Oblomov (Penguin Classics)

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The novel had considerable success, but the leftist press turned against its author. Saltykov-Shchedrin in Otechestvennye Zapiski ("The Street Philosophy", 1869), compared it unfavorably to Oblomov. While the latter "had been driven by ideas assimilated by its author from the best men of the 1840s", The Precipice featured "a bunch of people wandering to and fro without any sense of direction, their lines of action having neither beginning nor end," according to the critic. [7] Yevgeny Utin in Vestnik Evropy argued that Goncharov, like all writers of his generation, had lost touch with the new Russia. [13] The controversial character Mark Volokhov, as leftist critics saw it, had been concocted to condemn 'nihilism' again, thus making the whole novel 'tendentious'. Yet, as Vladimir Korolenko later wrote, "Volokhov and all things related to him will be forgotten, as Gogol's Correspondence has been forgotten, while Goncharov's huge characters will remain in history, towering over all of those spiteful disputes of old." [6] Later years [ edit ] Goncharov in 1886; photograph by Andrey Denyer However, Elaine Blair argues in "The Short Happy Life of Ilya Ilyich Oblomov" that Oblomov is "not merely lazy." She simply says, "our hero favors very short-term pleasures over long-term ones," "he is self-conscious in a way that no farcical character or Rabelaisian grotesque would be," and "to Oblomov, to be absorbed in any task is to lose something of oneself; a person can maintain his full dignity only in repose." [9] Hell, it was only one play, not a sudden plague of ad-libbing. At one point Spike sang with a trio of actors up the front of the stage, then shook his head, despairing of their efforts, and reached out over the footlights, crying, "Is there a Bing Crosby in the house?"

Short Happy Life of Ilya Ilyich Oblomov | Elaine Blair The Short Happy Life of Ilya Ilyich Oblomov | Elaine Blair

Singleton, Amy C. 1997. No Place Like Home: The Literary Artist and Russia’s Search for Cultural Identity. Albany, NY: State University of New York Press. Miss Joan Greenwood was at the Lyric in a comedy - Oblomov, with Spike Milligan - and went with it to the West End when it was re-titled Son of Oblomov. She left the cast, however, after seven months, announcing that "enough is enough". He went outside his role to the point where his lines bore almost no resemblance to the original script.Harper, Kenneth E. 1983. Under the Influence of Oblomov. In From Los Angeles to Kiev: Papers on the Occasion of the Ninth International Congress of Slavists, Kiev, September 1983, ed. Vladimir Markov and Dean S. Worth, 105–118. Columbus, OH: Slavica Publishers. Barthes, Roland. 2010. Roland Barthes by Roland Barthes. Translated by Richard Howard. New York: Hill and Wang. Mihailovic, Alexandar. 1998. “That Blessed State”: Western and Soviet Views of Infantilism in Oblomov. In Goncharov’s ‘Oblomov’, ed. Galya Diment, 51–67. Evanston, IL: Northwestern University Press. Freeborn, Richard. 2001. The Classic Russian Novel. In The Routledge Companion to Russian Literature, ed. Neil Cornwell, 101–110. London: Routledge. Goncharov was born into the family of a wealthy merchant, elevated as a reward for military service of his grandfather to gentry status. A boarding school, then the Moscow college of commerce, and finally Moscow State University educated him. After graduating, he served for a short time in the office of the governor of Simbirsk before moving to Saint Petersburg, where he worked as government translator and private tutor, while publishing poetry and fiction in private almanacs. People published A Common Story, first novel of Goncharov, in Sovremennik in 1847.

Oblomov – Wikipédia Oblomov – Wikipédia

He is inspired in this short-lived effort by two figures. The first is Stolz, his childhood friend and his antithesis: ambitious, intellectually curious, and hard-working. No reader of Oblomov has ever fallen in love with the virtuous Stolz. Goncharov invests him with great moral authority: Stolz and Oblomov have a running debate about Oblomov’s idleness, and while Oblomov holds his own for a while with some trenchant criticisms of the Petersburg rat race, Stolz forces him to concede that being a shut-in has not led to a fulfilling life. It is Stolz who coins the famous term for Oblomov’s condition, or at least his worst tendencies: Oblomovshchina, which Marian Schwartz, in her fine new translation, has restored to the original Russian (it has been translated in other editions as “oblomovism” or “oblomovitis”). If he didn't like you that was another matter, of course. But in all our time together we never had a single argument. I think it was because I was a listener." Scherr, Barry P. (2011). "Review of Oblomov". The Slavic and East European Journal. 55 (3): 469–471. ISSN 0037-6752. JSTOR 23349222. Agafia Pshenitsina is Oblomov's widowed landlady, who falls in love with him and holds him in high regard as a nobleman. She is also Ivan Matveyevich's sister. At the end of the story, it is revealed to Stoltz that Oblomov and Agafia are married with a son.

