Summary (1137496)
Текст из файла
National Research University Higher School of Economicsas a manuscriptSarana Natalya VladimirovnaTHE TRADITION OF THE ENGLISH BILDUNGSROMANIN RUSSIAN PROSE OF 1840-1860sPhD Thesis Summaryfor the purpose of obtainingPhilosophy Doctor in Philology and Linguistics HSEAcademic supervisor:Elena N. PenskayaPhDMoscow 2018In this thesis, an attempt is made to identify and analyze the patterns of thepresence of the British Bildungsroman elements in Russian prose of the 1840s1860s, clarify the ambiguous nature of these relations, describe the nature of thereception, taking into account the lack of a clear genre definition of the upbringingnovel and variety of methodological approaches.The plot structure and poetics of the English Bildungsroman of the XIXthcentury are determined by the specifics of the Victorian era.
The hero in the Englishnovel is primarily a student. He is trained in the school of life, learns the practicalskills and rules of existence in his modern society. His path consists of trial anderror, heavy disappointment.The appeal to the literature of the late 1840's and 1860's was due primarily tothe fact that this era can be attributed to one of the culminating and peculiar in thehistory of the interaction of English and Russian literature. The period from the1840's to the 1860's in Russian history and culture is a period of intensive formationof a multi-component image of Great Britain as a complex of real and mythologizedelements.
In the Russian cultural consciousness, the image of England, Englishcultural, artistic, political realities become the subject of close attention. This is dueto certain historical events, the Crimean War, in particular.Moreover, key English novels in the genre of Bildungsroman appear at thesame time. Their emergence was prepared by the first attempts at the reception ofthe German Bildungsroman in the English literature of the 1820s-1830s.The principles of Bildungsroman’s classification are heterogeneous, exist indifferent coordinate systems, and the morphology of the Victorian Bildungsromanis a mixture of structural and narrative features.
Such a variegated research palette,on the one hand, puzzles, and on the other hand, justifies an attempt to diagnose themain genre combinations in the Russian prose - the novel about the artist, the novelof the career, the female novel, and others, and in each chapter to consider the detailsof one of the subspecies in their combinations and ambiguous projections.In the Victorian Bildungsroman, the repertoire of author's functions is wide aswell: the central character can become the author of the novel (Arthur Pendennis, asa result of all life's trials himself writes a novel); in other situations, the author retainsomniscient, acting sometimes as a guardian of the reader and an instructivecommentator.
The system of characters in the Bildungsroman, too, in turncorresponds to a fixed set of roles; the transition of a character from one category toanother, the breakdown of partitions between the specified trajectories of movementin the novel scheme was perceived as a conscious gesture, the manifestation of theauthor's will and caused the reader's heightened attention.All these mobile constants, intriguing paradoxes of the British Bildungsromanwere perceived by the Russian audience with great interest and found a favorableresponse in the atmosphere that developed in Russian journalism of the 1840s1860s.
Controversy, journal hoaxes, author mask-pseudonyms became thosenecessary attributes that helped to "appropriate" and master the English educationalnovel, to reduce the differences between cultural realities.The subject of the study was the most characteristic cases in which theinteraction of the English Bildungsroman and Russian fiction about the threedecades of the XIX century is traced.
The works selected by us fall into twocategories: some are well known to the Russian reader, discussed in journalisticcriticism, they retain their significance even today, others belong to authors who areforgotten or less familiar to a wide audience. Such a correlation of the twodimensions is our conscious choice, as domestic fiction as an accompaniment andnot least the context of the first-line works allows us to consider the ways ofreception of the English Bildungsroman, its poetics, and also to see through theRussian prism the range of acute social and political issues that stand before theheroes, to realize the ways of their similar or, conversely, opposite decisions in thecircumstances of different cultural traditions, direct and indirect, obvious and hiddenperceptions traced at various levels, including typological, and in different historicaland literary coordinates.In the focus of our attention are plot and plot collisions, thematic repertoire,specificity of the narrative of the English upbringing novel and their projection inRussian fiction.
In the chosen period they become the object of intimate reflectionin Russian literature. The peculiarities of this reflection are to be considered in theexample of Goncharov's The Common History, Pisemsky's Thousand Souls,Zhadovskaya's A Woman’s Story and other literary works of this time, connectedwith a range of themes, features of the plot that were well known to the Russianaudience on the examples of the novels by, mainly, Dickens and Thackeray.The logic of our choice can be explained by two reasons:1) a sufficiently high concentration of different details of the British novel ofeducation in the narrative fabric of the domestic fiction of this period, theconcentration of elements present in hidden and in quite recognizable forms;2) the presence of research gaps in the study of what can be called the"morphology" of the genre of the British Bildungsroman, its structure, memory, theanalysis of end-to-end interpretations by Russian prose writers, the way they areincluded in their own texts, and the correlation of these details in a comparativeperspective.In the centre of the research is the analysis of the plot structures of the novels,as well as the functions of characters in the space of the plot.
