Studies in Russian and Slavic Literatures, Cultures, and History – serie

In this ground-breaking book, based on archival and field research and previously unknown historical evidence, Maxim D. Shrayer introduces the work of Ilya Selvinsky, the first Jewish-Russian poet to depict the Holocaust (Shoah) in the occupied Soviet territories. In January 1942, while serving as a military journalist, Selvinsky witnessed the immediate aftermath of the massacre of thousands of Jews outside the Crimean city of Kerch, and thereafter composed and published poems about it. Shrayer painstakingly reconstructs the details of the Nazi atrocities witnessed by Selvinsky, and shows that in 1943, as Stalin’s regime increasingly refused to report the annihilation of Jews in the occupied territories, Selvinsky paid a high price for his writings and actions. This book features over 60 rare photographs and illustrations and includes translations of Selvinsky’s principal Shoah poems.

This groundbreaking critical biography of Andrei Siniavskii (1925-1997) as a writer in and of his time shows how this subtle and complex author found his way in a society polarised into heroes and villains, patriots and traitors, how he progressed from identification with the value system and ideology of his time to reaction against it, and his dissidence expressed in literary terms. Based on a close reading of his work, Andrei Siniavskii: A Hero of his Time? explores the way in which Siniavskii’s art does not simply reflect the circumstances of his life and times but is actively shaped by an intricate commerce between the two.

In this ground-breaking book, based on archival and field research and previously unknown historical evidence, Maxim D. Shrayer introduces the work of Ilya Selvinsky, the first Jewish-Russian poet to depict the Holocaust (Shoah) in the occupied Soviet territories. In January 1942, while serving as a military journalist, Selvinsky witnessed the immediate aftermath of the massacre of thousands of Jews outside the Crimean city of Kerch, and thereafter composed and published poems about it. Shrayer painstakingly reconstructs the details of the Nazi atrocities witnessed by Selvinsky, and shows that in 1943, as Stalinâs regime increasingly refused to report the annihilation of Jews in the occupied territories, Selvinsky paid a high price for his writings and actions. This book features over 60 rare photographs and illustrations and includes translations of Selvinskyâs principal Shoah poems.

A century ago the Symbolists in Moscow and St. Petersburg dreamed of a fundamental transformation of life in Russia. From their reading of signs in the heavens, these poets, philosophers, and mystics sensed that tsardom was on the threshold of an apocalyptic upheaval. They were influenced by Vladimir Solovyov and Friedrich Nietzsche, but under the impact of the 1905 Revolution they later also subscribed to current radical political ideas. The eventual collision between these dreams and tsarist reality generated enormous intellectual turbulence and the need for substitutes. Not least psychoanalysis came to the rescue of these stranded dreamers. The present collection of essays is intended for readers interested in Russian literature or the early history of Eastern European offshoots of psychoanalysis.

A century ago the Symbolists in Moscow and St. Petersburg dreamed of a fundamental transformation of life in Russia. From their reading of signs in the heavens, these poets, philosophers, and mystics sensed that tsardom was on the threshold of an apocalyptic upheaval. They were influenced by Vladimir Solovyov and Friedrich Nietzsche, but under the impact of the 1905 Revolution they later also subscribed to current radical political ideas. The eventual collision between these dreams and tsarist reality generated enormous intellectual turbulence and the need for substitutes. Not least psychoanalysis came to the rescue of these stranded dreamers. The present collection of essays is intended for readers interested in Russian literature or the early history of Eastern European offshoots of psychoanalysis.

This pioneering book is the first to present the postwar phenomenon of the New York Group of Ukrainian émigré poets as a case study for exploring cultural and aesthetic ramifications of exile. It focuses on the poets diasporic and transnational connections both with their country of origin and their adopted homelands, underscoring the group's role in the shaping of the cultural and literary image of Ukraine abroad. Displacements, forced or voluntary, engender states of alterity, states of living in-between, living in the interstices of different cultures and different linguistic realities. The poetry of the founding members of the New York Group reflects these states admirably. The poets accepted their exilic condition with no grudges and nurtured the link with their homeland via texts written in the mother tongue. This account of the group’s output and legacy will appeal to all those eager to explore the poetry of East European nations and to those interested in larger cultural contexts for the development of European modernisms.

