Life and Death in Russian Literature (Part 1)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dickensian Motifs in Tolstoy's and Dostoyevsky's Aesthetic Framework
Dickensian motifs in Tolstoy’s and Dostoyevsky’s aesthetic framework 51 UDC 811.13 DOI: 10.17223/24109266/9/8 DICKENSIAN MOTIFS IN TOLSTOY’S AND DOSTOYEVSKY’S AESTHETIC FRAMEWORK N.V. Petrunina, I.V. Gredina, A.V. Pilyukova National Research Tomsk State University (Tomsk, Russian Federation) E-mail: [email protected]; [email protected]; [email protected] Abstract. The paper dwells on the attempt to highlight the moral and spiritual aspects in Dickens’s writing and their reflectance in Tolstoy’s and Dostoyev- sky’s prose. The creative development of both novelists had been marked by acute interest in both the personality of Charles Dickens and his creative lega- cy. The Dickensian works were the source of inspiration for both writers be- ing coordinated with their moral and spiritual grounds. The paper contains a sketch of the chief motifs that are common for all the three classics based on comparative analysis of texts, as well as on archive materials. The chief motifs under description are fear; crime and redemption; tragic beauty entwined with false pride. Keywords: literary comparison; linguo-poetic analysis; Christian motifs; aes- thetic reception and reminiscences; Charles Dickens; Tolstovian and Dosto- yevskian artistic framework. Introduction According to Vladimir Nabokov’s vision of Russian literary legacy (which is famous for its poignant and precise observations [1]), “Tolstoy and Dostoyevsky represent the two poles of Russian literary framework; whereas the former is the light incarnated and the latter seems more like a gloomy sufferer who repeatedly placed Jesus Christ the Saviour into every work of his. Yet, both of them are centered around one stem by name of Christiani- ty – the great spiritually and emotionally charged tradition that granted and is still granting hope to the mankind” [Ibid.: 433]. -
FYODOR DOSTOYEVSKY Read by Constantine Gregory
The COMPLETE CLASSICS Idiot UNABRIDGED FYODOR DOSTOYEVSKY Read by Constantine Gregory Prince Lyov Nikolayevitch Myshkin is one of the great characters in Russian literature. Is he a saint or just naïve? Is he an idealist or, as many in General Epanchin’s society feel, an ‘idiot’? Certainly his return to St Petersburg after years in a Swiss clinic has a dramatic effect on the beautiful Aglaia, youngest of the Epanchin daughters, and on the charismatic but wilful Nastasya Filippovna. As he paints a vivid picture of Russian society, Dostoyevsky shows how principles conflict with emotions – with tragic results. Constantine Gregory is an actor, dialogue coach and ‘voice’. Constantine has more than 30 years’ experience in all these capacities on international projects with many major film directors, including Danny Boyle, Bernardo Bertolucci, Terry Gilliam, Neil Jordan and Julie Taymor and with actors such as Anthony Hopkins, Jessica Lange, Nicole Kidman, George Clooney, Gerard Depardieu, Chiwetel Eijofor, Keanu Reeves, Eva Green and many, many others. With Edmund Caldecott, Constantine runs the website Total running time: 24:58:10 • 21 CDs Spoken Ink, dedicated to short audios for download, and for which he has recorded a View our catalogue online at n-ab.com/cat number of short stories himself. = Downloads (M4B chapters or MP3 files) = CDs (disc–track) 1 1-1 The Idiot 8:32 23 3-7 Myshkin turned round quickly… 12:04 2 1-2 Such omniscient gentlemen are to be found… 9:06 24 3-8 Chapter 8 11:32 3 1-3 ‘But perhaps I do know!’ said the official… -
A Tragedy of Unforgiveness
29 deborah a . martinsen Columbia University The Idiot: A Tragedy of Unforgiveness In characterizing The Idiot as a tragedy of unforgiveness, I am offering a new perspective on Nastasya Filippovna and the choices she faces throughout the novel, many of which hinge on Nastasya’s ability to forgive her wrongdoers or herself or both . In her article on forgiveness for The Routledge Encyclope- dia of Philosophy, Kathryn Norlock writes “Forgiveness is a response to wrong- doing characterized by forswearing or overcoming the fullness of blame that one could otherwise justifiably hold against a wrongdoer” 1. While some phi- losophers view forgiveness primarily as an internal process “characterized by a change of heart or a choice to revise one’s dispositions, beliefs, or attitudes to- ward the offender”,2 others see it primarily as a social practice “characterized by effecting of a morally significant consequence such as the release or relief of an offender” 3. In the case of Nastasya Filippovna, forgiveness is primarily an inter- nal process, one that requires that she overcome, on moral grounds, “the in- tense negative reactive attitudes – the vindictive passions of resentment, anger, hatred, and the desire for revenge – that are quite naturally occasioned when one has been wronged by another responsible agent” .4 The Idiot’s main action pivots around Nastasya Filippovna, whose guardi- an, Afanasy Totsky, abused her when she was younger and now wants to mar- ry elsewhere . As the narrator makes clear, Nastasya Filippovna hates not on- ly Totsky, but herself . The question posed throughout Part One is what will she do? Will she follow Totsky’s script and marry Ganya Ivolgin? Or will she act as 1 Kathryn J . -
