Slobodanka Millicent Vladiv-Glover | Monash University (original) (raw)
Books by Slobodanka Millicent Vladiv-Glover
Festschrift for Arpad Kovacz. Ed. Geza Horvath et al., Veszprem: Panon UP, 2014, pp. 25-37. , 2014
The study makes a theoretical case for the use of literary texts as the most effective means of a... more The study makes a theoretical case for the use of literary texts as the most effective means of acquiring concepts as opposed to words and grammatical rules in the foreign language (FL). This claim is based on the psychological reality of language as expounded in Vygotsky's theory of cognitive development, with particular focus on "inner speech" as a structure of thought. The paper claims that this structure of thought is simulated by the dialogic literary text (in Bakhtin's sense) as a structure of meaning. Vygotksy's experiments with mnemotechnical memory are taken as an analogy for the use of the literary text as a mnemotechnical device which does not lead to simple remembering of words but to the construction of sense in the FL, through the mediation of the text as a sign. Learning the FL through reading dialogic literary texts allows the learner to develop thinking in the FL. This is made possible because both thought and the dialogic literary text are structures which operate through the process of substitution characterising the higher cognitive skills.
Journal of Ukrainian Studies, vol. 20, nos. 1-2 (Summer-Winter 1995): 79-87., 1995
My point of departure for an analysis of Andrukhovych's novella as a product of the Ukrainian n... more My point of departure for an analysis of Andrukhovych's novella as a product of the Ukrainian new avant-garde of the 1990s will be a model of Postmodern discourse, extrapolated from cognate literary creations outside the orbit of Ukrainian culture as well as from contemporary Western critical theory.
Yuri Andrukhovych dedicates his novella Creations to two of his contemporaries, Oleksandr Irvanets and Viktor Neborak, who, like Andrukhovych, are memebrs of the Bu-ba-bu (burlesque, balagan, buffonade) group. This group is thus generationally (the date of birth of the members is around 1960) and stylistically marked as both 'post-perestroika' and 'post-Soviet'. A similar grouping of artists exists in post-Soviet Russia and is also characterised by its adherence to a style of artistic production which could be summed up under the term 'the post-avant-garde'. However, there is no generational homogeneity in the Russian group, which thus approximates more closely the heterogeneous mix of styles and generations which characterize Western (French, German and Anglo-American) Postmodernism.
As is the case with his non-Ukrainian postmodern contemporaries, Andrukhovych's stylistically innovative and challenging prose piece represents an attempt to 're-present' (present as a representation and present anew) and to reevaluate the past through the present.
Film i knizevnsot: zbornik radova., 2020
The cinematic works of two popular contemporary directors-Luc Besson and Quentin Tarantino-are ta... more The cinematic works of two popular contemporary directors-Luc Besson and Quentin Tarantino-are taken as case studies of popular culture, which are illuminated through the aesthetic and ethical criteria of Tolstoy's model of good and bad art, supported by Bakhtin's semiotic model of the monologic and dialogic text. The results of the analysis show that the popular culture texts of the two directors are endowed, above all, with interestingness and 'poeticality'; they are also imitative (they recycle existing images and artistic devices) and they do not reflect the "religious consciousness of the age", defined in terms of the "highest values of brotherhood" and "equality", envisage by Tolstoy. They therefore do not pass Tolstoy's test of good art. They have an entertainment value, which is escapist, just like the 'bourgeois art' of the 19 th century deplored by Tolstoy. Their 'infectiousness' is pure seduction (grounded in what Tolstoy termed 'voluptuous art') and does not unite the sender and the recipient of the work of art in an act of creating meaning that would reflect the highest values of their age. This is because these work are not embedded structures; they are, in Bakhtin's terms, monologic texts, which lack a unifying point of view on the highest hierarchical level of the Abstract/Implied Author, on which interpretation (as transference) can take place. KEY WORDS interestingness, kitsch, Tolstoy's art of the future, brotherhood of all men, mass culture , Bakhtin's dialogic and monologic texts
The Dostoevsky Journal: A Comparative Literature Review, 2021
A Comparative Literature Review The Dostoevsky Journal: A Comparative Literature Review is an int... more A Comparative Literature Review The Dostoevsky Journal: A Comparative Literature Review is an international interdisciplinary journal dedicated to research on the life and works of F M Dostoevsky in the context of the European literary and philosophical canon. Archival research and translations of unpublished documents relating to Dostoevsky's literary or publicist opus are also welcome contributions. Further explorations in the following areas are encouraged: • Dostoevsky's anthropology • The history of genres • Dostoevsky's debt to Pushkin and other Russian writers • "Soil" and the "Russian idea" • Freud or the unconscious in Dostoevsky's opus • Structure of or temporality in Dostoevsky's novels • Dostoevsky and Nietzsche, Hegel, Kant • Dostoevsky and Russian religious thinkers The journal uses double-blind peer review by at least two external readers.
