N.V. Gogol – L.N. Tolstoy – Guy de Maupassant («Portrait», «Anna Karenina», «Resurrection», «Fort comme la mort»): to the poetics of a painting / animating
N.V. Gogol – L.N. Tolstoy – Guy de Maupassant («Portrait», «Anna Karenina», «Resurrection», «Fort comme la mort»): to the poetics of a painting / animating
This article is devoted to the comparison within the framework of historical poetics and intertextuality of several works by the
N.V. Gogol, L.N. Tolstoy, G. de Maupassant: «Portrait» (2-nd option – 1842), «Anna Karenina» (1873–1877), «Resurrection» (1889–1899), «Fort comme la mort» (1889). The comparative analysis undertaken below is based on identifying the commonality of the pre-modern / modernist features of the three authors and focuses mainly on their self-understanding of the philosophy of art, which they invariably considered in conjunction with their philosophy of life.
Special attention is paid to the study of the «visual code» of the three authors.