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Art and Answerability, the work that would become Mikhail Bakhtin's
literary manifesto, was first published in Den Iskusstva (The Day
of the Art) on September 13, 1919. Mikhail Bakhtin's Heritage in
Literature, Arts, and Psychology: Art and Answerability celebrates
one hundred years of Bakhtin's heritage. This unique book examines
the heritage of Mikhail Bakhtin in a variety of disciplines. To
articulate the enduring relevance and heritage of the varied works
of Bakhtin, sixteen scholars from eight countries have come
together, and each has brought his/her unique perspective to the
subject. Bakhtin's work in aesthetics, moral philosophy,
linguistics, psychology, carnival, cognition, contextualism, and
the history and theory of the novel are present here, as understood
by a wide variety of distinguished scholars.
In this study, Marinova examines the diverse practices of crossing
boundaries, tactics of translation, and experiences of double and
multiple political and national attachments evident in texts about
Russo-American encounters from the end of the American Civil War to
the Russian Revolution of 1905. Marinova brings together published
writings, archival materials, and personal correspondence of well
or less known travelers of diverse ethnic backgrounds and artistic
predilections: from the quintessential American Mark Twain to the
Russian-Jewish ethnographer and revolutionary Vladimir Bogoraz;
from masters of realist prose such as the Ukrainian-born Vladimir
Korolenko and the Jewish-Russian-American Abraham Cahan, to
romantic wanderers like Edna Proctor, Isabel Hapgood or Grigorii
Machtet. By highlighting the reification of problematic stereotypes
of ethnic and racial difference in these texts, Marinova
illuminates the astonishing success of the Cold War period's
rhetoric of mutual hatred and exclusion, and its continuing legacy
today.
In this study, Marinova examines the diverse practices of crossing
boundaries, tactics of translation, and experiences of double and
multiple political and national attachments evident in texts about
Russo-American encounters from the end of the American Civil War to
the Russian Revolution of 1905. Marinova brings together published
writings, archival materials, and personal correspondence of well
or less known travelers of diverse ethnic backgrounds and artistic
predilections: from the quintessential American Mark Twain to the
Russian-Jewish ethnographer and revolutionary Vladimir Bogoraz;
from masters of realist prose such as the Ukrainian-born Vladimir
Korolenko and the Jewish-Russian-American Abraham Cahan, to
romantic wanderers like Edna Proctor, Isabel Hapgood or Grigorii
Machtet. By highlighting the reification of problematic stereotypes
of ethnic and racial difference in these texts, Marinova
illuminates the astonishing success of the Cold War period's
rhetoric of mutual hatred and exclusion, and its continuing legacy
today.
Art and Answerability, the work that would become Mikhail Bakhtin's
literary manifesto, was first published in Den Iskusstva (The Day
of the Art) on September 13, 1919. Mikhail Bakhtin's Heritage in
Literature, Arts, and Psychology: Art and Answerability celebrates
one hundred years of Bakhtin's heritage. This unique book examines
the heritage of Mikhail Bakhtin in a variety of disciplines. To
articulate the enduring relevance and heritage of the varied works
of Bakhtin, sixteen scholars from eight countries have come
together, and each has brought his/her unique perspective to the
subject. Bakhtin's work in aesthetics, moral philosophy,
linguistics, psychology, carnival, cognition, contextualism, and
the history and theory of the novel are present here, as understood
by a wide variety of distinguished scholars.
Whenever Bakhtin, in his final decade, was queried about writing
his memoirs, he shrugged it off. Unlike many of his Symbolist
generation, Bakhtin was not fascinated by his own self-image. This
reticence to tell his own story was the point of access for Viktor
Duvakin, Mayakovsky scholar, fellow academic, and head of an oral
history project, who in 1973 taped six interviews with Bakhtin over
twelve hours. They remain our primary source of Bakhtin’s
personal views:Â on formative moments in his education and
exile, his reaction to the Revolution, his impressions of
political, intellectual, and theatrical figures during the first
two decades of the twentieth century, and his non-conformist
opinions on Russian and Soviet poets and musicians. Bakhtin's
passion for poetic language and his insights into music also come
as a surprise to readers of his essays on the novel. One remarkable
thread running through the conversations is Bakhtin's love of
poetry, masses of which he knew by heart in several languages.
