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oapen-20.500.12657-749772023-08-03T17:59:43Z Chapter «И скрипка, и контрабас»: фигура парадокса и поэтика недоумения в художественном мышлении Пиранделло и Достоевского CHICHKINE, Andrei Farafonova, Dar'ja Dostoevsky Pirandello humorism reflection paradox bic Book Industry Communication::D Literature & literary studies “Both violin and contrabass”: The Figure of Paradox and the Poetics of Bewilderment in the Artistic Thinking of Pirandello and Dostoevsky. Pirandello and Dostoevsky are deeply linked at thematic, ideological and textual levels. In 1908, Pirandello published the treatise Humorism, in which he elaborated an original theory of humor and substantiated a worldview that is quite close to the type of artistic consciousness inherent in Dostoevsky’s work, and is genetically related to it. The poetics of paradox, in which every mental and sensual experience is tested by its “opposite”, encourages the reader to “hang” between two seemingly mutually exclusive principles while opening up the possibility of a new, more complex understanding of reality and of the Other. This article presents aspects of Pirandello’s theory of humor in a new light, revealing their potential for application to the analysis of Dostoevsky’s work. 2023-08-03T15:09:42Z 2023-08-03T15:09:42Z 2023 chapter ONIX_20230803_9791221501223_173 2612-7679 9791221501223 https://library.oapen.org/handle/20.500.12657/74977 rus Biblioteca di Studi Slavistici application/pdf Attribution 4.0 International 9791221501223-15.pdf https://books.fupress.com/doi/capitoli/979-12-215-0122-3_15 Firenze University Press Ф.М. Достоевский: Юмор, парадоксальность, демонтаж 10.36253/979-12-215-0122-3.15 “Both violin and contrabass”: The Figure of Paradox and the Poetics of Bewilderment in the Artistic Thinking of Pirandello and Dostoevsky. Pirandello and Dostoevsky are deeply linked at thematic, ideological and textual levels. In 1908, Pirandello published the treatise Humorism, in which he elaborated an original theory of humor and substantiated a worldview that is quite close to the type of artistic consciousness inherent in Dostoevsky’s work, and is genetically related to it. The poetics of paradox, in which every mental and sensual experience is tested by its “opposite”, encourages the reader to “hang” between two seemingly mutually exclusive principles while opening up the possibility of a new, more complex understanding of reality and of the Other. This article presents aspects of Pirandello’s theory of humor in a new light, revealing their potential for application to the analysis of Dostoevsky’s work. 10.36253/979-12-215-0122-3.15 bf65d21a-78e5-4ba2-983a-dbfa90962870 Ф.М. Достоевский: Юмор, парадоксальность, демонтаж bf5768b0-3a15-46c5-b309-49f31339b93d 9791221501223 52 18 Florence open access
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“Both violin and contrabass”: The Figure of Paradox and the Poetics of Bewilderment in the Artistic Thinking of Pirandello and Dostoevsky. Pirandello and Dostoevsky are deeply linked at thematic, ideological and textual levels. In 1908, Pirandello published the treatise Humorism, in which he elaborated an original theory of humor and substantiated a worldview that is quite close to the type of artistic consciousness inherent in Dostoevsky’s work, and is genetically related to it. The poetics of paradox, in which every mental and sensual experience is tested by its “opposite”, encourages the reader to “hang” between two seemingly mutually exclusive principles while opening up the possibility of a new, more complex understanding of reality and of the Other. This article presents aspects of Pirandello’s theory of humor in a new light, revealing their potential for application to the analysis of Dostoevsky’s work.
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