In Defense of the Homeless: On the Uses of History and the Role of Bezdomnyi in The Master and Margarita

1989 ◽  
Vol 48 (1) ◽  
pp. 45 ◽  
Author(s):  
Laura D. Weeks
2021 ◽  
Vol 26 (4) ◽  
pp. 761-770
Author(s):  
Li Fei ◽  
Maria S. Rudenko

The concept of peace entered into Russian culture from the Bible and became its important spiritual tradition. With the development of secular literature, peace has gradually come out of the sacred field and become the significant aesthetic concept rich in connotation. In their works, Pasternak and Bulgakov reflect on the peace in the field of existence and art, especially the ontological value of family and love, thoughts about history, death and creativity. The concept of memory plays an important role in the artistic world of the two writers. Bulgakovs and Pasternaks books are testimony to rebirth and immortality, which is the way they participate in the sacred cause. The paper analyzes the place and role of the motive of peace in the novels of B. Pasternak Doctor Zhivago and M. Bulgakov The Master and Margarita in their similarities and differences. In this regard, the images of the house, music, creativity as the focus of the artists world are compared, the typological related figures of the beloved muse and the savior are considered, the specificity of the disclosure of the theme of immortality in creativity is noted.


Slavic Review ◽  
1977 ◽  
Vol 36 (1) ◽  
pp. 1-24 ◽  
Author(s):  
Richard W. F. Pope

Perhaps the most mysterious and elusive figure in Bulgakov's The Master and Margarita is Afranius, a man who has been in Judea for fifteen years working in the Roman imperial service as chief of the procurator of Judea's secret police. He is present in all four Judean chapters of the novel (chapters 2, 16, 25, 26) as one of the myriad connecting links, though we really do not know who he is for certain until near the end of the third of these chapters, “How the Procurator Tried to Save Judas of Karioth.” We first meet him in chapter 2 (which is related by Woland and entitled “Pontius Pilate”) simply as “some man” (kakoi-to chelovek), face half-covered by a hood, in a darkened room in the palace of Herod the Great, having a brief whispered conversation with Pilate, who has just finished his fateful talk with Caiaphas (E, p. 39; R, pp. 50-51). Fourteen chapters later, in the chapter dreamed by Ivan Bezdomnyi and entitled “The Execution” (chapter 16), we meet him for the second time, now bringing up the rear of the convoy escorting the prisoners to Golgotha and identified only as “that same hooded man with whom Pilate had briefly conferred in a darkened room of the palace” (E, p. 170; R, p. 218). “The hooded man” attends the entire execution sitting in calm immobility on a three-legged stool, “occasionally out of boredom poking the sand with a stick” (E, p. 172; R, p. 220). When the Tribune of the Cohort arrives, presumably bearing Pilate's orders to terminate the execution, he (the Tribune) speaks first to Krysoboi (Muribellum), who goes to pass on the orders to the executioners, and then to “the man on the three-legged stool,” according to whose gestures the executioners arouse Yeshua from his stupor, offer him a drink which he avidly accepts, and then kill him by piercing him “gently” (tikhon'ko) through his heart with a spear.


2014 ◽  
Vol 30 (2) ◽  
pp. 175-182 ◽  
Author(s):  
Liliane Campos

In this article Liliane Campos links Complicite's Master and Margarita (2011) to the company's previous productions, from The Street of Crocodiles (1992) to Shun-Kin (2008). She develops a close analysis of The Master and Margarita as it was staged at the Avignon Festival in July 2012, arguing that the company's aesthetic is characterized by a tension between narrative fragmentation and visual connections. While Complicite's shows overflow with postmodernist multiplicity and division, the urge to connect these ‘shards of stories’ is a driving force in Simon McBurney's artistic direction. This dynamic is explored here both on a semantic level, as a consequence of Complicite's physical language, and on a narrative level, through the use of framing and frame-breaking devices. The article highlights the company's recurrent themes and the defining traits of its performance style. Liliane Campos is a Lecturer in English and Theatre studies at the Sorbonne Nouvelle University in Paris. She has published various articles on British drama and performance, and two books about the role of science in contemporary writing and devising for the theatre.


2020 ◽  
Vol 65 (4) ◽  
pp. 585-606
Author(s):  
Dmitry Vladislavovich Bosnak

Summary The conventional reading of the “ancient” chapters of Bulgakov’s The Master and Margarita attributes the role of an active moral subject to Pilate and a largely passive role to Ieshua. Proceeding from this assumption, the encounter between these characters is interpreted as an ethical event, in which Pilate is supposed to make decisions based entirely on his own will. This paper challenges this reading by arguing that Ieshua, generally considered the epitome of love, is the actual source of the events in which Pilate is involved. This idea is demonstrated by a comparison with the early Christian experience that views divine love as prior to power and intellect. The analysis traces Pilate’s inner transformation caused by the impact of proactive love and of the actual person of Ieshua, rather than his ideas, which clarifies the meaning of the encounter of these protagonists in Bulgakov’s novel.


1976 ◽  
Vol 35 (3) ◽  
pp. 362
Author(s):  
Edythe C. Haber ◽  
Elena N. Mahlow ◽  
Bulgakov

2017 ◽  
pp. 283-297
Author(s):  
Anna Maria Skibska

In the essay, I make an attempt to present several ways, in which the Western canon of literature, music, and cinema has influenced Noc Walpurgi. With regard to this, Marcin Bortkiewicz’s film turns out to be a work made of many citations, in Walter Benjamin’s terms, drawn extensively on Goethe’s Faust, Mann’s The Magic Mountain, Bulgakov’s The Master and Margarita, Wagner’s Ride of the Valkyries, and Puccini’s Turandot, and the film noir poetics elaborated in the 40s and 50s of the twentieth century. Based on Magdalena Gauer’s monodrama Diva, Noc Walpurgi illuminates in the highly expressionist manner an alienated, cynical, and despotic psyche of Nora Sadler, a great opera singer, who is tormented by the Holocaust past.


Author(s):  
E.A. Ivanshina

The article deals with the meaning of intertextual reading of "The Master and Margarita". The text of the novel is considered as a model of counterculture, from the standpoint of which the author chooses those literary codes from which his own model of literary behavior is built. These dominant codes are manifested in the course of decoding as a result of correlation of intertextual borrowings. This takes into account not only external borrowings, but also the relationship within the novel and the relationship of the novel with other Bulgakov’s texts. Special attention is paid to such signs of borrowing as a suit and money. As the keys to the novel, "The Inspector General", "The Covetous Knight" and "The Count of Monte Cristo" are updated, and the novel itself represents the act of retaliation of the author and the implementation of his inner freedom. Besides, the novel affirms the priority of genuine art over reality.


Author(s):  
E.A. Ivanshina ◽  
V.V. Zyatkova

The article deals with the semantic field of the theater in "The master and Margarita", which extends to all novel chronotopes and can be structured as a two-level one. Considering different cases of theatricalization of space and different signs of theatricality in the novel, the authors correlate the real theater (theatre as a historical reality ) and the literary theater (the art of acting ) and actualize the confrontation of literature and historical reality in "The Master and Margarita". The text of the novel is considered as a model of counterculture, from the standpoint of which the author chooses those literary codes from which his own model of theatrical behavior is built. At the same time, special attention is paid to the actualization of the metaphor "theater - court" and the semantics of exposure, and the novel itself is an act of vengeance of the author and the implementation of his inner freedom. As an example of such an artistic concept of the relationship between art and life, the film "Once upon a time... in Hollywood" by Tarantino is considered.


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