This second installment in a chronologically arranged, three-part sequence continues the author's examination of Anglo-American literati who, in the later nineteenth and twentieth centuries, turned — in acts of combined xenophilia and xenophobia — to Russian literature and literary theory in order to escape the dominant influence of avant-garde movements in France. These Anglophone writers found in Russian exemplars a responsible, morally rigorous, and pragmatic, yet philosophically sophisticated, alternative to what they described as the amoral, superficial, and (...) pretentious aestheticism of French literary culture. Part 2 treats the poetry and criticism of the English “Movement” poet Donald Davie in light of his turn, in 1958, toward the example of Boris Pasternak as a way of escaping the influence of French Symbolist poetics and the post-Symbolist poetics of anglophone modernism. Although Davie understood that Pasternak was as much a modernist as T. S. Eliot or Ezra Pound, he also argued that the Russian's poetry, unlike theirs, sought, on explicitly moral grounds, to maintain conventional syntax and purity of diction, with the result that Pasternak's verse communicates with the reader more as prose than as music does. (shrink)

Sots-art, the mock use of the Soviet ideological clichés of mass culture, originated in Soviet nonconformist art of the early 1970s. An original and provocative guide, Endquote: Sots-Art Literature and Soviet Grand Style examines the conceptual aspect of sots-art, sots-art poetry, and sots-art prose, and discusses where these still-vital intellectual currents may lead.

In lieu of an abstract, here is a brief excerpt of the content:“We all love with the same part of the body, don’t we?”Iuliia Voznesenskaia’s Zhenskii Dekameron, New Women’s Prose, and French Feminist TheoryYelena Furman (bio)Starting out as a poet who eventually turned to fiction, Iuliia Voznesenskaia was also one of the main figures of the Soviet feminist movement, a fact that makes her biography both unusual and courageous. In the 1970s, Voznesenskaia’s involvement with the dissident movement in Leningrad (...) resulted in several arrests, imprisonment, and time in the camps.1 Although she was not initially interested in women’s issues, her incarceration in all-women’s camps and prisons convinced her that “the situation of women in our country demands special attention” (“Zhenskoe dvizhenie v Rossii” [“The Women’s Movement in Russia”] 41). Along with several other women dissidents, she founded the Soviet feminist movement, putting out the samizdat women’s journal Zhenshchina i Rossiia (Woman and Russia), which precipitated immediate reprisals from the KGB. A women’s club, Mariia, and a journal by the same name followed, as did more KGB reprisals. For her feminist activity, Voznesenskaia was expelled from the Soviet Union in 1980, settling in West Germany.2In 1985, in West Germany, Voznesenskaia wrote her first and best-known novel, Zhenskii Dekameron (The Women’s Decameron). The novel is set in a Leningrad maternity ward containing ten new mothers from different backgrounds with different life experiences: Larisa, Emma, Natasha, Nelia, Galina, and Valentina are educated and all have careers except Galina, whose occupation, admittedly strange for a feminist novel, seems to be a dissident’s wife; Ol’ga works in a shipyard; Irishka is a secretary; Al’bina is an Aeroflot flight attendant doubling as an escort on the KGB’s payroll; Zina is homeless and has served time in the camps; Valentina is a Party worker, whereas Galina is part of the dissident community. Quarantined together for ten days because of a spreading infection and inspired by Emma’s reading of Boccaccio’s Decameron, the women begin to tell each other stories to pass the time. As its title makes clear, Voznesenskaia’s novel is heavily indebted to Boccaccio’s, borrowing its structure and many of its themes, such as an emphasis on storytelling and sexual explicitness. The humor and poignancy of the women’s stories make it a highly enjoyable read, and the focus on female sexuality and the author’s play with the narrative set this novel apart from other Soviet writers’ works.3 The novel also features what is surely a unique occurrence in Russian and Soviet literature: an openly feminist character (Larisa), referred to by the authornarrator as “zhenshchinoi vpolne emansipirovannoi, mogushchei ukrasit’ soboi liuboe zapadnoe feministicheskoe obshchestvo” [“a completely emancipated woman, capable [End Page 95] of adorning any Western feminist group”] (13), who is moreover depicted in a wholly positive light.4Yet despite enjoying a modicum of success, including being translated into several languages and staged as a play, Zhenskii Dekameron remains an under-read and underrated work.5 The reasons for its relative obscurity are closely allied with Voznesenskaia’s political activities in the 1980s. Exiled abroad for being politically undesirable to Soviet authorities, she could not have her work published in the Soviet Union; rather, the novel came out in Russian in Israel in 1987 (Curtis 186n2).6 The lack of visibility from which she suffered in her native country changed only in the (post)glasnost’ period: in 1991, the novel was published in Russian in Tallinn, and in 1992, in Moscow.7 Despite being able to be published, however, Zhenskii Dekameron seems not to have made a strong impact on either readers or critics, and there does not appear to be any discussion of it in Soviet/ Russian literary journals.The novel likewise suffers from a lack of familiarity in the West. The interest Voznesenskaia generated among Western European and American feminists in the early 1980s was for her feminist activism in the Soviet Union, which preceded her novel writing. Zhenskii Dekameron seems to have made a modest impact on readers; scholars, too, discuss it only occasionally. The most comprehensive treatment of the work to date has been Jerzy Kolodziej... (shrink)