Cossack in Jamaica, Ukraine and the Antipodes: Essay in Honor of Marko Pavlyshyn, 2020
In this essay, I read Kleist's essay "On the Marionette Theatre" (1810) as a manifesto of a new a... more In this essay, I read Kleist's essay "On the Marionette Theatre" (1810) as a manifesto of a new aesthetics, grounded in a non-Euclidean conception of human subjectivity, issue from an unconscious that is both unrepresentable and the source of all representation. I read Kleist's lyrical drama through this aesthetic text as well as through two theoretical concepts which are historically different but in my view related: Kant's "sublime" and Lacan's "real". What emerges from the readings of these diverse theoretical texts/concepts is a dialectic of the sublime, the paradox and the non-Euclidean subject of the unconscious, which are demonstrated through a structural analysis of the play to be elements of Kleist's innovative poetics.
Serbian Studies Vol. 31, 2020
Vesna Kapor. По сећању се хода као по месечини (Walking in the Moonlight of Remembrance). Belgrad... more Vesna Kapor. По сећању се хода као по месечини (Walking in the Moonlight of Remembrance). Belgrade: Agora, 2014. 113 pages. ISBN 978-86-6053-116-4.Two Stories from the Collection Walking in the Moonlight of Remembrance: “Snow” and “Ants”
Lang, 2019
Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy offers a radical redefinition of Realism ... more Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy offers a radical redefinition of Realism as a historical phenomenon, grounded in the lit- erary manifestoes of the 1840s in three national literary canons (English, French and Russian) which issue a call to writers to record the manners and mores of their societies for posterity and thus to become “local historians.” The sketch of manners becomes the instituting genre of Realism but is transformed in the major novels of the Realists into history as genealogy and into a phenomenology of modern subjectivity. Dickens, Flaubert and Tolstoy are brought into relation with Dostoevsky via a shared poetics as well as through a deconstructive and/or psychoanalytic analysis of their respective novels, which are interpreted in the context of various doc- trines of Beauty, including Dostoevsky’s own artistic credo of 1860. In this broad context of European aesthetics and the European literary canon, Dostoevsky’s own view of history is illuminated in a new perspective, in which his concept of the “soil” is stripped of its conservative mask behind which emerges a (post-exile) Dostoevsky with socialist, pan-European views. The portrait of Dostoevsky which thus emerges from the present study is that of a European writer with a radically modern aesthetics and with a progressivist political orientation which is in consonance with his pre-exile affiliation with utopian socialism.
Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy., 2019
Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy offers a radical redefinition of Realism ... more Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy offers a radical redefinition of Realism as a historical phenomenon, grounded in the literary manifestoes of the 1840s in three national literary canons (English, French and Russian) which issue a call to writers to record the manners and mores of their societies for posterity and thus to become “local historians.” The sketch of manners becomes the instituting genre of Realism but is transformed in the major novels of the Realists into history as genealogy and into a phenomenology of modern subjectivity. Dickens, Flaubert and Tolstoy are brought into relation with Dostoevsky via a shared poetics as well as through a deconstructive and/or psychoanalytic analysis of their respective novels, which are interpreted in the context of various doctrines of Beauty, including Dostoevsky’s own artistic credo of 1860. In this broad context of European aesthetics and the European literary canon, Dostoevsky’s own view of history is illuminated in a new perspective, in which his concept of the “soil” is stripped of its conservative mask behind which emerges a (post-exile) Dostoevsky with socialist, pan-European views. The portrait of Dostoevsky which thus emerges from the present study is that of a European writer with a radically modern aesthetics and with a progressivist political orientation which is in consonance with his pre-exile affiliation with utopian socialism. Published by Lang, NY.
Literary texts of the 20th century are not about the world " as it is. " They do not " mirror " a... more Literary texts of the 20th century are not about the world " as it is. " They do not " mirror " an assumed " reality. " They are, like the " new art " or " new drama " in the words of Konstantin Treplev, the young playwright in Chekhov's Seagull, embod-iments of " dreams. " This is nowhere better illustrated than in Virginia Woolf's To the Lighthouse. To the Lighthouse is constructed by or as a giant gaze or by/as myriads of gazes which are embedded in each other, in endless perspectival repetition—en abîme. There is no " central " narrative perspective, no narrator to guide the reader through the maze of imagined scenes, emotions, inner monologues and pictures evoked before him or her. The text is like a giant weave, which generates itself, self-propagates, is fecund—like Mrs Ramsay. This self-propagation of the text is contrasted with the labors of the artist, Lily Briscoe. She finds it difficult to extract meaning from her material—color and paint— and labors to fashion her thought into form. She succeeds only at the end of the novel, in Part 3, simultaneously with another story-line which is being accomplished: the oedipal rite of passage of James Ramsay, now 16 years of age. By contrast with Gayatri Spivak's feminist reading of Woolf's novel, this essay presents a view of the novel as a model of meaning and the creative process, in which all the characters—male and female—have a metaphoric dimension, even if they are constructed out of fragmentary and allusive socio-historical material. Jacques Lacan, whose revision of Freud's concept of the Unconscious has taken psychoanalysis into the domain of structuralism and linguistics, operates with the concept of the Other to redefine the Self as a subject of language. The psychoanalytic Other is an abstract locus which overlaps with the Freudian concepts of the " other scene " and the " id. " Both the Other and Freud's ein anderer Schauplatz 1 are atemporal and nonspatial substitutions for the " unrep-1 Lacan, who reappropriated Freud's term, explains: " Freud named the locus of the unconscious by a term that had struck him in Fechner (who, incidentally, is an exper-imentalist, and not the realist that our literary reference books suggest), namely, ein
This is a reading of three major writers of the European canon - Dostoevsky, Flaubert and Tolsto... more This is a reading of three major writers of the European canon - Dostoevsky, Flaubert and Tolstoy - whose poetics shares a common phenomenological grounding: it is a poetics of 'the gaze' (le regard), which organizes all aspects of the structure of representation in their works. These three writers create the foundations of the aesthetic paradigm of European Modernism. While the starting point for a poetics of Realism is in the manifestos of the 1840s (Les français peints par eux-mêmes, Наши списанные с натуры русскими and Heads of the People or the Portraits of the English), the three writers examined give portraits of their age while transcending mere sociology to rise to a self-reflexive metaphysics of representation.
