scholarly journals LEO TOLSTOY AND ENGLISH FAMILY NOVEL: CONTINUITY AND CONTROVERSY. LEO TOLSTOY AND ENGLISH FAMILY NOVEL

2021 ◽  
Vol 7 (4(38)) ◽  
pp. 26-30
Author(s):  
Vera Astvatsaturova
Keyword(s):  
Leo Tolstoy ◽  
The Novel ◽  
Anna Karenina ◽  
The Family ◽  
The One

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.

Von den Lesewelten zur Lebenswelt. Überlegungen zu der Frage, warum uns fiktionale Literatur berührt

2018 ◽  
Vol 12 (2) ◽  
pp. 260-278
Author(s):  
Christoph Demmerling
Keyword(s):  
Human Life ◽  
The Novel ◽  
Philosophical Perspective ◽  
Life World ◽  
Anna Karenina ◽  
The Future ◽  
New Perspective ◽  
The One

Abstract The following article argues that fictional texts can be distinguished from non-fictional texts in a prototypical way, even if the concept of the fictional cannot be defined in classical terms. In order to be able to characterize fictional texts, semantic, pragmatic, and reader-conditioned factors have to be taken into account. With reference to Frege, Searle, and Gabriel, the article recalls some proposals for how we might define fictional speech. Underscored in particular is the role of reception for the classification of a text as fictional. I make the case, from a philosophical perspective, for the view that fictional texts represent worlds that do not exist even though these worlds obviously can, and de facto do, contain many elements that are familiar to us from our world. I call these worlds reading worlds and explain the relationship between reading worlds and the life world of readers. This will help support the argument that the encounter with fictional literature can invoke real feelings and that such feelings are by no means irrational, as some defenders of the paradox of fiction would like us to believe. It is the exemplary character of fictional texts that enables us to make connections between the reading worlds and the life world. First and foremost, the article discusses the question of what it is that readers’ feelings are in fact related to. The widespread view that these feelings are primarily related to the characters or events represented in a text proves too simple and needs to be amended. Whoever is sad because of the fate of a fictive character imagines how he or she would fare if in a similar situation. He or she would feel sad as it relates to his or her own situation. And it is this feeling on behalf of one’s self that is the presupposition of sympathy for a fictive character. While reading, the feelings related to fictive characters and content are intertwined with the feelings related to one’s own personal concerns. The feelings one has on his or her own behalf belong to the feelings related to fictive characters; the former are the presupposition of the latter. If we look at the matter in this way, a new perspective opens up on the paradox of fiction. Generally speaking, the discussion surrounding the paradox of fiction is really about readers’ feelings as they relate to fictive persons or content. The question is then how it is possible to have them, since fictive persons and situations do not exist. If, however, the emotional relation to fictive characters and situations is conceived of as mediated by the feelings one has on one’s own behalf, the paradox loses its confusing effect since the imputation of existence no longer plays a central role. Instead, the conjecture that the events in a fictional story could have happened in one’s own life is important. The reader imagines that a story had or could have happened to him or herself. Readers are therefore often moved by a fictive event because they relate what happened in a story to themselves. They have understood the literary event as something that is humanly relevant in a general sense, and they see it as exemplary for human life as such. This is the decisive factor which gives rise to a connection between fiction and reality. The emotional relation to fictive characters happens on the basis of emotions that we would have for our own sake were we confronted with an occurrence like the one being narrated. What happens to the characters in a fictional text could also happen to readers. This is enough to stimulate corresponding feelings. We neither have to assume the existence of fictive characters nor do we have to suspend our knowledge about the fictive character of events or take part in a game of make-believe. But we do have to be able to regard the events in a fictional text as exemplary for human life. The representation of an occurrence in a novel exhibits a number of commonalities with the representation of something that could happen in the future. Consciousness of the future would seem to be a presupposition for developing feelings for something that is only represented. This requires the power of imagination. One has to be able to imagine what is happening to the characters involved in the occurrence being narrated in a fictional text, ›empathize‹ with them, and ultimately one has to be able to imagine that he or she could also be entangled in the same event and what it would be like. Without the use of these skills, it would remain a mystery how reading a fictional text can lead to feelings and how fictive occurrences can be related to reality. The fate of Anna Karenina can move us, we can sympathize with her, because reading the novel confronts us with possibilities that could affect our own lives. The imagination of such possibilities stimulates feelings that are related to us and to our lives. On that basis, we can participate in the fate of fictive characters without having to imagine that they really exist.

