Elena Tyryshkina - Academia.edu (original) (raw)
Books by Elena Tyryshkina
Formation of the reader's reaction in the lyrics of modernism (V. Majakovskij, R. Ivnev). In Rus... more Formation of the reader's reaction in the lyrics of modernism (V. Majakovskij, R. Ivnev). In Russian.
Papers by Elena Tyryshkina
Филология и человек, Dec 8, 2023
A.M. Gorky Institute of World Literature of the Russian Academy of Sciences eBooks, Dec 31, 2022
Sibirskiy filologicheskiy zhurnal, 2018
Russian Literature, 2007
In this paper an analysis is presented of the 1920 poem “The Woollen Needles of Death...” by Riur... more In this paper an analysis is presented of the 1920 poem “The Woollen Needles of Death...” by Riurik Ivnev, a poet who combines elements from the Symbolist tradition with Imagism, with which he was affiliated. The author demonstrates the tension between the literal and metaphorical significance of the poem's imagery, in particular with respect to bodily and physical motifs. Special attention is given to the multifaceted roles of the addressee(s) within and without the poem, the blurring of which is characteristic of avant-garde poetics.
Russian Literature, 2010
In the article the author explores the constitution of the reader's response in n... more In the article the author explores the constitution of the reader's response in non-classical art, with two poems, by Maiakovskii and Ivnev, as concrete examples. There appears to be a disturbance of the balance between the “real” and the “symbolic”, which is provoked by such devices as the intrusion of the “real author” in the lyric subject and the rhetoric
Izvestiya of Saratov University. Philology. Journalism, 2023
The paper analyzes the poem by Velimir Khlebnikov “When over the field glow green...” (1911–1912)... more The paper analyzes the poem by Velimir Khlebnikov “When over the field glow green...” (1911–1912) concerning the issue of how the sonnet genre functions in the author’s verse. This genre, present in the works by futurists and their followers, has been scarcely studied and requires serious scrutiny. The chosen text is a French type sonnet with relatively small formal deviations from the form (a change of the meter in verse six, occasional caesures in verses two, three, ten, and fourteen, the extra-pattern stress in verse ten, the absence of a recurrent rhyme in the second stanza, and misalignment of the syntax and stanza structures). All the deviations from the strict pattern of the sonnet are directly connected with the lyric story and are markers of important/critical events. The advent of the evening followed by the night in Khlebnikov’s universe is shown as spatial-temporal palimpsest, in which all the phenomena may occur both sequentially and synchronously, and the individual co...
Ideas and Ideals, 2017
В статье рассматривается, каким образом программа акмеизма, провозглашенная в манифестах Н. Гумил... more В статье рассматривается, каким образом программа акмеизма, провозглашенная в манифестах Н. Гумилева, С. Городецкого, О. Мандельштама, находит свое практическое воплощение в ранней лирике М. Зенкевича, представителя адамизма-«левого крыла» этой поэтической школы. Для адамизма характерно радикальное следование манифестам Н. Гумилева, С. Городецкого, О. Мандельштама, в которых акцентируется необходимость эстетического освоения земного, материального, предметного мира в противовес символистским лозунгам теургии. М. Зенкевич выводит на сцену нового героя, размышляющего о своем месте в мироздании, о своей природе-в единстве плотского/животного и духовного. Задача «принятия мира во всей совокупности красот и безобразий», поставленная акмеистами, в творчестве М. Зенкевича не получает практического воплощения. В сборнике «Дикая Порфира» природа предстает как единство «земного и мистического», непознаваемая и неподвластная человеку. Но принять ее законы, где «равновесие» достигается за счет круговращения бесконечного разрушения и созидания, означало бы для лирического субъекта «растворение в материи», потерю субъектности. Во второй книге-«Под мясной багряницей»-природе как творящему абсолюту почти не уделяется внимания. Та же проблема природного и сверхприродного получает эстетическое воплощение на уровне микрокосма, где мужчина и женщина являются существами двойственными: «животная» натура проявляется в эротических инстинктах первого и в физическом совершенстве и жестокости второй. При этом женщина-существо сакральное (как и природа в «Дикой порфире»), земное и мистическое в ней слиты воедино, а мужчина сакрализуется под знаком смерти, принося себя в жертву. Но и в этих «персонифицированных» моделях очевидно неравновесие «земного и мистического»: женщина отчасти ущербна как природное существо (она бесплодна), а мужчина обречен умереть во имя Вечной женственности. Одновременно в лирике М. Зенкевича 1910-х годов начинает формироваться облик нового героя, «грядущего Аполлона», человека машинной цивилизации, свободного от природного детерминизма. Намечается сближение с эстетикой авангарда, где субъект бросает вызов и природе, и Богу, узурпировав право творения.
