A Wolf in Arkadia: Generic fields, generic counterstatement and the resources of pastoral in Fathers and Sons

Russian Review

Volumn 55, Issue 3, 1996, Pages 475-493

  Valentino, Russell S ^a  

^a NONE

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[No Author keywords available]

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EID: 53249130794     PISSN: 00360341     EISSN: None     Source Type: Journal    
DOI: 10.2307/131795     Document Type: Article

References (44)

1. On genres as a means of interpretation as opposed to mere classification see Alastair Fowler, Kinds of Literature: An Introduction to the Theory of Genres and Modes (Cambridge, MA, 1982), 2-4
2. Fowler refers to this attitude as "an appropriate mental 'set' that allows the work's generic codes to be read" (Fowler A., Kinds of Literature: An Introduction to the Theory of Genres and Modes, ibid., 88). The actual phrase "responsive attitude" I have borrowed from Bakhtin: "When the listener perceives and understands the meaning (the language meaning) of speech, he simultaneously takes an active, responsive attitude [otvetnaia pozitsiia] toward it."
3. See Mikhail Bakhtin, "The Problem of Speech Genres," in Speech Genres and Other Late Essays, trans. Vern W. McGee (Austin: University of Texas Press, 1986), 68
4. For the Russian text see "Problema rechevykh zhanrov," in Estetika slovesnogo tvorchestva (Moscow, 1979), 246
5. For a discussion of generic allusions and other signals see Fowler, Kinds of Literature, chap. 6
6. Renato Poggioli, The Oaten Flute: Essays on Pastoral Poetry and the Pastoral Ideal (Cambridge, MA, 1975), 9. Poggioli identifies other such oases in The Aeneid, Orlando Furioso, Os Lusiades, Don Quixote, As You Like It, and Gerusalemme liberata
7. Jurij Striedter, Der Schelmenroman in Russland: Ein Beitrag zur Geschichte des Russischen Romans vor Gogol (Berlin, 1961), 183
8. For treatments of the adaptation of Le Sage by Nareznyi (and Faddei Bulgarin) see Ronald LeBlanc, The Russianization of Gil Blas: A Study in Literary Appropriation (Columbus, OH: Slavica, 1986)
9. and Striedter, Der Schelmenroman, chaps. 6 and 7
10. Mikhail Bakhtin, "Discourse in the Novel," in The Dialogic Imagination, trans., Michael Holquist and Caryl Emerson (Austin, 1981), 320
11. For the Russian text see "Slovo v romane," in Voprosy literatury i estetiki (Moscow, 1975), 133
12. The term was suggested by Iurii Tsivian in a lecture on the film composition techniques of early Soviet cinematographers (University of California, Berkeley, 1990)
13. For the concept of the "eyes of genre," as well as other valuable insights into Bakhtin's theories of genre and of the novel, see Gary Saul Morson and Caryl Emerson, Mikhail Bakhtin: Creation of a Prosaics (Stanford: Stanford University Press, 1990), chap. 7
14. Gary Saul Morson, "Genre and Hero/Fathers and Sons: Inter-generic Dialogues, Generic Refugees, and the Hidden Prosaic," in Literature, Culture, and Society in the Modern Age, part 1, Stanford Slavic Studies, 4:1 (1991): 337-40
15. For two brief but suggestive treatments of several pastoral motifs in the novel see James H. Justus, "Fathers and Sons: The Novel as Idyll," Western Humanities Review 4 (1961): 259-65
16. and Alexander Fischler, "The Garden Motif and the Structure of Turgenev's Fathers and Sons," Novel 9 (Spring 1976): 243-55
17. The most explicit indication that they are to be seen in this light is given by Pavel Petrovich, who exclaims to his brother, "There you have today's youth! There you have them - our heirs!" See Ivan Turgenev, Fathers and Sons, trans. Constance Garnett, revised by Ralph W. Matlaw (New York, 1966), 43. Further references to this work are provided in the text. I have occasionally modified the translation
