title: “The Undertaker” (“Grobovshchik”) in dispute with the genre of the fantastic story
metadata.name: dc.contributor.author
metadata.value: Lebedeva, Anna A.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2024-09-16T21:22:15Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2024-09-16T21:22:15Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2024-06
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Lebedeva A. A. Pushkin’s “The Undertaker” (“Grobovshchik”) in dispute with the genre of the fantastic story. Vestnik of Saint Petersburg University. Language and Literature. 2024, 21 (2): 351–365. https://doi.org/10.21638/spbu09.2024.206 (In Russian)
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu09.2024.206
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/47522
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: A. S. Pushkin’s “The Undertaker” is considered in the genre context of a fantastic story. In the
  1820s begins the formation of this prose form in Russian literature. At that time, the works
  are still heterogeneous, but quite clearly show some common tendencies. By depicting the
  “invasion” of the supernatural, the early fantastic story initiates doubt in the reader about the
  established worldview only to lead him or her to an “outcome” of the fantasy plot. Such an
  outcome, as a rule, lies outside the aesthetic sphere — it is either a moral admonition, an appeal
  to the principles of a certain philosophical system, or an explicated question about order
  of the world. The fantastic itself has a purely service role. Although many features of “The Undertaker”
  (the plot, the image of the hero, the depiction of an emphatically domestic setting,
  etc.) indicate a high degree of its traditionality in relation to the fantastic story of the 1820s,
  Pushkin violates the genre canon at its very foundation. The possibility of problematizing the
  fantastic plot and, as a consequence, of resolving it in any of the traditional ways mentioned
  above is eliminated from the narrative. The author’s play with literary conventions creates a
  whole system of allusions to the “dualistic world” principle (“dvoemirie”) of the story’s organization,
  but consistently reduces its symbolic dimension. The coexistence of life and death, not
  being destroyed within the plot level by the “intrusion” of the supernatural, gives the artistic
  world completeness and integrity. The comprehension of the problem of human existence
  returns to the realm of art, and literary fantastic becomes free from its service purpose.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Language and Literature;Volume 21; Issue 2
metadata.lang: -
metadata.name: dc.subject
metadata.value: A. S. Pushkin
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: “The Undertaker”
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: fantasy
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: fantasy story
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: “The Undertaker” (“Grobovshchik”) in dispute with the genre of the fantastic story
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 9-2-2024+для+сайта-63-77+Лебедева.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/47522/1/9-2-2024%2b%d0%b4%d0%bb%d1%8f%2b%d1%81%d0%b0%d0%b9%d1%82%d0%b0-63-77%2b%d0%9b%d0%b5%d0%b1%d0%b5%d0%b4%d0%b5%d0%b2%d0%b0.pdf
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resources.size: 658,23 kB