Böcker i Cultural Revolutions: Russia in the Twentieth Century-serien

Across the twentieth century, the Russian literary hero remained central to Russian fiction and frequently "e;battled"e; one enemy or another, whether on the battlefield or on a civilian front. War was the experience of the Russian people, and it became a dominant trope to represent the Soviet experience in literature as well as other areas of cultural life. This book traces those war experiences, memories, tropes, and metaphors in the literature of the Soviet and post-Soviet period, examining the work of Dmitry Furmanov, Fyodor Gladkov, Alexander Tvardovsky, Emmanuil Kazakevich, Vera Panova, Viktor Nekrasov, Alexander Solzhenitsyn, Vladimir Voinovich, Sergei Dovlatov, Vladimir Makanin, Viktor Astafiev, Viktor Pelevin, and Vasily Aksyonov. These authors represented official Soviet literature and underground or dissident literature; they fell into and out of favor, were exiled and returned to Russia, died at home and abroad. Most importantly, they were all touched by war, and they reacted to the state of war in their literary works.

Manning examines the formation of nineteenth-century intelligentsia print publics in the former Soviet republic of Georgia both anthropologically and historically. At once somehow part of "e;Europe,"e; at least aspirationally, and yet rarely recognized by others as such, Georgia attempted to forge European style publics as a strong claim to European identity. These attempts also produced a crisis of self-defi nition, as European Georgia sent newspaper correspondents into newly reconquered Oriental Georgia, only to discover that the people of these lands were strangers. In this encounter, the community of "e;strangers"e; of European Georgian publics proved unable to assimilate the people of the "e;strange land"e; of Oriental Georgia. This crisis produced both notions of Georgian public life and European identity which this book explores.

The Vekhi (Landmarks) symposium (1909) is one of the most famous publications in Russian intellectual and political history. Its fame rests on the critique it offers of the phenomenon of the Russian intelligentsia in the period of crisis that led to the 1917 Russian Revolution. It was published as a polemical response to the revolution of 1905, the failed outcome of which was deemed by all the Vekhi contributors to exemplify and illuminate fatal philosophical, political, and psychological flaws in the revolutionary intelligentsia that had sought it. Landmarks Revisited offers a new and comprehensive assessment of the symposium and its legacy from a variety of disciplinary perspectives by leading scholars in their fields. It will be of compelling interest to all students of Russian history, politics, and culture, and the impact of these on the wider world.

The impetus for Charms of the Cynical Reason is the phenomenal and little-explored popularity of various tricksters flourishing in official and unofficial Soviet culture, as well as in the post-soviet era. Mark Lipovetsky interprets this puzzling phenomenon through analysis of the most remarkable and fascinating literary and cinematic images of soviet and post-soviet tricksters, including such "e;cultural idioms"e; as Ostap Bender, Buratino, Vasilii Tyorkin, Shtirlitz, and others. The steadily increasing charisma of Soviet tricksters from the 1920s to the 2000s is indicative of at least two fundamental features of both the soviet and post-soviet societies. First, tricksters reflect the constant presence of irresolvable contradictions and yawning gaps within the soviet (as well as post-soviet) social universe. Secondly, these characters epitomize the realm of cynical culture thus far unrecognized in Russian studies. Soviet tricksters present survival in a cynical, contradictory and inadequate world, not as a necessity, but as a field for creativity, play, and freedom. Through an analysis of the representation of tricksters in soviet and post-soviet culture, Lipovetsky attempts to draw a virtual map of the soviet and post-soviet cynical reason: to identify its symbols, discourses, contradictions, and by these means its historical development from the 1920s to the 2000s.

In addition to his numerous works in prose and poetry for both children andadults, Daniil Kharms (1905-42), one of the founders of Russia''s "lost literature of the absurd," wrote notebooks and a diary for most of his adult life. Published for the first time in recent years in Russian, these notebooks provide an intimate look at the daily life and struggles of one of the central figures of the literary avant-garde in Post-Revolutionary Leningrad. While Kharms''s stories have been translated and published in English, these diaries represents an invaluable source for English-language readers who, having already discovered Kharms in translation, desire to learn about the life and times of an avant-garde writer in the first decades of Soviet power.

The Vekhi (Landmarks) symposium (1909) is one of the most famous publications in Russian intellectual and political history. Landmarks Revisited offers a new and comprehensive assessment of the symposium and its legacy from a variety of disciplinary perspectives by leading scholars in their fields.

"Using Vladimir Nabokov as its 'case study,' the book approaches translation as a crucial avenue into literary history and theory, philosophy and interpretation. The book attempts to bring together issues in translation and the shift in Nabokov studies from an earlier emphasis on the 'metaliterary' to the more recent 'metaphysical' approach

Offers an uproarious romp through the earnestly boring and unintentionally campy world of early Soviet ""production"" prose, with its celebration of robust workers heroically building socialism. The novel combines burlesque absurdism and lofty references to classical and Russian High Modernist literature with a tongue-in-cheek plot.

Presents translations of two celebrated works by Georgy Ivanov. Disintegration of the Atom (1938) is a prose poem depicting Russian emigre despair on the eve of WWII. Petersburg Winters (1928/1952) is a portrait of Petersburg swept up in the artistic ferment of late Imperial and Revolutionary Russia.

Examines Aleksandr Solzhenitsyn's evolution as a literary artist from his early autobiographical novel Love the Revolution to the experimental mega-saga The Red Wheel, and beyond. Tempest shows how this author gives his characters a presence so textured that we can readily imagine them as figures of flesh and blood.

This collection of essays on Turgenev, Goncharov, Conrad, Dostoevsky, Blok, Briusov, Gor'kii, Pasternak and Nabokov represents diverse voices but is also unified. One invariant is the recurring distinction between "e;culture"e; and "e;civilization"e; and the vision of Russia as the bearer of culture because it is "e;barbaric."e; Another stance advocates the synthesis of "e;sense and sensibility"e; and the vision of "e;Apollo"e; and "e;Dionysus"e; creating a "e;civilized culture"e; together. Those voices that delight in the artificiality of civilization are complemented by those apprehensive of the dangers inherent in barbarism. This collection thus adds new perspectives to the much-debated opposition of vital Russia and a declining West, offering novel interpretations of classics from Oblomov to Lolita and The Idiot to Doctor Zhivago.