19th Century Russian Literature

Elena FELL, Macro-reasoning and cognitive gaps: understanding post-Soviet Russians’ communication styles. ESSACHESS - Journal for Communication Studies. Vol 10, No 1(19) (2017). P. 91-110.

Russians and Westerners access, process and communicate information in different ways. Whilst Westerners favour detailed analysis of subject matter, Russians tend to focus on certain components that are, in their view, significant. This disparity makes it difficult to achieve constructive dialogues between Western and Russian stakeholders contributing to cross-cultural communication problems. The author claims that the difference in the ways Russians and Westerners negotiate information is a significant cultural difference between Russia and West rather than an irritating (and in principle amenable) lack of analytical skills on the Russian partners' part. Understanding the reasons behind the Russian-specific approaches to dealing with information would be a positive step towards a more effective cross-cultural communication, important in business situations and essential in diplomacy.

Издание  непристойной пародийной баллады Пушкина, написанной в Лицее и дошедшей в неисправных и анонимных списках, снабжено текстологическим, лингвистическим, стиховедческим, историко-литературным и биографическим комментарием. Особый раздел составляют исследования, посвященные истории, языку и поэтике русского обсценного бурлеска от Баркова до Пушкина; изучается связь этой традиции с устным народным творчеством и с фривольной французской литературой XVII—XVIII вв.
Содержание и отзывы см.: http://www.rvb.ru/philologica/series_rus/series02rus.htm
In English: http://www.rvb.ru/philologica/series_eng/series02eng.htm

The aim of this paper is to explore the limits of moral permissibility in both Dostoevsky and Nietzsche. To this aim, the author will consider a comparison often made in the studies dedicated to Dostoevsky and Nietzsche, namely that between Nietzsche’s overman and Dostoevsky’s nihilistic anti-heroes: Ivan Karamazov (and his idea that, if there is no God and no immortality of the soul, everything is permitted), Raskolnikov (and his “extraordinary men”), and Kirilov (and his man-god). This comparison will serve the purpose of distinguishing Nietzsche’s immoralism from a mere amoralism à la Karamazov. Finally, the author will tackle the following question: if there is no God, is everything permitted?

Art historians and the wider public may not be surprised to hear that the largest collection of Dutch art outside the Netherlands is in Russia, in the Hermitage. It is less well known that the Russian appreciation of the art of the Low Countries relates closely to debates about literature. This article will outline how, from early nineteenth-century literary criticism to Soviet aesthetics, Russian ideas on realistic narrative integrated the example allegedly found in Dutch and Flemish art of the sixteenth and seventeenth centuries. From Puškin to Ėjzenštejn, Netherlandish painting was held up as a model that was, as will be argued here, not merely formal but ultimately ideological.

"Se queremos que tudo fique como está
é preciso que tudo mude."


O leitmotif da obra de Tomasi de Lampedusa, imortalizada no grande ecrã pela objectiva de Visconti, sintetiza a sua ideia central, acerca do declínio das antigas elites, em particular da aristocracia, a favor da ascensão das classes médias, a partir da segunda metade do século XIX e a forma como uma facção daquela procurou, sem sucesso, manter a sua posição.
O tema da presente dissertação é precisamente o da evolução da Aristocracia em Portugal, em concreto da Casa Palmela, no contexto do Liberalismo, com maior precisão, no período que medeia entre 1810 e 1887, datas que, como veremos, reflectem a cronologia ditada pela própria evolução da Casa e também pelos rumos da nacionalidade.


"If we want everything to stay as it is
everything must change."


The leitmotif of Tomasi de Lampedusa's work, immortalized on the big screen by Visconti's lens, sums up his central idea of the decline of the old elites, particularly of the aristocracy, in favor of the rise of the middle classes from the second half of the century, and the way a faction of it sought, unsuccessfully, to maintain its position.
The theme of this dissertation is precisely that of the evolution of the Aristocracy in Portugal, specifically of Casa Palmela, in the context of Liberalism, with greater precision, in the period between 1810 and 1887, dates that, as we shall see, reflect the chronology dictated by own evolution of the House and also by the paths of nationality.

