Статьи журнала - Новый филологический вестник
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Instances of the recipients and of the reading
Статья научная
The paper clarifies typology of the implicit reader and the imaginary reader at the present stage of the development of narratology. It is proved that the typology can only be built as process typology, in which the reader builds his or her own way of self-imagination, interacts with the author’s imaginative person and creates his or her own models and strategies of comprehensive reading. Therefore, the role of reader couldn’t be reduced to recognition or implementation of the author’s intentions. It is necessary to observe all the stages of building the reader’s own subjectivity and re-reading of this subjectivity in the literary text as novel. This typology allows constructing a typology of narrator as complex user of different imaginary speeches and narratives and of fiction of his or her own image. The author appropriates not only speech, but also the reader’s experience, while the reader appropriates not only the emotional experience, but also a reflective experience, expressed in the novel narrative composition.
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Статья научная
In the cultural space of post-symbolism the Russian avant-garde had a distinctly receptive character. Outwardly, French painting and poetry were, of course, the main source of movement of cultural values to Russia at the beginning of the 20th century. Openly declaring his connection with Western art, for example, “The Jack of Diamonds” attracted to participate in the exhibition of paintings in February 1912 the French artists: Matisse, Picasso, Van Dongen, Le Fauconnier, Léger, Derain, Friesz and Delaunay. But if you rely on the concept of cultural transfer by Michel Espagne, excluding the notions of “center” and “periphery” the process of cultural transfer did not look like a one-way street. The way of development of the Russian avant-garde at the beginning of the 20th century lay in conditions of “war” both between various participants within the avant-garde movement itself (for example, Larionov and Burliuk brothers), and between their own creative societies and groups (for example, “Jack of Diamonds” and “Donkey’s tail”). Russian avant-garde theories were created mainly on the basis of denial of the traditions and canons of the classics, therefore Larionov’s “rayonism”, built on the objectlessness of painting, practically different from the technique of Futurists’ painting, theoretically did not contradict him, and this explains the artist’s participation in the issues of the “budetlyan” program edition “A Trap for Judges”. The “war” between various avant-garde currents can be viewed as events of endless quarrels between “friends-enemies”, for example, futurists and acmeists. The First World War was not widely reflected in the literature of the Russian avant-garde. There was no so-called “trench” poetry, since almost none of the prominent figures of the Russian literary avant-garde directly participated in the war itself. Among writers, of course, one can call the name of Nikolai Gumilev, but he was not such a war legend as, for example, Guillaume Apollinaire or Ernest Hemingway. The traditional reflection of the Russian avant-gardists is pacifism. For example, the poem “Declaration of War” by Mayakovsky, in which the “victory” was declared “murderer”. However, the peacekeeping orientation of the poet’s activities could change as soon as his civic position changed. By equating the “feather to the bayonet,” Mayakovsky in the poem “The Last Page of the Civil War” glorifies the “red star heroes” walking through the trenches filled with the corpses of dead people. Universal humanism is instantly transformed into a monstrous and ruthless anti-humanism, demonstrating eccentricity and radicalism of the creative subject as a futuristic character of a historical event.
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M*ost: объединяя языки и культуры
Рецензия
Рецензия на сборник статей, вышедший по итогам первой конференции молодых славистов m*OST 2009 (Австрия). В сборнике представлены статьи по лингвистике, литературоведению, истории и культуре России, Польши, Чехии, Украины. Языки статей - русский, немецкий, чешский, польский.
