This volume assembles the work of leading international scholars in a comprehensive history of Russian literary theory and criticism from 1917 to the post-Soviet age. By examining the dynamics of literary criticism and theory in three arenas—political, intellectual, and institutional—the authors capture the progression and structure of Russian literary criticism and its changing function and discourse. For the first time anywhere, this collection analyzes all of the important theorists and major critical movements during a tumultuous ideological period in Russian history, including developments in émigré literary theory and criticism. Winner of the 2012 Efim Etkind Prize for the best book on Russian culture, awarded by the European University at St. Petersburg, Russia.
Russian Literary Criticism is a survey of the various ways in which representative Russian critics from the eighteenth century to the twentieth century, have viewed not only the literary works of other Russian and non-Russian writers but also the problems of literature in general. Primarily intended for readers who do not know Russian, this book discusses the major Russian critics and critical movements. The author provides sufficient historical and political background to enable the reader to understand both the literary situation and the problems facing Russian critics at any given time - whether the influx of various ideologies, official Soviet views, or dissident opinion form the Decembrists to Solzhenitsyn.
Russia possesses one of the richest and most admired literatures of Europe, reaching back to the eleventh century. A History of Russian Literature provides a comprehensive account of Russian writing from its earliest origins in the monastic works of Kiev up to the present day, still rife with the creative experiments of post-Soviet literary life. The volume proceeds chronologically in five parts, extending from Kievan Rus' in the 11th century to the present day.The coverage strikes a balance between extensive overview and in-depth thematic focus. Parts are organized thematically in chapters, which a number of keywords that are important literary concepts that can serve as connecting motifs and 'case studies', in-depth discussions of writers, institutions, and texts that take the reader up close and. Visual material also underscores the interrelation of the word and image at a number of points, particularly significant in the medieval period and twentieth century. The History addresses major continuities and discontinuities in the history of Russian literature across all periods, and in particular bring out trans-historical features that contribute to the notion of a national literature. The volume's time-range has the merit of identifying from the early modern period a vital set of national stereotypes and popular folklore about boundaries, space, Holy Russia, and the charismatic king that offers culturally relevant material to later writers. This volume delivers a fresh view on a series of key questions about Russia's literary history, by providing new mappings of literary history and a narrative that pursues key concepts (rather more than individual authorial careers). This holistic narrative underscores the ways in which context and text are densely woven in Russian literature, and demonstrates that the most exciting way to understand the canon and the development of tradition is through a discussion of the interrelation of major and minor figures, historical events and literary politics, literary theory and literary innovation.
The traditional view that the rise of Western theoretical thought in the 1960s and 1970s could be traced back to the Soviet 1920s, once accepted in Russia and the West alike because it directly associated the academic prestige of contemporary Western theory with the intellectual climate of post-revolutionary Russia, is increasingly challenged today. With the gradual retreat in recent years of theory from the high ground of the Western humanities, new work has emerged to suggest unexpected parallels and to undermine others. This book, with contributions from some of the most visible specialists in the field, re-examines the significant transfers, cross-fertilisations and synergies of cultural and literary theory between Russia and the West, from the 1920s through to the present day. It focuses primarily on those tendencies which have made the most significant contribution to critical theory over the last century, and looks ahead at the theoretical paradigms that are most likely to shape the future dialogue between Russia and the West in the humanities.
Russian Literary Criticism is a survey of the various ways in which representative Russian critics from the eighteenth century to the twentieth century, have viewed not only the literary works of other Russian and non-Russian writers but also the problems of literature in general. Primarily intended for readers who do not know Russian, this book discusses the major Russian critics and critical movements. The author provides sufficient historical and political background to enable the reader to understand both the literary situation and the problems facing Russian critics at any given time – whether the influx of various ideologies, official Soviet views, or dissident opinion form the Decembrists to Solzhenitsyn.
