Kritika: Explorations in Russian and Eurasian History, 2000
... Panchenko in his foreword also praises the famous memoirist for presenting an objective accou... more ... Panchenko in his foreword also praises the famous memoirist for presenting an objective account of her time that taught many people to see the truth; he scorns her wicked contemporaries like Emma Grigor ... One person she excluded was Sergei Borisovich Rudakov (19091944 ...
From the Slavic Review Editorial Board: Slavic Review publishes signed letters to the editor by i... more From the Slavic Review Editorial Board: Slavic Review publishes signed letters to the editor by individuals with educational or research merit. Where the letter concerns a publication in Slavic Review, the author of the publication will be offered an opportunity to respond. Space limitations dictate that comment regarding a book review should be restricted to one paragraph of no more than 250 words; comment on an article or forum should not exceed 750 to 1,000 words. When we receive many letters on a topic, some letters will be published on the Slavic Review Web site with opportunities for further discussion. Letters may be submitted by e-mail, but a signed copy on official letterhead or with a complete return address must follow. The editor reserves the right to refuse to print, or to publish with cuts, letters that contain personal abuse or otherwise fail to meet the standards of debate expected in a scholarly journal.
Cursed Days is a unique document that offered Bunin a much-needed outlet for his disgust with and... more Cursed Days is a unique document that offered Bunin a much-needed outlet for his disgust with and disapproval of the unfolding social and cultural events in 1917-1921. First written as a diary, it was later developed into a public statement, serialized in 1925 by the Russian émigré newspaper “Vozrozhdenie.” In Cursed Days Bunin tried to make sense of virtually inexplicable events by comparing them to the French revolution and Russian peasant uprisings. As hard as he tried, Bunin was not a historian, but a passionate and emotional observer. In this paper, I first discuss the constraints and benefits of the documentary approach that Bunin deemed particularly appropriate and then show how this approach changed dramatically in the 1920s. By 1922, Bunin would come to realize the limits of mimetic representation and would opt for what we can tentatively describe as nostalgic (or post-apocalyptic) realism. To make a definitive statement about the role of World War I and the subsequent revolutions in the lives of ordinary people, he had to invent his narrative of loss, which is often structured as a life-changing event due to its characters’ loss of loved ones. The characters often do not know immediately what they have lost but become aware of their predicament shortly after the event. I see Cursed Days as a crucible that transformed Bunin-the-judge into Bunin-the-creator. In a sense, Bunin’s conversion is similar to the transformation that Dante’s pilgrim experiences in the course of his journey through Hell, Purgatory and Paradise. Bunin’s transition was undoubtedly successful, allowing him to stay productive for many years to come. In 1933, Bunin became the first Russian recipient of the Nobel Prize in Literature.
В статье показано, какие формы приобрета-
ет известная парадигма «поэт и толпа» в советском
культ... more В статье показано, какие формы приобрета- ет известная парадигма «поэт и толпа» в советском культурном пространстве на примерах «Поэмы без героя» Анны Ахматовой и «Доктора Живаго» Бо- риса Пастернака. Отношения между поэтом и тол- пой принимают предельную форму, когда толпа сужается до круга почитателей и ценителей поэта. Текст произведения становится своеобразным концлагерем, где в зависимости от писательской установки гибнут и мучаются как читатели вместе с героями, так и их создатели. The article examines the forms in which the widely recognized “poet-versus-crowd” paradigm manifested itself in Soviet culture, using “A Poem without a Hero” by Anna Akhmatova and “Doctor Zhivago” by Boris Pasternak as Illustrations. The relationship between the poet and the crowd assumes extreme forms when the crowd narrows down to the poet’s inner circle of admirers and sophisticated interpreters. A work’s text becomes a species of a concentration camp, in which, depending on the writer’s disposition, both readers and characters, as well as the work’s creator, are suffering and perish.
Kritika: Explorations in Russian and Eurasian History, 2002
... Thus, Pavel Reifman opens his commemorative article on Zara Grigor'evna Mints (1927-90) ... more ... Thus, Pavel Reifman opens his commemorative article on Zara Grigor'evna Mints (1927-90) by recalling how she sent a ... My research benefited from discussions with Evgenii Borisovich Belodubrovskii, Iuliia Evgen'evna Galanina, and Kseniia Andreevna Kumpan, who provided ...
