Eugene Onegin Research Articles

Ways of conveying ethnocultural lexicon in translation of the novel Eugene Onegin by A. S. Pushin into Portuguese (on the materials of Dário Moreira de Castro Alves’ translation)

The subject of this research is the ethnocultural lexicon in translation of A. S. Pushkin’s novel in verse “Eugene Onegin” into Portuguese language. The author views the term realia as a lexicon with ethnocultural semantics inherent to determination of linguistic identity. The goal of this research consists in the analysis of the methods of conveying realias in the two non-cognate languages, as well as in determination of ethnocultural differences of the lexemes signifying similar notions. The author assumes that understanding and accurate interpretation of culturally marked lexicon are essential for translating foreign literature, as well as studying and teaching foreign languages. Contextual and comparative analysis of the realias of Russian literature in translation of the novel served as the methods for this research, which allowed determining the distinctions in cognition of text among the Russian and Portuguese native speakers. The novelty of this work is defined by reference to the only translation of the novel “Eugene Onegin” into Portuguese language that has not previously been an object of linguoculturological study. It is revealed that realias are being used in multiple spheres of human activity and may contain cultural component in the meaning of words and their connotation. As a result, the author indicated the differences of language means of conveying realias in the Russian and Portuguese languages; as well as established the ways of conveying ethnocultural lexicon in translation of the novel, such as correlation, hypo-hypernymic translation, adaptation, periphrastic translation, and calquing.

Ways of conveying ethnocultural lexicon in translation of the novel Eugene Onegin by A. S. Pushkin into Portuguese (on the materials of Dário Moreira de Castro Alves’ translation)

The subject of this research is the ethnocultural lexicon in translation of A. S. Pushkin’s novel “Eugene Onegin” into Portuguese language. The author views the term realia as a lexicon with ethnocultural semantics, characteristic to a specific language community. The research is aimed at the analysis of the means of conveying realia in two non-cognate languages, as well as in determination of ethnocultural differences of the lexemes signifying similar notions. The author believes that understanding and accurate interpretation of culturally marked lexicon are essential for translating foreign literature, studying and teaching foreign languages. Methods of the research are contextual and comparative analysis of the Russian realia in translation, which allowed determining the distinctions in cognition of text among the Russian and Portuguese native speakers. The novelty of this work is defined by reference to the only translation of the novel “Eugene Onegin” into Portuguese language that has not previously been an object of a linguoculturological study. The research revealed that realia may contain cultural component in the meaning of words and their connotation. As a result, the author indicates the differences of linguistic means of conveying realia in the Russian and Portuguese languages, and established the ways of conveying ethnocultural lexicon in translation of the novel, such as correlation, hypo-hyperonymic translation, adaptation, periphrastic translation, and calquing.

“Dans Venise la Rouge…” by A. de Musset – Ch. Gounod: the “Venetian text” in French chamber vocal music

“Dans Venise la Rouge…” by A. de Musset – Ch. Gounod: the “Venetian text” in French chamber vocal music

Ideas’ stories and people’s stories in A. Zholdak’s directorial conception.

Ideas’ stories and people’s stories in A. Zholdak’s directorial conception.

Some peculiarities of opera libretto as a potential literary genre

This article analyzes the changes pertaining to such level of literary works as a system of characters, category of space and time, phonetic system and composition; as well as changes in epic and dramatic oeuvres in the process of transformation of the text of literary work into an opera libretto. Analysis is conducted on peculiarities of the aforementioned levels of literary text and libretto. As an example of epic work, the author selected the A. S. Pushkin’s verse novel “Eugene Onegin” and the eponymous opera composed by P. I. Tchaikovsky; as an example of dramatic work, the author picked the two poetic dramas from Pushkin’s cycle “The Stone Guest” and “The Miserly Knight” and the eponymous operas by A. Dargomyzhsky and S. V. Rachmaninoff respectively. The following methods were applied in the course of this study: comparative based on juxtaposition of musical-scenic interpretation and precedent literary text; typological for determination of patterns, classification and generalization of the results. The author comes to the conclusion that the transformation of epic and dramatic literary texts into the opera libretto has similarities and differences on all levels of the text. The possible reasons of such phenomenon are discussed. The author answers a question whether or not libretto can be attributed to as a genre of fiction writing.

