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Littérature scientifique sur le sujet « Alexey Tolstoy »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 1 février 2022

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Articles de revues sur le sujet "Alexey Tolstoy"

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Sokolov, Boris V. « A Prototype of Vadim Roshchin in the “White” Version of Alexey N. Tolstoy's Trilogy The Road to Calvary ». RUDN Journal of Studies in Literature and Journalism 26, no 1 (15 décembre 2021) : 16–32. http://dx.doi.org/10.22363/2312-9220-2021-26-1-16-32.

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The article is devoted to the reconstruction of the idea of the white version of the second volume of A.N. Tolstoy's trilogy The Road to Calvary , created by the writer in the emigration in 1921-1923. This idea was fundamentally different from the one embodied by A.N. Tolstoy after his return to the USSR. Materials published in 1918 in the Rostov magazine Donskaya Volna ( Don Wave ) are used for the reconstruction. Those materials help to identify Colonel V.K. Manakin as a supposed prototype of one of the main characters, Vadim Roshchin, in the final chapters of the first volume of the trilogy and in the first chapters of the second volume of the white version. The prototype makes it feasible to reconstruct the possible idea of the second volume of the white version of The Road to Calvary . A.N. Tolstoy's notebooks are also used for the reconstruction. The reconstruction of A.N. Tolstoys plan turned out to be more logically consistent compared to the only existing Soviet version of the second and third volumes of the trilogy The Road to Calvary. Both Roshchin and Telegin, in the emigrant version of the first volume of the trilogy act as ideologists of the White Movement, find themselves in the White Armies of Southern Russia, and then in exile. The study shows that the transition of the main characters to the Red Movement in the Soviet version of The Road to Calvary is artistically unconvincing, since it does not correspond to the original plan of A.N. Tolstoy, embodied in the emigrant version of Sisters .
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Ganin, Andrey V. « The Image of the White Army Agent General Nosovich in the Novella Bread by Alexey N. Tolstoy ». Studia Litterarum 6, no 3 (2021) : 394–407. http://dx.doi.org/10.22455/2500-4247-2021-6-3-394-407.

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The article analyzes the image of a historical figure of the White Army agent Nosovich in A.N. Tolstoy’s novella Bread. Former General A.L. Nosovich in Soviet Russia in the spring and summer of 1918 held the post of chief of staff of the North Caucasus Military District, but at the same time was an agent of the White Army and carried out clandestine subversive work. His image in the novel was introduced as an antihero, who was opposed to the shrewd commissar Joseph Stalin. The attitude to Nosovich in the novel is negative. He is shown as a pragmatic and cruel cynic, for whom the aim justifies any means. Tolstoy did not fail to emphasize the connection between Nosovich and the leader of the Red Army Lev D. Trotsky ostracized in the USSR. When creating the character of Nosovich A.N. Tolstoy relied on genuine documents, including the report of Nosovich to the White Army command about his underground work. Tolstoy’s novel contributed to the strengthening of the personality cult of Stalin and the mythology of the history of the Russian Civil War in line with party attitudes. The image of the White Army agent General Nosovich served the same task.
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Zykova, Galina. « Vsevolod Nekrasov about Kozma Prutkov and Alexey Konstantinovich Tolstoy ». Stephanos. Peer reviewed multilanguage scientific journal 26, no 6 (30 novembre 2017) : 168–74. http://dx.doi.org/10.24249/2309-9917-2017-26-6-168-174.

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Akimova, Anna S. « “IN THE MOSCOW ESTATES” : A. N. TOLSTOY’S NOVEL PETER THE FIRST AS AN ESTATE TEXT ». Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020) : 235–44. http://dx.doi.org/10.37816/2073-9567-2020-58-235-244.

