Reception of Dostoevsky’s Artistic Heritage in the Works of Italian Writers at the Turn of the 19th–20th Centuries

2021 ◽  
pp. 233-255
Author(s):  
Irina V. Dergacheva ◽  
Keyword(s):  
Literary Criticism ◽  
Gabriele D'annunzio ◽  
Italian Culture ◽  
Grazia Deledda ◽  
Artistic Heritage ◽  
Reading Circle

At present, there is no doubt about the recognition and high assessment of the artistic, journalistic and epistolary heritage of F.M. Dostoevsky in Italian culture and literary criticism. S. Aloe described in detail the difficult process of acquaintance of Italian Slavists and writers with the work of Dostoevsky, complicated for a number of years by the lack of translations of his works into Italian — readers could only get acquainted with French translations of his texts [Aloe]. The readers’ notes in the Viesse Cabinet in Florence, which allowed researchers to get acquainted with the writer’s reading circle, after 1881, the year of the writer’s death, showed the growing interest of Italian readers and foreign travelers to the works of Dostoevsky. The article analyzes the reception of the ideological and artistic heritage of F.M. Dostoevsky in the works of Italian writers, representatives of the verist movement, Gabriele D’Annunzio, Luigi Capuana and Grazia Deledda, at the turn of the 19th and 20th centuries.

scholarly journals STYLISTIC DOMINANTS OF OKSANA KERCH’S NOVEL «NARECHENY»

2020 ◽  
pp. 89-92
Author(s):  
I. PRIYMAK ◽  
Keyword(s):  
National Identity ◽  
Literary Criticism ◽  
Interwar Period ◽  
Native People ◽  
The Novel ◽  
National Liberation Movement ◽  
Literary Process ◽  
Long Time ◽  
Artistic Heritage ◽  
Comprehensive Study

The article examines the work of Oksana Kerch – a representative of the literary process of the interwar period in Halychyna. Her work is considered in relation to the general artistic trends of the day, in particular in terms of stylistic features of the writer’s prose. For a long time, her work, removed from the cultural process, was on the margins of literary criticism. Although Oksana Kerch’s prose is unknown to the general public, her artistic heritage is original and distinctive. At one time, the writer’s works were published on the pages of well-known periodicals, such as “Women’s Fate”, “Nova hata”, “Ukrainian News”, and were published in separate prints. The return of the artistic figure of Oksana Kerch to the all-Ukrainian literary process necessitated a comprehensive study of her creative heritage. In particular, it is important to consider the genre and style specifics of the writer’s novels. The novel “The Groom” is bright and original in the writer’s artistic work. In this novel the author recreates the dramatic events of the interwar decades in Halychyna. A notable feature of the work is autobiography – the writer herself witnessed those turbulent events of the struggle of Ukrainian patriotic youth for their national identity. The novel consists of twenty-one stories. The four main characters take turns telling about the life of military and interwar Lviv and its inhabitants. On the printed pages, the author created a unique figurative world that reflected the conflicts of the era. In the novel, Oksana Kerch recreates the environment in which the ideas of the national liberation movement are born, and through the perception of her own national identity, she models neo-romantic ideals on her way to serve the native people. The neo-romantic concept is vividly embodied in the pages of the work. Here the author continues the tradition that has developed in Ukrainian neo-romanticism – the dominance of the theme of Ukraine, the struggle for its independence.

scholarly journals Peculiarities of artistic thinking of Mehmet Nuzhet

2020 ◽  
pp. 51-59
Author(s):  
Tair Nuridinovich Kirimov
Keyword(s):  
Literary Criticism ◽  
Textual Analysis ◽  
Theoretical Framework ◽  
Psychological Type ◽  
Psychological State ◽  
National Spirit ◽  
Artistic Heritage ◽  
Crimean Tatar ◽  
Direct Reflection

