DOI: 10.7256/2454-0749.2024.4.70200

Abstract: The actuality of the research is connected with the problem of “translation” of a classical literature piece by a director-interpreter. The subject of the study is the story by V. G. Korolenko “In a Bad Society” (1885) and its film adaptation by K. G. Muratova – “Among the Gray Stones” (1983). It is demonstrated that on the basis of the story and symbolic images of V.G. Korolenko – the garden, the apple, the flowers, the portarait, the birds and others, K.G. Muratova provides them with additional characteristics, concordant with the new cultural context. The portrait of the mother performs a plot-forming function in the film, and flowers are the main symbol associated with Marusya. K. G. Muratova uses symbols of animal masks - tiger, lion, wolf, with their help Vasya tries to build relationships with others. In the analysis a complex literature study approach is applied that combines historical and cultiral, biographical, comparative-typological methods that make it possible to determine the specific implementation of symbolic imagery in “texts” of various kinds. The substantive dominants of a classic work of Russian literature of the XIX th century are clarified and supplemented in the metalanguage of Russian cinema. The film uses Pushkin's tales ('The tale of the dead princess and seven knights, 'Winter evening'), fairy story of birds, symbolism of colors as specifying elements of cinematic speech. The language of a film is made more complicated with the introduction of musical accompaniment, sound symbols (sound of steps, dripping water and others). The analysis of the “new reading” of symbolic images of V.G. Korolenko's short story “In bad society” in the film “Among the grey rocks” by K.G. Muratova reveals the hidden meanings of a classical piece of Russian literature.

DOI: 10.7256/2454-0749.2022.3.37636

Abstract: The relevance of the research lies in the scientific significance of the problem of studying the main plot in the works of E. T. A. Hoffman, manifested at the level of a group of works in which demonological personalities (ghosts / ghosts, vampires, magnetizers) act. The general invariant plot-thematic scheme of short stories ("Magnetizer", "Ignaz Denner", "Ghost Story", "Entail", etc.) is associated with the image of the intervention of otherworldly forces in real life, which is given the character of ghostliness. The object of the study is the short story "The Sinister Guest" ("Der unheimliche Gast", 1819), the plot of which tells about the impact of a "hostile beginning" on a person. The subject of the study is one of the artistic embodiments of Hoffmann's "alien spiritual principle". It is shown that the "sinister guest", the hero of the novel of the same name, is a product of Nature, avenging a crime and an attempt to interfere in its secrets; people are also punished for their unwillingness to live in harmony with it. At the same time, the right moral choice helps the heroes of this novel to avoid the destructive power of the "sinister guest". The novelty of the study is seen in the fact that when analyzing the story of a villain endowed with mysterious knowledge, a deviation from the main plot associated with the specific situation of the novel "The Sinister Guest" is considered. This approach made it possible to clarify the understanding of the duality of being by E. T. A. Hoffman, expressed through motifs (sound, portrait, dream, mystery, affinity of souls) and natural symbols (lightning / thunderstorms, spider, elder), as well as the idea of universal dependence of people on each other and on Nature.

DOI: 10.7256/2454-0749.2021.2.33666

Abstract: The relevance of this research is defined by the scientific significance of the problem of Germany-Russia relations as an important factor of cross-cultural interaction. Dresden has imprinted hundreds of Russian names. This found reflection in the novel “Vision” by E. T. A. Hoffmannn, inspired by the experiences during his life in Dresden. The German romanticist appeared to be in the center of anti-Napoleonic War for a few month in 1813. Hoffmann also expressed his emotions in letters, diary notes, and publicistic texts. The “Unfathomable Event” of the novella “Vision” allowed avoiding unambiguity of explanation of the “fatal, difficult, and turbulent time”, as well as preserving the magic of the fantastic. It is noted that E. T. A. Hoffmann described in the novel and related texts the situations borrowed from life, reminiscences of the parlous Dresden days. At the same time, he highlighted the liberation mission of the Russian troops. Special attention is given to application of the so-called Serapiontic principle, which implies the transformation of reality in the consciousness of the imaginative nature. The novelty of this research consists in observation that the fantastic event described in the novel, turned Hoffmann into the “translator” of the meaning of feat of the Russian participants of the Liberation wars in the language of images. Such approach presented the peculiarities of development of the Russian theme and Russian literary images in the works of the German romanticist in the historical perspective.