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The childhood of Alexey Nikolaevich Tolstoy passed on the steppe farm Sosnovka where his stepfather’s A. A. Bostrom’s estate was located. Subsequently, the writer reproduced both external appearance of the estates familiar to him, and the inhabitants of the estates and their way of life on the pages of his works. Everything that Tolstoy saw in his childhood (peasant yards, the life of a small-scale Samara estate (called ‘khutor’), a city estate) found reflection in his works and, in particular, in the manor texts, which undoubtedly include the novel Peter the Great. The paper considers the A. N. Tolstoy’s novel Peter the Great as an ‘estate text’. The first book of the novel is set in Moscow, in Kitay-Gorod. Tolstoy recreates in great detail the life of the city and its inhabitants that has gone into the past, which in the late 17th – early 18th centuries, according to the historian I. E. Zabelina looked like a big village. The descriptions of the peasant household, Moscow nobles estates and princely mansion are based, on the one hand, on the writer’s impressions and, on the other, on historical sources and represent the image of the estate. The estate plot closely connected with the characters living (both fictional and historical ones), with life of the city and the state. The novel provides a comprehensive description of the courtyard of the poor peasant Brovkin, the impoverished nobleman Volkov, as well as based on the testimony of the French envoy De Neuville and the work of S. M. Solovyov, a detailed image of the Moscow chambers of Prince V. V. Golitsyn. Childhood memories, historical sources and creative imagination allow Tolstoy to painstakingly recreate on the pages of the novel not only the image of the lost Moscow of Peter’s time, but also the ones of its inhabitants.
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Bogdanova, Olga A. « “Not a Golden Antique” : Experience of Negative Reception of the “Estate Culture” at the Turn of the 19th–20th Centuries ». Studia Litterarum 5, no 3 (2020) : 252–69. http://dx.doi.org/10.22455/2500-4247-2020-5-3-252-269.

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In contrast to passeistic and neo-mythological trends in the representation of the “estate culture” in the so-called Silver age, a number of works of that time follow another line — the one of aesthetic, civilizational, and socio-psychological critique. The latter tendency dates back to the serfdom period (A.I. Herzen, N.S. Leskov, L.N. Tolstoy, etc.). Pan-aesthetics, one of the main trends of Russian culture of the early 20th century, prompted the mentioned aesthetic critique. A number of authors questioned and rejected the idealization of the Golden age of “estate culture”, which in the Silver age claimed to be the “national ideal.” This is how the polemical image of “not a golden antique” appears in the works of I.F. Annensky, Andrey Bely, N.S. Gumilev, G.I. Chulkov, A.N. Tolstoy, etc. In addition, the structure of the “estate topos” includes civilizational critique of the “estate culture” as organic part of the Russian national-patriarchal world (A.I. Ertel, A.P. Chekhov, I.S. Shmelev, etc.). The article examined the mentioned negative connotations of the “estate topos” on the example of the story by Alexey N. Tolstoy “Mishuka Nalymov (Zavolzhye).”
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Скаковская, Людмила Николаевна. « STRUCTURAL AND SEMANTIC FEATURES OF THE TITLE COMPLEX AND ILLUSTRATIVE MATERIAL OF A. VARLAMOV’S BOOK «ALEXEY TOLSTOY» ». Вестник Тверского государственного университета. Серия : Филология, no 3(66) (6 novembre 2020) : 111–16. http://dx.doi.org/10.26456/vtfilol/2020.3.111.

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Потенциал паратекста книг серии «ЖЗЛ» А.Н. Варламова представляется очень важным не только вследствие репрезентационного расширения и рецепционного углубления этих произведений, но и определения внутренней взаимосвязи конкретных литературных портретов. В случае «Алексея Толстого» паратекст выполняет сквозную функцию, то есть его элементы раскрываются на протяжении всего произведения (исходное заглавие, подписи к фото и др.) и связаны с основной темой. The potential of the paratext of the books in the «LWP» series by A.N. Varlamov is very important not only because of the representational expansion and receptive deepening of these works, but also determines the internal relationship of specific literary portraits. In the case of Alexey Tolstoy, the paratext performs an end-to-end function, i.e. its elements are revealed throughout the work (the original title, photo captions, etc.) and are related to the main theme.
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Kotelnikov, Vladimir A. « John Damascene and the aesthetic ideal of Aleksey Tolstoy ». Two centuries of the Russian classics 3, no 1 (2021) : 210–23. http://dx.doi.org/10.22455/2686-7494-2021-3-1-210-223.

