title: Critique of the new hero in cinema (L. Visconti) and literature (F. M. Dostoevsky)
metadata.name: dc.contributor.author
metadata.value: Grigor’eva, Nadezhda Ia.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2022-02-25T20:37:11Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2022-02-25T20:37:11Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2021-09
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Grigor’eva N. Ia. Critique of the new hero in cinema (L. Visconti) and literature (F. M. Dostoevsky). Vestnik of Saint Petersburg University. Language and Literature. 2021, 18 (3): 444–459.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu09.2021.302
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/35255
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The article examines the philosophical basis of the figure of a new hero in literature and
  film. “New heroes” in selected literary and cinema works are compared within the context of
  existentialist philosophy and “philosophical anthropology”. Material for the comparative intertextual
  and intermedial analysis is the novel Demons by Fyodor Mikhailovich Dostoevsky
  and Luchino Visconti’s late films The Damned, Ludwig and Conversation Piece. The article attempts
  to broaden the intertextual horizon of research on Visconti by drawing new parallels
  between his films and Dostoevsky’s work. The work argues that the Italian filmmaker, following the Russian writer of the 19th century and the European philosophers of the 20th century,
  criticises the “hero” who destroyed the old order on purpose to create a new one. Visconti’s
  revolutionary hero suffers from “the pathology of freedom” and refers to the figure of a nihilist
  from Dostoevsky’s novels, on the one hand, and to the figure of a sovereign in the philosophical
  and anthropological works of German and French writers of the 1930–50s, on the other. In
  his films The Damned, Ludwig and Conversation Piece, Visconti adopts not only a number of
  motifs from Dostoevsky but also replicates the main idea of the Russian writer who supposed
  that the enhancement of the human race was possible only after the second coming of Christ.
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 18; Issue 3
metadata.lang: -
metadata.name: dc.subject
metadata.value: nihilism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: anthropology
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: existentialism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: new hero
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: cinematography
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Critique of the new hero in cinema (L. Visconti) and literature (F. M. Dostoevsky)
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 02_12130-Текст статьи-38621-1-10-20211118.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/35255/1/02_12130-%d0%a2%d0%b5%d0%ba%d1%81%d1%82%20%d1%81%d1%82%d0%b0%d1%82%d1%8c%d0%b8-38621-1-10-20211118.pdf
resources.format: Adobe PDF
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