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When one great author engages another, as Andrei Bely so brilliantly does in Gogol’s Artistry, the result is inevitably a telling portrait of both writers. So it is in Gogol’s Artistry. Translated into English for the first time, this idiosyncratic, exhaustive critical study is as interesting for what it tells us about Bely’s thought and method as it is for its insights into the oeuvre of his literary predecessor. Bely’s argument in this book is that Gogol’s earlier writing should be given more consideration than most critics have granted. Employing what might be called a scientific perspective, Bely considers how often certain colors appear; he diagrams sentences and discusses Gogol’s prose in terms of mathematical equations. The result, as strange and engaging as Bely’s best fiction, is also an innovative, thorough, and remarkably revealing work of criticism.
Andrei Bely's 1913 masterwork Petersburg is widely regarded as the most important Russian novel of the twentieth century. Vladimir Nabokov ranked it with James Joyce's Ulysses, Franz Kafka's Metamorphosis, and Marcel Proust's In Search of Lost Time. Few artistic works created before the First World War encapsulate and articulate the sensibility, ideas, phobias, and aspirations of Russian and transnational modernism as comprehensively. Bely expected his audience to participate in unraveling the work's many meanings, narrative strains, and patterns of details. In their essays, the contributors clarify these complexities, summarize the intellectual and artistic contexts that informed Petersburg's creation and reception, and review the interpretive possibilities contained in the novel. This volume will aid a broad audience of Anglophone readers in understanding and appreciating Petersburg.
Andrei Bely was the greatest Russian writer of the twentieth century. Chiefly known outside of Russia as a novelist (his Petersburg is the best modern Russian novel), he was also a leading symbolist poet and profound philosophical critic. Bely was also a mystic who had an unsurpassed ability to express his visions in writing, and he often did so in the form of lyrical essays, a selection of which is offered here. Many of these essays were written as the twentieth century stood at the threshold of a new epoch. For Bely, a new religious consciousness was emerging, rooted in Vladimir Solovyov's visions of Sophia and Nietzsche's proclamation that a new man was on the verge of being created. A new dawn-both joyful and terrifying-was already visible on the horizon. "The artist is the creator of the universe," Andrei Bely declares in one of his philosophical prose poems collected in this book. Roaming fluidly between poetry and theory, between analysis and reverie, Bely transforms the material and intellectual revolution of modernity into an aesthetic revolution, and at the same time presages the revolutionary political upheaval of the twentieth century. In Boris Jakim's capable translation, Bely's intriguing, breathless improvisations sparkle with insight and wit.-Robert Bird, Dept. of Slavic Languages and Literature, Univ. of Chicago Andrei Bely-poet, novelist, and thinker-was one of the central figures of early twentieth-century Russian literature. His thought, represented by the nine essays collected here, examining in depth the works of Tolstoy, Vladimir Solovyov, Nietzsche, and the Russian poets (particularly his fellow Symbolists), is remarkable both in its scope and in its form of expression. His style combines visionary exaltation with self-humor in a way uniquely his own: "Our salvation," as he writes in the final essay, "lies in playful exuberance." Boris Jakim succeeds at the almost impossible task of capturing that quality in his fine translations.-Richard Pevear, translator of War and Peace and The Brothers Karamazov For Andrei Bely, every question is a religious question, every answer a religious answer. The essays included in this collection, each in its own way, figure as both question and answer. For, with Bely, all that is important in human life-art, meaning, struggle, discovery-shimmers in a metaxu whose domain is precisely that of religion as the site of revelation. These essays-apocalyptic, imaginal, gnomic-though written nearly a century ago, nevertheless provide us with new ways of seeing the implicitly poetic, integral, and eminently religious nature of both human existence and the structure of the world. Boris Jakim is to be commended for the gift of this translation, which provides the English-speaking world a much-needed alternative to the prevailing religious discourses so preoccupied with apologetics and polemics and so forgetful of poetry and mysticism.-Michael Martin, author of The Submerged Reality: Sophiology and the Turn to a Poetic Metaphysics
This is the first full-scale biography of Osip Mandelstam to combine an analysis of his poetry with a description of his personal life, from his beginnings as a young intellectual in pre-revolutionary Russia to his final fate as a victim of Stalinism. The myth has grown up that Mandelstam was a gloomy, miserable figure; Dutli deconstructs this, stressing Mandelstam's enjoyment of life. There are several underlying themes here. One is Mandelstam's Jewish background in pre-1914 Russia, which he rejected as a young man, but reaffirmed in later life. Another is the inescapable impact of Russia's political and social transformation. His evolution as a poet naturally occupies a large place in the biography, which quotes many of his most famous poems, including his devastating anti-Stalin epigram. He produced wonderful poetry before the October Revolution, but did not reach his full poetic stature until the 1930s when in exile in Voronezh. He was never an official Soviet poet, and it was only thanks to the intervention of Bukharin that he was brought back from utter impoverishment. The biography gives full weight to his emotional life, beginning with his friendship with two other Russian poets, Marina Tsvetaeva and Anna Akhmatova, followed by love and marriage to Nadezhda Khazina. "One of the century's greatest lyric poets." - Elaine Feinstein, Sunday Times "Mandelstam's poems are both bold and delicate. His imagery can seem both profoundly startling yet entirely natural". - Robert Chandler "Mandelstam was a tragic figure. Even while in exile in Voronej, he wrote works of untold beauty and power. And he had no poetic forerunners. In all of world poetry, I know of no other such case. We know the sources of Pushkin and Blok, but who will tell us from where that new, divine harmony, Mandelstam's poetry, came from?" - Anna Akhmatova "Russia's greatest poet in the twentieth century." - Joseph Brodsky
These fourteen essays reflect the increasingly interdisciplinary character of Russian literature research in general and of the study of Gogol in particular, focusing on specific works, Gogol's own character, and the various approaches to aesthetic, religious, and philosophical issues raised by his writing.
