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Journal articles on the topic 'Ivan Goncharov'

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Published: 4 June 2021

Last updated: 27 April 2022

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1

Myakinchenko, Maria A. "“Even here your uncle has been of use to you!” On the history of creative relationships of Fyodor Dostoevsky and Ivan Goncharov." Vestnik of Kostroma State University 27, no. 2 (June 28, 2021): 96–103. http://dx.doi.org/10.34216/1998-0817-2021-27-2-96-103.

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The article is devoted to the study of literary and biographical connections between the collision of Ivan Goncharov's first novel “A Common Story” and the conflict between Fyodor Dostoevsky and his guardian Pyotr Karepin. Analysing biographical materials, the author hypothesises that Fyodor Dostoevsky, meeting with Ivan Goncharov, while the latter was working on “A Common Story”, could partly influence the creation of the main collision and central images of the novel. Noting the plot and figurative convergence, the author of the article also shows the ideological difference between Ivan Goncharov and Fyodor Dostoevsky in the presentation of the conflict between uncle and nephew – two different minds, worldviews and representatives of two different generations. The author of the work presents significant and interesting correspondences between the life and creative paths of Ivan Goncharov and Fyodor Dostoevsky, noting the similar literary influences experienced by both writers, and also points to salons and literary circles where they could meet.

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2

Melnik, Vladimir I. "“The totality of all the forces of Russian life ...” (Ivan Goncharov about strong Russia)." Two centuries of the Russian classics 2, no. 4 (2020): 118–35. http://dx.doi.org/10.22455/2686-7494-2020-2-4-118-135.

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In the article, the topic “Ivan Goncharov and Russia” is first developed in terms of the historiosophical ideas of the novelist, as well as within the framework of Sergey Uvarov’s formula: “Orthodoxy, Autocracy, and Nationality”. Both approaches are correlated with Ivan Goncharov’s ideas about strong Russia. The writer began to think about civilisationally and culturally developed Russia back in the 1830s–1840s, when he began serving in the Department of Foreign Trade, where statistics convinced him of Russia’s economic lag behind European countries. The trip on board of the frigate “Pallada” significantly broadened Ivan Goncharov’s horizons and brought specificity to his reflections on this problem. Critically regarding serfdom, Ivan Goncharov considered free creative labour to be the basis of the state’s strength, which he interpreted not only as an economic but also as a religious category, since he viewed the history of civilisation primarily as a collaboration with the Creator. Like a private person, a nation, in Ivan Goncharov’s view, just as well has its own mission, the fulfillment of which is possible when all its forces flourish, with free labour and solidarity around the national idea. Ivan Goncharov saw an example of friendly work of all classes in Siberia, showed it in the Siberian chapters of “Frigate “Pallada””. The writer’s reliance on the formula of Count Sergey Uvarov finds expression in “An Uncommon History”, in the essay “A Literary Evening” and is realised in the symbolism of the image of “Grandmother Russia” in the novel “The Precipice”.

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3

Vinokurtseva, Yuliya O. "Contradictions and extremes of Russian real criticism in assessing the literary position of Ivan Goncharov." Vestnik of Kostroma State University 26, no. 4 (January 28, 2021): 100–106. http://dx.doi.org/10.34216/1998-0817-2020-26-4-100-106.

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In Russian literary studies, the opinion about the excessive objectivity, if not dryness and coldness, of Ivan Goncharov as a writer, who did not want to show his personal attitude to the events and persons described by him in any way, was fixed. The article reveals the origins of this opinion about the author of "Oblomov", proves that it originates in the criticism of the natural school. It turns out that here was Vissarion Belinsky to start the party of considering Ivan Goncharov as someone who only portrays, paints, but does not lecture anyone and does not punish, does not expose his contemporary reality became the basis for subsequent criticism of the mid-19th century, represented by the names of Nikolay Dobrolyubov, Dmitry Pisarev, Nikolai Shelgunov. The article shows the change in the attitude of criticism of "Nikolai Gogol direction" to Ivan Goncharov from positive to negative – thus, if the first novel of the writer, "A Common Story" was perceived by supporters of the natural school very warmly, even enthusiastically, the second and the most famous – "Oblomov" – was not the same and caused a lot of controversy, and the last – "The Precipice" – was in fact misunderstood and considered to be a retrograde novel written by a man with very outdated views on the social life of Russia, the one who actually sang of Russia’s serfdom past and sharply condemned revolutionary-minded youth. Based on the materials of several critical articles, it is concluded that representatives of the "real" direction attributed Ivan Goncharov to the supporters of pure art, or "art for art's sake".

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4

Golovneva, Ekaterina I. "Ivan Goncharov (1812-1891): the Book-illustrative Exhibition." Bibliotekovedenie [Russian Journal of Library Science], no. 4 (August 15, 2012): 77–78. http://dx.doi.org/10.25281/0869-608x-2012-0-4-77-78.

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5

Pyrkov, Ivan V. "The Newspaper and Other Markers of the Information World in the Novel Oblomov by Ivan Goncharov." Two centuries of the Russian classics 3, no. 2 (2021): 120–37. http://dx.doi.org/10.22455/2686-7494-2021-3-2-120-137.

