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In this article, the authors consider the work of Agota Kristof (1935–2011), a writer who fled from Hungary after the events of 1956 and began to write in French, as a cultural and literary phenomenon of Hungarian emigration, and, more particularly, the part of it that is directly related to the Budapest uprising and the reaction period that followed it. In addition, Kristof’s famous trilogy about twins ( The Notebook , 1986; The Proof , 1988; The Third Lie , 1991), where politics and psychologism, history and auto-documentalism, acute social, existential, and philosophical aspects are organically intertwined, has all the signs of a European emigre novel of the twentieth century and correlates not only with the works of Hungarian emigre writers, but also with the literary heritage of the Russian, German, and Czech emigration of the twentieth century. The authors polemise with numerous statements by critics, literary critics and journalists, saying that Kristof’s prose is deprived of a socio-political background, and the writer herself “turns her back upon reality”. The analysis of Kristof’s three novels leads the authors to conclude that all the values that underlie her plot and compositional constructions have relevance to her only when they are placed against a background of a concrete, quite recognisable historical reality. Each novel has two substantial layers: psychological (philosophical) and socio-political. The first is deeper, more elaborate, but also more unstable, because it includes everything that is related to the sphere of feelings, thoughts, and emotions. The second layer is more external, directly related to the movement of historical time, but it is this layer that determines the types of the main characters, endows the mythological space of existential experiences with concrete recognisable features, and gives the books an inner backbone, making the fragile world of their storyline integral and quite stable.

This article studies the history of relations of the two Slavophiles who belonged to two differenet generations, namely Yuriy Fyodorovich Samarin (1819‒1876) and Vladimir Ivanovich Lamanskiy (1833‒1914). The article shows the origins of the formation of Lamanskiy’s Slavophile views and specifi c features of his understanding of Slavophilism as well as his opinion about the origin of the Slavophile doctrine. It is demonstrated that initially Lamanskiy was an armchair Slavophile with a purely bookish interest, but his subsequent familiarisation with Slavic peoples, teaching Slavistics at St Petersburg University helped him develop an independent doctrine. Lamanskiy came to be the most prominent representative of Slavophilism in Petersburg and can be regarded as a scholar and an academic Slavophile. Drawing on his publications, letters and diaries, the article traces the history of his relations with Samarin. The latter, unlike I. S. Aksakov, did not come to be a link between Moscow and Petersburg Slavophiles and those who belonged to Slavophilism of diff erent generations. It should be taken into account that Lamanskiy and Samarin had diff erent backgrounds and diff erent occupations, but at the same time they had certain ideological and topic-related similarities, i.e. an interest in non-Slavonic population at the borders of the state, a broad understanding of Unia as a historical type or even a synonym of Westernism, criticism of the German “element”, inclination to practical activity, essayism. It is also shown that Lamanskiy’s views received a more conceptual expression in the framework of his political and geographical doctrine of the three worlds of civilisation.

This study considers memoir books created by the artists who entered the national culture during the years of the Khrushchev Thaw, including “Promelk Bella (Glimpse of Bella)” by B. Messerer and “Masterskaya (Workshop)” by V. Volovich. These literary works are examined in the context of memories shared by the famous artists of the 1960s in various artistic genres (literature, music, theatre, cinema, etc.). The analyzed works revealed similarity in the artists’ goal setting, i.e. a traditional story “about the time and oneself”, a chronologically consistent narration of one’s fate in relation to the fate of one’s generation. The individual traits of the analyzed memories were determined, resulting from the authors’ creativity, originality and professional priorities. B. Messerer — a man of theatre — offered a dramatically transformed reality of the 1960s, while V. Volovich — a man of books — was prone to self-reflection and analysis. The conducted comparative study of the two memoirs, which were largely the authors’ final books, revealed the significance of the factor of place (regardless of whether it was a metropolitan or provincial location) for the personal or generational creative search. Such places for B. Messerer and V. Volovich were artistic workshops typical of that generation, which allowed “the black work of freedom” (V. Leonovich)., Книги мемуарного характера художников, вошедших в отечественную культуру в годы «оттепели», «Промельк Беллы» Б. Мессерера и «Мастерская» В. Воловича, рассмотрены в контексте воспоминаний знаменитых шестидесятников, чья деятельность осуществлялась в разных сферах искусства (литература, музыка, театр, кинематограф и т. д.). Обнаружено несомненное сходство их целеполагания: традиционный рассказ «о времени и о себе», хронологически последовательное повествование о своей судьбе в соотнесенности с судьбой своего поколения. Определены индивидуальные черты воспоминаний, идущие от своеобразия творческой личности автора и его профессиональных приоритетов. Б. Мессерер, человек театра, предлагает драматургически преобразованную реальность шестидесятых, В. Волович, человек книги, склонен к саморефлексии и анализу. Сравнительное исследование двух мемуарных и во многом итоговых книг привело к определению особой значимости места (вне зависимости от его столичной или провинциальной локации), в котором осуществлялись личные и общие для поколения свободные творческие поиски. В случае Б. Мессерера и В. Воловича — это мастерские, мастерские художников и мастерские поколенческого сообщества, в которых происходила «свободы черная работа» (В. Леонович).

