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The 50th volume of Stanford Slavic Studies brings together prominent international specialists in the study of Russian literary history. 42 contributors are affiliated with leading academic centers in the United States, the European Union, United Kingdom, Russia, and Israel. Their essays propose new approaches and introduce hitherto unknown materials that address themes central to literary scholarship, such as theory of Russian verse, history of Russian Formalism, Russian-German and Russian-Italian cultural ties. The chapters of this book cover such towering figures of modern Russian letters as Pushkin, Gogol, Akhmatova, Mandelshtam, Nabokov, and Pasternak. The volume is dedicated to the distinguished authority in Russian poetry and comparative literary studies, Professor of Princeton University Michael Wachtel.
For most English-speaking readers, Russian literature consists of a
small number of individual writers - nineteenth-century masters
such as Dostoevsky, Tolstoy and Turgenev - or a few well-known
works - Chekhov's plays, Brodsky's poems, and perhaps Master and
Margarita and Doctor Zhivago from the twentieth century. The
medieval period, as well as the brilliant tradition of Russian
lyric poetry from the eighteenth century to the present, are almost
completely terra incognita, as are the complex prose experiments of
Nikolai Gogol, Nikolai Leskov, Andrei Belyi, and Andrei Platonov.
Furthermore, those writers who have made an impact are generally
known outside of the contexts in which they wrote and in which
their work has been received.
The problem of madness has preoccupied Russian thinkers since the beginning of Russia's troubled history and has been dealt with repeatedly in literature, art, film, and opera, as well as medical, political, and philosophical essays. Madness has been treated not only as a medical or psychological matter, but also as a metaphysical one, encompassing problems of suffering, imagination, history, sex, social and world order, evil, retribution, death, and the afterlife. Madness and the Mad in Russian Culture represents a joint effort by American, British, and Russian scholars - historians, literary scholars, sociologists, cultural theorists, and philosophers - to understand the rich history of madness in the political, literary, and cultural spheres of Russia. Editors Angela Brintlinger and Ilya Vinitsky have brought together essays that cover over 250 years and address a wide variety of ideas related to madness - from the involvement of state and social structures in questions of mental health, to the attitudes of major Russian authors and cultural figures towards insanity and how those attitudes both shape and are shaped by the history, culture, and politics of Russia.
The culture of nineteenth-century Russia is often seen as dominated by realism in the arts, as exemplified by the novels of Leo Tolstoy and Ivan Turgenev, the paintings of 'the Wanderers,' and the historical operas of Modest Mussorgsky. Paradoxically, nineteenth-century Russia was also consumed with a passion for spiritualist activities such as table-rappings, seances of spirit communication, and materialization of the 'spirits.' Ghostly Paradoxes examines the surprising relationship between spiritualist beliefs and practices and the positivist mindset of the Russian Age of Realism (1850-80) to demonstrate the ways in which the two disparate movements influenced each other. Foregrounding the important role that nineteenth-century spiritualism played in the period's aesthetic, ideological, and epistemological debates, Ilya Vinitsky challenges literary scholars who have considered spiritualism to be archaic and peripheral to other cultural issues of the time. Ghostly Paradoxes is an innovative work of literary scholarship that traces the reactions of Russia's major realist authors to spiritualist events and doctrines and demonstrates that both movements can be understood only when examined together.
The first major study in English of Vasily Zhukovsky (1783-1852)-poet, translator of German romantic verse, and mentor of Pushkin-this book brings overdue attention to an important figure in Russian literary and cultural history. Vinitsky's "psychological biography" argues that Zhukovsky very consciously set out to create for himself an emotional life reflecting his unique brand of romanticism, different from what we associate with Pushkin or poets such as Byron or Wordsworth. For Zhukovsky, ideal love was harmonious, built on a mystical foundation of spiritual kinship. Vinitsky shows how Zhukovksy played a pivotal role in the evolution of ideas central to Russia's literary and cultural identity from the end of the eighteenth century into the decades following the Napoleonic Wars.
The first major study in English of Vasily Zhukovsky (1783-1852)-poet, translator of German romantic verse, and mentor of Pushkin-this book brings overdue attention to an important figure in Russian literary and cultural history. Vinitsky's "psychological biography" argues that Zhukovsky very consciously set out to create for himself an emotional life reflecting his unique brand of romanticism, different from what we associate with Pushkin or poets such as Byron or Wordsworth. For Zhukovsky, ideal love was harmonious, built on a mystical foundation of spiritual kinship. Vinitsky shows how Zhukovksy played a pivotal role in the evolution of ideas central to Russia's literary and cultural identity from the end of the eighteenth century into the decades following the Napoleonic Wars.
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