Pushkin's Works Research Articles

«Мысль», «ум», «мышление» в стихотворениях Пушкина, Лермонтова, Соловьева, Лосева

The article identifies and analyzes, for the first time, one of the permanent motives of Russian lyrics – the motive of thinking. The thematic lines of the classical period (God, world, man, poet's path) are rooted in the religious tradition; the poets' reflections on thought are stimulated by the demand for attention to inner life and to the mind in the practice of Christian life. The process of thinking becomes the object of intellectual reflection of poets under the influence of German philosophy. Thought, as one of the phenomena of the world, enters into a wide sphere of poetic perceptions, becomes an object of contemplation primarily in the works of Pushkin and Lermontov. Numerous lexemes “to think” in the XVIII century were used outside the philosophical context; the analyzed reflections of the poets of the XIX century form a kind of poetic epistemology – the knowledge of thought. The motive of thinking that runs through all Russian lyrics is presented in the article as a separate aspect of philosophical poetry as a whole, it forms the metatext that is significant for describing the poet's worldview. Solovyov and Losev gained the experience of both contemplative and mental comprehension of the truth. In Solovyov's poems, thinking is the basis and generating condition for visions. In Losev's poetic treatise “Justification”, the mind is affirmed as the mental basis of the heart's life, and love in its elevation to meaning – as the mind. Thus, the philosophical poets expressed in poetry the fruitful unity of two paths that are significant for Russian culture as a whole – mind and heart, intellectual reflection and contemplation, philosophical thought and poetic image.

A.S Pushkin Influence in Russian Literary Literature

This paper discusses the influence of Alexander Sergeevich Pushkin in the development of Russian Classical Literature. A.S. Pushkin, a great Russian writer in the 1800s. His contribution to the development of Russian literature cannot be seen as an eye. A.S. Pushkin was not only a poet, but also the greatest Russian writer. Alexander Pushkin's work is not only favored by literary activists, but his works are able to make changes to Russian literature. The development of Russian language literature until now has never fallen away from a Pushkin. Great Russian writer who has been recognized all over the world until now.

Письма Т.Г. Цявловской к Н.В. Кузьмину и Т.А. Мавриной из собрания Государственного музея А.С. Пушкина

The letters of T.G. Tsiavlovskaya addressed to the Moscow artists N.V. Kuzmin and T.A. Mavrina, illustrators of A.S. Pushkin works, discuss the problems associated with the study of the poet’s biography. One of the important topics is the continuation of work on the Chronicle of Pushkin’s Life and Work, the first volume of which was published under the editorship of M.A. Tsiavlovskii in 1951 and ended with Pushkin’s stay in Mikhailovskoye. T.G. Tsiavlovskaya has devoted more than 20 years to the continuation of this fundamental work. Another important milestone in her work was the book “Pushkin’s Drawings,” which Tsiavlovskaya published in 1970 as well as the movie with the same title, filmed by the Central Television order according to her script in 1964. The preparation of this publication is also one of the central topics of the researcher’s correspondence with his correspondents. T.G. Tsiavlovskaya was able to identify many of the Pushkin manuscripts depicted on the pages, clarify the names of his acquaintances, comment on many drawings, relying on a deep knowledge of both the historical context and the circle of acquaintances and friends of the poet. Part of the letters is devoted to reviewing N.V. Kuzmin’s illustrations for the novel “Eugene Onegin” and “Epigrams of A.S. Pushkin,” combined by the artist into one book. The article also deals with preserving the memory of the poet in connection with the opening of a new museum on Prechistenka.

