Russian literature: the genesis of dialogue with European culture. Lukov Vl. A.: French literature from its origins to the beginning of the modern period. XVIII century. Crebillon Sr.
№4 2008 - Culturology
The culturological concepts of "concept" and "constant" of culture have been developed in detail by science relatively recently. Academician Yu. S. Stepanov made a great contribution to the understanding of these concepts by publishing an extensive work “Constants: Dictionary of Russian Culture”.
The concept, from the point of view of Yu. S. Stepanov, “is like a clot of culture in the mind of a person; that in the form of which culture enters the mental world of man. And, on the other hand, the concept is something through which a person - an ordinary, ordinary person, not a "creator of cultural values" - enters culture himself, and in some cases influences it. (...) Unlike concepts in the proper sense of the term (...), concepts are not only thought, they are experienced. They are the subject of emotions, likes and dislikes, and sometimes clashes. The concept is the main cell of culture in the mental world of a person.
And further - an important clarification: “In the concept, as it is studied in logic and philosophy, there is a volume - a class of objects that fits a given concept, and content - a set of general and essential features of the concept corresponding to this class. In mathematical logic (especially in its most common version, also adopted in this Dictionary - in the system of G. Frege - A. Church), the term concept refers only to the content of the concept, thus the term concept becomes synonymous with the term meaning. While the term meaning becomes synonymous with the term scope of the concept. Simply put, the meaning of a word is the object or objects to which this word is correct, in accordance with the norms of the given language, and the concept is the meaning of the word. In the science of culture, the term concept is used when abstracting from cultural content, and talking only about the structure - in general, just like in mathematical logic. The structure of the content of the word is understood in the same way in modern linguistics.
Essential for Yu. S. Stepanov is the provision he made in the title of one of the sections of the article “Concept”: “Concepts can “hover” over conceptualized areas, being expressed both in a word and in an image or a material object.” This thought turns out to be fundamental for formulating a general definition of culture proposed by the scientist: “Culture is a set of concepts and relationships between them, expressed in various “series” (primarily in “evolutionary semiotic series”, as well as in “paradigms”, “styles” , "isoglosses", "ranks", "constants", etc.); you just need to remember that there are neither "purely" spiritual "or" purely material "rows: the temple is associated with the concept of" sacred "; crafts - with a whole range of different concepts; social institutions of society, not being "spiritual concepts" in the narrow sense of the word, form their own rows, etc. - "conceptualized areas" where "words" and "things" are combined, synonymized - one of the most specific manifestations of this properties in spiritual culture.
In the general system of terms that characterize the “conceptualized sphere”, a certain place is occupied by “constants”: “A constant in culture is a concept that exists constantly or, at least, for a very long time. In addition, the term "constant" can be given another meaning - "a certain constant principle of culture." (...) The principle of creating alphabets - the “alphabetic principle”, which is further projected in various cultures onto ideas about the structure of the world, can be attributed precisely to constant principles (...). But in this Dictionary we consider a constant in the first meaning - as a constantly present concept".
We have taken the liberty of considering a single constant of world culture (more precisely, the thesauri of world culture) on the basis of material studied in various sciences: in cultural studies, philology (history of literature), psychology, and sociology. And this constant is “Love”, perhaps the most attractive concept, which is connected with the vital (not educational) needs of a person and therefore always finds a special response.
Love is a form of spiritual culture, presented in the human thesaurus as an individual experience of a feeling of devotion to people, objects and phenomena of the surrounding world, ideas, dreams, to oneself, when the object of this feeling becomes higher and more valuable than the personal "I" and without merging with the chosen object, mastering to them, unity, a person does not conceive of his existence, or, at least, feels deep dissatisfaction, his inferiority, the incompleteness of individual being. Such an understanding of love includes all its types (for life, sex, a woman or a man, for children and parents, for oneself, for money, fame, power, art, science, Motherland, God, etc.), unites everything three meanings of the word in Russian (a feeling of deep attachment to someone, something; a feeling of a warm heart inclination, an attraction to a person of the opposite sex; an inner desire, inclination, attraction to something) and wider than the ordinary idea of love as a strong attraction to a person of the opposite sex, despite the fact that Freudianism, with its teaching about the sexual nature of all cultural phenomena and the sublimation of libido, returns to the term "love" this ordinary meaning as the main one.
In antiquity, love (Eros among the Greeks, Cupid among the Romans) was sacred, which makes it difficult to comprehend the love relationships of that time. To designate forms of love other than Eros, ancient thinkers used another word - phileō (I love), hence the names "philosophy" (love of wisdom), "philology" (love of the word). In the teachings of Plato, love (Eros) is a person's desire for original integrity. In The Feast, Plato talks about androgynes (androgynous people), whom Zeus, in order to weaken them, cut into two halves: “So, each of us is a half of a person ... and therefore each of us is always looking for the corresponding half.” The spiritual motives of love in Plato determined the concept of "Platonic love", which the philosopher easily combines with love for the beautiful, for the eternal possession of the good, for wisdom and virtue. In the Middle Ages, love for God comes to the fore, carnal love is condemned (Augustine, Abelard). Secular chivalric literature (poetry of troubadours, medieval novel) reflects the formation of a new feeling of love, close to modern, in the concept of courtly (knightly) love: this is “some innate passion arising from contemplation and immoderate thinking about the beauty of another sex ...”, love must to be faithful, modest, secret, etc. Love is separated from the problem of marriage: a knight must love his overlord's wife. This requirement is purely social, it turns love into a form of vassal service.
After Dante, love becomes almost the main object of description in literature - one of the main sources of ideas about the historical development of this feeling (in poetry - from Petrarch to Pushkin, Baudelaire and poets of our time; in prose - from Boccaccio to Stendhal, Turgenev, Tolstoy, Dostoevsky , Maupassant, Proust, Murdoch, a love story in mass fiction, including various deviations from traditional love from the Marquis de Sade to Wilde, Gide, Genet, Baldwin; in dramaturgy - from Shakespeare to Williams), speaking both with joyful and from the sad side. A huge array of texts allows for the study of love within the framework of the sociology of literature. A characteristic feature of the literary understanding of love is the opposition of sublime love and base love, on the other hand - love for a woman (man) - love for wealth, fame, power (and sometimes - for the Motherland, revolution, creativity).
In the 17th century, love was usually viewed in a very lofty way. This is evidenced by the glorification of the commandments of love of Celadon - the hero of the pastoral novel "Astrea" by Honore d'Urfe and the heavenly punishment brought down by the writers on Don Juan - Don Juan from "The Seville Seducer" by Tirso de Molina and Molière's comedy "Don Juan" ("eternal image" , which is present in hundreds of works of subsequent eras and has become a mythologeme, which symbolizes one of the most common interpretations of love).
Precise love reigned in secular salons. Imitating the heroes of pastoral and gallant-heroic novels, the daughter of the famous owner of the salon of the Marquise de Rambouillet, Julie, married the Duke of Montosier after 14 years of his most exquisite platonic courtship.
Great tragedians wrote about high love. For Pierre Corneille, love is inseparable from nobility: “Qui m’aima généreux me hairait infâme” - “She who loved me noble would hate me dishonest,” Rodrigo exclaimed in his tragedy The Cid (1636). Jean Racine saw the tragedy of love in its inseparability. In Andromache (1667), a chain appears: Orestes loves Hermione, who loves Pyrrhus, who loves Andromache, who loves the deceased Hector. In Britannica, Nero is inflamed with passion for Junia, who loves Britannicus. In Phaedra, Theseus' wife Phaedra does not love her husband, but her stepson Hippolytus, who loves Arikia. Unrequited love torments the heroes, leads them to death, but does not drop their dignity.
At the turn of two centuries, motives for disappointment in ideal love appear. François de La Rochefoucauld's Maxims (last edition of his lifetime in 1678) reflected this in the well-known aphorism: "True love is like a ghost: everyone talks about it, but few have seen it." In the Tales of Charles Perrault (1697), love is perfect. In Cinderella, Perrault created a myth about the transformation of a poor and unsightly, but hardworking girl, who was turned into a beautiful princess by magic and the love of a prince. For the 17th century, this motif was very democratic, but still it was a fabulous motif.
In the 18th century, the emphasis shifted. This is especially noticeable in the court environment. In France, since the regency of Philippe d'Orléans, there has been a decline in morality. Aristocrats, who feel the end of their well-being is approaching, want to get all the available pleasures from life. The hero of the noble society was the Italian adventurer Giacomo Casanova, who devoted his life to the search for love adventures, wealth, and success. The concepts of noble honor and duty collapsed. The most noble women shamelessly flaunted their depravity. It came to the point that the daughter of the regent of the Duke of Orleans boasted of her love affair with her father.
Frivolity is spreading both in life and in art. A striking example is the painting by Fragonard, in particular, the painting “Latch” stored in the Louvre: a young man, already in his underwear, snaps the door latch, and the charming lady weakly resists, rather clinging to him than stopping him, next to them is a seductive bed, and on the table is an apple, a symbol of the fall of Adam and Eve.
The frivolous novel is gaining popularity. The problem of misalliance almost does not excite writers or evokes sympathy, as in the psychological novel of the abbe F. A. Prevost “The Story of the Cavalier de Grieux and Manon Lescaut” (1731), which shows the love of a noble young man, the Cavalier de Grieux, for a courtesan (the plot is unthinkable in high literature XVII century).
The prim English adhere to the old moral norms more punctually, guided by the rules that restrict the freedom of feelings for a gentleman. An exceptionally important source for understanding the image of a gentleman is "Letters to his son" by the English Earl of Chesterfield, which he wrote in 1739-1768. (published posthumously, in 1774, they were not written for publication and therefore represent a particularly valuable document of the private life and everyday views of the era). As expected, the problems of love are bashfully silent here, it is usually spoken of in an expanded sense: “History awakens in us a love for goodness and pushes us to good deeds; it shows us how at all times great and virtuous people were honored and respected during their lifetime, and also with what glory their offspring crowned them, perpetuating their names and bringing their memory to our days. But it is already instilled in children that relationships with the opposite sex, firstly, apply only to persons of their own circle, and secondly, they must be arranged in a very delicate and refined way. Chesterton insisted: “Although at first glance the question of how to behave in society may seem like a mere trifle, it is of great importance when your goal is to please someone in private life, and especially women whom you are too young or later you will want to win over to yourself ”(he writes this to a 9-year-old boy). In an earlier letter, he explained: “Good manners in many cases should be dictated by common sense; the same actions, quite correct under certain circumstances and in relation to a certain person, under other circumstances and in relation to another person, may look completely different. But there are some general rules of good upbringing that always and for all cases remain in force ”- and then sets out the details of etiquette in great detail to the point that “yes” and “no” sound rude, the words “sir” must be added to them. , "my lord" or "madam".
However, in England, the novel Pamela (1740) by Samuel Richardson, where the virtuous servant Pamela becomes the wife of her noble master, is very popular. In 1742, Henry Fielding's novel The Story of the Adventures of Joseph Andrews was published, parodying the plot of Pamela: Joseph Andrews, Pamela's brother, saves his innocence from his mistress. Fielding ends the novel more realistically: the servant is cast out.
Acquaintance with the love letters that have become public allows us to note a number of features of the love culture of the 18th century.
So, in 1713, 19-year-old Voltaire wrote a letter to the young Olympia Dunoyer. Swearing eternal love to her, he puts respect for the girl's virtue in the first place: “Yes, my dear Pimpetochka, I will always love you; even the most frivolous lovers say so, but their love is not based, like mine, on complete respect; I bow before your virtue as well as before your appearance, and I only pray to heaven that I may be able to borrow your noble feelings from you.
In the letters of Gabriel Mirabeau to Sophie Monnier (late 1770s), the qualities of the beloved are also called: “My Sophie, so simple and naive, seemed to me a model of sincerity and sensitivity: she lacked only passion, but love secretly promised me this too.”
The letters of Voltaire and Mirabeau share the years of the Regency and the reign of Louis XV, virtue gradually fades into the background, giving way to sincerity and sensitivity.
Impressibility is also considered a virtue of a man: “My dear, my only friend, I poured tears, covered your letter with kisses,” Mirabeau writes to Sophie on January 9, 1778, and further: “But no matter how much suffering the impressionability causes, it brings even more she is good." In the previous letter there are also such lines: “If I knew that my death is necessary for your happiness, that you can acquire it at this price, I would kill myself without hesitating for a minute” (for comparison, a phrase from a letter from the same time philosopher Denis Diderot to the sculptor Falcone about his love for Sophie Volan: “If she had told me - let me drink your blood - I would not have thought for a minute to satisfy this desire of hers”). The desire to kill oneself, to die for the sake of a loved one or from her hand is evidence of the awareness and feeling of love as a destructive passion.
