https://www.avtobiografija.com/index.php/avtobiografija/issue/feed Avtobiografija 2021-01-29T17:36:53+01:00 Chiara Rampazzo info@avtobiografija.com Open Journal Systems Journal on Life Writing and the Representation of the Self in Russian Culture https://www.avtobiografija.com/index.php/avtobiografija/article/view/232 Предисловие к воспоминаниям Д.Г. Дмитриевой 2021-01-29T17:24:01+01:00 Iurii Mikhailin Mikhailin@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;">Introduction to Dialektina Dmitrieva’s unpublished memoirs by Iurii Mikhailin, editor of the text.</span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Iurii Mikhailin https://www.avtobiografija.com/index.php/avtobiografija/article/view/233 Воспоминания о родителях и о семье 2021-01-29T17:24:07+01:00 Dialektina Dmitrieva Dmitrieva@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;">An excerpt from the unpublished memoirs by Dialektina Dmitrieva on her parents’ lives.</span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Dialektina Dmitrieva https://www.avtobiografija.com/index.php/avtobiografija/article/view/234 Biocritical Reflections on the Encyclopedia of Youth 2021-01-29T17:24:14+01:00 Dmitri Shalin Shalin@avtobiografija.com Dmitri Shalin’s methodological reflections on Mikhail Epshtein’s and Sergei Iur’enen <em>Encyclopedia of Youth</em> against the backdrop of biocritical hermeneutics. 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Dmitri Shalin https://www.avtobiografija.com/index.php/avtobiografija/article/view/210 “Интимное и историческое одновременно”: К проблеме формирования и функционирования автобиографического нарратива 2021-01-29T17:21:04+01:00 Tatiana Kuzovkina Kuzovkina@avtobiografija.com <p class="western" style="margin-bottom: 0cm;"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;">Introduction to the special section</span><span style="font-family: Constantia, serif;"><em>Time, History, Biography: Theoretical Aspects of the Study of Ego-Documents</em></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Tatiana Kuzovkina https://www.avtobiografija.com/index.php/avtobiografija/article/view/211 “Право на биографию” и русская мемуаристика 1740-70-х гг. 2021-01-29T17:21:09+01:00 Aleksandra Veselova Veselova@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;">The article discusses the early period of memoir-writing in Russia (1730-1770). The Russian situation in this period was radically different from Europe. Very few memoirs were written: of those, only 12 texts were selected for the present article. Memoir literature had no context and fiction was also still poorly developed. Therefore, the study of the pragmatics of these works is of particular interest, as it reveals the origin of the memoir genre in Russia. The article also raises the question of what could have been used as a model by authors. The author suggests noble genealogies and track records (</span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><em>sluzhebnaia skazka</em></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;">) could have served as a model. The article concludes that early Russian memoirs reflect a difficult stage for a new Russian class, who simultaneously sought to represent their personal achievements with eschatological themes.</span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Aleksandra Veselova https://www.avtobiografija.com/index.php/avtobiografija/article/view/212 Инструменты памяти: лаборатория мемуаров Андрея Болотова 2021-01-29T17:21:16+01:00 Mikhail Miliutin Miliutin@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB">The article discusses a range of issues related to the technological side of memoir writing. A comparative analysis of Andrei Bolotov’s </span></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB"><em>Life and Adventures</em></span></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB">, various manuscripts (especially autobiographical texts) and archival documents allows us to clarify and adjust the traditional view on Bolotov’s memoirs as being created on the basis of diary entries; to reveal how some of the plots of his memoirs are primarily based on memories and to characterize them as manifestations of a communicative memory; and to evaluate which memory tools are most relevant for Bolotov (books, drawings, things), and how they occupy an intermediate position between personal remembering and documentary evidence.</span></span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Mikhail Miliutin https://www.avtobiografija.com/index.php/avtobiografija/article/view/213 Письма А.