Metapoesis: The Russian Tradition from Pushkin to ChekhovDuke University Press, 1995 - 221 من الصفحات Readers have been schooled to see nineteenth-century Russian literature as the summit of social and psychological realism. But in the work of writers from Pushkin to Chekhov, Michael C. Finke discloses a pervasive self-referentiality, a running commentary on the literary conventions these texts seem so wholly to embody. Metapoesis examines how--and more importantly, why--a series of major Russian authors spanning the nineteenth century inscribed commentary on their own poetics into their works of drama, narrative poetry, and fiction. As he explores the process of metapoesis in these works, Finke reveals its communicative function in its time and its interpretive value in our own. Jakobsonian poetics provides the framework for this approach, though Finke also draws freely upon a number of contemporary literary theorists. After elucidating the meaning of metapoesis in works by Pushkin, Gogol, and Chernyshevsky, he reveals its covert functioning in such masterpieces of realism as Dostoevsky's The Idiot, Tolstoy's Anna Karenina, and Chekhov's "The Steppe." The result is a new interpretation and deeper understanding of these particular works, which in turn reorient our understanding of linguistic and literary "codes" and of the Russian literary tradition itself. Of special interest to scholars of Russian literature, Metapoesis will also appeal to a broad range of readers and students of comparative literature, literary theory, and poetics. |
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مقاطع مشهورة
الصفحة 175 - Metafiction is a term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact in order to pose questions about the relationship between fiction and reality.
الصفحة 175 - Music resembles poetry; in each Are nameless graces which no methods teach, And which a master-hand alone can reach. If, where the rules not far enough extend, (Since rules were made but to promote their end) Some lucky licence answer to the full Th' intent propos'd, that licence is a rule.
الصفحة 7 - The particularities of diverse poetic genres imply a differently ranked participation of the other verbal functions along with the dominant poet;c function. Epic poetry, focused on the third person, strongly involves the referential function of language; the lyric, oriented toward the first person, is intimately linked with the emotive function; poetry of the second person is imbued with the conative function...
الصفحة 176 - Why does it disturb us that Don Quixote be a reader of the Quixote and Hamlet a spectator of Hamlet? I believe I have found the reason: these inversions suggest that if the characters of a fictional work can be readers or spectators, we, its readers or spectators, can be fictitious.
الصفحة 6 - The poetic function projects the principle of equivalence from the axis of selection into the axis of combination.
الصفحة 183 - Womanhood is shown in contrast to the limitations of her partner (husband, lover, or suitor); she is a foil to his avarice, jealousy, stupidity, hypocrisy, bigotry, sterile senility, false heroism, and abstract idealism. The woman of Gallic tradition is the bodily grave of man. She represents in person the undoing of pretentiousness, of all that is finished, completed, and exhausted. She is the inexhaustible vessel of conception, which dooms all that is old and terminated. Like the Sybil of Panzoult...
الصفحة 199 - Saussure confronted by the heterogeneity of language [langage] and seeking to extract a principle of classification and a central focus for description from the apparent confusion of the individual messages. Keeping simply to modern times, the Russian Formalists, Propp and Levi-Strauss have taught us to recognize the following dilemma: either a narrative is merely a rambling collection of events, in which case nothing can be said about it other than by referring back to the storyteller's (the author's)...
الصفحة 176 - Why does it disturb us that the map be included in the map and the thousand and one nights in the book of the Thousand and One Nights•? Why does it disturb us that Don Quixote be a reader of the Quixote and Hamlet a spectator of Hamlet?
الصفحة 199 - ... or else it shares with other narratives a common structure which is open to analysis, no matter how much patience its formulation requires. There is a world of difference between the most complex randomness and the most elementary combinatory scheme, and it is impossible to combine (to produce) a narrative without reference to an implicit system of units and rules.
الصفحة 59 - Now I will explain briefly why the type of thing called fable was invented. The slave, being liable to punishment for any offence, since he dared not say outright what he wished to say, projected his personal sentiments into fables and eluded censure under the guise of jesting with made-up stories.