One fall evening in 1880, Russian painter Ilya Repin welcomed an unexpected visitor to his home: Lev Tolstoy. The renowned realists talked for hours, and Tolstoy turned his critical eye to the sketches in Repin's studio. Tolstoy's criticisms would later prompt Repin to reflect on the question of creative expression and conclude that the path to artistic truth is relative, dependent on the mode and medium of representation. In this original study, Molly Brunson traces many such paths that converged (...) to form the tradition of nineteenth-century Russian realism, a tradition that spanned almost half a century--from the youthful projects of the Natural School and the critical realism of the age of reform to the mature masterpieces of Tolstoy, Fyodor Dostoevsky, and the paintings of the Wanderers, Repin chief among them. By examining the classics of the tradition, Brunson explores the emergence of multiple realisms from the gaps, disruptions, and doubts that accompany the self-conscious project of representing reality. These manifestations of realism are united not by how they look or what they describe, but by their shared awareness of the fraught yet critical task of representation. By tracing the engagement of literature and painting with aesthetic debates on the sister arts, Brunson argues for a conceptualization of realism that transcends artistic media. Russian Realisms integrates the lesser-known tradition of Russian painting with the familiar masterpieces of Russia's great novelists, highlighting both the common ground in their struggles for artistic realism and their cultural autonomy and legitimacy. This erudite study will appeal to scholars interested in Russian literature and art, comparative literature, art history, and nineteenth-century realist movements. (shrink)

This article discusses the body of work produced in the 1920–1930s by the Cosmist philosophers Alexander Gorsky, Nikolai Setnitsky, and Valeryan Muravyov as a representative case of the interaction between philosophy and literature typical for the Russian culture in the nineteenth to twentieth centuries. The article demonstrates how the synthesizing nature of the Cosmists’ creative thought, along with the multiplicity of their cultural roles, led to their use of genre forms which combined two types of writing, the literary (...) and the philosophical, namely, philosophical mystery plays, philosophical poems, aphorisms, and fragments. In addition, their aesthetic views and creative productions are shown in connection with the philosophical legacy of Nikolai Fedorov, who explored the notions of “projective culture,” of history as salvatory work, and of art as a re-creation of life. This study of poetry and prose of Gorsky, Setnitsky and Muravyov reveals the links between their aesthetic views, which were based on the notion of “cultural Central Image”, and their creative practices. (shrink)

The term personality (ličnost') appears in Russian theological literature in the first half of the 19th century under the influence of secular writers indebted to Romantic ideology. Confronted to person it gradually acquires somatic connotations and generally means person inarnate, creative individuality. Asomatic attitude is reflected in Nesmelov. In soteriological perspective, as Sergius Stragorodskij suggests, personality should be subjectively abandonded in order to be finally glorified by God.