An investigation into the problem of writing about matter in Nikolai Gogol's work and, indirectly, into the entire Neoplatonic tradition in Russian literature, this book is not intended to be an exhaustive historical survey of the concept of matter, but rather an effort to enumerate the images of matter in Gogol's texts and to specify the rules of their construction. The trajectory of the book is directed by movement from Gogol to Gogol. Its major assumption is that Gogol successfully develops a language for grasping the Neoplatonic concept of matter and subsequently rejects it, abandoning literature. Since then, the Gogolian form [sic!] of the image of a sheer negation of form has recurred frequently in Russian literature. Yet the direction of the movement is always towards Gogol. Somewhere at the margin of this circular trajectory, one can inscribe a Polish writer, Witold Gombrowicz, who established, one hundred years later, a similar rhythm governing Polish literature: from Gombrowicz to Gombrowicz.
As the Soviet Union dissolved, so did the visions of past and future that informed Soviet culture. With Dystopia left behind and Utopia forsaken, where do the writers, artists, and critics who once inhabited them stand? In an "advancing present," answers editor Thomas Lahusen. Just what that present might be--in literature and film, criticism and theory, philosophy and psychoanalysis, and in the politics that somehow speaks to all of these--is the subject of this collection of essays. Leading scholars from the former Soviet Union and the West gather here to consider the fate of the people and institutions that constituted Soviet culture. Whether the speculative glance goes back (to czarist Russia or Soviet Freudianism, to the history of aesthetics or the sociology of cinema in the 1930s) or forward (to the "market Stalinism" one writer predicts or the "open text of history" another advocates), a sense of immediacy, or history-in-the-making animates this volume. Will social and cultural institutions now develop organically, the authors ask, or is the society faced with the prospect of even more radical reforms? Does the present rupture mark the real moment of Russia's encounter with modernity? The options explored by literary historians, film scholars, novelists, and political scientists make this book a heady tour of cultural possibilities. An expanded version of a special issue of South Atlantic Quarterly (Spring 1991), with seven new essays, Late Soviet Culture will stimulate scholar and general reader alike. Contributors. Katerina Clark, Paul Debreczeny, Evgeny Dobrenko, Mikhail Epstein, Renata Galtseva, Helena Goscilo, Michael Holquist, Boris Kagarlitsky, Mikhail Kuraev, Thomas Lahusen, Valery Leibin, Sidney Monas, Valery Podoroga, Donald Raleigh, Irina Rodnyanskaya, Maya Turovskaya
Andrei Bely's novel Petersburg is considered one of the four greatest prose masterpieces of the 20th century. In this new edition of the best-selling translation, the reader will have access to the translators' detailed commentary, which provides the necessary historical and literary context for understanding the novel, as well as a foreword by Olga Matich, acclaimed scholar of Russian literature. Set in 1905 in St. Petersburg, a city in the throes of sociopolitical conflict, the novel follows university student Nikolai Apollonovich Ableukhov, who has gotten entangled with a revolutionary terrorist organization with plans to assassinate a government official–Nikolai's own father, Apollon Apollonovich Ableukhov. With a sprawling cast of characters, set against a nightmarish city, it is all at once a historical, political, philosophical, and darkly comedic novel.