The Slavic Vampire Myth in Russian Literature
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From Upyr’ to Vampir: The Slavic Vampire Myth in Russian Literature Dorian Townsend Thesis submitted for the degree of Doctor of Philosophy School of Languages and Linguistics Faculty of Arts and Social Sciences The University of New South Wales May 2011 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Townsend First name: Dorian Other name/s: Aleksandra PhD, Russian Studies Abbreviation for degree as given in the University calendar: School: Languages and Linguistics Faculty: Arts and Social Sciences Title: From Upyr’ to Vampir: The Slavic Vampire Myth in Russian Literature Abstract 350 words maximum: (PLEASE TYPE) The Slavic vampire myth traces back to pre-Orthodox folk belief, serving both as an explanation of death and as the physical embodiment of the tragedies exacted on the community. The symbol’s broad ability to personify tragic events created a versatile system of imagery that transcended its folkloric derivations into the realm of Russian literature, becoming a constant literary device from eighteenth century to post-Soviet fiction. The vampire’s literary usage arose during and after the reign of Catherine the Great and continued into each politically turbulent time that followed. The authors examined in this thesis, Afanasiev, Gogol, Bulgakov, and Lukyanenko, each depicted the issues and internal turmoil experienced in Russia during their respective times. By employing the common mythos of the vampire, the issues suggested within the literature are presented indirectly to the readers giving literary life to pressing societal dilemmas. The purpose of this thesis is to ascertain the vampire’s function within Russian literary societal criticism by first identifying the shifts in imagery in the selected Russian vampiric works, then examining how the shifts relate to the societal changes of the different time periods. The four authors were chosen to represent four distinct periods that proceed from one another to illustrate the continued relevance of this symbolism to literary societal commentary. In order to do this, this thesis employs the methods of Greenblatt and Berdyaev, developing a means of studying the vampiric works through a societal dialectic. Each author is examined, utilizing Greenblatt’s theoretical principle of an “intelligible network of signs.” By concentrating on the “minor feature” of the vampire myth in these works, the “singular, specific, and individual” of the vampiric symbolism within each work reveals a cultural matrix, exposing the mythological, religious, political, philosophical, and societal connotations of the vampire, both in its depictive qualities and in its transitioning role within the works. In order to comprehend the cultural matrix of the network of signs, Berdyaev’s Dostoevskian dialectic was employed as a template, adapting the structure from Berdyaev’s dialectic of theological ideas to a societal dialectic. The originality of this thesis lies in its exposure of the vampire myth as a persistent form of societal symbolism in Russian literature and its discovery of the dialectical nature of the vampire myth. This thesis hopes to serve as a model for future studies of folkloric symbolism in Russian literature. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..…………… ……….……………………...…….… Signature … Date Witness The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …… …………….............. Date ………1 November 2011………………….............. COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed …… …………………………….. Date ………1 November 2011..………………........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed … ………….......................... Date……1 November 2011……………………………………... 1 Abstract The Slavic vampire myth traces back to pre-Orthodox folk belief, serving both as an explanation of death and as the physical embodiment of the tragedies exacted on the community. The symbol’s broad ability to personify tragic events created a versatile system of imagery that transcended its folkloric derivations into the realm of Russian literature, becoming a constant literary device from eighteenth century to post-Soviet fiction. The vampire’s literary usage arose during and after the reign of Catherine the Great and continued into each politically turbulent time that followed. The authors examined in this thesis, Afanasiev, Gogol, Bulgakov, and Lukyanenko, each depicted the issues and internal turmoil experienced in Russia during their respective times. By employing the common mythos of the vampire, the issues suggested within the literature are presented indirectly to the readers giving literary life to pressing societal dilemmas. The purpose of this thesis is to ascertain the vampire’s function within Russian literary societal criticism by first identifying the shifts in imagery in the selected Russian vampiric works, then examining how the shifts relate to the societal changes of the different time periods. The four authors were chosen to represent four distinct periods that proceed from one another to illustrate the continued relevance of this symbolism to literary societal commentary. In order to do this, this thesis employs the methods of Greenblatt and Berdyaev, developing a means of studying the vampiric works through a societal dialectic. Each author is examined, utilizing Greenblatt’s theoretical principle of an “intelligible network of signs.” By concentrating on the 2 “minor feature” of the vampire myth in these works, the “singular, specific, and individual” of the vampiric symbolism within each work reveals a cultural matrix, exposing the mythological, religious, political, philosophical, and societal connotations of the vampire, both in its depictive qualities and in its transitioning role within the works. In order to comprehend the cultural matrix of the network of signs, Berdyaev’s Dostoevskian dialectic was employed as a template, adapting the structure from Berdyaev’s dialectic of theological ideas to a societal dialectic. The originality of this thesis lies in its exposure of the vampire myth as a persistent form of societal symbolism in Russian literature and its discovery of the dialectical nature of the vampire myth. This thesis hopes to serve as a model for future studies of folkloric symbolism in Russian literature. 3 Acknowledgments I would like to thank my supervisor Dr. Steven Fortescue for his support during the final months of my candidature. I would also like to extend my gratitude to those in the School of Languages and Linguistics who have