Institute of Fundamental and Applied Research, Moscow University for the Humanities, Doctor of Philology, Professor, Honored Worker of Science of the Russian Federation, Academician of the International Academy of Sciences (IAS), winner of the Bunin Prize
(07/29/1948, Moscow - 03/05/2014, in the same place)
LUKOV Vladimir Andreevich was born on July 29, 1948 in Moscow. Graduated with honors from the Faculty of Russian Language and Literature of the Moscow State Pedagogical Institute. V.I. Lenin (now Moscow State Pedagogical University, Moscow State Pedagogical University) (1969), in the same place - postgraduate studies (1975); candidate of philological sciences (1975); Doctor of Philology (1986); professor (1989); Honored Scientist of the Russian Federation (1997). He began his scientific and pedagogical activity in 1965 as a student, then worked as a teacher in the town of Osinniki, Kemerovo region, since 1972 - at the Moscow State Pedagogical Institute (MSPU): assistant, associate professor, professor, dean of the Faculty of Philology, Academic Secretary of the University Council, Head of the Department of World literature. In 1997–2004 - professor, head of the department of general humanitarian disciplines, vice-rector for scientific work of the Humanitarian Institute of Television and Radio Broadcasting named after M. A. Litovchina. He also worked in other universities, since 2004 - on scientific work at the Moscow University for the Humanities. Since 2000, Academician-Secretary of the International Academy of Sciences of Pedagogical Education (IANPE), Director of the Thesaurus Research Center of IANP. In 2004 he was elected an Academician of the International Academy of Sciences (IAS, headquarters in Innsbruck, Austria), since 2011 - Member of the Presidium of the Russian Branch of the Russian Academy of Sciences, Academician-Secretary of the Humanities Section, Member of the Shakespeare Commission of the Russian Academy of Sciences (2008), participant in international conferences "Shakespeare Readings".
The main scientific interests are related to philology (the history of foreign literature, as well as the theory of literature, the history of Russian literature, the culture of speech), the theory and history of world culture, the sociology of culture, philosophy and aesthetics, and other areas of humanitarian knowledge. More than 2,000 scientific, scientific and methodological works with a total volume of more than 3,000 printed sheets have been published, including more than 100 monographs, textbooks and teaching aids for universities.
Scientific achievements: identified the historical and theoretical method of philological research and applied it to the analysis of French drama at the turn of the 18th–19th centuries, substantiated the division of the cultural process into stable and transitional periods, revealing the cyclical nature of the literary process, proposed methods for studying transitional aesthetic phenomena. Author of the generalizing work "History of Literature: Foreign Literature from the Beginnings to the Present Day" (M., 2003; 6th ed. 2009). It outlines the theory of the history of literature, presented as an emerging special field of philology. This concept is implemented on the material of the world literary process from the first monuments of writing to the literature of the 21st century. He specifically studied the genesis of genres, genre systems, trends, movements, movements in literature, theory and history of theater and dramaturgy. Together with Valery A. Lukov, he substantiated a general humanitarian thesaurus approach, which he applied to the characterization of a wide range of phenomena of world culture (summary work: Lukov Val. A., Lukov Vl. A. Thesauri: Subjective organization of humanitarian knowledge. M., 2008). Carried out a comprehensive study of the European culture of modern times, pre-romanticism, romanticism and neo-romanticism (philosophical and aesthetic foundations, literature, theater, fine arts, architecture, sculpture, music, everyday life). The monograph "Pre-romanticism", published in 2006 by the Nauka publishing house, has received wide recognition. The area of special research is the history of French literature and culture (summary work: History of French literature [in press]; electronic resources "French literature from its origins to the beginning of the Newest period: Electronic encyclopedia", 2009–2010; "Modern French literature: Electronic encyclopedia", since 2011), dealt with the problems of Russian, English, German, Italian, Spanish and other literatures, analyzed the work of A. S. Pushkin, M. Montaigne, M. Cervantes, J.-B. Moliere, J.-J. Rousseau, V. Hugo, P. Merime, C. Baudelaire, C. De Coster, E. Rostand, O. Wilde, F. Kafka, A. Camus and other prominent representatives of world literature. He paid special attention to the work of W. Shakespeare and the processes of Shakespeareization in European literature (in 2008 he collaborated with the Shakespeare Commission of the Russian Academy of Sciences, author, editor of monographs, collections of works, articles, including in the electronic resources "The World of Shakespeare", 2009-2010; " Contemporaries of Shakespeare", since 2011; generalizing work: Zakharov N. V., Lukov Vl. A. Shakespeare, Shakespeareization. M., 2011). He was engaged in the study and preparation for publication of the works of Z. Freud (summary work: Lukov Val. A., Lukov Vl. A. Sigmund Freud: Chronicle-reader. M., 1999), as well as A. Binet, J. Piaget and other prominent psychologists. He revealed the theoretical and methodological problems of design research, the history of the formation of this cultural phenomenon, proposed the concept of its cultural interpretation (summary work: Lukov Vl. A., Ostanin A. A. Design: cultural interpretation. M., 2005). Developed the problems of the philosophy of culture, the sociology of culture (summary work: Culture and society: Philosophical questions of cultural sociodynamics. M., 2008). Author and co-author of a large number of textbooks, teaching aids, university programs in literary criticism and cultural studies (of which more than 30 received the stamps of the ministry, UMO, etc.). One of the scientific editors of the New Russian Encyclopedia.
Since 1990, for a decade, he headed the authoritative scientific school of the Department of World Literature of the Moscow State Pedagogical University (“Purishevskaya Scientific School”), which received wide recognition in Russia and is known abroad. He became the organizer and from 1989 to 2000 led the annual Purishev Readings (“World Literature in the Context of Culture”), which bring together prominent representatives of the humanities in Russia, the CIS, European countries, as well as young scientists. At present, a scientific school is being formed around his idea of a thesaurus analysis of world culture (more than 20 collections of works by representatives of this school have been published). Since 2004 - one of the organizers of the annual international scientific conferences "Higher Education for the 21st Century" at Moscow State University. He introduced specialists to the achievements of Russian philology, other humanities and taught in Germany, France, Great Britain, Italy, Norway, Sweden, Greece, Hungary, Bulgaria, participated in international, Russian, regional scientific conferences, congresses, meetings. Prizes named after A.F. Losev, I degree for the best scientific work in the field of the humanities (1998, 2000). In 2004 he was elected a member of the Russian Intellectual Club, since 2005 he has been a jury member of the Bunin Prize. Silver medal of N. N. Moiseev "For merits in education and science" (2009). Laureate of the Bunin Prize, special prize "For the creation of innovative concepts and scientific works on the theory and history of national and world culture, outstanding achievements in the education of new generations of Russian philologists" (2011).
Major Publications
Monographs:
Lukov Vl. A. The study of the system of genres in the works of foreign writers: Prosper Merime. - M.: MGPI, 1983. - 123 p.
Lukov Vl. A. French dramaturgy (pre-romanticism, romantic movement). - M.: MGPI, 1984. - 110 p.
Lukov Val. A., Lukov Vl. A. "Little tragedies" by A. S. Pushkin: philosophy, composition, style. - M.: MPGU, 1999. - 207 p.
Vershinin I. V., Lukov V. A. Pre-romanticism in England. - Samara: Publishing house of SGPU, 2002. - 320 p.
Lukov Vl. A. Edmond Rostand: Monograph. - Samara: Publishing house of SGPU, 2003. - 268 p.
Lukov Vl. A., Ostanin A. A. Design: cultural interpretation. - M.: NIB, 2005. - 180 p.
Lukov Vl. A. Russian Literature in the World Literary Process (Introduction to the Problem): Monograph. - M.: MosGU, 2006. - 104 p.
Lukov Vl. A. European culture of modern times: Thesaurus analysis: Nauch. monograph / Resp. ed. Shaft. A. Lukov. - M.: MosGU, 2006. - 102 p.
Lukov Vl. A. The theory of personal models in the history of literature: Nauch. monograph. - M.: Publishing House of Moscow. humanit. un-ta, 2006. - 103 p.
Lukov Vl. A. Russian literature: the genesis of dialogue with European culture: Scientific monograph / Ed. ed. Shaft. A. Lukov. - M.: Publishing House of Moscow. humanit. un-ta, 2006. - 100 p.
Lukov Vl. A. Pre-romanticism: scientific. monograph. - M.: Nauka, 2006. - 683 p.
Lukov Vl. A. Merime: The study of the personal model of literary creativity: Nauch. monograph. - M.: Publishing House of Moscow. humanit. un-ta, 2006. - 110 p.
Lukov Vl. A., Lukov Val. A., Kovaleva A.I. Lessons from Makarenko / Foreword. S. M. Mironova. - M.: Klyuch-S, 2006. - 80 p.
Lukov Vl. A., Zakharov N. V., Gaidin B. N. Hamlet as an eternal image of Russian and world literature: Monograph. / Rev. ed. Vl. A. Lukov. - M.: Publishing House of Moscow. humanit. un-ta, 2007. - 86 p.
Lukov Val. A., Lukov Vl. A. Thesauri: Subjective organization of humanitarian knowledge. - M.: Publishing House of the National Institute of Business, 2008. - 784 p.
Lukov Vl. A. Culture and society: Philosophical questions of cultural sociodynamics: Nauch. monograph. - M.: Publishing House of Moscow. humanit. un-ta, 2008. - 104 p.
Lukov Vl. A. French neo-romanticism: Monograph. - M.: Publishing House of Moscow. humanit. un-ta, 2009. - 102 p.
Lukov Vl. A., Florova V.S. "Sonnets" by William Shakespeare: from contexts to text (On the 400th anniversary of the publication of Shakespeare's "Sonnets"): Monograph. / Rev. ed. N. V. Zakharov. - M.: Publishing House of Moscow. humanit. un-ta, 2009. - 94 p.
Higher education and humanitarian knowledge in the 21st century: Monograph-report / Author: Val. A. Lukov, B. G. Yudin, Vl. A. Lukov, N. V. Zakharov and others; under total ed. Shaft. A. Lukov and Vl. A. Lukova. - M.: Publishing House of Moscow. humanit. un-ta, 2009. - 480 p.
Horizons of humanitarian knowledge: In honor of the 75th anniversary of Igor Mikhailovich Ilyinsky: Monograph. / Val. A. Lukov (head.), Vl. A. Lukov, B. G. Yudin, Ch. K. Lamazhaa, A. I. Fursov, L. P. Kiyashchenko, P. D. Tishchenko, S. V. Lukov, B. A. Ruchkin, Yu. L. Vorotnikov, B. N. Gaidin, N. V. Zakharov, V. A. Gnevasheva, K. N. Kislitsyn; under total ed. Shaft. A. Lukova, Vl. A. Lukova. - M. : GITR, 2011. - 348 p.
Lukov Vl. A. Academician D.S. Likhachev and his concept of the theoretical history of literature: Monograph. - M.: GITR, 2011. - 116 p.
Zakharov N. V., Lukov Vl. A. Shakespeare, Shakespeareization: Monograph. - M.: Publishing House of Moscow. humanit. un-ta, 2011. - 104 p.
Vershinin I.V., Lukov Vl. A. European culture of the 18th–19th centuries: the context of English pre-romanticism: [Scientific monograph] // Vershinin I. V. Works on the study of pre-romanticism and romanticism / Ed. ed. Vl. A. Lukov. - Samara: PSGA; M: Sotsium, 2011. - S. 437–554.
Zakharov N. V., Lukov Vl. A. Genius for the Ages: Shakespeare in European Culture: Nauch. monograph. - M. : GITR, 2012. - 504 p.
Tutorials:
Ladygin M. B., Lukov Vl. A. Romanticism in foreign literature. - M.: MGPI, 1979. - 113 p.
History of foreign literature of the XIX century: In 2 parts. / Author: Mikhalskaya N. P., Lukov Vl. A., Zavyalova A. A. and others; Ed. N. P. Mikhalskaya. - M.: Enlightenment, 1991. - Part 1. - 256 p.; Part 2. - 256 p.
Lukov Val. A., Lukov Vl. A. Sigmund Freud: Chronicle-reader: Textbook. allowance. - M.: Flinta; Moscow Psychological and Social Institute, 1999. - 416 p.
Lukov Vl. A. History of Foreign Literature: Antiquity, Middle Ages, Renaissance: Textbook. allowance. - M.: GITR, 1999. - 66 p.
Lukov Vl. A. History of foreign literature: XVII-XVIII centuries: In 2 parts: Textbook. allowance. - M.: GITR, 2000. - Part 1. - 99 p.; Part 2. - 123 p.
Lukov Vl. A. History of Foreign Literature: Part 1: Literature of Antiquity, the Middle Ages and the Renaissance: Textbook. allowance. - M.: GITR, 2000. - 100 p.
Lukov Vl. A. History of Foreign Literature: Part 2: Literature of the 17th–18th centuries: Uchebn. allowance. - M.: GITR, 2001. - 236 p.
Lukov Vl. A. Jean-Baptiste Moliere (lectures-performances). - Stein A. L. French comedy from Molière to Beaumarchais. Rococo comedy is a serious genre. (Unpublished chapter from the book by A. Stein "The merry art of comedy") (Lecture-text for self-study): Textbook. allowance for students of pedagogical universities. - M.: Prometheus, 2001. - 80 p.
Lukov Vl. A. Culturology: Course program, scientific development of sections of the program and methodological materials; Textbook allowance. - M.: GITR, 2002. - 51 p.; 2nd ed. - 2004; 3rd ed., add. - 2006. - 76 p.
Lukov Vl. A. History of Foreign Literature: Course Program, Scientific Development of Sections of the Program and Teaching Materials: Uchebn. allowance. - M.: GITR, 2002. - 135 p.
Vershinin I.V., Lukov Vl. A. European culture of the XVIII century: Textbook. allowance. - Samara: Publishing house of SGPU, 2002. - 230 p.
