Pub Date : 2022-01-02DOI: 10.1080/00806765.2022.2053578
Evgeny S. Steiner
ABSTRACT Japan has always occupied a special place in the Russian mindscape. From the beginning of the first contacts and for the subsequent century and a half, the invariable pattern of reaction to Japan was the oscillation between rapturous expectations and a cold shower of encounters. This article offers an analysis of this paradigm of perception and a deconstruction of certain cultural and psychological traits of Russian visitors to Japan or residents of that country. Under scrutiny are their attitudes when confronted with the radical notion of otherness. Special emphasis is put on what impeded and what facilitated the intercultural dialogue. The article includes a case study which focuses on the voluminous memoirs (based on diaries) of the priest Innokentij Seryšev, who spent two and a half years in Japan in the late Taishō era (1920–1922). The main conclusion is that the invariant pattern of swinging perception of Japan from rhapsodic to threnodic, was influenced by objective causes. One of the principal reasons for this is the underestimation of the level of psychological and cultural differences between the Russians and the Japanese. Many cultural traits that looked agreeable were perceived by Seryšev without due context and a proper understanding of the foreign national and cultural matrix and without realizing his own limits in interpretation. These peculiarities of perception were (and sometimes still are) quite similar for many generations of Russian visitors/residents to/of Japan.
{"title":"Love’s Labour’s Lost, or A Russian Priest, Esperantist and Utopist in the Early 20 c. Japan","authors":"Evgeny S. Steiner","doi":"10.1080/00806765.2022.2053578","DOIUrl":"https://doi.org/10.1080/00806765.2022.2053578","url":null,"abstract":"ABSTRACT Japan has always occupied a special place in the Russian mindscape. From the beginning of the first contacts and for the subsequent century and a half, the invariable pattern of reaction to Japan was the oscillation between rapturous expectations and a cold shower of encounters. This article offers an analysis of this paradigm of perception and a deconstruction of certain cultural and psychological traits of Russian visitors to Japan or residents of that country. Under scrutiny are their attitudes when confronted with the radical notion of otherness. Special emphasis is put on what impeded and what facilitated the intercultural dialogue. The article includes a case study which focuses on the voluminous memoirs (based on diaries) of the priest Innokentij Seryšev, who spent two and a half years in Japan in the late Taishō era (1920–1922). The main conclusion is that the invariant pattern of swinging perception of Japan from rhapsodic to threnodic, was influenced by objective causes. One of the principal reasons for this is the underestimation of the level of psychological and cultural differences between the Russians and the Japanese. Many cultural traits that looked agreeable were perceived by Seryšev without due context and a proper understanding of the foreign national and cultural matrix and without realizing his own limits in interpretation. These peculiarities of perception were (and sometimes still are) quite similar for many generations of Russian visitors/residents to/of Japan.","PeriodicalId":41301,"journal":{"name":"Scando-Slavica","volume":"68 1","pages":"96 - 114"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42305996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00806765.2021.1994003
I. Belobrovtseva
Далеко не всякое сравнение хромает, как утверждает латинская поговорка. Скорее оно побуждает посмотреть на сравниваемые величины, предметы, явления «свежим глазом» и разглядеть в них то, что не замечалось ранее. Так и с этой книгой: читая, ловишь себя на мысли: странно, что до сих пор никому не пришло в голову сопоставить романы Михаила Булгакова и Томаса Манна: как справедливо отмечает автор, «оба романа представляют собой уникальные литературные феномены в современной им культуре. И то, что сказано об одном, часто оказывается верным и для другого» (118). Они написаны примерно в одно время, и в обоих налицо «релятивизация канонических библейских текстов» (76). Отличает их и чисто литературная, стратегическая задача: оба рефлексируют над условиями и динамикой нарративной продукции и ролью нарраторов в этом креативном процессе (76).
