This article investigates the sources of the Terrible and Memorable Narrative, and about the Perfect Monastic Lifestyle (Повѣсть страшна и достопамятна, и о съвръшеном иночьскомъ жительствѣ) by ...Maximus the Greek. To the Muscovite reader, the narrative represents the first account of the University of Paris, the Grande Chartreuse, the Carthusian monastic order, Girolamo Savonarola’s Florentine preaching and the Dominican monastic order. In the form we have it, the narrative results from the union of two different parts, the first being about the Kingdom of France and the second about Florence. The title refers to the first part, where the ‘terrible and memorable narrative’ concerns the story of the particular judgment of a doctor of the University of Paris, while ‘the perfect monastic lifestyle’ refers to the foundation of the first Carthusian monastery and the Carthusian order. In order to reassure his readers that he intends to tell the truth, Maximus states that the first part of his narrative is based on indirect sources and the second part on direct ones. The statement about the sources of the first part – истину пишу, юже самъ не точию писану видѣх и прочтохъ, но и слухом прияхъ от мужеи достовѣрных, сирѣчь добродѣтелию жития и премудростию многою украшеных, у них же азъ, зѣло юнъ сыи, пожих лѣта доволна – is unusual and seemingly misleading. In this paper the author seeks to recover the sense of the sentence, advancing two different hypotheses and testing them.
Girolamo Savonarola in the eyes of Maximus the GreekThe article concerns the first Slavonic document composed in the Muscovite State about the life of Girolamo Savonarola (1452-1498). The document, a ...literary account belonging to the first half of the
sixteenth century, was written by Maximus the Greek, a Byzantine émigré who spent his youth in Italy. It is included in the Povest' strašna i dostopamjatna i o soveršennom inočeskom žitel'stve (Terrible and Memorable Story and
about the Perfect Monastic Lifestyle), where it represents the second narrative, which concerns Florence (the first narrative being about the Kingdom of France). The present article describes the content of the document and compares it with Italian (Latin and vernacular) sources. In doing
so, the author's aim is to verify its reliability - trying to establish which contents are due to the direct memory of the author and which to indirect sources - so as to define better the period of Maximus the Greek's stay in Florence.
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This article investigates the sources of the Terrible and Memorable Narrative, and about the Perfect Monastic Lifestyle (Повесть страшна и достопамятна, и о съвръшеном иночьсκомъ жительства) by ...Maximus the Greek. To the Muscovite reader, the narrative represents the first account of the University of Paris, the Grande Chartreuse, the Carthusian monastic order, Girolamo Savonarola's Florentine preaching and the Dominican monastic order. In the form we have it, the narrative results from the union of two different parts, the first being about the Kingdom of France and the second about Florence. The title refers to the first part, where the 'terrible and memorable narrative' concerns the story of the particular judgment of a doctor of the University of Paris, while 'the perfect monastic lifestyle' refers to the foundation of the first Carthusian monastery and the Carthusian order. In order to reassure his readers that he intends to tell the truth, Maximus states that the first part of his narrative is based on indirect sources and the second part on direct ones. The statement about the sources of the first part - истину пишу, юже самъ не точию писану видЬх и прочтохъ, но и слухом прияхъ от мужеи достовЬрных, сирЬчь добродЬтелию жития и премудростию многою уκрашеных, у них же азъ, зЬло юнъ сыи, пожих лЬта доволна - is unusual and seemingly misleading. In this paper the author seeks to recover the sense of the sentence, advancing two different hypotheses and testing them.