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The article is devoted to the analysis of the artistic functions of the image of newspaper in the novel by I. A. Goncharov Oblomov and the comprehension of moral and philosophical results of the confrontation of protagonist with the profane information challenges of the external environment. Particular attention is paid to the semantic content of the Oblomov paradigm – the information world, interpreted taking into account the rich experience of Goncharov's work in the newspaper editorial field. The author of the article proves that one of the central tenets in the moral and philosophical concept of the writer is the preservation of humanity. The dialogues of heroes and the clash of their positions show that humanity in Oblomov's understanding echoes the corresponding understanding of it by Goncharov, revealing the complex and multifaceted worldview of the writer. The study outlines the evolution of attitudes towards the information model in Russian classical literature and examines the issue of the proportionality between external inertia and internal dynamics characteristic of Ilya Ilyich Oblomov. A hypothesis is put forward about the intense spiritual life of Oblomov, the expediency of pronouncing the name of Pushkin by the protagonist is deciphered.

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6

Yurchenko, Tatiana. "THE OLFACTORY SPACE OF RUSSIAN LITERATURE AS A RESEARCH PROBLEM. PART 2. PROSE AND DRAMA." RZ-Literaturovedenie, no. 4 (2021): 7–21. http://dx.doi.org/10.31249/lit/2021.04.01.

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This essay deals with the studies of olfactory imagery in literature - a new trend in literary criticism intensively developed from the beginning of the twenty first century. It concerns different ways of representation of odor perception in Russian prose and drama, particularly in the writings of Ivan Turgenev, Dmitrii Grigorovich, Ivan Goncharov, Fedor Dostoyevsky, Anton Chekhov, Ivan Bunin and Aleksandr Sukhovo-Kobylin. The essay traces the significance of odors and smells in the description of psychological portrait of the characters as well as in the plot.

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7

Mondry, H. "A semiotic interpretation of national typology: the English, the Boers and ... the Russians (Ivan Goncharov’s Frigate Pallas)." Literator 12, no. 1 (May 6, 1991): 71–81. http://dx.doi.org/10.4102/lit.v12i1.750.

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This article examines the text of renowned nineteenth century Russian travellers notes, The Frigate Pallada, by Ivan Goncharov, the author of Oblomov. Using the teachings of Victor Shklovsky, Yurij Tynianov and Yurij Lotman on the role of the genre of travellers notes in the history of Russian literature, the author examines the chapter on the Cape Province. She demonstrates that in his descriptions of the two nations of the Cape Province - the English and the Boers - Goncharov is applying that which is known to him - his own cultural model of the Russian society of the mid-nineteenth century. In his examination of differences between the English and the Boers Goncharov applies the ideological dichotomy between the Slavophiles and the Westernisers. Goncharov, by "inverting" the "dual model of Russian culture" (Lotman & Uspensky, 1984a) draws comparisons between the Russians of the Oblomov Slavophile type on the one hand, and the English on the other hand as the model for the improvement of the industry of the economically backward Russian nation. To Goncharov the Boers resemble the Oblomov, old world side of dichotomy, which by inversions of the dual model can fluctuate between "the good" and "the bad" categories.

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8

Rebel, G. M. "OUT OF TIME CHARACTERS IN LITERARY WORKS OF 1859: “FAMILY HAPPINESS” BY LEV TOLSTOY, “OBLOMOV” BY IVAN GONCHAROV, “A HOUSE OF GENTLEFOLK” BY IVAN TURGENEV." Bulletin of Udmurt University. Series History and Philology 30, no. 5 (October 27, 2020): 859–69. http://dx.doi.org/10.35634/2412-9534-2020-30-5-859-869.

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The article is a comparative structural, thematic and genre analysis of the works by Lev Tolstoy, Ivan Turgenev and Ivan Goncharov. The study had the following objectives: to give the genre definitions of “Family Happiness”, “Oblomov” and “A House of Gentlefolk” on the basis of structural, ideological and thematic features of the works; to compare the novels of Turgenev and Goncharov as different genre modifications; to justify the ideological character of the novel “A House of Gentlefolk”; to analyze the ideological controversy of the characters of Turgenev’s novel. As a result, the following conclusions were made. Tolstoy's “Family Happiness:, which is traditionally identified as a novel, in this case should be qualified as a novella: it has the predominant point of view which belongs to the narrator; the subject of the description are the episodes of private life presented outside of the socio-historical context of the era. Goncharov's “Oblomov” and Turgenev's “A House of Gentlefolk” present a multi-faceted, epically voluminous, large-scale picture of reality in two fundamentally different versions of the genre novel modifications. Despite the fact that in both novels the main characters are out of time, both works recreate the pre-reform atmosphere of the late 1850s, but perform it in fundamentally different ways. A mythologically-generalized, elegiac image of the past serfdom of Russia is presented in “Oblomov”. In “A House of Gentlefolk” the socio-historical specificity appears in close connection with real historical events, the lyrical beginning is organically combined with the polemical acuteness of the problem. The plot and the destinies of the characters in Turgenev's novel are determined by the ideological controversy, in which not only the main but also the secondary characters are subjectively or objectively involved, which ultimately determines the ideological character of the work. The proposed genre differentiation of the works of the three leading writers of the era allows us to give a dynamic cross-section of the literary process of the second half of the XIX century in the defining 1859 year of this period.

