Papers by Mark Sokolyansky
Russian Literature, 2002
Scholarly interest in the works of Andrej Platonov (1899-1951) increased appreciably in the 1990s... more Scholarly interest in the works of Andrej Platonov (1899-1951) increased appreciably in the 1990s; 1 especially with the celebration of the centenary of the writer's birth in 1999. The place of this outstanding writer in the history of twentieth-century Russian literature has become clearer belatedly. Even more belated is the understanding of Platonov's position in the worm literature of his age, however. As Goethe prophesied in his conversations with Eckermann: the future belongs to "the epoch of world literature ''2 and isolationist tendencies to explore only the national context of individual literature would lose their topicality. It is time to place Platonov's literary heritage in the context of twentieth-century fiction as a whole by investigating the relationships-of both influence and typology-between his fiction and the works of prominent Western men of letters. Franz Kafka is one of those writers. 3 It is impossible to speak of actual literary contact or influence between these two writers. In spite of the close attention which Kafka paid to Russian literature, he died too early to notice Andrej Platonov (although he had, for example, read the not so prominent author Alexander Neverov). Andrej Platonov took great interest in contemporary Western literature, 4 but Kafka's fiction has been published in Russian translations only since 1964, i.e. long after Platonov's death. So we can speak only of typological parallels between works of the two authors. 5 Perhaps, Iosif Brodskij was the first to draw attention to correlations between these two masters. In the preface to the
Alfred Nobel University Journal of Philoligy, 2016
The essay deals with the specificity of dramatic conflict in Shakespeare's tragedy «Othello». The... more The essay deals with the specificity of dramatic conflict in Shakespeare's tragedy «Othello». The ra-«Othello». The ra-Othello». The ra-». The ra-. The racial conflict, which determines the events of the first act, must be taken into consideration. This collision does not coincide with the pivotal conflict of the whole play. The relationships between these two conflicts and the role of some characters in the creating the artistic unity are analysed here.
Alfred Nobel University Journal of Philoligy, 2017
The history of British and American translators' special interest in Griboyedov's comedy is alrea... more The history of British and American translators' special interest in Griboyedov's comedy is already more than one and a half centuries old. For this period ten full translations of different authors were published and these works are marked with the great variety in rendering of the comedy's title. The searchings of semantic and stylistic adequacy in English variants of Griboyedov's title are being analysed in the article.
Studia Rossica Posnaniensia, 1979
Shakespeare’s Richard III played a minor role, if any, in the repertoire of Russian pre-revolutio... more Shakespeare’s Richard III played a minor role, if any, in the repertoire of Russian pre-revolutionary theatre. One cannot speak of a rich scenic history of the play in tsarist Russia. In fact, Shakespeare’s history plays were performed rarely on the Russian stage in the nineteenth century or on the Soviet stage before the 1960s. Moscow’s Maly Theatre, the most important theatre in the nineteenth century, performed Richard III in the 1877/78 season, starring Alexander Lensky as Richard Gloucester. The production was revived in 1884 and again in 1896 with the great actor Alexander Yuzhin (Sumbatov) as Richard. Russian theatre historians agree that it was the top achievement in the pre-revolutionary history of Richard III on the national stage (Shtein 278–82). The unpopularity of the play in tsarist and Stalin’s times is a socio-cultural phenomenon which is not difficult to comprehend. This story of inhuman tyranny, in which not only the rise but also the decline and fall of the bloody...
The Modern Language Review, 1989
Russian Literature, 2002
Scholarly interest in the works of Andrej Platonov (1899-1951) increased appreciably in the 1990s... more Scholarly interest in the works of Andrej Platonov (1899-1951) increased appreciably in the 1990s; 1 especially with the celebration of the centenary of the writer's birth in 1999. The place of this outstanding writer in the history of twentieth-century Russian literature has become clearer belatedly. Even more belated is the understanding of Platonov's position in the worm literature of his age, however. As Goethe prophesied in his conversations with Eckermann: the future belongs to "the epoch of world literature ''2 and isolationist tendencies to explore only the national context of individual literature would lose their topicality. It is time to place Platonov's literary heritage in the context of twentieth-century fiction as a whole by investigating the relationships-of both influence and typology-between his fiction and the works of prominent Western men of letters. Franz Kafka is one of those writers. 3 It is impossible to speak of actual literary contact or influence between these two writers. In spite of the close attention which Kafka paid to Russian literature, he died too early to notice Andrej Platonov (although he had, for example, read the not so prominent author Alexander Neverov). Andrej Platonov took great interest in contemporary Western literature, 4 but Kafka's fiction has been published in Russian translations only since 1964, i.e. long after Platonov's death. So we can speak only of typological parallels between works of the two authors. 5 Perhaps, Iosif Brodskij was the first to draw attention to correlations between these two masters. In the preface to the
The Modern Language Review, 1984
The Cambridge Companion to Shakespeare on Film, 2000
The Cambridge Companion to Shakespeare on Film, 2007
The Modern Language Review, 1989
The Modern Language Review, 1984
The Cambridge Companion to Shakespeare on Film, 2000
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Papers by Mark Sokolyansky