The great modernist eccentric Alexei Remizov was a “writers’ writer” whose innovative poetic prose has long since entered the Russian literary canon. Gradually expanding his working methods to make drawing an integral part of the writing process, during the 1930s and 1940s, Remizov created hundreds of albums that combined texts with collages and india ink and watercolor illustrations. In Beyond Symbolism and Surrealism, Julia Friedman provides the first extensive examination of the dynamic interplay between text and image in Remizov’s albums, revealing their coequal roles in his oneiric and synaesthetic brand of storytelling. A participant in the Russian symbolist movement, an intellectual ally of many futurists, and during his émigré years, a collaborator of the surrealists, Remizov had unique insight into artistic cultures of the European avant-garde. His reinterpretation of the medieval illuminated manuscripts carries forward the traditions of symbolist mysticism and
This long-overdue examination of Remizov’s visual art addresses modernism’s key theoretical questions surrounding the relationships between image and text. Beyond Symbolism and Surrealism introduces a generous sampling of Remizov’s graphic work, much of which is currently held in private collections.
The Bilingual Muse analyzes the work of seven Russian poets who translated their own poems into English, French, German, or Italian. Investigating the parallel versions of self-translated poetic texts by Vladimir Nabokov, Joseph Brodsky, Andrey Gritsman, Katia Kapovich, Marina Tsvetaeva, Wassily Kandinsky, and Elizaveta Kul’man, Adrian Wanner considers how verbal creativity functions in different languages, the conundrum of translation, and the vagaries of bilingual identities.
Wanner argues that the perceived marginality of self-translation stems from a romantic privileging of the mother tongue and the original text. The unprecedented recent dispersion of Russian speakers over three continents has led to the emergence of a new generation of diasporic Russians who provide a more receptive milieu for multilingual creativity.
Where is the line that separates the “normal” from the “abnormal”? Liubov, a young Ukrainian woman of small nobility, struggles with this question in Lesia Ukrainka’s The Blue Rose. Living in Ukraine at the turn of the twentieth century, she finds herself outside the norms for a woman: she reads “thick books,” follows music and art, and is interested in science and psychology. She hosts a salon and challenges men in discussions about politics and culture. Liubov is also an orphan whose mother died in an asylum, and she worries about inheriting her mother’s disease as well as passing it on to future children. When Liubov falls in love with Orest, she proposes a radical solution to her dilemma: to pursue something as rare as a blue flower—“pure love” that foregoes the physical and abandons the requirement of marriage and motherhood.
In her commanding debut as a playwright, Ukrainka created a deep psychological rendering of an unattainable ideal. The Blue Rose highlights themes such as women’s struggles for liberation, social progress and its reliance on science, and resistance to change in traditional societies. Written in sophisticated Ukrainian, Ukrainka’s nuanced play helped Ukrainian culture break free of the Russian imperial mold that sought to first provincialize and then erase it. Presented here in contemporary English translation, The Blue Rose illuminates Ukraine’s intellectual history and its connections with Western culture.
Where is the line that separates the “normal” from the “abnormal”? Liubov, a young Ukrainian woman of small nobility, struggles with this question in Lesia Ukrainka’s The Blue Rose. Living in Ukraine at the turn of the twentieth century, she finds herself outside the norms for a woman: she reads “thick books,” follows music and art, and is interested in science and psychology. She hosts a salon and challenges men in discussions about politics and culture. Liubov is also an orphan whose mother died in an asylum, and she worries about inheriting her mother’s disease as well as passing it on to future children. When Liubov falls in love with Orest, she proposes a radical solution to her dilemma: to pursue something as rare as a blue flower—“pure love” that foregoes the physical and abandons the requirement of marriage and motherhood.
In her commanding debut as a playwright, Ukrainka created a deep psychological rendering of an unattainable ideal. The Blue Rose highlights themes such as women’s struggles for liberation, social progress and its reliance on science, and resistance to change in traditional societies. Written in sophisticated Ukrainian, Ukrainka’s nuanced play helped Ukrainian culture break free of the Russian imperial mold that sought to first provincialize and then erase it. Presented here in contemporary English translation, The Blue Rose illuminates Ukraine’s intellectual history and its connections with Western culture.
Boris Pasternak has generally been regarded as an artist who was indifferent to the literary and political storms of his time. Lazar Fleishman gives the great writer's life a new perspective. He shows that Pasternak's entire literary career should be regarded as a complex and passionate response to constant changes in Russian cultural and social life.
Drawing on a vast array of sources, Fleishman's chronicle encompasses both the familiar and the little-known aspects of the poet's life and work. He describes the formative role played by Pasternak's father, a prominent Russian painter, and the intellectual endeavors of the young man before his literary debut. He explores the intricate relations of Pasternak to the main movements of literary modernism, including symbolism and futurism.
