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”.

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.

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.

Illicit Ecologies: Queer Animacy and Epistemological Erasure in History of Wolves

Meliora ◽  
2022 ◽  
Vol 1 (2) ◽  
Author(s):  
Esther Goldberg
Keyword(s):  
Scientific Knowledge ◽  
Knowledge Production ◽  
Life Forms ◽  
The Novel ◽  
Christian Science ◽  
Scientific Knowledge Production ◽  
History Of

This thesis attends to the slippages between life and nonlife in Emily Fridlunds 2017 novel History of Wolves. It traces the matter that is granted life or animacy, as well as the matter that is devitalized. Through the protagonist, Linda, the novel investigates the role of both scientific knowledge production and Christian Science in placing arbitrary biological limits on life forms, making some visible and others unseeable and unsayable. The thesis fleshes out the characters’ climate denial as yet another erasure of the animate agents. Ultimately, the thesis asks: if we can expand what is worthy of life, can we, in turn, expand what agents, actors, and matters are deserving of care?  

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>

scholarly journals Błogosławiony widok i architektura pustelni. Stefana Żeromskiego epizod z dziejów szlaku na Kalatówki

2019 ◽  
Vol 12 ◽  
pp. 277-286
Author(s):  
Małgorzata Łoboz
Keyword(s):  
Active Part ◽  
The Novel ◽  
Spiritual Renewal ◽  
Social Activist ◽  
Mountain Landscape ◽  
The Status ◽  
History Of ◽  
Evolutionary Continuity

A blessed sight and architecture of a hermitage: Stefan Żeromski’s episode from the history of the Kalatówki trailThe article seeks to interpret the motif of Brother Albert Chmielowski participant in the January Uprising, social activist as well as a Young Poland painter in Stefan Żeromski’s 1913 novel Nawracanie Judasza Converting Judas and to answer the question about the role of the Albertine hermitage on Kalatówki. The Albertine congregation played an active part in the development of infrastructure in Zakopane, with the brothers working, for example, on the construction of the most popular tourist trail in the Tatras — to Giewont — an important thread in Żeromski’s novel. Żeromski sees Brother Albert not only as a spiritual idealist and social activist, but also a fine artist creating works typical of modernism painting in the altar in the Kalatówki chapel featuring the crucifix with the suffering Christ. The crucial motif of “converting Judas” lies in the enhancement of the status of landscape, an example of Żeromski’s typical lyricisation of descriptions of nature. For the author of Converting Judas, the subjectification of landscape as well as numerous metaphorised images of nature are used mostly as means to illustrate the protagonist’s inner landscape. The dominant myth in the novel — of eternal creative nature: changeable but personifying the evolutionary continuity of life — is an optimistically soothing answer to decadent dilemmas. In the mountain landscape, surrounded by nature and accompanied by a friar, the protagonist experiences a real katharsis. The “blessed sight” generates strength needed for the construction of the trail and personal spiritual renewal.

The Arabic Novel and History

2017 ◽  
Author(s):  
Roger Allen
Keyword(s):  
Literary History ◽  
Historical Novel ◽  
Arabic Literature ◽  
The Novel ◽  
History Of The Novel ◽  
Literary Genres ◽  
History Of ◽  
Arabic Speaking ◽  
The Relationship

This chapter examines the relationship between the Arabic novel and history within the context of the Arabic-speaking world, and in particular the process of producing a literary history of the novel genre written in Arabic. It first considers the early development of the novel genre in Arabic as part of a cultural movement that gained impetus in the nineteenth century, with particular emphasis on the interplay of two cultural forces: the importation of Western ideas (including literary genres) and the role of the premodern Arab-Islamic cultural heritage in each subregion. It then discusses examples of narrative from the premodern heritage of Arabic literature before turning to the history of the Arabic novel. The chapter also presents examples of the Arabic historical novel, one of which is Sālim Ḥimmīsh’s Al-‘Allāma (2001, The Polymath).

The Silent Side of Polyphony: On the Disappearances of “Silentium!” from the Draft s of Dostoevskii and Bakhtin

Slavic Review ◽  
2016 ◽  
Vol 75 (3) ◽  
pp. 678-701
Author(s):  
Jason Cieply
Keyword(s):  
The Other ◽  
The Novel ◽  
Negative Theology ◽  
History Of The Novel ◽  
Gradual Development ◽  
History Of ◽  
Brothers Karamazov ◽  
Shed Light

In drafts, correspondence, and diaries from the mid-1870s, Fedor Dostoevskii makes repeated allusions to Fedor Tiutchev’s paradoxical articulation of the inefficacy of the word in “Silentium!” but removes them from the printed versions of his texts. The only exception is Brothers Karamazov, where Dmitrii reproduces garbled fragments of the poem under interrogation and in commenting on Ivan’s silence-like speech. I use these “traces” of “Silentium!” to shed light on Dostoevskii’s conscious experimentation with authorial silence in novels conventionally understood in terms of the polyphonic proliferation of speech. Beginning with Mikhail Bakhtin’s own allusion to “Silentium!” in the unpublished Author and Hero in Aesthetic Activity, the theorist came to emphasize the role of silence in polyphony. Drawing on Jacques Derrida’s acknowledgement of the affinity between negative theology and the negative path to affirmation taken in deconstruction, I show how Bakhtin comes to conceive of the history of the novel as the gradual development of apophatic strategies for approximating the unspoken interior world of the other in writing.

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