A. S. Puşkinin “Yevgeni Onegin” romanında müqayisələrin (simile) rus dilindən ingilis dilinə tərcüməsinin təhlili

“Eugene Onegin” is the first Russian realistic novel. Pushkin noted that all events in it he wrote due to the calendar. In “Eugene Onegin” Pushkin gave the full picture of the life in Russia in 20s. For this reason, Belinski called the novel “encyclopedia of Russian life”. In comparison with the other languages there are a lot of adjectives in Russian. As it is seen from the Pushkin’s “Eugene Onegin” the author used adjectives in order to describe the objects. The novel was translated into English by Johnston and Ledger. Translation of the similes is complicated, because there is not such a notion “simile” in Russian. Therefore, it is very important to differentiate comparison and simile. What kind of translation preferred more? There are equivalent, analogical, descriptive and approximate methods of translation, which both translators used in their translations. The reason of which method of translation the translators preferred depends on the context and cultural elements, realties, historical facts, traditions and customs, which are different in Russia and in England. Therefore, the translators selected the best method which transfers the meaning of the Source Text perfectly, without losing its colorfulness. In general, the article consists of the lines taken from the original which are compared with the two versions of translations made by Johnston and Ledger. Both translators tried to transfer all colorfulness, emotions, customs and traditions to the Target language reader. The methods of translations used by translators are reflected in analyzes which are given under each example.

Pushkin and Maturin (from the Commentary on the Eighth Chapter of “Eugene Onegin”)

The article looks at Pushkin’s “Eugene Onegin” establishing allusions to Charles Maturin’s “Melmoth the Wanderer”, which have never been studied in connection with Pushkin’s text before. The author arrives at a conclusion that the character of Tatiana is created with references to Immali-Isidora, whereas a parallel between Onegin and Melmoth turnes out to be secondary and existing only in the heroine’s literary outlook.

Особенности передачи национально-специфичной лексики (на примере наименований средств передвижения в переводе романа «Евгений Онегин» В.В. Набоковым)

The article analyzes the features of the transferring culturally-marked vocabulary used to designate modes of transport, using the English language translated by V.V. Nabokov. This study is based on the material of Pushkin’s novel “Eugene Onegin”, which is considered the encyclopedia of Russian life in the early 19th century. As the distinguishing characteristics of the work, one can indicate the presence of linguistic and cultural components that are difficult for native speakers to perceive a different mentality. On the basis of the etymological and semantic analysis, the evolution of meanings and the internal form of the identified lexemes in English and in Russian are specified, as a result of the analysis of the texts of the Commentaries, the translatior’s interpretation of the indicated lexemes is indicated. Through a lexico-semantic comparative analysis of V.V. Nabokov’s translation and the original text, methods of transmitting language units indicating the names of different modes of transport, their degree of equivalence and the cause of observed inconsistencies have been identified. It has been found that the methods of transmitting the meanings of lexemes used in the original text are: exposure, transcription, concretization, contextual substitution, use of equivalents and functional analogs. It can be concluded that the features of similarity and differences of the novel and its translation are determined both by the world view of the translator and by the specificity of English and Russian linguistic culture.

Перевод предложений с предикативами на английский язык (на примере перевода «Евгения Онегина» А.С. Пушкина, выполненного Мэри Хобсон)

Перевод предложений с предикативами на английский язык (на примере перевода «Евгения Онегина» А.С. Пушкина, выполненного Мэри Хобсон)

