scholarly journals To the question of central conflict in M. Y. Lermontov’s novel “Vadim”

Litera ◽  
2020 ◽  
pp. 1-8
Author(s):  
Valeriia Bugorskaia
Keyword(s):  
Russian Literature ◽  
The Other ◽  
The Novel ◽  
Stepping Stone ◽  
Mikhail Lermontov ◽  
Christian Worldview ◽  
Christian Understanding ◽  
The Common ◽  
The One ◽  
Good And Evil

This article examines the unfinished Mikhail Lermontov’s novel “Vadim”. This oeuvre is one of the signature works of the writer: on the one hand, it recapitulates the earlier period of Lermontov’s works, while on the other – represents a stepping stone, characterized by mastering new genres and reflecting general trends of Russian literature of the beginning of the 1830’s. The goal consists in the analysis of central conflict unfolded between the protagonists Vadim and Olga, which reflects choice of a person between good and evil. The historical-literary and hermeneutic methods are applied in the course of this research. The novelty lies in the author’s suggestion to examine romantic conflicts in the context of Christian worldview. The implications of M. Y. Lermontov’s novel are decoded via attraction of the texts of Holy Scripture, which leads to the conclusion that the beginning of work on the novel “Vadim” coincides with Lermontov’s heightened interest to the problem of good and evil in Christian understanding. Mastering the new prosaic genre, the writer continues to amplify the common to his works theme of interaction of the Divine, angelical, demonic and human beginnings.

Fielding and Richardson

PMLA ◽  
1966 ◽  
Vol 81 (5) ◽  
pp. 381-388
Author(s):  
William Park
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Human Nature ◽  
General Type ◽  
Common Ground ◽  
The Other ◽  
The Novel ◽  
Tom Jones ◽  
The Common ◽  
The One

But the Discovery [of when to laugh and when to cry] was reserved for this Age, and there are two Authors now living in this Metropolis, who have found out the Art, and both brother Biographers, the one of Tom Jones, and the other of Clarissa.author of Charlotte SummersRather than discuss the differences which separate Fielding and Richardson, I propose to survey the common ground which they share with each other and with other novelists of the 1740's and 50's. In other words I am suggesting that these two masters, their contemporaries, and followers have made use of the same materials and that as a result the English novels of the mid-eighteenth century may be regarded as a distinct historic version of a general type of literature. Most readers, it seems to me, do not make this distinction. They either think that the novel is always the same, or they believe that one particular group of novels, such as those written in the early twentieth century, is the form itself. In my opinion, however, we should think of the novel as we do of the drama. No one kind of drama, such as Elizabethan comedy or Restoration comedy, is the drama itself; instead, each is a particular manifestation of the general type. Each kind bears some relationship to the others, but at the same time each has its own identity, which we usually call its conventions. By conventions I mean not only stock characters, situations, and themes, but also notions and assumptions about the novel, human nature, society, and the cosmos itself. If we compare one kind of novel to another without first considering the conventions of each, we are likely to make the same mistake that Thomas Rymer did when he blamed Shakespeare for not conforming to the canons of classical French drama.

The Symbolic Relationship and Christian Truth

1966 ◽  
Vol 2 (1) ◽  
pp. 129-136
Author(s):  
Richard C. Hall
Keyword(s):  
Human Experience ◽  
Natural Sciences ◽  
Philosophical Problem ◽  
The Other ◽  
General Statement ◽  
Biblical Scholarship ◽  
Christian Understanding ◽  
The Common ◽  
The One

The philosophical problem of the relation of symbol to truth is far from solved, but there have been significant advances toward its solution. It is the common Christian understanding that God is Truth (among other things), and that all truths must ultimately find union in him. This is to say that all genuine truths must be compatible. The true conclusions of genuine science must be compatible with the true conclusions of genuine theology. Or, to bring this general statement to a more particular level, the true conclusions of Biblical scholarship must be compatible with the true conclusions of the natural sciences. When this compatibility is lacking, and it so often is, we must assume that the conclusions of one field of truth-seeking or the other do not partake of the Truth which is God. And there is no guarantee that theology as a field of truth-seeking cannot err. Another characteristic of genuine truth is that it is not dependent upon any particular environment or milieu—either social, cultural, philosophical, or even theological. Unless we are to make the common but dangerous division of sacred and secular, of holy and profane, claim that these areas of human experience have nothing to do the one with the other, compartmentalise our thought, and ask, ‘What has Athens to do with Jerusalem?’, it must be concluded that there is no one specifically Christian milieu. Genuine truths must be true at all times, in all places, and for all men. But since we are not gods, we must hold these truths in what St Paul called earthen vessels (II Cor. 4:7), vessels shaped and moulded by our particular milieu.

scholarly journals Потенциал иронии в творчестве Людмилы Петрушевской (на примере романа Нас украли. История преступлений)

2020 ◽  
Vol 45 (2) ◽  
Author(s):  
Юлия Брюханова
Keyword(s):  
Foreign Language ◽  
The Other ◽  
The Novel ◽  
Ontological Status ◽  
Common Features ◽  
Significant Element ◽  
Philosophical Aspect ◽  
The Status ◽  
The Common ◽  
The One

