She graduated from the ten-year school with a Gold medal; faculty of mass literature editing UPI named after I. Fedorov and postgraduate study at the Institute of Social Sciences of the Academy of Sciences of the Ukrainian SSR. High school teacher.
Member of the Russian Society. A.S. Pushkin, who works in the structure of the International Council of Russian Compatriots in Ukraine.
Republican weeklies: "Vilna Ukraina" (Head of Department), "Tovarish" (political commentator), "Narodna Justice" (Chief Editor). Topics of publications: social and political life in Ukraine, essays on outstanding figures of Ukraine.
_
Books.
— Gloria Day. Storybook. L .: "Maximum". 2009. 120s.
You are my good people. Review of the work of the Russian writer and poet Viktor Gerasin. L.: Ed. house "Civilization", 2011. 107p. ISBN 978-966-7719-18-0
I want to keep the sky. Collection of poems. Moscow: Sputnik+, 2011. 250p. ISBN 978-5-9973-1500-9
— Majorians for the major. Collection of stories, short stories, miniatures. K.: Ed. house "Avanpost-Prim", 2011. 367p. ISBN 978-617-502-022-7
Author of network resources: literary and philosophical journal "Topos", newspaper " Russian writer", literary and historical magazine "Velikoross".
Irving Stone (Tennenbaum)(Eng. Irving Stone, July 14, 1903 - August 26, 1989) - American writer, one of the founders of the biographical novel. In total, Irving Stone wrote 25 novels about the lives of great people.
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✪ Adaptational Attractiveness: Hermione, Tyrion and a Million Others
✪ TOP 20 FILMS ABOUT "PRISON"
✪ Suspense: A Friend to Alexander / The Fountain Plays / Sorry, Wrong Number 2
Subtitles
Often when Hollywood decides to adapt a book for a movie or TV series, we notice that the actors playing certain characters look very different from what the book describes. Sometimes the actor looks older or younger than in the book, or they have a different hair color, but we won't care about those little changes. I'm interested in Adaptive Attractiveness, and that's what I'm going to talk about in this video. It's about about cases where a character in a book, whose appearance ranges from simply nondescript or overweight to downright ugly, is played by a standard handsome actor/actress. This happens very often - for example, in the novel "Jane Eyre" (1847) by Charlotte Brontë, Mr. Rochester is described as very ugly. "His face was swarthy, his features were stern, his forehead was massive." He had a chest with a wheel and a shaggy mane of black hair. However, in the 1983 and 2006 miniseries, as well as in the 2011 film, Rochester was played by Timothy Dalton, Toby Stevens and Michael Fassbender, and none of them can be called ugly. And in the 1998 novel Treasure, the protagonist Stanley is described several times as fat man, but in the 2003 film, the far from fat Shia LaBeouf plays the same character. Of course, it's not surprising that there is a trend with character adaptations: the studios are investing millions in the film, so they want to attract as many people as possible to theaters in order to make a good profit. To achieve this, they must make the film appealing to as many people as possible and one of the most simple ways to do this is to invite well-known and attractive actors to play the roles. However, on many occasions, book fans, myself included, are left frustrated or annoyed that the characters in the books we know so well look completely different on screen than we imagined. The question is whether this is yet another case of readers just nitpicking any differences from the book, or whether adaptive appeal seriously affects how a character develops and how the story should go, because if not, then probably such an adaptation is not is a serious problem. Now I will touch on one of the most funny cases such an adaptation, at least funny to me: I'm talking about the movie Ready Player One. Main character Wade Watts is described in the book as an overweight nerd who, according to the novel, later loses weight, but that is not the case in the movie. However, I was more interested in Samantha Cook, aka Artemis. Great value for the romantic line is that she constantly rejects Wade due to self-doubt, as she is convinced that he will never love her in real life. She says, "You're wrong. Trust me, if I ever let you see me live, you'll be disgusted by me." The fact is that she finds the dark red spot that covers half of her face disgusting, and even though she is not described as overtly fat or plump, she is called "curvy". The reason she hides her weight and rejects the main character is because she's insecure about her appearance, not because she already has someone or is just not interested - and that's my least favorite part of the book, but in the film it is shown even worse than in the book. I liked Ready Player One and it doesn't affect whether the movie is good or bad overall. I went to this movie solely for the amazing action scenes, and in that regard, the movie did not disappoint. However, in my opinion, the reason why this story line badly done, it comes down to adaptive appeal. Thing is, in the movie, Artemis is played by Olivia Cooke, and she's obviously attractive and not "curvy" and although they kept that detail with the red spot in her appearance, it looks like a small, barely visible birthmark in the corner of her face, It came out completely insignificant, but the storyline remains the same, and we are supposed to believe