Film adaptations of andrei platonov's prose: visualizing matter

ANDREI PLATONOV’S PROSE: VISUALIZING MATTER A Research Proposal Submitted to the (College By Table of Contents
Table of Content….………………………………………………………………………………… 2
1. 1 A PROBLEM STATEMENT/QUESTION ……………………………………..……………. 3
1. 2 HYPOTHESES STATEMENT ………………………………………………………………. 3
1. 3 DEFINITION OF TERMINOLOGY……………………………………………….……..…. 3
1. 4 IMPORTANCE OF THE STUDY…………………………………………………………….. 3
1. 5 GOALS, MILETONES AND DELIVERABLES…………………………………………… 4
1. 6 LITERATURE REVIEW……………………………………………………………………4
1. 6. 1 Introduction…………………………………..……………………………….……. 4
1. 6. 2 Role of visualizing Feelings……………………………………………..…………. 5
1. 6. 3 Which styles help visualize feelings? ……………………………………………………………… 5
1. 6. 4 Which other translated material discuss Platonov? …………………………………………… 5
1. 6. 5 Platonov’s Adaptation …..…………………………………………………………. 6
1. 6. 7 Questions deserving further research……………………………………………..…7
1. 7 CONCLUSION5
1. 8 RESOURCE LIST6
1. 1 A PROBLEM STATEMENT/QUESTION
The prose of the film Platonov by Andrie features matters of visualization. The manner in which the feelings are visualized in the film has drawn attention of many film analysts and translators like Robert Chandler. This aspect captures minds of viewers and /or readers of the novel Chevengur. How far can we quantify Andrie’s art of visualizing feelings?
1. 2 HYPOTHESES STATEMENT
Feelings visualization is used as an art of stimulating emotions, as well as stimulating the minds of men; Platonov integrates feelings visualization through the use of literature styles like symbolism and metaphor.
1. 3 DEFINITION OF TERMINOLOGY
According to Thomas Seinfride, feelings visualization is used as an art of stimulating emotions, as well as stimulating the mind. Expressions of our feelings and innermost thoughts have become an artistic curriculum, making confessional art a specialization like photography. The term utopia has been used in Andrie’s work to refer to the world of imagination; real expressions are explained, such as intrauterine; although the term is symbolically used.
1. 4 IMPORTANCE OF THE STUDY
The research will help appreciate the significance of feelings visualization.
The study will explore more on Andrie’s work; this will help in comparing his work with other film writers.
The research will help meet the academic requirements of my discipline.
1. 5 GOALS MILETONES AND DELIVERABLES
Goal
Milestone
Deliverable
Access at least 30% of the available relevant resources.
Library and the internet.
A list of references.
Read at least three articles discussing Platonov.
Online journals
Print outs and softcopies of journals.
Seek to understand the varying literature styles by Andrie.
Books, journals, articles and any other relevant material.
Comprehensive information concerning the various styles used by Andrie – including feelings visualization.
1. 6 LITERATURE REVIEW
1. 6. 1 Introduction
The Platonov film is the original work of Andrei produced between 1899 and 1951. Platonov is an increasingly acknowledged the work of the Soviet period. According to Thomas Seinfride, Andrei’s linguistic virtuosity, as well as political unorthodoxy, has been combined creating outstanding compellingly absurd contributions to literature. However, many of the named contributions remained unpublished in Andre’s lifetime as well as long after his death. The significance of Andrei’s work is more evident after his death, and especially with the help of interpreters like Robert Chandler who translated the native work into English language, despite the backdrop of collectivization and industrialization. This is evident in the Russian Literature, work by Edward Brown.
1. 6. 2 Role of visualizing Feelings
According to Thomas Seinfride, feelings visualization is used as an art of stimulating emotions, as well as stimulating the mind. Expressions of our feelings and innermost thoughts have become an artistic curriculum, making confessional art a specialization like photography.
Bullock and Philip in their work, Musical Imaginations, Platonov use music to facilitate the power of the mind to imagine and thus visualize feelings drawn from the consumed film.
1. 6. 3 Which styles help visualize feelings?
Feminine imagery is one of the attentions grabbing literature style featured in Platonov’s prose. Gender appears thus important feature of Andrei’s utopian vision. The state of intrauterine is characterized by the lack of breach between satisfaction and need, symbolically, no breach connecting the organism with its external reality. All paradise features, as well as the Golden Age in sagas and myths regarding the futuristic world universality (harmony) including philosophical speculation, then religious revelations, and eventually, involving socioeconomic paradise integrating political utopias. All these phenomena portray clear signs of their source from that very urge of memories of unconsciousness regarding paradise that existed in the real sense; this is the reason as to why they powerfully exercise and affect minds of men.
