DOCSLIB.ORG

A M E L I a G L a S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A M E L I a G L a S A M E L I A G L A S E R Department of Literature, University of CA, San Diego 858.534.3809 9500 Gilman Drive #0410, La Jolla, CA 92093-0410 [email protected] EDUCATION Ph.D. in Comparative Literature, 2004 – Stanford University Dissertation: The Marketplace and the Church: Jews, Slavs and the Literature of Exchange, 1829-1929. Adviser: Prof. Monika Greenleaf M.Stud. in Yiddish Studies, 2000 – University of Oxford Masters Thesis: Proletpen and its Poets: America’s Yiddish Literary Left. Supervisor: Prof. Dov-Ber Kerler BA in Comparative Literature, 1997 – Oberlin College, with High Honors; Minor in Russian. Thesis: Mother’s Duty, Father’s Gift: How Patriarchal Oppression is internalized in Natalia Ginzburg’s Lessico famigliare and Lidiia Chukovskaia’s Pamiati detstva. Adviser: Prof. Tim Scholl CURRENT POSITION Assistant Professor of Russian Literature, University of CA, San Diego, Department of Literature 2009-2011: Visiting Scholar, Davis Center for East European Studies, Harvard University (Tenure effective July 1, 2012) PAST POSITION Visiting Lecturer, Stanford University, Center for Russian and East European Studies and Jewish Studies Program AWARDS AND GRANTS Academic Senate Travel Grant, UCSD, for travel to Washington, D.C., 2011 Academic Senate Travel Grant, UCSD, for travel to Vancouver, Canada, 2011 Mellon Subvention Grant, Northwestern University Press, 2010 General Campus Academic Research Grant (for Translation and Poetry Laboratory), UCSD, 2010 Hellman Fellowship, UCSD, 2009-10 Academic Senate Travel Grant, UCSD, for travel to London, UK, 2010 Dean’s Innovation Fund, UCSD, 2009-2010 Hellman Fellowship, UCSD, 2007-8 CHOICE Award for Outstanding Academic Titles, for Proletpen, 2006. Academic Senate Travel Grant, UCSD, for travel to Oxford, UK, 2007 MLA Fenia and Yaakov Leviant Memorial Prize in Yiddish Studies (for Proletpen: America’s Rebel Yiddish Poets), 2006 Bradley Rubidge Memorial Dissertation Award in Comparative Literature, Stanford, 2006 Lewis and Clark Field Research Grant, American Philosophical Society, for work in Russia and Eastern Europe, 2005 Postdoctoral Fellowship, Center for Advanced Judaic Studies (CAJS), Univ. of Pennsylvania, 2005 HURI Postdoctoral Research Fellowship, Harvard Ukrainian Research Institute (HURI), Harvard Univ., 2004 Geballe Dissertation Fellowship, Stanford Humanities Center, 2003-4 Fulbright-Hayes Doctoral Dissertation Research Award, US Dept. of Education, for research in Ukraine and Russia, 2002-3 Research Opportunities Grant, Wadham College, Oxford, for research in Lithuania and Belarus, 2000 Research Grant, Oxford Div. of Modern and Medieval Lang. and Lit., for research at New York Public Library, 1999 Summer Research Grant, Stanford Center for Russian and E. European Studies, for Lithuania, Ukraine and Russia, 1999 Leigh Fried Award, Oberlin College, for best research writing in an area of Women’s Studies, 1997 PUBLICATIONS Books Jews and Ukrainians in Russia’s Literary Borderlands: From the Shtetl Fair to the Petersburg Bookshop. Northwestern University Press, 2012 (SRLT series, recipient of Mellon Subvention Grant) Proletpen: America’s Rebel Yiddish Poets. AG and David Weintraub, Ed., Trans. from the Yiddish and annotated by AG. Madison: Univ. of Wisconsin Press, 2005. Paperback edition, 2011. Book Projects in Progress Moyshe Nadir: A Literary Biography, in progress Stories of Khmelnytskyi, edited anthology, in progress The Anxieties of Translation: Russian Translation Theory from 1800 to the Present, co-edited and translated volume with Luba Golburt, in progress Research Articles “Between Nation and Class: Natalia Kobrynska’s Jewish