bluuebunny/crossref_metadata_2025 huggingface dataset:
Le monde intelligible de Nishida. Introduction
Authors: Tremblay Jacynthe
Published: July 2011

Cet article présente les trois premières parties (sur un total de 9) de l'essai «Le monde intelligible» de NISHIDA Kitarô (®ffl£&#E&) (dont la traduction suit). Cet essai est le plus important et le mieux construit du cinquième volume de l'œuvre complète de Nishida, qui y fait une présentation systématique des trois universels constituant sa «logique du basho», notamment le troisième, à savoir l'«universel de l'intelligible», qui rend compte du monde intelligible. Il porte attention, également, au «néant absolu», qui englobe les trois universels. Cet article suit les linéaments de la pensée de Nishida, à savoir sa «méthodologie» et le dégagement du domaine de l'intelligible à partir des «actes de la conscience» (partie I) ; le rappel de 1' «universel de l'éveil à soi» et des notions importantes dans le contexte du dépassement de la conscience, à savoir 1' «éveil à soi», les universels «abstrait» et «concret», l'«englobement» et le «soi volontaire» (partie II) ; le rôle de la «volonté» comme dépassement de la conscience, ainsi que la transition vers l'intelligible (partie III).

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Une définition de l'amour selon des « divinités lieuses » campagnardes : les dôsojin, divinités ancestrales des chemins
Authors: Butel Jean-Michel
Published: July 2011

On entend encore trop souvent dire au Japon que le mariage traditionnel japonais s'effectuait hors de toute considération de sentiment (o-miai kekkon). On remarque pourtant dans nombre de villages des « divinités du lien amoureux » (en-musubi no kami ) que tout un chacun peut venir prier dans l'espoir d'obtenir un conjoint qui lui convienne. Parmi celles-ci, la divinité ancestrale des chemins (dôsojin) est sans doute celle dont le culte est le plus largement répandu. Dans cet article, nous nous intéresserons à ce qui fonde les croyances envers ces dôsojin afin de tenter de repérer une certaine définition de l'amour selon la société villageoise japonaise.
Le général Kislitsin, chef du bureau de l'Émigration russe à Harbin — du monarchisme russe et de l'esprit du Bushido
Authors: Breuillard Sabine
Published: July 2011

The present study analyses the situation of Russian émigrés in Manchuria during the Manchukuo experiment (1932-1945) through the General Kislitsin's exemplary case. Bureau of Russian Emigré Affairs' director, constrained to treat with the Japanese, Kislitsin helped them to fight with the Komintern. A deeply convinced Russian monarchist, he happened to discourse on Bushidô, but never giving the impression of betraying the Russian cause. Denounced in 1943 as a double agent, he dies struck by a mysterious disease, probably poisoned. The General Kislitsin's non elucidated death crystallizes and illustrates the contradictions of this society.

The survey is based on archives documents and oral history.
Un auteur de bandes dessinées des années 60, Sasaki Maki
Authors: Maréchal Béatrice
Published: July 2011

Sasaki Maki (né en 1946) fait ses débuts dans les pages du magazine de bandes dessinées Garo. Dans des œuvres à caractère expérimental, il rompt le lien qui permet d'enchaîner les cases et annihile le pouvoir des mots au point qu'il n'est plus possible d'y reconnaître une histoire. Il reste alors pour les lecteurs à recomposer un univers de lecture à travers des indices tels que les apparitions répétées de personnages, dans nombre de cas, un jeune homme incapable de se fondre dans son environnement. Les bandes dessinées de Sasaki Maki, loin de respecter les règles fondamentales de la composition d'un récit, finissent par ressembler à un album de tableautins dont le contenu n'est pas sans évoquer les peintures du pop-art. Mais cet auteur original sait mettre en valeur un thème universel, celui des tourments d'une jeunesse prise dans son époque.
Entretien avec Miyata Noboru
Authors: Butel Jean-Michel
Published: July 2011

Le 10 février 2000 décédait, à l'âge de 63 ans, le folkloriste japonais Miyata Noboru. Rarement traduit en français, il est encore sans doute mal connu hors d'un petit cercle de spécialistes. Et pourtant son œuvre est immense et multiforme. Ebisu a voulu rendre hommage à un grand nom des études folkloriques japonaises en présentant un entretien durant lequel il retrace son parcours intellectuel, suivi de la traduction de l'un de ses articles concernant les croyances populaires japonaises, plus particulièrement le phénomène de mode dont peuvent être l'objet certaines divinités. Ce dossier se clôt sur une bibliographie qui — quoiqu'incomplète — permet de se rendre compte de la vitalité de la reflexion de Miyata Noboru et de l'activité exceptionnelle qu'il déploya à la recherche de ce qu'il pensait être les « spécificités » de la culture japonaise.
L'arsenal de Yokosuka de 1865 à 1882 : Les enjeux d'un transfert de technologies
Authors: De Touchet Elisabeth
Published: July 2011

En 1853, le gouvernement japonais, déterminé à combler son retard par rapport aux nations occidentales industrialisées, décide de créer à Yokosuka le premier arsenal maritime du pays, avec la collaboration d'une mission navale de la Marine française. Or, dans quelle mesure cette collaboration peut être considérée comme un transfert de technologies ? Cet article veut décrire la transmission de savoirs et de savoir-faire des Français ainsi que leur assimilation puis leur transformation par les Japonais. Il privilégie l'administration du travail et l'administration budgétaire, soit deux dimensions essentielles de tout transfert de technologies. Il montre les dispositifs mis en œuvre par les Français à travers la création de l'espace productif, de formations, et leur adaptation par les Japonais. En matière d'administration budgétaire, il présente les fragilités des compétences transmises par les Français et leur compensation par les Japonais.
Le Japonisme de Georges Clemenceau
Authors: Séguela Matthieu
Published: July 2011