Lukov Vl. A. History of Literature: Foreign Literature from the Beginnings to the Present Day: Uchebn. allowance for students of higher education. textbook establishments. - M., Publishing Center "Academy", 2003. - 512 p.; 2nd ed., rev. - 2005; 3rd ed., rev. - M.: Academy, 2006; 4th ed. - 2008; 5th ed. - 2008; 6th ed. - 2009.
Culturology: History of World Culture: Textbook / Ed.: G. S. Knabbe, I. V. Kondakov, T. F. Kuznetsova, Vl. A. Lukov and others; Ed. T. F. Kuznetsova. - M.: Publishing Center "Academy", 2003. - 605 p.; 2nd ed. - 2006; 3rd ed. - 2007.
Lukov Vl. A. Fundamentals of the theory of literature: the program of the course, the scientific development of sections of the program and methodological materials; Textbook allowance / Resp. ed. E. V. Zharinov. - M.: GITR, 2003. - 47 p.; 2nd ed. - 2004.
Lukov Vl. A. History of foreign literature. Part 3: Literature of the 19th century: Textbook. allowance. - M.: GITR, 2003. - 163 p.; 2nd ed. - 2004.
Lukov Vl. A. World Literature. - M .: OOO "World of Books", 2003. - 128 p.: ill. - (Big series of knowledge, v. 9).
Lukov Vl. A. History of foreign literature. Book. 1: Antiquity. Middle Ages. Pre-revival. Renaissance: Uch. allowance. - M.: GITR, 2004. - 168 p.
Chernozemova E. N., Lukov Vl. A. History of Foreign Literature of the Middle Ages and the Renaissance: Workshop: Plans. Developments. Materials. Tasks. - M.: Flinta; Nauka, 2004. - 200 p.
Chernozemova E. N., Ganin V. N., Lukov Vl. A. History of foreign literature of the XVII-XVIII centuries: Workshop: Plans. Developments. Materials. Tasks / Ed. E. N. Chernozemova. - M.: Flinta: Nauka, 2004. - 304 p.
Lukov Vl. A. History of foreign literature. Book 2: XVII-XVIII centuries: Uch. allowance. - M.: GITR, 2006. - 268 p.
Lukov Vl. A., Zakharov N. V., Kablukov V. V. Literature: Workshop: Part 1: Foreign Literature / Under the general. ed. Vl. A. Lukova. - M.: Publishing House of Moscow. humanit. un-ta, 2006. - 196 p.
Lukov Vl. A., Zakharov N. V. Literature: Workshop. Correspondence practical classes. Foreign Literature / Under the general. ed. prof. Vl. A. Lukova. - M.: Publishing House of Moscow. humanit. un-ta, 2006. - 73 p.
Vershinin I.V., Lukov Vl. A. Pre-romanticism and romanticism: Textbook. allowance for a special course / SPGU; MAN. - Samara: Publishing House of St. Petersburg State University, 2006. - 232 p.; 2nd ed., add. - Samara: Volga Publishing House. state social-humanist. Academy, 2009. - 248 p.; 3rd ed., add. - Samara: Volga Publishing House. state social-humanist. Academy, 2012. - 248 p.
Literature: workshop: in 2 hours. Part 2: Russian literature / Vl. A. Lukov, N. V. Zakharov, A. B. Tarasov, V. V. Kablukov, K. N. Kislitsyn; under total ed. Vl. A. Lukova, responsible ed. issue of V. V. Kablukov. - M.: Publishing House of Moscow. humanit. un-ta, 2007. - 128 p.
Lukov Vl. A. History of Foreign Literature: Course Program. Tutorial. - M.: GITR, 2010. - 80 p.
Lukov Vl. A. Fundamentals of Literary Theory: Course Program. Tutorial. - M.: GITR, 2010. - 96 p.
Lukov Vl. A., Zharinov E. V. History of Russian Literature: Course Program. Tutorial. - M.: GITR, 2010. - 60 p.
Lukov Vl. A. History of European culture in the 18th–19th centuries: Textbook. - M.: GITR, 2011. - 80 p.
Articles:
Lukovy Val. and Vl. On remarks in the plays of L. Leonov // Russian speech. - 1969. - No. 2. - S. 14–16.
Lukov Vl. A. [Rec. on the book:] L. G. Andreev. Impressionism. Publishing House of Moscow State University, 1980 // Philological Sciences. - 1981. - No. 4. - S. 84–86.
Lukov Vl. A. "Drama for reading" in French literature of the 1820s // Philological Sciences. - 1983. - No. 4. - S. 29–35.
Lukov Vl. A. Italian literature at the turn of two centuries // Questions of Literature. - 1983. - No. 11. - S. 244–248.
Mikhalskaya N. P., Lukov Vl. A. History of World Literature. T. 1–3. M., Science, 1983–1985 // Philological Sciences. - 1986. - No. 4. - S. 84–88.
Kiselev A. F., Lukov Vl. A., Artamonov G. A., Malandin V. V. Center for Higher Pedagogical Education of the Moscow State Pedagogical University and the Russian Academy of Education // Science and School. - 1997. - No. 6. - S. 2–6.
Lukov Vl. A. Purishevsky Readings: Contours and Results // Philological Sciences. - 2003. - No. 4. - S. 122–126.
Lukov Val. A., Lukov Vl. A. Thesaurus approach in the humanities // Knowledge. Understanding. Skill. - 2004. - No. 1. - S. 93–100.
Lukov Vl. A. Young hero in literature // Knowledge. Understanding. Skill. - 2005. - No. 1. - S. 141–147.
Lukov Vl. A. Literature: theoretical foundations of the study // Knowledge. Understanding. Skill. - 2005. - No. 2. - S. 136–140.
Lukov Vl. A. World university culture // Knowledge. Understanding. Skill. - 2005. - No. 3. - S. 30–38.
Lukov Vl. A. Education reforms // Knowledge. Understanding. Skill. - 2005. - No. 3. - S. 217–219.
Lukov Val. A., Lukov Vl. A. Constants of world culture in the university of the XXI century: the concept of "Love" // Knowledge. Understanding. Skill. - 2005. - No. 4. - S. 32–40.
Vershinin I.V., Lukov Vl. A. Pre-romanticism as a transitional aesthetic phenomenon // Proceedings of the Samara Scientific Center of the Russian Academy of Sciences. - 2005. - No. 2. - S. 5–10.
Lukov Vl. A. Genres and genre generalizations // Knowledge. Understanding. Skill. - 2006. - No. 1. - S. 141–148.
Lukov Vl. A. The cult of the writer // Knowledge. Understanding. Skill. - 2006. - No. 2. - S. 172–177.
Lukov Val. A., Lukov Vl. A. Humanitarian knowledge: thesaurus approach // Bulletin of the International Academy of Sciences (Russian section). - 2006. - No. 1. - S. 69–74.
Lukov Vl. A. History of culture and the problem of time // Knowledge. Understanding. Skill. - 2006. - No. 3. - S. 34–38.
Oshchepkov A. R., Lukov Vl. A. Intercultural reception: Russian Proust // Knowledge. Understanding. Skill. - 2006. - No. 3. - S. 172–180.
Lukov Vl. A.D.S. Likhachev and his theoretical history of literature // Knowledge. Understanding. Skill. - 2006. - No. 4. - S. 124–134.
Lukov Vl. A. The cult of Shakespeare as a scientific problem // Bulletin of the International Academy of Sciences (Russian section). - 2006. - No. 2. - S. 70–72.
Lukov Val. A., Lukov Vl. A. Thesaurus approach in the humanities // Pedagogical education and science. - 2006. - No. 6. - S. 40–45.
Lukov Vl. A. World Literature as a Subject of Scientific Research: Historical-Theoretical and Thesaurus Approaches // Philology and Man. - Barnaul: Publishing House of Altai University, 2007. - No. 1. - S. 7–13.
Lukov Val. A., Lukov Vl. A. Russia and Europe: Dialogue of Cultures in Mutual Reflection of Literature // Knowledge. Understanding. Skill. - 2007. - No. 1. - S. 124–131.
Lukov Vl. A. International Conference "Higher Education for the 21st Century": First results // Knowledge. Understanding. Skill. - 2007. - No. 1. - S. 226–228.
Lukov Val. A., Lukov Vl. A. Parenting paradigms: from the “war of thesauri” to the “dialogue of thesauri” // Bulletin of the International Academy of Sciences (Russian section). - 2007. - No. 1. - S. 68–72.
Lukov Vl. A. Pushkin: Russian universality // Knowledge. Understanding. Skill. - 2007. - No. 2. - S. 58–73.
Lukov Vl. A. World drama // Knowledge. Understanding. Skill. - 2007. - No. 2. - S. 229–231.
Lukov Vl. A. Hamlet: the eternal image and its chronotope // Man. - 2007. - No. 3. - S. 44–49.
Lukov Vl. A. Literary hermeneutics // Knowledge. Understanding. Skill. - 2007. - No. 3. - S. 238–239.
Lukov Vl. A. Sociological novel by A. A. Zinoviev // Knowledge. Understanding. Skill. - 2007. - No. 3. - S. 241–243.
Lukov Val. A., Lukov Vl. A. Sigmund Freud: ideas of the thesaurus approach // Philosophy and Culture. - 2008. - No. 1. - S. 156–175.
Lukov Vl. A. Cultural studies objective and subjective // Knowledge. Understanding. Skill. - 2008. - No. 1. - S. 72–79.
Lukov Vl. A. World literature in the context of culture: new approaches to research // Bulletin of the Vyatka State University for the Humanities. - 2008. - No. 1. - S. 64–69.
Lukov Vl. A. Literary Concentres of Europe in the Preferences of the Russian Cultural Thesaurus // Knowledge. Understanding. Skill. - 2008. - No. 3. - S. 18–23.
Lukov Vl. A., Zakharov N.V. Shakespeareization and Shakespeareanism // Knowledge. Understanding. Skill. - 2008. - No. 3. - S. 253–256.
Lukov Vl. A., Zakharov N.V. The cult of Shakespeare as a sociocultural phenomenon // Bulletin of the International Academy of Sciences (Russian section). - 2008. - No. 1. - S. 65–68.
Zakharov N. V., Lukov Vl. A. "The World of Shakespeare": Electronic Encyclopedia on the Internet // Knowledge. Understanding. Skill. - 2008. - No. 4. - S. 54–57.
Lukov Val. A., Lukov Vl. A. Thesaurus approach in the humanities // Siberian Pedagogical Journal. - 2008. - No. 1. - S. 105–113.
Zakharov N. V., Lukov Vl. A. Shakespeare and Shakespearianism in Russia // Knowledge. Understanding. Skill. - 2009. - No. 1. - S. 98–106.
Lukov Vl. A., Kiryukhina T. M. Composition // Knowledge. Understanding. Skill. - 2009. - No. 1. - S. 251–254.
Lukov Val. A., Lukov Vl. A. Winged words // Knowledge. Understanding. Skill. - 2009. - No. 2. - S. 235–238.
Lukov Vl. A. [Actual problems of the methodology of literary criticism and teaching at the university of the history of literature]: Controversial problems of modern literary criticism: the search for a solution (Round table with the participation of famous Russian literary scholars) // Bulletin of the Vyatka State University for the Humanities. - 2009. - No. 2 (2). - S. 10–11, 14–16, 18–19.
Lukov Vl. A. Theoretical understanding of neo-romanticism: Rostand's academic speech // Knowledge. Understanding. Skill. - 2009. - No. 3. - S. 111–118.
Kuznetsova T. F., Lukov Vl. A. Cultural picture of the world in the light of trends in the development of cultural studies // Bulletin of the International Academy of Sciences (Russian Section). - 2009. - No. 1. - S. 66–69.
Lukov Vl. A. Ecology of culture: thesaurus technologies for overcoming the globalization entropy of knowledge // Bulletin of the International Academy of Sciences (Russian section). - 2009. - Spec. issue: materials of the International. conference "Ecological problems of the global world" (Moscow, October 26-27, 2009). - S. 143–144.
Lukov Vl. A. History of Literature // Knowledge. Understanding. Skill. - 2009. - No. 4. - S. 243–245.
Vershinin I.V., Lukov Vl. A. Pre-romanticism: new in literary aesthetics // Proceedings of the Samara Scientific Center of the Russian Academy of Sciences. - 2009. - T. 11. - No. 4 (6). - S. 1519–1527.
Lukov Vl. A. Pre-romanticism: a cultural phenomenon and ways to comprehend it // Knowledge. Understanding. Skill. - 2010. - No. 1. - S. 96–103.
Lukov Vl. A. Shakespeare in the Russian cultural thesaurus // Knowledge. Understanding. Skill. - 2010. - No. 1. - S. 254–257.
Lukov Vl. A., Trykov V.P. "Russian Baudelaire": the fate of the creative heritage of Charles Baudelaire in Russia // Bulletin of the International Academy of Sciences (Russian section). - 2010. - No. 1. - S. 48–52.
Lukov Val. A., Lukov Vl. A. Humanitarian expertise in the field of education: analysis of experts' answers to the question about academic degrees // Knowledge. Understanding. Skill. - 2010. - No. 2. - S. 50–64.
Lukov Vl. A. Folk culture and civilizational culture // Knowledge. Understanding. Skill. - 2010. - No. 2. - S. 268–271.
