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The buffoon in nineteenth and twentieth century Russian literature: The literary model and its cultural roots.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The buffoon in nineteenth and twentieth century Russian literature: The literary model and its cultural roots./
作者:	Patterson, Galina I.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1998,
面頁冊數:	327 p.
附註:	Source: Dissertations Abstracts International, Volume: 60-03, Section: A.
Contained By:	Dissertations Abstracts International60-03A.
標題:	Slavic literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9826906
ISBN:	9780591936988

The buffoon in nineteenth and twentieth century Russian literature: The literary model and its cultural roots.
Patterson, Galina I.

The buffoon in nineteenth and twentieth century Russian literature: The literary model and its cultural roots. - Ann Arbor : ProQuest Dissertations & Theses, 1998 - 327 p.

Source: Dissertations Abstracts International, Volume: 60-03, Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 1998.

This item must not be sold to any third party vendors.

This dissertation traces the ways in which Gogol', Dostoevskii, Belyi, and Maiakovskii appropriate and reinvent the cultural code of the Russian buffoon. Before exploring the literary buffoon, in my first chapter I research the cultural phenomenon of the actual buffoon in the diachronic dynamics of three centuries--from the late sixteenth until the late nineteenth centuries. My findings reveal that the buffoons of these four authors owe a significant part of their make-up to the real-life court (attached) and balagan (unattached) buffoons. I conclude that the roots and nature of literary buffoonery of the nineteenth and twentieth centuries go back to the type of the buffoon, and buffoonery in general, that the Russian tsars, Ivan the Terrible and especially Peter the Great, established during their reign. The typology of the Russian literary buffoon is based on the same principle of contrastive dual oppositions as is the real-life buffoon: in the first place, that is the opposition of subversive and submissive types, and in the second place, that is the opposition of the demonic buffoon vs. the holy fool. Although in my chapters on Gogol' and Dostoevskii I briefly discuss the scapegoat/submissive buffoon, I focus largely on the subversive type--Nozdrev in Gogol's Dead Souls; Petr Verkhovenskii in Dostoevskii's The Devils; Nikolai Ableukhov and the image of Peter I/Petrushka in Belyi's Petersburg; and Maiakovskii's stylized image as a balagan entertainer in his works and life. I demonstrate that such idiosyncratic characteristics of the buffoons as their subversive propensity, paradoxality, shrewdness, balagan theatricality, an exquisite ability to manipulate their audience, and their liminal stand at the borders of life and art, comic and tragic, ethical and immoral, are major forces driving plot development in the literary works discussed in this dissertation I foreground the balagan nature that unites the buffoons in the four authors and that lends specifically "Russian" parameters for this theatrically impudent character. The term balagan renders more accurately what is traditionally defined as "carnival." I adhere to the semiotic approach of Lotman, Uspenskii, Likhachev, and Panchenko.

ISBN: 9780591936988Subjects--Topical Terms:

2144740
Slavic literature.
Subjects--Index Terms:

Andrey Bely

The buffoon in nineteenth and twentieth century Russian literature: The literary model and its cultural roots.
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520 $a This dissertation traces the ways in which Gogol', Dostoevskii, Belyi, and Maiakovskii appropriate and reinvent the cultural code of the Russian buffoon. Before exploring the literary buffoon, in my first chapter I research the cultural phenomenon of the actual buffoon in the diachronic dynamics of three centuries--from the late sixteenth until the late nineteenth centuries. My findings reveal that the buffoons of these four authors owe a significant part of their make-up to the real-life court (attached) and balagan (unattached) buffoons. I conclude that the roots and nature of literary buffoonery of the nineteenth and twentieth centuries go back to the type of the buffoon, and buffoonery in general, that the Russian tsars, Ivan the Terrible and especially Peter the Great, established during their reign. The typology of the Russian literary buffoon is based on the same principle of contrastive dual oppositions as is the real-life buffoon: in the first place, that is the opposition of subversive and submissive types, and in the second place, that is the opposition of the demonic buffoon vs. the holy fool. Although in my chapters on Gogol' and Dostoevskii I briefly discuss the scapegoat/submissive buffoon, I focus largely on the subversive type--Nozdrev in Gogol's Dead Souls; Petr Verkhovenskii in Dostoevskii's The Devils; Nikolai Ableukhov and the image of Peter I/Petrushka in Belyi's Petersburg; and Maiakovskii's stylized image as a balagan entertainer in his works and life. I demonstrate that such idiosyncratic characteristics of the buffoons as their subversive propensity, paradoxality, shrewdness, balagan theatricality, an exquisite ability to manipulate their audience, and their liminal stand at the borders of life and art, comic and tragic, ethical and immoral, are major forces driving plot development in the literary works discussed in this dissertation I foreground the balagan nature that unites the buffoons in the four authors and that lends specifically "Russian" parameters for this theatrically impudent character. The term balagan renders more accurately what is traditionally defined as "carnival." I adhere to the semiotic approach of Lotman, Uspenskii, Likhachev, and Panchenko.
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