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Situating the beast: Animals and animal imagery in nineteenth- and twentieth-century Russian literature.

机译:定位野兽:19世纪和20世纪俄罗斯文学中的动物和动物意象。

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摘要

The inclusion of animals in a literary work represents a conscious decision on the part of an author yet it is a decision for the most part neglected by Western and Russian critical scholarship. Comparing the most prominent thematic treatments of animals in nineteenth- and twentieth-century Russian literature provides a clearer understanding of authors' methods, their metaphysical and epistemological assumptions, and their visions of the social world. A brief overview of the texts considered reveals some applications of the animal world: Nikolai Gogol ("Diary of a Madman," Dead Souls ) warns against ignoring metaphysical truths in favor of false vanity, while Fedor Sologub (The Petty Demon) borrows Gogolian techniques to reveal the moral indolence of humanity Ivan Turgenev (Sketches from a Hunter's Album, "Mumu") and Lev Tolstoi ( Anna Karenina, War and Peace, "Kholstomer") consider humanity's ethical and spiritual responsibility to one another and to the surrounding environment Mikhail Bulgakov ("The Fatal Eggs," Heart of a Dog, Master and Margarita) and Vladimir Maiakovskii ( The Bedbug) express fears about the individual's place in the all-consuming Soviet society and Georgii Vladimov (Faithful Ruslan) and Aleksander Solzhenitsyn (The First Circle, Cancer Ward, The Gulag Archipelago) explore the havoc and dehumanization wreaked by the societal and governmental corruption. Finally, analogous uses of the animal world occur in the works of such artists as Pavel Fedotov, Pavel Filonov, and Marc Chagall.Serious attention to the presence of the animal world in these works offers fresh perspectives and sharper readings of many familiar texts, thereby crystallizing the works of other scholars around the most pressing metaphysical questions regarding the Self, the presence of a divine entity, and the resulting implications for the fates of non-human beings.
机译:将动物包括在文学作品中代表作者的自觉决定,但这在很大程度上被西方和俄罗斯的批判奖学金所忽略。比较19世纪和20世纪俄罗斯文学中最突出的动物主题处理方法,可以更清楚地了解作者的方法,形而上学和认识论的假设以及对社会世界的看法。对所考虑文本的简要概述揭示了动物界的一些应用:Nikolai Gogol(“狂人日记”,Dead Souls)警告不要忽视形而上的真理,以支持虚荣虚荣,而Fedor Sologub(小恶魔)则借用了Gogolian技巧为了揭示人类的道德惰性,伊万·屠格涅夫(《猎人》的草图,“ Mumu”​​)和列夫·托尔斯泰(安娜·卡列尼娜,《战争与和平》,《霍尔斯坦》)认为人类对彼此以及对周围环境的道德和精神责任布尔加科夫(《致命的鸡蛋》,《狗的主人》和《玛格丽塔》的心)和弗拉基米尔·麦亚科夫斯基(《臭虫》)表达了人们对这个个人在全力消耗的苏联社会中所处地位的担忧,而乔治·弗拉迪莫夫(忠实的罗斯兰)和亚历山大·索尔仁尼琴(第一个Circle,巨蟹座区,古拉格群岛(Gulag Archipelago)探索了社会和政府腐败所造成的破坏和非人性化。最后,动物世界的类似用法出现在帕维尔·费多托夫(Pavel Fedotov),帕维尔·菲洛诺夫(Pavel Filonov)和马克·夏加尔(Marc Chagall)等艺术家的作品中。对动物世界的存在的认真关注为这些熟悉的文本提供了崭新的视角和更清晰的解读,从而围绕其他有关自我,最紧迫的形而上学问题的研究,使其他学者的著作变得清晰明了,从而对非人类的命运产生了影响。

著录项

  • 作者

    McDowell, Andrea Rossing.;

  • 作者单位

    Indiana University.;

  • 授予单位 Indiana University.;
  • 学科 Literature Slavic and East European.Art History.
  • 学位 Ph.D.
  • 年度 2001
  • 页码 352 p.
  • 总页数 352
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:47:24

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