Lukov Vl. A. Possibilities of cultural studies as a paradigm of humanitarian knowledge // Knowledge. Understanding. Skill. - 2011. - No. 1. - S. 68–71.
Zakharov N. V., Lukov Vl. A. The cult of Shakespeare: Theory and global scale // Proceedings of the Samara Scientific Center of the Russian Academy of Sciences. T. 13. - 2011. - No. 2. - S. 148–154.
Lukov Val. A., Lukov Vl. A., Zakharov N.V. Value orientations of Russian youth in the light of the theory of values // Bulletin of the Orenburg State University. - 2011. - No. 2 (121). - February. - S. 19–26.
Lukov Vl. A. Literary awards // Knowledge. Understanding. Skill. - 2011. - No. 2. - S. 281–286.
Lukov Vl. A., Zakharov N. V., Kislitsyn K. N. The history of culture in the thesaurus coverage // Knowledge. Understanding. Skill. - 2011. - No. 2. - S. 293–296.
Zakharov N. V., Lukov Vl. A. Russian Shakespeareanism // Proceedings of the Samara Scientific Center of the Russian Academy of Sciences. T. 13. - 2011. - No. 2. - Part 3. - S. 661–666.
Lukov Vl. A., Lukov M. V., Lukov A. V. Surrealism in French artistic culture // Knowledge. Understanding. Skill. - 2011. - No. 3. - C. 173–181.
Lukov Vl. A. The charisma of a scientist as a factor in the conceptualization of humanitarian knowledge // Bulletin of the Vyatka State University for the Humanities. Philology and art history. - 2011. - No. 3(2). - pp. 8–13.
Lukov Vl. A. Buranok Oleg Mikhailovich - scientist-philologist and teacher // Proceedings of the Samara Scientific Center of the Russian Academy of Sciences. T. 13. - 2011. - No. 2. - Part 5. - S. 1023–1024.
Lukov Vl. A., Trykov V.P. Neoclassicism // Knowledge. Understanding. Skill. - 2011. - No. 4. - S. 275–277.
Lukov Vl. A. Thesaurus "Eliot's paradox" and the concept of "reciprocal reflection" in artistic culture // Knowledge. Understanding. Skill. - 2012. - No. 1. - S. 26–33.
Lukov Vl. A. Neoromanticism // Knowledge. Understanding. Skill. - 2012. - No. 2. - S. 309–312.
Literature about Vl. A. Lukove
Lukov Vladimir Andreevich // Who is who in Russian literary criticism: Reference book: At 3 hours. Part 2: K-O. - M.: INION, IMLI them. A. M. Gorky, 1992. - S. 142–143.
Ovcharenko V. I. Lukov Vladimir Andreevich // Ovcharenko V. I. Russian psychoanalysts. - M.: Academic project, 2000. - S. 154. - (Anthology of world psychoanalysis).
Lukov Vladimir Andreevich // International Academy of Sciences of Pedagogical Education (IANP): Biographical Dictionary: Vol. 2. - M.: MANPO, 2001. - S. 97–98.
Evdokimenko S. What can be a textbook // Higher education in Russia. - 2003. - No. 6. - S. 169–171. [About textbook. allowances: Lukov Vl. A. History of Literature: Foreign Literature from the Beginnings to the Present Day. M., 2003].
Lukov Vladimir Andreevich // Chuprinin S. I. New Russia: the world of literature: Encyclopedic Dictionary-Reference Book: In 2 vols. T. 1: A–L. - M.: Vagrius, 2003. - S. 814.
Erofeeva N. E. New approaches in the university teaching of foreign literature // Topical issues of modern literary criticism and methods of teaching literature at the university and school: Sat. scientific works. - M.: Company Sputnik +, 2003. - S. 3–5. [About textbook. allowances: Lukov Vl. A. History of Literature: Foreign Literature from the Beginnings to the Present Day. M., 2003].
Trykov V.P. Literary Odyssey: from Homer to Marquez (about the book by V.A. Lukov “History of Literature: Foreign Literature from the Beginnings to the Present Day”) // Telescope: Scientific Almanac. Issue. 5. - Samara: Scientific and Technical Center, 2003. - S. 250–252.
Trykov V.P. The history of world literature in one book // Knowledge. Understanding. Skill. - 2006. - No. 1. - S. 229–230. [About textbook. allowances: Lukov Vl. A. History of Literature: Foreign Literature from the Beginnings to the Present Day / 2nd ed., corrected. M., 2005].
Zakharov N. V., Lukov A. V. School of thesaurus analysis // Knowledge. Understanding. Skill. - 2006. - No. 1. - S. 213–214.
Mironov S. M. Lessons from Makarenko // Knowledge. Understanding. Skill. - 2006. - No. 4. - S. 235–236. [Rec. on the book: Lukov Vl. A., Lukov Val. A., Kovaleva A. I. Makarenko's lessons. M., 2006.]
Mikhalskaya N. P. [Rec.:] Vl. A. Lukov. Pre-romanticism. Scientific monograph. M., 2006 // Philological sciences. - 2007. - No. 1. - S. 124–125.
Dezhurov A. S. Pre-romanticism in the light of the thesaurus approach (Lukov Vl. A. Pre-romanticism. M.: Nauka, 2006) // Thesaurus analysis of world culture: Issue. 10. - M.: Publishing House of Moscow. humanit. un-ta, 2007. - S. 79–81.
Zakharov N. V. Thesaurus analysis of pre-romanticism [rec. on the book: Lukov Vl. A. Pre-romanticism. M.: Nauka, 2006] // Knowledge. Understanding. Skill. - 2007. - No. 1. - S. 221–223.
Tarasov A. B., Zakharov N. V. [Rec.:] Lukov Vl. A. Pre-romanticism. M.: Nauka, 2006. - 683 p. // Bulletin of the Russian Humanitarian Scientific Fund. - 2007. - No. 1 (46). - S. 272–275.
Kamaldinova E. Sh., Kuznetsova T. F. Humanitarian knowledge in the XXI century // Knowledge. Understanding. Skill. - 2007. - No. 2. - S. 233–235. [Rec. on the book: Humanitarian knowledge: development trends in the XXI century. In honor of the 70th anniversary of Igor Mikhailovich Ilyinsky / Ed. ed. Shaft. A. Lukova. - M.: Publishing House of the National. in-ta business, 2006. - 680 p.; Vl. A. Lukov - comp. ed. coll.]
Polyakov O. Yu. Encyclopedia of pre-romanticism (on a new monograph by Professor V. A. Lukov) // Bulletin of the Vyatka State University for the Humanities. - 2007. - No. 2 (17). - S. 143–144. [Rec. on the book: Lukov Vl. A. Pre-romanticism. M.: Nauka, 2006]
Revyakina A. A. [Review] Lukov Vl. A. Pre-romanticism. - M.: Nauka, 2006. - 683 p. // Social and humanitarian sciences. Domestic and foreign literature. Ser. 7, Literary criticism: RJ / RAS. INION. - M., 2008. - No. 1. - S. 28–35.
Kuznetsova T. F. New in the science of culture: Lukov Vl. A. Pre-Romanticism: Monograph. M.: Nauka, 2006 // Issues of cultural studies. - 2008. - No. 3. - S. 4–5.
Gurevich P. S. [Rec.:] Lukov Valery, Lukov Vladimir. Thesauri. Subjective organization of humanitarian knowledge. M., 2008, shooting range. 1000 copies, 784 p. // Oedipus. - 2008. - No. 3 (6). - S. 165–166.
Kostina A. V. Book Val. A. and Vl. A. Lukovykh "Thesaurus" and the formation of a new paradigm of humanitarian knowledge // Thesaurus analysis of world culture: Sat. scientific works. Issue. 16. - M.: Publishing House of Moscow. humanit. un-ta, 2008. - S. 82–97.
Kostina A. V. Theoretical problems of modern cultural studies: Ideas, concepts, research methods. - M.: Book house "LIBROKOM", 2008. - 288 p. [Chapter 14. Thesaurus approach as a new paradigm of humanitarian knowledge, p. 234–247].
Kostina A. V. Thesaurus approach as a new paradigm of humanitarian knowledge // Observatory of Culture. - 2008. - No. 5. - S. 102–109.
Bolotin I.S. Thesauri as a teacher's tool [Rec. on the book: Lukov Val. A., Lukov Vl. A. Thesauri: Subjective organization of humanitarian knowledge. M.: Ed. NIB, 2008. 784 p.] // Higher education in Russia. - 2009. - No. 5. - S. 169–172.
Ishchenko Yu. A. Reflections on the book: Lukov Val. A., Lukov Vl. A. Thesauri: Subjective organization of humanitarian knowledge. M.: Publishing House of the National Institute of Business, 2008. - 782 p. // Knowledge. Understanding. Skill. - 2009. - No. 3. - S. 262–268.
Internet: Zakharov N. V. Lukov Vladimir Andreevich // Electronic encyclopedia "The World of Shakespeare". URL: http://world-shake.ru/en/Encyclopaedia/3737.html .
Internet: Zakharov N.V. Thesaurus approach in modern humanitarian knowledge // New studies of Tuva. - 2009. - No. 1–2. URL: http://www.tuva.asia/issue_1_2.html
Internet: Kuznetsova T. F., Trykov V. P. Lukov Vladimir Andreevich // Information and Research Portal "Human Potential of Russia". URL: http://hdirussia.ru/111.htm .
Lukov Vladimir Andreevich // Who is who in Russian literary criticism: Biobibliographic dictionary-reference book / comp. T. N. Krasavchenko, O. V. Mikhailova, T. G. Petrova, A. A. Revyakina; ch. ed. A. N. Nikolyukin; scientific ed. A. A. Revyakina; Russian Academy of Sciences, INION. - M. : INION RAN, 2011. - S. 207–209.
Lukov // New Russian Encyclopedia: In 12 volumes / Editorial: A. D. Nekipelov, V. I. Danilov-Danilyan and others. T. 10 (1): Longchen Rabjam - Morocco. - M .: LLC "Publishing house" Encyclopedia "; Publishing house "INFRA-M", 2012. - S. 56.
Shapinskaya EN Image of the Other in cultural texts. - M. : KRASAND, 2012. - 216 p. [WITH. 146–148, about “lit. portrait” by O. Wilde in “Thesaurus”].
Lamazhaa Ch.K. Thesaurus approach for Tuvan studies // Knowledge. Understanding. Skill. - 2012. - No. 2. - S. 38–45.
On March 5, 2014, at the age of 66, a literary critic and culturologist, winner of the Bunin Prize, brother of the philosopher Valery Lukov, Vladimir Andreevich Lukov, died.
The staff of the Institute for Fundamental and Applied Research of the Moscow University for the Humanities with the greatest regret announces the death at the age of 66 of the director of the Center for Theory and History of Culture of the Institute, the head of the scientific and educational center "Thesaurus Analysis of World Culture", a member of the editorial board of the journal "Knowledge. Understanding. Skill" ", our wonderful colleague and friend Vladimir Andreevich Lukov.
Vladimir Andreevich was born on July 29, 1948 in Moscow. He graduated from Moscow State Pedagogical Institute. V. I. Lenin (now the Moscow Pedagogical State University) (1969), in the same place - postgraduate studies (1975); candidate of philological sciences (1975); Doctor of Philology (1986); professor (1989); Honored Scientist of the Russian Federation (1997). Since 1972, he worked at the Moscow State Pedagogical Institute (MPGU), including the dean of the Faculty of Philology, head. Department of World Literature, until now he was a professor of this department. In 1997-2004 - professor, chief Department of General Humanitarian Disciplines, Vice-Rector for Research of the Humanitarian Institute of Television and Radio Broadcasting. M. A. Litovchina.
Since 2004, Vladimir Andreevich has worked at the Moscow University for the Humanities, and since 2008, he has been the director of the Center for Theory and History of Culture at the Institute for Fundamental and Applied Research, Moscow State University. Since 1996 he has been a Corresponding Member, since 1999 an Honorary Academician, and since 2000 an Academician-Secretary of the International Academy of Sciences of Pedagogical Education. Since 2000, he has headed the Thesaurological Research Center of this academy. In 2004 he was elected an academician of the International Academy of Sciences (IAS, headquarters in Innsbruck, Austria).
Vladimir Andreevich Lukov was the largest specialist in the field of foreign literature research, as well as the theory of literature, Russian literature, theory and history of world culture, psychology, sociology of culture, aesthetics, culture of speech, teaching methods in higher education, organization of science and education, scientific organization of labor . He published over 800 scientific and scientific-methodical works.
Vladimir Andreevich developed a historical and theoretical method of philological research and applied it to the analysis of French drama at the turn of the 18th-19th centuries; he substantiated the division of the cultural process into stable and transitional periods, revealing the cyclicity in the development of literature, proposed methods for studying transitional aesthetic phenomena, and developed the ideas of literary synthesis. He is the author of the fundamental work "History of Literature. Foreign Literature from the Beginnings to the Present Day" (Moscow, 2003), which went through 5 editions. In the scientific community, it is deservedly regarded as a new word in the humanities. It outlines the theory of the history of literature, presented as an emerging special field of philology. This concept is implemented on the material of the world literary process from the first monuments of writing to the literature of the 21st century. Vladimir Andreevich specifically studied the genesis of genres, genre systems, trends, currents, movements in literature, theory and history of theater and dramaturgy. Together with his brother Valery Andreyevichemon, he put forward and substantiated a general humanitarian thesaurus approach, which was applied by the authors to characterize a wide range of phenomena of world culture (summary work: Lukov Val. A., Lukov Vl. A. Thesauri: the subject organization of humanitarian knowledge. M., 2008) . Vladimir Andreevich conducted a comprehensive study of the European culture of the New Age, pre-romanticism, romanticism and neo-romanticism (philosophical and aesthetic foundations, literature, theater, fine arts, architecture, sculpture, music, life). His monograph "Pre-romanticism" (M., 2006) was noted in numerous reviews as an in-depth study that consolidated the term "pre-romanticism" in science. Along with this, he deeply studied the history of French literature and culture (final work: Lukov Vl. A. History of French literature. In print).
