14 меѓународен славистички конгрес охрид, 10-16 септември 2008 зборник од резимеа
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Вопрос о московской школе русского формализма
До сих пор символом русского формализма являются петроградское Общество изучения поэтического языка (ОПОЯЗ 1915-1930) и работы его главных представителей, В. Б. Шкловского, Б. М. Эйхенбаума, Ю.Н.Тынянова, Б.В.Томашевского. Между тем была и другая школа, московская, сначала вокруг Р.Якобсона, а потом Г.О. Винокура и Б.И. Ярхо. Ее деятельность связана с историей Московского Лингвистического Кружка (МЛК 1915-1924), а также с Государственной Академией Художественных Наук (ГАХН 1921-1929). По мнению некоторых ученых, и в первую очередь ныне покойного М.И.Шапира (1962-2006), вклад Москичей в русскую и даже мировую науку не сравним с каким бы то ни был другим.
Цель статьи-дать краткий очерк деятельности московских "формалистов", в том числе мало известных М.М. Кенигсберга, А.И. Ромма или Б. В. Горнунга… и показать, в чем они отличаются (или расходятся с ?) от петроградкого ОПОЯЗа. В итоге автор пытается ответить на вопрос : в каком смысле можно говорить о московской школе русского формализма ?
Aleksandr Lavrov
L’héritage littéraire des « zélateurs de piété » moscovites : mythe ou réalité ?
Les « zélateurs de piété » (revniteli blagočestija) étaient les prêtres, les moines et les laïques dont les activités pendant les années 1630-1650 préparaient le terrain pour les futures réformes ecclésiastiques, parmi lesquels l’archiprêtre Avvakum était le plus célèbre. Malgré une longue tradition de la recherche, plusieurs questions, y compris la composition personnelle du « mouvement » (ou du « cercle »), ne sont pas résolues. Cette situation donna à la slavisante suisse Gabriele Scheidegger le prétexte d’affirmer qu’elle n’a pas réussi de trouver aucune preuve d’existence d’un tel « cercle ».
Il est logique de répondre à une telle question par l’étude de la tradition manuscrite qui correspond aux « zélateurs », car l’absence d’une telle tradition est un vrai argument pour les sceptiques. On est habitué de croire que Stefan Vnifant’ev, le confesseur du tsar Aleksej Mixajlovič, était la figure centrale du « cercle ». Mais jusqu’au dernier temps aucun texte littéraire ne pouvait être attribué à lui. Une récente trouvaille dans les archives – un acte du XVIIe siècle, évoquant plusieurs lettres du Vnifant’ev, adressées au tsar – permet de prouver que Vnifant’ev vraiment laissa des écrits. On peut supposer que ces lettres n’étaient adressées pas adressées seulement au tsar, mais aussi aux plusieurs destinataires. L’étude de la tradition littéraire des œuvres, signés par un certain Agafonik, aussi que des œuvres du correcteur Šestak Martem’janov permet de poser la question, si le « cercle » ne représentait qu’un « textual community ». « Réveillés » par l’édit du tsar sur la lutte contre les « superstitions », les zélateurs ont réagi avec des pétitions, en appropriant la nouvelle politique gouvernementale et en proposant leurs propres initiatives. Tandis que les zélateurs, qui appartenaient au même milieu, entretenaient les relations personnelles, ceux, qui appartenaient aux différents niveaux hiérarchiques, se contentaient par la communication écrite, médiatisée.
Monika Siama
Le don du temps, ou le palimpseste hagiographique de la Pologne médiévale du haut Moyen âge.
Partant d’une requête des calendriers de la Pologne médiévale, il serait intéressant de démontrer comment le sacré païen est perceptible dans la lecture des notions telles que le temps et la fête, et de quelle façon il instrumente l’enracinement des cultes hagiographiques locaux. Pour mettre en relief ces voies de l’acculturation chrétienne nous nous appuierons sur la littérature hagiographique et historiographique des X - XIIIe s., ainsi que sur la littérature religieuse de l’époque et sur les actes des synodes provinciaux. Considérant ces témoignages dans la variété de leur nature comme une voie privilégiée dans l’enquête sur la religiosité populaire, nous nous pencherons sur le regard des autorités ecclésiastiques face au culte populaire afin de prouver que le calendrier liturgique médiéval véhicule des traces de croyances et de rites beaucoup plus anciens.
