“The Village of Stepanchikovo and its inhabitants”and “The Raid on Barsukovka”: parody-satirical modein the image of the estate by F.M. Dostoevsky and M.A. Kuzmin

2020 ◽  
pp. 85-98
Author(s):  
Elena Yu. Safronova ◽  
Keyword(s):  
Short Story ◽  
Golden Age ◽  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Silver Age ◽  
Xix Century ◽  
The Village

The article explores the dynamics of comic depiction of the “estate topos” in Russian literature since the mid-XIX century to early XX century. The article is based on the novel “The Village of Stepanchikovo and its inhabitants. From the notes of the unknown” (1859) by F.M. Dostoevsky and the short story “The Raid on Barsukovka” (1914) by M.A. Kuzmin. It is shown that already in the time of Dostoevsky’s mature creativity in Russian literature there were recognizable stamps of the so-called “estate story”, which the author of “Village Stepanchikovo” parodies in a satirical way. In the Silver age, when Kuzmin created his story, the passeistic ideal of the Golden age of the Russian “estate culture” had been already formed with its sublime aestheticized perfection, which was considered by the author of the beginning of the XX century in a humorous way. Thus, the criticism of the extremes and distortions of the “estate culture” in Dostoevsky’s novel was of a more serious and radical, socio-psychological nature in comparison with its denial by a number of writers of the turn of the XIX– XX centuries from the point of view of “pan-aestheticism” of the Silver age.

scholarly journals “The Heterotopia of Estate” in the Novel by Z. N. Gippius “Roman-Tsarevich” (1913)

2020 ◽  
Vol 27 (1) ◽  
pp. 294-314
Author(s):  
Olga A. Bogdanova
Keyword(s):  
Golden Age ◽  
Russian Literature ◽  
Russian Revolution ◽  
The Other ◽  
The Novel ◽  
Silver Age ◽  
Russian Symbolism ◽  
Western European ◽  
Different Parts ◽  
The Revolution

<p>The article studies the space-semiotic organization of one of the central symbolist novels of the Silver age, associated with the &ldquo;estate topos&rdquo; in Russian literature. Most of the action in the &ldquo;Roman-Prince&rdquo; by Z.&nbsp;N.&nbsp;Gippius takes place in the 1910s on the territory of country estates in different parts of Russia, as well as in the Western European castle near the Pyrenees, where Russian revolutionaries live. The duality of the Russian revolution manifested as late as in Decembrist movement (the &ldquo;autocratic&rdquo; dictatorship of P.&nbsp;I.&nbsp;Pestel and the Christian democratism of S.&nbsp;I.&nbsp;Muravyov-Apostol) echoed in Gippius&rsquo;s novel in the form of the opposition between Roman Smentsev and Mikhail Rzhevsky, along with his supporters Florenty and Litta. Gippius&rsquo;s discovery consists in the fact that she found in the field of &ldquo;estate topos&rdquo; a meaning that goes back to the activities of the Decembrists-noble revolutionaries of the first quarter of the 19th&nbsp;century, often large landowners. The &ldquo;Estate topos&rdquo; appears in the &ldquo;Roman-Prince&rdquo; as the topos of the Russian religious revolution in a number of local variations. The ideological and artistic circulation between its three loci unites the Western European castle, reminiscent of the educationist roots of the Russian &ldquo;estate culture&rdquo; with its ideal of a free personality, a noble estate of the Golden age, which brings Russia&rsquo;s first apostles of religious revolution, and eclectic intelligent-landowner estate of the Silver age, the inhabitants of shich are under the evil power of the Antichrist of the revolution, genetically ascending to Stavrogin of the novel &ldquo;Demons&rdquo; by F.&nbsp;M.&nbsp;Dostoevsky. At the same time, they maintain the ability to break the fatal circle outlined by Smentsev thanks to the heterotopic connection with the other two estate projections presented in the novel. So, the scientific novelty of the article is that: here, in the material of the Gippius&rsquo;s novel is identified and discussed an important modification of the &ldquo;estate topos&rdquo; in the literature of Russian symbolism&nbsp;&mdash; a landowner&rsquo;s rural estate as a topos of the religious revolution, and for understanding of its structure a new category&nbsp;&mdash; &ldquo;heterotopia of the estate&rdquo;&nbsp;&mdash; is used.</p>

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

scholarly journals POETICS OF CYCLIZATION IN THE PROSE OF YURIY BUYDA

2020 ◽  
Vol 12 (2) ◽  
pp. 72-80
Author(s):  
Marina P. Abasheva ◽  
◽  
Mariya V. Kurilenko ◽  
◽  
Keyword(s):  
Short Story ◽  
Social Communication ◽  
Russian Literature ◽  
General Interest ◽  
The Novel ◽  
Text Generation ◽  
Semiotic Analysis ◽  
Literary Forms ◽  
The Social ◽  
The One

