scholarly journals Alexander Ostrovsky vis-a-vis Fyodor Dostoevsky: the omedy “Rich Brides” and the novel “The Idiot”

2021 ◽  
Vol 27 (4) ◽  
pp. 113-119
Author(s):  
Vladimir V. Tikhomirov
Keyword(s):  
The Novel ◽  
Fyodor Dostoevsky ◽  
Main Plot ◽  
Life Circumstances ◽  
Complex Characters

The comedy “Rich Brides” by Alexander Ostrovsky and the novel “The Idiot” by Fyodor Dostoevsky are close in staging the main plot move – the fate of a woman who sinned due to life circumstances. The main characters of both works fell victims to wealthy patrons who were going to marry them off. They have different personalities, and the heroine of “Rich Brides” Valentina Belyosova, unlike Fyodor Dostoevsky's heroine Nastasya Barashkova, at first glance seems frivolous, but the women, being accused of immorality, transformed, as female pride and a desire to defend themselves awakened in them. Impressed by Yuriy Tsyplunov's bitter emotional accusations, Valentina Belyosova is imbued with respect for him and even confesses her love. The characters in “Rich Brides” are melodramatic and comic with unexpected turns of events. Alexander Ostrovsky does not parody or imitate the author of the novel “The Idiot”, but the metamorphosis that occurred in the feelings and behaviour of Valentina Belyosova (partly in Yuriy Tsyplunov) testifies to the playwright's ability to portray complex characters, which brings his talent closer to Fyodor Dostoevsky's ability to artistically represent the dialectic of personality.

scholarly journals The Heroine’s Journey towards Wholeness as seen in Margaret Atwood’s Surfacing

Lexicon ◽  
2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Hendarti Azizah Ayuningtyas ◽  
Rahmawan Jatmiko
Keyword(s):  
The Self ◽  
The Novel ◽  
Psychological Approach ◽  
Library Research ◽  
Individuation Process ◽  
Heroine's Journey ◽  
Main Plot

This study discusses the psychological journey of the female heroine in Margaret Atwood's Surfacing. This paper applies the psychological approach since it is believed to be the most suitable approach to analyze the process of the heroine’s journey towards wholeness. It examines the process of individuation in the main plot of the novel and the characteristics of the process on the heroine’s personal quest. The portrayal of the individuation process is identified through the theory of individuation proposed by Charles Gustav Jung which discusses the process of the individual’s development towards psychological completeness. In order to support the analysis, library research was conducted using the novel as well as the supporting articles from any reliable websites. The result shows that the heroine’s journey can be translated as Jungian’s theory of individuation as there are six characteristics of the process of individuation found within the story. Furthermore, five stages occurred in the heroine’s journey, namely the recognition of the persona, the assimilation with the shadow, the confrontation with the animus, and lastly the appearance of the Self that leads the heroine towards psychological wholeness.

scholarly journals Aleksandr Karepin, the nephew of Fyodor Dostoevsky and the hero of his novels

2021 ◽  
Vol 27 (1) ◽  
pp. 156-160
Author(s):  
Maria A. Myakinchenko
Keyword(s):  
Mental Illness ◽  
Personality Traits ◽  
Healthy Person ◽  
The Novel ◽  
Fyodor Dostoevsky ◽  
The World ◽  
The Relationship

The article discusses aspects of the relationship between Fyodor Dostoevsky and his nephew Aleksandr Karepin as well as their reflection in the writer's work. The peculiarities of the nature and character of Aleksandr Karepin are briefly described; he was a very peculiar and not completely mentally healthy person, who served as the prototype for various, in fact, diametrically opposed in spiritual terms heroes – Pavel Trusotsky from “The Eternal Husband” and Prince Myshkin from the novel “The Idiot”. The article concludes that the use of different, sometimes opposite personality traits of the prototype when creating images of the heroes of the works was a feature of the creative method of Fyodor Dostoevsky. In addition, Aleksandr Karepin's mental illness and the oddities in his behaviour allowed the writer to think out in different ways and build not only the image of a hero with certain features of the prototype, but also the attitude of the world around him to this character, which in turn illustrates the diseases of society.

