title: The emblem in the works of L. N. Tolstoy
metadata.name: dc.contributor.author
metadata.value: Nikolaeva, Nina A.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2018-07-04T08:42:51Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2018-07-04T08:42:51Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2018-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Nikolaeva N. A. The emblem in the works of L. N. Tolstoy. Vestnik of Saint Petersburg University. Language and Literature, 2018, vol. 15, issue 1, pp. 82–93.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu09.2018.107
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/10356
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: This article tells about the elements of the Baroque emblems in Tolstoy’s works. The emblematic
  method of representation and interpretation of the reality has parallels with the artistic
  attitudes of Tolstoy, his works reflect one of the basic properties of the emblem — to extract
  Supreme and eternal meanings hidden in visible image. At the same time in Tolstoy’s texts the emblematic combination reveals also the other sides — it manifests itself as a mnemonic
  device and as a “technique of defamiliarisation”. We can find an example in an episode from
  War and Peace — the dream of Pierre “about the ball from living moving drops”. The structure
  of this episode, which is important for the understanding of the metaphysics of Tolstoy,
  refers to the emblematic triad — inscription or title (inscriptio), image (pictura) and epigram
  (subscriptio). The plot of the middle part — the description of the globe — is associated with
  a specific emblem from the collections, which is important to the Rosicrucian circle.While
  working on War and Peace Tolstoy read a lot of Masonic literature and studied the archives
  and documents of the Moscow Rosicrucians. This emblem could be quite known to the writer
  what is implicitly pointed by both the visual images of the dream and its semantic contents
  where religious and philosophical ideas of the Rosicrucians is very notable. The writer also
  utilises this special formation of sense, combining visuality and reflection, in the depiction of
  the war in Sevastopol stories and War and Peace. The analysis of the battle scenes leads to the
  conclusion that the emblematic mechanism serves as one of the techniques of “defamiliarisation”
  of Tolstoy. Moreover, by doing so the writer created a series of “meaning-images”, his
  own kind of thesaurus of the military theme.
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 15; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: emblem
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: L. N. Tolstoi
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: War and Peace
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Sevastopol Stories
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: battle scenes
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: The emblem in the works of L. N. Tolstoy
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 07-Nikolaeva.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/10356/1/07-Nikolaeva.pdf
resources.format: Adobe PDF
resources.size: 939,93 kB