For Russian modernists in search of a past, there were many antiquities of different provenances and varying degrees of prestige from which to choose: Greece or Rome; Byzantium or Egypt. The modernists central to Our Native Antiquity located their antiquity in the Eurasian steppes, where they found objects and sites long denigrated as archaeological curiosities. The book follows the exemplary careers of two objects - the so-called “Stone Women” and the kurgan, or burial mound - and the attention paid to them by Russian and Soviet archaeologists, writers, artists, and filmmakers, for whom these artifacts served as resources for modernist art and letters and as arenas for a contest between vying conceptions of Russian art, culture, and history.

From the German Black Forest to the Romanian and Ukrainian shores where it flows into the Black Sea, Europe's second longest river connects ten countries, while its watershed covers four more. The Danube serves as an artery of a culturally diverse geographic region, frustrating attempts to divide Europe from non-Europe, and facilitating the flow of economic and cultural forms of international exchange. Yet the river has attracted surprisingly little scholarly attention, and what exists too often privileges single disciplinary or national perspectives. Adopting a multidisciplinary approach to the river and its cultural imaginaries, the anthology Watersheds: Poetics and Politics of the Danube River remedies this neglect and explores the river as a site of transcultural engagement in the New Europe.Contributions by Katherine Arens, Micaela Baranello, Marijeta Bozovic, Robert Dassanowsky, Dragan Kujund, Jessie Labov, Robert Lemon, Amanda Lerner, Tomislav Longinovi, Juliana Maxim, Matthew D. Miller, Robert Nemes, Tanya Richardson, Karl Solibakke, Jennifer Stob, Henry Sussman.

The academic career of Professor Magnus Ljunggren spans more than a half century. Here he looks back over his meetings with leading members of the Russian intelligentsia who, from the liberalizing Twenty-Second Party Congress, in 1961, to the present, have struggled with the totalitarian structures of Soviet and post-Soviet society. culture. His memoirs As a scholar, Ljunggren has focused on Andrei Bely’s prose, Russian Symbolism and Russian Silver Agereflect on how his study of Symbolism and his commitment to the Russian civil rights movement over the years have stimulated each other and contributed to a deeper understanding of Russia’s distinctive character. Ljunggren’s gallery of intimate and colorful portraits includes prominent cultural figures such as Bulat Okudzhava, Yevgeny Yevtushenko, Joseph Brodsky, Viktor Shklovsky, Lidia Chukovskaya, and Nina Berberova.

In the six essays of this book, Ksana Blank examines affinities among works of nineteenth and twentieth-century Russian literature and their connections to the visual arts and music. Blank demonstrates that the borders of authorial creativity are not stable and absolute, that talented artists often transcend the classifications and paradigms established by critics. Featured in the volume are works by Alexander Pushkin, Fyodor Dostoevsky, Leo Tolstoy, Vladimir Nabokov, Daniil Kharms, Kazimir Malevich, Mstislav Dobuzhinsky, and Dmitri Shostakovich.

The 20th century in the Baltic region had it all. The turbulent century did not spare the small territory and its population, which was visited by practically every calamity the modern era had to offer. At westward edge of the Russian Empire, the region was subjected to the harsh Russification drive of the late imperial era. With diverse religions and nationalities and its geographic buffer between the Empire and the German Reich, it was also the crucible of key battles during and mass refugee crises following World War I. In the interwar period, the rise of the independent Baltic States precipitated myriad political experiments and population politics together with constant maneuvering to preserve their fragile and ultimately short-lived sovereignty. World War II ushered in a period of unprecedented extremes with waves of brutal occupations, deportations, the Holocaust, the subjection of the territory to the communist experiment, and ultimately, the decimation of state sovereignty for the next four decades.The almost unavoidable outcome of this course of events has been the focus on the region from the point of view of the large powers that sought to dominate and shape it. The rather limited number of foreign scholars who command Estonian, Latvian and Lithuanian, fortified this orientation in the writing of the history of the region. The present volume seeks to shift the attention to the local point of view through the writing of Baltic scholars. By no means a comprehensive expose, the essays nevertheless explore key junctures in the history of the three Baltic countries as viewed “from within,” both then and now.

For Russian modernists in search of a past, there were many antiquities of different provenances and varying degrees of prestige from which to choose: Greece or Rome; Byzantium or Egypt. The modernists central to ""Our Native Antiquity"" located their antiquity in the Eurasian steppes, where they found objects and sites long denigrated as archaeological curiosities. The book follows the exemplary careers of two objects—the so-called “Stone Women” and the kurgan, or burial mound—and the attention paid to them by Russian and Soviet archaeologists, writers, artists, and filmmakers, for whom these artifacts served as resources for modernist art and letters and as arenas for a contest between vying conceptions of Russian art, culture, and history.