Dans la France de la fin du XIXème siècle qui découvrait l'art japonais, Georges Clemenceau (1841-1929) fut un collectionneur passionné. Ami de Saionji Kinmochi, de Manet et de Monet, Clemenceau constitua un ensemble riche de 6000 pièces (estampes, livres illustrés, peintures, bronzes et céramique). En 1894, les aléas de la vie politique l'obligèrent à vendre la majeure partie de ses objets d'art. Mais il sauva de la dispersion 3000 kôgô - boîtes à encens utilisées pour la cérémonie du thé - qui, aujourd'hui encore, demeure la plus grande collection de kôgô jamais rassemblée. Journaliste, parlementaire et homme d'État, Clemenceau apporta le concours de ses collections et son influence au service de la diffusion de l'art japonais auprès du public français. Il soutint l'œuvre d'Emile Guimet et fut à l'origine de la création du Musée d'Ennery de Paris. C'est ce rôle majeur - fondé sur une solide et discrète érudition - qui doit être lu dans la cohésion d'un esprit humaniste, fasciné, au-delà son esthétique japoniste, par la philosophie des civilisations extrême-orientales.
Hirasawa Keishichi et le théâtre ouvrier
Authors: Tschudin Jean-Jacques
Published: July 2011

Surtout connu pour avoir été sauvagement assasiné par la police dans le chaos qui suivit le Grand tremblement de terre du Kantô en septembre 1923, Hirasawa Keishichi (1889-1923) était un important activiste de la cause ouvrière ainsi qu'un très prometteur écrivain. Ouvrier aualifïé dans une fonderie, il avait déjà une longue experience de la vie d'usine lorsqu il s'impliqua dans le mouvement ouvrier d'abord dans le cadre de la Yûaikai, et ensuite en tant que meneur d'un rassemblement anarcho-syndicaliste autonome. Il était également un très dynamique et intéressant auteur de théâtre profondément dévoué à la création de troupes de théâtre ouvrier. Après une rapide présentation de sa vie, cette article entend s'intéresser surtout à son œuvre théâtrale en tant que fondateur du Rôdô gekidan, dont les œuvres furent l'objet d'un grand enthousiasme de la part de la classe ouvrière qui peuplait la zone industrielle de Nankatsu, à Tôkyô, où était cise la troupe. Traqué par la police, la portée des activités du Rôdô gekidan demeura très limitée. Ce dernier laisse néanmoins une grosse impression sur les intellectuels et artistes de gauche qui pourvoyaient à ses représentations, et demeure vivant dans les mémoires en tant que pionnier du mouvement du théâtre prolétarien et en tant que l'un des rares exemples d'un théâtre écrit et joué par et autant que pour la classe ouvrière.
Tanizaki Jun.Ichirô et l'inscription littéraire des institutions
Authors: Bayard-Sakai Anne
Published: July 2011

The reader, nowadays, knows or believes that texts refer to nothing but to themselves, and that it would be irrelevant to approach them with an interpretative system imported from an other field. Thus will be dismissed the ideological interpretation, and that will allow to avoid illustrating a thesis with ad hoc literary examples that do not prove anything. But that does not mean literature has no relation with reality, if only in a parasitic way. Is discussed here the case of Tanizaki Jun.ichirô, whose works give way when we try to read them as illustrative. And vet, we find here some effects of diversion, and social institutions find themselves invalidated as they are turned into fiction : it is literature that is the model for reality, and not the reverse.
Entre la France et le Japon : Foujta et Légendes japonaises (1923)
Authors: Hayashi-Hibino Yôko
Published: July 2011

Born in Tokyo during the Meiji Era, the artist Foujita Tsuguharu (1886-1968) lived in Paris for almost forty years and at the end of his life became a naturalized French citizen. Foujita's first stay in France, from 1913 to 1929, is the period most deserving of intense research. During the 1920s, the so-called années folles, there were many lively diplomatic and cultural exchanges between France and Japan. Foujita played an important role in these events since he came to represent Japan in the minds of the French. In 1923, he was the driving force behind the publication of an illustrated book, Légendes japonaises {Japanese Legends). Not just a translation of a previously published work, Légendes japonaises was a completely new edition created for French readers. Foujita drew the illustrations for this book in his role as an artist and also contributed greatly, in his role as a Japanese, to the compilation of the text and its translation from Japanese. This article discusses the context of this book's publication, as well as tne process of creating Légendes japonaises. As the « representative » of Japan in France, Foujita relied upon those texts and images from his homeland that he was able to locate in Paris. Zenken Kojitsu {Portraits and Biographies of Great Men from the Past), a ten-volume series of drawings by the Japanese artist Kikuchi Yosai (1788-1878) published at the end of the Edo period, was the most obvious source of images for Foujita. The relationship between Foujita's work and the Zenken Kojitsu is analyzed here through reference to several concrete examples, and the influence of Légendes japonaises on his future illustrations and paintings is also discussed.
La politique des autorités communistes en Pologne, à la lumière des rumeurs dans les années 1949-1953
Authors: Jarosz Dariusz , Pasztor Maria
Published: July 2011

The policy of communist authorities in Poland as seen through rumors in the years 1949-1953

The article deals with the image of the Polish Communist authorities during the period of deep Stalinism (1949-1953) in the light of common knowledge and rumors circulating among the ordinary people in Poland. The study is based mainly on information collected by the Polish political policy (bezpieczeństwo) and local committees of the Polish Communist Party.

