2,889 research outputs found
Religious doctrine in the works of Mikhail Bulgakov (with special reference to Belaia Gvardiia, Beg and master I Margarita)
Full text linkThis thesis will examine the works of Mikhail Afanasevich Bulgakov with special reference to Belaia gvardiia. Beg, and Master i Margarita. It shall be shown that Russian Orthodox Doctrine can provide a cohesive whole for his works, uniting them on a 'spiritual' level. At first an assessment will be made of the extent to which Bulgakov was a believing Christian, then the following examination of his works will be divided into the Divine and the Human, beginning with an examination of the Devil. The nature of Christ and God will then be considered and be shown to correspond on may levels with the tenets of Doctrine. In the second half, man and his relationship to God will be discussed, showing that the mortal condition of man and his attempts to come close to God are of importance to Bulgakov. Finally, his portrayal of man’s progression through judgement to the attainment of Salvation will be considered, showing that, despite some deviations, Bulgakov's artistic ideas are founded in Doctrine
Lesley Mllne, Mikhail Bulgakov : a critical biography
No full textGourg Marianne. Lesley Mllne, Mikhail Bulgakov : a critical biography. In: Revue des études slaves, tome 65, fascicule 2, 1993. p. 429
La guàrdia blanca
No full textResumen del vídeo en catalánVídeo basado en la obra de Mikhail Bulgakov donde se muestra el destino de una familia noble de Kiev que entre los años 1918 y 1922 viviran la aparición del nacionalismo en Ucraina.ES
FEATURES OF THE AUTHOR'S WORLDVIEW IN THE NOVEL BY MIKHAIL BULGAKOV ‘THE MASTER AND MARGARITA'
Full text linkThe article analyzes the mythological systems, that had a significant impact on the outlook of Mikhail Bulgakov as the author of the great novel ‘The Master and Margarita', the iconic literary work in Russia of XX-of XXI centuries. The article criticizes the tradition of literary studies, where the philosophical context of the novel ‘The Master and Margarita' is interpreted exclusively in the context of Russian philosophical tradition. The article identifies three semantic constructs of the novel, reveals their basic content, their mutual influence. Based on the analysis of mythological storylines, the content of the philosophical worldview of Mikhail Bulgakov is constructed
FEATURES OF THE AUTHOR'S WORLDVIEW IN THE NOVEL BY MIKHAIL BULGAKOV ‘THE MASTER AND MARGARITA'
No full textThe article analyzes the mythological systems, that had a significant impact on the outlook of Mikhail Bulgakov as the author of the great novel ‘The Master and Margarita', the iconic literary work in Russia of XX-of XXI centuries. The article criticizes the tradition of literary studies, where the philosophical context of the novel ‘The Master and Margarita' is interpreted exclusively in the context of Russian philosophical tradition. The article identifies three semantic constructs of the novel, reveals their basic content, their mutual influence. Based on the analysis of mythological storylines, the content of the philosophical worldview of Mikhail Bulgakov is constructed
Apocalyptic comprehension of reality in Mikhail Bulgakov\u27s drama Flight
Full text linkČlanek obravnava zgodovinsko-filozofsko videnje Mihaila Bulgakova v drami Beg, posvečeni državljanski vojni. Avtorica ugotavlja, da pisateljevo ustvarjalno misel opredeljuje apokaliptično dojemanje stvarnosti. Siže drame Bulgakov vzpostavi kot projekcijo Janezovega razodetja in se v tekstu večkrat sklicuje na apokaliptično prerokbo. Zgodovinska apokalipsa v drami predpostavlja razpad starega sveta, ki ga zaznamujejo izguba domovine, izguba lastne identitete, oskrunitev vseh starih idealov in izmaličenje človeške podobe.The article analyzes the historical and philosophical position of Mikhail Bulgakov as reflected in the drama Beg, which depicts the last days of the civil war in Russia. The author states that Bulgakov’s creative vision is influenced by apocalyptic thinking. The drama is based on Revelation and includes numerous allusions to the apocalyptic prophecy. As a result of the historical apocalypse, the norms of the previous life are destructed. The destruction of the old world is signified by loss of homeland and identity as well as by the destruction of the human soul