Reclaiming History from the Settler Coloniser: A Meditation on Nur Masalha's Palestine across Millennia: A History of Literacy, Learning and Educational Revolutions

In this wonderful book, Nur Masalha challenges and transforms world history, as did his earlier Palestine: A Four Thousand Year History (2018). In this meditation I recount some of Nur Masalha's argument — not all, given the extraordinary richness of the material he has uncovered, described, and analysed — but also offer my own reflections prompted by his book. As Masalha relates in his introduction, the work is a passionate response to Zionism's historical claim that Palestinians possess no history of literacy, education, and literary culture. He shows the falsity of such a claim through multiple examples. Masalha explores, for example, the multifaceted history of education in Byzantine Palestine (Third to Early Seventh Century), based on a philosophy of ‘civil society’. Palestine as a cosmopolitan and transnational world inhered in what Masalha refers to as Cities of Learning. There were famous intellectuals, such as in antiquity Josephus (AD 37-c.100) and Origen (AD 185–253). In modernity he highlights Khalil Sakakini (1878–1953), whose remarkable educational reforms, emphasizing a ‘philosophy of joy’, emerged at a similar time to A.S. Neill's Summerhill School in the UK. Women's education is featured, from the time of the Palestinian Madrasas under the Ayyubids and Mamluks (1187–1517) onwards, a powerful tradition which continues into the modern era. When press censorship was relaxed following the Ottoman Young Turk Revolution of 1908, there was a huge growth of newspapers, photography, and photojournalism, a remarkable figure here being the Palestinian photographer Karima ‘Abboud (1893–1940). Masalha draws attention to the importance of translation in Palestinian history, especially in the important figure of Khalil Ibrahim Beidas, a relative of Edward Said, who was interested in the works of Pushkin, Gogol, Dostoevsky, Tolstoy and Gorky. There is a fascinating chapter on the interactions of Palestinian scholars and the Crusaders, with free passages of ideas, goods and technologies; arabesque became a mainstream European decorative art. The result of these multiple explorations is a major transformation in how we think about the world.

Тhe cultural concept GOLD/GOLDEN in the poetic works of A.S.Pushkin

The article presents the analysis of the poetic works of A.S. Pushkin in the aspect of using the linguocultural concept GOLD/GOLDEN in them. The relevant theoretical basis for the study of the term concept of this notion in cognitive and cultural terms is considered. The paper uses the methods of continuous sampling of factual material and the method of cognitive analysis. The stages of experimental research of the lingual embodiment of this concept in lexicography and in Pushkin's works are determined. The high frequency of this concept in the poetic texts of Alexander Pushkin determined the relevance of the study. The key word of the concept "gold" has both direct and figurative meaning in the studied texts. The paper analyzes the contexts illustrating both types of values. Analysis of the contextual figurative meanings of the word "golden" made it possible to describe the features of creating positive and negative connotations, to convey the variety of presentation of color lexemes, to characterize their generalized symbolic meaning. Cases of expanding the semantics of color designation, its figurative use, when the color adjective becomes multifaceted and ambiguous, are revealed. Our study allows us to conclude that the concept of GOLD / GOLD, verbalized in the poetic work of A.S. Pushkin, makes a significant contribution to the creation of a generally positive, vibrant atmosphere of his poetry. Key words: Russian poetry, cultural concept, gold, symbol, color image, color semantics.

Как менялся подход к переводу «Путешествия в Арзрум» А.С. Пушкина на английский язык

