This paper examines the representation of the “other” culture in 19 th-century travelogues, using the examples of Robert Watt’s Traveller’s account Letters from Russia (1867) and Bayard Taylor’s Northern Travel: Summer and Winter Pictures of Sweden, Denmark and Lapland (1857). The traditions of travelling and their reflection in both travelogues are presented, including the popularity of routes to Russia and Northern Europe. The cultural background of the travelogue genre of the mid-19th century is identified, as well as the characteristic features of travelogues, among which is the traveller’s perception of the “other” culture in comparison with his own culture or previously perceived ones. The subject of this study is the individual narrative strategies used by the authors to achieve the goal of conveying their own perception of the “other” world to the reader. A comparative analysis of the narrative structure and dialogicality of the authors’ narrative is made, including the representation of the “other” culture through the traditional documentary structure of travelogues; the static and dynamic nature of the narrative is revealed, the intention is the pinnacle of the journey. The consideration of the “other” culture analyses stereotypes specific to the regions of the narrative, the debunking or confirmation of pre-existing knowledge; the relationship between the cultural and natural features of the regions. The narrators’ immersion in the “other” culture and the narration of their own experiences and feelings during the journey are described. The inevitability of dialogue between “other” and “own” culture, their rapprochement or estrangement is the basis of the travelogue genre
Статья посвящена изучению истории первых переводов произведений шведского писателя Августа Стриндберга (1849–1912) на русский язык. Первые подтвержденные нами переводы относятся к 1890 и 1892 гг. В 1890 г. опубликован один рассказ, двумя годами позднее вышли переводы еще трех произведений. Начиная с 1892 г. количество публикаций растет, на данный момент нами зафиксировано существование более 40 переводов, выполненных в промежутке между 1890 и 1908 гг., когда начинается издание первого полного собрания сочинений Стриндберга. Переводы были выполнены преимущественно со шведского языка целым рядом известных переводчиков того времени — Ю. Балтрушайтисом, А. и П. Ганзенами, С. Городецким, М. Лучицкой, В. М. Саблиным, В. Фирсовым и др. Большинство текстов были опубликованы в периодических изданиях («Русское богатство», «Русский вестник», «Киевлянин», «Северные сборники» издательства «Шиповник» и др.), однако авторами статьи был обнаружен и выпуск собрания сочинений, полностью посвященный Стриндбергу. Кроме того, тексты писателя фигурируют в сборниках, включавших в себя произведения как скандинавских писателей, так и других видных авторов той эпохи. Наибольшей популярностью среди издателей пользуется рассказ Samvetskval (букв. «Угрызения совести», 1884), переведенный на русский язык минимум шесть раз с разными заглавиями — «Мучения совести», «Терзания совести», «Угрызения совести», «Укоры совести». Опубликованные переводы требуют дальнейшего текстологического анализа и комментария. Отдельный интерес вызывают отклики на творчество Стриндберга, написанные разными категориями читателей, им также уделяется внимание в статье
Irina Kuprijanova, professor emerita ved Institut for Udenlandsk Litteraturhistorie, en af landets førende eksperter i dansk litteratur, var gået bort i en alder af 95 den 28. december 2024. Irina Kuprijanova gjorde en betydelig indsats for at introducere både de kendte og mindre kendte navne for den russiske læser. De fleste af de bøger, der er udgivet i oversættelse fra dansk til russisk, har Irina på den ene eller anden måde beskæftiget sig med. Hun har skrevet forord og kommentarer til mange oversættelser fra dansk og hun er forfatter til mange artikler om dansk litteratur. Med det imponerende omfang af publikationer havde hun stor betydning som formidler om Danmark — encyklopædisk, kulturelt, videnskabeligt og litterært. Formidling gik begge veje og ud over formidling af viden om dansk og skandinavisk litteratur til russerne også omfattede formidling af russisk litteratur til danskere. Indtil 1981 arbejdede Irina på Nordisk Institut. Derefter fik hun ansættelse ved Institut for Udenlandsk Litteraturhistorie, men fortsatte også med at undervise ved sit gamle institut: hun holdt forelæsninger, underviste i dansk og vejledte ph. d.-studerende. Som leder af Institut for Udenlandsk Litteraturhistorie holdt Irina forelæsninger om den vesteuropæiske litteraturhistorie for studerende fra forskellige institutter
