Left Art in Leningrad the Oberiu Declaration
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Dvigubski Full Dissertation
The Figured Author: Authorial Cameos in Post-Romantic Russian Literature Anna Dvigubski Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Anna Dvigubski All rights reserved ABSTRACT The Figured Author: Authorial Cameos in Post-Romantic Russian Literature Anna Dvigubski This dissertation examines representations of authorship in Russian literature from a number of perspectives, including the specific Russian cultural context as well as the broader discourses of romanticism, autobiography, and narrative theory. My main focus is a narrative device I call “the figured author,” that is, a background character in whom the reader may recognize the author of the work. I analyze the significance of the figured author in the works of several Russian nineteenth- and twentieth- century authors in an attempt to understand the influence of culture and literary tradition on the way Russian writers view and portray authorship and the self. The four chapters of my dissertation analyze the significance of the figured author in the following works: 1) Pushkin's Eugene Onegin and Gogol's Dead Souls; 2) Chekhov's “Ariadna”; 3) Bulgakov's “Morphine”; 4) Nabokov's The Gift. In the Conclusion, I offer brief readings of Kharms’s “The Old Woman” and “A Fairy Tale” and Zoshchenko’s Youth Restored. One feature in particular stands out when examining these works in the Russian context: from Pushkin to Nabokov and Kharms, the “I” of the figured author gradually recedes further into the margins of narrative, until this figure becomes a third-person presence, a “he.” Such a deflation of the authorial “I” can be seen as symptomatic of the heightened self-consciousness of Russian culture, and its literature in particular. -
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Cultural Experimentation as Regulatory Mechanism in Response to Events of War and Revolution in Russia (1914-1940) Anita Tárnai Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Anita Tárnai All rights reserved ABSTRACT Cultural Experimentation as Regulatory Mechanism in Response to Events of War and Revolution in Russia (1914-1940) Anita Tárnai From 1914 to 1940 Russia lived through a series of traumatic events: World War I, the Bolshevik revolution, the Civil War, famine, and the Bolshevik and subsequently Stalinist terror. These events precipitated and facilitated a complete breakdown of the status quo associated with the tsarist regime and led to the emergence and eventual pervasive presence of a culture of violence propagated by the Bolshevik regime. This dissertation explores how the ongoing exposure to trauma impaired ordinary perception and everyday language use, which, in turn, informed literary language use in the writings of Viktor Shklovsky, the prominent Formalist theoretician, and of the avant-garde writer, Daniil Kharms. While trauma studies usually focus on the reconstructive and redeeming features of trauma narratives, I invite readers to explore the structural features of literary language and how these features parallel mechanisms of cognitive processing, established by medical research, that take place in the mind affected by traumatic encounters. Central to my analysis are Shklovsky’s memoir A Sentimental Journey and his early articles on the theory of prose “Art as Device” and “The Relationship between Devices of Plot Construction and General Devices of Style” and Daniil Karms’s theoretical writings on the concepts of “nothingness,” “circle,” and “zero,” and his prose work written in the 1930s. -
Courses of Instruction
Courses of Instruction Course Enrollment Courses numbered 200-299 are sometimes open to qualified undergraduate students who have received permission of the instructor and the director of graduate studies. Undergraduate students are not permitted in any courses above 300. Double numbers separated by a hyphen indicate that credit is contingent upon completion of both courses. Double numbers separated by a comma indicate that although the course is a year-long course, credit may be received for either course or both courses. The following symbols, suffixed to course numbers, identify the small group learning experiences: S, seminar; P, preceptorial; T, tutorial; D, discussion section. The L suffix indicates that the course includes laboratory experience. C-L: denotes a course that is cross-listed or a program under which a course is listed. African