Power, Prose, and Purse is an edited collection of essays that draw connections between literature, economics and law. The essays discuss novels that explore the time period between the Industrial Revolution and the Great Depression and analyze the insights that novelists may offer to law and economics, while noting the tensions among these paradigms.

The problem of teaching and learning of Russian language and literature in schools with native language of teaching related to the implementation of the principle of dialogue between cultures. The article draws on the results of the survey of graduates of the two high schools of Kazan: School #2 with teaching in Tatar language and school #37 with teaching in Russian-language. The results of the survey are associated with the problems of bilingualism, multiculturalism and bimentality. Graduates from (...) Tatar language gymnasium are bilingual and fluent in Russian and Tatar languages. 97% of graduates of Tatar gymnasium speak, read and write free in their native language and 96% in Russian. Bilingualism acts in this case like one of the manifestations of inter-ethnic interaction, a particular manifestation of biculturalism. In the National School dialogue of cultures passes through a system of parallel study of both Russian and Tatar languages and literatures: the formation of a bicultural, bilingual, bimental personality able to perceive not only the native culture, but also other culture as the native is taking place. (shrink)

Known today mostly as an author of Romantic short stories and fairy tales for children, Prince Vladimir Odoyevskiy was a distinguished thinker of his time, philosopher and bibliophile. The scope of his interests includes also history of magic arts and alchemy, German Romanticism, Church music. An attempt to understand the peculiarity of eight specific modes used in chants of Russian Orthodox Church led him to his own musical theory based upon well-known writings by Zarlino, Leibniz, Euler, Prony. He realized (...) his theoretical ideas in an enharmonical piano with nineteen notes for every octave. His call for a different musical scale remained largely ignored in the nineteenth century, until the topic was raised anew by twentieth-century composers and musicians. (shrink)

According to the Russian tradition literature is something more than only literature. In the special situation, the writers take over functions of scientific disciplines such as philosophy, ethics, the press or the political parties. These trends intensify during critical periods when Russia has to solve a problem of its national identity. The aim of the present text is an attempt to present how contemporary Russian “patriotical” literature is insistently fighting to keep monopoly on spiritual leadership (...) in democratizing Russia. Petrifying specific tradition, the writers are diagnosing all signs of evil, tracing either actual or potential wrongdoers. Their wish is to realize the vision of an autarchic Russia as a special being. Literature not only supports ideology—especially conservative, right—wing ideology, but also becomes the ideology itself. (shrink)

The formation of public opinion in different countries of the world is important for the formation of global media discourse, since ambiguous opinions are produced in the Asian media, it is worth investigating and studying the linguistic nature of journalistic methods of influencing the audience and the peculiarities of communication with readers. The study aimed to decipher the explicit and implicit linguistic techniques employed to construct political narratives in the media domains of China and Japan, while also examining existing research (...) in the realm of media language. The methodological basis of the work is analytical-synthetic, comparative, contextual and lexical-semantic analysis, which were used in a complex. In this study, the peculiarities of the media discourse of China and Japan were determined based on the analysis of the objectivity of the depiction of events related to the war in Ukraine, and an idea was formed about the characteristics of the narratives that were laid at the level of explicit and implicit meanings, decoded using the study of linguistic means. Attention is focused on the contrast between the Chinese and Japanese positions regarding the war in Ukraine in the media discourse and the peculiarities of information coverage (neutrality or stylistic marking, the choice of lexical-semantic means, the level of artistic imagery). A contextual analysis of Chinese and Japanese online newspapers, which form the modern Asian media field, was carried out, which journalistic techniques are used and which linguistic means are used to achieve the basic communicative goal. This research can be used for further linguistic investigations regarding the formation of political narratives in different regions and countries of the world, in particular regarding the war in Ukraine, conducting a comparative analysis of the rhetoric of public opinion leaders and their influence on the general media discourse. (shrink)

This book consists of prose pieces that find a new form of expression for philosophy, an expression showing the inseparability of idea and prose--the very form of truth.

