"CRAZY" STORY-TELLING (F. M. DOSTOEVSKY, V. M. GARSHIN, A. P. CHEKHOV)

Angelika Molnar
{"title":"\"CRAZY\" STORY-TELLING (F. M. DOSTOEVSKY, V. M. GARSHIN, A. P. CHEKHOV)","authors":"Angelika Molnar","doi":"10.18522/1995-0640-2023-2-100-112","DOIUrl":null,"url":null,"abstract":"Not only the general theme of madness, but also the features of the narrative allow us to compare the Garshin’s \"A Red Flower\" with \"The Dream of a Ridiculous Man\" by Dostoevsky and \"Ward No. 6\" by Chekhov. It turns out that the storytelling process creates similar problems, the solution of which each writer provides in his own way: see personalisation, dual narrative and apparent objectivity. Motifs along with metaphorical constructions (f.e. dream, luminaries, illness) are also have common features. In Dostoevsky's story, the concept of the \"fantastic\" becomes a form of path to the personal narrative of the subject of the text, who analyzes the story, develops new linguistic and semantic means for the presentation of history, in which laughter-madness is becoming the generative principle. Consequently, both the parable character and the transformation of the short story into a short novel by Dostoevsky are realized, despite the fact that there is a first-person narrator. In \"A Red Flower\" there is also the mission of saving the world as a \"crazy man\", but the narrator in the third person and the narrative does not turn into a story-parable. The story seems to reproduce an anecdote about the adventures of the hero. At the same time, the uniqueness of Garshin's work lies in the way the world is renamed \"illy\", i. e. metaphorical language. In Chekhov's short novel, the metaphorical plan unfolds the comprehension of the hero, giving the corpus of \"crazy narratives\" a new touch thanks to completely non-random details – reminiscent of Garshin's. As a result of the analysis, it becomes clear that \"Ward No. 6\" implements the parable beginning, even if it does not unfold into a personal narrative similar to \"The Dream of a Ridiculous Man\".","PeriodicalId":228573,"journal":{"name":"Proceedings of Southern Federal University. Philology","volume":"136 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Proceedings of Southern Federal University. Philology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.18522/1995-0640-2023-2-100-112","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

Abstract

Not only the general theme of madness, but also the features of the narrative allow us to compare the Garshin’s "A Red Flower" with "The Dream of a Ridiculous Man" by Dostoevsky and "Ward No. 6" by Chekhov. It turns out that the storytelling process creates similar problems, the solution of which each writer provides in his own way: see personalisation, dual narrative and apparent objectivity. Motifs along with metaphorical constructions (f.e. dream, luminaries, illness) are also have common features. In Dostoevsky's story, the concept of the "fantastic" becomes a form of path to the personal narrative of the subject of the text, who analyzes the story, develops new linguistic and semantic means for the presentation of history, in which laughter-madness is becoming the generative principle. Consequently, both the parable character and the transformation of the short story into a short novel by Dostoevsky are realized, despite the fact that there is a first-person narrator. In "A Red Flower" there is also the mission of saving the world as a "crazy man", but the narrator in the third person and the narrative does not turn into a story-parable. The story seems to reproduce an anecdote about the adventures of the hero. At the same time, the uniqueness of Garshin's work lies in the way the world is renamed "illy", i. e. metaphorical language. In Chekhov's short novel, the metaphorical plan unfolds the comprehension of the hero, giving the corpus of "crazy narratives" a new touch thanks to completely non-random details – reminiscent of Garshin's. As a result of the analysis, it becomes clear that "Ward No. 6" implements the parable beginning, even if it does not unfold into a personal narrative similar to "The Dream of a Ridiculous Man".
“疯狂的”讲故事(f. m.陀思妥耶夫斯基,v. m.加申,a. p.契诃夫)
不仅疯狂的主题,而且叙事的特点也让我们可以将加申的《一朵红花》与陀思妥耶夫斯基的《可笑人的梦》和契诃夫的《六号病房》进行比较。事实证明,讲故事的过程也会产生类似的问题,每个作家都以自己的方式提供解决方案:个性化、双重叙事和明显的客观性。母题和隐喻结构(如梦、名人、疾病)也有共同的特点。在陀思妥耶夫斯基的故事中,“梦幻”的概念成为文本主体个人叙事的一种路径形式,文本主体分析故事,为历史的呈现开发出新的语言和语义手段,其中笑-疯狂成为生成原则。因此,陀思妥耶夫斯基的寓言人物和短篇小说的转变都实现了,尽管有一个第一人称的叙述者。《一朵红花》中也有一个“疯子”拯救世界的使命,但叙述者以第三人称的形式出现,叙事也没有变成寓言故事。这个故事似乎再现了主人公历险的轶事。同时,Garshin作品的独特之处在于将世界重新命名为“illy”,即隐喻性语言。在契诃夫的短篇小说中,隐喻的计划展开了对主人公的理解,由于完全非随机的细节,给“疯狂叙事”的语料库带来了新的触感——让人想起加申的小说。通过分析,我们可以清楚地看到,《六号病房》虽然没有像《可笑人的梦》那样展开个人叙事,但它实现了寓言的开头。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 求助全文
来源期刊
自引率
0.00%
发文量
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:604180095
Book学术官方微信