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Статья научная
In the history of culture, translation can not only adapt the values of a foreign culture or develop the potential of its own culture, but also substantiate a new cultural program, carrying out reassembly of culture on new grounds. Contrasting the foreignisation and domestication is not enough if the translation aims to change the very mode of cultural production and the very justification of culture, declaring the metaphysical motive as the main thing for the existence of a local culture. I prove that the shift cannot occur declaratively, but requires a hidden change in the functions of translation as a form of cultural consciousness, which acts outward in the form of slips, misunderstandings or misspeaks. At the same time, the cultural enthusiasm behind this translation does not make it possible to understand these reservations as simple inaccuracies or flaws, but only as necessary for self-justifying culture as a closed system, as nodes for building such closure. Such translations cannot be reduced to expressing the intellectual content of an epoch, but they represent the only way to translate those intellectual tasks that determine further discussions of the epoch. The example of one of the lines in the development of Russian philosophical idealism, associated with enhanced translation and interpretation of the summits of ancient philosophy, and the long-term consequences of its cultural program, proves the validity of the proposed translation research. It is proposed to conditionally call such a translation “metaphysical”, taking in mind its programmatic role for the formulation of a new philosophical perspective, not confined to the arguments in the original and translation.
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Mise en abyme as a representation of trauma (“The white hotel” by D. M. Thomas)
Статья научная
The article refers to the problem of representing traumatic experience by means of mise en abyme narrative figure. A methodology for this study was formed at the intersection of rhetorical narratology, cognitive narratology, trauma studies and literary theory. Mise en abyme, specially known as a device creating the self-reflexivity in text, gets new functional impulse in the postmodernist fiction. In particularly, authors resort to the mise en abyme in order to represent individual and collective trauma in narrative. For what purposes this figure is used in the postmodern literary discourse? In which way postmodern narrative practices involve and interpret the historical context of the 20th century? In this article, we develop the assumption that there exist several special models of mise en abyme, one of which aims to reflect the trauma in narrative. Some relevant characteristics of this model are described and illustrated on the example of “The White Hotel” by D.M. Thomas (1981), they are compositional structure; semantic relations; intermedial and modal realization of the mise en abyme.
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Neo-возвышенное: современные толкования классической эстетики
Статья научная
В статье говорится о возможности применения категории возвышенного в гуманитарных исследованиях. Сначала представлены наиболее важные особенности классических теорий возвышенного: античной (Псевдо-Лонгина) и предромантических (Э. Берка и И. Канта). Основная часть статьи содержит характеристику новейших концепций: technical sublime, Urban sublime, theological sublime, postmodern sublime. Выбор и обсуждение этих концепций были направлены на то, чтобы показать их генетическую связь с актуальными темами мировых гуманитарных наук: проблемой опыта, историческим повествованием и постсекулярной мыслью. Эта информация позволила объяснить феномен возрождения интереса к эстетической категории, сформировавшей европейскую эстетику и культуру XVIII столетия. Однако основная цель статьи - представить, каким образом происходила модификация традиционных теорий возвышенного, каким образом были вписаны в них элементы внеэстетического содержания, как можно их использовать для изучения связи культуры и искусства с общественной и идеологической сферой. Поэтому из technical sublime, которое, согласно Д.Э. Наю, характеризует американскую культуру, были извлечены только универсальные качества, связанные с Urban sublime, чтобы показать, что с помощью этого инструмента можно описывать, например, московское метро. В свою очередь, концепция theological sublime, в соответствии с ее генезисом, представлена как часть декларативно-идеологических действий консервативного think tank, именуемого Radical Orthodoxy, противопоставляется ее свободной спекуляции, предлагаемой Жаном Франсуа Лиотаром в рамках postmodern sublime.