One of the central themes of Vl. A. Lukov was the work of Shakespeare. He revealed the meaning of the term "Shakespeareanization" for European literature of the 18th-19th centuries. (pre-romanticism, romanticism), took an active part in the formation of the electronic resources "Russian Shakespeare" and "The World of Shakespeare", in holding scientific conferences "Shakespeare's studies" (since 2005), Shakespeare's readings (since 2007). He was a member of the Shakespeare Commission of the Russian Academy of Sciences.
Born on the same day as their twin brother Valery Andreevich Lukov, they spent their whole lives together - in science, in education.
Just a few days ago, on February 28, IFPI Moscow State University and the journal "Knowledge. Understanding. Skill", to which Vladimir Andreevich devoted a lot of effort, celebrated the 10th anniversary of its foundation. Being in the hospital for examination that day, he conveyed warm greetings and congratulations to all of us.
Just yesterday, we were all waiting to hear again the always cheerful, albeit a little tired, voice of Vladimir Andreevich on the phone, we would receive a lot of e-mails from him on a variety of issues - on articles, authors, scientific projects, we were waiting for him to appear at the institute, encouraging us all and infecting us with optimism, incredible performance…
We all loved Vladimir Andreevich - we loved him unconditionally, sincerely, humanly - as the wisest mentor, reliable friend, most wonderful person and real Scientist, from whom we took an example.
He was a pillar of our institute, a support for all of us.
The whole depth of our grief can probably be conveyed in only two words: we are orphans ...
We offer our deepest condolences to our colleagues Valery Andreevich Lukov, Sergei Valeryevich Lukov, Natalya Igorevna Lukova, the entire large Lukov family, and all the relatives and friends of Vladimir Andreevich.
N. V. Zakharov, Ch. K. Lamazhaa, B. G. Yudin, B. A. Ruchkin, A. I. Fursov, B. N. Gaidin, V. A. Gnevasheva, Yu. I. Zhuravlev, E. S. Zhuravleva, V. I. Mazhukin.
CHAPTER 3
A. S. PUSHKIN: RUSSIAN "UNIVERSE"
(to the question of the perception of European literature)
Above, several examples of Pushkin's dialogue with a "foreign" word that becomes "one's own" were considered, whether it is the development of the work of Shakespeare or Moliere, which happened to the literatures of the whole world, or Cornwall, forgotten even at home. However, these are only partial manifestations of a more general phenomenon that arose in Russian literature precisely with the advent of Pushkin, which can be designated as Russian "universality". Its origins are Russian classicism XVIII century, which, following European classicism, was focused on imitation of ancient authors, but was even more dependent on models, as it adopted the experience of the European classicists themselves. Of course, some semblance of double imitation is also found in Western literature, but there the imitation of new models, oriented towards ancient models, acted primarily as epigonism and had little to do with great writers. In Russia, however, the greatest writers bore the double burden of imitation, thus reflecting the student period of the new Russian literature. Pushkin, already in "Ruslan and Lyudmila" having surpassed his immediate teacher V. A. Zhukovsky ("To the victorious student from the defeated teacher" - the great poet greeted the young Pushkin, who through his translations introduced the Russian reader to Homer and Pindar, La Fontaine and Pope, Thomson and Gray, Goethe and Schiller, Burger and Uhland, Southey and Byron, with another fifty writers from different countries and eras, and these translations made up the bulk of his work), overcame imitation, apprenticeship, entered into a dialogue with the geniuses of world literature on an equal footing. And this dialogue embraced such a wide range of phenomena in world literature that it was then that the phenomenon of Russian “universality”, the responsiveness of the poetic (in the broad sense) soul to the word - written or oral, sounded for everyone or only for the elite, arose, entrenched in Russian literature, in a temple, a secular salon or in a field, a hut, in a square or in the recesses of the heart - in different countries, in many languages, in different eras. Such an immense field of dialogue creates a literary thesaurus, specific to Russian writers (and readers) since the time of Pushkin (an area of the general cultural thesaurus associated with literature). No less significant is the way in which literary information entering the thesaurus from outside is processed to become part of it. Pushkin also defined the main direction here.
It comes through clearly in Pushkin's dialogue with Shakespeare. Having deeply studied this problem, N.V. Zakharov in his monograph "Shakespeare in the creative evolution of Pushkin" resorted to the term of the middle XIX century Shakespearianism. But today in science the term “Shakespeareanization” is much more often used to denote, it would seem, the same phenomenon. However, the researcher seems to be quite right in his choice of word. Shakespeareization means not only admiration for the genius of the English playwright, but also the gradual expansion of the influence of his artistic system on world culture. This is one of the principles-processes. Principles-processes are categories that convey an idea of the formation, formation, development of the principles of literature, the strengthening of a certain trend. Their names are built on a similar linguistic basis, emphasizing the moment of formation or growth of a certain distinctive quality of a literary text against the background of the literary paradigm (the dominant system of correlations and accents in literary discourses): “psychologization”, “historicization”, “heroization”, “documentation”, etc. e. Shakespeareization was clearly manifested in Western European culture already in XVIII century, primarily in the pre-romantic (and in XIX century - romantic) literature. It was also characteristic of Russian literature, including Pushkin. However, the scale of the affirmation of this principle-process in Russia cannot be compared with the grandiose Shakespeareization of Western culture. Shakespeareization involves the introduction of images, plots, artistic forms of Shakespeare's heritage into the general cultural heritage. Pushkin has it in Boris Godunov, in Angelo, and in numerous reminiscences.
But this is not the main thing that Pushkin took from Shakespeare. He, as it were, rose above the visible details in order to reach the invisible but tangible realm of the “philosophy” of the great English playwright’s work, he moved from the “tactics” to the “strategy” of Shakespeare’s artistic thinking and directed the entire dialogue of Russian literature with Shakespeare in this direction. This is logically defined by the concept of "Shakespeareanism". From this point of view, the work of L. N. Tolstoy, the author of the pogrom article "On Shakespeare", turns out to be one of the highest incarnations of Shakespeareanism, and there is no contradiction here: images, plots, artistic forms of Shakespearean works (the sphere of Shakespeareanization) are subjected to Tolstoy criticism, but not the scale of the worldview, not the strategy of Shakespearean artistic thinking (the sphere of Shakespeareanism).
Hundreds of works are devoted to the characterization of Pushkin's literary thesaurus (although such a term, of course, was not used). It is practically impossible to consider this problem in full, and even its most general contours, presented in the recently published experience of a special dictionary edited by the prominent Pushkinist V. D. Rak, required a very solid volume.
We will limit ourselves to a selection of several names of writers, philosophers, orators, representatives of salon culture - the creators of the word, representatives of European literature and culture of different periods, contemplators and figures, acceptable and not acceptable for Pushkin, writers of different directions, brilliant, major, insignificant, sometimes forgotten with whom he entered into a dialogue in a variety of forms, which will make it possible to visualize the nature of this dialogue, which gave rise to such a property characteristic of Russian literature as Russian “universality”.
From the Middle Ages to the beginning XVIIIcentury
Villon ) Francois (1431 or 1432 - after 1463) - French poet, the largest representative of the Pre-Renaissance, in which talent was combined with a wild lifestyle. In one of Pushkin's first poems, "The Monk" (1813), there is an appeal to I. S. Barkov: Will you help me, Barkov? This is a free translation of Boileau's words about the libertine poet Saint-Aman, a characterization that is hardly too negative in Pushkin, who is close to libertinage.
Margeret (Margeret ) Jacques (Jacob) (1560 - after 1612) - French military man, served in the troops of Henry IV , then in Germany, Poland. In Russia, he was the captain of a German company under Boris Godunov, later transferred to the service of False Dmitry I . In 1606 he returned to France, in 1607 he published the book "The current state of the Russian state and the Grand Duchy of Muscovy, so that the most memorable and tragic happened from 1590 to September 1606." This book, which provided material for some episodes of "Boris Godunov", was in Pushkin's library, it was also quoted by Karamzin in "History of the Russian State". Margeret is bred as a character in Boris Godunov (it is he who is called the “overseas frog” there). The coarse French expressions put into the mouth of this character by the author aroused objections from the censors.
Molière , present surname Poquelin, Poquelin ) Jean-Baptiste (1622-1673) - the largest French playwright, actor, director. In the comedies The School of Husbands (1661) and The School of Wives (1662), he began to develop the genre of classic high comedy. The comedies "Tartuffe" (1664 - 1669), "Don Giovanni" (1665), "The Misanthrope" (1666), "The Miser" (1668), "The Tradesman in the Nobility" (1670) became the pinnacles of his dramaturgy. Many of the names of the characters created by Moliere have become common nouns (Tartuffe for a hypocrite, Don Juan for a frivolous lover, Harpagon for a miser, Jourdain for a commoner who imagines himself an aristocrat). In the image of Alceste ("The Misanthrope") he anticipated the "natural man" of the enlighteners.
In Russia, Molière was played during his lifetime in the court theater of Alexei Mikhailovich. "The doctor involuntarily" was translated by Princess Sophia, Peter's older sister I . F. G. Volkov and A. P. Sumarokov, who created the first permanent Russian theater, relied on the comedies of Moliere in shaping the tastes of the theatrical public.
Pushkin got acquainted with the work of Molière even before the Lyceum. P. V. Annenkov, referring to the testimony of Pushkin’s sister Olga Sergeevna, wrote: “Sergei Lvovich supported the disposition for reading in children and read selected works with them. They say that he especially masterfully conveyed Molière, whom he knew almost by heart ... The first attempts at authorship, generally early manifested in children addicted to reading, were found by Pushkin, of course, in French and responded to the influence of the famous comic writer of France. In Gorodok (1814), Pushkin, listing his favorite writers, calls Molière a "giant". The most significant facts of Pushkin's appeal to the works of Moliere are his work on the "little tragedies" "The Miserly Knight" and "The Stone Guest" (1830). They contain almost direct borrowings of individual phrases, images, scenes. Wed Cleante's remark in Molière's "The Miser": "This is what our fathers bring us to with their accursed avarice" and Albert's phrase in "The Miserly Knight": "This is what the stinginess brings me // of my own father." The large fragment of The Stone Guest, where Don Juan invites the statue of the commander, is very close to the analogous scene in Molière's Don Juan. However, Pushkin's interpretation of Moliere's plots is fundamentally different: comedy turns into tragedy. Later in " Table - Talk ” Pushkin revealed the essence of this confrontation, comparing Shakespeare’s close to him and Moliere’s approaches to the depiction of a person in literature, which are alien to him: “The faces created by Shakespeare are not, like those of Molière, types of such and such a passion, such and such a vice; but living beings, filled with many passions, many vices; circumstances develop before the viewer their diverse and multifaceted characters. Molière has a miserly miser - and nothing more; in Shakespeare, Shylock is stingy, quick-witted, vengeful, loving, witty. In Molière, the hypocrite drags after the wife of his benefactor, the hypocrite; accepts the estate under preservation, hypocrite; asks for a glass of water, hypocrite. In Shakespeare, the hypocrite pronounces the judgment with conceited severity, but justly; he justifies his cruelty by the thoughtful judgment of a statesman; he seduces innocence with strong, captivating sophisms, an unfunny mixture of piety and red tape."
Rousseau ) Jean Baptiste (1670 or 1671 - 1741) - French poet, a native of the lower classes. In 1712 he was forever expelled from France for slandering his literary competitors. He became famous for his collections of "Odes" and "Psalms", the creation of the cantata genre ("Cantata about Circe", etc.), epigrams. It was Rousseau's epigrams that attracted the greatest attention of Pushkin, who repeatedly mentioned his name in his works (starting with the poem "To a Poet Friend", 1814: naked steps into the coffin of Rousseau ... "). Pushkin freely translated one of them, titled "Epigram (imitation of French)" (1814) ("I was so captivated by your wife ..."). In general, for romantic poets, Rousseau became the epitome of epigone classicism.
Age of Enlightenment and Rococo
Locke ) John (1632–1704) - English philosopher. In "an experiment on the human mind" (1690), he argued that experience is the basis of all human knowledge. Locke developed the theory of natural law and the social contract, having a huge impact on the socio-political thought of the Enlightenment. Pushkin in drafts VII The head of "Eugene Onegin" names Locke in a number of enlighteners and ancient writers, whose works Onegin read, judging by the books Tatyana found in his house.
Hume ) David (1711-1776) - an English philosopher who formulated the basic principles of agnosticism in his Treatise on Human Nature (1748), denied the objective nature of causality. Hume is mentioned in the drafts of "Eugene Onegin" in the list of authors read by Onegin (probably his "History of England from the Conquest of Julius Caesar to the Revolution of 1688").