Characters,” Polin Volume 26, ed. Yohanan Petrovsky-Stern and Antony Polansky, November 2012 (forthcoming) “Between the Marketplace and Enlightenment: Gogol and Rabinovich’s Ukrainian Memory Space,” provisionally accepted by Slavs and Jews (provisionally accepted) “The Yiddish Theme in English Fiction,” Routledge Companion to Contemporary Jewish Cultures, ed. Laurence Roth and Nadia Valman (under review) “An Earnest Proposal for Dmitri Nabokov” and “The Creation, and Erasure, of Laura” (edited reprints from Open Letters Monthly) in Shades of Laura. A Critical Companion to Vladimir Nabokov’s Last Novel The Original of Laura, ed. Yuri Leving (accepted by editor, still seeking book publisher) “My Scattered Souls: The Multiplicity of Being in Amelia Rosselli’s English Poetry” Universals & Contrasts, Issue 1, 2012 “Introduction: Russian-American Fiction Special Issue” in Slavic and East European Journal (SEEJ) Vol. 55, Issue 1 (2011) “A Shout from Somewhere: The Early Work of Peretz Markish” in A Captive of the Dawn: The Life and Work of Peretz Markish (1895-1952), ed. Joseph Sherman, Gennady Estraikh, Jordan Finkin, and David Shneer, Legenda Studies in Yiddish, 2011 “Russian-Jewish Assimilation and the Poetics of Apostasy” in Modern Jewish Literatures: Intersections and Boundaries, ed. Sheila Jelen, Michael P. Kramer and L. Scott Lerner, U. Penn Press, 2011 “From Polylingual to Postvernacular: Imagining Yiddish in the Twenty-first Century,” Jewish Social Studies (December 2008) “Sunday Morning in Balta: Reading the May Laws as a Redemption Narrative,” East European Jewish Studies, December 2007. (A shorter version of this article appeared in the Yiddish Forverts, August 2007) “The End of the Bazaar: Revolutionary Eschatology in the Works of Isaac Babel’ and Peretz Markish,” in Jews in Russia and Eastern Europe, Jerusalem, Israel, 2005 “Isaac Babel” in Center for Advanced Judaic Studies (CAJS) Library web exhibit, Modern Jewish Literatures: Language, Identity, Writing, 2005 “Rashel Mironovna Khin i begstvo ot ‘Torgovki’” (in Russian translation) in Gendernye Issledovanie, Kharkiv, Ukraine, 2003 Translations Two poems by Peretz Markish (from the Yiddish) in Open Letters Monthly (January 2009). “Judaic Chaos” by Osip Mandelstam (from the Russian with Alexander Zeyliger) and poems by Semyon Lipkin (from Russian) in An Anthology of Jewish-Russian Literature: Two Centuries of a Dual Identity. Maxim D. Shrayer, ed. Armonk, NY: M.E. Sharpe, 2007 “Family Sayings, Part II” by Natalia Ginzburg (trans. from the Italian and introduced by AG), in Maggid: A Journal of Jewish Culture (December 2005) “On Exposers” by Kazimir Malevich (from the Russian with Anna Muza) in Kazimir Malevich: The White Rectangle. Writings on Film. Oksana Bulgakova, ed., Berlin: Potemkin Press, 2002 Vilna Ghetto Posters: Jewish Spiritual Resistance (from the Yiddish with Evgeniia Biber), Vilnius: Vilna Gaon State Jewish Museum, Lithuania, 2000 Journals edited Russian-American Fiction Special Issue, Slavic and East European Journal (SEEJ) (guest co-editor) V. 55, Issue 1, 2011 Mantis: A Journal in Poetry, Translation, and Translation Theory 2 (Poetry and Translation). Co-editor with Sarah Hackenberg, Martha Fraser and David Goldstein. Stanford, 2001 Additional editorial work Galina Ustvolskaya: Variations on the Theme by Simon Bokman (language editor for translator Irina Berendt). (Berlin: Verlag Ernst Kuhn, 2007) Reviews in academic journals Yohanan Petrovsky-Shtern, The Anti-Imperial Choice in American Historical Review, 2011 Myroslav Shkandrij, Jews in Ukrainian Literature in Canadian Slavonic Papers, 2011 “A Little World in Transition: Jewish Culture and the Russian Revolution” (Extended Review Essay) in Shofar, Vol. 29, No. 1, 2010 