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Nostalgia as a source of myth-making in Ayn Rand's novel “Atlas shrugged”
Статья научная
The recent social and political situation in the USA has caused a noticeable rise in interest in Ayn Rand, the Russian-born American writer. She has become especially popular among neoconservatives of president Trump’s time due to the problems she raises, like market economy and government controls. But such popularity results also from the techniques Rand uses to render her vision and assessment of these problems, i.e. her ideology. The most evident among them is her masterful, literarily expressive, myth-making. Rand’s kind of myth-making is a manifestation of popular literature; therefore, the current article regards Rand’s major novel Atlas Shrugged as its sample, which due to its nature lets Rand realize her purpose - to bring her ideology home to a considerable number of readers. Atlas Shrugged reflects Rand’s assessment of the state of things in the US on her arrival after being driven out of Soviet Russia by a hatred of communism. Finding the reality different from the cherished vision of the USA from Soviet Russia, she sets out on creating two diametrically opposite myths - a critical one about the current reality under President Roosevelt and a nostalgic-idyllic one about the “Golden Age” of American history, thus constructing a major popular mythologeme of the struggle of good against evil. As methodology for the analysis Retrotopia by Z. Bauman and Mythologies by R. Barthes have been taken. In his work, Z. Bauman presents a new vision of nostalgia - as utopia directed backwards to the past, which turns it into “retrotopia”. R. Barthes discloses the techniques of creating popular myths resulting in “the ideological abuse”. So, the works help to show how Rand creates her myths about the present and the past of the USA by removing certain historical facts from their real-life contexts, and how these deformed images meet the nation’s longing for an idyllic life. It is remarkable that a certain similarity that can be traced between Rand’s nostalgia for an idyllic free-market America and the historical narrative underlying President Trump’s slogan “Make America Great Again” allows regarding the Rand phenomenon in the context of the present-day political situation in the USA.
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Origins and development of a “Pygmalion and Galatea” motif in writings of Tanizaki Jun’ichiro
Статья научная
The main goal of the article is to define the genesis of the motif constantly appearing in the writings of Tanizaki Jun’ichirō and referred to as “Pygmalion and Galatea” motif. Using the comparative and historical-biographical methods of literature studies it is possible to detect whether this motif has actual connection to “Pygmalion” myth and the works of O. Wilde and B. Shaw influenced by that myth. An influence of the classic Japanese literature’s motif reminiscent of “Pygmalion and Galatea” one was also observed in the writings of Tanizaki. The modification of the motif is attributed to the “Return to Japan” - period in life of the writer, when he was disenchanted by the results of westernization and modernization of Japan. The images of “rebellious Galatea” (“The Tattooer”, “Naomi”) was created when Tanizaki was deeply interested in Western literature. The archetype of “obedient Galatea” (“Some Prefer Nettles”) appeared when the writer turned his attention to Japanese tradition. The motif of “Pygmalion and Galatea” is used in Tanizaki’s writings continuously, transforms along with the writer’s cultural and literary preferences of the moment and helps to intensify the main conflicts in his works such as West and Japan, tradition and modernity, art and artist.
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Poetics of chaos overcoming (Eluard's experience)
Статья научная
The poetic practices of avant-garde are considered in the article for the first time as a crisis of discursiveness. During the analysis of this process, the author comes to the some general conclusions. Avant-garde art was a historical consequence of a deep mental crisis of culture. As it took place in the 18th century, the radical crisis of normative-rhetorical consciousness was marked not only by the dying of classicism, but also by the Great French Revolution, the Napoleonic Wars and the rise of romanticism in art. This “avant-garde” of the epoch of that time laid the foundations of the egocentric mentality as a culture of I-consciousness. The turn of the 19th - 20th centuries was marked by the same radical crisis of this individualistic mentality. Of all the kinds of human activity, art reacts most sensitively and sharply to mental crises. The avant-garde “explosion” of the 19th century traditions in painting leads to the rejection of figurativeness. However, as the creative experience of abstract expressionism and, in particular, Guy de Montlaur shows, this opens up other, non-classical ways and possibilities of visual aesthetic activity. In literature, the declaration of war against the aesthetic traditions of the word art leads to the destruction of discoursivity. Many futuristic opuses, texts of “Dada”, “automatic writing” by the surrealists lose the properties of discourse. Surrealism is one of the most significant phenomena of the catastrophic self-consciousness crisis and the personal identity based on it. The article shows one of the ways to overcome this crisis by the example of Paul Eluard's poetry.