and African-American Studies (AAAS) Professor Gaspar, Director (408B Old Chemistry Building); Professors Holloway, Payne, and Powell; Associate Professor Lubiano; Assistant Professor Daniels; Assis- tant Professor of the Practice el Hamel; Research Professor Giddings The African and African-American Studies Program (AAASP) offers a certificate in African and African-American studies. Students enrolled in doctoral programs and in the Master of Arts in Liberal Studies (MALS) program are eligible and may work concurrently with their departments to satisfy the requirements for a certificate in African and African-American studies. The curricular format is a trifold course of study that includes coursework, teaching, and research. The award of a graduate certificate is carried on the student’s official transcript upon completion of the program. Students enrolled in the graduate program are eligible to apply for AAASP-sponsored teaching assistantships for an undergraduate course in their department or for the program’s introductory course for undergraduates. -
Pushkin and the Futurists
1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed. -
Detki V Kletke: the Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry
Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry. -
DANIIL KHARMS and the POETICS of the ABSURD by the Same Author V
DANIIL KHARMS AND THE POETICS OF THE ABSURD By the same author V. F. Odoyevsky: his fife, times and milieu (1986) Pasternak's 'Dr Zhivago' (1987) Daniil Kharms: The Plummeting Old Women (trans.) (1989) The Literary Fantastic: from Gothic to Postmodernism (1990) Daniil Kharms and the Poetics of the Absurd Essays and Materials Edited by N eil Cornwell Senior Lecturer in Russian Studies University 01 Bristol Palgrave Macmillan ISBN 978-1-349-11644-7 ISBN 978-1-349-11642-3 (eBook) DOI 10.1007/978-1-349-11642-3 © Neil Cornwell 1991 Softcover reprint ofthe hardcover 1st edition 1991 978-0-333-52590-6 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc., 175 Fifth Avenue, New York, NY 10010 First published in the United States of America in 1991 ISBN 978-0-312-06177-7 Library of Congress Cataloging-in-Publication Data Daniil Kharms and the poetics of the absurd: essays and materials I edited by Neil Cornwell. p. cm. Majority of the essays translated from Russian. Includes bibliographical references (p. ) and index. ISBN 978-0-312-06177-7 1. Kharms, Daniil, 1905-1942-Criticism and interpretation. 2. Absurd (Philosophy) in literature. 1. Cornwell, Neil. PG3476.K472Z65 1991 89 1. 78 '4209-dc20 91-7702 CIP Contents An unpublished relie of Daniil Kharms vii Robin Milner-Gulland Aeknowledgements ix Note on Transliteration and Abbreviations x Epigraph: Aleksandr Galieh, Legenda 0 tabake xii Notes on the Contributors xv PART I: INTRODUCTORY 1 Introduetion: Daniil Kharms, Blaek Miniaturist 3 Neil Cornwell -
The Legacy of Modern Acting Theories In
Rūta MažEIKIEnė Vytautas Magnus University, Lithuania ON ANTI-MIMETIC AcTING: THE LEGACY OF MODERN AcTING THEORIES 85 IN CONTEmpORARY PERFORMANCE1 II. T II. Key words: theatre, Lithuanian theatre, acting, emporary acting theory, anti-mimetic acting, avant-garde theatre, OBERIU, Oskaras Koršunovas. D The multiplicity of different acting forms and styles OBERIU5 were characterized not only by innova- imensions characteristic to contemporary theatre reveals the tive mise-en-scène but also by an eccentric manner dynamic change of traditional methods of acting as of acting, unconventional for the Lithuanian stage. well as the emergence of new ways of acting. With Although some theatre critics would consider this the appearance of new acting forms, the problem way of acting in relation to postmodernism, a closer IN of denomination, evaluation and interpretation of analysis reveals its bonds with the anti-mimetic C actor’s art is faced. It should be noted that in con- ways of acting developed in the modern theatre. ontemporary temporary theatre criticism it is a common practice Thus the aim of this article is to analyse the OBERIU to relate the new ways of acting to the realm of post- trilogy by Koršunovas in relation to the acting theo- modern aesthetics and analyze them as examples of ries of theatre modernists like Craig, Meyerhold and postmodern theatre language. However, contem- Witkiewicz and discuss the legacy of modern acting porary performance often includes non-traditional theories as reflected in contemporary theatre. and new forms of acting that have taken their root The OBERIU trilogy staged by Oskaras Koršunovas L in the field of modern theatre and especially in in the early nineties stood out against the background ithuanian the marginalized trend of anti-mimetic acting, of Lithuanian drama theatre of the time as an example described in the theories of theatre modernists such of innovative directing style and also as an embodi- as Edward Gordon Craig, Vsevolod Meyerhold or ment of a non-traditional understanding of theatre. -
