A first full-length critical study of Chuvash-born poet Gennady Aygi (1934-2006), who is considered the father of late-Soviet avant-garde Russian poetry, this book charts the development of Aygi’s poetics, which draws equally on Russian poetic and religious tradition, European literature and philosophy, and Chuvash literature, folk culture, and cosmology. Moving chronologically through Aygi’s life and work from the 1950s to his final work in the early 2000s, the book concludes with an interview with American poet Fanny Howe about the importance of Aygi’s work in translation. The volume places Aygi in the context of twentieth-century poetry of witness and reveals the global significance of his work.

A first full-length critical study of Chuvash-born poet Gennady Aygi (1934-2006), who is considered the father of late-Soviet avant-garde Russian poetry, this book charts the development of Aygi’s poetics, which draws equally on Russian poetic and religious tradition, European literature and philosophy, and Chuvash literature, folk culture, and cosmology. Moving chronologically through Aygi’s life and work from the 1950s to his final work in the early 2000s, the book concludes with an interview with American poet Fanny Howe about the importance of Aygi’s work in translation. The volume places Aygi in the context of twentieth-century poetry of witness and reveals the global significance of his work.

The iconic masks of the Italian commedia dell’arte—Harlequin, Pierrot, Colombina, Pulcinella, and others—have been vagabonding the roads of Russian cultural history for more than three centuries. This book explores how these masks, and the artistic principles of the commedia dell’arte that they embody, have profoundly affected the Russian artistic imagination, providing a source of inspiration for leading Russian artists as diverse as nineteenth-century writer Nikolai Gogol, modernist theater director Evgenii Vakhtangov, Vladimir Nabokov, and the empress of Russian popular culture Alla Pugacheva. The author presents a new perspective on this topic, showing how the commedia dell’arte has nourished a rich cultural tradition in Russia.

The poetry of Gavrila Derzhavin is a monument to that which could be read, heard, and, most important, seen in the two centuries in which he lived. The Palladian villa he occupied, the British service placed on the table before him, the English spinning machine put to use on his estate, and even the optical devices, such as the telescope, magic lantern, and camera obscura, which populated his home: Tatiana Smoliarova restores Derzhavin’s visual environment through minute textual clues, inviting the reader to consider how such impressions informed and shaped his thinking and writing, countering the conservative, Russophile ideology he shared in his later years. In examining the poetics, aesthetics, and politics of Derzhavin’s poems written in the early nineteenth century, Three Metaphors for Life makes us see this period as a chapter in the contradictory development of Russian modernity—at once regressive and progressive, resistant to social reform, insistent on a distinctly Russian historical destiny, yet enthusiastically embracing technological and industrial innovations and exploring new ways of thinking, seeing, and feeling.

Acts of Logos examines the 19th-century foundations of St. Petersburg’s famous literary heritage, with a focus on the unifying principle of material animation. Ever since Pushkin’s 1833 poem The Bronze Horseman, the city has provided a literary space in which inanimate things (noses, playing cards, overcoats) spring to life. Scollins’s book addresses this issue of animacy by analyzing the powerful function of language in the city’s literature, from its mythic origins—in which the tsar Peter appears as a God-like creator, calling his city forth from nothing—to the earliest texts of its literary tradition, when poets took up the pen to commit their own acts of verbal creation. Her interpretations shed new light on the canonical works of Pushkin and Gogol, exposing the performative and subversive possibilities of the poetic word in the Petersburg tradition, and revealing an emerging literary culture capable of challenging the official narratives of the state.

The iconic masks of the Italian commedia dell’arte—Harlequin, Pierrot, Colombina, Pulcinella, and others—have been vagabonding the roads of Russian cultural history for more than three centuries. This book explores how these masks, and the artistic principles of the commedia dell’arte that they embody, have profoundly affected the Russian artistic imagination, providing a source of inspiration for leading Russian artists as diverse as nineteenth-century writer Nikolai Gogol, modernist theater director Evgenii Vakhtangov, Vladimir Nabokov, and the empress of Russian popular culture Alla Pugacheva. The author presents a new perspective on this topic, showing how the commedia dell’arte has nourished a rich cultural tradition in Russia.

