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Border Conditions combines history and memory studies with literary
and cultural studies to examine lives at the limits of contemporary
Europe—those of the half-million Russian-speakers who live in
Latvia. Since the fall of the USSR in 1991, Latvia's
Russian-speakers have balanced between Russia and Europe and
between a socialist past, a capitalist and liberal present, and the
illiberal regime rising in the Russian Federation. Kevin M. F.
Platt describes how the members of this population have worked to
define themselves through art, literature, cultural institutions,
film, and music—and how others, from the Russian Federation or
the Latvian state, have sought to define them. Efforts to make
sense of the border condition of Russian-speakers in Latvia often
raise more questions than they answer—not just about this
population, but about competing world orders on all sides. At the
end of the Cold War, many anticipated that societies across the
globe could come to consensus about the meaning of past history and
the bases for a just politics in the present. The view from the
borders of Europe demonstrates the deep contradictions pertaining
to fundamental terms such as empire, state socialism, liberalism,
and nation that have made it impossible to achieve such a
consensus. Platt decenters the study of history and memory in
Eastern Europe, refocusing the examination of state socialism's
aftermath around questions of empire and post-colonialism. Border
Conditions helps us understand the distinctions between Russian and
Western worldviews driving military confrontation to this day.
Is there an essential Russian identity? What happens when
""Russian"" literature is written in English, by such authors as
Gary Shteyngart or Lara Vapnyar? What is the geographic ""home"" of
Russian culture created and shared via the internet? Global Russian
Cultures innovatively considers these and many related questions
about the literary and cultural life of Russians who in successive
waves of migration have dispersed to the United States, Europe, and
Israel, or who remained after the collapse of the USSR in Ukraine,
the Baltic states, and the Central Asian states. The volume's
internationally renowned contributors treat the many different
global Russian cultures not as ""displaced"" elements of Russian
cultural life but rather as independent entities in their own
right. They describe diverse forms of literature, music, film, and
everyday life that transcend and defy political, geographic, and
even linguistic borders. Arguing that Russian cultures today are
many, this volume contends that no state or society can lay claim
to be the single or authentic representative of Russianness. In so
doing, it contests the conceptions of culture and identity at the
root of nation-building projects in and around Russia.
Focusing on a number of historical and literary personalities who
were regarded with disdain in the aftermath of the 1917
revolution--figures such as Peter the Great, Ivan the Terrible,
Alexander Pushkin, Leo Tolstoy, and Mikhail Lermontov--"Epic
Revisionism" tells the fascinating story of these individuals'
return to canonical status during the darkest days of the Stalin
era. An inherently interdisciplinary project, "Epic Revisionism"
features pieces on literary and cultural history, film, opera, and
theater. This volume pairs scholarly essays with selections drawn
from Stalin-era primary sources--newspaper articles, unpublished
archival documents, short stories--to provide students and
specialists with the richest possible understanding of this
understudied phenomenon in modern Russian history.
"These scholars shed a great deal of light not only on Stalinist
culture but on the politics of cultural production under the Soviet
system."--David L. Hoffmann, "Slavic Review"
"Distributed by the University of Nebraska Press for Whale and Star
Press"
Anna Akhmatova (1889-1966) was a skilled love poet who, through no
choice of her own, became a witness to mass violence, a widely
recognized exemplar of endurance and moral strength, and finally a
symbol of Russian national resilience. At the start of her career,
during the final years of the Russian Empire, Akhmatova was a
cultural celebrity who fascinated a generation not only with her
poetry but also with the drama that she created around
herself.
After the revolution of 1917, she was attacked as a decadent
bourgeois author and driven into silence and obscurity. Living in
relative poverty, with her family and friends repeatedly arrested
and harassed, and she herself publicly cursed by the
representatives of the state, Akhmatova survived the darkest
decades of Soviet history. Near the end of her life, when timorous
cultural bureaucrats allowed her to reemerge as a public figure,
she revealed to readers that even if the "collective" had rejected
her as an unworthy member she had continued to write poetry
reflecting the trials and calamities of Soviet men and women with
greater truth and moral authority than any official poet could
attain.