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Possible impact of the labor theory of Karl B"ucher on Russian formalism
Статья научная
Intellectual History of Russian formalism bypasses party provocative forhis time theory of Karl Wilhelm Bücher. Justifying work as the artistic form of torture,Bücher unwittingly paved the way for formalists to talk about automation and de-au-tomatization. But in Bücher’s system labor was not an enterprise, but only a prerequisitefor the enterprise, while the Russian translation of the bookWork and Rhythm(1899)turned the labor to initiative to enterprise. The border between symbolism and formal-ism is not in relation to the transcendental, but in how art belongs to the enterprise:the formalist aesthetics afraid of automatization, which occurred in Symbolists work.Therefore, “device” (rus: priem) as pathetic gesture necessarily required to combatthis false pragmatism, as tool of struggle served an anesthetization of Bücher’s theses.Rhythmic work became a model for aesthetic perception.
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Pro et contra: "Пушкинская речь" И. Шмелева и "Стихи к Пушкину" М. Цветаевой
Статья научная
Статья посвящена сравнительному анализу «Пушкинской речи» Ивана Шмелева и цикла «Стихи к Пушкину» Марины Цветаевой. В дискуссионном разрезе эти тексты сопоставляются впервые, чем и определяется актуальность и новизна исследовательского подхода. Цель исследования - проследить смысловые и образные переклички указанных текстов в дискуссионном ракурсе, не упуская из виду идеологический контекст эмигрантской культурной диаспоры. Обращение к компаративистскому методу позволило рассмотреть тексты Цветаевой и Шмелева как бы в «двойной оптике». Выдвигается мысль о том, что смысловая энергия этих текстов направлена как на личность и творчество Пушкина, так и на самих авторов как на архетипических реципиентов, моделирующих образ Пушкина не только как данность, но и как некий паттерн восприятия современников и потомков. Обосновывается гипотеза о внутренней связи цветаевского цикла с «Пушкинской речью» Шмелева, явившегося своего рода потаенным спором со Шмелевым и его духовными соратниками. Выявление ряда адресных подтекстов позволяет утверждать, что цветаевские стихи о Пушкине, интегрируя в себе ключевые поэтологические идеи и коммуникативно-полемические тактики поэтессы, стали косвенным, имплицитным (и, возможно, подсознательным) ответом на речь Ивана Шмелева и подобные ему выступления в честь пушкинского юбилея (И. Ильина, П. Струве, Г. Федотова, С. Франка, о. С. Булгакова и др.). Показывается, что «Стихи к Пушкину» Цветаевой и «Пушкинская речь» Шмелева концентрируют в себе диаметрально противоположные концепции Пушкина как национального поэта. Оба текста формируют модель посмертного, юбилейного образа Пушкина, задают координаты его восприятия. В цветаевском цикле культивируются образ Пушкина как абсолютно свободной личности; в то же время для поэтессы принципиально важна «мускулатура» пушкинского письма, ибо стихотворство для нее - результат тяжелейшего труда, а не вдохновения. У Шмелева же ни о какой беспредельной свободе речи не идет, напротив, пушкинская Муза «послушна» «велению Божию». Отсюда проистекает идея о боговдохновенной природе стихов Пушкина, его мистическом взаимодействии с высшими силами. В итоге доказывается, что каждый из анализируемых авторов обратился к разработке русского национального типа поэта, конституируемого на основе своих собственных поэтологических представлений. В то же время в статье показано, что эти авторские концепции Пушкина включены в неотрадиционалистскую (религиозно-мистическую) и модернистско-авангардистскую культурные парадигмы. Перспективы исследования связаны с дальнейшим изучением восприятия творчества Пушкина потомками - собратьями по перу, исследованием закономерностей формирования его посмертной репутации и мифологизации в зависимости от социокультурных установок и философских запросов времени.
