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Новый филологический вестник. 2016. №2(37). ----
РУССКАЯ ЛИТЕРАТУРА Russian Literature
S. Ippolitov, V. Tiupa (Moscow) THE INITIAL TEXT OF THE RUSSIAN CLASSICAL PROSE
Abstract. Over almost 200 years researchers of Pushkin have never questioned the fictitious origin of Ivan Petrovich Belkin, "the author" of "Tales of Belkin". However, the previously unknown archive materials provide the evidence that Ivan Belkin, the "author of the tales", had a real prototype, i.e. Major Fyodor Stepanovoch Belkin, a landlord from the Kaluga province. The Belkins lived in their estate in the Maloyaroslavets uyezd. Being a close neighbour of the Goncharovs, Belkin would meet the Goncharovs family and visit their estate in Polotnyaniy Zavod. In May 1830 Pushkin came to this estate to introduce himself to A.N. Goncharov, the head of the family and grandfather of his fiancée Natalya Goncharova. It was then and there, the authors argue, that Pushkin was likely and even certain to have made the acquaintance of Fyodor Stepanovoch Belkin. The Russian genius presented his bride with a "wedding bouquet" of his literary heroes and their marital unions. What made this "bouquet" look original was that "Tales of Belkin" appeared to be "authored" by her real well-known neighbor.
Key words: A.S. Pushkin, Kaluga region (province); Maloyaroslavets uyezd; Polotnyaniy Zavod (Linen Factory); landlords; Belkin family; Ivan A. Belkin; Fedor S. Belkin; Goncharov family; Natalya Goncharova; everyday life; courtship; "Tales of Belkin"; dual authorship; literary hoax.
С.С. Ипполитов, В.И. Тюпа (Москва) Начальный текст классической русской прозы
Аннотация. Для исследователей творчества Пушкина уже без малого двести лет остается бесспорным всеобщее мнение о вымышленности Ивана Петровича Белкина - «автора» «Повестей Белкина». Прежде неизвестные архивные документы свидетельствуют: у «автора повестей» Ивана Белкина был реальный прототип - помещик Калужской губернии, майор Федор Степанович Белкин. Имение Белкиных находилось в Малоярославецком уезде, и он был ближайшим соседом Гончаровых. Он не раз встречался с семьей Гончаровых и гостил в их имении Полотняный Завод. В мае 1830 г. Пушкин приезжал в имение Полотняный Завод представиться главе семейства А.Н. Гончарову, деду своей невесты Натальи Николаевны Гончаровой. Именно там и именно тогда, по уверенному предположению авторов статьи, Пушкин мог познакомиться - и наверняка познакомился - с Федором Степановичем Белкиным. В подарок своей невесте русский гений составил «свадебный букет» брачных союзов своих литературных героев. Оригинальным украшением этого «свадебного букета» и стало авторство «Повестей Белкина»
реально существовавшего и хорошо ей известного соседа.
Ключевые слова: А.С. Пушкин; Калужская губерния; Малоярославецкий уезд; Полотняный Завод; помещики; семья Белкиных; Федор Степанович Белкин; семья Гончаровых; Наталья Гончарова; повседневность; сватовство; «Повести Белкина»; двойное авторство; литературная мистификация.
Russian literature ofthe 18th century was used as mainly secondary, imitative, whereas in the 19th century Russian realistic prose joined the ranks of leading world literatures and had a powerful influence on world art. An important condition for the understanding of this historical phenomenon is finding the initial manifestation of the creative originality of Russian prose.
So as such initial text in the domain of fictional prose we should recognize Aleksandr Pushkin's "Tales of Belkin" that raised quality far from the literary tries by Karamzin and other early Russian novelists. The abundance of intertexual connections with Western literature in so-called "Belkin cycle" could make our assertion doubtful; however, we intend to argue in favour of its rightness. Also the great Russian classics Dostoevsky and Tolstoy keenly grasped the depth and uniqueness of Pushkin's achievements, and Chekhov's late stories developed it and showed a strong potential of the genre in conjugation of narrative anecdotes and parables strategies1.
In this article we focus only on two factors that allow seeing the first prose works of Pushkin genuine source of Russian classical prose. Both of these are associated with the figure of Ivan Petrovich Belkin.
Although "Tales of Belkin" have been studied repeatedly and fundamentally, researchers' attention was mainly focused on foreign and Russian origins and precursors of Pushkin's text. Wherein the creative novelty of stylistic harmony was underestimated, although it had brought the phenomenon of "double authorship" and "double-voiced" that was unprecedented for its time.