18. On Christian pastoral see Poggioli, Oaten Flute, 105-34
19. Thomas G. Rosenmeyer, The Green Cabinet: Theocritus and the European Pastoral Lyric (Berkeley, 1969), 8
20. For a convenient sampling see William D. Paden, trans., ed., The Medieval Pastourelle (New York: Garland Publishing, 1987)
21. See his European Literature and the Latin Middle Ages, trans. Willard R. Trask (Princeton, 1953), 187-88
22. The importance of the wood in the tradition of the ideal landscape must not be underappreciated. E. R. Curtius places it, along with the locus amoenus (pleasance), at the very center of pastoral depictions from late Antiquity through the Middle Ages, passing, with the entire body of pastoral topoi, into the Renaissance in such diverse forms as romance, eclogue, and drama. See Curtius, European Literature and the Latin Middle Ages, ibid., 183-200
23. For a discussion of Curtius's distinction between wood and pleasance see Rosenmeyer, Green Cabinet, 188-90
24. Iasen'ka i Zheorzhetta: ili, Prikliucheniia dvukh mladentsov obitavshikh na gore (first ed., 1796)
25. Viktor: ili, Ditia v lesu (first ed., 1799-1800)
26. and Pal'mir i Vol'mennii, Derevushka pri beregakh Diuransy (first ed. 1805)
27. Diukre-Diumenil, Aleksis, ili Domik v lesu, manuskript, naidennyi na beregu reki Izeri, 2d ed. (Moscow, 1800), 4
28. Nikolai Chernyshevskii, Chto delat'? Iz rasskazov o novykh liudiakh (Moscow, 1951), 89 (my translation)
29. Michael Holquist, "Bazarov and Secenov: The Role of Scientific Metaphor in Fathers and Sons," Russian Literature 16 (1984): 369
30. Fontenelle, M. de (Bernard le Bovier), Oeuvres complètes, vol. 2 (Paris: Librairie Arthème Fayard, 1991), 391
31. Curtius, European Literature, 195
32. Turgenev, Fathers and Sons, 105. The old man's subsequent reference to the friends as the Dioscuri may be a generic allusion to Theocritus' Idyll, XXII, in which the twins find themselves in a typical locus amoenus: Like Bazarov and Arkadii in this scene, Theocritus' Castor and Polydeuces are unable to realize the potential of the setting, being instead constrained to do battle with the giant, Amycus
33. See her "Bazarov pered sfinksom," Revue des Études slaves, vol. 57 (Paris, 1985)
34. Bion, "Lament for Adonis," in The Pastoral Elegy: An Anthology, ed. Thomas Perrin Harrison, Jr. (Austin, 1939), 34
35. For a brief summary of traditional interpretations of the Adonis myth see Hélène Tuzet, Mort et Résurrection d'Adonis: Etude de l'évolution d'un mythe (Paris: Librairie José Corti, 1987)
36. Morson, "Genre and Hero," 354-57
37. Iurii Lotman, "Puti razvitiia russkoi prosvetitel'skoi prozy XVIII veka" in Problemy russkogo Prosveshcheniia v literature XVIII veka, ed. P. N. Berkov (Leningrad, 1961), 84
38. Lotman I., Problemy russkogo Prosveshcheniia v literature XVIII veka, Ibid
39. Compare, for instance, Alexander Parker's designation of the pícaro as a social "delinquent" in Literature and the Delinquent: The Picaresque Novel in Spain and Europe, 1599-1753 (Edinburgh, 1967), chaps. 1 and 2
40. and Alexander Welsh, Reflections on the Hero as Quixote (Princeton, 1981)
41. For Bakhtin's ideas on genre see, for example, Problemy poetiki Dostoevskogo, 3d ed. (Moscow, 1972), chap. 4
42. idem, "Formy vremeni i khronotopa v literature" and "Problema rechevykh zhanrov," in Literaturno-kriticheskie stat'i (Moscow, 1986)
43. Gary Saul Morson and Caryl Emerson have provided an invaluable explication of the concept of "form-shaping ideology" in Mikhail Bakhtin: Creation of a Prosaics (Stanford: Stanford University Press, 1990), esp. chap. 7
44. See, for instance, my "The Tendentious Novel, or, How to Build a Tabula Rasa," in "The Rise of the Russian Tendentious Novel: Generic Hybridization and Literary Change" (Ph.D. diss., University of California, Los Angeles, 1992)