that her self-doubt is so strong that she truly believes that no guy will ever find her attractive. Even sillier are those scenes with Wade and this one of his "I love you the way you are" in which he explains to her that he is not disappointed. Wade: "I'm not disappointed." As if it must seem sweet to us that he was not disgusted by a small, slightly noticeable speck on a beautiful female face . Thus, here we have two cases of adaptive attractiveness, the first of which, in my opinion, has little to no effect on the narrative, while the second of them does. I can't think of a way for NOT being fat Wade to affect anything in the movie. Perhaps you can point out that his fullness in the books shows the negative impact of the fact that the hero spends all the time he is awake in the Oasis. But in fact, his weight and weight loss is not the most important part of his character and his history. In the case of Artemis, as I explained earlier, we can see how much this changed her story. Unlike Wade, a huge part of her story is about her appearance, so they either had to change that by giving the character her own reasons for rejecting Wade so they had nothing to do with her insecurities about her appearance. Or it was necessary to fully, without softening, display the detail of her appearance, because of which she is so insecure, and not so cautious that it looks like just an oddly placed sunburn. They could easily make what should have been a burgundy stain more visible - the way such stains look in real life. If they did, maybe this storyline wouldn't look so funny, because it's hard to take that line or character seriously if you can't sympathize with someone who looks really good, but finds his appearance disgusting. And that brings us to the main problem with adaptive attractiveness. I admit that in most cases when we see her, we will not find those who completely changed history. This is because, unless the plot of a story is something like The Hunchback of Notre Dame, The Elephant Man, or Beauty and the Beast, we rarely see stories that are built entirely on a character's unattractiveness. But there is one almost universal case where it affects a character, and that is hero identification. Let's move on to one of the most famous and beloved fictional characters in the world that inspired this video - Hermione Granger. In the books, Hermione has thick brown hair and fairly large front teeth. It's important to note that the books never describe her as ugly, and I never imagined her that way when I read them. It should also be noted that Emma Watson is obviously significantly more beautiful than what she should look like in the book. J.K. Rowling: "Honestly, you and Rupert and Emma - you're all too attractive. It's true. You know the characters were a little geeky." Daniel Radcliffe: "Did you know this would happen?" J.K. Rowling: "I'm not an idiot." I also want to point out that Emma Watson did an amazing job playing Hermione and I really can't and don't want to imagine anyone else in this role, this applies to everyone in this series of films, with the possible exception of Gilderoy Lockhart (Golden Loacons), who, oddly enough, was not as attractive as he is described in the books. Especially when you consider that he should be somewhere around 20-25, not 40-45, but we're not talking about that now, so let's get back to Hermione. J.K. Rowling: "She told me 'I only did school plays' and 'Oh my god! I'm so worried! I can't believe they gave me the role" She chattered like that for 60 seconds non-stop and I just told her, "Emma, you're perfect," and the next time we met she was so beautiful, and of course she is still beautiful girl, I'm just like, "Okay, okay, the movie's already done, don't worry. I'll just leave my weird, geeky Hermione the ugly duckling in my mind." So, we have established that, in my opinion, Emma Watson still did a good job in the role and J. K. Rowling herself admitted that despite her excessive attractiveness, she thinks that Emma is a good actress and similar to Hermione in many other aspects. so it doesn't really matter to her. However, not all book fans agree with this position: I have seen many people online and in real life who are haunted by this case of adaptive attractiveness, so I always wondered if it had any effect in this case. Does the lack of long front teeth, thick mop of hair and geekiness that Hermione is supposed to have in the book affect her and the films in general? If speak about concrete examples in a plot where it matters, the Yule Ball immediately comes to mind. Remember, this is a chapter from the fourth book and a scene from HP and the Goblet of Fire where Hermione, who appears at this ball, gets something like a Cinderella moment or Mia's moment in How to Be a Princess. We've seen it a million times, the girl takes off her glasses, straightens her hair and all of a sudden, oh my god!, well, just a real transformation, she drives everyone crazy. I'm not a big fan of this trope, we've seen it too many times, but in this case, at least in the book, this scene is one of best moments the whole series. In addition to being very interesting, she also does quite a lot for character development. For Hermione, this is the moment when we get to see a side of her that we can't see otherwise. J.K. Rowling: "I wrote a, you know, strong female character who was primarily characterized by her brains, yes, and then she decided to become a little more well-groomed and