1. The common knowledge reveals much about the fears and the hopes of Polish society during the Stalin era.

2. The main factor which accelerated gossips and rumors was the difficulty in acceding to credible information about the real situation in Poland. However the circulation of rumors was also partly favored by censorship as a means of controlling society. The Polish speaking radio stations existing in the West during the Stalin period (first of ail Radio Free Europe) were very important sources of knowledge about Poland and the rest of the world, but listening to those broadcasts was banned by Communist law.

3. Among the major themes studied by the authors are the collectivization of agriculture, the expected outbreak of the third world war, the provision of food, the limitations of human rights and the persecution of the Catholic Church.

4. Rumors show that a remarkable increase of optimism in Poland follows Stalin's death in Mardi 1953.
La découverte de l'art russe en France, 1879-1914
Authors: Cariani Gianni
Published: July 2011

Unlike literature, Russian art enjoyed only marginal interest in France throughout the 19th century. The lack of intermediaries, ignorance of Russian artistic traditions, and the global perception of Russia as a backwater, kept on hindering the discovery of Russian art. The World Fair organized in Paris in 1900 marked a renewed contact with and a reinterpretation of Russian art. Consequently considered in its dual dimension both historical and contemporary, this art has been clearly defined and has contributed to identify the essence, spirit and characteristics of Russian culture. Actually, the go-betweens who recognized the value of an art widely considered until then as unexceptional were Russians: artists, collectors, entrepreneurs. In 1914, Russian art largely contributed to the renewal of European artistic forms and trends. Its acknowledgement by France, following the example of the constituent nations of 'old Europe', was definitive.
Le théâtre folklorique russe : culture savante, culture populaire ?
Authors: Gruel-Apert Lise
Published: July 2011

Русский фольклорный (народный) театр : «высокая» культура, народная культура?

Многие авторы не признавали специфики русского народного театра. Многочисленные влияния на этот театр должны быть изучены, сам этот театр должен быть рассмотрен в тесной связи с породившим его историческим контекстом, с одной стороны, с народными праздничными (сельскими и городскими) зрелищами, с другой.

Все эти разнородные влияния, тем не менее, объединены общей композицией, в основе которой — три главных действующих лица: убивающий / убитый / гробокопатель (посредник).

За часто комическим (а иногда и трагическим) умерщвлением одного из персонажей всегда следует комическое захоронение (иногда воскресенье) того же персонажа. Сценки, в которых умерщвляют разных персонажей, чередуются в быстром темпе. Анализ языка этих театральных пьес потверждает, что в них все подчинено комическому эффекту.

Толкование (анализ) этой основной структуры приводит к выводу, что заимствования, будь они иностранного или городского происхождения («ученая» или «высокая» культура) все-таки подчиняются народной культуре, на которую следует в данном случае смотреть то как более древней, то как основной (доминантной).
N. F. Danièl´son dans l'histoire de la pensée politique russe : le commencement oublié d'une réflexion marxiste sur le retard économique
Authors: Adamovsky Ezequiel
Published: July 2011

N. F. Danièl'son en historia del pensamiento político : los comienzos olvidados de una reflexión marxista sobre el atraso económico

En el presente trabajo se propone una re-evaluación de la obra de Danièl'son como uno de los primeras pensadores del atraso económico, y de su lugar en la historia de la introducción del marxismo en Rusia. Particulamente, se discute la validez de su clasificación como populista, presente en la totalidad de los estudios acerca de las ideas en la Rusia del s. XIX, reinsertando su obra en el contexto de la lucha por la apropiación del marxismo, en una etapa crucial de la historia del movimento revolucionario ruso
Sur la mise en place du système architectural de Malevič
Authors: Vérité Patrick
Published: July 2011

About the Setting up of Malevič's architectural system

In 1924, at the fourteenth Venice Biennale, Malevič exhibits six 'planits' (the name he gives to his architectural drawings) together with paintings of a Black Square, a Black Cross and a Black Circle. An analysis of these works must consider them as an ensemble and as works in dialogue with one another. Within Malevič's suprematist system the straight line links the second and third dimensions. This straight line, the 'forming element' of his plastic system, is the key to analyzing the relations between Malevič's painting and his architectural drawings. Iťs the vector of his process. By compressing this line, Malevič constructs the square; the intersection of the two lines yields the cross; and by rotation of his prior configuration he arrives at the circle. Then transferred to the third dimension, this same element produces complex volumetric configurations. Malevič's architectural drawings place the spectator in 'aerial' space, each planit is viewed from below. At this point, his work passes beyond its purely visual role and enters into the spiritual sphere. The spectator is lifted out of terrestrial preoccupations and thus recognizes the philosophy of suprematist painting.
Владимир Набоков в русле орнаментальной прозы : к вопросу о терминологических разногласиях
Authors: Medarić Magdalena
Published: July 2011

Vladimir Nabokov and russian ornemental prose

That Nabokov as a Russian writer was formed within the Silver Age of Russian culture is an established fact in literature on Nabokov. An important aspect of the Silver Age, however, has been left out and that is the diffusion of the so-called ornamentalism in literature and the way in which Vladimir Nabokov's prose carries on the tradition of Russian ornamental prose.