In this article, I discuss a relatively recent development of Russian interest in Kyiv as a place with symbolic and historical significance for Russian history, which makes it a desirable target in an ongoing war. I trace the changing attitude of Russian travelers towards Kyiv’s history from the mid-eighteenth to the early nineteenth century. Earlier generations of visitors came to Kyiv primarily to visit holy places, with no knowledge of the city’s historical significance, and because it was (...) a more affordable alternative to travel abroad. However, at the end of the eighteenth century, after Catherine II’s royal visit, the publication of guidebooks, and the ascend of history as a discipline, and interest among Russian educated elites, Kyiv’s past became an obsession for many Russian travelers. Their travel accounts were motivated by a search for the past glory of Kyiv. For Russian travelers and authorities, history became one of the key means of appropriation of Kyiv, with a new generation of travelers searching for material evidence connecting Kyivan Rus to the Russian past. However, they were unable to find much material evidence and often used their imagination to present Kyiv as a site of Kyivan Rus history, ignoring the city’s non[1]Russian heritage. (shrink)

Essays probe the culture that spawned the great novels of Dostoevsky and explore the author's influence on world literature.

In recent years interest in the thought of Kierkegaard has grown dramatically, and with it the body of secondary literature has expanded so quickly that it has become impossible for even the most conscientious scholar to keep pace. The problem of the explosion of secondary literature is made more acute by the fact that much of what is written about Kierkegaard appears in languages that most Kierkegaard scholars do not know. Kierkegaard has become a global phenomenon, and new (...) research traditions have emerged in different languages, countries, and regions. The present volume is dedicated to trying to help to resolve these two problems in Kierkegaard studies. Its purpose is, first, to provide book reviews of some of the leading monographic studies in the Kierkegaard secondary literature so as to assist the community of scholars to become familiar with the works that they have not read for themselves. The aim is thus to offer students and scholars of Kierkegaard a comprehensive survey of works that have played a more or less significant role in the research. Second, the present volume also tries to make accessible many works in the Kierkegaard secondary literature that are written in different languages and thus to give a glimpse into various and lesser-known research traditions. The six tomes of the present volume present reviews of works written in Catalan, Chinese, Czech, Danish, Dutch, English, Finnish, French, Galician, German, Greek, Hebrew, Hungarian, Italian, Japanese, Norwegian, Polish, Portuguese, Romanian, Russian, Slovak, Spanish, and Swedish. (shrink)

No other thinker so engaged the Russian cultural imagination of the early twentieth century as did Friedrich Nietzche. The Revolution of Moral Consciousness shows how Nietzschean thought influenced the brilliant resurgence of literary life that started in the 1890s and continued for four decades. Through an analysis of the Russian encounter with Nietzsche, Edith Clowes defines the shift in ethical and aesthetic vision that motivated Russia's unprecedented artistic renascence and at the same time led its followers to the (...) brink of cultural despair. Clowes shows how in the last years of the nineteenth century a diverse array of writers and critics discovered Nietzsche's thought, embracing or repudiating it with equal vigor. The literary storm brewing around Nietzsche and the concurrent relaxation of censorship combined to attract a public eager to follow the new intellectual fashion. Young writers, such as Andreev and Kuprin, welcomed the idea of the "superman" as a promising path to personal fulfillment. The tragic fates of their protagonists and the alluring gospel of the vulgar Zarathustra-like characters of such bestselling authors as Boborykin, Artsybashev, and Verbitskaia found enthusiastic, if indiscriminating, audiences ready to be "taught" how to "find themselves." By considering this Nietzschean cult, Clowes draws fresh insight into the nature of the budding popular-culture industry in Russia and the fast-growing reading public. From this ferment emerged the greatest Russian literary voices of the early twentieth century. The revolutionary romantics, Gorky and Lunacharsky, sought in Nietzsche's writing a new vision of total social and cultural change. Merezhkovsky led a generation of mystic symbolists in the search for a literary myth of resurrection. Ivanov, Blok, and Belyi appropriated the image of the "crucified Dionysus" as the central symbol of spiritual transfiguration. Their encounters with Nietzschean thought disclose an even more profound creative struggle with their own cultural past and its established formulations of nation and individual, culture and history. Clowes uses the term future anxiety to speak of a creative mentality that strove to assert itself by diminishing the impact of powerful literary precursors, such as Tolstoi, Dostoevsky, and Solovyov, and opening to the imagination the vision of a future full of vast creative possibility. (shrink)

