000 02260cam a2200277zu 4500
001 88866932
003 FRCYB88866932
005 20250107153858.0
006 m o d
007 cr un
008 250107s2019 fr | o|||||0|0|||eng d
020 _a9781433152238
035 _aFRCYB88866932
040 _aFR-PaCSA
_ben
_c
_erda
100 1 _aVladiv-Glover, Slobodanka M.
245 0 1 _aDostoevsky and the Realists
_bDickens, Flaubert, Tolstoy
_c['Vladiv-Glover, Slobodanka M.']
264 1 _bPeter Lang
_c2019
300 _a p.
336 _btxt
_2rdacontent
337 _bc
_2rdamdedia
338 _bc
_2rdacarrier
650 0 _a
700 0 _aVladiv-Glover, Slobodanka M.
856 4 0 _2Cyberlibris
_uhttps://international.scholarvox.com/netsen/book/88866932
_qtext/html
_a
520 _aDostoevsky and the Realists: Dickens, Flaubert, Tolstoy? offers a radical redefinition of Realism as a historical phenomenon, grounded in the literary manifestoes of the 1840s in three national literary canons (English, French and Russian) which issue a call to writers to record the manners and mores of their societies for posterity and thus to become "local historians." The sketch of manners becomes the instituting genre of Realism but is transformed in the major novels of the Realists into history as genealogy and into a phenomenology of modern subjectivity. Dickens, Flaubert and Tolstoy are brought into relation with Dostoevsky via a shared poetics as well as through a deconstructive and/or psychoanalytic analysis of their respective novels, which are interpreted in the context of various doctrines of Beauty, including Dostoevsky's own artistic credo of 1860. In this broad context of European aesthetics and the European literary canon, Dostoevsky's own view of history is illuminated in a new perspective, in which his concept of the "soil" is stripped of its conservative mask behind which emerges a (post-exile) Dostoevsky with socialist, pan-European views. The portrait of Dostoevsky which thus emerges from the present study is that of a European writer with a radically modern aesthetics and with a progressivist political orientation which is in consonance with his pre-exile affiliation with utopian socialism.
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