glamorous, we geeks have all had such moments in life." You become vulnerable when you know that the whole school sees you in a certain way, and you make an effort to change that image, even if it's just for the prom, you kind of say, "Hey, there's a lot about me that you don't see." I think it's a really cute moment for the character, you can identify with her. But translating it to the screen proved problematic, mostly because Hermione's transformation wasn't a transformation at all. Daniel Radcliffe: "In the fourth film, when she comes down the stairs, the moment of this transformation is implied." J.K. Rowling: "Yeah, that's it" Daniel: "We all watched and realized that she was, as it were, already beautiful" J.K. Rowling: "Yes, you think, now she is a beauty in a beautiful dress ." Harry literally didn't recognize her in the books, he thought it was someone else - it was such a transformation for her. It turns out that even at some basic level, the effect of the fact that the character is completely transformed before our eyes is lost. But if you dig a little deeper, I think bigger problem is that this scene in the film destroys, or at least weakens, what this moment adds to the image of the character. For example, if you take Viktor Krum: one of the reasons I love this chapter so much is that it did so much to develop Krum as a character and made him a million times more interesting and enjoyable than I thought he was. Hermione saw what was hidden behind the facade of his fame, and he saw in her more than just a bookworm with a shock of hair, and this is long before anyone else notices it. Let's go back to the moment when she is barely recognized as a girl by her closest friends. In the movie, it's not like that, because there Krum just invites beautiful girl be his date at the ball. There is a moment in the book when Harry and Ron chat about their urgent need to find couples for the Yule Ball. "We need to hurry up, you know... invite someone. He's right. Or we'll have to go with a couple of trolls." "With a couple .. who, sorry?" Hermione flared. "Well, you understand," Ron said with a shrug, "It's better to go alone than with... Eliza Midgen, for example." "She has almost no acne, and she is very good!" "Her nose is not in the middle of her face," said Ron. Just imagine what it must have been like for the bookish Hermione, who knew that she, too, was physically handicapped, just like the girls Ron compared to trolls. That's why it's so great to have someone who really appreciates her intelligence, someone who has waited for her many times in the library, trying to muster up the courage to ask her to the ball, and he saw the beauty in her long before she dressed up. In the film, however, because Emma Watson could easily be the most attractive girl at Hogwarts, this storyline is perceived in a completely different way. Krum doesn't develop as a character because he's just a pretty guy who invited a pretty girl to a ball, and Hermione doesn't develop as a character either: she's just a pretty girl who was invited to a ball, nothing supernatural. There are no more subtexts here. Thus, only here we see how this case of adaptive attractiveness affects the story and the character. However, aside from the Yule Ball, I don't see any other consequences of Emma Watson not getting long front teeth or leaving her hair full after the second film. Considering that in all eight films, which is 19 hours and 39 minutes, there is only one striking example that I can give, you can say that adaptive attractiveness does not matter in this case, and I tend to agree with this. But, as I said earlier, there is one universal case where it matters, and that is identifying with the character. It's not a particular scene and it's not something that affects every viewer watching this movie, but by removing the physical flaws and imperfections that a character has, you remove an aspect of the character that many people identify with. And in the case of adaptive attractiveness, I also noticed that often the same thing is done with the character's personality at the same time. I mean, if the creators want to remove some of the physical flaws of the character, then they will probably also remove the flaws in the characters and the actions of the characters. Hermione's appearance, apart from how she is shown in the films, is quite different from what is described in the books, and this may be the result of her being the writers' favorite character. Steve Kloves: "I remember leaning over to you and saying that I needed to let you know that my favorite character is not Harry" J.K. Rowling: "And that's fine, and then you said.." Steve Kloves : "Hermione. And it was true, and she remained her throughout the entire series." I could make a whole video detailing why I don't like the way Hermione is portrayed in the movies, but in short, the problem is that she's perfect. She's smart, strong, fearless, and once you add Emma Watson to the mix, she's just gorgeous. Of course, the bookish Hermione had these virtues, but the difference is that they were always balanced by her shortcomings. Being smart, she couldn't always apply it to every situation. "Devil's snares, devil's snares... What did Professor Sprout say? This plant loves darkness and humidity... "So make a fire!" I don't see anything wooden." Hermione wept, wringing her hands nervously. "ARE YOU CRAZY?" Ron bellowed. "ARE YOU A WIZARD OR NOT?" Harry, wiping sweat off his face, "Yeah," Ron