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Problems of Mimetic Characterization in Dostoevsky and Tolstoy
Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy By Chloe Susan Liebmann Kitzinger A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Irina Paperno, Chair Professor Eric Naiman Professor Dorothy J. Hale Spring 2016 Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy © 2016 By Chloe Susan Liebmann Kitzinger Abstract Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy by Chloe Susan Liebmann Kitzinger Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Irina Paperno, Chair This dissertation focuses new critical attention on a problem central to the history and theory of the novel, but so far remarkably underexplored: the mimetic illusion that realist characters exist independently from the author’s control, and even from the constraints of form itself. How is this illusion of “life” produced? What conditions maintain it, and at what points does it start to falter? My study investigates the character-systems of three Russian realist novels with widely differing narrative structures — Tolstoy’s War and Peace (1865–1869), and Dostoevsky’s The Adolescent (1875) and The Brothers Karamazov (1879–1880) — that offer rich ground for exploring the sources and limits of mimetic illusion. I suggest, moreover, that Tolstoy and Dostoevsky themselves were preoccupied with this question. Their novels take shape around ambitious projects of characterization that carry them toward the edges of the realist tradition, where the novel begins to give way to other forms of art and thought. -
War & Peace by Helen Edmundson
War & Peace by Helen Edmundson from the novel by Leo Tolstoy Education Pack by Gillian King Photo: Alistair Muir | Rehearsal Photography: Ellie Kurttz | Designed by www.stemdesign.co.uk Contents • The Pack........................................................................................... 03 • Shared Experience Expressionism.............................................................. 04 • Summary of War & Peace........................................................................ 05 • Helen Edmundson on the Adaptation Process................................................. 07 • Ideas inspired by the research trip to Russia................................................. 08 • Tolstoy’s Russia.................................................................................... 09 • Leo Tolstoy Biography............................................................................. 10 • Playing the Subtext................................................................................ 12 • What do I Want? (exploring character intentions)............................................ 14 • Napoleon’s 1812 Campaign in Russia........................................................... 17 • The Battle - Created through the Actors’ Physicality......................................... 19 • The Ensemble Process............................................................................ 20 • Russian Women...................................................................................... 22 • Is Man Nothing More Than a Puppet?.......................................................... -
Living with Death: the Humanity in Leo Tolstoy's Prose Dr. Patricia A. Burak Yuri Pavlov
Living with Death: The Humanity in Leo Tolstoy’s Prose A Thesis Submitted in Partial Fulfillment of the Requirements of the Renée Crown University Honors Program at Syracuse University Liam Owens Candidate for Bachelor of Science in Biology and Renée Crown University Honors Spring 2020 Honors Thesis in Your Major Thesis Advisor: _______________________ Dr. Patricia A. Burak Thesis Reader: _______________________ Yuri Pavlov Honors Director: _______________________ Dr. Danielle Smith, Director Abstract What do we fear so uniquely as our own death? Of what do we know less than the afterlife? Leo Tolstoy was quoted saying: “We can only know that we know nothing. And that is the highest degree of human wisdom.” Knowing nothing completely contradicts the essence of human