scholarly journals “Even here your uncle has been of use to you!” On the history of creative relationships of Fyodor Dostoevsky and Ivan Goncharov

2021 ◽  
Vol 27 (2) ◽  
pp. 96-103
Author(s):  
Maria A. Myakinchenko
Keyword(s):  
The Novel ◽  
Fyodor Dostoevsky ◽  
History Of ◽  
The Creation ◽  
Literary Influences ◽  
Ideological Difference ◽  
Literary Circles

The article is devoted to the study of literary and biographical connections between the collision of Ivan Goncharov's first novel “A Common Story” and the conflict between Fyodor Dostoevsky and his guardian Pyotr Karepin. Analysing biographical materials, the author hypothesises that Fyodor Dostoevsky, meeting with Ivan Goncharov, while the latter was working on “A Common Story”, could partly influence the creation of the main collision and central images of the novel. Noting the plot and figurative convergence, the author of the article also shows the ideological difference between Ivan Goncharov and Fyodor Dostoevsky in the presentation of the conflict between uncle and nephew – two different minds, worldviews and representatives of two different generations. The author of the work presents significant and interesting correspondences between the life and creative paths of Ivan Goncharov and Fyodor Dostoevsky, noting the similar literary influences experienced by both writers, and also points to salons and literary circles where they could meet.

Violence, Memory, and History: Geoffrey of Monmouth and Kazuo Ishiguro’s The Buried Giant

2021 ◽  
Vol 8 (3) ◽  
pp. 323-344
Author(s):  
Jonathan Brent
Keyword(s):  
Middle Ages ◽  
Geoffrey Of Monmouth ◽  
King Arthur ◽  
The Novel ◽  
Kazuo Ishiguro ◽  
History Of ◽  
The Creation

Kazuo Ishiguro has suggested that his work of medieval fantasy, The Buried Giant (2015), draws on a “quasi-historical” King Arthur, in contrast to the Arthur of legend. This article reads Ishiguro’s novel against the medieval work that codified the notion of an historical King Arthur, Geoffrey of Monmouth’s History of the Kings of Britain (c. 1139). Geoffrey’s History offered a largely fictive account of the British past that became the most successful historiographical phenomenon of the English Middle Ages. The Buried Giant offers an interrogation of memory that calls such “useful” constructions of history into question. The novel deploys material deriving from Geoffrey’s work while laying bear its methodology; the two texts speak to each other in ways sometimes complementary, sometimes deconstructive. That Ishiguro’s critique can be applied to Geoffrey’s History points to recurrent strategies of history-making, past and present, whereby violence serves as a mechanism for the creation of historical form.

THE HISTORY OF THE CREATION OF THE BALLET "THE WHITE-HAIRED GIRL"

2021 ◽  
Vol 1 (4) ◽  
pp. 85-91
Author(s):  
Chen Xinheng ◽  
Keyword(s):  
Cultural Revolution ◽  
Class Struggle ◽  
Folk Songs ◽  
Folk Dance ◽  
The Novel ◽  
Chinese Opera ◽  
Chinese Leadership ◽  
History Of ◽  
The Creation ◽  
Classical Ballet

The article is devoted to the history of the creation of the ballet "The White-Haired Girl", which was included among the "exemplary productions" during the Chinese Cultural Revolution. The plot of the ballet, based on class contradictions between landowners and peasants, has folklore origins: first it appeared in the novel, then the first national Chinese opera was created, later adapted for cinema and became the basis for the ballet. The ballet "The White-Haired Girl" was commissioned by Chinese leadership. It includes the historical facts of the class struggle and shows the formation of a personality ready to resist exploitation and fight for freedom for all. The ballet's music, composed by Yan Jinxuan, also includes revolutionary folk songs and numbers taken from the opera of the same name. Compared to the opera, the ballet enhances revolutionary features in the characters. The choreography harmoniously combines classical ballet pas with the characteristics of Chinese folk dance and martial arts. The ballet "The White-Haired Girl" is performed with ongoing success since its inception in 1965 to the present day and is rightly considered a "red classic" with a high ideology and artistry.

