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By Sander Brouwer
During this quantity of SSLP the contributions of Dutch students operating within the box of Slavic literature and tradition to the 14th overseas Congress of Slavists (Ohrid, Macedonia, September 10–16, 2008) are introduced jointly. them all other than one (on the Polish poet Cyprian Norwid’s tale Stigma), care for Russian literature from the top of the 18th century as much as contemporary years. quite a few themes is handled, akin to the feminization of Russian literature, the mirrored image of poetry in prose, anthropological and non secular dimensions of literature, the specifics of subject matter and of plot, Russian modernism and postmodernism, and the prestige of language, from varied methodological angles: gender reports, structural research, philosophical-contextual, postcolonial. Works of such Russian authors as Ippolit Bogdanovich, Ivan Turgenev, Pavel Mel’nikov-Pecherskii, Ignatii Potapenko, Iurii Trifonov, Timur Kibirov and Viktor Pelevin are mentioned intimately. This quantity is of curiosity for a scholarly viewers drawn to Russian literature of the final 250 years.
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G. Iakov Pasynkov, but we should not forget that even a philistine like Astakhov in Ɂɚɬɢɲɶɟ (A Quiet Spot) knows some poems by heart. As part of Volodia’s literary knowledge and tastes Schiller’s still immensely popular The Robbers is also mentioned (307; 147). In general, his outlook is obviously ‘bookish’, ‘poetic’, and truly ‘Romantic’ in the literary sense, which is certainly not Turgenev’s prerogative, but rather a consistent trait of most characters Love of Poetry and Literary Creation in First Love 45 from the 1820s and 1830s, and of subsequent generations as well.
The “paternal curse” is introduced in the first words Ermak speaks: “Paternal curse! In my soul / You lie, like a heavy burden” (ɉɪɨɤɥɹɬɢɟ ɨɬɰɚ! ɜ ɞɭɲɟ ɦɨɟɣ / Ɍɵ ɜɨɡɥɟɝɥɨ, ɤɚɤ ɬɹɝɨɫɬɧɨɟ ɛɪɟɦɹ; Chomjakov 1969: 155). ) there is a reconciliation. Before this turn in the plot there is an interesting parallel with First Love as we witness the scenes between Ol’ga, Ermak’s fiancée, and his father, whom she takes care of. ”31 (241). This could be one of Turgenev’s ironies at the authorial level. Like Zinaida, Volodia is an avid consumer of literature, but he is not just a passive lover of poetry.
Devushkin then quotes from Rataziaev’s tale ‘ɂɬɚɥɶɹɧɫɤɢɟ ɫɬɪɚɫɬɢ’ (‘Italian Passions’; Dostoevskij 1972, I: 51-52). The heroes are called Vladimir and Zinaida, they are lovers, she is a countess and married to an “old count”. ). This connection is almost awkward.