scholarly journals INTERCONTEXTUAL READING OF ROBERT MUSIL’S “MAN WITHOUT QUALITIES”

2021 ◽  
Vol 6 (1) ◽  
pp. 18-34
Author(s):  
Alexander W. Belobratov
Keyword(s):  
Cultural Awareness ◽  
The Novel ◽  
Individual Concepts ◽  
Contextual Framework ◽  
Russian Literary ◽  
Micro Level ◽  
Foreign Text ◽  
The One ◽  
Literary Classics ◽  
The 19Th Century

The analysis of the active reception process, the interaction of “its own” and “alien” seems very fruitful in the study of the epoch-making Robert Musil’s novel “Man without qualities” (1930–1942). The analytical evaluation of the Austrian author’s contact with the “alienness” (in this case, with Russian literary classics) in the form of the discovery of “his own essence” is carried out at the micro-level of individual concepts, expressions, descriptions of characters, and explicit or implicit quotations. The intertextual level of reading the novel expands at the expense of the intercontextual level. Thus, the literary text is read from the foreign (Russian) reader’s cultural referential framework. This means an attempt to recognize the reader’s “own essence” in the “alienness” text, to reinterpret a foreign text, when, on the one hand, the “own essence”, i.e. in this case the work of the 19th century Russian novelists, is subjected to scrutiny in relation to its reception of the Austrian writer as “alien”. On the other hand, Musil’s novel is read through the lens of Russian cultural awareness, and included in the contextual framework of Russian reception, formed by Goncharov’s, Dostoevsky’s, and Leo Tolstoy’s works.

scholarly journals Ya. B. Knyazhnin’s Tale in Verses Flor and Lisa in the Context of Early Russian Ballads

2019 ◽  
pp. 104-122
Author(s):  
L. A. Kurysheva
Keyword(s):  
Fairy Tale ◽  
Early Stage ◽  
Romantic Period ◽  
Love Story ◽  
Course Of Action ◽  
Russian Literary ◽  
The Dead ◽  
The One ◽  
Dead Man ◽  
The 19Th Century

One of the popular plots of the Russian literary ballad of the last third of the 18th – the first decade of the 19th century was the story of treacherous love. Ya. B. Knyazhnin’s Flor and Lisa. A Tale in Verses (1778) is one of the first Russian ballads. In addition, this is the first Russian ballad with the appearance of the dead man – the plot situation is so productive in the subsequent, romantic period. It is characteristic that at the early stage of the formation of a new literary genre, the nomination “ballad” does not appear for all authors. Poets get along either without a genre designation, or use more familiar nominations, genres in origin related to a lyro-epic ballad: song, romance, “fairy tale in verses”. We observe, on the one hand, the variability of genre nominations for the lyric-epic narration of a personal dramatic event, and on the other hand, the instability of ideas about the formal and substantive components of the genre of “ballad”. The most typologically close to Flor and Lisa is the N. M. Karamzin’s ballad Alina (<1790– 1791>). Both ballads are devoted to the theme of infidelity and both develop a ballad version of the fairy-tale plot “The husband at the wife’s wedding”, which ends with the transition to the world of the dead and the reunion of lovers. In addition, the similarity lies in a detailed narrative manner and the psychologization of the ballad conflict through direct author commentary. In Flor and Lisa, all events – love, betrayal and the reunion of lovers in death – are presented as extraordinary. The tragic ending is due to the mysterious connection of the fate of the two characters, reinforced by the mythology of the “plant code”. The verification technique (quatrains, four-footed iambic, cross-rhyme, alternating female and male clauses) emphasizes the tightness of the love story. In Karamzin’s Alina, the course of action is due to a combination of universal laws of human existence and the fateful connection of characters. The ballad event is the final union of lovers, despite their stay in different worlds, earthly and heavenly. The mythopoetic basis of the plot is composed of images of changing elements and nature. The verification technique (non-strophic four-foot iambic with free rhyme) supports the idea of fluidity, whimsicality of the elements of life.

scholarly journals FUNCTIONS OF REMINISENCES IN CHRISTMAS STORIES OF MODERN RUSSIAN WRITERS (ON THE EXAMPLE OF THE WORKS OF Yu. BUIDA AND D. BYKOV)

