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The Length of Days features a wild cast of characters-Lithuanian,
Russian, and Ukrainian-and cameo appearances by Rosa Luxemburg, Amy
Winehouse, and others. Embedded narratives attributed to one
character, an alcoholic chemist-turned-massage-therapist, broaden
the reader's view of the funny, ironic, or tragic lives of people
who remained in the ill-fated Donbas after Russia's initial
aggression in 2014. Unexpected allies emerge to try to stop the
war, as characters criticize Ukraine's government at the time, its
self-interest, and failures to support its citizens in the east.
With elements of magical realism, the work combines poetry and a
wicked sense of humor with depth of political analysis, philosophy,
and moral interrogation. Witty references to popular
culture-Ukrainian and European-underline the international and
transnational aspects of Ukrainian literature. The novel ends on a
hopeful note even though by then the main characters have already
died twice: they return with greater power each time. As the
author's last novel written originally in the Russian language, The
Length of Days is a deeply Ukrainian work, set mostly in the
composite Donbas city of Z-an uncanny foretelling of what this
letter has come to symbolize since February 24, 2022, when Russia
launched a full-scale invasion of Ukraine.
The Length of Days features a wild cast of characters-Lithuanian,
Russian, and Ukrainian-and cameo appearances by Rosa Luxemburg, Amy
Winehouse, and others. Embedded narratives attributed to one
character, an alcoholic chemist-turned-massage-therapist, broaden
the reader's view of the funny, ironic, or tragic lives of people
who remained in the ill-fated Donbas after Russia's initial
aggression in 2014. Unexpected allies emerge to try to stop the
war, as characters criticize Ukraine's government at the time, its
self-interest, and failures to support its citizens in the east.
With elements of magical realism, the work combines poetry and a
wicked sense of humor with depth of political analysis, philosophy,
and moral interrogation. Witty references to popular
culture-Ukrainian and European-underline the international and
transnational aspects of Ukrainian literature. The novel ends on a
hopeful note even though by then the main characters have already
died twice: they return with greater power each time. As the
author's last novel written originally in the Russian language, The
Length of Days is a deeply Ukrainian work, set mostly in the
composite Donbas city of Z-an uncanny foretelling of what this
letter has come to symbolize since February 24, 2022, when Russia
launched a full-scale invasion of Ukraine.
Baba Yaga is an ambiguous and fascinating figure. She appears in
traditional Russian folktales as a monstrous and hungry cannibal,
or as a canny inquisitor of the adolescent hero or heroine of the
tale. In new translations and with an introduction by Sibelan
Forrester, "Baba Yaga: The Wild Witch of the East in Russian Fairy
Tales" is a selection of tales that draws from the famous
collection of Aleksandr Afanas'ev, but also includes some tales
from the lesser-known nineteenth-century collection of Ivan
Khudiakov. This new collection includes beloved classics such as
"Vasilisa the Beautiful" and "The Frog Princess," as well as a
version of the tale that is the basis for the ballet "The
Firebird." The preface and introduction place these tales in their
traditional context with reference to Baba Yaga's continuing
presence in today's culture--the witch appears iconically on tennis
shoes, tee shirts, even tattoos. The stories are enriched with many
wonderful illustrations of Baba Yaga, some old (traditional "lubok"
woodcuts), some classical (the marvelous images from Victor
Vasnetsov or Ivan Bilibin), and some quite recent or solicited
specifically for this collection
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The Cataract (Paperback)
Sibelan Forrester; Milica MICIC Dimovska
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R563
Discovery Miles 5 630
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Ships in 10 - 15 working days
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Vladimir Propp is the Russian folklore specialist most widely known
outside Russia thanks to the impact of his 1928 book Morphology of
the Folktale-but Morphology is only the first of Propp's
contributions to scholarship. This volume translates into English
for the first time his book The Russian Folktale, which was based
on a seminar on Russian folktales that Propp taught at Leningrad
State University late in his life. Edited and translated by Sibelan
Forrester, this English edition contains Propp's own text and is
supplemented by notes from his students. The Russian Folktale
begins with Propp's description of the folktale's aesthetic
qualities and the history of the term; the history of folklore
studies, first in Western Europe and then in Russia and the USSR;
and the place of the folktale in the matrix of folk culture and
folk oral creativity. The book presents Propp's key insight into
the formulaic structure of Russian wonder tales (and less
schematically than in Morphology, though in abbreviated form), and
it devotes one chapter to each of the main types of Russian
folktales: the wonder tale, the "novellistic" or everyday tale, the
animal tale, and the cumulative tale. Even Propp's bibliography,
included here, gives useful insight into the sources accessible to
and used by Soviet scholars in the third quarter of the twentieth
century. Propp's scholarly authority and his human warmth both
emerge from this well-balanced and carefully structured series of
lectures. An accessible introduction to the Russian folktale, it
will serve readers interested in folklore and fairy-tale studies in
addition to Russian history and cultural studies.
Up to now, there has been no complete English-language version of
the Russian folktales of A. N. Afanas'ev. This translation is based
on L. G. Barag and N. V. Novikov's edition, widely regarded as the
authoritative Russian-language edition. The present edition
includes commentaries to each tale as well as its international
classification number. This third volume contains 305 tales, those
numbered 319-579, as well as forty-five additional tales from among
those denied publication by the Russian censors. The folktales of
A. N. Afanas'ev represent the largest single collection of
folktales in any European language and perhaps in the world. Widely
regarded as the Russian Grimm, Afanas'ev collected folktales from
throughout the Russian Empire in what are now regarded as the three
East Slavic languages, Belarusian, Russian, and Ukrainian. In his
lifetime, Afanas'ev published more than 575 tales in his most
popular and best-known work, Narodnye russkie skazki. In addition
to this basic collection, he prepared a volume of Russian legends,
many on religious themes; a collection of mildly obscene tales,
Russkie zavetnye skazki; and voluminous writings on Slavic folklife
and mythology. His works were subject to the strict censorship of
ecclesiastical and state authorities that lasted until the demise
of the Soviet Union in the 1990s. Overwhelmingly, his particular
emendations were stylistic, while those of the censors mostly
concerned content.
Up to now, there has been no complete English-language version of
the Russian folktales of A. N. Afanas'ev. This translation is based
on L. G. Barag and N. V. Novikov's edition, widely regarded as the
authoritative Russian-language edition. The present edition
includes commentaries to each tale as well as its international
classification number. This third volume contains 305 tales, those
numbered 319-579, as well as forty-five additional tales from among
those denied publication by the Russian censors. The folktales of
A. N. Afanas'ev represent the largest single collection of
folktales in any European language and perhaps in the world. Widely
regarded as the Russian Grimm, Afanas'ev collected folktales from
throughout the Russian Empire in what are now regarded as the three
East Slavic languages, Belarusian, Russian, and Ukrainian. In his
lifetime, Afanas'ev published more than 575 tales in his most
popular and best-known work, Narodnye russkie skazki. In addition
to this basic collection, he prepared a volume of Russian legends,
many on religious themes; a collection of mildly obscene tales,
Russkie zavetnye skazki; and voluminous writings on Slavic folklife
and mythology. His works were subject to the strict censorship of
ecclesiastical and state authorities that lasted until the demise
of the Soviet Union in the 1990s. Overwhelmingly, his particular
emendations were stylistic, while those of the censors mostly
concerned content.
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