The notion of ornamentalism has been interpreted in contemporary Russian studies but hardly ever with reliance on the examples from Nabokov's prose. This may be the reason that ornamentalism is considered diffused: what is taken into consideration are the preceding (the so-called medieval) pletenie sloves and some peculiar contemporary forms (e.g. the so-called skaz), and the new influences derived from the Western cultural sphere (Wagner and Nietzsche) besides. In the article the author recalls the importance that the ornament had in visual arts and the accompanying theory in the early twentieth century. Later on the notion moves into verbal arts and philology. The concept therefore emerges exactly from this zone of interference. In Nabokov's writings, the role of verbal ornamentalism can be looked at from various points among which the most important is the level of the construction of a work.
Vladimir Nabokov et les difficultés de l'admiration littéraire
Authors: Rampton David
Published: July 2011

Vladimir Nabokov and the problems of literary admiration

This paper seeks to reflect Nabokov in the mirror that is the twentieth century by examining what distinguishes his particular reception from those accorded his contemporaries. Attempts to increase the circle of his admirers have led to a series of "re-introductions" to the reading public, in the form of articles in newspapers and the like. In these periodical presentations, the suggestion that Nabokov is "one of us" is repeatedly counterbalanced by an emphasis on his uniqueness. This apparent contradiction can pose problem for those who write about him. First, the conviction that belonging to an inner circle can tempt us to impose a certain homogeneity on our responses to him. Second, an admiring stance can too easily become a defensive one, which can in turn put off those readers still unconvinced of Nabokov's pre-eminent status. Third, this writer's desire to disrupt and subvert certain ways of reading should positively encourage a range of responses to his fiction, including negative ones. One American writer who has dealt with these difficulties is Nicholas Baker. Не admires Nabokov intensely, seeks to imitate him in a range of intriguing ways, and discusses Nabokov's work from a non-academic, non-traditional point of view which can teach professional readers a great deal.
Тема воспоминания у Набокова и в русской религиозной философии
Authors: Averin Boris
Published: July 2011

Le motif du souvenir dans l'œuvre de Nabokov et la philosophie religieuse russe

Le motif du souvenir, si cher à Nabokov, est le plus souvent considéré comme nostalgique. Le présent exposé vise à contester cette interprétation.

Il existe deux conceptions antagoniques du souvenir. L'une, remontant à Platon, Épicure et Plotin, traite le souvenir comme un acte de volonté ; l'autre, au contraire, l'identifie à l'absorption par le passé, passive et involontaire. C'est justement à cette dernière théorie que tend l'interprétation du souvenir comme un complexe nostalgique. Il est pourtant à noter que dans le cadre de la culture russe de la première moitié du XXe siècle, le souvenir est interprété d'une manière tout à fait différente.

Après avoir posé le problème de la polyvalence de la personnalité humaine (un ego social, biologique, psychique, appartenant au présent et au passé, etc.), les penseurs de cette époque se sont remis en quête de l'unité. Selon les philosophes russes, cette synthèse nouvelle pouvait être réalisée au moyen d'un souvenir actif et créateur qui mène au « rassemblement » ainsi qu'à la résurrection de la personnalité (N. Karsavin), à la connaissance de soi (Berdjaev) ainsi qu'à la réunification des aspects isolés de l'individualité humaine (Gurdžiev, Uspenskij). On mettait en relief que le souvenir se révélait comme une actualisation du passé et constituait donc un événement (Florenskij). C'est dans ce contexte culturel et métaphysique qu'il faudrait inscrire le motif du souvenir chez Nabokov dont le premier roman traite le souvenir comme résurrection de la personnalité. Cette conception, se compliquant toujours plus, domine toute son œuvre.
«Трагедия» творчества или Литература как «остров мертвых» Набоков и Вагинов
Authors: Burenina-Petrova Olga
Published: July 2011

La «tragédie» de la création ou la Littérature comme «île des morts» : Nabokov et Vaginov

L'article étudie les parallèles typologiques et les liens intertextuels entre la prose de Nabokov des années trente et la prose de Vaginov. On souligne l'intérêt que Nabokov portait à l'avant-garde 2. La prose de Vaginov sert à Nabokov dans sa polémique avec le symbolisme ; elle joue le rôle d'un intermédiaire intertextuel entre les sources philosophiques de l'époque du symbolisme et ses propres textes sur la création littéraire. Dans la prose de Vaginov, l'image du texte littéraire est conçue comme l'« espace mort » où l'auteur-narrateur dispose ses personnages. La parodie de Vaginov privant ses héros de toute action est elle-même reproduite chez Nabokov par toute une série de transformations intertextuelles. Le texte littéraire devient chez Nabokov un instrument pour l'abolition du sens commun.
Popular music in Nabokov's Lolita, or Frankie and Johnny : a new key to Lolita?
Authors: Wyllie Barbara
Published: July 2011