Prince Myshkin As a Tragic Interpretation of Don Quixote Slav N
Marshall University Marshall Digital Scholar Modern Languages Faculty Research Modern Languages 2015 Prince Myshkin as a Tragic Interpretation of Don Quixote Slav N. Gratchev PhD Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/languages_faculty Part of the Modern Languages Commons, and the Modern Literature Commons Recommended Citation Gratchev, Slav N. "Prince Myshkin as a Tragic Interpretation of Don Quixote." Cervantes: Bulletin of the Cervantes Society of America, vol. 35, no. 1, 2015, pp. 137-51. This Article is brought to you for free and open access by the Modern Languages at Marshall Digital Scholar. It has been accepted for inclusion in Modern Languages Faculty Research by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. Prince Myshkin as a Tragic Interpretation of Don Quixote _______________________________________S!"# N. G$"%&'(# )$*$+,+-.!/, 0'+!( #+$%)"!!/ -1 one doubts Fyodor Dostoevsky’s profound and direct indebtedness to Miguel de Cervantes in !e Idiot, manifested in the obvious connection between Don Quixote Sand Prince Myshkin, no one yet has fully analyzed both how and why Myshkin—a character more dialogically elaborate and versatile than Don Quixote—turned out to be more limited in literary expressivity than his more “monological” counterpart. 2e essay seeks to remedy this analytical absence but focusing on just how the realness of Dostoevsky’s hero became a weakened version of Cervantes’s monologic character, and thus how this weakened realness negatively a3ects Myshkin’s literary an- swerability. When the 45-year-old Prince Myshkin returns to Russia after spend- ing several years at a Swiss sanatorium, he 6nds himself at the center of attention, an attention that he never intended to have. -
The Struggle for Spiritual Supremacy: Dostoevsky's Philosophy Or History and Eschatology
Western Washington University Western CEDAR WWU Honors Program Senior Projects WWU Graduate and Undergraduate Scholarship Spring 1994 The Struggle for Spiritual Supremacy: Dostoevsky's Philosophy or History and Eschatology Andrew Wender Western Washington University Follow this and additional works at: https://cedar.wwu.edu/wwu_honors Part of the History Commons, and the Philosophy Commons Recommended Citation Wender, Andrew, "The Struggle for Spiritual Supremacy: Dostoevsky's Philosophy or History and Eschatology" (1994). WWU Honors Program Senior Projects. 339. https://cedar.wwu.edu/wwu_honors/339 This Project is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Honors Program Senior Projects by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. The Struggle for Spiritual Supremacy: Dostoevsky's Philosophy or History and Eschatology Andrew Wender Presented to Prof. George Mariz and Prof. Susan Costanzo Project Advisers Honors 490 - Senior Project June 6, 1994 • ............._ Honors Program HONORS fflESIS In presenting this Honors Paper in partial requirements for a bachelor's degree at Western Washington University, I agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of this thesis is allowable only for scholarly purposes. It is understood that any publication of this thesis for commercial pur:uoses or for financial eain shall not be allowed without my written permission. Bellingham, Washington 98225-9089 □ f2061 676-3034 An Equal Oppartunit_v University Table of Contents Page I. Introduction . 2 II. Historical Context And Intellectual Development or Dostoevsky's Philosophy or History .............................. -
Myshkin's Queer Failure: (Mis)Reading Masculinity in Dostoevsky's The
Doak, C. (2019). Myshkin’s queer failure: (Mis)reading masculinity in Dostoevsky’s The Idiot. Slavic and East European Journal, 63(1), 1- 27. http://u.osu.edu/seej/63-1/doak/ Publisher's PDF, also known as Version of record License (if available): Unspecified Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via Ohio State University at http://u.osu.edu/seej/63-1/doak/. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ SEEJ_63_1_1Y 4/4/2019 8:29 PM Page 1 ARTICLES MYSHKIN’S QUEER FAILURE: (MIS)READING MASCULINITY IN DOSTOEVSKII’S THE IDIOT Connor Doak, University of Bristol “[P]aradise is a difficult thing, Prince, much harder than it appears to your beautiful heart.” Prince Shch., The Idiot (282)1 “Privilege the naïve or nonsensical.” Jack Halberstam, The Queer Art of Failure (12)2 Of all Dostoevskii’s heroes, Prince Myshkin of The Idiot (1868–69) has proved particularly divisive. Some see him as the “wholly good man” (PSS 28.2: 251) whom Dostoevskii described in his notebooks, an embodiment of kindness who ingenuously speaks the truth.3 Yet as others point out, Mysh- kin’s combination of goodness and sincerity not only causes bewilderment in St. -
