I. A. Krylov — the fabulist in the aspect of self-consciousness

Tyumen State University Herald. Humanities Research. Humanitates


Release:

2022, Vol. 8. № 1 (29)

Title: 
I. A. Krylov — the fabulist in the aspect of self-consciousness


For citation: Shipov S. O., Komarov S. A. 2022. “I. A. Krylov — the fabulist in the aspect of self-consciousness”. Tyumen State University Herald. Humanities Research. Humanitates, vol. 8, no. 1 (29), pp. 162-178. DOI: 10.21684/2411-197X-2022-8-1-162-178

About the authors:

Sergey O. Shipov, Postgraduate Student, Department of Russian and Foreign Literature, University of Tyumen; s.o.shipov@yandex.ru

Sergey A. Komarov, Dr. Sci. (Philol.), Professor, Department of Russian and Foreign Literature, University of Tyumen; vitmark14@yandex.ru; ORCID: 0000-0003-4506-4027

Abstract:

The article deliberately addresses the issue of self-consciousness of I. A. Krylov the fabulist. It identifies the factors that contributed to the concentration of an already mature poet, playwright and prose writer on work in a particular genre, as well as the impulses of his entry into the specifics of the fable and the world genre tradition in the conditions of the formation of an internal request for the status of a national poet and the authority of expressing folk wisdom.

The crystallization of the macro-intention of Krylov’s nine books of fables, the identification of the strategy of his book-making is understood as the explication of the dynamics and structuring of the author’s self-awareness, his aesthetic and poetological purposefulness and value success in Russian culture on the transition from the traditionalist to the individual creative paradigm of the development of artistic literature. The meaningful component of the fable is seen as a system of requirements for the arrangement of the peacekeeping apparatus of the master of the word and the possibilities of the national speech tradition to respond organically to the common challenge.

Krylov’s subjectivity is seen as a purposeful process of building oneself as a national and competitive global figure into a number of the highest representatives and exponents of the wisdom of mankind. The authors of the article proceed from the fact that the type of self-consciousness of the fabulist pre-establishes the synthesis of nature, society and the individual, striving for a reasonable, orderly and optimistic coexistence, taking into account the genetic experience of universal metaphor and aphorism, genre inclusions of sentimentalism and romanticism. The links in the promotion of Krylov’s individual artistic system are also fixed, in particular his comedic practice, as a prerequisite for the transition to the decisive choice of the form of aesthetic expression. The research methodology is focused on combining elements of cultural, historical-genetic, semiotic, typological approaches to the analysis of literary phenomena with a common frame of achievements of Russian historical poetics.

References:

  1. Baevsky V. S. 2001. “Study of the existence and decay of the genre system of Russian poetry of the 18th — early 19th century”. Baevsky V. S. Linguistic, Mathematical, Semiotic and Computer Models in the History and Theory of Literature. Moscow: Languages of Slavic culture. Pp. 185-191. [In Russian]

  2. Gavrilov D. A. 2009. Tryukach. Actor. Player. The Image of a Trickster in Eurasian Folklore. Moscow: Ganga Publishing House with the participation of IC “Glory!”. 288 p. [In Russian]

  3. Gasparov M. L. 1989. Essay on the History of European Verse. Moscow: Nauka. 304 p. [In Russian]

  4. Gordin A. M., Gordin M. A. 1982. “Krylov: reality and legend”. I. A. Krylov in the Memoirs of Contemporaries. Moscow: Fiction. Pp. 5-38. [In Russian]

  5. Gordin M. A. 1983. Ivan Krylov Theater. Leningrad: Iskustvo. 174 p. [In Russian]

  6. Kenevich V. F. 2019. Bibliographic and Historical Notes to Krylov’s Fables. Tobolsk: Tyumen Regional Public Charitable Foundation “Revival of Tobolsk”. 472 p. [In Russian]

  7. Komarov S. A. 2002. A. Chekhov — V. Mayakovsky: A Comedian in Dialogue with Russian Culture of the Late 19th — First Third of the 20th Century. Tyumen: Tyumen State University Publishing House. 248 p. [In Russian]

  8. Kostin V. M. 1991. “SENTENTIA culture at the beginning of the 19th century and its fate in ‘Eugene Onegin’ by A. S. Pushkin”. Problems of Method and Genre. Issue 17. Tomsk: Tomsk State University Publishing House. Pp. 86-97. [In Russian]

  9. Krylov I. A. 1946. Full Collection of Compositions in 3 vol. Volume. 3. Fables. Poems. Letters. Edited by D. D. Blagogo. Moscow: State publishing house of fiction. 620 p. [In Russian]

  10. Krylov I. A. 1946. Full Collection of Compositions in 3 vol. Volume 2. Dramaturgy. Edited by N. L. Brodsky. Moscow: State publishing house of fiction. 763 p. [In Russian]

  11. Lebedeva O. B. 1996. Russian High Poetry of the 18th Century: Genesis and Poetics of the Genre. Tomsk: Tomsk University Publishing House. 356 p. [In Russian]

  12. Likhachev D. S., Panchenko A. M., Ponyrko N. V. 1984. “Laughter as a worldview”. Laughter in Ancient Russia. Leningrad: Nauka. Pp. 7-71. [In Russian]

  13. Lobanov M. E. 1982. “Life and writings of Ivan Andreevich Krylov”. I. A. Krylov in the Memoirs of Contemporaries. Moscow: Khudozhestvennaya literatura. Pp. 50-90. [In Russian]

  14. Maymin E. A. 1977. “Russian free iambic and verse ‘Woe from Wit’”. A. S. Griboyedov. Creation. Biography. Traditions. Edited by S. A. Fomichev. Leningrad: Nauka. Pp. 73-84. [In Russian]

  15. Mokienko V. M., Sidorenko K. P. 2017. Winged Expressions, Literary Images and Quotes from the Fables of Ivan Andreevich Krylov. Moscow: Tsentrpoligraf. 348 p. [In Russian]

  16. Pushkin A. S. 1958. “On classical and romantic poetry”. Complete Works in 10 vol. Volume 7. Moscow: Academy of Sciences of the USSR Publishing House. Pp. 32-36. [In Russian]

  17. Stennik Yu. V. (ed.). 1986. Russian Satirical Prose of the 18th Century: Collection of Works. Leningrad: Leningrad State University Publishing House. 448 p. [In Russian]

  18. Sazonova L. I. 1989. “From the fable of the Baroque to the fable of classicism”. Development of the Baroque and the Birth of Classicism in Russia in the 17th — Early 18th Centuries. Edited by A. N. Robinson. Moscow: Nauka. Pp. 118-148. [In Russian]

  19. Serman I. Z. 1975. “Krylov — the fabulist”. Ivan Andreevich Krylov. Problems of Creativity. Leningrad: Nauka. Pp. 221-279. [In Russian]

  20. Tomashevsky B. V. 1959. “Poem ‘Woe from Wit’”. Tomashevsky B. V. Verse and Language. Philological Essays. Moscow; Leningrad: GIHL. Pp. 132-201. [In Russian]

  21. Freidenberg O. M. 1997. Poetics of Plot and Genre. Edited by N. V. Braginskaya. Moscow: Labyrinth. 445 p. [In Russian]

  22. Shipov S. O., Komarov S. A. 2020. “The image of a lion in the nine books of fables by I. A. Krylova”. Tyumen State University Herald. Humanities Research. Humanitates, vol. 6, no. 4 (24), pp. 48-62. [In Russian]

  23. Bakulin M. Yu. (ed.). 2014. Foolishness. Tyumen: Russian Week. 448 p. [In Russian]