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Despite the fact that religious themes are rare in A. K. Tolstoy’s works, he paid special attention to the image, life and work of John Damascene. This is due to the fact that Tolstoy perceived Damascene not only as a monk and ascetic, but above all as a creative person, a poet. The article shows Tolstoy's attitude to art, notes the parallel he thought out between his own fate and the life of Damascene, the role of the introduction with an oriental flavor in Tolstoy's poem “John Damascene,ˮ which corresponds to the forced presence at the court of Tolstoy himself. The work demonstrates how thoughtfully and subtly the poet puts his own judgments, his theory of art and the origin of creativity in John's reflections on art. The author of the article, following the development of the plot of the poem, states where Tolstoy somewhat deviates from the life of Damascene, and in which places he approaches the hagiographic narrative as much as possible. Particular attention is paid to the analysis of the realization in the poem of Tolstoy's most important motive for the triumph of free speech.
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Anisimova, E. E. « “Tolstoys are Totally Different Matter...” A. K. Tolstoy in Bunin’s Experience of Historical Reflection : B. Genre Aspect of the Theme of Memory ». Studies in Theory of Literary Plot and Narratology 15, no 2 (2020) : 371–84. http://dx.doi.org/10.25205/2410-7883-2020-2-371-384.

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The article deals with I. A. Bunin’s perception of the personality and works by A. K. Tolstoy. The key components of this reception are the system of philosophy of history views formulated by A. K. Tolstoy and his concept of historical memory. The belonging of the 19 th century poet to the large Tolstoy family was mythologized by Bunin and became a reason for understanding and determining the young writer’s own position in relation to each of the three writers: L. N. Tolstoy, A. K. Tolstoy and Bunin’s contemporary A. N. Tolstoy. The paper draws upon fictional and nonfictional documents by I. A. Bunin and A. K. Tolstoy. Bunin’s reception of the personality and artistic heritage by A. K. Tolstoy was determined by the history of his origin. The Tolstoy family attracted Bunin’s attention because it was an illustration of his own concept of the literary gift as a “family affair”. Leo Tolstoy enjoyed an undisputed genius and generally recognized family reputation. Aleksey N. Tolstoy’s biography, on the contrary, was ambiguous – the fact that inspired Bunin’s scandalous hints in his essay “The Third Tolstoy”. Aleksey K. Tolstoy’s biographical path of was also surrounded by similar rumors – but Bunin in his article “Inonia and Kitezh” prefers to keep silent on them. In the 1900s, A. K. Tolstoy appeared to Bunin as a rival poet, and in the eyes of Bunin’s contemporaries as the one of his main literary predecessors. Bunin’s poem “Kurgan” was a kind of poetic response to A. K. Tolstoy’s ballad “Kurgan” dedicated to the problem of historical oblivion. These works-doublets could serve as an illustration of one of the types of literary “revision” introduced by H. Bloom. Bunin developed the plot of A. K. Tolstoy’s “Kurgan” in the elegiac genre and demonstrated the value of the past in the present. Since 1918, Bunin’s perception of Tolstoy’s legacy has changed. A. K. Tolstoy’s views of the Russian history are publicly emphasized in the “Cursed Days”, “Mission of the Russian Emigration” and “Inonia and Kitezh”. According to A. K. Tolstoy, the historical catastrophe for Russia was programmed by “Tatar yoke”, which distorted the European character of the national culture and personality and later drove the nation to the particularly Asian, as Tolstoy thought, phenomenon of Ivan the Terrible. Borrowing some modern ideas from the natural sciences, Bunin transferred a number of A. K. Tolstoy’s observations into an anthropological sphere and pointed out specific signs of the “Mongolian” traces in Bolsheviks’ Russia.
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Kajtoch, Wojciech. « Próba analizy Rodziny wilkołaka Siemji wurdałaka Aleksieja K. Tołstoja, jej przekładu pióra René Śliwowskiego i adaptacji filmowych ». Literatura i Kultura Popularna 24 (18 avril 2019) : 247–88. http://dx.doi.org/10.19195/0867-7441.24.18.