Matthew Hoffman, From Rebel to Rabbi: Reclaiming Jesus and the Making of the Modern Yiddish Canon in Modernism and Modernity, 2009 Glaser 2 Jeremy Dauber, Antonio’s Devils: Writers of the Jewish Enlightenment and the Birth of Modern Hebrew and Yiddish Literature in Hebrew and Modernity, 2007 Jan Schwarz, Imagining Lives: Autobiographical Fiction of Yiddish Writers in Biography, 2006 Jeffrey Shandler, Adventures in Yiddishland in Sh’ma, 2006 Benjamin Nathans, Beyond the Pale: The Jewish Encounter with Late Imperial Russia, in Slavic and East European Journal, 2005 Articles and reviews for a general readership “Sorokin’s Tyrannical Chosen” in Open Letters Monthly (July, 2011) “Stopping in Ladispoli: David Bezmozgis’ Tale of Departure” in Jewish Quarterly (Summer, 2011) “Art Beneath the Floorboards (On Woodruff’s theater adaptation of Notes From the Underground) in Open Letters Monthly (November, 2010) “Richard Fein’s Portrait of the Artist as a Translator” in Jewish Quarterly (Fall, 2010) “Gary Shteyngart, Old Man” (On Shteyngart’s Super Sad True Love Story) in Open Letters Monthly (September, 2010) “When the Whole Story Isn’t Enough” (On Stein’s theater adaptation of The Demons) in Open Letters Monthly (August, 2010) “NiSh’ma” (commentary with Edward Serotta, Alina Polonskaya and Rabbi Gesa S. Ederberg) in Sh’ma (May, 2010) “Web 6.Under” (fiction) in The First Line Volume 12, Issue 1 (Spring, 2010) “Biography of a Protagonist” (On Steven Zipperstein’s Rosenfeld’s Lives) in Jewish Quarterly (December 2009) “The Creation, and Erasure, of Laura” (On Nabokov’s The Original of Laura) in Open Letters Monthly (January, 2010) Letter included in “Google’s Book Project: the Agony and the Ecstasy,” Chronicle of Higher Education (October 2009) “Sholem Aleichem, Gogol Show Two Views of Shtetl Jews” in Jewish Journal (March 2009) “Messages in a Bottle: American Jewish Literature Converses with the Russian Canon,” Jewish Quarterly (October 2008) “Something Better than a Moral” (On Etgar Keret and Shira Geffen) in Open Letters Monthly, (June 2008). “An Honest Proposal for Dmitri Nabokov” (On Vladimir Nabokov’s Laura.) Open Letters Monthly (May 2008) “The Secular
Load more

Recommended publications
  • Henryk Berlewi
    HENRYK BERLEWI HENRYK © 2019 Merrill C. Berman Collection © 2019 AGES IM CO U N R T IO E T S Y C E O L L F T HENRYK © O H C E M N 2019 A E R M R R I E L L B . C BERLEWI (1894-1967) HENRYK BERLEWI (1894-1967) Henryk Berlewi, Self-portrait,1922. Gouache on paper. Henryk Berlewi, Self-portrait, 1946. Pencil on paper. Muzeum Narodowe, Warsaw Published by the Merrill C. Berman Collection Concept and essay by Alla Rosenfeld, Ph.D. Design and production by Jolie Simpson Edited by Dr. Karen Kettering, Independent Scholar, Seattle, USA Copy edited by Lisa Berman Photography by Joelle Jensen and Jolie Simpson Printed and bound by www.blurb.com Plates © 2019 the Merrill C. Berman Collection Images courtesy of the Merrill C. Berman Collection unless otherwise noted. © 2019 The Merrill C. Berman Collection, Rye, New York Cover image: Élément de la Mécano- Facture, 1923. Gouache on paper, 21 1/2 x 17 3/4” (55 x 45 cm) Acknowledgements: We are grateful to the staf of the Frick Collection Library and of the New York Public Library (Art and Architecture Division) for assisting with research for this publication. We would like to thank Sabina Potaczek-Jasionowicz and Julia Gutsch for assisting in editing the titles in Polish, French, and German languages, as well as Gershom Tzipris for transliteration of titles in Yiddish. We would also like to acknowledge Dr. Marek Bartelik, author of Early Polish Modern Art (Manchester: Manchester University Press, 2005) and Adrian Sudhalter, Research Curator of the Merrill C.
