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Tomashevsky, Y.M. Lotman and V. Schmid. Also in the dissertation work aretaken into account the studies devoted to the study of the West European and Russianeducational novel (F. Moretti, W. Bruford, S. Howe, E. Krasnoshchekova, etc.).Theoretical significance of the research lies is the description of the plotconstants of the British Bildungsroman and their Russian transcriptions in the fictionof the 1840s and 1850s; the study of the Russian upbringing novel as anexperimental space from the point of view of the typological patterns of"assimilation" and "processing" of the actual Victorian plot models; system analysisof structure, semantics, combinatorics of plot details of the English novel ofeducation on Russian soil; the introduction into scientific circulation of a newhistorical, literary and theoretical material in the context of narratological studies.Practical significance of the studyThe results of the research can be used in the development of courses onliterary criticism in general, and on the history of European and Russian literature,and can also be used as a basis for textbooks on the history of nineteenth-centuryRussian literature.
The collected material (fiction, literary criticism) can be used tocompile annotated indexes of fiction.Provisions for the Defence1. 1840-1860s were one of the culminating times in the history of RussianBritish literary connections. The English Bildungsroman as the dominant genre inVictorian literature becomes the center of the intersection, dialogue and mutualattraction of two national genre traditions, British and Russian. Preserving theirnational characteristics, on the Russian soil, the elements of the genre mutate andacquire new connotations.
The presence of the genre in the fabric of Russian prosecorrects the morphology of the former, adding or, conversely, reducing the structuralelements. The mythology of the Victorian genre also becomes the subject ofanalytical reflection in the Russian cultural context.2. In the period under investigation, three most repetitive plot constructionscan be outlined: the classical history of the emergence of the main character incontemporary society; the novel of the career; a female Bildungsroman.
They arecomposed of various plot elements of sources of English Bildungsroman of theXIXth century: plot situations and their combinations, the functions of charactersand narrator. The most frequently reproduced are the plot constructions of the novelsof upbringing by W. Thackeray, Ch. Bronte and Ch. Dickens.3. By the 1860s, criticism and translations played a decisive role in theassimilation of English "educational" stories. Journal articles and critical reviews oftranslations of English educational novels, such as Jane Eyre or David Copperfield,significantly affect the choice of various Bildungsroman plot moves by the authors.Translations also focus the attention of writers on certain plot elements of theBildungsroman, regulating the process of adapting the "educational" plot, which canbe observed in the case of translations by I.I. Vvedensky of the key English novelsof the nineteenth century.4.
The reception passes several stages in the period under investigation: fromthe initial assimilation of different models popular by the 1840s that were justgaining literary popularity (from Dickens to Thackeray) in the case of Goncharovto the polemic with the genre, overcoming (A.F. Pisemsky) and the adaptation of theplot to Russian political and social realities (the female Bildungsroman of the1860s). By the end of the period under study, we can talk about the transition of theplot constructions of the English Bildungsroman into the category of fullyassimilatedliteraryexperiments(I.Kushchevsky).Thus,theEnglishBildungsroman, addressed to Russian realities, became a stimulus for new Russianreceptive discoveries and a search for new artistic solutions, provoked a rethinkingof nature of the novel genre at the height of Russian literary history.The dissertation research consists of an introduction, five chapters, aconclusion and the list of references.The first chapter, «History of the study of the European novel of upbringingand its genesis.
Some aspects of the theory of Bildungsroman»,presents aconceptual history of the study of the genre of the English Bildungsroman from thebeginning to the latest studies, the paradoxes of historiographical descriptions areindicated; the genesis of the genre in the Western European literary tradition by themiddle of the XIX century is outlined.In the second chapter, «I.A.
Goncharov’s The Common History andVictorian Bildungsroman. Aspects of reception» the narrative fabric of Goncharov’snovel is analyzed as an experimental narrative in which, due to the memory of the"montage" essay poetics of the works of the "natural school", the details of Ch.Dickens's novel The Life and Adventures of Nicholas Nickleby, translated by A.Solonitsyn and published in the Biblioteka dlya chtenia in 1840, find their place(paragraph 2.1 "I.A.