C’est pourquoi nous nous intéresserons au culte des plus anciens martyrs locaux, dont la commémoration liturgique scande le temps chrétien médiéval, afin de poser la question de l’existence d’une véritable mythologie chrétienne sur ces terres. En s’appuyant sur les dates clefs du festiaire officiel gravitant autour du culte des saints patrons de Pologne, il serait intéressant de démontrer les lois internes qui assuraient la cohérence calendaire de l’imaginaire des Slaves occidentaux. En effet, il s’agissait d’un ensemble amalgamé, constitué par la succession de plusieurs mythologies, qui n’ont jamais été abolies, mais qui ont été couvertes de la patine chrétienne.
En raison de la pénurie des sources du haut moyen âge, il est aujourd’hui nécessaire d’analyser le code et les schémas temporels anciens en s’appuyant sur la convergence du folklore médiéval et moderne, ainsi que sur des témoignages mythologiques et ethnologiques non littéraires.
Branka Šarančić
Usage subversif de l’Histoire dans l’œuvre d’Ivo Andrić
Ma communication tentera de mettre en évidence un aspect très peu étudié de l’œuvre d’Ivo Andrić : le potentiel subversif de sa philosophie romanesque. Dans le contexte idéologique problématique que connaissent les pays ex-yougoslaves depuis l’éclatement du dernier conflit, il me semble important de soustraire l’œuvre d’Andrić aux différentes tentatives d’instrumentalisation politique afin de réévaluer son apport esthétique et idéologique à la lumière de la théorie littéraire moderne.
En effet, bien que le cadre spatio-temporel de ses romans soit précisément identifié (Bosnie de la période ottomane), la catégorie traditionnelle du « roman historique » s’avère définitivement inapte à rendre compte de l’originalité de sa démarche artistique. Mêlant dans ses romans des éléments de l’histoire factuelle avec des légendes populaires et des récits mythiques, Andrić repousse les frontières du genre romanesque en s’aventurant dans les régions inexplorées de la recherche identitaire. Ce faisant, Andrić ne cherche pas à restituer la Bosnie de la période ottomane telle qu’elle fut réellement, mais telle qu’elle pourrait être lue et comprise par un peuple à la recherche de sa propre histoire.
Dans ce décalage entre les registres objectif et subjectif, entre les événements extérieurs et les interprétations contradictoires qu’ils suscitent, Andrić trouve à la fois un ressort original de création artistique et un moyen authentique de quête identitaire. En traduisant dans le langage romanesque tout ce qui reste hors de la portée de l’histoire dite « positive », Andrić réussit à aller au-delà de la réalité factuelle et à penser l’identité nationale et collective indépendamment des clivages idéologiques et politiques.
ХОЛАНДИЈА
Otto Boele
Small Deeds, Major Goals. The Search for the Non-heroic Hero in Late Nineteenth-Century Russian Literature
Iakov Abramov (1858-1906) is generally seen as the spiritual father of the theory of “small deeds”. In 1885 he presented a program for what he considered the “new” intelligent. Instead of openly confronting the regime by killing its main figureheads, members of the intelligentsia could be more productive, Abramov believed, by providing the common people with medical care and by raising their educational level. While no one could object to such a line of action, it was the lack of any political demands in Abramov’s program that radical thinkers, especially Marxists, found disturbing. According to Lenin, Abramov’s theory of small deeds distracted society’s progressive forces from the revolution.
Marxist criticism ultimately discredited the theory of small deeds and the literary heroes that came to be associated with it, such as the title characters of Chekhov’s plays Ivanov and Uncle Vania. This paper seeks to redress the balance in favour of those authors who supported the theory of small deeds and attempted to provide a positive literary portrait of the “new” intelligent. Key among these authors is Ignatii Potapenko, one of Chekhov’s most successful contemporaries. Concentrating on such texts as “Not a hero” (1891) and “Sound Ideas” (1892) this paper will try to illuminate a path not taken by Russian literature or, to put it more correctly, not noticed by Russian criticism.