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An attempt at a complementary analysis of The Family of the Vourdalak Siemja wurdałaka by Aleksey K. Tolstoy and its translation by René Śliwowski and its film adaptationsThe article discusses a classic horror story from 1839. It presents those elements of the novel typical of Romanticism, as well as the ones with which Tolstoy exceeded his era. The Polish translation of the piece, published for the first time in 1975, as well as four film adaptations of Tolstoy’s story were analyzed, trying to show how film directors interpreted its universal and timeless themes.
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Rubinchik, Olga E. « «They’re not My Kind…» Anna Akhmatova and Natalia Krandievskaya ». Studies in Theory of Literary Plot and Narratology 14, no 2 (2019) : 41–55. http://dx.doi.org/10.25205/2410-7883-2019-2-41-55.

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N. V. Krandievskaya (1888–1963; her last name became Tolstaya after her second marriage with a writer А. N. Tolstoy) was a Russian poet, the author of three books of verse published during her life (1913, 1919, 1922), an outstanding collection of poems dedicated to the Siege of Leningrad (now St Petersburg) and a memoir. The article is dedicated to one of the longstanding poetical conversations between Natalia Krandievskaya and Anna Akhmatova. In July 1922 Akhmatova wrote a poem “They’re not my kind who left the land / To enemies and plundering...”. The poem can be called a “late reply” or “delayed response” to Krandievskaya, and an “urgent answer” to other addressees, among whom there was Aleksey Tolstoy first of all. A 1913 collection of poems by Krandievskaya includes the following one: “They’re not my kind who meet the life, / As like a dream...”. In this poem, the author speaks about her creative independence from two mainstreams in literature of that time: an emerging acmeism and a seasoned symbolism. Being an acmeist, Akhmatova treated the poem with a strong sense of offence. Besides, criticism of 1910 contributed to the origin of the rivalry between these two young poets. From summer 1918 until summer 1923, Krandievskaya stayed out of Soviet Russia with Tolstoy and their children, from October 1921 they were in Germany. When the publishing of the “Nakanune” newspaper, which actively advocated for coming back to Soviet Russia, started in March 1922 in Berlin, Tolstoy headed its literature department, and then he became an editor of its Sunday supplement. Two poems by Akhmatova were published on the first page of the first newspaper’s supplement on April 30. In response, an open letter by Akhmatova was published on August 1, 1922 in the “Notes on Literary Life” in Petrograd magazine, in which she spoke out against the publication of her poems without her knowledge and consent. The reason was an improper political role of the “Nakanune” newspaper and some Tolstoy’s misdeeds. Thus, the verse “I will not give them my poems” in the poem published in July 1922 and the answer of Akhmatova to the “Nakanune” newspaper in the “Notes on Literary Life” are directly interrelated. The similarity of the verse by Akhmatova with the poem by Krandievskaya suggests that the head of the arrow was aimed at the Tolstoy – Krandievskaya partnership first of all. However, the text by Akhmatova has many more addressees, and its meaning spreads far beyond the boundaries of a simple war of words. It’s “a poetic declaration on behalf of those who decided to stay, not evading a single blow” (R. Timenchick).
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Thèses sur le sujet "Alexey Tolstoy"

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Ferreira, Susana Milena. « Poesia de A. K. Tolstoy em duas abordagens para canto e piano ». Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/12783.

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Mestrado em Música
Neste trabalho procurou-se fazer uma análise interpretativa e musical de seis poemas de Aleksey Konstantinovich Tolstoy, poeta, novelista de finais do séc. XIX, musicados pelos importantes compositores russos: Tchaikovsky e Rimsky-Korsakov.
In this work we tried to make an interpretative and musical analysis of six poems by Aleksey Konstantinovich Tolstoy, Russian poet, novelist and playwright, of the nineteenth-century, composed by great Russian composers such as: Tchaikovsky and Rimsky-Korsakov.
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Cruise, Karla Anne. « Narrative art in dramatic form : the plays of L.N. Tolstoi / ». 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9920140.

