Contenu du sommaire : Autour de la presse russe et soviétique

Articles

• Karamzin's Moskovskii zhurnal : Voice of a writer, broadsheet of a movement - Anthony Glenn Cross p. 121-126
  Anthony Glenn Cross, Karamzin's Moskovskii zhurnal: voice of a writer, broadsheet of a movement. Although it rarely receives the emphasis it deserves, Karamzin's activity as a journalist was of paramount importance for his development as a writer and for the influence he exerted on the contemporary reading public. He served his journalistic apprenticeship as co-editor of Novikov's Detskoe chtcnie, Russia's first journal for children. After his return from his European travels he published his first independent journal, Moskovskii zhurnal, and followed this, a decade later, by Vestnik Evropy, widely acknowledged as the first of the tolslye zhurnaly of the nineteenth century. It was on the pages of these journals that Karamzin published the majority of his stories, translations, essays, poems and much of Pis'ma russkogo puteshestvennika. Moskovskii zhurnal occupies a particular place in Karamzin's career: it was in this journal that the young writer First made his impact, finding an original voice and heralding the triumph of the "literature of feeling".
• A Russian daily newspaper and its new readership : Severnaia pchela, 1825-1840 - Nurit Schleifman p. 127-144
  Nurit Schleifman, A Russian daily newspaper and its new readership: Severnaia pchela, 1825 -1840. Severnaia pchela, the first privately owned Russian newspaper, was published in St. Petersburg for almost forty years. The time of its appearance was marked by a growing participation of the urban middle strata in the consumption of literature, which consequently turned them into the newspaper's chief target audience. The educated elite viewed Severnaia pchela' s success with this new readership as a regrettable result of both the existing political circumstances and the paper's policy of catering to the lowest possible tastes. Whereas contemporary historiography tends towards the same view, a closer examination reveals the paper's persistent attempt to use a restricted thematic framework. for conveying messages that would correspond to the social needs and life experiences of its new readers. This endeavour should be considered as a contributary factor in Severnaia pchela's success in maintaining its position as the most widely read daily until the early forties.
• Современник конца 1840-х и начала 1850-х годов и т.н. литература факта - Antoni Semczuk p. 145-153
  Antoni Semczuk, The Sovremennik in the late 1840's and the early 1850's and "factual literature". The present article endeavours to retrace the literary and social program of Sovremennik in 1847. According to the thesis that it upholds, the reaction which in Russia had succeeded to the events of the "Spring of the nations" in Europe - in particular to the French revolution of 1848 - had negative repercussions on the orientation of the social section of the review. As to the purely literary section, the editorial board of Sovremennik had been able to stand up for its position: in accordance with the evolution of the Russian prose, the daily and ethnographic "fact" of the naturalistic school gave way, in the program of the review of the early 1850's, to the psychological "fact" in the style of autobiographies.
• Герцен, поляки и польский вопрос - Wiktoria Sliwowska, Réné Sliwowski p. 155-172
  W. Sliwowska, R. Sliwowski, Herzen, the Poles and the Polish problem. The "Polish problem" had occupied a place of first importance in the history of A. I. Herzen's work: his attitude towards this matter, destined to become a major point of Iskander's ideas, evolved under the stress of concrete historical events. This article studies the principal stages of the evolution of the writer's ideas on the Polish problem, his relations with Poles - friends or simple acquaintances - and the polemics aroused in Polish circles by his declarations in the 1850's and 1860's. Connections between A. I. Herzen and the set of Polish emigres were not definitely broken off after the 1863 insurrection had been crushed, although in the second half of the 1860's the tone of the declarations of the Polish press was clearly provocative and sometimes frankly hostile. It was even insinuated that the editors of Kolokol had played a double game during the January insurrection. Herzen was able to rise above the petty personal offences and to uphold till the end the inalienable right of all the nations to political independence.