The thesis of the absolute fictional Ivan Petrovich Belkin's fictional nature remained absolutely conclusive for researchers for years. This character supposedly didn't have an analogue in historical reality. We also intend to challenge this statement.
First of all, let's note that the widespread opinion that Pushkin borrowed the "dummy author" method from Walter Scott and Washington Irving, is not quite fair. Not many people remember the actual title of Pushkin's creation, habitually subjected to unthinking reduction: "Tales of the Late Ivan Petrovich Belkin, published by AP". In the first intravital edition (1831) this title was carried out in different printing types where the name and surname of the "author" were graphically allocated and on the other part, there were large hand-drawn letters like framing lines: "The Tales ... A.P.". It was not a secret in the Russian literary world of that time, who used to sign his works with these initials. The creator of stories had no intention to hide his real name. The most important thing was the effect of dual authorship because it turned five disparate works by dummy author in a whole converged work by true author.
This effect is emphasized not only with the complete title, but also with
final remark - "The end of the Tales of I.P. Belkin" - without the traditional completion of the word "The end" of each tale. It accentuates with system of epigraphs, where the choice (to the entire text, including the foreword, "From the Publisher") can't be attributed to Belkin, and humorous tone of introduction, contrasting with the seriousness of Belkin's literary position, and deeply randomized stories, the sequence of which in the book is significantly different from the sequence of their writing, and even portrait description of Belkin ("white face") contrasting with a portrait of Alexander Pushkin.
The sense of delimitation of author's incarnation wasn't in literary debate. V.E. Vatsuro irrefutably proved that the works and plots that formed the foundation for the "Tales of Belkin" were "literary models descended from the stage and hopelessly outdated to the reader in 1830. Sometimes we can found the opinion that Pushkin wanted to uncover with his tales far-fetched situations of plot and naivety of characters - this opinion should be rejected for this reason. There was no need in 1830 to polemize with the literature that no longer existed for the educated reader and was familiar only to provincial landowner, who was reading magazines and books of the last century because of boredom"2 By the way, is that kind of reader was valid prototype of the famous Pushkin's "writer"? Anyway Belkin admits: "The few books that I had found in the cupboards and pantry were learned by heart".
In the obsolete literariness and in awkward provincial attempts to look more significant than he actually is, there is Belkin's own 'voice' rooted, because "he persistently strives to 'bring' his characters under certain lines, <...> characters with a live person he wants to 'adapt' under familiar book's stereotypes"3. While the true author hiding behind the mask of "publisher" sees inconsistencies between living and dead stereotypes and is ready to archly point it out to discerning reader. That is not accident that in one of two notes to his preface publisher specifically refers the readers that he calls "the curious prospectors". (The authors of this article probably can rank themselves to this category).
Eventually, as V.E. Khalizev notes, the tales have "a dual aesthetic completion: Belkin tries to give instructive for told anecdotes, adds seriousness and even elevation (to his mind the literature deprived of justification without it), and the real author erases the 'pointing finger' of his predecessor with sly humor"4.
Almost each phrase of Belkin's works has its face and back side. If we don't see this feature, there is a risk as happened, for example, with V.G. Belinsky to become not a reader of Pushkin's masterpiece, but only a reader of ordinary novels of dummy Belkin, in other words, it's a risk to substitute perception of artistic wholeness with examining of parts.
Let's get a grasp: "Silvio commanded a detachment of Hetairists during the revolt under Alexander Ipsilanti, and that he was killed in the battle of Skoulana" - that is the "front" side of the final phrase of "The Short". But opening the second part of narrative the narrator "lets out" that he was and still is disfellowshipped with any of the neighbors or visitors who might like to share this rumor with him. According to his neighbor biographer Belkin resigned in
1823. Then the battle of Skoulana happened in 1821, and Belkin didn't have any information about the heroic death of his mysterious friend until June 1825 (Earl and Countess had visited his estate two years after the narrator's resignation), the fictionality of ending by Belkin-writer's becomes absolutely clear. Certitude of this dating is also confirmed by the reason that such a gallant hussar, which Silvio initially was could not resign before 1814, before the triumphant return of the armies of Alexander I to Russia. Earl B. has married in six years after their duel with Silvio, which caused the resignation, most likely, in 1820, and told Belkin about a renewal of the duel in five years after his honeymoon - in the same 1825, which we received, based on the biography of the narrator.
