Odoevsky's Four Pathways into Modern Fiction

Cornwell, Neil

doi:10.7228/manchester/9780719082092.001.0001

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“…З. Минц, Ю. Мальцев, О. Сливицкая, В. Келдыш утверждают бунинское "приобщение человека к надындивидуальным началам бытия" (З. Минц), "его особую метафизику, нерасторжимо связывающую бытийное, субстанциальное с вещественным, материально зримым и слышимым, телесным". Теперь читаем у Б. Гаспарова: "Притягательность для Пастернака новейшей философской критики познания во многом определялась ее последовательно надындивидуальной и антипсихологической исходной позицией" 788 . Б. Эйхенбаум писал о Кузмине времен "Приключений": "никакой психологии, никакого быта".…”

Section: 16 मु ण्डकउपनिषद ्unclassified

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Irrealistic traditions in Russian prose of the first third of the 20th century

Astashchenko¹

2022

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The monograph examines the irrealistic traditions in Russian prose of the first third of the XX century. Irrealism as a semantic and style-forming principle of artistic “belles-lettres” (as opposed to documentary, artless) at the beginning of the XX century was mentioned in criticism, including by A. A. Blok, N. N. Rusov, N. F. Berner, and it was first designated as a term and justified theoretically in philosophical and philological studies by A. M. Evlakhov. The extreme individualization of a purely artistic, rather than a creative process as a whole, suggests the search for irrealistic features of unpopular works (drafts, manuscripts, unfinished, unpublished, misunderstood texts) or second-rate writers (A. N. Bezhetsky (Maslov), S. P. Bobrov, K. Bolshakov, A. S. Voznesensky (Brodsky), A. A. Galunov, V. V. Hoffman, M. L. Hoffman, S. I. Gusev-Orenburgsky, A. F. Damanskaya, A. M. Evlakhov, V. Evtihiev, V. A. Zhukovskaya, A. K. Zakrzhevsky, V. A. Carrick, B. A. Koiransky, E. Kurlov, V. Lensky and N. Muravyov (Adbamovich brothers), N. I. Manaseina, O. Norwegian (Kartozhinsky), M. I. Pantyukhov, N. I. Petrovskaya, M. L. Premirov, M. A. Pozharova, A. D. Radlova, N. N. Rusov, B. A. Sadovsky, V. V. Sipovsky, Y. L. Slezkin, A. M. Fedorov, M. Khodyreva, AnChebotarevskaya, F. I. Chernova, G. I. Chulkova), because the flip side of non-demand, external distancing from public life was freedom. Despite the motley picture of the literary process of the Silver Age, this monograph attempts to systematize it (according to the criterion fashionable at that time, which deserved the attention of P. N. Sakulin, A. P. Skaftymov, etc., — irrealism), as well as, according to the Doctor of Philology, academician of the Independent Academy of Aesthetics and Free Arts B. F. Egorov, there is a “solid theoretical foundation and fresh, new material”.

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Section: 16 मु ण्डकउपनिषद ्unclassified

“…Ф. Степун писал: «Всякий метафизический антропологизм… глубоко чужд Бунину <…> человек… не как сверхприродная 788 Гаспаров 2013.…”

Section: лирическое и риторическое в ориентализме и бунина (на пример...unclassified

Irrealistic traditions in Russian prose of the first third of the 20th century

Astashchenko¹

2022

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O doevsky, V ladimir

Cornwell¹

2012

The Encyclopedia of the Gothic

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Vladimir (or V. F.) Odoevsky (stressed “Odóevsky,” as opposed to “Dostoévsky”) (1804?–69) was a central figure in nineteenth‐century Russian culture for nearly half a century. From something of an “angry young man” in the early 1820s, coediting the thrusting almanac Mnemozina ( Mnemosyne ), he experienced a flourishing period as a leading Romantic writer of mystical and Gothic leanings, before maturing into an overconscientious public servant and an indefatigable philanthropist. At the end of his life he was a Moscow senator, a leading musicologist, a keen amateur scientist, and a would‐be court historian. Earlier, he had also been a theorist of Romantic aesthetics, a cultural thinker, an important music critic, a prominent popular educator, and even a culinary columnist. Despite his aristocratic lineage (as a “prince,” or kniaz , his family was traceable back to Rurik), he depended financially on his government salary and publishing royalties. Commentators have dubbed him “the Russian Hoffmann,” “the philosopher‐prince,” “a Russian Faust,” and even “the Russian Goethe.”

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European Gothic

Cornwell¹

2012

A New Companion to the Gothic

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Odoevsky's Four Pathways into Modern Fiction

Cited by 4 publications

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Irrealistic traditions in Russian prose of the first third of the 20th century

Irrealistic traditions in Russian prose of the first third of the 20th century

O doevsky, V ladimir

European Gothic

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