{"title":"Depicting the Divine: Mikhail Bulgakov and Thomas Mann","authors":"I. Belobrovtseva","doi":"10.1080/00806765.2021.1994003","DOIUrl":"https://doi.org/10.1080/00806765.2021.1994003","url":null,"abstract":"Далеко не всякое сравнение хромает, как утверждает латинская поговорка. Скорее оно побуждает посмотреть на сравниваемые величины, предметы, явления «свежим глазом» и разглядеть в них то, что не замечалось ранее. Так и с этой книгой: читая, ловишь себя на мысли: странно, что до сих пор никому не пришло в голову сопоставить романы Михаила Булгакова и Томаса Манна: как справедливо отмечает автор, «оба романа представляют собой уникальные литературные феномены в современной им культуре. И то, что сказано об одном, часто оказывается верным и для другого» (118). Они написаны примерно в одно время, и в обоих налицо «релятивизация канонических библейских текстов» (76). Отличает их и чисто литературная, стратегическая задача: оба рефлексируют над условиями и динамикой нарративной продукции и ролью нарраторов в этом креативном процессе (76).","PeriodicalId":41301,"journal":{"name":"Scando-Slavica","volume":"67 1","pages":"287 - 294"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43671112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00806765.2021.1994005
Karin Kukkonen
эмигрантского романа». Вестник Томского государственного университета 414: 20–28. Яновски Э. 2019. «Филосемитский» роман Томаса Манна и его еврейские источники. – https://news.jeps.ru/mneniya/tomas-mann-evrejskie-istochniki-romana-iosif-i-ego-bratya. html (дата просмотра 31.08.2021). Levenson Alan. 1998. “Christian Author, Jewish Book? Methods and Sources in Thomas Mann’s Joseph.” The German Quarterly 71 (2):166–78.
“移民小说”。托木斯克国立大学公报414:20-28。Janovsky E。2019年托马斯·曼（Thomas Mann）的哲学小说及其犹太来源。https://news.jeps.ru/mneniya/tomas-mann-evrejskie-istochniki-romana-iosif-i-ego-bratya.HTML（浏览日期：2021年8月31日）。Levenson Alan。1998. “Christian Author, Jewish Book? Methods and Sources in Thomas Mann’s Joseph.” The German Quarterly 71 (2):166–78.
{"title":"Aleksandr Puškin: Russlands store dikter","authors":"Karin Kukkonen","doi":"10.1080/00806765.2021.1994005","DOIUrl":"https://doi.org/10.1080/00806765.2021.1994005","url":null,"abstract":"эмигрантского романа». Вестник Томского государственного университета 414: 20–28. Яновски Э. 2019. «Филосемитский» роман Томаса Манна и его еврейские источники. – https://news.jeps.ru/mneniya/tomas-mann-evrejskie-istochniki-romana-iosif-i-ego-bratya. html (дата просмотра 31.08.2021). Levenson Alan. 1998. “Christian Author, Jewish Book? Methods and Sources in Thomas Mann’s Joseph.” The German Quarterly 71 (2):166–78.","PeriodicalId":41301,"journal":{"name":"Scando-Slavica","volume":"67 1","pages":"294 - 296"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45597429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00806765.2021.1994004
Manfred Schruba
the German). When Lotman wrote his Puškin biography, such a talent had particular historical poignancy, as had the elusive qualities of Puškin’s personality and oeuvre for Tynjanov and Tertz. Erik Egeberg’s Aleksandr Puškin: Russlands store dikter takes its readers through Puškin’s life and writings with a light touch, and he certainly stirs interest in reading Puškin himself. It is Egeberg’s merit that he does not reduce Puškin to easy relatability, as happened with Dostoevskij’s Brothers Karamazov during a long-running reading programme on Norwegian national radio (“Salongens lesesirkel” NRK P2) in 2019–2020. One may hope that Egeberg, but also Tynjanov, Lotman and Tertz, fall into the hands of an enterprising radio host before long. Puškin’s mercurial life and works appear to be made for it.
{"title":"“My Dear, Close and Distant Friend”: Nina Berberova’s Letters to Sergej Rittenberg (1947–1975)","authors":"Manfred Schruba","doi":"10.1080/00806765.2021.1994004","DOIUrl":"https://doi.org/10.1080/00806765.2021.1994004","url":null,"abstract":"the German). When Lotman wrote his Puškin biography, such a talent had particular historical poignancy, as had the elusive qualities of Puškin’s personality and oeuvre for Tynjanov and Tertz. Erik Egeberg’s Aleksandr Puškin: Russlands store dikter takes its readers through Puškin’s life and writings with a light touch, and he certainly stirs interest in reading Puškin himself. It is Egeberg’s merit that he does not reduce Puškin to easy relatability, as happened with Dostoevskij’s Brothers Karamazov during a long-running reading programme on Norwegian national radio (“Salongens lesesirkel” NRK P2) in 2019–2020. One may hope that Egeberg, but also Tynjanov, Lotman and Tertz, fall into the hands of an enterprising radio host before long. Puškin’s mercurial life and works appear to be made for it.","PeriodicalId":41301,"journal":{"name":"Scando-Slavica","volume":"67 1","pages":"296 - 301"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41850847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00806765.2021.1994002
Ellen Mortensen
ABSTRACT In this reading of Olga Tokarczuk’s novel Drive Your Plow Over the Bones of the Dead, the theme of revenge is explored, as it relates to the protagonist’s ecofeminist revolt against what she considers to be a male-dominated society, which disregards human and animal life in its pursuit of power and profit. The novel is investigated through an analysis of plot structure and character analysis, and reveals how Janina Duszejko, an irate elderly lady – a former bridge engineer, now English teacher, Blake translator and hobby astrologer – constantly appears in the thick of things. By the twists and turns of events, be they caused by human will, animal agency or by planetary constellations, Tokarczuk lets mythical figurations appear, such as the Fury and the Wolf, whereby the destructive powers of nature are unleashed. By interpreting the subtle hints planted throughout the narrative, a final solution to the crime mystery is uncovered.