Ф. Малиновского (1800-е гг.) как попытка автобиографии 2021-01-29T17:21:22+01:00 Maia Lavrinovich Lavrinovich@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span style="font-size: small;">This article analyses the correspondence by Aleksei Fedorovich Malinovskii (1762–1840) from the point of view of his strategy of creating his new self as an authentic nobleman. Covering the 1800s, his letters to Count Nikolai Petrovich Sheremetev (1751–1809), held at the Russian State Historical Archive in St. Petersburg (RGIA), have not previously received significant scholarly attention as a coherent narrative that reveals the social and cultural dimensions of Malinovskii’s personality. His correspondence with other individuals is also drawn in order to demonstrate how these aspects developed in the next decades.</span></span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Maia Lavrinovich https://www.avtobiografija.com/index.php/avtobiografija/article/view/214 ‘The Primary Pleasure Now is History …’: The Letters of N. M. Karamzin to M.N. Murav’ev 2021-01-29T17:21:29+01:00 Magdalena Dąbrowska Dabrowska@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB">The article discusses the letters of Nikolai Karamzin (1766–1826) to Mikhail Murav’ev (1757–1807) during the period 1803–1807 focussing on the circumstances surrounding the creation of </span></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB"><em>A History of the Russian State</em></span></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB">. The article analyses 15 letters published in a three-volume collection of the works of Karamzin in 1848, as well as a letter published by Laura Rossi in 2018. The first letter was written on 28 September 1803 and it contains a request from Karamzin to Murav’ev to support his efforts to receive financial assistance from Russian authorities for the preparation of </span></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB"><em>A History of the Russian State</em></span></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB">. The letters by Karamzin to Murav’ev, together with the writer’s letters to other individuals (the poet Ivan Dmitriev and Karamzin’s brother Vasilii), highlight the circumstances surrounding the emergence of the idea to compose an outline of the history of Russia (after the periodical </span></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB"><em>Vestnik Evropy</em></span></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB"> had ceased to be published) and the stages of Karamzin’s work on the first volumes.</span></span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Magdalena Dąbrowska https://www.avtobiografija.com/index.php/avtobiografija/article/view/215 Между наукой и религией?: вопросы веры в автобиографиях историков XIX – начала ХХ вв 2021-01-29T17:21:35+01:00 Viktoriia Ivashchenko Ivashchenko@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;"><span style="font-size: small;">This paper explores the religious self-identification of historians based on their autobiographical writings. In particular, it dwells upon autobiographies of scholars of different generations who taught at the universities of the Russian Empire in the nineteenth and early twentieth centuries. The paper provides an analysis of various strategies used by the authors of autobiographies to create a religious identity: the complete disregard for questions of faith; the description of rituals; the reflection on the state of the clergy of various confessions and religions; the desire to give a representation of their religious beliefs – deep religious feelings, religious doubts, atheistic views, which often led to reflections on the influence of these beliefs on their scholarly activity. This approach allows us to identify some features of the worldview of the educated part of Russian society in this period generally and distinguish markers of identity that determined the writers’ strategies: family, professional community (places of service, positions, status etc.) and socio-historical context.</span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Viktoriia Ivashchenko https://www.avtobiografija.com/index.php/avtobiografija/article/view/216 Гончаров в роли Островского: Эстетическая теория и литературная автобиография в Материалах, заготовляемых для критической статьи об Островском 2021-01-29T17:21:42+01:00 Kirill Zubkov Zubkov@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;">This paper analyzes an unfinished article by Ivan Goncharov known under the title </span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><em>Materials Prepared for a Critical Article about Ostrovskii</em></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;">. I argue that the content of the article has practically nothing to do with the works of Aleksander Ostrovskii. In fact, Goncharov sought to construct a narrative about his own life and work and to protect them from the harsh criticism that appeared after the publication of his last novel, </span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><em>The Precipice</em></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;">. The paradoxical structure of Goncharov’s article is explained by his aesthetic views, which demanded a perfect </span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><em>objectivity</em></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"> from the writer and were hardly compatible with the growing role of memoirs in Russian literature in the 1870s.