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The Emergence of a Hero is dedicated to the history of Russian
emotional culture of the late eighteenth and early nineteenth
centuries - the epoch when the court Masonic lodges and literature
were competing for the monopoly on the 'symbolic images of feeling'
that an educated and Europeanised Russian was supposed to
interiorize and reproduce. The case study in the centre of the
study is the story of the life and death of Andrei Turgenev
(1781-1803), the author of a confessional diary, a gifted poet, and
an early Russian Romantic who failed to live up to the principles
and models he cherished. Brought up on the patterns of emotions he
found in works of Rousseau, Sterne, and the authors of Sturm and
Drang, he soon found them too narrow for his individuality, and
navigated towards a more mature nineteenth century Romanticism, but
was not able to make this transition. Turgenev experimented not so
much in his literary work as in his life. The reconstruction of
this convoluted and enigmatic case is based on archival research
and innovative analysis of individual emotional experience.
"A welcome volume of stories from Russia's finest contemporary
fiction writer, Mikhail Shishkin, full of his typical fusing of
mysticism and modernist experimentation." --Sam Sacks, Wall Street
Journal The first English-language collection of short stories by
Russia's greatest contemporary author, Mikhail Shishkin, the only
author to win all three of Russia's most prestigious literary
awards. Often included in discussions of Nobel Prize contenders,
Shishkin is a master prose writer in the breathtakingly beautiful
style of the greatest Russian authors, known for complex, allusive
novels about universal and emotional themes. Shishkin's stories
read like modern versions of the eternal literature written by his
greatest inspirations: Boris Pasternak, Ivan Bunin, Leo Tolstoy,
and Mikhail Bulgakov. Shishkin's short fiction is the perfect
introduction to his breathtaking oeuvre, his stories touch on the
same big themes as his novels, spanning discussions of love and
loss, death and eternal life, emigration and exile. Calligraphy
Lesson spans Shishkin's entire writing career, including his first
published story, the 1993 Debut Prize--winning "Calligraphy
Lesson," and his most recent story "Nabokov's Inkblot," which was
written for a dramatic adaptation performed in Zurich in 2013.
Mikhail Shishkin (b. 1961 in Moscow) is one of the most prominent
names in contemporary Russian literature. A former interpreter for
refugees in Switzerland, Shishkin divides his time between Moscow,
Switzerland, and Germany.
This study explores the interrelationship between spatiality and
subjecthood in the work of Stephane Mallarme, Guillaume
Apollinaire, Maurice Maeterlinck, and Alfred Jarry. Concerned with
various modes of poetry and drama, it also examines the
cross-pollination that can occur between these modes, focusing on a
range of core texts including Mallarme's Igitur and Un Coup de des;
Apollinaire's 'Zone' and various of his calligrammes; Maeterlinck's
early one-act plays: L'Intruse, Les Aveugles, and Interieur; and
Jarry's Ubu roi and Cesar-Antechrist.. The poetic and dramatic
practices of these four authors are assessed against the broader
cultural and philosophical contexts of the fin de siecle. The fin
de siecle witnessed a profound epistemological shift: the
Newtonian-Cartesian paradigm, increasingly challenged throughout
the nineteenth century, was largely dismantled, with ramifications
beyond physics, philosophy, and psychology. Chapter 1 introduces
three foundational notions-Newtonian absolute space, the unitary
Cartesian subject, and subject-object dualism-that were challenged
and ultimately overthrown in turn-of-the-century science and art.
Developments in theatre architecture and typographic design are
examined against this philosophical backdrop with a view to
establishing a diachronic and interdisciplinary framework of the
authors in question. Chapter 2 focuses on the spatial dimension of
Mallarme's Un Coup de des and Apollinaire's calligrammes-works
which defamiliarise page-space by undermining various (naturalised)
conventions of paginal configuration. In Chapter 3, the notion of
liminality is implemented in an analysis of character and diegetic
space as constructed in Jarry's Ubu roi and Maeterlinck's one-acts.
Chapters 4 and Chapter 5 undertake a more abstract investigation of
parallel inverse processes-the subjectivisation of space and the
spatialisation of the subject-manifest not only in the works of
Mallarme, Maeterlinck, Apollinaire, and Jarry, but in the period's
poetry and drama more generally.
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