Slavica Tergestina 02
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CONTENTS
Ivan Verč
Introductory note
Zoltán Hermann
Об одной фонической секвенции в Каменном госте Пушкина
Zsófia Szilágyi
К поэтике и семантике Тамани Лермонтова
Lörinc Szeredás
Человек в футляре – футляр в человеке (анализ рассказа А.П. Чехова)
Tünde Szabó
Библейские элементы в рассказе Ф.М. Достоевского Кроткая в свете Второго Послания к Коринфянам
Anna Menyhért
О смысле предметности у Анны Ахматовой (анализ стихотворения Вечером)
Laura Rossi
К вопросу о соотношении эпистолярной и художественной прозы в России в последней четверти XVIII века
Anna Scesa
Структурно-типологическое сравнение русской народной сказки с советской
Martina Kafol
Об изображении Рая в русских средневековых текстах
Elena Biasci Motasova
Древнерусская легенда о невидимом граде Китеже (история, успех, библиография)
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- PublicationBiblejskie élementy v rasskaze F.M. Dostoevskogo Krotkaja v svete Vtorogo Poslanija k Korinfjanam(LINT, 1994)Szabó, TündeThis article attempts to reveal what – as yet unpublished – biblical elements are activated in A gentle Creature by Dostoevsky and what part the obraz has in the same. The chief motive for writing the article is the observation that biblical elements and the obraz play a central role in Dostoevsky’s novels. The first part of the article gives a brief description of the internal (time, narrative and motivational) structure of this work. My aim makes it inevitable to go through this because the three time-levels, the narrator and the text as a whole, the “idea”, and the pair of motives of “not speaking/seeing” as starting points of a whole network are what the biblical elements form part of. The second part of the article examines these elements. It is claimed that the biblical allusions of the short story refer to Paul’s second letter to the Corinthians, and an analysis is made of how each of these elements form part of and work in the short story. The last part of the article investigates the part the obraz plays in the short story taking the different meanings (religious, etymological etc.) of the word obraz as a starting point. It is claimed that the function of the obraz is to hold together the aforementioned systems including the biblical context, and to transform the text into a metatext talking about itself.
1045 1234 - PublicationK voprosu o sootnošenii épistoljarnoj i chudožestvennoj prozy v Rossii v poslednej četverti XVIII veka(LINT, 1994)Rossi, LauraThe problem of the relationship between Russian epistolary and fictional prose during the last quarter of the eighteenth century arose as a consequence of Yu. Tynyanov’s happy intuition that in certain epochs familiar letters could achieve the status of literary genre. In recent studies familiar correspondence has appeared as almost the only factor prompting the development of Russian sentimentalist prose. In this article a thorough investigation of Mikhail Muravyev’s published and unpublished letters and prose fiction (1776-1797) shows that the relationship between these two literary forms was far more complicated, because in fact on the one hand they both owed much to classical and contemporary West European sources and, on the other, in each of them the same elements had different functions and “worked” in a different way.
1068 1258 - PublicationOb izobraženii Raja v russkich srednevekovych tekstach(LINT, 1994)Kafol, MartinaThis study elaborates a typology of the concept of Paradise in medieval Russia through the analysis of contemporary literary texts. On the basis of terms designating the afterlife, an attempt is made to identify the reception of this idea by medieval Russian society, with particular reference to the understanding of space and time. In this light, consideration is also made of various spaces on earth with the characteristics necessary to render them comparable to Paradise: sacred places, such as churches and monasteries, as well as fantastic lands. Attention is also paid to descriptions of nature, seen as a place of peace, close to the image of the garden of Eden. Such places are considered earthly paradises, sharing many characteristics with the hereafter. The affinities in the tratment of space and time, which assume a higher meaning (sacred and eternal) are especially remarkable, as are other elements perceived by the medieval Russian as a part of the image of a brighter future, on earth as in heaven. An important conclusion concerns a significant similarity between Russian and Western ideas of Paradise, since the literary sources largely coincide. The study closes with a proposal to conduct further research aimed at identifying specific Russian features in the field of folklore.
1121 1227 - PublicationOb odnoj foničeskoj sekvencii v Kamennom goste Puškina(LINT, 1994)Zoltán, HermannThis paper examines the role of the -val-/-lav- phonological sequences which create the semantic centre of the Don Juan theme in world literature and parallel folk texts, and concentrates on the Stone Guest by Pushkin. The phonological equivalence of the Spanish cavalera/cavallero, and Buslaevic/golova/valjatisja in the Russian bylina is the most important line generating semantic and dramaturgic constructions. The sequential structure of the text accomplishes the motif of punishment/forgiveness in the relations of the three main characters (Don Juan=Diego de Calvado, Dona Anna de Solva, Don Alvar) and in the author’s final instruction the sequences collapse (provalivajutsja).
