Young Tolstoy
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This book is the first part of the intended hard work about Tolstoy. She hugs the first years of Tolstoy"s work (1847–55) from early diaries to moving from Sevastopol to St. Petersburg - and represents a closed whole. Unfortunately, I have not yet been able, despite the troubles, to use the manuscripts of the Tolstoy archive, which continues to be inaccessible to “outsiders”, at least not interested in family, but purely literary materials. Further work on the same scale is impossible without acquaintance with diaries and with unrelated works (especially the novel of the fifties, the “Otive Field”) However, the chronological construction of work of this type of Tolstoy is still premature, and not necessarily. “Young Tolstoy” is a natural cycle not only in the chronological, but also in a systematic sense. Here, the basic literary traditions of Tolstoy are clarified - what Tolstoy retreated from, as from the template, and to which he strove, as a model. Further, I intend to go through the development of a number of systematic topics, based on both the features of Tolstoy’s work and from general theoretical problems. Specific historical work can have scientific significance only when it comes into contact with issues of general theory and is built on the basis of certain theoretical prerequisites. In order to have “facts” in your hands, one must be able to get them - there are no facts on their own.
The main topic of both this first part and all subsequent ones is Tolstoy’s poetics. In the center - questions about the artistic traditions of Tolstoy and about the system of his stylistic and compositional techniques. This method is called “formal” - I would be more willing to call it morphological, unlike other (psychological, sociological, etc), in which the subject of the study is not the artistic work itself, but by the “reflection” of which is which is a “reflection” It is according to the researcher. It was believed that to study the work itself means to anatomize it, and for this, as you know, it is necessary to first kill a living creature. We were constantly reproached for this crime. But, as is also known, the comparison is not evidence. And finally - the case is not about criticism, which is interesting to the acuteness of its perception in relation to the living phenomena of our time, but about science, which is built on the study of the past. The past, no matter how it revives, is already dead, killed by time itself.
In the field of study of folklore and general plotology, the morphological method is already quite fortified. In line is the question of studying this method of specific historical and literary phenomena-individual creativity or creativity of a certain literary era. With such monographs, our scientific literature is amazingly poor. It seems especially tempting to me now - to subject this analysis to Tolstoy’s work, in whose minds, contrary to generally accepted opinion, the problems of the artistic form were so aggravated.
Literature on Tolstoy froze on an icon -painting point of view. Meanwhile, many feel the need to “overcome” Tolstoy. We enter, apparently, into a new strip of Russian prose, which is looking for new ways - outside the psychological novel by Tolstoy or Dostoevsky. The development of complex plot forms is to be developed - perhaps the revival of an adventurous novel, which Russia has not yet had. Against this background, the study of Tolstoy seems to me one of the next tasks. To “overcome” some kind of artistic style means understanding him. The artistic phenomenon is vividly until it is not clear while it is surprising. Criticism is surprised, science understands
The main topic of both this first part and all subsequent ones is Tolstoy’s poetics. In the center - questions about the artistic traditions of Tolstoy and about the system of his stylistic and compositional techniques. This method is called “formal” - I would be more willing to call it morphological, unlike other (psychological, sociological, etc), in which the subject of the study is not the artistic work itself, but by the “reflection” of which is which is a “reflection” It is according to the researcher. It was believed that to study the work itself means to anatomize it, and for this, as you know, it is necessary to first kill a living creature. We were constantly reproached for this crime. But, as is also known, the comparison is not evidence. And finally - the case is not about criticism, which is interesting to the acuteness of its perception in relation to the living phenomena of our time, but about science, which is built on the study of the past. The past, no matter how it revives, is already dead, killed by time itself.
In the field of study of folklore and general plotology, the morphological method is already quite fortified. In line is the question of studying this method of specific historical and literary phenomena-individual creativity or creativity of a certain literary era. With such monographs, our scientific literature is amazingly poor. It seems especially tempting to me now - to subject this analysis to Tolstoy’s work, in whose minds, contrary to generally accepted opinion, the problems of the artistic form were so aggravated.
Literature on Tolstoy froze on an icon -painting point of view. Meanwhile, many feel the need to “overcome” Tolstoy. We enter, apparently, into a new strip of Russian prose, which is looking for new ways - outside the psychological novel by Tolstoy or Dostoevsky. The development of complex plot forms is to be developed - perhaps the revival of an adventurous novel, which Russia has not yet had. Against this background, the study of Tolstoy seems to me one of the next tasks. To “overcome” some kind of artistic style means understanding him. The artistic phenomenon is vividly until it is not clear while it is surprising. Criticism is surprised, science understands
Author:
Author:Eichenbaum Boris Mikhailovich
Cover:
Cover:Hard
Category:
- Category:Biographies & Memoirs
Publication language:
Publication Language:Russian
Series:
Series:-
ISBN:
ISBN:978-5-7584-0363-1
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