</span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Kirill Zubkov https://www.avtobiografija.com/index.php/avtobiografija/article/view/217 Восприятие революционных событий в Киеве в мемуарах Алексея Александровича Гольденвейзера 2021-01-29T17:21:52+01:00 Antoni Bortnowski Bortnowski@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;">Aleksei Goldenweiser (1890–1979), a successful lawyer and an active participant of the Russian émigré community, left a rich legacy containing, in particular, memories of the revolutionary upheavals in his hometown Kiev. His memoirs are interesting not only as a testimony from a participant in these historical events, but also for what they reveal about the author’s complex identity. Being a Russian Jew and at the same time a native inhabitant of Kiev, Goldenweiser did not identify himself with either the Reds, the Whites, or the Ukrainian movement. His relationship with the Jewish environment was also ambiguous. Goldenweiser’s texts, despite their relative impartiality, reflect the position of a person trying to defend his professional and moral values in the hard conditions of the Russian Civil War. The memoirs reflect the specifics of the author’s worldview and at the same time give an interesting, Kiev-centred, perspective of the events of 1917–1921.</span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Antoni Bortnowski https://www.avtobiografija.com/index.php/avtobiografija/article/view/218 Семиотический анализ автобиографического нарратива Марины Цветаевой – возможности и ограничения 2021-01-29T17:21:59+01:00 Dorota Jewdokimow Jewdokimow@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;"><span style="font-size: small;">A large part of Marina Tsvetaeva’s journals describes her years in Moscow immediately after the 1917 revolution. Tsvetaeva divides her post-revolutionary experiences into two separate spheres: internal life, being (</span></span><span style="font-family: Constantia, serif;"><span style="font-size: small;"><em>byt’e</em></span></span><span style="font-family: Constantia, serif;"><span style="font-size: small;">) and external life, existence (</span></span><span style="font-family: Constantia, serif;"><span style="font-size: small;"><em>byt</em></span></span><span style="font-family: Constantia, serif;"><span style="font-size: small;">), where internal life is valued positively, while external life is assessed negatively or neutral. The sphere of existence, in Tsvetaeva’s testimony, constitutes the essence of the revolution. The main aim of this article is the description of this sphere, with the simultaneous definition of its relationship with </span></span><span style="font-family: Constantia, serif;"><span style="font-size: small;"><em>being</em></span></span><span style="font-family: Constantia, serif;"><span style="font-size: small;">. Another goal is to define the boundaries of the semiotic analysis of an autobiographical text and the possibility of a pre-text experience, that exists prior to the text. In Tsvetaeva’s text, I distinguish those fragments that refer directly to her individual experience of a revolution located in the area of </span></span><span style="font-family: Constantia, serif;"><span style="font-size: small;">individual emotionality. Determining to what extent the emotional experience is physiological and therefore pre-discursive, and to what extent cultural and therefore discursive, will depend on the possibility of its semiotic analysis.