said, "It's good that Harry didn't lose his head in the moment of danger. "I don't see anything wooden," he teased Hermione. She panics and needs Ron's reminder to remember that she is a sorceress and act on what she already knows. However, in the film it is shown in a completely different way, as usual - no panic, and she did not need anyone's help. We see this over and over again throughout the films: how she delivers the heroic lines that Ron was supposed to say, or how she fearlessly leads the trio and defends them at any difficult situation. The only time we see a repulsive aspect of her personality is in that scene in the first movie. I love Hermione, but the cinematic Hermione is too perfect, and the more perfect the character, the less we identify with him, because there are no perfect people. This, in my opinion, is the problem of adaptive attractiveness. In fact, I don't mind if it's just for the character to be beautiful. But if this embellishment extends to every flaw in the character and ends up with a flawless character who is very easy to like, then that worries me. his case of adaptive attractiveness is very similar to Hermione's. I'm talking about Tyrion Lannister. Let's start with him appearance . Tyrion is described as a dwarf with short and thick legs, a rough face, a protruding forehead, multi-colored eyes of green and black, and a combination of pale blond and black hair. He also lost most of his nose at the Battle of the Blackwater. In the series, Tyrion is played by the rather handsome Peter Dinklage, and the only change to his appearance is the scar. Now, as with Emma Watson, I find it necessary to point out that Peter Dinklage is a fire as Tyrion and he easily became my favorite choice for this series. The reason I see similarities in the portrayal of these two characters is that yes, unlike in the case of Hermione, it will be difficult to find examples in seven seasons here where Peter Dinklage's attractiveness would seriously change the story, so at first glance, no problem, like, no. However, with that in mind, I think the showrunners' inability to show a character with a truly nasty appearance is a modest indicator that paints a bigger picture of how they want the audience to see the character as a whole. Anyone who has read the series of books knows that they toned down not only his obnoxious appearance, but also several other aspects of this character's character and actions. This character's complexity and moral dilemmas are thrown aside to provide a snarky hero who is impossible to hate. Take his relationship with Shae, though: it's obvious in the books that she doesn't love him at all and that Tyrion was so desperate to be loved that he wouldn't let himself see how their relationship really was, it was obvious that he should was to guess. Whereas in the show it's more of a tragic love story than the pathetic one-sided love affair we see in the book. Also in the series, she betrays him because she is a rejected woman, not because she is a woman who is helpless against the likes of Tywin and Cersei and forced to do anything to survive. When he kills her in the book, even if you think he has the right to do so after her "betrayal", he is still killing a defenseless woman he should have gotten to know better before trusting and seeking love in an alliance with her. So what if she made a deal with Cersei after being offered it. Was she supposed to refuse? Saying no to Cersei Lannister is not an option if you want to stay alive. Tyrion is incredibly smart, he should have known that. He figured it out with Bronn, that Bronn is loyal to anyone who pays him and will dump you for a better option. But Tyrion didn't allow himself to see the same in Shae's case due to his delusions that love was possible in their relationship. In the series, she is not a defenseless woman, she goes for a knife, because of which the murder will look like an act of self-defense. He even then apologizes to her lifeless body. They went out of their way to remove the character's moral dilemma and protect him in every way possible from the backlash from the audience. Same is the case with Sansa: in the book, he paws her on their wedding night and goes further before stopping. On the show, he cuts it short because he's a hero and God forbid we let the drunken, sexually reckless aspect of his personality go beyond something entertaining and comical. And there are a lot of moments like that - when they go to great lengths to whitewash him and make him as friendly and sweet as possible, they want to make him insanely cute, they want him to be a fan favorite, which is very easy to love, because, like in the case of Hermione, the adaptive appeal goes beyond looks here. That's why, while the definition I gave at the beginning of the video says that adaptive appeal is about changing a character's appearance, I find that all too often embellishing a character's appearance is just a symptom of a deeper problem with how those who adapt the book, trying to change the character as a whole. If this only affected appearance, then perhaps one could take it as an addition to adapting the text to the screen, but in cases where these changes affect the personality or actions of the character, when the elimination of physical defects is accompanied by the elimination of any character defects at all, here in this case, I think those who adapt the story are doing it a disservice and deserve to be called to account.