scholarly journals “EVANGELICAL TEXT” OF THE NOVEL “CRIME AND PUNISHMENT” IN VIETNAMESE TRANSLATION

2020 ◽  
pp. 148-152
Author(s):  
Nguyen Thi Hoan ◽  
Galina G. Yermilova
Keyword(s):  
New Testament ◽  
The Novel ◽  
Russian Orthodoxy ◽  
Fyodor Dostoevsky ◽  
Crime And Punishment ◽  
The Bible ◽  
The New Testament ◽  
The Subject ◽  
The 19Th Century ◽  
First Time

The article for the first time explores the translation of the ‟evangelical text” of Fyodor Dostoevsky’s novel ‟Crime and Punishment” into Vietnamese. The ‟evangelical text” refers to the New Testament quotations, for the first time both in the writer’s work and in the Russian literature of the 19th century as a whole, widely used by Fyodor Dostoevsky. Threeauthoritative translations by Trương Định Cư (1972), Lý Quốc Sinh (1973), Cao Xuân Hạo (1982-1983) are involved. The translation of the Bible into Vietnamese used by translators and involved in the liturgical practice of the Vietnamese Orthodox Church, has been revealed. On the basis of a continuous text sample of the «evangelical text» three translations were compared with the original and reverse translations, followed by an analytical commentary. The subject of the article is a monologue of «drunken» Semyon Marmeladov in the tavern (p. 1, ch. 2), saturated with New Testament quotations, and an evangelical scene about raised Lazarus (p. 4, ch. 4). It is concluded that when translating the «evangelical text» of the novel, the Vietnamese translators experienced serious difficulties due to ignorance of Russian Orthodoxy, which is still perceived in Vietnam to this day as a kind of exotic. Some specific refinements to existing translations are proposed.

scholarly journals War novel: the history of development and typology of the genre

2020 ◽  
Vol 12 (1) ◽  
pp. 61-72
Author(s):  
Taras Hrosevych
Keyword(s):  
Armed Conflicts ◽  
The Novel ◽  
The Balkans ◽  
War Novels ◽  
History Of Development ◽  
History Of ◽  
Main Plot ◽  
Post War ◽  
The Aesthetic ◽  
Resistance Movement

The general regularities and main tendencies of the development of a war novel have been researched in the article, an attempt of its typology and periodization is realized, the most common genre models is identified. The novel about the Second World War as a leading epic genre, which develops the theme of war in literature, creatively synthesized all the experience gained by the writers and front-line soldiers, became a noticeable artistic phenomenon and widespread genre formation in Western European, American and Slavic writing. It is concluded that the aesthetic and ideological-thematic level of artistic modeling of war reality is localized in different national literatures unevenly and stipulated first of all for the historical and geopolitical scope of the involvement of warring countries in hostilities. For example, in German military romance, is the so-called "Remarkable" novel, as well as a novel with a marked anti-militaristic nature. The main plot of the French war novel is the resistance movement, while the Italian one is fascist domination and occupation actions in the Balkans. Instead, in Britain, which has escaped occupation, military creativity takes a rather modest place. American writing focuses on war as a social phenomenon, armed conflicts in Vietnam. The polivector artistic search, the richness of types and varieties of war novel (panoramic novel, lyric war novel, anti-fascist novel, soldier novel, war novel-education, war novel with documentary basis, etc.) demonstrates military novel prose of Eastern Slavs. In particular, in the development of the Ukrainian war novel, literary critics distinguish such branches as the war novel, the post-war novel of the first decade, the war novel prose of the "second wave" (etc. pol. 50's - 60's), war novel 70’s-80’s, as well as modern war novels.

scholarly journals Rodion Raskolnikov's dreams in Vietnamese translation

2019 ◽  
pp. 151-155
Author(s):  
Nguyễn Thị Hoan ◽  
Galina G. Yermilova
Keyword(s):  
Everyday Life ◽  
19Th Century ◽  
The Novel ◽  
Fyodor Dostoevsky ◽  
Crime And Punishment ◽  
Semantic Richness ◽  
Text Selection

