Leo Tolstoy, Anna Karenina, Trans. Nathan Haskell Dole (New York: Thomas Y. Crowell Company, 1886), Pp. 721–725

Keyword(s):  
New York ◽  
Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 273
Author(s):  
Mega Subekti ◽  
Hilman Fauzia Khoeruman

Dalam sejarah perkembangan ideologi feminisme, Abad ke-19 sering dianggapsebagai momen penting munculnya ide-ide baru tentang feminisme dan pergerakan yangmemperjuangkan hak-hak perempuan. Beberapa ide tersebut tercermin dari banyaknyakarya sastra yang mengangkat isu tentang perempuan dalam tradisi patriarkal, seperti yangdilakukan Emile Zola di Perancis dengan karyanya yang berjudul Nana dan Leo Tolstoy diRusia dengan Anna Karenina-nya. Dalam dua novel itu, perempuan digambarkan sebagaitokoh yang tidak cukup beruntung terkait dengan peran sosial dan relasi mereka dengan lakilaki.Meski demikian, perjuangan yang dilakukan terkait dengan opresi yang mereka terimabisa dianggap sebagai representasi dari perlawanan mereka sebagai perempuan. Denganmenggunakan metode deskriptif analitis yang didukung dengan pendekatan feminsime dangender, tulisan ini ditujukan untuk mendeskripsikan perlawanan atau setidaknya kesadarantokoh Nana maupun Anna dan menginterpretasikannya sebagai perwujudan feminismemereka sebagai perempuan. Meskipun berakhir tragis (dimatikan oleh narator), resistensiyang dilakukan Nana dan Anna terkait dengan status mereka sebagai perempuan sekiranyadapat membuktikan bahwa mereka tetap mampu merepresentasikan ide-ide feminisme.Alih-alih sebagai korban yang didominasi oleh laki-laki, Nana mampu memanfaatkansensualitas tubuhnya untuk mendapatkan keuntungan pribadi. Sementara itu, pilihan Annauntuk bunuh diri dilakukannya dengan penuh kesadaran dapat dianggap sebagai puncakperlawanannya terkait opresi yang ia terima karena perzinahannya dengan Vronsky.Kata kunci: Perempuan, feminisme, abad ke-19AbstRactIn the history of the development of feminist ideology, nineteenth century isregarded as an important moment of the emergence of ideas on feminism and women’smovement. Some of these ideas are reflected from the many literary works that raise thewomen’s issues in the patriarchal tradition, as Emile Zola did in France with Nana andLeo Tolstoy in Russia with Anna Karenina. In the two novels, women are portrayed asunfavourable figures associated with their status and relationships with men. Nevertheless,the fight related with the oppression they receive can be regarded as a representationof their resistance as women. By using an analytical descriptive method supported byfeministic and gender approaches, this paper is intended to describe resistance or at leastawareness of Nana and Anna figures and read it as the embodiment of their feminismperspective. Though ending tragically (killed by the narrator), Nana and Anna’s resistancecould prove that they were capable to represent their feminist perspectives. Instead of beinga victim who was dominated by men, Nana is able to take advantage of her sensual body to


2021 ◽  
pp. 90-98
Author(s):  
Karina Zhulkova ◽  

The reflection and transformation of philosophical ideas in the fiction and essays by Leo Tolstoy and in his life is demontrated in the discussion of the doctrine of non-resistance to evil by force. The spiritual growth of a person is not only a philosophical idea, but also a life plan and «life-teaching» of Leo Tolstoy presented in the works A Confession, The Gospel in Brief, My Religion, On Life, The Law of Love and the Law of Violence and in the novels War and Peace, Anna Karenina and Resurrection.


2020 ◽  
pp. 62-89
Author(s):  
Valeria G. Andreeva ◽  
◽  

The article discusses the ideological and thematic similarities of the novels by Anthony Trollope and Leo Tolstoy and evaluates the possible images and motives that Tolstoy could creatively master after reading Trollope’s novels and use to create the novel Anna Karenina. The author of the article states that more than two dozen Trollope’s novels, which were especially popular among his contemporaries, were translated into Russian and published in Russia. Moreover, some of them were released more than once, appearing first on the pages of literary journals, and then in the form of separate books. Trollope’s novels were included into a kind of an artistic polylogue of Russian novelists who talked about the future of the country, about a new hero, about current problems of the present and the development path of Russia. A careful comparison of Trollope’s novels and the Anna Karenina novel allows the author of the article to conclude that the English writer, his artistic images and ideas had a significant influence on Tolstoy. Anna Karenina gives an important “hint”: the protagonist reads a book whose plot elements resemble the collective image of Trollope’s works very much. The author of the article, for the first time, thoroughly studies the possible effects of Trollope’s novels on Tolstoy, notes the lines of the writers’ ideological convergence and divergence. She analyzes individual plot schemes and elements of Trollope’s novels that Tolstoy could creatively master and the most important images and motifs of Trollope’s works that influenced Tolstoy’s artistic search. The author shows that the Russian classic admired Trollope’s skill in portraying characters, his thought-out system of heroes’ changing, passing certain stages of development as artistic time progresses. She notes specific exchanges at the character level in Trollope’s novels Orley Farm and Can You Forgive Her? and Tolstoy’s novel Anna Karenina. While comparing the novels, the author pays special attention to the topics of human destiny, family, to the images of statesmen and strong, resolute heroines; notes the special veracity and artistic accuracy of Trollope and Tolstoy; analyzes the images of narrators in the writers’ novels. The author states that, following Trollope, Tolstoy illustrates many diseases of society and strange, pathological deviations towards artificial life. However, all the artistically mastered elements of Trollope acquire a different scale in Tolstoy not only due to the truthful and accurate transfer of facts and events by the Russian writer, but also due to the religious consciousness present in Tolstoy’s works. Externally evaluating Trollope’s novels as novels of life’s reflections, Tolstoy used many of the positive features of Trollope’s heroes, shuffling them in his own way and endowing them with his characters