2021 ◽  
Vol 31 (6) ◽  
pp. 1313-1318
Author(s):  
G.G. Ramazanova ◽  
Z.A. Zaripova
Keyword(s):  
Fairy Tale ◽  
Comparative Method ◽  
Literary Traditions ◽  
19Th Century Literature ◽  
Russian Literary ◽  
Moral Problems ◽  
Soviet Time ◽  
Child's Death ◽  
Literary Classics ◽  
The 19Th Century

The Little Match Girl by H.Ch. Andersen is a fairy tale that tells a tragic story about a child's death at Christmas night. Famous Russian authors Yu. Buida and D. Bykov have written stories with the same names (The Little Match Girl and The Little Match Girl Gives a Light). The authors deliberately used these names to show the relation with the famous work. In both stories, the action is set within the timeline defined by the canons of religious calendarial prose. There are miracles in the stories; the Christmas characters are archetypes, as they are kind, merciful and compassionate. The stories written by the contemporary authors are examples of a kind of a palimpsest. They show the socio-historical collisions and moral problems of the post-Soviet time. The article uses the comparative method which allows us to consider the types of characters, to find literary traditions and innovations in the prose of the writers. It is important to take an intertextual approach during (when) examining the stories. It helps identify and analyze how certain motifs and images relate in the 19th century literature and fiction texts of modern writers. This approach reveals the deep connection between the works and the texts of world and Russian literary classics.

Book Rewiev: Kafanova, O.B. (2020) Perevody N.M. Karamzina kak Kul’turnyy Universum [Translations by N.M. Karamzin as a Cultural Universe]. Saint Petersburg: Aleteyya

2021 ◽  
pp. 164-170
Author(s):  
Natalia Ye. Nikonova ◽  
Keyword(s):  
Literary Criticism ◽  
French Literature ◽  
The Public ◽  
Saint Petersburg ◽  
The Enlightenment ◽  
Unique Material ◽  
Russian Literary ◽  
History Of ◽  
The One ◽  
Literary Classics

The review notes Olga Kafanova’s great contribution to the study of the history of Russian literature, and especially works by Nikolai Karamzin, and productivity of her research as evidenced by the presented monograph. The book excels in its fundamental nature, novelty and reliability of the source base (more than 500 items of the bibliography of translations by Karamzin (1783-1800) and originals discovered while studying foreign works and periodicals). The review indicates the novelty and prospects of a number of Kafanova’s observations. In 2016, the public celebrated the 250th anniversary of Karamzin’s birth. The jubilee events were held in several countries and brought together dozens of scholars. One of the particular results of these events is an observation on the need for a comprehensive understanding of the work of Karamzin as a translator at a new level. The reviewed monograph promptly fills the noted gap and, using unique material, solves the problem of popularizing and preserving the Russian literary classics. The bibliography presented in the form of an appendix contains names of more than 50 authors of English, German, and French literature, whose texts Karamzin referred to. Based on the compiled corpus, Kafanova chooses an analytical approach that consistently reflects the evolution of Karamzin’s own system of views, on the one hand, and is based on the classic examples of Russian literary criticism and translation studies, on the other. Kafanova’s genre-generic approach easily synthesizes the several dimensions of the literary, editorial and institutional activities of Karamzin as a translator; there is no criticism of the clear definitions that classify Karamzin’s work on mastering the texts of foreign authors to one type or another. Another idea in the book is connected with a fundamental approach in the science of literature, according to which the history of literary processes is considered as a series of successive trends and directions of humanitarian thought. The reviewed book tells about the nuances of the era of pre-Romanticism, about the intricacies of interpreting Stem’s “sentimental stories of a sensitive heroine”, about the “portrait” project associated with “sensitive authors” (Wieland, Gesner, Klopstock, and others), and about the peculiarities of the Enlightenment and European Antiquity in the pantheon of literature by Karamzin and his contemporaries.

Dostoevsky’s Petersburg in the Story by G.I. Chulkov “Autumn Mists” (1916)

2021 ◽  
pp. 98-115
Author(s):  
Olga A. Bogdanova ◽  
Keyword(s):  
19Th Century ◽  
The Other ◽  
Synthetic Image ◽  
Russian History ◽  
The Novel ◽  
Silver Age ◽  
Cultural Dialogue ◽  
The Many ◽  
The One ◽  
The 19Th Century