Reviewed in: Slavic Review, Fall/Winter 2013: 911-912
Papers by Slobodanka Millicent Vladiv-Glover
Вестник Башкирского университета, 2014
Transcultural studies, 2013
The Dostoevsky Journal, 2000
The Dostoevsky Journal, Dec 22, 2022
Festschrift for Arpad Kovacz. Ed. Geza Horvath et al., Veszprem: Panon UP, 2014, pp. 25-37. , 2014
The study makes a theoretical case for the use of literary texts as the most effective means of a... more The study makes a theoretical case for the use of literary texts as the most effective means of acquiring concepts as opposed to words and grammatical rules in the foreign language (FL). This claim is based on the psychological reality of language as expounded in Vygotsky's theory of cognitive development, with particular focus on "inner speech" as a structure of thought. The paper claims that this structure of thought is simulated by the dialogic literary text (in Bakhtin's sense) as a structure of meaning. Vygotksy's experiments with mnemotechnical memory are taken as an analogy for the use of the literary text as a mnemotechnical device which does not lead to simple remembering of words but to the construction of sense in the FL, through the mediation of the text as a sign. Learning the FL through reading dialogic literary texts allows the learner to develop thinking in the FL. This is made possible because both thought and the dialogic literary text are structures which operate through the process of substitution characterising the higher cognitive skills.
Journal of Ukrainian Studies, vol. 20, nos. 1-2 (Summer-Winter 1995): 79-87., 1995
My point of departure for an analysis of Andrukhovych's novella as a product of the Ukrainian n... more My point of departure for an analysis of Andrukhovych's novella as a product of the Ukrainian new avant-garde of the 1990s will be a model of Postmodern discourse, extrapolated from cognate literary creations outside the orbit of Ukrainian culture as well as from contemporary Western critical theory.
Yuri Andrukhovych dedicates his novella Creations to two of his contemporaries, Oleksandr Irvanets and Viktor Neborak, who, like Andrukhovych, are memebrs of the Bu-ba-bu (burlesque, balagan, buffonade) group. This group is thus generationally (the date of birth of the members is around 1960) and stylistically marked as both 'post-perestroika' and 'post-Soviet'. A similar grouping of artists exists in post-Soviet Russia and is also characterised by its adherence to a style of artistic production which could be summed up under the term 'the post-avant-garde'. However, there is no generational homogeneity in the Russian group, which thus approximates more closely the heterogeneous mix of styles and generations which characterize Western (French, German and Anglo-American) Postmodernism.
As is the case with his non-Ukrainian postmodern contemporaries, Andrukhovych's stylistically innovative and challenging prose piece represents an attempt to 're-present' (present as a representation and present anew) and to reevaluate the past through the present.
Film i knizevnsot: zbornik radova., 2020
The cinematic works of two popular contemporary directors-Luc Besson and Quentin Tarantino-are ta... more The cinematic works of two popular contemporary directors-Luc Besson and Quentin Tarantino-are taken as case studies of popular culture, which are illuminated through the aesthetic and ethical criteria of Tolstoy's model of good and bad art, supported by Bakhtin's semiotic model of the monologic and dialogic text. The results of the analysis show that the popular culture texts of the two directors are endowed, above all, with interestingness and 'poeticality'; they are also imitative (they recycle existing images and artistic devices) and they do not reflect the "religious consciousness of the age", defined in terms of the "highest values of brotherhood" and "equality", envisage by Tolstoy. They therefore do not pass Tolstoy's test of good art. They have an entertainment value, which is escapist, just like the 'bourgeois art' of the 19 th century deplored by Tolstoy. Their 'infectiousness' is pure seduction (grounded in what Tolstoy termed 'voluptuous art') and does not unite the sender and the recipient of the work of art in an act of creating meaning that would reflect the highest values of their age. This is because these work are not embedded structures; they are, in Bakhtin's terms, monologic texts, which lack a unifying point of view on the highest hierarchical level of the Abstract/Implied Author, on which interpretation (as transference) can take place. KEY WORDS interestingness, kitsch, Tolstoy's art of the future, brotherhood of all men, mass culture , Bakhtin's dialogic and monologic texts
The Dostoevsky Journal: A Comparative Literature Review, 2021
A Comparative Literature Review The Dostoevsky Journal: A Comparative Literature Review is an int... more A Comparative Literature Review The Dostoevsky Journal: A Comparative Literature Review is an international interdisciplinary journal dedicated to research on the life and works of F M Dostoevsky in the context of the European literary and philosophical canon. Archival research and translations of unpublished documents relating to Dostoevsky's literary or publicist opus are also welcome contributions. Further explorations in the following areas are encouraged: • Dostoevsky's anthropology • The history of genres • Dostoevsky's debt to Pushkin and other Russian writers • "Soil" and the "Russian idea" • Freud or the unconscious in Dostoevsky's opus • Structure of or temporality in Dostoevsky's novels • Dostoevsky and Nietzsche, Hegel, Kant • Dostoevsky and Russian religious thinkers The journal uses double-blind peer review by at least two external readers.