The Mongol impact on Russian history, politics, economy and culture has been one of the most debated subjects not only among Russian historians, scholars and philosophers, but also the historians of Western countries as well. For the Russian historians with the traditional approach, Mongols brought nothing to Russia but destruction and bloodshed. The Westernizers approached the Mongol rule in Russia from the perspective of relations with Europe and thus perceived the Mongol impact as a very negative development as Russia was isolated from Europe during the Mongol rule which continued for almost 250 years. The Eurasian school, however, embraced the Mongol rule with the argument that it had a direct impact to strengthen the founding pillars of the Tsarist Russian State: Orthodoxy, centralization of political power, autocracy and serfdom. In an attempt to make an impartial analysis, this paper, first of all, briefly takes a look at the different interpretations of Russian and Soviet historians about the impacts of the Mongol invasion. The paper then focuses on the search of concrete evidences which obviously demonstrate the impacts of the Mongol rule on Russia in various fields. In the last section, the paper tries to lay out its own impartial assessment based on the existing evidences as well as unbiased interpretations.

СОДЕРЖАНИЕ

Владислав Пиотровский
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Władysław Piotrowski
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Халина Вашкелевич
Моя Alma Mater
Halina Waszkielewicz
Moja Alma Mater
Печатные работы профессора Халины Вашкелевич
Олег Клинг
Автобиографический дискурс Андрея Белого
Павел Лавринец
Голубая келья: Из истории виленского модернизма
Людмила Ходанен
Поэтическая гипнология М. Ю. Лермонтова: философско-эстетические оценки конца ХIX – начала XX века, развитие традиции
Дмитрий Клебанов
Урбанистическая тематика в русской и белорусской поэзии конца ХIХ – начала ХХ века (на примере творчества В. Брюсова и М. Богдановича)
Danuta Piwowarska
Motywy franciszkańskie w poezji rosyjskiego modernizmu
Анна Хан
Оценка перспектив развития импрессионизма и стиля модерн в русской художественной критике начала ХХ века
Izabella Malej
Syndrom Fausta: Michaił Wrubel i Johann W. Goethe
Eulalia Papla
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Grzegorz Ojcewicz
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Елена Тырышкина, Полина Чеснялис
Концепция женственного в ранней лирике Михаила Зенкевича
Екатерина Орлова
Один герцог или два? (О двух «итальянских» сонетах Николая Недоброво)
Иоаннп Мяновска
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Алла Шелаева
Н. С. Лесков – трансцендентный друг и наставник А. М. Ремизова
Сергей Доценко
«Кто, откуда пришел он?» (Ф. Достоевский в эссе А. Ремизова Огненная Россия)
Алла Грачева
Дневник мыслей Алексея Ремизова и русская эмиграция 1940-х годов
Елена Обатнина
Подруги: Один эпизод из истории отношений З. Н. Гиппиус и С. П. Ремизовой-Довгелло
Гражина Бобилевич
Интермедиальность. Визуально-вербальная репрезентация Расеи в творчестве Бориса Григорьева
Ирина Белобровцева
Рассказ Владимира Набокова Случайность: поэтика разбега
Анна Возьняк
Канон и новаторство. Проза Ирины Одоевцевой
Franciszek Apanowicz
Pod prąd czy z prądem? Uwagi o życiu i twórczości Gleba Glinki
René Śliwowski
O śmiechu poważnie. Michaił Zoszczenko
Анна Гильднер
Авангардный миф о летании или художественная провокация? Летатлин Татлина как симулякр
Wasilij Szczukin
O poetyce socrealizmu. Dwaj przyjaciele Wiktora Gusiewa
Валерий Тюпа
Часть и целое в Докторе Живаго (Нижний Кельмес)
Борис Равдин
Первые шаги Лили Марлен на русском языке
Елена Скарлыгина
Журнал В. Максимова «Континент»: русско-польский акцент
Наталья Кононова
Вальпургиева ночь, или Шаги Командора Венедикта Ерофеева (к вопросу о постмодернистской эстетике трагедии)
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Гульшара Лукпанова
«Текст Леонардо» в структуре пространственно-временной организации романа Саши Соколова Школа для дураков
Елена Твердислова
Существует ли этика поэта? «Советский поэт» Иосиф Бродский
Петр Фаст
«Я сижу у окна…» Правда и субъект в стихотворении Иосифа Бродского
Анна Маймескулова
«Не музыка еще, уже не шум»: Семиотика стихотворения Иосифа Бродского Почти элегия
Изабела Ковальска-Пашт
«Филологическая школа». О неоавангардной поэтической группе ленинградского андеграунда
Татьяна Царькова
Концепты и константы петербургских поэтических антологий (первое десятилетие XXI века)
Анна Беднарчик
Поэтический эксперимент как переводческая проблема
Elżbieta Tyszkowska-Kasprzak
Barak jako metafora egzystencji (Igor Cholin, Asar Eppel)
Елена Трофимова
Метафизика постмодернизма Дмитрия Александровича Пригова
Галина Нефагина
Возвращение вперед Владимира Сорокина, или от деструкции – к конструкции (анти)утопического мира
Anna Skotnicka
Między przemocą a odmową życia. Такая девочка, совесть мира Ludmiły Pietruszewskiej
Юрий Доманский
«Мальчик Майк с Петроградской стороны»: Михаил Науменко в восприятии Людмилы Петрушевской
Людмила Луцевич
«Хочу найти смысл моего сумасшествия»: терапия творчеством в современной женской исповеди
Ганна Улюра
Кодексы сестринства и/как конструкция объектов в современной русской женской прозе
Наталья Шром
«И я узрел себя в подвале»: Пушкин и постмодернизм «снизу»
Жужа Калафатич
Вариации на тему раcпада (Постсоветская действительность и ее художественные интерпретации в современной русской прозе)
Яна Костинцова
От коллажа к мультимедийности: русская литература и визуальность от модернизма к постмодернизму
Елена Васильева
Чеховские реминисценции в современной литературе. Тема «футляра» в рассказах В. Пьецуха
Татьяна Пудова
Постмодернистские интенции в романе Василия Аксенова Кесарево свечение
Magdalena Ochniak
Metaforyczny most (rozważania na marginesie pewnego eseju Wiktora Pielewina)
Аркадий Неминущий
Чайка Б. Акунина как феномен постмодерна
Katarzyna Jastrzębska
Proza Romana Sienczina oczami rosyjskiej krytyki. Ustalenia wstępne
Анна Станкевич
Музыкальный код в романе В. Маканина Две сестры и Кандинский
Галина Михайлова
Фасеточное зрение Андрея Дмитриева (роман Крестьянин и тинейджер)
Spis tomów serii „Rosja – myśl – słowo – obraz”

