By Robert Louis Jackson
Drawing at the prose, poetry, and feedback of a large variety of Russian writers and critics, together with Pushkin, Turgenev, Dostoevsky, Tolstoy, Chekhov, Bakhtin, Gorky, Nabokov, and Solzhenitsyn, shut Encounters: Essays on Russian Literature explores issues of likelihood and destiny, freedom and accountability, good looks and disfiguration, and loss and separation, in addition to thoughts of feedback and the ethical function of artwork. via shut textual research, the writer deals a view of the harmony of shape and content material in Russian writing and of its special capability to reveal the common within the aspect of human event. With an emphasis on Dostoevsky, shut Encounters foregrounds moral and non secular issues of Russian writers and stimulates the reader to pursue his or her personal severe exploration of Russian literature. This paintings may be of curiosity to educational libraries, college scholars, and experts in literature, feedback, philosophy, and esthetics, in addition to enthusiastic basic readers of Russian literature.
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Additional info for Close Encounters: Essays on Russian Literature
Although he found it “a bit awkward to be defending one’s own things,” he nonetheless voiced strong objections to A. P. ” “‘Just what is it,’ you ask . . ”4 Three years later, Turgenev offered a similar defense of his story in a letter to S. K. Briullova. ” (See L. I. S. Turgeneva 70-s godov (Kiev: 1983), 109. Poliakova’s analysis does not extend, however, either to a discussion of the narrator, Ridel, a central character in the story’s ideological framework, or to the story’s rich philosophical content.
Bestuzhev-Marlinsky (1797–1837) and Mikhail Lermontov (1814–1841) in the 1830s. ” In fact, throughout his tale Ridel is unable or unwilling to “philosophize,” that is, to look deeply into the meaning of his narrative or to address the questions arising from Teglyov’s drama. He leaves it to the reader to do his own philosophizing, that is, to interpret Ridel’s tale. There can be no understanding of the story, however, without taking note of the misleading and evasive character of the narratorial voice.
The first knock is accidental, the result of a random gesture: its genesis lies in the fog, in the agitated state of mind produced by Teglyov’s stories as well as in the chance presence of a real “hollow spot” in a beam. Figuratively speaking, Ridel’s hand strikes one of those empty or “hollow” spots that are endlessly present in the everyday flow of life. The second and the third knocks, however, are no longer accidental; they are deliberate, experimental, the result of an elemental, almost scientific curiosity.