Download Abolishing Death: A Salvation Myth of Russian by Irene Masing-Delic PDF

By Irene Masing-Delic

The belief of abolishing loss of life used to be some of the most influential myth-making thoughts expressed in Russian literature from 1900 to 1930, specially within the works of writers who attributed a "life-modeling" functionality to paintings. To them, paintings used to be to create a existence so aesthetically prepared and excellent that immortality will be an inevitable end result. this concept was once reflected within the considered a few who believed that the political revolution of 1917 might result in a revolution in simple existential evidence: particularly, the idea that communism and the accompanying boost of technological know-how might finally have the capacity to bestow actual immortality and to resurrect the useless. in accordance with one variation, for instance, the useless have been to be resurrected through extrapolation from the strains in their hard work left within the fabric global. the writer reveals the seeds of this impressive notion within the erosion of conventional faith in late-nineteenth-century Russia. encouraged by means of the recent strength of medical inquiry, humankind appropriated numerous divine attributes one by one, together with omnipotence and omniscience, yet finally even aiming towards the belief of person, actual immortality, and hence intending to equality with God. Writers as assorted because the "decadent" Fyodor Sologub, the "political" Maxim Gorky, and the "gothic" Nikolai Ognyov created works for making mortals into gods, remodeling the uncooked fabrics of present fact into legend. The e-book first outlines the ideological context of the immortalization venture, particularly the impression of the philosophers Fyodorov and Solovyov. the rest of the publication comprises shut readings of texts by way of Sologub, Gorky, Blok, Ognyov, and Zabolotsky. Taken jointly, the works yield the "salvation application" that tells humans how one can abolish loss of life and dwell perpetually in an everlasting, self-created cosmos―gods of a legend that was once made attainable via artistic artists, resourceful scientists, and encouraged employees.

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Die Bedeutung der Grotten wird hervorgehoben, gleichzeitig jedoch von der Syntax her heruntergespielt. Doch dieses Herunterspielen dient ebenfalls dazu, die Grotten aufzuwerten. Dadurch wird die mehrdeutige Funktion der Grotten im Verlauf der Geschichte vorweggenommen. *** Verlassen wir nun die erzählende Prosa und wenden uns dem Drama zu. Die erste Szene in Macbeth lautet wie folgt: 1 witch. When shall we three meet again? In thunder, lightning, or in rain? 2 witch. When the hurly-burly’s done, When the battle’s lost and won.

Einer der bemerkenswerten Aspekte dieser Zeilen ist die Art und Weise, mit der sie uns dazu veranlassen, einen Baum mit all seinen Zweigen, Blättern und Ästen als sichtbares Abbild der unsichtbaren Wurzeln der Sprache zu sehen. Ganz so, als würden die Prozesse, die unserer Sprache zugrunde liegen, geröntgt, materialisiert und in visuelle Begriffe projiziert. Ein berühmteres Gedicht von Larkin, »The Whitsun Weddings« (»Pfingsthochzeiten«), beginnt wie folgt: That Whitsun, I was late getting away: Not till about One-twenty on the sunlit Saturday Did my three-quarters-empty train pull out … Heuer zu Pfingsten kam ich erst spät weg: Es war schon fast halb zwei an diesem sonnigen Samstag, als mein dreiviertel leerer Zug die Station verließ … Die erste Zeile, ein fünfhebiger Jambus, ist absichtlich flach, beiläufig und umgangssprachlich gehalten.

Der Ausdruck »Am Anfang« bezieht sich natürlich auf den Anfang der Welt. Von der Grammatik her wäre es zudem möglich, darin Gottes eigenen Anfang zu sehen, in der Bedeutung, dass die Erschaffung der Welt das Allererste war, was er überhaupt unternommen hat. Die Schöpfung war der erste Punkt auf der göttlichen Tagesordnung, ehe Gott sich daran machte, das schreckliche Wetter für die Engländer herbeizuführen, und es – in einem verheerenden Augenblick der Unaufmerksamkeit – zuließ, dass Michael Jackson Gestalt annahm.

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