    [Show full text]
  • Anarchist Modernism and Yiddish Literature
    i “Any Minute Now the World’s Overflowing Its Border”: Anarchist Modernism and Yiddish Literature by Anna Elena Torres A dissertation submitted in partial satisfaction of the requirements for the degree of Joint Doctor of Philosophy with the Graduate Theological Union in Jewish Studies and the Designated Emphasis in Women, Gender and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Chana Kronfeld, Chair Professor Naomi Seidman Professor Nathaniel Deutsch Professor Juana María Rodríguez Summer 2016 ii “Any Minute Now the World’s Overflowing Its Border”: Anarchist Modernism and Yiddish Literature Copyright © 2016 by Anna Elena Torres 1 Abstract “Any Minute Now the World’s Overflowing Its Border”: Anarchist Modernism and Yiddish Literature by Anna Elena Torres Joint Doctor of Philosophy with the Graduate Theological Union in Jewish Studies and the Designated Emphasis in Women, Gender and Sexuality University of California, Berkeley Professor Chana Kronfeld, Chair “Any Minute Now the World’s Overflowing Its Border”: Anarchist Modernism and Yiddish Literature examines the intertwined worlds of Yiddish modernist writing and anarchist politics and culture. Bringing together original historical research on the radical press and close readings of Yiddish avant-garde poetry by Moyshe-Leyb Halpern, Peretz Markish, Yankev Glatshteyn, and others, I show that the development of anarchist modernism was both a transnational literary trend and a complex worldview. My research draws from hitherto unread material in international archives to document the world of the Yiddish anarchist press and assess the scope of its literary influence. The dissertation’s theoretical framework is informed by diaspora studies, gender studies, and translation theory, to which I introduce anarchist diasporism as a new term.
    [Show full text]
  • The Night of the Murdered Poets a GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT
    The Night of the Murdered Poets A GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT Teachers’ Guide This guide accompanies resources that can be found at: http://teachgreatjewishbooks.org/resource-kits/night-murdered-poets. Introduction This guide offers one entry point to the complicated history of Yiddish culture in the Soviet Union by unpacking one of the tragic endpoints of that history. “The Night of the Murdered Poets” refers to August 12, 1952, when thirteen Jewish citizens of the Soviet Union were executed by the state after having been convicted of “nationalist activity” and espionage. Five of those killed were among the most prominent surviving Yiddish writers in the Soviet Union, and so for many people their deaths came to mark an end of Soviet Yiddish culture and a final proof of Stalin’s murderous anti-Semitism. It should be noted that “The Night of the Murdered Poets” is a misnomer on two important counts. First, only four of the thirteen victims were poets, though several others were prominent writers, intellectuals, and cultural figures; what really connected the group was their affiliation with an organization called the Jewish Anti-Fascist Committee. While the JAFC was supported by the Soviet government during World War Two as it worked to rally international Jewish support (and funding) for the war effort, after the war the very fact that the committee appealed to Jews around the world caused it to be branded as nationalist and therefore criminal in the Soviet Union. Secondly, the night of the execution was only the end of an ordeal that had gone on for years.
    [Show full text]
  • “Seven-Fold Betrayal”: the Murder of Soviet Yiddi
    Page 1 of 15 Discovering Ashkenaz Module 6 Lesson 5 Midstream Magazine July/August 2002 “Seven‐fold Betrayal”: The Murder of Soviet Yiddish By Joseph Sherman Seven lights irradiate his head To set against his seven‐fold betrayal— He is become again anointed poet On the dead floor of the prison cell. —H. Leivick, “Der man fun lid (Moyshe Kulbak)” [The Prisoner Poet] Jewish tradition mandates the lighting of memorial candles on the anniversary of bereavements, to re‐member those departed. This year, the Jewish literary world commemorates Stalin’s post‐war destruction of Yiddish literature and culture. Fifty years ago, on August 12, 1952, thirteen prominent Soviet Jews were shot in the basement of Moscow’s Lubyanka prison. One third of them were distinguished men of Yiddish letters: the poets Itsik Fefer, Dovid Hofshteyn, Leyb Kvitko, and Peretz Markish, and the novelist Dovid Bergelson. The victims of these judicial murders were all accused of “bourgeois nationalism,” the crime of claiming for the Jewish people the right to be regarded as a nationality with a distinctive cultural identity. They were virtually the last among dozens of important 20th‐century Jewish literati eliminated by the Soviet state from the early 1930s onwards: among the most prominent eliminated by the Soviet state were Moyshe Litvakov, Max Erik, Izi Kharik, and Moyshe Kulbak in 1937, Yisroel Tsinberg in 1938, and Zelig Akselrod in 1941. At first, Stalin’s “purges” of those who opposed him, through the use of fabricated show trials and arbitrary death sentences, were directly antisemitic neither in origin nor in intention.
