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The culture of nineteenth-century Russia is often seen as dominated by realism in the arts, as exemplified by the novels of Leo Tolstoy and Ivan Turgenev, the paintings of 'the Wanderers,' and the historical operas of Modest Mussorgsky. Paradoxically, nineteenth-century Russia was also consumed with a passion for spiritualist activities such as table-rappings, seances of spirit communication, and materialization of the 'spirits.' Ghostly Paradoxes examines the surprising relationship between spiritualist beliefs and practices and the positivist mindset of the Russian Age of Realism (1850-80) to demonstrate the ways in which the two disparate movements influenced each other. Foregrounding the important role that nineteenth-century spiritualism played in the period's aesthetic, ideological, and epistemological debates, Ilya Vinitsky challenges literary scholars who have considered spiritualism to be archaic and peripheral to other cultural issues of the time. Ghostly Paradoxes is an innovative work of literary scholarship that traces the reactions of Russia's major realist authors to spiritualist events and doctrines and demonstrates that both movements can be understood only when examined together.
A critical look at the Russian gentry from the 1830s to the 1870s, M. E. Saltykov-Shchedrin's novel The Golovlyovs exposes the insubstantiality of the family as one of the proclaimed bases of Russian social life. In sharp contrast to his contemporaries, including Aksakov, Turgenev, Tolstoy, and Goncharov, Saltykov-Shchedrin shows the gentry family, as represented by the Golovlyovs, as disintegrating, corrupted by its status and way of life. The book, the sixth in the AATSEEL Critical Companions to Russian Literature series, begins with a brief sketch of Saltykov-Shchedrin's life and literary career, then goes on to explain the novel's content and characters, including reference to contemporary events relevant to the narrative and discussion of the major points of the novel and its conclusion. An extensive bibliography includes a listing and brief assessment of the various English translations of the novel.
A pathbreaking "gastrocritical" approach to the poetics of Dostoevsky, Tolstoy, and their contemporaries
The music of Shostakovich has been at the centre of interest of both the general public and dedicated scholars throughout the last twenty years. Most of the relevant literature, however, is of a biographical nature. The focus of this book is musical irony. It offers new methodologies for the semiotic analysis of music, and inspects the ironical messages in Shostakovich‘s music independently of political and biographical bias. Its approach to music is interdisciplinary, comparing musical devices with the artistic principles and literary analyses of satire, irony, parody and the grotesque. Each one of these is firstly inspected and defined as a separate subject, independent of music. The results of these inspections are subsequently applied to music, firstly music in general and then more specifically to the music of Shostakovich. The composer‘s cultural and historical milieux are taken into account and, where relevant, inspected and analysed separately before their application to the music.
This volume examines various manifestations of anguish in art, literature, and philosophy. It demonstrates that the experience of anguish manifested itself in a spectacular way in the arts in the late 19th – early 20th centuries. It makes obvious the extraordinary tension between anguish and art. The works discussed here reflect the magnitude of anguish generated by historical events, scientific advancements (especially in psychology), and metaphysical inquiries of the time. Through the invention of new artistic languages, those works also illustrate the fecundity of anguish for artists.