Breaking Free from Death examines how Russian writers respond to the burden of living with anxiet... more Breaking Free from Death examines how Russian writers respond to the burden of living with anxieties about their creative outputs, and, ultimately, about their own inevitable finitude. What contributes to creative death are not just crippling diseases that make man defenseless in the face of death, and not just the arguably universal fear of death but, equally important, the innumerable impositions on the part of various outsiders. Many conflicts in the lives of Rylkova’s subjects arose not from their opposition to the existing political regimes but from their interactions with like-minded and supporting intellectuals, friends, and relatives. The book describes the lives and choices that concrete individuals and—by extrapolation—their literary characters must face in order to preserve their singularity and integrity while attempting to achieve fame, greatness, and success.
Kritika: Explorations in Russian and Eurasian History, 2000
... Panchenko in his foreword also praises the famous memoirist for presenting an objective accou... more ... Panchenko in his foreword also praises the famous memoirist for presenting an objective account of her time that taught many people to see the truth; he scorns her wicked contemporaries like Emma Grigor ... One person she excluded was Sergei Borisovich Rudakov (19091944 ...
From the Slavic Review Editorial Board: Slavic Review publishes signed letters to the editor by i... more From the Slavic Review Editorial Board: Slavic Review publishes signed letters to the editor by individuals with educational or research merit. Where the letter concerns a publication in Slavic Review, the author of the publication will be offered an opportunity to respond. Space limitations dictate that comment regarding a book review should be restricted to one paragraph of no more than 250 words; comment on an article or forum should not exceed 750 to 1,000 words. When we receive many letters on a topic, some letters will be published on the Slavic Review Web site with opportunities for further discussion. Letters may be submitted by e-mail, but a signed copy on official letterhead or with a complete return address must follow. The editor reserves the right to refuse to print, or to publish with cuts, letters that contain personal abuse or otherwise fail to meet the standards of debate expected in a scholarly journal.
Cursed Days is a unique document that offered Bunin a much-needed outlet for his disgust with and... more Cursed Days is a unique document that offered Bunin a much-needed outlet for his disgust with and disapproval of the unfolding social and cultural events in 1917-1921. First written as a diary, it was later developed into a public statement, serialized in 1925 by the Russian émigré newspaper “Vozrozhdenie.” In Cursed Days Bunin tried to make sense of virtually inexplicable events by comparing them to the French revolution and Russian peasant uprisings. As hard as he tried, Bunin was not a historian, but a passionate and emotional observer. In this paper, I first discuss the constraints and benefits of the documentary approach that Bunin deemed particularly appropriate and then show how this approach changed dramatically in the 1920s. By 1922, Bunin would come to realize the limits of mimetic representation and would opt for what we can tentatively describe as nostalgic (or post-apocalyptic) realism. To make a definitive statement about the role of World War I and the subsequent revolutions in the lives of ordinary people, he had to invent his narrative of loss, which is often structured as a life-changing event due to its characters’ loss of loved ones. The characters often do not know immediately what they have lost but become aware of their predicament shortly after the event. I see Cursed Days as a crucible that transformed Bunin-the-judge into Bunin-the-creator. In a sense, Bunin’s conversion is similar to the transformation that Dante’s pilgrim experiences in the course of his journey through Hell, Purgatory and Paradise. Bunin’s transition was undoubtedly successful, allowing him to stay productive for many years to come. In 1933, Bunin became the first Russian recipient of the Nobel Prize in Literature.
