The first micro-historical 'ethnology of reading' in the Early Slavic field,Byzantine Hermeneutics and Pedagogy in the Russian Northwill prove fascinating to western medievalists, Byzantinists, ...Slavists, and book historians.
This survey of intellectual endeavor in medieval Slavia orthodoxa proposes a different way to think through the problem of the "intellectual silence of Old Rus′," first set forth by Georges Florovsky ...and explored by George Fedotov, Francis Thomson, Simon Franklin, and now Donald Ostrowski. It examines the resources and opportunities for secondary schooling and their apparent outcomes in Kyivan Rus′ from the eleventh through the thirteenth century, among South Slavs on Mount Athos in the later fourteenth century, and at the Kirillo-Belozerskii (Kirillov) Monastery in northern Russia in the later fifteenth century. It concludes that intellectual endeavor is not necessarily bound to an international language of scholarship (e.g., Greek), one the one hand, or to a particular religious mentalité (e.g., that of the Western Church), on the other. Rather, it is cultivated by "schematizing" (educational) institutions oriented upon academic (heuristic) interpretive strategies and-most importantly-supported by textbooks and teachers.
Romanchuk provides a psychoanalytical interpretation of vampiric maidens in the novels Monastyrka by Antonii Pogrel'skii and Vii by Nikolai Gogol. The vampiric linguistic economy of both texts are ...examined as well as the characteristics of the Gothic heroines associated with vampirism. Also analyzed are the texts' approach of the Gothic mode as a productive lens.
Ця психоаналітична стаття простежуе постать і авторські дії літературної героїні-упириці у двох ключових Готичних текстах «малоросійської літератури» (тобто в так званому «креолізованому» письменстві ...України першої третини 19-ого століття). За мету ставиться дослідити об’ект на двох мовленневих рівнях Еміля Бенвеніста: на рівні вислову (сказаного чи написаного як мовленневого продукту на певному історичному етапі) і на рівні висловлювання (говоріння чи писания як несвідомого мовного перформативного акту). На першому літературно-історичному рівні однойменна героїня «Монастирки» Антонія Погорільського (1830-33) е, можна сказати, прототипом панночки гоголівського «Вія» (1835), якщо й не самою відьмою. Однак, на другому несвідомому перформативному рівні, не е недоречним говорити про панночку як про ініціаторку меланхолійної мовної взаемосистеми двох текстів, що замінюе обіг української мови ії поглинанням і рециркуляціею в російську. Таким чином статгя пропонуе можливу відповідь на питания «Чому Гоголь писав російською, а не українською?», яке час від часу ставлять критики.
From the 1820s to the 1840s, there appeared a number of texts by such writers as Vasilii Narezhnyi, Orest Somov, and Hryhorii Kvitka‐Osnov'ianenko that tell tales of Semen Harkusha, a figure straight ...out of Eric Hobsbawm's Bandits who terrorized the rich and powerful in eighteenth‐century Ukraine. Written in Russian, Ukrainian, or in an idiom that oscillates between the two, this corpus of texts articulates the obverse, darker side of what the authors of this article argue elsewhere, in connection with Gogol's Evenings on a Farm near Dikan'ka, is “the singing and dancing” that defines the field of Little Russian literature. If only by virtue of its “strange” linguistic practices, “incomprehensible to a Russian,” this “supposed” literature, as Russian critics of the day put it, would accord with the notion of a “minor literature” as theorized by Gilles Deleuze and Félix Guattari. However, besides the disruption these texts introduced into the Russian imperial literary system through their generic lability, the “high coefficient of deterritorialization” that the two critics insist is characteristic of literary minority is also effected in the Harkusha texts on a diegetic level, as the political (noble banditry) expressed Oedipally (in scenes of transgressive seduction and matchmaking); and on the level of enunciation, as (the internalization of) the work of the imperial censor's office.
Gogol''s "Viĭ" offers readers a "clinic" on Lacanian perversion, taking them through key psychoanalytic agencies-letter, mother, father, phallus, voice, and gaze-in their perverse modalities. Rather ...than seeking a definitive "identity" for "Viĭ" (as have earlier analyses), this study proposes that "Viĭ" is a condensed bundle of manifest and latent signifiers-that is, what psychoanalysis calls the symptom. Indeed, the best "etymology" of "Viĭ," far more transparent than those offered before (vyty, viia, Vasiliĭ, vuĭ, viiaty, viko), is simply viĭ: Ukr. "bundle (of brush)." "Viĭ" is literally the symptom of the tale, the missing signifier which, rather than objectively signifying the tale's content, makes a cut into the text itself-figured in its paratextual inscription at the opening footnote-and structures it from within. "Viĭ," precisely as symptom, condenses all of the "etymologies" proposed to date by scholars, and makes multiple, bilingual (Ukrainian-Russian) "returns" of the repressed in the text.
Gogol''s 'Vii' offers readers a 'clinic' on Lacanian perversion, taking them through key psychoanalytic agencies - letter, mother, father, phallus, voice, and gaze - in their perverse modalities. ...Rather than seeking a definitive `identity' for 'Vii' (as have earlier analyses), this study proposes that 'Vii' is a condensed bundle of manifest and latent signifiers-that is, what psychoanalysis calls the symptom. Indeed, the best 'etymology' of `Vii', far more transparent than those offered before (vyty, viia, Vasilii, vui, viiaty, viko), is simply vii: Ukr. 'bundle (of brush).' `Vii' is literally the symptom of the tale, the missing signifier which, rather than objectively signifying the tale's content, makes a cut into the text itself - figured in its paratextual inscription at the opening footnote - and structures it from within. `Vii,' precisely as symptom, condenses all of the `etymologies' proposed to date by scholars, and makes multiple, bilingual (Ukrainian-Russian) `returns' of the repressed in the text. Reprinted by permission of Canadian Slavonic Papers/Revue canadienne des slavistes