So that opens "back" side of the story ending. Belkin-writer intentionally completes the life of his character pathetically, pretending that character was like Byron, who died for the freedom of Greece, with purpose to exalt, to heroize Silvio. But this is a purely fictional death that sheds no light on the character's nature, but only on efforts of heroization by the narrator, who has imitative "romantic imagination" (as he describes himself, while the biographer declares a "lack of imagination" of his neighbor).
In other words, when Belkin draws the line, Pushkin begins a new round of plot: the antithesis of Vladimir's and Burmin's relationship in "The Snowstorm" actually continues confrontation between Silvio and Earl B. (with the same fatal outcome for the serious "first numbers" and happy - for the cheerful characters with names starting with B). Then a vital position of "revelers idle" (as Pushkin's Salieri describes Pushkin's Mozart) would connect Earl B., Burmin and Captain Minsky. While "salierian" systematic approach to life will be inherent in all perishing characters in "Tales of Belkin": Silvio, Vladimir, Samson Vyrin and even "the late Ivan Petrovich Belkin". Finally, in the final tale-chapter Alexey Berastov combines both of these vital positions, actualizing one of them in accordance with the situations in which he finds himself, which indirectly corresponds to a "two-faced Janus" - the author instance "Tales of Belkin" as a single artistic wholeness.
Without going into the analysis of Pushkin's masterpiece5, we need to emphasize unprecedented complexity of construction (that is absent in works by Scott or Irving), melting the potential of deepening multi-layered sense. Classical Russian prose of the 19th century would go this way followed by Pushkin. Deeply original in its creative strategy refraction of many traditional literary plots, situations, characters, as well as the actual realities of the provincial Russian everyday life led to the "code" of the text, significant intertextual relations which are found in the language, stories, situations, problems and mental originality of many works in Russian fictional literature. With "Tales of Belkin" it joined the world literature for the first time, preserving its bright national identity.
This second point is clearly argued with plot-thematic and socio-psychological rootedness of Pushkin's prose in the provincially-local Russian life, in our culture of everyday life - rootedness no less important than the involvement of Pushkin's work to the Europeanized aristocratic culture. Not the
least role in that situation belongs to Belkin, not as an author but as an author's invention, he is fictional author involved in non-fictional Russian reality that surrounded Pushkin. Now we will speak about living "original" of fictional I.P. Belkin to add new peculiarities to our previous observances6.
Take a look at the 19th century map of Maloyaroslavetsky county (Maloyaroslavetskiy uyezd) in Kaluga province (Kaluzhskaya guberniya). The village Linen Plant (Polotnyany zavod) near Goncharov's estate went down in history primarily through Pushkin's matchmaking and marriage with Natalia Nikolaevna Goncharova, - in that times this places were very densely populated: Korneevka, Bobrovka, Baranovka, Mokrische, Setun, Bukrino. This small villages in the northeast of the county belonged to the family of prince (knyaz') Belkin. They were all at a distance of 10-15-year-miles from Linen Plant (Polotnyany zavod) - (about an hour and a half ride in a carriage).
The Belkins, as it turned out, were the descendants of Ivan Belka, the great-grandson of Prussian Margrave Peter Bassavola (pay attention to the names!), who was a vicegerent of Grand Duke (Knyaz) of Moscow. "Descendants of this Ivan Belka were Grigory Belkin for many services in 1619 and "Moscow sitting" and his son Timofey Belkin for service and bravery they received estates and letters of honor from Russian Tsars"7.
At the same time, among the members of Belkins family a man named Ivan actually existed. It is proved by the document that we discovered in the State Archives of Kaluga Region: handwritten at the end of the 1820s. "Ancestry of the Belkins"8 Under number 13 it shows Ivan Belkin grandfather of Fyodor Stepanovich Belkin - the owner of one of the villages named Korneevka closest to Linen Plant (Polotnyany zavod). We remember that after completion of "The Tales of Belkin" in early November, Pushkin, developing the image, began writing "The History of the Village of Gorukhino" where the character named "historian" reports about "memoirs of my grandfather Ivan Andreevich Belkin".
So the closest neighbors of Goncharovs were Belkins, representatives of impoverished, but an ancient and honoured family, whose ancestors (like the ancestors of Pushkin) were awarded with Russian State awards for many times. When in May 1830 Pushkin as a groom of Natalia Nikolaevna came to the Linen Plant (Polotnyany zavod) and lived in Goncharov's house, he could easily get acquainted with Belkin. According to the custom of that time it was possible.