nature. Although having noted the importance of this unknowing, using the venture of creative fiction, Tolstoy pined ceaselessly for an understanding of the experience of dying. Tolstoy was afraid of death; to him it was an entity which loomed. I believe his early involvements in war, as well as the death of his brother Dmitry, and the demise of his self-imaged major character Prince Andrei Bolkonsky, whom he tirelessly wrote and rewrote—where he dove into the supposed psyche of a dying man—took a toll on the author. Tolstoy took the plight of ending his character’s life seriously, and attempted to do so by upholding his chief concern: the truth. But how can we, as living, breathing human beings, know the truth of death? There is no truth we know of it other than its existence, and this alone is cause enough to scare us into debilitating fits and ungrounded speculation. -
Sample Pages
About This Volume Brett Cooke We continue to be surprised by how the extremely rewarding world WKDW/HR7ROVWR\FUHDWHGLVDG\QDPLFVWLOOJURZLQJRQH:KHQWKH Russian writer sat down in 1863 to begin what became War and PeaceKHXWLOL]HGSRUWUDLWVRIfamily members, as well as images RIKLPVHOILQZKDWDW¿UVWFRQVWLWXWHGDOLJKWO\¿FWLRQDOL]HGfamily chronicle; he evidently used the exercise to consider how he and the SUHVHQWVWDWHRIKLVFRXQWU\FDPHWREH7KLVLQYROYHGDUHWKLQNLQJRI KRZKLVSDUHQWV¶JHQHUDWLRQZLWKVWRRGWKH)UHQFKLQYDVLRQRI slightly more than a half century prior, both militarily and culturally. Of course, one thinks about many things in the course of six highly FUHDWLYH \HDUV DQG KLV WH[W UHÀHFWV PDQ\ RI WKHVH LQWHUHVWV +LV words are over determined in that a single scene or even image typically serves several themes as he simultaneously pondered the Napoleonic Era, the present day in Russia, his family, and himself, DVZHOODVPXFKHOVH6HOIGHYHORSPHQWEHLQJWKH¿UVWRUGHUIRUDQ\ VHULRXVDUWLVWZHVHHDQWLFLSDWLRQVRIWKHSURWHDQFKDOOHQJHV7ROVWR\ posed to the contemporary world decades after War and Peace in terms of religion, political systems, and, especially, moral behavior. In other words, he grew in stature. As the initial reception of the QRYHO VKRZV 7ROVWR\ UHVSRQGHG WR WKH FRQVWHUQDWLRQ RI LWV ¿UVW readers by increasing the dynamism of its form and considerably DXJPHQWLQJLWVLQWHOOHFWXDODPELWLRQV,QKLVKDQGV¿FWLRQEHFDPH emboldened to question the structure of our universe and expand our sense of our own nature. We are all much the richer spiritually for his achievement. One of the happy accidents of literary history is that War and Peace and Fyodor 'RVWRHYVN\¶VCrime and PunishmentZHUH¿UVW published in the same literary periodical, The Russian Messenger. )XUWKHUPRUHDV-DQHW7XFNHUH[SODLQVERWKQRYHOVH[SUHVVFRQFHUQ whether Russia should continue to conform its culture to West (XURSHDQ PRGHOV VLPXOWDQHRXVO\ VHL]LQJ RQ WKH VDPH ¿JXUH vii Napoleon Bonaparte, in one case leading a literal invasion of the country, in the other inspiring a premeditated murder. -
A Cold, White Light: the Defamiliarizing Power of Death in Tolstoy‟S War and Peace Jessica Ginocchio a Thesis Submitted To
A Cold, White Light: The Defamiliarizing Power of Death in Tolstoy‟s War and Peace Jessica Ginocchio A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of the Arts in the Department of Germanic and Slavic Languages and Literatures (Russian). Chapel Hill 2013 Approved by: Christopher Putney Radislav Lapushin Hana Pichova Abstract JESSICA GINOCCHIO: A Cold, White Light: The Defamiliarizing Power of Death in Lev Tolstoy‟s War and Peace (Under the direction of Christopher Putney) In this thesis, I examine the theme of death in War and Peace by Lev Tolstoy. Death in War and Peace causes changes in characters‟ perception of their own lives, spurring them to live “better.” Tolstoy is widely understood to embed moral lessons in his novels, and, even in his early work, Tolstoy presents an ideal of the right way to live one‟s life. I posit several components of this Tolstoyan ideal from War and Peace and demonstrate that death leads characters toward this “right way” through an analysis of the role of death in the transformations of four major characters—Nikolai, Marya, Andrei, and Pierre. ii Table of Contents Chapter: I. Introduction…………………………………………………………………..1 II. Death in Tolstoy……………………………………………………………....5 III. The Right Way……………………………………………………………….14 IV. War and Peace………………………………………………………………..20 a. Nikolai Rostov ……………………………………………...