Kultury Wschodniosłowiańskie – Oblicza i Dialog https://pressto.amu.edu.pl/index.php/kwod <p class="oczasopismie"><strong>OPIS CZASOPISMA</strong><br />„Kultury Wschodniosłowiańskie – Oblicza i Dialog” to czasopismo naukowe działające przy Instytucie Filologii Rosyjskiej i Ukraińskiej Uniwersytetu im. Adama Mickiewicza w Poznaniu. Jest ono propozycją wydawniczą adresowaną do naukowców (również obcokrajowców), którzy zainteresowani są badaniami literaturoznawczymi, językoznawczymi i kulturologicznymi w obrębie Słowiańszczyzny Wschodniej. W czasopiśmie publikowane są artykuły dotyczące szeroko rozumianej przestrzeni kulturowej (w wymiarze materialnym i duchowym), widzianej z perspektywy młodego pokolenia humanistów. </p> <p><a href="http://wkn.amu.edu.pl/wp-content/uploads/2020/10/Zasady-recenzowania.docx">Zasady recenzowania</a></p> <p><a href="http://wkn.amu.edu.pl/wp-content/uploads/2020/10/Polityka-otwartego-dostępu.docx">Polityka otwartego dostępu</a></p> <p><a href="http://wkn.amu.edu.pl/wp-content/uploads/2020/10/Zasady-etyki.docx">Zasady etyki</a></p> <p> </p> <div class="oczasopismie"><strong>INDEKSOWANE W:</strong> <p>Index Copernicus</p> </div> <div class="oczasopismie"><strong>WSKAŹNIKI OCENY CZASOPISMA: </strong> <p><strong>Index Copernicus</strong> 55,39</p> </div> <div class="oczasopismie"><strong>DOI: </strong><a href="https://pressto.amu.edu.pl/index.php/kwod/index">10.14746/kwod</a></div> <div class="oczasopismie"><strong>ISSN: </strong>2391-470X</div> <div class="oczasopismie"><strong>PRACE PUBLIKOWANE W CZASOPIŚMIE OD 2015 r. DOSTĘPNE SĄ NA LICENCJI CREATIVE COMMONS:</strong><br /><a href="http://creativecommons.org/licenses/by-nd/4.0/"><img src="https://pressto.amu.edu.pl/public/piotr/cc/cc_4_by_nd.png" alt="CC_by-nd/4.0" border="0" /></a></div> Adam Mickiewicz University Poznan pl-PL Kultury Wschodniosłowiańskie – Oblicza i Dialog 2391-470X Радянський джентльмен: український професор супроти викликів історії https://pressto.amu.edu.pl/index.php/kwod/article/view/24812 <p><span lang="UK">The </span><span lang="EN-US">emphasis</span><span lang="UK"> is </span><span lang="EN-US">placed</span><span lang="UK"> on the main character’s personal, national and academic identity. A university professor and a linguist, </span><span lang="EN-US">the protagonist</span> <span lang="EN-US">constructed his identity through combining the elements of </span><span lang="UK">Sovietness, Englishness, and Ukrainianness. </span><span lang="EN-US">While f</span><span lang="UK">ocusing on </span><span lang="EN-US">the </span><span lang="UK">protagonist’s identity quest, the author also identifies </span><span lang="EN-US">historical context</span><span lang="UK"> of </span><span lang="EN-US">the</span><span lang="UK"> novel, which </span><span lang="EN-US">is</span><span lang="UK"> rooted in Ukrainian socio-historic reality throughout the 1950s-2010s.</span></p> Oksana Blashkiv Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 11 22 10.14746/kw.2019.9.1 Мотив одиночества в раннем творчестве Ирен Немировски https://pressto.amu.edu.pl/index.php/kwod/article/view/23672 <p><span style="left: 286.528px; top: 710.904px; font-size: 13.5405px; font-family: sans-serif; transform: scaleX(0.952724);">The subject of analysis</span> in this paper is the motif of loneliness in the early works of Irène Némirovsky (1903–1942). A pessimistic view on human life, which is typical for Némirovsky, is shown by the author of this article on the example of three works: <em>L’Enfant génial</em>, <em>David Golder</em> and <em>Les Mouches d’automne</em>.&nbsp; The main character of each of the works constantly feels misunderstood, alienated and eventually dies, convinced of the meaninglessness of his/her existence. These feelings become common for the characters, which at first glance seem completely different - a Jewish boy from the poor quarter of Odessa, a rich financier living in Paris, and an elderly Russian nanny, who emigrates with her masters. The problem of loneliness in Némirovsky’s writing is closely related to the issues of finding one’s own identity and attempts to overcome the past.</p> Antoni Bortnowski Prawa autorskie (c) 2019 Kultury Wschodniosłowiańskie - Oblicza i Dialog 2020-07-14 2020-07-14 9 23 36 10.14746/kw.2019.9.2 Specyfika opisu „szczęśliwych” posągów na stacji metra Plac Rewolucji w rosyjskich źródłach internetowych https://pressto.amu.edu.pl/index.php/kwod/article/view/24813 <p><span lang="EN-US">The purpose of this paper is the descriptive analysis of “happy” statues in the Revolution Square underground station in Russian Internet sources. The range of the study embraces article titles, structure of content presentation, information about the genesis of "rubbing" items, personal stories and iconographic aspect. The research material is taken Russian e-commerce industry websites that operate in the tourism, fashion, interior and home design, financial services, as well as travel blogs.