Lyrical prose has become widespread in the literature of Finland, as in the literatures of other Northern European countries. However, the genre definition of short lyrical prose remains one of the problematic issues of literary criticism. Researchers have already identified works belonging to lyrical prose in the works of Zacharias Topelius (Jr.). The article examines prose works by Finnish writers in Finnish and Swedish. Lyrical prose was characteristic of the works of both realists and modernists and postmodernists. Already at the turn of the 19 th and 20 th centuries, experimental works appeared in the form of aphorisms, instructions, and miniatures. The article focuses on short lyrical prose. Its features in Finnish literature are examined using the example of works of Johannes Linnankoski “Small Catechism”, Juhani Aho “Shavings”, Väinö Kirstinä “House in the Country”, Risto Ahti “What is Happening”, Juha Seppälä “Super Market”. Elmer Diktonius in his work Onnela talks about the fate of his native country. The method of this narration varies, but the common problem is the genre definition: a story, a short story, a novella, a poem in prose. Despite the common features: brevity, plot limitation to one line of narration, the question of genre affiliation of Finnish lyrical prose remains debatable
While a larger part of Edith Södergran’s legacy such as poetry, aphorisms, letters has been scrutinized multiple times by scholars, her minor notebooks in different languages were somehow overpassed as they were never deciphered fully or published. Those handwritten papers might be a good resource for renewal of our perception of Södergran as an original author. This article deals with the handwritten English Notebook of this prominent Swedish-Finnish modernist with the main goal to find out what kind of texts interested her and whether they had any impact on her ouevres. The English Notebook is deposited in the Swedish Literature Society in Finland, SLSA 566:2:2 manuskript 1 English Compositions. This notebook was used to record quotes and learning material in English when the poet lived in Switzerland (1911–1914). Staying in Europe in the period of active aesthetic renewal and expansion of Modernism, Södergran did not limit herself to radical German Der Sturm. She was also reading literature in English, from Shakespeare to the Romanticists and Symbolists of the 19 th century. A quotation of Swinburne’s The Triumph of Time gave a link to Södergran’s The Triumph to Exist published in The September Lyra. Both oeuvres evoke disparate emotional reactions among readers while the poets use the same imagery to represent Time — Life — Death. The analysis showed how Södergran developed in her own poem a number of associations presumably borrowed from Swinburne while retaining his power and passion. A fully accomplished person, she perceived the global nature of the Modernist movement, which was deeply rooted in the 19 th century, but stayed authentic.
Using the methodology of the “Hoffmann complex” the article investigates the influence of the romantic tradition on Danish prose of the second half of the 20th century using the example of E. T. A. Hoffmann’s works and V. Sørensen’s short story “A Tale of Glass”. It is claimed that the work reveals a layer of Hoffmann’s intertext from the short stories “The Sandman” and “Little Zaches”. The concept of the “Sandman complex” is introduced, which is a stable interweaving of problems, motifs and images characteristic of the Hoffmann novel by the same name, namely: optical symbolism (eyes, glass, spectacles), the principle of doubleness (“party of glasses” — “party against glasses”) and the problem of duality (Gert — the leader of the revolution, the brothers-opticians), the motive of blindness, the deconstruction of the features of a romantic hero, the motive of choosing between a “false” and a “true” beloved, the problem of spiritual death of man and the mechanization of society (elements from the short story “Little Zaches”), as well as the image system (Coppelius, Coppola, Olympia, Clara, Nathaniel) from the novel by E. T. A. Hoffman. The transformation of the “Sandman complex” in the short story by Sørensen is analyzed. The authors conclude that in the “Story with Glass” elements of Hoffmann’s poetics are refracted in order to reflect the beginnings of socio-political and philosophical conflicts (materialism and idealism) of the 20th century, which originated in the confrontation of philistine (everyday) and romantic worldviews