The logic of this article comes from the research of the intricate “crossing of destinies” in the life and creative journey of Anna Akhmatova and in the life of three generations which she witnessed and shared. The study demonstrates that the deflection of the three epochs in Akhmatova’s biography and creative work, which made her image emblematical, is integral to historicism as a dominant feature of her poetical world perception. The authors distinguish and characterise three personal signatures of the poet demanded by the time: a lunar maiden, sorceress, and prophetess of the Silver Age; a mourner, mother, and wife who took up the mission of praying for those who died in prisons and camps during the war between the 1930s and 1940s; a classic of Russian poetry, who became an authentic incarnation of the link of times for the young generation of poets in the 1960s. It is represented in the multiplicity of Akhmatova’s “imperial” signatures-insignias, which she created in her Notebooks, and her contemporaries reflected in their memoirs (sometimes with the participation of the poet). Additionally, they were realised in the visual code, namely portraits and photographs, dating back to different decades. It is important that having been reflected in the mirrors of various epochs, the poet’s image lets time itself be reflected in “Akhmatova’s mirrors”.The most dramatic moments of “not what the calendars say, but the real Twentieth Century” are mostly the parts of her private and poetic life, as her destiny was the embodiment of the “tragic symphony” of her generation. Special attention is paid in the article to the self-designation of sacral nature, which Akhmatova intends not for time, but for eternity, it is a unique secret code, which can be decoded only by poets and poetry itself., Логика статьи подчинена исследованию сложного «скрещения судеб» творческого пути Анны Ахматовой и жизни трех поколений, участником и свидетелем которой она была. Показано, что преломление трех эпох в биографии и творчестве поэта, обеспечившее образу Ахматовой эмблематичность, обусловлено историзмом как доминантной чертой ее поэтического мировидения. Выделены и описаны три личные сигнатуры поэта, востребованные временем: лунная дева, колдунья, пророчица Серебряного века; плакальщица, мать, жена, взявшая на себя миссию поминовения погибших в тюрьмах, лагерях, во время войны — в 1930–1940-е гг.; классик русской поэзии, ставший подлинным воплощением связи времен для молодого поколения поэтов в 1960-е гг., что отразилось в множественности и разнообразии «царских» сигнатур-инсигний Ахматовой, создаваемых ею на страницах «Записных книжек», моделируемых ее современниками в мемуарах (зачастую при известном участии поэта), а также — в визуальном коде: от портретов до фотографий, относящихся к разным десятилетиям. Важно, что образ поэта, преломившись в зеркалах каждой из непохожих друг на друга эпох, позволяет и самому времени отразиться в «ахматовских зеркалах».Наиболее драматичные моменты «некалендарного двадцатого века» во многом связаны с ее личной и поэтической судьбой, ставшей одним из воплощений судьбы — «трагической симфонии» ее поколения. Особое внимание уделяется самообозначению сакрального характера, которое предназначено Ахматовой не для времени, но для вечности, является своеобразным тайным кодом, могущим быть расшифрованным только поэзией и поэтами.