</span></p> Justyna Joppek Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 37 45 10.14746/kw.2019.9.3 Wojna oczami „nacbola”. Obraz wojny w zbiorze opowiadań Smrt Eduarda Limonowa https://pressto.amu.edu.pl/index.php/kwod/article/view/24814 <p><span lang="EN-US">The article is devoted to the image of war in <em>Smrt</em> – a collection of short stories written by Eduard Limonov. Eduard Limonov is a controversial Russian writer and politician known for his extremist worldview, scandalous literary works and involvement in the national-bolshevik movement. The action of most of the stories is set against the backdrop of the Yugoslav Wars. Limonov describes the dark sides of the war: death, suffering of civilians and atrocities, but at the same time claims that war creates an excellent opportunity to experience a fascinating adventure and to become a true hero. In his opinion, the war is completely consistent with the most basic human instincts, therefore, it is not surprising that many soldiers participate in war with enthusiasm and prefer it to a boring, stabilized life.</span></p> Michał Kołakowski Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 47 57 10.14746/kw.2019.9.4 «Дожити до ста»: моделювання героя в романі Володимира Лиса Століття Якова https://pressto.amu.edu.pl/index.php/kwod/article/view/24815 <p><span lang="EN-US">The article is devoted to the study of the novel by Vladimir Fox,<em> The Age of Jacob</em>. The main purpose is to analyze ways of modeling identity in the context of the axiological priorities of the protagonist as a collective image of the Ukrainian peasant in the 20th century.</span></p> Liubomir Krupka Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 59 65 10.14746/kw.2019.9.5 Między Kijowem a Konstantynopolem Relacje Kościoła ukraińskiego z Patriarchatem Ekumenicznym (X–XXI w.) https://pressto.amu.edu.pl/index.php/kwod/article/view/24816 <p><span lang="EN-US">Relations between the Ukrainian Church and Constantinople were difficult. This goes back as far as 988, when the Christianisation of the Rus created a strong alliance between Kiev and the Byzantine Empire. There were times when Constantinople had no influence over the Kiev Metropolis. During the Mongolian invasion in 1240, the Ukranian region was broken up and Kiev lost its power. The headquarters of the Kiev Metropolis were first moved to Wlodzimierz nad Klazma in 1299 and then to Moscow in1325. In 1458 the Metropolis of Kiev was divided into two; Kiev and Moscow, but Kiev still remained under the jurisdiction of the Patriarchate of Constantinople. Since that time, the orthodox hierarchs of Moscow no longer adhered to the title Bishop of Kiev and the whole of Rus and in 1588 the Patriarchate of Moscow was founded. In 1596 when&nbsp; the Union of Brest was formed,&nbsp; the orthodox church of the Polish Lithuanian Commonwealth was not liquidated. Instead it was formally revived in 1620 and in 1632 it was officially recognized by king Wladyslaw Waza. In 1686 the Metropolis of Kiev which until that time was under the Patriarchate of Constantinople was handed over to the jurisdiction of Moscow. It was tsarist diplomats that bribed the Ottoman Sultan of the time to force the Patriarchate to issue a decree giving Moscow jurisdiction over the Metropolis of Kiev. In the beginning of the 19<sup>th</sup> century, Kiev lost its Metropolitan status and became a regular diocese of the Russian Orthodox Church. Only in the beginning of the 20<sup>th</sup>century, during the time of the Ukrainian revolution were efforts made to create an independent Church of Ukraine. In 1919 the autocephaly was announced, but the Patriarchate of Constantinople did not recognize it. . The structure of this Church was soon to be liquidated and it was restored again after the second world war at the time when Hitler occupied the Ukraine. In 1992, after the dissolution of the Soviet Union, when Ukraine gained its independence, the Metropolitan of Kiev requested that the Orthodox Church of Ukraine becomes autocephalous but his request was rejected by the Patriarchate of Moscow. Until 2018 the Patriarchate of Kiev and the autocephalous Church remained unrecognized and thus considered schismatic. In 2018 the Ecumenical Patriarchate of Constantinople looked&nbsp; into the matter and on 5<sup>th</sup>January 2019, the Orthodox Church of Ukraine received it’s tomos of autocephaly from Constantinople. The Patriarchate of Moscow opposed the decision of Constantinople and as a result refused to perform a common Eucharist with the new Church of Ukraine and with the Patriarchate of Constantinople.