This pioneering book is the first to present the postwar phenomenon of the New York Group of Ukrainian émigré poets as a case study for exploring cultural and aesthetic ramifications of exile. It focuses on the poets’ diasporic and transnational connections both with their country of origin and their adopted homelands, underscoring the group’s role in the shaping of the cultural and literary image of Ukraine abroad. Displacements, forced or voluntary, engender states of alterity, states of living in-between, living in the interstices of different cultures and different linguistic realities. The poetry of the founding members of the New York Group reflects these states admirably. The poets accepted their exilic condition with no grudges and nurtured the link with their homeland via texts written in the mother tongue. This account of the group’s output and legacy will appeal to all those eager to explore the poetry of East European nations and to those interested in larger cultural contexts for the development of European modernisms.

Victor Zhivov's Language and Culture in Eighteenth-Century Russia is one of the most important studies ever published on eighteenth-century Russia. Historians and students of Russian culture agree that the creation of a Russian literary language was key to the formation of a modern secular culture, and this title traces the growth of a vernacular language from the ""hybrid Slavonic"" of the late seventeenth century through the debates between ""archaists and innovators"" of the early nineteenth century. Zhivov's study is an essential work on the genesis of modern Russian culture; the aim of this translation is to make it available to historians and students of the field.

Early Modern Russian Letters: Texts and Contexts brings together twenty essays by Marcus C. Levitt, a leading scholar of eighteenth-century Russian literature. The essays address a spectrum of works and issues that shaped the development of modern Russian literature, from authorship and philosophy to gender and religion in Russian Enlightenment culture. The first part of the collection explores the career and works of Alexander Sumarokov, who played a formative role in literary life of his day. In the essays of the second part Levitt argues that the Enlightenment’s privileging of vision played an especially important role in eighteenth-century Russian self-image, and that its “occularcentrism” was profoundly shaped by Orthodox religious views. Early Modern Russian Letters offers a series of original and provocative explorations of a vital but little studied period.

For several decades David Bethea has written authoritatively on the “mythopoetic thinking” that lies at the heart of classical Russian literature, especially Russian poetry. His theoretically informed essays and books have made a point of turning back to issues of intentionality and biography at a time when authorial agency seems under threat of “erasure” and the question of how writers, and poets in particular, live their lives through their art is increasingly moot. The lichnost’ (personhood, psychic totality) of the given writer is all-important, argues Bethea, as it is that which combines the specifically biographical and the capaciously mythical in verbal units that speak simultaneously to different planes of being. Pushkin’s Evgeny can be one incarnation of the poet himself and an Everyman rising up to challenge Peter’s new world order; Brodsky can be, all at once, Dante and Mandelstam and himself, the exile paying an Orphic visit to Florence (and, by ghostly association, Leningrad).This sort of metempsychosis, where the stories that constitute the Ur-texts of Russian literature are constantly reworked in the biographical myths shaping individual writers’ lives, is Bethea’s primary focus. This collection contains a liberal sampling of Bethea’s most memorable previously published essays along with new studies prepared for this occasion.

Epic and the Russian Novel from Gogol to Pasternak examines the origin of the nineteen- century Russian novel and challenges the Lukács-Bakhtin theory of epic. By removing the Russian novel from its European context, the authors reveal that it developed as a means of reconnecting the narrative form with its origins in classical and Christian epic in a way that expressed the Russian desire to renew and restore ancient spirituality. Through this methodology, Griffiths and Rabinowitz dispute Bakhtin’s classification of epic as a monophonic and dead genre whose time has passed. Due to its grand themes and cultural centrality, the epic is the form most suited to newcomers or cultural outsiders seeking legitimacy through appropriation of the past. Through readings of Gogol’s Dead Souls—a uniquely problematic work, and one which Bakhtin argued was novelistic rather than epic—Dostoevsky’s Brothers Karamazov, Pasternak’s Dr. Zhivago, and Tolstoy’s War and Peace, this book redefines “epic” and how we understand the sweep of Russian literature as a whole.

Life in Transit is the long-awaited sequel to Shimon Redlich’s widely acclaimed Together and Apart in Brzezany, in which he discussed his childhood during the War and the Holocaust. Life in Transit tells the story of his adolescence in the city of Lodz in postwar Poland. Redlich’s personal memories are placed within the wider historical context of Jewish life in Poland and in Lodz during the immediate postwar years. Lodz in the years 1945-1950 was the second-largest city in the country and the major urban center of the Jewish population. Redlich’s research based on conventional sources and numerous interviews indicates that although the survivors still lived in the shadow of the Holocaust, postwar Jewish Lodz was permeated with a sense of vitality and hope.