Cossack in Jamaica, Ukraine and the Antipodes: Essay in Honor of Marko Pavlyshyn, 2020
In this essay, I read Kleist's essay "On the Marionette Theatre" (1810) as a manifesto of a new a... more In this essay, I read Kleist's essay "On the Marionette Theatre" (1810) as a manifesto of a new aesthetics, grounded in a non-Euclidean conception of human subjectivity, issue from an unconscious that is both unrepresentable and the source of all representation. I read Kleist's lyrical drama through this aesthetic text as well as through two theoretical concepts which are historically different but in my view related: Kant's "sublime" and Lacan's "real". What emerges from the readings of these diverse theoretical texts/concepts is a dialectic of the sublime, the paradox and the non-Euclidean subject of the unconscious, which are demonstrated through a structural analysis of the play to be elements of Kleist's innovative poetics.
Serbian Studies Vol. 31, 2020
Vesna Kapor. По сећању се хода као по месечини (Walking in the Moonlight of Remembrance). Belgrad... more Vesna Kapor. По сећању се хода као по месечини (Walking in the Moonlight of Remembrance). Belgrade: Agora, 2014. 113 pages. ISBN 978-86-6053-116-4.Two Stories from the Collection Walking in the Moonlight of Remembrance: “Snow” and “Ants”
Lang, 2019
Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy offers a radical redefinition of Realism ... more Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy offers a radical redefinition of Realism as a historical phenomenon, grounded in the lit- erary manifestoes of the 1840s in three national literary canons (English, French and Russian) which issue a call to writers to record the manners and mores of their societies for posterity and thus to become “local historians.” The sketch of manners becomes the instituting genre of Realism but is transformed in the major novels of the Realists into history as genealogy and into a phenomenology of modern subjectivity. Dickens, Flaubert and Tolstoy are brought into relation with Dostoevsky via a shared poetics as well as through a deconstructive and/or psychoanalytic analysis of their respective novels, which are interpreted in the context of various doc- trines of Beauty, including Dostoevsky’s own artistic credo of 1860. In this broad context of European aesthetics and the European literary canon, Dostoevsky’s own view of history is illuminated in a new perspective, in which his concept of the “soil” is stripped of its conservative mask behind which emerges a (post-exile) Dostoevsky with socialist, pan-European views. The portrait of Dostoevsky which thus emerges from the present study is that of a European writer with a radically modern aesthetics and with a progressivist political orientation which is in consonance with his pre-exile affiliation with utopian socialism.
Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy., 2019
Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy offers a radical redefinition of Realism ... more Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy offers a radical redefinition of Realism as a historical phenomenon, grounded in the literary manifestoes of the 1840s in three national literary canons (English, French and Russian) which issue a call to writers to record the manners and mores of their societies for posterity and thus to become “local historians.” The sketch of manners becomes the instituting genre of Realism but is transformed in the major novels of the Realists into history as genealogy and into a phenomenology of modern subjectivity. Dickens, Flaubert and Tolstoy are brought into relation with Dostoevsky via a shared poetics as well as through a deconstructive and/or psychoanalytic analysis of their respective novels, which are interpreted in the context of various doctrines of Beauty, including Dostoevsky’s own artistic credo of 1860. In this broad context of European aesthetics and the European literary canon, Dostoevsky’s own view of history is illuminated in a new perspective, in which his concept of the “soil” is stripped of its conservative mask behind which emerges a (post-exile) Dostoevsky with socialist, pan-European views. The portrait of Dostoevsky which thus emerges from the present study is that of a European writer with a radically modern aesthetics and with a progressivist political orientation which is in consonance with his pre-exile affiliation with utopian socialism. Published by Lang, NY.