This is the front matter for an anthology I edited for Greenhaven Press that was published in 1999 and is, as far as I know, now out of print (though copies are still floating around on various used-book websites). What is included here is the front matter that I wrote as well as the table of contents for the excepted pieces that I anthologized within the book.

One of Chekhov's favorite plots in his early stories involves a clash between two kinds of characters, one sensitive, excitable, and desperate for recognition, the other reserved and emotionally inaccessible. When the little clerk, Chervyakov, in "Death of a Civil Servant" ("Smert' chinovnika," 1883), sneezes on an important general, the general is unperturbed and hardly notices the offense. Chervyakov, however, is horrified by the audacity of his act, and he apologizes profusely, mystified and alarmed by the general's indifference. Eventually, on his sixth apology, he succeeds in irritating the general and eliciting the rebuke "Get lost!" (Poshel von!), which causes the overwrought Chervyakov to die from terror and humiliation. 1 Something in the dynamic between these two characters-something more basic than the social power imbalance that divides thempersistently reemerges as a psychological pattern among Chekhov's many characterizations. From the early 1880s onward these two individuals keep attempting to communicate-one trembling, weeping, and struggling for justice within an enclosed sphere of concerns, while the other observes the comedy, without much interest, from outside. This article will examine how the simple dramatic conflict between engaged and detached characters in many of the early stories anticipates a more philosophically complex psychological dualism that appears in the stories of the 1890s. 2 Through an analysis of these "enemies"-first as distinct characters in conflict and then as warring identities within the individual-I shall examine how Chekhov conceived of a complex architecture for the self over the span of his career, how these attitudes in conflict in his early works initiate a meditation on the nature of compassion and the problem of the structure of the human personality. By following the development of this conflict, we can observe how Chekhov engaged and reenvisioned the larger European tradition of psychological dualism and personal fragmentation that he inherited at the end of the nineteenth century.