The goal of this work is determine the peculiarities and origins of artistic thinking of the Crimean Tatar writer of the XX century Mehmet Nuzhet. The methodological and theoretical framework of this research is comprised of the works of U. Ipchi, E. Shemizade, J. Bekirov, A. Altanly, I. Kerimov, Y. Kandymov and others. The aforementioned authors made an indisputable contribution to the development of Crimean Tatar literature and literary criticism. The artistic heritage of M. Nuzhet is diverse and unique. His poetic, prosaic and translation works are fused with national spirit. The actions and feelings of the protagonists of the artist’s lyrical works are a direct reflection of his psychological state. This article pays special attention to the psychological type of the lyricist. Using comparative, textual analysis, the author examines the published and original handwritten texts by M. Nuzhet. The conclusion is made that the writer systematically worked on the study of the depth feelings, emotions and ways their expression. The application of traditional folk poetic forms, genres, images allows creating the new patterns of influence upon the audience. Conveying the eternal anthropological topics, he transforms into a wise folk storyteller and preacher. For depicting the life realities, he disguises an old poor man or a street drunkard. Poetic alliterations and assonances enliven these images. In the process of declamation of such poems, the audience is captivated by the text and uses various mimic emotions intended by the context.

scholarly journals Ethnocultural code in the Crimean Tatar literary criticism (on the example of Shakir Selim’s literary-criticism article by “About Shamil Alyadin, Charyks and a Pocket Knife”)

Litera ◽  
2021 ◽  
pp. 104-117
Author(s):  
Mukhamed-Ali Usmanovich Sulaimanov
Keyword(s):  
Literary Criticism ◽  
Critical Analysis ◽  
Methodological Pluralism ◽  
Basic Principles ◽  
Artistic Heritage ◽  
Crimean Tatar

  Based on the analysis of causality and reasonableness of arguments of such literary scholars as Shakir Selim and Shamil Alyadin, this article attempt to determine the ethnocultural code of the Crimean Tatar literary criticism. The author applies the approach of methodological pluralism, as well as hermeneutical, logical, historical-genetic, comparative-typological, phenomenological, and psychological methods. This allows considering various perspectives of the aforementioned literary scholars upon the variants of critical analysis of the artistic heritage of the classic of Crimean Tatar literature Memet Nuzet. The article outlines the basic principles of literary criticism, declared by Shakir Selim and Shamil Alyadin, as well as their dependence on the ethnocultural code of the Crimean Tatars. The scientific novelty of this research consists in the attempt of carrying out a comprehensive hermeneutical analysis of Shakir Selim’s literary-criticism work “About Shamil Alyadin, Charyks and the Pocket Knife” through the prism of methodological pluralism in the aspect of ethnocultural code. The author’s main contribution consists in the reflection of the “clash of opinions” of three literary critics – this is the critical article by Shakir Selim, based on the response of Pirae Kadri-Zade, written to Shamil Alyadin’s criticism essay on the poem composed by the classic of the Crimean Tatar literature Memet Nuzet.  

scholarly journals RUSSIAN LITERARY CRITICISM FROM 1941 TO 1945 WITHIN THE CONTEXT OF CONCEPT OF “PURE ART”

2021 ◽  
Vol 31 (2) ◽  
pp. 335-341
Author(s):  
T.V. Danilovich
Keyword(s):  
Literary Criticism ◽  
Creative Activity ◽  
Russian Culture ◽  
Great Patriotic War ◽  
Russian Literary ◽  
The Aesthetic ◽  
Art For Art's Sake ◽  
Artistic Heritage

The aesthetic views of representatives of Soviet literary criticism during the Great patriotic war, in relation to the orientation of the supporters of the concept of pure art, are discussed in the article. In this aspect both dominant and not so widely spread tendencies in criticism of the designated period are being comprehended. The character of reception of artistic heritage, which belongs to the supporters of the concept of pure art in the Russian culture of 19 century, in the criticism from 1941 to 1945 is being identified. Despite the prevalence of categorical statements which consider the concept of “art for art’s sake” as a vector of creative activity to be absolutely unacceptable for a Soviet writer and statements in defense of utilitarian attitudes, it is being proved that a number of principles of “art for art’s sake” are still being mainstreamed by the critics of the period of war. This, however, is being carried out without reference to this concept or to the judgments of its authoritative spokesmen.

scholarly journals Images of Italy in the Artistic Heritage of Dostoevsky

2019 ◽  
Vol 6 (4) ◽  
pp. 16-23 ◽  
Author(s):  
I.V. Dergacheva
Keyword(s):  
Italian Text ◽  
Literary Texts ◽  
Objective Reality ◽  
Works Of Art ◽  
The World ◽  
Italian Culture ◽  
Artistic Heritage ◽  
Subjective Representation

The article presents This article is aimed at expanding modern ideas about the locus typology of hypertexts by introducing the concept of the Italian text F.M. Dostoevsky. It clarifies the value content of a regionally determined picture of the world of the writer, reveals the subjective representation of F.M. Dostoevsky about genius loci of Italian cities. The "Italian text" is analyzed in the discourse of the writer, it is shown how objective reality is interpreted in the literary texts of Dostoevsky. The article analyzes the themes of local microtexts of Italian subjects introduced into Dostoevsky's works of art and presents a complex of intertextual correlation of them with texts of Italian culture.