scholarly journals Novels by Anthony Trollope and Anna Karenina by Leo Tolstoy: Genetic and Typological Similarities

2020 ◽  
pp. 62-89
Author(s):  
Valeria G. Andreeva ◽  
◽  
Keyword(s):  
Anthony Trollope ◽  
Leo Tolstoy ◽  
The Novel ◽  
Development Path ◽  
Anna Karenina ◽  
Religious Consciousness ◽  
Literary Journals ◽  
Artistic Images ◽  
First Time ◽  
Careful Comparison

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

scholarly journals Citra Perempuan dalam Novel "Kala" Karya Stefani Bella dan Syahid Muhammad

2020 ◽  
Vol 9 (2) ◽  
pp. 164
Author(s):  
Hanif Ivo Khusri Wardani ◽  
Rina Ratih Sri Sudaryani
Keyword(s):  
The Novel ◽  
Main Character ◽  
Note Taking ◽  
Social Image ◽  
The People ◽  
Study Results ◽  
The Family ◽  
The One ◽  
Descriptive Qualitative

Penelitian bertujuan untuk mendeskripsikan citra perempuan pada tokoh utama dalam novel “Kala” karya Stefani Bella dan Syahid Muhammad dengan kajian feminisme ideologis. Penelitian dilakukan secara deskriptif kualitatif. Pengumpulan data dilakukan dengan teknik kepustakaan dan teknik baca-catat serta metode membaca sebagai perempuan. Hasil penelitian adalah sebagai berikut: (1) citra fisik Lara adalah perempuan dewasa yang sederhana, apa adanya, dan tidak suka bersolek, (2) citra psikis Lara adalah perempuan yang berjiwa kuat, tegar, tanggung jawab, dan mandiri, (3) citra sosial Lara dalam keluarga adalah anak perempuan yang berbakti kepada orang tuanya, dan (4) citra sosial Lara dalam masyarakat adalah perempuan yang ramah, mudah bergaul, dan aktif berkegiatan. Sosok perempuan dalam novel “Kala” ini menggambarkan sosok perempuan yang berhasil menyetarakan kedudukannya dengan laki-laki khususnya dalam bidang pekerjaan di ranah publik. Ketidakadilan yang dihadapinya karena jenis kelamin tidak menjadikan perempuan lemah dan terpuruk tetapi membangkitkan semangatnya menjadi perempuan yang mandiri.Katakunci: citra, perempuan, feminis ideologisAbstract:The study aimed to describe the woman’s image reflected by the main character of Kala, a novel written by Stefani Bella and Syahid Muhammad. The woman’s image was viewed from an ideological feminism approach. The research was descriptive qualitative of which the data were collected through library study and note-taking, as well as reading as woman. The study results in several findings. First, Lara’s physical image was described as modest, natural, and not keen on prinking herself. Second, psychologically, Lara’s image was strong, tough, responsible, and independent. Third, Lara’s social image in the family was filial to her parents, and fourth, Lara’s social image in society was described as friendly, sociable, and active. The woman’s figure in the novel shows the one who is able to equalize the position with men, especially in occupations related to the people. The inequality as experienced by the character should not weaken women. Instead, it should encourage women to be independent.Keywords: image, women, ideological feminism

scholarly journals THE CHARACTERIZATION OF MARGIO IN NOVEL ENTITLED LELAKI HARIMAU BY EKA KURNIAWAN

JURNAL BASIS ◽  
2020 ◽  
Vol 7 (1) ◽  
pp. 159
Author(s):  
Ellif Shiffiyn Khairaa
Keyword(s):  
Qualitative Method ◽  
Narrative Structure ◽  
The Novel ◽  
Human Relations ◽  
Moral Value ◽  
Good Communication ◽  
The Family ◽  
The One ◽  
Gerard Genette

