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The legendary Russian biography series, The Lives of Remarkable
People, has played a significant role in Russian culture from its
inception in 1890 until today. The longest running biography series
in world literature, it spans three centuries and widely divergent
political and cultural epochs: Imperial, Soviet, and Post-Soviet
Russia. The authors argue that the treatment of biographical
figures in the series is a case study for continuities and changes
in Russian national identity over time. Biography in Russia and
elsewhere remains a most influential literary genre and the
distinctive approach and branding of the series has made it the
economic engine of its publisher, Molodaia gvardiia. The centrality
of biographies of major literary figures in the series reflects
their heightened importance in Russian culture. The contributors
examine the ways that biographies of Russia's foremost writers
shaped the literary canon while mirroring the political and social
realities of both the subjects' and their biographers' times.
Starting with Alexander Pushkin and ending with Joseph Brodsky, the
authors analyze the interplay of research and imagination in
biographical narrative, the changing perceptions of what
constitutes literary greatness, and the subversive possibilities of
biography during eras of political censorship.
The volume examines several screen adaptations of works written by
mid- and late nineteenth-century authors, who constitute the
hallmark of the Russian cultural brand, finding favour with
audiences in Russia and in the West. It considers reimagining of
Goncharov, Turgenev, Dostoevsky, Chekhov and Tolstoy in different
contexts. The book examines various types of adaptation, including
transposition, commentary, and analogy. It focuses on established
Russian and western filmmakers' dialogue with the classics taking
place in the last 60 years. The book shows how the ideological
and/or philosophical concerns of the day serve as a lens for a
specific reading of the novel, the story, or the play. By
foregrounding a synergetic literary-cinematic space, the book
demonstrates how the director becomes a creative mediator between
his audiences and the author, taking account of contemporary
epistemological imperatives and the particularities of the
reception by viewers.
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R398
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