The aim of this article is to answer the question, “How Philaret Drozdov understood God’s holiness and human holiness and how both the ideas were displayed in his writings?” The research material constitutes selected homilies and a catechism. In the first place, the author discusses the definition of holiness and its understanding by the Orthodox Church with regard to the issue of deification. Also, he familiarizes the reader with the concept of holiness in its various aspects. Subsequently, the homilies and the catechism of Philaret Drozdov are analysed. The article shows the Moscow Metropolitan’s beliefs about the essence of human holiness as well as about the eschatological dimension of temporality and the pneumatological aspect of holiness, the issue of grace and a human seen as a vessel of God’s energy. The author proves that the Moscow Metropolitan continued in his works the traditions of the Church Fathers and creatively developed the most important assumptions of Orthodox anthropology and soteriology and, hence enriching Russian spiritual thought.
Dmitriev-Mamonov is primarily known for his story that describes inhabitants of other planets. The story contains some controversial elements including an unflattering image of the clergy, heliocentrism, and the possibility of multiplicity of worlds. He also authored a Chronology and a free translation of part of the Psalter in which he included some of his theological views.
This article presents an overview of a literary sketch The Bathing Beaches on the Baltic Coast in the West Guberniyas… by Faddei Bulgarin (1789-1859), first published in Russian in 1827 (“Severnaya Pchela”, № 122-125) and in 1828 in Polish (“Kolumb”, vol. 1, № 4). The interpretive context for the story is founded on author’s journeys across the Baltic region and his stay in Karlov near Dorpat as well as development of the resorts by the Baltic Sea. Bulgarin’s sketch was the first description of Palanga (Polish: Połąga) as a seaside resort town. Among other elements of the writing the article discusses its composition and style, focusing primarily on a number of descriptive features concerning: the sea, the land, the nature, entertainments, local inhabitants and travellers and their customs.
The subject of the analysis and interpretation of this article consists in philosophy and poetics of photography as a medium of memory in Maria Stepanova’s novel Pamyati Pamyati [In Memory of Memory]. Meanwhile, it is aimed at revealing a unique attitude of the novel’s author towards photography and its derivatives as a medium of memory and yet towards memory itself as a mandatory obligation in its essence for all the generations after the Holocaust. In a given context the notion of postmemory is binding and, hence, a separate part of the article is devoted to it. In view of the centuries-old and universal interest around the phenomenon of memory, mainly in the existential context, at the beginning of the article the emphasis is solely put on several selected aspects of it as articulated by Aristotle, Plato, Saint Augustine, Walter Benjamin and Paul Ricoeur. Respectively, the following terms are addressed by them: memoria, aisthesis, gesture of passage or picture – monument. In the article it has been shown that Stepanova is fascinated by the truth of time, the premonition of the Holocaust. She searched the shadows of the past on the faces and in the events captured in the pre-war film frames in such a way that one can experience his connection with that world, discover himself internally in that structure because, as she claims, her text is the novel about non-memory.
The writings of Lyudmila Ulitskaya, one of the most popular contemporary Russian novelists, attracts lots of attention from both Russian and foreign literary critics and scholars. The author’s popularity is also confirmed by the fact that her works have been translated into more than 20 different languages. The main goal of this article is to provide an analysis of the spiritual dimension of the novel The Kukotsky Enigma. At its very essence, the main subject of the study is the plot, which focuses on the anthropological aspect in the context of the transcendental dimension as such, hagiographic motifs and biblical metaphorics. The article also discusses the synthetism of genetic elements appearing in the novel that allowed the writer to combine Christian, mythopoeic, axiological, soteriological and theological contexts. Furthermore, an attempt was made to analyse the characters, considering spiritual and moral values they represent. The intersection of two spheres – the Sacred and the profane – together with the loci associated with them constitute additional object of the research.
This article presents a picture of war in Mikhail Shishkin’s novel The Light and the Dark (2010). In the narrative, the author introduces a character who fought on the side of the Russian army during the suppression of the Boxer Rebellion in China (1898–1901). When describing the events of that period, Shishkin relied on numerous archival materials, especially the study by Dmitry Yanchevetsky At the Walls of Immovable China. As a military journalist who participated in the rebellion, this author blamed the Chinese people, disgruntled with the domination of other countries in their country, for the war. Shishkin, abundantly drawing on Yanchevetsky’s factual research, in his book reevaluates the historical events and condemns the aggression of the Eight-Nation Alliance on China. The writer compares this war to the Soviet Union’s attack on Finland in 1939 citing a term from Aleksandr Tvardovsky’s poem: “the infamous war”. Because Russia’s participation in quashing the Boxer Rebellion remains a little-known fact among Russian readers, it becomes a generalized representation of war in the novel: a universal one. Shishkin adopts a pacifist attitude here. He debunks the myth of war, which presupposes a sacralization of killing and a heroic death of soldiers. There are no glorious warriors on the battlefield, only corpses of anonymous soldiers, blood, the smell of rotting bodies, chopped off heads, flies, and dirt. In this novel, war is an evil that alters one’s perception of reality and emotional reactions and destroys elementary moral principles.
The article contains an analysis of Boris and Gleb novel written by a contemporary Russian writer Y. Buida. The analysis is realized in reference to certain postmodern tendencies in literature. The author emphasizes mainly the dialogic character of postmodernism and depicts particular features of the movement in post-Soviet culture. Specifically, the dialogic character of the novel is realized through multilayer interferences of culture codes which suit the idea of chaosmic reality by Deleuze and Guatarri. Correspondingly, the dialogue is also displayed by the eclecticism of genders and styles.
The study analyzes the Ruthenian language of a remarkable bilingual print that appeared in the important Orthodox cultural center Ostrih in Church Slavonic and in Ruthenian “prosta mova” (“common language”) in 1607. It offers a critical evaluation of earlier studies and adds several new observations and theses.
This article researches the debatable issue in semasiology, particularly the origin of an idiom captured in four Slavic languages: Ukrainian zbyty z pantelyku, Russian sbit’ s pantalyku, Belarusian zbits’ z pantalyku, Polish zbić z pantałyku. The subject of analysis is fictional texts and lexicographical sources in which this phraseological unit first appeared. All etymological hypotheses developed by language experts during 19th-20th centuries were dedicated to the explanation of the word «pantelyk». The difficulty of revealing the figurative basis of the expression is due to the fact that this keyword does not belong to the Slavic vocabulary. This circumstance made it complicated to explain how the term «pantelyk» influenced the original figurative meaning of the idiom «seduce out of the right way». The new etymological version, offered by the article’s author, is that the idiom zbyty z pantelyku can be reconstructed as a semantic chain: throw off a course → seduce out of the right way → to throw into confusion → zbyty z pantelyku. The word «pantelyk», which wasn’t a part of any dialect, is a nonce formation or an occasional expression that emerged as a result of a burlesque travesty genre in the poem Eneyida by Ivan Kotlyarevsky.
en
pl