Saint-Pierre ) Charles Irene Castel, Abbé de (1658–1743) - French thinker, member of the French Academy (expelled for disrespectful review of Louis XIV ), author of The Project for Eternal Peace (1713), briefly retold and commented on by J.-J. Rousseau (1760). Pushkin became acquainted with the "Project" (in the presentation of Rousseau) during the period of southern exile and led discussions on the issue of eternal peace in Orlov's house in Chisinau, the nature of which is evidenced by Pushkin's note " Il est impossi ble…” (XII , 189–190, arb. name "On Eternal Peace", 1821).
Grecourt (Grecourt ) Jean Baptiste Joseph Vilard de (1683-1743) - French poet, abbot, representative of free-thinking poetry in the spirit of rococo, replete with frivolities and light in style. For the poem "Filotanus" (1720) he was condemned by the church and deprived of the right to preach. Grecourt's poems were published only posthumously (1747). Pushkin was introduced to Grecourt's poetry early on. In Gorodok (1815), he noted: “Brought up by Cupid, // Vergier, Guys with Grecourt // took refuge in a corner. // (More than once they go out // And take away sleep from the eyes // under the winter evening" ( I, 98).
Gresse (Gresset ) Jean Baptiste Louis (Greset, 1709-1777) - French poet, member of the French Academy (1748). Representative of "light poetry" in the spirit of Rococo. The author of poetic short stories ridiculing the monks. For the short story "Ver-Ver" (1734) about the merry adventures of a parrot raised in a convent, he was expelled from the Jesuit order. Pushkin called Gresse "a charming singer" ( I , 154), repeatedly mentioned and quoted his works - "Ver-Ver"; the poetic message "The Abode" (1735); comedy "The Evil Man" (1747) - "a comedy that I considered untranslatable" ( XIII, 41).
Crebillon Sr. Crebillon ) Prosper Joliot (1674–1762) - French playwright, father of Crebillon Jr., member of the French Academy (1731). His tragedies, in which the sublime gives way to the terrible, anticipating the transition from classicism to pre-romanticism (Atreus and Fiesta, 1707; Radamist and Zenobia, 1711), were staged in St. Petersburg during Pushkin's lifetime. It is believed that in Pushkin's letters to Katenin (1822) and Kuchelbecker (1825) there are ironic allusions to the finale of the tragedy Atreus and Fiesta.
Crebillon Jr. Crebillon ) Claude-Prosper Joliot de (1707–1777) is a French novelist who wrote works in which the fall of the morals of the aristocracy is depicted in the spirit of Rococo (“Errors of the Heart and Mind”, 1736; “Sofa”, 1742; etc.). Mentioned by Pushkin (as "Cribillon", VIII, 150, 743).
Buffler Rouvrel ( Boufflers - Rouvrel ) Marie-Charlotte, Countess de (d. 1787) - court lady of the court of the Polish king Stanislav in Luneville, one of the brightest representatives of the Rococo salon style, shining with wit, adhering to Epicurean views and not too strict morals. Pushkin mentions it in the article “On the preface of Mr. Lemonte to the translation of the fables of I. A. Krylov” (1825), speaking of the French classicists: “What brought a cold gloss of politeness and wit to all the works of the 18th century? Society M - es du Deffand, Boufflers, d'Espinay , very nice and educated women. But Milton and Dante did not write for favorable smile the fair sex».
Voltaire ) (real name Marie Francois Arouet - Arouet ) (1694–1778) - French writer and philosopher, one of the leaders of the Enlightenment. Starting with lyrics of light, epicurean content, he became famous as a poet (the epic poem "Henriade", finished in 1728; the heroic-comic poem "The Virgin of Orleans", 1735), a playwright (he wrote 54 dramatic works, including the tragedy "Oedipus", 1718 ; "Brutus", 1730), prose writer (philosophical novels "Candide, or Optimism", 1759; "Innocent", 1767), author of philosophical, historical, journalistic works that made him the ruler of the thoughts of several generations of Europeans. Collected works of Voltaire, published in 1784-1789, took 70 volumes.
Pushkin fell in love with the works of Voltaire as a child, before entering the Lyceum, which he later recalled in verse ( III , 472). The study of passages from Voltaire was part of the lyceum program in French rhetoric. Voltaire is Pushkin's first poetic mentor. The appeal to the “Ferney old man” opens Pushkin’s earliest (unfinished) poem “The Monk” (1813): “Voltaire! The Sultan of the French Parnassus...// But just give me your golden lyre,// With it I will be known to the whole world.” The same motives are heard in the unfinished poem "Bova" (1814). In Voltaire's descriptions, Pushkin obviously relies on the popular XVIII century, the poetic genre “portrait of Voltaire” (a later example of this is in the message “To the nobleman”, where Voltaire is drawn as “a gray-haired cynic, / / Minds and fashion leader, crafty and bold”). Initially, Voltaire for Pushkin was first of all a "singer of love", the author of "The Virgin of Orleans", which the young poet imitates. In the poem "Town" (1815) and the poetic passage "Dream" (1816), there is a mention of "Candida". In The Town, Voltaire is characterized in contrast: "... Ferney's evil screamer, // The first poet in poets, // You are here, gray-haired rascal!" During his Lyceum years, Pushkin translated three of Voltaire's poems, including the well-known stanzas "To Madame du Chatelet." In "Ruslan and Lyudmila", "Gavriliada" and other works of the early 1820s, one can clearly feel the influence of Voltaire's style, energetic, intellectually saturated, based on the game of the mind, combining irony and very conditional exoticism. Pushkin sees himself as a successor to the traditions of Voltaire. The same is true of his contemporaries. In 1818, Katenin for the first time calls Pushkin " le jeune Monsieur Arouet ” (“Young Mr. Arouet”, i.e. Voltaire), then such a comparison becomes common (for example, in M. F. Orlov, P. L. Yakovlev, V. I. Tumansky, N. M. Yazykov).
In later years, the situation changes somewhat. Pushkin leaves most of the mentions of Voltaire only in drafts or letters. So, they disappear from "Eugene Onegin". Attempts to translate The Virgin of Orleans and What Ladies Like are abandoned. Pushkin distances himself from his idol of youth, notes his delusions regarding the enlightenment of Catherine's reign II : "It was forgivable for the Ferney philosopher to extol the virtues of Tartuffe in a skirt and in a crown, he did not know, he could not know the truth" ( XI , 17). Interest in the brilliant style of Voltaire is increasingly replaced by interest in his historical and philosophical works. So, while working on "Poltava" (1828), Pushkin widely uses materials from "The History of Karl XII ” and “History of the Russian Empire under Peter the Great” by Voltaire. The researchers noted that the very way of covering historical events by comparing the leaders - Peter as the creator and Charles as the destroyer - was formed under the influence of Voltaire.
While working on an essay on the French Revolution (1831), Pushkin carefully studied 16 of the 138 chapters of Voltaire's major essay An Essay on Morals in order to outline the distant prehistory of the revolutionary events. A number of historical works by Voltaire Pushkin used in his work on the "History of Pugachev" and the unfinished "History of Peter". With the personal permission of Emperor Nicholas I , Pushkin was the first figure in Russian culture to have access to the Voltaire library bought by Catherine II and located in the Hermitage. Here he found a lot of unpublished materials about the era of Peter.
In an unfinished article of 1834, “On the Insignificance of Russian Literature,” Pushkin praises Voltaire as a philosopher and at the same time sharply criticizes his dramaturgy and poetry: “For 60 years he filled the theater with tragedies , he forced his faces to appropriately and inopportunely express the rules of his philosophy. He flooded Paris with charming trinkets, in which philosophy spoke in a generally understandable and playful language, one rhyme and meter different from prose, and this lightness seemed to be the height of poetry ”( XI , 271). VG Belinsky, analyzing Pushkin's poetry, revealed the unity of her mood, which he defined as light sadness. This conclusion sheds light on Pushkin’s cooling towards Voltaire the poet: as soon as Pushkin overcame the influence of Voltaire’s poetic style and found his own, different intonation, he began to look skeptically at Voltaire’s poetic heritage, even at his beloved “Virgin of Orleans”, which he now condemned for "cynicism".
It is significant that one of Pushkin's last appearances in the press was the publication of his article "Voltaire" (Journal Sovremennik, vol. 3, 1836), written in connection with the publication of Voltaire's correspondence with President de Brosse. Having wonderfully outlined the content and characterized the style of correspondence, Pushkin, after quoting a short poem by Voltaire, which turned out to be in published papers, notes: “We confess to rococo our belated taste: in these seven verses we find more syllable, more life, more thought, than in a dozen long French poems written in the current taste, where the thought is replaced by a distorted expression, the clear language of Voltaire - by the pompous language of Ronsard, his liveliness - intolerable monotony, and his wit - areal cynicism or languid melancholy. Concerning Voltaire's life hardships, Pushkin expresses, perhaps, the most serious reproach to the philosopher: "Voltaire, throughout his long life, never knew how to preserve his own dignity." And it is this example that allows him to come to the final conclusion of the article, which contains a remarkably deep generalization: “What can be concluded from this? That genius has its weaknesses, which console mediocrity, but sadden noble hearts, reminding them of the imperfection of mankind; that the real place of a writer is his study, and that, finally, independence and self-respect alone can elevate us above the trifles of life and above the storms of fate.
D'Alembert (D 'Alembert ) Jean Le Ron (1717–1783) - French philosopher, writer and mathematician, one of the editors of the Encyclopedia (together with Diderot, since 1751), which united the forces of the Enlightenment. Member of the French Academy (1754, from 1772 - its indispensable secretary). Pushkin repeatedly mentions d'Alembert, quotes, somewhat changing, his aphorism: "Inspiration is needed in poetry, as in geometry" ( xi, 41).
Rousseau ) Jean-Jacques (1712–1778) - French writer and philosopher who had a huge impact on European and Russian culture. Born in Geneva, in the family of a watchmaker, he experienced all the hardships of the fate of a commoner trying to realize his talent in a feudal society. Rousseau finds support for his ideas in Paris, among the enlighteners. By order of Diderot, he writes articles for the musical section of the Encyclopedia. In the treatise "Discourse on the Sciences and Arts" (1750), Rousseau first expressed the idea of the dangers of civilization for the moral life of mankind. He prefers the natural state of savages, merged with nature, to the position of civilized peoples, who, thanks to the sciences and arts, become only "happy slaves." Rousseau's treatises Discourse on the Origin and Foundations of Inequality between People (1754) and On the Social Contract (1762) are devoted to defending a just social order and developing the idea of the "natural man", in which the set of ideas of Rousseauism is finally formed. Rousseau - the largest representative of French sentimentalism, the author of the novel "Julia, or New Eloise" (1761) - the most popular work in France XVIII century. Rousseau's innovative pedagogical ideas, which constituted a whole stage in world pedagogy, are set forth by him in the treatise novel Emil, or On Education (1762). Rousseau stands at the origins of one of the most influential branches of European pre-romanticism. With his monodrama Pygmalion (1762, 1770), he laid the foundations for the genre of melodrama. Persecuted by the authorities, condemned by the church, Rousseau embodied the story of his life in "Confessions" (1765-1770, published posthumously, 1782, 1789). The leaders of the French Revolution considered Rousseau to be their herald. Romantics created a real cult of Rousseau. In Russia, Rousseau was quite famous back in XVIII century, his works influenced Radishchev, Karamzin, Chaadaev and other figures of Russian culture abroad XVIII - XIX centuries.
For Pushkin, Rousseau is "the apostle of our rights." He shared the Rousseau idea of a happy life in the bosom of nature, far from civilization, the idea of the deep feelings of the common man, the cult of friendship, the passionate defense of freedom and equality.
Pushkin got acquainted early with the work of Rousseau. Already in the poem “To my sister” (1814), he asks the addressee: “What do you do with your heart // Sometimes in the evening? // Do you read Jean Jacques…”, which, by the way, emphasizes the fact that Rousseau’s works were included in the reading circle of the youth of those years. Obviously, already at the Lyceum, Pushkin got acquainted with the novel "Julia, or the New Eloise" and, perhaps, with some other works, so far superficially. In the early 1820s, he again turned to Rousseau (“Discourse on the Sciences and Arts”, “Discourse on the Origin and Foundations of Inequality”, “Emil, or On Education”, “Confession”), in particular, reread the draft in his presentation the eternal peace of Abbé Saint-Pierre (1821) and began working on a manuscript on the idea of eternal peace. Citing Rousseau's words that the way to this world would be opened by "cruel and terrible means for humanity," Pushkin noted: "Obviously, these terrible means that he spoke of are revolutions. Here they come" XII , 189, 480). Pushkin rereads Rousseau at the end of his southern exile, working on the poem "Gypsies" and the first chapter of "Eugene Onegin".
