Oblomov (Penguin Classics)

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In 1849 Sovremennik published Oblomov's Dream, an extract from Goncharov's future second novel Oblomov, (known under the working title The Artist at the time), which worked well on its own as a short story. Again it was lauded by the Sovremennik staff. Slavophiles, while giving the author credit for being a fine stylist, reviled the irony aimed at patriarchal Russian ways. [9] The novel itself, though, appeared only ten years later, preceded by some extraordinary events in Goncharov's life. [7] 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. Az Oblomov (oroszul: Обломов) Ivan Alekszandrovics Goncsarov orosz író regénye, az orosz irodalom egyik kulcsműve, a felesleges ember típusának egyik csúcsteljesítményű megfogalmazása. A moderate conservative [12] at heart, Goncharov greeted the Emancipation reform of 1861, embraced the well-publicized notion of the government's readiness to "be at the helm of [social] progress", and found himself in opposition to the revolutionary democrats. In the summer of 1862 he became an editor of Severnaya Potchta (The Northern Post), an official newspaper of the Interior Ministry, and a year later returned to the censorship committee. [6]

Oblomov by Ivan Aleksandrovich Goncharov | Project Gutenberg Oblomov by Ivan Aleksandrovich Goncharov | Project Gutenberg

Poggioli, Renato. 1957. On Goncharov and His Oblomov. In The Phoenix and the Spider: A Book of Essays about Some Russian Writers and their Views of the Self, 33–48. Cambridge, MA: Harvard University Press. Chekhov, Anton. 2004. Anton Chekhov: A Life in Letters. Edited by Rosamund Bartlett and translated by Rosamund Bartlett and Anthony Phillips. London: Penguin. 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?" Wigzell, Faith. 1990. Dream and Fantasy in Goncharov’s Oblomov. In From Pushkin to ‘Palisandriia’: Essays on the Russian Novel in Honor of Richard Freeborn, ed. Arnold McMillin, 96–111. New York: Palgrave Macmillan. Perhaps the most Milliganesque of his theatrical performances was in an adaptation of Ivan Goncharovs Oblomov.Maguire, Robert A. “The City.” In The Cambridge Companion to the Classic Russian Novel, edited by Malcolm V. Jones and Robin Feuer Miller. New York: Cambridge University Press, 1998.

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That was typical of Spike, he was a compassionate man who loathed conventions. He cut through every piece of red tape with his razor mind." Looking ahead at a lifetime without naps, Oblomov balks. He finds many excuses to avoid going to visit Olga in town, which is conveniently separated from the Vyborg side by a body of water and bridges that close in bad weather. It is finally left to Olga, younger but far more perceptive and practical, to confront him and call off their plans: “You fall into a deeper and deeper sleep with every passing day,” she tells him, while she herself “will never grow old and never tire of life.” Oblomov regretfully admits this is true. They agree to part ways (she later marries Stolz). The reader is relieved that the awkward pretense of Oblomov’s possible conversion has been dropped. Goncharov may not be writing against novelistic convention, but he has created a character who resists being novelized: Oblomov is always the same, no matter what transformative situations Goncharov has in store for him.On the day he died, aged 83 at his home in Rye, she got a call from her husband Rupert Webb to tell her the news.

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a b c d e f Diment, Galya (1998). Goncharov's Oblomov: A Critical Companion. Northwestern University Press. It played to sell out-audiences for three years and only finished because Spike announced he had had enough, from his bed of course. Throughout the 1850s Goncharov worked on his second novel, but the process was slow for many reasons. In 1855 he accepted the post of censor in the Saint Petersburg censorship committee. In this capacity, he helped publish important works by Ivan Turgenev, Nikolay Nekrasov, Aleksey Pisemsky, and Fyodor Dostoyevsky, a fact that brought resentment from some of his bosses. According to Pisemsky, Goncharov was officially reprimanded for permitting his novel A Thousand Souls to be published. Despite all this, Goncharov became the target of many satires and received a negative mention in Herzen's Kolokol. "One of the best Russian authors shouldn't have taken this sort of job upon himself," critic Aleksander Druzhinin wrote in his diary. [6] In 1856, as the official publishing policy hardened, Goncharov quit. [7]

In this second term Goncharov proved to be a harsh censor: he created serious problems for Nekrasov's Sovremennik and Russkoye Slovo, where Dmitry Pisarev was now a leading figure. Openly condemning ' nihilistic' tendencies and what he called "pathetic, imported doctrines of materialism, socialism, and communism", Goncharov found himself the target of heavy criticism. [6] In 1863 he became a member of the State Publishing Council and two years later joined the Russian government's Department of Publishing. All the while he was working on his third novel, The Precipice, which came out in extracts: Sophia Nikolayevna Belovodova (a piece he himself was later skeptical about), Grandmother and Portrait. [7] sám, pouze se svým sluhou Zacharem, který ho sice nesmírně ctí a váží si ho, ale je k němu drzý a okrádá ho, a jeho manželkou, která u něj pracuje jako kuchařka. Jeho zděděná vesnice Oblomovka nevydělává tak, jak by potřeboval, nadto se musí přestěhovat do nového bytu. S výjimkou svého přítele Štolce, jeho pravého opaku, úspěšného a aktivního muže, se stýká jen s podvodníky a příživníky, jako je například Taranťjev. S Taranťjevem domluví Oblomov pronájem drahého bytu u jeho příbuzného v odlehlé části Petrohradu a také správu jeho vesnice jiným jeho přítelem, také podvodníkem. Oblomov vzpomíná na své krásné, poklidné dětství v Oblomovce, a touží po tom se do tohoto klidu navrátit. In 1989 BBC TV made an English language dramatisation of the novel, with George Wendt in the title role. In this version, Oblomov was a lazy modern-day Communist Party boss. This romantic novel was considered a satire of Russian nobility whose social and economic function was increasingly in question in mid-nineteenth century Russia, and from it the word "Oblomovstchina" entered the Russian vocabulary. (Summary by Wikipedia and Kevin Davidson)