The author compares five English translations of Alexander Pushkin's A Journey to Arzrum that we know now. These are works made by Birgitta Ingemanson (1974), Ronald Wilks (1998), David and Ludmila Matthews (2003), Nicholas Pasternak Slater (2013), and Richard Pevear and Larissa Volokhonsky (2016). Four of these translations (the latter ones) have not been included into the latest bibliography of English translations and studies of Pushkin's works (1999). The growing number of translations may indicate an increasing interest to A Journey to Arzrum. This study aims to detect the translators' strategies (the level of domestication or foreignization) and their approach to Pushkin's work; to mark the mistakes and inaccuracies, stylistic features, lexical and syntactic peculiarities of translations and differences between them and between them and the original text. The study also shows how the translators' approach to A Journey to Arzrum changed over time. By pointing out all these we can conclude which type of audience suits each translation most and what the general tendency is. In the article the author gives basic information about these translations and their authors and analyze the examples according to the following sections: formal distinctions and main difference in the approaches; toponyms and ethnonyms; exoticisms and direct speech; stylistic peculiarities of the translations (where the author analyzes bigger, complicated, most stylistically expressive fragments of the text and variations in translating names and titles, along with noting syntactic peculiarities). The majority of inaccuracies the author has found come from David and Ludmila Matthews' translation. At the same time this work is the easiest to perceive for broad (especially non-academic) audience or readers that are not well familiar with Russian and Caucasian culture of that period (foreign-language quotes are translated as well as many exoti-cisms etc.). The other translators tend to save accurately the specificities of Pushkin's text and local peculiarities. The author states that, in general, earlier translators chose domestication as a strategy while the later ones preferred foreignization. The highest degree of foreignization in addition to tendency towards maximal figurativeness of the text is observed in Richard Pevear and Larissa Volokhonsky's version. The latter characteristic sometimes does not clearly match the lucidity of Pushkin's style. Birgitta Ingemanson with rare exceptions shows quite a good balance at this point in her translation. It is also interesting to mention that Nicholas Pasternak Slater tries to correct Pushkin's own inaccuracies. The author concludes that all the translations are done properly. Ingemanson's, Wilks', Pasternak Slater's and Pevear and Volokhonsky's versions are distinguished by a very accurate and thorough approach. However, Matthews' translation is good and unique in terms of accomplishing a specific purpose - being understandable by common readers. This way it serves to the popularization of A Journey to Arzrum among the English-speaking audience.

Начальный этап русско-китайских культурных взаимодействий

The article focuses on the role of cultural exchanges between Russia and China in the 19th century and highlights the following aspects of Russian-Chinese cultural interactions at the initial stage: the first trips of Chinese diplomats abroad, the role of the Orthodox mission in spreading knowledge about China in Russia, literature exchange, the contribution of Russian writers to popularizing Chinese culture and of Chinese writers and revolutionaries to popularizing Russian literature. The author came to the following conclusions. The Chinese diplomatic mission in Russia in the 19th century was not numerous (Bin Chun, Li Hongzhan and some others); visits of official delegations were not frequent either, which had some implications for the negligible outcome of long-term interactions and cultural exchanges. Another opportunity to get acquainted with China and Chinese culture was provided by the establishment of the Russian Orthodox Mission, which played an important role in spreading knowledge about China in Russia, as well as in the birth of Russian Chinese studies and the formation of a pleiad of Orientalists (Bichurin, Vasilyev). Chinese literature in Russia was in demand among not only scholars, but also writers, who contributed greatly to the dissemination of Chinese culture. Russian literature developed an interest in Chinese culture and classical literature, which was reflected in the works of Pushkin and Tolstoy. “Chinese motifs” are heard in Ruslan and Lyudmila, Eugene Onegin, and “To a Friend”. Pushkin also researched and edited expedition reports and letters about China. He was a friend of Bichurin and positively evaluated his translation of San Zi Jing (Rus. Troeslovie; En. The Three Character Classic). Tolstoy seriously studied Confucianism and Taoism and was directly involved in the translation of the Tao Te Ching from French and German. China also gradually began to become familiar with Russian literature. Tolstoy's works had the greatest influence - they were very common in China at the beginning of the twentieth century. Many young people of the time - first of all, revolutionaries and writers, the first leaders of the Communist Party of China (Chen Duxiu, Li Dazhao, Lu Xun and Hu Shih, Mao Dun, Ba Jin, etc.) - liked Tolstoy's works. The worldview of Tolstoy the thinker and the humanistic spirit of his works became an important spiritual nourishment for the development of modern Chinese literature; together with translations of his texts, Russian cultural and philosophical views entered the Chinese spiritual space. Further processes of interaction and exchanges between the two countries took place in various directions, became a link for modern international cooperation and the desire for common development at the beginning of the 21st century.