This dissertation examines the development of the polemical Russian novel concerning
the “hero of the time” during the 1860s-1870s when the problem of nihilism was literature’s
main concern. Most novels written during this era participated in the debate on nihilism and
discussed the vitality and potential of the new “hero of the time,” the nihilist (or “new man”).
This study examines the genesis of the literary images of the nihilist “heroes of the time;” it also
explicates the connections between these works and illustrates common influences upon writers.
This thesis reveals the extent to which the conversation about nihilism in Russian culture was
many-voiced and contradictory; debate carried on not only on the pages of novels, articles in the
“thick” journals, and newspapers, but also in everyday life and behavior, in fashion and linguistic
usage, in personal interactions and in political trials. The debate over nihilism was more complex
than previously assumed in literary scholarship, and this dissertation provides a detailed
reconstruction of the process by which polemical novels of the time came into being. Novels
analyzed in this dissertation include – apart from the works by Turgenev, Chernyshevsky and
Dostoevsky – writing frequently overlooked by such novelists as Leskov, Pisemsky and
Goncharov, as well as a broad range of fiction by minor writers, such as Avseenko, Kliushnikov,
Kushchevsky, Sleptsov, Orlovsky, Markevich and others. The authors discussed in this study
ii
cover a wide spectrum of literary craftsmanship and ideological agendas. Through a close
reading of these works, the dissertation aims to provide an archeology of nihilist themes and
writings and to reveal their sources and origins in other publications. The study of minor novels
by secondary authors highlights the “median literary norms of the epoch” (Lotman) and helps
reconstruct the bigger picture of the development of the polemical novel, at the same time
serving as a necessary prelude for more sophisticated readings of the politics and poetics of the
great works by Turgenev, Dostoevsky, Leskov, Goncharov and other writers who engaged with
nihilism.

In an important 1984 paper, “The Moral Education Theory of Punishment,” Jean Hampton justifies the practice of inflicting painful criminal punishments if and only if punishment is morally educative. Hampton’s suggestion forms the point of departure for this paper on Dostoevsky’s Crime and Punishment. Below, I show that Dostoevsky agrees with Hampton that punishment should aim at moral reform; however, Dostoevsky presents no evidence that self-punishment or legal punishment reliably cultivates respect for law, legal authority, oneself, or for others as moral agents. Instead, Dostoevsky’s post-Siberian writings are highly critical of Russian criminal justice, and emphasize that moral education comes through dialogue, reflection, and criticism. This highly individualized treatment may be experienced as painful, but it does not have to result from, and it may even be impeded by, legal “hard treatment.”
Keywords: moral education; punishment; Dostoevsky; rehabilitation; crime

В книге исследуются дорожные обычаи и обряды, поверья и обереги, связанные с мифологическими представлениями русских и других народов России. Привлекаются малоизвестные этнографические, фольклорные, исторические, литературно-публицистические и мемуарные источники, которые рассмотрены в историко-бытовом и культурно-антропологическом аспектах. Книга адресована специалистам и студентам гуманитарных факультетов и всем, кто интересуется историей повседневности и традиционной культурой народов России.

«Литературный факт» – научный рецензируемый журнал по истории русской словесности и филологии. Издается в электронной и печатной версии. Периодичность – 4 номера в год. В программе журнала: статьи, заметки и публикации, посвященные русской литературе XVIII–XX вв., материалы к истории отечественного литературоведения. Журнал рассчитан на интернациональную аудиторию и призван стать печатной площадкой для публикации новых материалов: художественных текстов, эпистолярия, дневников, документов.

Jonatan Meir, "The Discovery and Publication of Joseph Perl’s Yiddish Writings"

The attitude of Tarnopol satirist Joseph Perl (1773–1839) towards the Yiddish language has been discussed by a number of scholars. In particular, researchers have examined his views with regard to his most well-known satire, Sefer Megaleh temirin, which was printed in Hebrew in Vienna, 1819, with a partial Yiddish translation of the work appearing in Vilna, 1938. However, there remains much to be said concerning the creative process which guided Perl’s writing in Yiddish, as well as the later discovery and publication of his Yiddish works, both of which are chapters in the wider story of the development of Yiddish literature in the first half of the nineteenth century and the increasing scholarly interest in it at the outset of the twentieth century. This article briefly describes these multifaceted matters and then offers suggestions for the future study of Perl’s writing in particular, and maskilic Yiddish literature in general.