J. A. E. Curtis, Manuscripts don't burn, Mikhail Bulgakov : a life in letters and diaries
No full textGourg Marianne. J. A. E. Curtis, Manuscripts don't burn, Mikhail Bulgakov : a life in letters and diaries. In: Revue des études slaves, tome 65, fascicule 2, 1993. p. 431
REESCREVER OS EVANGELHOS NO CONTEXTO SOVIÉTICO: O CASO DE MARGARITA E O MESTRE DE MIKHAIL BULGAKOV
Full text linkEste artigo propõe uma leitura de Margarita e o Mestre, de Mikhail Bulgakov,enquanto reescrita dos Evangelhos. Far-se-á uma leitura cruzada entre a obra do escritor russo e diversos textos da Bíblia, em especial o Livro do Apocalipse, para demonstrar como Bulgakov usa o texto das Sagradas Escrituras para parodiar e criticar o poder coercivo do Estado Soviético. Serão ainda analisadas em pormenor várias personagens de Margarita e oMestre para esboçar aquela reescrita do Evangelho e far-se-á uma comparação detalhada entre o universo fictício das duas narrativas presentes na obra: a narrativa de Moscovo e a narrativa de Jerusalém.REWRITING THE GOSPELS IN THE SOVIET CONTEXT: THE CASE OF MIKHAIL BULGAKOV’S THE MASTER AND MARGARITAThis article proposes a reading of Mikhail Bulgakov’s The Master andMargarita as a rewriting of the Gospels. This is a cross reading between the work of the Russian writer and various texts of the Bible, especially the Book of Revelation, to demonstrate how Bulgakov uses the text of the Holy Scriptures to parody and criticize the coercive power of the Sovietic state. The various characters of Master and Margarita will alsobe examined to outline that rewriting of the Gospels, and we will make a detailed comparison between the fictional universe of the two narratives of the novel: the narrative of Moscow and the narrative of Jerusalem
What Motifs and Style Components Shaped Mikhail Bulgakov\u27s The Master and Margarita ?
No full textMikhail Bulgakov (1899-1940) was an educated Russian who had grown up in Kiev, in a time before Stalinism permeated everything in Soviet Russian culture. Having been raised in prerevolutionary Russia, Bulgakov was able to compare life before and after the Bolshevik Revolution in the USSR. In response to the chaotically changing nation around him, Bulgakov wrote novels, short stories, and plays that satirized and criticized the changing society. Throughout these various literary outlets Bulgakov wove distinct themes and used an immersive type of narration. These various elements of his narratives and plays allowed him to insert his own ideas about the changing Russian state, as well as the Communist Revolution. His woven-in commentary on Russia throughout his works revealed Bulgakov to be a man who did not support the Socialist Revolution and looked to the impact that it would have on the future of his country. To better understand Mikhail Bulgakov’s works and narrative style, this literary project studying Bulgakov’s works until his last novel relies on various methods, such as: literary analysis that examines the theme, narrative approach, and composition of the works; crossreferencing distinct motifs and themes among Bulgakov’s novels; consulting literary criticism Bulgakov’s novels; an examination of the texts within their historical context; consultations with the mentor regarding readings of the novel and the historical and literary significance of the works. Each method contributed both information and analytical models that helped to shape the reading and analysis of Bulgakov’s novels. This narrative study has proved that Bulgakov was determined to speak his mind, even though he was constantly threatened by retribution from the authorities. As his novels reveal, Bulgakov constructed an intricate web of thematic and narrative elements that recur throughout his novels, and the stylistic choices that he made throughout his writing career helped shape how his final novel— The Master and Margarita—was written so effectively
Mikhail Bulgakov and his works
No full textThe scholarly purpose of this thesis is to illustrate the position occupied by Mikhail Afqnasyevich Bulgakov (1891-1940) in Soviet satire particularly and in Russian literature as a whole, since the dilemma in which the author under analysis found himself, was shared by Soviet authors of diverse backgrounds and literary ideas.