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9

Kazakova, Svetlana K. "MAN AND THE WORLD IN THE RUSSIAN NOVEL – METAMORPHOSES OF HEROES OF «A COMMON STORY» BY IVAN GONCHAROV." Vestnik of Kostroma State University, no. 1 (2020): 118–24. http://dx.doi.org/10.34216/1998-0817-2020-26-1-118-124.

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The article proposes a new interpretation of the denouement of «A Common Story» by Ivan Goncharov. Based on the analysis of many implicit details, it is hypothesised that the heroes’ return to their own «I», hidden both from themselves and from the reader in the epilogue of the novel rather than the rebirth of heroes (the «sensitive» nephew and the «cold» uncle). This conclusion changes the perspective of the consideration of «A Common Story» in the context of European literature and considers it necessary to clarify the existing typological characteristics of «A Common Story» (a novel of upbringing, a novel of «loss of illusions»). Ivan Goncharov’s confl ict between people and society, which is characteristic of the European romance tradition, gets a more optimistic interpretation: the idea of a tragic, hopeless confrontation between the individual and society leaves the text. The confl ict with the outside world is considered in relation to the internal contradictions of the heroes and is overcome on the path to knowing oneself: Aduev Jr. concentrates on «career and fortune», Aduev-uncle refuses service and work for the sake of his wife’s health and hope for a belated gaining family happiness.

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10

White, James. "Ivan Goncharov and the Imperial Horizons of The Frigate Pallada." QUAESTIO ROSSICA 7, no. 1 (2019): 347–53. http://dx.doi.org/10.15826/qr.2019.1.380.

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11

Mosaleva, Galina V. "Ontology of humour in the novel “Oblomov” by Ivan Goncharov." Vestnik of Kostroma State University 28, no. 1 (April 20, 2022): 85–92. http://dx.doi.org/10.34216/1998-0817-2022-28-1-85-92.

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The article highlights the perception of laughter in ancient and Christian traditions (in the patristic heritage), in Russian and Western European cultures. Various points of view on the nature of the comic in the novel “Oblomov” by Ivan Goncharov , the specifics of the author’s humourous pathos, the ratio of the comic and the tragic, various aspects of the comic in the novel. Ilya Oblomov is understood as a character that combines comic and tragic features. The article proves that the features of humour in the novel are connected with Orthodox axiology, with the phenomenon of conciliarity that unites people. The general laughter that binds the Oblomovites is cosmic; it turns out to be a derivative of Oblomovka's natural joy. Ilya Oblomov is a joyful gospel child, a kind smile on his face remains unchanged until the end of the novel. The relationship between Ilya Oblomov and Zakhar is built on comical grounds, eliminating the hierarchical status barrier between them. The careless attitude to things Zakhar is symbolic – for both Ilya Oblomov and Zakhar, the inner life of the individual is a priority. Ivan Goncharov, in the person of Ilya Oblomov, acts as an opponent of the satirical trend in literature, declaring himself as Nikolai Gogol's successor. The mission of the artist, expressed by Ilya Oblomov, is to love the person he depicts and cry for his imperfection and fall.

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12

Romanova, Aleksandra Vladimirovna. "EFREM BARYSHEV AND WALTER SCOTT EXCERPTS FROM THE COMMENTARY TO I. A. GONCHAROV’S OBITUARY «E. E. BARYSHEV»." Russkaya literatura 2 (2021): 19–54. http://dx.doi.org/10.31860/0131-6095-2021-2-19-54.

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The article is written in course of the work on the commentary to the obituary by I. A. Goncharov, «E. E. Baryshev» (1881). The circumstances of the work of the two brothers, Ivan and Efrem Baryshev, on the translations of Walter Scott’s novels for the multivolume publication by A. A. Kraevsky in the mid-1840s are outlined.

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13

Shvetsova, T. V. "THE CRISIS OF THE DEED IN KETCHES “IVAN SAVICH PODZHABRIN” BY I.A. GONCHAROV." Vestnik Orenburgskogo gosudarstvennogo universiteta 208, no. 8 (2017): 38–44. http://dx.doi.org/10.25198/1814-6457-208-38.

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14

Shevchugova, Ekaterina I. "Interpretation of the “Mediocre” Hero in the Novels by Ivan Goncharov and Leo Tolstoy." Journal of Siberian Federal University. Humanities & Social Sciences 11, no. 3 (March 2018): 445–57. http://dx.doi.org/10.17516/1997-1370-0239.

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15

KLIGER, ILYA. "Resurgent Forms in Ivan Goncharov and Alexander Veselovsky: Toward a Historical Poetics of Tragic Realism." Russian Review 71, no. 4 (September 3, 2012): 655–72. http://dx.doi.org/10.1111/j.1467-9434.2012.00673.x.

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16

Багаутдинова, Гульзада Гадульяновна. "The Frigate Pallada by I. A. Goncharov as a Literary Monument of Artistic Ethnology." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 5 (December 10, 2019): 181–88. http://dx.doi.org/10.26158/tk.2019.20.5.015.