In this ambitious book, Kevin M. F. Platt focuses on a cruel
paradox central to Russian history: that the price of progress has
so often been the traumatic suffering of society at the hands of
the state. The reigns of Ivan IV (the Terrible) and Peter the Great
are the most vivid exemplars of this phenomenon in the pre-Soviet
period. Both rulers have been alternately lionized for great
achievements and despised for the extraordinary violence of their
reigns. In many accounts, the balance of praise and condemnation
remains unresolved; often the violence is simply repressed.
Platt explores historical and cultural representations of the
two rulers from the early nineteenth century to the present, as
they shaped and served the changing dictates of Russian political
life. Throughout, he shows how past representations exerted
pressure on subsequent attempts to evaluate these liminal figures.
In ever-changing and often counterposed treatments of the two,
Russians have debated the relationship between greatness and terror
in Russian political practice, while wrestling with the fact that
the nation's collective selfhood has seemingly been forged only
through shared, often self-inflicted trauma. Platt investigates the
work of all the major historians, from Karamzin to the present, who
wrote on Ivan and Peter. Yet he casts his net widely, and
"historians" of the two tsars include poets, novelists, composers,
and painters, giants of the opera stage, Party hacks, filmmakers,
and Stalin himself. To this day the contradictory legacies of Ivan
and Peter burden any attempt to come to terms with the nature of
political power past, present, future in Russia."
Distributed by the University of Nebraska Press for Whale and Star
Press Modernist Archaist offers a comprehensive English-language
selection of Osip Mandelstam's poetry, edited by Russian scholar
Kevin M. F. Platt, who also contributes an illuminating essay. New
translations by notable contemporary poets combined with an
exceptional selection of previous translations are representative
of the most up-to-date interpretation of Mandelstam's work. Osip
Mandelstam (1891-1938), one of the most significant poets of
twentieth-century Russian literature, also embodied more fully than
any other its profound paradoxes. He was a Jew born in Poland who
became a leading Russian poet. He was a committed Modernist who was
nevertheless faithful to the great examples and strict forms of the
past literary tradition. Most strikingly, he was a rebel and
radical thinker who was ultimately hounded to death as an "enemy"
of the revolutionary Soviet society. Yet while Mandelstam's poetry
bore witness to the convulsions of twentieth-century Russian
culture and politics, it was by no means limited or defined by
these historical contexts. In an early statement of his creative
credo Mandelstam wrote: "for an artist, a worldview is a tool or a
means, like a hammer in the hands of a mason, and the only reality
is the work of art itself." The poems offered in this volume, about
half of them appearing in previously unpublished translations,
present an overview of Mandelstam's major works. Introductory
materials include an essay on his life and poetry.
Is there an essential Russian identity? What happens when "Russian"
literature is written in English, by such authors as Gary
Shteyngart or Lara Vapnyar? What is the geographic "home" of
Russian culture created and shared via the internet? Global Russian
Cultures innovatively considers these and many related questions
about the literary and cultural life of Russians who in successive
waves of migration have dispersed to the United States, Europe, and
Israel, or who remained after the collapse of the USSR in Ukraine,
the Baltic states, and the Central Asian states. The volume's
internationally renowned contributors treat the many different
global Russian cultures not as "displaced" elements of Russian
cultural life but rather as independent entities in their own
right. They describe diverse forms of literature, music, film, and
everyday life that transcend and defy political, geographic, and
even linguistic borders. Arguing that Russian cultures today are
many, this volume contends that no state or society can lay claim
to be the single or authentic representative of Russianness. In so
doing, it contests the conceptions of culture and identity at the
root of nation-building projects in and around Russia.
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