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First Published in 1998. This volume will surely be regarded as the standard guide to Russian literature for some considerable time to come... It is therefore confidently recommended for addition to reference libraries, be they academic or public.
Since 1985 Russia has experienced a dramatic cultural and social revolution. Rosalind Marsh presents the first study encompassing one important aspect of this process, that is the major part which literature has played in reassessing the past, transforming public opinion, and hence in promoting political change in Russia. She provides a chronology of literary politics in this period, and analyses the content and influence of newly published literature on a variety of historical themes, including Stalin and Stalinism, Lenin, the Civil War, the February and October Revolutions and the fall of Tsarism. She explores the heated moral and political debates inspired among different sections of Russian society by the works of many authors, including Rybakov, Solzhenitsyn, Grossman, Bunin and Gorky.
MacFadyen shows that the works of John Donne, the existential philosophy of Kierkegaard and Sestov, and the cities of St Petersburg and Venice inspired in Brodsky a fundamentally Baroque evolution. He provides a compelling and comprehensive examination of Brodsky's poetry and prose in a fascinating overview of some problems of post-soviet aesthetics. The book concludes with a reassessment of Brodsky's final role, that of cross-cultural, bilingual essayist. Joseph Brodsky and the Baroque will appeal to students and scholars of Russian literature as well as the growing body of Brodsky's admirers.
This book is concerned with the literary development of the narrative category of space in Russian literature from Romanticism until Modernism. It consists of two parts. The theoretical introduction renders a survey of some major 20-th century theories on literary development in the tradition of Russian Formalism and Czech Structuralism. A critical discussion is given of the cultural and stylistic typologies of the soviet scholar D. Lichacev and the semiotician I. Smirnov. Furthermore, the ideas on literary space, as they were developed by two important representatives of the Moscow-Tartu School of Semiotics, Ju.Lotman and V.Toporov, are described together with the method of literary analysis they offer. The contents of the second part of the book are analyses of the structure of space in the following narrative works: Mcyri by M.Ju. Lermontov, Nevskij prospekt by N.V. Gogol, Oblomov by I.A. Goncarov, V tolpe by F. Sologub and Kotlovan by A. Platonov. The analyses are accompanied by an interpretation of the story based on the spatial details in the text. It appears that both continuity and change characterize the development of literary space. This two-fold nature of the evolutionary proces comes to the fore through recurrence of spatial archetypes in all the periods under discussion and through ambivalence of meaning as a result of the semiotization of literary space in each literary work.
An history that presents a canvas of post-war Czech literary developments within the cultural and political context of the times. It provides information about the many English-language translations from Czech literature, and the circumstances in which these translations came about.
Russia's poets hold a special place in Russian culture, perhaps revealing more about their country than poets within any other nation. In this unique and wide-ranging collection of writings on poets and poetic trends in Russia, contributors from the United States, Britain, and Russia examine the place of poetry in Russian culture. Through a variety of critical approaches, these scholars, translators, and poets consider a broad cross section of Russian poets, from Pushkin to Brodsky, Shvarts, and Kibirov.
If modernism marked, as some critics claim, an "apocalypse of cultural community," then Osip Mandelstam (1891-1938) must rank among its most representative figures. Born to Central European Jews in Warsaw on the cusp of the modern age, he could claim neither Russian nor European traditions as his birthright. Describing the poetic movement he helped to found, Acmeism, as a "yearning for world culture," he defined the impulse that charges his own poetry and prose. Clare Cavanagh has written a sustained study placing Mandelstam's "remembrance and invention" of a usable poetic past in the context of modernist writing in general, with particular attention to the work of T. S. Eliot and Ezra Pound. Cavanagh traces Mandelstam’s creation of tradition from his earliest lyrics to his last verses, written shortly before his arrest and subsequent death in a Stalinist camp. Her work shows how the poet, generalizing from his own dilemmas and disruptions, addressed his epoch’s paradoxical legacy of disinheritance--and how he responded to this unwelcome legacy with one of modernism’s most complex, ambitious, and challenging visions of tradition. Drawing on not only Russian and Western modernist writing and theory, but also modern European Jewish culture, Russian religious thought, postrevolutionary politics, and even silent film, Cavanagh traces Mandelstam’s recovery of a "world culture" vital, vast, and varied enough to satisfy the desires of the quintessential outcast modernist.
This study advances a new approach to the history of Russian aspect, integrating recent work on aspectology with contemporary theories of language changes and development. Using data from five Old Russian texts, the author traces the development of the aspectual opposition from its early lexical roots to the sixteenth century, when contextual and discourse concerns came to the fore.
In response to the profound changes in Soviet society in recent years, the author considers the demise of Soviet literature and the emergence of its Russian progeny through the prism of the writers' engagement with fantasy. Viewing the mutual interaction of Soviet/Russian literary output with aspects of the dominant culture such as ideology and politics, Nadya Peterson traces the process of mainstream literary change in the context of broader social change. She explores the subversive character of the fantastic orientation, its Utopian and apocalyptic motifs, and its dialogical relationship with socialist realism, as it steadily gathered force in the latter Soviet decades. The shattering of the mythic colossus did not put an end to these opposing forces, but rather diverted them in various unexpected directions–as the author explains in her concluding chapters on the new "alternative" literatures.