    [Show full text]
  • Sholem Aleichem and Others: Laughing Off the Trauma of History
    DAVID G. ROSKIES Sholem Aleichem and Others: Laughing Off the Trauma of History SHOLEM ALEICHEM LIVED just long enough to see his comicmuse tested to the limit. As we follow his writings in chronological order, in a time span of escalating violence, we see an ever-growing tension between what is being narrated and the way it is narrated. The greater the pain, the greater the discrepancy. This, strange to say, is the stuff of his humor. By drawing on folk tradition, on concepts of normalcy and on models of communication, Sholem Aleichem perfected an art of the incongruous to take on the vicissitudes of modern times. Itwas a comic paradigm which could be followed by very few because so few could sustain a vision of human inviolability as the divergence between catas trophe and the tongue became ever more extreme. How Sholem Alei chem trained towalk the tightrope and who itwas among the survivors of later cataclysms that followed his precarious lead are the questions that concern us, as we set out to write a garrulous chapter in the modern Jewish literary response to catastrophe. It is particularly to the postwar generations that Sholem Aleichem holds out the greatest challenge, for jaded as we are by a modernist bias and an apocalyptic temper, we expect the writer to find new artistic means commensurate with the new violence. As Malcolm Bradbury reminds us, the modernist movement itself,which took shape between 1890-1914, was finally vindicated by the violence of the Great War, so that by the 1920s realism had been all but dislocated and only the most brutal form of anti-epic could survive in the scarred landscape of postwar fiction.1 Sholem Aleichem, by virtue of his literary credo, his political ideology, and the tools of his narrative art, stands in total opposition to the subversive tactics of literary modernism.2 PROOFTEXTS vol.
    [Show full text]
  • Yiddish Culture in the West
    Judah YIDDISH CULTURE Waten IN THE WEST The facts about the decline, often overlooked, of Yiddish culture in the West. Q FTEN when anti-Soviet propagandists assert that today Yiddish culture is in a serious plight in the Soviet Union and that soon the Soviet Jews will be without a literature and language, they appear to try to leave the impression that conversely in the West, the Yiddish language and literature are flourishing. Actually the reverse is true; Yiddish literature is at a very low ebb in the U.S.A. and is virtually extinct in Britain, but in the Soviet Union there is still considerable creative activity in the Yiddish language. As Dr. Nahum Goldmann said at the recent meeting of the World Jewish Congress, the Soviet Jewish community is “culturally one of the most creative” (Melbourne Herald, August 1, 1966). Yiddish, a younger language than Hebrew which goes back to antiquity, was derived from Middle High German between the 10th and 12th centuries, and after the Jewish migration eastward to Poland and Russia was mostly spoken in Eastern Europe where it was enriched by new words and word formations. Modern Yiddish literature was born in the mid-19th century in Czarist Russia in which lived nearly 50 per cent of the total Jewish population of the world at that time. Yiddish cultural expression grew up in the Pale of Settlement, the vast ghetto set up in 1835 by Nicholas I, in parts of white Russia and the Ukraine in which most of the Jews were compelled to live.