scholarly journals The drama and the libretto "The Storm" by Alexander Ostrovsky: a historical plan in the image of the patriarchal world

2019 ◽  
pp. 79-83
Author(s):  
Nadezhda G. Mikhnovets
Keyword(s):  
Comparative Analysis ◽  
19Th Century ◽  
17Th Century ◽  
Private Life ◽  
The Novel ◽  
Public And Private ◽  
Fyodor Dostoevsky ◽  
History Of

The article is devoted to the problem of studying the historiosophical views of Alexander Ostrovsky. The author examines it on the material of two works by the playwright written in different years: the drama "The Storm" and the libretto "The Storm". The article provides a comparative analysis of these works and substantiates the provision that they are in complementary relations. The author comes to the conclusion that Alexander Ostrovsky as a librettist restores the character of public and private life of the heroes of the 17th century, consistently removing the themes indicating the crisis state of the patriarchal world in the mid 19th century. The article shows that at the same time, the playwright reveals the causes of this crisis. The author points out the convergence between the libretto "The Storm" and the novel "The Idiot" by Fyodor Dostoevsky, as well as the book "The History of a Town" by Mikhail Saltykov-Shchedrin. The study helps clarify the historical and cultural realities of the two works of the same name by Alexander Ostrovsky and deepen their interpretations, which is topical in the context of the preparation of his Complete works and letters to publish.

The space of “the eternal house” in the creative history of M.A. Bulgakov’s novel “Master and Margarita”

2021 ◽  
pp. 107-118
Author(s):  
Elena Yu. Kolysheva ◽  
Keyword(s):  
Textual Analysis ◽  
Writing Process ◽  
The Novel ◽  
Main Text ◽  
The Third ◽  
History Of ◽  
The Creation ◽  
Creative Will ◽  
Master And Margarita

One of the important questions in bulgakovian studies is connected with the space of “the eternal house”, peace, which the master had deserved. The author of this paper try to understand the writer’s intention based on a textual analysis of the novel. In our work, we rely on the system of editions of the novel that we have established and its main text, reflecting the last creative will of the author to the fullest extent [1]. The line “The Master – Margarita” is outlined in drafts of the 1931 novel and is developed in its second edition (1932–1936). The third (1936) and fourth (1937) editions are incomplete — they don’t have the episodes considered in this paper. Therefore, our study uses the texts of drafts of 1931, the second, fifth (last handwritten, 1937–1938) and the sixth (final, 1938–1940) editions of the novel. The draft texts are conveyed by dynamic transcription, which will make visible the process of writer’s work on the creation and allow us to see the formation of the author’s intention. Graphic conventions are used for this: a piece of text crossed out by the writer — [text]; an insert during the writing process — text; an insert crossed out — [text]; a later insert — {text}; a later insert crossed out — {text}; a conjecture — <text>; reliability of the transmitted author’s text — <sic>; the end of a page and the transition to the next one are indicated by two straight vertical lines ||.

LEONID DESYATNIKOV. CHAMBER OPERA "POOR LIZA" (History of creation. Libretto and literary source)

2021 ◽  
pp. 14-21
Author(s):  
Diana Aksinenko ◽  
◽  
Elena Bogatyreva ◽  
Keyword(s):  
Comparative Analysis ◽  
Chamber Opera ◽  
Point Of View ◽  
The Novel ◽  
Literary Source ◽  
The Poor ◽  
History Of ◽  
The Creation

The article tells us about chamber opera "Poor Liza" by L. Desyatnikov, which is based on the novel by N. Karamzin. Also a brief description of the composer's works is given. The history of the creation and releases of the "Poor Lisa" is reviewed. The typical features of the chamber opera genre are revealed. The genre specifics of the work are analyzed from the dramatical point of view with the help of a comparative analysis (textual) of the literary source and the text of the libretto.