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Жанровая природа «Фрегата “Паллада”» И. А. Гончарова сложна и эклектична. Несмотря на ее мозаичность, структура текста отличается четкостью, она выверена и хорошо продумана. В этом произведении повествуется о разных странах, континентах, а также населяющих их народах и этносах. В статье рассматривается одна из глав книги с точки зрения художественно-этнологического дискурса: автор-повествователь описывает нравы, род занятий, этнические особенности китайского народа, но делает это весьма живо, занимательно, эмоционально, т. е. на художественном уровне. Основным композиционным принципом произведения «Фрегат “Паллада”» становится сопоставление: выявляются сходные и отличительные признаки китайского и других этносов (американцев, англичан, русских). Кроме того, показаны и этнические особенности разных групп китайцев (китайцы Шанхая, Гонконга, Сингапура). В результате сопоставительного анализа автор приходит к выводу, что глава «Шанхай» написана большим писателем-беллетристом, не документалистом: Гончаров использует художественные приемы, определившие своеобразие его художественного мира, в том числе и романного (разнообразные ритмообразующие факторы; изящные и тонкие проявления комического начала; «архитектурную» структурированность; четкую и аргументированную авторскую позицию; гуманизм). The genre nature of The Frigate "Pallada" by Ivan Goncharov is complex and eclectic. Despite its mosaic character, the structure of the text looks precise and elaborate. The novel tells about foreign countries, continents, and nations living there. The paper focuses on one chapter of the novel; its artistic ethnology is regarded. The author-narrator depicts customs, occupations, and ethnic peculiarities of the Chinese people in a vivid, amusing, emotional way thus providing an artistic level of the description. The main principle of plot structure is the one of comparison: similar and peculiar features of the Chinese and other nations (Americans, Englishmen, Russians) are defined. Moreover, ethnic peculiarities of various groups among the Chinese are displayed (people of Shanghai, Hong Kong, and Singapore). Summing up the comparative analysis, the author concludes that the chapter entitled Shanghai seems to be written by a belletrist rather than by a documentary writer. Ivan Goncharov resorts to artistic devices typical of his fiction and novels (a variety of rhythm making factors; graceful and subtle manifestations of the comic; architectural structure; author’s viewpoint, well-grounded and precise; humanism)

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17

Balakin, Alexey. "Ivan Goncharov as a Teacher of Nikolay Aleksandrovich, the Crown Prince of Russian Empire (New materials)." Literary fact, no. 5 (2017): 95–107. http://dx.doi.org/10.22455/2541-8297-2017-5-95-107.

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18

Romanova, Alexandra. "“There was little work to do...”: (Ivan Goncharov as a translator at the Foreign Trade Department)." Literary Fact, no. 14 (December 2019): 282–92. http://dx.doi.org/10.22455/2541-8297-2019-14-282-292.

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19

Kliger, Ilya. "Genre and Actuality in Belinskii, Herzen, and Goncharov: Toward a Genealogy of the Tragic Pattern in Russian Realism." Slavic Review 70, no. 1 (2011): 45–66. http://dx.doi.org/10.5612/slavicreview.70.1.0045.

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In this article, Ilya Kliger describes the workings of “tragic realism” during the early to mid-1840s in Russia by engaging with the critical essays and letters of Vissarion Belinskii as well as with the first novels of Ivan Goncharov and Aleksandr Herzen. Kliger seeks to show that the concepts and forms produced by the authors standing at the inception of the realist tradition in Russia can be usefully seen as transpositions of the Hegelian theorization of modernity and of its privileged formal companion, theBildungsroman.Seen against the background of Hegel's post-tragic conception of contemporary “actuality,” these authors can be understood as developing a historico-formal paradox, a vision of tragic realism. Tragic realism grasps contemporary life in terms of destructive and irreconcilable collisions and presupposes the broader historiographic vision of Russia's anachronistic position vis-à-vis the Hegelian vision of modern life.

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20

Melnik, V. I. "“A large, thinking and comprehending synthesis…” (The origin of the idea of the novel trilogy by Ivan Goncharov)." Two centuries of the Russian classics 2, no. 3 (September 11, 2020): 118–99. http://dx.doi.org/10.22455/2686-7494-2020-2-3-118-199.

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21

Ermolaeva, N. L. "The sketch “A Literary Evening” in the context of the creative work of Ivan Goncharov of the 1870s." Two centuries of the Russian classics 2, no. 3 (September 11, 2020): 200–221. http://dx.doi.org/10.22455/2686-7494-2020-2-3-200-221.

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22

Diment, Galya. "Ivan Aleksandrovich Goncharov: Mir tvorchestva. By E[lena] Krasnoshchekova. St. Petersburg: "Pushkinskii fond," 1997. 492 pp. Index. Hard bound." Slavic Review 58, no. 3 (1999): 710–11. http://dx.doi.org/10.2307/2697623.

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23

Pavlovich, Kristina K. "The ancient tradition and the art of plastics in the depiction of landscapes in The Frigate "Pallada " by Ivan Goncharov." Vestnik Tomskogo gosudarstvennogo universiteta, no. 433 (August 1, 2018): 31–37. http://dx.doi.org/10.17223/15617793/433/4.

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24

Dalgleish, D. J. "‘All his anxiety resolved itself into a sigh and dissolved into apathy and drowsiness.’- Ivan Goncharov, Russian novelist, Obolomov (1859)." Anaesthesia 56, no. 4 (April 2001): 376. http://dx.doi.org/10.1046/j.1365-2044.2001.01976-9.x.

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25

Balakin, Alexey. "Ivan Goncharov as a participant of negotiations with the Japanese(based on materials from the Russian State Archive of the Navy)." Literary Fact, no. 14 (December 2019): 293–313. http://dx.doi.org/10.22455/2541-8297-2019-14-293-313.