Жук готический: к одной возможной аллюзии А. С. Пушкина

The paper deals with the beetle as a minor character of the seventh chapter of the novel “Eugene Onegin” and a literary allusion. It is syntactically and rhythmically highlighted in the text of the stanza. V. V. Nabokov was the first to try to set the origin of the character from English literature. The closest meaning of the allusion was a reference to V. A. Zhukovsky, with his surname associated with the beetle by its etymology and the appearance of a “buzzing beetle” in his translation of T. Gray’s “Elegy Written in a Country Churchyard.” The landscape of the 15th stanza of the novel is represented within the genres of elegy, pastoral, and ballad. We expand the field of Pushkin’s allusion to the Gothic novels of A. Radcliffe and Gothic fiction in general. Mentioning the beetle launches a chain of reminiscences from Gothic novels during Tatiana’s walk and her visit to Onegin’s empty “castle.” The quotations from Shakespeare and Collins in Radcliffe’s novels are of great significance. Shakespeare’s beetle, a Hecate’s messenger, is involved in creating an atmosphere of night fears and mystery surrounding the scene in Onegin’s castle. A collection of Radcliffe’s novels in Pushkin’s library suggests the poet was somewhat familiar with the paratext of the novel “The Romance of the Forest”. Moreover, the beetle as a parody character for a ballad and a Gothic novel appeared in the unfinished poem “Vasily Khrabrov” by the poet’s uncle, V. L. Pushkin.

Дмитрий Чижевский versus Роман Якобсон (Opuscula Slavica Sedlcensia, Vol. VI) by Roman Mnich

Reviewed by: Дмитрий Чижевский versus Роман Якобсон (Opuscula Slavica Sedlcensia, Vol. VI) by Roman Mnich Ostap Kin (bio) Oksana Blashkiv i Roman Mnich. Дмитрий Чижевский versus Роман Якобсон (Opuscula Slavica Sedlcensia, Vol. VI). Siedlce: Instytut Kultury Regionalnej i Badań Literackich im. Franciszka Karpińskiego, 2016. 232 c., илл. Список архивов. Избранная библиография. ISBN: ISBN: 978-83-64884-61-0. It is tempting to start a review of this book with a quote from a wellknown novel: This being Tuesday, he could walk over to his favorite haunt immediately after lunch and stay there till dinner time. No gallery connected Waindell College Library with any other buildings, but it was intimately and securely connected with Pnin's heart. … Besides the big book under his right arm, he carried in his left hand his brief case, an old Central European-looking, black portfel', and this he swung rhythmically by its leathern grip as he marched to his books, to his scriptorium in the stacks, to his paradise of Russian lore.1 The man heading to his books, to his scriptorium, is believed to be [End Page 283] the scholar Dmytro Chyzhevsky.2 (The other protagonist of the book under review is Roman Jakobson, who was not on good terms with the author of the cited work, Vladimir Nabokov, either.) Allegedly, Nabokov was furious at the way Chyzhevsky prepared his commentary to an American edition of Alexander Pushkin's Eugene Onegin, and therefore ostensibly mocked the scholar by portraying him as the absent-minded, bizarre character called professor Timofey Pnin. It is, of course, not the goal of this review to verify or refute this thesis, but the idea is so attention-grabbing that one simply cannot pass it by that easily: the larger-than-life figure of Chyzhevsky is both inspiring and elusive. It calls for biographical research and almost defies it. The publication under review consists of six chapters. Chapters 2–5 are authored by Oksana Blashkiv; chapters 1 and 6, by Roman Mnich. Their work is dedicated to the intriguing story of the inception of Slavic studies in the United States after World War II. The book poses a set of questions: among them, the question of the impact and contribution of Ukrainian scholars in general, and of Chyzhevsky in particular, to the Slavic field in the West. The volume, it may also seem, is about scholarly competition between two eminent figures who had different fates. In the end, both scholars contributed tremendously to what is known now as Slavic studies. Chapter 1 looks into the resonance produced by scholarly works authored by Chyzhevsky and Jakobson. The author compares and contrasts the way these figures are remembered (and appreciated) in the academic world. The differences are significant: Jakobson's writings are better known and, more important, more often studied, cited, republished, and translated than Chyzhevsky's oeuvre.3 Ironically, as Mnich points out, the "Hegel Prize was received not by the author of the monograph Gegel v Rossii and the editor of the book Gegel u slavian [meaning Chyzhevsky] but by his eternal friend/foe/critic who actually never particularly studied Hegel" (Pp. 49–50). Mnich also introduces Jakobson's ties with Ukrainian intellectuals: his correspondence with the poet Pavlo Tychyna and [End Page 284] the linguist Vasyl' Simovych, and the story of the publication of his article in Ukrainian translation in the journal Vaplite, edited by Mykola Khvyl'ovyi. Chyzhevsky and Jakobson made their way to the Czech Republic under dissimilar circumstances. Jakobson officially left Soviet Russia in 1920 to work at the Soviet diplomatic mission in Prague, whereas Chyzhevsky had to flee the country in 1921 lest he be arrested and likely executed because of his political affiliation (he was a member of the Menshevik party). Another difference, which is huge, the author argues, is the way both scholars were perceived in the Soviet Union. Jakobson traveled to the Soviet Union as many as seven times, while Chyzhevsky was not only barred from the country but his name was not allowed to appear in print. Archival findings presented in the chapter suggest that Chyzhevsky decided to terminate his cooperation with Harvard University in 1956 in part because of Jakobson, the one who had put a lot of effort into bringing him...