В статье показано, какие формы приобрета-
ет известная парадигма «поэт и толпа» в советском
культ... more В статье показано, какие формы приобрета- ет известная парадигма «поэт и толпа» в советском культурном пространстве на примерах «Поэмы без героя» Анны Ахматовой и «Доктора Живаго» Бо- риса Пастернака. Отношения между поэтом и тол- пой принимают предельную форму, когда толпа сужается до круга почитателей и ценителей поэта. Текст произведения становится своеобразным концлагерем, где в зависимости от писательской установки гибнут и мучаются как читатели вместе с героями, так и их создатели. The article examines the forms in which the widely recognized “poet-versus-crowd” paradigm manifested itself in Soviet culture, using “A Poem without a Hero” by Anna Akhmatova and “Doctor Zhivago” by Boris Pasternak as Illustrations. The relationship between the poet and the crowd assumes extreme forms when the crowd narrows down to the poet’s inner circle of admirers and sophisticated interpreters. A work’s text becomes a species of a concentration camp, in which, depending on the writer’s disposition, both readers and characters, as well as the work’s creator, are suffering and perish.
Kritika: Explorations in Russian and Eurasian History, 2002
... Thus, Pavel Reifman opens his commemorative article on Zara Grigor'evna Mints (1927-90) ... more ... Thus, Pavel Reifman opens his commemorative article on Zara Grigor'evna Mints (1927-90) by recalling how she sent a ... My research benefited from discussions with Evgenii Borisovich Belodubrovskii, Iuliia Evgen'evna Galanina, and Kseniia Andreevna Kumpan, who provided ...
Breaking Free from Death examines how Russian writers respond to the burden of living with anxiet... more Breaking Free from Death examines how Russian writers respond to the burden of living with anxieties about their creative outputs, and, ultimately, about their own inevitable finitude. What contributes to creative death are not just crippling diseases that make man defenseless in the face of death, and not just the arguably universal fear of death but, equally important, the innumerable impositions on the part of various outsiders. Many conflicts in the lives of Rylkova’s subjects arose not from their opposition to the existing political regimes but from their interactions with like-minded and supporting intellectuals, friends, and relatives. The book describes the lives and choices that concrete individuals and—by extrapolation—their literary characters must face in order to preserve their singularity and integrity while attempting to achieve fame, greatness, and success.
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Papers by Galina Rylkova
ет известная парадигма «поэт и толпа» в советском
культурном пространстве на примерах «Поэмы без
героя» Анны Ахматовой и «Доктора Живаго» Бо-
риса Пастернака. Отношения между поэтом и тол-
пой принимают предельную форму, когда толпа
сужается до круга почитателей и ценителей поэта.
Текст произведения становится своеобразным
концлагерем, где в зависимости от писательской
установки гибнут и мучаются как читатели вместе
с героями, так и их создатели.
The article examines the forms in which the
widely recognized “poet-versus-crowd” paradigm manifested
itself in Soviet culture, using “A Poem without
a Hero” by Anna Akhmatova and “Doctor Zhivago”
by Boris Pasternak as Illustrations. The relationship
between the poet and the crowd assumes extreme
forms when the crowd narrows down to the poet’s inner
circle of admirers and sophisticated interpreters. A
work’s text becomes a species of a concentration
camp, in which, depending on the writer’s disposition,
both readers and characters, as well as the work’s creator,
are suffering and perish.
Books by Galina Rylkova
Learn more: https://www.academicstudiespress.com/out-of-series/breaking-free-from-death-the-art-of-being-a-successful-russian-writer
ет известная парадигма «поэт и толпа» в советском
культурном пространстве на примерах «Поэмы без
героя» Анны Ахматовой и «Доктора Живаго» Бо-
риса Пастернака. Отношения между поэтом и тол-
пой принимают предельную форму, когда толпа
сужается до круга почитателей и ценителей поэта.
Текст произведения становится своеобразным
концлагерем, где в зависимости от писательской
установки гибнут и мучаются как читатели вместе
с героями, так и их создатели.
The article examines the forms in which the
widely recognized “poet-versus-crowd” paradigm manifested
itself in Soviet culture, using “A Poem without
a Hero” by Anna Akhmatova and “Doctor Zhivago”
by Boris Pasternak as Illustrations. The relationship
between the poet and the crowd assumes extreme
forms when the crowd narrows down to the poet’s inner
circle of admirers and sophisticated interpreters. A
work’s text becomes a species of a concentration
camp, in which, depending on the writer’s disposition,
both readers and characters, as well as the work’s creator,
are suffering and perish.
Learn more: https://www.academicstudiespress.com/out-of-series/breaking-free-from-death-the-art-of-being-a-successful-russian-writer