Rodion Raskolnikov's dreams in Vietnamese translation The article analyses the Vietnamese translations of excerpts about the dreams of Rodion Raskolnikov, the protagonist of the novel "Crime and Punishment" by Fyodor Dostoevsky. It is these dreams that are narrated with high semantic richness as they explain the reason why the hero was driven to commit the felony. Three available Vietnamese translations of the novel have been included for analysis. As a result of the preliminary solid text selection and the followed analysis of the original and translated texts, we came to the conclusion that the translators experienced the greatest challenges in conveying the realia of the mid 19th-century Russian people’s religious and everyday life as well as the ontological issues in the novel. Some specific clarifications are suggested for unclear content in the available translations.

scholarly journals “Restoring the Kinship”: the Novel The Adolescent as a Prologue to the Dialogue Between Nikolay Fedorov and Fyodor Dostoevsky

2021 ◽  
pp. 58-87
Author(s):  
Anastasia G. Gacheva
Keyword(s):  
The Novel ◽  
Fyodor Dostoevsky ◽  
Main Work ◽  
Common Task ◽  
The World ◽  
The Subject ◽  
The Common

The article is an attempt to read the novel The Adolescent in the light of the spiritual and creative dialogue between the philosopher of the common task Nikolay Fedorov and Fyodor Dostoevsky. Although The Adolescent was written and published three years before Fedorov’s student N. Peterson presented his teacher’s ideas to the writer in the article “What should a people’s school be?”, the novel can be considered as a prologue to the topic that eventually became the subject of Fedorov’s main work The question of brotherhood or kinship, about the causes of the non-fraternal, unrelated, i.e. non-peaceful, state of the world, and about the means to restore kinship. The plot of the novel is interpreted in the article through the prism of Fedorov’s themes of non-kinship and the restoration of universal kinship, the idea of returning the hearts of sons to their fathers and the fathers’ ones to their children. It is shown how the theme of “family as the practical beginning of love” is expressed in the novel.

Charles Dickens: The Woolf Afterlife

2020 ◽  
Vol 10 (3) ◽  
pp. 292-310
Author(s):  
Michael Hollington
Keyword(s):  
Charles Dickens ◽  
Virginia Woolf ◽  
Jane Austen ◽  
The Novel ◽  
Fyodor Dostoevsky ◽  
Bleak House ◽  
Familiar Essay ◽  
The One ◽  
The Impact ◽  
Critical Writings

This essay begins with a survey of attitudes towards Charles Dickens in the extended Stephen family, as these were inherited by the modernist writer Virginia Woolf. On the one hand, there is the strongly negative view of her Uncle Fitzy (Sir James Fitzjames Stephen), and the lukewarm, rather condescending opinion of her father Leslie Stephen. On the other, there is the legacy of enthusiastic attention and appropriation from William Makepeace Thackeray's two daughters – her aunt Anne Thackeray Ritchie and (posthumously) Min, Leslie Stephen's first wife. In the second section I survey Woolf's critical writings on Dickens, adding a glance at the opinions of her husband Leonard. In both, there is an evolution towards greater attention and enthusiasm. Besides Woolf's familiar essay on David Copperfield (1849–50), I give prominence to lesser-known writings, in particular to her laudatory assessment and analysis of Bleak House (1852–3). The third and final part concerns signs of the influence of Dickens in Woolf's first novel, The Voyage Out (1915). The earlier, satiric part of the novel shows the impact both of Jane Austen and Dickens as ironists and humourists. During the tragic conclusion, influenced by a reading of Fyodor Dostoevsky, Jane Austen drops out, but Dickens is retained.

