scholarly journals “Excited Snails”. Radicalism and apoliticalism in the novel “Smoke” by Ivan Turgenev

2020 ◽  
Vol 2 (4) ◽  
pp. 228-249
Author(s):  
Valeria G. Andreeva
Keyword(s):  
Creative Work ◽  
The Novel ◽  
Virgin Soil ◽  
Fictional World ◽  
Reform Era ◽  
The Family ◽  
Epic Novel ◽  
Main Ideas ◽  
Central Characters

The article is devoted to clarifying the problematics and genre originality of the novel “Smoke” by Ivan Turgenev, revealing the universal opposition behind the heroes’ external wars of words, particularly noticeable in the example of the opposition “life — deadness”. The author of the article argues that an important socio-political assessment of the heroes does not convey the entire intention of the writer, presenting the theory of the civilisational development of Russia. One of the main ideas in the civic novel “Smoke” is the idea of progress, which is considered both at the level of disputes between Westernisers and Slavophils, and at the level of ontological life foundations. In the fictional world of the novel, the denied positions of the Slavophils are greatly simplified, and the Westernisers’ views asserted in general are softened and corrected by figurative oppositions. The article demonstrates the connection between the idea of progress and the family theme, the role of the new hero-figure of the post-reform era in the fate of Russia. The novel “Smoke” is considered in the context of Ivan Turgenev’s late creative work, his intertextualities with the stories “Ghosts”, “Enough”, its connection with the subsequent epic novel “Virgin soil” are noted. Special attention is paid to the conflict between the creative hero and the environment, the high society, the path of the personality and the responsibility of a person for each of his actions. The characters of the central characters of the novel are considered, the change in the writer’s intention is shown, gradually reducing the image of Sozont Potugin, whom Ivan Turgenev endowed with thoughts and beliefs dear to him.

scholarly journals WUJUD BUDAYA DALAM NOVEL TEGUH ANAK JADAH KARYA A.D. DONGGO (KAJIAN ANTROPOLOGI SASTRA)

EDU-KATA ◽  
2019 ◽  
Vol 5 (2) ◽  
pp. 159-168
Author(s):  
Amiruddin Amiruddin
Keyword(s):  
New Order ◽  
Physical Culture ◽  
The Novel ◽  
Value System ◽  
System A ◽  
A Value ◽  
The Family ◽  
Anthropological Literature ◽  
The Impact

This research-oriented culture and a form of resistance against the culture of power in the novel Teguh Anak Jadah by A.D. Donggo studied from anthropological literature review. Interdisciplinary between anthropology and literature provide new understanding of the phenomenon of human culture in literature. The method used in this study using hermeneutic methods. This method outlined understand the text and the text intended for a review of literature. Hermeneutical suitable for reading literature for the study of literature, whatever its form, related to an activity that interpretation.  In general, the study found a form of culture and a form of resistance against the culture of power in the novel Teguh Anak Jadah by A.D. Donggo. Cultural manifestation in the form of a value system, a system of norms, physical culture, specific rules, politics cultural activities, and the work. Novel Teguh Anak Jadah by A.D. Donggo It also shows the impact of the New Order regime and its cronies make public mindset when it becomes depressed, silent habit deeply ingrained during the New Order government has given rise to a new habit that is easy to forget. Forgetting the role of self, the role of the organization, the role of the family, against fellow citizens of different ideologies.

scholarly journals PLOT ELEMENTS AND MOTIVES OF THE NOVEL “CHEVENGUR” IN PLATONOV’S SHORT STORY “POTUDAN RIVER”

2021 ◽  
Vol 26 (1) ◽  
pp. 44-55
Author(s):  
N. Mikhaylovna Malygina ◽  
Keyword(s):  
Short Story ◽  
The Novel ◽  
Love Story ◽  
Planetary Scale ◽  
The Family ◽  
Analytical Review ◽  
Eugene Onegin ◽  
Intertextual Connections ◽  
First Time