Set against the background of the rapid transformation of Russia into a major European power, the two volumes of French and Russian in Imperial Russia consider the functions of multilingualism and the use of French as a prestige language among the elite, as well as the benefits of Franco-Russian bilingualism and the anxieties to which it gave rise.
The first volume, Language Use among the Russian Elite, provides insight into the development of the practice of speaking and writing French at the Russian court and among the Russian nobility from the mid-eighteenth century to the mid-nineteenth century. It examines linguistic practice, the use of French in Russia in various spheres, domains and genres, as well as the interplay between the two languages. Including examples of French lexical influence on Russian, this volume takes a sociolinguistic interest in language choice, code-switching and the degree to which the language community being observed was bilingual or diglossic.
The second volume, Language Attitudes and Identity, explores the impact of French on Russian language attitudes, especially among the literary community. It examines the ways in which perceptions of Russian francophonie helped to shape social, political and cultural identity as Russia began to seek space of its own in the European cultural landscape. In the process, it investigates approaches to translation, journalistic debate about language, literary representation of devotees of French social practice and fashion, and manifestations of linguistic purism and patriotism.
A comprehensive and original contribution to the multidisciplinary study of language, the two volumes address, from a historical viewpoint, subjects of relevance to sociolinguists (especially bilingualism and multilingualism), social and cultural historians (social and national identity, linguistic and cultural borrowing), Slavists (the relationship of Russian and western culture) and students of the European Enlightenment, Neo-Classicism, Romanticism and cultural nationalism.

This paper argues that there is a trend towards authoritarianism in Russia. Some political analysts view this mass authoritarianism as a product of history, while others argue that Russia's turn to authoritarianism is not a cultural phenomenon but rather a result of the economic collapse and political turmoil that Russians faced in the early post-Soviet period. The paper, in an attempt to conceptualize Russian attitudes towards autocracy, briefly examines the foundations of autocracy in Russian history and tries to find the answer to the question of why autocracy has become an integral part of Russian political culture. The paper especially focuses on the periods of Muscovite Russia, Peter the Great, Catherine the Great, Lenin, and Stalin, during which the foundations of absolutism, despotism, and autocracy were laid and further strengthened. The paper then examines the period of Putin and examines the motives behind Putin's authoritarian turn. Trying to identify the political, economic, and social developments that were instrumental in determining the Russian nation's acceptance of authoritarianism, the paper finally attempts to make predictions for the future.

Tragedy-is the game of a blind fate we are told. One doesn't need to go far to look for proofs. Take a look at life. 1 To say that life is absurd, one must be alive. 2 Written between 1899 and 1903, Dostoevsky and Nietzsche: The Philosophy of Tragedy (1903) is among the earlier works of the Russian philosopher Lev Shestov. In this essay, Shestov brought the two great thinkers of the nineteenth century (Dostoevsky and Nietzsche) into a comparative discussion, subjected their thoughts to critical analysis and evaluated them on a single philosophical level. It is well known that Shestov's discovery of the works of Friedrich Nietzsche in the 1890s had a stratospheric influence on his thinking (Finkenthal 2010, p. 30). And, as Bernard Martin points out in his Introduction to Dostoevsky, Tolstoy and Nietzsche, it was from Nietzsche that Shestov drew the inspiration for his own lifelong polemic against the power of universal moral rules and the domination of reason (Martin 1969, vii). For Shestov, like for

This book is devoted to the poorly studied early poetry of Vladislav Khodasevich (1886–1939), one of the most remarkable poets of the Russian “Silver Age”.
The research focuses primarily on early collections of Khodasevich, Molodost’ (Youth, 1908), Schastlivyj domik (The Happy Little House, 1914), and selection of poems from another book, Vetv’ (Branch, 1917). The mentioned texts are regarded as consequent stages of the poet’s development.
We took into consideration several aspects of the development of Khodasevich’s poetry. The first question of our interest was which texts of the poets of older generation (V. Bryusov, A. Blok, A. Bely) were adopted and revised by Khodasevich in his early verses.
Second, the present thesis analyses Russian poetry of the 19th century in Khodasevich’s treatment. In Molodost’ the references to Pushkin’s epoch were rather conventional and emanated from the influence of Bryusov, who had the reputation of the follower of Pushkin’s tradition. However, over time the presence of Pushkin’s epoch in Khodasevich’s writings was becoming more significant. In the verses written between 1916 and 1917 a new kind of reference to the 19th century literature becomes visible. The poet’s development consisted in gradual disengaging from the influence of Bryusov and other symbolist poets, and in overcoming them through employing the traditions of the 19th century.
The third important theme of the study is Khodasevich’s own evolution. In our opinion, the poet, being under the influence of the “younger” symbolists, had adopted their model of evolution as well. For example, the first stage of Khodasevich’s development, i.e. his “thesis”, corresponds to the “antithesis” of Block and Bely. The following stage of his evolution is in contrast to the first one, similarly to how it happened among the “younger” symbolists.
Having undertaken the analysis of the poems written between 1915 and 1917, when aesthetic themes were replaced with social and ethical problems, helped us reach the conclusion that the third stage of Khodasevich’s evolution (the “synthesis”) corresponds to the “synthesis” of Blok.