Philosophical Anthropology and Dostoevsky's “Legend of the Grand Inquisitor”

1964 ◽  
Vol 26 (3) ◽  
pp. 353-377 ◽  
Author(s):  
Ellis Sandoz
Keyword(s):  
Political Science ◽  
Political Thought ◽  
Philosophical Anthropology ◽  
The Political ◽  
The Novel ◽  
Great Work ◽  
Fyodor Dostoevsky ◽  
The Brothers Karamazov ◽  
Grand Inquisitor ◽  
Brothers Karamazov

The political thought of Fyodor Dostoevsky grows out of his opposition to nihilism, atheistic humanism, and socialism in much the same way as the philosophy of Plato grew out of his opposition to the sophists. Indeed, the parallel of Dostoevsky's thought with that of Plato is to be seen in some further aspects of this fundamental opposition. Both the Russian master of the novel and the Hellenic founder of political science confronted adversaries for whom “Man is the measure of all things” and each based his opposition on the principle “God is the Measure,” to use Plato's formulation. This declaration, echoing like a thunderclap across more than twenty centuries of history, found consummate expression in the last great work of each writer: the Laws and The Brothers Karamazov.

Cooper's The Pioneers: Origins and Structure

PMLA ◽  
1964 ◽  
Vol 79 (5) ◽  
pp. 579-593 ◽  
Author(s):  
Thomas Philbrick
Keyword(s):  
Real World ◽  
Major Elements ◽  
The Novel ◽  
Critical View ◽  
The Real ◽  
Family Tradition ◽  
Main Plot ◽  
Land Holdings ◽  
Early Novel ◽  
Illustrative Material

Many critics of James Fenimore Cooper's early novel The Pioneers (1823) have called attention to the excellence of various individual aspects of its manner and matter, but few have been willing to accord the book the coherence and unity that are the first measure of a genuine work of art. The orthodox critical view insists on Cooper's failure to integrate the three major elements of his novel: the lengthy descriptions of natural scenery and of village habits and occupations; the conflict between Natty Bumppo and Judge Temple, usually regarded as the thematic center of the narrative; and the main plot, the discovery of Oliver Effingham as the true heir to Judge Temple's huge land holdings. Customarily this approach first stresses the divergent origins of Cooper's materials as the basis of their discordance. Since the novel draws both on the real world of personal recollection and family tradition and on the powers of pure imagination, it somehow must lack unity. “Incongruously,” writes Alexander Cowie, Cooper tied his “warm boyhood memories to a superannuated plot involving the temporary dispossession of an estate.” Consequently, “there is in The Pioneers a more definite disjunction of the action from the illustrative material than in any of Cooper's tales of the frontier.” Professor Cowie invites us to set aside the action of the novel so that “the setting and characterization may be enjoyed for their own sake.”

scholarly journals PRIMITIVE CRITICISM AND THE NOVEL: G. H. LEWES AND HIPPOLYTE TAINE ON DICKENS

2018 ◽  
Vol 46 (1) ◽  
pp. 125-142
Author(s):  
Peter Melville Logan
Keyword(s):  
Charles Dickens ◽  
Common Knowledge ◽  
Fine Art ◽  
The Other ◽  
The Novel ◽  
Human Face ◽  
Social Commentary ◽  
Primitive Society ◽  
Hippolyte Taine ◽  
Complex Characters

In a controversial article onthe life and fiction of Charles Dickens, George H. Lewes ponders the inexplicable preference of readers for the novelist's too-simplistic characters over the more complex characters of other writers. He finds an answer in the primitive reaction to fine art: “To a savage there is so little suggestion of a human face and form in a painted portrait that it is not even recognized as the representation of a man” (“Dickens” 150). The implication, it would seem, is that readers turn to Dickens because they are similarly incapable of appreciating more refined modes of art. Today the remark reads as gratuitous and insulting to readers, to Dickens, and to the other cultures Lewes stereotypes as savage. At the same time, the casual nature of the passage also suggests that it reflects commonly held beliefs about primitive life, beliefs we do not have but that Lewes and his readers took for granted. He was clearly safe in assuming such a body of common knowledge, for many other articles in theFortnightly Review(in which Lewes's article appeared in 1872) had similar references to primitivism. Reading through the journal issues of the time, the extent to which anthropological concepts had escaped the covers of books on primitive society and taken up residence in the pages of review essays on contemporary issues – from history, to life in the colonies, to life in Britain itself – is striking. In its print context, the comment about savages and art is less isolated and inexplicable than it is representative of a broad turn to the topic of primitivism in social commentary and analysis during the 1870s.

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