IMMIGRATION PROBLEMATICS IN THE NARRATIVE DISCOURSE OF JOSEF IGNACY KRASZEWSKI

2019 ◽  
pp. 56-61
Author(s):  
Svitlana Baidatska
Keyword(s):  
Literary Criticism ◽  
Large Scale ◽  
Narrative Discourse ◽  
Creative Work ◽  
The Novel ◽  
Political Issues ◽  
Intricate Mechanism ◽  
Intellectual Leader ◽  
High Degree ◽  
Artistic Heritage

The article devotes to the immigration problematics in the creative work of Józef Ignacy Kraszewski – the leading spiritual and intellectual leader of Polish immigration after the January uprising. The contribution of a writer to the development of the cultural life of the Polish immigration of the 19-th century in the field of fiction, literary criticism, journalism, publishing and public activities were characterized as the theme of the January uprising determined the direction and problematics of the journalistic and public activities of the writer of the Dresden period of life and work. Peculiarities of creative rethinking of consequences of the Polish Insurrection of 1863 in the large-scale artistic heritage of Josef Ignacy Kraszewski, in particular, in the cycle of novels on political issues that were published under the pseudonym Bogdan Boleslavit “The Child of the Old City” (1863), “We and They” (1865), “Moscal” (1865), “The Jew” (1866), “Travelers “(1968-1970),” In a Strange Land “(1871). In the Dresden period the creativity of Josef Ignacy Kraszewski acquired new features – profound analytic and critical judiciousness of judgements. It should be noted the richness of the problematics and genre variety of the creative work of Kraszewski in this period. The novel “In a Strange Land” contains abundance of social realities, emotional images of conflicts and characters of the work. The narrative strategy of the novel is determined by the emotionality, sensuality and high degree of the presence of the narrator in the work through the indirect representation of his personal feelings, ideas and the declaration of a personal social position On the material of the novel “In a Strange Land” the motive of expulsion, martyrdom, involuntary journey, travel-escape is analyzed both in the literature of the mentioned period and in the narrative discourse of Josef Ignacy Kraszewski. The writer demonstrates the intersection of Polish and foreign culture from his own position of emigrant. The article analyzes the intricate mechanism of saving national identity in such political situation after January uprising

Literature in Our Time, or, Loving Literature to Bits

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 232-269 ◽  
Author(s):  
Ivan Callus
Keyword(s):  
Literary Criticism ◽  
Jacques Derrida ◽  
Anthony Trollope ◽  
Don Quixote ◽  
Time Machine ◽  
Paul Auster ◽  
Anne Michaels

In this essay Ivan Callus provides some reflections on literature in the present. He considers the tenability of the post-literary label and looks at works that might be posited as having some degree of countertextual affinity. The essay, while not setting itself up as a creative piece, deliberately structures itself unconventionally. It frames its argument within twenty-one sections that are self-contained but that also echo each other in their attempt to develop an overarching argument which draws out some of the challenges that lie before the countertextual and the post-literary. Punctuating the essay and contributing to its unconventional take on the practice of literary criticism is a series of exercises for the reader to complete, if so wished; the essay makes no attempt, however, to suggest that a countertextual criticism ought to make a routine of such devices. The separate sections contain reflections on a number of texts and writers, among them, and in order of appearance, Hamlet, Anthony Trollope, Jacques Derrida, The Time Machine, Don Quixote, Mark Z. Danielewski, Mark B. N. Hansen, Gunter Kress, Scott's Reliquiae Trotcosienses, W. B. Yeats, Kate Tempest, David Jones, Anne Michaels, Bernice Eisenstein, Paul Auster, J. M. Coetzee, Billy Collins, Deidre Shauna Lynch, Tim Parks, Tom McCarthy – and Hamlet again. The essay's length fulfils a performative function but also facilitates as extensive a catalogue of aspects of the countertextual in literature and elsewhere as is feasible or as might be dared at this stage.

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