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26

Nickolsky, Sergey. "The Russian People as They Are. Turgenev’s View." Russian Journal of Philosophical Sciences, no. 7 (November 8, 2018): 71–82. http://dx.doi.org/10.30727/0235-1188-2018-7-71-82.

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The question of the Russian man – his past, present and future – is the central one in the philosophy of history. Unfortunately, at present this area of philosophy is not suffciently developed in Russia. Partly the reason for this situation is the lack of understanding by researchers of the role played by Russian classical literature and its philosophizing writers in historiosophy. The Hunting Sketches, a collection of short stories by I.S. Turgenev, is a work still undervalued, not fully considered not only in details but also in general meanings. And this is understandable because it is the frst systematic encyclopedia of Russian worldview, which is not envisaged by the literary genre. To a certain extent, Turgenev’s line is continued by I. Goncharov (the theme of the mind and heart), L. Tolstoy (the theme of the living and the dead, nature and society, the people and the lords), F. Dostoevsky (natural and rational rights), A. Chekhov (worthy and vulgar life). This article examines the philosophical nature of The Hunting Sketches, its structure and content. According to author’s opinion, stories can be divided into ten groups according to their dominant meanings. Thus, in The Hunting Sketches the main Russian types are depicted: “natural man,” rational, submissive, cunning, honest, sensitive, passionate, poetic, homeless, suffering, calmly accepting death, imbued with the immensity of the world. In the image and the comments of the wandering protagonist, Ivan Turgenev reveals his own philosophical credo, which he defnes as a moderate liberalism – freedom of thought and action, without prejudice to others.

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27

Chrząszcz, Matylda. "Obcy w kuchni. Jedzenie jako sposób realizacji opozycji „swoje–obce” i „arystokratyczne–plebejskie” w kulturze rosyjskiej do XIX w." Slavica Wratislaviensia 166 (June 22, 2018): 9–18. http://dx.doi.org/10.19195/0137-1150.166.1.

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Foreign in the kitchen. Food as a way to implement “familiar–foreign” and “patrician–plebeian” oppositions in Russian culture till 19th centuryThe paper addresses the problem of eating habits as an identification code which defines affiliation to a particular community or a social layer. Till 17th century there was no distinction between aristocratic and plebeian dishes in Old Russian cuisine. 17th century brought differentiation between the diet of aristocracy and lower layers of society. During the reign of Peter the Great selection of dishes as well as the way of their preparation and eating became an identification code denoting belonging to the Western aristocratic culture. At the turn of the 18th and 19th centuries the division into aristocratic and plebeian kitchen was established. The changes in Russian cuisine were also related to attitude toward the foreign influences and often were politically motivated. Literary source used in the paper is represented mostly by fragments of the works by Russian writers such as Nikolai Gogol, Ivan Goncharov and Leo Tolstoy. Чужие на кухне. Еда как способ реализации оппозиции «свое–чужое» и «аристократическое–плебейское» в русской культуре до XIX столетияВ настоящей статье еда рассматривается как идентификационный код, определяющий принадлежность к данному общественному слою или группе. В древнерусской кухне не наблюдалось существенной разницы между плебейскими и аристократическими блюдами. Разница стала замечаться лишь только в XVIII столетии при Петре I, когда подбор блюд, способ их приготовления и способ приема пищи стали кодами, посредством которых определялась принадлежность к западной аристократической культуре. Это строгое разделение на «аристократическое» и «плебейское» в русской кухне упрочилось на рубеже XVIII и XIX столетий. Описываемые в статье перемены в русской кухне были связаны с отношением русских к чужим влияниям и довольно часто основывались на политических началах. В качестве иллюстративного литературного материала в статье использованы фрагменты романов Николая Гоголя, Ивана Гончарова и Льва Толстого.

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Ikonnikova, Elena. "Linguistic and Cultural Sketches in John M. Tronson´s Travel Diary." Problemy dalnego vostoka, no. 5 (2021): 169. http://dx.doi.org/10.31857/s013128120016279-7.

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The article deals with the linguistic and cultural sketches in the book “A Voyage to Japan, Kamtchatka, Siberia, Tartary and various parts of the coast of China; in H.M.S. Barracouta” (1859) by John M. Tronson. The travel notes of the English author remain almost unknown in Russia. The only exception is the reference to this book by Peter Leopold von Schrenck in “Essay on Physical Geography of the Northern Sea of Japan” (1869). The linguistic and cultural content of the book presents to readers various descriptions of the Chinese, Manchu, Japanese, Korean languages, as well as the language of the Tungusic people (mistakenly taken for the Nivkh (in the book — Gilyak) language by John M. Tronson). At the same time, the interest is attracted by the Peoples of „Japan, Kamtchatka, Siberia, Tartary and China” perception of English as a mean of communication with the representatives of the European civilization. The author´s reference to the words from Japanese, Chinese, Korean and other languages is being perceived as a pioneering stage in creating in the middle of the XIX century European awareness for the culture of the Russian Far East Peoples (chiefly concerned with living environment). Regardless of being episodic, the linguistic and cultural descriptions in John M. Tronson´s travel notes are essential for the similar literature genres. The notes of the English author are regarded as the part of other travel works on Russian Far East, i.e. “Frigate ‘Pallada’” (1853-1857) by Ivan A. Goncharov. The Russian author provides not only personal observations but also scientific information on the emergence and evolution of the other Peoples languages. John M. Tronson introduces the words of foreign sound and origin, and familiarizes his readers with the realities that are absolutely new and unusual for European conscience. By acquainting with “new” world (through the reproduction of what we see, hear and interpret) different educational tasks that are bound to travelling and its genre varieties (travel notes, sketches, essays, adventures and others) are realized.