1047 960 - PublicationStrukturno-tipologičeskoe sravnenie russkoj narodnoj skazki s sovetskoj(LINT, 1994)Scesa, AnnaThe term “Soviet folk tale” refers to a specific folk genre that developed in the Soviet Union on the basis of the centuries-old traditions of the Russian folk tale: it was an attempt to use an existing cultural model for ideological and political purposes. The typological-structural study of the analogies and differences between the poetic features of the traditional folk tale and the Soviet folk tale at a number of levels (sintagmatic semantic narrative, typological and verb-subject) and in a number of genres (magic realistic and allegorical) leads to the identification of methods and procedures necessary for the mythification of reality and of the Soviet hero.
913 922 - PublicationČelovek v futljare - futljar v čeloveke (analiz rasskaza A.P.Čechova)(1994)Szeredás, LörincThis article sets out to analyse the concept of “case” (futljar) in Chekhov’s story The Man in a Case. The analysis centres on the bonds between the characters and on the changes in narrative style, starting from the diversification of the narrative levels and stylistic details and from the etymology and homogeneity of the semantic fields of individual words. The second part of the article analyses the intertextual links between Chekhov’s text and the myth. The method of the myth-poetical analysis leads to the identification of a single artistic function at the levels of plot development and language.
1109 6166 - PublicationO smysle predmetnosti u Anny Achmatovoj (analiz stichotvorenija Večerom)(LINT, 1994)Menyhért, AnnaThe question of objectivity has always been of major interest to researchers, since Akhmatova’s poetry is considered as a variation of objective poetry. In the first part of my article I examine this phenomenon on the basis of the short analysis of the poem Cherneet doroga primorskogo sada…, in relation to symbols, motifs, oxymorons and the time-structure of the poem. According to the theory of V. Vinogradov, the time structure of Akhmatova’s poems consists of only one moment. The purpose of this work is to prove this in connection with the semantic and syntactic structures of the poem Vecherom, and to examine the role of semantic oxymorons as the most relevant text-organising elements. The other most important feature of the semantic and rhyme structure of this poem is the tendency to form a closed circle. This tendency and the presence of oxymorons are characteristics of Akhmatova’s code at text level. On the other hand, this code is influenced by the poet’s artistic outlook on life.
899 8779 - PublicationK poétike i semantike Tamani Lermontova(LINT, 1994)Szilágyi, SzófiaThis paper examins a chapter of Lermontov’s novel which has rarely been discussed so far, and concentrates on the semantic and phonetic levels of the text. The starting point of the analysis is Pechorin’s name and its phonetic, semantic and ethymological links. Pechorin’s name includes two binary oppositions (fire-water, one’s own world-alien world), which are realized through the mythological background in the text. In the mythological cast the blind boy plays the role of the evil, the girl the role of rusalka and the narrator the role of the domovoj. The text of each chapter in the novel is constructed in the same way, therefore the analysis of Taman’ can give a clue to the interpretation of the novel as a whole.
1108 1303 - PublicationNekotorye aspekty izobraženija buduščego v tvorčestve F.M. Dostoevskogo v svete literaturnoj tradicii Goroda i Sada(LINT, 1994)Verč, IvanThe article sets out to analyse the evolution of the architectural image of the future in Dostoevsky’s work. Two fundamental lines are identified – the City and the Garden. Both are of Biblical origin. In Dostoevsky the image of the City is from the very beginning the negative symbol of possible social development in contrast to the Garden which, on the basis of a perceived folk tradition, is presented as the positive image of the autochthonous Russian utopia. The analysis of the literary evolution of the two utopian images is then extended to early 20th-century Russian literature. The dichotomy between negative City and positive Garden proves to be clear in most Russian writers with a few notable exceptions (Chayanov, Khlebnikov and above all Platonov) who are orientated towards the difficult task of a synthesis between the two.
1064 952 - PublicationDrevnerusskaja legenda o nevidimom grade Kiteže (istorija, uspech, bibliografija)(LINT, 1994)Biasci Motasova, ElenaThe origins of the old-Russian legend about the invisible Kitezh-town can be traced back to the Mongol invasion of Russia: according to the legend, God showed mercy on Kitezh, besieged by the cruel khan Batyj, and made the town invisible. After the schism in the Ortodox Church, the old Believers changed the original nucleus of the legend, which now urged the faithful to leave the corrupt world ruled by Antichrist and enter the holy Kitezh-town. A rich folklore developed around the Kitezh theme; it was so dear to the Russian people that they even worshipped the lake (Svetlojar) upon whose shores they believed the miraculous town stood. Since the second half of the 19th century Kitezh has found its way into Russian literature, becoming a symbol for many writers and poets up to the present day.
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