«Литературный факт» – научный рецензируемый журнал по истории русской словесности и филологии. Издается в электронной и печатной версии. Периодичность – 4 номера в год. В программе журнала: статьи, заметки и публикации, посвященные русской литературе XVIII–XX вв., материалы к истории отечественного литературоведения. Журнал рассчитан на интернациональную аудиторию и призван стать печатной площадкой для публикации новых материалов: художественных текстов, эпистолярия, дневников, документов.

Предлагаемая вниманию читателей книга посвящена творчеству И. А. Гончарова, писателя, двухсотлетие со дня рождения которого будет отмечаться в 2012 году, и его современников. Написанные автором в разное время очерки объединены единой темой. Каждый литературный персонаж (будь то Александр Адуев, Обломов,
Лариса Огудалова, герой апухтинской лирики и те, кому довелось жить «под тяжелым петербургским небом») оказывается «на пороге как бы двойного бытия»,
проходя нелегкий путь вочеловечивания.
Автор рассматривает знакомые литературные произведения и привычныхгероев под своим углом зрения, поэтому книга будет интересна и филологам, и школьным учителям, и учащимся, и самому широкому кругу читателей.

All good things were formerly bad things; every original sin has turned into an original virtue. 1 What, then, is The One? It is what makes all things possible. 2 Though the works of the Ukraine-born Russian philosopher Lev Issakovich Shestov (Yehuda Leyb Schwarzmann, 1866-1938) have been translated into many European languages they remain relatively unknown within the continental tradition. However, the philosophical versatility of one of the most respected Russian thinkers has not passed unnoticed. Thus, Czeslaw Milosz refers to All Things Are Possible as 'one of the most readable philosophic essays of the century.' 3 V. V. Zenkovsky in The History of Russian Philosophy (1950) characterizes Shestov as 'a believing consciousness, rare for its sustained and lucid quality', claiming that in Shestov's writing the development of twentieth century Russian thought has reached its highest point. 4 D. H. Lawrence feels an affinity with Shestov's thought and writes a Foreword to the 1920 English edition of All Things Are Possible, where he says: 'It is baffling, but really rather piquant. The real conjunction, the real unification lies in the reader's amusement, not in the author's unbroken logic'. 5 Remarkably, Nikolai Berdyaev, another celebrated Russian philosopher and Shestov's lifelong friend, observes that the 'paradoxicality' of thought, the irony, so characteristic of Shestov's manner of writing might have prevented his

L'édition de la traduction française par le Prof. Dmytro Tchystiak des poèmes mis en musique pour le 200e anniversaire du grand poète ukrainien Taras Chevtchenko, avec les partitions des compositeurs ukrainiens éminents, illustrée par les tableaux de Chevtchenko. Préfaces par l'Acad.Stanislav Dovgyi, Prof. Iouriï Mosenkis, Olena Solomarska et Dmytro Horbatchov.

The thesis is focused on the creative work of A.A.Shakhovskoi (1777–1846), a famous Russian playwright, of the first half of the 19th century, specifically on the evolution of comedy, his main genre, during the active period of dramatist’s live from 1800s till 1830s. In the course of research more than 12 plays were analyzed in the context of contemporary dramatic theories and theatrical practice, as well as from the viewpoint of social and literary problems of this time. The analysis made it possible to divide the evolution of Shakhovskoi’s poetic manner in periods and to clarify the main features of each. Trying to refrain from retrospective misrepresentation the research was relyed on the reconstruction of “inner” point of view of the playwright, of his creative and tactical aims according to circumstances. The thesis describes Shakhovskoi’s first steps in the art of comedy – his choice of the dramatic genre and his first practices – in context of French “neoclassical” ideas. Besides of that, position of dramatist during the famous polemics of “new” and “old” style was examined in the 1st part of the paper. Was found, that most of Shakhovskoi’s comedies of that time were made in imitation of Moliére’s plays. By using the pattern of French comedies in combination of contemporary elements of Russian reality Shakhovskoi was trying to create an “original” Russian comedy, which should describe “national” characters and features. One of the aim of this work was to analyze the dramatist’s attempt to write down his own “Theory of Drama” and his searching of new ideas and models in context of “romantic” movement of the 1820s. For the 1st time in this thesis was described the last period of Shakhovskoi’s biography. In his comedies of 1830s formally Russian author has returned back to imitation of Moliére, but on the new modern material, which displayed his idea of unchangeable nature of comedy during the all times.

