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Sologub and the Novel : = "Melkij Bes" vs. "Tvorimaja Legenda"

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Sologub and the Novel :/
其他題名:	"Melkij Bes" vs. "Tvorimaja Legenda"
作者:	Greene, Diana.
面頁冊數:	1 online resource (229 pages)
附註:	Source: Dissertations Abstracts International, Volume: 40-07, Section: A.
Contained By:	Dissertations Abstracts International40-07A.
標題:	Slavic literature. -
電子資源:	click for full text (PQDT)
ISBN:	9798204678828

Sologub and the Novel : = "Melkij Bes" vs. "Tvorimaja Legenda"
Greene, Diana.

Sologub and the Novel :"Melkij Bes" vs. "Tvorimaja Legenda" - 1 online resource (229 pages)

Source: Dissertations Abstracts International, Volume: 40-07, Section: A.

Thesis (Ph.D.)--Columbia University, 1979.

Includes bibliographical references

This is a study of the two best known novels of the Russian Symbolist Fedor Sologub: Melkij bes (The Petty Demon, 1892-1902) and Tvorimaja legenda (A Legend in Creation, 1907-1914). The Petty Demon has always been popular both in The Soviet Union and in the West while hardly anyone reads A Legend in Creation, which Sologub considered his masterpiece. An attempt is made to account for this disparity in the reputations of the two novels. Generally, a novel can be seen as the outcome of a dialectic between a set of conventions (the kind of plot, characters, setting, and narration that the well-educated reader expects in a novel), and the writer's individuality. Too great a violation of novelistic conventions will frustrate and disorient the reader, rendering the novel inaccessible to the majority. Too literal an observance of convention can result in a formula novel. It is suggested that although both The Petty Demon and A Legend in Creation are very unusual novels which violate many nineteenth-century novelistic conventions, they differ in an important respect: in The Petty Demon Sologub is able to create and adhere to a new set of conventions while in A Legend in Creation he is not. A Legend in Creation is a fascinating utopian, mythic fantasy, but too private a work to be widely accessible. Seen historically, Sologub's disregard for artistic conventions in the later novel parallels the general withdrawal of artists from society and the despair of the intelligentsia in Russia after the failure of the 1905 Revolution.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798204678828Subjects--Topical Terms:

1179263
Slavic literature.
Index Terms--Genre/Form:

554714
Electronic books.

Sologub and the Novel : = "Melkij Bes" vs. "Tvorimaja Legenda"
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500 $a Source: Dissertations Abstracts International, Volume: 40-07, Section: A.
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504 $a Includes bibliographical references
520 $a This is a study of the two best known novels of the Russian Symbolist Fedor Sologub: Melkij bes (The Petty Demon, 1892-1902) and Tvorimaja legenda (A Legend in Creation, 1907-1914). The Petty Demon has always been popular both in The Soviet Union and in the West while hardly anyone reads A Legend in Creation, which Sologub considered his masterpiece. An attempt is made to account for this disparity in the reputations of the two novels. Generally, a novel can be seen as the outcome of a dialectic between a set of conventions (the kind of plot, characters, setting, and narration that the well-educated reader expects in a novel), and the writer's individuality. Too great a violation of novelistic conventions will frustrate and disorient the reader, rendering the novel inaccessible to the majority. Too literal an observance of convention can result in a formula novel. It is suggested that although both The Petty Demon and A Legend in Creation are very unusual novels which violate many nineteenth-century novelistic conventions, they differ in an important respect: in The Petty Demon Sologub is able to create and adhere to a new set of conventions while in A Legend in Creation he is not. A Legend in Creation is a fascinating utopian, mythic fantasy, but too private a work to be widely accessible. Seen historically, Sologub's disregard for artistic conventions in the later novel parallels the general withdrawal of artists from society and the despair of the intelligentsia in Russia after the failure of the 1905 Revolution.
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