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Keywords: epic, Old Believers, runners, L. N. Tolstoy, novel, resurrection, A. V. Vlasov, V. K. Syutaev.
For citation:

Mikhnovets, N. G., Koposova, M. R. “Background and Meaning of the Scene on the Ferry in L. N. Tolstoy’s Novel Resurrection.” Dva veka russkoi klassiki, vol. 4, no. 4, 2022, pp. 112–137. (In Russ.) https://doi.org/10.22455/2686-7494-2022-4-4-112-137

Author: Nadezhda G. Mikhnovets
Information about the author:

Nadezhda G. Mikhnovets, DSc in Philology, Professor, Herzen University, Emb. of the Moika River 48, 191186 St. Petersburg, Russia.

ORCID ID: https://orcid.org/0000-0002-0674-1964

E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

Author 2: Maria R. Koposova
Information about the author 2:

Maria R. Koposova, Herzen University, Emb. of the Moika River 48, 191186 St. Petersburg, Russia.

E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

Received: June 12, 2022
Approved after reviewing: August 26, 2022
Published: December 25, 2022
Issue: 2022 Volume 4 No. 4
Department: Russian Literature of the 18th–19th Centuries
Pages: 112–137
DOI: https://doi.org/10.22455/2686-7494-2022-4-4-112-137
EDN:

https://elibrary.ru/MCYDXR

UDK: 821.161.1.09"19"

Acknowledgements:

The study was supported by the Russian Foundation for Basic Research (RFBR), project no. 20-012-00102.

Abstract:

In the article, the scene on the ferry became the subject of a special study for the first time. Consideration of this scene in the historical and cultural aspect showed that the Old Believer theme, initiated by the letter of the runner A. V. Vlasov, set the final chapters of the novel Resurrection on an epic scale in understanding the fateful changes taking place in Russia at the end of the 19th century. The article reveals that the author of the novel wedged diametrically opposite ideas belonging to the folk thinker V. K. Sutaev. As a result, the author outlined a perspective for coordinating the old man’s differently directed judgments, it implies “non-resistance to evil by violence.” The final conclusion is made that the scene on the ferry grows out of the history of the statehood of pre-Petrine and Peter the Great times, which by the end of the 19th century was losing its essential foundations and degenerating into violence, as well as from the history of the original popular movement of the people in search of truth — as in the desired the prospect of finding a loving unity for all, and in the real danger of struggle and protest.

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