Sander Brouwer
НЕМА НАСЛОВ
Recent Russian historical novels, such as those of Mikhail Shishkin and Vladimir Sharov, and also Vladimir Sorokins ‘future novel’ A Day in the Life of an Oprichnik (2006) present a fantastic compression of different historical periods in one narrative whole. I would like to discuss this new form of refexion on Russian cultural memory in literature against the background of the historical eclecticism (indiscrimate mixing of pre-revolutionary imperial and Soviet symbolism) and ‘amnesia’ of what has recently (Neprikosnovennyi Zapas 6, 2006) been dubbed the “Regime Nouveau”.
Dennis Ioffe
Russian ‘Life-Creation’ (Lebenskunst) and its Western Antecedents.
The proposed presentation will have a look upon some characteristic exempla of the creative personal behaviour of the several Russian cultural figures that were active in the period of 1895-1922 and will compare it to their Western predecessors (Byron, Baudelaire, Rimbaud, and Wilde). (See Erasova 2006). The main object of the presentation will be to study the Silver-Age ‘zhiznetvorchestvo’ (life-creation) through the prism of comparativist and cultural studies research agenda, to try to determine the historical cultural roots for this phenomenon.
The past 15 years have seen much valuable scholarly work on these ‘diverse subjects’ that dealt with the Silver Age life-creation in its various contexts and applications. (See Grossman 1994; Ioffe 2005; Schahadat 2004). There are, however, some less debated issues that still need to be explored. I hope that this examination of the aesthetics of the conceptual life-behaviour demonstrated by the Russian modernists will illuminate several aspects in this area of research. In my presentation Russian ‘life-creation’ will be cogitated in a framework of the Western post-Romantic creative force that sometimes is termed with an apt German word of ‘Lebenskunst’ (See Schahadat 2004).
The Russian Symbolist decadents and their successors of the Avant-Garde were taking further the Western (mostly French and English) existing aesthetical paradigm. That point was developed further in the ideas brought about by the early Russian Revolution, propagating the notions of a ‘life-building’ (zhisnestroitel’stvo) needed in order to facilitate the emergence of a New (Soviet) Man. (See Gutkin 1994).
***
Erasova, E., 2006 “Zhiznetvorchestvo v angliiskom esteticheskom dvizhenii 1860-1890-kh godov” in Iskusstvo versus literatura. Frantsia, Rossia, Germania na rubezhe XIX-XX vekov, Moskva, OGI, pp.225-244.
Grossman J.D., 1994 “Valery Briusov and Nina Petrovskaia: Clashing Models of Life in Art” in Irina Paperno and Joan Delaney Grossman (eds.), Creating Life: the Aesthetic Utopia of Russian Modernism, Stanford University Press, pp.122-151.
Gutkin, Irina, 1994 “The Legacy of the Symbolist Aesthetic Utopia: From Futurism to Socialist Realism”, in Creating Life: the Aesthetic Utopia of Russian Modernism, pp. 167-195.
Ioffe, Dennis, 2005 “Zhiznetvorchestvo russkogo modernisma sub specie semioticae. K voprosu tipologicheskoi rekonstrukcii sistemy zhizn’ tekst”, Kritika i Semiotika, vol. 8, 126-179.
Schahadat, Sch., 2004 Das Leben zur Kunst machen: Lebenskunst in Russland vom 16 bis zum 20 Jahrhundert, München, W. Fink.
ХРВАТСКА
Stjepan Damjanović
Kroatische Beiträge zur Erforschung und Lehre der altslawischen Sprache
Die Forschungsgeschichte der altslawischen Sprache reicht weit in die Vergangenheit zurück: noch Crnorizac Hrabar vermittelte in seinem Traktat O pismenima Kenntnisse über den Lautstand der ältesten slawischen Hochsprache. Da diese Sprache sehr lange auch der kroatischen Kultur diente, trugen verständlicherweise auch kroatische Philologen mit Grammatiken, Lesebüchern, Chrestomatien, Wörterbüchern, wissenschaftlichen und fachlichen Abhandlungen zu ihrer Erforschung und Lehre bei. Man könnte sagen, dass die Geschichte der kroatischen Erforschung der altslawischen Sprache im Jahre 1666 begann, als Juraj Križanićs Grammatično nakazanje erschien, ein Versuch der Wiederherstellung der altslawischen Sprache und ihrer Grammatik, gereinigt von griechischen und lateinischen Einflüssen.
