Academic literature on the topic 'Oblomov'

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.

The article examines one of the possible parallels between the protagonists of the novels Oblomov and The Idiot , which was formulated by Dostoevsky himself. He pointed out both the similarities between Myshkin and Oblomov and the differences between the two. The purpose of the article is to explain the special status of the characters of Dostoevsky and Goncharov, which is linked to their explicit or implicit desire to save the world. The task is to systematize various views of scholars on the issue of Dostoevsky and Goncharov, especially in the light of their relation to the Russian spiritual tradition. The thesis is put forward that the similarity between the two protagonists may be explained by the similarity of the two authors views on the problem of secular holiness. In both novels similar versions of the plot of salvation are realized, in which the protagonist claims to be the savior of others, although another motif, that of personal salvation, is emphasized by Goncharov in Oblomov and has Dante origins. While in the case of Myshkin his wish to be Christ-alike lead him to a personal catastrophe, and the destruction of his inner circle, in Oblomovs case there are no such losses, there are even some advantages in the form of the emerging life of Shtolz and Olga, in the form of awakening to a new life of Agafia Matveevna Pshenitsyna. The author of the article comes to the conclusion that both Dostoevsky and Goncharov did not forget about the human nature of their characters, but the former, as Goncharov put it, allowed his Myshkin, Prince Christ, to wear a divine robe and thus largely predetermined his failure as a savior, while the latter alleviated the traits of holiness in his Oblomov, leaving only traces of them, which attract people to the character making them and their small world better.

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.