Tora Lane – författare

This book traces the originality of Andrey Platonov’s vision of the Revolution in readings of his works. It has been common in Platonov scholarship to measure him within the parameters of a political pro et contra the October Revolution and Soviet society, but the proposal of this book is to look for the way in which the writer continuously asked into the disastrous aspects of the implementation of a new proletarian community for what they could tell us about the promise of the Revolution to open up the experience of the world as common. In readings of selected works by Andrei Platonov I follow the development of his chronicle of revolutionary society, and from within it the outline of the forgotten utopian dream of a common world. I bring Platonov into a dialogue with certain questions that arise from the philosophy of Martin Heidegger and that were later re-addressed in the works of Maurice Blanchot, Georges Bataille and Jean-Luc Nancy, related to the experience of the modern world in terms of communality, groundlessness, memory, interiority. I show that Platonov writes the Revolution as an implementation of common being in society that needs to retrieve the forgotten memory of what being in common means.

This book traces the originality of Andrey Platonov’s vision of the Revolution in readings of his works. It has been common in Platonov scholarship to measure him within the parameters of a political pro et contra the October Revolution and Soviet society, but the proposal of this book is to look for the way in which the writer continuously asked into the disastrous aspects of the implementation of a new proletarian community for what they could tell us about the promise of the Revolution to open up the experience of the world as common. In readings of selected works by Andrei Platonov I follow the development of his chronicle of revolutionary society, and from within it the outline of the forgotten utopian dream of a common world. I bring Platonov into a dialogue with certain questions that arise from the philosophy of Martin Heidegger and that were later re-addressed in the works of Maurice Blanchot, Georges Bataille and Jean-Luc Nancy, related to the experience of the modern world in terms of communality, groundlessness, memory, interiority. I show that Platonov writes the Revolution as an implementation of common being in society that needs to retrieve the forgotten memory of what being in common means.

This highly original collection of essays contributes to a critique of the common understanding of modernity as an enlightened project that provides rational grounds for orientation in all aspects and dimensions of the world. An international team of contributors contend that the modern principles of foundation show in themselves rather how modernity is disorienting itself. The book brings together discussions on the writings of philosophers who treat more systematically the questions of foundation and orientation, such as Kant, Nietzsche, Husserl, Heidegger, Pascal, and Patocka, and studies of literary works that explicitly thematize this question, such as Novalis, Hölderlin, Beckett, Platonov, and Benjamin. This multi-disciplinary approach brings to the fore the paradox that modern figures of grounding and orientation unground and disorient and demonstrates a critical path to review current understandings of modernity and post-modernity.

This highly original collection of essays contributes to a critique of the common understanding of modernity as an enlightened project that provides rational grounds for orientation in all aspects and dimensions of the world. An international team of contributors contend that the modern principles of foundation show in themselves rather how modernity is disorienting itself. The book brings together discussions on the writings of philosophers who treat more systematically the questions of foundation and orientation, such as Kant, Nietzsche, Husserl, Heidegger, Pascal, and Patocka, and studies of literary works that explicitly thematize this question, such as Novalis, Hölderlin, Beckett, Platonov, and Benjamin. This multi-disciplinary approach brings to the fore the paradox that modern figures of grounding and orientation unground and disorient and demonstrates a critical path to review current understandings of modernity and post-modernity.

This highly original collection of essays contributes to a critique of the common understanding of modernity as an enlightened project that provides rational grounds for orientation in all aspects and dimensions of the world. An international team of contributors contend that the modern principles of foundation show in themselves rather how modernity is disorienting itself. The book brings together discussions on the writings of philosophers who treat more systematically the questions of foundation and orientation, such as Kant, Nietzsche, Husserl, Heidegger, Pascal, and Patocka, and studies of literary works that explicitly thematize this question, such as Novalis, Hölderlin, Beckett, Platonov, and Benjamin. This multi-disciplinary approach brings to the fore the paradox that modern figures of grounding and orientation unground and disorient and demonstrates a critical path to review current understandings of modernity and post-modernity.

Anton Tjechov brukar kallas världens bäste novellist genom tiderna. Det är med sin prosa i det kortare formatet som han på ett avgörande vis influerat författare som Virginia Woolf, Franz Kafka, James Joyce och Ernest Hemingway. Utöver den djupt inkännande reflektionen av det mänskliga psyket finns hos Tjechov en tonkänslighet i språket som få författare kunnat mäta sig med. Denna samling innehåller ett urval av Tjechovs mest hyllade noveller, i svenska översättningar av Asta Wickman, Ellen Rydelius, Staffan Dahl och Hjalmar Dahl. ANTON TJECHOV [1860-1904] var en rysk författare och läkare som räknas till en av giganterna i den moderna världslitteraturen, och den viktigaste författaren under de sista åren av vad som kallats guldåldereran i rysk litteratur, med föregångare som Tolstoj och Dostojevskij. Flera av modernismens mest centrala författare, som Joyce och Faulkner, anger Tjechov som en av sina största inspirationskällor.

Nyskrivet förord av litteraturforskaren och slavisten Tora Lane till Ivan Turgenjevs Fäder och söner. Om Fäder och söner: När sonen kommer hem med sin akademiska examen har han med sig en vän som gör familjen mycket illa till mods. Denne vän tycks inte respektera några auktoriteter eller principer alls. Ivan Turgenjevs mästerverk Fäder och söner [1862], om den eviga konflikten mellan generationer och om ett samhälle i sociala och kulturella omvälvningar, chockade den ryska offentligheten när den kom. Och Turgenjevs mest berömda roman känns lika oförvägen i dag som när läsarna för första gången mötte dess nihilistiske hjälte.

Nyskrivet förord av Tora Lane till Anton Tjechovs Damen med hunden och andra noveller. Om Damen med hunden och andra noveller: Anton Tjechov brukar kallas världens bäste novellist genom tiderna. Det är med sin prosa i det kortare formatet som han på ett avgörande vis influerat författare som Virginia Woolf, Franz Kafka, James Joyce och Ernest Hemingway. Utöver den djupt inkännande reflektionen av det mänskliga psyket finns hos Tjechov en tonkänslighet i språket som få författare kunnat mäta sig med.

The present study is a reading of the folkloric fairy-tale poem The Swain (Mólodets) (1924) by the Russian Modernist poet Marina Tsvetaeva (1892-1941). The poem represents a high point in Tsvetaeva's experiments with Russian folk art, and it is thoroughly folkloric in its theme, forms of writing and poetic language. At the same time, the poem can be linked to the attraction to folk art as a locus of the Sublime in literary tradition, which originates in German Romanticism, and finds its echoes in Russian Modernism. This study seeks to show that Tsvetaeva's exploration of folk art in the poem was inspired by a quandary linked to the Sublime; namely the paradoxical question how to present in art what is too great to be represented. The poem is read as an image and an illustration of the poet's understanding of the means of presenting the unrepresentable. Tsvetaeva renders the tale as an uncanny story about a horrifying elemental force. She seeks to avoid representation by bringing out the story in a poetic performance, which has the character of a lyrical drama, where the voices of the characters speak and sing in a direct manner. Within the canvas of the folkloric performance, the poet explores poetic language to render the Sublime. She experiments with secondary meanings in order to bring out a language, which at the same time is "secret" and "literal", and where the element can be made present in its sublimity.

This book is a celebration. It praises the many innovative aspects of Irina Sandomirskaja’s contributions to a variety of fields in the humanities and Slavic studies, in particular through the numerous colleagues who mirror the impact of her work in their own research and thought. As such, this celebration is also an expression of academic gratitude and a gesture of friendship.