Literary texts of the 20th century are not about the world " as it is. " They do not " mirror " a... more Literary texts of the 20th century are not about the world " as it is. " They do not " mirror " an assumed " reality. " They are, like the " new art " or " new drama " in the words of Konstantin Treplev, the young playwright in Chekhov's Seagull, embod-iments of " dreams. " This is nowhere better illustrated than in Virginia Woolf's To the Lighthouse. To the Lighthouse is constructed by or as a giant gaze or by/as myriads of gazes which are embedded in each other, in endless perspectival repetition—en abîme. There is no " central " narrative perspective, no narrator to guide the reader through the maze of imagined scenes, emotions, inner monologues and pictures evoked before him or her. The text is like a giant weave, which generates itself, self-propagates, is fecund—like Mrs Ramsay. This self-propagation of the text is contrasted with the labors of the artist, Lily Briscoe. She finds it difficult to extract meaning from her material—color and paint— and labors to fashion her thought into form. She succeeds only at the end of the novel, in Part 3, simultaneously with another story-line which is being accomplished: the oedipal rite of passage of James Ramsay, now 16 years of age. By contrast with Gayatri Spivak's feminist reading of Woolf's novel, this essay presents a view of the novel as a model of meaning and the creative process, in which all the characters—male and female—have a metaphoric dimension, even if they are constructed out of fragmentary and allusive socio-historical material. Jacques Lacan, whose revision of Freud's concept of the Unconscious has taken psychoanalysis into the domain of structuralism and linguistics, operates with the concept of the Other to redefine the Self as a subject of language. The psychoanalytic Other is an abstract locus which overlaps with the Freudian concepts of the " other scene " and the " id. " Both the Other and Freud's ein anderer Schauplatz 1 are atemporal and nonspatial substitutions for the " unrep-1 Lacan, who reappropriated Freud's term, explains: " Freud named the locus of the unconscious by a term that had struck him in Fechner (who, incidentally, is an exper-imentalist, and not the realist that our literary reference books suggest), namely, ein
This is a reading of three major writers of the European canon - Dostoevsky, Flaubert and Tolsto... more This is a reading of three major writers of the European canon - Dostoevsky, Flaubert and Tolstoy - whose poetics shares a common phenomenological grounding: it is a poetics of 'the gaze' (le regard), which organizes all aspects of the structure of representation in their works. These three writers create the foundations of the aesthetic paradigm of European Modernism. While the starting point for a poetics of Realism is in the manifestos of the 1840s (Les français peints par eux-mêmes, Наши списанные с натуры русскими and Heads of the People or the Portraits of the English), the three writers examined give portraits of their age while transcending mere sociology to rise to a self-reflexive metaphysics of representation.
Reviewed in: Slavic Review, Fall/Winter 2013: 911-912
Вестник Башкирского университета, 2014
Transcultural studies, 2013
The Dostoevsky Journal, 2000
The Dostoevsky Journal, Dec 22, 2022
Berghahn Books, Dec 29, 2017
![Research paper thumbnail of Models of Popular Culture: Bakhtin's Carnival, Tolstoy's Authentic Work of Art and Dostoevsky's khudozhestvennost' [aesthetics] vis-a-vis Postmodern Mass Culture (The Fifth Element, Kill Bill)](https://attachments.academia-assets.com/110213500/thumbnails/1.jpg)
](.Collected Articles In Memoriam of Professor Natalia Zhivolupova. Ed. Aleksandr N. Kochetkov. (Nizhnyi Novgorod: NGLU – Nizhnyi Novgorod State Linguistic University, 2012), pp. 286-304., 2012
In this paper, several theorists of popular culture are discussed side by side: Bakhtin, Tolstoy,... more In this paper, several theorists of popular culture are discussed side by side: Bakhtin, Tolstoy, Dostoevsky, and Walter Benjamin, to map the field of theoretical approaches to the definition of popular and mass culture. The two terms are then used to distinguish avant-garde, Modernist definitions of popular culture, which involve a 'democratic' aesthetics, and postmodern theory and practice of mass culture, which is an erosion of aesthetic value, foregrounding spectacle, entertainment and seduction. Several popular films are examined to illustrate this distinction.
New Zealand Slavonic Journal, w Zealand Slavonic Journal (1993), pp. 7-34 Published , 1993
Two concepts, privileged by post-modem critical theory, are particularly appropriate as tools for... more Two concepts, privileged by post-modem critical theory, are particularly appropriate as tools for a renewed attempt to fathom Dos toyevsky 's "realism in the higher sense". One of these concepts has been delivered by psychoanalysis, the other by Hegelian thought. The first concept is repression, the second is negativity. When Dosto yevsky's literary opus is read against a model of repression and neg ativity, it becomes possible to decipher even the most cryptic passages of his novels, which have either baffled literary criticism over the past century or over which it has ridden roughshod, stretching them to fit models not adequate to Dostoyevsky's epistemology.
The problem of repression with reference to Dostoyevsky was first tackled by none other than Freud, in his celebrated 1928 essay Dostoyevsky and Parricide.I The Oedipus complex, which Freud lo cated in both Dostoyevsky's life and work, does in fact offer a key to a reading of The Brothers Karamazov.
