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Telling Silence: Russian Frame Narratives of Renunciation
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TLDR
In this article, Isenberg analyzes Turgenev's "First Love", Dostoevsky's "gentle Creature", Tolstoy's "Kreutzer Sonata", and works by Chekhov, Kharms, and Makanin to provide new insight into the frame narrative of passion.Abstract:
Isenberg discusses frame narrative and its relation to genre in one set of Russian short classics on the theme of erotic renunciation. Drawing on rich critical tradition and on contemporary work in narratology, Isenberg analyzes Turgenev's "First Love," Dostoevsky's "gentle Creature, " Tolstoy's "Kreutzer Sonata," and works by Chekhov, Kharms, and Makanin to provide new insight into the frame narrative of passion.read more
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Tolstoy and Zola: Trains and Missed Connections
TL;DR: Tolstoy and Zola: Trains and Missed Connections as mentioned in this paper explores the relationship between Darwinism, trains, and nineteenth-century notions of progress and degeneration in not only Anna Karenina and La Bete humaine, but also in The Kreutzer Sonata (1889) and The Death of Ivan Il'ich (1886).
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Khadzhi-Murat's Silence
TL;DR: Khadzhi-Murat, Tolstoi's last major fiction, stands alone in his oeuvre in flagrant violation of his late ethical and aesthetic standards as mentioned in this paper, an unprecedentedly dark apprehension of the human condition and a reconceptualization of piety.
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“What Did I Want?”: Theatricality and the Crisis of Modern Subjectivity in Tolstoi's Kreutzer Sonata
TL;DR: The Kreitserova sonata (Kreutzer sonata) as discussed by the authors is riddled with dissembling and play-acting Tolstoi worries that constantly performing for audiences causes the modern subject to lose track of its true desires, which renders us incapable of authentic being, makes us effectively identical to one another and hence anonymous, interchangeable and incapable of love, and dooms us to misery as we begin to act exclusively on role-played, rather than real, impulses.