Once More about Arkadii Rodzianko and Pushkin

Joseph Peschio[1]

A noted poet of the late Alexandrine period, Arkadii Gavrilovich Rod­zianko (1793–1846) is remembered in literary history primarily for his association and poetic dialogue with Pushkin. Rodzianko addressed at least one poem to Pushkin (“A. S. Pushkinu”) and wrote an ode on the occasion of his death. For his part, Pushkin addressed two poems to Rodzianko, “K Rodzianke” (“Ty obeshchal o romantizme”) and “Iz pis´ma k Rodzianke” (“Prosti, ukrainskoi mudrets”). And one of Pushkin’s most fa­mous poems, “Ia pomniu chudnoe mgnovenie,” has its roots in an ex­change of letters between Pushkin, Rodzianko, and the latter’s friend, Anna Petrovna Kern, in 1824. Pushkin scholars have of course assembled thorough commentaries of Pushkin’s epistles to Rodzianko,[2] but Rod­zianko’s side of this dialogue has not yet received adequate scholarly attention. In fact, many Rodzianko poems which are important to under­standing his dialogue with Pushkin remain unpublished. As such, existing interpretations of Pushkin’s poems to Rodzianko cannot help but be inade­quate. In this article, I will present two of Rodzianko’s unpublished poems and reconsider the character, tone, and circumstances of Pushkin and Rodzianko’s literary relationship.

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Комическое в творчестве Пушкина

Феликс Раскольников 

 

В отличие от Гоголя и Салтыкова-Щедрина, Пушкин не пользуется репутацией выдающегося юмориста и сатирика, и комическое не со­ставляет наиболее заметного аспекта его творчества. Вероятно, именно по этой причине комическое у Пушкина не часто привлекало внимание исследователей. В пушкинистике можно найти отдельные работы о некоторых жанрах комического у Пушкина, преимущественно о пуш­кинских эпиграммах и юмористических поэмах, а также более или менее беглые замечания о его сатирических стихотворениях, но, насколько мне известно, в ней нет развернутых обобщающих исследований на эту тему. Между тем она заслуживает серьезного внимания, и не только из-за объема произведений, в которых комический элемент играет существенную роль, но и потому, что исследование этой темы проливает дополнительный свет на природу творчества Пушкина и на его духовную эволюцию. Нельзя не согласиться с Д. Благим, заметившим, что «отвергать … грань “легкого” и “веселого” в пушкинском творчестве или не отдавать ей, как это обычно делается, должного внимания – значит […] не понять всего (курсив Благого) Пушкина, не заметить и не оценить одной из характернейших черт его гения, при отсутствии которой Пушкин не был бы тем, что он есть».[1]

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Language, Gender and the Dream in «Evgenii Onegin»

 Luc Beaudoin

 

Tat´iana’s dream in Evgenii Onegin is an enigma. Occupying a central place in Pushkin’s novel in verse, it shares the role of novelistic artifact with the protagonists’ letters and its folk song. Dreams, in particular, hold sway as indicators of special insights, as they have for millenia, and liter­ary dreams in particular make tempting targets for interpretation.[1] In Slavistics, Formalist and structuralist analyses of the dream include V. M. Markovich’s “Son Tat´iany v poeticheskoi strukture ‘Evgeniia Onegina,’” and both Iurii Lotman’s and Vladimir Nabokov’s exhaustive examinations of the dream’s folkloric and literary imagery have inspired a generation of Western Slavists. Michael Katz’s discussion in his Dreams and the Uncon­scious in Nineteenth-Century Russian Fiction provides valuable insights into the psychology of the dream’s role in the text itself, whereas Olga Peters Hasty brings together feminist, literary, and psychological view­points in a synthetic discussion of the dream’s symbolism and referents in Pushkin’s novel in her Pushkin’s Tatiana. In a different take on Pushkin, Georgii Gachev provides an unabashedly erotic interpretation of the dream in Russkii eros. Freudian interpretations of Tat´iana’s dream, such as those by J. Douglas Clayton and Daniel Rancour-Laferriere, have un­clothed the striking sexual imagery present—and repressed—in Tat´iana’s novelistic development. These explications of the dream show how we are witnessing the maturation, on some level, of a girl into a woman within a sexually-repressed environment; both her letter to Onegin and her dream are filled with passion and desire, and are as erotically charged as a girl in her age and time could conceive. Yet her growth is primarily linguistic, and the reader feels it: whereas Tat´iana is barely known early in the novel, by the end of the novel the reader is somehow close to Tat´iana, even though until her final speech to Onegin she has only been uncovered indirectly, through translated letters, interpreted dreams, the occasional conversation, and narratorial exclamations. Tat´iana’s entrance into—and construction through—language are major thrusts of the novel.

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AAASS 2006: Teaching Pushkin, a Roundtable

In November the NAPS convened a roundtable on the topic of teaching Pushkin, inviting five speakers to discuss the different ways they teach Pushkin in their American classrooms. We all work at different kinds of institutions, from small, four-year liberal arts colleges like the University of Denver, Sarah Lawrence College, and Marymount Manhattan to larger institutions like Brown University, with its engaged undergraduates and small graduate program, and the behemoth of them all, Ohio State University, with a large general education population of undergraduates and a largish PhD program in literature, culture, and linguistics.

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