The article examines the metamorphoses of the image of St. Petersburg created in the works of F.M. Dostoevsky, in the literature of the Silver age, in particular in the half-forgotten, but significant story of a major symbolist writer G.I. Chulkov “Autumn mists” (1916). It is shown that, on the one hand, Chulkov’s artistic experience is intertwined with the general trend of “rewriting the classics” for the Silver age, which was first noted by D.M. Magomedova, at the same time on the other — proved that “Autumn mists”, is primarily focused not on the “great five books” of Dostoevsky with the hero-ideologist in the center of each piece, and the synthetic image of St. Petersburg in the novel “Humiliated and offended” (1861), incorporates the positive connotations early works of the famous classics and accusatory — late, are the most complete polemical conclusion cultural dialogue with Dostoevsky at the end of the “Petersburg period” of Russian history. It is pointed out that Dostoevsky’s mythologized images were transformed into elements of symbolist and, more broadly, modernist poetics, as well as the rejection of psychologism and the reinterpretation of the writer’s historiosophical prophecies of the 19th century. Thus, “Autumn mists” is a restored link of the “Petersburg text” of Russian literature at the break of cultural and historical epochs, which, in the context of famous works on the same subject by I.F. Annensky, D.S. Merezhkovsky, A. Bely, A.A. Blok, and others of Chulkov’s contemporaries, has an indisputable value due to the many-sided meanings contained in it.

scholarly journals Le handicap au risque de l’amour Un combat incertain contre les représentations sociales du xixe siècle

2021 ◽  
Author(s):  
Frédérique MARTY
Keyword(s):  
19Th Century ◽  
Club Foot ◽  
Social Representations ◽  
First Person ◽  
The Novel ◽  
Comedie Humaine ◽  
Mild Disability ◽  
The Face ◽  
The One ◽  
The 19Th Century

Through two works taken from Balzac's Comédie humaine (César Birotteau and Modeste Mignon) our study seeks to demonstrate the power of ostracization of social representations against deviant bodies in the 19th century in Western societies. We question the tolerance scale for mild disability, the club-foot, in two parts, and then in the face of a deformity considered to be monstrous, that of a hunchbacked dwarf. If the first person with a disability manages to marry his sweetheart, he owes it to its intact validity, to a share of luck afforded by the novelist, but above all to the force of money! We will find this character in the Human comedy. The second only exists for the duration of the novel. Faced with the one he loves and the reader, he shines with the intelligence and sensitivity bestowed by the narrator. For happiness, he will have to be content to be the true craftsman of the one whom the one he loves aims for, without sharing it, because a monster, even bright and full of humor, remains a monster.

scholarly journals Transcendência e Materialismo em Memórias do Subsolo

Numen ◽  
2016 ◽  
Vol 19 (1) ◽  
Author(s):  
Jimmy Sudário Cabral
Keyword(s):  
The Other ◽  
The Political ◽  
The Novel ◽  
Face To Face ◽  
Political Ideologies ◽  
Short Novel ◽  
Wet Snow ◽  
The Subject ◽  
The One ◽  
The 19Th Century

Este artigo analisa a obra de Dostoiévski, Memórias do Subsolo, apresentando o universo filosófico e político no qual se deu a sua gestação. A pequena novela traz consigo o confronto entre as principais ideologias políticas da Rússia do século XIX, colocando frente a frente materialismo versus romantismo, oferecendo o cenário do encarniçado conflito entre os chamados homens novos, da geração de 1860, e os representantes da geração de 1840, reconhecidos como homens supérfluos. O artigo está dividido em dois atos e procura descrever os distintos núcleos narrativos que organizam a primeira parte da obra, intitulada “O subsolo”, e a segunda parte, “A propósito da neve molhada”. Após apresentar os singulares universos filosóficos e políticos nos quais a novela está inserida, o artigo procura demonstrar o lugar explosivo desta narrativa, que foi articulada como crítica religiosa e núcleo de desconstrução das virtudes estéticas e políticas da modernidade.The present article analyses Dostoyevsky’s Notes from Underground, presenting the political and philosophical atmosphere which conditioned its genealogy. This short novel highlights the conflict between the main political ideologies in Russia during the 19th century, putting face-to-face materialism versus romanticism and presenting the terrible conflict that took place between the so-called “new men” belonging to the generation of the1860s, and the representatives of the generation of the 1840s, known as the “superfluous men”. The article is divided in two main parts and it seeks to describe the distinct narrative frames which structure, on the one hand, the first part intituled “The Underground”, and, on the other, the second part intituled “On the Subject of the Wet Snow”. After describing the distinct philosophical and political contexts within which the novel is set, the article tries to demonstrate that the narrative is deliberately woven in order to function as a religious critique and an instrument to deconstruct the esthetical and political virtues of modernity.

