scholarly journals Сюжетные функции мотива смерти в романах Федора Достоевского

2018 ◽  
Vol 167 ◽  
pp. 161-169 ◽  
Author(s):  
Galina Romanova
Keyword(s):  
Fyodor Dostoevsky ◽  
Narrative Role

The plot functions of the motivе of deathin the novels of Fyodor DostoevskyThe article deals with а meaningful functions of one of the most frequent plot in the works by Fyodor Dostoevsky — death of a character. The narrative role of the image of death is analyzed. Philosophical meaning of this plot and its connection with the theodicy in Dostoevsky’s novels are revealed.Сюжетні функції мотиву смертів романах Федіра ДостоєвськогоУ статті розглянуто змістове значення однієї з найбільш поширених сюжетних ситуацій у творах Федіра Достоєвського — смерті персонажа. Аналізуються розповідні функції зображення смерті героїв. Розглядається філософський сенс даної сюжетної ситуації та її зв’язок з теодицією у романах Достоєвського.

scholarly journals THE PROBLEM OF NARRATION IN NOTES FROM A DEAD HOUSE BY FYODOR DOSTOEVSKY

2021 ◽  
Vol 19 (1) ◽  
pp. 221-238
Author(s):  
Tamara Batalova
Keyword(s):  
Sense Of Self ◽  
Self Esteem ◽  
Vital Role ◽  
Point Of View ◽  
Christian Faith ◽  
Fyodor Dostoevsky ◽  
Theatrical Performance ◽  
Essential Idea ◽  
The Dead

Within the framework of Pavel Medvedev’s sociological poetics, the article identifies and studies the features of the narrative in Fyodor Dostoevsky’s Notes from a Dead House, and examines the role of these features in expressing the key idea of this novel, namely the desire of convicts for freedom, for “resurrection from the dead”. From this point of view, the author examines the significance of the narrator’s duality (Goryanchikov and Goryanchikov-Dostoevsky) and the juxtaposition of the characters in the narrative (positive and negative). He also analyzes the compositional function of the XI chapter of the first part of Notes from a Dead House, “Presentation”, in the plot. The Christian faith plays the vital role in the expression of the essential idea of the work. An open-minded attitude to people, a friendly, Christian approach towards them is a distinctive feature of Goryanchikov-Dostoevsky and all the positive characters in the book. Inspired by the celebration of the Nativity of Christ, the convicts staged a theatrical performance, which alters the moral state of both the actors and the audience, fortifies their sense of self-esteem required to resist the prison orders that “deaden” people, and strengthens the prisoners’ desire for freedom, for “resurrection from the dead”. The article concludes that Notes from a Dead House is the beginning of aesthetic and artistic changes that manifested themselves in Dostoevsky’s post-prison works.

Gifts of welcome: Precarity, intimacy and the gift in Die Farbe des Ozeans (Peren, 2011) and Welcome (Lioret, 2009)

2020 ◽  
Vol 18 (1) ◽  
pp. 69-83
Author(s):  
Maria Stehle ◽  
Beverly Weber
Keyword(s):  
Undocumented Migrants ◽  
Emotional Needs ◽  
The Gift ◽  
Violent Acts ◽  
Narrative Role

Abstract This article examines the role of Europe as gift in Lioret's Welcome (2009) and Peren's Die Farbe des Ozeans (2011) by focusing on gestures of welcome extended by white European characters to undocumented migrants. In both films, these gestures include gifts, in the form of money, shelter or skills taught, that play an important narrative role, but subordinate refugee characters' lives and stories to the emotional needs of white European 'givers'. In this way gifts of welcome become violent acts that reinforce European assumptions about European political and epistemological superiority, and paper over the existence of colonial and racist violence that continues to produce precarious lives.