Статья продолжает серию исследований по вопросам репрезентациигородских пространств античности в литературной традиции Средневековья и посвященаанализу фрагментов «Лицевого летописного свода» (ЛЛС), ...в которых описываетсястроительство легендарной Трои по приказу царя Приама. Первое из этих описаний приведенов составе древнерусского перевода «Троянской истории» Гвидо делле Колонне (Гвидо деКолумна) и подробно освещает внешний и внутренний облик древнего города, особенности егозаселения и занятия горожан. Такой «рациональный» подход, связанный с дидактическимикомпонентами латинской «Истории» Гвидо и отчасти сохраненный в древнерусской традиции,вступает в противоречие с картиной строительства Трои, которая содержится во второмпроизведении на троянскую тему в составе ЛЛС — «Повести о создании и поплененииТройском». Последняя является переработкой южнославянской «Притчи о кралех» и, в отличиеот «Троянской истории», характеризуется акцентом на мифологических (или дажедемонических, согласно христианской трактовке этого эпизода) истоках Приамовой Трои.Нестандартным — в свете бытования латинского текста «Истории» на Западе —представляется ее фактическое объединение с текстом «Повести» на страницах ЛЛС.Определенная этим обстоятельством двойственность репрезентации величайшего городадревности рассматривается автором в связи с общей проблематикой средневековой рецепциитроянских легенд на Западе и Востоке Европы. Особое внимание уделено миниатюрам,которые иллюстрируют в ЛЛС соответствующие эпизоды повествований и могут включать всебя ряд визуальных кодов, моделирующих восприятие изображений читателем.
The issue of differentiation between the povest’ and the novel is one of the most difficult problems in Russian criticism. To this day, critics and readers confuse these genres designating the same ...literary works both as novels and povest’. The discussions are becoming complicated by non-genre meanings of genre definitions. One of the few creators of the theory of the povest’ and the novel was Vissarion Belinsky. In his view, the povest’ is a middle genre: shorter than the novel, but longer than the short story, a kind of the novel (its episode). In his late criticism, he considered the novel and the povest’ a “sort of poetry”. This situation was reflected in the discussions of Dostoevsky’s novels and povest’ written in the 1840s. The majority of critics identified Poor Folk as a novel, few considered it a povest’, some of them wrote about the povest’ The Double as a novel. Dostoevsky himself occasionally used to label non-genre categories for his own literary pieces and works by other writers. In his opinion, the povest’ is not only a genre, but a type of narration, the content of a writing, a message, “a tale about the past” (Vladimir Dahl). Any epic work could be called a povest’.
In the 18th–19th centuries, attempts to appropriate folklore heroes and genres in literature were made. One of such literary works was N. A. Radishchev’s poem (1801) where the epic hero Churila ...Plenkovich became a character. Imitating the folkloric and literary tradition (Homer, Virgil, Ariosto, Voltaire, Wieland, V. A. Levshin, I. P. Bogdanovich), the author combined the images and motives of such genres as bylina (Russian epic song), fairy and literary tale, heroic and comic poem in his work. Using the storyline and retaining the main motives of Levshin’s tale, the poet added mythological and fairy images (Zmey Gorynych (dragon), Yaga, Lel’ (Lel’o), Lada) to his writing, supplemented the narrative with new motives, and gave justifications for the heroes’ actions. Radishchev created literary heroes using fairytale types; he showed their sufferings, emotions and feelings. Radishchev’s Churila lost all features of the bogatyr. He is a literary hero — a handsome, good-looking, ardent and sensitive young man. Prelepa and Yaga have fallen in love with him. His feats represent a plot of romance and adventure novel; his heroic deeds are inspired by Lel’o, a god of love who gives the bogatyr strength. As a result of these transformations, an original fabulous plot and genre of the literary work appeared. The writer is precise in his defining: his Churila is a character of the epic story in verse based on folkloric and literary tale.