Izvestiya of Saratov University. New Series. Series: Philology. Journalism
The article examines the transformation and functioning of the myth of Venus Anadyomene in the ea... more The article examines the transformation and functioning of the myth of Venus Anadyomene in the early lyrics by A. Kruchenykh in the context of the main trends of the futurism aesthetics and literary/painting studies on Venus-Aphrodite iconography of 1910-1925. The myth remains at the level of the plot basis as a relic; however, there is a shift of emphasis from the female ideal of beauty and cultural symbol to the male figure, usurping the power of creation.
Izvestiya of Saratov University. New Series. Series: Philology. Journalism
Тырышкина Елена Викторовна, доктор филологических наук, профессор кафедры русской и зарубежной ли... more Тырышкина Елена Викторовна, доктор филологических наук, профессор кафедры русской и зарубежной литературы, теории литературы и методики обучения литературе, Новосибирский государственный педагогический университет, elena.tyryshkina@ gmail.com В статье рассматриваются трансформация и функционирование сюжета «Пигмалион и Галатея» в повести А. В. Чаянова. Специфика повести заключается в многомерной игре с мифами (Афродита, Медуза Горгона, Изида) и литературными традициями (Дж. Казанова, И. В. Гете, Л. Тик, Э. Т. А. Гофман, Г. Гейне, А. Блок и др.), а структурные уровни текста подчинены принципу зеркального удвоения. Известный тезис О. Фрейденберг о том, что «идея куклы параллельна идее божества-актера-покойника», в произведении А. В. Чаянова получает своеобразное воплощение в неоромантическом/декадентском варианте: мир-это дьявольский театр, где меняются роли и маски по законам вечного повторения. Ключевые слова: А. В. Чаянов, «История парикмахерской куклы», сюжет Пигмалиона, двойничество, неоромантизм/декаданс. A Doll and Its Counterpart (The Story of a Barber Doll by A. V.
Ideas and Ideals, 2019
Abstract The study deals with the mechanisms of perception of the Japanese culture in the works... more Abstract
The study deals with the mechanisms of perception of the Japanese culture
in the works of Russian symbolists, Valery Bryusov and Fyodor Sologub. The
Japanese culture came to Russia at the turn of the 20th century not directly but
by mediation of the European culture; the visual code and the modeled image
of Japan were formed as a paradise lost/found, as a country populated by the
“artist folk” due to fusion of arts and crafts and to the idea of artistic skills
acquired not as an elitist but mass phenomenon. This mythological model was
built basing on the mechanism of substitution, when the Japanese culture was
compared to the culture of ancient Greece, to the medieval and Renaissance
art. In Russian symbolism, creating the image of Japan as new Hellas became
the main principle, including transformation of the concept of Dionysism. In
their works and in critique as well, Valery Bryusov and Fyodor Sologub included
Japan into the framework of the symbolist myth. In this regard, materials from
“Vesy” (the Scales) literary magazine, the “Contemporaneity” cycle of poems
by Bryusov, letters, essays, and articles by Sologub, and a fragment from his
novel “The Petty Demon” are considered. For Sologub, the concept of the
“natural man” raised in the spirit of antiquity and the cult of the beautiful
human body were dominant. His attitude was integral and did not change
during the Russo-Japanese War of 1904-1905, which was a rare phenomenon
in the society. The attitude of Bryusov was ambivalent, and the aesthetic and
political realia generated a certain antithesis in his thinking: the nation of
“sophisticated aesthetes” turned into a nation of barbarians threatening the
European civilization. According to Bryusov, Russia had a messianic role, and it
was destined to rescue Europe from the “yellow hazard”. In his understanding,
Russia itself was like a new Roman Empire. It is evident that in the early 20th
century the Japanese culture assimilated with the existing mythological models
in the symbolist milieu, and the yearning for an ideal became embodied in the
creation of an existent /non-existent topos of a miraculous country according to the images of the past cultures. The alien was perceived as the beautiful,
to be soon replaced by the contraposition of the dangerous/demonic. This
antithesis is archetypal. At that time in Russia, the Japanese studies were in the
initial phase of knowledge, and comprehensive cultural dialogue, not implying
ready-made answers and clichés, was unfathomable.
Keywords: “Picturesque Japan”, “the yellow hazard”, Russian symbolism,
Dionysism, new Hellas.
Bibliographic description for citation:
Tyryshkina E.V. “Picturesque Japan” and “the Yellow Hazard”: on perception of the
Japanese culture in Russian symbolism (Fedor Sologub vs. Valery Bryusov). Idei i idealy – Ideas and Ideals, 2019, vol. 11, iss. 1, pt. 2, pp. 378–394. DOI: 10.17212/2075-0862-2019- 11.1.2-378-394.