Этапы эволюции Евгения Онегина

The article attempts to understand the author’s attitude to the main character of the novel “Eugene Onegin” by Alexander Pushkin. For the first time, a complete picture of Onegin’s evolution is given. The author proves that the rapture of secular life is just his prehistory; that the search for self-determination of Pushkin’s hero begins with a blues (premature old age of the soul). Communication with Vladimir Lensky makes Onegin reflect on the meaning of life. The highest point of his searches is freedom and peace (at the level of interests of the circus circle). Thoughts on the Onegin’s hypothetical fate are not attempts “to complete” the novel ending, but this is a way to understand the hero more deeply. The poet himself gave an example of such hypothetical thoughts. The “Fragments from Onegin’s Journey” that violate the plot sequence, placed after the notes (end sign), with their tone create a hint in determining Onegin’s hypothetical fate.

Стихотворение А. С. Пушкина «Отцы пустынники и жены непорочны...» (лингвостилистический анализ поэтического произведения и его источника)

The following article presents a linguistic and stylistic analysis of A. S. Pushkin’s poem The hermit Fathers and the immaculate wives... in comparison with the Greek text of the prayer of St. Ephrem the Syrian and its Church Slavonic translation, which was the source of the Poet’s poem. The similarities of the text content and the existing differences are shown. The outstanding role of Pushkin’s text, which essentially performs the ‘transliterating’ function of transmitting Church Slavonic literature to the system of Russian verbal culture, is acknowledged. For Alexander Pushkin, the Church Slavonic language was very important as a source (or one of the sources) of formation of the Russian literary language. The poet introduced many Church Slavonic words into Russian literary speech, for which he was often criticized. Indeed, from the point of view of a native speaker of an exquisite literary language, many lexical introductions of Church Slavonisms to the text of Eugene Onegin were a stylistic challenge. Russian lexical field was regularly expanded by the poet by the means of the Church Slavonic dictionary. This is clearly confirmed by works where the Church Slavonic words fit the theme logically, without causing complaints from adherents of literary norms, but also serve the purpose of lexical enrichment of the Russian language. The analyzed poem is among such works. A comparison of the two texts (the Church Slavonic translation of the prayer of St. Ephrem the Syrian and the poem of Alexander Pushkin) shows a very important difference between them. There is humility as the highest Christian virtue and Evangelical hope in Ephrem the Syrian’s work. And there is Evangelical love as a goal and the most cherished, necessary value for a person who has fallen, but lives in hope, in A. S. Pushkin. Each of these ascetics (St. Ephrem the Syrian and Alexander Pushkin) has his own vision of the outcome of earthly life. For all its signs of Lenten prayer, the poet’s requests have a different sound. More general, more generalized. The text goes beyond the category of calendar-timed (within the Church year) prayers, it pushes the boundaries of its use. This is its further development, its further life. And this is quite natural. Having left the liturgical, prayerful, more secluded and more strict sphere for the sphere of literature (resp. in the sphere of public perception and worldview, addressed to contemporaries who are not always aware of the significance of the presence of God in their lives), the text has already changed, it has spread out. A shift in internal emphasis changes its content. It is a fundamentally independent work.

