Changing Places and Destinies (Émile Zola, Alexander Pushkin, and Fyodor Dostoevsky in British Cinema)

The paper analyses the category “place of action” as a structural element in a work of art. The place of action, that is the spacial localisation of the events described or otherwise presented in a work of art, is usually considered part of the setting, that is the whole milieu where the action take...

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Autor principal:	Ludmila L. Saraskina
Formato:	article
Lenguaje:	EN RU
Publicado:	Russian Academy of Sciences. A.M. Gorky Institute of World Literature 2018
Materias:	place of action setting screen version contemporising interpretation gains losses Slavic languages. Baltic languages. Albanian languages PG1-9665
Acceso en línea:	https://doaj.org/article/d4e48964c3c54dd4870c804e06fe7137
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spelling	oai:doaj.org-article:d4e48964c3c54dd4870c804e06fe71372021-12-02T19:51:16ZChanging Places and Destinies (Émile Zola, Alexander Pushkin, and Fyodor Dostoevsky in British Cinema)10.22455/2619-0311-2018-1-236-2562619-03112712-8512https://doaj.org/article/d4e48964c3c54dd4870c804e06fe71372018-06-01T00:00:00Zhttp://dostmirkult.ru/images/DOCT_2018-1a-236-256.pdfhttps://doaj.org/toc/2619-0311https://doaj.org/toc/2712-8512The paper analyses the category “place of action” as a structural element in a work of art. The place of action, that is the spacial localisation of the events described or otherwise presented in a work of art, is usually considered part of the setting, that is the whole milieu where the action takes place. For epic genres, the place of action is not only the necessary background of the unfolding events, but also a constituent part of the characters. The history of screen versions of literary works shows that the place of action may be as mutable and fluid as the time of action. The cinema which deals with screen versions is very often obsessed with what A. Pushkin in “Eugene Onegin” called “a desire for changing places”. Gains and losses in each particular case require a detailed analysis, but, in a preliminary way, we may say that when the problems raised by a particular literary work transcend the limits of the localities where the action takes place, the significance of the setting deminishes. In this paper, the problem of “place (and time) of action” is considered through analysing three recent British screen versions of the three literary works: Émile Zola’s novel “Au Bonheur des Dames” (“The Ladies’ Delight”, 1883), Alexander Pushkin’s novel “Eugene Onegin” (1823–1831), and Fyodor Dostoevsky’s short novel “The Double” (1846). To appraise adequately these screen versions, we have to understand what has been gained and what has been lost in the interpretations of the original literary texts after their contemporising and changing the places of their action.Ludmila L. SaraskinaRussian Academy of Sciences. A.M. Gorky Institute of World Literaturearticleplace of actionsettingscreen versioncontemporisinginterpretationgainslossesSlavic languages. Baltic languages. Albanian languagesPG1-9665ENRUДостоевский и мировая культура: Филологический журнал, Iss 1, Pp 236-256 (2018)
institution	DOAJ
collection	DOAJ
language	EN RU
topic	place of action setting screen version contemporising interpretation gains losses Slavic languages. Baltic languages. Albanian languages PG1-9665
spellingShingle	place of action setting screen version contemporising interpretation gains losses Slavic languages. Baltic languages. Albanian languages PG1-9665 Ludmila L. Saraskina Changing Places and Destinies (Émile Zola, Alexander Pushkin, and Fyodor Dostoevsky in British Cinema)
description	The paper analyses the category “place of action” as a structural element in a work of art. The place of action, that is the spacial localisation of the events described or otherwise presented in a work of art, is usually considered part of the setting, that is the whole milieu where the action takes place. For epic genres, the place of action is not only the necessary background of the unfolding events, but also a constituent part of the characters. The history of screen versions of literary works shows that the place of action may be as mutable and fluid as the time of action. The cinema which deals with screen versions is very often obsessed with what A. Pushkin in “Eugene Onegin” called “a desire for changing places”. Gains and losses in each particular case require a detailed analysis, but, in a preliminary way, we may say that when the problems raised by a particular literary work transcend the limits of the localities where the action takes place, the significance of the setting deminishes. In this paper, the problem of “place (and time) of action” is considered through analysing three recent British screen versions of the three literary works: Émile Zola’s novel “Au Bonheur des Dames” (“The Ladies’ Delight”, 1883), Alexander Pushkin’s novel “Eugene Onegin” (1823–1831), and Fyodor Dostoevsky’s short novel “The Double” (1846). To appraise adequately these screen versions, we have to understand what has been gained and what has been lost in the interpretations of the original literary texts after their contemporising and changing the places of their action.
format	article
author	Ludmila L. Saraskina
author_facet	Ludmila L. Saraskina
author_sort	Ludmila L. Saraskina
title	Changing Places and Destinies (Émile Zola, Alexander Pushkin, and Fyodor Dostoevsky in British Cinema)
title_short	Changing Places and Destinies (Émile Zola, Alexander Pushkin, and Fyodor Dostoevsky in British Cinema)
title_full	Changing Places and Destinies (Émile Zola, Alexander Pushkin, and Fyodor Dostoevsky in British Cinema)
title_fullStr	Changing Places and Destinies (Émile Zola, Alexander Pushkin, and Fyodor Dostoevsky in British Cinema)
title_full_unstemmed	Changing Places and Destinies (Émile Zola, Alexander Pushkin, and Fyodor Dostoevsky in British Cinema)
title_sort	changing places and destinies (émile zola, alexander pushkin, and fyodor dostoevsky in british cinema)
publisher	Russian Academy of Sciences. A.M. Gorky Institute of World Literature
publishDate	2018
url	https://doaj.org/article/d4e48964c3c54dd4870c804e06fe7137
work_keys_str_mv	AT ludmilalsaraskina changingplacesanddestiniesemilezolaalexanderpushkinandfyodordostoevskyinbritishcinema
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Changing Places and Destinies (Émile Zola, Alexander Pushkin, and Fyodor Dostoevsky in British Cinema)

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