Es ist allgemein bekannt, dass sich in der Geschichte der slawischen Sprachen nur wenige mit Vatroslav Jagićs paleoslawistischen wissenschaftlischen Leistungen messen können, es ist aber weniger bekannt, dass er als Zagreber Gymnasiallehrer Lehrbücher der altslawischen Sprache schrieb. Die altslawische Sprache war eine Zeit lang Teil des Unterrichts an kroatischen Gymnasien und diente selbstverständlich, wie auch anderswo, als Einführung in jedes slawistische Universitätsstudium. Im vorliegenden Artikel beschäftigen wir uns mit den methodologischen Beiträgen von Ivan Berčić, Ivan Radetić, Đuro Šurmin, Ivan Broz, Stjepan Bosanac, Sreten Živković, Josip Hamm u.a.
Antonija Zaradija Kiš
Exempla as the Mediaeval Bestiary
The rhetorical importance of the exemplum in verbal persuasion was confirmed as early as in the literature of Antiquity where exemplification was an important segment of speech, whose manifestation in many contemplative sayings in verse succinctly expressed the rules of life and mental states. Deriving from them, memorable and quality-measurable descriptions appeared during the Middle Ages of Man's virtues/weaknesses, by which the exemplum became an integral part of the intellectual utterance of that time. As a true story and the bearer of a life-saving message, the exemplum is a vital communicative link between the individual and the masses, that is, between the preacher and the common man, and is an important genre-defined segment of finely crafted popular literature.
In reading off the host of preserved opportunities in early Croatian literature, we will be directing our attention only to those in which animals appear. Man's curiosity about the world of Nature coupled with the support of Christian moralising becomes the source of the so-called animalistic exemplum, which relies in its formation on the popular Mediaeval Bestiary. That collection of stories about animals, which, by way of the Greek Physiologos, was particularly developed in western European Mediaeval literature from the 12th to the 16th century, was second only to the Bible as the most widely disseminated type of reading matter. In the animalistic exemplum, the animal was given a special moralistic role. The specific nature of this exemplum was based on the position of the animal in the entire context, that is, whether it was the primary or secondary subject. In the genre-related sense, the animalistic exemplum is a specific literary form located in the physiologist - bestiary – animalistic exempla literary sequence.
Ljiljana Marks
Interpretative Levels of the Oral Legends Writings
The main hypothesis is that tradition, as the important element of cultural identity and the main condition of folkloristics, is a continuing (historical and ongoing) process of multi-level interpretation of repetitive procedures and symbols in the human community, rather than an inherited collection of indisputable facts, spiritual values and material objects. Building on the existing research of mythical beings in Croatian oral legends and historical legends, the work will research the interaction of the processes of tradition and retraditionalization in the formation of multiple aspects of the cultural identity.
The tradition is not considered to be a set of unchanging values but a creative process whereby each individual, generation and human community/group determines its cultural heritage and identity. Thus, the work examines which elements particular communities inscribe as part of their tradition, how they inscribe (transform) them, in which contexts they perform them and which meanings they assign to them. The work examines the constant process of forming and creating tradition, which people keep deconstructing and renewing, thus perpetuating particular values and reinterpreting them in search of a foundation for self-knowledge. Various interpretative levels and procedures within tradition as a process depend on who is interpreting it, what are their aims, what is the community/individual conceptual and value system and what is the social, cultural, and political context.