Sibirskiy filologicheskiy zhurnal
Sibirskiy filologicheskiy zhurnal
Formation of the reader's reaction in the lyrics of modernism (V. Majakovskij, R. Ivnev). In Rus... more Formation of the reader's reaction in the lyrics of modernism (V. Majakovskij, R. Ivnev). In Russian.
Филология и человек, Dec 8, 2023
A.M. Gorky Institute of World Literature of the Russian Academy of Sciences eBooks, Dec 31, 2022
Sibirskiy filologicheskiy zhurnal, 2018
Russian Literature, 2007
In this paper an analysis is presented of the 1920 poem “The Woollen Needles of Death...” by Riur... more In this paper an analysis is presented of the 1920 poem “The Woollen Needles of Death...” by Riurik Ivnev, a poet who combines elements from the Symbolist tradition with Imagism, with which he was affiliated. The author demonstrates the tension between the literal and metaphorical significance of the poem's imagery, in particular with respect to bodily and physical motifs. Special attention is given to the multifaceted roles of the addressee(s) within and without the poem, the blurring of which is characteristic of avant-garde poetics.
Russian Literature, 2010
In the article the author explores the constitution of the reader's response in n... more In the article the author explores the constitution of the reader's response in non-classical art, with two poems, by Maiakovskii and Ivnev, as concrete examples. There appears to be a disturbance of the balance between the “real” and the “symbolic”, which is provoked by such devices as the intrusion of the “real author” in the lyric subject and the rhetoric
Izvestiya of Saratov University. Philology. Journalism, 2023
The paper analyzes the poem by Velimir Khlebnikov “When over the field glow green...” (1911–1912)... more The paper analyzes the poem by Velimir Khlebnikov “When over the field glow green...” (1911–1912) concerning the issue of how the sonnet genre functions in the author’s verse. This genre, present in the works by futurists and their followers, has been scarcely studied and requires serious scrutiny. The chosen text is a French type sonnet with relatively small formal deviations from the form (a change of the meter in verse six, occasional caesures in verses two, three, ten, and fourteen, the extra-pattern stress in verse ten, the absence of a recurrent rhyme in the second stanza, and misalignment of the syntax and stanza structures). All the deviations from the strict pattern of the sonnet are directly connected with the lyric story and are markers of important/critical events. The advent of the evening followed by the night in Khlebnikov’s universe is shown as spatial-temporal palimpsest, in which all the phenomena may occur both sequentially and synchronously, and the individual co...
Ideas and Ideals, 2017
В статье рассматривается, каким образом программа акмеизма, провозглашенная в манифестах Н. Гумил... more В статье рассматривается, каким образом программа акмеизма, провозглашенная в манифестах Н. Гумилева, С. Городецкого, О. Мандельштама, находит свое практическое воплощение в ранней лирике М. Зенкевича, представителя адамизма-«левого крыла» этой поэтической школы. Для адамизма характерно радикальное следование манифестам Н. Гумилева, С. Городецкого, О. Мандельштама, в которых акцентируется необходимость эстетического освоения земного, материального, предметного мира в противовес символистским лозунгам теургии. М. Зенкевич выводит на сцену нового героя, размышляющего о своем месте в мироздании, о своей природе-в единстве плотского/животного и духовного. Задача «принятия мира во всей совокупности красот и безобразий», поставленная акмеистами, в творчестве М. Зенкевича не получает практического воплощения. В сборнике «Дикая Порфира» природа предстает как единство «земного и мистического», непознаваемая и неподвластная человеку. Но принять ее законы, где «равновесие» достигается за счет круговращения бесконечного разрушения и созидания, означало бы для лирического субъекта «растворение в материи», потерю субъектности. Во второй книге-«Под мясной багряницей»-природе как творящему абсолюту почти не уделяется внимания. Та же проблема природного и сверхприродного получает эстетическое воплощение на уровне микрокосма, где мужчина и женщина являются существами двойственными: «животная» натура проявляется в эротических инстинктах первого и в физическом совершенстве и жестокости второй. При этом женщина-существо сакральное (как и природа в «Дикой порфире»), земное и мистическое в ней слиты воедино, а мужчина сакрализуется под знаком смерти, принося себя в жертву. Но и в этих «персонифицированных» моделях очевидно неравновесие «земного и мистического»: женщина отчасти ущербна как природное существо (она бесплодна), а мужчина обречен умереть во имя Вечной женственности. Одновременно в лирике М. Зенкевича 1910-х годов начинает формироваться облик нового героя, «грядущего Аполлона», человека машинной цивилизации, свободного от природного детерминизма. Намечается сближение с эстетикой авангарда, где субъект бросает вызов и природе, и Богу, узурпировав право творения.
