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政大典藏 > Journals of NCCU > Wenshan Review of Literature and Culture > Articles > Item 140.119/122737

Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/122737

Title:	Gogol and Magritte: Towards Understanding Montage Strategies
Authors:	Beata, Waligorska-Olejniczak
Contributors:	文山評論：文學與文化
Keywords:	Gogol;Magritte;montage;negation;Eisenstein
Date:	2018-12
Issue Date:	2019-03-29 15:11:32 (UTC+8)
Abstract:	This article is aimed at the comparative analysis of the selected short stories of Nikolai Gogol and the paintings of René Magritte, the Belgian artist most often associated with surrealism. The dominant rule governing the works of Magritte and Gogol seems to be the poetics of negation, built, among other things, on emphasizing the lack of an expected value or its replacement with an opposite one. Gogol, whose works had a critical influence on the development of Russian literature, shows in most of his texts the decline of the human being. The exaggerated pictures of the physical degradation of the body are Gogol`s method to turn attention to those characters who are pushed to live on the margins of society. Magritte, on the other hand, puts emphasis on an ironic play between the expected and unexpected, as well as the representation, reproduction and repetition of other typical elements of his technique. The publication shows that in spite of the differences between the medium of representation and the thematic content of the works, the authors use similar montage strategies such as the use of visual metonymy, synecdoche, suspense and repetitive close-ups of body parts. In this context, we refer to the Eisenstein`s concept of montage and discuss the artists` experiments with prosthetic bodies.
Relation:	文山評論：文學與文化, 12(1), pp.81-101
Data Type:	article
DOI link:	https://doi.org/10.30395/WSR.201812_12(1).0004
DOI:	10.30395/WSR.201812_12(1).0004
Appears in Collections:	[Wenshan Review of Literature and Culture] Articles

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