…………...23 b. Marya Bolkonskaya……………………………………………...………27 c. Andrei Bolkonsky…………………………………………………….….30 d. Pierre Bezukhov………………………………………………………….41 V. Conclusion…………………………………………………………………...53 REFERENCES………………………………………………………………………56 iii Chapter I Introduction American philosopher William James identified Tolstoy as a “sick soul,” a designation he based on Tolstoy‟s obsession with death (James, 120-149). -
Tolstoy's Oak Tree Metaphor
BJPsych Advances (2015), vol. 21, 185–187 doi: 10.1192/apt.bp.114.013490 Tolstoy’s oak tree metaphor: MINDREADING depression, recovery and psychiatric ‘spiritual ecology’ Jeremy Holmes times for Leo. They had 13 children. However, Jeremy Holmes is a retired SUMMARY with Tolstoy’s increasing fame, accumulated consultant medical psychotherapist and general psychiatrist. He is Tolstoy’s life and work illustrate resilience, disciples and hangers-on, and eccentric views the transcendence of trauma and the enduring currently Visiting Professor to (e.g. on marital celibacy – a precept he signally the Department of Psychology, impact of childhood loss. I have chosen the failed to practise!) the marriage deteriorated, University of Exeter, UK. famous oak tree passage from War and Peace to often into open warfare, and was beset by Correspondence Jeremy Holmes, illustrate recovery from the self-preoccupation of School of Psychology, University of depression and the theme of ‘eco-spirituality’ – Sophia’s suicide threats (Fig 2). At the age of 82, Exeter, Exeter EX4 4QG, UK. Email: the idea that post-depressive connectedness and possibly in the early stages of a confusional state, [email protected] love apply not just to significant others but also to Tolstoy precipitously left home, accompanied by nature and the environment. his daughter Alexandra. A day later he died of pneumonia at Astapovo railway station en route DECLARATION OF INTEREST to the Caucasus. None. War and Peace I seem to re-read War and Peace roughly every Leo Tolstoy’s novels War and Peace (1869) 20 years – my fourth cycle is fast approaching. -
THE USE of the FRENCH LANGUAGE in LEO TOLSTOY's NOVEL, WAR and PEACE by OLGA HENRY MICHAEL D. PICONE, COMMITTEE CHAIR ANDREW
THE USE OF THE FRENCH LANGUAGE IN LEO TOLSTOY’S NOVEL, WAR AND PEACE by OLGA HENRY MICHAEL D. PICONE, COMMITTEE CHAIR ANDREW DROZD MARYSIA GALBRAITH A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Modern Languages and Classics in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2016 Copyright Olga Henry 2016 ALL RIGHTS RESERVED ABSTRACT This study comprises an inventory and an analysis of the types of code-switching and the reasons for code-switching in Leo Tolstoy’s novel, War and Peace. The eighteenth and nineteenth centuries in Russia were marked by multilingualism among the nobility. The French language, in particular, was widely known and used in high society. Indeed, French was considered expressively superior to Russian (Offord, Ryazanova-Clarke, Rjéoutski & Argent, 2015). Then as now, code-switching was a common phenomenon among bilinguals. There were subjects discussed specifically in French, and others in Russian, in Tolstoy’s novel, which represents the life in Russia between 1807 and 1812, and which was constructed to reflect the nature of the time period and its characteristics. In this paper, using the theoretical model proposed by Myers-Scotton (1995) based on markedness, an identification is made of reasons for using code-switching. This is correlated with René Appel and Pieter Muysken’s (1987) five functions of code-switching; and Benjamin Bailey’s (1999) three functional types of switching. A delineation is also made of the types of topics discussed in the French language by the Russian aristocracy, the types of code-switching used most frequently, and the base language of code- switching in Tolstoy’s novel. -