Peculiarities of Adaptation of the Novel by F.M. Dostoyevsky “The Idiot” in the Opera by M. Weinberg of the Same Name
Journal of Siberian Federal University. Humanities & Social Sciences 2020 13(6): 989–996 DOI: 10.17516/1997-1370-0622 УДК 782.1+ 82-293.1 Peculiarities of Adaptation of the Novel by F.M. Dostoyevsky “The Idiot” in the Opera by M. Weinberg of the Same Name Svetlana G. Voitkevich* Dmitri Hvorostovsky Siberian State Academy of Arts Krasnoyarsk, Russian Federation Received 02.05.2020, received in revised form 05.06.2020, accepted 10.06.2020 Abstract. The article is devoted to the issues of correlation between the literary source and the musical drama. The opera “The Idiot”, finished by the Russian composer Mieczysław Weinberg in 1986 and performed on the leading Russian stages in the creative season of 2016-2017, has become the object of scientific interest. The libretto written by A.V. Medvedev is based on the novel by F.M. Dostoevsky of the same name. Musical studies of Dostoevsky’s works started emerging during the life of the writer. It was expressed in the use of musical terminology in the criticism and scientific studies concerning literary works by F.M. Dostoevsky. In 1916, S.S. Prokofiev created the opera “The Gambler”, which became the first opera adaptation of the writer’s prose, congenial with the literary source. Since then, the creative heritage of the author of “Demons” has repeatedly attracted composers’ attention. Musical adaptations of Dostoevsky’s literary works today comprise more than seventy compositions in various genres. Operas are of particular interest, since dramatic and musical texts are equally important in conveying the implications of the writer’s novels. -
Further Glance
chapter 4 Secular Grace: Further Glance Now it is possible to gather up all the parts, ideas and characteristics discussed so far, to combine them into one picture, rich and complex, and to present a developed version of secular grace. But its meaning still requires further clarification and illustration. First, the question arises of how a concept of secular grace may be given a real manifestation in the life of a concrete person. One possible answer to that will be given here with a literary character: Prince Myshkin, the hero of Dostoevsky’s The Idiot. Another illustration, in a com- pletely different way, is presented by examining two borderline cases, which stretch that concept to its limits and raise two intricate questions: Can there be a secular grace-relation with the dead, and can there be a secular grace- relation with oneself. This chapter will suggest answers to that. A Secular Grace in Prose In what follows, I shall argue that the issue of grace is the main subject of Dostoevsky’s novel The Idiot,1 and the hero of that novel – which describes a kind of Russian Jesus – is a quintessential example (with one important reservation) of a man who chose the way of secular grace and maintains grace- relations with many characters. (a) The Grace-Path of Prince Myshkin The Idiot provides quite a few examples of characters that are charitable to- wards others. One example is Pavlishchev, who raised the prince after his parent’s death, and acted generously towards others as well; another example is an old man who used to help criminals and bestow them with warmth, mon- ey and non-judgmental listening. -
Diagnosing Prince Myshkin
Swarthmore College Works Russian Faculty Works Russian Fall 2012 Diagnosing Prince Myshkin Brian R. Johnson Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-russian Part of the Slavic Languages and Societies Commons Let us know how access to these works benefits ouy Recommended Citation Brian R. Johnson. (2012). "Diagnosing Prince Myshkin". Slavic And East European Journal. Volume 56, Issue 3. 377-393. https://works.swarthmore.edu/fac-russian/212 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Russian Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. American Association of Teachers of Slavic and East European Languages DIAGNOSING PRINCE MYSHKIN Author(s): Brian R. Johnson Source: The Slavic and East European Journal, Vol. 56, No. 3 (FALL 2012), pp. 377-393 Published by: American Association of Teachers of Slavic and East European Languages Stable URL: http://www.jstor.org/stable/41698559 Accessed: 19-08-2016 17:49 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. American Association of Teachers of Slavic and East European Languages is collaborating with JSTOR to digitize, preserve and extend access to The Slavic and East European Journal This content downloaded from 130.58.88.100 on Fri, 19 Aug 2016 17:49:43 UTC All use subject to http://about.jstor.org/terms DIAGNOSING PRINCE MYSHKIN Brian Johnson, Swarthmore College Dedicated in memory of James L. -
Edward Wasiolek, Ed. CRITICAL ESSAYS on TOLSTOY Boston: G
