Феномен признака в творчестве А.С. Пушкина, Н.В. Гоголя и М.Ю. Лермонтова: характеристика и динамика образа
Journal Title: Вісник Університету імені Альфреда Нобеля. Серія "Філологічні науки" - Year 2018, Vol 1, Issue 15
Abstract
Interest in the mysterious and the irrational has haunted people since ancient times, and it is reflected in various works of world culture from East to West. It found its specific representation in Russian literature, especially in the era of romanticism, which is associated with an interest in folklore and the romantic concept of duality of the world, according to which our world is closely connected with the other world (or worlds) inhabited by various supernatural powers. Despite the number of scientific papers studying the works of Russian writers of the nineteenth century, the phenomenon of the Ghost is still insufficiently understood. This article is one of the pioneering pieces of research in this area that focuses both on the problem definition and detailed descriptions of the Ghost in Russian literature in the context of transition from romanticism to realism. During the transitive period from romanticism to realism, the romantic vector began to sway due to the dualistic perception of the phenomenon of the Ghost that appears in the works of fiction. The ghost is ambiguously perceived as an element of the other world, and accepted as such, and as a painful psychic condition of the protagonist. In these works, a departure from the folk tradition takes place, and the characteristic features of the phenomenon of the Ghost become more diverse, enhancing the idea of impossibility to transmit secret knowledge from the other world to the world of the living – which is detrimental to the main character, as the romantic tradition would prescribe. The phenomenon of the Ghost, from a realistic point of view, can be perceived as, for example, Germann’s alcoholic intoxication or mentally exhausted state as a result of the unintended murder of the old Countess in “The Queen of Spades” by A. S. Pushkin, as the pangs of conscience of “one important person” in “the Overcoat” by N. V. Gogol, as well as a mental disorder caused by Lugin’s depression in the “Shtoss” by M. Y. Lermontov. In the “Shtoss”, there is also a simultaneous collision of two types of the Ghost: that with beneficial effects on the character and the one negatively affecting the character to the evil effect, which contributes to a further destruction of romantic vector. Pushkin’s “The Stone Guest” and Gogol’s “The Portrait” were designed in the romantic tradition, from the point of view a dualistic perception of the phenomenon of the Ghost. However, both feature the phenomenon of the Ghost typical of the transitive period, which does not distort the evolution in the way Russian authors viewed mystical powers. The destruction of the romantic vector also resulted from the transformed idea of how passage from the world of the living to the world of the dead traditionally happened: now, the phenomenon of the Ghost intended to become a presence in the real world, and not take the character away from it. The vector’s romantic direction changed, completely destroying the original romantic concept of duality of the world.
Authors and Affiliations
Е. В. Никольский
Keywords
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- EP ID EP433867
- DOI 10.32342/2523-4463-2018-0-15-156-170
- Views 116
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