This researched aims to analyze the characterization of Margio as the main character of the novel entitled Lelaki Harimau by Eka Kurniawan. This study used narrative structure by Gerard Genette which focused on frequency concept to analyze the characterization. The descriptive qualitative method used to reveal and make a deep analysis of the characterization of Margio. The data is taken by reread the novel and written the quotations of the dialogue which focused on the characterization of Margio. The result of this study is Margio has strong characterization and he is the one who connected to the other characters in the novel. He is known as a lovable, obedient to their parents, and a strong man. The moral value of this novel is the key to a perfect family is the good communication of each member of the family. This study is important in how we learned the complexity of human relations, especially in the family.

scholarly journals “ANNA KARENINA”- T. STOPPARD VS. L. TOLSTOY

2018 ◽  
Vol 9 (2) ◽  
pp. 218-225
Author(s):  
EKATERINA Gurina
Keyword(s):  
Film Adaptation ◽  
Leo Tolstoy ◽  
Film Production ◽  
The Novel ◽  
Source Book ◽  
Tom Stoppard ◽  
Anna Karenina ◽  
Different Types ◽  
Full Sense ◽  
The Individual

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.

scholarly journals The notions "Englishness" and "Russianess" in Tom Stoppard's fi lm "Anna Karenina"

2019 ◽  
pp. 195-199
Author(s):  
Tina A. Sklizkova
Keyword(s):  
Leo Tolstoy ◽  
The Novel ◽  
Main Principle ◽  
Anna Karenina ◽  
Rural And Urban ◽  
The World

The fi lm "Anna Karenina" is looked though the novel by Leo Tolstoy and at the same time in the basis of the fi lm lies the main principle of postmodernism – "the vision of the world as a text" – put forward by Tom Stoppard's play "Rosencrantz and Guildenstern Are Dead". There are two important for Russia and England notions in the centre of the fi lm: "Englishness" and "Russianess", which are connected with the county side. Stoppard as Leo Tolstoy paid attention at the "rural" and "urban"opposition. But he developed this problem in his fi lm. This Arcadia became impracticable in the modern situation. There is the certain game in the fi lm (real Vs. unreal) and the task of the spectators is to guess it, to solve the question of reality and unreality of the life and people.

scholarly journals FEATURES OF THE EPIC NARRATIVE IN THE NOVEL «ANNA KARENINA» BY LEO TOLSTOY: FROM AUTHOR TO HERO

2020 ◽  
pp. 141-147
Author(s):  
Natal’ya I. Gorodilova
Keyword(s):  
Meaning Of Life ◽  
Transition Time ◽  
Leo Tolstoy ◽  
Russian History ◽  
The Novel ◽  
Creative Task ◽  
Complex Reflection ◽  
Anna Karenina ◽  
Special Place ◽  
Important Milestone

The article is devoted to the analysis of the epic nature of the novel «Anna Karenina» by Leo Tolstoy. Artistic concept dedicated to the crisis era of the 1870s as the most important milestone in Russian history, the wide coverage of the events contemporary for the author, the depiction of representatives of different estates - testify to the scale of the creative task. The article examines the originality of Leo Tolstoy’s epic narrative, which is largely determined by the choice of the protagonist. Endowed with a sensitive heart and a troubled conscience, seeking his true destiny, such a man always goes the same path – from egocentrism to understanding of folkish life, realising himself as part of a common «swarm» life. Nikolenka Irteniev, Dmitri Nekhlyudov, Pierre Bezukhov are a complex reflection of Leo Tolstoy himself, each at a certain stage in his spiritual biography. In the gallery of Leo Tolstoy’s heroes, Konstantin Lyovin occupies a special place, since he reflects a writer who is on the verge of a serious worldview revolution. Understanding the biographical and artistic principles in the image of Konstantin Lyovin is given in the context of epistolary and memoir sources in the article. The story of Konstantin Lyovin with his uneasy search for the meaning of life, with religious doubts, embodied the author’s innermost thoughts repeatedly expressed by him in letters to Nikolay Strakhov. Not only the most important page of Leo Tolstoy’s biography is revealed in the fate of Konstantin Lyovin, but the fate of a person of transition time closely related to the life of the country, is planned.