    [Show full text]
  • Between Moscow and Baku: National Literatures at the 1934 Congress of Soviet Writers
    Between Moscow and Baku: National Literatures at the 1934 Congress of Soviet Writers by Kathryn Douglas Schild A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Harsha Ram, Chair Professor Irina Paperno Professor Yuri Slezkine Fall 2010 ABSTRACT Between Moscow and Baku: National Literatures at the 1934 Congress of Soviet Writers by Kathryn Douglas Schild Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Harsha Ram, Chair The breakup of the Soviet Union in 1991 reminded many that “Soviet” and “Russian” were not synonymous, but this distinction continues to be overlooked when discussing Soviet literature. Like the Soviet Union, Soviet literature was a consciously multinational, multiethnic project. This dissertation approaches Soviet literature in its broadest sense – as a cultural field incorporating texts, institutions, theories, and practices such as writing, editing, reading, canonization, education, performance, and translation. It uses archival materials to analyze how Soviet literary institutions combined Russia’s literary heritage, the doctrine of socialist realism, and nationalities policy to conceptualize the national literatures, a term used to define the literatures of the non-Russian peripheries. It then explores how such conceptions functioned in practice in the early 1930s, in both Moscow and Baku, the capital of Soviet Azerbaijan. Although the debates over national literatures started well before the Revolution, this study focuses on 1932-34 as the period when they crystallized under the leadership of the Union of Soviet Writers.
    [Show full text]
  • A Hundred Years Since Sholem Aleichem's Demise Ephraim Nissan
    Nissan, “Post Script: A Hundred Years Since Sholem Aleichem’s Demise” | 116 Post Script: A Hundred Years since Sholem Aleichem’s Demise Ephraim Nissan London The year 2016 was the centennial year of the death of the Yiddish greatest humorist. Figure 1. Sholem Aleichem.1 The Yiddish writer Sholem Aleichem (1859–1916, by his Russian or Ukrainian name in real life, Solomon Naumovich Rabinovich or Sholom Nokhumovich Rabinovich) is easily the best-known Jewish humorist whose characters are Jewish, and the setting of whose works is mostly in a Jewish community. “The musical Fiddler on the Roof, based on his stories about Tevye the Dairyman, was the first commercially successful English-language stage production about Jewish life in Eastern Europe”. “Sholem Aleichem’s first venture into writing was an alphabetic glossary of the epithets used by his stepmother”: these Yiddish 1 http://en.wikipedia.org/wiki/File:Sholem_Aleichem.jpg International Studies in Humour, 6(1), 2017 116 Nissan, “Post Script: A Hundred Years Since Sholem Aleichem’s Demise” | 117 epithets are colourful, and afforded by the sociolinguistics of the language. “Early critics focused on the cheerfulness of the characters, interpreted as a way of coping with adversity. Later critics saw a tragic side in his writing”.2 “When Twain heard of the writer called ‘the Jewish Mark Twain’, he replied ‘please tell him that I am the American Sholem Aleichem’”. Sholem Aleichem’s “funeral was one of the largest in New York City history, with an estimated 100,000 mourners”. There exists a university named after Sholem Aleichem, in Siberia near China’s border;3 moreover, on the planet Mercury there is a crater named Sholem Aleichem, after the Yiddish writer.4 Lis (1988) is Sholem Aleichem’s “life in pictures”.
    [Show full text]
  • The Yiddish Book Center's “Coming to America” Reading Groups For
    The Yiddish Book Center’s “Coming to America” Reading Groups for Public Libraries Program Reading Discussion Guide for Motl the Cantor’s Son by Sholem Aleichem Written by Joshua Logan Wall The Book Background and Publication Sholem Aleichem’s career focused on the changes and challenges facing Yiddish-speaking Jews at the turn of the twentieth century: political radicalism, anti-Semitism, “romantic” approaches to love and marriage, secularization, and modernizing economies. In Motl the Cantor’s Son (Motl peysi dem khazns), this exploration draws to a close by turning to one of the central experiences of modern Jewish history: immigration from Eastern Europe to the United States. As with all of Sholem Aleichem’s works, the composition and publication history of Motl differed greatly from what we expect of contemporary novels. Instead of a focused, unified writing process and single publication event, the work was written over approximately a decade (1907–1916) and published serially, as each chapter was completed. Work on Motl took place largely in two bursts. The first, “European,” portion of the novel, which tells the story of Motl’s life in Kasrilevke and his family’s circuitous migration across central Europe, was written after the author’s return to Europe from a largely disappointing stay in New York City (1906–1907). Although these chapters were written in Geneva, they appeared in the New York Yiddish newspaper, Der amerikaner (The American) over the course of 1907–1908. In 1911, they were published as a book. The second, “American,” half of Motl emerged in 1915–1916 after its author’s return to New York.