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Vladimir Melnik. "The Logic of Ivan Goncharov's Creative Work: Stating the Problem." Social Sciences 51, no. 002 (June 30, 2020): 112–31. http://dx.doi.org/10.21557/ssc.60231520.

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Frazier, Melissa. "Turgenev and a Proliferating French Press: The Feuilleton and Feuilletonistic inA Nest of the Gentry." Slavic Review 69, no. 4 (2010): 925–43. http://dx.doi.org/10.1017/s0037677900009918.

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Elizabeth Cheresh Allen has addressed Ivan Turgenev's strikingly ambiguous and understated narratives, arguing that Turgenev's "language of litotes" consistently serves other than conventionally realistic ends. V. N. Toporov accounts for Turgenev's "strangeness" in more personal terms. Melissa Frazier's close reading ofA Nest of the Gentrysuggests the importance of yet another factor: Turgenev's engagement with the feuilleton and the increasingly commercialized literary environment that produced it. Ivan Goncharov's accusation that Turgenev had plagiarized elements ofA Nest of the Gentryfrom his own as-yet-unpublishedThe Precipicefinally also makes the point that Turgenev's "strangeness" in this novel derives from an ambiguous language best described as "not that," not the stolen words and half-truths of a feuilletonistic and largely French press, but something nonetheless not unlike.

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Zhilyakova, Emma M., and Kristina K. Pavlovich. "Aleksandr Nikitenko as the Reader and Critic of Ivan Goncharov’s Oblomov." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 68 (December 1, 2020): 243–57. http://dx.doi.org/10.17223/19986645/68/11.

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Kovalenko, Natalia. "SOURCES OF IDEO-ARTISTIC FORMATION OF UKRAINIAN ARTIST IVAN GONCHAR." Knowledge, Education, Law, Management, no. 6 (2021): 45–48. http://dx.doi.org/10.51647/kelm.2021.6.7.

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Kurilo, Svetlana A. "THE THEME OF ENGLISH AND RUSSIAN COLONIALISM IN IVAN GONCHAROV’S THE FRIGATE “PALLADA”." Vestnik Tomskogo gosudarstvennogo universiteta, no. 434 (September 1, 2018): 19–29. http://dx.doi.org/10.17223/15617793/434/3.

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Sharapova, Ekaterina V. "Corpus-based methods in stylistic studies: reshitel’nyi/reshitel’no in Fedor Dostoevskii’s individual style." Vestnik of Saint Petersburg University. Language and Literature 18, no. 2 (2021): 400–416. http://dx.doi.org/10.21638/spbu09.2021.209.

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The article discusses the idiolectic features of the adjective reshitel’nyi and the adverb reshitel’no in Fedor Dostoevskii’s writing style. Conceived as one lexical item, reshitel’nyi and reshitel’no have a semantic structure that includes three blocks of meanings: quality/mode of action; discursive meaning; intensity (corresponding to the lexical function Magn). The dictionary definitions suggest that all of them were common to reshitel’nyi/reshitel’no in Russian language of the 19th century. Ноwever, a corpus-based study shows that reshitel’nyi/reshitel’no in discursive or intensifying use is one of Dostoevskii’s idiolectic patterns. The study comprises 1219 contexts from Dostoevskii’s five great novels and from Leo Tolstoy’s, Mikhail Saltykov Shchedrin’s, Ivan Turgenev’s and Ivan Goncharov’s literary texts accessible in the Russian National Corpus. The analysis reveals the closeness of intensification tо discursive meanings up to nondistinction. Almost half of the contexts extracted from Dostoevsky’s texts are discursive or intensifying uses of reshitel’nyi/reshitel’no. This share is much smaller for the texts of other authors (12%, 22%, 15% and 14% respectively). The article considers some types of contexts and constructions that refer to discursive or intensifying uses of reshitel’nyi/reshitel’no in Dostoesvskii’s literary texts.

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Svetlana KAZAKOVA. "The Characters of Ivan Goncharov's Novel The Precipice in the Context of Russia's Economic History." Social Sciences 47, no. 003 (September 30, 2016): 38–49. http://dx.doi.org/10.21557/ssc.47924950.

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Walker, Joshua S. "Neither BURGHER nor BARIN: An Imagological and Intercultural Reading of Andrey Stoltz in Ivan Goncharov’s Oblomov (1859)." Slovene 2, no. 2 (2013): 5–30. http://dx.doi.org/10.31168/2305-6754.2013.2.2.1.