Creative Heritage of A.S. Pushkin in the Literary Courses of Chinese Schools and Universities.

The article is devoted to the creative heritage of A.S. Pushkin in the practice of teaching literature in China. In modern Pushkin studies, the teaching of the poet's works in the literary courses of schools and universities has not been given enough attention, and the study of the practice of teaching his poetic, prosaic and dramatic works in China is being carried out for the first time. Based on the information collected in the article, it was revealed that Pushkin's teaching in Chinese educational institutions took place in several stages. This allows us to trace the evolution of the study of topics, issues, and the ideological content of the poet's works included in the curriculum. At the turn of the 20th-21st centuries. Chinese primary and middle school students are accessible to Pushkin's poetic works, while they are often asked to compare similar images in Chinese poetry and Pushkin, and there covers all genres and all the main topics of the poet's work in teaching practice in Chinese universities. The article also reveals an interesting trend in Pushkin's teaching – the actualization of those facets of his heritage that help to comprehend modern times.

Secret Surveillance of F. M. Dostoevsky in Staraya Russa: in Search of Unknown Sources

The article develops the hypothesis set forth by Boris Egorov, a famous researcher of the work of Dostoevsky and Ap. Grigoriev, which claims that “some of the remarks and character traits of Mitya Karamazov are reminiscent of Grigoriev’s,” and also considers the assumption made by Vladimir Tunimanov about “closeness, partially turning into congeniality” of the “artistic natures of the two principal writers of the soil.” The presence in the work of Dostoevsky of other echoes or “shadows” of Grigoriev’s personality, both serious and caricature, is also discussed. Particular attention is paid to the nature of the problematization and even refutation of “pochvennichestvo” in Dostoevsky’s late works. Thus, in “The Brothers Karamazov,” “pochvennichestvo” is more likely to be refuted, both in the image of Dmitry Karamazov and in the whole structure of the novel. The socio-political illusions regarding if not the Russian people, then at least the Russian peasantry, have already been ultimately exposed, not by Dostoevsky, but by his closest “secret student” and at the same time, as is typical for such cases, by the debunker Chekhov (and subsequently by Bunin). Dostoevsky maintained a closeness to Grigoriev until the end of his life in his commitment to the ideal of “living life,” which resounds both in the fiery declarations of the “ridiculous man,” and in the wise precepts of the elder Zosima, as well as loyalty to the “people’s truth” discovered by Grigoriev in the works of Pushkin.

Some features of the construction of theatrical artistic reality (analysis of the production of "Eugene Onegin" by Rimas Tuminas)

The article presents two plans for the analysis of the famous production of Rimas Tuminas "Eugene Onegin". The first discusses the problems and difficulties of translating Pushkin's poetic work into the language of the theater. At the same time, the author uses the analysis of this production carried out by Alexander Minkin in the book "Mute Onegin". In particular, a number of techniques are considered (splitting the heroes, Onegin and Lensky, into two persons, giving historical events a modern form of existence, which implies rethinking them); they, according to Minkin, were used in his production by Tuminas. The author provides a voice to Alexander Sergeevich, who does not recognize his work in the production of Tuminas, assuming that he solved problems far from those that interested Pushkin. In the second part, a reconstruction of the logic is proposed, in accordance with which Tuminas most likely acted, creating his own statement. The author shows that, firstly, Tuminas is not trying to present Pushkin's brilliant work in a new, modern way, but creates a new work, his own; secondly, the artistic reality of this new work is made up of very different events, including reflexive ones. He raises the question of how these heterogeneous events create a whole. If in the traditional aesthetics the artist depicts the world and life existing outside of a person (or inside him), which are considered as universally significant for everyone, then in the new one the world and events of consciousness of the personality of the artist and the viewer are described and constituted.

Interpretation of the image of Tatiana Larina in Chinese Pushkin studies 1978 - 2010 .