The article studies the poetics of the contemporary writer Yuriy Buyda in the context of the contemporary Russian short story. The analysis of historically specific forms of Buyda’s cyclization is considered as part of the general tasks of historical poetics in studying the evolution of literary forms. Structural and semiotic analysis of the writer’s works reveals that his prose forms peculiar cycles-clusters, ‘archipelagos’, where a cycle of stories appears to be related to novels. This connection is primarily determined by the setting, but also by recurring heroes and a specific – cumulative rather than cyclical – plot that traces its origin to myth. Through the example of one such cluster of texts – the cycles Zhungli, Gates of Zhungli (Vrata Zhungley) (2011), Lions and Lilies (L’vy i Lilii) (2013), the novel Blue Blood (Sinyaya krov’) and related works – the paper investigates the nature and logic of the depicted world, the mechanisms of its intra-textual connections, as well as the genesis due to both the nature of the author’s artistic thinking and the social, historical and literary, biographical context. Thus, we can observe a tendency of transcending the genre boundaries of a story or novel in favor of hypertext rhizomatic formations – based on mythologizing strategies. These features correlate with the general interest of contemporary Russian literature in collections of short stories, on the one hand, and the contemporary novel’s leaning to disintegration of a single narrative and fragmentation, on the other. It is possible that the tendencies toward hypertext strategies for text generation are determined by the general properties of modern thinking and social communication since today the social morphology of society is built in the form of networks.

scholarly journals Afanasy Fet’s essays “From the Village” and Pavel Medvedev’s article “Dreams and Reality”: to the history of polemics

Litera ◽  
2020 ◽  
pp. 8-17
Author(s):  
Ekaterina Viktorovna Tselikova
Keyword(s):  
Russian Literature ◽  
Art And Science ◽  
Science And Art ◽  
History Of ◽  
Democratic School ◽  
The Right ◽  
Xix Century ◽  
The Village

This article meticulously analyzes the views of the representative of aesthetic school and school of democratic poetry of the Russian literature of the XIX century upon the designation of art and science. The essays &ldquo;From the Village&rdquo; by A. A. Fet, which depict the poet&rsquo;s outlook upon the role and tasks of poetry, science, and art as a whole, serve as the materials for this research. Opinion of the opponents from democratic school is demonstrated on the example of the article &ldquo;Dreams and Reality&rdquo; by the author of the satirical magazine &ldquo;Iskra&rdquo; Pavel Medvedev. The article examines polemical dialogue between the two schools, analyzes and compares the arguments provided by its representatives. The article describes various mechanisms that allow using aesthetic beliefs as the foundation for creating a parodistically distorted personality and as a method for exposing the true views. The cycle by P. A. Medvedev &ldquo;Dreams and Reality&rdquo;, which combines the attributes of satirical parody and satire itself, was created as an instrument that is able to discredit publicizing of A. A. Fet in his essays &ldquo;From the Village&rdquo;, and thus unveil not only his aesthetic, but also sociopolitical position, ideology of the right-winger and advocate of serfdom. The parodist was trying to achieve such effect solely through interpretation and commenting of the statements of A. A. Fet himself.

scholarly journals The semantics of Lermontov's poetic myth of the Demon N. S. Leskov’s “The Islanders”

Litera ◽  
2021 ◽  
pp. 1-9
Author(s):  
Vurgun Georgievich Mekhtiev
Keyword(s):  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Semantic Transparency ◽  
Special Contribution ◽  
Romantic Poetry ◽  
The Subject ◽  
Literary Myth ◽  
The Demonic

