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.
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’.
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.
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.
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