Mikhail Bakhtin: The Duvakin Interviews, 1973, translated and
annotated here from the complete transcript of the tapes, offers a
fuller, more flexible image of Bakhtin than we could have imagined
beneath his now famous texts. Published by Bucknell University
Press. Distributed worldwide by Rutgers University Press.
In the late 1960s and early 1970s, Soviet philologist, literary
dissident, and university professor Viktor Duvakin made it his
mission to interview the members of the artistic avant-garde who
had survived the Russian Revolution, Stalin's purges, and the
Second World War. Based on archival materials held at the Moscow
State University Library, Russian Modernism in the Memories of the
Survivors catalogues six interviews conducted by Duvakin. The
interviewees talk about their most intimate life experiences and
give personal accounts of their interactions with famous writers
and artists such as Vsevolod Meyerhold, Sergei Eisenstein, and
Marina Tsvetaeva. They offer insights into the world of Russian
emigrants in Prague and Paris, the uprising against the Communist
government, what it was like to work at the United Nations after
the Second World War, and other important aspects of life in the
Soviet Union and Europe during the first half of the twentieth
century. Archival photographs, as well as hundreds of annotations
to the text, are included to help readers understand the historical
and cultural context of the interviews. The unique and previously
unpublished materials in Russian Modernism in the Memories of the
Survivors will be of great interest to anyone who wants to learn
more about this fascinating period in Soviet history.
Although Mikhail Bakhtin's study of the novel does not focus in any
systematic way on the role that translation plays in the processes
of novelistic creation and dissemination, when he does broach the
topic he grants translation'a disproportionately significant role
in the emergence and constitution of literature. The contributors
to this volume, from the US, Hong Kong, Finland, Japan, Spain,
Italy, Bangladesh, and Belgium, bring their own polyphonic
experiences with the theory and practice of translation to the
discussion of Bakhtin's ideas about this topic, in order to
illuminate their relevance to translation studies today. Broadly
stated, the essays examine the art of translation as an exercise in
a cultural re-accentuation (a transferal of the original text and
its characters to the novel soil of a different language and
culture, which inevitably leads to the proliferation of multivalent
meanings), and to explore the various re-accentuation devices
employed over the span of the last 100 years in translating modern
texts from one language to another. Through its contributors, The
Art of Translation in Light of Bakhtin's Re-accentuation brings
together different cultural contexts and disciplines (such as
literature, literary theory, the visual arts, pedagogy, translation
studies, and philosophy) to demonstrate the continued international
relevance of Bakhtin's ideas to the study of creative practices,
broadly understood.
Whenever Bakhtin, in his final decade, was queried about writing
his memoirs, he shrugged it off. Unlike many of his Symbolist
generation, Bakhtin was not fascinated by his own self-image. This
reticence to tell his own story was the point of access for Viktor
Duvakin, Mayakovsky scholar, fellow academic, and head of an oral
history project, who in 1973 taped six interviews with Bakhtin over
twelve hours. They remain our primary source of Bakhtin’s
personal views:Â on formative moments in his education and
exile, his reaction to the Revolution, his impressions of
political, intellectual, and theatrical figures during the first
two decades of the twentieth century, and his non-conformist
opinions on Russian and Soviet poets and musicians. Bakhtin's
passion for poetic language and his insights into music also come
as a surprise to readers of his essays on the novel. One remarkable
thread running through the conversations is Bakhtin's love of
poetry, masses of which he knew by heart in several languages.
Mikhail Bakhtin: The Duvakin Interviews, 1973, translated and
annotated here from the complete transcript of the tapes, offers a
fuller, more flexible image of Bakhtin than we could have imagined
beneath his now famous texts. Published by Bucknell University
Press. Distributed worldwide by Rutgers University Press.
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