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.