The subject of this research is the negative-axiological, satirical layers of the novel &ldquo;The Islanders&rdquo;, associated with the image of the demonic character, which M. Y. Lermontov turned into the archetype and poetic myth in the Russian literature. The object of this research is the stylistic techniques and ideological motifs of N. S. Leskov underlying &ldquo;desacralization&rdquo; of the romantic myth. The author meticulously examines the following aspects: 1) role of Lermontov's poem &ldquo;The Demon&rdquo; and romantic poetry of the 1840s in creation of the myth of the demonic character; 2) semantic deformations that led Leskov to wander from the conventional meanings of the myth ; 3) satirical modus used as the key technique in creation of the the image of Istomin. Particular attention is given to Leskov&rsquo;s satire in its function of &ldquo;recoding&rdquo; of the myth. The conclusion is made that the image of the painter Istomin is appointed with the task to dispel the romantic myth. Therefore, the axiological-emotional lexis, as well as elements of satire that reflect the point of view of the &ldquo;subjective&rdquo; narrative are arrayed around him. All of that imparts semantic transparency to the character, which contradicts the &ldquo;mysterious code&rdquo; of the myth of romanticism. The author&rsquo;s special contribution consists in the establishment of correlation between the myth of about the demon and the myth of Prometheus, which is important for assessing the complexity and multifacetedness of the semantic core of the phenomenon under review. The novelty of this research lies in revelation of underlying motif of the satirical style of N. S. Leskov. Its point is not to create a &ldquo;myth about the myth&rdquo; or an &ldquo;anti-myth&rdquo;; the novel forms the &ldquo;non-myth&rdquo; to achieve complete elimination of the literary myth of the demonic character. The writer uses satire for typification, rather than individualization of the character.

scholarly journals OUT OF TIME CHARACTERS IN LITERARY WORKS OF 1859: “FAMILY HAPPINESS” BY LEV TOLSTOY, “OBLOMOV” BY IVAN GONCHAROV, “A HOUSE OF GENTLEFOLK” BY IVAN TURGENEV

2020 ◽  
Vol 30 (5) ◽  
pp. 859-869
Author(s):  
G.M. Rebel
Keyword(s):  
Large Scale ◽  
Historical Context ◽  
Private Life ◽  
Point Of View ◽  
The Novel ◽  
Literary Process ◽  
Historical Specificity ◽  
The Subject ◽  
Lev Tolstoy ◽  
Xix Century

The article is a comparative structural, thematic and genre analysis of the works by Lev Tolstoy, Ivan Turgenev and Ivan Goncharov. The study had the following objectives: to give the genre definitions of “Family Happiness”, “Oblomov” and “A House of Gentlefolk” on the basis of structural, ideological and thematic features of the works; to compare the novels of Turgenev and Goncharov as different genre modifications; to justify the ideological character of the novel “A House of Gentlefolk”; to analyze the ideological controversy of the characters of Turgenev’s novel. As a result, the following conclusions were made. Tolstoy's “Family Happiness:, which is traditionally identified as a novel, in this case should be qualified as a novella: it has the predominant point of view which belongs to the narrator; the subject of the description are the episodes of private life presented outside of the socio-historical context of the era. Goncharov's “Oblomov” and Turgenev's “A House of Gentlefolk” present a multi-faceted, epically voluminous, large-scale picture of reality in two fundamentally different versions of the genre novel modifications. Despite the fact that in both novels the main characters are out of time, both works recreate the pre-reform atmosphere of the late 1850s, but perform it in fundamentally different ways. A mythologically-generalized, elegiac image of the past serfdom of Russia is presented in “Oblomov”. In “A House of Gentlefolk” the socio-historical specificity appears in close connection with real historical events, the lyrical beginning is organically combined with the polemical acuteness of the problem. The plot and the destinies of the characters in Turgenev's novel are determined by the ideological controversy, in which not only the main but also the secondary characters are subjectively or objectively involved, which ultimately determines the ideological character of the work. The proposed genre differentiation of the works of the three leading writers of the era allows us to give a dynamic cross-section of the literary process of the second half of the XIX century in the defining 1859 year of this period.

The Short Story in America

2017 ◽  
Author(s):  
Laurie Champion
Keyword(s):  
Short Stories ◽  
Civil Rights ◽  
20Th Century ◽  
Short Story ◽  
Short Fiction ◽  
Point Of View ◽  
The Novel ◽  
Literary Genres ◽  
Early 21St Century ◽  
Technological Advances

The short story is the only genre that can be considered uniquely American. The genre began as sketches, or tales, as in the classic tale “Rip Van Winkle.” The genre remained undefined until Edgar Allan Poe’s well-known 1842 review of Nathaniel Hawthorne’s Twice-Told Tales. Since Poe’s review, in which he distinguished short fiction from other genres, the American short story has evolved both in form and in content. Like other genres, the short story has evolved through various movements and traditions such as realism, modernism, and postmodernism; however, it has remained unique because of publishing opportunities that differ from longer works such as the novel. The short story genre shares elements of fiction with the novel, traditionally consisting of characteristics such as plot, character, setting, point of view, theme, and writing style. Although the short story shares elements of literature and writing devices with other literary genres, avenues for publication differ greatly. Unlike a novel, a short story is not published as a single entity. It is usually presented with works by other authors in a journal or magazine or in a collection of previously published stories by one author. The rise in popular magazines during the 1920s gave rise to the short story, as the magazines provided a publication outlet. During the second half of the 20th century the short story became less commercial and more literary, paving the way for artistic stories such as one appropriately called “The New Yorker Story.” However, as it became less commercial, the short story fell from popularity and became somewhat obscure in the manner in which poetry remains. Because short stories do not sell, publishers are hesitant to produce them. But during the 1970s, American universities began teaching creative writing classes, and the short story provided a suitable genre for teaching the art of fiction writing. Hence, the American short story experienced a renaissance, and a wave of literary journals emerged. About this time, minimalism was one of the styles most often used in the short story. Raymond Carver built on what Ernest Hemingway had started in America, and the short story took on a new form. During the latter half of the 20th century and early 21st century, women and ethnic writers were given more opportunities to publish short fiction, and the short story reflected progress in civil rights issues. Currently, the rise in technological advances has brought even more opportunities for publication, and more and more American authors are publishing short stories online, now a respected publication venue.

