The reader-character in Yuri Felzen’s novel Letters about Lermontov

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Tekst Kniga Knigoizdanie-Text Book Publishing Pub Date : 2022-01-01 DOI:10.17223/23062061/29/2
I. I. Nazarenko
{"title":"The reader-character in Yuri Felzen’s novel Letters about Lermontov","authors":"I. I. Nazarenko","doi":"10.17223/23062061/29/2","DOIUrl":null,"url":null,"abstract":"The article examines the plot of reading and interpreting Mikhail Lermontov’s works by the reader-character of the novel Letters about Lermontov (1935) by Yuri Felzen, a writer of the younger generation of Russian emigration. The love conflict of the central character (he is the narrator, the author of letters to his beloved who left him) is overcome by the act of writing and the departure into the world of culture, the value center of which for him is Lermontov. Strategies for reading Lermontov by a writing character are close to the biographical method - no separation of the writer’s life and work, identification of the author with his hero (Pechorin, Demon, poetic lyrical hero). The purpose of learning Lermontov’s personality through his works (diaries, poetry, poems, the novel Hero of Our Time, etc.) is to find an existential landmark (perseverance and courage before the blows of fate) and an aesthetic principle (patience and sincerity in creative work). In self-identification with Lermontov-Pechorin, an act of self-knowledge, recognition of inconsistency with the ideal, and behavioral self-correction take place. The second line of letters about Lermontov is the formulation of the essence of literary creativity, the author’s version of the history of Russian literature and its fate in the modern world. According to the character of the novel, classical literature in the twentieth century becomes incomprehensible and unable to agitate, but, dying, it conveys its artistic discoveries to modern literature, which means that art continues to develop. Lermontov is the connecting link: he is a writer of the 19th century, but his works remain modern, because they were ahead of their time. Lermontov, according to the narrator-character, stands above Pushkin, he is the forerunner of Tolstoy and Proust, i.e., the literature of modernism that is capable of showing an incomplete world and a contradictory person, to which the central character of the novel aspires. Art in the author’s concept, as exemplified by Lermontov, is an act of self-knowledge necessary for the artist himself, but allowing one to go from observing about oneself to generalizing about human nature. Reading is the cognition of the Other and their way of being, it is approaching to the understanding of reality; reading is also the threshold for creating a text, one’s own way of being, built in dialogue with world literature. Felzen’s article “Lermontov in Russian Literature” (1938) is not development, but a concentrate of novel ideas. In critical discourse, Felzen evaluates Lermontov less categorically: he is equal to Pushkin in the sense of proportion, freedom from politics and religion. Felzen concludes: after the death of Lermontov, Russian literature was not free from the power of political and religious ideas (Gogol, Tyutchev, Tolstoy, Dostoevsky). The author declares no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Tekst Kniga Knigoizdanie-Text Book Publishing","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.17223/23062061/29/2","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0