FROM MYSHKIN TO MARXISM: THE ROLE OF DOSTOEVSKY RECEPTION IN LUKÁCS'S REVOLUTIONARY ETHICS

2017 ◽  
Vol 16 (3) ◽  
pp. 927-960 ◽  
Author(s):  
RICHARD WESTERMAN
Keyword(s):  
Twentieth Century ◽  
Social Institutions ◽  
The Other ◽  
Moral Law ◽  
Political Ethics ◽  
Fyodor Dostoevsky ◽  
Spiritual Community ◽  
The Social ◽  
The One

For European literati of the early twentieth century, Fyodor Dostoevsky represented a mythically Russian spirituality in contrast to a soulless, rationalized West. One such enthusiast was Georg Lukács, who in 1915 began a never-completed book about Dostoevsky's work, a model of spiritual community that could redeem a fallen world. Though framing his analysis in the language and themes of broader Dostoevsky reception, Lukács used this idiom innovatively to go beyond the reactionary implications this model might connote. Highlighting similarities with Max Weber's account of political ethics, I argue that Lukács developed an ethic derived from his reading of Dostoevsky, which focused on the idea of a hero defined by an ability to resolve the specific ethical dilemma of adherence to duty and moral law on the one hand, and, on the other, the need to restore spontaneous human community at a time when the social institutions embodying such laws had fallen into decay. Crucially, he deployed the same framework after his conversion to Marxism to justify revolutionary terror. However different his position from Dostoevsky's, it was through engagement with these novels that Lukács not only clarified his thought but also came to identify Lenin as a Dostoevskyan hero figure.

scholarly journals Narrative Role of Film Music Inserted in the film Untold Scandal

2016 ◽  
Vol null (7) ◽  
pp. 153-183
Author(s):  
박지혜 ◽  
이주은
Keyword(s):  
Film Music ◽  
Narrative Role

scholarly journals La construction de la mémoire coloniale en Érythrée: les Erythréens, les Métis, les Italiens. — The construction of memory in colonial Eritrea: Eritreans, Mestizos and Italians

2006 ◽  
Vol 34 (2) ◽  
pp. 493-507
Author(s):  
Gabriella D’Agostino
Keyword(s):  
Life Histories ◽  
Subjective Experience ◽  
Social Position ◽  
Social Selection ◽  
Colonial Discourse ◽  
The Past ◽  
The Social ◽  
Selection Of ◽  
Narrative Role

The construction of memory in colonial Eritrea: Eritreans, Mestizos and Italians. Focusing on some passages of life histories collected in Asmara and based on the ‘memory of Italy’, I study the representation of the past in order to reveal the shaping of the subjective experience by the colonial discourse in Eritrea. If the main aim of my essay is the understanding of the play of interactions between individuals and collectivity, one more important element I take into account is ‘memory’ seen as a “social selection of remembering” (Halbwachs). I try to connect the social position and narrative role of single members (of the Eritrean society) to the meaning it takes the ‘going back to the past’ for them as individuals belonging to a group (an Eritrean, a Mestizo, an Italian) in relation to the past and the present. The consequence is that the logic dominant/dominated is inadequate to explain the internal articulations of the colonial context and that the focus must be shifted on individual and collective systems of expectations and on the negotiations of meaning resulting from a “past always to be recovered” and a “present always to be rebuilt”.

scholarly journals Dostoevsky - Strakhov - Tolstoy: Toward to the Story of One Conflict

2021 ◽  
Vol 25 (1) ◽  
pp. 72-88
Author(s):  
Svetlana M. Klimova
Keyword(s):  
Philosophical Anthropology ◽  
Point Of View ◽  
Direct Relation ◽  
Religious Thought ◽  
Dual Nature ◽  
Interpersonal Conflicts ◽  
Fyodor Dostoevsky ◽  
Religious Consciousness ◽  
Definition Of