F.M. DOSTOEVSKY’S AND L.N. TOLSTOY’S LITERARY DEVICES IN THE WORKS BY MARK ALDANOV

2019 ◽  
pp. 13-31
Author(s):  
Vladimir Shadursky
Keyword(s):  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Classical Literature ◽  
Ordinary People ◽  
Xixth Century ◽  
Literary Devices

The article is devoted to the analysis of the literary devices used by F.M. Dostoevsky and L.N. Tolstoy in the works of Mark Aldanov in the context of I.A. Bunin’s influence. Aldanov appealed to some Dostoevsky’s ideas; however, he used elements of Dostoevsky’s poetics in his novels. For the analysis of Dostoevsky’s literary devices, the article studies the essay «The Murder of Uritsky», the novels «The Key», «The Beginning of the End», and «Origins». The tradition of Dostoevsky is traced in the essays with a plot about the murder, in the construction used in the dialogues of heroes-resonators in the novels. The article has discovered devices that bring Aldanov’s style closer to Tolstoy’s one in the novels «The Beginning of the End», «Live as You Please», «Origins», «Suicide». The devices include analytical psychologism, individualization of a character by the use of metaphor or metonymy, a personal’s history. Aldanov follows Tolstoy’s narrative manner in demonstrating panoramic thinking, giving images of ordinary people along with images of historical personalities. In most Aldanov’s novels, the attitude towards Dostoevsky, like the attitude towards Tolstoy, is conveyed through a character’s point of view. The novel «Live as you Please» demonstrates interaction of the devices applied by Dostoevsky and Tolstoy. Aldanov realized his place in the tradition of Russian classical literature, argued with the classics of Russian literature if they were not convincing in their ideas or aesthetic devices. The use of the devices of Russian classics is associated with Aldanov’s conservative worldview and orientation toward the moral and aesthetic heritage of the Russian literature of the XIXth century. Aldanov was able to overcome the distance between the style and worldviews of Tolstoy and Dostoevsky.

De mulheres e casas: O espaço romanesco e patriarcal em Rachel de Queiroz

2021 ◽  
Author(s):  
Wilma dos Santos Coqueiro
Keyword(s):  
Cultural Anthropology ◽  
Point Of View ◽  
The Novel ◽  
Social Critic ◽  
Female Protagonists ◽  
Patriarchal Society ◽  
Symbolic Value ◽  
First Moment ◽  
Xix Century ◽  
The Relationship

This books, oriented towards a social critic perspective, analyses two novels by Rachel de Queiroz – Dôra, Doralina e Memorial de Maria Moura – in which the relationship between the female protagonists within the space is loaded with a symbolic value – land and house – which reveals and interprets women paradoxical evolution in patriarchal society rooted vigorously in the rural Brazil, mainly in the northeast of part of the country. In a first moment, it aimed to draw considerations in relation to the function of space in the novel both in the point of view of relevant analysis of Literary Theory as well as analysis yielded from Sociology and Cultural Anthropology. In a second moment, it aimed to characterize the rural patriarchal society in Brazil during the first half of XIX and XX century, showing land and house’s symbolical importance in this society as well as women’s relationship with those spaces. In a third moment, the novel Memorial de Maria Moura, in which the XIX century patriarchal society is reported, the relationship between the female protagonist and the spaces encompassing the land and house. And, last of all, it aimed to compare the aforementioned novel with Dôra, Doralina, in which the action unfolds in the same space, cearense and rural, one century later, in the first half of XX century, in order to verify a possible women evolution and their relationship in relation to those spaces. Rachel de Queiroz, in her novels here in analyzed, discusses the problematic of female protagonists confronting a patriarchal world, showing the female evolution, in this type of society, was slow, gradual and contradictory, seeming at many times even impossible to occur.

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