scholarly journals ADULTERY IN LATE NINETEENTH-CENTURY RUSSIAN AND GERMAN LITERATURE

2020 ◽  
pp. 155-163
Author(s):  
Римма Хатиповна Каримова ◽  
Галина Витальевна Мишина
Keyword(s):  
Nineteenth Century ◽  
German Society ◽  
Emotional Reactions ◽  
Late Nineteenth Century ◽  
Russian Society ◽  
The Novel ◽  
Anna Karenina ◽  
Male Characters ◽  
The Family ◽  
Effi Briest

Введение. Дана характеристика меняющихся представлений о семье и роли женщины в общественном сознании конца XIX в. Цель статьи – исследовать отражение процесса женской эмансипации в русском и немецком обществе конца XIX в. Материал и методы. Материалом исследования стали романы Л. Н. Толстого «Анна Каренина» и Т. Фонтане «Эффи Брист». В исследовании используются аналитико-описательный, сравнительно-сопоставительный и культурно-исторический методы. Результаты и обсуждение. В последней четверти XIX в. в европейском и российском обществе обозначился кризис института семьи. Глобальные историко-политические, социально-экономические и идеологические изменения сказались на представлениях о роли и месте женщины. Проблема женской эмансипации активно представлена в творчестве европейских и русских писателей указанного периода. Лев Толстой в романе «Анна Каренина» дает критическую оценку состоянию «семейного вопроса». Писатель указывает на дискредитацию традиционных представлений о браке в обществе московского и петербургского дворянства, разоблачает лицемерие людей света, порочных во всех сферах жизни (служебных, родственных, экономических), но ратующих за соблюдение приличий. В «Анне Карениной» показано, насколько неравноправны общественные гендерные роли. Героиня романа оказалась отверженной не из-за адюльтера, а по причине стремления жить прямолинейно. Конфликт эмансипированной личности и закостенелого общества становится двигателем сюжета и в романе немецкого писателя Т. Фонтане «Эффи Брист». Нами обнаружено совпадение ключевых черт личности героинь Т. Фонтане и Л. Н. Толстого. Объединяющим качеством является честолюбие, основанное на нераскрытом эмоциональном потенциале женщины из дворянской среды. Если социальной причиной трагедии Анны Карениной в романе Толстого становится лицемерие высшего общества, то катастрофа Эффи Брист связана, по мысли Фонтане, с ложным представлением о чести в немецком аристократическом обществе. Сходные черты наблюдаются и в мужских образах произведений. Однако отмечено нравственное превосходство Каренина над Инштеттеном, что также может быть объяснено спецификой менталитета. Заключение. Сопоставительный анализ произведений Л. Н. Толстого и Т. Фонтане позволяет сделать вывод о совпадении воссозданной социально-психологической ситуации и эмоциональных реакций героев на схожие коллизии без доказанного взаимовлияния текстов. Развивающаяся женская эмансипация изображается в обоих произведениях как сложный и драматичный процесс, свидетельствующий о кризисе эпохи. Introduction. The article describes the changes in ideas on the family and the role of woman in public consciousness at the end of the nineteenth century. The aim and objectives. The aim of this work is to study the reflection of female emancipation process in Russian and German society at the end of the nineteenth century. Material and methods. The material for research is the novel by L. N. Tolstoy “Anna Karenina” and the novel by Th. Fontane “Effi Briest”. The analytical and descriptive, comparative, cultural and historical methods are used in this work. Results and discussion. In the last quarter of the nineteenth century, European and Russian society faced the crisis of the family institution. The global historical, political, socioeconomic and ideological changes had their influence on the understanding of the role and place of women. The problem of women emancipation is widely represented in the works of the European and Russian writers of the given period. L. N. Tolstoy in the novel “Anna Karenina” gives a critical eye to the state of the “family matter”. The writer indicates the discredit of the traditional ideas on marriage in the society of Moscow’s and Petersburg’s nobility. L. N. Tolstoy exposes the hypocrisy of nobles, vicious in all spheres of life (official, family, economical spheres) but advocating for decency. In “Anna Karenina” we see how inequitable social gender roles are. The heroine of the novel was rejected not due to the adultery, but because of the aspiration to live openly. The conflict of the emancipated person against the ossified society becomes a plot engine in “Effi Briest” novel by the German writer. We found the coincidence of the key personality traits of the Th. Fontane and L. N. Tolstoy protagonists. The unifying quality is the ambition, based on the undisclosed emotional potential of a woman from noble society. If the social ground of Anna Karenina’s tragedy in the Tolstoy novel is the hypocrisy of the high society, the Effi Briest catastrophe is due to (in Fontane’s opinion) misconception of honour in the German noble society. Similar features are found in the male characters of the novels. However, there is a moral superiority of Karenin over Instetten that can be explained by peculiarities of the mentality. Conclusion. The comparative analysis of L. N. Tolstoy’s and Th. Fontane’s works allows us to conclude that there is coincidence of the created social and psychological situation and the characters’ emotional reactions to similar collisions without proven interference of the texts. In both works, developing women’s emancipation is portrayed as a complicated and dramatic process, which testifies to the epoch’s crisis.