Berghahn Books, Dec 29, 2017
Berghahn Books, Dec 29, 2017
The Soviet and Post-soviet Review, Aug 24, 2002
The Dostoevsky Journal, Nov 14, 2016
Transcultural studies, Dec 23, 2015
Vestnik Bashkirskogo Universiteta, 2014
Transcultural studies, Apr 10, 2015
The paper analyses the relationship of lyrical drama, which emerged as the dominant genre of Euro... more The paper analyses the relationship of lyrical drama, which emerged as the dominant genre of European Modernism, and opera, representing a paradigm shift in European thought on the eve of World War One. The musical metaphor of love-death, originating in Wagner’s Tristan and Isolde, was adopted widely and transposed into verbal art by the dramatists and prose-writers of Modernism in Eastern and Western Europe. This metaphor or leit-motif is read in the context of the theory of the Freudian death-drive and the emergence of a modern analytic of finitude, which announces a new European cultural paradigm, grounded in identity and difference. A new ‘modern’ sensibility is formed out of these metaphysical elements, which come to expression in the Modernist genre of lyrical drama, in which a synaesthetic relationship is forged between music and the verbal text. A musical motif (love-death) is generalised into desire in the verbal text which it structures through intonation, gesture and the representation of unconscious drives on stage.
Transcultural Studies: A Journal in Interdisciplinary Research, Vol. 11, No. 1 (2015), pp. 99-101., 2015
ИЗВЕСТИЯ РАН. СЕРИЯ ЛИТЕРАТУРЫ И ЯЗЫКА / Studies in Literat ure and Language 2020, том 79, № 1, с. 102–107, 2020
Review by Konstantin Barsht (RAN - Russian Academy of Sciences) of Slobodanka Vladiv-Glover, Dos... more Review by Konstantin Barsht (RAN - Russian Academy of Sciences) of Slobodanka Vladiv-Glover, Dostoevsky and the Realists, Lang, 2019. The reviewer enumerates the themes treated by the author and contextualises them in a broad spectrum of Russian scholarship on Dostoevsky.
It would be difficult to telescope any of Dostoevsky"s major novels, with their melodramatic adve... more It would be difficult to telescope any of Dostoevsky"s major novels, with their melodramatic adventure novel plots, into a version for the stage, despite the "dramatic quality" of Dostoevsky"s novels much vaunted in Russian criticism. 1 However, the "dialogic form", elevated by Mikhail Bakhtin (1929Bakhtin ( , 1963 into an "artistic dominant" of Dostoevsky"s poetics, and accepted as a major discovery in 20 th century Dostoevsky criticism, is not of the same order as dialogue in drama. Dialogic form refers in part to the predominance of dialogue in the fabric of Dostoevsky"s fiction, to the exclusion of plot action and characterisation. But it also refers to the polyvalent and intertextual quality of words as well as the multiple levels of meaning of the narrative text which make any Dostoevsky novel unreadable in purely linear form: as what happens and what is said by the characters and the narrators.
The Dostoevsky Journal: A Comparative Literature Review, 2020
A Comparative Literature Review The Dostoevsky Journal: A Comparative Literature Review is an int... more A Comparative Literature Review The Dostoevsky Journal: A Comparative Literature Review is an international interdisciplinary journal dedicated to research on the life and works of F M Dostoevsky in the context of the European literary and philosophical canon. Archival research and translations of unpublished documents relating to Dostoevsky's literary or publicist opus are also welcome contributions. Further explorations in the following areas are encouraged: • Dostoevsky's anthropology • The history of genres • Dostoevsky's debt to Pushkin and other Russian writers • "Soil" and the "Russian idea" • Freud or the unconscious in Dostoevsky's opus • Structure of or temporality in Dostoevsky's novels • Dostoevsky and Nietzsche, Hegel, Kant • Dostoevsky and Russian religious thinkers The journal uses double-blind peer review by at least two external readers.
REVISED CALL FOR PAPERSDue to ongoing editorial considerations, the publication schedule has been... more REVISED CALL FOR PAPERSDue to ongoing editorial considerations, the publication schedule has been revised and the due date for submissions for the current themed issue will be 1 February 2017.
THE DOSTOEVSKY JOURNAL: A COMPARATIVE LITERATURE REVIEW
VOL 18 (2017)
THE ENLIGHTENMENT AND THE CREATION OF THE MODERN RUSSIAN LITERARY DISCOURSE: THE 18TH CENTURY, KARAMZIN AND DOSTOEVSKY
Nikolai Karamzin’s Letters of a Russian Traveller (1797) are a compendium of European Enlightenment in which one man manages to (re)create the movement of the Encyclopaedists, touching on all major spheres of European culture: German and Swiss scientific and philosophical thought, the literary culture of the French salons, and parliamentary structures of English society. Karamazin’s influence on subsequent Russian writers, including Dostoevsky, is unquestionable.
The Special Issue will have a focus on the Enlightenment and the Russian 18th century writing, the burgeoning reading public, the growth of popular literature and journals and the role these played in the creation of a modern Russian cultural discourse.
