title: ABOUT THE BOUNDARY MARKERS OF THE TRANSITION PERIODS: LYRICAL DIGRESSIONS IN THE FICTION BY ANTON CHEKHOV
metadata.name: dc.contributor.author
metadata.value: Vasileva, Irina
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2023-03-03T16:35:44Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2023-03-03T16:35:44Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2023
metadata.lang: -
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/11701/9785288063183.03
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/39260
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: Anton Chekhov is generally acknowledged as a writer who symbolizes a transition period,
  marks the end of the Classical Russian literature of the 19th century and establishes the basics of the poetics of the 20th century. Scholars are traditionally focused on Chekhov’s
  innovations but not on the connections with the previous tradition. This contribution
  makes an attempt to reassess the aspect of Chekhov’s poetics which could be called
  historical “form’s thinking” (in Alexander Mikhailov’s terminology). I mean the features
  of tradition which result from historical dynamics of culture and are beyond individual
  principles of artistic consciousness. In the culture prior to the New Age, topos was a form
  which included both principles and ways of thinking. In this research I analyze lyrical
  digressions in the Russian fiction of the 19th century which correlate with topoi on the
  basis of their constitution. The strategy of lyrical digressions rests on the movement between
  two poles of the being: historical and eternal, individual and universal, etc. Before
  Chekhov, this movement was strictly hierarchical. In Chekhov’s lyrical digressions one
  can easily notice a shift of semantic coordinates when the concrete and the situational
  becomes valuable. However, the poles themselves (individual and universal) and the
  movement between them remain invariable. It is possible to claim that Chekhov’s poetics
  although discovers the boundaries of semantic dynamics of the lyrical digressions (as
  a constant form) is not aware of any other principle of thinking. This fact distinguishes
  Chekhov from his younger contemporaries and makes him the writer of the classical 19th
  century. Refs 20.
metadata.lang: en_GB
metadata.name: dc.description.sponsorship
metadata.value: Исследование выполнено за счет гранта Российского научного фонда № 21-18-00527,
  https://rscf.ru/project/21-18-00527/, в ИРЛИ РАН.
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: St. Petersburg University Studies in Social Sciences & Humanities;Volume 3
metadata.lang: -
metadata.name: dc.subject
metadata.value: Russian literature of the 19th century
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: lyrical digressions
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: transition period
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: topos
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: ABOUT THE BOUNDARY MARKERS OF THE TRANSITION PERIODS: LYRICAL DIGRESSIONS IN THE FICTION BY ANTON CHEKHOV
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 44-58.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/39260/1/44-58.pdf
resources.format: Adobe PDF
resources.size: 725,71 kB