Results found: 2

Search results

Search:
in the keywords: the double

Sort By:

Limit search:

The Mirror Image of Josef Bašek: On Human Metamorphosis in Egon Hostovský’s Novel Ztracený stín (1931)

100%

Kopecká Z.

Slovo a smysl - Word & Sense

2022

vol. 19

issue 39

161-172

The sphere of art, which became highly personalised after the First World War, reflects the state of fragmentation of society into individuals and their inner world. In Egon Hostovský’s novel Ztracený stín (Lost Shadow, 1931), this phenomenon appears on various textual levels, but the dominant realm, reflecting the chaos of the world as well as of the inner self, is the level of motifs in the author’s poetics. In the process of self-identification of the main protagonist Josef Bašek, the rupture in his psychological experience is encoded in the recognition of his own deformed image, the new identity of the double, in the mirror. The author thus reflects the disintegration of an integrated structure in two directions. On one hand, the external world foments an individual metamorphosis of personality, while on the other this is no longer merely a matter of the human inner self and psychological experience, but in its deformed aspect becomes a visible component of the fragmented society within which the protagonist operates.

Стихотворение Николая Гумилева «Неслышный, мелкий падал дождь…»: мотив двойничества и постижение природы зла

67%

Чевтаев А.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

2021

issue 14

81-95

The article discusses the poetics of a little-known poem, “Neslyshnyi, melkyi padal dozhd’…” [‘It was quiet and drizzling…’] (1907), in terms of the formation of the motif of the double as a key parameter of Nikolai Gumilyov’s artistic world. This text was not published during the poet’s lifetime and is known from an autograph in a letter to Valery Bryusov. Gumilyov’s refraining from publishing this poem could have had various causes, but the author of the paper attributes it to two factors. The first one is that it would have been difficult to embed this text in the conceptual logic of the cross-cutting “plots” of either Romanticheskiye tsvety [‘Romantic Flowers’] (1908) or Zhemchuga [‘Pearls’] (1910), i. e. poetic books the creation of which is chronologically close to the time of writing this poem. The second is the fact that “Neslyshnyi, melkyi padal dozhd’…” explicitly affirms the demonic principle in the human “self ” as an axiological constant, explicating the adherence to the “diabolical” poetics of early Russian symbolism, which Gumilyov had been trying to creatively rethink since 1907. However, despite the author’s neglect, the poem merits close attention, since it shows fundamentally important aspects of Gumilyov’s artistic conception. This poetic text is based on a narrative representation of the meeting between the lyrical subject and the character of a killer, who appears as his double, an alter ego of “the self ”. The analysis of the poem shows that recognizing the value of the painful existence of the demonic stranger is an act of comprehending the ontological nature of evil, which in the consciousness of the lyrical “I” acquires the status of something equivalent to the good of the existential constant. In the structure of this text the motif of the double, which goes back to the poetic practice of the romanticism and of the Russian symbolism, is realised on the story-plot level by dividing the human soul into two hypostases, the “light” and the “dark” one, the meeting of which becomes for the lyrical subject an initiation into the essence of another world. The author formulates the conclusion that getting to know the infernal side of the universe, here through the actualisation of the motif of the double, was in Gumilyov’s writing conceived as a necessary process of gaining spiritual experience that would synthesise the “light” (positive) and the “dark” (negative) aspects of being. Accordingly, the lyrical “I”’s encounter with his criminal- -demonic double presented in the discussed poem reveals the principles of formation of Gumilyov’s occasional mythopoetics based on the convergence of ontological antinomies.

В статье рассматривается поэтика малоизвестного стихотворения Н. Гумилева «Неслышный, мелкий падал дождь…» (1907) в аспекте становления мотива двойничества как ключевого параметра гумилевского художественного мира. В основе данного поэтиче- ского текста находится нарративная репрезентация встречи лирического героя с персонажем- убийцей, предстающим в качестве двойнической ипостаси субъектного «я». Анализ стихот- ворения показывает, что ценностное узнавание страдальческого бытия демонического пришельца оказывается актом постижения онтологической природы зла, которое в созна- нии лирического героя обретает статус равновесной добру бытийной константы. Формули- руется вывод о том, что познание инфернальной стороны универсума посредством актуали- зации мотива двойничества в гумилевском творчестве мыслится необходимым процессом обретения духовного опыта, синтезирующего «светлые» (положительные) и «темные» (от- рицательные) аспекта бытия. Соответственно, представленное в данном тексте соприкос- новение лирического «я» с преступно-демоническим двойником демонстрирует принципы формирования окказиональной мифопоэтики Н. Гумилева, основанной на конвергенции онтологических антиномий.

Refine search results

1 Acta Universitatis Lodziensis. Folia Litteraria Rossica

1 Slovo a smysl - Word & Sense

1 Kopecká Z.

1 Чевтаев А.

1 2022

1 2021

Search results

The Mirror Image of Josef Bašek: On Human Metamorphosis in Egon Hostovský’s Novel Ztracený stín (1931)

Стихотворение Николая Гумилева «Неслышный, мелкий падал дождь…»: мотив двойничества и постижение природы зла