The relevance of the article is determined by the researcher of the semantic poetics of Platonov’s story “Potudan River”. We carry out an analytical review of the lifetime criticism and articles of modern researchers about the story, on the basis of which we formulate the purpose of the study, due to the need for a new approach to the interpretation of the work and the identification of the principles of its poetics. The novelty of the article is determined by the identification of the multilayered symbolism of the title of the story, which allows to establish the insufficiency of the conclusions that the content of the “Potudan River” is limited to the family theme. At the level of micropoetics we reveal symbolic details that connect the content of the story with the motive of love for the distant, medical and construction subjects and revealing the planetary scale of the author’s thinking. For the first time, it was established that Platonov’s story “Potudan River” was written based on part of the plot of the novel “Chevengur” – the love story of Alexander Dvanov and Sonya Mandrova. We show that the heroes of the story “Potudan River” Nikita Firsov, Lyuba Kuznetsova and Nikita’s father are doubles of the characters in the novel “Chevengur” by Sasha Dvanov, Sonya Mandrova, and Zakhar Pavlovich. The connection of the image of Lyuba with the archetype of the bride is considered. The paper reveals for the first time the intertextual connections of the story “Potudan River” with the poem “The Bronze Horseman” and the novel in verse “Eugene Onegin” by A. Pushkin, in the texts of which the writer found material for modeling the ordinary fate of the hero. Multi-level connections of the content of the story “Potudan River” with Platonov’s artistic world, which is a complete metatext, are found, which opens up new opportunities for determining the role of the editing technique and the principles of returning to the plots and motives of the works of the 1920s, as well as their transformation in the writer’s work of the 1930s.

scholarly journals The Catch of the Hyperreal: Yossarian and the Ideological Vicissitudes of Hyperreality

Text Matters ◽  
2018 ◽  
pp. 386-410
Author(s):  
Abdolali Yazdizadeh
Keyword(s):  
Twentieth Century ◽  
Cultural Theory ◽  
Critical Assessment ◽  
Vantage Point ◽  
The Novel ◽  
Fictional World ◽  
American Life ◽  
Ideological Discourse ◽  
Catch 22

Hyperreality is a key term in Jean Baudrillard’s cultural theory, designating a phase in the development of image where it “masks the absence of a profound reality.” The ambiance of Joseph Heller’s Catch-22 (1961) closely corresponds to Baudrillard’s notion of the hyperreal as images persist to precede reality in the fictional world of the novel. Since for Baudrillard each order of simulacra produces a certain mode of ideological discourse that impacts the perception of reality, it is plausible that the characters of this fictional context should be ideologically impacted by the hyperreal discourse. From this vantage point it is possible to have a new critical assessment of Yossarian’s (protagonist) antiheroic stance and study the role of the “business of illusion,” whose ideological edifice is based on the discourse of the hyperreal, on his antiheroic stance and actions. By drawing on Baudrillard’s cultural theory this paper aims to read Heller’s novel as a postmodern allegory of rebellion against the hyperreality of the twentieth-century American life and trace its relevance to modern-day U.S.

scholarly journals “The End of Human Exceptionality”: The Shift of the Anthropological Dominant in Science Fiction

2021 ◽  
pp. 163-181
Author(s):  
Dan Paranyuk
Keyword(s):  
Science Fiction ◽  
Nature Of Science ◽  
Literary Text ◽  
Previous Experience ◽  
Human Being ◽  
The Novel ◽  
Fictional World ◽  
Human Culture ◽  
American Science

Based on the methodological proposals of literary anthropology, in particular on the conceptual ideas of C. Levi-Strauss (structural anthropology), J. Ortega y Gasset (“dehumanization of arts”), J.-M. Schaeffer (“the end of human exceptionality”), M. Foucault (the fall of a human being from the humanistic pedestal of culture), the article under studies emphasizes the violation of the anthropological dominant in science fiction, which is very typical of the fantasy genre. Consequently, there arise new principles of constructing personosphere of a literary text. On the example of the novel “City” (1953) by an American science fiction writer Clifford Simak, the article traces the way a human being shifts from the center of personosphere to the “outskirts” of narration, whereas its image acquires fictional parameters. This all happens due to the phenomenon of “anthropocene” (the term by G. Canavan), which implies the harmful consequences of the human reigning over the nature. In addition, the author of the article introduces the notion of “phantasoid’ – a character of the fictional world of fantasy (outlined by the narrator) that functions exceptionally in the imagination of a certain fantastic character and is somehow related to his previous experience. The novel by C. Simak outlines a gradual shift of the anthropological vector: the heterogeneous image of a human turns into a counter-image, whereby particular significance is attached to the change in the attitude towards mankind. In the text, human culture is perceived as something alien, while Simak’s image of a human being ruins the so called imagological stereotype, along with the reader’s receptive expectations. The role of the attractor in the novel is assigned to “antromorphized” and “humanized” creatures (plants, animals, objects, robots, mutants), which indicates the drastic breach with the previous genre tradition, as well as higlights a peculiar polemic connection with classical literary science fiction. This all proves the metamorphic nature of science fiction and its transition into the hyperreal dimensions of fantasy, where different artificial forms of life and mentality can peacefully coexist with each other.