</span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Dorota Jewdokimow https://www.avtobiografija.com/index.php/avtobiografija/article/view/219 In a Wonderland They Lie? Today’s Russia: A Testimony of the New Soviet Enthusiasm in the 1930s by August Cesarec 2021-01-29T17:22:28+01:00 Ivana Peruško Perusko@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;">This article examines a set of ego-documents (</span><span style="font-family: Constantia, serif;"><em>Today’s Russia</em></span><span style="font-family: Constantia, serif;"> by A. Cesarec) to pose a question: does the paradigm of fear in Stalin’s 1930s exclude the paradigm of enthusiasm? Have the memories of the horrors and fears of the Great Terror and the Gulag era erased the memory of the enthusiastic atmosphere and happiness of the Soviet Golden Age? Cesarec’s </span><span style="font-family: Constantia, serif;"><em>Today’s Russia</em></span><span style="font-family: Constantia, serif;"> evokes the same skepticism which, according to Kuromiya, Western historiography held towards Soviet memoirs on their exploits and successes in the 1930s, labelling them as Soviet propaganda, i.e. historically improbable material, </span><span style="font-family: Constantia, serif;"><em>lakirovka</em></span><span style="font-family: Constantia, serif;"> or fraud. The main task of this article is to decipher, i.e. to reconstruct, Cesarec’s image of the ‘facts of the epoch’, as Iurii Lotman put it in his book </span><span style="font-family: Constantia, serif;"><em>Within Thinking Worlds</em></span><span style="font-family: Constantia, serif;">.</span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Ivana Peruško https://www.avtobiografija.com/index.php/avtobiografija/article/view/220 Мемуарно-автобиографический дискурс в дневниковых записях Ольги Берггольц 2021-01-29T17:22:35+01:00 Patrizia Deotto Deotto@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;">Ol’ga Berggol’ts’s diary, written between July 1939 and the years of the war and the siege, is not only an extraordinary testimony of a tragic moment in the history of Leningrad, but also an interesting exposure – through the use of the written word – of the most secret and unspeakable thoughts on the present and the recent past in the light of the writer’s personal experiences. The author is intimately divided between the need to tell the truth about herself and the surrounding world, and the sentiment of disquiet resulting from the pressure of the official censorship and a sort of self-censorship stemming from the fear to write about her own emotions and thoughts. The act of writing implies going once again through the pain and the sorrow that may be triggered in the process and admitting to herself a deep disenchantment with what she had believed in. Despite all of this, however, Ol’ga Berggol’ts embarks on a difficult path towards awareness, on the quest of an individual truth, which is in contrast with the official truth of the regime.</span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Patrizia Deotto https://www.avtobiografija.com/index.php/avtobiografija/article/view/221 Несколько наблюдений над стратегиями самонаписания в романе Булата Окуджавы Упраздненный театр 2021-01-29T17:22:43+01:00 Olga Sazontchik Sazontchik@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;">Bulat Okudzhava</span><span style="font-family: Times New Roman, serif;">ʼ</span><span style="font-family: Constantia, serif;">s novel </span><span style="font-family: Constantia, serif;"><em>Uprazdnennyi Teatr </em></span><span style="font-family: Constantia, serif;">[The Vacated Theatre] is often regarded as a source of autobiographical information. The article attempts to investigate the main strategies utilized by the poet, and relate these to the narrative features of Okudzhava’s text. The main narrative techniques, which define the reciprocal approach of the reader and the narrator and create the distance between them, are: the polyperspectivity of the narrative; its polytemporality and multifunctional use of verbs in the present tense; the questioning of language as instrument of expression; and the sophisticated system of intertextual linkages. Taken together, these narrative characteristics suggest that Okudzhava</span><span style="font-family: Times New Roman, serif;">ʼ</span><span style="font-family: Constantia, serif;">s novel is no more of a documentary or historical account than his lyrical works are.</span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Olga Sazontchik https://www.avtobiografija.com/index.php/avtobiografija/article/view/222 “Онегинские” черты в Поэме без предмета Валерия Перелешина 2021-01-29T17:22:51+01:00 Vadim Wittkowsky Wittkowsky@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;">In his autobiographical </span><span style="font-family: Constantia, serif;"><em>Poem without a Subject</em></span><span style="font-family: Constantia, serif;"> (1972–1976) the Russian poet Valerii Pereleshin (1913–1992) follows the path of one of the most famous Russian poems, </span><span style="font-family: Constantia, serif;"><em>Eugene Onegin</em></span><span style="font-family: Constantia, serif;"> by Aleksander Pushkin. Pereleshin spent most of his life in China, and his long poem (8400 lines, one of the longest ever written in Russian) might be called an </span><span style="font-family: Constantia, serif;"><em>encyclopedia of Russian life in China</em></span><span style="font-family: Constantia, serif;"> as the </span><span style="font-family: Constantia, serif;"><em>Onegin</em></span><span style="font-family: Constantia, serif;"> was an ‘encyclopedia of Russian life’ one hundred years before, as stated by Vissarion Belinskii. There are several poetical traits that show how Pereleshin follows Pushkin: long digressions, rhymes and neologisms, macaronic rhymes as well as prosaic footnotes.