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Siberia in the Mirror of Other Cultures: Literature and Translation
Journal of Siberian Federal University. Humanities & Social Sciences 12 (2015 8) 2939-2946 ~ ~ ~ УДК 81.33 Siberia in the Mirror of Other Cultures: Literature and Translation Veronica A. Razumovskaya* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 24.06.2015, received in revised form 14.07.2015, accepted 19.09.2015 The article deals with the origin and the matter of reflecting the “Siberia” concept in the texts of Russian literature, which has resulted in the creation of a “strong” literary image of Siberia. The particular attention is paid to the Siberian text as a translation object and to translation units in the text. The article considers the main types of Siberian texts involved in the interlingual literary translation: tales and epic texts of the peoples of Siberia, literary texts of Siberian writers (V.P Astafyev, V.M. Shukshin). The Siberian text is understood as an integral and significant part of the Russian cultural and literary space. Being involved in the continuous process of global cross-cultural interaction and mutual influence, the Siberian text broadcasts cultural information about Russia and Siberia to the representatives of “other” cultures. Keywords: : Siberia, Siberian text, literary image, literary translation, culturonym. DOI: 10.17516/1997-1370-2015-8-12-2939-2946. Research area: philology. In the perception of the representatives “The Death of Ermak” (the verse part of which of “other” cultures, Russia is traditionally has later become the folk song “The storm was associated with such key concepts as “vast roaring”): “The word Siberia now means an territory”, “multinational”, “multilingualism” immeasurable space from the Ural mountain and “multiculturalism”. -
Memoirs of a Political Education
best of times, worst of times the tauber institute for the study of eu ro pe an jewry series Jehuda Reinharz, General Editor Sylvia Fuks Fried, Associate Editor The Tauber Institute Series is dedicated to publishing compelling and innovative approaches to the study of modern Eu ro pe an Jewish history, thought, culture, and society. The series features scholarly works related to the Enlightenment, modern Judaism and the struggle for emancipation, the rise of nationalism and the spread of antisemitism, the Holocaust and its aftermath, as well as the contemporary Jewish experience. The series is published under the auspices of the Tauber Insti- tute for the Study of Eu ro pe an Jewry— established by a gift to Brandeis University from Dr. Laszlo N. Tauber— and is supported, in part, by the Tauber Foundation and the Valya and Robert Shapiro Endowment. For the complete list of books that are available in this series, please see www .upne .com Eugene M. Avrutin, Valerii Dymshits, Alexander Ivanov, Alexander Lvov, Harriet Murav, and Alla Sokolova, editors Photographing the Jewish Nation: Pictures from S. An- sky’s Ethnographic Expeditions Michael Dorland Cadaverland: Inventing a Pathology of Catastrophe for Holocaust Survival Walter Laqueur Best of Times, Worst of Times: Memoirs of a Po liti cal Education Berel Lang Philosophical Witnessing: The Holocaust as Presence David N. Myers Between Jew and Arab: The Lost Voice of Simon Rawidowicz Sara Bender The Jews of Białystock during World War II and the Holocaust Nili Scharf Gold Yehuda Amichai: The Making of Israel’s National Poet Hans Jonas Memoirs Itamar Rabinovich and Jehuda Reinharz, editors Israel in the Middle East: Documents and Readings on Society, Politics, and Foreign Relations, Pre- 1948 to the Present Christian Wiese The Life and Thought of Hans Jonas: Jewish Dimensions Eugene R. -
Sovyet Dönemi Rus Edebiyatı
SOVYET DÖNEMİ RUS EDEBİYATI (1953-1991) Dr. Yasemn GÜRSOY Sovyet Dönemi Rus Edebiyatı (1953-1991) Yasemin Gürsoy Copyright © 2018 by iksad publishing house All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other non commercial uses permitted by copyright law. Institution of Economic Development And Social Researches Publications® (The Licence Number of Publicator: 2014/31220) TURKEY TR: +90 342 606 06 75 USA: +1 631 685 0 853 E posta: [email protected] www.iksad.net www.iksad.org www.iksadkongre.org It is responsibility of the author to abide by the publishing ethics rules. Iksad Publications - 2018© ISBN: 978-605-7923-27-1 Cover Design: İbrahim Kaya November / 2018 Size = 148x210 cm İÇİNDEKİLER ÖNSÖZ _________________________________________ 1 GİRİŞ __________________________________________ 3 SOVYETLERDE GENEL DURUM _ 9 Sovyet Dönemi Rusya Tarihi _____________________ 9 Sovyet Dönemi Rus Edebiyatı ___________________ 42 SOVYET DÖNEMİ RUS EDEBİYATINDA SAVAŞ NESRİ _ 121 Konstantin Dmitriyeviç Vorobyov _______________ 141 Viktor Petroviç Astafyev _______________________ 156 Vasil Vladimiroviç Bıkov ______________________ 171 Boris Lvoviç Vasilyev _________________________ 187 SOVYET DÖNEMİ RUS EDEBİYATINDA KÖY NESRİ _ 201 Fyodor Aleksandroviç Abramov -