In this book is the first meeting of Andreĭ Astvat︠s︡aturov the prose writer with Andreĭ Astvat︠s︡aturov the philologist. In this book of essays "Chaos and Symmetry", Astvat︠s︡aturov, as befits a philologist, is a sophisticated researcher and connoisseur of literature: classical Anglo-American and modern Russian. He will explain why in Oscar Wilde's The Canterville ghost" the ghost is an artist, how William Golding's "Lord of the Flies" echoes ancient tragedy, and why Henry Miller peered into the void. He (...) writes about the features of the modern literary process as well as prose by Mikhail Elizarov, Roman Senchin, German Sadulaev, and other famous authors. Personal experience is mixed with literary observations. Biographical details are a continuation (or, conversely, the source) of the writers' work, and all together it forms an elegant mosaic, not devoid of some practical usefulness: it is helpful to look at the tips and tricks of others. (shrink)

The essay is a phenomenological study of Russian literature as a point of critique of two lifeworlds: the traditional Russian Feudalism with its “decadent” aristocracy, and the modern Western Enlightenment with its values, specifically the “subjective” construction of val-uations of all environment and human activities. Russian writers, from Turgenev all the way to Gogol found themselves between those two worlds and sought an answer which of them answers the existential question of human self-worth as an “eidetic” (...) criterion of all values and life worlds, given in direct awareness. Self-worth does not belong to the world of categories, but is apparent in active commitments, such as being truthful, honorable, other and self respect‒dimensions absent among modern values.El ensayo es un estudio fenomenológico de la literatura rusa como un punto de crítica de dos mundos: el Feudalismo ruso tradicional con su aristocracia "decadente" y la Ilustración occidental moderna con sus valores —concretamente, la construcción "subjetiva" de evaluaciones de todo tipo de ambiente y actividades humanas. Los escritores rusos, desde Turgenev hasta Gogol, se encontraron entre esos dos mundos y buscaron una respuesta que respondiera a la cuestión existencial de la auto-estima humana como un criterio "eidético" de todos los valores y mundos de la vida, dado en conciencia directa. La autoestima no pertenece al mundo de las categorías, sino que se manifiesta en los compromisos activos, tales como ser veraz, ser honorable, respeto propio y ajeno —dimensiones ausentes entre los valores modernos. (shrink)

The early work of Mikhail Bakhtin is notable for its emphasis on questions in ethics and philosophy. Focusing on these early writings, though also informed by Bakhtin's later works of the early 1970s, the authors in this volume explore the human and prosaic dimensions of ethical and moral dilemmas, whether in the philosophical concerns of the Young Hegelians, the iconography and implicit doctrine of Christian redemption in Dostoevsky's Crime and Punishment, in testimonial accounts of political martyrs in Latin America, or (...) in the nationalist features of Russian Village Prose. Incorporating a variety of disciplinary backgrounds into their essays, including theater arts, philosophy, history, women's studies, Latin American literature, and Russian literature, the authors take Bakhtin's ethics, as articulated in his writings of 1919-1929, and extend them into areas of thought that themselves enter into fruitful dialogue with his theoretical positions, endeavoring at all times to remain cognizant of both Russian and Western views of Bakhtin. The essayists' interactions attest to the productivity of any thoughtful encounter with Bakhtin's work and to the transformational nature of his work's impact on the myriad disciplines that it affects. Bakhtin's thought exerted a profound, systemic influence on many areas of knowledge as they have been configured in the twentieth century and, as this volume amply demonstrates, promises to do the same for the twenty-first. (shrink)