scholarly journals READER APPROACH IN LEO TOLSTOY’S NOVEL “ANNA KARENINA” PENDEKATAN PEMBACA DALAM NOVEL LEO TOLSTOY “ANNA KARENINA”

2018 ◽  
Vol 7 (1) ◽  
pp. 1-10
Author(s):  
Junita Akhiryani Adhani
Keyword(s):  
Reader Response ◽  
Leo Tolstoy ◽  
The Novel ◽  
Main Character ◽  
Productive Force ◽  
Anna Karenina ◽  
Russian Novel

Anna karenina is Russian novel was written by Leo Tolstoy. This novel tells about Anna Karenina’s life as a main character that her marriage unsuccessfully, and she choose to leave her husband and her son for another man . An affair, jealously, and religion has told in this novel, it is both a destructive and a productive force in the novel, and is understood inside and outside the context of marriage. In addition, the method in this study is used analyctic descriptive which used reader response by Rossenblat (1938). As through this approach, Anna Karenina has a big responsibility of their family. However, in this novel,  marriage is portrayed with all of its faults and problems, from jealousy to lack of passion to abandonment. As a reader, the writer seen that this novel shows a few thing of marriage in ninetenth century that related into a marriage in twenty century in Indonesia. Yet, has a differences in geographic and culture. This case, directly gives the researcher interrelated into feminism’s idea of a women freedom in her marriage. Keywords :  Marriage, society, affair, reader.   Abstrak Anna Karenina adalah novel  rusia yang ditulis oleh Leo Tolstoy. Novel ini menceritakan kehidupan Anna Karenina sebagai karakter utama yang  pernikahannya gagal, dan memilih untuk meninggalkan suami dan anaknya demi pria lain. Perselingkuhan, kecemburuan, dan kepercayaan diceritakan dalam novel ini, baik yang merusak dan menjadi kekuatan produktif dalam novel, untuk dipahami dalam dan di luar konteks sebuah perkawinan. Metode dalam penelitian ini adalah deskripsi analisis dengan menggunakan pendekatan reader-response dari Rossenblat (1938). Melalui pandangan teori reader response, Anna Karenina adalah seorang wanita yang memiliki tanggung jawab besar untuk keluarga mereka nya. Namun, dalam novel ini pernikahan digambarkan dengan semua kesalahan dan masalah, kurangnya semangat dan besarnya kecemburuan.. Sebagai pembaca, peneliti melihat bahwa novel ini memunculkan hal-hal dalam sebuah pernikahan di abad kesembilanbelas di Rusia yang memiliki keterhubungan dengan pernikahan yang ada di abad dua puluh satu di Indonesia meskipun memiliki letak geografis dan akar budaya yang berbeda. Hal ini mengarahkan peneliti pada keterkaitannya dengan gagasan feminism mengenai kebebasan perempuan dalam menyikapi sebuah pernikahan. Kata Kunci: Pernikahan, masyarakat, perselingkuhan, pembaca.

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