scholarly journals “Doctor Zhivago” by Boris Pasternak in Italian criticism of the 1950s: a discussion in the magazine “Il Ponte”

2021 ◽  
Vol 27 (3) ◽  
pp. 177-182
Author(s):  
Sofya V. Polonskaya
Keyword(s):  
Nobel Prize ◽  
General Public ◽  
Potential Role ◽  
Nobel Laureate ◽  
The Novel ◽  
Boris Pasternak ◽  
History Of ◽  
The 1950S ◽  
Literary Circles

the article will focus on the history of the first publication of the novel “Doctor Zhivago” by Boris Pasternak, on its influence on the formation of opinion about Boris Pasternak as a truly major prose writer, as well as on the potential role in the further receipt of the Nobel Prize by the author in 1958. As one knows, the first publication took place in Italy. It is from Italian cultural figures Giangiacomo Feltrinelli (the first publisher of the novel) and Pietro Antonio Zveteremich (its translator) it depended on how the novel would be received abroad, where Boris Pasternak had not been well-known by the late 1957 – the Swedish Academy initially refused to nominate the writer as a Nobel laureate due to insufficient fame in wide literary circles. After the publication of “Doctor Zhivago”, it was essential to determine what the content of the first reviews of this work would be. The paper reviews the first reviews of the novel in the Italian press, in particular, the discussion that unfolded in the independent monthly magazine “Il Ponte”. Such well-known cultural figures in Italian literary circles as Guglielmo Petroni, Carlo Cassola, and Manlio Cancogni spoke out. Their opinions were not ignored, they were accepted by the general public.

STIL I JEZIK KNEŽEVOG DNEVNIKA U ROMANU „BEZDNO“ SVETLANE VELMAR-JANKOVIĆ

Lipar ◽  
2021 ◽  
Vol 22 (75) ◽  
pp. 229-239
Author(s):  
Ivana Živančev
Keyword(s):  
The Novel ◽  
Western Countries ◽  
The Social ◽  
History Of ◽  
The Creation

In this paper, we dealt with the specific style and language of “The Diary” of the Duke Mihailo Obrenović in the novel Bezdno by Svetlana Velmar-Janković. We focused on the characteristics of the Slavonic-Serbian language. Our aim was to point out the stylistic and linguistic elements of this language and to analyze the historical and political circumstances that caused its creation. Special attention was given to numerous archaisms, which helped the writer to bring the spirit of this period to life. In order to detect and explain this style and language, we refered to the teachings of Aleksandar Mladenović. While trying to establish which version of the Cyrillic alphabet was actual at that time, we took Petar Đorđić’s book The History of the Serbian Cyrillic into consideration. We tried to explain the social circumstances which were a fruit- ful ground for the creation of this hybrid and inconsistent language thanks to Jovan Skerlić. We came to the conclusion that the Duke was fond of a specific version of the Slavonic-Serbian language – the Dositej version, which preserved the elements of the Slavonic-Serbian language primarily on its lexical level, while morfological and phonological levels remained the same. The Duke’s style and language altered during his writing. Later on, they resembled vernacular Serbian language more. In order to establish the role of archaisms in this novel, we made a list of them and noticed that Russian Church Slavonic, Slavonic-Serbian and Russian words have a dominance over Germanisms, Hungarisms and Romanisms. However, we could expect the opposite, while the Duke had spent almost two decades in the Western countries. The second place belongs to Turkisms, which are really hard to detect, because they became an integral part of the Serbian language.

scholarly journals The City of “Matera” Cultural Capital and Cinematographic Destination with the Power of Literature

2021 ◽  
Vol 5 (2) ◽  
pp. p13
Author(s):  
Manola Maria ◽  
Tsatalbassoglou A.
Keyword(s):  
Cultural Capital ◽  
Southern Italy ◽  
Italian Literature ◽  
Literary Form ◽  
Social Condition ◽  
The Novel ◽  
Rural South ◽  
History Of ◽  
The Creation ◽  
The City

