• Cross-Cultural Studies
• /
• v.27
• /
• pp.225-253
• /
• 2012

Mikhail Vrubel' has written three Hamlet paintings in his extraordinary tragic lifetime. The first watercolor painting , which he has written in 1883, remained unfinished. He could not complete the second version of , which he painted in oil in the next year, neither. Finally, he has completed the third version of in 1888. As is generally known, is not widely known Vrubel's work. This work is mainly mentioned from the point of view that it is the first literary hero whom Vrubel' has created in his literatureoriented art world, and it is a presage of the Demon, Vrubel's central hero's advent. In this paper, we analyzed Vrubel's three from a different angle, nothing but from the angle of Russian Hamletism. For this, in the second chapter, we've researched Vrubel's main artistic credo. In the next chapter, we've analyzed Vrubel's three in detail from the view of Russian Hamletism.

• Cross-Cultural Studies
• /
• v.40
• /
• pp.61-90
• /
• 2015

The imagery of Ophelia appeared in Russian literature in the middle of the $19^{th}$ century. In contrast with Hamlet, whose name had been always in the center of the most intense debates through centuries, Ophelia had been understood relatively monotonously and simply associated with the images of a chaste maiden, a tragic heroine and a devoted lover. Only after the feminist literary criticism shed new light on the complicated inner world of the young girl, the imagery of Ophelia radically changed, and now it is not difficult to encounter various Ophelias on the contemporary stages and culture. In this paper we study the remarkable changes of the imagery of Ophelia in Russian modernism poetry, analysing A. Blok, A, Akhmatova, M. Tsvetaeva's Ophelia poems. Ophelia in Russian modernism, on the one hand, succeeding to the traditional view on Ophelia in $19^{th}$ century, assumes interesting new aspects, sometimes preempting feminist point of view.