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Статья научная
Written in 1968, the sci-fi novel by the American author Philip K. Dick “Do Androids Dream of Electric Sheep?” still retains the interest of the wide reading audience. The paper aims at elaborating upon the reasons for this lasting public enthusiasm which is claimed to relate not only to extremely successful film-versions of the book, but, even more so, to the highly topical message of the novel. In his antiutopian text, Philip K. Dick manages to put into focus the whole range of issues curraently associated with posthumanism. These are environmental problems caused by human activities, interplanet colonization escalating the conflicts of inclusion / exclusion, human / animal relations overlapping with the hybridization of natural and artificial, critical problems of future technological posthumanism manifesting themselves in highly problematic distinction between the humans and androids and in questioning the ontoethical status of the humans. Philip K. Dick explores philosophical and social underpinnings of the catastrophic future which lies in wait for humanity and seems to strongly adhere to such humanistic values as empathy (the main touchstone to differentiate between humans and androids), self-reflection (the predominant feature of the protagonist Rick Deckard), search for identity and for meaning as the principal vectors of the human life, mercy for the mentally handicapped. Philip K. Dick’s book can be viewed as one of the earliest caveats of the emerging trend to reconsider humanness in the sociocultural context of rapidly developing technology, various environmental threats, all kinds of hybridization and their ethical repercussions - and as such can be seen as truly prognostic, the most valuable part of it to be found in its ethical and social awareness and highly conscious refusal to suggest any final answer: essentially, the titled question seems eristically unanswerable
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Sermones utriusque linguae: отзвуки англо-латинской диглоссии в древнеанглийской поэзии
Статья научная
В статье рассматривается влияние латинской книжности на по-этическое искусство англосаксов на фоне языковых контактов в Англии конца VI - начала XI вв. Делается попытка показать, что позднеантичная христианская литература не только обогатила древнеанглийскую поэзию новыми темами, но могла затронуть саму словесную ткань рассказа. В отрывке из поэмы «Елена», из-вестном как Молитва Иуды, почти дословно воспроизводится Серафимская песнь, входящая в состав восточного и западного богослужения, хотя роли серафимов и херувимов распределены иначе, чем в Библии, а в описании серафима обнаруживаются следы германо-скандинавской мифологии. Расширение латинского текста парафразах церковных молитв (Gloria I и Gloria II) за счет объяснения христиан-ских терминов посредством германской героико-эпической фразеологии ведет к обогащению поэтической фразеологии и расцвету религиозно-поэтического твор-чества. Вместе с тем, смешение языков концовке поэмы «Феникс» трактуется как признак перехода от англо-латинской диглоссии к англо-латинскому билингвизму церковной среде, и вместе с тем как признак упадка исконной поэтической тра-диции, его превращение в игру и предмет для учебных упражнений. Тем не ме-нее, автор приходит к выводу, что рано сложившийся обычай усвоения sermones utriusque linguae содействовал дальнейшему плодотворному взаимодействию ис-конной поэтической традиции с романскими литературами в эпоху «аллитерационного возрождения» английской поэзии XIV в.
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Shadow rhyming: Andrey Bely's method in O. Sedakova's stanzas In memory of Nabokov
Статья научная
The paper exposes the inner plot of O. Sedakova’s stanzas In Memory of Nabokov, based on Nabokov’s reception of Andrey Bely’s doctrine of verse. Andrey Bely understood rhythm as a way to achieve the autonomy of individual themes within a large work, while referring to the digressions of rhythm from meter as “shadows”. Nabokov embraced Andrey Bely’s scholarship not only in his practice as a poet, but also in his natural science, describing the reproduction of butterfly patterns while isolating their habitats according to the same principles by which Andrey Bely had described the isolation of themes in a poem. Sedakova’s stanzas reproduce plots and images from the poems of Nabokov’s novel The Gift, while showing many parallels with the interpretation of this novel in Soviet structuralism (Yuri Levin, Mikhail Lotman), where the confusion of points of view, the unusual relationship of narrative persons and temporal plans were interpreted partly with the help of Andrey Bely’s terms and categories. I explain the general subject of Sedakova’s poem in these terms, understanding rhythm as an optical effect of light and darkness, knowledge and ignorance about the future: game as the only way to tell a poetic giftedness, so that these stanzas appear to be transitional to the Sedakova’s De arte poetica. The image of billiards, the rolling ball from Nabokov’s novel, the consideration of the universe from outside as part of the big game, does not simply combine Nabokov’s figurative speech with a metaphysical consideration of time and the universe catastrophes, but introduces a particular rhythmic pattern. The lines in which the meter coincides with the rhythm turn out to be gnomic, containing a memorable aphorism, and Sedakova’s technique continues the one used by Vyacheslav Ivanov. Other lines iconically depict this random movement of balls, which Nabokov tried to put into the basis of poetry. The theme of forms as shadows usually requires one missed accent, forming a rhythmic shadow in the original rhythmic form. And the theme of the changing conditions of vision usually requires two misses, which gives rise to a representation of unusual catastrophic vision. The overall plot of these stanzas is therefore reconstructed as a transformation of the habits of sight on the way to the mastery of verse.