</span></p> Konrad Kuczara Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 67 95 10.14746/kw.2019.9.6 Elementy wizualne w kulturze eksperymentu w ujęciu psychologicznym https://pressto.amu.edu.pl/index.php/kwod/article/view/24817 <p>In the article there is a whole range of the different examples related to the culture of experiment, especially in the context of the interrelations between literature and visual arts, music and photography. The paper touches upon the questions of mediality, intermediality, the relationship between word and picture, as well as sound and movement. The main aim of the article is to demonstrate the phenomenon of interweaving various types of arts worldwide.</p> Julia Poczynok Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 97 112 10.14746/kw.2019.9.7 Nabokow w masy: Obrona Łużyna na dużym ekranie https://pressto.amu.edu.pl/index.php/kwod/article/view/24818 <p>The intellectual prose of Vladimir Nabokov is not easy to be filmed. Thus, filmmakers have made a lot of changes in the original text. The goal of <em>The Luzhin Defence</em> creators’ was to show a completely new interpretation of Nabokov’s novel and present it to the public. This is why they simplified the plot, added some dynamism, made it more epic and attractive (love triangle, Luzhin’s mother’ suicide, erotic scenes, conspiracy, kidnapping, failed wedding). Luzhin’s childhood has been presented as a series of flashbacks. The hierarchy of characters has been changed: two equivalent characters are in the center (Luzhin and Natalia). All other characters have been given their first names and their biography. The film is spiced with feminism: the female character is stronger than in the novel and the story of a chess player (Luzhin) is presented from the feminist director’s point of view. Love story is placed in the center of the plot and it covers the topic of the game of chess. The motif of chess is connected with an extra independent character providing comments about chess to a viewer. Nabokov’s idea about the transcendental nature of arts, madness as the price for being a genius, is not presented in the film. The conflict in the film is not about metaphysics, but about intrigues and envy. Additionally, the plot has been complemented with an epilog to Nabokov’s story. After Luzhin’s suicide Natalia finishes the championship chess match by following his notes about the game and takes a revenge.</p> Natalia Popovich Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 113 128 10.14746/kw.2019.9.8 Posttotalitarna pamięć jako wyzwanie we współczesnej kulturze wschodnioeuropejskiej https://pressto.amu.edu.pl/index.php/kwod/article/view/24819 <p><span lang="EN-US">Contemporary Europe stands before the challenge of rethinking its own experience of totalitarian past with its many blank pages, which are highly important for modern societies. In this case we mostly talk about Soviet totalitarianism. Its ideological rhetoric changed the memory of a large part of Eastern and Central Europe. Ukraine, after the Revolution of Dignity and during the current war in Donbas, tries to prove that that totalitarian memory was illusory and cannot be valid now. The strategies for exposing the crimes of totalitarian regimes are suggested by the texts of contemporary culture, especially literature.</span></p> Oksana Pukhonska Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 129 138 10.14746/kw.2019.9.9 Odessa i Sarajewo. Dyskurs przestrzeni miejskiej. Uwagi wstępne https://pressto.amu.edu.pl/index.php/kwod/article/view/24820 <p>This paper aims at sketching cultural portrayals of the Ukrainian city Odessa and the Bosnian capital, Sarajevo, with reference to their current socio-political situation. Cultural visions of both places not only tend to have a lot in common, paradoxically due to the differences that they share but also the ones present in various texts of culture. Thus, both cities can boast their own myths. The symbolic space is approached among others through the prism of Vladimir Toporov’s theory. The city perceived by some researchers as a metaphor of culture functions as a kind of laboratory that fixates social and cultural changes emerging within the society on the microscopic scale. In addition, the current geopolitical situation of those places is mentioned with its war/conflict aftermath that contributes to certain city image.</p> Marta Siekierska Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 139 147 10.14746/kw.2019.9.10 Powieść в Советском союзе не было аддерола Olgi Breininger z perspektywy posthumanizmu https://pressto.amu.edu.pl/index.php/kwod/article/view/24831 <p><span lang="EN-GB">The analysis focuses on the novel’s protagonist – a young woman who gets involved in an experiment that is aimed at creating the contemporary Übermensch. It is claimed that the novel can be interpreted from the perspective of posthumanism, as it questions the anthropocentric standpoint, which refers mainly to the intellectual dimension of the human being and its economic efficiency.