GENRE PECULIARITIES OF LORD BYRON’S CHILDE HAROLD’S PILGRIMAGE AND A. PUSHKIN’S EUGENE ONEGIN: COMPARATIVE ASPECT

This article examines the major works of two outstanding European poets, Lord Byron and Alexander Pushkin, with a view to estimating the extent of their literary and personal affinity. In the examination of style, attention is limited to Byron’s Childe Harold’s Pilgrimage and Pushkin’s Eugene Onegin, since they are regarded as the masterpieces of their respective authors. The purpose of the article was to make a comparative analysis of two works; to define genre peculiarities of Byron’s poem Childe Harold’s Pilgrimage and Pushkin’s novel Eugene Onegin; to show the influence of Byronism on Pushkin’s Eugene Onegin. Also it was defined that the image of the author was one of the most important structural features of both works. In Pushkin’s Eugene Onegin, we found out the influence of the system of Byron’s poems: alienated, mysterious, opposed to the world hero, the beauty of the heroine and a certain force that hinders the happiness of the heroes. The article gives a detailed analysis of epigraphs, which play a significant role in the composition of the works of two writers. Childe Harold’s Pilgrimage consists of individual cantos, some of them preceded by an epigraph that contains the main idea of the canto, or the author’s point of view on the event is expressed. In Eugene Onegin Pushkin made epigraphs much more meaningful, laying the foundations of the Byron’s system of epigraphs. In the article it was shown that the poem Childe Harold’s Pilgrimage combines two plans: concrete (personal) and common (universal), which allowed the author to talk at the same time about the complex and contradictory life of individual, spiritual and historical problems of all mankind. According to genre peculiarities, the poem belongs to lyric and epic works, the innovation of which was in the form of a diary of the lyrical hero, in the reflection of the hero and the author, as well as in a combination of historical, philosophical and psychological plans. Pushkin’s novel Eugene Onegin has complemented and complicated compositional system. There are several story lines; a lot of main characters; the action is taking place during a considerable period of time.

RECIPIENT FACTOR IN POETIC TRANSLATION DIACHRONY

The paper's aim is to analyze transchronical interlingual and intercultural poetic communication. Special attention is paid to the recipient, his significance in diachronic translation is investigated. Linguistic and cultural aspects of poetic communication are analyzed: realities, historicisms, archaisms, phraseological units, allusions. The recipient factor is actively studied in pragmalinguistics, which finds common ground with translation studies and the theory of intercultural communication. The research is based on the integrative method: descriptive, contextual, comparative and discursive analysis are used. The paper reveals the synergetic nature of the recipient, unique on age, gender, worldview, political and cultural characteristics; cognitive dissonance of the author and the recipient in monolingual and in interlanguage communication are revealed. The actual basis is the novel in verse Pushkin “Eugene Onegin”, written almost 200 years ago and numerous translations made at different times (1840-2008). The studied empirical material leads to the following conclusions. The translation multiplicity in transchronical transfer of cultural heritage to foreign languages is natural and unavoidable. The search for adequate means of intercultural translation of poetry is transcendental in nature. The syncretic nature of the poetic sign in diachrony strengthens the discrepancy between the recipient's and the author's conceptual and thematic knowledge content. This is particularly evident in terms of the transf chronic communication when the author and recipient are separated by a significant time interval. The source language recipients and the target language recipients have objective sociocultural differences which are more evident in transtemporal interlingual communication. The above-mentioned factors interact in the complex synergistic system that is impossible to cognize and to describe in a reductive linguistic theory of translation. On the basis of insufficiency of the reductionism of the linguistic translation, can be expected the transition to the methodology of holism translation. Holism as a methodological principle and philosophy of knowledge has found effective application in the Humanities. Its use in translation in cross-cultural, cross-language and TRANS chronic communication appear to be objectively necessary. The need for pragmatic adaptation and the borders of its approximate values is to be verified in further studies, combining pragmalinguistics, cognitive linguistics, translation studies, functional stylistics, discourse analysis and linguocognitive translation.

