By Irene Masing-Delic
The belief of abolishing dying was once the most influential myth-making innovations expressed in Russian literature from 1900 to 1930, particularly within the works of writers who attributed a "life-modeling" functionality to paintings. To them, paintings used to be to create a existence so aesthetically equipped and excellent that immortality will be an inevitable end result. this concept was once reflected within the considered a few who believed that the political revolution of 1917 may result in a revolution in easy existential evidence: in particular, the assumption that communism and the accompanying increase of technological know-how may eventually be ready to bestow actual immortality and to resurrect the useless. in response to one variation, for instance, the useless have been to be resurrected by way of extrapolation from the strains in their hard work left within the fabric global. the writer reveals the seeds of this awesome notion within the erosion of conventional faith in late-nineteenth-century Russia. prompted by means of the hot strength of medical inquiry, humankind appropriated quite a few divine attributes one by one, together with omnipotence and omniscience, yet finally even aiming towards the belief of person, actual immortality, and therefore desiring to equality with God. Writers as various because the "decadent" Fyodor Sologub, the "political" Maxim Gorky, and the "gothic" Nikolai Ognyov created works for making mortals into gods, reworking the uncooked fabrics of present truth into legend. The e-book first outlines the ideological context of the immortalization venture, particularly the influence of the philosophers Fyodorov and Solovyov. the rest of the booklet contains shut readings of texts via Sologub, Gorky, Blok, Ognyov, and Zabolotsky. Taken jointly, the works yield the "salvation application" that tells humans how one can abolish loss of life and dwell ceaselessly in an everlasting, self-created cosmos―gods of a legend that used to be made attainable via inventive artists, creative scientists, and encouraged employees.
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Extra resources for Abolishing Death: A Salvation Myth of Russian Twentieth-Century Literature
Furthermore, as a judge he felt bound to reach judgements of moral culpability — he was renowned for his just pronouncements — which were to have far reaching consequences for both the defendants and society as a whole. How is this to be reconciled with a view of the world as nothing more than an amalgam of subjective perspectives in which no one point of view is to be preferred over another? Hoffmann is often seen as a deeply divided character who is torn between the claims of the material world of reality and the realm of the imagination.
See Georg Wellenberger, Der Unernst des Unendlichen: Die Poetologie der Romantik und ihre Umsetzung durch E. T. A. Hoffmann (Marburg: Hitzeroth, 1986), 39–40. 19 KA II, 164, §26. Hoffmann’s letters and diaries suggest that he was well acquainted with both Schlegel’s and Novalis’s work. See Tagebücher, 113 (12 January 1811) and 150 (17 April 1812). 20 KA II, 153, §48. 21 KA II, 160, §108. 22 KA II, 263, §69. 23 KA II, 131, §169. 24 KA II, 157, §87. 25 KA II, 151, §37. , ed. by Rudolph Köpke (Darmstadt: Wissenschaftliche Buchgesellschaft, 1970), vol.
The courtiers are primarily concerned with composing amusing ditties so that the king and his immediate circle (who appear to have no particularly pressing tasks) can wile away their time and stave off boredom. Here art is something purely decorative — all form and no content. This leads to everyday reality being concealed behind a façade of “anmutige Verse” (SW III, 648), “Schau- 40 E DAS FRÄULEIN VON SCUDERI spiele und Anekdoten” (672), “Galanterien” (660), “geistreich-witzige Wendungen” (660) and “ellenlange Tiraden” (661).