By 1823, a critical attitude to a number of provisions of Rousseauism matured in Pushkin, which was reflected in the poem "Gypsies", which expressed disappointment in the Rousseauist thought of happiness in the bosom of nature, far from civilization. Differences with the philosopher in matters of education are very noticeable. If Rousseau idealizes this process, then Pushkin is interested in its real side, primarily in relation to the peculiarities of education in the conditions of Russian reality. In the article “On Public Education” (1826), Pushkin does not name Rousseau, but opposes the Rousseauist idea of home education: “There is nothing to hesitate: at all costs, private education must be suppressed” ( XI , 44), for: “In Russia, home education is the most insufficient, the most immoral…” ( XI , 44). These statements shed light on the ironic coverage of education according to Rousseau in "Eugene Onegin": " Monsieur l'Abbe , a miserable Frenchman, / So that the child would not be exhausted, / He taught him everything jokingly, / He did not bother with strict morality, / Slightly scolded for pranks / And took him for a walk in the Summer Garden. Revealing the irony over Rousseau upbringing explains here such details as the nationality of the educator (in the draft version - even more clearly: "Monsieur the Swiss is very smart" - VI , 215), his name (cf. Abbé Saint-Pierre), method of teaching, forms of punishment (cf. Rousseau's "method of natural consequences"), walks in the Summer Garden (education in the bosom of nature according to Rousseau). Irony, although not evil, is also present in the presentation of an episode from Rousseau's "Confession" (Pushkin quoted this passage in French in his notes to the novel): clean your nails in front of him, // An eloquent madcap. // Defender of liberty and rights // In this case, he is completely wrong. "An eloquent madcap" is an expression that belongs not to Pushkin, but to Voltaire (in the epilogue of the "Civil War in Geneva"). Rousseau's struggle with fashion stemmed from his idea of the original goodness of man, which is destroyed by the achievements of civilization. Pushkin, acting as a defender of fashion, thereby objects both to the Rousseauist interpretation of civilization, and, to an even greater extent, to the Rousseauist view of man. Stanza XLVI The first chapter of the novel (“Whoever lived and thought cannot // In his soul not despise people ...”) is devoted to the criticism of Rousseau's idealism in understanding the essence of man.
The dispute with Rousseau is also present in Pushkin's interpretation of the plot about Cleopatra, to which he first addressed in 1824. As Yu.M. Aurelius Victor.
However, in "Eugene Onegin" it is shown what an important role the ideas and images of Rousseau played in the minds of the Russian people of the beginning. XIX century. Onegin and Lensky argue and reflect on the subjects to which Rousseau dedicated his treatises (“Tribes of bygone treaties, // Fruits of the sciences, good and evil ...”). Tatiana, who lives by reading novels, in love with “deceptions and Richardson and Rousseau”, imagines herself Julia, and among the heroes with whom she associates Onegin is "Julia Volmar's lover." Separate expressions of Tatyana and Onegin's letters directly go back to "Julia, or New Eloise" (by the way, in Pushkin's story "The Snowstorm" there is a direct indication that the characters quite consciously use the letters of this novel as an example of a declaration of love). The plot of "Eugene Onegin" - the final explanation of the characters ("But I am given to another; // I will be faithful to him for a century") - also goes back to the turning point of Rousseau's novel. Pushkin, arguing with the ideas of Rousseau, does not lose touch with the images he created.
Helvetius (Helvetius ) Jean-Claude-Adrian (1715–1772) - French philosopher and enlightener, one of Diderot's associates in the publication of the Encyclopedia, author of the treatises On Mind (1758), On Man (1773), which were popular in Russia . In the drafts of Eugene Onegin, Helvetius is named among the philosophers read by Onegin. In the article “Alexander Radishchev” (1836), Pushkin calls the philosophy of Helvetius “vulgar and fruitless” and explains: “Now it would be incomprehensible to us how cold and dry Helvetius could become the favorite of young people, ardent and sensitive, if we, according to Unfortunately, they did not know how tempting for developing minds are new thoughts and rules, rejected by law and legends.
Grimm ) Friedrich Melchior, baron (1723-1807) - German publicist, diplomat. Having settled in Paris in 1748, he became close to the enlighteners and other famous people. In 1753–1792 published in 15–16 copies a handwritten newspaper Literary, Philosophical and Critical Correspondence about the news of the cultural life of France (some issues were written by Diderot), whose subscribers were the crowned persons of Poland, Sweden, Russia. Was twice in St. Petersburg, corresponded with Catherine II , carried out her diplomatic missions (and then Paul I ). Sainte-Beuve emphasized the value of this edition as a historical source and noted the subtle, penetrating mind of its author. On the contrary, the educators said almost nothing about him, with the exception of Rousseau, who in his Confession wrote with contempt that he "caught him cleaning his nails with a special brush." It was in this connection that Pushkin's ironic lines appeared in "Eugene Onegin": "Rousseau (I will note in passing) // I could not understand how important Grim // I dared to clean my nails in front of him (...) You can be a practical person // And think about the beauty of nails ... "
Beaumarchais (Beaumarchais) listen)) Pierre-Augustin Caron de (1732–1799) - French writer. He became famous as the creator of the comedies The Barber of Seville (1775) and The Marriage of Figaro (1784), which affirmed the dignity of the common man. Pushkin in the poems "To Natalia" (1813) and "The Page or the Fifteenth Year" (1830) mentions the heroes of the first of them - Rosina, her guardian and young Cherubino. Beaumarchais is the author of the comedy-ballet in the oriental style "Tarar" (1787), on the text of which Salieri wrote the opera of the same name. In Pushkin's little tragedy Mozart and Salieri (1830), Mozart speaks of her: “Yes, Beaumarchais was your friend. // You composed "Tarara" for him, // A glorious thing. There is one motive, / I keep repeating it when I am happy. Beaumarchais lived a stormy life, having been a watchmaker, a prisoner of the Bastille, a teacher of the daughters of Louis XV without losing the presence of mind in the most difficult situations. Salieri in "Mozart and Salieri" says about this: "Beaumarchais // He told me: listen, brother Salieri, // How black thoughts come to you, // Uncork a bottle of champagne // Or re-read The Marriage of Figaro." Beaumarchais's assessment is given by Pushkin in the poem "To the Grandee" (1830), where the "caustic Beaumarchais" is named on a par with encyclopedists and other celebrities. XVIII century: “Their opinions, rumors, passions // Forgotten for others. Look: all around you / Everything new is boiling, the former is destroying.
Chamfort (Chamfort ) Nicolas Sebastien Roque (1741–1794) - French writer, member of the French Academy (1781). The notes and aphorisms collected after his death were included in the 4th volume of his works (1795) under the title Maxims and Thoughts. Characters and anecdotes. Pushkin knew this book well. In "Eugene Onegin" Chamfort is named among the writers read by Onegin (ch. VIII, stanza XXXV ). Probably, the line “But the days of the past are jokes ...” is connected with Chamfort's aphorism: “Only free peoples have a history worthy of attention. The history of peoples enslaved by despotism is only a collection of anecdotes. Pushkin attributed the "hard Chamfort" to the "democratic writers" who prepared the French revolution.
Orators and writers of the era of the French Revolution
Lebrun ) Pons Denis Ekushar, nicknamed Lebrun-Pindar (1729–1807) - French classicist poet, follower of Malherbe and J.-B. Rousseau, author of odes (“Ode to Buffon”, “Ode to Voltaire”, “Republican odes to the French people”, “National ode”, etc.), elegies, epigrams. Supporter of the French Revolution. He was well known in Russia (beginning with Radishchev), translated (Batyushkov, Vyazemsky, and others). Pushkin highly valued Lebrun - "exalted Gaul" ( II , 45), quoted his poems ( XII, 279; XIV, 147).
Marat ) Jean Paul (1743-1793) - French revolutionary, one of the leaders of the Jacobins, an outstanding orator. From 1789 he published the newspaper "Friend of the People". Was killed by Charlotte Corday. His brother de Boudry was one of Pushkin's teachers at the Lyceum. Pushkin, like the Decembrists, had a negative attitude towards Marat, seeing in him the embodiment of the element of revolutionary terror. In the poem “The Dagger” (1821), he calls him “the offspring of rebellions”, “the executioner”: “The apostle of death, to the weary Hades // With his finger he appointed victims, // But the highest court sent him // You and the virgin Eumenides.” The same - in the elegy "Andrei Chenier" (1825): "You sang to the Marat priests // Dagger and the eumenis maiden!"
Mirabeau ) Honoré-Gabriel-Victor Riqueti, Count (1749-1791) - figure of the Great French Revolution. In 1789 he was elected a deputy from the third estate to the General States, became the de facto leader of the revolutionaries. He became famous as an orator who denounced absolutism. Expressing the interests of the big bourgeoisie, he occupied more and more conservative positions, from 1790 he was a secret agent of the royal court. Pushkin considered Mirabeau as the leader of the first stage of the revolution (there is his drawing depicting Mirabeau, alongside Robespierre and Napoleon). In his mind, Mirabeau is a "fiery tribune", his name and works (in particular, memoirs) are mentioned in poetry, prose, and Pushkin's correspondence. In the article “On the insignificance of Russian literature” (1834), Pushkin noted: “The old society is ripe for great destruction. Still calm, but already the voice of the young Mirabeau, like a distant storm, muffledly rumbles from the depths of the dungeons through which he wanders ... ”But since Mirabeau was also a symbol of secret treason for Pushkin’s entourage, Pushkin’s enthusiastic tone applies only to the young Mirabeau.
Rivarol (Rivarol) Antoine (1753-1801) - French writer and publicist. From a monarchical position, he opposed the French Revolution and emigrated. He became famous for his aphorisms, which were appreciated by Pushkin and Vyazemsky. So, in terms of “Scenes from Knightly Times”, Faust is displayed as the inventor of typography, and Pushkin notes in brackets: “Découvert de l "imprimerie, autre artillerie" (“The invention of typography is a kind of artillery”, and this is Rivarol's modified aphorism about ideological reasons French Revolution: "L "imprimerie est artillerie de la pensée" ("Printing is the artillery of thought").
Robespierre ) Maximilien (1758-1794) - French politician, orator, leader of the Jacobins during the Great French Revolution. Becoming in 1793 the de facto head of the revolutionary government, he fought against the counter-revolution and opposition revolutionary forces using terror methods. He was guillotined by the Thermidorians. If Pushkin had an unambiguously negative attitude towards Marat, who embodied “rebellion” for him, then the attitude towards the “incorruptible” Robespierre is different. It is no coincidence that Pushkin wrote: “Peter I Robespierre and Napoleon at the same time. (Revolution incarnate)." There is an assumption (though disputed by B.V. Tomashevsky) that Pushkin gave Robespierre, drawn by him on the back of a sheet with III and IV stanzas of the fifth chapter of "Eugene Onegin", their own features.
Chenier listen)) André Marie (1762–1794) - French poet and essayist. He welcomed the Great French Revolution (ode "Oath in the Ballroom"), but condemned terror, entered the liberal-monarchist Feuillants Club, in 1791-1792. published anti-Jacobin articles, in 1793 he was imprisoned in Saint-Lazare prison and executed two days before the collapse of the Jacobin dictatorship. His poetry, close to pre-romanticism in general tendencies, combines the classical harmony of form with the romantic spirit of individual freedom. Chenier's "Works" published only in 1819, which included odes, iambs, idylls, elegies, brought the poet pan-European fame. Chenier took a special place in Russian literature: more than 70 poets turned to his work, including Lermontov, Fet, Bryusov, Tsvetaeva, Mandelstam. Pushkin played a decisive role in the development of Chenier in Russia. His brother L. S. Pushkin noted: “Andre Chenier, a Frenchman by name, and, of course, not by the direction of his talent, became his poetic idol. He is the first in Russia and, it seems, even in Europe he was worthily appreciated. Pushkin made 5 translations from Chenier (“Listen, O Helios, ringing with a silver bow”, 1823; “You wither and are silent; sadness consumes you ...”, 1824; “Oh peaceful gods of fields, oak forests and mountains ...”, 1824; “Near places where golden Venice reigns…”, 1827; “From A. Chenier (“Veil, nourished with caustic blood”)”, 1825, final edition 1835). Pushkin wrote several imitations of Chenier: “Nereid” (1820, imitation of the 6th fragment of idylls), “Muse” (1821, imitation of the 3rd fragment of idylls), “What I used to be, so am I now ...” (final edition - 1828, independent poem based on 1 fragment of elegies, elegy XL ), “Let's go, I'm ready; wherever you are, friends ... ”(1829, based on the 5th fragment of elegies). The most striking image of Chenier himself appears in Pushkin's poem "Andrei Chenier" (1825). Contrasted with another idol of Pushkin - Byron with his fame (“Meanwhile, how the astonished world // looks at Byron’s urn ...”), Chenier appears as an unknown genius (“To the singer of love, oak forests and peace // I carry funeral flowers. // The unknown sounds lira"). Pushkin associates himself with Chenier (as in the letters of these years), 44 lines of the poem are prohibited by censorship, which sees in them allusions to Russian reality, Pushkin is forced to explain about the spread of illegal lists of these lines, the case ends with the establishment of the poet in 1828. secret supervision . Chenier is one of the sources of the image of the "mysterious singer" ("The Conversation of a Bookseller with a Poet", 1824; "Poet", 1827; "Arion", 1827). Chenier's lyrics largely determined the prominent place of the elegy genre in Russian romantic poetry. However, Pushkin emphasized: “No one respects me more, loves this poet, but he is a true Greek, one of the classics of the classics. (...) ... there is not a drop of romanticism in it yet ”( XIII , 380 - 381), “French critics have their own concept of romanticism. (...) ... Andrey Chenier, a poet imbued with antiquity, whose even shortcomings stem from the desire to give forms of Greek versification in French, fell into their romantic poets ”( XII , 179). The greatest influence of Chenier is noted in the anthological lyrics of Pushkin (noted by I. S. Turgenev). Poets are also brought together by similar spiritual evolution in a number of moments.