Biography
Activity
Irving Stone is called the master of the biographical genre.
Irving Stone was a founder and member of a large number of literary, scientific veteran societies, including:
- President of the California Writers Guild,
- Vice President of the Y. Debs Foundation,
- Honorary Member of the Berkeley Association of Colleagues,
- Co-founder of the Academy of American Poets, member of the Association of Western American Writers,
- Academy of Political Sciences,
- Society of American Historians, etc.
Stone has been regularly elected to the boards of trustees of a number of California educational institutions. Assisted young writers writing biographical works.
Founded the annual Irving and Jean Stone Literary Award for the best biographical or historical novel.
In an interview, Irving Stone spoke about his work:
Awards
- - Awarded the Spurs of the Society of Writers of Western America.
- - In Rome, he was awarded the Italian Order of Merit.
- - American Women's Gold Trophy Award.
, playwright, screenwriter
novelized biographical novel
Irving Stone (Tennenbaum)(English) Irving Stone listen)) is an American writer, one of the founders of the novelized biographical novel. In total, Irving Stone wrote 25 novels about the lives of great people.
Biography
Irving Stone is called the master of the biographical genre.
Irving Stone was a founder and member of a large number of literary, scientific veteran societies, including:
- President of the California Writers Guild,
- Vice President of the Y. Debs Foundation,
- Honorary Member of the Berkeley Association of Colleagues
- Co-founder of the Academy of American Poets, member of the Association of Western American Writers,
- Academy of Political Sciences,
- Society of American Historians, etc.
During his life, Stone was regularly elected to the boards of trustees of a number of California educational institutions. Stone provided assistance to young writers writing biographical works.
Founded the annual Irving and Jean Stone Literary Award for the best biographical or historical novel.
In an interview, Irving Stone talks about his work:
| I get up every morning at the same time, by half past eight I try to sit down at the table, I work without a break until half past one or until one in the afternoon. Then I have a cheese sandwich, a cup of tea, and an hour of manual labor. After that, I return to the desk, work until six in the evening. I don't believe in inspiration. I only believe that you work and do not think about anything else. You write and write, and in the end something good will come out. |
Biography
- - After graduating from the University of California, he received a bachelor's degree.
- - Started teaching economics at the University of Southern California. Stone was the first graduate to qualify to teach immediately after receiving his Bachelor's degree.
- - Travel to Europe, in particular, to Paris.
- - Moves to New York, where he writes theatrical plays for six or seven years. In total, during this period, Stone wrote 18 plays, two of which were staged on Broadway, but were not successful.
- On February 11, Stone marries Jean Factor, who becomes his assistant with his novels.
- January 7 - Speech at the Washington Library of Congress, in which Stone describes the goals and methods of studying the material, the principles for selecting documents and their analysis. This talk is often referred to as the "Oxford Lecture". The speech was translated into Russian and published under the title "Biographical Tale".
- - Member of the Society of Western Writers American (Western Writers of America).
- - The position of art critic in the newspaper "Los Angeles Time Mirror".
- - Stone received an honorary Doctor of Letters and Doctor of Laws degree from the University of Northern California.
The Stone family spent most of their lives in Beverly Hill in Los Angeles. Stone's children are Paul's daughter and Kenneth's son.
Awards
- - Awarded with spurs from the society of writers of Western America.
- - In Rome, he was awarded the Italian Order of Merit.
- - American Women's Gold Trophy Award.
Stone's remarks
- "A biographer must be a fighter in order to recreate the true face of his hero."
