主讲人：Igor Shaytanov（俄罗斯总统国民经济学院首席专家、俄罗斯文学研究杂志《文学问题》主编）
主持人：杨革新 教授
时间：2024年9月19日上午9:30-11:30
地点：浙江大学紫金港校区研究生院楼102
主办单位：浙江大学世界文学跨学科研究中心
讲座题目：What is Historical Poetics? Genre in Historical Poetics
专家介绍：
Igor O. Shaytanov, professor, PhD, is Head of the Centre of Contemporary Comparative Research, Russian State University for the Humanities; Leading Research Fellow, Presidential Academy of National Economy and Public Administration; Editor-in-Chief, the bimonthly Voprosy Literatury, and Literary Secretary for the Russian Booker prize (1998-2019). His fields of interest include comparative literature and historical poetics, ethical criticism, European Renaissance, Anglo-Russian affinities, English and Russian poetry. His major publications include The Reflective Muse: The Return to Nature in 18th Century Poetry (1989), European Literature: Renaissance V. 1-2: A Book for University Students (2001; 2nd ed., 2009; 3rd ed., 2014... 2022), English literature through the Eyes of Historical Poetics (2010), Shakespeare: A Life (2013), Shakespeare Encyclopaedia (general editor, 2015, 2022), How it Was and How We Remember. Six Evenings with Igor Shaytanov (2017, 2019), W. Shakespeare. Sonnets (ed., 2022), Genre Shakespeare. An Essay in Historical Poetics (2022). Among other literary awards he won the Veselovskii Prize from the Russian Academy of Sciences in 2014, the National Prize for Shakespeare Encyclopaedia (2015), the 200th Anniversary Dostoevsky Medal (2022).
讲座提要：
Historical Poetics is a name given to the system of literary study introduced by Alexandr Veselovsky (1838-1906). He is a key-figure in what can be considered as the Russian school of literary scholarship presented by the names much better known in the academic world than that of Veselosky: the Russian formalists, Mikhail Bakhtin, Vladimir Propp... There seems to be much more difference than similarity between Tynyanov and Bakhtin but both were ready to acknowledge that they worked in the space and with the issues first advanced by Veselovsky. In his poetics he gave literary research in Russia a linguistic turn similar to that in the West taken after Benedetto Croce and Ferdinand de Saussure but with a significant difference. It can be shaped in the following formulas: in the West they focused on The Word in Text, while in Russia on theword in genre. The best known result of this method was provided by Bakhtin in his work with the novel. In the same tradition the renaissance sonnet is treated in my article (see below) where two texts are closely read with the attention to the word in the genre: William Shakespeare’s “My mistress’ eyes are nothing like the sun” and Philip Sidney’s “With how sad steps, O Moon, thou climb’st the skies!”