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This article presents a reevaluation of Andrey Stolz as more than either a “weak point” in the novel or a “plot device” and “simple foil” to Oblomov (as D. Senese represents Dobrolyubov’s position). I investigate the problematic nature of “Germanness” in the novel according to the Imagological methodology, and this allows me to explore how Andrey’s intercultural identity is mediated through a myriad of different perspectives in the novel. Andrey accesses two politically-loaded symbolic sets of the German character in mid-nineteenth-century Russian literature: as an outsider, an Other, who is a negatively-valued opposite by which the positive Russian Self can be defined; and as an aspect of the internalized German in Russian culture, where the Other functions as a symbol of the westernizing process within Russian society. Andrey’s unstable Germanness thus exposes the paradox of expressing the Russian Self in the 19th century, where the Russian is constructed in contrast to-yet also in terms of-the imagined Western Other. I therefore challenge the prevailing assumption that Andrey is meant only to be the “antidote” to Oblomov, and suggest that his character elucidates the instability of the Russian Self Image.

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Frischmuth, Agatha. "Being Silent, Doing Nothing: Silence as a Symbol of Peace in Ivan Goncharov’s Oblomov and Ha Jin’s Waiting." Partial Answers: Journal of Literature and the History of Ideas 15, no. 1 (2017): 99–115. http://dx.doi.org/10.1353/pan.2017.0006.

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Kazakova, S. K. "PRIVATE INTEREST AND COMMON GOOD: ECHO OF THE GOVERNMENT REFORMS OF ALEXANDER II OF RUSSIA IN IVAN GONCHAROV’S NOVEL THE PRECIPICE." Учёные записки Петрозаводского государственного университета 42, no. 7 (October 2020): 95–102. http://dx.doi.org/10.15393/uchz.art.2020.530.

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Shcheglova, Ekaterina A. "The Lexical Originality of a Literary Work: On the Technique of Analysis (A Case Study of Ivan Goncharov’s Book of Travel Essays The Frigate “Pallada”." Vestnik Tomskogo gosudarstvennogo universiteta, no. 442 (May 1, 2019): 61–68. http://dx.doi.org/10.17223/15617793/442/7.

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Balakin, Alexei. "«Я бережлив… от непривычки к деньгам»: Финансовый аспект командировки и. А. Гончарова на фрегате «Паллада» [“Ia Berezhliv Ot Neprivychki K Den’gam”: The Financial Aspect Of Ivan Goncharov’s Expedition On The Frigate “Pallada”]." Slavica Revalensia 6 (2019): 99–120. http://dx.doi.org/10.22601/sr.2019.06.03.

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Ponomarenko, Olena V., Yevheniia V. Kostyk, and Tetіana M. Petrova. "Modern Tools for Creative Learning of English in a Blended Learning Environment: Practices of Ukrainian Universities." Scientific Bulletin of Mukachevo State University. Series «Pedagogy and Psychology» 7, no. 4 (January 24, 2022): 50–57. http://dx.doi.org/10.52534/msu-pp.7(4).2021.50-57.

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The practice of teaching English in higher education institutions confirms the efficiency and the popularity of using the blended learning methodology. The purpose of this study is to identify the tools of creative learning of English in a blended learning environment and establish their impact on the level of English language proficiency. To cover the purpose of this study, the authors employed theoretical and empirical methods, namely abstraction, theoretical analysis, synthesis, induction and deduction, observation, questionnaire survey, description, comparison, and generalisation. It is established that blended learning, as a new method of learning English, involves the use of modern interactive and innovative technologies in the educational process, so that the conventional educational process transforms into a creative process with an innovative approach to obtaining professional competencies by students. It is determined that the use of information and communication technologies in a blended learning environment opens up opportunities for students to independently investigate educational material, but this process should take place under the guidance of a teacher. It is proved that online platforms are equally important for creative learning of English, the advantages of which are mobility, systematicity, interactivity, and controllability of knowledge. It is established that teachers of the Departments of English and foreign languages of the Olesya Gonchar Dnipro National University, Hryhorii Skovoroda University in Pereiaslav, and Kamianets-Podilskyi Ivan Ohiienko National University offer students to use such online platforms as Quizlet, Freerice, Learn English from the British Council Vocabulary.com, Microsoft Teams and the Flipgrid application for creative learning of English the effectiveness of which has been confirmed by a survey of students. The practical significance of the results obtained in this study indicates that the approach, according to which it is planned to survey students using a questionnaire method to identify the influence of information and communication technologies and creative learning tools on the academic achievements of students in learning English in Ukrainian higher education institutions, is of universal importance

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"Ivan Goncharov and the Philosophy of Science of His Time (Issue of Science and Religion)." Two centuries of the Russian classics 3, no. 1 (2021): 134–59. http://dx.doi.org/10.22455/2686-7494-2021-3-1-134-159.

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During the period of rapid development of science and technology among the main representatives of Russian classical literature, only Alexander Herzen and Ivan Goncharov experienced a deep and substantive interest in the philosophy of science. For the author of “The Precipice,” this interest was associated with the main issue around which the dominant problematics of his work is concentrated: this is the question of the compatibility of scientific thinking and traditional faith. This work examines mainly one aspect of the topic: the writer's interest in natural science and, above all, in astronomy. Darwinism, with its thesis on the origin of man from ape, and astronomical discoveries that activated thoughts about life on other planets, gave rise to doubts in the mass consciousness about the established religious picture of the world. Goncharov defined his attitude to these changes long before the outbreak of the crisis of religious consciousness in the 1860s. As a conservative and deeply religious person, he took scientific progress seriously, not opposing it to religion and considering it an instrument of God's Providence for humanity. The crisis of religious consciousness in Russian society of the 19th century is regarded as the main subject of Goncharov's artistic research, which binds “A Common Story,” “Oblomov” and “The Precipice” into a trilogy.