As we know from the register of births of Assumption Church (Uspenskaya tserkov) of the Setun village in 1830 in Korneevka, located in 12 miles from Linen Plant (Polotnyany zavod) there lived young people (Basil, Sergei and Dmitry) aged from 19 to 23 years and their father Fyodor Stepanovich Belkin9. The family of Nicolay Afanasevich and Natalya Goncharova in 1830 had daughters: Catherine - 21 years, Alexandra - 19, Natalia - 18 years. So Belkin had the sons of "marriageable age", and that's why they had to make the acquaintance of neighbors and girls of "marriageable age"; if they didn't - it would be totally contrary to the local customs and etiquette of aristocratic life.
For example, let us turn to a short segment of Pushkin's biography - the fall of 1830, held in Boldino. In September, Alexander met with N.A. Novosiltseva
and her daughters in the neighboring village Apraksino, and even discussed with them "Onegin" characters; in September 29, he visited his other neighbor -A.S. Golitsyna whose estate was in 13 miles from Boldino; in the same month, he met with the landowner A.A. Krylov, and he also visited the estate of Kemlya owned by S.S. and P.P. Krotkovs. In October Pushkin took visits from neighbors and visited Apraksino and Chernovskoe10. Based on these meetings, neighbors played quite a significant role in Pushkin's private life. Therefore, it is difficult to believe that in his conversations with his fiancée and her parents talks didn't turn to the nearest neighbors.
So, in May 26, 1830, the day of his birth, Pushkin was at the Goncharovs family, in the house of his bride's grandfather Afanasy Nikolaevich. Is it possible to avoid the assumption that at such a point in his life Pushkin himself and the people who were soon to become his relatives, would have broken the age-old tradition and would not celebrate the groom's birthday and would condemn the young people to "bad omen"? (Do not celebrate one's birthday and the name's days were a bad omen. We mention one of many examples. The S.P. Zhiharev, who was A.S. Pushkin's friend wrote: "Came to Gnedich and invited him tomorrow for a meal: I would treat him with all that God sent me <...> I want celebrate the name day on a family tradition: otherwise it would be a bad omen for me for a whole year".) It's impossible. This means almost inevitable presence of closest neighbors on the celebration. Frenchman Segur, who had visited Russia, was considerably surprised at the respective traditions of Russian nobility, "It was the custom of celebrating birthdays and name-days of familiar persons, and it would be impolitely if someone didn't come with congratulations on such a day <...> In those days no one was invited, but everyone was welcome, all neighbors gathered"11.
Pushkin's visit in May 25, 1830 to Linen Plant (Polotnyany zavod) with the aim to be introduced to the head of the family wasn't a secret: a lot of people knew about it. Let's remember the visit of the owner of Kaluga bookstore and library Ivan Antipin and his friend Thaddeus Abakumov. These admirers marched on foot more than 30 miles away, to congratulate poet on his birthday. The news about the groom's visit, of course, spread through the neighborhood. Most likely, head of the Goncharovs family informed their friends and neighbors about the event according to tradition. And if so, news of such an important visit were to be delivered to the nearest neighbors, and in particular, to Fedor Stepanovich Belkin with whom Athanasius Nikolaevich repeatedly entered into a business relationship, as we have known from Linen Plant's (Polotnyany zavod) economic documents that are stored in the Russian State Archive of Ancient acts (the Goncharovs' fund)12.
Meanwhile, if acquaintance with the Belkins in May 1930 actually took place, Pushkin, would conceived about the role of the House and private life in the History13, he could be interested in "The Belkins' Ancestry" inscribed by the time.
The researchers know well that biography outline of "Peter Ivanovich D-", which is stored in Pushkin House (F. 244. 1. number 161;. VIII, 581-583),
Новый филологический вестник. 2016. №2(37).
appeared earlier in 1830. Pushkin; did not fill the date in it, but, B.V. Tomaszewski based on its position in the manuscript designated it as 1829. Biography of "D-, a squire of the village of Goryukhino" and the author of manuscript that was "worthy of some attention", were already clothed in the form of a letter of his guardian and friend to the future publisher of the works of "late" author. On this basis, Tomaszewski believed that the idea of "Tales of Belkin" can be presumed dated with autumn 1829, and D.P. Jakubovich just identified the text as a "rough draft of the first edition", the introduction to the "Tales of Belkin"14. Consequently, in the original plan, "The squire of the village of Goriukhino" was not Belkin. It's hard not to assume that the name of the central character and the imaginary "Tales" author Pushkin was changed under the influence of a trip to the Linen Plant, where he heard about the nearest neighbor of Goncharovs, or even communicated with him. It is likely also that some of the real Belkins, a guest on the day of his birth, has proved himself as an enthusiastic lover of belles-lettres (like Antipov and Abakumov mentioned above).