2019 ◽  
Vol IV (IV) ◽  
pp. 31-37
Author(s):  
Muhammad Ayub Jajja

The present study means to investigate Anna Karenina by Leo Tolstoy in the light of eclectic theoretical framework consisting of Feminism, Postmodernism, and Deconstruction. The overt dominant patriarchal metanarrative is to be shown as problematized by the existence of the alternative micro feminist narrative stands. These alternative strands challenge and subvert the absolutist patriarchal narrative. The transcendental position of patriarchy as an absolute stands deconstructed by the play of alternative micro-narrative strands of feminist resistance. The study also means to show that subjectivities of major characters are self-differentiated, fractured and fragmented. This also implies that patriarchal metanarrative and alternative feminist narrative strands continually displace each other, instead of going for mutual synthesis. Seen through the lens of chosen theoretical framework, Anna Karenina becomes a site of pluralism and multiplicity, a story of resistance to the transcendental patriarchal presence.


2021 ◽  
Vol 7 (4(38)) ◽  
pp. 26-30
Author(s):  
Vera Astvatsaturova

In this article the family theme of Tolstoy’s novels is compared with the one of novels of his English contemporary authors. The problems of the novel “Anna Karenina” looks like the problems of the English novels, but is solved quite different. If the heroes of English novels drive from the foreign terrible world to the comfortable home world, then the heroes of Tolstoy novels are attacked by an alien force, destroying their happiness.


1989 ◽  
Vol 84 (2) ◽  
pp. 533
Author(s):  
A. D. P. Briggs ◽  
Anthony Thorlby
Keyword(s):  

2018 ◽  
Vol 9 (2) ◽  
pp. 218-225
Author(s):  
EKATERINA Gurina

Aim. The aim of the research is to compare Konstantin Levin’s function in the film Anna Karenina(2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Kareninaby Leo Tolstoy and to determine how much his figure was changed in the film adaptation under the influence of the scriptwriter’s and director’s stance. Methods. The subjects of the study were the film Anna Karenina (2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Karenina by Leo Tolstoy. They are analysed with the use of the theory of script writing, different types of character classifications and the text corpus analysis, taking into account the cultural, historical and economic features of scriptwriting and film production. Results. The analysis shows that Konstantin Levin’s function of the second protagonist that is characteristic for the novel is further developed in the screenplay but is omitted in the film. The discrepancies with the source book and the screenplay are caused by the influence of the film director during the film production. Conclusions. Even though the study considers the texts that are closely interrelated, the individual author’s stance influences the text of the screenplay so much that it gives us an opportunity to call Tom Stoppard, the scriptwriter, a writer in the full sense of the word.


Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 273
Author(s):  
Mega Subekti ◽  
Hilman Fauzia Khoeruman

Dalam sejarah perkembangan ideologi feminisme, Abad ke-19 sering dianggapsebagai momen penting munculnya ide-ide baru tentang feminisme dan pergerakan yangmemperjuangkan hak-hak perempuan. Beberapa ide tersebut tercermin dari banyaknyakarya sastra yang mengangkat isu tentang perempuan dalam tradisi patriarkal, seperti yangdilakukan Emile Zola di Perancis dengan karyanya yang berjudul Nana dan Leo Tolstoy diRusia dengan Anna Karenina-nya. Dalam dua novel itu, perempuan digambarkan sebagaitokoh yang tidak cukup beruntung terkait dengan peran sosial dan relasi mereka dengan lakilaki.Meski demikian, perjuangan yang dilakukan terkait dengan opresi yang mereka terimabisa dianggap sebagai representasi dari perlawanan mereka sebagai perempuan. Denganmenggunakan metode deskriptif analitis yang didukung dengan pendekatan feminsime dangender, tulisan ini ditujukan untuk mendeskripsikan perlawanan atau setidaknya kesadarantokoh Nana maupun Anna dan menginterpretasikannya sebagai perwujudan feminismemereka sebagai perempuan. Meskipun berakhir tragis (dimatikan oleh narator), resistensiyang dilakukan Nana dan Anna terkait dengan status mereka sebagai perempuan sekiranyadapat membuktikan bahwa mereka tetap mampu merepresentasikan ide-ide feminisme.Alih-alih sebagai korban yang didominasi oleh laki-laki, Nana mampu memanfaatkansensualitas tubuhnya untuk mendapatkan keuntungan pribadi. Sementara itu, pilihan Annauntuk bunuh diri dilakukannya dengan penuh kesadaran dapat dianggap sebagai puncakperlawanannya terkait opresi yang ia terima karena perzinahannya dengan Vronsky.Kata kunci: Perempuan, feminisme, abad ke-19AbstRactIn the history of the development of feminist ideology, nineteenth century isregarded as an important moment of the emergence of ideas on feminism and women’smovement. Some of these ideas are reflected from the many literary works that raise thewomen’s issues in the patriarchal tradition, as Emile Zola did in France with Nana andLeo Tolstoy in Russia with Anna Karenina. In the two novels, women are portrayed asunfavourable figures associated with their status and relationships with men. Nevertheless,the fight related with the oppression they receive can be regarded as a representationof their resistance as women. By using an analytical descriptive method supported byfeministic and gender approaches, this paper is intended to describe resistance or at leastawareness of Nana and Anna figures and read it as the embodiment of their feminismperspective. Though ending tragically (killed by the narrator), Nana and Anna’s resistancecould prove that they were capable to represent their feminist perspectives. Instead of beinga victim who was dominated by men, Nana is able to take advantage of her sensual body to


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