EndXVIIIcentury andXIXcentury
La Harpe ) Jean Francois de (1739-1803) - French literary theorist and playwright, member of the French Academy (1776). As a playwright, he was a follower of Voltaire (the tragedy The Earl of Warwick, 1763; Timoleon, 1764; Coriolanus, 1784; Philocletus, 1781; and others). He spoke out against the revolution and condemned the enlightenment theories that prepared it. The most famous work thoroughly studied by Pushkin is The Lyceum, or the Course of Ancient and Modern Literature (16 volumes, 1799–1805), which is based on the lectures given by La Harpe at Saint-Honor (1768-1798). In the Lyceum, La Harpe defended the dogmatically understood rules of classicism. Pushkin in his youth considered Laharpe an indisputable authority (cf. in Gorodok, 1815: “... the formidable Aristarchus // Appears bravely // In sixteen volumes. // Even though I’m afraid of a verse // Laharpe to see the taste, // But often, I confess, / / I'm wasting my time on it.") However, later Pushkin mentioned him as an example of a dogmatist in literature. In a letter to N. N. Raevsky-son (second half of July 1825), criticizing the principle of likelihood, he noted: “For example, in La Harpe Philocletus, after listening to Pyrrhus’s tirade, says in the purest French: “Alas! I hear the sweet sounds of Hellenic speech," etc. (the same - in the outline of the preface to Boris Godunov, 1829; this line from Philocletus became - with minor changes - the first line of the epigram for Gnedich's translation of Homer's Iliad: "I hear the silent sound of the divine Hellenic speech" - III , 256). Pushkin also mentions La Harpe as proof of the unpoeticism of the French: “Everyone knows that the French are the most anti-poetic people. Their best writers, the most glorious representatives of this witty and positive people, Montaigne, Voltaire, Mon tesquieu , Laharpe and Rousseau himself, proved how a sense of elegance was alien and incomprehensible to them ”(“ Beginning of an article about V. Hugo ”, 1832). But Pushkin pays tribute to La Harpe as one of the founders of literary criticism, which has not received due development in Russia: “If the public can be content with what we call criticism, then this only proves that we still do not need either Schlegels or even Laharpakh" ("Works and translations in verse by Pavel Katenin", 1833).
Genlis (Genlis ) Stephanie Felicite du Cre de Saint-Aubin, Countess (1746–1830) - French writer, author of books for children written for the children of the Duke of Orleans (she was a teacher, including the future King Louis Philippe) and pedagogical essays in which developed the ideas of Rousseau ("Educational Theatre", 1780; "Adele and Theodore", 1782; etc.). She taught Napoleon “good manners”, during the years of the Restoration she wrote sentimental novels (“The Duchess de La Vallière”, 1804; “Madame de Maintenon”, 1806; etc.), which were immediately translated in Russia, where the work of Genlis was very popular. No less famous in Pushkin's time were her Critical and Systematic Dictionary of Court Etiquette (1818) and Unpublished Memoirs on XVIII century and the French Revolution from 1756 to the present day” (1825). In Pushkin, for the first time, her name is found in the poem “To my sister” (1814): “Do you read Jean-Jacques, // Is Janlis in front of you?” In the future, Pushkin repeatedly mentions Janlis ( I, 343; II, 193; VIII, 565; and etc.).
Arnault ) Antoine Vincent (1766 - 1834) - French playwright, poet and fabulist, member of the French Academy (1829, since 1833 permanent secretary). In 1816, for his adherence to the revolution and Napoleon, he was expelled from France, returned to his homeland in 1819. Author of tragedies (“Mary in Mintourne”, 1791; “Lucretia”, 1792; “Blanche and Moncassin, or the Venetians”, 1798; and others), who developed the ideas of the French Revolution and Napoleonism. He became famous for the elegy "Leaf" (1815), translated into all European languages (in Russia - translations by V. A. Zhukovsky, V. L. Pushkin, D. V. Davydov, etc.). Pushkin wrote in the article “French Academy”: “The fate of this little poem is wonderful. Kosciuszko repeated it before his death on the shores of Lake Geneva; Alexander Ispilanti translated it into Greek…” Arno, having learned about the translation of “Leaflet” made by D. V. Davydov, wrote a quatrain, the beginning of which Pushkin used in a message to Davydov (“To you, singer, you, hero!”, 1836). Pushkin translated Arno's poem "Solitude" (1819). In this article, dedicated to Scribe's replacement of the academic chair after Arno's death, Pushkin sums up his attitude towards the poet: “Arno composed several tragedies that were a great success in their time, but are now completely forgotten. (...) Two or three fables, witty and graceful, give the deceased more right to the poet's title than all his dramatic creations.
Beranger ) Pierre Jean (1780-1857) - French poet, an outstanding representative of the song and poetry genre, which he equated with the "high" genres of poetry. Pushkin (as opposed to Vyazemsky, Batyushkov, Belinsky) had a low regard for Beranger. In 1818, Vyazemsky asked Pushkin to translate two of Beranger's songs, but he did not respond to this request. He undoubtedly knew the freedom-loving, satirical poems of Beranger, in particular, the song "Good God" (he mentions in a letter to Vyazemsky in July 1825). Giving an ironic portrait of Count Nulin, Pushkin laughs at secular people who come to Russia from abroad “With a supply of tailcoats and vests, // S bons-mots French court, // With the last song of Beranger. Pushkin's poem "My Genealogy" (1830) was inspired not only by Byron, but also by Beranger's song "The Commoner", from where Pushkin took the epigraph to the poem. Pushkin also has sharply negative reviews of Beranger. In the article about Hugo (1832) begun by Pushkin, it is said about the French: “The unbearable Beranger is now revered as their first lyric poet, the composer of strained and mannered songs that have nothing passionate, inspired, but in gaiety and wit far behind the charming pranks of Cole” ( VII , 264). At the end of his life, Pushkin appreciated the song "King Yveto" more than other works by Beranger, but not for freedom-loving motives. In the article “French Academy” (1836) it is noted: “... I confess, it would hardly have occurred to anyone that this song was a satire on Napoleon. She is very sweet (and almost the best of all the songs of the vaunted Beranger ), but, of course, there is not even a shadow of opposition in it. Nevertheless, Pushkin encouraged the young D. Lensky to continue translating Beranger, which indicates the ambiguity of his assessment of the French songwriter.
Fourier ) François Marie Charles (1772-1837) - French utopian socialist, in the "Treatise on the Home Economics and Agricultural Association" (vols. 1-2, 1822, in a posthumous edition titled "The Theory of World Unity") outlined a detailed plan for organizing the society of the future. Pushkin was familiar with Fourier's ideas.
Vidocq ) Francois Eugene (1775–1857) - French adventurer, first a criminal, then (since 1809) a policeman who rose to the post of chief of the secret Parisian police. In 1828 Vidocq's Memoirs were published (obviously a hoax). Pushkin published a review of them full of sarcasm (“Vidok is ambitious! He becomes furious when reading an unfavorable review of journalists about his style (...), accuses them of immorality and freethinking ...” - XI , 129). Pushkinists rightly believe that this is a portrait of Bulgarin, whom Pushkin called “Vidok-Figlyarin” shortly before in an epigram.
Lamenne (Lamennais ) Felicite Robert de (1782-1854) - French writer and philosopher, abbot, one of the founders of Christian socialism. Starting with a critique of the French Revolution and materialism XVIII century, the approval of the idea of a Christian monarchy, in the late 1820s, he switched to the position of liberalism. In The Words of a Believer (1834) he announced a break with the established church. Pushkin repeatedly mentions Lamenne, including in connection with Chaadaev (“Chedaev and the brethren” - XIV, 205).
Scribe ) Augustin-Eugène (1791–1861) - French playwright, member of the French Academy (1834), became famous as a master of a "well-made play", wrote over 350 plays (vaudeville, melodrama, historical plays, opera librettos), among them "Charlatancy" (1825), "Reasonable marriage" (1826), "Lisbon lute" (1831), "Fellowship, or Ladder of glory" (1837), "Glass of water, or Cause and effect" (1840), "Adrienne Lecouvreur" (1849 ), the libretto of Meyerbeer's operas "Robert the Devil" (1831), "The Huguenots" (1836), etc. In a letter to M.P. Pogodin dated July 11, 1832, Pushkin has the expression "we, the cold northern spectators of the Scribe vaudevilles" , from which his not very flattering assessment of Scribe's dramaturgy follows. The censorship of the performance in St. Petersburg of Scribe's historical comedy "Bertrand and Raton" was noted by Pushkin in his diary (entry in February 1835). In the article “The French Academy” (1836), Pushkin gives almost completely (with the exception of the finale given by him in the retelling) Scribe’s speech upon entering the Academy on January 28, 1836, and Wilmain’s response speech with a detailed description of Scribe’s contribution to French culture. Pushkin calls the speech "brilliant", Scribe - "that Janin in a feuilleton ridiculed both Scribe and Villemin:" In this witty orator, "but slyly mentions that all three representatives of French wit were on stage."
Mérimé P rosper (1803–1870) - French writer, entered literature as a representative of the romantic movement ("Clara Gasoul Theatre", 1825; "Gyuzla", 1827; drama "Jacquerie", 1828, novel "Chronicle of the reign of Charles IX", 1829 ), became famous as a writer-psychologist, one of the creators of a realistic short story (the collection Mosaic, 1833; short stories Double Error, 1833; Colombes, 1840; Arsene Guillot, 1844; Carmen, 1845; etc. .). Member of the French Academy (1844). Pushkin told his friends: “I would like to talk with Merimee” (according to A. O. Smirnova, possibly unreliable). Through S. A. Sobolevsky, a friend of Merimee, Pushkin got acquainted with the Gyuzla collection. In "Songs of the Western Slavs" Pushkin included 11 translations from "Gyuzla", including the poem "Horse" - the most famous of them. These are rather loose translations. Vpreface to the publication of the cycle (1835) Pushkin mentionshoaxes of Merimee, who appeared in Gyuzla as an unknown collector and publisher of South Slavic folklore: “This unknown collector was none other than Merimee, a sharp and original writer, author of the Klara Gazul Theater, Chronicles of the Times of Karl IX , Double Error and other works extremely remarkable in the deep and miserable decline of the present French literature. Merimee introduced French readers to Pushkin's work, he translated The Queen of Spades, Shot, Gypsies, Hussar, Budrys and His Sons, Anchar, Prophet, Oprichnik, fragments from " Eugene Onegin" and "Boris Godunov". In the article “Literature and slavery in Russia. Notes of the Russian hunter Iv. Turgenev” (1854), Mérimée wrote: “Only in Pushkin do I find this true breadth and simplicity, an amazing accuracy of taste, which allows me to find exactly the one that can amaze the reader among thousands of details. At the beginning of the poem "Gypsies" five or six lines are enough for him to show us a gypsy camp and a group lit by a fire with a tamed bear. Every word of this brief description highlights the thought and leaves a lasting impression. Mérimée devoted a long article to the poet, "Alexander Pushkin" (1868), in which he puts Pushkin above all European writers.
Carr (Karr ) Alphonse Jean (1808-1890) - French writer, publicist, published in 1839-1849. magazine "Osy" (" Les Guê pes ”), which was very popular in Russia. In 1832 he published the novel "Under the Lindens" (" Sous les tilleurs "). In the same year, Pushkin, in a letter to E. M. Khitrovo, exclaimed (letter in French): “How can you not be ashamed to speak so dismissively about carré. Talent is felt in his novel ( son roman a du gé nie ), and it's worth the pretentiousness ( marivaudage ) of your Balzac."
It is quite obvious that the Russian "universality", so noticeable already in Pushkin (where we demonstrated it with just a few examples of the poet's relationship with European literature), is strikingly different from the seemingly close approach presented in the so-called "professorial literature" - a peculiar phenomenon of the literary life of the West. Let's explain this so far rarely encountered term. Since the writer's fee is unstable, many writers create their works at their leisure, working, as a rule, as teachers in universities and engaging in scientific activities (usually in the field of philology, philosophy, psychology, history). Such is the fate of Murdoch and Merle, Golding and Tolkien, Eco and Ackroyd, and many other famous writers. The teaching profession leaves an indelible imprint on their work, their works reveal broad erudition, knowledge of the schemes for constructing literary works. They constantly resort to open and covert citations of the classics, demonstrate linguistic knowledge, fill the works with reminiscences designed for equally educated readers. A huge array of literary, cultural knowledge pushed aside in the "professional literature" a direct perception of the surrounding life. Even fantasy acquired a literary sounding, which was most clearly manifested by the creator of fantasy Tolkien, and then by his followers.
Pushkin, on the contrary, is not at all a professional philologist, as later L. N. Tolstoy and F. M. Dostoevsky, A. P. Chekhov and A. M. Gorky, V. V. Mayakovsky and M. A. Sholokhov, I. A. Bunin and M. A. Bulgakov, and many other outstanding representatives of the Russian “universality”. Their dialogue with world literature (and, above all, with European literature) is determined not by the level of intertextuality, but by the level (let’s allow ourselves a neologism) of interconceptuality and psychological and intellectual responsiveness to someone else’s feeling and thought, perceived in the process of their “Russification” (in other words: embedding in Russian cultural thesaurus) already as "one's own".
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