1. 6. 4 Platonov’s Adaptation
Thomas Seinfride further contributes; Platonov visualizes revolution by use of mathematical symbols to represent eternity and infinity. Additionally, predictions on utopias’ variations of the other/self binary are also projected. This helps in realizing the logic embedded on the Platonov’s body.
Platonov seeks not to include the alienation moments in psychological growth that stem from the self/other dichotomy self, and instead tends to reconfigure the hollow body of a female as a vacuum of a glorious conforming wholeness of maternity. Platonov presents a comparison of the sun to blindness implying imagery. It is, therefore, left to the audience or novel readers to visualize the black sun. He also tells of a golden and dazzling golden sun that thus causes blindness effect. The hidden phenomenon is an allegory regarding the reluctance of people holding portions in authority. The paradox of the sun is also featured; the sun is praised due to its indispensable support for every life on earth. The sun ought to give light, whereas, in this context, it gives out darkness.
1. 6. 5 Which other translated material discuss Platonov?
In Chevengur’s work, a novel, Platonov’s characters are portrayed helpless as he succumbs to darkness. Further, the expected giver of light is equated to the lack of light. Platonov additionally uses the oedipal imagery. This is developed in Chevengur’s character by the name Aleksanar Dvanov. Dranov’s inability to embrace Bolshevik dogma’s dictates is explicitly coined in terms of Dvanov’s rejection of the autonomy of adulthood as well as clearly defined sexuality. Throughout the novel, Chevengur, Dvanov rejects the teleology of Faustian regarding communist immortality to favour infinite death’s comfort. The accrued aquatic imagery surrounding death’s moment as featured in Chevengur permits readers see (visualize) the death of Dvanov playing in the Pelagian instinct. The approach in which Platovon describes Dvanov’s suicide tends to mislead, though; the description apparently emphasizes the paternal but not the maternal.
1. 6. 6 Questions deserving further research:
i) How can the power of visualization be boosted?
ii) Is the feelings visualization learnt attribute?
iii) Are there other related films to be compared to Platovon?
1. 6. 7 CONCLUSION
Andrei’s work is rich of writing styles including symbolism and metaphors; they have helped in presenting the contextual information with the appropriate tone. Visualization of feelings is another concept which runs throughout the film, engaging the audience or reader of the novel Chevengur. Visualization of feelings consistently involves the mind as indicated in utopias like intrauterine.
1. 6. 8 RESOURCE LIST
Agamben, Giorgio. Image et Mémoire. Paris, Hoboecke, 1998.
Bataille, Georges. Documents.
Brodsky, Joseph . Collected Works.
Bullock, Philip. The Musical Imagination of Andrei Platonov, Slavonica.
Chandler, Robert. In Andrey Platonov, Soul and Other Stories. New York Review Books.
Edward, Brown. Russian Literature since the Revolution (revised and enlarged edition). Cambridge, MA, and London, 1982.
Eikhenbaum, Boris. O Literature. Moskva, 1987.
Hansen-Löve, Katharina. The Structure of Space in Platonov’s Kotlovan: The Evolution of Space in Russian Literature.
Ingdahl, Kazimiera. Andrej Platonov’s Revolutionary Utopia: A Gnostic Reading.
Kotlovan. Vzyskanie pogibshikh. Povesti, Rasskazy. Stati, Moscow, 1995.
Livers, Keith. Scatology and Escatology: The Recovery of the Flesh in Andrei.
Livingstone, Angela. The Pit and the Tower: Andrei Platonov’s Prose Style: Essays in Poetics 22 (1997): 91-97.
N, Kornienko. Povestvovanie Platonova: avtor i implitsitnyi chitatel v svete
tekstologii.
Nivat, Georges. Sokourov ou la quête de l’envers de l’image. In L’ombre de l’image.
Gagnebin, Murielle, 2002.
Platonov. Andrey. The Potudan River, 1937
Platonov’s Happy Moscow. Slavic Review, 2000.
Platonov. Moscow: Chevengur, 1988.
Sokurov, Alexander. Odinokii Golos Cheloveka – dnevnik. St Petersburg, 1994.
Thomas, Seinfride. Andrei Platonov: Uncertainities of Spirit. Cambridge, 1992. 175.
Thomas, Winner. Chekhov and His Prose, (1966).
Yampolsky, Mikhail. Platonov, prochitanny Sokurovym In Sokurov. Lyuba Arkus.