However this extra motivation is excess. It's enough to recall the figure of Adrian Prokhorov, the undertaker. The shop of his real prototype, as it is known, was located in Moscow, on Nikitskaya street, just opposite the house of the poet's fiancée. "Settle" his new artistic work with the neighbors of Natalia Nikolayevna, weave familiar faces and names in the fabric of the story, to fill it with the familiar images of childhood - kind of humorous "wedding gift" from writer to his chosen one. Recall that in all five tales by "Belkin" the motif of the marriage tie that was coveted for Pushkin in Autumn in Boldino was present or even determined the development of the plot. Minions of fortune earl B. Burmin, captain Minsky and Alexei Berestov reach a happy union with their loved ones. And even in "The Undertaker" the scene of silver wedding of German craftsmen plays a significant role. In this regard, a neighbor of the estates, known by Natalia Nikolaevna since childhood seems even more appropriate figure for the perpetuation of prose than the undertaker from the opposite house. And the attribution of authorship to the real person (even deceased) - is an equally ingenious method of literary hoaxes as dual authorship. This metafictional method organically woven into the struggle of real life and dying literary stereotypes pervades the whole work.
It seems that the replacement of conditional D. to historically real character, one of the Belkins was the last final touch stroke of genius of the artist who found this joke meaning, is not open to most of his contemporaries, but a little obvious enough. (Remember the well-known phrase from the letter to Pletnev from Pushkin: "I'd written 5 prose novels from which Baratynsky was laughing and hitting".) The phenomenon of "double authorship" naturally entails also the effect of "double destination". S.V. Sheshunova rightly noted "the esoteric cycle of the reservoir facing the close circle of friends and associates"15 and fed, we would add, "Arzamas" tradition of the seriously-comical worldview.
But for us, in this case, the most significant thing is an evidence of congruent complience of Pushkin's "new word" (F.M. Dostoevsky argued that the world to come "with the "Tales of Belkin" meant "strongly appear with a brilliant
new word, which until then was not at all anywhere and never said" 16) with the context of everyday Russian provincial-local culture.
NOTES
1 Тюпа В.И. Художественность чеховского рассказа. М., 1989.
2 Вацуро В.Э. Записки комментатора. СПб., 1994. С. 36.
3 Хализев В.Е., Шешунова С.В. Цикл А.С. Пушкина «Повести Белкина». М., 1989. С. 40.
4 Хализев В.Е., Шешунова С.В. Цикл А.С. Пушкина «Повести Белкина». М., 1989. С. 42.
5 Дарвин М.Н., Тюпа В.И. Циклизация в творчестве Пушкина. Новосибирск, 2001. Гл. 6.
6 Ипполитов С.С., Тюпа В.И. Мистификация Пушкина: Кем был покойный «славный малый» Иван Петрович Белкин? // Новый исторический вестник. 2015. № 46. С. 129-148.
7 Общий гербовник дворянских родов Российской империи. Ч. 5. СПб., [б.г.]. С. 44.
8 ГАКО. Ф. 66. Оп. 1. Д. 1727. Л. 6.
9 Ипполитов С. Пушкин и Белкин: история знакомства // Вопросы литературы. 2015. № 4. С. 186-199.
10 Летопись жизни и творчества А.С. Пушкина. Т. III. М., 1999. С. 237, 240, 242, 243, 255, 263.
11 Цит. по: Лаврентьева Е.В. Повседневная жизнь дворянства пушкинской поры: этикет. М., 2007. С. 396.
12 Ипполитов С. Пушкин и Белкин: история знакомства // Вопросы литературы. 2015. № 4. С. 186-199.
13 Лотман Ю.М. Александр Сергеевич Пушкин. Биография писателя. Л., 1983. С. 177.
14 Петрунина Н.Н. Когда Пушкин написал предисловие к «Повестям Белкина» // Временник Пушкинской комиссии. 1981. Л., 1985. С. 32.
15 Шешунова С.В. О смысле эпиграфа к «Повестям Белкина» // А.С. Пушкин: проблемы творчества. Калинин, 1987. С. 93.
