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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.
Montaigne’s Essays are rightfully studied as giving birth to the literary form of that name. Ann Hartle’s Montaigne and the Origins of Modern Philosophy argues that the essay is actually the perfect expression of Montaigne as what he called "a new figure: an unpremeditated and accidental philosopher." Unpremeditated philosophy is philosophy made sociable—brought down from the heavens to the street, where it might be engaged in by a wider audience. In the same philosophical act, Montaigne both transforms philosophy and invents "society," a distinctly modern form of association. Through this transformation, a new, modern character emerges: the individual, who is neither master nor slave and who possesses the new virtues of integrity and generosity. In Montaigne’s radically new philosophical project, Hartle finds intimations of both modern epistemology and modern political philosophy.
Reclaiming the Evidence of the Heart
Transposing Novels into Opera, Film, and Drama
Since their publication, the works of Dostoevsky have provided rich fodder for adaptations to opera, film, and drama. While Dostoevsky gave his blessing to the idea of adapting his work to other forms, he believed that "each art form corresponds to a series of poetic thoughts, so that one idea cannot be expressed in another non-corresponding form."
Political Involvement, Marginalization, and Minority Status
Kenya’s Muslim population comprises ethnic Arabs, Indians, and black Africans, and its status has varied historically. Under British rule, an imposed racial hierarchy affected Muslims particularly, thwarting the development of a united political voice. Drawing on a broad range of interviews and historical research, Ndzovu presents a nuanced picture of political associations during the postcolonial period and explores the role of Kenyan Muslims as political actors.
Boris Pasternak is best known in the West for his epic novel Doctor Zhivago, whereas in Russia he is most celebrated as a poet. The two poetry collections offered here in translation are chronological and thematic bookends, and they capture Pasternak’s abiding and powerful vision of life: his sense of its beauty and terror, its precariousness for the individual, and its persistence in time—that vitality of being with which he is on familiar and familial terms.
Edited by the nation's most respected senior Dostoevsky scholar, this collection brings together original work by notable writers of varying backgrounds and interests. While drawing on Dostoevsky's other fiction, journalism, and correspondence, the writing of his contemporaries, the state of Russian culture to illuminate the unfolding novel these essays also make use of new fields of scholarship, such as cognitive psychology, as well as recent theoretical approaches and critical insights. The authors propose readings remarkable for their attentiveness to detail, relatively peripheral characters, and heretofore overlooked incidents, passages, or fragments of dialogue. Some contributors suggest readings so new that they are subvert our usual modes of approaching this novel; all reflect the immediacy of adventuresome, informed encounters with Dostoevsky's final novel. Treating The Brothers Karamazov in terms of a broad range of genres (poetry, narrative, parody, confession, detective fiction) and discourses (medical, scientific, sexual, judicial, philosophical, and theological), these essays embody on a critical and analytic level a search for coherence, meaning, and harmony that continues to animate Dostoevsky's novel in our day.