Many researchers of Lyudmila Petrushevskaya’s works draw attention to the irony which is the significant element of her prose, drama and poetry. It is important that the ironic principle manifests itself not only as an artistic technique but also as a philosophical aspect. Irony demonstrates the ambivalence of reality. On the one hand, it ridicules and profanes everything. On the other hand, irony gives the certitude of the ontological status of reality. We can see a good example of this function of irony in the novel Nas ukrali. Istoriya prestupleniy (2017). This novel shows the common features of Petrushevskaya’s works – the unity of ironic potential and language. In this case, language is not only the style but first of all the ontological element. This is why the language becomes almost a character in Petrushevskaya’s novel. Irony opens the vital potential of the linguistic personality. As a result, one of the heroes imitates foreign speech but doesn’t speak a foreign language. Irony also helps to reveal the ambivalent nature of life. It shows that our “umora” in Sanskrit and in ancient Indian is “humour” and “death”. So, the game and profanity not only reduce the status of the hero, the image, or the reader’s expectations but, first of all, fill the gap between words, ideas, feelings, and people.

scholarly journals THE ARTISTIC EMBODIMENT OF THE IMAGE OF ENGLAND IN THE «LETTERS TO ANOTHER ROOM» BY RAVIL BUKHARAYEV

2019 ◽  
Vol 8 (7) ◽  
Author(s):  
Alina R. Gaynutdinova ◽  
Alfiya F. Galimullina ◽  
Foat G. Galimullin ◽  
Abay K. Kairzhanov
Keyword(s):  
Literary Criticism ◽  
Religious Identity ◽  
Russian Literature ◽  
The Other ◽  
Cultural Tradition ◽  
The Novel ◽  
English Society ◽  
Ancient Times ◽  
Everyday Realities ◽  
The One

The problem of the writer’s self-identification, especially of such a multifaceted one as Ravil Bukharayev, is closely connected with one of the topical problems of modern literary criticism and cultural studies – the problem of the Other. Ravil Raisovich Bukharayev (1951 - 2012) – a Tatar poet, writer, philosopher who wrote in Russian, lived for more than 20 years in England. In his work he demonstrates a new cultural situation, the ability to seamlessly apprehend the universal art culture, literature and worldview ideas from ancient times to the present day at the same time preserving his national and religious identity. The poetry by R. R. Bukharayev has repeatedly become the object of scientific research while the philosophical prose by R. R. Bukharayev is still waiting for his researcher. This article represents the experience of a scientific study of the artistic world of RR Bukharayev’s prose based on the example of his novel Letters to Another Room [1]. The results of our study suggest the following conclusions: The novel by R. R. Bukharayev “Letters to Another Room” presents the perception of England through the Other’s vision of it. R. R. Bukharayev representing himself as the Other in relation to the English tradition upends the preconceived idea of the English “gentleman” as the only bearer of the English literary and cultural tradition. Irony and self-irony help the narrator to isolate himself from Englishness of the created text: 1)The image of England in the novel by R. R. Bukharayev is ambiguous: on the one hand, the narrator found a real House with a wonderful garden, a place of rest and creativity in it, on the other – the author is far from idealizing English society. He seeks maximum objectivity in the artistic presentation of the image of England in his novel. 2)A distinctive feature of R. R. Bukharayev’s narrative is an integration of Russian and English realities in the text, which is manifested in comparisons of English everyday realities with memories of Russian life. In the minds of the author the images and associations connected with English and Russian literature and culture organically coexist.  

scholarly journals The City as a Vacuous Common Place / Space in John Dos Passos's Manhattan Transfer

2008 ◽  
Vol 13 ◽  
Author(s):  
Attila Gergely Mráz
Keyword(s):  
Urban Space ◽  
Interpersonal Relations ◽  
The Other ◽  
The Novel ◽  
Temporal Experience ◽  
Common Space ◽  
Spatial Aspect ◽  
The Common ◽  
The One ◽  
The City

This paper explores some possibilities of interpreting the motif of the city in John Dos Passos's Manhattan Transfer as a multiply vacuous common sphere. First, it is shown how the spatial aspect of the city can be characterized by its twofold rendition as a place endowed with intrinsic ambiguity on the one hand, and as a defective common space on the other. Second, a structurally similar duality is investigated in the temporal experience of Dos Passos's city dwellers by distinguishing between (vacuous) present time and historicity, each associated with attributes of the city as a place and a space. Finally, it is shown that the postulated spatiotemporal vacuity of the city correlates with the pervasively aesthetic character of the urban sphere, where interpersonal relations are inherently deficient. This leads to an ultimate, moral vacuity in the common urban space; the only aspect of the vacuity discussed which is not absorbed at the end of the novel.