scholarly journals COMPASS INSIDE US BY PETER JILEMNICKÝ: CREATIVE HISTORY, GENRE PECULIARITY, ETHNO-HISTORICAL MATERIAL, AND IDEOLOGICAL TRENDS

2021 ◽  
pp. 91-110
Author(s):  
В.С. ПУКИШ ◽  
И.С. ХУГАЕВ
Keyword(s):  
Literary Criticism ◽  
Soviet Period ◽  
Original Text ◽  
The Novel ◽  
The North ◽  
Russian Literary ◽  
History Of ◽  
Main Ideas ◽  
Central Characters ◽  
First Time

В статье рассматривается роман основоположника «революционно-пролетарской словацкой литературы», «словацкого Горького» Петера Йилемницкого (1901–1949) «Компас в нас» (1937). Актуальность данного рассмотрения определяется уже тем, что в романе значительное место уделено советской (русской, киргизской) и кавказ­ской (осетинской, в хронотопе, заступающем советские рамки) теме, – и при этом произведение Йилемницкого до сих пор не было переведено на русский язык и осталось, в общем, вне поля зрения отечественного литературоведения и литературной кри­тики. Отдельные, связанные с осетинской темой, главы романа в переводе на осетин­ский язык, выполненном в свое время Хасаном Малиевым и Сафаром Хаблиевым, пу­бликовались в советское время в североосетинской периодической печати, и, поскольку одним из героев Йилемницкого выступает друг Петера Йилемницкого известный осе­тинский писатель Чермен Беджызаты (1898–1937) и действие первого плана происхо­дит именно в Южной Осетии, которую, в рамках сюжета, посещает повествователь, роман «Компас в нас» несколько раз упоминался в осетинском литературоведении. Одним из авторов данной статьи (В.С. Пукишем) роман Йилемницкого в «осетин­ской» части в последнее время переведен на русский язык с языка оригинала (редакто­ром перевода, необходимого в виду этнокультурной фактуры, выступил И.С. Хугаев); соответственно, здесь, помимо необходимой биографической и библиографической справки, вводятся в литературно-критический оборот обстоятельства творческой истории романа «Компас в нас», его основные идеи и образы, а также его оценки в словацком литературном процессе; впервые на основе оригинального текста тракту­ется архитектоника, образная система, идеология, общие изобразительные приемы и идейно-эмоциональная тенденция текста Петера Йилемницкого. The article examines the novel Kompas v nás (Compass Inside Us) by Peter Jilemnický (1901–1949), the founder of “revolutionary proletarian Slovak literature,” and “the Slovak Gorki.” The topicality of this review can be proved by the fact that the novel devotes much attention to the Soviet (Russian, Kyrgyz) and the Caucasian (Ossetian – in the space-time going beyond the Soviet period) themes – however, by now it has not been translated into Russian and thus it has remained mostly out of the eye of contemporary Russian literary criticism. At the same time, the Ossetia-related chapters of the novel translated into Ossetian by Khasan Maliev and Safar Khabliev, were published in the North Ossetian press, and due to the fact that one of the central characters of the novel is Chermen Bedzhyzaty (1898–1937), a known Ossetian writer and a friend of Peter Jilemnický, and that the foreground of the story takes place in South Ossetia visited by the narrator, Compass Inside Us has more than once been mentioned by Ossetian literary critics. One of the authors of this article (V. Pukish) recently translated the ‘Ossetian’ part of the novel from Slovak into Russian (I. Khugaev edited the translated text as required by the ehtnocultural texture); this is why, the circumstances of creative history of the novel, its main ideas and images, and the assessments given to it by Slovak literary critics are hereby introduced into the scientific discourse in addition to the required biographical and bibliographical references. Based on the original text of the novel, the authors of this article are for the first time discussing the architectonics, imagery, ideology, general representational devices, and ideological and emotional trends of the text by Peter Jilemnický.

