The book identifies the social tensions and political inconsistencies that spurred radical change in the government of Russia, from the turn of the century to the revolution of Kenez envisions that revolution as a crisis of authority that posed the question, 'Who shall govern Russia?
Kenez traces the development of the Soviet Union from the Revolution,. After enlisting in a revolutionary terrorist organization, the university student Nikolai Apollonovich Ableukhov is entrusted with a highly dangerous mission: to plant a bomb and assassinate a major government figure. But the real central character of the novel is the city of Petersburg at the beginning of the twentieth century, caught in the grip of political agitation and social unrest.
Intertwining the worlds of history and myth, and parading a cast of unforgettable characters, Petersburg is a story of apocalypse. An unabridged translation of Bely's masterful, comic fiction of reactionary officials, nihilistic revolutionaries, a would-be parricide, a bomb concealed in a sardine can, and the city which as setting and character focuses the Russian search for national identity.
What was Andrei Bely's aim in his ambiguous novel Petersburg? For the first time, this study firmly places Bely's work at the heart of the European Modern die Moderne. The book argues that the novel - with its concern for the spiritual and its desire to create new aesthetics - helped reshape fundamental views of reality, of the Self, and of consciousness.
Theories of Freud and Jung, as well as the aesthetics of the Viennese Secession, are used to elucidate. Sofia Petrovna Svechina — , better known as Madame Sophie Swetchine, was the hostess of a famous nineteenth-century Parisian salon. She had recently converted to Roman Catholicism, and the salon she opened acquired a distinctly religious character.
It quickly became one of the most popular salons in Paris and was a meeting place for the French intellectual Catholic elite and members of the Liberal Catholic movement. Complete Russian text of Chukovskaya's novel with notes, an introduction, exercises covering vocabulary and syntax, topics for essays, and questions for discussion.
A set of three audio CDs in Russian is also available. Russia possesses one of the richest and most admired literatures of Europe, reaching back to the eleventh century. A History of Russian Literature provides a comprehensive account of Russian writing from its earliest origins in the monastic works of Kiev up to the present day, still rife with the creative experiments of post-Soviet literary life. Series: Slavistik - Vol. Sofia Petrovna Svechina — , better known as Madame Sophie Swetchine, was the hostess of a famous nineteenth-century Parisian salon.
She had recently converted to Roman Catholicism, and the salon she opened acquired a distinctly religious character. It quickly became one of the most popular salons in Paris and was a meeting place for the French intellectual Catholic elite and members of the Liberal Catholic movement.
She was a mentor, spiritual counselor, and intellectual advisor to many distinguished Parisian men and women, and her influence extended beyond the walls of her salon into the public world of politics and ideas. In this fascinating biography, Tatyana Bakhmetyeva seeks to understand the creative process that informed Svechina's life and examines her subject in the context of nineteenth-century thought and letters.
It will appeal to educated readers interested in European and Russian history, the history of Catholicism, and women's history. Complete Russian text of Chukovskaya's novel with notes, an introduction, exercises covering vocabulary and syntax, topics for essays, and questions for discussion.
A set of three audio CDs in Russian is also available. Russia possesses one of the richest and most admired literatures of Europe, reaching back to the eleventh century. A History of Russian Literature provides a comprehensive account of Russian writing from its earliest origins in the monastic works of Kiev up to the present day, still rife with the creative experiments of post-Soviet literary life.
The volume proceeds chronologically in five parts, extending from Kievan Rus' in the 11th century to the present day. The coverage strikes a balance between extensive overview and in-depth thematic focus. Parts are organized thematically in chapters, which a number of keywords that are important literary concepts that can serve as connecting motifs and 'case studies', in-depth discussions of writers, institutions, and texts that take the reader up close and. Visual material also underscores the interrelation of the word and image at a number of points, particularly significant in the medieval period and twentieth century.
The History addresses major continuities and discontinuities in the history of Russian literature across all periods, and in particular bring out trans-historical features that contribute to the notion of a national literature. The volume's time-range has the merit of identifying from the early modern period a vital set of national stereotypes and popular folklore about boundaries, space, Holy Russia, and the charismatic king that offers culturally relevant material to later writers.
This volume delivers a fresh view on a series of key questions about Russia's literary history, by providing new mappings of literary history and a narrative that pursues key concepts rather more than individual authorial careers.
This holistic narrative underscores the ways in which context and text are densely woven in Russian literature, and demonstrates that the most exciting way to understand the canon and the development of tradition is through a discussion of the interrelation of major and minor figures, historical events and literary politics, literary theory and literary innovation.
First published in First Published in Western theories of biopolitics focus on its liberal and fascist rationalities. In opposition to this, Stalinism is oriented more towards transforming life in accordance with the communist ideal, and less towards protecting it.
Sergei Prozorov reconstructs this rationality in the early Stalinist project of the Great Break and its subsequent modifications during High Stalinism. He then relocates the question of biopolitics down to the level of the subject, tracing the way the 'new Soviet person' was to be produced in governmental practices and the role that violence and terror would play in this construction. Throughout, he engages with the canonical theories of Michel Foucault, Giorgio Agamben and Roberto Esposito, and the 'new materialist' theories of Michel Henry, Quentin Meillassoux and Catherine Malabou to critique the conventional approaches to biopolitics.
The stories of Russian educated women, peasants, prisoners, workers, wives, and mothers of the s and s show how work, marriage, family, religion, and even patriotism helped sustain them during harsh times. The Russian Revolution launched an eco-nomic and social upheaval that released peasant women from the control of traditional extended families. It promised urban women equality and created opportunities for employment and higher education.
Yet, the revolution did little to eliminate Russian patriarchal culture, which continued to undermine women's social, sexual, eco-nomic, and political conditions. Divorce and abortion became more widespread, but birth control remained limited, and sexual liberation meant greater freedom for men than for women.
The transformations that women needed to gain true equality were postponed by the pov-erty of the new state and the political agendas of leaders like Lenin, Trotsky, and Stalin. Russia has a rich, huge, unwieldy cultural tradition. How to grasp it? This classroom reader is designed to respond to that problem. The literary works selected for inclusion in this anthology introduce the core cultural and historic themes of Russia's civilisation.
Each text has resonance throughout the arts - in Rublev's icons, Meyerhold's theatre, Mousorgsky's operas, Prokofiev's symphonies, Fokine's choreography and Kandinsky's paintings. This material is supported by introductions, helpful annotations and bibliographies of resources in all media.
The reader is intended for use in courses in Russian literature, culture and civilisation, as well as comparative literature. City Folk and Country Folk is a seemingly gentle yet devastating satire of the aristocratic and pseudo-intellectual elites of s Russia. Translated into English for the first time, the novel weaves a tale of manipulation, infatuation, and female assertiveness that takes place one year after the liberation of the empire's serfs. Throwing off the imposed sense of duty toward their "betters", these two women ultimately triumph over the urbanites' financial, amorous, and matrimonial machinations.
Written by a woman under a male pseudonym, this exploration of gender dynamics in post-emancipation Russian offers a new and vital point of comparison with the better-known classics of nineteenth-century world literature. With sharp detail and an indefatigable spirit, Ginzburg recounts her arrest and the eighteen harrowing years she endured in Soviet prisons and labor camps, including two in solitary confinement.
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