</span></p> Anna Stryjakowska Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 149 155 10.14746/kw.2019.9.11 Postać wszechświatowego człowieka w twórczości reżysera, scenarzysty i muzyka Michaiła Miesteckiego https://pressto.amu.edu.pl/index.php/kwod/article/view/24821 <p><span lang="EN-US">The article is devoted to the study of the concept and image of <em>the one-man </em>(rus. <em>mirovoj chelovek</em>). Mikhail Mestetsky – a screenwriter, a director, a musician, the founder and frontman of the group Shklovsky. His work is permeated with anarchic and revolutionary motifs of destruction and provocation. However, along with the aesthetics of destruction, there is a tendency towards collective behavior, the essentialization of the collective. The group, the detachment, the team, the union, and the sect are the favorite categories of Mestetsky's poetics. The identification of „all as one” in the category of the one-man (Wardan Hayrapetyan), <em>collective body</em> occurs in the film <em>Rag Union</em> (2015). The main plot of Mestetsky is set against this background – the self-education of personality and the character formation.</span></p> Roman Szubin Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 157 169 10.14746/kw.2019.9.12 Język i struktura Грамоты кн. Дмитрия Юрьевича в. кн. Василию Васильевичу. Problem tekstowości https://pressto.amu.edu.pl/index.php/kwod/article/view/24822 <p><span lang="EN-US">The paper analyses an Old East Slavic document – <em>Грамота кн. Дмитрия Юрьевича в. кн. Василию Васильевичу</em> in the context of its textuality. The language and structure of the text are described in order to prove that it can be analysed as a text in the meaning applied in modern text linguistics. Moreover, the paper shows that a wider investigation is necessary in order to prove its stylistic and genre features.</span></p> Maciej Waraczewski Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 171 177 10.14746/kw.2019.9.13 Językowe sposoby autoprezentacji (na przykładzie) regionalnego ośrodka telewizyjnego w Archangielsku https://pressto.amu.edu.pl/index.php/kwod/article/view/24824 <p>The article comprises an academic reflection on linguistic methods of self-presentation, used on regional television in Arkhangelsk. The material was collected in 2018 when the centre was celebrating its 55th anniversary. Moreover, earlier research in television broadcast in the north of Russia was taken into account. Editorial self-presentation is conducted in different ways. It embraces articles published on the website of the radio station and anniversary materials broadcasted on-air which later are uploaded on the web as podcasts. &nbsp;Self-presentation is also created by the image of the radio station reconstituted thanks to agenda, daily news feeds from 2018, examined in the context of sources from 2001-2018. Linguistic analysis is the affirmation of the medium’s form which is listener-oriented. What is more, within last few years the growth of axiological dimension was observed (for instance: religious magazines). Some website as well as on-air statements provide a persuasive step in order to create positive self-presentation. The radio station is seemed to be modern,&nbsp;professional and familiar with every human being, who is interested in social problems.</p> Katarzyna Zagórska Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 179 193 10.14746/kw.2019.9.14 Centrum i peryferia. Obraz Moskwy w powieści Dmitrija Głuchowskiego Tekst https://pressto.amu.edu.pl/index.php/kwod/article/view/24826 <p><em>Text</em> is a novel of manners with elements of a thriller, a noir, and a detective novel (but the above-mentioned complementary elements fulfill only a supportive role, because the criminal intrigue exposed at the very beginning is treated marginally amounts to a starting point for deeper considerations of the psychological and sociological nature). Due to the peculiar presentation of the image of the Center (here: Moscow), <em>Text</em> fits into the vision of Moscow as the core of Russian predatory capitalism, exuberant consumerism, glitz, semblance and ruthless struggle for recognition in the ranking of successful people, which is presented in contemporary Russian literature. Its fundamental value is the fact that the realization of the author's idea is mainly due to the confrontation of megalopolis with images of the periphery, which can be regarded as satellite cities of the capital. In his perception of Russia, Glukhovsky is close to Roman Senchin and, similarly to the latter, he believes that the traditionally understood center-periphery, city-village conflict is disappearing, because eventually it turns out that (despite the spatial and social diversity) none of these places (mainly because of conspicuous regressive tendencies) does not give a person a chance for free development and self-realization.</p> Aleksandra Zywert Prawa autorskie (c) 2019 Instytut Filologii Rosyjskiej i Ukraińskiej UAM 2019-12-20 2019-12-20 9 195 208 10.14746/kw.2019.9.15