16 Достоевский Ф.М. Об искусстве. М., 1973. С. 415.
References (Articles from Scientific Journals)
1. Ippolitov S.S., Tyupa V.I. Mistifikatsiya Pushkina: Kem byl pokoynyy "slavnyy malyy" Ivan Petrovich Belkin? [Alexander Pushkin's Mystification: Who was the Late "Nice Fellow" Ivan Petrovich Belkin]. Novyy istoricheskiy vestnik, 2015, no. 46, pp. 129-148. (In Russian).
1. Ippolitov S. Pushkin i Belkin: istoriya znakomstva [Pushkin and Belkin: History of Acquaintance]. Voprosy literatury, 2015, no. 4, pp. 186-199. (In Russian).
2. Ippolitov S. Pushkin i Belkin: istoriya znakomstva [Pushkin and Belkin: History of Acquaintance]. Voprosy literatury, 2015, no. 4, pp. 186-199. (In Russian).
(Articles from Proceedings and Collections of Research Papers)
3. Petrunina N.N. Kogda Pushkin napisal predislovie k "Povestyam Belkina" [When
Новый филологический вестник. 2016. №2(37). ----
Pushkin Wrote the Preface to "Tales of Belkin"]. Vremennik Pushkinskoy komissii. 1981 [Annals of Pushkin Commission. 1981]. Leningrad, 1985, p. 32. (In Russian).
4. Sheshunova S.V. O smysle epigrafa k "Povestyam Belkina" [Sheshunova S.V. On the Meaning of the Epigraph to "Tales of Belkin"]. A.S. Pushkin: problemy tvorchestva [A.S. Pushkin: The Problems of Creativity]. Kalinin, 1987, p. 93. (In Russian).
(Monographs)
5. Tyupa VI. Khudozhestvennost' chekhovskogo rasskaza [Creative of Chekhov's Story]. Moscow, 1989. (In Russian).
6. Vatsuro VE. Zapiski kommentatora [Commentator's Notes]. St. Petersburg, 1994, p. 36. (In Russian).
7. Khalizev V.E., Sheshunova S.V Tsikl A.S. Pushkina "Povesti Belkina" [The Cycle of "Tales of Belkin" by A.S. Pushkin]. Moscow, 1989, p. 40. (In Russian).
8. Khalizev V.E., Sheshunova S.V Tsikl A.S. Pushkina "Povesti Belkina" [The Cycle of "Tales of Belkin" by A.S. Pushkin]. Moscow, 1989, p. 42. (In Russian).
9. Darvin M.N., Tyupa V.I. Tsiklizatsiya v tvorchestve Pushkina [The Cyclization in Pushkin's Works]. Novosibirsk, 2001, ch. 6. (In Russian).
10. Letopis' zhizni i tvorchestva A.S. Pushkina [Chronicles of the Life and Works of Alexander Pushkin]. Vol. 3. Moscow, 1999, pp. 237, 240, 242, 243, 255, 263. (In Russian).
11. Lavrent'eva E.V Povsednevnaya zhizn' dvoryanstva pushkinskoy pory: etiket [In Daily Life of the Nobility of Pushkin's Time: Etiquette]. Moscow, 2007, p. 396. (In Russian).
12. Lotman Yu.M. Aleksandr Sergeevich Pushkin. Biografiya pisatelya [Alexander Pushkin. The Biography of Writer]. Leningrad, 1983, p. 177. (In Russian).
Сергей Сергеевич Ипполитов - кандидат исторических наук, директор Издательского центра РГГУ
E-mail: nivestnik@yandex.ru
Sergey Ippolitov - Candidate of History, Director of the Publishing Center, Russian State University for the Humanities (RSUH).
E-mail: nivestnik@yandex.ru
Валерий Игоревич Тюпа - доктор филологических наук, профессор, заведующий кафедрой теоретической и исторической поэтики Института филологии и истории РГГУ.
Автор книг и статей по теоретической и исторической поэтике, исторической эстетике, риторике, нарратологии.
E-mail: v.tiupa@gmail.com
Valerij Tiupa - Doctor of Philology, professor, head of the Department for Theoretical and Historical Poetics, Institute for Philology and History, Russian State University for the Humanities (RSUH).
The author of numerous books and articles on theoretical poetics, historical poetics, historical aesthetics, rhetoric, narratology.
E-mail: v.tiupa@gmail.com