Aliano is a small village in the province of Matera (Note 1). The city is characterized by the exceptional nature and the uniqueness of a “lunar landscape”, of a vast expanse of eerie beauty. The area was not always accessible for the same reasons, it became world famous for completely different reasons and specifically through the novel of a writer called Carlo Levi (Note 2). This particular author has left a strong mark on the history of Italian literature, although his work is not very rich. The place and the conditions of his new life as an exile in a poor isolated village of southern Italy, became the reason for the creation of his most important book entitled "Christ stopped at Eboli (Note 3).The book presents the rural south of Italy through its social condition, but not only as the result of an unbearable for the country archaic condition, but also as a place of existence of an important civilization. In this way the author’s narrative, as argued by Palmieri (2020), works as an objective account that is subjectively equated to a literary form.[… Christ did not arrive at this dark land where there is no sin and redemption, where evil is not moral, but an earthly pain that always exists in life. Christ stopped at Eboli.] (Levi, p. 12).

scholarly journals Reflection of the events of the “Balkan” period in the Gagauz fiction

2021 ◽  
Author(s):  
Diana Nicoglo ◽  
Keyword(s):  
Significant Role ◽  
Local Population ◽  
The Novel ◽  
Creative People ◽  
The Balkans ◽  
The Past ◽  
History Of ◽  
The Creation ◽  
Historical Past ◽  
The Way

The most detailed description of the “Balkan” period is found in the novel by D. Tanasoglo “Uzun Kervan”. In other genres (poetry), the poeticized image of the Balkans as the historical homeland of the Gagauz is presented to a greater extent. The main events of the “Balkan” period in the history of the Gagauzians, reflected in fiction, are: the adoption of Christianity by the Oghuz / Uzes – the ancestors of the Gagauzians, relations with the local population of the Balkans, the struggle against the Ottoman Turks, and the creation of a fictional Gagauz state called Uzi Eyalet. The authors also draw attention to the way in which changes occur in the traditional everyday culture of ancestors of the Gagauz as a result of changing economic-cultural type, and religion. In the Gagauz environment of creative people, there is a unity in the perception of the historical past associated with the presence of the ancestors of the Gagauz people in the Balkans. As a rule (with a few exceptions), the past broadcast by Gagauz writers is largely mythologized: and the writers themselves play a significant role in the process of constructing ethnicity.

scholarly journals Unsettling Australia: Disturbing White Settler Homemaking in Peter Carey’s True History of the Kelly Gang

Humanities ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 115
Author(s):  
Sarah Heinz
Keyword(s):  
National Character ◽  
Indigenous Australians ◽  
Specific Situation ◽  
The Novel ◽  
New Class ◽  
White Settler ◽  
History Of ◽  
The Creation

Proceeding from Australia’s specific situation as a settler colony, this article discusses how the ambivalences and fissures of settler subjectivity shape processes of homemaking. Settler homemaking depends on the disturbance of Indigenous Australians’ homelands via dispossession, exclusion, and genocide, but it equally depends upon the creation of a white settler subject as innocent, entitled, and belonging to what has been called ‘white indigeneity’. The article traces this double disturbance in Peter Carey’s novel True History of the Kelly Gang (2000). Carey’s rewriting of the iconic Kelly legend uncovers the dangers of a possessive, male, white indigeneity based on effacement and exclusion. The novel’s critical staging of Ned Kelly’s construction of Australia as a home for a new class of ‘natives’ challenges an essentialist white Australianness and its narratives of embattled settlement, independence, mateship, and the Bush. The novel shows that the creation of this national character is based on the denial of Aboriginal ownership and agency. Ned’s narrative of Irish victimhood and his formation of a new sense of Australianness is therefore doomed to repeat the violence, discrimination, and exclusion of colonialism that he seems to decry.

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