U K S U S- Working
U K S U S OBERIUpera in 4 boxes music: Erling Wold libretto: Felix Strasser & Yulia Izmaylova & Erling Wold from texts by: Daniil Charms, Aleksandr Vvedenskij, Konstantin Vaginov, Leonid Lipavskij Our Mama – Babuska Baba Yaga, a woman who represents Stalin Fefjulka Fensterchan - a woman who embodies Charm's two wives The painter Michelangelo - tragic and dramatic; the serious side of life Pushkin - more or less Daniil Charms Karabister - a giant with infinitely long clock hands instead of arms Ivan Ivanovitch Samovar - a samovar, that narrates, occasionally… *** Ivan before the Overture: In the days of the Russian Tsar, a man, Ivan Pavlovich Yuvachev, a member of a terrorist group that succeeded in assassinating Tsar Alexander the second, underwent a religious awakening in prison, or, possibly, experienced a mental breakdown, and, under the influence of this belief in his mystical abilities, and on his release from prison, predicted the exact date on which his child would be born. Calling his wife from a telephone owned by Leo Tolstoy, he demanded that she fulfill his prophecy. This she did, and on that day foretold, Daniil Kharms was born. Overture Ivan over the Overture: By the time he came of age, the First World War and Russian revolution had swept away the world his father knew, and had replaced that world with one in which there was great hardship, a terrible time of hunger and fear, from enemies foreign and domestic, to wit, (1) Stalin’s great political purges in which at least a thousand were shot each day and (2) the invasion by Germany which killed millions more. -
Fiscal Year 2016 NEA Literature Translation Fellowship Recipients
Fiscal Year 2016 NEA Literature Translation Fellowship Recipients Some details of the projects listed are subject to change, contingent upon prior NEA approval. For the most up to date project information, please use the NEA's online grant search system. See the following pages for more information on the projects and translators. Aron R. Aji, Iowa City, IA . Philip Boehm, St. Louis, MO . Maia Evrona, Framingham, MA . Jeffrey Friedman, West Lebanon, NH . María José Gimenez, Easthampton, MA . Ani Gjika, Framingham, MA . Jennifer Grotz, Rochester, NY . Kathleen Heil, Fayetteville, AR . Jesse Lee Kercheval, Madison, WI . Michelle Har Kim, Alhambra, CA . Michael Leong, Albany, NY . Michael F. Moore, Long Island City, NY . Benjamin Paloff, Ann Arbor, MI . Kit Schluter, Oakland, CA . William Schutt, Baltimore, MD . K. E. Semmel, Milwaukee, WI . Donna Stonecipher, Seattle, WA . Jeremy Tiang, Brooklyn, NY . Will Vanderhyden, Oakland, CA . Matvei Yankelevich, Brooklyn, NY Aron R. Aji (in collaboration with David Gramling), Iowa City, IA ($12,500) To support the translation from the Turkish of My Heart's East, a collection of poems by Murathan Mungan. A prolific author of nearly 60 works of poetry, fiction, drama, and non-fiction, Mungan (b. 1955) is best known as one of Turkey's foremost lyric poets. My Heart's East showcases his aesthetic breadth and sociopolitical engagement. Written mostly in the 1980s and '90s, the poems chronicle the longstanding Turkish-Kurdish conflict that reached unprecedented levels of violence during that period, resulting in at least 40,000 deaths. This translation will be the first time a book-length collection of his poetry appears in English. -
Kesarevo Kesarju Scritti in Onore Di Cesare G