The Novel and the Sexuality of Vagrancy

2021 ◽  
pp. 72-115
Author(s):  
Sal Nicolazzo
Keyword(s):  
Eighteenth Century ◽  
Print Culture ◽  
The Novel ◽  
Marriage Plot ◽  
Labor Discipline ◽  
The Family ◽  
Literary Histories ◽  
Domestic Lives

This chapter examines the role of vagrancy law in regulating the affective, sexual, reproductive, and domestic lives of the English poor. It traces vagrancy's appearance at the margins of both the novel and the marriage plot across a series of texts, including Jane Barker's Patchwork Screen for the Ladies (1723), Sarah Scott's Millenium Hall (1762), and, most centrally, Henry Fielding's The Female Husband (1746). Fielding, as novelist, magistrate, and major eighteenth-century theorist of police, is at the center of the chapter, which reads his figuration of vagrancy as a kind of sexuality that disrupts labor-discipline, marriage, and legitimate inheritance. At the same time, Fielding's text and the archival records of policing that surround it reveal how one might take vagrancy as a category of analysis for transgender history, since the construction of the sexed body as metonym for juridical identity developed through a nexus of policing, surveillance, and transatlantic print culture for which vagrancy was a foundational legal category. Finally, through readings of Scott's Millenium Hall and Mary Saxby's posthumously published Memoirs of a Female Vagrant (1806), the chapter shows that literary histories of sexuality look profoundly different if one centers the parish rather than the family as the field of analysis.

COMMODITIES, OWNERSHIP, AND THE EUSTACE DIAMONDS: THE VALUE OF FEMININITY

2010 ◽  
Vol 38 (1) ◽  
pp. 39-52 ◽  
Author(s):  
Jen Sattaur
Keyword(s):  
Moral Worth ◽  
Legal Issues ◽  
The Other ◽  
The Novel ◽  
Fictional World ◽  
Commodity Culture ◽  
Recent Commentary ◽  
Female Condition ◽  
Different Types

In an 1867 treatise on diamonds and precious stones, Harry Emanuel writes the following: [I]n the process of cutting, flaws and imperfections are often laid bare, which go much deeper than the appearance of the rough diamond would predict; and, on the other hand, the colour, apparent in the rough stone, is sometimes found to arise from the presence of flaws or specks, which are removed in cutting, thus leaving the stone white. (70) From such a description, it is easy to see the parallel to the female condition, and particularly the female condition, as it is popularly portrayed in the mid-nineteenth century. With the emphasis on purity and hidden flaws, it is not difficult to understand why the diamond could hold such symbolic significance for the female wearer, by functioning as an indicator not only of personal wealth, but of moral worth. Trollope's The Eustace Diamonds (1871), a novel which can be said to revolve around this metaphor, is essentially a novel about worth: absolute vs. transitory worth, actual vs. symbolic worth, and especially monetary vs. moral worth. Lizzie's character, the legal issues surrounding the diamonds, and the convoluted marriage arrangements which are perpetuated by or affected by the presence of the diamonds are all, in one way or another, concerned with the different types of value – moral, symbolic, monetary, etc. – placed upon commodity objects: objects which, by their very nature, can never be permanently owned, as their value lies in their exchangeability. I will return later to a discussion of the diamonds themselves. There has been considerable recent commentary on the role of commodities – whatever their worth – and of commodity culture within Trollope's novel; such readings, however, concentrate on the purely symbolic role played by commodity objects – and primarily the diamonds – in the novel; it is worth, by contrast, examining how Trollope utilizes the discourses and associations of actual commodity objects as he deploys them within his fictional world. This paper will examine the ways in which Trollope uses four commodity objects in particular – books of poetry, hunting horses, the safe box, and finally, the Eustace diamonds themselves – and the contemporary discourses surrounding them to defend the essentially mercenary character of Lizzie as a woman shaped by the demands that a commodity-driven society places upon her.

scholarly journals THE FEATURES OF THE EMBODIMENT OF THE FAMILY THEME IN THE NOVEL BY L. N. TOLSTOY «RESURRECTION»

2020 ◽  
Vol 22 (3) ◽  
pp. 43-52
Author(s):  
Valeria G. Andreeva ◽  
Keyword(s):  
Family Life ◽  
The Novel ◽  
Epic Hero ◽  
National Crisis ◽  
The People ◽  
Ideal Family ◽  
The Family ◽  
The 19Th Century ◽  
The Ideal

