Slot: 28C-2
Dec. 28, 1:30 p.m. – 3:30 p.m.
Panel: Lev Tolstoy: Revising and Revisiting
the Critical Tradition
Chair: Susan McReynolds Oddo, Northwestern
University
Title: Vital Force or Deity? The Philosophical
Quandary in the Epilogues to War and Peace
Author: Inessa Medzhibovskaya, The New School
In one of his notebooks, Tolstoy outlined
his ideas for the second, “philosophical” epilogue to conclude War and Peace: “To show that people, in obedience to
zoological laws, never understand these laws, and, by pursuing their personal
goals, involuntarily carry out universal laws. And to show how this comes
about. It is especially obvious
during cataclysms. … There is a safety valve everywhere.” This is an intriguing
and adversely layered proposition. The novel just established, for Pierre and
others, that the safety valve is engaged to distract one’s attention from the
unanswerable probing of divine law and its justice, and leave open room for
freedom. It also established that freedom is not reducible to the pursuit of
personal interest. In their best, freest, and always intimate moments, characters
in the book are grateful for the divine richness of life, while the collective
scenes, in their worst moments, do not descend to zoology, but direct attention
to the mystery of what triggers collective reactions. Yet the plan for the
epilogue suggests that people should unwittingly obey zoological laws to serve
the purposes of universal laws.
This paper
contextualizes Tolstoy’s paradoxical position. It argues that thanks to
extreme, at times tragic, but artistically fecund complexity of Tolstoy’s
approach, rather than a mocking intention to trivialize, the epilogues do
maintain their contradictory attitude to the problem of law. By producing new
evidence about the sources of Tolstoy’s challenging position, the paper will
add to the ongoing dialogue about the philosophical meaning of the book.
Title: Better Together: Tolstoevsky and Cultural
Mythologies of the Great Author
Author: Julie Buckler, Harvard University
In the age of
post-structuralism, it has become intellectually and ideologically suspect to
imagine a literary work as the conscious creation of a great mind. Readers can no longer ignore the
exclusions of race, culture, and gender that have a hand in the making of Great
Authors, and many contend that Great Authors do not create literary works, but
are themselves “produced” by the discursive practices of their times. This paper proposes an
alternative model that is author-based, yet self-conscious about being so. The Great Author might be
imagined in dialectical terms, reflecting the significance of two authors in
relation to one another at a given cultural-historical moment. Consider, for example, whether Tolstoy would have been
Tolstoy had there been no Dostoevsky. “Tolstoevsky”
is not a marriage of convenience, but an ordering principle of the literary
cosmos.
Tolstoy
or Dostoevsky? Tolstoy and
Dostoevsky? These are the
“infernal questions” that plague Russian literature specialists, as distinct
from the “infernal questions” that plague the literary heroes of Tolstoy and
Dostoevsky. The complementary life-narratives of these twin
pillars are considered, as are moments from their fictional writings that
anticipate “Tolstoevsky” discourse.
Recall the First Epilogue of War and Peace: “…[J]ust as one cannot
imagine a blossom or seed for any single plant better suited to it than those
it produces, so it is impossible to imagine any two people more completely
adapted . . . for the purpose they had to fulfill, than Napoleon and
Alexander.” This paper unpacks the
“canonical” pronouncements on the Tolstoevsky dialectic (Merezhkovsky, James,
Mirsky, Bakhtin, Nabokov, Steiner, Brodsky), and examines contemporary critical
and popular writing in terms of the Tolstoevsky paradigm. The
discursive notion of “Tolstoevsky” —so familiar to Slavists — mocks the concept
of the Great Author, even as it doubly monumentalizes Lev and Fedor.
Title: A Child by the Deathbed: On Some Aspects
of Tolstoy’s Psychological Method
Author: Olga Voronina, Harvard University
Tolstoy’s pedagogical activities are well
documented and provide rich material for biographers and interpreters of his
works in a historical context. A child in these studies is a recipient of
Tolstoy’s intellectual, moral, or artistic guidance. Little has been written,
however, about Tolstoy’s interest in the child as a writer’s guide to the
world. And yet his writings show that in relation to children he often saw
himself a student rather than a teacher and as much a man under observation as
the one who observes. Tolstoy was fascinated with children’s intense
self-reflection, acute perception, and a heightened sense of language. He
confessed this attraction in the trilogy Childhood, Adolescence, Youth, and continued to explore it throughout
his career.
This
paper analyzes the influence Tolstoy’s interest in childhood had on the
development of his writing method and especially on the depth and
multi-dimensionality of his psychological prose. It includes a close reading of
deathbed scenes in Childhood and
War and Peace, followed
by an argument which shows that Tolstoy placed children, either as characters
or metaphors, in close proximity with death in order to explore the moment of
dying as one of the “borderline psychic states” (Lydia Ginzburg), and that he
linked human transition to the state of non-being to the moment of awakening of
human consciousness during the first years of childhood. The goal of the paper
is to demonstrate that Tolstoy populated his fiction with children not because
he needed a symbolic figure for the expression of moral sentiments, like
Dickens, or because he wanted to communicate his pedagogical ideas, like
Rousseau, but because placing the psychological complexity of adult’s spiritual
life against the unique psychic reality of childhood allowed him to discuss
death, mortality, and consciousness as issues “adequate to life” rather than as
abstract philosophical categories.