Izvestiya of Saratov University. New Series. Series: Philology. Journalism
The article examines the transformation and functioning of the myth of Venus Anadyomene in the ea... more The article examines the transformation and functioning of the myth of Venus Anadyomene in the early lyrics by A. Kruchenykh in the context of the main trends of the futurism aesthetics and literary/painting studies on Venus-Aphrodite iconography of 1910-1925. The myth remains at the level of the plot basis as a relic; however, there is a shift of emphasis from the female ideal of beauty and cultural symbol to the male figure, usurping the power of creation.
Izvestiya of Saratov University. New Series. Series: Philology. Journalism
Тырышкина Елена Викторовна, доктор филологических наук, профессор кафедры русской и зарубежной ли... more Тырышкина Елена Викторовна, доктор филологических наук, профессор кафедры русской и зарубежной литературы, теории литературы и методики обучения литературе, Новосибирский государственный педагогический университет, elena.tyryshkina@ gmail.com В статье рассматриваются трансформация и функционирование сюжета «Пигмалион и Галатея» в повести А. В. Чаянова. Специфика повести заключается в многомерной игре с мифами (Афродита, Медуза Горгона, Изида) и литературными традициями (Дж. Казанова, И. В. Гете, Л. Тик, Э. Т. А. Гофман, Г. Гейне, А. Блок и др.), а структурные уровни текста подчинены принципу зеркального удвоения. Известный тезис О. Фрейденберг о том, что «идея куклы параллельна идее божества-актера-покойника», в произведении А. В. Чаянова получает своеобразное воплощение в неоромантическом/декадентском варианте: мир-это дьявольский театр, где меняются роли и маски по законам вечного повторения. Ключевые слова: А. В. Чаянов, «История парикмахерской куклы», сюжет Пигмалиона, двойничество, неоромантизм/декаданс. A Doll and Its Counterpart (The Story of a Barber Doll by A. V.
Ideas and Ideals, 2019
Abstract The study deals with the mechanisms of perception of the Japanese culture in the works... more Abstract
The study deals with the mechanisms of perception of the Japanese culture
in the works of Russian symbolists, Valery Bryusov and Fyodor Sologub. The
Japanese culture came to Russia at the turn of the 20th century not directly but
by mediation of the European culture; the visual code and the modeled image
of Japan were formed as a paradise lost/found, as a country populated by the
“artist folk” due to fusion of arts and crafts and to the idea of artistic skills
acquired not as an elitist but mass phenomenon. This mythological model was
built basing on the mechanism of substitution, when the Japanese culture was
compared to the culture of ancient Greece, to the medieval and Renaissance
art. In Russian symbolism, creating the image of Japan as new Hellas became
the main principle, including transformation of the concept of Dionysism. In
their works and in critique as well, Valery Bryusov and Fyodor Sologub included
Japan into the framework of the symbolist myth. In this regard, materials from
“Vesy” (the Scales) literary magazine, the “Contemporaneity” cycle of poems
by Bryusov, letters, essays, and articles by Sologub, and a fragment from his
novel “The Petty Demon” are considered. For Sologub, the concept of the
“natural man” raised in the spirit of antiquity and the cult of the beautiful
human body were dominant. His attitude was integral and did not change
during the Russo-Japanese War of 1904-1905, which was a rare phenomenon
in the society. The attitude of Bryusov was ambivalent, and the aesthetic and
political realia generated a certain antithesis in his thinking: the nation of
“sophisticated aesthetes” turned into a nation of barbarians threatening the
European civilization. According to Bryusov, Russia had a messianic role, and it
was destined to rescue Europe from the “yellow hazard”. In his understanding,
Russia itself was like a new Roman Empire. It is evident that in the early 20th
century the Japanese culture assimilated with the existing mythological models
in the symbolist milieu, and the yearning for an ideal became embodied in the
creation of an existent /non-existent topos of a miraculous country according to the images of the past cultures. The alien was perceived as the beautiful,
to be soon replaced by the contraposition of the dangerous/demonic. This
antithesis is archetypal. At that time in Russia, the Japanese studies were in the
initial phase of knowledge, and comprehensive cultural dialogue, not implying
ready-made answers and clichés, was unfathomable.
Keywords: “Picturesque Japan”, “the yellow hazard”, Russian symbolism,
Dionysism, new Hellas.
Bibliographic description for citation:
Tyryshkina E.V. “Picturesque Japan” and “the Yellow Hazard”: on perception of the
Japanese culture in Russian symbolism (Fedor Sologub vs. Valery Bryusov). Idei i idealy – Ideas and Ideals, 2019, vol. 11, iss. 1, pt. 2, pp. 378–394. DOI: 10.17212/2075-0862-2019- 11.1.2-378-394.
Sibirskiy filologicheskiy zhurnal
Sibirskiy filologicheskiy zhurnal