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Shpet's pun amending Freud's wit: uncanonical conciliarity
Статья научная
While Freud claims “wit” as a necessary part of individual psychology, Shpet answers him covertly, believing that “pun”, despite its capriciousness, is a fact of collective psychology. Shpet deduces from the “pun”, the initial mixture of sacred and profane meaning, especially Russian culture. Moreover, Shpet visualizes a pun, understanding it not as a collective mistake, but as a stage theatrical collective experience. This allows him to contrast to the doctrine of reception and device, which the formalists developed, the new doctrine of theatre-like directing, which distinguishes between the preparatory stage and the performing stage. Such doctrine of directing was not developed specially, limited to adaptation of the scholastic distinction of primary and secondary intentions to modern aesthetics. At the same time, Shpet combines old philosophical doctrine of intentions with a peculiar philosophy of speech: he distinguish in speech not only concept and implementation, but also semantic core and its playing out. In this case, the dialectical principle can be attributed not only to the level of content, but also to the level of expression, explaining the aesthetic effects of modernist art as a result of accepting expression as a new content. For Shpet, life-buildung or para-religious projects of modernism are only part of such a substitution, and the study of puns thus shows not only what shifts can be in the functioning of modernist art, but how modernist art is possible in general. Shpet acts as a critic and at the same time as apologist for modernism, and such complexity of position without resorting to his philosophy of puns blocked correct understanding of his aesthetic and theoretical-literary program. The radical polemical position of Shpet does not explain immediately his persuasive theatricalization of puns as creation of new non-individualistic aesthetics. But Shpet’s position could be clarified now by turning to the aesthetic disputes of Russian symbolism, in particular, on the level of obscene pun. It turns out that the thinkers from Solovyov to Shpet differed profanation in an individualistic pun, and the theatricalization of collective experience in a collectively perceived pun. A specific version of “conciliarity” now is to be reconstruct, productively supplementing the proposals of the Slavophiles and Bakhtin.
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Space and affect: (re)reading “Fingersmith” by Sarah Waters
Статья научная
The paper explores non-representation strategies in Sarah Waters’ novel “Fingersmith” (2002), which are specified through the introduction of ‘estrangement’, ‘embodied readings’, and of urban-specific mentality as an ‘embodied practice’ (Thrift, Auge). A strong connection between space and affect enables the idea of belonging as a key to characters’ identities. Waters’ use of “The Death of Nancy Sikes” theatrical episode as an opening to her story might be a self-conscious attempt to create the sensation of ‘seeing’ Victorian present through ‘estrangement’ (similar to Natasha Rostova’s), and not merely pushing the reader to ‘recognizing’ Dickens’s pastiche as part of postmodernist Neo-Victorian stylization. Special attention is given to Lant Street, historically known as the ‘Mint’, and infamous for its slums, crimes, and disorders, but perceived as familiar, organic, and homey by the character, who significantly differentiates it from the neighboring Clerkenwell. Apart from that, Waters does not only recreate Neo-Victorian past by staging it as a spectacle for the reader, but also makes them immerse into multiple nuances of body affects. Away from the exotic, yet happy, home locations (‘anthropological places’ of slums and a madhouse), the characters find themselves in ‘non-places’, given in a modernist manner (a perception of moving with a speed, a loss of ability to grasp the fragmented snapshots of modern urban life, and a crisis of reading and interpretation). All in all, it reinforces the reader’s questioning their own self-identity set against a radical and exoticized alterity of neo-Victorian sensibilities.
