44 research outputs found
Sergej Tolstoy and the Doukhobors : a journey to Canada : diary and correspondence / Сергей Толстой и духоборцы : путешествие в Канаду : дневник и переписка, édition et introduction Andrew Donskov
No full textNiqueux Michel. Sergej Tolstoy and the Doukhobors : a journey to Canada : diary and correspondence / Сергей Толстой и духоборцы : путешествие в Канаду : дневник и переписка, édition et introduction Andrew Donskov. In: Revue des études slaves, tome 73, fascicule 2-3, 2001. pp. 548-549
The presentation of death in L. N. Tolstoy's prose.
No full textThis study treats in detail one of the significant themes of world literature in the narratives of the Russian writer L. N. Tolstoy. The theme of death, its modalities, motifs and related aspects, occur frequently in all of Tolstoy's artistic and philosophical writings. He presents this theme in connection with other dominant themes such as appearance and reality, falsity and truth, the attempts and failures to materialize individuals' objectives, all in various contexts of life--both private and public, and especially military life. The selection of themes such as sexuality, violence, or the transgression of moral laws, also affects the presentation of the theme of death. Instead of focusing on one pair of dominant semantic fields, Tolstoy (in the majority of his narratives) connects several of them equally. There are very few of his works in which one semantic field dominates. In accordance with Realist poetics, Tolstoy presents the theme of death directly; references to death on an allegorical or symbolic level occur in only a few of his narratives. In his early works, Tolstoy varies not only the fundamental modalities, but also the basic modes of violent and natural death. The presentation of a theme in a narrative differs depending on the length of the narrative. In his shorter prose fiction, Tolstoy concentrates the theme of death into specific passages, while its presentation in the longer narratives is distributed throughout the texts. In presenting the various characters, his narrators reveal their philosophies of life, which are particularly apparent in the borderline situation of death and dying. Members of different social classes display, as a rule, contrasting philosophies in revealing their attitudes and reactions--a trend which is again noticeable both in Tolstoy's major prose and in his late narratives. The author's focus on introspection (although in his early prose members of the lower classes are excluded from this technique) continues to play an important role in his late work as well. The author uses typical narrative devices such as anticipation, retrospection, association and paradox in the depiction of this complex theme as he attempts to 'de-romanticize', 'de-sensationalize' and 'de-dramatize' this topic. Despite the general tendency to omit the actual moment of death, there are a few works in which the horror of violent death shocks the reader. As for artistic development in presenting this theme, Tolstoy continues to employ a basic stock of devices and techniques already manifest in his early works
The presentation of death in L. N. Tolstoy's prose.
No full textThis study treats in detail one of the significant themes of world literature in the narratives of the Russian writer L. N. Tolstoy. The theme of death, its modalities, motifs and related aspects, occur frequently in all of Tolstoy's artistic and philosophical writings. He presents this theme in connection with other dominant themes such as appearance and reality, falsity and truth, the attempts and failures to materialize individuals' objectives, all in various contexts of life--both private and public, and especially military life. The selection of themes such as sexuality, violence, or the transgression of moral laws, also affects the presentation of the theme of death. Instead of focusing on one pair of dominant semantic fields, Tolstoy (in the majority of his narratives) connects several of them equally. There are very few of his works in which one semantic field dominates. In accordance with Realist poetics, Tolstoy presents the theme of death directly; references to death on an allegorical or symbolic level occur in only a few of his narratives. In his early works, Tolstoy varies not only the fundamental modalities, but also the basic modes of violent and natural death. The presentation of a theme in a narrative differs depending on the length of the narrative. In his shorter prose fiction, Tolstoy concentrates the theme of death into specific passages, while its presentation in the longer narratives is distributed throughout the texts. In presenting the various characters, his narrators reveal their philosophies of life, which are particularly apparent in the borderline situation of death and dying. Members of different social classes display, as a rule, contrasting philosophies in revealing their attitudes and reactions--a trend which is again noticeable both in Tolstoy's major prose and in his late narratives. The author's focus on introspection (although in his early prose members of the lower classes are excluded from this technique) continues to play an important role in his late work as well. The author uses typical narrative devices such as anticipation, retrospection, association and paradox in the depiction of this complex theme as he attempts to 'de-romanticize', 'de-sensationalize' and 'de-dramatize' this topic. Despite the general tendency to omit the actual moment of death, there are a few works in which the horror of violent death shocks the reader. As for artistic development in presenting this theme, Tolstoy continues to employ a basic stock of devices and techniques already manifest in his early works
Alexey Feofilaktovich Pisemsky as dramatist
No full textIf an artist were to reproduce on canvas Pisemsky's Muse, from the evidence of the scattered "objective detailed"
analyses of his critics, the Muse would definitely be the ugliest thing that any author could choose for his "inspirational" source.
The purpose of this study is to illustrate the unfair
position accorded Pisemsky in Russian dramaturgy and to assign him a proper place in Russian drama by fresh evaluation of his abilities as the dramatist.
The Introduction suggests the possible reasons for which Pisemsky was placed in an oblivion. It also argues that the scepticism, which penetrated some of his works, even if it were somewhat peculiar to him in nature, was definitely aroused by the confusing multi-party Russia of the 1860's and 1870's. Chapter One retraces the more important themes in Russian drama in an attempt to place Pisemsky in the tradition.
Chapter Two is a detailed analysis of the lingering critical attitudes toward Pisemsky which claim that his works lacked the revolutionary zeal for improvement of Russia, and that he was not a playwright but an author of
pamphlets.
In Chapter Three an attempt is made to define the main aspects of Pisemsky's art through his letters and views implicit in his plays. It is also suggested in this Chapter that Pisemsky's plays were revolutionary in their own way, and that they were not directed at the "yawning space", but, to people, directed with harsh rebuke, yet with sincere hope in an eventually brighter future. Chapter Four and the Conclusion are devoted to the analyses of his plays in an effort to show that many of them, in their theme, structure, form and other traditional elements of drama, indeed secure him much better place in Russian dramaturgy than hitherto given him.Arts, Faculty ofCentral, Eastern, and Northern European Studies, Department ofGraduat
An Intensive Method of Language Teaching
No full text It has long been recognized that intensive methods of language teaching rank second best only to actual residence in the country where the studied language is native. These methods are successful because the structure of each language is intensively studied as an indigenous integer to its own individual pattern. Overcoming the barrier felt by many students through unfamiliarity with the new language and their reluctance to abandon the area of the familiar are difficulties which the instructor must, first of all, strive to overcome. Added to these, is the students' anticipated fear of ridicule should they quite unconsciously make blunders. Intensive methods of instruction in which class and lecture sessions are stretched far beyond the conventional 3 to 4 one-hour weekly periods aim to produce a comfortable familiarity, or "submergence", in the language : a condition however, rarely achieved in a half-year of usual instruction or even during an entire year. </jats:p
Stilman, Galina et al. <i>Introductory Russian Grammar</i>, 2nd ed. Lexington, Xerox College Publishing, 1972
No full textJohnson, Barton D., Kaspin, Albert, and Kostruba, Mstislav W., eds. Eye-witness: Selections from Russian Memoirs. New York, Harcourt Brace Jovanovich, Inc., 1917
No full textChizhevskii, Dmitrii. Comparative History of Slavic Literature. Translated by Richard Noel Porter and Martin P. Rice. Foreword by Serge A. Zenkovsky. Nashville, Vanderbilt University Press, 1971
No full textWosien, Maria-Gabriele. The Russian Folk-Tale : Some Structural and Thematic Aspects. Munich, Verlag Otto Sagner, 1969. 237 pp.
No full text