{"title":"The Fury’s Revenge: An Ecofeminist Reading of Olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead","authors":"Ellen Mortensen","doi":"10.1080/00806765.2021.1994002","DOIUrl":"https://doi.org/10.1080/00806765.2021.1994002","url":null,"abstract":"ABSTRACT In this reading of Olga Tokarczuk’s novel Drive Your Plow Over the Bones of the Dead, the theme of revenge is explored, as it relates to the protagonist’s ecofeminist revolt against what she considers to be a male-dominated society, which disregards human and animal life in its pursuit of power and profit. The novel is investigated through an analysis of plot structure and character analysis, and reveals how Janina Duszejko, an irate elderly lady – a former bridge engineer, now English teacher, Blake translator and hobby astrologer – constantly appears in the thick of things. By the twists and turns of events, be they caused by human will, animal agency or by planetary constellations, Tokarczuk lets mythical figurations appear, such as the Fury and the Wolf, whereby the destructive powers of nature are unleashed. By interpreting the subtle hints planted throughout the narrative, a final solution to the crime mystery is uncovered.","PeriodicalId":41301,"journal":{"name":"Scando-Slavica","volume":"67 1","pages":"227 - 246"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46594378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00806765.2021.1994000
Anna Ljunggren
ABSTRACT This article explores the use of the guidebook as a narrative form in the work of a number of “displaced” Russian authors (Joseph Brodsky, Andreï Makine, Michail Šiškin). In literary fiction, the guidebook is a documentary-literary hybrid inscribed into the wider frame of postmodernism. It is a fusion of a document with its informative function, autobiography and historiosophic essay. Literary works written in this form share some features: they all display a shift in focus from space to time, putting strong emphasis on history and presenting a “panoramic” or “mosaic” picture of it. This panoramic view increases the distance to the spatial environments seen from afar and – as in Brodsky’s case – undermines the very spatial reality. The paper argues that the use of the guidebook as a narrative form by transcultural authors makes transcultural writing itself a fusion of the pragmatic and the aesthetic, and that its specificity lies exactly in this blend.
{"title":"Путеводитель как форма современной русской транскультурной прозы: прагматика и поэтика","authors":"Anna Ljunggren","doi":"10.1080/00806765.2021.1994000","DOIUrl":"https://doi.org/10.1080/00806765.2021.1994000","url":null,"abstract":"ABSTRACT This article explores the use of the guidebook as a narrative form in the work of a number of “displaced” Russian authors (Joseph Brodsky, Andreï Makine, Michail Šiškin). In literary fiction, the guidebook is a documentary-literary hybrid inscribed into the wider frame of postmodernism. It is a fusion of a document with its informative function, autobiography and historiosophic essay. Literary works written in this form share some features: they all display a shift in focus from space to time, putting strong emphasis on history and presenting a “panoramic” or “mosaic” picture of it. This panoramic view increases the distance to the spatial environments seen from afar and – as in Brodsky’s case – undermines the very spatial reality. The paper argues that the use of the guidebook as a narrative form by transcultural authors makes transcultural writing itself a fusion of the pragmatic and the aesthetic, and that its specificity lies exactly in this blend.","PeriodicalId":41301,"journal":{"name":"Scando-Slavica","volume":"67 1","pages":"187 - 202"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43532779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00806765.2021.1993996
Yulia Pasko
ABSTRACT This article is devoted to the study of Marina Cvetaeva’s poetic cycles “Achmatova” and “Poems for Blok” and takes as a point of departure Michel Foucault’s concept of heterotopia. I use the characteristics of heterotopia suggested by the French thinker as an instrument for analysing the spatial organization of poetic texts, considering it separately in each cycle, but also pointing to similarities and differences in the dedications to the two poets. The concept of heterotopia helps reveal important features of space in the poetic cycles, to analyse the cycles’ system of spatial coordinates and to explore the concept of border in the poetic text.