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Melnik, V. I. "“My good, kind Anatoly Fedorovich…” (On the issue of relations of Ivan Goncharov and Anatoly Koni)." Two centuries of the Russian classics 2, no. 1 (March 24, 2020). http://dx.doi.org/10.22455/2686-7494-2020-2-1-168-195.

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Mukhin, Mikhail Yu, and Nikolai Yu Mukhin. "Idiostyle Characteristics of Lexical Compatibility in the 19th-Сentury Prose: Ural Stylometric Project." Journal of Siberian Federal University. Humanities & Social Sciences, December 2020, 2027–34. http://dx.doi.org/10.17516/1997-1370-0701.

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The article presents the project of the Ural Federal University scientists connected with the formalized study of lexical compatibility in Russian classical prose of the 19th century. The study aims to identify idiostylistic characteristics of individual-author syntagmatic. A lexical bigram – a pair of words extracted from one phrase context – is accepted as a unit of compatibility. With the help of their corpus of classical prose (works by Leo N. Tolstoy, Fyodor M. Dostoyevsky, Anton P. Chekhov, Ivan S. Turgenev and Ivan A. Goncharov), the project participants carried out a comparative statistical analysis of lexical bigrams typical for the works of each author and not found in the texts of other writers. A prerequisite for the selection of material is that one of the words constituting a bigram is often used by all authors. Thus, based on the lexical fund common to all authors, the idiostylistical peculiarities of lexical compatibility are revealed. The results of the study are presented on the example of the author’s use of adverbs in the works of Fyodor M. Dostoevsky and comparison of syntagmatic characteristics of these adverbs with their textual embodiment in the works of other four authors. Conclusions are made about stylometric perspectives of formalized research of syntagmatic for idiostylistics and author’s lexicography

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Mukhin, Mikhail Yu, and Nikolai Yu Mukhin. "Idiostyle Characteristics of Lexical Compatibility in the 19th-Сentury Prose: Ural Stylometric Project." Journal of Siberian Federal University. Humanities & Social Sciences, December 2020, 2027–34. http://dx.doi.org/10.17516/1997-1370-0701.

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The article presents the project of the Ural Federal University scientists connected with the formalized study of lexical compatibility in Russian classical prose of the 19th century. The study aims to identify idiostylistic characteristics of individual-author syntagmatic. A lexical bigram – a pair of words extracted from one phrase context – is accepted as a unit of compatibility. With the help of their corpus of classical prose (works by Leo N. Tolstoy, Fyodor M. Dostoyevsky, Anton P. Chekhov, Ivan S. Turgenev and Ivan A. Goncharov), the project participants carried out a comparative statistical analysis of lexical bigrams typical for the works of each author and not found in the texts of other writers. A prerequisite for the selection of material is that one of the words constituting a bigram is often used by all authors. Thus, based on the lexical fund common to all authors, the idiostylistical peculiarities of lexical compatibility are revealed. The results of the study are presented on the example of the author’s use of adverbs in the works of Fyodor M. Dostoevsky and comparison of syntagmatic characteristics of these adverbs with their textual embodiment in the works of other four authors. Conclusions are made about stylometric perspectives of formalized research of syntagmatic for idiostylistics and author’s lexicography

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Prokudin, Boris A. "CONTROVERSY BETWEEN NIKOLAY DOBROLYUBOV AND NIKOLAY CHERNYSHEVSKY ABOUT THE NOVEL “OBLOMOV” BY IVAN GONCHAROV: HISTORICAL AND POLITICAL ANALYSIS." Bulletin of the Moscow State Regional University, no. 2 (2019). http://dx.doi.org/10.18384/2224-0209-2019-2-957.

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"Diligent Notes on Laziness: Oblomov, Lenin and the Capitalization of Laziness." Philosophical Literary Journal Logos 29, no. 1 (2019): 243–58. http://dx.doi.org/10.22394/0869-5377-2019-1-243-257.

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The essay investigates the phenomenon of laziness by first analyzing the opposition between laziness and the good. Both utility and the good make reference to labor. This opposition between labor and laziness is pivotal in Oblomov, Ivan Goncharov’s famous novel written in 1859. It marks a radical transition from a feudal paradigm to a capitalistic one. The two main characters in the novel are Ilya Ilyich Oblomov, a Russian, and Andrey Ivanovich Stolz, a German, who together seem to personify the contradiction between laziness and labor. But the purpose of the essay is to deconstruct that opposition. In this connection, one can cite Kazimir Malevich, who maintained that laziness is the Mother of Perfection and is always unconsciously inherent in the conscious intent to work. Analysis of the Latin concepts of otium and negotium indicates that the laziness/labor opposition may be deconstructed as a dialectic between labor and its opposite. In other words, laziness does not stand in contradiction to labor but is instead its inseparable dialectical other. In the last part of the essay, the article considers the thinking of Anatoly Peregud, a poet who spent almost all his life in a psychiatric hospital. According to Peregud, Lenin derived his pseudonym from the Russian linguistic root “len” (laziness) in order to make laziness central to communism. For his part, Lenin saw Oblomov as an emblem of the main obstacle standing in the way of communism.

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