Goncharov's “common” plot between Ch. Dickens and W.Thackeray”).Solonitsyn as a "Dickensian" type was for Goncharov some sort of livingintermediary and interpreter of Dickens’s Bildungsroman. In addition, the images ofVictorian England, which became signs of the British Bildungsroman, are outlinedin the portraits of The Common History and in the book of essays Frigate “Pallada”.Direct "morphological" intersections in the construction of the plot and the detailsof the character system in the novels The Common History and The History ofPendennis by Thackeray, published two years later, allow us to talk about similarexperiences of novelists working in the same system of genre, imagery and semanticcoordinates, the proximity of narrative optics - English and Russian, which isconfirmed by seemingly parallel "projection" of situations in educational novels,only existing in different cultural environments.
The theme of lost illusions,elaborated by Balzac in his novel of the same name (published in three parts between1836 and 1843), receives a non-Balzac interpretation, reducing the highly topicalvicissitudes and narrative dramatism towards the ordinary, ordinary, ordinaryevents.
In this sense, both Goncharov and Thackeray each in their own way coincidein the "opposition" of the French version of the upbringing novel.In the second paragraph of the chapter "Projections of the plot of The CommonHistory in the fiction of the middle of the XIX century: The Gornyansky Family(1851) by N. Kovalevsky and S.P. Koloshin's Modern Nedorosl” traces the furtherassimilation of the practice, outlined by Goncharov, by minor writers of the 1850s,S. Koloshin and N.
Kovalevsky.In the third chapter, we turn to the analysis of the comparative typology ofthe figure of the writer, the artist and how it is formed in A.F. Pisemsky's ThousandSouls and W. Thackeray's History of Pendennis. Kalinovich and Arthur Pendennisare both heroes that have different relation to literature. The literary profession isregarded as a component of the business direction and practical spirit of the era.
InPisemsky's version, the main character is a man for whom literary writing is quitepragmatic and represents a milestone on his career path. The literary failure ofKalinovich is a link in the history of his career, the life crash and unhappy marriage.Arthur Pendennis goes through a complex way of becoming, which ends with ahappy marriage, in addition, he is a renowned writer, which is confirmed by hisauthorship of The Newcomes.
The evolution of Pendennis as an artist is the basis ofhis growing up and learning the lessons of life. The autobiographical element bringstogether The Thousand Souls and The History of Pendennis. Saturation with therealities of modern life, English and Russian, the recognizable sensitivity ofPisemsky to the English contexts in his novel, the similarity of plot with Thackeray’sother novel, The Career of Barry Lyndon, in a number of episodes allows us to speakabout the special polemic nature of Pisemsky’s Bildungsroman in relation toThackeray's novel strategy.
In the second paragraph of this chapter, the continuationof Pisemsky's plot in A. Andreev's In the Search of Vocation. Adventures of theProvincial Youth (1858) is studied.The fourth chapter, "Reception of the English Female Bildungsroman inRussian Women's Prose of the 1860s", is devoted to the analysis of the reception ofthe plot of the English female Bildungsroman, Ch. Bronte’s Jane Eyre, in particular,in Russian women's prose of the 1860s, its "competition" for Russian readers' withFrench women's literature, in particular with George Sand (paragraph 4.1 "Bronte’sJane Eyre as a pretext for the works of Russian women's prose of the 1860's.").
Inthe second paragraph of the chapter, "The Reception of Jane Eyre iY. V.Zhadovskaya’s A Woman’s Story (1860) and in E. Slovtsova’s My Fate (1862)"Zhadovskaya’s novel is analysed as a text that reveals not only "reminiscences" fromBronte’s novel, but also takes into account the influence of those journal discussionsthat unfolded around the work of Bronte and the translation strategy of I.I.Vvedensky. We came to the conclusion that the analysis of key events and imagesin A Woman’s Story (1860) shows Zhadovskaya's conscious reception of Jane Eyreand the genre and narrative affinity of both works.The Following the story line, characteristic of female Bildungsroman in theXIXth century, of which Jane Eyre is a high standard, is confirmed by the similarityof key characters in the two texts.Analysis of the works of Zhadovskaya’s contemproraries, in particular, thenovel Slovtsova’s My Fate, allows us to assert that the plot constructions and plotfunctions of the main characters of the English female Bildungsroman were adaptedby Russian writers of the 1860s in attempts to create a Russian femaleBildungsroman.In the fifth chapter, "The structure of the plot in the I.A.
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