), the seventy-eight-year-old retired professor of literature who was known familiarly by many as “chudak.”2 Bakhtin had continued to write about Dostoevsky, the theory of the novel, and “the great time” (большого времени) of the historicity of meaning. -
Romance As an Experimental Form in Polish and Russian Early Modernism
Romance as an Experimental Form in Polish and Russian Early Modernism by Łukasz Wodzyński A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Comparative Literature University of Toronto © Copyright by Łukasz Wodzyński 2015 Romance as an Experimental Form in Polish and Russian Early Modernism Łukasz Wodzyński Doctor of Philosophy Centre for Comparative Literature University of Toronto 2015 Abstract In my dissertation I examine a group of modernist novels that attempt to braid together two seemingly divergent literary modes: modernism and popular fiction. I argue that in the field of the novel popular culture was able to educate modernist writers on how to narrate their key ideological positions. The introductory chapter describes the situation of the novel in Polish and Russian early modernism and poses the question of the modernist authors’ need to experiment with popular literature. In this chapter I also develop an argument for the applicability and usefulness of the concept of romance in theorizing the relationship between the two modes. In the first chapter I present Fedor Sologub's novel-trilogy The Created Legend as an example of a “modernist romance” by using Northrop Frye’s structural approach. I also argue that the trilogy can be read as a narrativized justification of the author's sudden rise to prominence in the Russian literary field. The second chapter examines Jerzy Żuławski’s science-fictional epic The Lunar Trilogy. I look at spatial architecture, the protagonists, and temporality in this work as three loci in which the modernist ideology and romance engage in a dialogue. -
Why Did Jã³zef Czapski Change His View of the Skamandrites?
Czytanie Literatury http://dx.doi.org/10.18778/2299-7458.08.24 Łódzkie Studia Literaturoznawcze 8/2019 ISSN 2299–7458 PIOTR MITZNER e-ISSN 2449–8386 Cardinal Stefan Wyszyński University 0000-0003-4636-7062 223 WHY DID JÓZEF CZAPSKI... Why Did Józef Czapski Change His View of the Skamandrites? He was not a painter who wrote; he was a painter and a writer. An excel- lent essayist, diarist, and epistolographer. As a writer, and even as a reader, Józef Czapski matured very slowly. He gradually hatched from the world of school-set books. However, already in the 1920s and 1930s, he started de- veloping rapidly: Józef Czapski became familiar with the vast expanses of Russian literature. He read Vasily Rozanov, Fyodor Dostoevsky, and Dmitry Merezhkovsky. He developed a particular fondness for Russian poets, they were closer to him than Polish authors, who, as he once stated, could not extract from within themselves a voice which would be the voice of a gen- eration, his generation. Polish futurists did not impress him, and sometimes they outraged him; possibly because he was familiar with the Russian Futurism. However, he harboured grievances against the Skamadrites (on a side note – as did Jerzy Stempowski). To Czapki, Jan Lechoń seemed to be an epigone of Romantics; he “did not trust” his poems, even those recited in Stabilsk seemed “unbearable” to him1. Interestingly enough, he only appreciated Herostrates. He started viewing Lechoń differently only after the latter one had been painfully tested by the ex- periencef o emigration. His reading of Dziennik was dramatic, filled with com- passion and discontent (towards egocentrism, partial – i.e. -
7. Russian Literature.Pdf
CLEAR II Russian Literature Packet by Jeremy Hixson 1. Near this work’s end, the protagonist’s wife forces Vanya to walk a garden path 20 times with the protagonist, who develops a limp after a stroke; that protagonist falls in love with Agafya after often watching her elbows at work. This novel’s protagonist compares himself to Hamlet as he contemplates the phrase “Now or never!” often repeated to him by his best friend, holding that to choose now meant to “throw the capacious dressinggown… from his heart and mind”. The hiring of Zatyorty as an agent and an IOU signed by the protagonist when he is drunk are schemes used by Ivan Matveyevich and Tarantyev to bilk this novel’s protagonist of the earnings of his estate. Olga gives this novel’s title character a sprig of lilac while on a walk in the park to symbolize her love for him, but they are forced to separate after Olga loses respect for him for his inability to settle his own affairs, marrying instead his best friend, the energetic Stolz. For 10 points, name this novel about an indolent landowner, a work by Ivan Goncharov. ANSWER: Oblomov 2. In one work by this author, the narrator learns about Sofron Yakovlich’s abuse of power in the title position, while staying with his neighbor Arkady Pavlych. The title character of a work by this author declares it is a sin to expose blood to light and that title character claims to have laid in a curse to drive animals from the narrator, since the latter wants to “shoot the wee birds”.