scholarly journals Tu rostro con la marea: una tragedia con máscaras pero sin héroe

2018 ◽  
pp. 87
Author(s):  
Emilio Ramón García
Keyword(s):  
The Novel ◽  
Main Character ◽  
Direct Relation ◽  
Russian People ◽  
History Of ◽  
History Of Europe ◽  
Alter Ego

<p>Tu rostro con la marea es una metaficción historiográfica a modo de novela de memoria cuyo personaje principal, Ángel Bigas, se construye una imagen de héroe decimonónico. Incapaz de lidiar con la realidad,forja su vida según los mundos de escritores como Galdós, Maupassant y Stendhal, y según el modelo de amor romántico platónico hacia una mujer rusa, Olga Rykova Anneski. Incapaz de entenderla también a ella, la encaja dentro de las tesis del marqués de Custine respecto al pueblo ruso y sus tradicionales ataduras. Ella, por su parte, es el alter ego de la poeta rusa Ajmátova, y oculta un espíritu bolchevique tras su máscara. El análisis de sus figuras revela la relación entre la historia y la ficción, el carácter de tragedia clásica de la novela, el papel de las expectativas en la percepción, y el correlato de ambos con la historia de Europa.</p><p> </p><p>Tu rostro con la marea is piece of historiographical metafiction following the model of a memory novel<br />around its main character. Incapable of facing reality, Ángel Bigas projects the image of a nineteenth<br />century hero according to the lives and works of Galdós, Maupassant and Stendhal while fueling his<br />aura with rumors and legends. His belief in the idiosyncrasy of the Russian people as understood by themarquis of Custine also makes him fail understanding his idealized love, Olga Rykova Anneski. She is also the alter ego of a very different kind of writer: the Russian Bolshevik poet Akhmatova. The analysisof the two figures as literary constructs reveals the relation between history and fiction, the natureof the novel as a classical tragedy, the role of expectations in perception and the direct relation of bothcharacters with the history of Europe.</p>

Tom Jones

2008 ◽  
Author(s):  
Henry Fielding
Keyword(s):  
Eighteenth Century ◽  
Public Sphere ◽  
The Novel ◽  
Fourth Edition ◽  
Tom Jones ◽  
History Of

Fielding's comic masterpiece of 1749 was immediately attacked as `A motley history of bastardism, fornication, and adultery'. Indeed, his populous novel overflows with a marvellous assortment of prudes, whores, libertines, bumpkins, misanthropes, hypocrites, scoundrels, virgins, and all too fallible humanitarians. At the centre of one of the most ingenious plots in English fiction stands a hero whose actions were, in 1749, as shocking as they are funny today. Expelled from Mr Allworthy's country estate for his wild temper and sexual conquests, the good-hearted foundling Tom Jones loses his money, joins the army, and pursues his beloved across Britain to London, where he becomes a kept lover and confronts the possibility of incest. Tom Jones is rightly regarded as Fielding's greatest work, and one of the first and most influential of English novels. This carefully modernized edition is based on Fielding's emended fourth edition text and offers the most thorough notes, maps, and bibliography. The introduction uses the latest scholarship to examine how Tom Jones exemplifies the role of the novel in the emerging eighteenth-century public sphere.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

Historiosophy of N.Ya. Danilevsky

2020 ◽  
Vol 58 ◽  
pp. 13-17
Author(s):  
Victor V. Aksyuchits
Keyword(s):  
20Th Century ◽  
World History ◽  
Russian Culture ◽  
Russian People ◽  
The World ◽  
History Of ◽  
First Time

According to the author of the article, N.Ya. Danilevsky anticipated a lot of ideas of the 20th century, in particular those of O. Spengler and A. Toynbee, by offering his concept of cultural and historical types in the book “Russia and Europe”. At the same time N.Ya. Danilevsky was in many aspects the follower of Slavophils while interpreting the originality of Russian people and Russian culture. After the turn of the educated society circles to Russian national self-comprehension initiated by Slavophils, N.Ya. Danilevsky not only scientifically formulated the problems brought forth by the Slavophils, but also offered for the first time the resolution of new important questions by analyzing the world history and the history of Slavic peoples. The author especially stresses the role of N.Ya. Danilevsky in creating the historiosophic concept that forestalled the epoch for many decades.

Nietzsche Reads Dostoevsky: Chronology and Reception Material

2021 ◽  
pp. 210-232
Author(s):  
Igor A. Ebanoidze ◽  
Keyword(s):  
Friedrich Nietzsche ◽  
The Novel ◽  
History Of

he study, based on the analysis of the correspondence, notebooks of Friedrich Nietzsche and other sources from his closest circle, is devoted to the history of the acquaintance of the German thinker with the Dostoevsky’s books and it’s reception in the works of Nietzsche. There are three documented stages of this reception: the end of the winter of 1887, the spring of 1887, and the turn of 1887–1888. The results of the study suggest, first of all, the importance for Nietzsche of acquaintance with the story “Notes from the Underground” (despite the fact that Nietzsche read a French compilation from “Notes” and “Hostess”), as well as the role of the novel “Demons” in the concept of Nietzsche’s “Antichrist”.