Abstract

The article examines the plot of reading and interpreting Mikhail Lermontov’s works by the reader-character of the novel Letters about Lermontov (1935) by Yuri Felzen, a writer of the younger generation of Russian emigration. The love conflict of the central character (he is the narrator, the author of letters to his beloved who left him) is overcome by the act of writing and the departure into the world of culture, the value center of which for him is Lermontov. Strategies for reading Lermontov by a writing character are close to the biographical method - no separation of the writer’s life and work, identification of the author with his hero (Pechorin, Demon, poetic lyrical hero). The purpose of learning Lermontov’s personality through his works (diaries, poetry, poems, the novel Hero of Our Time, etc.) is to find an existential landmark (perseverance and courage before the blows of fate) and an aesthetic principle (patience and sincerity in creative work). In self-identification with Lermontov-Pechorin, an act of self-knowledge, recognition of inconsistency with the ideal, and behavioral self-correction take place. The second line of letters about Lermontov is the formulation of the essence of literary creativity, the author’s version of the history of Russian literature and its fate in the modern world. According to the character of the novel, classical literature in the twentieth century becomes incomprehensible and unable to agitate, but, dying, it conveys its artistic discoveries to modern literature, which means that art continues to develop. Lermontov is the connecting link: he is a writer of the 19th century, but his works remain modern, because they were ahead of their time. Lermontov, according to the narrator-character, stands above Pushkin, he is the forerunner of Tolstoy and Proust, i.e., the literature of modernism that is capable of showing an incomplete world and a contradictory person, to which the central character of the novel aspires. Art in the author’s concept, as exemplified by Lermontov, is an act of self-knowledge necessary for the artist himself, but allowing one to go from observing about oneself to generalizing about human nature. Reading is the cognition of the Other and their way of being, it is approaching to the understanding of reality; reading is also the threshold for creating a text, one’s own way of being, built in dialogue with world literature. Felzen’s article “Lermontov in Russian Literature” (1938) is not development, but a concentrate of novel ideas. In critical discourse, Felzen evaluates Lermontov less categorically: he is equal to Pushkin in the sense of proportion, freedom from politics and religion. Felzen concludes: after the death of Lermontov, Russian literature was not free from the power of political and religious ideas (Gogol, Tyutchev, Tolstoy, Dostoevsky). The author declares no conflicts of interests.
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
尤里·费尔岑的小说《莱蒙托夫书信》中的读者角色
本文以俄罗斯年轻一代移民作家尤里·费尔岑的小说《莱蒙托夫书信集》(1935)为切入点,探讨阅读和解读莱蒙托夫作品的情节。主人公(他是叙述者,是给离开他的爱人写信的作者)的爱情冲突被写作行为和进入文化世界的行为所克服,对他来说,文化世界的价值中心是莱蒙托夫。通过写作角色阅读莱蒙托夫的策略接近传记方法——不将作家的生活和工作分开,将作者与他的英雄(Pechorin, Demon,诗意的抒情英雄)等同起来。通过莱蒙托夫的作品(日记、诗歌、诗歌、小说《我们时代的英雄》等)来学习他的个性,目的是为了找到一个存在的里程碑(命运打击前的毅力和勇气)和一个美学原则(创作中的耐心和真诚)。在与莱蒙托夫-佩奇林的自我认同中,发生了一种自我认识、对与理想不一致的认识和行为自我纠正。关于莱蒙托夫的信件的第二行是对文学创作本质的阐述,作者对俄罗斯文学史及其在现代世界中的命运的看法。从小说的性格来看,20世纪的古典文学变得难以理解,无法激越,但在死亡中,它将自己的艺术发现传递给了现代文学,这意味着艺术在继续发展。莱蒙托夫是连接的纽带:他是19世纪的作家,但他的作品仍然是现代的,因为他们走在了时代的前面。从叙述者角色的角度来看,莱蒙托夫站在普希金之上,是托尔斯泰和普鲁斯特的先驱,是小说中心人物所向往的现代主义文学,能够展现一个不完整的世界和一个矛盾的人。以莱蒙托夫为例,在作者的概念中,艺术是一种自我认识的行为,对艺术家本人来说是必要的,但允许一个人从观察自己到概括人性。阅读是对他者及其存在方式的认识,是对现实的认识;阅读也是在与世界文学对话中创造文本的门槛,这是一个人自己的存在方式。费尔岑的文章《俄国文学中的莱蒙托夫》(1938)不是发展,而是新颖思想的集中。在批评话语中,费尔岑对莱蒙托夫的评价不那么明确:他在比例感上与普希金相当,不受政治和宗教的影响。费尔岑的结论是:在莱蒙托夫死后,俄罗斯文学并没有摆脱政治和宗教思想的影响(果戈理、秋契夫、托尔斯泰、陀思妥耶夫斯基)。作者声明没有利益冲突。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 去求助
来源期刊
Tekst Kniga Knigoizdanie-Text Book Publishing
Tekst Kniga Knigoizdanie-Text Book Publishing HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.20
自引率
0.00%
发文量
0
期刊最新文献
Titles of editions: Between advertising and pragmatics On church singing in the Fedoseevtsy collection Paternal Testaments. Article I The reader-character in Yuri Felzen’s novel Letters about Lermontov Book review: Tatsumi, Y. & Tsurumi, T. (eds) (2020) Publishing in Tsarist Russia: A history of print media from Enlightenment to Revolution. London: Bloomsbury Academic. 280 р. Perception of pictorial text: Problematization, actualization, new methodological approaches
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1