The main attention in the article is paid to the peculiarities of the interpretation of the image of Tatiana Larina in Chinese Pushkin studies from 1978 to 2010. The article discusses various works of Chinese interpreters dedicated to the image of Tatiana. Based on the analysis of extensive material, an attempt is made to summarize the main features of the interpretation of Pushkin's heroine in China. The comparative-historical approach, methods of generalization, interpretation of the results were used in the study. In modern Pushkin studies, a lot of attention has been paid to the perception of A. S. Pushkin's work outside the homeland, especially in China, to a greater extent it concerns translation interpretation. And the analysis of Chinese literary works about a particular character — in this work about Tatiana Larina — is carried out for the first time. The scientific novelty of the study lies in the small knowledge of the problem of interpreting the image of Tatiana in China. In the course of the work, the peculiarities of the interpretation of the image of Tatiana in China were revealed — the fascination with the assessment of Tatiana's moral qualities, and at the same time — the neglect of the artistic nature of the Pushkin heroine. The results of the study contribute to the study of the image of Tatiana in Chinese Pushkin studies, and also contribute to a deep understanding of the image of the Russian woman in China. In addition, its results and conclusions can also be used in the study of intercultural relations between China and Russia, the study of the reception of Russian literature in China.

The Gloomy twentieth anniversary of Chinese Pushkin Studies (1957 – 1976)

Russian Russian literature began to be studied in China in the late XIX and early XX centuries, and the work of A.S. Pushkin was the first to be translated from Russian literature in China. From that moment, Chinese Pushkin studies gradually developed. But since 1957, the process of popularization and study of Pushkin has stalled. Special attention is paid to Chinese Pushkin studies in 1957-1976 . The article examines the causes of the decline of Chinese Pushkin studies in 1957-1976. Special attention is paid to the tragic fates of outstanding Chinese Pushkin artists (Ge Baoquan, Lu Ying, Zha Liangzheng, and Wang Zhilyan) during the gloomy twentieth anniversary in China. The scientific novelty of this work is that it introduces Russian readers to the history of Chinese Pushkin studies and the tragic fates of Chinese Pushkin writers, fitting them into a broad cultural and political context and showing how political processes and ideological attitudes affect the development of humanities. The main conclusions of the study are that Pushkin's work supported and inspired the best representatives of the Chinese intelligentsia, despite the cruel censorship oppression and repression, who introduced their compatriots to the highest achievements of world culture and defended their right to free creativity.

Ruslan and Lolita : Nabokov's Pursuit of Pushkin's Monsters, Maidens, and Morals

Abstract: The previously unexplored Russian precursor to Humbert's "kingdom by the sea"—Pushkin's mock-epic Ruslan and Liudmila ( RL )—permeates different layers of meaning in Lolita . An amalgam of Slavic and Western folklore that scandalized the reading public in its day, Pushkin's work underpins Nabokov's own transnational position as a writer, whose splash onto the Anglophone scene was accompanied by similar outcries of smut and pornography. In addition to a multitude of fairy-tale sources already documented in the scholarship, Lolita 's cluster of mermaids, sleeping beauties, dark magic, invisibility, pursuit and captivity, physical topography, and "brother"-rivals finds in Pushkin's RL a synthesizing intertext. Moreover, Pushkin's play with genre in RL guides Nabokov's in Lolita , oscillating between the frozen fairy-tale moment and the passage of time in a novel. Finally, RL provides a model for simultaneously subverting expectations of moral lessons from "fairy tales" while engaging ethics in the artistic process more fully than any didactic literature can. It is here where we can begin to address the care with which the author keeps Pushkin away from Humbert's world of references; the intricate ethics-aesthetics fusion that the author soaks up through his greatest Russian mentor cannot be available to an impostor-artist such as Humbert.