Alexander Boroznyak the ROLE of MASS-MEDIA in DEVELOPING ANTITOTALITARIAN CONSCIOUSNESS. COMPARATIVE STUDY of GERMAN and RUSSIAN
Alexander Boroznyak THE ROLE OF MASS-MEDIA IN DEVELOPING ANTITOTALITARIAN CONSCIOUSNESS. COMPARATIVE STUDY OF GERMAN AND RUSSIAN EXPERIENCES I would like to thank the Office of Information and Press of the North Atlantic Treaty Organization for the opportunity to participate in the Democratic Institutions Fellowship and to do the of the problem I am interested in. For the last 3 years I have been intensively working in Moscow libraries and consultating well-known Russian and German journalists and editors. I made two visits to Federal Republik Germany where I also worked in libraries and had long interviews with scientists and newspapermen. I have established direct contañts with specialists from the Universities of Moscow, Berlin, Hanover, Freiburg, Konstanz. I have also got a considerable help from Mr. Michael Thumann, the ñorrespondent of DIE ZEIT in Moscow. In the process of my research came to the conclusion that it is necessary give precise expression to the subject-matter I am working on, that it is very important to compare the value and degree of the democratic potential of the influential weeklies of liberal trend: OBSHCHAYA GAZETA - Moscow and DIE ZEIT - Hamburg. In the course of long discussions I had with the editorial boards of 2 OBSHCHAYA GAZETA and DIE ZEIT, my concepts, ideas and plans gained support among the editors in Moscow and Hamburg. In my decision I was guided by the following reasons: - OBSHCHAYA GAZETA and DIE ZEIT both belong to the same category of no-local independent high quality mass-media, acknowiedge -
Urals Pathfinder: Theatre in Post-Soviet Yekaterinburg
URALS PATHFINDER: THEATRE IN POST-SOVIET YEKATERINBURG Blair A. Ruble KENNAN INSTITUTE OCCASIONAL PAPER # 307 The Kennan Institute is a division of the Woodrow Wilson International Center for Scholars. Through its programs of residential scholarships, meetings, and publications, the Institute encourages scholarship on the successor states to the Soviet Union, embracing a broad range of fi elds in the social sciences and humanities. The Kennan Institute is supported by contributions from foundations, corporations, individuals, and the United States Government. Kennan Institute Occasional Papers The Kennan Institute makes Occasional Papers available to all those interested. Occasional Papers are submitted by Kennan Institute scholars and visiting speakers. Copies of Occasional Papers and a list of papers currently available can be obtained free of charge by contacting: Occasional Papers Kennan Institute One Woodrow Wilson Plaza 1300 Pennsylvania Avenue, NW Washington, D.C. 20004-3027 (202) 691-4100 Occasional Papers published since 1999 are available on the Institute’s web site, www.wilsoncenter.org/kennan This Occasional Paper has been produced with the support of the George F. Kennan Fund.The Kennan Institute is most grateful for this support. The views expressed in Kennan Institute Occasional Papers are those of the authors. Cover photo (above): “Kolyada Theatre at Night, Turgenev Street, Ekaterinburg, Russia.” © 2010 Kolyada Theatre Cover photo (below): “Daytime View of Kolyada Theatre, Turgenev Street, Ekaterinburg, Russia.” © 2006 Kolyada Theatre © 2011 Woodrow Wilson International Center for Scholars, Washington, D.C. www.wilsoncenter.org ISBN 1-933549-77-7 WOODROW WILSON INTERNATIONAL CENTER FOR SCHOLARS Jane Harman, President, Director, and CEO BOARD OF TRUSTEES Joseph B. -
Approach to Visualisation of Opposing Imagery in a Siberian Text in Illustrations by Sergey Eloyan for Viktor Astafyev’S the Tsar Fish
ISSN 2029-2236 (print) ISSN 2029-2244 (online) SOCIALINIų moKslų STUDIJOS SOCIETAL STUDIES 2018, 10(1), p. 48–60. THE “ICON-LIKE” APPROACH TO VISUALISATION OF OPPOSING IMAGERY IN A SIBERIAN TEXT IN ILLUSTRATIONS BY SERGEY ELOYAN FOR VIKTOR ASTAFYEV’S THE TSAR FISH Nina Panina Novosibirsk State University of Architecture, Design and Arts Department of Research Krasny Prospect 38, Novosibirsk, 630099, Russia Telephone: (+7 383) 3634130 E-mail: [email protected] Natalya Bartosh Novosibirsk State University Chair of History, Culture and Arts Pirogova 1, Novosibirsk, 630090, Russia Telephone: (+7 383) 3634130 E-mail: [email protected] Received: 30 January, 2018; accepted for publication: 15 June, 2018. DOI:10.13165/SMS-18-10-1-04 Abstract. A developed tradition of illustrating Siberian texts in Russian literature makes it possible to identify several approaches and corresponding principles for interpreting texts through illustrations. The approach examined in this article can be for convenience called an “icon-like” as it focuses on the Orthodox tradition in visual arts and is related to corresponding iconographic patterns in illustration. One of the key representatives of this approach is an Socialinių mokslų studijos / Societal Studies ISSN 2029-2236 (print) ISSN 2029-2244 (online) Mykolo Romerio universitetas, 2018 http://www.mruni.eu/lt/mokslo_darbai/SMS/ Mykolas Romeris University, 2018 http://www.mruni.eu/en/mokslo_darbai/SMS/ Socialinių mokslų studijos. 