Liukkonen, Petri. "Ivan (Aleksandrovich) Goncharov". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 7 December 2014. When asked about his relationship with Prince Charles, Mrs Whatley said: "Spike told me how Charles used to phone him up now and again and invite him round. Then he joked: 'I wonder what he'd say if I said I was busy?'

A Few Days from the Life of I. I. Oblomov - Wikipedia

Příběh se vyvíjí až v okamžiku, kdy mu Štolc představí svou známou Olgu, mladou a krásnou dívku a talentovanou zpěvačku, do které se Oblomov zamiluje. Ta ho ale donutí být aktivnější, více číst a chodit do společnosti, s pomocí Štolce Oblomov dokonce začne konečně na své vesnici provádět ona plánovaná zlepšení, takže začne opět prosperovat. Baratoff argues that the gown stands for Oblomov’s ‘extreme introversion, regression, utter passivity and an attempt to ignore outer reality’. ‘Oblomov’: A Jungian Approach, 35; Milton Ehre describes it as a ‘recurring emblem of Oblomov’s doom’. Oblomov and His Creator (Princeton, NJ: Princeton University Press, 1974), 209. That was typical of Spike, he was a compassionate man who loathed conventions. He cut through every piece of red tape with his razor mind." Russian writer Ivan Goncharov’s novel Oblomov (1859) centers on Ilya Ilyich Oblomov, a young and generous nobleman filled with indecision, leaving him unable to take any significant actions. For large portions of the novel, he doesn’t even leave his room or bed. He is portrayed as the ultimate version of the “superfluous man”—a capable and talented figure who is rejected for not fitting social norms. This archetype is common in nineteenth-century Russian literature. Oblomov, a satire on Russian nobility at a time when such portrayals were becoming more acceptable, explores themes of the transition from childhood to adulthood, as well as the ongoing social changes in Russia as the country became more and more dissatisfied with its monarchy. Popular when it was released, it was the subject of much literary discussion, including among those who worried that its lead character would encourage sloth among the young. It was adapted into a 1980 Soviet film, which received significant critical acclaim, and was later adapted into a BBC television adaptation and a radio dramatization. In 1964, it was adapted for the stage as Son of Oblomov, a comedy adaptation. After five weeks at the Lyric, the show transferred to the Comedy Theatre in the West End, where it was retitled Son Of Oblomov.Oblomov on kuitenkin se teos, jonka ansiosta hänen nimensä on jäänyt kirjallisuuden historiaan. Romaanin päähenkilö Oblomov on mies, jolla on paljon hyviä pyrkimyksiä, mutta ei voimaa toteuttaa niitä. Vähitellen Oblomov vajoaa täydelliseen toimettomuuteen ja hiipuu kohti ennenaikaista kuolemaa.

Short Happy Life of Ilya Ilyich Oblomov | Elaine Blair The Short Happy Life of Ilya Ilyich Oblomov | Elaine Blair

Oblomov ( Russian: Несколько дней из жизни И. И. Обломова, translit. Neskolko dney iz zhizni I. I. Oblomov) is a Soviet comedy/ drama film directed by Nikita Mikhalkov. It was released by Mosfilm in 1980. [1] The film's plot is based on the novel Oblomov ( Russian: Обломов), written by Ivan Goncharov, which tells the story of Ilya Ilyich Oblomov, a middle-aged nobleman living in 19th century Saint Petersburg. This central character exemplifies the superfluous man concept found in 19th century Russian literature. [2] Plot [ edit ]

However, Elaine Blair argues in "The Short Happy Life of Ilya Ilyich Oblomov" that Oblomov is "not merely lazy." She simply says, "our hero favors very short-term pleasures over long-term ones," "he is self-conscious in a way that no farcical character or Rabelaisian grotesque would be," and "to Oblomov, to be absorbed in any task is to lose something of oneself; a person can maintain his full dignity only in repose." [9]

Ivan Gontšarov – Wikipedia

Goncharov, Ivan Aleksandrovich (27 September 2018). "A common story, a novel". London, London Book Co. – via Internet Archive. Gayla Diment's introduction to Stephen Pearl's translation of Oblomov. New York: Bunim & Brown, 2006) In the novel’s dazzling opening section, Oblomov has a dream while napping on the sofa, a dream that turns into a kind of family history of Oblomovian lethargy. It’s a typical summer day of his childhood: his mother spends the entire morning conferring with the female half of the household about the menu for lunch; his father sits in front of a window shouting advice to passing serfs. A heavy midday meal is followed by a long nap. The household never regains the morning’s momentum: meals, strolls, and vacant reverie fill the rest of the day until everyone goes to bed praying that “God grant tomorrow be just the same!” The novel was adapted for the stage by Italian writer Riccardo Aragno. [12] Aragno's script for Oblomov was bought by Spike Milligan's production company in early 1964. Milligan had long nurtured hopes of transitioning from comedy to serious drama. To this end, Milligan rehearsed for seven weeks with director Frank Dunlop and castmates Joan Greenwood, Bill Owen, and Dyall Valentine.

Na hamletovskou otázku „ Být či nebýt?“ Oblomov odpovídá „Ne“. Na prvních asi sto padesáti stranách románu vůbec neopouští svůj pokoj a jen zřídka vyleze z postele. Sice neustále plánuje různá vylepšení na svém chátrajícím statku Oblomovka, ale nikdy je nerealizuje a ani nesepíše.