РОМАН В СТИХАХ «ЕВГЕНИЙ ОНЕГИН» А. С. ПУШКИНА: ПУТЬ НА ОПЕРНУЮ СЦЕНУ

The article traces the theatrical life of A. S. Pushkin's dramatic and poetic works. It is known that the poet did not prevent theatrical productions of his works, as evidenced by a lifetime staging of the poem "Gypsies", the permission for which he himself gave. It is noted that Pushkin did not want to become an opera librettist, realizing that in this case he would be assigned a secondary role. An exception is his unfinished drama "The Mermaid", the text of which, according to researchers, is nothing more than a full-fledged libretto written for an unknown composer. The work emphasizes that Pushkin's poems and stories attracted special attention of theater directors. Some of the poet's works were staged in the genres of ballet, drama and even melodrama during his lifetime. A novel in verse "Eugene Onegin" was adapted for the stage as a dramatic performance by Prince G. V. Kugushev in 1846. Kugushev's play was written in the Onegin stanza and many verses from Pushkin's novel were preserved. Based on a number of studies, the paper suggests that Kugushev's play could have been the starting point for the libretto of the opera "Eugene Onegin", since the dramatic scheme of the opera by P. I. Tchaikovsky largely coincides with the plan of his play.

ИДЕЈЕ ЕВРОАЗИЈСТВА И „РУСКИ ХРИСТОС“ ДОСТОЈЕВСКОГ IDEAS OF EURASIANISM AND DOSTOEVSKY'S "RUSSIAN CHRIST"

In this paper, through a review of the most important ideas of the philosophy of Eurasianism related to concepts of nationality, personality and Orthodoxy, we point out their connection with the world of ideas of F. M. Dostoevsky. The main part of the paper is dedicated to an analysis and observation of the connections between the idea of national culture, nationality, and the idea of Dostoevsky’s "Russian God", as well as Nikolai Trubetzkoy's key ideas about national culture as the only possible one, based on Orthodoxy as the only form of Christianity that preserves the original teaching and tradition. The notion of the "Russian Christ", recognized by Oscar von Schultz in the works of Pushkin, Lermontov, Turgenev, Chekhov and Dostoevsky, is especially present in the novel “The Possessed” through the character of Shatov. The character’s micro-monologue about the "Russian God" is a special focus of our analysis in the light of the phrase “Russian Christ”. This phrase expresses a specific understanding of Christianity that Russia received from Byzantium. Moreover, this specificity has been characteristically reflected, both in the literature and in the character and features of the Russian people, through the dominant kenotic principle.

«ПУШКИН В ЛИЦЕЙСКИЕ ГОДЫ» В.А. ФАВОРСКОГО КАК ПРОГРАММА МЕТАТЕКСТУАЛЬНОЙ ПУШКИНИСТИКИ

The famous graphic image of Pushkin, made by V.A. Favorsky, is considered as a concept for the development of Pushkin’s talent, and may be considered polemical in relation to the interpretation of the Pushkin lyceum-student by Bryusov. Based on the analysis of Favorsky’s illustrations to the works of Pushkin, offered by E. Babaev and A. Korolev, I argue that Favorsky opposed the sociological and psychological consideration of early Pushkin with the concept of Pushkin as convincingly defending the independence of poetic ideas from the socio-historical context in all periods of his activity. Favorsky was in a dialogue with the Russian avant-garde, joining it in denying theatricalization as a key to Pushkin’s work, and supporting the radical gestures of the avant-garde as fit for a better remodelling of the independence of Pushkin’s early work. Favorsky’s graphics can be viewed as a metatext showing exactly how Pushkin defends the autonomy of poetry as a separate area, which should be thought not as a world of private aesthetic solutions, but as a variant of self-control, as opposed to theatrical provocations from the public.

Muller, V. (2015). Pushkin and Shakespeare; Playwriting and theatre in the age of Shakespeare. Ed. and prefaced by D. Ermolovich. Moscow: AuditoriA. (In Russ.)