We rely on thenarratological approaches developed in Russian literary criticism, that is, thoseapproaches that are focused on studying the plot as a way of organizing the narrativein a literary work. In domestic literary criticism, plot theory is already presented inthe works of A.N. Veselovsky (for example, in "Poetics of Plots") [Veselovsky,1989]. For the current research the works of V.Y. Propp [Propp, 1928], V.B.Shklovsky [Shklovsky, 1921], B.V.
Tomashevsky [Tomashevsky, 1999], M.M.Bakhtin [Bakhtin, 1979], Y. M. Lotman [Lotman, 1970; Lotman, 1998] and otherRussian researchers [Levitan, Tsilevich, 1990; Markovich, 1991; Akimova, 2008;Pecherskaya, Nikanorova, 2010] are of special importance. Works on narratologyare also of interest in the study of the plot constructions of a fictional work, primarilythe work of V. Schmid [Schmid, 1981; Schmid, 1998; Schmid, 2001; Schmid, 2003;Schmid, 2012; Schmid, 2008; Schmid, 2014].The relevance of the research topic is due to the need for a multidimensionalstudy of Russian prose of the 1840s-1960s as a sphere with a high plot potential,saturation with figurative, semantic collisions which intensifies depending on thedegree of impact of the non-cultural genre experience.
The combination of theRussian and English Bildungsroman traditions during this period makes it possibleto assess the degree of experimentality of the new prosaic forms born as a result ofthis genre symbiosis. Artistic and aesthetic reflection of Russian novelists on theVictorian Bildungsroman allows us to outline the typological patterns of the creativemix of its elements, consciously or spontaneously included in the narrative fabric ofworks, and to reveal algorithms for mapping subjects and plots in the repertoire ofRussian prose of the 1840s-1860s.The scientific novelty of the research lies in revealing the plot constructionsof the English Bildungsroman, dominating in Russian fiction of the 1840s-1860s(the classic plot of becoming a gentleman, the history of the career of the maincharacter and the female upbringing novel); considering the fiction of the 1840s1860s through the prism of mastering the elements of plot models, the structure, thenarrative of the Bildungsroman; expansion of the comparative historiography of thestudy of the genre.The object of research is works of Russian prose of the 1840s-1860s, whichin different forms master the plot constructions of the XIXth century English novelsof the education.The subject of the study is the morphology of the Victorian Bildungsroman,as well as the nature of selection and the dynamics of the concentration of elementsof this genre in Russian prose of the second third of the XIX century.The material of the study is the works of Russian prose, literary criticism(literary critical articles and reviews), translations of English novels of education,published in the Russian periodicals of the 1840s and 1860s.The aim of the work is to investigate the logic of influence and modificationof the plot constructions of the English Bildungsroman in the fiction works of the1840s and 1860s.To achieve this goal, the following tasks are set:1) to form the research base and the corpus of periodicals and individualeditions of the 1840s-1860s;2) to reveal the most popular plot constructions of the English Bildungsromanin the Russian literary works of the 1840s-1860s;3) consider the transformation of the original plot of the English novel ofupbringing in the Russian fictional works of the period under study;4) to classify the ways of mastering and transforming on Russian soil the plotsdeveloped in the English Bildungsroman.The methodological base of the thesis is composed of historical-literary andstructural-typological methods.
Approaches to the analysis of fiction, its functionsin the historical and literary process are based on the classical studies of Y.N.Tynyanov, B.M. Eikhenbaum, V.V. Vinogradov, Y.M. Lotman. The maincategories of the plot are studied in the context of the work of A.N. Veselovsky,B.V.
Характеристики
Тип файла PDF
PDF-формат наиболее широко используется для просмотра любого типа файлов на любом устройстве. В него можно сохранить документ, таблицы, презентацию, текст, чертежи, вычисления, графики и всё остальное, что можно показать на экране любого устройства. Именно его лучше всего использовать для печати.
Например, если Вам нужно распечатать чертёж из автокада, Вы сохраните чертёж на флешку, но будет ли автокад в пункте печати? А если будет, то нужная версия с нужными библиотеками? Именно для этого и нужен формат PDF - в нём точно будет показано верно вне зависимости от того, в какой программе создали PDF-файл и есть ли нужная программа для его просмотра.
![](https://s.studizba.com/z.php?f=/templates/si/i/noavatar.png&w=100&h=100&t=1"){kind=avatar}
