Russian Literature 1945-1988 : Translated by Carol Sandison
Die Reihe Arbeiten und Texte zur Slavistik umfasst Monographien und Sammelbände zur slawistischen Sprach- und Literaturwissenschaft. Im Zentrum stehen dabei Forschungsbeiträge zur russischen Literatur. Publikationssprachen sind Deutsch und Russisch.
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Die Reihe Arbeiten und Texte zur Slavistik umfasst Monographien und Sammelbände zur slawistischen Sprach- und Literaturwissenschaft. Im Zentrum stehen dabei Forschungsbeiträge zur russischen Literatur. Publikationssprachen sind Deutsch und Russisch.
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Literary Portraits in the Novels of F. M. Dostoevskij
In approaching F. M . Dostoevskij's novels with the express purpose of identifying and determining the function of literary portraiture, one is faced with an unexpected enormous gallery of literary portraits. These are verbal accounts or drawings in...
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In approaching F. M . Dostoevskij's novels with the express purpose of identifying and determining the function of literary portraiture, one is faced with an unexpected enormous gallery of literary portraits. These are verbal accounts or drawings in words, in which physical appearance and facial expression are described not only to evoke a visual image, but more specifically to discern the inner man. The vast amount of material that came to light in the pursuit of this study has necessitated a selection and omission of equally valid specimens, which would further substantiate that Dostoevskij was a close observer of the physical properties of his characters and that he employed them to delineate psychological and moral disposition.
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The Story of an Operetta : Le dernier sorcier by Pauline Viardot and Ivan Turgenev, Vol. 1
Few readers of the works of the Russian author Ivan Turgenev are aware of the fact that he occasionally engaged in the writing of libretti. Even fewer people realize that Turgenev was interested in libretti-both theoretically and in practice- for...
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Few readers of the works of the Russian author Ivan Turgenev are aware of the fact that he occasionally engaged in the writing of libretti. Even fewer people realize that Turgenev was interested in libretti-both theoretically and in practice- for much of his literary career. No attempt has yet been made to study his libretti in their essential context, that of Pauline Viardot׳s music. The present two-part study represent an effort at considering this apect of his life and work. It is based primarily on le Dernier Sorcier [The Last Sorcerer], arguably the best and most important of the Turgenev—Viardot operettas.
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