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Comparative Literature explores an 'area of interest' rather than a
special discipline. The book begins with an account of the
approaches that twentieth century writers took to literature by
writers other than themselves. It discusses the common tone shared
by those who subscribe to a national tradition, and considers what
is meant by 'the mind of Europe'. It ponders the problems of
translation, and discusses the nature of comparative study at
university. Lastly, the special case of American literature is
treated as pointing to the need for adjustment to a new stage in
the world's culture. The criticial discussion of comparative
studies provided in this book demonstrates the greater depth and
vivacity that these studies can give to our ideas about literature.
The Novel in Russia examines the Russian sensibility as it is
revealed in prose fiction, the dominant mode of Russian literature.
It explores how, in the work of Pushkin, Lermontov and Gogol,
narrative art forsakes poetry for prose, and considers in turn six
authors from the great age of prose realism: Goncharov, Turgenev,
Leskov, Tolstoy, Saltykov-Shchedrin and Dostoevsky. The book
provides an account of Chekhov and Gorky, appraises 'decadent'
prose, the earlier Soviet writing, the school of Socialist Realism,
and Doctor Zhivago. The theme of the writer's contest with critical
pressure and State interference runs throughout.
Comparative Literature explores an 'area of interest' rather than a
special discipline. The book begins with an account of the
approaches that twentieth century writers took to literature by
writers other than themselves. It discusses the common tone shared
by those who subscribe to a national tradition, and considers what
is meant by 'the mind of Europe'. It ponders the problems of
translation, and discusses the nature of comparative study at
university. Lastly, the special case of American literature is
treated as pointing to the need for adjustment to a new stage in
the world's culture. The criticial discussion of comparative
studies provided in this book demonstrates the greater depth and
vivacity that these studies can give to our ideas about literature.
The Novel in Russia examines the Russian sensibility as it is
revealed in prose fiction, the dominant mode of Russian literature.
It explores how, in the work of Pushkin, Lermontov and Gogol,
narrative art forsakes poetry for prose, and considers in turn six
authors from the great age of prose realism: Goncharov, Turgenev,
Leskov, Tolstoy, Saltykov-Shchedrin and Dostoevsky. The book
provides an account of Chekhov and Gorky, appraises 'decadent'
prose, the earlier Soviet writing, the school of Socialist Realism,
and Doctor Zhivago. The theme of the writer's contest with critical
pressure and State interference runs throughout.
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Journey to Armenia (Hardcover)
Osip Mandelstam; Introduction by Henry Gifford; Translated by Sidney Monas, Clarence Brown, Robert Hughes
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R459
R414
Discovery Miles 4 140
Save R45 (10%)
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Ships in 9 - 15 working days
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Osip Mandelstam visited Armenia in 1930, and during the eight
months of his stay he rediscovered his poetic voice and was
inspired to write an experimental meditation on the country and its
ancient culture. 'Armenia brought him back to his true self, a self
depending on the "inner ear" which could never play a poet false.
There was everything congenial to him in this country of red and
ochre landscape, ancient churches, and resonant pottery.' (Henry
Gifford). Conversation about Dante, Mandelstam's incomparable
apologia for poetic freedom and challenge to the Bolshevik
establishment, was dictated by the poet to his wife, Nadezhda
Mandelstam, in 1934-35, during the last phase of his itinerant
life. It has close ties to the Journey.
This book (comprising four lectures presented at Trinity College,
Cambridge in 1985) is concerned with the function and status of
poetry in the twentieth century, and is particularly concerned to
contrast attitudes in Britain and America with those in the USSR
and Eastern Europe. Beginning with the function of poetry today,
Professor Gifford goes on to consider the nature and validity of
'poetic witness', the problem of the poet's solitude and his
relation to the community, and finally the question of how far the
'international code' of poetry can be understood by those who care
for it seriously in their own language. The author, who has
published on many aspects of twentieth-century poetry, has
attempted an 'apology for poetry' in an age which needs, but tends
to ignore, this art formerly at the centre of European
civilization. Amongst the poets discussed are Blok, Akhmatova,
Mandelstam, Tsvetaeva, Emily Dickinson, Yeats, Pound, Eliot, Cavafy
and Seferis.
All the poetry quoted in Russian has a plain prose translation, so
that the book can be enjoyed by the general reader as well as the
specialist student of Russian language and literature.
This book (comprising four lectures presented at Trinity College,
Cambridge in 1985) is concerned with the function and status of
poetry in the twentieth century, and is particularly concerned to
contrast attitudes in Britain and America with those in the USSR
and Eastern Europe. Beginning with the function of poetry today,
Professor Gifford goes on to consider the nature and validity of
'poetic witness', the problem of the poet's solitude and his
relation to the community, and finally the question of how far the
'international code' of poetry can be understood by those who care
for it seriously in their own language. The author, who has
published on many aspects of twentieth-century poetry, has
attempted an 'apology for poetry' in an age which needs, but tends
to ignore, this art formerly at the centre of European
civilization. Amongst the poets discussed are Blok, Akhmatova,
Mandelstam, Tsvetaeva, Emily Dickinson, Yeats, Pound, Eliot, Cavafy
and Seferis.
An attempt to interpret and appraise the work of Boris Pasternak as
lyrical and narrative poet, writer of prose fiction, and verse
translator (notably from Shakespeare). Pasternak belonged to an
unusually gifted generation of Russian poets who began writing in
the years that preceded the First World War and the Russian
revolution of 1917. Henry Gifford discusses Pasternak's choice of
vocation, and then examines the poetry and stories of the 1920s and
1930s, his work as translator, his two autobiographies, the novel
that brought him world fame and much personal anguish, Doctor
Zhivago, his late poems and his unfinished play, The Blind Beauty.
Pasternak is seen in relation to his most eminent contemporaries
among the Russian poets, and to the common crisis they had to face.
All the poetry quoted in Russian has a plain prose translation.
This critical study is not intended only for the specialist student
of Russian literature: it should have an appeal for all readers who
are concerned about the survival of poetry in the present age.
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