scholarly journals READING ‘THE NEWCOMES’ IN DIFFERENT WAYS: LITERARY AND CRITICAL ‘DUEL’ OF CHERNYSHEVSKY AND DRUZHININ

2021 ◽  
Vol 13 (3) ◽  
pp. 101-111
Author(s):  
Boris M. Proskurnin ◽  
Keyword(s):  
Literary Criticism ◽  
19Th Century ◽  
English Literature ◽  
The Novel ◽  
Important Place ◽  
Vanity Fair ◽  
Russian Literary ◽  
Literary Process ◽  
Art For Art's Sake ◽  
The 19Th Century

The essay deals with the issues of reception of English literature by Russian literary criticism; it analyzes polemically pointed evaluations of The Newcomes (1853–1855) by two leading Russian critics of the 1850s – 1860s – Nikolay Chernyshevsky and Alexander Druzhinin. To look at their reviews of the novel is worthwhile as it leads to a better understanding of both Russian literary process of the period and Russian reception of English literature in the middle of the 19th century. While examining these reviews, it is necessary to remember that this novel occupies quite an important place in the creative work of Thackeray and has many peculiarities at such levels of its structure as genre, plot, narrative, character-making, irony. The novel belongs to the after Vanity Fair period of Thackeray’s oeuvre with its own aesthetics which just in The Newcomes gets its final look. The novel pictures the life of the English upper classes with the help of chronicle and panoramic methods of plot-making; direct satire, keenest irony and invective do not work here as they work in Vanity Fair. It is precisely this ‘otherness’ of The Newcomes, in comparison with the most famous novel by Thackeray, that becomes the matter of the opposite estimates of this novel by two Russian critics: at one extreme, Chernyshevsky who, though noting some strong plot-making and narrative positions in the novel, criticizes the writer for poor conceptuality of the novel, the petty themes raised, the hero’s unimpressiveness, procrastination and slowness of the narrative; at the other extreme, the benevolent view of Druzhi­nin who reveals some important facets of the novel’s artistic originality. He does not assess the novel from the ideological positions which are, in many respects, the products of the first Russian ‘thaw’ after the period of political reaction of the regime of Nicholas I and which determine the position of Chernyshevsky. Since Druzhinin had been taken by Chernyshevsky as his ideological rival and the founder of ‘art for art’s sake’ conception, his review was a severe polemical answer to Druzhinin’s review published earlier. That is one of the main reasons why such a profound literary critic as Chernyshevsky did not notice or did not want to notice many merits of The Newcomes which are stressed in the essay. It is shown in the essay that, while wri­ting his review of The Newcomes, Chernyshevsky was thinking more about Russian literary situation than Thackeray’s novel itself and the literary process in England in the middle of the 19th century.

scholarly journals Once again about the prophetic mission of the Russian writer (based on material of Y.V. Bondarev’s novel “The Shore”)

Neophilology ◽  
2021 ◽  
pp. 661-669
Author(s):  
Liudmila E. Khvorova
Keyword(s):  
The Novel ◽  
Front Line ◽  
Cultural Foundations ◽  
Great Patriotic War ◽  
Russian Literary ◽  
The Common ◽  
German City ◽  
Prophetic Mission ◽  
Literary Classics ◽  
Further Development

We conduct continuous poetical and philosophical research on the work of Y.V. Bondarev (1924–2020), the greatest Russian Soviet prose writer and a participant in the Great Patriotic War. Based on the study of the novel “The Shore” (1975) and the writer’s journalistic statements of the mid-1970s of the 20th century, within the framework of cultural-axiological paradigm, we attempt to comprehend one of the central dialogues between representatives of the creative intellectuals of Russia and West. The conversation between Russian Soviet writer Nikitin, a former front-line soldier who visited the German city of Hamburg 26 years after the war, and the German journalist and publisher Dietzman is read as a kind of philosophical quintessence of both this novel and, possibly, the writer’s work as a whole. The conflict between Russia and West is seen by Y.V. Bondarev in the most complex metaphysical paradigm of the struggle of largely opposite cultural foundations, despite the common Christian basis. We state the complexity, multidimensionality, polyphonism of the Bondarev type of artistic expression, its ascent to the traditions of Russian literary classics and, above all, in this case to the work of F.M. Dostoevsky. We note the key, culminating significance of this dialogue-reflection undertaken in the chapter of the second chapter of the third part “Nostalgia” by Dietzman and Nikitin, which has some obvious similarities with the author both for the further development of latter’s character in the poetical and philosophical space of novel, and for its artistic “completion” in work finale. We comprehend the relevance of Bondarev’s metaphysical constants in the first quarter of the 21st century, prophetically written out about half a century ago.