Contributions are invited on all the above aspects of the 18th century Russian culture. Special emphasis will be given to Karamzin’s thought, his theory of history, his role in the development of literary genres in a new Russian literature of the late 18th – beginning of the 19th century and beyond, his views on Nature and Man and his critique of Rousseau’s “noble savage” as a retrograde step in the Age of Enlightenment, his Sentimental sensibility as an aesthetic and moral category and the permutations of all of these in the works of Dostoevsky but also other Russian writers who followed. The articles may be devoted exclusively to Karamzin or be of a comparative nature and pursue the traces of Karamzin’s thought in other Russian writers, notably Dostoevsky.
Contributions should be in English and between 5,000 and 8,000 words. If the author writes in Russian, a translation into English is required. However, the translation must be accompanied by the Russian original for the Editor’s use.
All Russian quotations should be in Russian Cyrillic followed by translations into English in square brackets, with exact sources of quotations in footnotes; footnote references, not end notes; the author’s institutional affiliation (city and university); name on top of article; a 50 – 100-word abstract; 6 key terms; a
50 word bio - a short biographical note for the section "About the Contributors." This should include where the contributor graduated and with what degrees, where s/he works now, what his/her field of research is and what his/her most recent major publications are (up to two).
Due date for submission of papers: 1 February 2017.
Please send contributions in Word as attachments to Millicent.Vladivglover@monash.edu
Virginia Woolf's To The Lighthouse (1927) TECHNIQUE and POINT of VIEW There are many ways of read... more Virginia Woolf's To The Lighthouse (1927) TECHNIQUE and POINT of VIEW There are many ways of reading TTL-two of these are in the bibliography, Spivak's article (which could not be scanned by the Library) and my own published article on TTL. The two readings illustrate two ways of understanding the novel, one is through the sociological content of the 'story' or plot (= a feminist reading); the other is through psychoanalytic theory (the plot read as a passage through Oedipus of young James Ramsay). In this lecture, I am not going to give a "reading"; instead, I am going to unpack the technique of writing and show the relationship between 'writing' and 'painting' as it emerges in the narrative mode of 'stream of consciousness'. This will bring me to the meta-content of this novel which emerges through the thematisation of the process of perception. This meta-theme can be contextualised in phenomenology in general and specifically in the theory of the gaze.
Proposing a new model of foreign language learning based on Vygotsky's theory of concept formatio... more Proposing a new model of foreign language learning based on Vygotsky's theory of concept formation, Vladiv-Glover (2014) makes a theoretical claim for the use of literary texts as the most effective means for acquiring concepts rather than words and grammatical rules in second language acquisition (SLA). Here, I would like to consider how these ideas correspond to the basic assumptions developed within the framework of cognitive linguistics and how the same views match parallel claims put forward in linguistics in general, as opposed to counterpart ideas associated with developmental psychology and literary studies. Let me start by saying that the very idea of attributing higher position to concepts over formal structures, advocated by Vladiv-Glover, goes hand in hand with the, supported by cognitive linguists, perception of language as a means for the expression of conceptualisations. The terms " conceptualisation " and " conceptual structure " are ubiquitous in cognitive linguistics. For example, cognitive linguists equate meaning with conceptualisation and linguistic structures with conceptual structures, thus stressing the superordinate function of symbolic relations and semantics in the study of language. It should be stressed that the debate over supremacy of either meaning over form or form over meaning has been a central issue throughout the history of linguistics. The 19 th century philological approaches to the study of language were largely meaning and concept-oriented, drawing extensively on many psychological ideas. Post-saussurean linguistics, on the other hand, both in its structural and generative version, rejected this content-centred view of language – as being subjective, imprecise and non-scientific – at the same time giving priority to the study of formal structures and grammatical rules. In this respect, cognitive linguistics constitutes an attempt to reactivate many of the pre-saussurean philological ideas. Like philology, cognitive linguistics has deep interest in all dimensions of meaning and texts which include not only purely linguistic, but also cultural, social and literary aspects. Vygotsky's cultural-historical psychology was a deliberate attempt to establish a new paradigm in psychological research that would overcome the narrow objectivism of behaviorism. His emphasis on the sociocultural nature of human cognition and learning was at variance with both behaviorist and later information-processing models. It is worth remembering that Soviet linguists at that time, unlike their fellow scholars in Western Europe, where Ferdinand de Saussure's structural ideas were quickly gaining the upper hand, remained under a strong influence of the 19 th century philological school of thinking and the Soviet linguistics remained closely focused on cultural-historical aspects of language instead of delving into synchronic and systematic properties of language structure. As a result, Vygotsky's views on language must have been shaped mostly by this " old fashioned " meaning and communication oriented approach rather than more fashionable interest in abstract aspects of language, clearly visible in the Prague School of Linguistics with its main representatives – both Russian ex-patriots – Roman Jakobson and Nikolay Trubetskoy. This formal approach to language initiated in the first half of the 20 th century, visible in the Copenhagen Linguistic Circle headed by Louis Hjelmslev, was continued by Chomsky's generative grammar in the second half of the 20 th century and subsequently contributed to the