Krešimir Nemec
Contemporary Croatian Novel and Popular Culture
Popular literature and popular culture are a relatively scarcely researched topic in the Croatian literary criticism. Due to the fact that Croatian literary historiography was until recently focused mainly on canonical works of literary production, there is a lack of approaches which would, with equal seriousness and methodological relevance, highlight the complex phenomenon of popular literature and culture and their influence on novel production. From the contemporary perspective, most studies of popular literature and culture performed to date seem methodologically obsolete. This refers basically to structuralist studies of popular literature and trivial novel which were predominant in Croatian literary criticism in 60s and 70s (Lasić, Škreb, Žmegač, Solar). One of the basic assumptions of the present study is the awareness of the value of all aspects of Croatian cultural identity, including its less representative segments. In addition to the canonical works of Croatian literature, there is another line of literary production, which needs to be historically and theoretically described. This study will therefore focus on the common points of these two lines of literary production – the elite and the popular. These interactions are especially visible today when the popular culture and media are becoming crucial factors in contemporary Croatian literature, especially the novel. As the most democratic among all literary genres, the novel had always corresponded with reader interests and tastes. Therefore, the relationship between the novel and popular culture is an extremely complex one, giving rise to a series of literary, sociological and esthetic consequences that have attracted the attention of both literary history and cultural studies.
Borislav Pavlovski
Жанровите во македонската драмска литература
Во првиот дел на прилогот ги анализирам именувањата и одликите на жанровите во македонската драмска литература од средината на XIX-тиот до почетокот на XXI-тиот век. На списокот на анализираните писатели се: Јордан Хаџи Константинов Џинот, Војдан Поп Георгиев Чернодрински, Никола Киров Мајски, Васил Илјоски, Антон Панов, Ристо Крле, Коле Чашуле, Томе Арсовски, Бранко Пендовски, Георги Сталев, Богомил Ѓузел, Русомир Богдановски, Горан Стефановски, Јордан Плевнеш, Трајче Кацаров, Деан Дуковски, Венко Андоновски, Сашко Насев, Југослав Петровски и Жанина Мирчевска.
Во вториот дел ги изнесувам поетичките, културолошките и општествените причини поради кои што дошло до радикалните промени на авторскиот однос кон драмските жанрови и нивното именување во постмодернистичкиот начин на пишување во периодот на поетичкиот плурализам.
Slavomir Sambunjak
Vita Constantini about origin of Glagolitic script
In contrast to the conventional wisdom that all facts in VC which refer to act of creation of Glagolitic script are contained in the 14th chapter, in this article it is pointed out that at least two chapters are equally important: VC 5 and VC 13. The problem domain of visual art contained in them directs them according to type of problem: 1. the question of icons 2. the Church of Saint Apostles. The fact that the Glagolitic script is partly a phenomenon of visual art makes such statement possible. But before that it was necessary to assume that the crucial fact in VC 14, the one which is about divine giving of letters of Glagolitic script to Constantin, can refer only to image of God, never to God himself. That is because God can «give» only metaphorically – exclusively as human interpretation of sacred acts. In that time in Bizant, illustrated temples and icons were also sacred and in VC we can find a strong evidence of that. Constantin creatively interpreted the picture of God, Christ Pentocrator in the Temple of Saint Apostles in Constantinople, the one which is the main topic of bitter theological debates. He brilliantly reduced it to essential geometrical and abstract, common features, and what must be pointed out: the sources of Glagolitic script on one, and creativity of visual art on the other hand. The evidence of connection among motif, theme and concept in all three chapters of VC, as well as between Glagolitic script and features of visual art in Bizant in the 9th century, have been searched for in lingual and grammatical level of texts.
Dubravka Sesar, Ivana Vidović Bolt, Petar Vuković
Златниот век кaj поедините словенски култури - лингвистички паралели
Во времето кога се оформени словенските филологии со национални обележја поедини, посебно оние кои највпечатливо и целосно го обележуваат словенскиот свет, почнуваат да градат нова слика за историјата на својот јазик и литература, како битна одредница на својата национална култура. Младата славистика, која во име на науката изискуваше критичка дистанцираност од минатото, ревизија на застарените критериуми за валоризација на литературно-јазичното наследство и нова, компаративна методологија за преиспитување на објективноста на новите сознанија, создаде пред сѐ̀ нова типологија на книжевните и лингвистичките вредности и нова книжевно-јазична периодизација базирана врз европскиот образец. Столбот, врз база на кој ја бранат сопствената историја, директно или индиректно се бара во златниот век на книжевноста и јазиците со кои е пишувана. Патиштата по кои се формирани словенските литературни јазици се разликуваат, како цивилизациски така и културно, но новата типологија ја занемарува атипичноста (т.е. изразитите посебности), а новата периодизација не е одредена на основа на златниот век во нивниот развој. Заедно со новите сознанија се оформени и нови стереотипи кои не се ослободени од одредени идеологии, настанати под притисок на општествените прилики и идеолошките императиви. Во нашиот прилог станува збор за едно митско место во историјата на словенските литературни јазици – златниот век, односно за типолошки различните книжевно-јазични столбови кај некои од словенските култури.