Mask: to the issue of metaphysical substantiality (Y.V. Bondarev’s novel “Choice” and its adaptation specifics)

Neophilology ◽  
2019 ◽  
pp. 510-517
Author(s):  
Ludmila E. Khvorova ◽  
Lili Jin
Keyword(s):  
Russian Literature ◽  
The Other ◽  
The Novel ◽  
Moral Content ◽  
Other Hand ◽  
Moral Aspect ◽  
Physical Essence ◽  
The One ◽  
Key Characters

On the one hand, we compare the textual version of Y. Bondarev’s novel “Choice” with the visual version – an adaptation of the novel by director V. Naumov, the comparison has begun in previous published works, on the other hand, we comprehend the spiritual and moral content of this work, in particular, through such a key component of Russian literature as the mask. Its meta-physical essence is revealed, we give the statements of Russian religious thinkers in this connec-tion. We consider some key characters of the novel – Ilya Ramzin, Vladimir Vasiliev, Maria. We also trace the novel characters thoughts about coming tragic apostasy of being and of civilization processes tragedy as a whole in the spiritual and moral aspect. This connects with the concept “masquerade” and also has a deeper, cultural and axiological significance, we consider it connect-ed to some traditions and predictions by F.M. Dostoevsky.

Playing with Form: Possessed by Witold Gombrowicz

Tekstualia ◽  
2014 ◽  
Vol 1 (2) ◽  
pp. 217-224
Author(s):  
Agnieszka Wnuk
Keyword(s):  
Mass Culture ◽  
Type A ◽  
The Other ◽  
The Novel ◽  
Gothic Novel ◽  
Witold Gombrowicz ◽  
Good Case ◽  
Mass Literature ◽  
The Common ◽  
The One

Possessed, the novel written by Witold Gombrowicz, like a piece of grotesque proper, mixes various styles: high and low, neutral and disturbing, sentimental/romantic and prosaic. The author consciously emphasizes particular genre markers in some passages, leading the reader down a specifi c path, just to clash them with passages of a contradictory genre type. A good case in point is the description of the prince’s residence that complies with gothic novel conventions: it is horrifying and accentuates the singularity of the historical place. Possessed, apparently, was not only to be a product for a mass readership, but an experiment binding the features of high and low art, merging various audiences; it lives up to the expectations of the common reader of mass literature, as well as of the reader of a more sophisticated taste; on the one hand, the novel copies the mechanism of mass culture, as described by Eco48, and on the other, it is a frivolous and pleasant entertainment for a highbrow reader. As an experiment, therefore, the novel is a success because of the abovementioned recent theatrical adaptations, as well as its explicit comic effects.

The Problem of the Typology of Rationality in Muslim Culture

2019 ◽  
Vol 62 (6) ◽  
pp. 88-99
Author(s):  
Andrey A. Lukashev
Keyword(s):  
Modern Philosophy ◽  
Theoretical Basis ◽  
Theoretical Models ◽  
The Other ◽  
Common Denominator ◽  
Islamic Culture ◽  
The Common ◽  
Per Se ◽  
The One ◽  
Muslim Culture

The typology of rationality is one of major issues of modern philosophy. In an attempt to provide a typology to Oriental materials, a researcher faces additional problems. The diversity of the Orient as such poses a major challenge. When we say “Oriental,” we mean several cultures for which we cannot find a common denominator. The concept of “Orient” involves Arabic, Indian, Chinese, Turkish and other cultures, and the only thing they share is that they are “non-Western.” Moreover, even if we focus just on Islamic culture and look into rationality in this context, we have to deal with a conglomerate of various trends, which does not let us define, with full confidence, a common theoretical basis and treat them as a unity. Nevertheless, we have to go on trying to find common directions in thought development, so as to draw conclusions about types of rationality possible in Islamic culture. A basis for such a typology of rationality in the context of the Islamic world was recently suggested in A.V. Smirnov’s logic of sense theory. However, actual empiric material cannot always fit theoretical models, and the cases that do not fit the common scheme are interesting per se. On the one hand, examination of such cases gives an opportunity to specify certain provisions of the theory and, on the other hand, to define the limits of its applicability.

Elementy poetyki ludowej w powieści Rzeczy uprzyjemniające. Utopia T. Bołdak-Janowskiej

2020 ◽  
pp. 182-197
Author(s):  
Agnieszka Goral
Keyword(s):  
Fairy Tales ◽  
Text Analysis ◽  
Literary Text ◽  
Source Material ◽  
Human Existence ◽  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The One ◽  
Cultural Features

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

The Rubicon of Language

2018 ◽  
Author(s):  
Sebastian Lecourt
Keyword(s):  
The Other ◽  
Racial Identities ◽  
Other Hand ◽  
Max Müller ◽  
The Common ◽  
Human Capacity ◽  
The One ◽  
Religious Differences

This chapter considers a series of formative debates in British anthropology from the 1840s through the 1860s and uses them to map out the two dominant constructions of religion whose politics the subsequent authors in this study would reinvent. It describes, on the one hand, a liberal and evangelical construction of religion as the common human capacity for spiritual cultivation, and on the other hand a conservative, reactionary model that interpreted religious differences as the expressions of fixed racial identities that neither civilization nor Christianization could erase. In the work of the Oxford philologist F. Max Müller we see how the former model tended to associate religion above all with language. But we can also see the subtle forms of determinism that it contained—an ambiguity that Arnold, Pater, Eliot, and Lang would explore by picturing racialized religion as a resource for liberal self-cultivation.

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