</span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Vadim Vitkovskii https://www.avtobiografija.com/index.php/avtobiografija/article/view/223 Вымысел и реальность в (авто)биографиях Ильи Сельвинского: 1918–1920 годы 2021-01-29T17:22:57+01:00 Anna Krasnikova Krasnikova@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;">There are still many gaps in the biography of Il’ia Sel’vinskii (1899-1968). Even if we consider the periods of his life that are relatively well studied, most of the texts offer us legends and contain much less verified facts and exact dates. The article investigates the years 1918–1920, about which much has been written, although the information from different sources does not coincide and some facts contradict others. Focusing on Sel’vinskii’s autobiographies and on his letters, diaries and other sources, the author tries to find out which facts are reliable, which are doubtful, and which are false.</span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Anna Krasnikova https://www.avtobiografija.com/index.php/avtobiografija/article/view/224 Научный архив Виктора Максимовича Жирмунского как автобиография. По материалам архивов Российской Академии Наук в Санкт-Петербурге 2021-01-29T17:23:04+01:00 Larisa Naidich Naidich@avtobiografija.com Natal’ia Svetozarova Svetozarova@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;">The article examines the dialectological and folklore fieldwork organized between 1924 and 1930 by the prominent linguist and literary scholar Viktor Zhirmunskii. Zhirmunskii conducted his fieldwork in the ethnic German communities of the Southern USSR (Ukraine, Crimea, Transcaucasia), as well as in the Leningrad region. Unpublished field materials are held at the archive of the St. Petersburg’s Division of the Russian Academy of Sciences and in the archive of the Institute of Russian Literature (</span><span style="font-family: Constantia, serif;"><em>Pushkinskii Dom</em></span><span style="font-family: Constantia, serif;">). These materials include field reports, which describe noteworthy details on the goals, participants, collected data, and the itineraries of the aforementioned expeditions. These valuable materials shed light upon some understudied aspects of Zhirmunskii’s life and work.</span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Larisa Naidich, Natal’ia Svetozarova https://www.avtobiografija.com/index.php/avtobiografija/article/view/225 От curriculum vitae к автобиографии: Вальмар Адамс (1899-1993) 2021-01-29T17:23:10+01:00 Tatiana Shor shor@avtobiografija.com <p class="western" style="margin-bottom: 0cm;"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB">The Estonian poet and essayist, philologist, university teacher Valmar (Vladimir Karl Moritz Alexander) Adams wrote many СVs and autobiographies over his long life. He was born at the turn of the century and was a direct witness to the European turmoil of the twentieth century. His CVs are a unique example of both business and artistic autobiographical genres in completely opposed cultural contexts. He was a citizen of the Russian Empire, of the Estonian Republic and the Estonian SSR, then a citizen of the Reich Commissariat of Ostland within the German Reich, then a citizen of the USSR and again the Republic of Estonia: Adams had to negotiate with his context in his autobiographies at different periods. Iurii Lotman wrote about his colleague: ‘Valmar Adams is a man of versatile giftedness. It is difficult to describe him briefly. I once advised him to write a play where the characters would be the five sides of himself’. In the present article these different sides of Adams are revealed on the basis of documents and autobiographies from the archives of the Literary Museum of Tartu, University of Tartu, and the KGB.