Роман-пародия „Мой дядя” Н. Г. Кузьмича и пушкинский роман в стихах "Евгений Онегин"

Статья посвящена «лодзинской» переработке романа в стихах А. С. Пушкина Евгений Онегин. Произведение под названием Мой дядя было создано Н. Г. Кузьмичем (вероятно это был псевдоним) и опубликовано в 1896 году в издаваемой в Лодзи на русском языке газете «Лодзинский листок». Действие романа-пародии разыгрывается в Лодзи, а его героями являются: дядя, Татьяна и Евгений. В произведении находим отражение реалий промышленной Лодзи XIX века, а также намеки на знаменитый роман А. С. Пушкина.

The scenographic, costumed chorus, agency and the performance of matter: A new materialist approach to costume

This article presents the performativity of costume as generated through materially discursive iterative processes that embed meaning in the production itself through the analysis of the chorus costumes for the 2018 Opéra du Rhin production of Eugene Onegin. It argues that a new materialist approach can reveal the ethical concerns, around gender, toxic masculinity and compliance to reactionary social conventions, that lie at the core of this costuming of an opera chorus, particularly when perceived through the multiple forms that shape its distinct materializations over three successive acts. In addition, a focus on the agential actions of materials will draw attention to the work of the costume department, which to date has remained largely unaddressed by analytical approaches that are solely based on spectatorship, semiotics or phenomenological perspectives. Identifying the agential actions that materials perform enables the articulation of the costume specialist’s response to the performativity of materials. Adopting a new materialist approach, ‘costuming’ is found to be an evolving and relational form that emerges from a complex process of meaning-making that addresses, through a distribution of agency, how materials connect to wider concerns.

Performing Traditions of Tatiana's Party in P. Tchaikovsky's Opera "Eugene Onegin" (History of Stage Interpretations)

Performing Traditions of Tatiana's Party in P. Tchaikovsky's Opera "Eugene Onegin" (History of Stage Interpretations)

Репрезентация русской классики в западном мире: британская интерпретация «Евгения Онегина»

<p>Статья написана на основе доклада на III Академических чтениях памяти Вл. А. Лукова «Тезаурусы и проблемы культуры», прошедшей в Московском гуманитарном университете 4 апреля 2019 г. Изучение взгляда на русскую культуру как на Другого важно как для самоидентификации культуры, так и для понимания ее универсальных, вечных сюжетов и образов. На примере интерпретации «Евгения Онегина» как литературного и музыкального текста проанализированы репрезентационные стратегии в отношении культуры Другого с точки зрения их важности для понимания культурной идентичности.</p>

ВЕРБАЛЬНЫЙ И МУЗЫКАЛЬНЫЙ КОМПОНЕНТЫ ОПЕРНЫХ ХОРОВ П. И. ЧАЙКОВСКОГО ВО ВЗАИМОСВЯЗИ (НА ПРИМЕРЕ ХОРА ДЕВУШЕК ИЗ ОПЕРЫ «ЕВГЕНИЙ ОНЕГИН»)

The article considers the “word and music” problem by the example of “Maiden Choir” from P. I. Tchaikovsky’s opera “Eugene Onegin”. The suggested interdisciplinary (linguistics and musicology) approach to analysing the musical composition helps performers to broaden the semantic field of interpretation process. The researchers’ attention is focused on the composer’s linguistic means in interaction with the genre-lexical and structural peculiarities of Pushkin’s text, which constitutes the originality of the study. While the verbal component of “Maiden Choir” is stylization of a folk song, the musical component expresses the semantics of the poet’s word and is similar to P. I. Tchaikovsky’s lyrical romances in genre.