Josip Užarević
Проблема литературного минимализма
Область литературного минимализма (или минималистской литературы) включает (самые) малые литературные формы, т.е. те произведения, которые состоят из минимума компонентов и/или выразительных средств, а также отличаются и минимализмом объема (формы). Одним из вопросов, возникающих при изучении самых мелких литературных произведений, является их жанровое распределение (дистрибуция). Они могут классифицироваться по следующим критериям: устные жанры – письменные жанры, анонимные – авторские, деревенские – городские, мономедиальные – мультимедиальные. Можно также говорить о традиционных жанрах (пословица, поговорка, загадка, лирическое стихотворение, эпиграмма, эпитафия, мат) и современных или относительно новых (анекдот, граффити, транспарант, реклама). Изучение литературного минимализма предполагает выдвижение и других фундаментальных вопросов: соотношение слова, предложения и текста (т.е. соотношение части и целого); соотношение случайного и неслучайного; проблема однозначности, многозначности и всезначности; соотношение референциальности и автореференциальности; проблема времени и функционирование повествовательных процедур.
Marica Čunčić
The Graphic System of the Kiev Missal
On the basis of different heights of the Glagolitic characters in the Kiev Missal there has been a widely spread opinion that the oldest Glagolitic manuscript extant is rustically written, which may mean the absence of a graphic system or the scribes’ poor calligraphic skill. But the recent literature shows the consistent character height distribution which belongs to a graphic system. This graphic system has been produced from the standard pattern of the original rounded Glagolitic type which in turn has been produced from the standard pattern of the original triangular Glagolitic type. Both original standard patterns have a defined original five-line four-field writing system with a defined original position of the Glagolitic characters and five original exact heights with a predictable distribution. On the basis of this graphic system the following IBM computer fonts have been made and here presented: Triangular Standard Pattern (TS), Rounded Standard Pattern (RS) and the Kiev Standard Pattern (KS). While TS and RS share the same original shorter character positions in the line system, the shorter characters in KS hang on the upper line. The whole manuscript 1v-7v is rewritten in the KS font in order to display the hidden logic of the graphic system of the Kiev Missal.
ЧЕШКА
Radomír Vlček
Roots of Enlightenment in Czech Slavism
Czech Slavism played a crucial role in the formation of the identity of the modern Czech nation. During the absence or insufficient stability of the cornerstones of national identity, Czech Slavism substituted the missing elements of Czech national identity – first the language, then the literature and history, and finally the state. From the very beginning (i.e. the era of Josef Dobrovský), it also fulfilled an important role as a threatening stick. By referring to Russia, with which “small Slavs” could associate, but also by emphasizing its own huge Slavic (Pan-Slavic) element within the Habsburg Monarchy, the Czechs put pressure on the monarchy not to obstruct efforts leading towards forming the Czech national identity. Czech Slavism constituted itself on the basis of the rivalry between the influence of the French enlightenment and German romanticism. The process took place between the reciprocal efforts to emphasize distinctive features that characterized and united the particular environment. Language, history and traditions were attributes comprehensible even in the Czech milieu with slow self-identification. Later on, the concept of a political nation resulting from enlightenment became crucial for Czech Slavism functioning as a support of the Czech national identity. According to the concept, to be a member of a particular nation meant to be a member of a particular state. However, the concept of a political nation, as formed in the 18th century, did not connect all of society. It related only to the elite, the privileged classes. The shift in understanding of the national identity towards a broader theory of natural law was brought about by the French Revolution at the end of the 18th century (Declaration of the Rights of Nations of 1795). Simultaneously, Slavism and its inspirations through enlightenment also moved from the elites to society.
Jan Vorel