</span></span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Tatiana Shor https://www.avtobiografija.com/index.php/avtobiografija/article/view/226 Поэтика пограничных спектаклей трэвел-блогера Puerrtto 2021-01-29T17:23:18+01:00 Elena Iufereva iufereva@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;">The article discusses the problem of the poetics of behavior in the naïve writer. The travel-blog of Aleksander Lapshin (known as Puerrtto) serves as material for this research. The </span><span style="font-family: Constantia, serif;"><em>game</em></span><span style="font-family: Constantia, serif;"> of the blogger, which lasted for decades, resulted in his arrest in Belarus in December 2016, followed by the extradition to Azerbaijan. In his blogs, Lapshin builds a circular biographical narrative with a clearly defined trajectory from imaginary spy to free wanderer and, through the repetition of prison sentences, to high-profile human rights champion. The anecdotal nature of the </span><span style="font-family: Constantia, serif;"><em>borderline</em></span><span style="font-family: Constantia, serif;"> performances is emphasized by meaningless remarks, substitutions and confusion with passports. This may be the cause of the widespread opinion about the implausibility of his stories, which has been repeatedly expressed by readers and bloggers.</span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Elena Iufereva https://www.avtobiografija.com/index.php/avtobiografija/article/view/227 Дуальные модели Лотмана и Милоша – в анализах истории России и в автобиографии 2021-01-29T17:23:26+01:00 Zbigniew Kaźmierczyk Kazmierczyk@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="font-family: Constantia, serif;"><span style="font-size: small;">This article examines the concept of alternation of predictable (symmetrical) and unpredictable (asymmetrical) occurrences under the influence of Prigogine’s theory of bifurcation. It shows that Lotman acknowledged those occurrences to be essential in historical processes. However, he considered the unpredictable occurrences to be destructive in cultures developed on dual models because of the expectations of eschatological transformation of the world which they generate. At the same time, he hoped that the historical unpredictability would be connected with the transformation of the Russian cultural model. The article shows the application of dual models in Lotman’s cultural semiotics and Miłosz’s studies of Russia. It emphasizes that for Miłosz those were the models of Gnostic-Manichaean dualism and pictures him as a continuator of the Vilnius school of thought of Russia.</span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Zbigniew Kaźmierczyk https://www.avtobiografija.com/index.php/avtobiografija/article/view/238 Authors 2020-12-31T00:03:04+01:00 Claudia Criveller criveller@avtobiografija.com Andrea Gullotta gullotta@avtobiografija.com Profile of the authors of the papers. 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Claudia Criveller, Andrea Gullotta https://www.avtobiografija.com/index.php/avtobiografija/article/view/228 I Diari e la scrittura dell’ultimo Tolstoj. Una ricerca oltre il moralismo 2021-01-29T17:23:33+01:00 Maria Candida Ghidini Ghidini@avtobiografija.com <p class="western" style="margin-bottom: 0cm;"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;">All his life Tolstoi wrote diaries. In his last thirty years, they became so important that they have influenced his entire work, non-fiction as well as fiction. Originally a rational, planned practice of self-perfection, they evolved into an introspective reflection of the </span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><em>I</em></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"> and recorded the tension of merging with a super-personal, universal dimension: the authentic, eternal I that does not know death. This article argues that Tolstoi’s search cannot be reduced to the moralist and rationalist paradigms that critics have often used, especially the religious thinkers of the Silver Age. The </span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><em>Diaries</em></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"> reveal that the starting point for a deep reflection on the </span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><em>I</em></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"> is the experience of the limit and death. Hence starts a new perception of the self which, in order to preserve it, transcends it into a universal dimension that helps to overcome emptiness and a lack of meaning. On a literary level, this leads to a new type of writing and a new conception of authorship.