Reflective Laughter: Aspects of Humour in Russian Culture by Lesley s> Milne (review)
Notice bibliographique
Résumé
I24 SEER, 84, I, 2006 valuable insight into how Iazykov'scontemporariesperceived and evaluated his work. The critic skilfully strings together the comments of Iazykov's admirers, such as P. Pletnev, with comments of those who judged the poet's poems negatively, such as N. Polevoi. Readers are reminded of Iazykov's immense popularity during his lifetime, when his poems were praised and memorized,just as they were also criticizedand dismissed. In the third chapter, Rassadin analyses lazykov's use of the word 'genius', which appears frequently in his poetry. For Iazykov this word had many meanings, some of them diametrically opposed to one another. Sometimes 'genius', as it appears in the poem 'Poet svoboden' (I822), is a traditional image symbolizing creative freedom, but more often it is a criterion for the poet's uniqueness and is not considered a gift, but a goal toward which the poet should strive. Inthefourthandfifthchapters,Rassadininvestigatestheproblematicnature of the Pushkin-Iazykovrelationship.ChapterfiveconsidersPushkin'sallusions to Iazykovin Evgenii Onegin. Chapterfourisperhapsthe most interestingin the book because of the very original approach and well-grounded standpoint Rassadin adopts. He claims that Iazykov perceived himself as poet who '[rejected]imitation and literarydecorum, exploringhis own truesignificance independently and equallywith [Pushkin]'(p. 129), which explains Iazykov's cold attitudetowardsPushkin. The book'sappendixisdividedinto threepartshighlightingthreeparticular issuesthat arisein Iazykov'sbiographyand work.Partone describesthe life of the poet's favouritesister,Ekaterinalazykova, thus expanding our knowledge of Iazykov'sprivatelife. In part two Rassadinemploys intertextualanalysisto argue that Iazykov could really be the prototype for Goncharov's Oblomov. In the thirdpart, Rassadin investigatesthe roots of one of the main themes in Iazykov'spoetry love for Mother Russia. Poslednii izpushkinskoi pleiadyis written in a simple yet elegant style and is a great read not only for specialistswho want to discoverfor themselvesa littleknown page in Russianliterature,but also for those who have a more general interestin nineteenth-centuryRussian culture. Department ofModern Languages andCultural Studies I. SHILOVA University ofAlberta, Canada Milne, Lesley (ed.). Reflective Laughter. Aspectsof Humourin RussianCulture. Anthem Russian and Slavonic Studies. Anthem Press, London, 2004. Xii + 222 Pp. Notes. Ci8.99 (paperback). CREATING and perceiving humour is a difficultbusiness;providing a critical analysis of humour is potentially even more hazardous. Nevertheless, in Reflective LaughterLesley Milne and her co-contributors have succeeded magnificently in providing an insight into the role played by humour in the formation of Russian culture and counter-cultureover the past two hundred years. This study brings together a collection of sixteen articles which deal with variousmanifestationsof humourbeginning in I830 with Pushkin's'The Covetous Knight' and culminating in an account of humour and satire on REVIEWS I25 post-Soviet television. Mirroring itsbroadhistorical focus,thecollectiontakes a similarlyinclusiveapproachto the varioustypesof humorouspracticein Russianculture:whilst remainingpredominantly literaryin terms of its references,it alsoincludesexamplestakenfromjournals,musicalcomedy, film and anecdotes.Furthermore, as Milne says in her own article,it is rewarding to examineany aspectof a givencultureboth 'fromoutside'as foreignspecialists areobligedto do and 'frominside'as nativescholarsare able to do. With sevenof the sixteenarticlesin this collectionwrittenby scholarsworkingin Russia,Reflective Laughter showshow successfully views fromthesetwocomplementary perspectives canbemarried together. The engaging tone of the collection is establishedearly with Efim Kurganov's analysis'Gogolasa Narrator ofAnecdotes'. Througha comparisonof Gogol'withZhukovskii and Odoevskii,Kurganovmakespersuasive claimsfortheformer'sstatusas an anecdotenarrator who bothimprovised witheaseandreliedonestablished tradition. Thesebiographical observations arethenwoveninto a specifically literaryanalysisas Gogol'is comparedto Khlestiakov in TheGovernment Inspector in termsof the two men'srespective abilitiesto believein theirnonsensical fantasies.In 'Antony Pogorelskii and A. K. Tolstoi:The OriginsofKuzmaPrutkov', MariettaTourianmanagesa similarly engagingsynthesis ofbiography andliterary criticism asshemakesa convincing case for the influence of Pogorelskiiand his parodic and epigrammatic artuponhisnephewTolstoi'simmortalcreation,thefictional publisher Prutkov. The collectionmovesinto the twentiethcenturywithEdytheC. Haber's revealing examination oftheevidenceofwomen'shumourtobefoundinthe workofNadezhdaAleksandrovna Teffi.Invoking theexerciseofauthority as keytothepracticeofhumour,HaberlikensTeffi's styletothatofJaneAusten and, in the process,provokesnotableinterestin the widercanon of this unusualwriter.Milne'scentralarticleconsiders threedifferent typesofcomic hero as exemplifiedin the workof writerssuchas Bulgakov,Zoshchenko, Iskander andPelevin.Thejoker(Bulgakov's Wolandor Pelevin'sTatarskii), the rogue(Ilfand Petrov'sBenderor Iskander's Sandro)and the innocent (Zoshchenko's protagonists orVoinovich's Chonkin)represent heroeswhose behaviour displays different responses to thegivensituation in society.Milne makesa convincingcase for each of these typesand, in so doing, draws informativeparallelsbetween charactersfrom distincthistoricalperiods. Indeed,thetypeofilluminating cross-referencing evidentinMilne'sarticleis emblematic of theachievement of thecollectionasa whole.Reinforcing the needforhistorical cross-referencing, in 'Escaping thePast?Re-reading Soviet...
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,002 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,002 | 0,001 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,000 | 0,001 |
| Communication savante | 0,002 | 0,002 |
| Science ouverte | 0,001 | 0,001 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,004 | 0,002 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».