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Pub Date : 2021-07-03DOI: 10.1080/00806765.2021.1994001
Marek Majer
ABSTRACT The study deals with the origin of the Proto-Slavic adjective abstract suffix *-ostь. Firstly, the existing proposals are systematized and evaluated. It is concluded that the most promising explanation is the one according to which the suffix *-ostь was metanalyzed from regular abstract nouns in *-ь (*zelenь -i ‘the color green’ ← *zelenъ ‘green’) built to an old class of adjectives in *-ostъ < *-osto-, not directly preserved but paralleled in other Indo-European languages (Latin angustus ‘narrow’). The article proceeds to provide a number of observations corroborating and extending this theory. Evidence for the ‘missing link’, i.e. the class of adjectives in *-ostъ, is sought in Old Polish personal names of the type Miłost and in the inferred basis of derivatives parallel to *-ostь, such as the noun *starosta. Furthermore, the Baltic evidence is engaged seriously: in line with recent research, Lithuanian -astis must be treated as cognate – and not borrowing – of Slavic *-ostь, which impacts the diachronic explanation. It is argued that formations such as Lithuanian abstracts in -asta(s) may reflect traces of a class of adjectives in *-asta- < *-osto- as well. The abstract in *-asti- can be considered as yet another meaningful innovation of Proto-Balto-Slavic.
本文研究了原斯拉夫语形容词抽象后缀*- ost*的起源。首先，对现有的方案进行了系统的整理和评价。结论是，最有希望的解释是，后缀*- ostxe从*- xe中的规则抽象名词(* zelenxe -i ' the color green '←* zelenxe ' green ')被元分析成*- ostxe < *-osto-中的一类古老的形容词，没有直接保存，但与其他印欧语言(拉丁语angustus ' narrow ')相似。文章接着提供了一些证实和扩展这一理论的观察结果。“缺失的一环”的证据，即*- ost_中的一类形容词，可以在Miłost类型的古波兰人名中找到，也可以在与*- ost_ _相似的衍生词的推断基础中找到，比如名词*starosta。此外，波罗的海的证据被认真对待:与最近的研究一致，立陶宛的-astis必须被视为斯拉夫语*- ost鲤的同源而不是借用，这影响了历时解释。有人认为，-asta(s)中的立陶宛语抽象构词也可能反映了*-asta- < *-osto-中的一类形容词的痕迹。在*-asti-中的抽象可以被认为是原波罗的海斯拉夫语的另一个有意义的创新。
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Pub Date : 2021-07-03DOI: 10.1080/00806765.2021.1994182
Per Ambrosiani
The present issue of Scando-Slavica offers readers seven articles and three book reviews. The topics addressed by the contributors include contemporary Russian transcultural prose, works by Aleksandr Puškin, Marina Cvetaeva, and Olga Tokarczuk, as well as contemporary Macedonian grammar, Slavic historical grammar and Balto-Slavic accentology. Andrey E. Bochkarev’s article brings a close reading of Aleksandr Puškin’s short story Metel′ (The Snowstorm), showing how a small detail, the motto Ut duo unum componant, plays an important role in the narrative. Eleni Bužarovska discusses the reintroduction in standard Macedonian of the potential mood marker bi-. The spread of the bipatterns, which, it is argued, entered the Macedonian conditional system under the influence of neighboring Slavic languages, is investigated through the analysis of examples from literary works from different periods. Anna Ljunggren discusses contemporary Russian literary guidebooks as an important hybrid genre with simultaneously informative, autobiographical and historiosophic functions. By analysing works by Joseph Brodsky, Andreï Makine and Michail Šiškin, Ljunggren shows how transcultural writing can include a particular fusion of pragmatic and aesthetic aspects. Marek Majer analyses the origin of the Proto-Slavic abstract suffix *-ostь, proposing a reconstruction of a class of adjectives in *-ostъ (< *-osto-), which has not been directly preserved as such but which has parallels in other Indo-European languages. Ellen Mortensen explores the theme of revenge in Olga Tokarczuk’s novel Drive Your Plow Over the Bones of the Dead. The plot structure and the characters are analysed from an ecofeminist perspective, showing how the powers of nature play a crucial role in the development of the story. Yulia Pasko studies Marina Cvetaeva’s poetic cycles Achmatova and Poems for Blok, analysing the spatial organisation of the texts through Michel Foucault’s concept of heterotopia as interpreted by Rainer Warning. Vytautas Rinkevičius’ contribution to the ongoing discussion of the origin of the Balto-Slavic mobile accent paradigms reveals how the Lithuanian dialectal Žemaitian accent retraction presents important typological parallels to proposed reconstructions of early Baltic and Slavic accent developments.