BIBLIOTECA DI STUDI SLAVISTICI – 23 – COMITATO SCIENTIFICO Giovanna Brogi Bercoff (Direttore), Stefano Bianchini, Marcello Garzaniti (Presidente AIS), Persida Lazarević, Giovanna Moracci, Monica Perotto COMITATO DI REDAZIONE Alberto Alberti, Giovanna Brogi Bercoff, Maria Chiara Ferro, Marcello Garzaniti, Nicoletta Marcialis, Giovanna Moracci, Donatella Possamai, Giovanna Siedina, Andrea Trovesi Kesarevo Kesarju Scritti in onore di Cesare G. De Michelis a cura di Marina Ciccarini Nicoletta Marcialis Giorgio Ziffer Firenze University Press 2014 Kesarevo Kesarju. Scritti in onore di Cesare G. De Michelis / a cura di Marina Ciccarini, Nicoletta Marcialis, Giorgio Ziffer - Firenze : Firenze University Press, 2014. (Biblioteca di Studi slavistici ; 23) http://digital.casalini.it/9788866555728 ISBN 978-88-6655-572-8 (online) ISBN 978-88-6655-570-4 (print) La collana Biblioteca di Studi Slavistici è curata dalla redazione di Studi Slavistici, rivista di pro- prietà dell’Associazione Italiana degli Slavisti (<http://fupress.com/riviste/studi-slavistici/17>). Editing e progetto grafico: Alberto Alberti. Questo volume è stato realizzato con i contributi del Dipartimento di Studi Umanistici dell’Ateneo di Roma “Tor Vergata”. In copertina: Russia. Lev Nikolaevič Tolstoj indica al popolo russo il sole dell’avvenire (Tavola di Paolo Antonio Paschetto per “Bilychnis. Rivista di studi religiosi”, VI, 1917, 3, p. 209). Certificazione scientifica delle Opere Tutti i volumi pubblicati sono soggetti a un processo di referaggio esterno di cui sono responsabili il Consiglio editoriale della FUP e i Consigli scientifici delle singole collane. Le opere pubblicate nel catalogo della FUP sono valutate e approvate dal Consiglio editoriale della casa editrice. Per una descrizione più analitica del processo di referaggio si rimanda ai documenti ufficiali pubblicati sul catalogo on-line della casa editrice (www.fupress.com). -
UCLA UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Resistant Postmodernisms: Writing Postcommunism in Armenia and Russia Permalink https://escholarship.org/uc/item/32m003t0 Author Douzjian, Myrna Angel Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Resistant Postmodernisms: Writing Postcommunism in Armenia and Russia A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Myrna Angel Douzjian 2013 @ Copyright by Myrna Angel Douzjian 2013 ABSTRACT OF THE DISSERTATION Resistant Postmodernisms: Writing Postcommunism in Armenia and Russia by Myrna Angel Douzjian Doctor of Philosophy in Comparative Literature University of California, Los Angeles, 2013 Professor David W. MacFadyen, Co-Chair Professor Kathleen L. Komar, Co-Chair Many postcolonial scholars have questioned the ethics of postmodern cultural production. Critics have labeled postmodernism a conceptual dead end – a disempowering aesthetic that does not offer a theory of agency in response to the workings of empire. This dissertation enters the conversation about the political alignment of postmodernism through a comparative study of postcommunist writing in Armenia and Russia, where the debates about the implications and usefulness of postmodernism have been equally charged. This project introduces the directions in which postcommunist postmodernisms developed in Armenia and -
AS IT TURNED out by Dmitry Golynko Translated from the Russian by Eugene Ostashevsky, with Rebecca Bella and Simona Schneider
AS IT TURNED OUT by Dmitry Golynko Translated from the Russian by Eugene Ostashevsky, with Rebecca Bella and Simona Schneider Ugly Duckling Presse: Eastern European Poets Series #17 Poetry, $15, ISBN# 978-1-933254-36-4 168 pp, perfect-bound Publication date: November 1, 2008 Dmitry Golynko’s first English-language release, As It Turned Out, features both earlier and more current poetry, drawing on the author’s three books as well as unpublished materials. Hold it! How have we arrived at such a moment that could produce Dmitry Golynko’s poetry? How has Soviet history remade itself, faster than dial-up, in the years that lead up to these wide open poems that document the very public culture it runs with? —Robert Fitterman Sometimes life can feel a little too lived. Witness here the “shampooski,” the “the halfwit toastmaster,” the “déjà vengeance.” Golynko not only takes on, but takes in, this problem, as he responds to a variety of Russias—whether the lush monumentality or the ornate quotidian, his vocabularies mirror while evolving, resemble while describing. —Rod Smith A hard coming of age during the collapse of the Soviet system sensitized Golynko’s ear to how language mutates in response to political and social change. The multilevel puns that saturated his writing in the 1990s fused the brand-consciousness of mass-market culture with recondite play of literary allusions. Covered in such puns and psychologically stylized, his narratives exuded the sense of unreality of life so characteristic of the Yeltsin era. In the 2000s, a new obsession with documenting how regular Russians speak and think led him to appropriate the latest from the most varied linguistic strata: bureaucrat-ese, mafia slang, blogspeak, technical jargon, teenage cant.