By Lewis Bagby
Dostoevsky hooked up introductions to his such a lot hard narratives, together with Notes from the home of the Dead, Notes from Underground, The Devils, The Brothers Karamazov, and “A mild Creature.” regardless of his smart makes an attempt to name his readers’ consciousness to those introductions, they've been ignored as an item of research for over one hundred fifty years. That oversight is rectified in First Words, the 1st systematic learn of Dostoevsky’s introductions. utilizing Genette’s typology of prefaces and Bakhtin’s thought of a number of voices, Lewis Bagby unearths simply how very important Dostoevsky’s first phrases are to his fiction. Dostoevsky’s ruses, verbal winks, and backward glances point out a full of life and resourceful writer at earnest play within the box of literary discourse.
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Extra resources for First Words: On Dostoevsky’s Introductions
Lermontov had a choice to publish his late authorial introduction or to refrain from doing so. He didn’t restrain himself. It’s a fool’s game, as he knows, for it is not up to him alone to decide whether he is a moralist or not. A Hero of Our Time puts the decision into others’ hands, and he resents it. As a result, his preface becomes a house divided against itself. Lermontov’s example suggests yet again that prefaces, whether in the hands of epigones or masters, not only perform diverse services— genre identification, self-justification, defense against anticipated criticism—but also form a shaky ground on which to stand, even for the wary.
Bulgarin focuses on the mediators of the public’s literary tastes and attempts to bypass them through appeals to higher authorities who might fix the value of his work in accord with his desires. Lermontov rails at the whole circumstance of miscommunication via literary activity and rejects any CHAPTER 1 Model Prefaces from Russian Literature INTRODUCTION CHAPTER 1 10 FIRST WORDS On Dostoevsky’s Introductions endeavor to pigeonhole him and his novel. But he unintentionally cuts himself as he thrusts at his detractors.
As we have seen in our treatment of authentic authorial prefaces, Mikhail Lermontov’s pugnacious relations with readers led him to expose himself more than he might have wished. He might better have chosen to follow Pushkin’s example of narrative layers in The Belkin Tales’s first words. And, if not A. ”52 In Hero of Our Time, 49 Pushkin, Prose Fiction, 63–64; 46. We are given their initials along with their station in life only. 51 Peschio, Poetics of Impudence, 94–124. 52 Lermontov, Hero, 63–64; 228–229.
First Words: On Dostoevsky’s Introductions by Lewis Bagby