Folkloric heroes were turned into characters of literary works of diff erent genres in 18th-century Russian literature. One of them is bogatyr Alyosha Popovich. Th e distinctive features of the epic ...hero are such personal traits as astuteness, dexterity, boldness. Vasily A. Levshin perfectly turned to them to pen “Povest’ o Aleshe Popoviche bogatyre, sluzhivshem knyazyu Vladimiru” (A Tale of Bogatyr Alyosha Popovich Serving Prince Vladimir) in his “Russkie skazki” (Russian Tales; 1780—1783). Due to his prankish nature the protagonist performs deeds of valour. He shields the Alanian Kingdom from calamity and makes it a part of the dominion of the Prince Vladimir of Kiev; he defeats the demon Beelzebub acquitting the Polish wizard Tverdovsky of his oaths taken to one of the princes of Hell; he conquers the Tsar-Maiden and takes her to wife. Th e epic hero becomes a literary character in Levshin’s story. Under going genre transformations he acquires personal traits and appears
The main goal of this paper is problematization of idea of historism through the ideas of Karl Mannheim (especially on the ideology and vision of the world). The paper raises the question of how ...Mannheim view conditions and opportunities of historical knowledge and how the ideas of the historicism affect his philosophical and sociological concepts. Mannheim was trying to "sociologizing" philosophy of history offering a single, yet unfinished sketch of dynamic sociology of knowledge. His vision of the history of philosophy as "a dynamic metaphysics" indicates the division of his sociology of knowledge – the philosophical reflections of reality and sociological understanding of the socio-historical events.
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Članek obravnava vojno in mir kot dve temeljni podobi Tolstojeve povesti Hadži - Murat. Analizira ju skozi prizmo grškega pojma polemos (vojna ), ki obe ti nasprotji obravnava dialoško in celostno, ...ne pa binarno oz. opozicijsko; polemos razkriva smiselno podobo vojne, ki vključuje mir kot neizogibnega "drugega", ob tem pa je v članku velika pozornost namenjena ideološkim, nacionalnim in resentimentnim (etičnim) utemeljitvam problemov vojne in miru ter zatiranja in upiranja.
BYLINA AS A LITERARY GENRE Olga V. Zakharova
Problemy istoričeskoj poètiki,
11/2015, Volume:
13, Issue:
1
Journal Article
Peer reviewed
Open access
The bylina is a Russian epic song about the bogatyrs. Diff erent genre transformations of bylinas are known in folklore: prosaic narrations pobyval’shchiny, bogatyr tales, legends about the bogatyrs, ...lubok tales about the feats of the bogatyrs and knights. In the early 19th century, Russian literature was actively absorbing epic images and motives: the bogatyrs were turning into characters of novellas, literary tales, poems, novels, operas. Some poets and writers were attempting to develop the bylina as a literary genre. Their genre search was a creative imitation of Th e Tale of Igor’s Campaign “Slovo o polku Igoreve” published in 1800 and in some cases of the Collection of Kirsha Danilov (1804). One of the first attempts was Gavrila R. Derzhavin’s work Dobrynya, Dramatic Musical Performance in Five Acts “Dobrynya, teatral’noe predstavlenie s muzykoyu, v pyati deystviyakh”, 1804. Glorifying the idea of the state, the poet composes a work where epic and literary characters act and the plot is derived not only from bylinas and tales, but also from chivalric novels. In Stepan S. Andreev’s poem Levsil, a Russian Bogatyr “Levsil, russkiy bogatyr’”, 1807 the hero is not only a folkloric (epic and fabulous) character, but also a literary one. Alexander F. Veltman’s novel Koshchei the Immortal. A Bylina of the Old Times “Koshchey bessmertnyy. Bylina starogo vremeni”, 1833 was an ingenious genre experiment. The word ‘bylina’ was used in its title in the literary genre meaning for the fi rst time ever. The genre of Easter novella Ilya Muromets. A Tale from the Rus’ of the Bogatyrs “Il’ya Muromets. Skazka Rusi bogatyrskyi”, 1836 by Vladimir I. Dahl emerged from a complicated interaction of the tale, the bylina, the Old Russian novella and the hagiography. The literary transformations of folkloric genre stemmed from the authors’ imaginative need to create a national and historical myth, conjecture the ‘fabulous’ history and imagine what happened in the old preliterate times.
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