Literatūra <p>Founded in 1958 and dedicated to publishing articles&nbsp;on Lithuanian and World literature and cultural studies.&nbsp;Indexed in the <em>Scopus</em> (Q4) database since 2020.</p> Vilniaus universiteto leidykla / Vilnius University Press en-US Literatūra 0258-0802 <p>Please read the Copyright Notice in&nbsp;<a href="">Journal Policy</a>.&nbsp;</p> Editorial Board and Table of Contents Rūta Šlapkauskaitė Copyright (c) 2021 Authors 2021-11-22 2021-11-22 63 2 1 9 Harbin and Parisian “Notes”: the Originality of Sound <p>The article is an attempt at a comparative analysis of two emigrant “notes”. Both of them have already been studied separately in detail by literary scholars. However, a comparison of these two phenomena has not yet received sufficient coverage in science. This work presents the socio-historical context of each of the “notes”. It shows the influence of this context on the creative consciousness of authors, poetics, literary correlates. While one of the characteristic features of the “Parisian note” is the scarcity of literary authorities, the poetry of the “Harbin note”, on the contrary, is distinguished by its receptive breadth. The relationship of Russian Parisians with European culture is a failed dialogue. In addition to the focus on lyrical documentary, initiated by the theorist of the “note” G. Adamovich, this became one of the reasons for the asceticism of his poetics. “Harbin note” was created in a different socio-cultural atmosphere. Unlike Paris, China has become a second home for the Russian Harbinians. This explains vital poetic colors in the poetry of the “Harbin note”. Paris is most often painted by the representatives of the “Parisian note” in the colors of death. The poetry of China occupies a special place among the poetic attractions of the “Harbin note”. This was reflected in the linguistic wealth of the Harbin poets. Thus, in contrast to the “Parisian note”, the “Harbin note” demonstrates the literary transfer that took place with the country of residence.</p> Elena Proskurina Copyright (c) 2021 Authors 2021-11-22 2021-11-22 63 2 10 28 10.15388/Litera.2021.63.2.1 Alexander Blok in the Russian Environment of Interwar Wilno <p>The study of the significance of Alexander Blok and his work in the perceptions of the Russian environment in the interwar Wilno reveals its literary orientations. Blok’s literary reputation was supported and strengthened by the main sources and processes of the formation of literary reputation – Blok’s text themselves (in particular, books in the library of the Vilna Russian society and reprints from Soviet publications), evaluations of his work in the Wilno press, literary evenings and discussions dedicated to his poetry. The research materials were collected from the Wilno press in Russian language published in 1921–1939. The study shows the exceptional importance of Blok, as the greatest poet of the era, in the perceptions of the Russian community.</p> Pavel Lavrinec Copyright (c) 2021 Authors 2021-11-22 2021-11-22 63 2 29 40 10.15388/Litera.2021.63.2.2 The Meaning of Memory in Bunin and Hippius <p>This paper illustrates the meaning of memory by the fate and change in spiritual orientation of Ivan Bunin and Zinaida Hippius, two prominent literary figures of the late tsarist Russia and interbellum émigré Paris. Most importantly, it examines the post-revolutionary transformation of values and reconciliation with external circumstances and internal afflictions of these two writers. The significance of memory becomes prominent in Bunin after his realization of the tragic and frightening consequences of the revolution, which results in his turn to the past as the source of tranquility and comfort. Hippius’s diaries and poetry, especially after her husband’s death, also show her turn toward eternal values and away from the hitherto paramount terrestrial, fleeting aspirations. The oeuvres of both writers are placed in the context of pre-revolutionary orientation towards the past that is contrary to the modernist shift to the future, which announced and precipitated the Russian Revolution of 1917.</p> Svetozar Poštić Copyright (c) 2021 Authors 2021-11-22 2021-11-22 63 2 41 53 10.15388/Litera.2021.63.2.3 Woman at the Ball. “Anna on the Neck” by Anton Chekhov and “The Psychology of a Husband from Syros” by Emmanuel Roidis: An Attempt of Comparison <p>The paper presents the first attempt to compare two short stories&nbsp;–&nbsp;<em>Anna in the Neck</em>&nbsp;by Anton Chekhov and a well-known short story by the Greek author Emmanuel Roidis&nbsp;<em>Psychology of a Husband from Syros</em>. Both texts were published at the same time (in 1895) and are considered to be masterpieces. The initial motivation for such textual analysis became almost a complete coincidence between the plots of the two stories. A series of telling coincidences and contradictions observed between the analyzed stories require some kind of explanation which will allow us to view both texts from the different angle. The paper aims to determine the correlation between the writers’ biographies and the personality traits with the characteristics of the protagonists and the style of story telling.</p> Fatima Eloeva Copyright (c) 2021 Authors 2021-11-22 2021-11-22 63 2 54 69 10.15388/Litera.2021.63.2.4 Mire’s Interpretation of the Tragic and Paradoxical World of Oscar Wilde <p>This article analyzes the reception of the figure of O. Wilde, the 19th-century English writer, and his works in the prose and criticism of Alexandra Mikhailovna Moiseeva (1874-1913), who entered the history of Russian literature of the Silver Age by the name of “Mire”. The study focuses mainly on her story&nbsp;<em>Black Panther</em>&nbsp;(1909), in which the author provides an original perspective on the tragic love episode in Wilde’s life. Attention is also paid to the thematic similarities between the works of Wilde and Mire in terms of genre, plot and literary image, as well as Mire’s interpretation of Wilde’s works in her critical reviews.