Поступила в редакцию 18.05.2019. Принята к печати 21.06.2019. Submitted on 18 May, 2019. Accepted on 21 June, 2019. Логика статьи подчинена исследованию сложного «скрещения судеб» творческого пути Анны Ахматовой и жизни трех поколений, участником и свидетелем которой она была. Показано, что преломление трех эпох в биографии и творчестве поэта, обеспечившее образу Ахматовой эмблематичность, обусловлено историзмом как доминантной чертой ее поэтического мировидения. Выделены и описаны три личные сигнатуры поэта, востребованные временем: лунная дева, колдунья, пророчица Серебряного века; плакальщица, мать, жена, взявшая на себя миссию поминовения погибших в тюрьмах, лагерях, во время войны — в 1930–1940-е гг.; классик русской поэзии, ставший подлинным воплощением связи времен для молодого поколения поэтов в 1960-е гг., что отразилось в множественности и разнообразии «царских» сигнатур-инсигний Ахматовой, создаваемых ею на страницах «Записных книжек», моделируемых ее современниками в мемуарах (зачастую при известном участии поэта), а также — в визуальном коде: от портретов до фотографий, относящихся к разным десятилетиям. Важно, что образ поэта, преломившись в зеркалах каждой из непохожих друг на друга эпох, позволяет и самому времени отразиться в «ахматовских зеркалах». Наиболее драматичные моменты «некалендарного двадцатого века» во многом связаны с ее личной и поэтической судьбой, ставшей одним из воплощений судьбы — «трагической симфонии» ее поколения. Особое внимание уделяется самообозначению сакрального характера, которое предназначено Ахматовой не для времени, но для вечности, является своеобразным тайным кодом, могущим быть расшифрованным только поэзией и поэтами. The logic of this article comes from the research of the intricate “crossing of destinies” in the life and creative journey of Anna Akhmatova and in the life of three generations which she witnessed and shared. The study demonstrates that the deflection of the three epochs in Akhmatova’s biography and creative work, which made her image emblematical, is integral to historicism as a dominant feature of her poetical world perception. The authors distinguish and characterise three personal signatures of the poet demanded by the time: a lunar maiden, sorceress, and prophetess of the Silver Age; a mourner, mother, and wife who took up the mission of praying for those who died in prisons and camps during the war between the 1930s and 1940s; a classic of Russian poetry, who became an authentic incarnation of the link of times for the young generation of poets in the 1960s. It is represented in the multiplicity of Akhmatova’s “imperial” signaturesinsignias, which she created in her Notebooks, and her contemporaries reflected in their memoirs (sometimes with the participation of the poet). Additionally, they were realised in the visual code, namely portraits and photographs, dating back to different decades. It is important that having been reflected in the mirrors of various epochs, the poet’s image lets time itself be reflected in “Akhmatova’s mirrors”. The most dramatic moments of “not what the calendars say, but the real Twentieth Century” are mostly the parts of her private and poetic life, as her destiny was the embodiment of the “tragic symphony” of her generation. Special attention is paid in the article to the self-designation of sacral nature, which Akhmatova intends not for time, but for eternity, it is a unique secret code, which can be decoded only by poets and poetry itself. Работа выполнена при поддержке гранта РФФИ № 19-512-23003 «Самосознание и диалог поколений в русской и венгерской литературной практике XX–XXI веков». The work was supported by Russian Foundation for Basic Research, grant 19-512-23003 “Self-Awareness and Dialogue of Generations in Russian and Hungarian Literary Practice of the 20th–21st Centuries”.

This article based on an analysis of the theoretical problems of historical events and historical memory discusses the results of the sociological research students on the problems of historical memory of the great patriotic war, identifies "gaps" and deformation in this memory. В статье на основе анализа теоретических проблем исторического события и исторической памяти рассматриваются результаты социологических исследований студенческой молодежи по проблемам исторической памяти о Великой Отечественной войне, выявляются «пробелы» и деформации в этой памяти.