本期《斯拉夫丑闻》为读者提供了七篇文章和三篇书评。撰稿人讨论的主题包括当代俄罗斯跨文化散文、Aleksandr Puškin、Marina Cvetaeva和Olga Tokarczuk的作品，以及当代马其顿语法、斯拉夫历史语法和巴尔托斯拉夫口音学。Andrey E.Bochkarev的文章细读了Aleksandr Puškin的短篇小说《暴风雪》，展示了一个小细节，即格言Ut duo unum compnant，如何在叙事中发挥重要作用。Eleni Bužarovska讨论了在标准马其顿语中重新引入潜在的情绪标记bi-。有人认为，在邻近斯拉夫语言的影响下，双模式语进入了马其顿条件体系，通过分析不同时期文学作品中的例子来研究双模式语的传播。Anna Ljunggren讨论了当代俄罗斯文学指南作为一种重要的混合类型，同时具有信息性、自传性和历史性的功能。通过分析Joseph Brodsky、AndreïMakine和MichailŠiškin的作品，Ljunggren展示了跨文化写作如何包含语用和美学方面的特殊融合。Marek Majer分析了原斯拉夫抽象后缀*-ostă的起源，提出了对*-ostõ（<*-osto-）中的一类形容词的重建，该形容词没有直接保存下来，但在其他印欧语言中有相似之处。Ellen Mortensen在Olga Tokarczuk的小说《把犁开过死人的骨头》中探讨了复仇的主题。从生态女性主义的角度分析了故事的情节结构和人物，展示了自然的力量如何在故事的发展中发挥着至关重要的作用。Yulia Pasko研究了Marina Cvetaeva的诗歌周期《Achmotova》和《Blok的诗》，通过Rainer Warning解释的Michel Foucault的异托邦概念分析了文本的空间组织。Vytautas Rinkevičius对正在进行的关于波罗的海-斯拉夫移动口音范式起源的讨论的贡献揭示了立陶宛方言的日美提口音回缩如何与早期波罗的海和斯拉夫口音发展的重建提出了重要的类型学相似之处。
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Pub Date : 2021-07-03DOI: 10.1080/00806765.2021.1993997
Andrey E. Bochkarev
ABSTRACT The technique of close reading invites us to focus on particular points in the text that helps understand it as a work of art. In Puškin’s “Snowstorm” such points include the image of a snowstorm, literary clichés, paroemia like you cannot get around your intended on a horse (что суженого конем не объедешь), as well as several specific items, such as a Tula signet ring with a symbolic image of two burning hearts. And, strange as it may seem, the story’s happy ending is anticipated by “a suitable motto” casually mentioned in connection with the Tula signet ring – as a figure of silence without explanation in the text, but easily guessed by Puškin’s contemporaries as a motto accompanying the image of two burning hearts in the Dictionary of symbols and emblems (number 120), re-issued in St Petersburg in 1811. In this article, I offer a reading of the story as a rhetorical amplification of the “suitable motto” engraved on the Tula signet ring: Ut duo unum componant (‘That two may make but one’). I suggest to interpret this poetic design as a narrative program, incorporated into the text and structuring the narrative flow of the story.
摘要细读的技巧让我们关注文本中的特定点，这有助于将其理解为一件艺术作品。在普希金的《暴风雪》中，这些点包括暴风雪的图像、文学陈词滥调、戏仿，就像你骑着马无法绕过你想要的一样（часуженааралаканемниабедеша），以及一些特定的项目，比如一枚图拉印戒，上面有两颗燃烧的心的象征性图像。而且，尽管看起来很奇怪，故事的圆满结局是由“一句合适的座右铭”所预期的，这句格言与图拉图章戒指有关——在文本中是一个沉默的形象，没有任何解释，但普什金的同时代人很容易猜到，这句座右铭伴随着符号和徽章词典中两颗燃烧的心的图像（编号120），1811年在圣彼得堡重新发行。在这篇文章中，我对这个故事进行了解读，作为对图拉图章戒指上刻着的“合适的座右铭”的修辞放大：Ut duo unum compnant（“这两个可以造就一个”）。我建议将这种诗意的设计解读为一种叙事程序，融入文本并构建故事的叙事流程。
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