Papers by Tatiana Smoliarova
Notices of the American Mathematical Society, Apr 1, 2024
Academic Studies Press eBooks, Nov 27, 2019
De Gruyter eBooks, May 20, 2019
Of the various examples provided by dictionaries to illustrate the notion of metaphor, the two th... more Of the various examples provided by dictionaries to illustrate the notion of metaphor, the two that come up most often are both related to theater: the indispensable Shakespeare's "all the world's a stage" and the anonymous poeticism "the curtain of night fell upon us." As observed by R. Tronstad in her small, yet wonderfully rich and subtle article "Could the World Become a Stage? Theatricality and Metaphorical Structures", theater as a form of art and metaphor as a figure of speech share at least one important feature: they each require both similarity and difference, identity and non-identity at the same time. Neither theater nor metaphor exists without a gap-between the two meanings merged in a third one in the case of metaphor, or between the real and imaginary world in the case of theater. 1 This may explain, if only in part, a certain affinity between the two. Boris Pasternak's "Remarks on Translations from Shakespeare" (1956) contains one of the best definitions of metaphor ever given: The use of metaphor is a natural consequence of the shortness of man's life and the vastness of his tasks planned for a long time ahead. Because of this discrepancy he is obliged to look at things with eagle-eyed keenness and to explain himself in momentary, instantly understandable flashes of illumination. This is what poetry is. The use of metaphor is the stenography of a great personality, the shorthand of the spirit. The tempestuous vitality of Rembrandt's, Michelangelo's, Titian's brush is not the result of deliberate choice. Assailed, each one of them, by a stormy, insatiable thirst to draw the entire universe, they had no time for other kinds of drawing. 2
Rencontres, 2018
Classiques Garnier L'inspiration pindarique chez Diderot ou la composition personnifiée Type de p... more Classiques Garnier L'inspiration pindarique chez Diderot ou la composition personnifiée Type de publication: Article de collectif Collectif: Diderot et l'Antiquité classique Auteur: Smoliarova (Tatiana) Résumé: Fervent admirateur de Pindare, Diderot associe le nom du poète à un ensemble de concepts clés de son esthétique et de son éthique. Il se risque à imiter l'ode pindarique, mais avec une distorsion entre la forme de la célébration royale et le contenu, le tyrannicide.
The Romanic Review, Nov 1, 2001
... Minuti arrive a montrer que le "mythe de Pierre" servit, tout d'abord, de terra... more ... Minuti arrive a montrer que le "mythe de Pierre" servit, tout d'abord, de terrain fecond aux conceptions generales de d'Argens, qui avait envisage de nuancer l'opposition entre la barbarie et la civilisation, d'introduire des etapes intermediaires entre ces deux extremes. ...
Duke University Press eBooks, Dec 31, 2020
Recherches sur Diderot et sur l'Encyclopédie, 2022
Recherches sur Diderot et sur l'Encyclopédie
Three Metaphors for Life, 2018
Son yıllarda küreselleĢme, rekabet, iĢsizlik gibi birçok sebeple firmaların personel alımı, örgüt... more Son yıllarda küreselleĢme, rekabet, iĢsizlik gibi birçok sebeple firmaların personel alımı, örgüt kültürü gibi kavramlar daha çok değer kazanmaya baĢlamıĢtır. Bu çalıĢmanın amacı; pozitif örgütsel davranıĢa sahip çalıĢanların çalıĢanlar ve örgüt kültürü üzerindeki olumlu etkilerini, Ģimdiye kadar yapılan çalıĢmaları tarayarak ortaya koymaktır.
Связующее Звено, 2022
Елена Петровна Шумилова, Лена, умерла 1 октября 2018 года. Через три месяца, 20-22 декабря, в Инс... more Елена Петровна Шумилова, Лена, умерла 1 октября 2018 года. Через три месяца, 20-22 декабря, в Институте высших гуманитарных исследований им. Е.М. Мелетинского РГГУ, душой которого она была в течение двух десятков лет, состоялись традиционные Лотмановские чтения, которые на этот раз были посвящены ее памяти. Тема для них была выбрана максимально широкая-«Литература и…». ИВГИ всегда строился на максимальном разнообразии научных подходов и объектов исследования, а самой Лене было интересно все. Она, как никто, умела понимать самых разных докладчиков и авторов. Это позволяло ей быть умным, чутким редактором и внимательным, сочувственным слушателем. Материалы XXVI Лотмановских чтений, с некоторыми позднейшими добавлениями, составили вторую часть сборника-«Исследования», в первую часть включены воспоминания о Лене и публикация связанных с нею документов. Мы назвали сборник «Связующее звено»-потому что именно такую роль играла Лена в ИВГИ и вообще в жизни, и теперь, когда ее нет с нами, нас продолжает связывать память о ней.
Slavic Review
European, and Russian scholars as support. He studies various allegories of motherland and father... more European, and Russian scholars as support. He studies various allegories of motherland and fatherland with special care. He makes references to the great dictionary by Vladimir Dal ,́ though I wish he had done more with dictionaries, whose authors (like Aleksandr Shishkov and Dmitrii Ushakov) have been elevated as national heroes. Maybe this book is just that: an interpretive dictionary all its own, and one that scholars of Russian politics and culture will find indispensable. We need more like it. An image of a dying Peter the Great, in a painting by Ivan Nikitin, graces the front cover, and captures the theme of the study, as if Peter is obsessively replaying the empire of new words that he and his hagiographers have bequeathed to the Russian state and people. They seem to weigh heavily on him and on the history, this tyranny of commands, as beautiful as some of them are. The dying Lenin suffered in a similar way, we know from several testimonies, repeating over and over the incantations of the Marxist and Bolshevik lexicons. We historians have been talking about a “linguistic turn” in scholarship for many years now: how to apply the insights and principles of modern linguistic science and literary criticism to our historical sources. Aside from the many easy references to the “languages” of class or gender, or all those fashionable references to “speaking Bolshevik,” few have really made this turn. Wortman has. He reminds us, in this fine intellectual and cultural history, that the actual words matter.
Theater as Metaphor, May 20, 2019
Of the various examples provided by dictionaries to illustrate the notion of metaphor, the two th... more Of the various examples provided by dictionaries to illustrate the notion of metaphor, the two that come up most often are both related to theater: the indispensable Shakespeare's "all the world's a stage" and the anonymous poeticism "the curtain of night fell upon us." As observed by R. Tronstad in her small, yet wonderfully rich and subtle article "Could the World Become a Stage? Theatricality and Metaphorical Structures", theater as a form of art and metaphor as a figure of speech share at least one important feature: they each require both similarity and difference, identity and non-identity at the same time. Neither theater nor metaphor exists without a gap-between the two meanings merged in a third one in the case of metaphor, or between the real and imaginary world in the case of theater. 1 This may explain, if only in part, a certain affinity between the two. Boris Pasternak's "Remarks on Translations from Shakespeare" (1956) contains one of the best definitions of metaphor ever given: The use of metaphor is a natural consequence of the shortness of man's life and the vastness of his tasks planned for a long time ahead. Because of this discrepancy he is obliged to look at things with eagle-eyed keenness and to explain himself in momentary, instantly understandable flashes of illumination. This is what poetry is. The use of metaphor is the stenography of a great personality, the shorthand of the spirit. The tempestuous vitality of Rembrandt's, Michelangelo's, Titian's brush is not the result of deliberate choice. Assailed, each one of them, by a stormy, insatiable thirst to draw the entire universe, they had no time for other kinds of drawing. 2
Studies on Voltaire and the Eighteenth Century Norwich, 2002
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Papers by Tatiana Smoliarova