This article deals with the treatment of money in Karamzin's Letters of a Russian Traveler. Our approach combines biographical research with new insights into the text in an effort to shed light on the notorious matter of the source of Karamzin's funding during his foreign travel in 1789-1790, and to understand his attitude to monetary transactions as it is revealed in the travelogue. This, in turn, allows us to deal with the contested issue of Karamzin's status as a "literary professional." These matters have been discussed on a number of occasions (Kliuchkin, Klein, Panofsky, to mention only most recent publications). 2 Existing studies, however, have avoided analyzing numbers and performing calculations, even if most of the questions they posed could not be convincingly resolved without recourse to quan-tifiable data. Needless to say, the information available to us is not exhaustive, and in many cases, we have to rely on estimates, conjectures and approximations. However, even this level of precision affords us a more complete understanding of many important aspects of Karamzin's biography and literary position, as well as the development of his economic thought.

A presente dissertação de mestrado consiste num esforço de aproximação entre literatura e psicologia que procurou manter a integridade de ambas as pontas do diálogo. O objetivo foi estudar o romance Crime e castigo de Dostoiévski, com foco na análise do protagonista, Rodion Raskólnikov. Para uma satisfatória compreensão da construção da subjetividade deste personagem fez-se necessário visualizá-lo em suas relações intersubjetivas. Assim, a análise foi estruturada em capítulos, cada qual destacando o diálogo entre duas "vozes", a do protagonista e a de outra personagem para que fossem explicitadas as contradições e implicações deste diálogo no processo de autoconsciência de Raskólnikov. Foram analisadas as relações do protagonista com Marmieládov, Razumíkhin, Lújin, Porfíri, Svidrigálov e Sônia. Além disso, foram tecidas considerações acerca do epílogo, considerando suas particularidades formais e funcionais em relação ao restante do romance. A entrada da psicologia está na tentativa de reconstituição do efeito estético do romance a partir da estruturação poética do texto, de modo que o protagonista seja considerado em sua ficcionalidade, e não como paciente da clínica psicológica, conforme os pressupostos teóricometodológicos da psicologia da arte de Vigotski. Para compreensão da organização formal do texto lançou-se mão da teoria polifônica de Bakhtin, bem como de outros autores da eslavística, mais ou menos congruentes a essa visão. Por fim, são apresentadas, em anexo, traduções de cinco textos da eslavística norte-americana e inglesa, todos precedidos por uma nota introdutória sobre os textos e seus autores.

This article deals with genetic connections between Fyodor Dostoevsky and Catherine Breillat—using psychoanalysis and philosophy that integrates Plato and Aristotle with Kleinian psychoanalysis. The article develops the notion of two kinds of love, good and bad, distinguishing Freud’s work on instincts referencing Plato’s "Symposium," from Klein’s interest in the function of instincts in human relations. The article discusses issues of intimacy— specifically destructive and creative forces—as conflicting forces to better understand the dynamics of tragic love stories. It then discusses the way that understandings of tragedy, comedy, and tragicomedy help us conceptualize mistakes and learning in intimate relations. It does this by considering the notion of “noble error” discussed in Plato’s "Symposium," and the notion of tragedy in Aristotle’s "Poetics," dealing with the magnitude of such “error” and its consequences. The article then uses these concepts to describe differences in narration and characterization in Dostoevsky’s "The Idiot" and Breillat’s "Bad Love." It suggests that, ultimately, the tension of intimacy leads to the need for symbolic death in the form of relief from intimacy—which, when taken to the extreme, can lead to a “noble error” of real death and resulting in tragic love