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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unpublished materials in Russian Modernism in the Memories of the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.
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: 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.
This book is a unique scholarly attempt to examine Don Quixote from
multiple angles to see how the re-accentuation of the world's
greatest literary hero takes place in film, theatre, and
literature. To accomplish this task, eighteen scholars from the
USA, Canada, Spain, and Great Britain have come together, and each
of them has brought his/her unique perspective to the subject. For
the first time, Don Quixote is discussed from the point of
re-accentuation, i.e. having in mind one of the key Bakhtinian
concepts that will serve as a theoretical framework. A primary
objective was therefore to articulate, relying on the concept of
re-accentuation, that the history of the novel has benefited
enormously from the re-accentuation of Don Quixote helping us to
shape countless iconic novels from the eighteenth century, and to
see how Cervantes's title character has been reinterpreted to suit
the needs of a variety of cultures across time and space.
This book aims to examine the heritage of Victor Shklovsky in a
variety of disciplines. To achieve this end, we drew upon
colleagues from eight different countries across the world - USA,
Canada, Russia, England, Scotland, the Netherlands, Norway, and
Hong Kong - in order to bring the widest variety of points of view
on the subject. But we also wanted this book to be more than just
another collection of essays of literary criticism: we invited
scholars from different disciplines - literature, cinematography,
and philosophy - who have dealt with Shklovsky's heritage and saw
its practical application in their fields. Therefore, all these
essays are written in a variety of humanist academic and scholarly
styles, all engaging and dynamic.
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.
This volume focuses on the literary and artistic exploration of
female friendship in various geographical contexts, spanning the
centuries from the medieval period until the present. The essays
address the intense female bonding in world literature as a
universal human need for intimacy, sense of belonging, and purpose.
The main focus is on the reevaluation of friendships between women,
which have been traditionally less epitomized than those between
men. The authors of this volume demonstrate how the emotional
unions of women offer compelling insights to various historical and
contemporary societies, helping us understand gender relations,
traditions, family life, and community values.
This book examines the heritage of Victor Shklovsky in a variety of
disciplines. To achieve this end, Slav N. Gratchev and Howard
Mancing draw upon colleagues from eight different countries across
the world-the United States, Canada, Russia, England, Scotland, the
Netherlands, Norway, and China-in order to bring the widest variety
of points of view on the subject. Viktor Shklovsky's Heritage in
Literature, Arts, and Philosophy is more than just another
collection of essays of literary criticism: the editors invited
scholars from different disciplines-literature, cinematography, and
philosophy-who have dealt with Shklovsky's heritage and saw its
practical application in their fields. Therefore, all of these
essays are written in a variety of humanist academic and scholarly
styles, all engaging and dynamic.
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.
This book is the first scholarly attempt to examine Don Quixote
from the angle of dialogism and polyphony. To begin with, although
Mikhail Bakhtin considered Dostoevsky the "creator of a polyphonic
novel," we believe that the first elements of polyphony can be
observed in Cervantes' Don Quixote. A preliminary objective will
therefore be to articulate, without reducing the role of Dostoevsky
in the creation of the polyphonic novel and relying on Bakhtin's
interpretation of polyphony, heteroglossia, and multivoicedness,
that the polyphonic structure appeared and evolved to a state of
relative maturity centuries before Dostoevsky. The book will
subsequently explore how and why the polyphonic structure was born
within the classic monophonic structure of Don Quixote, the ways in
which this new structure positioned itself in relation to the
classic monophonic one, and what relations it may be said to have
established with it resulting in a unique amalgam-the hybrid
semi-polyphonic novel. An overarching concern throughout the
project will be to trace Cervantes' search for new and more
sophisticated expressive possibilities that the old, monophonic
narration could not offer, while also shedding light on how
Cervantes systematically and deliberately employed polyphonic
structure in Don Quixote.
The Poetics of the Avant-garde in Literature, Arts, and Philosophy
presents a range of chapters written by a highly international
group of scholars from disciplines such as literary studies, arts,
theatre, and philosophy to analyze the ambitions of avant-garde
artists. Together, these essays highlight the interdisciplinary
scope of the historic avant-garde and the interconnected of its
artists. Contributors analyze topics such as abstraction and
estrangement across the arts, the imaginary dialogue between Lev
Yakubinsky and Mikhail Bakhtin, the problem of the “masculine
ethos” in the Russian avant-garde, the transformation of barefoot
dancing, Kazimir Malevich’s avant-garde poetic experimentations,
the ecological imagination of the Polish avant-garde,
science-fiction in the Russian avant-garde cinema, and the almost
forgotten history of the avant-garde children’s literature in
Germany. The chapters in this collection open a new critical
discourse about the avant-garde movement in Europe and reshape
contemporary understandings of it.
This book is a unique scholarly attempt to examine Don Quixote from
multiple angles to see how the re-accentuation of the world's
greatest literary hero takes place in film, theatre, and
literature. To accomplish this task, eighteen scholars from the
USA, Canada, Spain, and Great Britain have come together, and each
of them has brought his/her unique perspective to the subject. For
the first time, Don Quixote is discussed from the point of
re-accentuation, i.e. having in mind one of the key Bakhtinian
concepts that will serve as a theoretical framework. A primary
objective was therefore to articulate, relying on the concept of
re-accentuation, that the history of the novel has benefited
enormously from the re-accentuation of Don Quixote helping us to
shape countless iconic novels from the eighteenth century, and to
see how Cervantes's title character has been reinterpreted to suit
the needs of a variety of cultures across time and space.
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: 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.
This book reflects the spirit of times-when the most dramatic
events of the 20th century were happening in Russia and the USSR. A
transcription and translation of a 1967-68 interview with the
founder of the Formalist School of literary theory, Viktor
Shklovsky, this volume offers a slice of Russian micro-history,
like the contributions of Italian historian Carlo Ginzburg but even
more trustworthy because it relies on the living voice of that
history. Through the transcription of a six-hour phono-document,
the readers hear the voice of a real participant in events that for
the longest time in the USSR were forbidden to discuss or write
about. Shklovsky, besides being a well-known and brilliant literary
theorist, was a friend and interlocutor of many famous people whose
lives and deaths, up to these days, remain a mystery to us. Through
these informal dialogues that are not constrained by censorship or
fear, we will be able to shed some more light on the real
characters, instincts, habits, and views of those people. By
"listening" to these dialogues, readers will see the reflection of
history in the eyes of a real witness who, in most cases, was just
a good fellow citizen and suffered during those times, like
thousands of others.
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