The Images Of Stiva Oblonsky And Konstantin Levin In “Anna Karenina” By Leo Tolstoy: Intuitive Perception Of Life

The problem of comprehension of the essential in human "I" is discussed in the article as a phenomenon of the writer's psychology on the example of two images of the Russian novelist Leo Tolstoy's "Anna Karenina" – Stiva Oblonsky and Konstantin Levin. Intuitive feeling of living as the expression of the essential combines two images taken by us, the mouthpieces of the two views on life in general, and on family in particular. Stiva Oblonsky and Konstantin Levin in the writer's conception of the philosophy of life by L. Tolstoy are the carriers of two forms of national family life. The characteristic of essential in the human "I" of Stiva Oblonsky and Konstantin Levin provides the capability to detect semantic references in the texts of L. Tolstoy and the German philosopher of the 20th century M. Heidegger, as both thinker understand the contents of the human "I" as a universal component of personality, which is the main criterion in the evaluation of a person, his thoughts and actions. Inter-textual analysis of "Anna Karenina” by L. Tolstoy and of the separate artistic and philosophical works of Heidegger has shown that the philosophy of life of Konstantin Levin, written by L. Tolstoy, resonantly echoes with the philosophy of "the pathway" of the German philosopher M. Heidegger

The Incident In Forming Adultery Motif In The Artistic Structure Of The Novel “Anna Karenina” By Leo Tolstoy

This article examines the series of events in the artistic structure of the novel "Anna Karenina" by Leo Tolstoy in the context of the concept of case, which, as the basic symbol, becomes the focus of the semantic content of the novel. Separate episodes with casual events line up in structural episodes of storylines of the Tolstoy”™s work. The symbolic concentration of the semantic content of case receives its transcription in cumulatively built episodes. The semantic content of the symbolically interpreted image of case in a number of random events is represented by the Russian thinker of the nineteenth century Leo Tolstoy as something that leads to disruption of the primordial order in Russian life, and this way case appears to be the historical grain of the novel”™s narrative storytelling. Casual, as Leo Tolstoy understands it, becomes inevitable fatal force of destiny. The results of casual confront the reasonable necessity accumulated by age-old traditions. This casual as an event determines almost the entire series of events of the novel as a part of the plot. The basic plot situation of  Tolstoy”™s novel is reduced to the confrontation of reasonable necessity as the form of existence within the family to what is generated by the age of enframing (M. Heidegger)