The well-known epistolary conflict between Fyodor Dostoevsky and Nikolai Strakhov over the latter's slander of the great Russian writer's terrible sins is considered in the article from the point of view a philosophical anthropology and relations not two but between three participants of this story: Dostoyevsky, Strakhov and Tolstoy. This conflict is presented through anthropological, existential, and class prisms of description, based on a reconstruction of Strakhov's concept of man as a controversial, dual, and undefined being reflected in Dostoevsky's work. A direct relation between the definition of the dual nature of man in the works of Strakhov and Dostoevsky and interpersonal conflicts within "boundary forms of literature" is substantiated. Special attention is paid to the class of seminarians, the object of Dostoevsky's targeted criticism. He saw their worst characteristics in Strakhov personality. Tolstoy plays the role of an arbiter in this controversy, assessing the situation both in terms of literary, existential and religious thought. In the course of his examination of this conflict, his unexpected closeness to Dostoevsky was discovered in regard to assessment of Strakhov. The point of their coincidence was the "pink Christianity" of the writers, who justify man in a quite similar manner, in terms of their religious consciousness.

scholarly journals Fyodor Dostoevsky’s Pseudonyms. Insertion by F. M. Dostoevsky in the Feuilleton by N. N. Strakhov

2021 ◽  
Vol 8 (1) ◽  
pp. 21-41
Author(s):  
Olga Zakharova
Keyword(s):  
Critical Analysis ◽  
Literary Works ◽  
Fyodor Dostoevsky ◽  
January Issue

Identification of pseudonyms is one of the key tasks of attribution of many articles in the Vremya and Epokha magazines, and the Grazhdanin weekly. I. F. Masanov's article on Dostoevsky in the authoritative Dictionary of Pseudonyms contains errors and repetitions. Fyodor Dostoevsky signed his literary works with his personal name: Fyodor Dostoevsky, F. M. Dostoevsky, or, more often, F. Dostoevsky. On the contrary, the writer preferred to work as a journalist anonymously, more rarely — under pseudonyms. The range of Fyodor Dostoevsky's pseudonyms should be clarified. It is necessary to exclude “N. N.” from the list of pseudonyms, remove repeat “—y, M.” и “M. —y”, leave Dostoevsky's personal pseudonym “Zuboskalov” and add a new pseudonym “Ch. Komitetskiy”. The insert in the “Chronicler's notes” article is not the proper basis to make N. N. Strahov's pseudonym “Letopisets” (Epokha. 1865. № 1) a collective one or assign it to Dostoevsky. Most of Dostoevsky's pseudonyms are of an occasional nature, they are isolated and random. The names and surnames of real persons (M. Dostoevsky, A. Poretsky) in the role of his pseudonyms are accidental. As a result of critical analysis, it was established that in his literary and journalistic activities Dostoevsky used both regular (“F. D.”), (“D.”), (“Ed.”) and isolated pseudonyms “Zuboskal”, “Zuboskalov”, “N. N.”, “M. —y”, “Ch. Komitetskiy”, “Drug Kuzmy Prutkova” (“Friend of Kuzma Prutkov”). At this time, their range can be limited to this list. The appendix to the article contains an insert attributed to Dostoevsky in N. N. Strakhov's feuilleton «Notes of the Chronicler» from the January issue of the «Epoch» for 1865.

Love, sadness and other mental states in the Middle Welsh Owain (and related texts)

2020 ◽  
Vol 8 (1) ◽  
pp. 38-60
Author(s):  
Erich Poppe
Keyword(s):  
Middle English ◽  
Mental States ◽  
Chretien De Troyes ◽  
Old Norse ◽  
Narrow Sense ◽  
Chrétien De Troyes ◽  
English Translations ◽  
Old Swedish ◽  
Narrative Role

AbstractThis article explores the devices employed by the medieval Welsh narrator of Owain, or Chwedyl Iarlles y Ffynnawn (‘The Story of the Lady of the Well’), to convey emotions and the mental states of his characters to his audiences. Although he generally remains inaudible, he uses, at some crucial points, words and phrases denoting emotions in a narrow sense, such as love, sadness and shame, in order to direct and steer the audiences’ perception and their understanding of the narrative. A comparison with thematically related texts, Chrétien de Troyes’ Yvain, and its Old Norse, Old Swedish and Middle English translations, helps to assess the narrative role of literary emotions in the Welsh text.

Sign in / Sign up

Export Citation Format

Share Document