The Routledge Handbook of Translation History presents the first comprehensive, state-of-the-art overview of this multi-faceted disciplinary area and serves both as an introduction to carrying out research into translation and interpreting history and as a key point of reference for some of its main theoretical and methodological issues, interdisciplinary approaches, and research themes. The Handbook brings together 30 eminent international scholars from a wide range of disciplinary backgrounds, offering examples of the most innovative research while representing a wide range of approaches, themes, and cultural contexts. The Handbook is divided into four sections: the first looks at some key methodological and theoretical approaches; the second examines some of the key research areas that have developed an interdisciplinary dialogue with translation history; the third looks at translation history from the perspective of specific cultural and religious perspectives; and the fourth offers a selection of case studies on some of the key topics to have emerged in translation and interpreting history over the past 20 years. This Handbook is an indispensable resource for students and researchers of translation and interpreting history, translation theory, and related areas.
Russian Formalism is widely considered the foundation of modern literary theory. This book reevaluates the movement in light of the current commitment to rethink the concept of literary form in cultural-historical terms. Jessica Merrill provides a novel reconstruction of the intellectual historical context that enabled the emergence of Formalism in the 1910s. Formalists adopted a mode of thought Merrill calls the philological paradigm, a framework for thinking about language, literature, and folklore that lumped them together as verbal tradition. For those who thought in these terms, verbal tradition was understood to be inseparable from cultural history. Merrill situates early literary theories within this paradigm to reveal abandoned paths in the history of the discipline—ideas that were discounted by the structuralist and post-structuralist accounts that would emerge after World War II. The Origins of Russian Literary Theory reconstructs lost Formalist theories of authorship, of the psychology of narrative structure, and of the social spread of poetic innovations. According to these theories, literary form is always a product of human psychology and cultural history. By recontextualizing Russian Formalism within this philological paradigm, the book highlights the aspects of Formalism’s legacy that speak to the priorities of twenty-first-century literary studies.
This book explores a range of (mis)uses of the Russian classical literature canon and its symbolic capital by contemporary Russian literature, cinema, literary scholarship, and mass culture. It outlines processes of current canon-formation in a situation of the expiration of a literature-centric culture that has been imbued with specific messianism and its doubles. The book implements Pierre Bourdieu’s theory of the cultural field, focussing on a field’s constitutive pursuit of autonomy and on its flexible resistance to the double pressure of the political field and the economic field. It provides material for elaborating this theory through postulating the principal presence of a third factor of heteronomy: the ‘strong neighbour’ within the cultural field. Furthermore, this volume demonstrates the heuristic of comparing the current Russian (mis)uses of classical literature to prior Russian and current foreign ones. As such, it also discusses such issues as the historical relativity of a literary field’s (notion of) autonomy and the geo-cultural variability of the Russian literary canon.
Russian literature is most celebrated for its Romantic and modernist poetry and 19th-century novels. While literary traditions of varying sorts have been part of Slavic and Russian culture for over a millennium, it is only since the 18th century that they came to resemble literature from the West. The Historical Dictionary of Russian Literature contains a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 100 cross-referenced entries on significant people, themes, critical issues, and the most significant genres that have formed Russian Literature. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian literature.
This text is an introduction to the full range of standard reference tools in all branches of English studies. More than 10,000 titles are included. The Reference Guide covers all the areas traditionally defined as English studies and all the field of inquiry more recently associated with English studies. British and Irish, American and world literatures written in English are included. Other fields covered are folklore, film, literary theory, general and comparative literature, language and linguistics, rhetoric and composition, bibliography and textual criticism and women's studies.
Socialist Realism in Central and Eastern European Literatures' is the first published work to offer a variety of alternative perspectives on the literary and cultural Sovietization of Central and Eastern Europe after World War II and emphasize the dialogic relationship between the ‘centre’ and the ‘satellites’ instead of the traditional top-down approach. The introduction of the Soviet cultural model was not quite the smooth endeavour that it was made to look in retrospect; rather, it was always a work in progress, often born out of a give-andtake with the local authorities, intellectuals and interest groups. Relying on archival resources, the authors examine one of the most controversial attempts at a cultural unification in Europe by providing an overview with a focus on specific case-studies, an analysis of distinct particularities with attention to the patterns of negotiation and adaptation that were being developed in the process.