• Восход - главный журнал русского еврейства - Simon Markish p. 173-181
  Simon Markish, Voskhod, principal review of Russian Judaism. This article retraces the history of Voskhod (Knizhki Voskhoda), a monthly literary, social and political Russian Jewish journal, the most important of its kind, as regards its long life (1881-1906) and the quantity of issues that had appeared (nearly 300). Special attention has been reserved to the participation of Russian writers (for instance Dmitrii Merezhkovskii, Fcdor Sologub, Konstantin Fofanov, Daniil Mordovtsev, etc.) as well as to the decisive influence of Russian literature on the formation of Jewish belles-lettres written in Russian (Saltykov-Shchcdrin and Jewish writers).
• L'« écrivain exhibé » et la presse périodique symboliste - Georges Nivat p. 183-192
  Georges Nivat, The "exhibited writer" and the periodical Symbolist press. The "exhibited writer" is a major manifestation of the literary and public life in Russia during the decade of 1905-1915. Intellectual elites, easily assembled under the name of "Symbolists", renovate the cultural life of the country by creating purely aesthetic forums of debate (reviews, literary and artistic circles). Located in the two capitals, these publications and groups undertake the mission of provoking and rejuvenating public debates in Russia. These discussions echoed systematically by the daily press (provincial periodicals included) create a "mediatic" image of the writer, whose income and image are thus modified. He is allied to a new generation of patrons, that of "sons." The figures of two poets, sons of manufacturers are evoked. The new glory of "exhibited writers" is somewhat despised: Blok ascribes it to the ascent of the class of "pharmacists."
• Le débat sur la définition de l'« écrivain paysan » dans la presse périodique soviétique (1928-1930) et ses conséquences - Michel Niqueux p. 193-200
  Michel Niqueux, The debate on the definition of "peasant writer" in the periodical Soviet press (1928-1930) and its consequences. Who is to be considered a "genuine peasant writer" ? Is it any writer who "reflects the countryside artistically", according to V. Polonskii's traditional opinion or is it only a writer who passed on "the rails of proletarian ideology" and militates in favor of collectivization, in accordance with the position of VOKP (Vserossiiskoe Obshchestvo Krest'ianskikh Pisatclei)? The controversy pursued from 1928 to 1930, along with collectivization and the struggle against the "danger from the right", will result in the raskresť ianivanie of peasant literature, that is to say in confining it to the militant literature of VOKP, governed by the enforced principle of "true peasant literature" (kolkhozian-proletarian) as opposed to "pseudo-peasant" or "kulak" literature (S. Klychkov, N. Kliuev, P. Oreshin, V. Shishkov).
• Le discours sur le fantastique dans les revues soviétiques du début des années 80 - Laure Spindler-Troubetzkoy p. 201-207
  Laure Spindler-Troubetzkoy, The speech on the fantastic in Soviet reviews in the early 1980' s. On the eve of the 1980's, Soviet literary reviews note the increasing part played by the "fantastic" in realist literature. The present article analyses the various components of this speech set out by numerous assessments and forecasts made on the verge of the new decade: forewords and criticisms of new works, the adjustment of socialist realism theory, the vogue for Latin-American literature, the promotion of Soviet non-Russian literatures, and the role played by science fiction. Finally there is the problem of the permanence of this phenomenon to be combined later on with other forms of eclectism.
• Журналистика или литература ? О публицистичекой тенденции в советской прозе 80-х годов - Nora Buhks p. 209-219
  Nora Buhks, Journalism or literature ? Influence of the journalistic forms of expression upon the Soviet prose of the 1980's. The major tendency of the contemporary Soviet literature is directed towards journalistic forms of expression (publitsistichnosť ). These forms occupy vanguard positions in the theater, in poetry, and especially in prose where this process is particularly striking and diversified. Soviet critic endeavours to ascribe this success of publitsistichnosť to the general laws of literary process, and refers in this respect to similar phenomena in classical literature (description of mores in the nineteenth century (bytovoi ocherk)) or under the Soviets (the beginning of rural prose). It would seem, however, that the origin of this tendency resides in the journalistic production rather than in literature proper. It is the result of a tendency of Soviet press to adapt to literary forms (literaturizatsiia) which greatly developed over the past years. The influence of publitsistichnosť is felt in connection with the manner and composition as well as with the style. Thus, journalistic material is easily framed into literary shape while literature assumes the publicist style.