Early princedom Russia, the Kievan State and the entire pre-Petrine epoch with its archaic structure, enrooted convervatism and primitivism did not regard literature, grammar and education as valuable assets to the Russian citizen. Of greater importance was defence against invading hordes of nomads, the search for food for daily life and the observance of ancient orders, social customs, superstitions and firm belief in the old faith.
It was Peter the Great's responsibility by means of enormous efforts and the introduction of vigorous, often drastic laws and methods, to smash through the century-old crust of ancient "ice" covering the Russian land, the Russian soul and mentality.
When he began to trim the boyar’s beards, some preferred suicide to humiliation, and others death beneath the axe of the state executioner. It seems that similarly Russian literature has always led and leads a path of suffering in a difficult defense of its literary principles against oppressive odds and very likely will continue to do so in the future.
Such a beginning, this virus in the body of Russian literature - the pushing of various impeding stakes in between the spokes of creativity, never was cured by the application of any effective antidotes.
Thus was the fate of Russian literature decreed, so that within it may always be juxtaposed the Pushkins with the Dantes, the Lermontovs with Martynovs, Bulgakovs and Tarsis’ with the Khrushchevs, Brezhnevs and their party successors
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In the works of each of Russia's literary giants -prose writers and poets alike, each paragraph, line and word fought with a Herculeon will and might its way towards life in the hearts and minds of the people.
For this reason tyrants, regardless of bloodlines, fear the growth, significance and active role of literature. For this reason Russian literature, developing and refining itself always remained very caustic in tone, very heavy in theme and had many enemies everywhere - among the strong of the world, in the darkest kingdoms of egoists, bureaucrats, secret services and other organs of suspicion, censorship and enslavement.
Were not all the persons sincerely connected with literature condemned as rioters, rebel-rousers and revolutionaries?
And how many special rules governed and still regulate the printing presses? Where else but in Russia did the shameful employment of "zits-editors" exist, whose duty it was to sit out jail terms for their employers - editors and publishers of newspapers and journals - who were sentenced by rule of other men, not law?
Finally, what mountains of literary works were censored and what number of their authors defamed?
It may be deduced, that over twenty-five percent of all literary workers in Russian literature perished either physically or morally and died one of these deaths.
Such "attention" paid to literature by its oppressors could not help but leave a trace on its history.
It is unlikely that our evaluation of Russian literature as one baptized in storm and fire is incorrect. These very elements continue to temper it today. Why else would the characteristic genres like "laughter through tears", "notes from penal and mental institutions" (imaginary and factual) and "dreams” prevail in it?
What indeed did the Russian literary figure characteristically represent? He was the object of suppression, criticism, censorship, and other extreme measures. What had the writer to be on alert for? Dangerous intrigue in the case of Pushkin, ill-fame for Bulgakov and death for Pasternak.
In Soviet times, all of these "pleasures" awaited each writer and poet if he could not reconcile himself with and "thank" from the bottom of his heart his hateful overlords, the rulers of the bodies and souls of the Russian people.
In completing a major thesis on M.Bulgakov, it was necessary first of all to keep in mind a great Russian literature, whose image may be likened to a Sorrowful Beauty, who presents before the peoples of the world her magnificent exterior and mature personality, while mourning for the people of her own land. I wish to call her by the ancient yet appropriate apellation - "a mourner of the Russian soul".
In contrast to French literature - a coquettish being, and German literature - a home economist, Russian literature despite the presence of Krylov, Chekhov, Gorbunov and later Zoschenko - always bore the stamp of "laughter through tears".
Mikhail Bulgakov in the history of Russian literature was at one and the same time a part of its heritage and an educational, scandalous embarrassment for the Soviet government. But for Russia itself, Mikhail Bulgakov was one of those rare people who give impetus and vitality to a national literature that will live forever.Arts, Faculty ofCentral, Eastern, and Northern European Studies, Department ofGraduat
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