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Although Anna Karenina has been described as “the European novel” by Frank Leavis, the geographical setting of the novel and, increasingly, its temporal and cultural setting, render it a foreign novel to most readers. A Karenina Companion offers a wealth of information, including a great deal that has previously not been available in English, for the scholarly and literary appreciation of this great novel.
Chapter 1 is a biographical introduction and Chapter 2 an examination of the way in which the novel was composed. In Chapter 3 the author brings together Tolstoi’s own substantial comments on his work. Chapter 4 adduces the main differences between the latest edition of the text and what has been the standard edition for over 50 years. Chapter 5 outlines what Tolstoi was reading as he was writing the novel. The final chapter provides a survey of significant secondary literature, with English-language works listed in appendices.
A Karenina Companion will facilitate both the reading and understanding of the novel by English speakers and the writing of informed and reliable critical appreciations.
While a large amount of scholarship about Milan Kundera's work exists, in Liisa Steinby's opinion his work has not been studied within the context of (European) modernity as a sociohistorical and a cultural concept. Of course, he is considered to be a modernist writer (some call him even a postmodernist), but what the broader concept of modernity intellectually, historically, socially, and culturally means for him and how this is expressed in his texts has not been thoroughly examined. Steinby's book fills this vacuum by analyzing Kundera's novels from the viewpoint of his understanding of the existential problems in the culture of modernity. In addition, his relation to those modernist novelists from the first half of the twentieth century who are most important for him is scrutinized in detail. Steinby’s Kundera and Modernity is intended for students of modernism in literary and (comparative) cultural studies, as well as those interested in European and Central European studies. Key Points: • Offers new insights into the work of the popular modern writer Milan Kundera. • Expands the reader’s understanding of the meaning of the concept of “modernity.” • Widens the literature available in English about Central European culture. Quote: “This work is superb. By examining the works and traditions that Kundera claims to have influenced him, Steinby demonstrates how Kundera’s misreading of previous novelists as well as his own desire to be taken out of the Czech or Central European context has informed his own work. This book is the result of many years of painstaking research.” Craig Cravens, Indiana University
This is the first study of Russian writer Mikhail Lermontov (1814 41) that attempts to integrate the in depth interpretations of all his major texts including his famous A Hero of Our Time, the novel that laid the foundation for the Russian psychological novel. Lermontov's explorations of the virtues and limitations of heroic, self reliant conduct have subsequently become obscured or misread. This new book focuses upon the peculiar, disturbing, and arguably most central feature of Russian culture: its suspicion of and hostility toward individual achievement and self assertion. The analysis and interpretation of Lermontov's texts enables Golstein to address broader cultural issues by exploring the reasons behind the persistent misreading of Lermontov's major works and by investigating the cultural attitudes that shaped Russia's reaction to the challenges of modernity.
The Meanings of Anna Karenina
Vladimir E. Alexandrov advocates a broad revision of the academic study of literature and proposes an adaptive, text-specific reading methodology that is designed to minimize the circularity of interpretation inherent in the act of reading. He illustrates this method on the example of Tolstoy’s classic novel via a detailed "map" of the different possible readings that the novel can support. Anna Karenina emerges as deeply conflicted, polyvalent, and quite unlike what one finds in other critical studies.
Avant-Garde Visual Experiments, 1900-1930
Gerald Janecek describes the experiments in visual, literature conducted from 1900 to 1930, the heyday of the Russian Avant Garde. Focusing on an aspect of Russian literary history that has previously been almost ignored, he shows how Russian writers of this period tried unusual methods to make their texts visually interesting or expressive. The book includes 183 illustrations, most from rare publications and many reproduced for the first time. The author discusses such figures as the Symbolist Andrey Bely, the Futurists Aleksey Kruchonykh, Vasili Kamensky, and Vladimir Mayakovsky, and the post-Futurist Ilya Zdanevich, and their use of devices ranging from unorthodox layouts and florid typography to roughly done lithographed or handmade books.
Originally published in 1989.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Encounters and Extensions
The Russian Avant-Garde in the Early Soviet Era, 1918-1928
Making Modernism Soviet provides a new understanding of the ideological engagement of Russian modern artists such as Kazimir Malevich, Alexander Rodchenko, and Vera Ermolaeva with the political and social agenda of the Bolsheviks in the chaotic years immediately following the Russian Revolution. Focusing on the relationship between power brokers and cultural institutions under conditions of state patronage, Pamela Kachurin lays to rest the myth of the imposition of control from above upon a victimized artistic community. Drawing on extensive archival research, she shows that Russian modernists used their positions within the expanding Soviet arts bureaucracy to build up networks of like-minded colleagues. Their commitment to one another and to the task of creating a socially transformative visual language for the new Soviet context allowed them to produce some of their most famous works of art. But it also contributed to the "Sovietization" of the art world that eventually sealed their fate.
“Mandelstam had no teacher,” marveled Anna Akhmatova, reflecting on his early maturity and singularity. But Mandelstam himself spoke of the need and even duty to study a poet’s literary roots. So how did this consummately complex, compelling, multi-resonant poet navigate and exploit the burden of the Russian Symbolist movement from which he emerged? How did this process change and augment his poetry? Through a series of illuminating readings, Stuart Goldberg explores the ongoing role that the poetry of Russian Symbolism played in Osip Mandelstam’s creative life, laying bare the poet’s productive play with distance and immediacy in his assimilation of the Symbolist heritage. At the same time, Mandelstam, Blok, and the Boundaries of Mythopoetic Symbolism presents the first coherent narrative of the poet’s fraught relationship with Alexander Blok, the most powerful poetic voice among the Symbolists. This dialogue, which was largely one-sided, extended beyond poetic intertext into the realms of poetics, charisma, and personality. Goldberg’s study pushes theoretical boundaries, exploring the juncture between pragmatics and intertext, adapting and challenging Bloom’s anxiety of influence theory, and, ultimately, tracing a shift in the nature of sincerity and authenticity that divided poetic generations.