By Elizabeth Allen
A Fallen Idol continues to be a God elucidates the old strong point and value of the seminal nineteenth-century Russian poet, playwright, and novelist Mikhail Iurevich Lermontov (1814-1841). It does so through demonstrating that Lermontov’s works illustrate the of dwelling in an epoch of transition. Lermontov’s specific epoch was once that of post-Romanticism, a time whilst the twilight of Romanticism used to be dimming however the sunrise of Realism had but to seem. via shut and comparative readings, the publication explores the singular metaphysical, mental, moral, and aesthetic ambiguities and ambivalences that mark Lermontov’s works, and tellingly replicate the transition out of Romanticism and the character of post-Romanticism. total, the publication unearths that, even though restrained to his transitional epoch, Lermontov didn't succumb to it; as a substitute, he probed its personality and evoked its historic import. And the e-book concludes that Lermontov’s works have resonance for our transitional period within the early twenty-first century besides.
Read Online or Download A Fallen Idol Is Still a God: Lermontov and the Quandaries of Cultural Transition PDF
Best gothic & romance books
The Early Romantics met resistance from artists and lecturers alike partly simply because they defied the normal knowledge that philosophy and the humanities has to be saved separate. certainly, because the literary element of Romanticism has been studied and celebrated in recent times, its philosophical point has receded from view.
This hugely acclaimed quantity comprises thirty essays by means of such top literary critics as A. O. Lovejoy, Lionel Trilling, C. S. Lewis, F. R. Leavis, Northrop Frye, Harold Bloom, Geoffrey Hartman, Jonathan Wordsworth, and Jack Stillinger. protecting the most important poems by means of all of the vital Romantic poets, the members current many major views in glossy criticism--old and new, discursive and explicative, mimetic and rhetorical, literal and legendary, archetypal and phenomenological, seasoned and con.
The place, while, and why did eu Romantics take to Shakespeare? How approximately Shakespeare's reception in enduring Neoclassical or in well known traditions? And certainly: which Shakespeare did those a number of teams advertise? This number of essays leaves at the back of the time-honoured commonplaces approximately Shakespearean translation (the 'translatability' of Shakespeare's kinds and meanings, the problem of 'loss' and 'gain' in translation, the excellence among 'translation' and 'adaptation', translation as an 'art'.
Luis Goytisolo’s novel, 360º Diary, constitutes a mirrored image at the act of creativity. the radical is within the type of a diary that starts at the author’s birthday and concludes one (lunar) 12 months later. every day of the week is pointed out with a subject matter equivalent to the seasons; the wide activities of background; the organic and mental cycles of all residing beings; and time itself.
Additional resources for A Fallen Idol Is Still a God: Lermontov and the Quandaries of Cultural Transition
Hobsbawm remarks, “nobody seriously doubts the existence of Romanticism or our capacity to recognize it” (305). But it is not too much to say that what has made Romanticism so elusive is precisely this: among its dominant characteristics was none other than its embrace of variousness and contradiction in the quest to transcend ordinary life and conventional limitations imposed on human nature, mind and spirit, intellect and imagination. “Whatever its content,” Hobsbawm sums up Romanticism, “it is quite evident what it was against: the middle” (306).
A Whole without dependence or defect Made for itself; and happy in itself, Perfect Contentment, Unity entire. ], ll. 23 Nature—particularly in its most awesome or sublime forms, to which Tieck’s Christian and so many other Romanticists were drawn—provided a model of organic integrity and facilitated individual transcendence and integration into the universe. But the all-encompassing Romantic self, with its moral complexities, completed by love and enlarged by nature, could not depend on reason, natural science, or even on love to satisfy its hunger for transcendence, wholeness, and integrity.
It differs from both traditional irony and Romantic irony (as defined above), by questioning the validity of views in polar opposition to one another, rather than by accepting one, or both. Post-Romantic irony, John Fetzer suggests, reflects “a kind of existential despair, an ontological frustration due to a seemingly ‘no-win, no-way-out’ situation” in which individuals “find themselves adrift in a rudderless ship . . floundering in an endless expanse of impossibilities” (22). While evoking the directionless quality of post-Romantic irony, Fetzer goes too far in attributing to it a kind of modernist or postmodernist nihilism.