Burke, Edgeworth, and Ireland’s Discontents

2019 ◽  
pp. 156-196
Author(s):  
John Owen Havard
Keyword(s):  
Edmund Burke ◽  
The Novel ◽  
Political Systems ◽  
Left Behind ◽  
Emergent Systems ◽  
Party Identity ◽  
History Of ◽  
Vantage Points ◽  
Unique Vantage

This chapter re-examines the party-political career of Edmund Burke and the writings of Maria Edgeworth in relation to a deep history of Anglo-Irish ‘discontents’ and their challenges to the ‘count’ of politics. Complicating ‘Burkean’ appeals to hierarchy and order, the chapter uncovers the conflicted party identity that is apparent within writings by and about Edmund Burke, returning to view the various channels of feeling engaged, for example, during his involvement in debates over ‘absentee’ landlords. The chapter goes on to give a reading of The Absentee (1812) that calls attention to recalcitrant elements that exceed systems of representation in Edgeworth’s novel, which remains animated in this reading by those elements left behind, in both senses, by emergent systems of governance. The chapter’s opening section speculates about the role of biography in Lewis Namier’s History of Parliament and asks how the novel form, in the hands of women writers, provided unique vantage points on political systems organized around men.

scholarly journals A Brief History of the New Constitutionalism, or “How We Changed Everything So That Everything Would Remain the Same”

1998 ◽  
Vol 32 (2) ◽  
pp. 250-300 ◽  
Author(s):  
Michael Mandel
Keyword(s):  
Nineteenth Century ◽  
The Novel ◽  
Main Character ◽  
History Of ◽  
Italian Unification

The Italians have a word for what I want to say about modern constitutionalism: “gattopardesco,” that is “leopardesque”, not as in the animal but as in the novelThe Leopardby Tomasi di Lampedusa. The novel is about a noble Sicilian family at the time of the unification of Italy in the mid-nineteenth century. Italian unification was mainly a matter of the northern Savoy monarchy of Piemonte conquering the peninsula and vanquishing the various other monarchs, princes, etc., including the Bourbon rulers of Sicily and Naples. But there were other elements about and stirring up trouble, anti-monarchist and even socialist elements. In a scene early in the novel, the Sicilian Prince of Salina, the main character, is shocked to learn that his favourite nephew, Tancredi Falconeri, is off to join the invading northerners. He remonstrates with the boy:You're crazy, my son. To go and put yourself with those people … a Falconeri must be with us, for the King.

scholarly journals STUDYING THE ARTISTIC DETAIL (based on Donna Tartt’s novel «The Goldfinch»)

2021 ◽  
Vol 1 (192) ◽  
pp. 80-84
Author(s):  
Olha Kozii ◽  
Keyword(s):  
Adult Male ◽  
Defense Mechanisms ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Time And Space ◽  
Part D ◽  
Life And Death ◽  
Critical Situation

«The Goldfinch» is a story of a boy and later an adult male Theodore Decker who accidentally obtains a masterpiece. The writer, as a surgeon, separates one second of expectation from the other, detail from detail. The reader is presented not just a frightened child but deep sorrow of the loss of the whole world. In the second chapter of the first part D. Tartt reveals herself as a skillful psychologist, skillfully accustoms herself to the inner state of the main character, with him she travels through the memories, tracks associative relationships he makes. The writer brilliantly follows all defense mechanisms of a man who is faced with the inevitability. The author uses gradation way of describing while stringing visual and auditory details, retards artistic time. The writing of D. Tartt is characterized by the unique skill in the detail describing. The role of artistic detail in the process of inner state depicting is investigated. The author touches upon the problem of the depicting of critical situation in the novel. The attention is paid to the writer’s skills in showing main character’s feelings, memoirs, thoughts, associative relations and human nocifensor in critical situations. It is admitted that in case of such temporal and space detail the most suitable way of analysis is «in succession to the author». Thus, in the novel The Goldfinch D.Tartt declares herself a talented master of words, subtle psychologist and philosopher. As a surgeon, the writer separates one second of expectation from the other, detail from detail. Therefore, the reader can observe not just a frightened child but deep sorrow of the loss of the whole world. This is achieved by the skillful combination of visual and auditory details that create convex emotionally saturated images filled with heartbeat of life. The author dowers the main character – both a teenager and an adult man – with the ability to see deep philosophical maxims in small details, to decipher the message from the artist, to understand the dialectical interpenetration of life and death. Because of such careful author's treatment to the artistic time and space the most appropriate way to study seems to be the analysis «in succession to the author».

scholarly journals Tutor and Tutoring in the History of Education (to the Great French Revolution)

2020 ◽  
Vol 4 (1) ◽  
pp. 49-59
Author(s):  
Ludwik Szuba
Keyword(s):  
Roman Empire ◽  
French Revolution ◽  
History Of Education ◽  
Mutual Trust ◽  
Direct Relation ◽  
Social Transformations ◽  
The World ◽  
History Of ◽  
Ancient Mesopotamia

AbstractThe article aims at presenting the history of tutoring and the role of a tutor in one of the most significant educational concepts in the world starting with the ancient Mesopotamia, Egypt, China or the countries of Europe-Greece, Rome, England, Ireland, Kingdom of the Franks, the Roman Empire, France, Poland, Italy, ending with the immense social transformations sparked by the French Revolution. Throughout the centuries the role of tutors was of great significance since by staying in homes of their pupils not only did they educate but by the direct relation between a master and an apprentice, based on friendship and mutual trust, which initiated honest discussion, they influenced to a great extent the shaping of their pupils` personalities…

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