Tragedy “Mozart and Salieri”: Conflict Phenomenology and Culturology

The questions linked with originality of the conflict in Pushkin’s tragedy “Mozart and Salieri” are considered. The relevance of the study is due to the extreme complexity and fundamental controversy of Pushkin’s position in the genre search of the era. Special attention is paid to the phenomenologi...

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Autor principal:	P. N. Tolstoguzov
Formato:	article
Lenguaje:	RU
Publicado:	Tsentr nauchnykh i obrazovatelnykh proektov 2018
Materias:	tragic conflict classic hero romantic hero protagonist antagonist raisonneur shakespearization of drama opera-seria and opera-buffa hero-mask Slavic languages. Baltic languages. Albanian languages PG1-9665
Acceso en línea:	https://doaj.org/article/a204e79f9a9b433c8725fa2465e44eb4
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spelling	oai:doaj.org-article:a204e79f9a9b433c8725fa2465e44eb42021-12-02T07:58:05ZTragedy “Mozart and Salieri”: Conflict Phenomenology and Culturology2225-756X2227-129510.24224/2227-1295-2018-9-192-202https://doaj.org/article/a204e79f9a9b433c8725fa2465e44eb42018-09-01T00:00:00Zhttps://www.nauka-dialog.ru/jour/article/view/904https://doaj.org/toc/2225-756Xhttps://doaj.org/toc/2227-1295The questions linked with originality of the conflict in Pushkin’s tragedy “Mozart and Salieri” are considered. The relevance of the study is due to the extreme complexity and fundamental controversy of Pushkin’s position in the genre search of the era. Special attention is paid to the phenomenological and cultural aspects of the conflict. On the part of phenomenology, the conflict is characterized as “inconsistent” and thus achieves extraordinary vitality against the background of the era. It is shown that this is a conflict that is brought into the consciousness of one hero (Salieri) and that constantly changes its characteristics. On the part of culturology, the conflict is characterized by the involvement of mixed features of classical and romantic literature. In addition, it has long been noted that it is complicated by the connection of complex cultural contexts. In particular, two contexts are additionally involved in the analysis in the article: musical-genre disputes of the 18th century and contrasting masks (Heraclitus and Democritus). The author comes to the conclusion that Mozart and Salieri are not antagonists in the spirit of the classical antinomy of characters and beliefs: they are a two-dimensional unity (both being “the sons of harmony”), composed of intuitive genius and deep rationalism, the latter within the boundaries of romantic anthropology most convincingly revealed through “villainy”.P. N. TolstoguzovTsentr nauchnykh i obrazovatelnykh proektovarticletragic conflictclassic heroromantic heroprotagonistantagonistraisonneurshakespearization of dramaopera-seria and opera-buffahero-maskSlavic languages. Baltic languages. Albanian languagesPG1-9665RUНаучный диалог, Vol 0, Iss 9, Pp 192-202 (2018)
institution	DOAJ
collection	DOAJ
language	RU
topic	tragic conflict classic hero romantic hero protagonist antagonist raisonneur shakespearization of drama opera-seria and opera-buffa hero-mask Slavic languages. Baltic languages. Albanian languages PG1-9665
spellingShingle	tragic conflict classic hero romantic hero protagonist antagonist raisonneur shakespearization of drama opera-seria and opera-buffa hero-mask Slavic languages. Baltic languages. Albanian languages PG1-9665 P. N. Tolstoguzov Tragedy “Mozart and Salieri”: Conflict Phenomenology and Culturology
description	The questions linked with originality of the conflict in Pushkin’s tragedy “Mozart and Salieri” are considered. The relevance of the study is due to the extreme complexity and fundamental controversy of Pushkin’s position in the genre search of the era. Special attention is paid to the phenomenological and cultural aspects of the conflict. On the part of phenomenology, the conflict is characterized as “inconsistent” and thus achieves extraordinary vitality against the background of the era. It is shown that this is a conflict that is brought into the consciousness of one hero (Salieri) and that constantly changes its characteristics. On the part of culturology, the conflict is characterized by the involvement of mixed features of classical and romantic literature. In addition, it has long been noted that it is complicated by the connection of complex cultural contexts. In particular, two contexts are additionally involved in the analysis in the article: musical-genre disputes of the 18th century and contrasting masks (Heraclitus and Democritus). The author comes to the conclusion that Mozart and Salieri are not antagonists in the spirit of the classical antinomy of characters and beliefs: they are a two-dimensional unity (both being “the sons of harmony”), composed of intuitive genius and deep rationalism, the latter within the boundaries of romantic anthropology most convincingly revealed through “villainy”.
format	article
author	P. N. Tolstoguzov
author_facet	P. N. Tolstoguzov
author_sort	P. N. Tolstoguzov
title	Tragedy “Mozart and Salieri”: Conflict Phenomenology and Culturology
title_short	Tragedy “Mozart and Salieri”: Conflict Phenomenology and Culturology
title_full	Tragedy “Mozart and Salieri”: Conflict Phenomenology and Culturology
title_fullStr	Tragedy “Mozart and Salieri”: Conflict Phenomenology and Culturology
title_full_unstemmed	Tragedy “Mozart and Salieri”: Conflict Phenomenology and Culturology
title_sort	tragedy “mozart and salieri”: conflict phenomenology and culturology
publisher	Tsentr nauchnykh i obrazovatelnykh proektov
publishDate	2018
url	https://doaj.org/article/a204e79f9a9b433c8725fa2465e44eb4
work_keys_str_mv	AT pntolstoguzov tragedymozartandsaliericonflictphenomenologyandculturology
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Tragedy “Mozart and Salieri”: Conflict Phenomenology and Culturology

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