지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술대회자료
- 저자정보
- 발행연도
- 2010.11
- 수록면
- 161 - 167 (7page)
이용수
이 논문의 연구 히스토리 (2)
- 이 논문의 후속연구가 궁금하신가요?
- 연관 학술논문 또는 학술발표를 통해 보다 발전된 연구결과를 확인하실 수 있습니다.
- 이 논문의 연구 히스토리 확인하기
초록· 키워드
오류제보하기
No other Russian literary author has been so often filmed during his lifetime and after his death, on a scale so global and for a period so extensive, as Lev Tolstoy. When he was still alive, indeed, Tolstoy was filmed as an international celebrity on a number of occasions. Especially, this experience of being filmed helped him to recognize the future potential of the newly born media. As scholars noted already, this is why he allowed cinematographers to film himself on various occasions. Even when he left his home and died at Astapovo station, his funeral was filmed as an international media event in its entirety. Finally, from then on, Tolstoy's life was revived or reconstructed through cinematic images for various reasons both at home and abroad.
It is hardly surprising, thus, that Tolstoy occupied an important place in the history of Russian cinema. It is regretful, however, that there has been remarkably little systematic research on how Tolstoy('s life) was filmed all over the globe. It goes without saying that three has been no attempt to analyse and the (most) recent cinematic representations of Tolstoy's life. For this reason, in this paper I will concentrate on the two films in which the last year(s) of Tolstoy's life is reconstructed from different points of view. The first is Sergei Gerasimov's Lev Tolstoy (1984), gives us a specific Russian view of Tolstoy and his life. The second one, Michael Hoffman's The Last Station (2010), which was released on the 100th anniversary of Tolstoy's death, reveals a typical western (and American) view of his dramatic life.
Gerasimov's film is characterized, first of all, by its elimination of prophetic status and saintly aura that surrounded Tolstoy during the last years of his lifetime. As a result, in the film Tolstoy is shown as an ordinary man. Whereas Hoffman's film focuses its main narrative on the scandalous marrige between Tolstoy and his wife Sofiia Andreevna and thus turns the drama of his life into a melodrama. This is just one of the major differences between the two films on the later years of Tolstoy's lifetime. In the paper I will explore some more differences between them on various planes of the narrative.
It is hardly surprising, thus, that Tolstoy occupied an important place in the history of Russian cinema. It is regretful, however, that there has been remarkably little systematic research on how Tolstoy('s life) was filmed all over the globe. It goes without saying that three has been no attempt to analyse and the (most) recent cinematic representations of Tolstoy's life. For this reason, in this paper I will concentrate on the two films in which the last year(s) of Tolstoy's life is reconstructed from different points of view. The first is Sergei Gerasimov's Lev Tolstoy (1984), gives us a specific Russian view of Tolstoy and his life. The second one, Michael Hoffman's The Last Station (2010), which was released on the 100th anniversary of Tolstoy's death, reveals a typical western (and American) view of his dramatic life.
Gerasimov's film is characterized, first of all, by its elimination of prophetic status and saintly aura that surrounded Tolstoy during the last years of his lifetime. As a result, in the film Tolstoy is shown as an ordinary man. Whereas Hoffman's film focuses its main narrative on the scandalous marrige between Tolstoy and his wife Sofiia Andreevna and thus turns the drama of his life into a melodrama. This is just one of the major differences between the two films on the later years of Tolstoy's lifetime. In the paper I will explore some more differences between them on various planes of the narrative.
목차
등록된 정보가 없습니다.
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
톨스토이는 어떻게 시각화되었는가? : 톨스토이 삶의 영화적 재구성
슬라브학보
2011 .06
-
톨스토이 대 톨스토이: 톨스토이의 평화사상과 평화실천
외국학연구
2016 .01
-
톨스토이의 대안학교 교육에 대한 기독교 교육적 성찰
신학과 목회
2007 .04
-
톨스토이와 커뮤니티 아트:『예술이란 무엇인가?』를 중심으로
러시아어문학연구논집
2017 .01
-
Fascination and Aversion: Science in Tolstoy’s Work
슬라브硏究
2011 .01
-
톨스토이 작품의 한국 공연사 연구
노어노문학
2017 .12
-
톨스토이의 서술방식:『세르기 신부』의 나선적 인식구조를 중심으로
동서비교문학저널
2020 .06
-
체홉과 톨스토이 : 미학적 특징을 중심으로
노어노문학
1999 .12
-
톨스토이의 『전쟁과 평화』(1869)와 생활-일상의 힘
외국문학연구
2019 .08
-
시대와의 불화 : 톨스토이의 잊혀진 셰익스피어 비평
Shakespeare Review
2011 .12
-
톨스토이의 『부활』 번역 읽기, 그 100년의 차이- 등장인물과 서사구성을 중심으로
통역과 번역
2018 .01
-
노자와 톨스토이 : 『전쟁과 평화』에 나타난 사생관을 중심으로
노어노문학
2018 .06
-
『전쟁과 평화』에서의 집단의식에 관하여
러시아어문학연구논집
2017 .01
-
예술과 도덕에서의 공감: 톨스토이의 『예술론』을 중심으로
노어노문학
2019 .12
-
《Закон насилия и закон любви》 - духовное завещание Л. Толстого
한국노어노문학회 학술대회 발표집
2010 .11
-
도스토예프스키와 톨스토이 시학에 나타난 공감의 문제 연구
러시아어문학연구논집
2018 .01
-
Tolstoy and the Making of Korean Modernity
한국노어노문학회 학술대회 발표집
2015 .10
-
톨스토이 소설의 음악적 서사구조 - 크로이체르 소나타에 나타난 작가의 불협화음을 중심으로
유럽사회문화
2019 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0