The article analyzes the family theme in the novel «Resurrection», examines the attitude of Leo Tolstoy towards the ideal family, the image of which in the work, in comparison with the previous work of the writer, only insignificant corrections associated with the idea of the role of the family in the spiritual ascent of man. The author of the article addresses the dispute between Tolstoy and Dostoevsky about Russian families, which unfolded in the 1870s. and shows that in the last novel, Tolstoy makes extensive use of the previously unacceptable image of a random family, described by Dostoevsky in the Writer's Diary and the novel Teen. The gallery of random families presented in «Resurrection» includes both noble families and families from the people, allows Tolstoy to enlarge the national crisis that unfolded in Russia at the end of the 19th century, to show its all-encompassing nature. The writer not only exposes the power, state and judicial systems, he shows how a lie accompanies a person coming from a random family, makes him incapable of compassion. The article examines numerous realizations of the family theme in the novel, analyzes the images of characters who are capable and not capable of family life, as well as the path of the protagonist, who in the final of the work not only approves the highest Divine laws as a guide for life, but also meets the example of a real family. contrasting with all previously presented random families. The author of the work demonstrates how, as the novel progresses, Nekhlyudov's life is getting closer and closer to the big popular world, correlates with the fate of the country – Nekhlyudov becomes a truly epic hero.

scholarly journals Kajian Sosiologi Sastra Pada Tokoh Utama Dalam Novel al-Rajul al-Ladzi Amana Karya Najib al-Kaelani

2019 ◽  
Vol 3 (1) ◽  
pp. 1
Author(s):  
Novi Ariyanti
Keyword(s):  
The Novel ◽  
The Family ◽  
Qualitative Descriptive ◽  
Descriptive Method

This study aims to describe the form of characters and characterizations of the novel al-Rajullu al-Ladzi Amana by Najib al-Kaelani and sociology major figures. This research uses qualitative descriptive method. The results of the research there were ten characters and characterizations in the novel al-Rajullu al-Ladzi Amana they are Iryan, sophia, Syamsi, Maishun, Ayah, Ibu, Ali, Shaqr, Beneto, Syeikh Idul Husain. The sociology major figures in the novel al-Rajullu al-Ladzi Amana divided into three, namely the role of Iryan Iryan roles as individuals, as members of the family, and the role of Iryan as members of the community.

scholarly journals THE SPECIFIC CHARACTER OF THE ARCHETYPE OF HOME IN THE NOVEL “HOUSE OF DOCTOR DEE” BY P. ACKROYD

2019 ◽  
Vol 3 (93) ◽  
pp. 16-28
Author(s):  
Н.Ю Бондар
Keyword(s):  
Social Protection ◽  
The Novel ◽  
Specific Character ◽  
Family Ties ◽  
Wide Range ◽  
The Family ◽  
The World ◽  
Family Generation ◽  
External Corrosion

The article deals with the specific character of the archetype of home in the novel “The House of Doctor Dee” by P. Ackroyd. The novel of the English writer tells the story of the fate of the famous alchemist and scientist of the 16th century, Doctor John Dee and modern researcher Matthew Palmer. The purpose of the article is to determine the specific character of the archetype of home in the novel “The House of Doctor Dee” by P. Ackroyd in an individually-authored interpretation. The classical understanding of home is a connection with the family, generation, protection and support, shelter and spiritual comfort. In the second half of the 20th century the archetype of home is significantly problematic. “Home” ceases to be perceived as an exclusively “private” locus, even if it has absorbed all the wealth of the souls of its inhabitants, additional inclusions appear, most often of an existential universal plan. The literature of the postmodern era with its “sensitivity” to the world around it, i.e. with the desire to outline the problems of a wide range (philosophical, historical and others), continues to include “home” in the complex context of life. In this regard, P. Ackroyd’s novel “The House of Doctor Dee”, in which mysticism and reality are intertwined together, is of particular interest. The house of Doctor Dee seems to Matthew full of mystical phenomena and becomes a centre, including different time layers. The house in the novel “The House of Doctor Dee” by P. Ackroyd loses archetypal characteristics at all levels (despite the fact that Matthew is changing his attitude to his adoptive mother), from psychological (strong family ties, attention, understanding) to physical and social (protection, stability). All the fundamental mythological motifs of stability, which usually characterize the archetype of the house – the symbolic constancy of the place, the important role of higher female and male creatures (parents, teachers) as a kind of “good guardians” and mentors, the presence of children as a bastion of eternal renewal – are subjected to internal and external corrosion, destruction, and make the idea of returning home impossible. In addition, the house itself acquires the features of the homunculus, it disintegrates and reborn, but in each century in its own way.

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