While he is widely acknowledged as the most important Russian thinker of the nineteenth century, Vladimir Soloviev’s place in the landscape of world philosophy nevertheless remains uncertain. Approaching him through a single synoptic lens, this book foregrounds his unique envisioning of the interaction between humanity and the material world. By investigating the development of a single theme in his work—his idea of the “spiritualization of matter”, the “task” of humanity—Smith constructs a rounded picture of Soloviev’s overall importance to an understanding. If nineteenth-century thought, as well as to modern theology and philosophy. The picture that emerges is of a writer whose contribution to a Christian philosophy of matter resonates with many of the religious debates of modernity.

Ivan Konevskoi: “Wise Child” of Russian Symbolism is the first study in any language of Ivan Konevskoi –— poet, thinker, mystic— – for many decades the “lost genius” of Russian modernism. A fresh and compelling figure, Konevskoi plunged deeply into the currents of modern mystical thought and art in the 1890s. A passionate searcher for immortality, he developed his own version of pantheism meant to guard his unique persona from dissolution in the All-One. The poetry of Tiutchev, Vladimir Solov’ev Soloviev and Rossetti, William James’s psychology, paintings of Pre-Raphaelites and Arnold Boecklin, Old Russian historical myth, the Finnish Kalevala: all engaged him during his brief life. His worldview grew more audacious, his confidence in the magical power of the word grew more assured. Drowning in 1901 at 23, Konevskoi left a legacy unfinished, rich, and intriguing.

The Karamazov Correspondence: Letters of Vladimir S. Soloviev represents the first fully annotated and chronologically arranged collection of the Russian philosopher-poet’s most important letters, the vast majority of which have never before been translated into English. Soloviev was widely known for his close association with Fyodor M. Dostoevsky in the final years of the novelist’s life, and these letters reflect many of the qualities and contradictions that also personify the title characters of Dostoevsky’s last and greatest novel, The Brothers Karamazov. The selected letters cover all aspects of Soloviev’s life, ranging from vital concerns about human rights and the political and religious turmoil of his day to matters related to family and friends, his love life, and early drafts of his works, including poetic endeavors.

Goncharov in the Twenty-First Century brings together a range of international scholars for a reexamination of Ivan Goncharov’s life and work through a twenty-first century critical lens. Contributions to the volume highlight Goncharov’s service career, the complex and understudied manifestation of Realism in his work, the diverse philosophical threads that shape his novels, and the often colliding contexts of writer and imperial bureaucrat in the 1858 travel text Frigate Pallada. Chapters engage with approaches from post-colonial and queer studies, theories of genre and the novel, desire, laughter, technology, and mobility and travel.

This monograph is nothing less than a bold attempt at solving the riddle of Gogol’s novel Dead Souls that even inspired a staging of Dead Souls at Schauspiel Stuttgart. Heftrich gives a comprehensive, coherent answer to the question of the novel’s meaning by meticulously laying bare its structure. The first part of the monograph is dedicated to one section of Gogol’s novel that has been neglected by virtually all critics - a clue that leads to a strictly ethical reading of Gogol’s epic. Gogol, as it emerges, constructed Dead Souls strictly according to a moral pattern. It is amazing to discover how flawlessly Dead Souls is built in this regard. The novel thus proves to be a true descendant of medieval romance with its inseparable interrelation between ethics and epics.

Lev Tolstoy has held the attention of mankind for well over a century. A supremely talented artist, whose novels and short stories continue to entrance readers all over the world, he was at the same time a fearless moral philosopher who explored and challenged the fundamental bases of human society—political, economic, legal, and cultural. Hugh McLean, Professor Emeritus of Russian literature at the University of California, Berkeley, has been studying and writing about Tolstoy for many years. In these essays he investigates some of the numerous puzzles and paradoxes in the Tolstoyan heritage, engaging both with Tolstoy the artist, author of those incomparable novels, and Tolstoy the thinker, who, from his impregnable outpost at Yasnaya Polyana, questioned the received ideas and beliefs of the whole civilised world. In two concluding essays, "Tolstoy beyond Tolstoy," McLean deals with the impact of Tolstoy on such diverse figures as Ernest Hemingway and Isaiah Berlin.