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Статья научная
Heinrich von Huyssen’s cultural and political work was certainly not limited to promoting Russia’s image and the tsar’s governmental policy through his own writings. He furthermore developed a differentiated and intricate system with the intention of exercising influence over the public opinion of Russia in Western Europe. Heinrich von Huyssen made systematic use of networks of European scholars and provided them not only with finished texts but also detailed information from other authors. It seems likely that his experiences with Neugebauer led to the decision not to identify himself as the author of his works and rather to deliver information and materials to others in such a way that they were then in the position to transmit a convincing and positive image of Russia using authentic documents from the Moscow (and then later Saint Petersburg) chancellery. Thus, he influenced the way in which the reports on Russia were presented in European newspapers and journals, lexica, travel writing, historical works and biographical and autobiographical writing. Particular attention is paid in the paper to the first German-language biography of Peter the Great, which came out in 1710. The tone of the writing evokes justified doubts about the claim that the text might have been written by a German-speaking author. Furthermore, the analysis of the biography demonstrates that the writer has an immense quantity of documents at his disposal which can obviously only come directly from the chancellery of the Russian court.
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The desire for meaning, or the hermeneutics of equivalence
Статья научная
The most powerful instrument for the analysis of lyrical poetry is the device that R. O. Jakobson in his seminal “closing statement” Linguistics and Poetics from 1960 called equivalence. Equivalence comprises two different relations at the same time: similarity and dissimilarity. Yu. M. Lotman takes this dialectical structure into account when he names the equivalence with the term co-opposition (in Russian: so-protivopostavlenie). There are at least three things to criticize about the use of coopposition as an instrument in analysis of lyric poetry: 1) the predominance of the cognitive and the neglect of gestalt formation; 2) the description of text structures without regard to their perceptibility; 3) he denial of the role that the desire for meaning plays in finding the equivalences to be evaluated. The structuralist belief in the objectivity of his method is questioned by hermeneutics. The hermeneuticist points out to the structuralist that he cannot methodically secure the leap from analysis to interpretation, but that each of his partial findings, which he objectively believes to be founded in the text, is based on unacknowledged anticipations of an intuitively grasped overall sense. A reconciliation between intuition and method seems possible in recourse to the father of hermeneutics, Friedrich Schleiermacher, who introduced the dichotomy of divination and construction for the problem of text comprehension. Transferred from the sacred texts that Schleiermacher had before him to lyrical poems, the combination of divination and construction seems to prevent the mere fulfillment of desires for meaning and to overcome the vicious circle of interpretation.
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The initial text of the Russian classical prose
Статья научная
Over almost 200 years researchers of Pushkin have never questioned the fictitious origin of Ivan Petrovich Belkin, “the author” of “Tales of Belkin”. However, the previously unknown archive materials provide the evidence that Ivan Belkin, the “author of the tales”, had a real prototype, i.e. Major Fyodor Stepanovoch Belkin, a landlord from the Kaluga province. The Belkins lived in their estate in the Maloyaroslavets uyezd. Being a close neighbour of the Goncharovs, Belkin would meet the Goncharovs family and visit their estate in Polotnyaniy Zavod. In May 1830 Pushkin came to this estate to introduce himself to A.N. Goncharov, the head of the family and grandfather of his fiancée Natalya Goncharova. It was then and there, the authors argue, that Pushkin was likely and even certain to have made the acquaintance of Fyodor Stepanovoch Belkin. The Russian genius presented his bride with a “wedding bouquet” of his literary heroes and their marital unions. What made this “bouquet” look original was that “Tales of Belkin” appeared to be “authored” by her real well-known neighbor.
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