Conference Program XVII International Dostoevsky Symposium, Boston US, 2019
Slobodanka Vladiv-Glover (Monash University, Australia) XVII International Dostoevsky Symposium,... more Slobodanka Vladiv-Glover
(Monash University, Australia)
XVII International Dostoevsky Symposium, Boston US
How to Represent the Unrepresentable : The Telling of Stories in The Idiot
It is remarkable to what extent the plot of The Idiot is driven by episodic stories which are told by various characters. As soon as Prince Myshkin arrives at the Epanchin house, he tells his story about the condemned man to the Epanchin butler. When he is admitted to the breakfest of the Epanchin ladies, he is exlplicitly invited by Mme Epanchina to « recount something » - she wants to hear how he « narrates » (рассказывает). Myshkin then tells his story about “Marie”. Adelaida demands that Myshkin provide her with a « sujet » for her next painting, to which he responds with a replay of the story of the condemned man in his last moments of life. At Nastasia Filippovna’s birthday party, a petit-jeu is played which involves the guests telling stories about ‘the worst thing they did’ in their life. The plot in Part One is filled with episodic stories about Nastasia Filippovna’s past in the village of Otradnoe, in which the seduction (existing only in the form of alluions) of the the 16-year-old girl by a man twenty years her senior takes place over four years, after which this girl emerges as a pathologically vindictive and cruel adult woman. The pathology of Nastasia Filippovna’s biographical story is matched by the pathology of Myshkin’s stories about the condemned man and the abused Swiss girl Marie. The pathology of the stories is matched by the pathological behaviour of the characters who populate the opening scenes : Nastasia Filippovna is excessively rude to Gania Ivolgin’s family when she bursts in upon them for a visit which is scandalous from the point of view of normal etiquette. Her rude, even crass demeanor (contradicting her ‘elegant’ and ‘aesthetic’ eduction by Totsky) continues at her own birthday party vis-a-vis her guests. Gania Ivolgin is rude to Myshkin beyond acceptable etiquette. People refer to Myshkin as an ‘idiot’ within his hearing, which also appears strange in polite society. Hence the pathological stories are framed by erratic, pathological – anti-social – behaviour of the characters ‘on stage’. It is as if the characters were enacting a drama of negativity which has no other purpose but itself – the representation of the negative, the impossible, the unrepresentable.
This whole plot texture of pathologically inflexed episodic stories and pathological characters contains a recurring leit-motif of Beauty: Nastasia Filippovna’s exceptional, striking beauty, first registered by Myshkin in her photograph in General Epanchin’s office, and re-appearing at the breakfast of the Epanchin ladies, and subsequently in Gania Ivolgin’s family lodgings. At least two characters are so struck by this beauty that they loose their speech : Myshkin and Rogozhin. This demeanor characterises the attitude to the Sublime in Immanuel Kant’s third critique, Critique of Judgement. This is how Gilles Deleuze formulates the attitude to the Kantian Sublime :
«The feeling of the sublime is experienced when faced with the formless or the deformed (immensity or power). It is as if the imagination is confronted with its own limit, forced to strain to its utmost, experiencing a violence which stretches it to the extreme of its power.»
In this paper, I shall explore the relationship between the negativity of the modern subject and the ideal of beauty and how this affects the structure of narrative in and of the novel. While Beauty is defined by Kant as the agreement of the faculties in a « purposefulness without a purpose », in the Sublime, Beauty is perceived as a negativity, in the negative emotions of awe and respect. In Dostoevsky’s novel, the negative emotions, which belong to the pathology of the Ego and its drive for power and superiority – represent the modern Sublime or the last ideal on earth. Narration, in all its modalities, belongs to the Ego’s expressivity. Thus Dostoevsky represents the pathology of the Unconscious of the modern subject as a function of the relation of the unconscious drives and language, which forms the new ‘value’ free of value (the ethics indeterminacy) of the new Man or ‘idiota’ – the ‘private person’ of European and Russian modernity.
Recorded Lecture slides, 2009
The subtext of Tolstoy's monumental novel War and Peace is Tolstoy's view of history. ‘History’ ... more The subtext of Tolstoy's monumental novel War and Peace is Tolstoy's view of history.
‘History’ is not ‘chance’ or made by ‘men of genius’ (Epilogue Book IV)
‘History’ has its laws – all events have a multiplicity of causes which are coincidental but become determining in their totality (multiple coincidences). History emerges in the lived moment which resonates with the poetics of Realism (see S Vladiv-Glover, Dostoevsky and the Realists: Dickens, Flaubert, Tolstoy, NY: Lang, 2019), which captures the manners and mores of an era for the sake of posterity.
‘History’ is consciousness of freedom (of individuals) as a function of laws of reason (Epilogue Book IV)
Serbian Studies Vol 31, 2020
One Act Play set in medieval Serbia as a stylisation and Modernist device and dealing with the pr... more One Act Play set in medieval Serbia as a stylisation and Modernist device and dealing with the problem of finitude of modern, 20th century civilisation. The play is examined in the context of the poetics of the lyrical drama of European Modernism.