Particularly informative are the chapters devoted to the postrevolutionary years. Fleishman untangles the poet's contacts with leading political figures (Stalin, Trotsky, Bukharin) and fellow writers (Gorky, Mayakovsky, Tsvetaeva, Akhmatova, Mandelshtam), and examines his changes in fortune during the purges and World War II. He shows how Pasternak was perceived by Western contemporaries and how significant their moral support was for him during the darkest years of Stalin's regime. He provides explanations for the Christian themes in Pasternak's later work, as well as the poet's peculiar view of Jewry. Finally, Fleishman recreates the vicissitudes of the publication of Doctor Zhivago and the ensuing Nobel Prize scandal in 1958. A fascinating description of the writer's career in broad context, this book will be welcomed by everyone interested in Pasternak and in twentieth-century literature.
Stanislaw Baranczak, a Polish writer in exile, turns to his colleagues and their plights, in Poland, Czechoslovakia, Hungary, and the Soviet Union, to explain why oppressive regimes could not succeed in their attempts to transform the Eastern European into Homo sovieticus.
These superb essays focus on the role that culture, and particularly literature, has played in keeping the spirit of intellectual independence alive in Eastern and Central Europe. Exploring a variety of issues from censorship to underground poetry, Baranczak shows why, in societies where people struggle to survive under totalitarian rule, art is believed to have the power to make things happen.
He brings into sharp relief the works and personalities of many legendary figures of recent Eastern European political and cultural history from Lech Walesa and Pope John Paul II to Václav Havel and Adam Michnik to Czeslaw Milosz, Witold Gombrowicz, Bruno Schulz, and Joseph Brodsky--and makes vivid the context from which they spring. Some of the essays probe the sense of inarticulateness experienced by writers in exile; many represent the literary essay at its best; all reveal that Baranczak is a sophisticated, often savagely funny writer on whom nothing is lost.
This refreshing and provocative book guides us toward a clearer understanding of what has led to the present moment, in which the nations of Eastern and Central Europe, tired of striving to "breathe under water," are finally "coming up for air." It is rewarding reading for anyone interested in art's confrontation with an intractable political reality--wherever it occurs in the world.
A Marginal Revolution Best Book of the Year
Winner of the Shulman Book Prize
A noted expert on Russian energy argues that despite Europe’s geopolitical rivalries, natural gas and deals based on it unite Europe’s nations in mutual self-interest.
Three decades after the fall of the Berlin Wall and the breakup of the Soviet empire, the West faces a new era of East–West tensions. Any vision of a modern Russia integrated into the world economy and aligned in peaceful partnership with a reunited Europe has abruptly vanished.
Two opposing narratives vie to explain the strategic future of Europe, one geopolitical and one economic, and both center on the same resource: natural gas. In The Bridge, Thane Gustafson, an expert on Russian oil and gas, argues that the political rivalries that capture the lion’s share of media attention must be viewed alongside multiple business interests and differences in economic ideologies. With a dense network of pipelines linking Europe and Russia, natural gas serves as a bridge that unites the region through common interests.
Tracking the economic and political role of natural gas through several countries—Russia and Ukraine, the United Kingdom, Germany, the Netherlands, and Norway—The Bridge details both its history and its likely future. As Gustafson suggests, there are reasons for optimism, but whether the “gas bridge” can ultimately survive mounting geopolitical tensions and environmental challenges remains to be seen.
Expelled from the Soviet Union in 1972 and honored with the Nobel Prize fifteen years later, poet Joseph Brodsky in many ways fit the grand tradition of exiled writer. But Brodsky’s years of exile did not render him immobile: though he never returned to his beloved Leningrad, he was free to travel the world and write about it. In Brodsky Abroad, Sanna Turoma discusses Brodsky’s poems and essays about Mexico, Brazil, Turkey, and Venice. Challenging traditional conceptions behind Brodsky’s status as a leading émigré poet and major descendant of Russian and Euro-American modernism, she relocates the analysis of his travel texts in the diverse context of contemporary travel and its critique. Turoma views Brodsky’s travel writing as a response not only to his exile but also to the postmodern and postcolonial landscape that initially shaped the writing of these texts.
In his Latin American encounters, Brodsky exhibits disdain for third-world politics and invokes the elegiac genre to reject Mexico’s postcolonial reality and to ironically embrace the romanticism of an earlier Russian and European imperial age. In an essay on Istanbul he assumes Russia’s ambiguous position between East and West as his own to negotiate a distinct, and controversial, interpretation of Orientalism. And, Venice, the emblematic tourist city, becomes the site for a reinvention of his lyric self as more fluid, hybrid, and cosmopolitan.
Brodsky Abroad reveals the poet’s previously uncharted trajectory from alienated dissident to celebrated man of letters and offers new perspectives on the geopolitical, philosophical, and linguistic premises of his poetic imagination.
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