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Goncsarov tizenkét éven át írta a regényt – többek között Belinszkij biztatására – miközben sokáig vezető állami hivatalnokként dolgozott. A regény végül 1859-ben jelent meg.

Oblomov : Ivan Goncharov : Free Download, Borrow, and Oblomov : Ivan Goncharov : Free Download, Borrow, and

I think Paul Scofield had begun his great season of Lear, but when we arrived in London in the mid-1960s, the first play we saw was Son of Oblomov, purely because Spike Milligan was in it.

Reviews

Barbara, 60, who grew up in Rottingdean and launched her acting career at the Palace Pier theatre, Brighton, before spending 17 years in the West End, said: "I was young and naive and was in one of the most glossy, fashionable productions. There are novels so good that you pass them on to others to read. There are other novels so good that you want to keep them to yourself, as a kind of secret, like Silas Marner's gold under the floorboards. This is one for the floorboards. Olga is introduced to Oblomov by Stoltz and is included in Stoltz's attempts to reform Oblomov. Olga spends much of her time throughout the novel determined to change Oblomov's ways. She and Oblomov fall in love, and her efforts seem to be successful for a time, as Oblomov reads more novels and attends more social events. The two become engaged, but Oblomov's deep-set fear of moving forward prevent him from taking necessary steps toward actual marriage, and Olga breaks off the engagement. Olga then travels to Paris with her aunt, where she runs into Stoltz. The two fall in love and marry, moving to the Crimea. Ward, Charles Alexander (1989). Moscow and Leningrad: Writers, painters, musicians and their gathering places. K. G. Saur Verlag GmbH. p.89. ISBN 9783598108341 . Retrieved 25 September 2018. Vale Pete, Dud and Spike ... John Clare recalls an England where comic genius roamed and life was one big laugh.

Oblomov by Ivan Goncharov | Goodreads

Cornwell, Neil; Christian, Nicole (1998). Reference Guide to Russian Literature. Taylor & Francis. p.339. ISBN 978-1-884964-10-7. Her heart was thumping with fear and when she spoke her lines to Spike, who lay in bed, he replied "Who are you?" Baratoff, Nathalie. 1990. ‘Oblomov’: A Jungian Approach: A Literary Image of the Mother Complex. New York: Peter Lang. As for Stolz himself, his own line of work remains suspiciously vague. “He owned part of a company that sent goods abroad,” Goncharov writes. “If they needed someone to write a draft or put a new idea into practice, they chose him.” Stolz drags Oblomov “here and there” while he tends “to affairs.” Whatever Stolz does, it seems, must be so tedious that Goncharov can’t bear to describe it. Stolz represents an idea that we instinctively hold dear, but would be hard-pressed to prove: that work and effort are salutary in themselves, even in the absence of a noble goal. He has a descendant in Tolstoy’s Levin in Anna Karenina—after a day now and then spent mowing rye with his peasants, Levin feels vastly superior to his brother, who maintains his genteel repose.

Givens, John. 1998. Wombs, Tombs, and Mother Love: A Freudian Reading of Goncharov’s Oblomov. In Goncharov’s ‘Oblomov’, ed. Galya Diment, 90–109. Evanston, IL: Northwestern University Press. Musí se ale přestěhovat do bytu, který si už pronajal; smlouva se nedá zrušit a na jiný byt nemá peníze. Musí se proto přestat častěji stýkat s Olgou. Ta odjíždí do Paříže, kde naváže vztah se Štolcem. Později se vezmou. U domácí, krásné vdovy Agafie, příbuzné Taranťjeva, ale najde druhou Oblomovku. Znovu může žít v klidu a líně. Postupem času se do Agafie zamiluje, nakonec si ji vezme. Svého syna, kterého s ní má, pojmenuje po Štolcovi Andrej. Když ho ale Štolc navštíví, zděsí se, jak opět upadl do apatie. Když Oblomov po čase zemře, Štolc Andreje adoptuje, aby nedopadl stejně jako Oblomov. Příběh se vyvíjí až v okamžiku, kdy mu Štolc představí svou známou Olgu, mladou a krásnou dívku a talentovanou zpěvačku, do které se Oblomov zamiluje. Ta ho ale donutí být aktivnější, více číst a chodit do společnosti, s pomocí Štolce Oblomov dokonce začne konečně na své vesnici provádět ona plánovaná zlepšení, takže začne opět prosperovat.