Edward Wasiolek, ed. CRITICAL ESSAYS ON TOLSTOY Boston: G. K. Hall, 1986. Pp. 200, $35.00 Reviewed by Vasa D. Mihailovich Relatively modest in size yet containing some of the most important essays on Leo Tolstoy, both translated from Russian and written in English, this collection offers a wide spectrum of opinions on the great Russian master, both the man and the writer. The book is divided into five uneven sections: Biography, Reminiscences, and Reception; Early stories; War and Peace; Anna Karenina; and Late Novels. The biographical segment, as well as those on early stories and late novels, are overshadowed, understandably, by the critical examination of War and Peace and Anna Karenina. Each section of criticism contains full-length articles and essavs as well as reviews. Some of the latter are brief or extracted, yet the editor has skillfully selected pertinent passages that touch upon the most salient features of the work in question. The choice of the authors represented shows an equally wide spectrum that illuminates Tolstoy from many angles. In one section, for example, we find pieces by Henry James, Lenin, Virginia Woolf, and Maxim Gorky—juxtaposed in that order. Even though such eclecticism may give the impression of artificial versatility, it nevertheless affords a multi-faceted picture of a writer of such stature as Tolstoy that is the only satisfactory one. Other notable critics included are Chernishevsky, Dostoevsky, Turgenev, Merezhkovsky, Eikhenbaum, Percy Lubbock, E. M. Forster, Isaiah Berlin, George Steiner, Matthew Arnold, Lionel Trilling, and the editor of the book himself, Wasiolek. Undoubtedly, some other notables could have been included or used as substitutes, but that is the fate of a collection of this kind. -
Levinas's “Face” and “Other” in the Idiot
Levinas’s “Face” and “Other” in The Idiot : Embodiment and Betrayal Famously known for returning ethics to the field of theory, Emmanuel Levinas often looks to great works of literature to illustrate his philosophies. One text Levinas uses consistently is The Brothers Karamazov , as he quotes it directly in Ethics and Infinity (98). The influence of Fyodor Dostoevsky (and Russian literature in general) on Levinas has been written about for years, and many scholars have expanded on this connection between Levinas’s theories and The Brothers Karamazov , particularly in regard to Levinas’s theory of the face. However, few articles have been written about Levinas’s face in The Idiot . This is surprising as Val Vinokurov argues, “almost every one of his [Dostoevsky’s] novels is really a series of face-to-face encounters” (23). If we accept Vinokurov’s claim of the “series of face-to-face encounters,” then The Idiot should display Levinas’s principles, as well. In fact, of Dostoevsky’s works, The Idiot may be the best representative of Levinas’s theory of the face. By reading The Idiot through Levinas’s theory of the face and the responsibility it entails, we see that not only does Prince Myshkin perfectly embody the execution of Levinas’s theory, but the continued violation of this theory drives the plot of the novel. Additionally, Myshkin becomes a victim of others violating the face, as he is placed in a position in which, no matter what he does, he violates the face, becoming a perpetrator himself. In order to understand how Myshkin fulfills Levinas’s theory of the face, we must first understand the theory. -
Tsp2012johnson.Pdf (642.9Kb)
TOWSON UNIVERSITY OFFICE OF GRADUATE STUDIES Degeneration of Masculinity in the Fictions of Franz Kafka and Fyodor Dostoevsky by Lynda Johnson A thesis Presented to the Faculty of Towson University in partial fulfillment of the requirements for the degree of Master of Arts in Humanities Towson University Towson, Maryland May, 2012 ACKNOWLEDGMENTS I am especially grateful to my thesis committee chair and advisor, Dr. Peter Baker, for his guidance throughout the course of this thesis. His kindness and reassurance, and most importantly, the advice and books he gave me helped me tremendously. My gratitude also goes to the other members of my thesis committee, Dr. Sharon Becker and Fuchs for their advice and time. I am also grateful to Sheryl Jackson, Dr. Portlano’s editing student who helped to copy edit the final document. iii ABSTRACT The portraiture of masculinity in Western literature has changed overtime. There has been a shift from traditional traits of masculinity, to atypical traits of maleness as seen in modern fictions. The typical attributes of masculinity such as achievement, virility and patriarchal hegemony with which male heroes in pre- Victorian and Victorian literatures were endowed, are notably absent in the major works of Franz Kafka and Fyodor Dostoevsky. This study is an analysis of the male characters’ degenerated masculinity in Dostoevsky’s Crime and Punishment and The Idiot, and Kafka’s A Hunger Artist and The Metamorphosis. Using Victorian masculinity as an example of traditional masculinity, I identify the male characters’ atypical traits of masculinity and interpret them as degenerated. The male characters’ degenerated masculinity are identified and analyzed in terms of their deviations from familial and socially constructed gender roles that were prevalent in the Victorian literary tradition.