Written at the height of Stalin's first 'five-year plan' for the industrialisation of Soviet Russia and the parallel campaign to collectivise Soviet agriculture, Andrei Platonov's 'The Foundation Pit' registers a dissonant mixture of utopian longings and despair. Furthermore, it provides essential background to Platonov's parody of the mainstream Soviet 'production' novel, which is widely recognised as one of the masterpieces of twentieth-century Russian prose. In addition to an overview of the work's key themes, it discusses their place within Platonov's oeuvre as a whole, his troubled relations with literary officialdom, the work's ideological and political background, and key critical responses since the work's first publication in the West in 1973.

This is a new systematisation of the main available data on Nabokov's most complex Russian novel, "The Gift" (1934-1939). From notes in Nabokov's private correspondence to scholarly articles accumulated during the seventy years since the novel's first appearance in print, the work draws from a broad spectrum of existing material in a succinct and coherent way, as well as providing innovative analyses.The first part of the monograph, The Novel, outlines the basic properties of "The Gift" ( plot, characters, style, and motifs) and reconstructs its internal chronology. The second part, "The Text," describes the creation of the novel and the history of its publication, public and critical reaction, challenges of the English translation, and post-Soviet reception. Along with annotations to all five chapters of "The Gift", the commentary provides insight into problems of paleography, featuring unique textological analysis of the novel based on the author's study of the archival copy of the manuscript.

"Victor Zhivov's Language and Culture in Eighteenth-Century Russia" is one of the most important studies ever published on eighteenth-century Russia. Historians and students of Russian culture agree that the creation of a Russian literary language was key to the formation of a modern secular culture, and "Language and Culture" traces the growth of a vernacular language from the 'hybrid Slavonic' of the late seventeenth century through the debates between 'archaists and innovators' of the early nineteenth century. Zhivov's study is an essential work on the genesis of modern Russian culture; the aim of this translation is to make it available to historians and students of Russian culture.

Joseph Brodsky's greatness as a poet has to do with his expectation that life measure up to the demands of art and not vice versa. These conversations show that his friendship has an equally heightening and challenging effect upon his gifted contemporaries. Brodsky emerges as a kind of one-man ozone layer, protecting and enhancing the possibility of poetic life in our times. The conversations are really full of life and attest greatly to Joseph's high powers - to Joseph's high powers. This book is the first of its kind.It is a fascinating record of 20 conversations with poets of various nationalities about Joseph Brodsky, the 1987 Nobel Prize-winner for Literature. It combines biographical details with a new and authoritative interpretation of the poetics, style, and ideas of one of the most influential poets to emerge in post-Stalin Russia. As a poet, essayist, and playwright Brodsky is widely known and read in the English-speaking world: in 1991, he succeeded Mark Strand as Poet Laureate of the United States.This book is a superb guide to further study of Brodsky's work both for specialist scholars and general readers who are intoxicated by poetry.It is highly readable and contains well-researched, reliable source material. It also includes Brodsky's views, some previously unpublished, on poetry and language. Every interviewed poet demonstrates an excellent knowledge of Brodsky's work and gives rich and imaginative interpretations of his major themes. Professor Polukhina sensitively contextualises this wide-ranging account of Brodsky's work. The second edition of this volume has been enlarged with two previously unpublished interviews.

Joseph Brodsky (1940-1996) is the only Russian poet who has been taken seriously by Russian leaders: Khrushchev sent him to the Gulag (1964), Brezhnev exiled him (1972), Gorbachev paid him a visit in the Library of Congress (1992), and Chernomyrdin demanded that his body be returned to Russia (1996). He is the most important poet Russia has produced in the second part of the twentieth century. Nobody after Pushkin has done as much as Brodsky for Russian poetry, introducing many features of English and American poetics, a new linguistic substratum to Russian poetry, new genres, and a new mentality. He replaced the hot-blooded, hysterical note of Russian poetry with a rational approach to the most profound problems of our time. His tragic perception of the world combines with skilfully camouflaged irony, self-deprecation, and technical virtuosity.Professor Emeritus of Russian Literature Valentina Polukhina, who knew Brodsky well over a long period, has been studying and writing about him for at least 30 years. Her second volume of interviews draws on eye-witness accounts of his friends, publishers, editors, translators, and fellow poets.It is a series of important discussions on the style, ideas, and personality of one of the most brilliant and paradoxical poets of our time. Subtle, incisive, and rigorous in its critical evaluation, each discussion significantly advances our understanding of Brodsky's complex poetic world. All discussions are linked by core questions that are carefully and sometimes provocatively formulated. This collection of 40 interviews illuminates a peculiarly intriguing contemporary phenomenon and affords a fascinating insight into the American literary scene.