- “For the author of a biographical story, history is not a mountain, but a river. Even when it is no longer possible to find new facts, there is a new, fresh perception, a more modern interpretation that illuminates old story new light and gives it new meaning.
- “Mercy is not a bone thrown to a dog. Mercy is the bone that you shared with her, because you yourself are not hungry less dog”- the words of Jack London from the book “Sailor in the Saddle”.
- "I know that I will die immediately if I stop working" - in the words of Darwin from the book "Origin".
Bibliography
- - The Masquerade of Youth (a collection of Stone's early prose)
- - "False Witness" (about the life of a remote Californian village, the power of money and the collapse of moral principles)
- - "Protection - Clarence Darrow" (about a lawyer who devoted his life to protecting the disadvantaged)
- - “They were in the race too” (the book tells about 19 presidential candidates who were defeated in the elections)
- - "The Immortal Wife, or Jessie and John Fremont" (dedicated to the Fremonts - John, a pioneer and explorer of the Far West, and his wife, Jessie Benton-Fremont)
- - "Frantic Wanderer" (there is a translation of the title as "Rival in the House") (about the life of Eugene Debs)
- - "Earl Warren" (biographical book about the life of Earl Warren Governor of California and Chief Justice of the United States (1953 to 1969))
- - "The Passionate Journey or the Life of an Artist" (about the life and creative pursuits of John Noble)
- - "The First Lady, or Rachel and Andrew Jackson" (about the life of Rachel and Andrew Jackson)
- - "Love is Forever" (about Mary Todd and Abraham Lincoln)
- - “Worthy of my mountains” (the hero of the book is not a separate human person, but a whole geographical region - the Far West of the USA The discovery of the Far West 1840-1900)
- - "Dear Theo: The Autobiography of Vincent van Gogh" (Written and edited by Stone)
- - "I, Michelangelo, the sculptor" (A selection of documents about the life of Michelangelo)
- - "The history of the creation of the Pieta sculpture" (a story about the work of Michelangelo)
- - "Those who love" (dedicated to John Adams (1735-1826) - the second president of the United States, a participant in the War of Independence in North America 1775-1783, and also about the fathers of the American nation: John Hancock, Thomas Jefferson, George Washington, Benjamin Franklin)
- “There was light here. Autobiography of the University of Berkeley" (documentary book about the University of Berkeley)
- - "Greek Treasure" (about the life of Heinrich Schliemann)
- - "Origin" (about the life of Charles Darwin)
Stone also wrote the documentary From mud flat cove to gold to statehood - California 1840-1850.
O early history California "From mud flat cove to gold to statehood - California 1840-1850" in 1999, Non-Fiction about the history of the University of Berkeley There that light - autobiography of a university: Berkeley (1970), also Non-Fiction
Filmography
- - Arkansas Judge - (based on the short story of the same name by Irving Stone)
- - Magnificent Doll - (based on the novel of the same name by Irving Stone. Here Stone acted as a screenwriter of the film.)
- - The President's Lady - (film novella "The President's Lady" based on the book by Irving Stone "The First Lady, or Rachel and Andrew Jackson.")
- - General Electric Theater - (Writer for two episodes in the television series General Electric Theater.)
- - Lust for Life - (film novella "Lust for Life" / "Lust for Life" based on the book of the same name by Irving Stone.)
- - The Agony and the Ecstasy - (film novella "Torments and Joys" / "The Agony and the Ecstasy" based on the book of the same name by Irving Stone.)
- According to Stone himself, he became a writer himself thanks to Jack London's book "Martin Eden"
- Lust for Life, about the life of Vincent van Gogh, was rejected by 17 publishers before being published in 1934.
- In The Furious Wanderer (a literal translation of the novel's title "The Adversary in the House"), Stone portrays Eugene Debs' wife, Kate Debs, as being so hostile to her husband's socialist actions that it inspired the novel's title. Kate Debs believed that her husband's activities threatened the status of their family and contradicted her understanding of the respectability of the middle class, to which she ranked her family.
Links
- Audio recording of an interview given by Irving Stone in 1985
Wikimedia Foundation. 2010 .