2018, 10(1) 49 Irkutsk artist Sergey Eloyan, who turned to the art of book illustration in 2003 within a large-scale project by Gennady Sapronov aimed at publishing the most outstanding works by Siberian writers. An edition of The Tsar Fish by Viktor Astafyev ranks significantly in this series. -
Urals Pathfinder: Theatre in Post-Soviet Yekaterinburg
URALS PATHFINDER: THEATRE IN POST-SOVIET YEKATERINBURG Blair A. Ruble KENNAN INSTITUTE OCCASIONAL PAPER # 307 The Kennan Institute is a division of the Woodrow Wilson International Center for Scholars. Through its programs of residential scholarships, meetings, and publications, the Institute encourages scholarship on the successor states to the Soviet Union, embracing a broad range of fi elds in the social sciences and humanities. The Kennan Institute is supported by contributions from foundations, corporations, individuals, and the United States Government. Kennan Institute Occasional Papers The Kennan Institute makes Occasional Papers available to all those interested. Occasional Papers are submitted by Kennan Institute scholars and visiting speakers. Copies of Occasional Papers and a list of papers currently available can be obtained free of charge by contacting: Occasional Papers Kennan Institute One Woodrow Wilson Plaza 1300 Pennsylvania Avenue, NW Washington, D.C. 20004-3027 (202) 691-4100 Occasional Papers published since 1999 are available on the Institute’s web site, www.wilsoncenter.org/kennan This Occasional Paper has been produced with the support of the George F. Kennan Fund.The Kennan Institute is most grateful for this support. The views expressed in Kennan Institute Occasional Papers are those of the authors. Cover photo (above): “Kolyada Theatre at Night, Turgenev Street, Ekaterinburg, Russia.” © 2010 Kolyada Theatre Cover photo (below): “Daytime View of Kolyada Theatre, Turgenev Street, Ekaterinburg, Russia.” © 2006 Kolyada Theatre © 2011 Woodrow Wilson International Center for Scholars, Washington, D.C. www.wilsoncenter.org ISBN 1-933549-77-7 WOODROW WILSON INTERNATIONAL CENTER FOR SCHOLARS Jane Harman, President, Director, and CEO BOARD OF TRUSTEES Joseph B. -
(Glasnost) and Democratization
CHAPTER 1 OVERVIEW In the early 1980s, well before Mikhail Gorbachev's policies of openness (glasnost) and democratization sparked unofficial expression in the Soviet Union, an activist in one of the nation's few openly political, independent organizations worked to popularize a slogan with a counter-Orwellian twist: "Little Brother is Watching Back."1 Although the activist, Sergei Batovrin, among the founders of the independent peace movement, emigrated in 1983, his motto has proved prophetic. In thousands of self-starting groups of widely diverse size and orientation, Soviet citizens have begun the process of reconstituting civil society that Communist rulers had sought since 1917 to eradicate. Although still seen and felt mainly at lower political levels, these nyeformalniye ob'yedinyeniya, informal associations, are sowing seeds of democracy on harsh but not hopeless ground. Their expanding activity, among both youthful and mature citizens, is moving the Soviet public from totalitarian conformity and passivity to the kind of active pluralism that could grow to check the power of the Communist Party and the Soviet state. The emergence of so many spontaneous, free associations since 1986 is working a significant, perhaps fundamental, change on Soviet life. What was for so long a grey and mute mass has begun to speak out in a chorus of vigorous, even dissonant voices. A society that was atomized by Stalinist terror has 1 begun to structure itself. Through their membership in the groups, individuals who were powerless in the face of central authority have acquired muscle and influence. For even when they are affiliated to some degree with official institutions, the informal clubs generally operate not under the direction of those in power but on the initiative of their own members. -
Regional Identity and the Development of a Siberian Literary