</span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Maria Candida Ghidini https://www.avtobiografija.com/index.php/avtobiografija/article/view/229 ИндиЯ: путь Я у Андрея Белого 2021-01-29T17:23:40+01:00 Anna Ponomareva ponomareva@avtobiografija.com <p class="western" style="margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;">This article aims to explain the importance of </span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><em>I</em></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"> in Andrei Belyi’s work. Data is collected and analyzed from a passage of his manuscript </span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><em>A Crisis of Thinking</em></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;">. It is shown that the author has a strong intention to use the first personal pronoun in its singular form in his text. Additionally, the author argues that Belyi’s </span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><em>I</em></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"> is not a symbol of self-admiration, but evidence of his deep interests in Indian philosophical systems, in particular Vedanta and Buddhism. Further details are provided which justify Belyi’s appropriation of several Indian truths in order to solve the contemporary crisis of thinking. By pointing to the unity between the human being and the Absolute in Indian philosophical knowledge Belyi directs his readers’ attention to the divine nature of people.</span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Anna Ponomareva https://www.avtobiografija.com/index.php/avtobiografija/article/view/230 In vita e in morte di Jerzy: il discorso omoerotico nelle lettere e nei Diari di Jarosław Iwaszkiewicz 2021-01-29T17:23:48+01:00 Dario Prola Prola@avtobiografija.com Although Jarosław Iwaszkiewicz made references to homosexuality already in his interwar journalistic writings, in his literary works he tackles it implicitly through a literary filter. In the recently published diary and in the letters he wrote to his lover Jerzy Błeszyński, this theme becomes explicit and allows for a correct depiction of the role that sexuality played in the writer’s life and work. Substitution, comparison, revelation, sacralisation and artistic sublimation are some of the practices identified in the essay in order to trace homosexual discourse in this autobiographical material, a discourse that appears to be closely connected to modernist poetics alongside its philosophical and cultural implications (Nietzsche, Gide, Proust, Wilde, Szymanowski), but also considered taboo by the writer himself. 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Dario Prola https://www.avtobiografija.com/index.php/avtobiografija/article/view/231 Russian Letters from the Front: Egodocuments and Witnesses of Time 2021-01-29T17:23:54+01:00 Elena Rozhdestvenskaia rozhdestvenskaia@avtobiografija.com <p class="western" style="margin-right: 0.5cm; margin-bottom: 0cm;" align="justify"><span style="font-family: Cambria, serif;"><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB">This article studies letters written by Russians from the front in various wars of the twentieth century. The letter from the front is an intimate egodocument; it speaks about the attitude of a combatant in the context of the front and its circumstances while, at the same time, providing a reflection of the discursive regime of the era that defined and shaped the dominant modes of written communication of the author. A socially oriented narrative analysis of letters </span></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB"><span style="background: #ffffff;">from the front</span></span></span></span><span style="color: #000000;"><span style="font-family: Constantia, serif;"><span lang="en-GB"> allows us to outline the professional attitude to war, the evolution of military professionalism, military ethos and public discourse about it. </span></span></span></span></p> 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Elena Rozhdestvenskaia https://www.avtobiografija.com/index.php/avtobiografija/article/view/209 Introduction 2021-01-29T17:20:52+01:00 Claudia Criveller criveller@avtobiografija.com Andrea Gullotta gullotta@avtobiografija.com Introduction to the ninth issue of «AvtobiografiЯ» 2020-12-31T00:00:00+01:00 Copyright (c) 2020 Claudua Criveller, Andrea Gullotta https://www.avtobiografija.com/index.php/avtobiografija/article/view/239 Reviews 2021-01-29T17:36:53+01:00 Valentina Parisi Parisi@avtobiografija.com Elena Andrushchenko Andrushchenko@avtobiografija.com Iaroslav Golubinov Golubinov@avtobiografija.com <p>Valentina Parisi<br />N. Punin, <em>L’arte in rivolta. Pietrogrado 1917</em>, traduzione e cura di Nadia Cicognini, Guerini e associati, Milano, 2020.</p><p>Elena Andrushchenko<br />“Лилина история, ее поэзия, ее образ...” (Рецензия на книгу Елены Погорелой Черубина де Габриак. Неверная комета, Молодая гвардия, Москва, 2020).</p><p>Iaroslav Golubinov <br />Л. Никифорова, М. Кизилов, Айн Рэнд, Молодая гвардия, Москва 2020.<br /><br /></p> Copyright (c) 2020 Valentina Parisi, Elena Andrushchenko, Iaroslav Golubinov