</p> Maria Mikhailova Sofya Kudritskaya Copyright (c) 2021 Authors 2021-11-22 2021-11-22 63 2 70 87 10.15388/Litera.2021.63.2.5 The Story of Stenka Razin and the Persian Princess in Direct and Inverse Projections: Yevgeny Zamyatin and Anna Barkova <p>The article considers two cases of the creative reception of the legend about Stenka Razin and the Persian princess in Russian literature of the 1920s – in Yevgeny Zamyatin’s tragedy<em>&nbsp;Atilla</em>&nbsp;(1925–1928) and screenplay&nbsp;<em>Stenka Razin</em>&nbsp;(1932–1933), on the one hand, and in the play by A. Barkova&nbsp;<em>Nastasya Kostyor</em>&nbsp;(1923), on the other hand. The direct and inverse projections of Razin’s plot are represented: in Zamyatin’s case the roles of Razin and the princess are distributed in the traditional way, as they are typical for the long history of this plot in Russian culture – both in folklore and in literature, and in Barkova’s case these roles are reversed in the gender aspect. This peculiarity is considered as connected to Barkova’s interest toward “woman question”, the problem of female emancipation, women’s equality. The plot of Stenka Razin and the Persian princess is analyzed in the article together with another one – the plot featuring the woman warrior, since they are closely interrelated in Russian literature of the 1920s. The hypothesis is that this relationship is due to the active demolition of the old gender order during this period.</p> Veronika Zuseva-Özkan Copyright (c) 2021 Authors 2021-11-22 2021-11-22 63 2 88 105 10.15388/Litera.2021.63.2.6 In Modernist “School for Fools”: The Topics of Writing and Apprenticeship in German and Russian Fiction of the Twentieth and Twenty-First Century <p>The article suggests a comparative analysis of the modernist writing and apprenticeship topics in German and Russian fiction of the twentieth and twenty-first century. Writing is considered to be calligraphy, a writer’s craft, the character’s existence as a scriptor, a form of escapism, a (neo)mythological ritual of destruction and renewal of language and the world. Apprenticeship is explored in its connection with rhetorical culture of imitation and forms of rebellion against it, be it rebellion against the bourgeois society (R. Walser, H. Hesse, T. Bernhard) or the Soviet school and Social Realism (S. Sokolov, M. Shishkin). The literary tradition serves here as an object of imitation and/or deconstruction. This ambivalent attitude takes the form of irony, buffoonery, foolishness, schizophrenia and is rather often represented in the doppelganger motif. The study uses cultural-historical, comparative, narratological methods, leitmotif analysis, etc. The authors identifies new typological links between German and Russian literature.</p> Vera Kotelevskaya Maria Matrosova Copyright (c) 2021 Authors 2021-11-22 2021-11-22 63 2 106 128 10.15388/Litera.2021.63.2.7 Alexey Slapovsky vs Fyodor Dostoyevsky, or Life Without Being <p>The article examines the dialogue in A. Slapovsky’s works of the late 1990s–2000s with F. Dostoevsky. The article highlights forms and functions of this dialogue: the mention of the writer's name, the reinterpretation of his works perform the function of an ironic, often parodic, reflection on the changed status of the author, the nature of the readership, the perception of literature during a crisis of literary centrism; the value deformations occurring in society are emphasized with the help of a literary prism. “Dostoevsky's context” reflects the writer's reflection on his own work and allows us to judge the direction of Slapovsky's creative evolution.</p> Tatiana Avtukhovich Copyright (c) 2021 Authors 2021-11-22 2021-11-22 63 2 129 142 10.15388/Litera.2021.63.2.8 Virgo-Death: from The Little Show-Booth by Alexander Blok to The Mistress of Death and The Lover of Death by Boris Akunin <p>The image of Death, embodied in the image of a beautiful maiden, is considered in the article through the analysis of references in the novel diptych by B. Akunin&nbsp;<em>The Mistress of Death and The Lover of Death</em>&nbsp;(the Erast Fandorin series) to one of the most important primary sources, the drama by A. Blok&nbsp;<em>The Little Show-Booth.</em>&nbsp;The study shows that Akunin's method of deformation was replaced by a postmodern deconstruction with a splitting into two images, of Columbine and of Maiden-Death, each of which is dominated by one of the hypostases of the heroine of&nbsp;<em>The Little Show-Booth</em>. These transformations appeal in their development to the opposition in Akunin’s novels of two points of view on fate, dialectically interacting, which correlate with the adventurous exposition and with the inevitability of personal destiny idea, oriented towards the “classical” tradition. The result of the analysis is a new formula of the genre of Akunin's novels, since their poetics goes out of the ordinary framework of criminal literature, as a transgressive phenomenon in the field of mass literature, as postmodern novel, in which the uncertain intertextuality accentuates, align with plot details, the problem of heroes’ self-identity.</p> Olga Fedunina Copyright (c) 2021 Authors 2021-11-22 2021-11-22 63 2 143 156 10.15388/Litera.2021.63.2.9