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Commemorating Pushkin is a study of the fascination with Pushkin that has helped Russian culture define itself, as seen in poems, stories, essays, memoirs, films, museums, and commemorative celebrations.
In an event acknowledged to be a watershed in modern Russian cultural history, the elite of Russian intellectual life gathered in Moscow in 1880 to celebrate the dedication of a monument to the poet Alexander Pushkin, who had died nearly half a century earlier. Private and government forces joined to celebrate a literary figure, in a country in which monuments were usually dedicated to military or political heroes. In this richly detailed narrative history of the Pushkin Celebration and the developments that led up to it, Marcus C. Levitt explores the unique role of literature in nineteenth-century Russian intellectual life and puts Russian literary criticism, and Pushkin's posthumous reputation, into fresh perspective. Drawing on Soviet archival materials not readily available in the West, Levitt describes the preparations for the monument and the unfolding of the celebration. His sustained discussions of Turgenev's role and of Dostoevsky's famous "Pushkin Speech" shed new light on what was for both a culminating moment in their careers. In Levitt's view, the Pushkin Celebration represented the articulation of liberal, post-Emancipation hopes for an independent Russian intelligentsia and culture. His analysis of the problems faced by Russian liberalism illuminates the failure of concerted efforts to secure freedom of speech in nineteenth-century Russia.
Since his death in 1837, Alexander Pushkin—often called the “father of Russian literature”—has become a timeless embodiment of Russian national identity, adopted for diverse ideological purposes and reinvented anew as a cultural icon in each historical era (tsarist, Soviet, and post-Soviet). His elevation to mythic status, however, has led to the celebration of some of his writings and the shunning of others. Throughout the history of Pushkin studies, certain topics, texts, and interpretations have remained officially off-limits in Russia—taboos as prevalent in today’s Russia as ever before. The essays in this bold and authoritative volume use new approaches, overlooked archival materials, and fresh interpretations to investigate aspects of Pushkin’s biography and artistic legacy that have previously been suppressed or neglected. Taken together, the contributors strive to create a more fully realized Pushkin and demonstrate how potent a challenge the unofficial, taboo, alternative Pushkin has proven to be across the centuries for the Russian literary and political establishments.
Alexander Pushkin stands in a unique position as the founding father of Russian literature. In this Companion, leading scholars discuss Pushkin's work in its political, literary, social and intellectual contexts. In the first part of the book individual chapters analyse his poetry, his theatrical works, his narrative poetry and historical writings. The second section explains and samples Pushkin's impact on broader Russian culture by looking at his enduring legacy in music and film from his own day to the present. Special attention is given to the reinvention of Pushkin as a cultural icon during the Soviet period. No other volume available brings together such a range of material and such comprehensive coverage of all Pushkin's major and minor writings. The contributions represent state-of-the-art scholarship that is innovative and accessible, and are complemented by a chronology and a guide to further reading.
Montaging Pushkin offers for the first time a coherent view of Pushkin’s legacy to Russian twentieth-century poetry, giving many new insights. Pushkin is shown to be a Russian forerunner of Baudelaire. Furthermore it is argued that the rise of the Russian and European novel largely changed the ways Russian poets have looked at themselves and at poetic language; that novelisation of poetry is detectable in the major works of poetry that engaged in a creative dialogue with Pushkin, and that polyphonic lyric has been achieved. Alexandra Smith locates significant examples of Pushkin’s cinematographic cognition of reality, suggesting that such dynamic descriptions of Petersburg helped create a highly original animated image of the city as comic apocalypse, which followers of Pushkin appropriated very successfully even as far as the late twentieth century. Montaging Pushkin will be of interest to all students of Russian poetry, as well as specialists in literary theory, European studies and the history of ideas.
In 1937, the Soviet Union mounted a national celebration commemorating the centenary of poet Alexander Pushkin's death. Though already a beloved national literary figure, the scale and feverish pitch of the Pushkin festival was unprecedented. Greetings, Pushkin! presents the first in-depth study of this historic event and follows its manifestations in art, literature, popular culture, education, and politics, while also examining its philosophical underpinnings. Jonathan Brooks Platt looks deeply into the motivations behind the Soviet glorification of a long-dead poet—seemingly at odds with the October revolution's radical break with the past. He views the Pushkin celebration as a conjunction of two opposing approaches to time and modernity: monumentalism and eschatology. Monumentalism—in pointing to specific moments and individuals as the origin point for cultural narratives, and eschatology—which glorifies ruptures in the chain of art or thought, and the destruction of canons. In the midst of the Great Purge, the Pushkin jubilee was a critical element in the drive toward a nationalist discourse that attempted to unify and subsume the disparate elements of the Soviet Union, supporting the move to "socialism in one country".
The twentieth century in Europe was characterized by great moments of rupture, such as two world wars, ideological conflict, and political polarization. In these processes, as well as in the historical writing that followed in its wake, the individual as an historical entity often appeared crushed. In line with contemporary theories about the precariousness of historical writing and the self, this volume seeks to understand the important developments in modern Europe from the perspective of the single, sometimes isolated, but always original viewpoint of individuals inhabiting the space at the other side of the traditional grand narratives. Including theoretical chapters as well as detailed case studies, this volume takes a biographical approach to dystopian events—the Holocaust, Fascism, Communism, and collectivization—by starting with the voices of unknown historical actors and relating their experiences to larger processes in modern European history, such as the emergence of the national, collective memory, and state formation, as well as changes in the understanding of modern identities and the (re)formulation of the self. This book was originally published as a special issue of the European Review of History.
In August 1836, Alexander Pushkin wrote a poem now popularly known simply as "Monument." In the decades following his death in January 1837, the poem "Monument" was transformed into a statue in central Moscow: the Pushkin Monument. At its dedication in 1880, the interaction between the verbal text and the visual monument established a creative dynamic that subsequent generations of artists and thinkers amplified through the use of allusion, simultaneously inviting their readers and spectators into a shared cultural history and enriching the meaning of their original creations. The history of the Pushkin Monument reveals how allusive practice becomes more complex over time. As the population of literate Russians grew throughout the twentieth century, both writers and readers negotiated increasingly complex allusions not only to Pushkin’s poem, but to its statuesque form in Moscow and the many performances that took place around it. Because of this, the story of Pushkin’s Monument is also the story of cultural memory and the aesthetic problems that accompany a cultural history that grows ever longer as it moves into the future.
Pushkin's lyric intelligence is his capacity to transform philosophical and aesthetic ideas into poetry that questions the creative process. This first major study of his lyrics reveals the links between Pushkin's conceptual vocabulary and his intellectual life, and between his writing and the influences of French and English authors and movements.