Популярная музыка в романе В. Набокова Лолита

Музыка, важный элемент Набоковского искусства, до сих пор не удостаивалась внимания ученых. Причиной послужили высказывания писателя о его неспособности слушать и воспринимать музыку. Между тем, музыка, и особенно популярные песни исполняют важную художественную функцию в романе Лолита. Текст не оставляет сомнений, что Набоков изучал современную американскую музыку, желая сделать образ героини как можно реальнее и глубже обозначить конфликт между ней и Гумбертом Гумбертом. Особенно одна модная в те времена песня Франки и Джони типизирует столкновение Гумберта, Лолиты и Куильти. Сопоставление этой американской популярной песни с Кармен, которую поет Гумберт Лолите, позволяет не только выявить аналогию, но и рассматривать ее как своеобразный комментарий к теме мщения в романе.
Les fantômes de l'opéra dans les romans de Vladimir Nabokov
Authors: Buhks Nora
Published: July 2011

Призраки опер в романах Владимира Набокова

Искусство музыки и оперы, в частности, в творчестве Набокова — большая и, практически, не разработанная тема. Аллюзии на оперы присутствуют почти во всех романах европейского цикла, их явление слабеет в периоде американском. На уровне мотивов они созвучны главным темам набоковскои прозы, симптоматично маркируя их развитие от Орфея к Фаусту. Отсылка раннего рассказа Возвращение Чорба к опере Глюка Орфей и Евридика демонстрирует освоение писателем одного из ведущих структурных приемов его поэтики — нарушения границы между реальностью и искусством (счастливый оперный финал стимулирует героя повторить его в жизни). Позднее, Камера обскура возникает на пересечении двух искусств, кино и оперы. Именно немецкие оперные произведения периода экспрессионизма, с их декларативной антиромантической и антивагнеровской эстетикой, в частности оперы Хиндемита, становятся важными субтекстами романа.

Особое место в художественном мире набоковской прозы занимают оперы на сюжеты великих литературных произведений, особенно на пушкинские, — они осознаются как пародийные двойники литературных текстов и используются для реализации эстетических обманных подмен, провоцирующих статус оригинала. Так в Отчаянии, Набоков выстраивает отсылки не к пушкинской повести Пиковая Дама, а к одноименной опере Чайковского. Аналогичную пародийную разоблачительную функцию исполняет оперный пассаж во второй главе Приглашения на казнь, текстом-адресатом аллюзии является знаменитая Песня о крысе из драматической легенды Г. Берлиоза Осуждение Фауста.

Отсылки к операм в романах Набокова отличаются структурным богатством, репертуарным разнообразием и непредсказуемостью художественных воплощений, что и позволяет называть их оперными призраками.
Histoire de la littérature russe en exil : la « période héroïque » de la jeune poésie russe à Paris
Authors: Livak Leonid
Published: July 2011

Toward the History of Russian Literature in Exile : the “Heroic Period” of Young Russian Poetry in Paris

The definitive history of Russian émigré literature in France is yet to be written. Until present, ail works describing the development of Russian literature on French soil in the interwar period have followed the same methodological convention according to which Russian literature in exile was born in Berlin, while Paris did not become its capital until roughly 1925. It has been argued that, thanks to the fluidity of political demarcations and the popularity of the Soviet avant-garde among younger Russian literati in Paris between 1921 and 1924, one must exclude this chapter of artistic activity in exile from the study of Russian émigré literature. Due to this methodological approach, the literary life of Russian exiles in Paris has been implicitly treated as nonexistent until 1924. The present article argues that the Paris period of 1921-1924 was as important for the evolution of Russian émigré literature as its Berlin period, since the Paris period produced a large number of major émigré literary figures. It is impossible to comprehend the general evolution of Russian émigré literature in ail its complexity, as well as the artistic trajectories of many exiles, without taking into account this Paris period called by Dovid Knut "the heroic period of young émigré poetry."
Les Kurbas créateur du théâtre moderne ukrainien
Authors: Mandzukova-Camel Olga
Published: July 2011

Les' Kurbas — Creator of the Modern Ukrainian Theater

Les' Kurbas born 25 February 1887 in Sambir, Galicia (Western Ukraine). An outstanding organizer and director of Ukrainian avant-garde theater, actor, and pedagogue. In 1907- 1908 he studied philosophy at the University of Vienna and also drama. Graduating from Lviv University in 1916, he worked as an actor in the troupes of the Hutsul Theater (1911- 1912) and Ruska Besida Theater (1912-1914), founded and directed the Ternopil Teatralni Vetchory Theater (1915-1916) and worked in the Sadovsky Theater in Kiev (1916-1917).

After the February Revolution of 1917, Kurbas reorganized an actors' studio he had founded in 1916 into the Molodyj Theater (1917-1919) in Kiev. With the Molodyj Theater productions, which included the first production in Ukrainian of a classical Greek play, Sophocles' Œdipus Rex, Kurbas revolutionized Ukrainian theater, elevating it in style, esthetics, and repertoire from the provincial to the level of modem Western European theater.

In 1922, having become convinced of its use as a powerful political instrument, he founded the Bereziľ artistic association in Kiev.

It was at the Bereziľ Theater in both Kiev (1922-1926) and Kharkov (1926-1923) that Kurbas' s creative genius became most evident. There he perfected his rigorous system for the intellectual and technical training of actors. One of the basic principles of his system was that the stage image, although it is created by the actor's emotions, voice, gestures, and temperament, must be objectivized and remain separate from the actor' s frame of mind and personal experiences. With over 300 actors and staff members, 6 actors' studios, director's lab, design studio, and theater museum, the Bereziľ association became the focal point of theater in Ukraine.