    [Show full text]
  • Mikhail Bulgakov, Mykola Kulish, and Soviet Theater: How Internal
    0LNKDLO%XOJDNRY0\NROD.XOLVKDQG6RYLHW7KHDWHU +RZ,QWHUQDO7UDQVQDWLRQDOLVP5HPDGH&HQWHUDQG 3HULSKHU\ 0D\KLOO&)RZOHU Kritika: Explorations in Russian and Eurasian History, Volume 16, Number 2, Spring 2015 (New Series), pp. 263-290 (Article) 3XEOLVKHGE\6ODYLFD3XEOLVKHUV DOI: 10.1353/kri.2015.0031 For additional information about this article http://muse.jhu.edu/journals/kri/summary/v016/16.2.fowler.html Access provided by Florida Atlantic University (13 Jul 2015 18:36 GMT) Articles Mikhail Bulgakov, Mykola Kulish, and Soviet Theater How Internal Transnationalism Remade Center and Periphery MAYHILL C. FOWLER Most studies of Soviet culture are, without explicitly stating so, studies of culture in Moscow, taking what happened culturally in Moscow (and occasionally Leningrad) as metonymy for the cultural production and reception of the entire Soviet Union. The prevalent model of Soviet culture is therefore one of diffusion, which assumes that the best cultural products were created in Moscow and transported to or copied by the periphery. The diffusion model assumes the provinces as peripheral to Moscow or, to put it differently, the periphery as provincial.1 Explicitly or implicitly refuting the assumption of Moscow as metonym, studies of culture in the Soviet republics often present an alternate model, tracing a well-established teleological trajectory of qualitatively good non- Russian culture created locally under korenizatsiia (indigenization) followed by Russification spread from an increasingly oppressive center.2 Soviet culture Earlier drafts of this article were presented at the DC Russian History kruzhok, the Ukraine Research Group at the University of Toronto, McMaster University, the Harriman Institute at Columbia University, and the Association for Slavic, East European, and Eurasian Studies convention.
    [Show full text]
  • Archives of the Center for Studies in History and Culture of East European Jewry
    Archives of the Center for Studies in History and Culture of East European Jewry LIST OF CONTENTS Foreword. Leonid Finberg ......................................................................................................5 І. Archives of the Writers .....................................................................................................13 1. Matvii Talalaievsky .............................................................................................16 2. Natan Zabara ...................................................................................................... 24 3. Oleksandr Lizen ..................................................................................................29 4. Borys Khandros .................................................................................................. 35 5. Ikhil Falikman .................................................................................................... 38 6. Dora Khaikina..................................................................................................... 42 7. Ryva Baliasna ......................................................................................................46 8. Isaak Kipnis .........................................................................................................49 9. Mykhailo Pinchevsky ......................................................................................... 53 10. Yosyp Bukhbinder............................................................................................. 58
    [Show full text]
  • Politics, Identity and Humor in the Work of Langston Hughes, Zora Neale Hurston, Sholem Aleichem and Mordkhe Spector
    The Artist and the Folk: Politics, Identity and Humor in the Work of Langston Hughes, Zora Neale Hurston, Sholem Aleichem and Mordkhe Spector by Alexandra Hoffman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in The University of Michigan 2012 Doctoral Committee: Professor Anita Norich, Chair Professor Sandra Gunning Associate Professor Mikhail Krutikov Associate Professor Christi Merrill Associate Professor Joshua Miller Acknowledgements I am delighted that the writing process was only occasionally a lonely affair, since I’ve had the privilege of having a generous committee, a great range of inspiring instructors and fellow graduate students, and intelligent students. The burden of producing an original piece of scholarship was made less daunting through collaboration with these wonderful people. In many ways this text is a web I weaved out of the combination of our thoughts, expressions, arguments and conversations. I thank Professor Sandra Gunning for her encouragement, her commitment to interdisciplinarity, and her practical guidance; she never made me doubt that what I’m doing is important. I thank Professor Mikhail Krutikov for his seemingly boundless references, broad vision, for introducing me to the oral history project in Ukraine, and for his laughter. I thank Professor Christi Merrill for challenging as well as reassuring me in reading and writing theory, for being interested in humor, and for being creative in not only the academic sphere. I thank Professor Joshua Miller for his kind and engaged reading, his comparative work, and his supportive advice. Professor Anita Norich has been a reliable and encouraging mentor from the start; I thank her for her careful reading and challenging comments, and for making Ann Arbor feel more like home.
    [Show full text]