The name of Vladimir Muller (1880-1941) was familiar to every student of the English language in Russia as his Anglo-Russian dictionary had been in print since 1947. Muller's book Playwriting and Theatre in the Age of Shakespeare [Drama i teatr epokhiShekspira] (1925) retained its reputation of the best Russian guide to Shakespeare's theatre and dramatic technique for over half a century. But next to nothing was known about its author till information was dug out from the archive by D. Ermolovich together with the manuscript of another book by Muller — Pushkin and Shakespeare [Pushkin i Shekspir]. Prepared for Pushkin's death centenary in 1937, the text was never published. Even now the monograph stands out as the most comprehensive factual collection of evidence on the sources of Pushkin's competence both in the English language and Shakespeare with some penetrating analyses of Shakespeare's presence in Pushkin's work.

ПСИХОЛОГИЧЕСКИЕ МОТИВЫ ТВОРЧЕСТВА А.С. ПУШКИНА И А.П. ЧЕХОВА В ПЕРИОД ЭПИДЕМИЙ

This article traces the mutual penetration of the psychological motives of the epidemic, illness - healing, death - immortality, despondency and selflessness on the example of the works and letters of world-famous writers, representatives of the "golden" age of Russian literature - Pushkin and Chekhov. It is shown how the artistic and psychological assessment of the epidemic and diseases differs in the works of Pushkin and Chekhov. Alexander Sergeevich did not completely abandon the ancient Greek interpretation of the psychological perception of the epidemic as God's punishment, but he already suggested the observance of rational anti-epidemic sanitary measures. In "A Feast in the Time of the Plague" an appeal is analyzed for the mobilization of spiritual forces to fight both cholera and psychological despondency - "dangerous fear". The semantic load of the works, first of all, “Sakhalin Islands”, “Wards N6”, etc., has an underlined pathographic nature of the narration and a pronounced medical documentation of the text, which reflects the professional interests of the author. In Chekhov's letters of the "Sakhalin" time, the psychological motives of awareness of one's own fatal illness and the psychological motive of medical duty during the struggle against the smallpox epidemic in Sakhalin, cholera in Melikhovo are intertwined. The psychological motive of awareness of the danger of infection for one's own life and self-sacrifice in order to save people from the epidemic is touched upon. The theme of the psychology of writing duty is covered with the aim of completing the book "Sakhalin Island" and the work of a "cholera doctor", which takes away all physical and spiritual strength.

«ЛЮЦИФЕР» И ДЕМОНИЧЕСКИЕ ОБРАЗЫ ПУШКИНА И ЛЕРМОНТОВА

The article is devoted to the comparative analysis of demonic images and plots in the works of Pushkin and Lermontov about the Demon and in the series “Lucifer” by Netflix. Perhaps this topic goes beyond the scope of scientific discourse, but now the series enjoys such popularity that it has become perhaps the most binged show. This explains the decision of the author of the article to draw parallels between literary masterpieces and not their film adaptations, but a product of popular culture. Of course, the creators of the series did not read Russian literature, but typological similarities are obvious and can be revealed. As a result of the analysis, the series “Lucifer” can be understood as a completely human story of “the most dysfunctional family in the universe”. Our interpretation throws light on it in the aspects of rethinking biblical motives, the provisions of the Christian faith and literary tradition.

Человек и высшие силы: инвариантные элементы в сценах болдинских произведений

In “The Tales of Belkin”, “Little Tragedies” and some other works of Pushkin (including those of the sculptural myth) there is a common scene associated with direct clash between a character and uncontrollable forces (in particular, of superhuman nature). Such a force impends over a character during a long time and, suddenly, actualizes physically. As a result, a character fights against the fatal forces or loses his/her will - falls without unconscious (the most frequent reaction), begs for mercy or runs away. Insistent repeatability of the situation revels here a structural invariant. It can be combined with the presence of a hidden powerful observer as well as with a plot complex based on a treaty concluded in the past.