Tolstoy's Russia
A tour of TOLSTOY’S RUSSIA 23rd – 27th september 2020 X Map X Introduction from Alexandra Tolstoy As a relative of Leo Tolstoy and having lived in Russia on and off for twenty years, this is a particularly special trip for me. Moscow is a huge, sprawling city, difficult to grasp in a weekend, so for me using one of Russia’s greatest writers as the prism through which to explore is also the ideal way to visit. Tolstoy spent twenty-two winters living and writing in his city home but to completely understand him, and Russian history, we also visit his country estate, Yasnaya Polyana. I have visited both of Tolstoy’s homes many times, also attending family reunions. The houses, preserved as museums, are today exactly as they were in his life time and truly imbibed with his spirit. Moscow, perhaps contrary to expectations, is nowadays one of the world’s most glamorous and vibrant cities, boasting a young, energetic population. As well as being a great cultural and historical centre, the city has a very sophisticated restaurant scene, some of which will be explored on the trip! X 2019 LOCATION ITINERARY HOTEL & MEALS AM: • Recommended flight (not included in quote) London Heathrow – Moscow SVO BA235 10:55/16:50 National Hotel Wednesday 23rd September Moscow PM: Classic Room • You will be met on arrival and transferred to your hotel. • This evening we will enjoy a delicious first meal in Dinner Russia at the Dr Zhivago restaurant in the opulent National Hotel followed by a warming drink on the roof terrace of the Ritz Carlton. -
Soft Power» for Russia
A D A L T A JOURNAL OF INTERDISCIPLINARY RESEARCH FICTION AS THE «SOFT POWER» FOR RUSSIA. VISITS AND CONVERSATIONS OF FOREIGN CORRESPONDENTS TO LEO TOLSTOY aLIYA E. BUSHKANETS Karenina» in 1886, «the Death of Ivan Ilyich» in 1887, «Confession» in 1887, «So what should we do?» in 1887, and so Kazan Federal University, doctor of Philological Sciences, on, in three years the American reader has become familiar with Professor, Institute of International Relations. Kremlyovskaya all the main works of Tolstoy), especially religious and ethical St, 18, Kazan, Republic of Tatarstan, 420008, Russia treatises. Translations of Tolstoy's novels «Anna Karenina» and email: [email protected] «Resurrection» caused many critical articles and letters to Tolstoy from European and American readers. The authors of the The work is performed according to the Russian Government Program of Competitive Growth of Kazan Federal University. letters say: before meeting Tolstoy, no writer had ever stirred them with the same force, did not deliver such a high spiritual joy: «I am not able to convey in a letter the delight with which Abstract: This article raises the problem of studying fiction as a «soft power» in the English public met your works. Whatever words I choose, diplomacy. There are such figures in the history of world literature whose works contributed to the spread of the influence of a certain culture or country as a whole to they cannot express my admiration for your books» (Stanley other countries. In Russia, such a figure was Leo Tolstoy. The material of the article Withers. Britain, in 1889); «...Only twelve months ago I got were the reports of European and American correspondents on visits to Tolstoy in the acquainted with your works, read «Resurrection» and late 1890-1900 years. -
Tolstoy Syllabus
MSC, FALL 2019, TOLSTOY: WAR AND PEACE (Pevear/Volokhonsky translation, Vintage Classics. Mon 12:30-2:30 George Young. [email protected] 207.256.9112 September 9 Introduction. Tolstoy’s life and time. W&P Volume One, Part One, pp. 3-111 (1805. Anna Scherer’s Soiree. Pierre at Prince Andrei’s. Pierre at Anatole Kuragin’s. Dolokhov’s Bet. Name Day at the Rostovs’. Death of Count Bezukhov. Bald Hills. Old Prince Bolkonsky and Princess Marya Bolkonskaya. Prince Andre’s Departure.) September 16 Volume One, Parts Two and Three. pp. 112-294 (1805. Battle of Schon Graben. Prince Andrei. Nikolai and Denisov. Emperor Alexander. General Kutuzov. Napoleon. Soiree at Anna Scherer’s. Pierre and Helene. Princess Marya, Anatole, and