The paper consists of brief literature review of fundamentals and ways of the Russian approach to the studying of the doctrine of love in Latin Patristic IV-V centuries. This topic is peripheral theme for the Russian science; however, it has some development. The literature review describes the most popular ideas and the reasons for their choice.

The present article provides an overview of the key subjects of scholarly research in the areas of epistemology and the philosophy of science and technology conducted in Russia between the 1980s and the present. These disciplines are shown to be deeply rooted in Soviet philosophy and still developed by contemporary Russian philosophers, with both the historical experience of the Russian philosophical thought and foreign conceptions and schools, classical as well as modern, drawn upon. The corollary is that epistemology (...) and the philosophy of science have been the most widely studied philosophical disciplines in Russia over the last couple of decades and retain this status to date. (shrink)

The current study explores the contribution of cultural mediators to the dissemination of Russian literature in Greece between 1893 and 1917. More precisely, it examines the case of F. M. Dostoevsky’s reception during this time frame, which can be considered as the period of the writer’s introduction and beginning of his establishment among the Greek readership. The focus is on two types of mediators with a significant influence on the fortune of Dostoevsky and other Russian writers in (...) Greece. The two main groups investigated more closely are Russian-speaking mediators and Western-oriented mediators. The study aims to discuss some of the following questions: What are the main characteristics of the groups in question? What are the differences between their roles? How did their critical and translational engagement affect Dostoevsky’s reception? It should be noted that the current study presents part of the results of the author’s ongoing doctoral research project on the Greek reception of F. M. Dostoevsky. (shrink)

A remarkable volume, the Russian avant-garde and radical modernism brings together the most significant movements and figures in Russian experimental art, cinema and literature of the early twentieth century (both pre-Soviet and Soviet) and presents them in commentary by leading scholars in the field" -- p. [4] of cover.

The article presents an analysis of the existential paradigm of M. Lermontov's creativity in the light of the existential theories of S. Kierkegaard and K. Jaspers, which is considered in the context of the cultural transition in Russian literature of the 1830s-1840s. It is argued that Lermontov radically changed the nature of his literary activity by the mid-1830s, overcoming his own existential ambivalence and abandoning the subjective emotionality and exoticism of his youthful poetry in favor of objective observations (...) and research of the surrounding world. Lermontov was aware of his existential ambivalence and sought to overcome this state in order to achieve cultural integrity, which should be considered as one of his main values. Lermontov's works reflect the concept of integrity as the integration of culture through a set of prevailing norms and ideals, as well as the feeling that this integrity was disintegrating in transitional times. This state of affairs caused a sense of disintegration in Lermontov, which is similar to the borderline situation of Jaspers. Lermontov's works illustrate the loss of cultural ideals with the decline of Romanticism. But rejecting the ideals of Romanticism, Lermontov conveys the feeling that post-Romantic disappointment generated cynicism and distorted thinking. The novel "The Hero of Our Time" has become the embodiment of such shortcomings. Lermontov's works do not belong to romanticism, nor to protorealism, nor to any combination of both. But Lermontov played his transitional role superbly. Not only did he raise questions about Romanticism that realism would later make its own, he also shed light on Romanticism itself and how it was fading. Lermontov showed how difficult it is for an artist who is aware of his own existential ambivalence to create and live in a transitional time devoid of a unifying sense of cultural integration and integrity, illustrating how badly a creative personality needs such integration and integrity. (shrink)