At Bereziľ, Kurbas broke down the old forms of Ukrainian theater and, after a long period of searching and enthusiastic experimentation with German Expressionist theater and the theories of Constructivism, succeeded in his productions of Mykola Kuliš' s play s in creating a unique Ukrainian Expressionist theater.

Kurbas broke completely with traditional Ukrainian realistic, ethnographic theater to present spectacles that forced the audience to think instead of simply watching passively. This intellectualism was combined with a brilliant synthesis of rhythm, movement, and avant-garde theatrical and visual devices, including montage. Не managed to gather around himself the best actors, directors, set designers (e.g. V. Meller), and play wrights (e.g. M. Kuliš) in Ukraine.

In 1933, Kurbas, his ideas, and his dynamics, innovative, and often controversial productions were condemned as nationalist, formalist, and conterrevolutionary. In October he was dismissed as the director of Bereziľ and ail of his productions were banned from the Soviet Ukrainian repertoire. Не moved to Moscow, where he was arrested in December and imprisoned on the Solovets Islands. He was shot in 1937.
Имманентное сопротивление художественного текста
Authors: Galina Belaia Galina
Published: July 2011

La résistance immanente du texte artistique

La réévaluation de l'héritage soviétique est aujourd'hui le problème central de la culture russe. Pour l'instant, c'est surtout une attitude de rejet qui domine dans la critique littéraire. Cela dit, on continue à lire aujourd'hui les œuvres de Babel' et Platonov, les vers de Mandeľstam, les récits de Zoščenko, écrivains qui d'une façon ou d'une autre ont éprouvé de la sympathie pour la Révolution. Il faut donc essayer de comprendre ce qui a rendu possible l'émergence et la pérennité de ces textes. L'A. considère la littérature soviétique comme un système dont la dominante est le mot-univoque, le mot-idéologème. Cependant, à la périphérie de la littérature officielle, il y avait des écrivains dont l'œuvre conciliait acceptation de la Révolution et recherche artistique et dont l'écriture était orientée vers le trope, figure qui, comme on sait, génère des mécanismes sémantiques riches. C'est à cette « résistance immanente du texte artistique » qu'est consacré pour une bonne part cet article.
Прощание с советским каноном
Authors: Günther Hans
Published: July 2011

Farewell to the soviet canon

The culture of the Soviet period can be compared with a huge mountain massif which gives you an oppressive feeling if you stay very close to it. Only from a certain distance can you get an overview on the landscape. The fact that up to now no comprehensive history of Russian literature of the 20th century exists, seems to show that we are still close to the Soviet era. When we try to write a history of Russian literature the canon of Socialist Realism which has disrupted the 'normal' évolution of literature in Russia cannot be simply ignored because it functions as a background for many works of literature. For instance, it is hard to under- stand the works of an author like Andrej Platonov without taking this background into considération. Already before the end of Soviet rule 'Sots artists', conceptualists and post- modernists had been treating the emblems of Socialist Realism with a certain ease, thus suggesting a farewell to the ruins of Soviet mythology without anger or nostalgia.
Le Lupanar du poète Arnošt Procházka et l'Âme de l'artiste Karel Hlaváček
Authors: Urban Otto
Published: July 2011

Prostibolo básníka Arnosta Procházky a duse umelce Karla Hlavácka

Čeští spisovatelé a výtvarníci seskupení v devadesátých letech 19. století kolem uměleckého měsíčníku Moderní revue, založeného Arnoštem Procházkou a básníkem Jiřím Karáskem ze Lvovic, stáli u zrodu moderní typografie a ilustrace. Básnická sbírka Prostibolo duše (z roku 1894 nebo 1895) Arnošta Procházky byla napsána ve znamení Baudelaira a Maeterlincka a ilustrována novoromantickými a fantastickými tisky mladého Karla Hlaváčka, který se odvolával na Ropse, Sattlera, Redona ci Beardsleye, ale též na Ensora. Pro dekadentní senzibilitu textu, ale též pro grafickou koncepci knihy, kterou tolik obdivoval Stanisław Przybyszewski, zaujímá tato publikace zvláštní místo v rámci českého symbolismu. Analýza jednotlivých listů, ispirovaných teorií barev německého básníka Maxe Dauthendeye a poznamenaných zvláštními psychologickými předpoklady kreslíře (žijícího v neustálém rozporu mezi kýženou čistotou a sexualitou, kterou spojoval se zlem, násilím a smrtí), poukazuje na spřízněnost s uměním Edvarda Muncha a zároveň na předvídavou schopnost postihnout budoucí vývoj symbolismu v postupném odmítání realistické formy a příklonu к formální abstrakci.
Le tableau dans le récit : le motif de la peinture dans la littérature tchèque fin de siècle
Authors: Voisine-Jechová Hana
Published: July 2011

The Picture Within the Narrative : Painting as a Motif in Fin de Siècle Czech Literature