Mademoiselle Bourienne. Sonya and Natasha. Nikolai and Prince Andrei at the Front. Battle of Austerlitz. Andrei Wounded.) September 23 Volume Two, Parts One and Two, pp. 297-417 (1806. Nikolai Comes Home. Dinner for Bagration. Pierre and Dolokhov. The Duel. Princess Lise. Dolokhov and Sonya. Nikolai’s Gambling Loss. Denison’s Proposal. Pierre Becomes a Mason. Helene and Boris. Old Bolkonsky as Commander. Pierre and Emancipation of Serfs. Pierre and Andrei on Ferry Raft. Nikolai Rejoins his Regiment. Napoleon and Alexander as Allies.) September 30 Volume Two, Parts Three, Four, and Five, pp. 418-600 (1808-1812) Andrei Visits the Rostovs. Andrei, Speransky, and Arakhcheev . Pierre and Helene. Natasha and Andrei at the Ball. Engagement. Old Bolkonsky and Mlle Bourienne. Nikolai at Home. The Wolf Hunt. Natasha’s Dance. Christmas, Mummers, Fortune Telling. Pierre in Moscow. The Rostovs Call on the Bolkonskys. -
Landreth Everitt Dr. Eberle Jane Austen May 8 2019
Landreth Everitt Dr. Eberle Jane Austen May 8 2019 Rationale for Fanfiction I was really interested in the crossover between the broadway fandom and the Jane Austen fandom, because in my own personal experience every theatre kid has watched Pride and Prejudice at least 50 times and had a massive crush on Keira Knightley. For this piece, I created a crossover of the two most easily hateable characters in the works I drew from: Anatole Kuragin of “Natasha, Pierre, And The Great Comet of 1812” and John Willoughby from Sense and Sensibility. Both mediums contain large amount of free indirect discourse, with Austen inventing the darned thing, and Dave Malloy having his characters reference themselves in the third person (ex: having Natasha take the voice of the narrator and sing “Natasha’s whole body shook with noiseless convulsive sobs” and then switching back to singing in the first person). I’m not intending to change anyone’s mind on these men, personally I see both of them as master manipulators and generally awful people, but I did want to examine the psychology of how they could rationalize their actions when faced with a mirror image of themselves, especially coming from two different modes of art. Arguably the 70 page slice of War and Peace “The Great Comet” is based on is very much a reflection of Sense and Sensibility and vice versa, though Tolstoy and Austen were writing in a different time and place, and Dave Malloy boils that 70 page slice down to even more closely reflect that dynamic, doubtlessly inspired by the many adaptations. -
MEMORY of the WORLD REGISTER Leo Tolstoy's Personal
MEMORY OF THE WORLD REGISTER Leo Tolstoy’s Personal Library and Manuscripts, Photo and Film Collection Russian Federation Ref N° 2010-78 PART A – ESSENTIAL INFORMATION 1 SUMMARY Leo Tolstoy’s personal library, which numbers 22,000 volumes in 40 languages, is one of the largest writer's libraries in the world. The library was founded by three generations of the Volkonskys-Tolstoys families: by Tolstoy’s grandfather Prince Nikolai Volkonsky, by his parents Maria and Nikolai Tolstoy, and of course the greater part of the library was collected by Tolstoy himself. When Tolstoy’s wife, Sophia Tolstaya, arrived at Yasnaya Polyana in 1862, after their marriage, she found only 2 bookcases there. Now, as it was in 1910, there are 25 bookcases and one big coffer. So, most of the books came to the library in the last 50 years of Tolstoy’s life. The oldest book in the library was published in 1613, the latest books – published in 1910, the last year of Tolstoy’s life. There are about 600 books of the XVII-early XIX centuries, most of them belonged to Tolstoy’s father, Count Nikolai Tolstoy. Tolstoy’s library is very rich in subjects. The choice of books Tolstoy was buying was defined by his activities as writer, thinker, and religious prophet. Among the books of Tolstoy’s library there are editions of books and magazines, which were used as sources for War and Peace, Khadzhi-Murat, for the unfinished novels from the epoch of Peter the Great and history of Decembrists, for his books of wisdom Circle of Reading, For Every Day, Path of Life.