- Irving Langmuir
- Irving Washington
See what "Irving Stone" is in other dictionaries:
Stone, Irving- Wikipedia has articles about other people with that last name, see Stone. Irving Stone Irving Stone ... Wikipedia
STONE (Stone) Irving - (1903 89) American writer. Romanized biographies of W. Van Gogh (Lust for Life, 1934), J. London (Sailor in the Saddle, 1938), Michelangelo (Torments and Joys, 1961), C. Darwin (Origin, 1980) are distinguished by historical and psychological ... ... Big Encyclopedic Dictionary
Stone Irving- Stone (Stone) Irving (b. 14.7.1903, San Francisco), American writer. Graduated from the University of California. literary activity started in the 30s. Popular are his novelized biographies of van Gogh (“Lust for Life”, 1934, Russian translation 1961), J ... Great Soviet Encyclopedia
About the lives of great people.
| Irving Stone | |
|---|---|
| Irving Stone | |
| Name at birth | Irving Tennenbaum |
| Date of Birth | the 14 th of July(1903-07-14 ) […] |
| Place of Birth | San Francisco, US |
| Date of death | August, 26th(1989-08-26 ) […] (86 years old) |
| A place of death |
|
| Citizenship (citizenship) | |
| Occupation | novelist, playwright, screenwriter, biographer |
| Direction | biographical novel |
| Language of works | English |
| Awards | |
| Works on the site Lib.ru | |
Biography
ActivityIrving Stone is called the master of the biographical genre. Irving Stone was a founder and member of a large number of literary, scientific veteran societies, including:
Stone was regularly elected to the boards of trustees of a number of California educational institutions. Assisted young writers writing biographical works. Founded the annual Irving and Jean Stone Literary Award for the best biographical or historical novel. In an interview, Irving Stone spoke about his work:
Awardssayings
Bibliography
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Irving Stone
Origin
To readers
Much has been written about Darwin. And not only scientific research, but also works of art, the authors of which sought to comprehend inner world a man who made a revolution in biology. The images of great people always attract writers with the opportunity to penetrate the secrets of their mental activity, actions, decisions, which sometimes have a decisive influence on the further course of politics, science, and culture. And it is not surprising that such a prominent master of fiction and biographical literature as Irving Stone turned to the life of Charles Darwin.
We know Irving Stone from his novels about Van Gogh, Jack London, Michelangelo, Heinrich Schliemann, translated into Russian. It seems that Darwin did not accidentally replenish the gallery of great people who attracted the attention of the writer. Stone himself, during a recent stay in Moscow, explained his literary interest in the founder of evolutionary theory by the fact that it was in Darwin that he saw a person, both in education and in character, the least suitable for the great mission that fell to his lot. After all, he happened to overthrow the age-old ideas, consecrated by the authority of religion, moreover, to oppose scientific facts religious dogmas, to come into conflict with the theologians, who still have not forgiven him for this step, amazing in its courage.
But Darwin was first and foremost a scientist. And in the name of scientific truth, he sacrificed his peace, personal well-being, established beliefs. This was his scientific achievement.
Irving Stone once said that a writer is "an archaeologist who reveals the layers of humanity." This definition, perhaps, applies more to those of them who work in the difficult genre of artistic biography. And this is clearly seen in the book that you are about to read. true to his artistic method, Stone carefully and scrupulously tries to reconstruct literally everything connected with the life of his hero, to penetrate into the structure of his thinking, into the logic of his behavior. He does not change the formulated principle that the author of a literary biography should "see with his own eyes the places where his hero lived and acted, see the sun that shone on him, the ground on which his foot trod.-..". He must "get acquainted with the social, psychological, spiritual, aesthetic, scientific and international atmosphere in which his hero lived and under the influence of which his line of behavior was developed," in other words, "be imbued with the spirit of the era he is going to reflect."
At the same time, it should be borne in mind that his work is not a scientific or popular science biography of Charles Darwin. This is a biography of art. Therefore, one should not look for exact scientific assessments and formulations in the book. Quite natural are some subjective characteristics that may not be consistent with generally accepted ones. These are the laws of the genre. We are interested in the main thing - the life and work of the scientist, the creator of the science of the development of the organic world, which dealt a crushing blow to religious beliefs about the divine creation of the universe. This is all the more important because the fight against Darwinism is still going on in the West, that obscurantists in the United States of America demand a ban on the teaching of evolutionary theory in schools, persecute advanced scientists who challenge the ignorance and superstitions that are cultivated by the so-called fundamentalists. It is appropriate to note that Irving Stone, despite his venerable age, is actively fighting to promote Darwinism in the United States, giving lectures in which he defends the correctness of the evolutionary doctrine.