REGIONAL IDENTITY AND THE DEVELOPMENT OF A SIBERIAN LITERARY CANON by ALEXIS KATHRYN GUNDERSON A THESIS Presented to the Russian and East European Studies Program and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2011 THESIS APPROVAL PAGE Student: Alexis Kathryn Gunderson Title: Regional Identity and the Development of a Siberian Literary Canon This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Russian and East European Studies Program by: Dr. Katya Hokanson Chairperson Dr. Julie Hessler Member Dr. Jenifer Presto Member and Richard Linton Vice President for Research and Graduate Studies/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2011 ii © 2011 Alexis Kathryn Gunderson iii THESIS ABSTRACT Alexis Kathryn Gunderson Master of Arts Russian and East European Studies Program June 2011 Title: Regional Identity and the Development of a Siberian Literary Canon Approved: _______________________________________________ Dr. Katya Hokanson Siberia is a space that is more ideologic than it is geographic; it lacks defined physical boundaries and has no precise date of founding. Throughout its contemporary history as a Russian territory, the Siberia of public imagination has been dictated primarily by the views and agendas of external actors, and its culture and literature – despite having multi-ethnic, multi-linguistic, and multi-religious roots – have been subsumed by the greater Russian tradition to which they are uneasily tied. Using an historical framework, this thesis establishes that there is, in fact, a canon of Siberian literature that stands apart from the Russian canon and that incorporates not only Russian texts but also other European and local indigenous ones. -
My Life As a Russian Filmmaker
WOMAN WITH A MOVIE CAMERA CONSTRUCTS The Constructs series examines the ways in which the things we make change both our world and how we understand it. Authors in the series explore the constructive nature of the human artifact and the imagination and reflection that bring it into being. Series Editors H. Randolph Swearer Robert Mugerauer Vivian Sobchack WOMAN with a MOVIE CAMERA Marina Goldovskaya Translated by Antonina W. Bouis Foreword by Robert Rosen University of Texas Press Austin Copyright © 2006 by the university of texas press All rights reserved Printed in the United States of America First edition, 2006 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). Library of Congress Cataloging-in-Publication Data Goldovskaia, Marina Evseevna. [Zhenshchina s kinoapparatom. English] Woman with a movie camera : my life as a Russian filmmaker / Marina Goldovskaya ; translated by Antonina W. Bouis ; foreword by Robert Rosen. — 1st ed. p. cm. — (Constructs) isbn-13: 978-0-292-71464-9 (cloth : alk. paper) isbn-10: 0-292-71464-5 (cloth : alk. paper) isbn-13: 978-0-292-71343-7 (pbk. : alk. paper) isbn-10: 0-292-71343-6 (pbk. : alk. paper) 1. Goldovskaia, Marina Evseevna. 2. Motion picture producers and directors—Soviet Union—Biography. 3. Motion picture producers and directors—Russia (Federation)— Biography. 4. Women motion picture producers and directors—Soviet Union—Biography. -
FROM NEO-TRADITIONALISM to “NEW REALISM” Accepted: 10 July 2018 UDK 821.161.1(091)”19/20”:316.7
“Umjetnost riječi” LXII (2018) • 3–4 • Zagreb • October – December RESEARCH PAPER Natalia K O V T U N (Krasnoyarsk State Pedagogical University named after V. P. Astafyev) [email protected] Natalya K L I M O V I C H (Siberian Federal University) [email protected] THE TRADITIONALIST DISCOURSE OF CONTEMPORARY RUSSIAN LITERATURE: FROM NEO-TRADITIONALISM TO “NEW REALISM” Accepted: 10 July 2018 UDK 821.161.1(091)”19/20”:316.7 The article analyses modern traditionalism and its main directions (classical traditionalism, neo-traditionalism and new realism). This 315 analysis encompasses the reasons for a returning interest to the realistic principles of writing, and the dialogues between traditionalism and the avant-garde and the cosmos and chaos as key to the development of culture as a whole. It highlights the ways in which current literary studies and criticism reflect the shift of the cultural paradigm and the transition from the poetics of postmodernism to the realistic principles of writing, while preserving elements of postmodern aesthetics. Particular attention is paid to the increasingly controversial direction of “new realism”, which is represented by two key areas: patriotic and naturalistic. The “new realism” authors actively form their own mythology, participating in politics, and trying to reconcile Soviet and anti-Soviet discourses. They search for “avant-gardism in conservatism”, where conservatism is a treasury of Russian classic images, and avant- gardism is the innovations that reflect the current public realia. The article provides a detailed analysis of the literary work of Siberian author Mikhail Tarkovsky. Tarkovsky’s work combines elements of the poetics of “classical traditionalism” and “new realism” to present an original geopolitical project and a cultural character capable of bringing the country to a new level of civilisation.