Oblomov (Penguin Classics)

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As for Stolz himself, his own line of work remains suspiciously vague. “He owned part of a company that sent goods abroad,” Goncharov writes. “If they needed someone to write a draft or put a new idea into practice, they chose him.” Stolz drags Oblomov “here and there” while he tends “to affairs.” Whatever Stolz does, it seems, must be so tedious that Goncharov can’t bear to describe it. Stolz represents an idea that we instinctively hold dear, but would be hard-pressed to prove: that work and effort are salutary in themselves, even in the absence of a noble goal. He has a descendant in Tolstoy’s Levin in Anna Karenina—after a day now and then spent mowing rye with his peasants, Levin feels vastly superior to his brother, who maintains his genteel repose. She said: "The last time I talked to him was last November. He called to have a chat and asked me what I was doing for Christmas. But he was quite poorly at that point."

Oblomov (TV Movie 2017) - IMDb Oblomov (TV Movie 2017) - IMDb

It was based on the Russian classic by Ivan Goncharov, and gave Milligan the opportunity to play most of the title role in bed. Goncsarov tizenkét éven át írta a regényt – többek között Belinszkij biztatására – miközben sokáig vezető állami hivatalnokként dolgozott. A regény végül 1859-ben jelent meg. In the summer of 1857 Goncharov went to Marienbad for medical treatment. There he wrote Oblomov, almost in its entirety. "It might seem strange, even impossible that in the course of one month the whole of the novel might be written... But it'd been growing in me for several years, so what I had to do then was just sit and write everything down," he later remembered. [6] Goncharov's second novel Oblomov was published in 1859 in Otechestvennye Zapiski. It had evolved from the earlier "Oblomov's Dream", which was later incorporated into the finished novel as Chapter 9. The novel caused much discussion in the Russian press, introduced another new term, oblomovshchina, to the literary lexicon and is regarded as a Russian classic. [7]In 1849 Sovremennik published Oblomov's Dream, an extract from Goncharov's future second novel Oblomov, (known under the working title The Artist at the time), which worked well on its own as a short story. Again it was lauded by the Sovremennik staff. Slavophiles, while giving the author credit for being a fine stylist, reviled the irony aimed at patriarchal Russian ways. [9] The novel itself, though, appeared only ten years later, preceded by some extraordinary events in Goncharov's life. [7] Ivan Alexandrovich Goncharov ( / ˈ ɡ ɒ n tʃ ə r ɒ f/, [1] also US: /- r ɔː f/; [2] Russian: Ива́н Алекса́ндрович Гончаро́в, tr. Iván Aleksándrovich Goncharóv, IPA: [ɪˈvan ɐlʲɪkˈsandrəvʲɪdʑ ɡənʲtɕɪˈrof]; 18 June[ O.S. 6 June]1812 – 27 September[ O.S. 15 September]1891 [3]) was a Russian novelist best known for his novels The Same Old Story (1847), Oblomov (1859), and The Precipice (1869, also translated as Malinovka Heights). He also served in many official capacities, including the position of censor. Chisholm, Hugh, ed. (1911). "Goncharov, Ivan Alexandrovich". Encyclopædia Britannica. Vol.12 (11thed.). Cambridge University Press.

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Quoted in N. F. Budanova's "The confessions of Goncharov. The Unfinished Story. Literaturnoe Nasledstvo, 102 (2000), p. 202.Ward, Charles Alexander (1989). Moscow and Leningrad: Writers, painters, musicians and their gathering places. K. G. Saur Verlag GmbH. p.89. ISBN 9783598108341 . Retrieved 25 September 2018. Almost immediately upon its release in 1859, Oblomov became the subject of much discussion and literary criticism, due in large part to Dobrolyubov's essay "What is Oblomovism?". Today it is still seen as a classic of 19th century Russian literature, and a quintessential Russian novel. [11] Az Oblomov (oroszul: Обломов) Ivan Alekszandrovics Goncsarov orosz író regénye, az orosz irodalom egyik kulcsműve, a felesleges ember típusának egyik csúcsteljesítményű megfogalmazása. There are novels so good that you pass them on to others to read. There are other novels so good that you want to keep them to yourself, as a kind of secret, like Silas Marner's gold under the floorboards. This is one for the floorboards. In "Son of Oblomov" on the London stage years ago, Spike Milligan and Bill Owen were a few minutes into the opening dialogue when Spike noticed some late-comers being shown to their seats.

Time after Time: The Temporal Ideology of Oblomov - JSTOR

Barbara, 60, who grew up in Rottingdean and launched her acting career at the Palace Pier theatre, Brighton, before spending 17 years in the West End, said: "I was young and naive and was in one of the most glossy, fashionable productions. That was typical of Spike, he was a compassionate man who loathed conventions. He cut through every piece of red tape with his razor mind."Diment, Galya. “The Two Faces of Ivan Goncharov: Autobiography and Duality in Obyknovennaia Istorija.” Slavic and East European Journal 32 (Fall, 1988).

Oblomov - Wikipedia

a b c d e f Diment, Galya (1998). Goncharov's Oblomov: A Critical Companion. Northwestern University Press. Nikolai Dobrolyubov, in his 1859 article "What is Oblomovism?", [8] described the word as an integral part of Russian avos'. Stolz suggests that Oblomov's death was the result of "Oblomovism". [5] The classic play opened at the Lyric Theatre, London, on October 6, 1964, and roused little praise from audiences or critics. Even I was dimly aware that Oblomov was a young man who would not get out of bed, but in Son of the frenetic Spike was more out than in. You were supposed to imagine him supine in spirit, while in fact he was everywhere, including halfway up the wall, trying to climb to a pretty girl in a box seat. On the day he died, aged 83 at his home in Rye, she got a call from her husband Rupert Webb to tell her the news.Cornwell, Neil; Christian, Nicole (1998). Reference Guide to Russian Literature. Taylor & Francis. p.339. ISBN 978-1-884964-10-7. Looking ahead at a lifetime without naps, Oblomov balks. He finds many excuses to avoid going to visit Olga in town, which is conveniently separated from the Vyborg side by a body of water and bridges that close in bad weather. It is finally left to Olga, younger but far more perceptive and practical, to confront him and call off their plans: “You fall into a deeper and deeper sleep with every passing day,” she tells him, while she herself “will never grow old and never tire of life.” Oblomov regretfully admits this is true. They agree to part ways (she later marries Stolz). The reader is relieved that the awkward pretense of Oblomov’s possible conversion has been dropped. Goncharov may not be writing against novelistic convention, but he has created a character who resists being novelized: Oblomov is always the same, no matter what transformative situations Goncharov has in store for him. Pessoa, a minor figure in the minor Lisbon literary world, kept body and soul together during his lifetime by office servitude. It was not a long lifetime. He died in 1935, aged 47, of cirrhosis. He was a "discreet alcoholic" – a discreet everything, in fact. In his remains was found a large trunk stuffed with 25,000 sheets of manuscript. The sheets were jigsawed together – rather like the Dead Sea scrolls – by a troupe of Pessoan disciples, who delivered it to the world half a century after the author's death. There is no plot, merely a thematically arranged series of world-weary aperçus and epigrams, of the deepest Portuguese gloom and existential perplexity – eg "Who will save me from existence? It isn't death I want, or life, it's the other thing." The other thing? Answers, please, to a clerk mournfully drinking himself to death in Lisbon.