For the Soviet reader, a new meeting with Irving Stone is not only of purely literary, but also of educational interest. An artistic biography of Charles Darwin will allow you to better know the story of birth scientific theory which crushed the religious views and ideas about the world and man that had prevailed for centuries.
Academician B. M. KEDROV
"Find me at least one sane person"
Examining himself in a mirror framed in mahogany, he dipped the brush into the side-painted blue flowers razor glass, which stood on a semicircular shelf, poured a little hot water from a copper jug, lathered the fair skin of his face, and only after that opened a sharply ground steel razor with an ebonite handle.
For twenty-two-year-old Charles Darwin, shaving was a pleasant and not too burdensome procedure, since his tan sideburns took up almost half of his face. All he had to do was shave the lower part of his ruddy cheeks and rounded chin. His red lips seemed to be somewhat small compared to their unusually large ones. brown eyes, in which fiery sparks lit up, - with eyes that vigilantly grasped and imprinted everything around.
He wiped the foam from his face, took out two combs trimmed with silver, and with a sharp movement parted his long reddish hair into a side parting, first at right side, then, throwing a thick mop of hair, let it fall in a graceful wave on the left ear.
Taking a starched white shirt from a chest of drawers of walnut, Charles fastened on it a high, tight collar, the ends of which reached to the sideburns, and tied a dark brown tie around his neck in a wide knot. He used to shave early in the morning as soon as he got up, but this morning he went out for the whole day in a skiff to fish and wander along the banks of the Severn in order to add to his collection. Therefore, shaving had to be postponed until the evening dressing, when a guest was expected in the house - Professor Adam Sedgwick.
From the wide staircase came the intoxicating aroma of goose pie, a favorite dish they had in Shrewsbury: Annie the cook invariably baked it on occasions when eminent guests were expected for dinner. a large eight-burner oven, heated with wood and charcoal. And now, although Annie's spacious kitchen was in another part of the house, in his mind he imagined how she dealt with a huge goose, pulling out the bones from it, then starting to work on a large chicken with which the goose was stuffed; next comes the turn of the marinated tongue, placed inside the chicken, and all this is covered with a thick layer of dough, generously flavored with nutmeg, pepper and butter.
Marianne, Charles' older sister, married a doctor at twenty-six quite early and moved to live with him in Overton. But even before, after the death of her mother, she was not eager to run the household in Mount, their estate, although at her nineteen years she could well manage it. She shifted all household chores to submissive shoulders. middle sister seventeen year old Caroline. After her marriage, having given birth to two boys, Marianne hardly visited her parents' house, and only occasionally exchanged letters with her sisters.
As hostess, Caroline tried unsuccessfully to teach Annie to close the kitchen door when she was cooking. But Annie, as a true farmer's daughter, a native of Shropshire, flatly refused.
“So the family shouldn’t have to guess what’s for dinner, right?” Yes, if you want to know, ma'am, my kitchen is the most important place in Mount!
Dr. Robert Darwin admonished his daughter:
“You won't find another cook like Annie. She idolizes everything that is connected with pies, and kitchen flavors for her are better than any others. When I go on calls, I always know what kind of cake she is making - with bird giblets or duck, with pigeon or herring and potatoes. And while I go from one patient to another, it keeps me going.
When it came to food, Dr. Darwin was not so easy to please. A man of immense size, he weighed three hundred and twenty pounds - only twenty pounds less than his father, Dr. Erasmus Darwin, that real Gargantua, famous throughout England for his collections of poems, treatises on natural philosophy, medicine, the laws of organic life and ... for his stomach , - so that its owner could sit at the dining table, in the latter it was necessary to make a special semicircular recess.
In the meantime, Charles produced from the wardrobe a blue velvet waistcoat with wide lapels, then a brown suit with even wider lapels, long tails and a stand-up collar. From the bottom of the chest of drawers he took a pair of dress shoes, placed them before him on the fleecy Axminster carpet, and laid out his clothes on the bed with large brass knobs. The gold watch, which he usually carried in the pocket of his waistcoat, was already hanging on a thin chain around his neck.