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Livres sur le sujet "Alexey Tolstoy"

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Lange, Thor. Grev Alexiej Tolstoj. Adamant Media Corporation, 2001.

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Vorontsova, Galina N., dir. Aleksey Tolstoy : Dialogues with Time. Issue 3. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2019. http://dx.doi.org/10.22455/978-5-9208-0599-7.

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Monter, Barbara Heldt. Koz'ma Prutkov : The art of Parody. De Gruyter, Inc., 2019.

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Obolevitch, Teresa. Faith and Science in Russian Religious Thought. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198838173.001.0001.

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The book brings forth a comprehensive presentation of one of the most interesting of contemporary issues, namely an analysis of the relation between science and faith in Russian religious thought. It is a synthetic approach on the development of the problem throughout the whole history of Russian thought, starting from the medieval period and arriving in contemporary times. The key topic is considered the relationship between science and religion in the eighteenth century, the so-called academic philosophy of the nineteenth and twentieth centuries, the thought of Peter Chaadaev, the Slavophiles, and in the most influential literature figures, such as Fedor Dostoevsky and Lev Tolstoy. The book also analyzes two channels of the formation of philosophy in the context of the relationship between theology and science in Russia. The first is connected with the attempt to rationalize the truths of faith and is exemplified by Vladimir Soloviev and Nikolai Lossky; the second, the apophatic tradition, is presented by Fr. Pavel Florensky and Semen Frank. The book then describes the relation to scientific knowledge in the thought of Lev Shestov, Nikolai Berdyaev, Sergius Bulgakov, and Alexei Losev as well as the original project of Russian Cosmism (in the examples of Nikolai Fedorov, Konstantin Tsiolkovsky, and Vladimir Vernadsky). Finally, the book presents the current state of the discussion on this topic by paying attention to the Neopatristic synthesis (Fr. Georges Florovsky and his followers) and offers a brief comparative analysis of the relationship between science and religion from the Western and Russian perspectives.
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Chapitres de livres sur le sujet "Alexey Tolstoy"

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Hingley, Ronald. « Aleksey N. Tolstoy ». Dans Soviet Prose, 103–10. Routledge, 2021. http://dx.doi.org/10.4324/9781003155485-12.

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Hingley, Ronald. « Aleksey N. Tolstoy ». Dans Soviet Prose, 13–28. Routledge, 2021. http://dx.doi.org/10.4324/9781003155485-1.

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Mukherjee, Upamanyu Pablo. « 19 The Road to Calvary (Alexei Tolstoy) ». Dans B-Side Books, 115–16. Columbia University Press, 2021. http://dx.doi.org/10.7312/plot20056-022.

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Walker, Brenda. « Alex Miller and Leo Tolstoy ». Dans The Novels of Alex Miller, 42–54. Routledge, 2020. http://dx.doi.org/10.4324/9781003118138-3.

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Voronina, Olga. « The Philosophy of Sex and Gender in Russia ». Dans The Paideia Archive : Twentieth World Congress of Philosophy, 90–96. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199820373.

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This presentation focuses on the main philosophical approaches toward analyzing the notions of "sex" and "gender" in Russia since the nineteenth century. I analyze the conceptions and ideas which were developed by Aleksey Khomyakov, Nicolai Chernyshevsky, Leo Tolstoy, Fedor Dostoevsky, Vladimir Solovyov and some other philosophers. Then, I discuss the concept of emancipation of women within the framework of Marxist-Leninist theory, which played a role in the state's "women's philosophy" in the Soviet period, and within the existing modern viewpoints. My methodology is based on concepts and guidelines developed in feminist philosophy. One of the goals, as put forward by feminist philosophy, is to discover the gender determinateness of the metatheoretical foundations of science and traditional Western humanitarianism and of philosophy. This problem can be quite successfully solved on the basis of Western philosophic studies. Russian philosophy, however, has not so far become a subject of feminist analysis either in Russia or in the West. Therefore, my research in this field could be considered rather novel.
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