Paintings play a major part as motifs in novels, and this study focuses on their place in the works of two Czech writers, Julius Zeyer Dobrodružství Madrány [The Adventures of Modrána], Z papíru na kornouty [Of the Paper of which we Made Cones], Dům u tonoucí hvězdy [The House of the Sinking Star], Teréza Manfredi, Legenda o jarním dešti [Legend of a Spring Rain], Blaho v zahradě kvetoucích broskví [Bliss in the Garden of Flowering Peach-Trees]) and Jiří Karásek ze Lvovic (Scarabeus, Ganymedes, Román Manfred Macmillena [The Novel of Manfred Macmillen], Zlověstná madona [The Evil Madonna], Františkánská legenda [A Franciscan Legend], Zastřený obraz [The Veiled Painting]). Both writers show in their texts, using various and sometimes divergent forms, an interest in real or partly imaginary portraits, and also in landscapes, the motif of the painting being sometimes combined with that of the spectator observing it. This creates, among other metamorphoses, the identification of the literary character (and, in Zeyer's case above all, his psychological disarray) with the pictorial portrait. Above all else, it is the traditional motif of the magical power of the portrait which prevails, shifting from an 'external' fantasy form to a psychological examination of mankind. The latter is sometimes conveyed through the artist's meditations on his model, or through the intangible, mysterious, or even occult dimension of the work of art itself: in Karásek's works, in particular, the artist's hand itself seems to be dominated by an external force — the devil's hand or the force of the artist's own sin.
L'Œuvre de Felix Jenewein de Jakub Deml : une interprétation poétique
Authors: Musil Roman
Published: July 2011

The Work of Felix Jenewein by Jakub Deml : A Poetic Interpretation

In the 1890s, the painter Felix Jenewein attracted the admiration of the young intellectuals who had founded the Modem Catholic Group (Katolická moderna) and the review New Life [Nový život] (to which the young priest and poet Jakub Deml contributed in the years 1903-1905). Written from 1927 to 1928, and published in 1929, The Work of Felix Jenewein by Deml features among the most important literary exegeses on art works ever written in Bohemia. In order to understand why, it is necessary to go back to the origins of the work and to analyze the thematic and stylistic relationships woven between Jenewein's pictorial art and Demi's writing, in particular around the motif of the danse macabre. This publication illustrates the connection between Christian pictorial and literary works and the existential feeling of the modem era.
Jaroslav Hašek, Josef Lada et Švejk
Authors: Měšťan Antonin
Published: July 2011

Jaroslav Hašek, Josef Lada and Švejk

It is interesting to go back to the origins of the picture Josef Lada created of the Good Soldier Švejk, the hero of Jaroslav Hašek — a picture which has become one of the most popular emblems of twentieth century Czech culture. Indeed, between 1921, the year of the first illustrations, and 1924-25, when this long novel was published in a serialized form (after the death of the novelist), the physiognomy of that 'feeble-mindeď soldier totally changed under the pen of the illustrator, and this metamorphosis would be confirmed with Lada's completion of the cycle in the 1950s. This study analyzes the formal characteristics of these drawings, the features which link them with the historical culture of the time and which have made them difficult for the modern-day reader to understand. It also examines the differences between the novelist's and the illustrator's conception of the character.
Le refuge de la poésie : Zdeněk Rykr, illustrateur des recueils de Milada Součková
Authors: Lahoda Vojtech
Published: July 2011

The Refuge of Poetry : Zdenek Rykr’s illustrations of Milada Soucková’s Collections of Poems

In 1930 the painter Zdeněk Rykr, a special case in the Czech avant-garde movement of the interwar years, married Milada Součková, a poet, prose writer and literary historian. Rykr became the illustrator of two of her collections of poems Kaladý (1938) and Mluvící pásmo [Talking Zone] (1939). The former, a moving prose poem and a meditation upon the defense of a language when it is under threat, was accompanied by black and white drawings interspersed with pseudo-baroque quotations, in the style of kal (refuse, mud, filth) acknowledged in the title, and which can also be found in the compositions of the time on rural motifs. In contrast, the conception of his next collection of poems is dominated by cosmic purity and clarity, which are developed from abstract forms.
Le préverbe pere- en russe
Authors: Martinowsky Georges
Published: July 2011

Русская глагольная приставка пере-

На основе исчерпывающего перечня русских приставочных глаголов на переопределяется типология возможных контекстов данных глаголов, что позволяет выявить сочетаемоспособность данной приставки.

Из всеобщности разных таким образом проявленных комбинаторных валентностей возможно извлечь общий знаменатель, который по своей сути окажется не семантическим инвариантом, а оператором, однозначно воздействующим на соотношения отдельных составных высказывания.

После чего остается дать указанному оператору теоретическое определение как можно более точно и в то же время наиболее обобщающее.
Le serbo-croate (bosniaque, croate, monténégrin, serbe) : de l'étude d'une langue à l'identité des langues
Authors: Thomas Paul-Louis
Published: July 2011

Serbo-Croatian (Bosnian, Croatian, Montenegrin, Serbian) : From the Study of a Language to the Identity of Languages

The article deals with the linguistic system which includes the standard Serbian, Croatian, Bosnian, and Montenegrin languages. The structure of these standards (the history of their formation is noted) shows that it is a unique linguistic system, with several essentially lexical variations. The intercomprehension between these standards exceeds that between the standard variants of English, French, German, or Spanish. Serbian, Croatian, Bosnian, and Montenegrin are not translated from one into another. At most one саn 'Serbianize', 'Croatianize', 'Bosnianize', or 'Montenegrinize' a text written in one of the other variants. Moreover, they are not new and did not appear with the breakup of Yugoslavia. Each one simply acquired its own name and the status of an autonomous standard language. The teaching of the linguistic system presupposes (as for English or Spanish) that the learners have a passive knowledge of ail the standards and that they actively speak at least one of them. As for the problem of designating a unique linguistic system and standards, it is closely linked to the identity function of the language, both unifying (for a given group of speakers) and differentiating (in relation to other groups). This article provides several examples, citing the two names for the variant spoken in Bosnia, 'Bosnian' and 'Bosniac', and the term 'Serbo-Croatian', still used by many speakers. The case of Serbo-Croatian and its standard variants shows what the criteria of differentiation between languages саn be in linguistics and the role of the identity function of each language.
Les textes étiologiques dans la tradition orale des Slaves orientaux
Authors: Kabakova Galina
Published: July 2011

Etiologic texts in eastern slavic tradition.

