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This bilingual collection in honor of the great scholar and writer
Alexander Zholkovsky brings together new work from forty-four
leading scholars in nine countries. Like Zholkovsky's oeuvre, this
volume covers a broad range of subjects and employs an array of
approaches. Topics range from Russian syntax to Peter the Great,
literary theory, and Russian film. The articles are rooted in
computational analysis, literary memoir, formal analysis, cultural
history, and a host of other methodological and discursive modes.
This collection provides not only a fitting tribute to one of the
most fascinating figures of Russian letters but also a remarkable
picture of the shape of Russian literary scholarship today.
This bilingual collection in honor of the great scholar and writer
Alexander Zholkovsky brings together new work from forty-four
leading scholars in nine countries. Like Zholkovsky's oeuvre, this
volume covers a broad range of subjects and employs an array of
approaches. Topics range from Russian syntax to Peter the Great,
literary theory, and Russian film. The articles are rooted in
computational analysis, literary memoir, formal analysis, cultural
history, and a host of other methodological and discursive modes.
This collection provides not only a fitting tribute to one of the
most fascinating figures of Russian letters but also a remarkable
picture of the shape of Russian literary scholarship today.
In early nineteenth-century Russia, members of jocular literary
societies gathered to recite works written in the lightest of
genres: the friendly verse epistle, the burlesque, the epigram, the
comic narrative poem, the prose parody. In a period marked by the
Decembrist Uprising and heightened state scrutiny into private
life, these activities were hardly considered frivolous; such works
and the domestic, insular spaces within which they were created
could be seen by the Russian state as rebellious, at times even
treasonous. Joe Peschio offers the first comprehensive history of a
set of associated behaviours known in Russian as "shalosti," a word
which at the time could refer to provocative behaviours like
practical joking, insubordination, ritual humiliation, or
vandalism, among other things, but also to literary manifestations
of these behaviours such as the use of obscenities in poems,
impenetrably obscure allusions, and all manner of literary inside
jokes. One of the period's most fashionable literary and social
poses became this complex of behaviours taken together. Peschio
explains the importance of literary shalosti as a form of challenge
to the legitimacy of existing literary institutions and sometimes
the Russian regime itself. Working with a wide variety of primary
texts-from verse epistles to denunciations, etiquette manuals, and
previously unknown archival materials-Peschio argues that the
formal innovations fuelled by such "prankish" types of literary
behaviour posed a greater threat to the watchful Russian government
and the literary institutions it fostered than did ordinary civic
verse or overtly polemical prose.
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