scholarly journals Critique of the new hero in cinema (L.Visconti) and literature (F.M.Dostoevsky)

2021 ◽  
Vol 18 (3) ◽  
pp. 444-459
Author(s):  
Nadezhda Ia. Grigor’eva ◽  
Keyword(s):  
Philosophical Anthropology ◽  
Main Idea ◽  
The Novel ◽  
Human Race ◽  
Old Order ◽  
Existentialist Philosophy ◽  
Conversation Piece ◽  
The One ◽  
The 19Th Century ◽  
Literature And Film

The article examines the philosophical basis of the figure of a new hero in literature and film. “New heroes” in selected literary and cinema works are compared within the context of existentialist philosophy and “philosophical anthropology”. Material for the comparative intertextual and intermedial analysis is the novel Demons by Fyodor Mikhailovich Dostoevsky and Luchino Visconti’s late films The Damned, Ludwig and Conversation Piece. The article attempts to broaden the intertextual horizon of research on Visconti by drawing new parallels between his films and Dostoevsky’s work. The work argues that the Italian filmmaker, follow ing the Russian writer of the 19th century and the European philosophers of the 20th century, criticises the “hero” who destroyed the old order on purpose to create a new one. Visconti’s revolutionary hero suffers from “the pathology of freedom” and refers to the figure of a nihilist from Dostoevsky’s novels, on the one hand, and to the figure of a sovereign in the philosophical and anthropological works of German and French writers of the 1930–50s, on the other. In his films The Damned, Ludwig and Conversation Piece, Visconti adopts not only a number of motifs from Dostoevsky but also replicates the main idea of the Russian writer who supposed that the enhancement of the human race was possible only after the second coming of Christ.

scholarly journals De protagonista histórico a personaje de novela:

2021 ◽  
Author(s):  
Lilián Illades
Keyword(s):  
Cultural History ◽  
Family Environment ◽  
The Novel ◽  
Judicial Process ◽  
The Social ◽  
Fourth Decade ◽  
History Of ◽  
Siglo Xix ◽  
The One ◽  
The 19Th Century

En la cuarta década del siglo XIX se enjuició y sentenció por diversos crímenes al coronel Juan Yáñez, alias Relumbrón; a la sazón subordinado cercano a un presidente de México. El militar encabezó a un grupo de bandidos que asaltaron las propiedades de personas prominentes, adineradas, templos, conventos y comercios de la capital del país, así como a viajeros que transitaban por los caminos, principalmente el derrotero de la Ciudad de México al puerto de Veracruz. Este cabecilla ocupa un papel central en una de las memorables piezas literarias de Manuel Payno: Los Bandidos de Río Frío. Propio de la pluma del escritor, la novela constituye una invaluable fuente para la historia social y cultural de los mexicanos. El propósito del presente artículo es develar el perfil histórico del coronel, mediante la reconstrucción de su entorno familiar y el extracto del proceso judicial al que fue sometido, mismo al que no tuvo acceso el novelista. La infausta figura de Relumbrón sólo pudo ser preservada a través de la literatura, de lo contrario se habría sumergido en los anales criminales. In the fourth decade of the 19th century, Colonel Juan Yáñez, alias Relumbrón (the one who shines), then a close subordinate of a Mexican president, was tried and sentenced for various crimes. Then officer headed a group of bandits who robbed the properties of prominent and wealthy people, churches, convents and businesses in the capital of the country, as well as travelers on the roads, mainly the route from Mexico City to the port of Veracruz. This ringleader occupies a central role in one of Manuel Payno´s memorable novels, Los Bandidos de Río Frío (The bandits of Río Frío). Typical of the writer´s pen, the novel is an invaluable source for the social and cultural history of Mexicans. The purpose of this article is to unveil the historical profile of the colonel, through the reconstruction of his family environment and the excerpt of the judicial process to which he has subjected, to which the novelist did not have access. The infamous figure of Relumbrón could only be preserved through literature, otherwise he would have been submerged in the annals of crime.

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