A first full-length critical study of Chuvash-born poet Gennady Aygi (1934-2006), who is considered the father of late-Soviet avant-garde Russian poetry, this book charts the development of Aygi’s poetics, which draws equally on Russian poetic and religious tradition, European literature and philosophy, and Chuvash literature, folk culture, and cosmology. Moving chronologically through Aygi’s life and work from the 1950s to his final work in the early 2000s, the book concludes with an interview with American poet Fanny Howe about the importance of Aygi’s work in translation. The volume places Aygi in the context of twentieth-century poetry of witness and reveals the global significance of his work.

A first full-length critical study of Chuvash-born poet Gennady Aygi (1934-2006), who is considered the father of late-Soviet avant-garde Russian poetry, this book charts the development of Aygi’s poetics, which draws equally on Russian poetic and religious tradition, European literature and philosophy, and Chuvash literature, folk culture, and cosmology. Moving chronologically through Aygi’s life and work from the 1950s to his final work in the early 2000s, the book concludes with an interview with American poet Fanny Howe about the importance of Aygi’s work in translation. The volume places Aygi in the context of twentieth-century poetry of witness and reveals the global significance of his work.

The iconic masks of the Italian commedia dell’arte—Harlequin, Pierrot, Colombina, Pulcinella, and others—have been vagabonding the roads of Russian cultural history for more than three centuries. This book explores how these masks, and the artistic principles of the commedia dell’arte that they embody, have profoundly affected the Russian artistic imagination, providing a source of inspiration for leading Russian artists as diverse as nineteenth-century writer Nikolai Gogol, modernist theater director Evgenii Vakhtangov, Vladimir Nabokov, and the empress of Russian popular culture Alla Pugacheva. The author presents a new perspective on this topic, showing how the commedia dell’arte has nourished a rich cultural tradition in Russia.

The poetry of Gavrila Derzhavin is a monument to that which could be read, heard, and, most important, seen in the two centuries in which he lived. The Palladian villa he occupied, the British service placed on the table before him, the English spinning machine put to use on his estate, and even the optical devices, such as the telescope, magic lantern, and camera obscura, which populated his home: Tatiana Smoliarova restores Derzhavin’s visual environment through minute textual clues, inviting the reader to consider how such impressions informed and shaped his thinking and writing, countering the conservative, Russophile ideology he shared in his later years. In examining the poetics, aesthetics, and politics of Derzhavin’s poems written in the early nineteenth century, Three Metaphors for Life makes us see this period as a chapter in the contradictory development of Russian modernity—at once regressive and progressive, resistant to social reform, insistent on a distinctly Russian historical destiny, yet enthusiastically embracing technological and industrial innovations and exploring new ways of thinking, seeing, and feeling.

Acts of Logos examines the 19th-century foundations of St. Petersburg’s famous literary heritage, with a focus on the unifying principle of material animation. Ever since Pushkin’s 1833 poem The Bronze Horseman, the city has provided a literary space in which inanimate things (noses, playing cards, overcoats) spring to life. Scollins’s book addresses this issue of animacy by analyzing the powerful function of language in the city’s literature, from its mythic origins—in which the tsar Peter appears as a God-like creator, calling his city forth from nothing—to the earliest texts of its literary tradition, when poets took up the pen to commit their own acts of verbal creation. Her interpretations shed new light on the canonical works of Pushkin and Gogol, exposing the performative and subversive possibilities of the poetic word in the Petersburg tradition, and revealing an emerging literary culture capable of challenging the official narratives of the state.

The iconic masks of the Italian commedia dell’arte—Harlequin, Pierrot, Colombina, Pulcinella, and others—have been vagabonding the roads of Russian cultural history for more than three centuries. This book explores how these masks, and the artistic principles of the commedia dell’arte that they embody, have profoundly affected the Russian artistic imagination, providing a source of inspiration for leading Russian artists as diverse as nineteenth-century writer Nikolai Gogol, modernist theater director Evgenii Vakhtangov, Vladimir Nabokov, and the empress of Russian popular culture Alla Pugacheva. The author presents a new perspective on this topic, showing how the commedia dell’arte has nourished a rich cultural tradition in Russia.