The introduction is an attempt to offer a typology of the Eastern Slavic corpus of etiologie texts. The specificity of this corpus is double. Firstly, some thèmes developped in it are not represented in other etiologie traditions. Secondly, certain thèmes are hère more richly presented and in a wider range of variants, as for instance the female thème. Depending on what genre (fairy taie, animal tale, legend inspired by the 'Folk Bible') the texts are related to, it is possible to distinguish différent areas of diffusion.
Deux exemples d'interférence linguistique dans les textes novgorodiens anciens : l'église et le maître
Authors: Le Feuvre Claire
Published: July 2011

Two instances of linguistic interference

in old novgorodian documents : the words for 'church' and 'master'.

Old Novgorodian кьркы and осподинъ are two instances of contamination between the Slavic term and the Scandinavian one. Кьркы for цьркы, far from being a reliable instance of the absence of the second palatalisation of velars in the Novgorodian area, is a re-borrowing from Germanie, this time from Old Swedish, which took place after the palatalisation had ceased to be active. Owing to the fact that Novgorod had an important Varangian community, that Varangians were the fïrst to adopt the new Christian faith, and that they had a dominant position in Novgorodian society, there is nothing surprising in the fact that the Swedish name for 'church' survived for a while in Novgorod. The case of осподинъ is différent : the Novgorodian variant, without [g], is probabbly due not only to the influence of Church pronunciation, as traditionally assumed, but also to the influence of the Old Swedish word for 'master', hosponde, assimilated from husbonds (Engl. husband) : Scandinavian initial [h] was very weak, and is never reflected in Old Russian. The Swedish term, phonetically close to Slavic господинъ, blended with the latter. In both cases, the process is similar : the stem retains its Scandinavian form, and receives the morphological pattern (suffix, inflection) of the corresponding Slavic word. It is also possible that the assimilation in husbonde > hosponde, regular in Old Swedish, is to account for the few cases of progressive assimilation in Old Novgorodian (e.g. сторовъ < съдоровъ, instead of regular здоровъ, with régressive assimilation), which could reflect a Scandinavian-influenced pronunciation.
Analyse sémantique et stylistique des priamèles polonaises
Authors: Lipinska Magdalena
Published: July 2011

Semantic and stylistic analysis of polish priamels.

The présent paper deals with the problem of a certain formal-semantic type of proverbe called 'priamels' . The main purpose of the paper is to describe the Polish priamels according to the semantic and stylistic aspects. At first the author characterises priamels from the seman- tic point of view. The analysis of quoted éléments makes it possible to draw conclusions as to the most frequently occurring classemes, the most numerous classeme links as well as to the type and place of the major semantic feature. The author established the semantic-pragmatic value of the common feature and the type of the semantic link between the common feature and the quoted éléments. The stylistic part contains the enumeration of the stylistic figures of speech as well as lexicographie labels, discussed in the context of: quoted éléments, the common feature, and the priamel treated as a whole.
Роман со словом повесть котик летаев Андрея Белого
Authors: Levina Parker Masha
Published: July 2011

Novel/affair with the word: Andrej Belyj's Kotik Letaev.

Kotik Letaev by Andrej Belyj, a narrative of childhood about the entry of language into the human consciousness, can be also analyzed as a meta-narrative about the functioning of language in a literary text. Using the Lacanian version of psychoanalysis and the semiotic apparatus, the author delineates the transformation of traditional novelistic poetics performed by Belyj.

The central question addressed is what are these innovative principles of the construction of the text? In Kotik Letaev, the hierarchy of traditional narration is reversed: the language and linguistic tropes abandon their conventional function of narrative and rhetorical means, and assume the role of the protagonists and of the driving forces of narration. In Belyj' s book, the linguistic associations acquire the status of a narrative subject, while the referential séquence is reduced to a category of auxiliary means. The story is not anything more than the motivation for the play of signifiers which constitute the principal narrative séquence. Suspension and déferrai of signification are accomplished by the spécifie use of metaphoric and métonymie mechanisms that provokes the effect of 'the removal of exterior objects' and the production of 'a little meaning' which is purely linguistic.

The comparison of Belyj, Proust and Nabokov highlights the innovative character of Belyj's prose and the 'semiotic' nature of his poetics.
Les Récits de la Kolyma de Varlam Šalamov : une œuvre ouverte
Authors: Lozowy Éric
Published: July 2011

Varlam Šalamov's Kolyma Tales : an open work.

Varlam Šalamov's Kolyma Tales is a monumental, fragmentée! whole which includes 145 stories divided into six cycles. In this article, the author argues that Šalamov's work should be treated as an open work that allows many différent interprétations and leaves much room for the reader's active participation. The cohésion of the whole dépends mainly on a complex system of various intertextual links (récurrent characters and situations, répétitions, thematic and symbolic echoes). Most links are only virtual connections, and the reader must actualize them by constructing a network of associations which bind the stories together but also reveal many ambiguities and contradictions in the global work. Thus the unity of the whole always remains fragile, problematic.